Seams French

This saffron window shade is the second version of my Parisian rose window boutis. As in the first wall hanging, this one is also framed with free motion quilting. When I originally designed the pattern, I made two versions of it. One on a white batiste, which became a wall hanging , and the second on this ochre coloured batiste. Using the same technique of reverse applique for finishing, I framed it with a 1/2 inch brown border before being setting into the background. Because this piece will be illuminated from behind, to do it justice I felt it should have another section of boutis, where light from the window could work it's magic. I made a smaller version of the same pattern, using only the center  rosette. This was also framed with the brown border. This done, I felt it needed even more definition so I added another saffron border before placing it into the lighter yellow background fabric which would be finished with machine quilting. With the top compl...

Prepping, Marking and Basting Boutis is traditionally worked on a good quality white cotton batiste. A good quality batiste is lightweight, finely woven, and semi sheer. These characteristics make it perfect for boutis.   It has a silky, buttery texture that the needle loves to glide through and makes it easier to obtain tiny stitches. Because of the translucence of the fabric, the black marker lines of the pattern are visible without the use of a light box. I purchased this particular piece at the Musée La Maison du Boutis in Calvisson, in the south of France, a number of years ago and had been saving it for a special project.  The design is quite visible underneath the batiste without the use of a light box. Two equal size pieces of the batiste are cut to accommodate the size of the design allowing a generous border for easy hooping. For the bottom piece, I used a different batiste. It's still just as closely woven, but not quite as fine. Strength is importan...

This is the latest of my little boutis pouches. Every piece that I create is an experiment with design, materials and stitches. This little pouch was made using traditional materials and techniques: boutis cotton batiste (front and back),  cotton cording specifically for boutis (purchased in France) and white cotton hand quilting thread. The stitches that I used are the 3 most common stitches found in boutis: running stitch, back stitch and outline stitch. The pouch is tri-fold, with 3 different design elements; a butterfly on the front flap, a shamrock on the front of the pocket (underneath the flap), and the " point de Vauvert " pattern on the back. Because "point de Vauvert " is quite heavily corded, it gives the pouch more structure and stability. The finished pouch has been washed and is tacked to a sheet of foam core to square it up as it dries. The piece has been primarily stitched with the running stitch ,  the most commonly used stitch in boutis.  ...

Blocking Boutis: Between all of the machine sewing and quilting that have kept me gainfully occupied over the last few months, I have taken a little time to work on my boutis. You may remember the little saffron coloured boutis rose window below from my post on October 15, 2014    http://seamsfrench.blogspot.ca/2014_10_01_archive.html . Once stitched and corded, it was soaked in a basin of warm water with a little gentle soap (such as Orvis), and then straightened and squared up with thumb tacks on a heavy sheet of styrofoam. It was originally destined to become a pin cushion, however, at 5" x 5", I find it too large to be practical for that use. Currently, it's ultimate destiny is undetermined. I used only 2 basic stitches on this piece: the running stitch and the back stitch. For more info on the stitches and their variations, click on the above link. Done a number of years ago, the little cicada used in both of the pieces below was my first attempt at boutis...

Back in the summer of 2012 in Montpellier, in the south of France, it was my good fortune to participate in a series of classes in boutis with Madame Francine Born. (See my post of Sept. 9, 2012 " Backlit Boutis "). Below is one of her designs; the piece that we worked on in that course.  It is a fairly traditional design and uses a variety of traditional boutis stitches. Held up against the light, it's easy to see how light and shadow are integral to this particular style of needlework. In order to keep that translucent quality in the finished product, the finished boutis must be set into the surrounding fabric in a way that keeps both front and back of the boutis uncovered. Linen is a natural paring with the white boutis, so in keeping to a more traditional look,  I set my finished boutis piece into a linen and white cotton surround. At the time, I was uncertain as to how I wanted to continue from there, so it got packed away. Previously, I had already set the bout...