I started with the lighter background area behind the waterfall. Before starting work on the main quilt I made a small experimental post card sized piece to try out the technique I wanted to use.

Once all the pieces were fused in place, I added free motion stitching to give greater depth and create the impression of foliage. I then started to build up the layers of rock using invisible machine applique.

Of course, as usual I had my feline ‘helper’ making stitching a little difficult at times.

With the background now completed it is time for the fun part….adding all the details and embellishments. So far I have started adding a few snippets to give the effect of foliage in the areas surrounding the waterfall. These have been fused in place and then once I am happy with  the arrangement I will add free motion stitching and some couched yarns.

For the waterfall I used some fine tulle which I shaped into folds to give the impression of flowing water and held in place with a free motion zig zag stitch and invisible thread then further free motion stitching and rayon thread. Behind the tulle I added a layer of angelina fibres to add a bit of sparkle.

The waterfall before being stitched down. I will next start to add rocks and foliage to the foreground.

The first place I stopped was only just inside the forest, an old tree stump, surrounded by an abundance of growth and an ideal place to stop and make my first sketches.

Over the years I have taken many photos in the rain forest and used them as inspiration for my quilts, but there is a very different feeling when you take the time to stop and draw a plant. One becomes far more aware of the shape, shading, texture and various patterns, all of which are important to me when it comes to creating a new design.

some of my rough sketches

I was prompted to do this sketching as part of the City and Guilds Course on Creative Quiltmaking which I started at the end of last year. I am studying the course online through Linda and Laura Kemshall at Design Matters and I’m finding it wonderfully inspiring even though I haven’t even begun to do any stitching yet.

more detailed drawings made at home

Almost all the sketches I made were of various leaves and plants as the purpose of the exercise was to concentrate on shapes and patterns rather than texture or colours. When I got home and did some more detailed drawings I was constantly thinking how these designs could be interpreted in fabric, quilting or thread painting.

simple line drawings in pen

I wanted the stitching to be quite fine so I used Aurifil 50wt cotton thread in both the bobbin and needle so that I could build up detail without adding too much bulk. For the large tree in one of the sunsets I needed to use an embroidery hoop to stop the fabric distorting, but I found this wasn’t necessary for the smaller trees.

The completed thread painted tree.

I planned to use a black batik border for each design but first needed to find something suitable for an accent. Going through my stash I found a perfect batik print which picked up the light purple in the sunsets as well as some of the orange.

These are the sunsets with the borders added.

 With the samples made I decided it was time to start work on the full size pieces, and the first thing to do was to paint the four different sunset backgrounds. I used fabric paints on dampened fabric as I wanted the colours to run and blend with each other. I used a pale wash of diluted yellow on each panel, then added red, orange and purple to create my sunsets. For the palest sky I also used a dilute blue wash for the top half. The effectts can be a bit unpredictable and two of the skies I had to do again before I was happy with the results.

I fused each panel to a piece of muslin and then added batik fabric for base and sky line. The four panels are now ready to be embellished with free motion stitching to simulate the tree tops as in my sample piece.

While I was putting these together I happened to leave the muslin backing fabric in a pile on the floor and that soon became a comfortable sleeping spot for Suzie.

To start with I made some washes on paper so that I could experiment with the colour mixes I would need when I came to do the skies on cloth. This is one of the ones that I did.

When I was happy with the colours on paper I decided to try some samples on fabric using fabric paints. I dampened the whole piece first, then painted a pale wash of yellow before adding other colours.

the samples drying on the line

Once the samples were dry, I heat set them with an iron and then backed each piece with fusible web. I did the same with a strip of commercial batik fabric which I will use for the ground and sky line. I fussy cut an uneven edge for the sky line, then fused that to the background sky and then fused the whole lot onto a backing of muslin.

I made another smaller sample so that I could experiment with stitching, and I used a fabric pen to sketch in some trees and shrubs.

I wanted a fine thread to stitch the details and go along the edge so I used Aurifil 50wt cotton and a narrow free motion zigzag. I varied the angle and width of the stitching to give an uneven edge to the sky line.

I drew out a pattern in EQ7 and then I decided I would try out the design in a small format as fabric post cards.

For the small design I had some bright green batik fabric which I’d had a while and not used because it was less tightly woven than normal batik and I’d always thought it  a bit flimsy, but it worked fine for this project. For the larger piece I used some beautiful hand dyed fabric by Heide Stoll-Weber which I’d bought at the Festival of Quilts this year. I was a little reluctant to cut into it so soon but the fabric was so perfect, with all  the subtle colour variations, I had to use it.

I assembled the ferns using a non stick pressing sheet before fusing them to the background fabric. I then used a fine satin stitch round all the edges.

Detail of the stitching and quilting

The design is inspired by a traditional native Iban pattern which I drafted in EQ6 and then played around with to make my own original design. As you can see from the pattern below I still have a long way to go to complete the project.

I changed the colour from my original pattern to use a striking red batik on a black mottled background. Here in the drafted pattern I have just plain borders but when I finally reach that stage I might decide to do something more elaborate, but I think that will be a while yet.

I am hand stitching the design using needleturn applique and silk thread. It’s a slow process but it’s something I enjoy doing and the good thing about it is that I can just pick it up and do it at any time.

The power did eventually come on again around 10.30 in the morning, by which time I had done quite a bit of sewing, but it was beginning to warm up and get sticky.

The original design was inspired by a piece of Indonesian commercial printed batik sarong fabric  that I bought locally here in Brunei. I’d originally planned to use it for patchwork but I felt that the design was too nice to cut up but it took me a long time before I finally made it into an applique pattern.

The original piece of batik from which I made the pattern

Once I’d made the pattern the challenge was to choose the colours that I would use for the applique as I didn’t want to use the rather dull brown, black and white of the original. I chose a dark blue, almost black mottled hand dyed batik fabric for the background and pale pastel colours for the flowers, stems and leaves.

The tail feathers and wings were quite a challenge.

The two birds amongst the flowers

A few days ago, Traci, one of my Facebook friends asked if anyone did English paper piecing and it reminded me of the unfinished ‘Grandmother’s Flower Garden’ quilt that I probably started over thirty years ago. She was keen to see a picture of it so I dug it out of the cupboard so that I could photograph it.

In my opinion the top looks better in the photo than it does in real life but I was surprised at how enthusiastic people were about it and everyone who commented said I should finish it. When I look at it, I see the fabrics and they are so different from the batiks and hand dyes which I love to work with now. I don’t like a lot of the colours and patterns and some of the fabrics aren’t even 100% cotton. Back then, however long ago it was that I started it, there were no shops selling the wonderful quilting fabrics that you get now, at least there weren’t where I lived in England. Quite a lot of the fabrics in the top are ones that I bought for dress making and then others were bought whilst traveling and living in various places overseas.

Floral fabric bought in Morocco many years ago

Many of the blocks bring back memories of living in Morocco and first time round in Brunei, travels to California, Malaysia and Indonesia.

This was dress making fabric bought in California and I remember making a lovely Vogue patterns full circle skirt and top out of this.

 As time went by I started buying fabrics specifically for quilting and so these fabrics have also found their way into the quilt, so it really is a patchwork quilt in the true sense of the word.

This fabric came from the Philippines

The problem with trying to finish it off now is adding more blocks that are in keeping with the original ones, but then maybe that doesn’t really matter as it is already such a mixture. Another New Year’s resolution:  to finish this top, my other is to try making some of my quilts on a larger scale.

My original template set from all those years ago

Of course the cats are attracted by the bright colours and it didn’t take Millie long to spot it and make herself comfortable.

Millie quick to choose her spot.

I start with a freezer paper template which I iron onto the right side of my gecko fabric. My favourite fabrics are batiks because they are tightly woven and fray less and also because of their  gorgeous colours and patterns.

freezer paper template

I draw round the template using a white fabric marker pen which disappears with heat or water or if I’m using a pale fabric I’ll use permanent fabric marker. I leave the template in place while I cut out roughly round the design. I prefer to leave it there until after I’ve cut it out because it’s easier to handle and you’re less likely to snip into the design by mistake.

I next pin the gecko in place on my background fabric, using fine or short pins. Short pins are good because the thread doesn’t get caught up on them so much.

applique shape pinned to background fabric

I use YLI silk thread and a #11 ‘sharp’ needle to hand stitch the gecko, the silk thread is so fine that it is much easier to make small and almost invisible stitches. I cut a piece of thread 16 – 18 inches long and make a knot in one end. People often want to use too long a piece of thread to avoid having to thread the needle so often, but this isn’t a good idea because the thread gets tangled and tends to shred. I trim the seams as I go along and because I am using a firmly woven fabric I can use very narrow ones without fear of them fraying. I usually trim them to less than a ¼ inch, especially around the toes of the gecko.

Getting started. The knot is buried in the seam and folded edge held in place with thumb.

To start, insert the needle from the back of the appliqué shape and bring it up on the right side at the point where you want to start sewing. It’s easiest to start on a straight edge so with my geckos I always start on the body part.

Wooden toothpick used to turn under edge

Fold over the edge of the appliqué along the seam line, my favourite tool for this is an ordinary wooden toothpick because the slightly rough edge catches the fabric and makes it much easier to turn under. Use the toothpick to smooth the turned under edge and then I use my thumb to hold it in place. I make a straight stitch into the background fabric at the point where I brought the needle out of the appliqué, and then make a very short stitch bringing the needle up through the folded edge. Continue in this way all round the edge of the appliqué shape.

 For sharp inner curves, such as where the body meets the legs, or the gecko toes, I clip right to the seam line, but on a gentle inner curve like the tail I just make small snips within the seam allowance. I never clip outside curves.

This is how the stitching looks from the wrong side.

Another finished gecko wall hanging