Craft A Textile Art Collage With Quick & Easy Free Motion Machine Embroidery | Lilach Tzudkevich | Skillshare

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Craft A Textile Art Collage With Quick & Easy Free Motion Machine Embroidery

teacher avatar Lilach Tzudkevich, Textile artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (36m)
    • 1. Why You'd Love This Class

    • 2. All You Need Is Love

    • 3. From Sketch to Pattern

    • 4. Composing The Details Together

    • 5. Gearing Up The Background

    • 6. Free Motion From A to Z

    • 7. Embroidering Your Project

    • 8. Mounting Your Project

    • 9. Closure

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About This Class


Expand your creative practices with textile art collage quickly and easily stitched with free motion machine embroidery! This is an all level art class focused on the steps to create a textile collage and the freedom to stitch it with free motion machine embroidery technique.

*If you are not familiar with free motion machine embroidery then you may benefit from watching my  indicatory class for free motion thread drawing first.

Free motion machine embroidery is a skill anyone can master pretty easy.

*Any sewing machine can be easily applied with the darning foot.

From the first step of planning your visual to mounting your work and hanging on the wall, This class will cover all the steps needed for practicing textile collage and free motion machine embroider. 

Students will be guided through a creative process involving sketching, pattern making, arranging compositions of fabrics, enriching your background and of course free motion machine embroidering.

This class is for skilled crafters, sewers, painters, illustrators, and artists who would like to expand their creative tools and explore new ways for self expression.

*Basic knowledge of operating a sewing machine is required to complete the project

*Any sewing machine will do.

Meet Your Teacher

Teacher Profile Image

Lilach Tzudkevich

Textile artist



Hi there, I'm Lilach Tzudkevich, a self-taught textile artist and teacher from sunny Israel.

I've been practicing textile art as a self expression intensely in the last decade, and I absolutlly love everything related to sewing stitching embroidery and textiles.

I studied visual arts for some good years, mastering graphic design, illustration, painting, and drawing. 

Textiles and threads are my soul's home. Stitchery ran in the family back to my great grandfather who was a tailor (or even further back but this is what I know of) to my grand mother, mother, and me. No wonder it roots me down.


In my work, I create abstract and figurative images usin... See full profile

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1. Why You'd Love This Class: Hi. I'm left cabbage and textile artist and teacher here in this kitchen. Today I want to share review my eggs and I bounce off free motion machine embroidery. This is a great class for crafter sewers, embroiders and artists who wants to extend their creative to box and at a new spark through their project. Within easy creative too harness. You're selling machine to spun self your creativity and craft Still life texter In this class you're going to use a picture or sketches a base. Translate your sketched a pattern constructed composition of fabrics Use besting stage Learn how to apply and work with a freefall Quilting foot Find your new creative voice and get immediate results with a still life home court What are you waiting for? Let's get onto the materialist. 2. All You Need Is Love: 3. From Sketch to Pattern: tracing the element. Before we start tracing the elements, you need first to decide if you're making your own sketch or you're basing a sketch upon a picture you got from the Web. Or if you want to obtain the pdf file it I have provided in their project in Resources section. If you do, then I'm attaching an explanation from a different class, but the principle is the same. You go to the project and resources a section you scroll down on the right hand side. You have the PdF provided you click on it. It opens and then you can print it out. If you're using your own drawing or your picture, you have it your photo album or even a drawing your found on the Web when you will have to sketch it out in a similar way to what we're going to do when we trace the element. But you first have to turn it into a simple sketch line drawing, so you can easily identify the elements off your picture and your sketch into a bathroom later on. Now that you have your sketch ready or you printed a pdf file, I've provided what's trying to trace the elements, We're going to use a parchment paper or any kind of tissue paper, any kind of tracing paper that it is transparent and easy to work with. You need tohave about to double the size off, the off your sketch in and tracing paper so you can dress each element separately like so now in my sketch, as well as probably in yours. And the elements are a layered in some kind of perspective because one is behind the other , so to speak. So when I traced them, except for the front of the ball, which is in front, I'm going to trace them with an extra overlapping seam allowance if you want, so it will be easier to blend them later when I put the fabrics in place. So notice how I am tracing the line off the inner bowl lower than the line it should be. So later on, when I cut the fabric, it's going to go under the front of the ball, and the same goes with the fruits. So I'm tracing the apple and I'm going to add an extra layer that will go under the ball. You'll see later when we put on the elements together, especially with the fabrics. It makes much off a smoother work when you want to put everything together, okay, so just trace each element one after the other. A good idea would be after you traced all the elements to name your elements because it's going to make your life far easier on both on making sure you traced all the elements of your stature and also when you want to work on the fabrics later and you're going to assemble the composition together with all the parts. And this is going to make your life much easier. After all human elements are traced, you can cut them to shape. Use any Charlotte Caesar's you have and cut them according to the lines you just raced. And after they're all catch, make sure you keep all of the pieces together. But before you do that, we're going to do this one last step, which is building the composition layer after layer on the sketch. This is a very good step to make sure that all your elements are there. This step is also great to help you understand how to work with the fabrics later and healthy perspective and the layers air going toe work together later. On the next step of the class, we're going to start working with fabrics. Yeah. 4. Composing The Details Together: composing the enemy. It's so now that you have cut your elements and trace them with the paper. It's time to start working with a fabric pick any fabrics that you like, you can think off the color thing you want to use like I wanted to use, um, blues. And I knew that I wanted some sweet colors. And so for the foods finger a schedule. Your picture is a reference for choosing the colors. So this is the base color that I'm going to use as the base fabric, and I always a cut it larger than my sketch, so I have room to maneuver. It's always best to have more fabric around than less. And then I started tracing one element after the other. No, generally, what I do is that I bring the fabrics next to this sketch, and I placed them more or less in place and check if I like the visibility in the colors. Sometimes I'm contemplating more than, well, fabric ter certain element like here with the base. So what I did is that I chose to fabrics. I pinned them together with the pattern, and then I cut around and then I have two choices to choose from. It's always good when you're contemplating, and you're not sure to have more than one choice, so you can cut two or even three fabrics together and just check it out on the physical that it because there is nothing like saying it on the physical. Once you're done cutting around the fabric, you can put your pattern aside just in case you need it again. And then you can start placing your fabric in the composition and see how it how it feels. Okay, now I'm going to go ahead and start working now on the ball. If you're a fabric is a large based, then you can do what I do it. I cut it into a smaller space. It's much easier to handle, and then I start working with a small piece again. I'm repeating the same process off, claiming the pattern, read sewing pains and cutting around the shape. Now you're going to see a demonstration of how the overlap is working with the fabrics like , so I put the race the overlapping fabric under the ball. Then it's it turns out, to be behind it, and because I'm still not sure about which fabric to use for the best, and I still changed between them. And that's okay, because the overall feeling in blending off the fabrics is only apparent when all the elements are cutting placed, so you can still change and see how and they all work out together. And we're only when you put all the elements off the fabric together, you can see which fabric works and which but fabric done work and needs changing. And that's okay. This is part of the process. Have day patients and allowing yourself to do these choosing and adjusting. This is a process. It takes time. So go along with it and take the time to choose the fabrics to cut them. If you don't like them, change them. Move around the elementary debate until you happy with the result. Okay, and so I'm going to carry on cutting all the parts and adjusting them into place according to my sketch like so once you finished arranging all the elements inside the ball, a good step for now would be to fix them into place. You can use one of three options, whether it's selling pains blasting stage or stick glue. All of the above will fix your elements into place so you can keep working on your composition if you decide to use to clothe and make sure you just pin point to glue under the elements just enough to fix them in place. I used a clue, even as a temporary solution until I do the resting stages, which I'll show in a minute because it holds everything together and I don't have these prickly sowing beans in between my working hands. Using my advanced editing skills, I rented a leaping time to a further stage of this project because I want to do demonstrate the fasting stage and how to do it. So let's have a quick look. So for busting stage, any normal sewing threat will do in a pendant color so you can put it out later if you want , and we use a simple running stage just very, very large stages on. You don't have to be accurate about it. We just arranged the fabrics in place, so to speak. Andi, this is very good when you work with layers because it keeps the layers together as you want them later so keep the elements that you're happy with set and then the others that you're not sure about. Kiptum free. For instance, I chose this fabric for the shade. I liked it a lot, but it really didn't suit the overall picture. And then I changed it to a different SAfrica for the next step and going to work on the background details which I have chose to can't really according to the fabric more than the pattern itself. I did want to keep the same composition off a room like feel with a table and the window and the Carter. But it wasn't important to me to hang onto the sketch. I wanted to develop my work freely. My recommendation is, if you're up to it, to use the sketches, a point of reference rather than the thing itself. And then you're more free to work with your own project and intuition and less with the bruise off the sketch that to bite you the next important face I wanted to show is the choice of the background fabric. I'm going to build my background on a different fabric, which is more pay on and less presence, and I wanted you to see the differences in the background. So it's basically the same composition with the minor adjustments. But the background really changes. The whole mood on this is a great demonstration off how the choice of a certain fabric implicates on the whole work. On the whole piece, I'm going to be together with sewing pins, the foreground and the background elements off my piece so I can move them all together. Is one unit between the two backgrounds like so? And this is a great tape to check your background. Both backgrounds work, and it's really OK to make an intuitive decision. Just go with what you feel you want to. If you follow your heart, usually you won't be wrong. So here you can see the two backgrounds and have different atmosphere. They, each one of them convey. The basic composition of this project is now set, and if you're content with it, that's absolutely fine. You can skip on to the next part where we stabilize and back in work. But if you weren't on the next part of this class, I'm going to show how to gear up the background by adding multiple layers of fabric in lace and this is interested, really, really enriches your background. So if you want, stay tuned and follow the next step. 5. Gearing Up The Background: on this part of the class. We're going to gear up the background as I promised, by adding pisses off fabric and lace and just adding content into the pale background. So what I've done is basically I've documented my trial and error process because this is exactly what it is. Just try different pieces off fabric Treem, zor lace that you like and see what works for you. I have a box school of small fabric scraps that I keep and you can do the same. Just bring it to the table and just try them out. Really, By watching this process, you can see how there is no right or wrong here. A decision that I have made may may be the wrong decision for you. And the decision that I decided not to take could have been a right decision for you. So the reason of wrong and right, but just more off a reflection off your visual aesthetics and your visual intuitions, so to speak, so you can just observe my process. But there are some key elements that are repeating. For instance, I would use the same fabric. Usually I cut it into a few pieces, and then I repeat the pieces to different spaces off my work. So this repetition, which I really, really like, I feel it helps to unify your work and make it into at one aesthetic blend. Another key element are using. My work is to support the main lines in the great off my composition with visual emphasis. I do that quite a lot, as you can see throughout the piece. Once I'm done setting up my extra layers, I'm pinning them with sewing things. And then I'm going to bust stage the whole project the whole piece, because I want to unify the layers together and keep them together until I'm going to show them so for busting stage, any normal sewing thread will do in apparent color so you can put it out later if you want . And we use a simple running states just very, very large stitches, and you don't have to be accurate about it. We're just I arranged the fabrics in place, so to speak. Andi, this is very good when you work with layers because it keeps the layers together as you want them later. Another issue to take into consideration is that when you do the free motion embroidery with a sewing machine, you don't want to have the selling beans sticking out through your work because this is going to not only be quite problematic, but also to stop your motion from being and fluent, and this is what you actually want. So it's an opportunity to get rid of any sewing pains if you have them and to have all the layers really together on the next part of the class. I'm going to cover everything you need to know about the free motion quilting foot, how to apply to new machine and how to use it in free motion machine embroidery. Stay tuned. 6. Free Motion From A to Z: everything you wanted to know about free motion sewing in this part of the class, I'm going to show you everything you need about free motion sewing. Starting with the foot, we're going to be used a free motion quilting foot, also called darling or hopping foot, thanks to its unique structure off spring that's built into the shank of the presser food. The flat circular foot presses the fabric on Lee while the stitches being formed. And then it retracts up away from the fabric, which actually enables you to move your hands and your fabric in a free motion to every direction. So essentially you're drawing with the needle and threat and your machine. If your machine didn't come with a free motion quilting for don't worry about it. Many generic presser feet like that online and in the shops, and if you're in doubt, then you can ask the shop you brought your machine. Which model feats yours? Let's assemble the foot into the machine. The pressure foot is held by a side clamping with this crew like so and so. First you unscrew rate with a screwdriver that came with your machine or just a normal flat screwdriver will do the job. Lift the oppression food to an opposition using the lever so it will be easy to adjust in you darling food into place and then screw back. The clamping a small an important step is not to forget to lower the level back down so your press effort can actually work. Now let's eight in action. This is how the fruit is hopping on top of the fabric. It doesn't press on its strongly. You can still move the fabric, but it's hopping up and down. Last step before we start practicing is to lower the feet. Dog. Find it button in your machine that does that for you. In my machine, it's just behind the needle on, and when I push, it just goes, Look, book. They've go down. So you disengage the free dog, and then they don't feed your fabric, and you're free to move it wherever you want. Now let's put it into practice. Bring a fabric scrap that you can practice on. You conjugate. A few lines are in the work according to your lines. We just work freely, really practiced the movement of free movement and the maneuvering off the fabric under the darling foot and try to move the fabric two different directions to get a feel of how it works. Do you notice that when you want to start a new line in a different position, you have to lift the lever up to an opposition in order to release the thread tension and then keep on working from a new point? Keep working on the fabric Spragg until you feel comfortable enough with this method. And then what we're going to do is we're going to sketch part of the project on stabilized piece of fabric and then breakfast that stabilizing your fabric is not mandatory. But I do recommend it, especially if you're working with the same fabricas a background. Or also, if you want to have an easier way to maneuver around the fabric and clearer and the clean result while staging, then you better stabilize your fabric and you'll do it as so pick an INF usable interface that is pretty much the same. Weight off your fabric and then apply the grainy side, which is decide with the little dots of glue on the left side of the fabric. Cut it to shape or a bit smaller, smoothing out and then press with the hot island. Once your fabric is stabilized, you can use the pattern given or your sketch and sketch very lightly the details off the ball and the fruit to have a better practice off the project we're going to do. You can work as slow or as fast as you want, and you feel comfortable, too. If you're not funding with the darning food, don't worry about it. You can still sell your project with normal presser foot or even by hand. It's just that the darning foot is really a kind of a free method really frees you up to. I work very, very intuitively on the fabric, so give yourself time to get used to it. It's worth a try. If I want to emphasize a certain line or it to create a shade delusion, then I would go over the line of a couple of times or even create small lines a coming out of that line to create a shape like so later on. If you want, you can cut those threats that are connecting between do different starting points like so once you feel comfortable with the method, we can move on to working on your project. Yeah, 7. Embroidering Your Project: stitching your project before we get on with the stitching. I just want to cover this issue. I have IRA unde and INF usable interface into my background fabric and also added two layers of Muslim that I've cutting to shape and size at the back of my work to stabilize it even further, adding backing into your project will help you get a name bows effect on your whole project , which is very nice and still life scenario and will also help you later when you want to mount your project when it's finished. So consider that, and if you do pain or bus, stage the backing fabric at the corners. Next, consider the thread color you're going to be stitching your project. You can put the spirits on the project to decide what fits your vision. You can use just a playing black to emphasize the lines, or you can use various colors. It's really up to you. I've decided to work with black spreads and later round to add a light shade of a cream Fred before he started. Don't forget to disengage your feet dog. You can start working on your project at any point that you choose really, and just work slowly with a pace that is convenient and comfortable for you to work with. No, don't worry. If the lines are not perfect, then it meant to be perfect, the men to be free and flowing. And when you complete the whole project, you see that the overall feeling is free, intuitive in a way. So it's OK if the lines are not precise. If you want them to be precise than you have to put a bit more effort in your work to do so . I don't mind about precision so much, and I just flow with it. But you should do whatever you're comfortable with and would have to whatever result you are aiming for. You can sell your project in any direction you want. Since I have a lot of experience with normal sewing than I have a leaning to working to the front. This is my objective, comfortable position where I can see where I'm going. But you can definitely work the fabric around in a way that is comfortable for you. You can create an ever sees off a line or shade and space by repeated sewing in an area like so, keep working on the corne two lines off your elements, and later on you can add some details and shades and emphasis off lines. And as I did after you've done your key elements, don't forget to stay. Chain all the elements in the background as well. Later on this in this part of the class and also going to show how I'm integrating a lighter shade off thread to add Cem lights, texture and depths into my work. So stay tuned. Okay, - so basically I have done sewing my project. I hope you are having a bull with your free from sewing because it's so fun. It's addictive. It's easy. You get fast, immediate results. And if you want, you can add, since in a hand stitching as well, which are always welcomed on the next part of the class, I'm going to give you some ideas how to mount and hang your work. Stay tuned 8. Mounting Your Project: mounting your project. There are many ways to amount your project that in discussions I'm going to focus on one option, which is to mount it on a stretched canvas. A stretched canvas is a canvas that has been stretched over a wooden frame like so, and it's very good. From a few point of view. It's accessible. You can get it in any craft job. It's affordable. It's easy to apply because all you need to do is to apply your project on the conference with the better off glow, and it's ready to be hanged in the world. Now let's discuss for a minute the size of your canvas, which can be approximately the same size of your project. Or it can be larger, and then you have an effect off extra margins or a frame around your project. So it's really up to what you feel is right for your project and what you like, How you wonder Project to be presented again. There is no wrong and right is just what your preferences are. Before you apply your project on the canvas, you may want to consider finishing the edges off your project, and there are a few options. Also there, for instance, in this example I used in a binding, which is a strip of material sewn around the edges. You can also use the blanket stage, which is a hand stage that is used for finishing fabric address. Or you can fold a ham to the back and stitch it with a hand or with your machine or even six X, teach the edges or just leave them roll. So these are just a couple of ideas so you can toy around with. In this project, I decided to leave their edges rule as they are. Okay, so now the last step is to apply include around the edges of my project and also in the Yakin lines. So the center of the project is, well, a kiss, as the signs are all unified together with the campus. So I'm applying some fabric Clue. If you don't have fabric Lou, you can work with any strong glue like contact glue or plastic Lou. Be generous and glue if it's a less stronger than the fabric. Okay, so I turned a fabric my project on the conversed and apply a little bit of pressure on the fabric to make sure that the glue is really binding The pieces together. That's it. My project is finished. And now I can't wait to see your project. Don't forget to post your project in the project, calorie. 9. Closure: Okay, so this classes country and and I hope your majority at least a much as I did. If you like this class, then feel free to pop into my other classes bombing around textile art and creative. So don't forget to share your project because I'm really looking forward to see how this class makes the creative you harnessing There are some machine enter. Crafting, too is a really cool technique. And I hope it really belongs your mind and open doorway for you to experiment and experience. Really open your creativity if you want. You can follow me here on skill share to get updated notified when my new classes are coming up live. And you can also follow me on instagram and get a glimpse of my grades. Last thing until the next class. See you. Thank you.