Reverse Applique

STITCHES THAT I USE

From Top to Bottom

• Row 1: Straight Stitch 
• Row 2: Three-Step Zig Zag Stitch 
• Row 3: Zig Zag Stitch 
• Row 4: Satin Stitch 
• Row 5: Spots
  

A wise owl takes care to wear eye protection while machine stitching. Fragments from a broken needle can fly in any direction, including into the eye.

TENSION SWATCH 
I find it useful to use a tension swatch when starting a new project or setting up a new stitch style. Stitch settings and upper tension can easily be adjusted by using a tension swatch. A layer of batting (wadding) “sandwiched” between two layers of calico or equivalent fabric is suitable for this. Use contrasting colour threads for the bobbin and upper machine to spot tension problems.

For stitches such as straight stitch, three-step zig zag, and zig zag, if bobbin thread is visible on top of the work - reduce the upper tension. If upper machine thread is visible underneath - increase the upper tension.

For satin stitch (which is simply closely spaced zig zag) and spots, the upper machine thread should be visible underneath. To get this effect, reduce the upper tension.

Trial stitch width:

• Start with normal setting; 
• If stitches are too wide, fabric may pucker and bubble; 
• Find happiest setting by reducing width. 

Trial stitch length:

• Start with normal setting; 
• If stitches bunch up, they are too close; 
• Find happiest setting by gradually increasing stitch length, so that stitches and fabric move freely. 

Consult your handbook for further hints on upper machine tension, length and width of stitch.

It is important to select the correct needle. Be aware that needles can become blunt and may cause threads to pull. A Quilting needle is suitable for stitching together layers of fabrics that include batting as a filling. Quilting needle size 80/12 is a good choice. Denim/Jeans needles (size 80 – 90) are also a good choice.

Good quality dressmaking sewing threads can be used for the upper machine and in the bobbin. There’s a very wide range of colours available.

HOW TO CONSTRUCT A SAMPLER (10 cms x 14 cms) 
You can use this as a reference, and as a ‘jumping off point’ for your own machine stitchery style.

Requirements:

• Scraps of fabric of various colours and different textures. 
• Crystal organza (the best to have fun with) but can be substituted with other transparent fabrics. There’s only a small range of colours available in crystal organza. Iron with care. 
• A very lightweight iron on interfacing such as Vilene. 
• A lightweight batting. 
• Calico, cotton/polyester poplin, homespun or similar woven fabric (not stretch knit or stretch woven) to be used as a base fabric. 
• Colour threads for upper machine. 
• Thread for bobbin. 

Method:

1. Cut one piece 10 cms x 14 cms of Vilene interfacing. Place on ironing board with shiny side up. Cut large shapes from favourite scraps. Coarsely woven fabrics will fray more readily, but can look interesting beneath the crystal organza layer. Place the patches on the Vilene interfacing, and make sure they overlap each other and the edges of the Vilene. Carefully iron the patches in place. Then trim the outside edges. 
2. Cut one piece of base fabric (10 cms x 14 cms) and one piece of batting (10 cms x 14 cms). 
3. Cut one piece of crystal organza large enough to ensure that it overlaps the edges of the sampler. 
4. Now make a “sandwich” from the four layers in the order: Bottom layer of base fabric, then a second layer of batting, then a third layer which is a collage of the patches, and finally the top layer of crystal organza.
5. Pin the ‘sandwich’ together firmly, so that the layers don’t slide around. 
6. Obtain a pattern for a simple shape, e.g. butterfly, flower, fruit, triangle, or square. If the shape is too small it can be difficult to stitch and also difficult to cut out the fabric. Pin the pattern of the shape to the ‘sandwich’. 
7. Set up sewing machine for straight stitch, using a coloured thread, and stitch all around the shape until you reach the starting point and sew last stitch into the starting point. Keep the stitching just outside the edge of the pattern. Cut threads leaving 3 to 4 cms for ends. Remove the pattern. 
8. Now this is for the daring. Use straight stitch and the presser foot as a guide, stitch an outline shape(s) within the stitched shape. Pull all loose threads through to the underside of your work, and fasten off. Then, to reveal the ‘hidden’ collage use small sharp scissors to cut out the outlined shape. Cut carefully in the top layer only (crystal organza), and trim out the inside of the stitched shapes (not too close to stitches). Look at the photo above. 
9. You may now have raw edges of patches exposed. For these you can stitch a few straight stitches just a fraction inside the exposed patch edges, or stitch a few zig zag stitches. 

Now it is time to quilt your sampler. The aim is to hold the layers in place and also provides another opportunity for exploring!! Set up your machine for straight stitch. Adjust the stitch length to a little longer than you use for normal sewing, and then stitch slight curves or stitch straight lines that are pleasing.

Spots or similar stitches can also be used to hold the layers in position.

Fasten off loose threads and trim thread ends. Using scissors, even up the edges of the sampler.

Finishing: For further embellishment, use different machine stitches and beads. For those individual stitches that you fear may unravel, use a tiny spot of clear fingernail polish and dab on the back of the stitches. Be innovative and expand on these techniques!

PROJECT IDEAS
Think of a project. Some suggestions if all else fails:

• wall hangings; 
• bags; or 
• sewing machine overlocker cover.