Traditional Stained Glass Applique with Rob


Traditional stained glass applique has got
to be one of the coolest quilting techniques in my opinion. And I am dying to share with you how we’re
going to put down the quick bias and use the twin needle to set it all in place. Let’s get started. I get so much inspiration from living in California,
surfing, being outdoors. And I absolutely love the California poppies. They grow everywhere. And I was totally taken by this Empress Garden
Island batik. It’s a ten by ten pre cut. So when I designed this poppy project and
actually you can purchase a pattern for this and make the whole thing. The background lays out with ten inch squares
while all stitched together and then I have appliques that all fit on those ten inch squares
as well. And not only that but we’ve got something
really cool called quick bias. It’s a bias ribbon that’s already been
cut and fused. So we’re going to use a hot iron to put
this down and we’re going to use a twin needle to stitch it. And that’s what I really want to focus on
in the video today. So we’ve also created a free printable for
you that you can use. So just bounce into the description below
and you can print this out. You’re going to have a map right here to
follow to put together a single poppy. And this poppy I’ve actually chosen on purpose
because it’s got some different techniques to learn in the leading process or that quick
bias process. I’ll just call it the lead like in stained
glass from this point on, ok? So with this there’s your map you’ll need
in a few. You’ll also want to go ahead and print out
both pages. These are all the parts and pieces you’re
going to need. And like with all good applique, right? What I do is I trace this first onto fusible
web. You trace it onto the paper side. The shiny is the glue side so I want you to
trace on the paper side, right? And label your numbers and your pieces and
all of that. And then what I also do is I layer and layer
as many of my pieces onto one piece of fabric as I possible can so that when I cut it out
with my cool little shark applicutter, and I also made these pieces very easy for you
to practice with your shark applicutter with, right? So get it all cut out and then I’m ready
to start peeling the paper off and laying it out on my design board. And let’s talk about that a little bit too
as I tidy up here. This board has actually got batting. It’s my ironing surface. So I’m not going to have to move my project
when I’m done. I’m going to simply bring my iron over here. I’m going to double check and make sure
it’s getting nice and hot. Because we want it hot and we want it dry. Because I’m using the Heat N Bond featherlite. That’s the fusible web that I love, ok? So what I’ve started to do is I’ve started
to peel the paper backing off and lay these out kind of following the map but in position
on the background. And the coffee is certainly charging through
my veins, I can feel it right now. Maybe I jumped at it a little fast. The background as I was trying to point out
on the big quilt. They’re ten inch squares, five by ten inch
rectangles, and five by five inch squares. All sewn together quarter inch seam allowances,
a basic patchwork you’re going to make whether you make the small or the big version, ok? And then we have our background, we can start
laying out here ok. And then, like I said, there’s still paper
on the back. And sometimes when you peel fusible web if
you get a corner and you don’t see that glue, that shiny part down there in the fabric,
you might need to go to another spot. This is a good piece so I’m just peeling
it back so that you can see the adhesive is back there. And I’m going to set this into place. And then this piece I’ve already peeled
the glue off of. And it lays down in here like yay, checking
my map over there. And then another thing I love is a stiletto
for moving things around because the glue can be a little bit tacky at times especially
on a hot day. So I can then go ahead and position things
just as I want. And the stiletto allows me to slide things
where I need. I’m going to put this underneath a little
bit. So all you have to do is get your design the
way you want it. And that coffee makes my hands like coyote
earthquake pills. There we go. Ok so now I’ve got it the way I like. I’m going to take my hot iron and we’re
going to fuse this down just by setting and lifting, setting and lifting. Because I don’t want to be sliding the iron
around. If I slide the iron around right now I’ll
move parts and pieces. And of course if you’re not using the Heat
N Bond you may have different ironing times. So just definitely make sure you’re reading
the instructions from the manufacturer, right? On your fuse to make sure it works great. And then we have it set. Once all the applique pieces of your design
are firmly pressed in place you are certainly ready to do your leading. And I’ve got to tell you I’ve been dying
to do this for years and years. I’ve seen quilts like this and I always
love them. And it was even more fun than I expected. So a couple tools let’s talk about first. The clover quick bias is a fusible bias ribbon. And so it’s going to flex and move fantastically
for us. And what you’re looking at right now is
the back side. So it already has a fusible webbing on it,
ok? And then the top side is black. It comes in a bunch of different colors. And this is a quarter of an inch wide so it’s
going to cover those seams of our applique pieces nicely but it’s still going to allow
us to bend and curve as we need around all those fun shapes, right? The best way to put that stuff down in my
opinion is using the clover mini iron. This thing is radical because it gets nice
and hot on the tip. But I have real nice control and I can safely
keep my other hand around it while I’m putting the lead down. And it’s fun I’m going to show you how
to use this in a second. There’s a little stand that comes with it
and make sure you use that because if this comes in contact with your board or something
it can certainly melt or burn your board. A little pair of flat scissors and the stiletto
still are going to help me make some control as well as I curve things around if I don’t
want to get too close to my fingers with the iron. Sometimes these things will help, right? So if you’re new to this like I was I wanted
to think of it in two different layers. I wanted to think about it in the layer of
is it going to be easy or hard to do physically setting the track of the bias down and/or
is it going to look polished and is it going to look finished when I’m done. So what I’m trying to really say here is
I want to go around this big flower petal last because it’s on top of everything. And it’s going to finish everything and
it’s going to hide any raw edges that I would need where I start another piece of
leading out from under here. So with that thought process in mind actually
these long straight lines that lead the patchwork in the background are a great place to start. So let’s just start there today. And what I’m going to do is I’m going
to take this ribbon and the paper backing is going to peel off and stay out of the way,
every few yards I just cut that. First thing I do is I lay it in and I eyeball
it or dry fit it if you like my construction terms. And I see that I need to cut a little bit
of an angle on it. Now it’s already on the bias so when you
cut the angles those areas actually can fray a bit so I want to make sure I lay it under
another piece. And I’m holding it in position and I’m
now taking the mini iron. And I’m just going to set it down and slowly
begin applying that heat and a bit of pressure. So on these long straight runs like this I
want you to not pull on the ribbon. If you pull on the ribbon too tight if it
doesn’t bond perfectly it might pop up or it could cause your quilt to pucker, right? Because it can have some tension on it. So you don’t need to pull you just lay it
down nice and flat, nice and easy, ok? And then I’m going to let that cool and
while that’s cooling I’m going to take the scissors and I’m going to trim it right
off, ok? And I bet you can’t see perfectly at home
so let’s move this more to the center here we’ll move it back out of the way when I
show you how to stitch it with that three millimeter twin needle. But there can you see a little bit better. Oh good. So now let’s work in this spot right here. And what we’re going to do is we’re going
to set the leading. And you can set it in both directions. So let me show you this trick. I’m going to come from the edge because
I have the straight cut already made and I’m going to come across that line. And then what I like to do is I like to stop
about a quarter of an inch back from where I want to make my cut. And then I’m going to come in here and cut
and use that applique piece, the green piece line visually there to make my snip. So it basically fits in there perfectly like
that, ok? Like I said I wanted to go around this big
petal at the end so I’d also like to go around this part at the end so I’m going
to come down here and show you a couple more tricks. And then we’ll go around in a circle just
so you can see how it works and then I’m going to show you on the machine because I’ve
got one already all made so you can see how the stitching works because it’s really,
really cool. So right now because I’m doing the circle
next I want to come up to that edge. My angle is going the wrong direction. I’ve gotten in the habit of cutting my scraps
away from the quilting in case I accidentally get a little heated around them. We don’t want them to stick, ok? And I didn’t find that ironing around the
other bias was dangerous to the original setting. But what I did find that if I’m trying to
bend it and curve it is I want to let it cool a little bit, cool a little bit. That way it’s not hot and I’m not pulling
it up while I’m working. And we’re going to come down here. And I found that this kind of work was kind
of a zen place for me. I really enjoyed the slow pace of putting
it together and the real nice fine tuning and fitting of all of this. Let me show you how a circle will work because
it seems like it might be tough but it really isn’t. I’m going to find a good place to stop. And I’m thinking this area right in here
is going to be good. And I’m going to leave that edge flat. So here we go. I’m going to come in here now. And again the trick is to let it cool, give
it a little more application, let it cool. And this part I’m going to really let it
cool a lot because I’m literally going to fold like a bias binding kind of fold this
around this way. Try to keep it out of the way of the camera
though for us. So right now maybe you can see, it’s got
this fold in it just like if we were doing mitered corners. And then I’m going to heat that and let
it set a second. And now I can go in and I can finish that
curve, just like that. Ok we’re going to do one more as we come
around this way. And I’m going to leave that in flat because
remember if I cut it straight, it’s on the bias and therefore it doesn’t have a tendency
to unravel. And sometimes we have to fold it and sometimes
we can curve it around depending. So this one you are going to have to curve
that around twice like that. And I did that to you on purpose just so you
would practice it. That way you wouldn’t be afraid when you
create your own designs and know you can do anything with this leading. Ok I overlapped by maybe a quarter of an inch
past my starting point, ok? And then there’s one last thing I need to
teach you how to do, right? But you’re saying Rob you forgot to either
get the leading under this spot here or under this spot because you were talking about getting
it on the top. So let’s go ahead and work on this spot
over here. And because it’s gotten bulky under that
corner, right? I am going to trim it to try to fit in there. Sometimes I’ll use my stiletto to really
get it up underneath just like that there. And I can hold it and begin to get it like
that. And then what I’ll do is I’m just going
to run this down now. And I can come right in on top of the other
piece of lead or the other piece of that quick bias. Now all of this is fusible so the more we
iron on it the more chances of the glue breaking down and releasing. So I don’t want you to overdo it. I want you to get it just like that. And when all of your leading, all of your
quick bias is in place it’s time to go over to the sewing machine. So I’m going to make sure that my iron is
off. I’m going to set this down, slide this out
of the way and show you the other half of the magic. So I’m using a Schmetz Twin needle. This is a 3.0 needle. That means there are two needles on it. They’re three millimeters apart. And that’s important because it fits real
nice as you go down that quick bias, the leading. It’s going to hold down on both sides. Give us a parallel stitching and it works
terrific. I happen to be using the embroidery style
needle that is a twin needle. They actually come in different tip styles. And boy the embroidery really punctures and
penetrates nice and fast. And I love it. So it’s a great needle for the job. You can start just about anywhere but still
thinking like we did with the leading it’s best to sew down the bottom layers before
we sew down the top layers. And so when doing something like that I’m
just going to go ahead and you can see we have the twin needle. And you know what maybe you don’t know much
about twin needles I mention why they’re there. But let’s talk a little bit more quickly
so that you understand exactly our format. Sorry, like I said, I’m so excited about
the leading I want to show you everything so quickly. We’re only working right now on the quilt
top. We do not have any batting, we do not have
any backing in place or anything because when you use two needles on a standard sewing machine
the bobbin is going to zig zag underneath. So I don’t want this look on the back of
the quilt. This is the pre-leading stitching I did on
one of the samples. And a couple of the other spots you’ll see. So that’s what it will look like on the
back of your project when the stitching is done. So we’re just handling the quilt top, right? And then I’m not sure if you can tell on
the sewing machine but I actually have two spools of thread because you need a spool
of thread for each eye of the needle. And most sewing machines will have a split
in their tension system so that when you come around you’re going to go thread on one
side of that split and on the other side of that split so that you’re independently
putting tension on those threads. It’s not as confusing as it sounds. And a lot of your owner’s manuals will specifically
show you how to thread for a twin needle set up. You do want to make sure your machine can
do a zig zag. You won’t be doing zig zag but this wouldn’t
work on a single hole plate, right? You want to make sure you’ve got a wide
opening because you’ve got two needles or you’ll have one needle in the single stroke. Really, really cool stuff. Now let’s get back to getting started here. So I’m constantly trying to maintain a lack
of twist in my threads. I don’t want them to get all bound up there. And I’m going to go ahead and start. Take a few stitches and back up just like
I was doing any regular topstitching. And now I’m just slowly and visually following
the leading. And I’m trying to position this line on
my presser foot down the center of the lead while I’m driving. And I’m looking. Let the machine do the work for you. And here you’re going to see in a second
I’m going to go over an area where there are two layers coming together. You probably can see that seam right about
now. And you’ll see those twin needles just go
right over the top of it. That’s another reason why I don’t like
having the batting and the backing in place because I don’t want all that thickness
either. When we approach the end I’m going to backstitch
because I’ll be going the other direction as I go over that leading. And then I’m going to hand move this machine
to the upmost position . And then when I go to trim my threads I want to not only trim
my top threads but I do want to reach under and trim my bobbin thread too so that bobbin
thread doesn’t get hung up on anything at all, ok? So now let’s do this really scary part. That little circle we just leaded. I’ll show you you can do that sewing too. But I am just for good measure going to start
on the little bit of a straight run. I’m going to trim the threads out of the
way. I’m not sure if you can see that but I had
some other threads from that line of stitching I’ve done. And here we go. A couple stitches forward, a couple of stitches
back to hold our threads in place. So as I approach a curve I am now starting
to add pressure in my hands. I’m literally, I don’t want to bend my
needles but I’m going to try to kind of manipulate the fabric slightly. And as I get to that really tight little corner
there may be a place where I literally need to hand crank one time and then take a pivot. And I’m trying my best not to over rotate
or get away from that stitch. I’m going to take another little stitch. I might even back up to catch it. And then here we go. So some of those really tight corners if you
can’t massage the fabric around it you can pivot. But as you practice you’ll find just by
going slow you can get most of it. And you can always go from one piece of leading
to another. You probably saw I could have jumped into
the other spot there. But I find that this works best for myself. And if you’re nervous about that you can
do this one stroke. Make sure you’ve got it where you want it
again. And then come around. Keep those thread tails out of your way. And then again I’m just going to backstitch
to secure. And we’ve got that. So all you have to do for the rest of the
project is just get all of that anchored down. All of the leading or that quick bias stitched
down with your twin needle. And now your quilt top is complete. From that point on treat it just like a regular
quilt. But follow me to the back wall where you see
the big finished project. There’s a couple of additional things I
did with my machine quilting. First of all this is an applique piece. And I can guarantee you there was a couple
of spots it tried to peek out from underneath my leading. So what I did is I took a matching color thread
and I closely stitched, free motion style right along the inside of all of the applique
pieces. But then to make it look intentional I also
went with about a quarter of an inch echo style quilting, still free motion style and
matching threads. I just went around and stitched all of the
squares or the back panes that would have been in my stained glass window that were
created from the patchwork I originally did. So that also came and held all of the layers
together now through the whole quilting process. So it’s a complete finished quilt and it
is awesome in my opinion. So I hope you really like the technique of
how to do the leading to make it look like an awesome stained glass. Make sure you try it and practice on our free
printable for you. If you love it make sure you get yourself
a copy of the pattern and we’ll see you next time right here at Man Sewing. Thanks for being a Man Sewing fan. It’s great to have you out there encouraging
me to create fantastic new content. If you’ve missed any of the videos we’ve
got links for you here and here. And when you’re checking those out make
sure you’re subscribed. We don’t want you to miss any of the action.

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