In recent months, I’ve fallen back on doing work in progress updates. Today, I’m going to show you what’s on the work table in my studio and I’ll teach you how I use fusibles to hold the various layers of my materials together without stitching and explain why I use facings to finish my work.

I’ve finally completed work on Under the Microscope #1, a mini piece which I introduced to you a few weeks back. I finished the edges with one of my favorite finishing techniques which is called facing.
Facings vs Bindings
I prefer using facings to using bindings because unlike bindings, facings don’t interrupt the flow of the image around the edges. The image goes all the way around the edges.

Secondly, if you do your facings right, you can have very nicely squared edges for your finished art piece.

Now that the mini piece is done, it’s serving as my inspiration for the larger piece that I’d planned to create all along. That’s going to be # 2 in the series.
Fusibles Instead of Basting

To start work on this piece, I cut up strips of fusible web and adhered them to both the backing fabric and top fabric. Instead of basting the different layers together whether by hand or by sewing machine, I rather use fusible web for this purpose.
For smaller pieces, I’d go ahead and cut a piece of fusible web the entire size of the piece but for larger pieces like this one which is about 27″ x 38″, I use strips.
Using strips instead saves you from wasting fusible web and it’s fast.

Next, I peel the strips of fusibles to reveal the glue on the fabric. The only downside of using strips is that the backing paper that is peeled off the fusibles are in such small pieces I can’t use it for anything else. (Otherwise, I usually find good uses for the backing paper).
Now, that I have glue on my top and bottom layers, I attach the other layers and fuse (glue) them all together by ironing.

Preparing the Canvas
Since this is a bigger piece, I toyed with the idea of “preparing the canvas” before arranging collage pieces on top of the canvas and doing any creative drawing. I knew I’d be having a lot of negative space in this piece – places where I wouldn’t place any elements. So to ensure that these spaces don’t pose structural problems to me. I decided to do an all over stitching on the almost 1000 square inches of background fabric.

I started with a meandering stitch as you can see on the top left-hand side of this photo. But I wasn’t quite satisfied with the look. So I went with this all over “cell-like” look. This is more like what I have in mind for the final piece. I’m still concerned it might interfere with my final design. But I’m not going to worry about that now.
I’m going to finish up prepping the “canvas” (background) and I’ll bring you some more updates later. Stay tuned.
Warmest Regards,
You may also be interested in these posts in the series:
Part2: Gain Color Confidence Now
Part 3: Line Drawings with Thread
Part 4:
What a great idea using fusible web, no more safety pin basting for me. What is your favorite fusible web?
Bonnie,
I use Wonder Under and I love it but some textile artists swear by Misty Fuse. Try both and see which one you prefer.
Hola Clara, gracias por toda la información que compartes. Tengo curiosidad por tu sistema de creación del lienzo ¿utilizas guata y fieltro entre las capas? ¿es así?
Recientemente he creado una pieza destinada a un concurso por lo que no puedo enseñar, todavía, al estar muy muy acolchada he tenido problemas para conseguir una vista agradable sin movimientos de telas no deseadas. Por lo que veo que tu haces, este sistema ayuda mucho a dejar las piezas bonitas.
Respecto ami pieza, salió sin haber visto nada parecido y casualmente tiene cierta semejanza con tus casas en blanco y negro. No es necesario el color. Me gusta el aspecto de lápiz.
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Hello Clara, thanks for all the information you share. I’m curious about your canvas creation system. Do you use wadding and felt between the layers? Is it like that?
I recently created a piece for a contest so I can not teach, yet, being very very padded I had problems getting a nice view without unwanted fabric movements. From what I see that you do, this system helps a lot to leave the beautiful pieces.
Regarding this piece, it came out without having seen anything like it and coincidentally bears some resemblance to your houses in black and white. The color is not necessary. I like the pencil look.
Yes, Jacqueline I use three layers. Sometimes four. The top, wadding (batting), a stabilizer and the backing. The trick is to hold all four layers in place to prevent movement while you’re sewing. You can use fusible between each layer or baste (loosely stitch) the layers together before you start working on them. HTH