Quilt Designs for Creating Appliqué Quilts

how to appliqué creating appliqué quilts How to Appliqué: Quilt Designs for Creating Appliqué Quilts

Flying Colors The Heartfelt Landscape 1 mAry Stoudt 3 rose Hughes

Defying the Line: Free-motion Décor-Bond It! 2 Appliqué Explained and Explored 4 Machine Appliqué ellen Anne Eddy mickey Depre

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The art of appliqué has long been a way for Got curves? If you love the curves of a quilters to add designs to their using fabric, fanciful landscape quilt but don’t know in addition to piecing. But while traditional how to begin appliquéing the pieces, Rose quilters hand-stitched Hughes’s tutorial The Heartfelt Landscape their fabric motifs in place, will show you the way. She uses her Fast- how to appliqué: contemporary quilters are Piece Appliqué™ method, which combines quilt designs more apt to fuse or machine- simple straight-stitch piecing methods with for creating stitch appliqué, opening machine appliqué to produce shapes that up new, faster, design are normally very difficult to piece. appliqué quilts possibilities. For an easy, breezy, mixed-media approach, Editorial director Pokey Bolton In this free eBook, How to Appliqué: Quilt try making Mary Stoudt’s reverse-appliqué editor Cate Coulacos Designs for Creating Appliqué Quilts, we flags. Each one is a mini fabric collage with Prato bring you four methods for expanding your quotes that peek through from beneath the appliqué design repertoire from four very layers. In Flying Colors, Mary shows how creative services talented artists. reverse appliqué adds textures and layers to Division Art Director Larissa Davis In Defining the Line, Ellen Anne Eddy your fiber art, and how fun it is, too! Photographers Larry Stein shows how to use the free-motion zigzag We hope you enjoy exploring the stitch to machine appliqué wild, curvy contemporary appliqué designs and methods Korday Studios shapes and then add shading and dimension presented here in How to Appliqué: Quilt Projects and information are for inspira- to those shapes. This type of appliqué Designs for Creating Appliqué Quilts, and tion and personal use only. Quilting Arts stitching gives you more flexibility with go on to use these skills to make many of Magazine is not responsible for any li- thread and fabric, too. your own appliqué art. ability arising from errors, omissions, or Mickey Depre explains how using a fusible Warmly, mistakes contained in this eBook, and interfacing like Décor-Bond helps to shape, readers should proceed cautiously, espe- support, and stabilize fabrics, making cially with respect to technical information. it perfect for machine appliqué use, in Interweave grants permission to pho- Décor-Bond It! Machine Appliqué. Her tocopy any patterns published in this step-by-step directions will help you make issue for personal use only. appliquéd wall quilts that hang beautifully, Pokey Bolton even with intricate, bias-cut shapes. Editorial Director

put more in your life fabric texture dXb\fm\ip. 28 FROM MISTAKE TO MASTERPIECE Quilting Arts Magazine® explores ideas, textiles, and techniques for related to embellished and contemporary art quilting. Inside, tips QUILTentering SHOWS you’ll find design inspiration, step-by-step directions, gorgeous from photography, and for developing your personal style, at photo motivation to all skill levels. ART p. 14 Thread sketching QUILT made easy p. 46 800.406.5283 (U.S. & Canada) quiltingarts.com 760.291.1519 (International)

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Adapted from flying Quilting Arts Magazine Fall 2005 colors by Mary Stoudt materials y approach to quilt edges become added texture. For • Cotton fabric, or cotton-compatible mmaking is shaped by my my larger quilts I know what fabric, in a variety of colors (Choose art background and experience end result I want before I cut the one that looks good from either side.) in mixed media. I feel most fabric, visualizing the colors and • Iron-on transfer paper or freezer comfortable when exploring shapes first, and then improvising paper techniques and pushing the limits as I work through the process. • Quotations of each medium. It was a natural The same technique of adding and • White or light tan, high-thread-count fabric for printing text fit when I started to layer cloth and subtracting bits of fabric that I use • Small embroidery scissors sew it in a deconstructive style. for the quilts can be adapted to • Computer with printer Instead of hiding and minimizing making small flags for inside or • Cord for hanging flag the construction, I make it part outside your home. • Glue stick of the design; hence raw seam • Rotary cutter and cutting mat • Sewing machine Optional • Acrylic paints, beads, trim

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These flags are made to be viewed and on the flag. 2. Turn the flag over and sew another enjoyed from either side, plus they stitching line outlining all of the are quick to make. As I experimented Creating the flag patches, thus creating a two- with various color combinations, I 1. Orient the flag pieces measuring color line of stitching affixing the 1 began to select those fabrics that best 8 ⁄2" vertically. Arrange the patches. allowed a glow of color when held up geometric shapes as you would 3. With sharp embroidery scissors, to the light. I like the flags best when a patch, and add the quotation gently poke through one of the hung as a grouping, but they can be printed on cloth in an area that layers of the patch and cut around hung individually, preferably at a pleases you. Sew all the patches 1 the inside of the stitches, ⁄8" from window. and quotations in place. stitching, to reveal the contrasting Preparation Tip: To repeat the deconstructed look, fabric underneath. leave long threads hanging as you pull 1. Using a computer, type quotations, 4. Steam iron the flags thoroughly the flag from the sewing machine so you poetry, or song lyrics with a and fold down the top edge to can thread tiny beads onto the ends. common theme.

2. Prepare freezer paper/transfer paper by ironing a piece of your light-colored, tightly-woven fabric onto the paper and cutting it to 1 exactly 8 ⁄2" × 11". Tip: If using freezer paper it is best to prepare it right before you are ready to use it.

3. Print your quotations onto the fabric and cut the individual quotations apart, trimming as needed.

4. Using a rotary cutter, cut 6–8 pieces (or as many as you want) to 1 a 8 ⁄2" × 11" size. After trimming, the finished flag will measure approximately 8" × 9".

5. Cut or tear a variety of contrasting colors of fabric into many differently proportioned geometric shapes, each measuring approximately 2"– 4".

6. Thread your machine with one color of thread on the top and a different color in the bobbin.

Tip: Check to be sure that the tension is not set too high. Too much tension, or a tiny stitch length, will cause puckering Close-up of flag front; note the window effect.

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form a hanging sleeve. Stitch a Front 3 double line about ⁄4" from the top. Backstitch at the edges to reinforce.

5. Using a rotary cutter, trim the sides 1 and bottom of the flag to a 8 ⁄2" × 9" size.

6. Working from both sides of the flag, continue to add patches to the flag. Save the pieces you have left over from trimming and add them to the flag. Re-iron your flag. Embellishing • Consider adding tiny beads, feathers, small metal charms— anything that would relate to your quotations. Or prepare your own embellishment by tearing 3 contrasting fabric into ⁄4" strips and sew it as a border. • Add tiny beads to the long threads 1 that you left hanging while Back, cut ⁄8" stitching. from stitching.

Tip: Trim the shapes after stitching both sides if you want to add more overlapping shapes.

Since the 1970s, Mary Stoudt has been stitching, weaving, making paper, and creating mixed media all to create diverse works some of which have been described by critics as being whimsical and spiritual. Learn more at marystoudt-artquilts.com.

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Adapted from Quilting Arts Magazine defining Winter 2002 the line free-motion appliqué explained & explored

by Ellen Anne Eddy

he variable width of the Tzigzag stitch makes it a natural when it comes to edging appliqués, no matter what technique you use to create them. While a straight stitch only catches a single strand, the zigzag crosses several strands and is therefore much more stable. You are probably familiar with using your zigzag presser foot and a satin stitch to create a solid, pudgy line that is perfect for straight lines, but it is difficult to use this method effectively with more organic, free- form shapes. Enter the free-motion zigzag stitch — perfect for edging those wild, curvy images that don’t follow the straight and narrow. It’s also perfect for shading, shadowing, and making your image come alive. Before you begin to free-motion zigzag on your appliqué, remember that appliqué

“Drawn to the Sun” Beetle and sapsucker wings are outlined and detailed with metallic threads.

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“Brave Little Bugs” Above: Inner parts of branches and bark are traced with the same colors used in the edging to add texture. The wings on the sapsuckers are stitched in layers of metallic thread, over lace and organza. The colors range from magenta, hot pink, orange, and red, to lavender and peach. They are detailed in lime green and turquoise metallic threads. The legs and bodies are done in tips polyester thread in shades of green. Below: The moon and mist are edged with monofilament nylon thread. hints begins with first sewing through two the appearance of your stitch. If • &Pick the appliqué technique that is or more layers of fabric and then you follow your design line, your appropriate to your design as well as cutting away to reveal the desired stitches will be at a 90° angle and your materials. Each technique has shape. You may choose to cut out the create a fat, solid line. If you alter its strengths and weaknesses; the center of your shape, or to cut around the angle to anywhere between 45° point is to experiment. the perimeter of your shape, in either and 60° you will create a slanted line • Blackboard chalk makes a great marking tool. It comes in a wide case revealing the fabric below. Or you that gives the appearance of a stem range of colors, is easily removed, may choose to begin with shapes that stitch, which tends to make the best- and is available everywhere. If it are fused or basted onto the surface of looking appliqué edging. Sewing in a hasn’t worn off by the time you’re the quilt top. However you create your horizontal line with a zigzag stitch will done, it can be removed with appliqué, once your design is either produce a narrow “jump” stitch that rubbing alcohol. stitched and trimmed or securely can be used to smooth the shape into • Use pelican or appliqué scissors anchored to the quilt surface, it’s ready a lovely, organic line suggesting leaves, when trimming appliqué work. The to be finished with your choice of vines, flowers, and branches. Similar funny-looking bill makes it possible to get extremely close to the edge edgings. to a calligraphy pen, keeping the angle of the stitch. The closer you trim, consistent while turning your piece The angle of the free-motion stitch the neater the finished appearance will result in variations in the width is very important, and will alter will be. that add dimension and texture.

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many shades; Thread by adding hues choices of a color your images will Your choice of threads can greatly appear three- enhance organic imagery. Translucent dimensional or transparent images — such as and realistic. water, air, mist, fire, bubbles, and Remember your shadows — are best served by light source — soft-edge appliqué and invisible the areas that the monofilament thread. Use smoke sunlight reaches color for mid-range to dark shades will be lighter and use clear for pastels and white. All than those it you will see is the edge of the fabric does not. Do itself. not be afraid Solid images such as branches, leaves, to use a range ground, and vines have hard edges of colors — that look best when emphasized. complementary Metallic, polyester, rayon, and cotton colors will shade embroidery threads can all be used to dramatically achieve a number of effects. Polyester while analogous and rayon threads have a soft sheen colors gently to them. While polyester will break blend into each less easily, rayon tends to blend better. other. Use your Metallic threads will create a crusty, color wheel if hard edge, while cotton will create a you’re unsure soft, satiny finish. what to pick, “Drawn to the Sun” and don’t forget to select colors that are much darker as well as much Sunflower: various shades of gold metallic Shading threads, as well as copper and teal, are used to lighter than your desired result. shade and shadow. Leaf and stem were created Once your appliqué is anchored to using cut-away applique techniques and then the background, you can use a free- Ellen Anne Eddy has spent most of zigzag stitched onto the background fabric. motion zigzag stitch to shade and her life teaching, writing or working shadow your work. Although many with fabric. She teaches for quilt guilds Magic, covering all kinds of machine images from nature may appear as and conferences across the country a embroidery techniques for quilters. Learn a solid color, they are comprised of series of fiber art courses called Thread more about her at ellenanneeddy.com.

adding dimension Similar to a calligraphy pen, keeping the angle of your zigzag stitch consistent while turning your piece will result in variations in the width that add dimension and texture.

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the heartfelt

Adapted from Quilting Arts Magazine landscape June/July 2007

by Rose Hughes

“Pathways 1”, 2006 • 29" × 29"

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1 1 “Through the Woods I”, 2007 • 17 ⁄2" × 17 ⁄2"

materials

• Photos to work from • Black-and-white copies of each of the photos • Tracing paper • Pencil, eraser, and permanent black marker • Freezer paper • Masking tape • Scissors—paper, fabric, and appliqué • Fabric—cotton, silk (with lightweight iron-on interfacing applied), or any specialty fabrics may be used, but all should be able to be ironed. • Iron and ironing board • Sewing machine for straight and zigzag stitching, and free-motion quilting • Thread—cotton and decorative • Basic quilting and sewing supplies • Backing fabric ave you ever looked at a At first view, the landscapes of my • Batting: lightweight, cotton or cotton mix hbeautiful scene or imagined heart beckon me with their vast expanses of color; then, as I look • Safety pins a fanciful design, and thought to closer, the details begin to glimmer • Decorative yarns—wools, cottons, yourself, “There’s no way I could and draw me in. To capture this or blends ever sew all those curves!”? interplay between far and near, Optional I started experimenting with curves I began to think of the landscape in • Embellishments - Beads, buttons, or about 10 years ago, the first time layers. The simplified shapes that perle cottons I saw the sinuous lines of the hills make up the quilt top use fabrics in • Hand-sewing supplies along California’s Big Sur coast. They strong colors that are meant to catch called my name, and I soon made the your eye. Colorful yarns are then couched and combined with machine move from east coast to west. Now appliqué to produce shapes that are quilting to give another dimension to the coastline’s flowing curves and the normally very difficult to piece. color and texture of the inland hills the design and lay the groundwork for Now traveling and picture taking and trees have become a treasured the finer details of the hand stitching have taken on new meaning and part of my life. I enjoy hiking and and embellishments. opened the door to creating both the photography, so it was natural that Curves and circles became easy to larger landscapes I travel through and I began to use my photographs and feature in my quilts by using my the inner landscapes I create in my my memories to create my quilts, and Fast-Piece Appliqué™ method, heart. Today most of my designs use after several years I found a way to which combines simple straight- photographs as a starting point, and sew those curves. stitch piecing methods with machine I consider my photographs as studies

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for future quilts. Digital cameras make taking pictures easy, so I may photograph long views that capture the shapes of the clouds or rolling expanses of hills. Others may trigger a memory, or display a special textural or linear element. Photographs are only jumping off points for the design process, but each quilt ends up being a combination of elements from the photographs and my feelings about the landscape. This helps my landscapes go beyond reality and convey my impressions. I believe everyone’s landscapes should be expressions of their own vision.

Directions is not the perfect composition yet. then go over the pencil lines using This is just the starting point. a permanent marker. With all the Creating shapes copied onto the tracing 4. Overlay another sheet of tracing the pattern paper, number each shape, paper on the first. Using the first I start with a general idea of a (e.g. 1,2,3…26). (See Figure 1.) drawing as a guide, continue landscape that I want to create, and to create your composition. Be 2. Cut a piece of freezer paper pull out new photographs or older selective, enlarge, simplify, add or to the same dimensions as the images from my collection to use. eliminate various shapes. Continue tracing-paper drawing. Place the 1. On the copy, using the permanent using this drawing or add tracing- freezer paper over the tracing- marker, select and draw around paper overlays until you have paper pattern. Using a permanent each of the basic shapes that make the composition that you like. marker, trace the lines and up the scene. Simplify complex Remember, you may refer back numbers onto the freezer paper. shapes; leave details out. These to the original photo to help add Now, add hatch marks (small lines make wonderful additions later on details, break up larger shapes, or when you quilt or embellish the provide depth. piece. Cutting 2. Next, on one piece of tracing the pattern paper, mark an outline of the basic format of your desired quilt. Copy Once you have the design you want to this onto several additional sheets use you can move on to preparing and of tracing paper. sewing the top. 1. Cut a piece of tracing paper to the 3. Overlay one piece of tracing paper on top of the photocopy. Using a size of your finished quilt. Now, pencil, select and trace some of enlarge your composition and the various shapes you marked on draw it full size onto the tracing the photocopy. Don’t worry if this paper with pencil. Make any desired corrections or changes and Figure 1

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piece (shiny-side down) to the right side of the fabric. Freezer paper is first used to create the pattern and later to hold the pieces of the pattern in place to allow a high level of accuracy while we sew everything together. This also holds the fabric grain solid throughout the sewing process, eliminating the need for pins or easing a curve.

6. With the pattern piece ironed in Figure 2 place, cut each pattern piece from the fabric, leaving 1⁄ " allowance all drawn across the pattern lines). 2 around. As you cut them, lay the (See Figure 2.) Figure 3 pattern pieces back down onto the The freezer-paper drawing is now tracing-paper drawing. the freezer paper back into place. the pattern that will be used for 7. Prepare for sewing by selecting 2 (See Figure 4.) sewing, and the tracing-paper adjacent pattern pieces, and place drawing is the layout guide. 10. Continue to sew the pattern pieces them side by side on the ironing together in sections; then sew the 3. Select the fabric you would like to board. Butt and align the lines of sections together until complete. use for each pattern piece. Use the the pattern pieces together using tracing-paper drawing as a guide the hatch marks on the pattern to audition your fabrics. Lay them pieces. Once lined up, lift up the out, folded up to a reasonably edge of one of the freezer-paper accurate size, and swap them out pattern pieces and, leaving only the until you’re happy. It can get rather width of a sewing-machine needle confusing to keep track of all your between the edges, iron the freezer fabric selections, so make squares paper into place. of masking tape with numbers 8. With your machine set up for corresponding to the pattern straight stitching, with a neutral pieces. Make your fabric choices thread in the top and bobbin, sew and place a masking-tape number along the line left between the onto the selected fabric. pattern pieces. (See Figure 3.) 4. With fabrics selected, it is now 9. After sewing the 2 pieces together, time to cut apart the freezer- lift up the edge of the pattern piece paper pattern by cutting directly enough to trim back the excess on the lines. Then match up the fabric on the right side of the quilt. numbered pattern piece to the Use appliqué scissors and trim as chosen fabric. close to the sewing line as possible. 5. Take the whole stack of fabrics and Do not trim back any of the seams pattern pieces to the ironing board on the back. Once trimmed, iron Figure 4 and iron the freezer-paper pattern

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Once your quilt top is sewn together, added by sewing traditional and landscapes appear to be magically the first layer of your landscape is now non-traditional embroidery stitches; stitched together. She loves sharing her done. Carefully remove all the freezer bangles, found objects, personal easy construction and embellishment paper and layer the top, batting, and trinkets, and treasures, and even methods, found in her books, backing fabric, and prepare as usual paper—no matter what your choices Dream Landscapes and Exploring for quilting. Keep the pieces together are, you will have had fun and created Embellishments, online, in many using safety pins. your own heartfelt landscape. magazines, and on TV. Visit rosehughes. com for more information. At this point, the sewing lines of Rose Hughes is an internationally the quilt top are couched over with known quilt artist and teacher whose decorative yarns. The couching performs double duty by finishing raw edges while at the same time quilting the basic contours of the design. So, as you select your yarns, choose fun colors and ones that will cover the stitching lines on the quilt top. Choose top thread that gives extra sparkle, and remember that whatever thread is in your bobbin will appear on the back of your quilt. (See Figure 5.) Finishing The last layer is where you make your landscape shine by adding embellishments. Embellishments can be a delightfully creative way to add dimension, texture, whimsy, and sparkle to your quilt story. Almost anything goes—beads and buttons added one at a time or on strings by hand or machine; silk ribbon, perle cottons, or decorative threads

Figure 5 “Convergence”, 2005 • 23" × 47"

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Adapted from Quilting Arts Magazine Fall 2003 décor-bond it! Machine Appliqué by Mickey Depre

began experimenting with Pellon® Décor-Bond for machine • With its added weight and Iappliqué three years ago and now use it exclusively in all my art dimension, quilts hang nicely yet are still soft and supple. quilts. Created to add extra crispness to upholstery fabrics for home decorating purposes, Décor-Bond is a fusible interfacing that shapes, • You can still easily move your appliqué pieces when designing. supports, and stabilizes areas, making it perfect for appliqué and wall quilts. Here are just a few reasons why I love using it for my art • It’s easy to free-hand or trace appliqué pieces on the felt side of quilts and machine appliqué: Décor-Bond.

“Breathing Room” by Mickey Depre • 45.5" × 37.5" • An artistic exercise utilized to work through a three-week long head cold. As I was working on this piece, I found my ability to breathe mentally and physically; thus the name.

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• Appliqués hold their shape when • Décor-Bond naturally grabs the handled; there’s no stretching or cotton batting, thus reducing materials warping with bias cuts. wrinkles in the quilt top when quilting. (Thinner batting works • Pellon® Décor-Bond • No stabilizer for machine appliqué nicely because there is already is necessary. • Iron and ironing surface dimension with the Décor-Bond). • Number two pencil • Sewing machine • Schmetz universal needle #12 Adhere Décor-Bond • Thread for appliqué edging (cotton or rayon) to the Background Fabric • Lingerie or bobbin thread • Hand needle (crewel sharps work for Your Project well) Side-cutting appliqué scissors (often 1. Place Décor-Bond on your ironing side of your background fabric. • called pelican bill scissors) surface with the shiny glue side up. Background fabric should extend • Seam ripper (sharp) past the Décor-Bond edge by an 2. Place background fabric on top of inch on all sides. This is to keep • Assorted cotton fabrics for Décor-Bond with the right side up. background and appliqué your iron from coming into contact This will put the glue side of the with the glue side of the Décor- Décor-Bond towards the wrong Bond. CAUTION: Holding the iron in one 3. With your iron on the cotton area will result in the shrinkage of the After time and extensive handling, setting, firmly iron the background soft, felt-like side of the Décor-Bond Décor-Bond can naturally “let go” of fabric to the Décor-Bond. You the fabric it is bonded to. You may and create ripples in your fabric. If you should move across the fabric in have to re-iron areas of your quilt top have to iron Décor-Bond onto fabric with a slow, steady motion; repeat this and appliqués to re-bond them from the felt side towards the iron, you must ironing motion over the entire time to time. use a pressing cloth. Placing a hot iron surface for a clean, even bonding.

Pin appliqué pieces with Decor Bond Sew applique to background using satin stitch Gently poke a hole through the background backing to background. edging. Make sure width of stitch covers only. You will need to do this using your figers to applique edge adequately. feel that you are not going through both layers.

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directly onto the felt side of Décor-Bond 7. Before you begin machine will result in shrinkage. stitching, place an appliqué foot on your sewing machine, and use 4. Now you are ready to add your a new needle for the start of every appliqué pieces. First, you need to project. Stitching through Décor- cut out the Décor-Bond for your Bond tends to dull needles more appliqué fabrics. You can either quickly. For threads, cotton or free-hand cut appliqué pieces or rayon create wonderful appliqué you can draw them in reverse on edging. I prefer 30-weight thread the backside of the Décor-Bond for a thicker covering. Lingerie or (the felt-like side). bobbin thread should be used in I have found that a number two the bobbin to reduce bulk on the pencil is the best drawing tool backside of your appliqué. because markers and pens tend 8. Set your sewing machine to the to smear. When cutting out the satin stitch. The stitch length appliqué figure from the Décor- should generously cover the edge, Bond, leave a generous amount A completed appliqué using Décor-Bond. approximately 3⁄ ". Your satin around the image edge. 8 stitch should lay flat with no gaps from behind your appliqué image to between stitches. control the layers for quilting. Take 9. a sharp seam ripper and gently poke With use, you might find a build-up Arrange your appliqué image on a hole through the background/ of glue on your iron even with very your background to your liking. As cautious use of Décor-Bond. Make in traditional machine appliqué, Décor-Bond layer. Gently rip a hole sure to clean your iron regularly begin your edging stitch (satin of approximately 1" in length. Slide by following the manufacturer’s stitch) in the least conspicuous your side-cutting appliqué scissors instructions. area of your appliqué. Take one into the cut hole and cut the 1 stitch and bring your bobbin opening to approximately ⁄4" from thread up to the front of the the appliqué edge seam. Continue 5. Following steps 1–3, adhere this appliqué to control it. Stabilizer cutting away the background/ Décor-Bond piece to the fabric you is not needed — the two layers Décor-Bond from behind the have selected for this image. For of Décor-Bond (background and appliqué, using the satin stitch easier use, you may wish to precut appliqué image) eliminate the need edging line as a guide. Remember to a piece of fabric to the approximate 1 for additional stabilization. leave a ⁄4" allowance from cut edge size of your Décor-Bond appliqué to sewn edge. image. 10. Upon completion of satin stitching around the entire edge of appliqué, 12. Continue applying layers of 6. Now that your appliqué fabric is use your hand needle to bring the appliqué as you wish, remembering firmly adhered to the Décor-Bond, three thread ends to the back of to cut away the backing as you cut your image on the drawn line. your background. Tie and knot work to avoid layering. If you are using a light fabric you these ends to each other to prevent may wish to cut just inside the Mickey Depre’s work mixes traditional stitches from coming undone, and drawn line to insure your pencil quilting techniques with bold, innovative cut off excess ends of threads. markings don’t show through. machine appliqué and threadwork. Once this step is completed, your 11. From the backside of your project Fabric choices include her own hand- appliqué image should now have a you will see the outline of your dyed cotton with commercial cottons crisp clean-cut edge and is ready to sewn edging. You will want to for a special spark of color and depth. be appliquéd to your base fabric. remove the background/Décor-Bond Pieces are heavily machine quilted. Learn more at mdquilts.com.