My local group met before our summer break and tried some caustic lino block etching. I have wanted to try this technique for a while but hadn’t gotten my nerve up to be playing with caustic substances (100% lye). Then I found some instructions that seemed straightforward on this blog. (I am just giving the basics here, click on the link for the full instructions if you want to try it.) We followed the instructions, didn’t have any chemical disasters and etched our blocks.
I decided to do some small samples to test out the process before the group meeting. I already had some small lino blocks cut, I think these are about 3″ x 4″. I transferred the design with pencil and tracing paper, then painted on the resist area using Golden GAC 200 medium and let that dry.
Here’s the set up with the blocks in place. You can’t use anything plastic or the lye will eat it.
Here’s the mixture of lye and wheat paste that is applied to the lino blocks. The areas that are not covered with the GAC 200 resist will be etched away. The trial run, I left the lye in place for about two hours. Then the goop is cleaned up and the lino blocks cleaned with a toothbrush in soap and water. Then I used a standard blue ink pad to print these as I didn’t want to get out my full print making ink setup.
Here’s the resulting prints. Interesting, they look so different than the usual hand cut lino blocks. Once the group was here, we repeated the process and etched four more blocks that were 4″ x 6″.
Here’s Louise’s block on the left and the print on the right. I love the organic feel these prints have.
This is Paula’s block and resulting print.
Poppies for Sally in her block and print.
And mine is based on tree rings. I’m thinking about this as a theme for my upcoming art and design class.
I thought this process was relatively easy compared to carving a block and you can really get some fine details and a very different look than carving. I will definitely be doing more etching of lino blocks. Next I will have to try and print with these on felt and see how they come out.
Recently, we had our in person exhibition in La Conner, Washington for the class I have been participating in for nearly three years. Many of you don’t live close enough to attend but we are also having an online Meet the Artists event that anyone can attend.
You are Invited to an Online Exhibition and
Discussion with the Artists of the
Bachelor Buttons Level 3
Advanced Experimental Stitch Class
Join Tutors Gail Harker and Penny Peters at a free online venue
Tuesday July 19– 10:30 am – 12:30 pm PDT
If you would like to attend this free event, you do need to sign up in advance. You can sign up here:
Join us online (no fee) to view our Level 3 Advance Stitch student’sexhibition of creative stitched artwork.It will truly have you dreaming of wonderful possibilities there are for people just like you.
Each of our participating artists will have a chance to talk about their experience working through this coursework, in spite of pandemic conditions! There will be time for questions and answers with the artists.
This piece is large, somewhere in the 30″ length and 18-20″ width. This is the layout and I have sprinkled the cut up orange nuno felt over the base layer of green wool. I made sure that the orange bits were roughed up so they would stick down better.
Here is the piece after felting. I have pinned some larger poppies in the foreground made out of painted silk paper. I was distracted by the yellow in the direct center in the sky. I decided to add more yellow so that the one area wouldn’t stick out as much.
I needle felted some yellow across the left portion of the lower sky and a few wisps up higher. I also added some lighter/paler silk paper to the poppies as I felt they were too dark in the first try. Then I added some green locks to the foreground for foliage.
And here it is after finishing and “matting” on green fabric. Now Remembrance is ready to go the framer. Now I just have to find a new gallery to carry my work, easier said than done.
Recently, a local woman asked me to create a river view in felt for her. I created several watercolor sketches she could choose from so that we agreed on what the landscape would look like and what to include. The client lives on the Swan River here in Montana and decided she wanted a view similar to what she has behind her home.
After hand carding and blending colors, I started on the layout. I used a commercial prefelt background and mostly short fiber merino batts. Somehow, I wasn’t thinking correctly on shrinkage as I went with the idea that it would shrink 30%. But I forgot that I don’t normally full my wool paintings very hard as they don’t really need intense fulling.
I continued working down the picture laying out the distant trees, the river with the trees and mountains reflections and then into the foreground grass and lupines. At the same time I was laying out the big piece, I also laid out a smaller sample. That way I could try different options with final details and stitching. This shows the birch trees from silk paper that I was trying to decide upon. Luckily, I had made the birch tree silk paper several months ago at one of our local group meetings.
Here’s the small sample that I made. I tried the left tree trunk in prefelt and then used free motion machine stitching for the dark areas. The right tree trunk used silk paper which was painted for the dark areas. I also tried out some FME for the branches and the lupines. I didn’t feel that the FME was what I wanted for this piece and opted for the silk paper birch trunks. I had also used some brown/tan wool for the distant shoreline which was way too much if included in the original wet felting process. I ended up cutting out a portion of this sample so that the brown wool was showing much less. I then stitched the two pieces of the sample back together to give the feel of what I wanted in the large piece. This sample really saved me from making some big mistakes!
Here is what I had after wet felting. I had to full this piece very hard as the request was for a certain size. I don’t normally worry about size on my wet felted landscapes and I ended up cutting the edges because I had not figured the shrinkage correctly.
Next I started adding in needle felt details. I added more definition to the distant tress, added a shoreline and added some lines in the water to simulate movement.
Then I stitched some grass in the foreground and stitched down the silk paper tree trunks.
I continued on with details. I added some paint to the tree trunks, I couched down branches and added leaf details with needle felting. I added hand stitching in front of the trunks and some leaf details for the lupine.
Here’s a close up so you can see a bit of the detail in the foreground.
Then I found I already had enough green fabric that worked to finish the piece. My client is getting it framed with barn wood, so this is how I delivered the piece. And the wonderful thing is that she loved it. I’m so happy it worked out the way that she wanted.
Recently we have acquired a new bookcase for our living room. It was actually made to fit in the space between the front wall and the door of the room. However it has a sort of lip around the top, the corner of which was banged by the glass of the open door if we were not careful.
Obviously we needed something to stop the door before it fully opened. After some thought I decided that it needed to be tall (so that we didn’t have to bend down too far to move it – the floor gets further away the older you get), but it needed to be thin too otherwise the door wouldn’t open far enough to let one of us safely into the room, especially with drinks in hand.
I wanted it to go with the colour of the carpet and I knew that I had somewhere in my stash a blue wool sweater that I had felted (on purpose) by putting it through the washing machine. I finally rooted it out and decided that I would use one of the sleeves, which had a pattern knitted into it.
Initially I thought that I would make a tall thin pyramid shape to fit in the gap between the side of the book case and the door. I sewed up the cuff of the sleeve and, to make sure it didn’t keep falling over, I begged a piece of flat lead sheet from my husband which I fitted into the bottom of the stuffed sleeve, and then sewed up what had been the shoulder to make the base.
Well it was ok, but I thought it needed a bit more interest and decided to turn the door stop into a cat.
Out came the felting needles and my scoured merino, which I use as core fibres. Then for the “top coat” I sorted through the blues in my stash – normally jealously guarded because I don’t have a lot now as I use them for sky in my pictures – and found some which almost matched the main blue of the sleeve. Obviously he wasn’t going to be a realistic cat so I tried to “cartoonise” his features, and rather than give him needle felted eyes as I might normally do I fished out some bright orange glass eyes from another stash which would go well with his dark blue face. I used some of the blue to make a wet felt sheet, out of which I cut his ears.
Having made his head, I attached it to the tall thin pyramid. It’s sewn as well as needled on, but even so I was concerned that if he was picked up by his head it might come off. I made a piece of blue cord and attached that as a loop behind his head so that he might be moved safely. And here we have him.
Not long after this, we acquired a new pinky-grey bathroom carpet and also new pink and grey towels to replace very tired old red ones. Until then we had been using the bathroom scales as a door stop – that door will slam very hard if the wind gets up when the window is open. So now I decided that we would need another door cat.
When we got the new carpet we did not change the basic colour scheme as we didn’t want the hassle of changing the suite (vintage Pampas) or the tiles. The colour scheme is essentially derived from the tiles, which are pink and grey with some crimson detailing. Originally we had a red-ish carpet and red and dark grey towels, but when I bought those towels I could not get a bath mat to match, so I made one by stitching two red hand towels back to back.
As the new carpet shed fibres quite a lot to begin with I thought of making the new door cat out of that fibre, but after a little more thought I realised that that would not be a good idea. We would keep falling over a camouflaged cat in the gloom of a late night visit!
So I thought I might find another felted sleeve, but couldn’t come up with something the right colour. Then, because we still had touches of red in the room, I decided that I would deconstruct the old red bath mat and use one of the pieces for the cat’s body. I had already given away the rest of the old towels to my friend for her dogs.
I felt that a “loaf cat” pose would be best, less likely to tip over if the wind caught the door, but I’d need too much lead sheet to make it a suitable weight. So I visited the garden and found a triangular(ish) shaped piece of rock, washed it and wrapped it in a couple of layers of non-woven cotton towels, secured with masking (painter’s) tape. I made myself a paper pattern of the body and cut out two body sides and a gusset for the base and chest. I cut out the pattern pieces from the towel and stitched it all up (first inserting the wrapped rock and stuffing it with polyester stuffing.
I had seen a cartoon of a smiling cat, which had enormous ears, which looked really cheeky. I thought I’d have a go at making one like that. I started with the core fibre again and got the head substantially how I’d like it and then thought about fibres for the coating.
I did not have exactly the right red, so had to blend a couple of pieces of pre-dyed merino tops which seemed to work ok. I did the same to make a pinky-grey blend for the chest, face and inside of the ears. I had decided that I would make the cat’s chest a similar colour to the carpet which meant that I had to make a wet felted sheet of the pinky-grey batt to cover the original red towelling. I cut the felt into the shape of the chest gusset, leaving enough for a pair of large ears.
I needled some of the red onto the back of the ears, and this resulted in a darker pink on the inside where the needles had pushed fibres right through, which was actually a benefit I think. I needled the blended red on to the back of the cat’s head and neck, and the pinky-grey onto the face, attached the ears and gave him a darker pink nose. I “shadowed” the smile and blinking eyes and I also gave him some laughter lines.
Then I stitched the head onto the neck, and the chest piece over his front, catching in the head at the neck. I covered the join with more needled fibres and, using another piece of towel, attached a handle to the back of his neck so that he could be moved without his head coming off.
My husband has already named him Yoda. We each confessed the other day that we both chat to him (in fact I pick him up and cuddle him too – he just fits into one arm)
What about the poor tatty sheep at the beginning of this post? Well, many years ago now, when I was a fairly new needle felter, I decided that I’d like to make myself a door stop for my bedroom door. I had acquired from our Guild a Jacob fleece, which, as it turned out, was ideal for needle felting. It certainly wasn’t a lot of good for wet felting – it wouldn’t, whatever I did to it. I suppose I must have had an old ram’s coarse and kempy fleece palmed off on me, when I was too naïve to know what I was getting – no wonder it was cheap!
Anyway, I got a body shaped pebble out of the garden, and washed it, wrapped it in some of the un- wetfelted fleece and started in with a No.36 felting needle (I only had 36 triangle and 38 star needles in those days- oh and a No.19 which was so thick it wouldn’t really go through anything I had with any ease). I bust quite a few needles before the pebble was covered. I added a neck to one end and then decided that my sheep would need eyes and a pair of horns. At that time I did not know that Jacob sheep often have 4 horns and wear them as if they had put them on in a hurry in the morning whilst still half asleep!
I made the horns and eyeballs using pipe cleaners and white Fimo polymer clay, baked and painted with acrylic paints. At that stage in my career I had not thought of using PVA glue on needled fleece to make horns. I needled a head shape around the horns and eyes, and then attached it to the neck. It did not occur to me to strengthen the neck with the ends of the pipe cleaners, I had cut these short and just put the horns on either end, and did the same with the eyes.
Well it all worked and for years he sat by my door, getting moved when necessary with my foot. Now he’s a sad old thing, but being sentimental I can’t bear to get rid of him, even though he’s lost a horn and is definitely the worse for wear. Perhaps I’ll give him a “makeover” sometime.
I have been working away on my nuno felt landscapes this winter. I always sell more work in the summertime, so it’s good to get ahead of the game and get work ready to be framed in the spring. So what to do with this background. I felt like the diagonal lines of color felt too “tie dyed” and needed to break them up. The colors reminded me of summer flowers so that’s where I decided to go with this background.
I played around with a variety of cotton fabric and cheesecloth and laid these out on the nuno background.
I added a small bud to the small, lower right hand flower.
I pinned the pieces in place and added interfacing to the back to provide support for the machine stitching. I could have fused them down but I find that I don’t like the way the fusing flattens the fabric and doesn’t allow “movement” of the fabric with stitching. This is a personal preference and it is easier to stitch if everything is fused in place but I prefer to pin or baste the pieces in place. I also was looking at possibly bringing some of the dark blue up into the area above the flowers. I tested this out by cutting some small bits of #5 perle cotton and laying it down to give the impression of blue flower stalks.
I free motion machine stitched all the green first. I used two different shades of green to give a little depth to the stems and leaves.
I used three different shades of thread in the centers of the flowers and two colors on the petals. I decided to bring a bit of the burnt orange down into the petals to give a look of a bit of shadows near the centers. Last, I added dark brown to the bottom of the centers which definitely helped define the centers.
Lastly, I added blue French knots with #5 perle cotton thread. I then stitched it down to the background “matte” fabric and laced it on to card. So it’s ready to frame. I decided to call this one “Summer Fireworks”. I have run out of nuno felted backgrounds so I guess that will be my next project.
This last week I joined a free to everyone stitch camp not knowing what we would be doing. The idea being that you get a short instructional video every day for 5 days and it will be a surprise and inspirational and push you to think outside the box. I knew there was cloth and pain and stitching so it seemed interesting.
I gathered some cloth and paint and things to make paint marks.
The idea was to make one painted piece leaving lots of open or negative space and one with only a little negative space. separate colours with a little of the other colour in each. I picked a white background and yellow and blue as my other colours as I could get that paint and had other pieces of cloth in those colours too. I was going to do turquoise but the store was out of it.
I like the one with more negative space the best.
Next was to cut them up and piece them back together. I cut them into 3×5 inch pieces. I was going t make one long piece and then do stitching on the whole thing. as I tried to piece them together I was not happy with them so I made two shorter strips. I didn’t really like them and wasn’t sure I would bother doing the stitching. Ruth suggested making a book with the pieces instead of a long strip and I think I like that better. I forgot to take a picture of them before I unpinned them.
I reassembled them as pairs to sew together. I will do some stitching on them and then attach them to a backing and make a book. Not sure if it will be a regular book or maybe an accordion book that could stand up on its own. I will see how it goes.
and these are some individual pieces I liked but couldn’t find matches for
I enjoyed the process and the camp Facebook group was inspirational. If I was going to do it again I wouldn’t use a white background. I would make fewer blocks of paint and more shapes. I would also mix the colours more and aim for something between a little and a lot of negative space. I know some of you joined the stitch camp. Did you enjoy it? how far along have you gotten?
I keep telling myself that I won’t “make” any Christmas gifts this year. It always takes more time than I expect but somehow, here I am again, making gifts. This post has very little fiber in it but there is some, I promise. As a maker, I know that I often venture into trying new things including new media outside of fiber art. I find that trying out a new media gives a new perspective to what I usually create.
My friend Deb is moving to Wisconsin and has been clearing out “stuff” in preparation for a spring move. She had boxes and boxes of driftwood that she had collected over the years and was going to take to the dump. Of course, I couldn’t let that happen so all the boxes of driftwood came home with me. And there I was looking at a source of free material with which to create gifts!
The first thought was to make trees out of the driftwood. All I needed to do was layout the right size pieces, drill holes in the center and thread a piece of heavy duty string through the holes. This is the layout for the first tree I created. You can see a couple of the boxes of the driftwood but that hardly gives you an idea of how much wood I had.
Here’s how the first tree turned out. I liked the look of it and so I decided to make more.
Here’s a few more that I got photos of. I ended up making nine trees total, five of which were mini trees. I still had tons more wood left.
My sister had requested a yard art armadillo, so that was next on my list. I looked through all the pieces and found what looked like parts of an armadillo. It’s amazing what the wood pieces start to look like in your mind’s eye once you start thinking of a variety of animals. So the photos above show the base that I glued and screwed together. I could have left him like that but I decided he needed some birch bark skin. I took a quick walk and found pieces of birch bark in the woods.
The birch bark was quite scrunched up and dirty. So I soaked it in water and then tied it around buckets to get it to be more circular. Sorry for the poor photo but hopefully, you get the idea.
I added the birch bark with a combination of glue and staples. It was pretty tricky and some cursing might have occurred.
Edgar was not sure about the new creature in my studio. Who is this? The only issue with this gift is that my sister lives thousands of miles from me and I didn’t want to try and ship this guy. I was sure that he would be “killed” by the shipping companies. Luckily, my sister is patient and we will take the armadillo to her on our next cross country trip.
And finally some fiber. I found this piece of driftwood that looked like a hat shape. I added a nose with glue and painted the wood. Then I glued down locks for the beard and pieces of felt for the brim and pompom on the hat. And there you have it, a Christmas gnome.
I had intended that the next Theatre Textiles post would be about the costumes which I had made for us once we had transferred to our new venue. However in the meantime I had started work on part of a costume for our next Pantomime – The Little Mermaid. No, not the Disney version, but even so the Director has decided that the Sea Witch will be part human/part octopus (to be named Iphelia – pronounced I-feel-ya, which gives an idea of how our pantos appeal to adults as well as children!) and I have been asked to dress her. Other than make the designs and collect fabrics and accessories matching the palette of purple and “sludge” green, there isn’t much I can do until the part is cast.
The piece of the costume that I have started on is the necklace which Iphelia will wear when she takes full human form for part of the panto. So I decided that I should keep detailed notes and photos of what I’m doing so that I could tell you about it. I have designed her “human” costume so that it will have as many references to octopuses (octopi?) as possible. I was inspired by a necklace which I saw on the BBC News website (can’t remember what it was about though) and I did a quick screen clip which I added to my “costume ideas” folder. The necklace is, I think, of a snake about to devour a cabochon stone. I had also spotted, some time ago, part of a piece which appeared to be a tentacle holding a sphere. Nothing like an octopus but the stone made me think of an octopus “head”.
I thought that the tentacles could issue from behind a large stone and form the links to the rest of the necklace. Since the necklace will be worn with a top which is asymmetrical and therefore has an off centre neckline, I wanted a necklace which was also asymmetrical. This would mean that it would have to be very light so that it wouldn’t keep slipping round while it’s being worn. I knew that I could make felt look like something other than wool – I had made the horns for my highland cow from just felt, plus lots of PVA glue and a bit of graphite from a soft pencil, so I didn’t see why I couldn’t make the necklace in a similar way.
I want the necklace to look like proper jewellery from a distance, that is a large cabochon for the head with bead eyes, with the tentacles smooth and shiny. Let’s see if I can do it.
I decided that the best way to make the tentacles bendable would be to use a wire armature and since I still have a quantity of craft pipe cleaners I went for them. I would use my core wools – scoured merino – and some coloured tops for the surface layer.
I carded some scoured merino and wrapped 8 half lengths of pipe cleaner, leaving an end uncovered on each. Then I made an octopus head shaped “stone” from the core wool and covered it in deep purple merino tops.
I wet felted the tentacles, smoothing them out as much as possible. While the tentacles were still wet I curled up 3 of them and fixed them with light wire to help them “remember” the curves when they had dried – at which point I lost the curled up ones. (I blame The Borrowers.) As a result I had to make three more tentacles and, since they were to be curled anyway and I needed them quickly, I just made wet felted cords which were curled up.
By the time these were dried the Borrowers had obviously decided that they didn’t want the original curled tentacles as they had reappeared. I tried various positions of body and tentacles to see how the necklace might look.
That was when I decided that the octopus body should not be purple but green, looking a bit like jade, and that the tentacles needed to be purple rather than the muddy green I had pulled out to use. So I stripped off the purple tops from the body and replaced it with more carded scoured merino. Then I wet felted it and gave it a good coating of PVA glue, and I also PVA’d the tentacles.
When they had dried I got out the metal nail file and the emery board. A good filing with these smoothed out all the ridges and bumps caused by the hairy surface under the glue. I gave them a couple of coats of Chinese Evergreen acrylic paint on the body, and of Mulberry Cream on the tentacles. These were “match pot” paints which I had acquired from a local DIY store. I find that decorating acrylic paint samples are very useful, since they have very good coverage and a fantastic range of colours. When I have a project like this, I visit and select from as many of the local(ish) stores as I can as they usually all carry a different range and therefore different colour choices.
When the paint had dried I decided that I would give the tentacles a coat of metallic purple paint (which I had acquired some time ago from a branch of The Range’s artists supplies). If it turned out the way I hoped it should look a bit like enamelling. I liked the result and, with the addition of a coat or two of clear nail varnish, it could be said to resemble enamel.
I thought that the “jade” body stone might look good with a little purple “marbling” so added a few fine lines of a lilac coloured acrylic match paint, rubbed it a bit with my thumb and then varnished that too. Then I filed, painted and varnished the curled tentacles. Since I needed to have only two tentacles reaching up to each side of Iphelia’s neck, the rest would need to be curled around elsewhere. I thought that they could be grasping smaller pieces of “jade”, so I painted some wooden beads green and varnished those too. Having shaped the tentacles as I thought might be best, I gave everything another varnish.
When the varnish had dried I fitted the, now green, beads in the curled tentacles and stitched them in where necessary. One of them actually fitted over the tip of the tentacle and didn’t need stitching. I gave those tentacles a further final varnish to fix the beads firmly. It then occurred to me that to make the tentacles look more like jewellery I could make use of some of the jewellery findings which I had accumulated. I found some cord tips and, having added them to the ends of the tentacles without beads, painted them with an iridescent nail varnish since their “silver” colour had deteriorated to dull grey.
As I was about to assemble the octopus I realised that it hadn’t got any eyes and, although it is possible to sew through the painted and varnished surface, I decided that I didn’t want to risk poking a needle through in the wrong place. I needed to glue something down, but I’ve learned not to trust glue on stage. It always lets go just at the wrong time. Belt and braces are best!. I remembered then that I had acquired some glitter glue some time ago and having turned it out (eventually)I decided to just use blobs of it as the eyes. If they came off I doubted it would be noticed. I also decided that a “setting” was needed for the “cabochon” so I added a little braid which was painted and varnished.
Next I had to find a piece of the right green ribbon which I would permanently attach to one side of the necklace, and with a hook on the other end which could latch round the opposite side. Since the necklace would need to be removed quickly during the quick change which the actor would have, I would need to find a fastening that wasn’t fiddly. I had some furrier’s hooks and eyes, which are large and wrapped with yarn. I used a hook which I painted with the Chinese Evergreen acrylic and stitched that to the other end of the ribbon. And we were done.
Here is the finished piece. Hopefully in due course you will see it worn by the actor in costume.
I have been continuing with work on my green nuno landscape and thought you might like to see how I “play” with the design. I put on layers of sheer fabric, take them off, try another piece of fabric and keep working with the various bits of fabric until I get a composition that is effective.
I’m using a variety of fabric including nylon organza, silk organza and cheesecloth.
I put pieces on, take a look and then rearrange or take pieces off. Or move them around, add more pieces and so on, always stepping back and looking in between steps. What works, what doesn’t? You can see how sheer the nylon organza is, there is a piece on the top left side sticking off the edge on the right photo.
Sometimes it is hard to tell what changes and it’s a slow process but fun to see what happens.
Once I was happy with the composition, then I pinned pieces in place. I really should have taken the time to baste the pieces in place but I was feeling lazy. On the right photo, I have started to stitch the sheer fabric in place at the top. I didn’t want the stitching to really show that much, so there are tiny stitches in similar color/value thread to hold the sheer fabric down.
These last two photos are of the piece hanging on the design wall. This is really helpful for me, to see it hanging and to be able to back away from the piece and view it from a distance. I had stitched in the three orange flowers in the distance but they were really bugging me. The flowers were too big for the distant hills. They were the size of trees. So unstitching occurred and I removed the far flowers. I haven’t decided whether to add them back into the middle ground or not. The photo on the right is the amount of stitching I have completed now. Once I get all the rest stitched down, I will decide if it needs anything else. I also have to think of a better name than Green Nuno Felt Landscape. Any suggestions?
I have started working/playing with my green nuno felt landscape. When I last posted about it, I showed you an idea that I got from layering a photo over the landscape in Photoshop. I liked the dreamy look of the landscape. Now how to create it in fabric and stitch?
I had stamped some silk organza with a flower design for another project. Perhaps it would work for the landscape? So I started playing with different fabric choices and placement.
I added more fabric and then covered with a pale yellow green nylon organza (you can see it on the right edge) to see if it gave it that “misty” feeling. It was OK but not exactly what I wanted.
I took away the overlay and added some white lace for the floral component. That is starting to look better. I think the background behind the upper flowers either needs a grey or blue overlay of sheer fabric to make it seem farther in the distance. I didn’t really see that until I looked at the photo.
Then I wanted to compare using silk paper (flower on the right) for the flowers instead of lace. I am leaning towards the lace.
That’s as far as I have gotten on the planning process. It involves many trials of putting fabric on and off. Taking photos of each trial. Figuring out how I can integrate the applique into the background. Deciding whether I am going to use machine or hand stitching. The process is definitely a journey!