My New Technique?

First, this post is to document—for myself—the steps of the technique I learned yesterday. It is not intended to infringe on anyone’s copyrights…you can’t copyright or patent a technique or style anyway.
That said, here is the artist’s book. I leafed through it and, while it shows part of her technique, it does not show all of it. But I’ll give the book a plug.

Her quilts are like photographs, rich in detail as you can see. I liked that aspect of them, but I didn’t love the quilts in person. Not up close, anyway. It would be good for a very small quilt.
There was a very long list of supplies to gather. The stuff filled the back of my SUV and it took two trips to bring it all in.

Okay, here we go. First, a pattern ($10). The dotted lines indicate where the pieces overlap.

I trace the pattern on freezer paper. The red lines are the “undies” where the piece goes under its neighbor. The black lines are where you cut the freezer paper. This will get cut up for templates.

A second drawing is made on a piece of vinyl.

The three drawings: Freezer paper, vinyl, and original, which stays intact. No real difference so far.

We are instructed to mount the pieces on an insulation board covered with Insul-Bright. I am told the Insul-Bright is to protect the insulation from the heat of the iron. If nothing else, I can use the board for a bulletin board and the Insul-Bright can be used to make potholders and trivets as hostess gifts.

The board is very easy to stick pins into. But the Insul-Bright catches on the fabic and dry skin hangnails.

Here I have cut out some pieces. Where the red lines are I leave a seam allowance.

Then I paint the edges of the pieces with the secret product (more on that later), which is very messy and drippy. With a very hot iron, the product is heat-set between two sheets of Teflon. It sizzles because it is still wet but I haven’t got all day. You can see the shiny edge where the product is. This is the underside and will not be seen, so neatness doesn’t really count. The freezer-paper pieces (above photo), are the topside. You can see how wet the paper got.

At this point I can remove the paper and take the pieces, one by one, and position them under the vinyl sheet, which is my placement guide. This is very fiddly and time-consuming, and long tweezers are needed to place the pieces under the vinyl. Once I get all the pieces laid and I’m happy with it, I carefully lift the vinyl and press everything into permanent placement. No going back. I am wondering how I will prevent the pieces/design from fusing to the Insul-Bright.

The mystery product is Liquid Thread ($8). I looked it up and it gets 3/5 stars, while Aleene’s gets 5/5 stars. If I adopt this method I might try another brand. This was very, very messy, but you work assembly line fashion and once you heat set it you are done with the messy part. It is thin and wet, but it is not sticky. It dries to a fine powder that can be wiped away.
But it’s messy enough that I might reconsider ever using it. It would be a nightmare with hundreds of pieces.
Here are three pieces fused together. It is soft and pliable, and I am told you can quilt through it with no problem. But do I like the look? No. I think it could be combined with my usual technique to add details…but I could achieve that with fusible interfacing, e.g. Wonder Under.
I don’t think it saves all that much time. I should do a very small piece all the way through before I decide, but I doubt it will be my new technique.