>> HI, I'M JAMES STEINBACH, A
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Two of my favorite hobbies are sewing and gardening.
Almost 20 years ago,
I was introduced to a quilting technique
that combined both avocations.
Please welcome Natalie Sewell, a good friend
and almost the nationally known landscape quilting artist.
Natalie, we've done programs before on landscape quilting,
but this time,
we're really going down to the very basics,
the simplest of all.
Right. Absolutely.
We're just doing the beginning elements
of landscape quilting.
And a great place to start
is with a close-up garden scene.
My design "Summer Flowers"
is what we'll use as an example
on how to choose fabric,
messy and fussy cut,
as well as design with raw-edge appliqué.
"Beginning Landscape Quilting."
That's what's next on Sewing with Nancy.
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When you're beginning your landscape quilting journey,
choosing fabrics or knowing how to choose fabrics
sometimes is-- can be a stumbling block.
We'd like to share with you how we approach that attempt
but also how we work with a pattern
or an inspirational photo.
That's right, Nancy.
The photo seemed to me just ideal
for teaching beginning landscape quilting.
It had no color, however.
And the background was just mottled.
Just mottled, yes.
So, when you look at
this finished quilt with the background fabric,
it's a hand-dyed fabric. Right.
If you missed our first episode, you can go to
NancyZieman.com and watch it online
to see a little bit more information
on fabrics we use, but you can buy it hand-dyed,
or commercial batiks would work, too,
just so they're mottled and they have some...
Give a shape of--
A variety of shades, yeah.
Shades and a little bit of color.
So, we have our fabric placed on our background.
But then as far as choosing leaf fabrics
or foliage fabrics, ground cover,
you have an assortment there, Natalie.
I do, and these are very easy to find
in fabric stores.
And the more the merrier,
because all greens seem to go together in nature.
So, we've got a collection here
that we've cut out. Messy cutting.
And messy cutting--
if you haven't tried messy cutting before,
watch the pro cut fabric poorly.
Yes, you have to be really messy with it.
That's why we call it "messy cutting."
And so, what I'm gonna do is just cut very badly and try
not to look where I'm going.
And then you get something that looks like a shrub.
And this shape doesn't have
any lollipop or ice-cream cone shapes.
Right.
You want it irregular.
Yeah, there's nothing really round in foliage.
And Natalie has pre-cut some of the fabrics, as you can see,
that we have scattered here.
And we also have some pre-cut fabrics for the flowers.
I wanted to show you the floral fabrics that we have.
You don't need a lot of yardage for this.
You just need a small amount just to messy-cut out
some sections.
And in this floral print,
we have some really big ones,
but then the little itty-bitty areas are what we used
for some ground cover, just a hint of fabric.
As you get used to looking at fabrics,
you get used to looking for little tiny details like that.
Now, glue stick is the key you're going to use
to put on the back of your fabric.
Not a paper glue stick-- Not a fabric glue stick.
Paper.
And roughly add a little glue stick
just to temporarily hold it in place.
It will not gum up your needle. Yes.
Trust me.
And Natalie's going to glue one piece and put it up,
and then we're going to create the scene.
And go ahead, Natalie. Let me show you
how we glue.
It's just simply opening the tube
and sticking the glue.
This is just, as Nancy said,
just a temporary measure.
And that's enough to start your scene.
And now, we're going together.
We're going to build
this foliage, this ground cover.
And I'm gonna take some of these pieces.
You really can't go wrong
with putting the fabric--
or cutting the fabric,
because if it looks poorly,
it's probably what you want. [laughs]
Yeah.
And you can see that
messing it up
by putting foliage--
trying not to make it a nice arrangement
but a very irregular... pattern.
If you just had one--
one fabric, it would be flat.
It wouldn't have dimension.
So, that's why we try to choose fabrics that have
kind of the same scale,
the same size leaves so that
they look proportionate for the design.
And share with some friends.
They may have some fabrics
in their fabric stash
that look appropriate.
And I'm just going to...
The other wonderful thing about this
is how little fabric you really need
for landscape quilting.
Now, some of our flowers
are just going to be tucked in here,
because in many flower gardens, you don't--
you have more foliage than you have flowers.
Yes.
And these are our only fussy cut leaves here,
and...
these were cut out of this fabric,
and they will go...
here.
So, this is these tall flowers.
And this is not botanically correct.
We don't really know what these are,
but they look right, don't they, Natalie?
They look right to me.
And we don't worry about accuracy
in botanical terms.
Now, this would all be glued down,
but you can start to see
how the depth of the fabric,
by layering it,
creates interesting designs
and a great beginner project.
Now, Natalie, you've created another scene
called "The Meadow."
The meadow, this time, has a blue background.
Right, more like sky.
And the flowers are big.
The whole scale is quite different.
Notice, though, that the foliage
is the same foliage that we're using here
but using it in a big form.
A larger scale.
The poppies are kind of fun to work with.
And then I made a scene called
"Irises in My Garden."
Again, a little impressionistic looking,
lots of foliage.
This is one of my first landscape quilts, and it--
I mean, I'd do it differently now,
but it's kind of a great beginner project.
It's a great beginning quilt.
So, as you're working on this at home,
after you've decided on your fabric,
you've positioned it down,
then you just glue it into place.
Glue it down.
We'll show you in our third program of this series
how to baste
and how to do the quilting
and putting it together.
But a garden scene:
a great place for beginner landscape quilters
to get their feet wet.
I'm certain your eye focuses on the dancing maple
in Natalie's quilt by the same name.
The lively and spirited tree is the star of the design.
Yet without the interesting ground cover,
the depth and dimension in the quilt
would not be as impactful.
If your inspiration photo features ground cover,
we'd like to share with you
the tricks of choosing fabric
and designing that all-important landscape quilt element.
Well, here's the quilt
in its glory and fun part of it.
And, Natalie, you had an inspiration for this quilt.
Yes, I did.
It was a tree near my house
in full color in the early fall--
a Japanese maple.
And it was photographed just with a cement driveway.
Mm-hmm.
So, we took liberties,
and I just created a new dimension.
We don't let the photo be the boss of us.
It's the inspiration, as we referenced that.
In the first program of the series, we talked about trees.
So, you can reference that again, to watch that again
how that's working out.
But beginner quilters often have a difficult time
choosing fabrics for the ground cover.
Right, ground cover is very intimidating
when you're first beginning.
So, I like to remind quilters
that you can't really use
too many pieces of ground cover.
The important thing, however, is scale.
And you need to make sure that the scale--
you don't want huge leaves.
You want the leaves to be comparable
in ground cover.
And so, we've just given you
an example of four fabrics that really work well
as ground cover.
Now, as we kind of move up the quilt,
we'll talk about trees a little bit later,
but look at the scale
of the leaves in the trees.
I mean, obviously, distant ground cover,
you see the leaves.
It's scale that's important.
And you may need a lot of fabrics.
We give you permission to buy a lot of fabrics,
but you don't need a lot of yardage of each.
No, really 1/2 yard of each fabric
would be more than enough for many quilts.
So, we have the trees glued to the background fabric.
And we'd like to share with you
after messy-cutting the edges-- now, you'd glue each piece.
And we're just going to save some time,
but to give the depth, we're going to put this--
Natalie, I hope these stick up here long enough for us to show.
Yes, they will.
You can see how we've kind of... hiding some of those fabrics.
There we go.
And if you just use one fabric, it's going to be flat.
It's two-dimensional, but Natalie's achieving great depth
by the fussy cutting, and we're dropping leaves
on the floor, our ground cover.
[both laughing]
Here, we'll--but let's look at-- yeah, great--
how that does some shaping.
And the different colors give the shadow effect.
Whoop!
That one truly needs to be glued down.
Let's try a pin for now.
And just notice how
it's shaped.
But in the quilt, we have the red leaves,
which we'll talk about in a minute,
but in that ground cover, Natalie,
you have some highlights.
I do.
I thought, "Well, if it's a red maple,
it's going to be losing a few leaves."
Sure.
So, what I did
was simply take a red oil pastel
and make little red marks.
It's also nice to have the color red appear again
in the ground cover.
Now, I think we should talk about permanent markers--
you buy at office or school supply store, oil pastels
where you buy at an art store.
They work great for landscape quilting. They do!
You don't need to go-- No.
You don't need to have artist materials.
Office supply stores work beautifully.
We-- "we" You added, Natalie,
this great-looking sapling
or landscape-- or Japanese maple, excuse me.
And this is the fabric you chose Right
for the leaves.
We've talked a lot about messy cutting,
but this had some fussy cutting in it.
Right.
And by fussy cutting, we mean following along the lines
of the little patterns inside.
You know, instead of going wiggly and messy,
we're really following the lines.
And, uh, it's very tedious,
but if you're a quilter, tedium is good.
But then to get depth, Natalie cut the leaves down
to make the smaller scale
so that everything wasn't the same size.
And these look like they're in the distance,
which is the effect I wanted.
So, we're just giving you kind of tidbits, design...
design tricks
when working with landscape quilting.
In the third program, we'll show you how to
stitch these down and to do the quilting,
but this is how you achieve some of the looks
or pull from the inspiration that you may start with.
Now, here's an inspirational photo
of the scene Natalie calls "Dogwood."
This is the starting point, and then this is your quilt.
Lovely, Natalie. Oh, thank you, Nancy.
Again, look at the little white blossoms.
Again, very tedious, but a lot of fun.
And the ground cover, a variety of fabrics
so that the trees are showcased.
You don't really concentrate on it,
but it makes the scene look so impressive. Right, right.
I used this inspirational photo to create my design.
The trees are at a normal color.
It's kind of had a lot of moss on it.
So, here's my interpretation
of that photograph.
I call it "If Trees Were Teal."
Crazy colorations, but they look somewhat realistic.
Oh, they look wonderful.
They look wonderful.
And, often, trees look that way.
And the ground cover, again,
helps accentuate and finish the design.
I'm certain by now you realize
you're learning to use fabric as paint,
and scissors as your paintbrush
to capture nature in a wall hanging.
Natalie's "Autumn Birches"-- the design combines
many techniques we've already explained
with the exception of the background tree foliage.
Next, learn the importance of the scale of fabric prints
and also the importance of really bad messy cutting
to give the impression of distant trees.
We're having many constant themes
through this program.
And in this "Autumn Birch" scene,
you have foreground ground cover,
which we already have in our design
that you'll see.
But then, also, we have worked with trees
and this background foliage.
It is critical that
that's a technique that you learn how to create.
And here's your fabric, Natalie.
Yeah, these are some of the foliage
fabrics that we've used.
There's so many available.
And so, we just
brought three here, but these--
if they're cut messy,
they really work very well as distant foliage.
And we talked about the importance of messy cutting.
You know, the edges are really ragged.
And you just wove your scissors in and out.
Let me do one for you. Yeah, please.
And often, when I do this, sometimes I end up
re-cutting just to make sure the edges are jagged enough.
See how messy I'm making it?
In fact, sometimes I'm actually even
ripping the fabric a little bit.
Now, we will be tacking this fabric down.
You'll learn this in the third program.
We'll be doing some sewing details,
but this is all on design today.
Right.
And we're going to put the foliage in before the trees
in this case, because
I've deliberately made the trees in the foreground.
So, we're going to just place the foliage.
This is easy, easy work.
And you would, of course, glue this.
We're spending-- or saving
a little time by just
letting it be tacky right now,
tacked to the background fabric.
Foliage in the distance comes down further.
We can get it up a little bit higher.
And with that interesting background,
that dark background now--
we didn't show this, Natalie,
but I think we should take a little pause right now
to show the inspiration fabric that we used--
or the inspiration photo.
Because you can kind of see what we just created now
is in the scene.
In the distance, there's very little leaves
or they're mottled, or you can't see--
Yeah, they're very small. Right.
And that's what we've created here.
So, you're using that photo just as a guideline.
Right.
And we often jump off and leave the photo in the dust
when we are making a quilt.
Natalie has taken down the tree trunks
that we've pre-cut.
This is the fabric
that we used, the two pieces--
the dark fabric for the very distant trees,
and then there are kind of mid-range trees,
and then, the closest trees are made from the birch fabric,
the wrong side and what normally would be the right side.
Yeah, this is the right side, and this is
the other right side.
Yeah, so, here's...
again, poorly cut trees, but they look more realistic
than if you'd used a ruler.
Yeah, we wouldn't want to use a rotary cutter.
So, let's-- First, we'll do the shaping
and show you how we like to use some trees.
Now, again, we'd glue these down.
I was hesitant as a beginner landscape quilter to glue.
It's the only way to go about it.
But for time's sake, we're not gluing.
Let me tell you that Nancy
pinned every single piece. [Nancy laughs]
The pins all stuck together.
It didn't work.
It didn't work at all.
On the bottom of the tree, to make it look more
realistic, you can either tuck it behind
some messy-cut foliage, as I have here.
Or, if you'd like, you can cut kind of a jagged...
Bottom.
Yeah, so that it looks a little bit more realistic.
Now I'm going to put up some birch trees...
And put... some--
this is a little long, but we've cut it back.
Sure, sure.
So, you can see how, you know, the trees are
starting to get some foliage back there.
You'd need more.
You'd need more foliage,
but picking up some hints
from our first program, we're going to do a little shading.
And with a dark marker
or silver marker, you can add some shading.
We detailed that a lot in that program.
But you get the idea of, "Wow, just with a little..."
A very little goes a long way in shading.
These are kind of happy trees. [both laugh]
Happy little trees. Yes, they are!
And even on the light tree,
we want to show that it--
it's got shading because look at how the dimension changes
when you darken one edge.
Now,as we--
Oh, it's just amazing what shape that gives.
And we look at Natalie's "Autumn Birches"
and you can see the great shading.
We drew in--or Natalie drew in--
some distant, distant branches and it's just charming.
Now, let's take a look
at two other inspirations.
First of all, we have "September"
and here is the inspiration photo and then your quilt,
your grand quilt.
Thank you.
Again, you know, this is, for quilters--
Cutting out each little gold leaf was quite a challenge,
but I found it fun and you will, too.
I created the scene called "Horicon Marsh,"
modeled after a marsh near where I live.
And the distant trees have many of the same fabrics
I used in the foreground.
But those distant trees give depth and shape.
So, during the second program, we have worked with a flower bed
worked with ground cover, also tree foliage,
using many of the same principles--
gluing the fabric down.
VOLUNTEER HERE AT WISCONSIN
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