My monoprints were of the organic rather than formally-patterned kind, sort of messy but deliberately so. Organising them into a collages (including layering with organzas and chiffons) was a lengthy process, from here:
over a period of about three weeks. Simply pinning on a design wall, moving elements around until they appeared to balance. I discovered that the striped bits (originally greyscale samples) were essential to give the piece a bit of structure. The fabrics chosen were ones which suggested the colours and weathering of the coastal landscape.
The rest was about the quilting. Though I'd originally planned it as a machine-quilted piece I found that certain areas needed hand-quilting, and it was this that took the time - a mediatative process that meant the quilt evolved slowly (my hand won't let me hand-stitch for too long at a time) and developed in unexpected ways.
The end result (above) combines areas of texture with areas where stitching has been used as a medium for drawing - close-ups below: