Chapter 5: Quilting, padding and stuffing

I began this chapter by making a series of samples of traditional quilting. These were all stitched on the machine with a medium weight calico backing, 100% cotton quilt batting and curtain lining as a top layer. I used the walking foot on my machine to ensure sharp lines were achieved.

Fig. 5:1 - Straight, equidistant lines

 

Fig. 5:2 - Spiral

 This one (Fig. 5:2) is a little like the traditional log-cabin block design

Fig. 5:3

Narrow blocks, again mimicking a traditional rail-fence quilting block design.

Fig. 5:4 - Diagonal lines

Fig. 5:5- Diagonal lines in both directions

Fig. 5:6

Fig. 5:6 is two diagonal boxes - slightly 'wonky'

Fig. 5:7

Fig. 5:7 reminds me of a Mondrian painting and this is the pattern that I took forward into some more of my samples.

Fig. 5:8

Moving on into wadded quilting samples, Fig. 5:8 is fashioned from two layers of lightweight curtain lining with a layer of thick polyester wadding sandwiched between. The shapes were machine stitched, again using the walking foot and then a vermicelli set stitch was worked in two of the smaller squares.

Fig. 5:9

The sample in Fig. 5:9 has a backing of the lightweight curtain lining, and the thick polyester wadding again, but this time with a top layer of muslin. I hand stitched this sample using several lines of running stitch to separate the sections and then worked seed stitch in the centre square. I really like the way that the extra layers of stitch and the thick wadding make the shapes stand out and create some lovely shadows.

Fig. 5:10

This sample (Fig. 5:10) has a backing of calico, thick polyester wadding and a top layer of silk/cotton mix fabric. I worked a running stitch border to neaten the edges and then worked single cross stitches in a grid pattern across the piece.

Fig. 5:11

Shaped quilting was next and a variety of household items suddenly took on a new life. Sample 5:11 has felt and cork furniture floor protectors trapped between 2 layers of the lightweight curtain lining fabric. I stitched around and between the shapes with rows of running stitch using 2 strands of stranded cotton. I love the effect this gives ... and the way that the centre, which is unpadded, has raised up with the stitching.

Fig. 5:12

I like sample 5:12 even more!! and will definitely be using these ideas again (though probably not whilst interpreting my tree bark). A variety of metal washers are trapped between curtain lining (backing) and habotai silk. I worked long stitches across the washers to hold them in place before working tiny back stitches very close to the inner and outer edges of each washer to define the shapes. The undulating silk has a lovely texture with lots of interesting shadows.

Fig. 5:13

Fig. 5:13 shows a series of foam board rectangles trapped between silk cotton (on top) and curtain lining backing. Each piece of 'board' is outlined with running stitch and the shapes between filled with rows of running stitch.

Fig. 5:14

Padded quilting was next and Fig. 5:14 has a backing of calico and a piece of organza on top to allow the padding to be seen. The padding in this sample is threads withdrawn from linen fabric in an earlier chapter. The shapes have been outlined with running stitch.

Fig. 5:15

The same fabrics and outlining method were used in Fig. 5:15 but this time the padding is a variety of natural coloured fleece - intended for felting. This is very reminiscent of a dry stone wall with the different shades of brown and grey.

Fig. 5:16

Corded quilting. I have only done one sample for this at the moment though may return to do more at a later stage. This did give me ideas for how the technique might be used to interpret some of my bark patterns. I machine stitched channels then threaded woollen yarn through from behind. Again, organza was used on top of calico to allow the yarn to be visible.

Lots of these techniques will prove useful when I begin to interpret my tree patterns into fabric and I have thoroughly enjoyed working through this chapter.