The Final Steps in Raw Edge Applique

We’re nearing the end of this raw-edge applique series. From this point on, we will work with layouts and stitches. This is the part which has video….so please be kind.

My layout technique varies depending on the complexity of the block. 

  • If the layout is fairly simple, has few pieces, and none of the motifs require a great deal of fiddly placement, I may opt to carefully look at where the applique pieces fall within the center lines of the pattern (maybe even make a few small reference marks with a Frixion pen) and eyeball it.  Instead of laying the fabric over the pattern, I will opt to place the background on my ironing surface and situate the applique motifs on it there, with the pattern close by for reference.
  • If the layout is complicated and I know correct placement is crucial, I will tape the pattern to a light box, place the fabric over the pattern, lining up the center creases, and tape down the fabric.  Then ever so carefully, I will ever so lightly trace the applique pattern onto the fabric with a pencil.  However, I will make sure my tracing lines are slightly inside the pattern lines. This way the applique pieces will completely cover the pencil marks on the fabric.
  • If the layout is somewhere in between fairly simple and complicated, and I don’t have a light box with a pressing cover, I revamp my pressing station.  I cover my ironing board or pressing surface with white fabric for visibility and position an overhead light if need.  Using straight pens, I securely pin my pattern to it.  Then I place the background fabric over the pattern, lining up my center folds, and pin it firmly in place.  Finally, I place the applique pieces where they’re supposed to go and lightly press the motifs in place (you may find using a pin or two in some of the motifs helpful to keep everything in place).  Once the fabric has cooled, I remove the pins and the pattern and give the background fabric and applique pieces a firmer press.
  • If you have a Cutterpillar Light Box and you don’t have one of these with it:

You may want to invest in one if you find you really enjoy machine applique.  I can place my pattern on my Cutterpillar, put this surface over it, then tape my fabric down, matching the center marks.  With a small iron, I can lightly press my applique pieces in place, then move the background fabric to a pressing surface and give everything a firmer, hotter press to hold it all in place. 

I really try to fuse down everything at one go.  It saves me time and I have found this to be more accurate in the long run.  To me it’s aggravating to have to keep moving everything back and forth to my lightbox and pressing area.  Also, one more word of caution – don’t remove the paper backing from your applique piece until you’re ready to fuse.

Stitching Everything Down

Finally, we’re at the fun part!  Grab some stabilizer and pin it to the back of your fabric.  Once several applique pieces have been stitched down, you can probably take out the pins.  However, before you place your applique piece under your needle, it is super important to test drive your stitches.  No matter if you’re using the buttonhole stitch or the zigzag stitch, I can just about guarantee the machine’s width and length default settings are too big. Unless the thread is truly the star of the show (and sometimes it is), the stitch needs to complement you applique pieces, not overpower them.  This means you may have to play with your stitch width and length throughout the raw-edge process.  You probably won’t like the way the stitch used on a large vase looks on a small flower bud.  The stitch on the vase will be a bit larger.  The larger stitch may overpower the bud.  You’ll shorten the stitch width and length on the bud.  Let me share with you how I keep up with my stitches.

Before I begin stitching any of my motifs, I analyze the applique piece carefully.  I guestimate how many widths and lengths I need.  With the piece we’re working on now, the pieces are large.  There aren’t any small pieces.  I anticipate I’ll need a medium stitch and a slightly-less-than-medium stitch.  Because I’ve performed raw-edge applique for years, I know my go-to buttonhole stitch is 1.8 width and 1.8 length.  This may work for you, it may not.  This is an entirely subjective, how-do-you-want-it-to-look issue.  For me this length and width firmly attaches the applique piece to the background and is an attractive stitch.  If this is what I decide to go with, I stitch out a few inches of the stitch with the thread I will use on some fabric, and under it I write the length and width.  Then I shorten the length and width a little to come up with a slightly-less than medium-sized buttonhole stitch. 

If you don’t have a buttonhole stitch on your machine, a single stitch zigzag works just as perfectly, and the steps are the same.  My favorite way to keep up with my stitch length and width is with scrap pieces of binding.  Whenever I bind a quilt, I always have a few inches left over.  I keep these rolled up and in a small plastic tub near my sewing machine.  Whenever I need a leader or ender, I reach for the leftover binding.  With raw-edge applique, I can cut a few inches of this binding, stitch my practice stitch, write the length and width on the edge of the strip with a fine-tipped marker and then attach it to my pin cushion with a straight pin.  It keeps all my needed information handy.

Once the stitches are decided, it’s time to begin appliqueing everything down.  I generally begin in the middle of the piece and work my way outwards.  I stitch down all of the same color at the same time – all the greens, then all the blues, then all the pinks, etc.  However, I use the same bobbin thread throughout – usually a light gray, beige or white (if my background is white).  You want to make sure your tension is balanced so no bobbin thread pops through to the front. 

It’s easiest to begin on a straight edge or gentle curve.  You don’t want to start in a sharp curve, a deep V (like the center of a heart), or at a point (like the end of a leaf).  Line the needle up with the edge of your applique motif and begin slowly stitching, letting the needle stitch forward, swing to the left, then back to the edge of the applique piece.  The straight stitches should fall in the background and the swing-stitch (or “bite” as it’s sometimes referred to) sinks into the applique.  Each bite should be perpendicular to the edge of the motif. 

Inside “Bite”
Once the inside “bite” is completed, the needle should swing back out to the right and line up with the edge of your applique piece.

In this technique, speed is not your friend.  Sew slowly so you have control over your fabric and your needle.  If you must stop to reposition the fabric, make sure your needle is down on the outside of the applique piece, and not at the bite.  When the needle is down, lift the presser foot and reposition your fabric. 

You may notice I didn’t tell you to knot your thread when you started.  I don’t knot mine.  I let the final stitches go over the first stitches, so they stay locked into place.  I do knot off when I finish stitching.  I pull my fabric out from under my needle, leaving a thread tail of a few inches.  I cut my thread, then with a hand sewing needle, thread the top thread tail and bring it to the back of the fabric.  Then I tie off. 

Shapes Which Require Special Attention

Circles, points, tight curves, and deep vees need a little extra care.  They’re not any harder than any other applique shape, but there are a couple of extra techniques you can use to make them easier to handle and look polished.


Circles are one of my favorite applique shapes.  They can be berries or buds or fruit.  They can be larger than a grapefruit or smaller than a dime.  They add movement and fun to a block. 

I’ll be upfront here and tell you the larger the circle, the easier it is to machine stitch, because the bigger the circle is, the gentler the curve.  And this means you can pretty much buttonhole or zigzag without too many hiccups.  However, if you notice nature, most of her circles are small – blueberries, cherries, grapes, currants, flower buds or flower centers – they all fall on the petite side.  These circles aren’t any harder, but may take you a few minutes longer to stitch than say…appliqueing a grapefruit. 

With every stitch, the bite still should be perpendicular to the edge of the motif.  However, the smaller the circle, the trickier this becomes.  When I stitch anything the size of a quarter of less, I take a Frixion pen and draw a smaller circle about ¼-inch away from the edge of the applique circle. 

The circle you draw doesn’t have to be perfect. It’s there as a point of reference to aim your needle.

This line gives me a place to aim my needle.  I sew slowly and stop with the needle down on the outside of the circle every time I need to reposition my fabric.  And with smaller circles, this happens a lot.  I’ve sewn circles smaller than a dime, and I literally used my needle up and down position to sew each individual stitch.  Yes, it took time, but when I was through, those circles looked really good. 

Small circles may seem like a real pain in the beginning.  But I can tell you from experience, the more you sew them, the faster you become.  While they’ll never be a shape you can Nascar through, they do become easier with time.  Put on some good music or audio book and power your way through them.  Don’t Netflix…you need to keep your eye on the needle. 


There are so many points in applique…roofs, buildings, triangles, and leaves.  No matter what the pointy shape is you’re stitching, there are a couple of hints to remember if you want those points to stay sharp and not turn up at the ends. 

The first word of caution with points is this:  Don’t begin stitching at the point. 

You want to approach the point gradually, and perhaps even shorten your stitch length and width if the point is narrow.  The closer you get to the point, the slower you should sew, maybe even take it a stitch at the time. 

When you get this close to the tip of your leaf, you will want to sew super-slowly or even take it one stitch at a time. You don’t want to overshoot the point.

When you get to the tip end, stop and make sure your needle is in the down position.  Raise the presser foot and reposition the fabric so the needle is perpendicular to the point and take a small stitch, making sure your needle is perfectly (or as close as you can) lined up with the point.  Take one bite stitch in the point and then let your needle swing back out. 

Pivot exactly at the point, take one “bite” stitch in, and reposition your fabric to sew down the other side of the leaf.

Leave your needle down, raise the presser foot, reposition the fabric and continue sewing down the other side.

This sounds really complicated, but it’s not.  Let me show you:

Tight Curves

It’s an unwritten applique law, if there’s an applique pattern made, it’s going to have curves.  Sometimes these curves are sloping and gentle.  Other times they’re tight and small.  As a matter of fact, it’s only the slightest bit of a slope which keeps them from making a deep V.  Like points, these curves aren’t difficult, but if you can keep a few ideas in mind, it will make appliqueing them down a lot easier.  First, speed should not figure into these types of applique motifs.  Slow and steady wins this race.  Don’t begin stitching in the narrow valley.  Begin on a hill and slowly stitch your way down to the base of the curve.  Then slow down a bit more as you ease into the base.  If the curve is really tight and narrow, I’ve taken it one stitch at a time until I’ve cleared the area and then resumed my regular (but slow) stitching speed.  I can also tell you this – if you’ve been kind of sitting on the fence about stabilizer, you won’t after sewing a few tight curves.  The stabilizer makes managing the curves and the feed dog traction much easier.

Deep V’s

If you’re a bit confused about what I’m talking about here, think about a heart.  Where the two top curves meet form a deep V.  There are lots of other applique shapes which do this, too – tree limbs, leaves and stems, and all kinds of right angles.  These are the “innie” to a point’s “outie” tip.  The method is similar to how you handle a point.  Sew your way to the deepest point of the V.  Slow down as you approach it.  When you get to it, stop.  Raise the presser foot and reposition your fabric to allow your needle to be next to the V, and perpendicular to the fabric.  Take one bite stitch in and then let the needle swing back out and into the background fabric.  Leaving the needle down, raise the presser foot and reposition the fabric and continue to stitch. 

And there you go.  Raw-edge applique isn’t difficult.  Personally, I think it’s a lot of fun.  You get to play with different fabrics and textures.  You can use almost any thread available.  It doesn’t take a lot of time.  I’d really like to encourage you to give it a try. 

I will cover finished-edge machine applique soon.  Blogs such as this take a lot of planning, photography, and videography.  Bear with me, and I promise we’ll get to it in a few weeks.

So, until next week, Make Your Quilt Yours (with machine applique!).

Love and Stitches,

Sherri and Sam


Most Applique is Like Ogres — It Involves Layers (or How to Begin Raw Edge Applique)

This week, after all the discussion of fusibles and stabilizers, threads and needles, we’ll get down to the nitty gritty of raw edge applique.  I chose this pattern:


To begin our raw-edge adventure.  Why this particular one?  First, it met the criteria beginners need to learn before they attempt any other pattern.  There are curves, points, valleys, and circles in this block.  This pattern also has “layers.” Like some ogres we know…

What this means is some parts of motifs are behind other motifs.  If you take a look at the line drawing of the pattern below, you can see what I mean.

Part of the stems are behind the pomegranates and another part falls behind the flower – which also has layers.  The larger, lighter flower is on the bottom and the smaller, darker flower is on top.  The center is on top of the darker flower.  Many applique patterns are like this, and a good pattern will number the applique pieces, so you know which shapes are fused down first.  I only plan on making one minor change to the pattern.  Look at the flower again.  You’ll notice the center has lots of little wavy edges.  If you’re new to the raw-edge applique game, all those curves and dips may be difficult to maneuver. Instead of making the flower center like the one on the pattern, I’ll use a circle, which will go well with the rest of the circular-ish shapes.  This quilt block is also large – 14-inches square.  A block this big means the fabric applique motifs aren’t so small they’re easily lost or difficult to stitch around.  It also allows the block to be used as a center medallion for a small quilt or wall hanging or made into a really nice pillow.


This is my fabric pull for the pattern:

I went with all batiks (except for the background), which is usually what I do with raw-edge applique.  Remember, batiks have a high thread count – much higher than regular quilting cottons.  They won’t fray, or at least very little.  The only issue I think I may have with any of these fabrics has to do with the yellow batik, as the darker pink may shadow through. 

In the end, the darker pink didn’t shadow through the yellow, so I didn’t have to line my circle at all.

Right now, some of you may be thinking, “Why don’t you use the dark pink as the outer flower and the light pink in the middle?”  Because flowers don’t bloom that way.  If you look at a pink flower:

You notice the outer edges of a petal are light and the flower grows progressively darker the closer it gets to the center.  However, I have a couple of different strategies in mind to avoid the shadowing.  First, I could line the yellow fabric with either another piece of the same yellow fabric or a piece of white fabric.  Second, I may choose to cut away the center of the dark pink flower so that only the edges of the yellow center rest on the darker fabric.  Or third, I could make the center a prepared edge circle via Karen Kay Buckley’s Perfect Circles.  This will give me a little extra fabric on the wrong side of the circle, and this may be all I need.  I’ll decide which strategy I’ll use when I get to this part of the pattern. 

Why I Make Two Copies of My Layout

While we’re talking about fabric, let’s also discuss why I make two copies of my layout pattern.  And I’ll be frank with you on this point – this is a Sherri thing.  You may opt to only use one copy of your pattern.  By now, you probably realize you need one copy of the pattern to use as you lay out your applique pieces.  So why do I need two copies?  I use the second copy to audition my fabrics.  If, like the pattern I am using for this raw-edge demo, I pull it from EQ,  I can colorize the pattern and print a copy of the colored edition.  I can change and re-colorize the pattern with a click of the mouse.  I can continue to do this until I’m happy with the results.  However, with a pattern you purchase or draw out yourself, this is a bit more complicated.  I’ve used that second copy as a “coloring book page.”  I take colored pencils and play color placement, tints, and tones until I’m happy.  Then I glue or tape my chosen fabric swatches down to the same piece of paper to remind myself what fabrics go where.

Marked Up, Working Copy of Pattern

This may be overkill with a simple applique project. However, if you’re working on something as complicated as a Baltimore Album Quilt, it can a lifesaver – especially if you set the project aside for a while and your memory is as bad as mine.

One last fabric issue before we move on to the templates:  the background fabric is not a batik.  There is a little more leeway on background fabric.  It doesn’t have to be a batik, as it doesn’t hold the fray-factor as much as the motif fabric does.  However, just like with the hand applique background, I do cut it larger than the finished project – more on this later. 

Dealing with the Templates

Now on to how to handle the templates.  I wish I could tell you all applique patterns are truly, perfectly wonderful.  I would like to tell you they all number their pieces and that all the patterns are reversed.  I want to tell you every applique pattern actually has templates, and you don’t have to draw your own from the black and white line diagram of the applique piece. I would like to tell you all of these are in every applique pattern you’ll purchase.  But if I did, I would be lying.

Not all applique patterns are created equal.  With some, you’ll simply get a line drawing and from this, you’ll have to reverse your own templates.  Others will have the templates already drawn out, but they’re not reversed.  Some are numbered.  Some are not.  There are no absolute standards for publishing applique patterns.  Here’s how to handle the template situation.

  • Read over the pattern carefully to see if the pattern is already reversed.  If it is, this is probably either somewhere in the instructions, written on the template page, or on the templates themselves.  If the templates are reversed, you’re good to begin tracing.
  • If you’re printing a pattern from EQ, when you access the print dialogue box, there’s a line directly under the print preview of the pattern which reads “Mirror Block.” 
  • Check this and your templates will print in reverse.  Word of warning – this will not return to the default after you print.  The next time you print from EQ, and you don’t need the block reversed, be sure this box is unchecked. Ask me how I found this out. 
  • If the pattern has templates, and they’re not reversed, you’ll need to reverse them manually.  The easiest way to do this is with a light box – either one you make or one you’ve purchased.  This is super-easy to do.  Flip the pattern over so the right side is against the surface of your light box.  Position your fusible over the paper and trace.  If you have a difficult time seeing the templates through the fusible, you may want to trace over the templates with a fine-tipped, black Sharpie.
  • If there are no templates and the pattern itself is not reversed, you’ll need a light box.  Flip the pattern over so the right side is against the surface of the light box.  Then trace each individual applique motif.  If you have a difficult time seeing the pattern, you may want to trace over it with a fine-tipped, black Sharpie. 

Lastly, let’s talk patterns which multi-task.  And honestly, the longer you applique, the more adept you’ll become at picking up any applique pattern and altering to the technique you want to use.  However, some patterns you download or use off EQ will have templates which look like this:

There will be two lines.  With EQ templates, there’s a solid line and a dotted line.  Any pattern with a template which has two lines is set up for either raw-edge applique or finished edge applique.  For raw-edge applique, you are cutting your applique pieces out true-to-size, so use the inside line.  We don’t need a margin to turn under like for finished edge applique.  So, ignore the second line – in this case the dotted line – and trace the solid line, or the smaller applique motif. 

The Fusible of Choice

The next step is tracing the applique templates on the fusible.  Since I’ve already written a blog on fusibles: I won’t get into the nitty gritty fusible options here.  What I will do is walk you through the process of deciding which fusible to use.  I’m not using any specialty fabrics such as a sheer material, so I don’t need a specialty fusible like Misty Fuse.  There’s a bit of layering, but not a lot, meaning a light-weight fusible isn’t necessary.  With all of these factors figured in, I will stick to my preferred fusible, Soft Fuse.  It should do the job just fine.  Now I can trace the templates to the fusible.  I position the pattern paper with the templates on them on my light box, lay the fusible paper on top (rough side touching the pattern) and trace with a soft lead pencil.  As you trace, be sure to leave at least a half an inch between templates.

After all the templates are traced, I “chunky cut” them from the fusible. 

Don’t cut them out directly on the pencil line but leave about ¼-inch paper margin around the drawn lines.  Position the templates on the wrong side of the appropriate fabric and press. 

Love me a lime-green batik!

Let cool – and while this may seem obvious, cutting the applique motifs out before the fusible has a chance to cool and set can dislodge the fusible web as you cut.  After everything is cool to the touch, cut out on the drawn line.  Leave the paper in place for now.

Prepping the Background Fabric

There are a few background concerns which should be addressed before fusing the applique motifs in place.  The first is the size of the background piece.  This particular block finishes at 14-inches square.  This means we need to add a half inch seam allowance all the way around, which would bring the block to 14 ½-inches.  However, it’s important to remember no matter what type of applique technique you’re using, the background generally pulls up a little as you stitch down the motifs.  I usually add an extra inch to allow for this shrinkage, so I’ll cut my background fabric 15 ½-inches square.

Another concern is fraying.  The fabric will be handled, moved around, twisted, and turned beneath the needle.  Some fraying will take place, but you don’t want it to be so bad it alters the size of your unfinished block.  There are a couple of actions you can take to prevent excess fraying.  The first is use a batik as a background.  Sometimes this works since batiks have a higher thread count and are more closely woven.  However, my background is not a batik, so I can either take one of three steps.

  1.  I can stay stitch the edges of my fabric – stitch a small straight stitch about 1/8-inch in from the edge of my fabric.
  2. I can run a zig-zag stitch around the edge of my fabric.
  3. I can use a product such as the one below around the edge of my fabric.

Whichever you use, remember the block will be trimmed down to 14 ½-inchs before it’s sewn into a pillow or quilt, so the edge finish will be removed.  It’s also worth mentioning some applique artists like to use spray starch or a starch substitute on the wrong side of the background fabric before fusing the motifs down.  If my background was prewashed, I definitely do this to give the fabric a little more body.  However, if it’s straight off the bolt, I usually don’t.  This is a personal preference issue and there is no right or wrong answer.  It’s whatever works best for you.

Now we have to think about how we will place the applique pieces on the background.  Since we have to use heat to fuse the those into place, we can’t use a heat-erase pen, such as a Frixion marker, to draw the pattern onto the background fabric.  The lines will disappear as soon as the heat from the iron gets near them.  Neither can we use a water-erasable pen because heat can permanently set them in the fabric, and they will never disappear.   

To be honest, this is one of those steps in raw-edge applique that everyone seems to have an opinion on.  And I think the more you work with this type of applique, you’ll find the layout process which works best for you.  I’ll walk you through the ways I make my layouts and hopefully you can take some of what I know and use it in the ways which work best with you.  There are three methods I use, but all of them start out the same way:  Find the X and Y axis of the piece of background fabric.

There’s a simple way to do this.  Fold your fabric in half.

Then fold it in quarters.

And finger press it.  As tempting as it may be to use an iron to set the creases, don’t.  Sometimes the heat-pressed creases never relax, and you have this ridge in your background fabric.  After you’ve found the center of the background, find the center of your pattern.  You can mark the pattern’s center with a pen or pencil.  Then place the fabric over the pattern, lining up the center markings. 

You may find it helpful to tape or pin down the fabric and the pattern, so they won’t shift while you’re laying the applique pieces out.

Next week we will finish up this block and for the very first time in the history of my blog, there will be video, because no matter how hard I tried to explain the process in written words, videos did it so much better. This is the very first time I’ve filmed my own video work and edited it. Woooo-boy.

Until next week, Make Your Quilt Yours!

Love and Stitches,

Sherri and Sam


Raw-Edge Applique Supplies

Last week, we explored what kind of fabric is needed for raw edge applique.  This week we’ll explore the tools which are essential to perform this applique technique.  Fortunately, if you’re a machine-piecer, you probably have most (if not all) of these gadgets in your sewing area.

First, let’s define exactly what raw-edge applique is.  Last week I explained there are two broad categories of machine applique – raw edge and finished edge.  Raw edge is exactly as it sounds.  Raw Edge Applique is a technique in which the motifs to be appliqued to the background fabric are cut the exact size needed and the edges are kept “raw”, meaning the edges are not turned under to the back.  These applique motifs are stitched to the background fabric with either a zigzag or buttonhole or blanket stitch stitch…which brings us to the first tool needed for raw-edge applique … your sewing machine. 

Neither raw edge nor finished edge applique require a sewing machine with a lot of fancy stitches (but if your machine has a few extra posh ones, don’t hesitate to try them out on your applique).  As long as your machine can do the basics, it’s good to go.  In next week’s blog we’ll explore the stitches, their lengths and widths, and tension.  For now, just know as long as your sewing machine can do a single stitch zigzag and you have the ability to change the length and width of the stitch, you’re ready to start.  If your machine can make a buttonhole or blanket stitch, you’ve got lots of raw-edge applique options.  And one more piece of information at this point:  A buttonhole stitch and a blanket stitch are the same stitch.

This is the blanket/buttonhole stitch

Sewing machine manuals call them different names, but for my blog, I will refer to this stitch as the buttonhole stitch.  The standard sewing machine rules apply:  Make sure it’s cleaned, oiled (if necessary) and in good working order.  You will probably want to clean your machine after completing a raw-edge project, too.  All the fabric and stabilizer can cause lint build-up in the bobbin case and surrounding area.

In keeping with the sewing machine theme, the next notion to consider is your sewing machine needle.  The needle needs to be sharp and thin, so it will cleanly pierce the fabric and not leave a noticeable hole behind.  For most   applique fabrics, a size 70 or 75 will work nicely.  If burlap, ultra-suede, denim, or other fabrics which are not quilters cotton or batiks are used, please consult a needle guide to determine which sewing machine needle will work best.  I wrote a blog about sewing machine needles  It may be handy to refer to this if you need to. 

My favorite applique needle is Schmetz Microtex.

It’s thin and sharp.  I use it for almost everything – piecing, applique, even quilting on my M7.  A few years ago, Schmetz came out with their Super Nonstick Needle in size 70/10. 

And I must admit, as far as machine applique goes (of either type), this needle is pretty awesome. 

These needles are coated with a  non-stick coating of NIT (Nickel-Phosphor-PTFE).  The NIT performs like Teflon in a pan – nothing sticks to it – which means neither the fusible nor glue used with machine applique rubs off on the needle.  With a regular needle, eventually a gucky build up will coat the needle shaft, making it difficult to stitch.  You’ll need to change regular needles more frequently, especially if it’s a large applique project under your needle.  If you quilt on a domestic or (some) mid-arms and use basting spray, the fusible spray also won’t stick to the needle.  The Super Nonstick Needles aren’t expensive.  You may find they’re a welcome addition to your machine applique tool kit. 

Two different types of scissors are needed – the pair you use to cut paper and a pair to cut fabric.  My favorite type of fabric scissors for machine and hand applique are Karen Kay Buckley’s Perfect Scissors. 

I’ve talked about how much I love these in other blogs.  The blade edges are micro-serrated, meaning not only do these scissors grip and then cut your fabric, but the micro-serration works like tiny pinking shears – they help keep the applique fabric from fraying.  Paper scissors are needed to cut the fusible web, which (with the exception of Misty Fuse) is backed by paper.

Obviously, thread must have some careful consideration.  Most of the time, it’s the co-star of raw-edge applique, but there are times when it plays front and center.  This all depends on the look you want.  The raw-edge applique from the 1930’s (which was done by hand), used heavy black thread – usually embroidery floss.  So, if you’re constructing a 1930’s applique reproduction quilt, you may want to opt for black thread in order to make the quilt look historically correct.  If a matte finish is the look you want, then cotton thread may be what you need.  A polyester or rayon thread will have more sheen and may compete with your fabric.  But if you are making a quilt with shiny objects, such as snowflakes, fairies, lights, and stars, you may want to reach for one of those to complement your applique pattern.  With either the cotton, rayon, or polyester thread, most of the time the thread should match the fabric … which brings us to the issue…

What if a lot  of different fabrics are used?  If I have an applique block such as this:

Quilt, appliqued, detail view. Baltimore Album Quilt. TE*E363155.

I’ll may change thread hundreds of times!  This takes time!  This takes thread!  There’s got to be an easier way!

And there is.  There are three ways to approach this issue:

  •  Fuse down all the applique pieces in the block.  I know some applique artists do bits and pieces at the time, but if you can, lay out the entire block and fuse everything down.  If you can’t fuse all the applique down at once, at least try to break the block into sections.  Then stitch around all the fabrics which are the same color – stitch around all the greens, then all the pinks, then all the yellows, etc.  This way instead of changing thread a dozen or more times, you’ve reduced the amount to only the number of colors used. 
  • Use a variegated thread.  This is one of my favorite go-to tricks when I’m working with floral designs – especially for leaves and stems.  A variegated green seems to blend in effortlessly amid a ton of different greens in my fabric foliage.  Same thing with pinks.  My personal preference is Aurifil 50-weight variegated.  There is no “white gap” between the different shades and hues on the thread (sometimes there is a noticeable length of white thread before the colors begin to repeat and this sticks out like a sore thumb on your applique). And the 50-weight assures the fabric will be showcased, not the thread.
Aurifil 50-weight variegated
  • You can use monofilament thread.  Now, huge disclaimers about the monofilament thread.  First, it may require special handling, and I’ll have more about this later.  Second, it’s important to remember what your thread is supposed to do with raw edge applique:  Encase the outer edge of fabric to help prevent fraying.  Monofilament thread doesn’t do this as well as regular thread.  Third, some monofilament thread becomes fragile as it’s exposed to light, heat, and age.  All of that said, I have a love/hate relationship with monofilament.  It can be fiddly to sew with, I must give it more attention than normal thread, and it’s not going to last forever.  But if I’m working on a quilt like this:

I definitely consider using monofilament.  However, due to some of its drawbacks, I wouldn’t use it on a quilt which may regularly see the inside of a washing machine.  Certain detergents can also degrade this thread.  Since we’re here, let’s discuss some of the characteristics of monofilament and some steps you may want to take in order to have a successful relationship with it.

Monofilament thread comes in two colors – smoke and clear.  The smoke is used on darker fabrics and clear on the lighter ones.  Lots of thread manufacturers offer monofilament thread, but my one word of caution is stay away from the super-cheap, badly manufactured ones.  I know my regular readers remember I’m a thread snob, but seriously…do yourself a favor and purchase from a good thread manufacturer.  My favorite monofilament threads come from YLI, Superior Threads, and Aurifil. 

Once you have good monofilament thread, the next step is to look closely at how it’s wound on the spool.  Usually, it’s straight-wound – the thread is stacked in horizontal rows.  If this is the case, then you will need to use the vertical spool pin on your sewing machine. 

Often this is a separate spool pin included with your machine.  Consult your manual to see if you have one and where it’s located.  If you don’t have a vertical pin, this is not a problem.  Vertical thread holders can be ordered from nearly any sewing website or Amazon and they’re reasonably priced. 

Full confession time here. My Janome M7 has a vertical spool pin. However, I’m a fairly frugal quilter and have found it cheaper to purchase thread on cones instead of spools and do so as much as possible. I use one of these for my cones. They’re not expensive and can be found in many quilt shops/sites as well as Amazon.

Use regular cotton thread in your bobbin and proceed to test your preferred raw-edge applique stitch on scrap fabric.  The stitch should look completely normal.  If you find the monofilament thread looks like it’s just sitting on the fabric, adjust your top tension a bit.  Loosening the tension should fix this, as well as any puckering you may see. 

If your monofilament seems to be too tightly wound – it curls like crazy as it’s coming off the vertical spool holder and this makes it difficult to feed smoothly through the machine – you may want to put some distance between the thread and the machine.  Put the thread on a stand alone vertical holder, in a cup, or a bowl (really anything with high enough sides the thread won’t roll out of) and move it several feet away from your sewing machine.  This extra space allows the monofilament to relax a bit and easily feed through your machine.

My last word about monofilament concerns the fabric used with it.  Remember monofilament doesn’t cover the edge of the applique motif as well as other thread, so the fraying factor is an issue.  Because of this, I only use batiks when I raw edge with monofilament.  Batiks have a high thread count, so they don’t fray much anyway.  This gives me  a little more piece of mind when stitching my piece out with monofilament.

There are a couple of more machine applique notions you will want to have.  Both finished edge and raw edge applique can employ a single-stitch zigzag, and most machines come with such a stitch and a foot for it. 

Typical Zig Zag Foot. This may also serve as your “standard” sewing machine foot.

The buttonhole stitch requires a foot which has an open slot for the needle to move both horizontally and vertically to complete the stitch. 

Blanket stitch or button hole stitch foot

Either of these feet can be used for raw-edge applique, but because of the feet’s construction, it’s difficult to get a clear view of your stitches.  If your machine has an open-toe embroidery foot and you can use it for these stitches, I would recommend it.  This type of foot makes it so much easier to see the needle’s path.  I was really excited when I found out my M7 not only has an open-toe foot, but this foot:

Janome Machine Applique Foot

Which is specifically made for machine applique.  It’s made from clear plastic, and the two toes do not extend out very far from the stitch slot.  This foot is smaller than most feet, giving me a lot of viewing area around my applique motif, the needle, and the stitches. 

You may also want a Goddess Sheet, or some other Teflon infused surface.  These will give you the ability to assemble some applique pieces off the background.  The Teflon keeps the pieces from sticking to your ironing surface when you press them together.  A piece of parchment paper will also work in a pinch.

The last few items are also pretty handy:

Bias Tape Makers and/or Bias Bars

The gadgets are used to make stems and vines.  I have both bias tape makers and the bias bars.  Which ones I use depends on the look I want, and the size of the stem.  The largest bias tape maker can produce 2-inch-wide stems, and the smallest can make ¼-inch ones.  For the novice machine or hand appliquer, this is probably exactly what you need.  However, as you become a more confident applique artist, you may want narrower stems than ¼-inch.  This is where the bias bars come in handy. 

These can be used to make super-skinny stems and vines.  The stems made with the bars also have a bit of height to them (due to the seam in the back), so they do add a little more dimension to your applique project.  I plan to write a blog on these tools (as well as the other ways I make stems) in the future.


I’ve mentioned this tool before.  The pointy end can be used to hold applique motifs in place as you stitch them down or press them in place.  Personally, I own a small horde of stilettoes.  They’re in my hand sewing kit, in my pressing area, and near my sewing machine.  Yes, I use them a lot!

Fabric Glue

Once in a while, the fusible behind your motif may loosen it’s grip on the background, and a dab of fabric glue can hold everything in place until you get it stitched down.  I generally use Roxanne’s either in the bottles with the tip or in glue stick form.  However….in a pinch, I’ve also reached for Elmer’s school glue.  A dap of this works just as well.

Circle Templates

No one knows how hard it is to draw a really good circle until they try to do it.  They come out lopsided and lumpy and pretty awful.  There are a number of wonderful circle templates out there.  In the art section of many big box stores Hobby Lobby or on Amazon, you can find these:

These are architectural gridded circles used for landscape or building plans.  However, they work fine and dandy for quilting.  Creative Grids also has this template:

Which is also very nice.

If you think either finished edge applique or hand applique may be in your future, you may want to opt for Karen Kay Buckley’s Perfect Circles (they come in two sizes) or Applipops. 

Perfect Circles
Applipops. These may look like regular washers, but they’re not.

A blog on how to make circles will also be published in the future.

While we’re on the subject of templates, if you find the applique bug bites you hard, you may want to begin collecting templates.  Templates are an easy way to change up an applique block and make it more your design than the pattern’s.  Have a beautiful wreath, but you’d really like to add a bird?  There are bird templates.  Need some leaves?  There are templates for those, too.  Applique templates are heat-resistant, meaning you can use them for both types of applique.  For raw edge applique you simply trace around them on the paper side of the fusible.  For finished-edge applique you can press the fabric’s edge over the side of the template for either hand or machine stitching.  I have purchased a lot of template sets from Piecing the Past Quilts (  They have sets of templates called Simplique and they are awesome. 

Next week I’ll talk about stitch length and width and discuss how to lay out your block.  Then we’ll move on what’s the best way to stitch around the motifs.

Until next week, May Your Quilt Yours!

Love and Stitches,

Sherri and Sam


Choosing Fabric for Raw Edge Applique

I promised earlier this year I would have a few blogs on applique.  This is the first one.  I’m not sure how often I will post them, but I will try to group the same styles of applique together in a series of uninterrupted posts.

Before we get into applique too deeply, I realize not all quilters like to applique and you may be one of these people.  I’m not trying to win hundreds of converts over to my side Who am I kidding?  Yes, I am.  but I would like you to keep an open mind about the technique and try it out at least once.  This year’s theme is “Make your quilt, yours!” and applique is an easy way to do this.  You can throw some applique in a pieced block or a border and suddenly the quilt you made looks vastly different than the quilt on the pattern.  You’ve made the quilt uniquely yours.  So, let’s take a broad, general look at the types of applique and then we’ll discuss raw edge applique – which happens to be a personal favorite.

In my mind, applique can be divided into two categories:  hand applique and machine applique.  The kind done by hand can involve the techniques of needle turn, back basting, Apliquick, freezer paper on the right side of the fabric, and freezer paper on the wrong side of the fabric– just to name a few.  Machine applique involves a sewing machine, matching thread or monofilament thread, stabilizer, and fusibles or glue.  As long as your sewing machine can perform a straight, zig zag, buttonhole, or blind hem stitch you’re good to go.  Most machines can minimally perform a zig zag and straight stitch, so there’s no need to purchase a special sewing machine for this technique unless you want to.  Again, in broad terms, machine applique falls into two categories:  raw edge or finished edge applique.  All fabric used in applique requires some consideration, however machine applique of either type needs to have a few special qualities.  Let’s talk about the background fabric first. 

Background applique fabric is the piece of material all the applique pieces are stitched down to.  Usually, this background is a neutral, and honestly the definition of a neutral has vastly changed over the years.  When I made my first applique quilt, the neutral was generally a tan, ecru, beige, white, or black piece of fabric.  Fast forward to now and I honestly think we need to either re-define the term “neutral” or toss it out altogether.  This realization smacked me in the head about ten years ago when I went to the AQS show in Paducah and the quilt which won best machine applique used chrome yellow as the background.  It was at this point, I knew the neutral “rule” had been stood on its head.  My next applique quilt had pink background fabric.  Since then, I’ve used whatever color worked best with my desired look, including black gingham.  There are some quilts you should probably stick with the traditional neutral as a background – such as a Baltimore Album Quilt – but for most of the others, I believe the sky is literally the limit.

On a personal note, I dislike solid-colored backgrounds (except for truly traditional quilts such as a Baltimore Album where a certain historical look is desired). I like movement in my fabric and some kind of print helps with this.  Whether it’s a tone-on-tone, shirting, or small print, I think this enhances the applique, not detract from it. 

Regardless of the type of background fabric chosen, it all should have a few common characteristics.

  1.  Usually, 100 percent cotton fabric works best.  I realize the exception to this is art quilts – which I’ve seen use burlap, velvet, and other fabrics as the background – but for raw edge machine applique, you may find the best bet is good quality quilting cottons. 
  2. Background fabric for machine applique should have a firm weave.  I’ve tossed this term around in several blogs lately, so let me define it just in case there’s any confusion.  A firm weave is the same thing as a tight weave and when discussed in terms of quilting, it generally means a quilting cotton.  Quilting cottons are a bit different from standard cotton fabric.  Quilting cottons are thicker and have more threads per square inch and is difficult to see through.  There are other cotton fabrics with a high thread count, such as twill and some linens.  The fabric for raw edge machine applique will have to withstand some serious needle abuse.  While a more loosely woven fabric may work well for hand applique, the same fabric may fray plenty during raw edge applique.
  3. Batiks are always a great choice for raw edge applique.  If you remember this blog:, you may recall that due to the dying process, batiks have a much higher thread count and firmer weave than quilting cottons.  This makes them a perfect choice not only as the background but also as the fabric for the applique pieces. 
  4. If you pre-wash your fabric, you will want to press some starch into the fabric to give the material a firmer hand…and now I would like to interrupt this blog with a commercial break…

If you’re a regular reader, you know the issues I have with this product:

Verses this product:

To me, regular spray starch has always been better for freezer paper applique, making bias tape, or adding stiffness back into a fabric which has been pre-washed.  The only drawback to regular spray starch is that it’s made from potatoes.  If the fabric is starched and stored, the potato factor can attract bugs which may like to either live in your fabric, or worse, eat your fabric.  Neither is a good scenario for quilters. 

Evidently, I wasn’t the only quilter who preferred spray starch over regular Best Press, because Best Press has now come out with this product:

The Other Best Press.  I purchased a bottle of it and have used it in place of my regular starch in the last five quilt projects I’ve made.  My verdict?  It lives up to everything it says it will do.  It gives fabric the same feel which regular spray starch does. It gets five out of five stars from this spray starch aficionado.  The only drawback is cost.  A 16-ounce bottle of The Other Best Press varies in price range from $12 to $15, depending on where it’s purchased.  A gallon of it can be ordered from Amazon for $47.99.

A can of Niagara Spray Starch is $2.99 at my local grocery store.

If you plan on starching and storing your fabric, the Best Press Starch Alternative may be the safest bet.  Personally, I can’t justify the cost points if I am immediately sewing the fabric into a quilt.  I’m just excited there is a starch alternative which works and feels like the real deal. 

Okay.  End of commercial break.  Now back to our regularly scheduled topic.

Before we move on from background fabrics, let me add this thought:  Try piecing your it.  Yes, it’s an extra step, but this really enhances your applique and gives your quilt some extra “zing.”  It’s easy to do.   For instance, if your quilt pattern calls for three yards of a neutral (however you decide to define your neutral), divvy that amount up.  If you decide to go with blue as your neutral, choose three blues and use one yard of each…or six blues and use a half yard of each.  You can simply cut rectangles and squares and sew them together like I did for this little quilt:

Or go completely wild, choose several colors, and sew them together randomly.

There is no rule that says background fabrics have to be boring.

Now let’s move on to the applique fabric.  And while I enjoy picking out my background fabric and am wonderfully excited to piece the background, for me the most exhilarating part is choosing the fabric for my applique pieces because the sky is literally the limit.  However, before you jump in with both feet and no life jacket, let’s go over a few ideas to keep in mind.

  1. If you’re a newbie to raw edge applique, it’s more important you get used to the rhythm of your sewing machine and the way your needle forms the zig zag or buttonhole stitch than anything else.  I wouldn’t try for “special effects” on your first project.  I am most concerned you be successful with the stitching aspect of raw edge applique.  It’s a good idea to stick with firmly woven cotton fabrics for the first time.  This choice simply eliminates you having to deal with extensive fraying.  Batiks are EXCELLENT choices for raw edge applique.  They are super-tightly woven to the point fraying isn’t anywhere in the raw edge equation.  Plus, the undulating colors are gorgeous.
  2. Once you’ve mastered the machine stitch, then you are more comfortable and confident about handling almost any fabric with this applique technique.  The range of fabrics you can successfully use is now wide open – from quilting cottons to tulle to ultra-suede to silk…it’s all yours for the picking.  The catch to effectively stitching them is found in the fusible you use.  If you’re interested in this applique technique and haven’t read, please read this blog before stitching out your first project.  One thing the fusible will do (besides keeping your applique patch in place), is help prevent fraying.  Your stitch will also help with this, but the fusible also plays a part.  The fusible should be compatible with the fabric chosen.  However, between the fusible and your machine stitch, you can pretty much use any fabric successfully.  I tend to run about 60/40 in fabric choice.  Nearly 60 percent of the time, I’m stitching quilting cottons or batiks.  The other 40 percent of the time, I’m reaching for fabric which will best give me the effect I want.  Fairy wings, dragonfly wings, icicles – I go for sheer fabrics.  I’ve been known to use burlap for flowerpots and bits of garment fabric for clothes.  Art quilt quilters do this all the time.  The only word of caution I would throw out here is this: Be careful about what you use if you think the quilt will be washed.  Sometimes the fabrics chosen for the effect doesn’t hold up well to even handwashing.  However, if the quilt is a wall hanging – no rules apply.

The last fabric which needs some consideration is the stabilizer.  Stabilizer is a fabric or fiber which supports the applique fabric so it will maintain the weave and grain while it’s being stitched.  It also provides a little extra body, gives a firmer hand to the fabric while appliqueing, and prevents fraying.  It’s applied only to the wrong side of the background fabric.  It is generally NOT interfacing.*  Stabilizers are usually removed after the stitching process is complete.  If you’re familiar with embroidery machines, you know there are just as many types of stabilizers as there are fusibles (maybe I need to write a blog on stabilizers?).  With both finished edge and raw edge applique, you will probably want to use a stabilizer because it maintains the fabric’s integrity, and it simply makes it easier to move the background fabric over the feed dogs.  When I first started raw-edge years ago, I used almost anything for a stabilizer  because at that point, there weren’t very many stabilizers to choose from.  I employed everything from coffee filters to paper piecing paper.  Flash forward to now, and there is a plethora to pick from. 

Stabilizers are like almost everything else with quilting – it comes down to personal preference.  My hands-down, reach-for-it-every-time is Ricky Tim’s Stable Stuff stabilizer.  It’s thick enough to protect your fabric from fraying and maintains the weave and grain, yet it tears away easily and cleanly.  If you have an embroidery machine and use stabilizer, most embroidery stabilizers can be used for machine applique. 

Over the course of your applique journey, you may hear some applique artists and teachers prefer not to use a stabilizer, but instead starch their background fabric stiff instead.  This will work for some applique projects, and I’ve been known to do this if I’ve run out of stabilizer in the middle of a project and it’s midnight and Amazon Prime can’t even get it to me in 24-hours.  In my experience, this works pretty well if the applique block doesn’t have a lot of pieces.  I’ve discovered the longer I have the unstabilized background under my needle and over the feed dogs, the more it “drags” and becomes difficult to maneuver. 

Background fabric, applique fabric, and stabilizer – those are the three fabric choices which have to be made before beginning either raw edge or finished edge applique.  In the next couple of weeks, the other notions used – such as thread and sewing machine needles – will be covered as well as how to use the fusible, stems, machine stitches, and how to get started on this applique journey.

*The exception for me to this interfacing-as-stabilizer rule is Pellon’s Easy Knit. If I’m appliqueing a triangle or any other background piece which has bias edges, I’ll use the Easy Knit on the wrong side of the background piece. It will keep the bias from stretch and act as a stabilizer. It’s also thin enough that it does not interfere with the stitching or quilting process.

Until next week, Make Your Quilt Yours!

Love and Stitches,

Sherri and Sam

PS — Disclaimer. I am not employed nor do I receive any type of compensation from any company when I mention products such as Best Press. You’re getting my complete, unadulterated opinion based on use and customer service.


Should You Label Your Quilt?

For most of history, Anonymous was a woman

–Virginia Wolfe

**Be forewarned, today’s blog is a bit of a rant.

I collect quilts.  By museum standards or some individual collectors’ quilts, I am the low man on the totem pole.  I have less than 30.  The dates of these range from roughly 1840 until the 1930’s.  I collect what appeals to me, although most of the        quilts are feedsack in origin.  I love these things.  They’re literally in every room of my house.  I have a special affinity for my Sunbonnet Sue quilts because I love that adorable little Miss.  Her quilts live in my bedroom so I can see them first thing in the morning.  What can I say?  Between her and my first cup of coffee, I can muster up a good mood.

Know what I don’t like about those quilts? With the exception of one, none of them have labels. 




One of the very first things I do when I peruse a quilt for possible purchase is ask “Who made this quilt?  What part of the country/city/state/county did it come from?”  And most of the time, the seller has no idea, because the quilt has come to him/her via third or fourth (or more) hand.  Sometimes, if the planets align and I can recognize a fabric (such as an Alamance Plaid) or a particular type of construction, I can pretty well pinpoint the area the quilt originated from.  But honestly, that’s about as far as I can take my quilts’ genealogies. 

Now for those of you who faithfully put labels on your quilts, you may sit back and enjoy the beverage of your choice while I chastise those quilters who do not label and explain why labels are so important.

For those of you who eschew sewing on a label, I must ask what makes this such an unappealing task?  I’ve heard lots of excuses:

  1.  It’s an extra step.
  2. It’s really not necessary.
  3. It takes too much time.
  4. After putting the final stitch in my binding, sewing on a label is the last thing I want to do.
  5. It will only fall off.

I’m sure there are more reasons why you don’t like to label your quilts.  Your reason may not even be on the list. I know they require a few more stitches and some planning, but please allow me to give you six reasons you should put on a label.

 It’s the holder of the story.

Every quilt tells a story.  It evokes a soul-deep journey.  It may not be a tale of flashing lights and bold heroes.  The story may be as simple as “I had this pattern and a long weekend and two good bottles of wine.  I found everything I needed in my stash, so I made a quilt.”

That’s still a story.

Other quilts hold deeper tales.  I can just about tell you every prayer, tear, and thought that went into the t-shirt quilt I made my brother.  I can tell you how hard I wished Florida was closer to North Carolina when I made my son’s quilt, All Roads Lead Home.  I can explain how proud I was of my daughter when I made her quilt, You Are the Sun, the Moon, and All My Stars.

But if I didn’t put some inkling of this information on the labels, the history behind the quilt would have been lost with me.  The label may not be able to tell the whole story, but it gives a good idea of the thought behind the quilt.  It offers enough information for people to begin to ask questions about the quilt’s pedigree.

It links the quilt’s quilty DNA to other quilts.

This reason requires some explanation. Quilt collectors and historians delight when they discover with certainty who made a quilt.  What gives them an even greater thrill is being able to link the quilt maker to other quilts.  Sometimes this is possible by examining the quilts.  Quilters, like painters and other visual artists, have a certain style – whether it’s color choice, stitch preference, or pattern mastery.  The first quilter who comes to my mind for this is Judy Niemeyer.  To me, it’s apparent when a quilt is made from one of her patterns.  Her quilts simply have a certain type of style which is uniquely hers.  What’s not so apparent is the knowledge if Judy actually made the quilt or did another quilter use her pattern?  If there’s no label on the quilt, it may be hard to know. 

Quilt historians can link certain quilts to quilt makers or their families by studying the quilts and slogging their way through diaries, wills, and household inventories.  This takes time and great attention to detail.

Just think how much easier this would be if there were labels on the quilts! I realize antique quilts were made in a much different time, but even then, special quilts may have identifiers – embroidered initials or names and dates or (if we get lucky) if the occasion for which the quilt was made.  Signature quilts are a bit easier to trace due to all the names and dates on them.

If a quilter labels his/her quilts with the minimum amount of information – name, date and the location the quilt was made – this will make the work of future quilt historians so much easier.  And if you don’t think your quilt is good enough to be the subject of any quilt histories, think again.  Quilts tell us not only about the quilters, but they offer clues to the quilter’s place in society, what the home could have been like, and how they lived.  Through genealogy programs such as, we now have the ability to look up names quickly and with a great deal of accuracy.  If we have the city and date, we can surmise if the maker and her family were dealing with historical traumas such as the Dust Bowl, the Depression, or the Civil War.  The label would not only tell us about the quilt, but it would also give a lot of information about the quilt in its historical context.  If the label has the location, we can trace the quilter’s life as he/she moves across the continent or is content to remain in one location.  We can track the quilter and her quilts – and this would be amazing!  We could study the quilter and see the progression of her quilt-making skills.   

It lets us know if the quilt was made to recognize or honor a special person or occasion.

This is a nice tidbit of information to know.  Not all quilts are made for these reasons, but the ones which are usually show terrific workmanship.  And many times, such quilts are made by a group instead of a lone quilter.  That’s also nice to know. 

Quilters who made quilts honoring American’s Bicentennial were encouraged to have this on their labels, grouping this collection into a special class which can be studied together.

It may contain specific words which will place the quilt in a unique place and time in history.

When major events occur, quilters will often work through their fears and inner turmoil with needle and thread.  Even with today’s “connectiveness” through online groups and Facebook pages, quilters generally ply their craft in solitude.  It’s just them, their fabric, their machine, and their rotary cutters and mats.  And this may sound lonely, but it’s really not.  The act of cutting and sewing – keeping your hands busy with a familiar task – allows the mind to sort through what just happened. Often these events are reflected in quilts.  Take for instance, 9/11.

Quilters by the hundreds sewed their thoughts, prayers, desperation, and fears into quilts.  The labels attached reflected the date, which makes these quilts not only super-easy to date, but also historically places them in a singular group.

Quilts made during the COVID pandemic were somewhat of the same.

I did not make this quilt, but I think this is the best COVID-19 quilt made.

There are some quilts which reflect what was happening – staying at home, the virus, masks.  However, not all quilts made during the pandemic suggest any of this.  Many quilters, since they had some additional time on their hands, sewed up their UFOs.  Some (like myself) made quilts for folks we love.  Some of us started quilts we always wanted to make, but never had the time.  It’s important to recognize these quilts.  All of the quilts I made in 2020-2021 have one line on them which states they were made during the COVID-19 Pandemic. 

In the next 20 or so years, this will be important to quilt historians.

So….. if by now I’ve shamed encouraged you to put labels on your quilts, do you know what information should be on the label?  Here’s a quick run-down for you.

  1.  The date – It can be the day you started the quilt or finished it or both.  I generally go with the date I finished the quilt because the time between when I began the quilt and took the last stitch may be embarrassingly long. 
  2.  Your full name – First, middle, maiden, and last name.  A hundred years from now, this will make life so much easier for quilt historians.  They’ll be able to trace you with a great deal of accuracy.  And if the unthinkable happens and your quilt is misplaced, lost, or stolen, it will make returning the quilt to you a simple process.
  3. The name of your quilt.  Yes.  You should name your quilt.  Sometimes this is a quick process.  Other times, it takes a while.  But you can’t simply go around calling your quilts, “The Quilt,” because you probably have a lot of them.  It would get confusing.
  4. The location the quilt was made.  Again, this helps quilt historians trace the history of the quilt and the quilter.  And be sure to have the both the city and the state listed.  I live in Jamestown.  Did you know there are 30 Jamestown’s in the United States?  So, it’s important I always add “North Carolina” on my label.
  5. Reason for the quilt.  I admit, sometimes there is no reason.  You made someone a quilt just because you wanted to.  However, if it’s a birthday or anniversary or christening or baby shower, you may want to add that.  Honestly, this will mean more to the person receiving the quit than any quilt historian, but it’s a nice addition.
  6. Name of the quilter if it’s someone other than you.  This gives the person who actually quilted the quilt credit where credit is due.  On my labels, I have “Pieced and Appliqued by Sherri Lynn Moore Fields, Quilted by ______________.”  And if I did the entire shebang, the line reads “Pieced, Appliqued, and Quilted by Sherri Lynn Moore Fields.” 
  7. Any personal messages you deem appropriate.  This includes “With Love,”  “Your Mimi Loves You,” and the line I use on all the quilts I make for my family, “Love You to the Moon and Back a Thousand Times.”  My brother and I exchange horrible puns on nearly a daily basis.  The label on his quilt had a really bad one on it.

The last line on my quilt label includes some esoteric fact.  I got this idea from Tula Pink.  She includes one arcane item of interest on each of her labels.  It helps put the quilt in historical perspective.  This can be the average cost of a gallon of gas, a loaf of bread, or a leading news headline of the day.  It’s kind of fun, and I have been pleasantly surprised at how much the recipients of my quilts like this. 

You also may want to add another label to your quilt – one with care instructions.  When you gift a quilter a quilt, this isn’t needed.  But for those folks who don’t have a quilter in their life, this is really a good idea.  It should state how to wash and dry the quilt, what kind of detergent to use, and whether to use all fabric beach.  And if you wash all your quilts the same way, these labels can be made up in batches and tucked away until you need them. 

One thing this blog will not do is tell you how to make the label.  There are many different ways to make quilt labels, and honestly YouTube will be your best resource for this.  However, I will tell you how I make sure there’s a label on my quilts:  I make the label while I’m prepping my quilt.  When I cut out my fabric, I go ahead and make my label (and my binding) and add those to my project box.  I may opt to wait and ink in the date finished, but I have discovered if my label is already made and waiting on me to sew it on, it simply becomes the last step.  I pick it up and sew it on.

There is one more label issue to consider and this has to do with the quilt’s show status or if it will see the inside of a washer.  If the quilt is one which will be displayed a great deal (such as at quilt shows) or will be tumbled inside a washer and dryer a lot (such as a child’s play quilt, chemo quilt, or a baby quilt), you may want to sew the label to the quilt back before you quilt it.  The quilting stitches will keep the label secure. 

Finally, if you have family quilts in your possession and you’re certain about who made the quilt, go ahead and label those quilts.  You may not know all the details, but those you do — put it on the label.  And include your name and the date you put the label on. 

During the 1970’s and 1980’s, nearly every state had a quilt project.  This project was quite an undertaking.  Each state formed a committee of quilters.  This committee fanned out over the state and worked with local guilds to record quilt histories.  The call went out for families to bring their quilts to be photographed and documented and this information eventually became a book.  This was truly a labor of love and history and currently these pictures and the information are held at the International Quilt Museum and is accessible on their website.

The internet can truly be a wonderful thing.

However, many years have passed since then and more quilts have been made and found.  The Quilt Alliance is working to record quilt histories through this wonderful internet.  With your phone, take a video of your quilt and record the history behind it.  This recording can be three minutes or less, then upload it to the Quilt Alliance’s website history portal “Go Tell It!” They want to document as many quilts as they can regardless of when the quilt was made.  You don’t have to be in the video.

So…as you’re making your quilt yours, don’t be that Anonymous woman…be sure to put a label on it.  Future historians will thank you.

Love and Stitches,

Sherri and Sam


Quilts are Better with Cheddar

This color:

And this color:

And the orange in this print:

Is known as “cheddar.”  And today’s blog will examine exactly what this color is, how it came about, and what is its place in our quilting universe.  A non-quilter may call this color “orange.”  And it is.  Through the years it’s been classed as orange, gold, and occasionally, rust.  This one color has carried many names until one day it hired a full-time agent and the first thing the agent said was, “Honey, you gotta change your name.  Lots of people don’t like orange.”  Thus, the moniker “cheddar” was born.  And you have to admit, cheddar sounds homier and more appealing than orange, gold, or rust (which makes this child of the sixties think about the psychedelic colors of the seventies). 

Cheddar was birthed in the mid 1800’s – about the same time as synthetic dyes were developed for green, indigo, and Turkey red.  Then it was known as chrome orange because of the minerals used to produce the color (more on this later).  This color was directly influenced by the by the Moravian potters from Pennsylvania and North Carolina, who used an orange glaze on some of their pottery.  It also received a popularity boost from the Germanic furniture of the period which also used orange, gold, and rust in the painted design work.  In many ways, cheddar was an easy dye to work with – cloth could just as readily be dyed at home as at a manufacturing plant.  The dye came in powder form and when mixed correctly, would produce enough orange dye for several yards of fabric. 

However, also like many of the other synthetic dyes of this period, cheddar has a dark history.  It had a high lead and antimony content – both of which are poisonous over a period of time.  So much chrome antimony was used, the color was often called simply “antimony,” or “chrome orange.”  Of course, the folks using this dye then had no idea it could be lethal.  All they knew was they really liked that cheddar color – liked it so much that literally hundreds of yards of it were produced.  There was so much of it, quilters began to consider it a neutral

When quilt historians, collectors, and appraisers look at these older, cheddar-infused quilts, it can be noted the chrome orange can go one of two ways.  If the quilt has been carefully kept and only seldom washed, the color will remain a beautiful cheddar.  The old chrome orange dyes were color fast and resisted fading, even in direct light.  However, if the quilt was frequently washed, and depending on the acid or alkali balance in the soap, the orange would be drawn out of the fabric, leaving behind a pale yellow-green color. 

Another aspect of all of this orange-ness is that it helps historians, appraisers, and collectors date the quilt and form good hypotheses on where the quilt originated.  The majority of cheddar quilts were made from 1860 to 1880 and came primarily from Pennsylvania.  However, post-civil war, the South produced a lot of orange quilts, too. Besides being readily available, the orange dye was inexpensive, and for a part of the country in financial distress, cheddar helped to brighten up fabric quite a bit.  This orange found its way into a regional type of color:

Southern Cheddar

And was used in solid and plaid fabric.

Post-Civil War Orange Plaid

If I had to give this cheddar fabric another name, I’d call it “The Come Back Kid.”  For years its popularity waned and peaked. During the Depression Era, it was tinted with white and became a pastel – almost an orange sherbet color – and was frequently paired with lavender.

1930’s Orange
Child’s Feedsack Dress with Oranges and Lavenders

In the 1970’s, it was everywhere – from clothing to cars to interior design.  It fit the psychedelic and flower power fashion well.  As for quilts… I can tell you what I remember.  When I first started quilting seriously in the late 1990’s we were warned to use yellows and oranges sparingly.  These colors were only used to add a little “sparkle” to your quilt top but weren’t supposed to be utilized as one of the main fabrics – it would detract from the entire quilt top by drawing the viewer’s eyes to the color. 

But back then, I don’t think we had any idea what lovely shades, tints, and hues of orange the fabric manufacturers would produce.  Reproduction quilts gained popularity, and with increasing interest in this field, fabric houses had to produce cheddars, because this color was used in Civil War quilts.  When the Modern Quilt Movement emerged in the 2000’s, they embraced the color orange and soon it was showing up in large numbers of their quilts.  As a matter of fact, orange was so popular with this movement that the Modern Quilt Guild chose orange as one of the show colors for Quilt Con 2013 (the very first Quilt Con).

Modern Oranges

However, no one has done more to promote the color orange than Sandra Mitchell.  Sandra Mitchell ran the Midwest Quilt Exchange in Ohio.  Among quilt collectors, Sandra was known as a dealer’s dealer.  Her ability to spot a quilt which held not only superb workmanship, but also historical significance was amazing.  When she suddenly passed away in 2000, her huge estate was liquidated, including her hoard of orange/cheddar quilts.  The collection was extensive, and the last quilt wasn’t sold until 2002.  But from that time to the present, anytime a cheddar quilt is seen in a book or exhibition, chances are it came from the Sandra Mitchell Collection. 

So, where does cheddar play in our quilt field today?  If you’re a Modern Quilter, you may have used this orange in a number of your quilts or seen it in quilts displayed within your guild.  If you’re a Reproduction Quilt fan and your time period is the Civil War or Feedsacks, you’re also probably well-acquainted with the color in different shades and tints.  If you’re an applique fanatic like me, I know you keep oranges tucked away for flower centers, buds, blooms, sunflowers, fruit, and pumpkins.  But what about the “traditional” quilter?  Since the color cheddar shows up in prints and batiks, many times it works its way into a quilt without much thought. 

But the solid oranges out there…

Are gorgeous.  Paired with gray, blue, black, olive, or white, they’re a sumptuous quilting lot.  I’ve even seen it used with bright pinks when it was offset by white.  As you’re pondering possible future cheddar use, let me remind you one more time …

There are no quilt police.

I honestly believe quilting has moved well past any possible list of do’s and don’ts as far as color is concerned.  If you like color use it.  If it makes you happy, put it in every quilt you make.  If you look at the quilts in our quilting lineage, you’ll note our foremothers used what they had, what they could get, and what they wanted.  As a result, you’ll find quilts like this:

Faded Cheddar Quilt Circa 1860

And this:

They abundantly used orange without a second thought.  I love the colors orange and purple together. Those colors work well in flowers and in Halloween quilts.  So the next time you find some fabric with orange in it, or better yet a gorgeous solid orange that reminds you of sherbet, go for it.  Put it in your next quilt.  Remember, everything’s better with some cheddar.

Love and Stitches,

Sherri and Sam


The Evolution of a Quilt

Evolution is defined two ways:  the process by which different kinds of living organisms are thought to have developed and diversified from earlier forms during the history of the earth; or the gradual development of something, especially from a simple to a more complex form.

For the sake of this blog, I’m talking about the second definition – how to take a quilt from its bare basic, apply creativity and techniques, and develop it into something it wasn’t.  This blog is a personal one because it tracks the way I work, which is probably different from the way you do.  However, the thought process can be similar, and I hope it creates a spark in you to think outside the box concerning your own quilts and creativity.

Everyone’s path to creativity is a bit different.  But after years of teaching high school kids and then quilters, I think creative people fall into two groups – those who passionately throw themselves into making and those who almost freeze up from fear of failure. 

Believe it or not, I fall into the second group. I cannot find the adequate vocabulary to express how terrified I was to not follow a pattern’s directions.  For years, the quilts I made looked exactly like the picture on the pattern.  The color way might have been different, but it was the only difference between my quilt and the pattern.  Looking back, I think I was completely frightened of making a mistake so unfixable the quilt would be ruined. The thought of deviating from a pattern nearly caused anxiety attacks.

Yet, I quilted with a group of quilters who were perfectly fine with tossing the pattern out the window entirely.  The directions, for the most part, were simply suggestions and they freely substituted blocks and techniques. Their end result was often so far from the pattern, most people had no idea the pattern was involved at all.  At some point – probably around 15 years ago – I decided I wanted to do that.  Throw the pattern to the wind and see where the fabric would take me.  I wasn’t able to do this overnight.  It was a process.  Sometimes I made baby steps and at other times I felt my creativity take flight and soar.  I had to start somewhere, and knowing my proclivity for patterns, it only made sense I began with those.

These were the days before I owned any Electric Quilt program.  As a matter of fact, I’m not sure I even knew EQ existed.  I came to EQ entirely by accident.  My quilt teacher was selling her EQ 4 program and I bought it.  It was clumsy and difficult to use, and I think I finally just deleted it off my computer (it was a far, far cry from today’s EQ 8).  But patterns?  I had patterns and was very comfortable with those. 

For many of us, this is the starting point of any quilt.  It may the picture of a pattern on Pinterest, Facebook, or Instagram.  It may be found during a Google search or purchased off a website or in a quilt store.  However, this picture or pattern is the springboard to change.  It’s the starting lineup for creative expression.  It’s your Genesis 1:1 or your “Once Upon a Time.” 

It’s where most of us start.  Sometimes we will alter the pattern only so much, so the bare bones of the original quilt can still be seen.  At other times, we may be inspired by the blocks or the applique or the colors and then completely deviate from the pattern for the rest of the quilting process. It varies and with me, it’s really never the same process twice.   And I’ll be honest – sometimes I know immediately what I want to change and sometimes the quilt or the fabric tells me as I journey through the process of making it.  I’m working on one of those quilts now.  As soon as I saw the pattern, I wasn’t sure what I would change, if anything. 

I loved the quilt – all the swags and quilting were simply beautiful.  Added plus – the designer was teaching the class on how to make the quilt. 

I get asked fairly frequently why I still take classes (mainly by my husband who wonders how any group can sit and talk about a quilt for hours on end…I tell him it’s the same thing as guys talking about the fish that got away).  I take classes to learn something.  I firmly believe you can come away from any class knowing something new.  In this case, the designer – Kathy Delaney– was teaching some needle turn applique tricks I didn’t know.  But the other thing which immediately drew my attention was the applique.  It was fruit.  My applique quilts are overwhelmingly floral in their subject matter.  This quilt was different.  I wanted to make it, and in the beginning, I assumed I would follow the pattern closely.  But let me show you what happened long before I put needle to fabric.  This is one of those times where the quilt evolved more and more as I made each block.  The changes began as soon as I chose my background fabric.

Let me go on the record here as saying I don’t like solid backgrounds for applique. Those are dull, uninteresting, and don’t do anything to enhance the applique pieces.  So, I knew going into the project, my background would be some kind of print – either a low-volume white or a tone-on-tone.  Let me also  tell you, I am a big fan of P&B Textiles.  Big fan.  Huuuggggeee fan. They are generally my go-to fabric house when I’m searching for a background fabric for either piecing or applique.  They did not disappoint me.  I found this:

At my very favorite quilt shop, Pineapple Fabrics.  This is actually quilt backing fabric.  But for me, the color was warm and inviting and the undulating pattern would not overwhelm the applique.  I thought it would simply enhance it.  The backing fabric also made another fabric decision for me.  When compared with a light background fabric:

This background fabric shows up as a medium.   I immediately knew whatever fabric I chose to make my fruit with, it needed to be saturated with color in order to contrast fully against the background.  I raided my batiks and super-saturated quilting cottons to pull for my produce applique.

And the process began.

The pattern suggested cutting the unfinished squares at 13 ½-inches, and even though I was still uncertain exactly how I would construct the quilt top, I thought this was a great place to start.  After the fruit was centered in the middle of each square, I still had plenty of “breathing” room around it to either leave it as is or trim the square down a little.  However, this brought me to the next decision.  Kathy had beautiful crosshatching behind her fruit.  I could either deviate from that type of quilting and quilt small pebbles or tight meandering around the fruit or go with the crosshatch – which I really liked.  The only problem is, I hate to quilt crosshatching.  No matter if I am working with my longarm or my Janome M7, I am really not a fan of the actual work involved with crosshatching.  It’s a stop and start, circle around, backtrack, and go forward process. 

Still, I really wanted the fruit to be star of the quilt – not so much the quilting.  So… I made another creative decision.

I would pre-quilt my squares before I appliqued them.  Word of warning, this will not work for every applique quilt you want crosshatched, but I can make it work for this one.  The process is pretty simple, and I’ve explained it before.  I marked the 1-inch interval crosshatching on my square of fabric and then traced the fruit layout.  I backed the square with a thin layer of 80/20 silky blend batting, and using my M7, stitched the crosshatching.  Added bonus:  I found the pre-cut batting squares online at the Fat Quarter Shop.

Next, I had to consider the applique.  At this point in my quilting journey, I’ve used needle turn, back basting, freezer paper, reverse applique, and Apliquick.  Whenever I undertake an applique quilt, one of the first decisions I make is what type of applique technique will I use.  And often that’s not the same  technique the pattern designer calls for.  For me, the fabric, my timetable, and personal preference usually dictates which procedure I use. The original pattern used needle turn.  This would be difficult now.  The added bulk of the pre-quilted squares would make needle turn harder. Back basting wouldn’t be any easier.  I finally decided on Apliquick.  This was as much personal preference — this is my favorite applique technique – as it was practicality.  The Apliquick interface would effectively prevent any of the background fabric from shadowing through to the fruit.  It also would play nicely with the added bulk from the pre-quilted fabric.

With those decisions made, I began the applique process.  I tend to “assembly line” my work.  I traced the pattern and graphed out the crosshatching, quilted the background square, and prepped all the applique.  I worked through the first three squares following the directions (for the most part).  Then all of that changed when I found this fabric:

Which, in my opinion, happens to be the very thing I needed to pull my quilt together.  Now I had to make some more decisions – do I use the fruit fabric for the swags, or do I want to make some changes to the construction?  And believe it or not, this took some time, some contemplation, a few glasses of wine, some quality time on EQ, and some research.

Kathy Delaney’s Horn of Plenty for a New Generation

If you look back at Kathy Delaney’s original Horn of Plenty for a New Generation   pattern, you note it’s a square quilt, comprised of 18 appliqued blocks and 17 alternate blocks.  The applique blocks are trimmed to 12 ½-inches and in between the applique blocks are 9 ½ x 12 ½-inch alternate blocks which are quilted with a cornucopia design.  The border is scalloped.  I could complete my quilt this way except for two things:

  1.  Kathy’s quilt was quilted by hand, making the cornucopia easy to trace and quilt. I plan on long arming my quilt, which means I would have to digitize the cornucopia and let the long arm’s computer do the work.
  2. I really wanted more room to show off my fruity fabric.

So…the answer to these two predicaments was to add sashing to the quilt.  While this would definitely show off my wonderful material, it did propose its own set of issues.  It would leave me with only the 18 applique blocks.  While 18 is an even number, making it a bit easier to work with, the math would show that:

I could have two rows of nine blocks

Nine rows of two blocks

Three rows of six blocks or

Six rows of three blocks

And none of these make for an attractive layout.  I didn’t necessarily want the alternative blocks with the cornucopia, so I threw everything into EQ8 and came up with this:

Five rows, with four blocks in each row.  Which meant I needed 20 applique blocks and the pattern only produced 18…

Which meant I would have to come up with two more fruity blocks on my own.

After poking around the produce aisle at Publix, trying to seek inspiration and groceries, I decided to limit my search to fruits native to North Carolina.  This would definitely add a creative twist to my quilt and make it a bit unique.  I came up with this:

The persimmon.  I know it grows in other states, and there are wild persimmon trees (which used to be so abundant here) as well as cultivated ones.  As a child I remember my paternal grandmother would get these and make the best persimmon pudding.  This “pudding” wasn’t a pudding like you may be thinking – it looked nothing like a Jello pudding cup.  It was more like a really moist brownie in texture, but it had a cinnamon-y, ginger-y taste and went excellently with a dab of whipped cream.  The internet yielded lots of pictures of persimmons, making my search quick and easy.

The next fruit I decided to add was the paw-paw.  I don’t mean this kind of paw-paw…

I mean this kind of paw-paw.

This fruit is also called the Appalachian banana.  It grew wild here for years until development and deforestation made the tree scarce.  The fruit is green, small, and pear-shaped.  It’s sweet and has a creamy texture kind of like a banana.  Fortunately, biologists and botanists and all different kinds of plant lovers have come to the paw-paw’s rescue. Now we have cultivated the plants to the point you can purchase paw-paw trees and have your own personal crop.  This fruit was a little more elusive in the internet searches.  The world-wide web kept giving me pictures of papayas – which are also a wonderful fruit, but not native to North Carolina.

Let me drop in a helpful hint at this point.  If you a searching for a picture of something for an applique project on the internet, you can get hundreds of color images.  But for applique, we need a picture which isn’t as detailed. Let’s use the persimmon as an example.  When I asked Google to show me an image of persimmons, I was inundated with photos and drawings.  But what I really wanted was a simple line drawing of the fruit to make my applique pattern from. 

If you ask Google for a coloring book image of whatever you’re looking for, it will return line drawings.  In this case, I Googled “persimmons coloring book images” and this is what I got:

Which allowed me to easily create the persimmon applique block.

Likewise, there is an app for your phone called Adobe Capture.  This allows you to use a picture from your phone and create a line drawing.  You can load the picture to Capture and it will turn it into a black and white sketch.  So, all those pretty pictures you have in your phone?  Now they all have the possibility of becoming an applique quilt. 

My Pomegranates
Kathy’s Pomegranates
My Plums
Kathy’s Plums
My Apricots
Kathy’s Apricots
My Oranges
Kathy’s Oranges
My Lemons
Kathy’s Lemons
My Grapes
Kathy’s Grapes
My blueberries…not exactly what Kathy had. She had currants
Kathy’s Currants
My Cherries
Kathy’s Cherries — look at her skinny stems….
My Bananas
Kathy’s bananas
My Apples
Kathy’s Apples

These are some of the applique blocks I have completed, next to the pictures of the originals.  As you can see, I stayed true to the pattern for the first several blocks, and then began to stray.  The block with the blue berries was originally currants.  I looked at all the blocks and decided the quilt needed some additional blues, since there was only one other block with that hue.  The pattern has some yellow apples, but I will make these green. Yellow really fights to be seen on this background.  I struggled with the bananas (which pretty much must be yellow) and am still not happy with the contrast.  I didn’t want to go through the same struggle again, so I changed the Golden Delicious to Granny Apple.  Another block contained Logan Berries, which to be honest, I had never heard of until this quilt.  The pattern called for reverse applique with tiny slits in it for black fabric to peek through to give the illusion of berries.  While I can perform reverse applique with Apliquick, those tiny, tiny slits weren’t anything I wanted to deal with no matter what technique I used.  I nearly completely disregarded this block altogether and began to earnestly look for substitutes.  Then I found this fabric…

Which did all the work for me.  The print gives the illusion of circles, which when placed with a vine and leaves makes you immediately believe they are berries.  So, the Logan Berries stayed put. 

This quilt is not complete.  There is sashing to be dealt with and I’m still unsure of the borders.  However, every time I work on this quilt, it tells me something new to do.  It lets me know where to go and what to use.  I realize this sounds like some kind of mystical experience, but most quilters who have worked their art for a number of years will tell you, “The quilt wants what it wants…and it will tell you what it wants. Just give it time.”

How do you begin this process for yourself?  It varies from quilter to quilter.  Some quilters jump in with both feet and do things like this from day one.  Others, like me, will stick a toe in the water and take their time before approaching the deep end of completely tossing the pattern.  I can give you a few helpful hints, but your quilt journey is your own.  You know your own comfort level.  Go as slowly or as quickly as you want.

  1.  Take a picture of the pattern with your phone.  With the editing tools, change the picture to black and white.  Toss the colored picture of the quilt and use the black and white image to find your lights, darks, and medium fabrics.  This is often the first step towards individual creativity quilters make.  Believe it or not, it’s hard to mess up a quilt with fabric choices. 
  2. With this, make some not-so-obvious fabric choices.  I think this is easier to do in applique quilts.  Just like the fabric I found for my Logan Berries, sometimes odd fabric prints work great for grass or flower petals.  This is a bit more challenging for pieced quilts.  One of the first suggestions I would offer is to make a quilt which is not in your normal comfortable color range.  For instance, brown isn’t my “go-to” in pieced quilts.  However, I made a brown and blue quilt a few years ago and it did open my eyes to all the brown options available.  While it still isn’t my favorite color, I do use it more liberally. 
  3. Think outside the box.  If you can, don’t even be in the same room with box.  By this, I mean forego the obvious. For instance, let’s think about a floral applique block, such as this:

It’s easy to just to go for all the greens in your stash when making the leaves.  But what would happen if you threw in some blues?  Or pinks and reds in those leaves?  The block would change character.  Those blue, red, and pink leaves could be interpreted as either leaves or buds. 

What if you wanted to make a classic red and green quilt? 

That particular color combination can mentally set your teeth on edge because within those two colors there is a lot of shades, tones, and tints.  Sometimes they clash.  So, ponder this question – does it really matter if it clashes?  Sticking with two absolute colors in a two-color quilt can be kind of, well… flat.  Look what happens when you open the fabric field up to lots of greens and reds.

Remember, the pattern and its directions are just a starting point.  Unless you’re in a situation where the fabric is limited (such as a kit), this is just the beginning.  If the pattern calls for two different kinds of 10-inch blocks, this doesn’t mean you have to make their suggested blocks.  Use the blocks you love.  The only caveat is they need to finish at 10-inches. 

Finding your creative quilt voice takes time and patience.  Some quilters are like free-flowing rivers.  They seem to easily grasp what works for them and a quilt and move along with the process.  Other quilters are like me.  It takes longer to become more self-assured in your process and your journey.  Whichever type you are, it’s important to for you to go as fast or as slowly as you feel comfortable with.  There is no right or wrong.  Let the quilt speak to you and use this voice in the process.  In doing this, the quilt and the quilter will evolve.

Until Next Week, Make Your Quilt Yours!

Love and Stitches,

Sherri and Sam


Risk Taking and Making…

Opportunity does not come giftwrapped.  You must take risks.

As quilters, it’s easy to ride the flow.  We find a pattern we want to make.  We purchase the fabric or raid our stash.  We cut according to directions and construct according to instructions.  A few weeks stitching at our machines produces a quilt top we either quilt ourselves or farm out to a quilting artist.  It’s returned to us, we put the binding and the label on, and tada!  We have a quilt.  The process – for the most part – has been controlled and “user-friendly.”  There were no odd surprises or difficult challenges or scary moments.  It was relaxing and fun.


What would happen if we changed some things about the quilt we’re making?  I mean obviously, the quilt would transform into something it wasn’t.  It would no longer look like the quilt in the pattern.  We could substitute blocks or put applique where there wasn’t any before.  We could change sizes of blocks or the quilt itself.  We could alter borders and add embellishments.  The quilt which arrives out from under our needle would look different than the one on the pattern.  All of that is a given.

But what about us?  What happens to us as a quilter when we take risks?  What occurs when we dare to toss aside the pattern and simply see where the quilt takes us?  First let’s look at what risk taking does to people in general, and then let’s home in quilters. 

Broadly, there are two types of risks.  There are those which are calculated.  These are the ones where the pros and cons of the decision are carefully considered.  The risks are weighed against possible losses and gains.  These are the risks associated with such things as investing and in some cases, medical decisions.  A lot of thought, research, and discussion goes into these risks.  And overall, if the risk is taken, the outcome is generally favorable. 

Then there are those risks where we throw caution to the wind and go for it.  Decisions are made on a whim or a dare.  Whether the end result will be favorable or not varies as much as a coin toss.  Sometimes these risks are as stomach-dropping as a roller coaster and others are as serious as an “I do” at the end of an altar. 

Both kinds shape us as individuals.

For quilters, I think taking some risks is vital to your creativity.  While using a pattern or a kit is great and both can certainly help us along on our quilt journey, there is something to be said about turning a pattern on its ear or throwing it out the window entirely.  It does something to your mind.  It’s very freeing, but also a tad scary.  Most of us, from the beginning, have been taught to quilt by patterns.  We were coached step-by-step through blocks and then rows.  We are comfortable with this.  Patterns are our oldest friend and closest quilting confidant.  They are what we know best.  However, risk is easier when you take what you know – what you’re the most comfortable with – and make a few changes here and there.  Sure, taking a chance with those can still be a little scary, but we know we always can return to the pattern for guidance.  And risk taking is easier with patterns you’re the most familiar with.  Don’t think so?  Then take a look at this quilt:

Which is made from this quilt block:

Which was originally this quilt block:

A nine-patch.  The quilt referenced is called a Disappearing Nine Patch, and it may not have ever been made if someone hadn’t taken a few risks with a regular nine-patch block.  The nine-patch is a familiar quilt block – probably one of the first beginner quilters learn to make.  Since the block is so familiar, taking risks with it was easy. 

Changing things … taking risks … can result in creative break throughs for you as a quilter.  Quilters are artists.  No matter if you are most comfortable religiously following a pattern, like to mix things up a little, or you are adept at stirring the creative pot – you are an artist, a creative soul, a maker.   Taking chances will free your mind.  It will allow you to think on a different level.  The barriers are gone, and anything is possible.  It fills you and gives you energy.

And sometimes it’s a bit intimidating.  Let me throw in a personal example.  I am taking a quilting class.  And I mean a “quilting” quilting class – the kind where you’re working with your long arm or stationary machine and quilting the top, batting, and back together.  I signed up, was given access to the teaching platform and dutifully began to download the lessons, instructions, and assignments.  Part of the class preparation is to make some small tops to quilt before moving onto the big assignment which involves quilting all kinds of yummy fabric, including silks.  I had several small quilt tops I hoped would work so I could dodge a few of the assignments.


Part of this quilting journey is learning to think creatively and “on your feet.”  It’s allowing your creativity to drive the process.  The first small quilt I had to make involved this block:

Drunkard’s Path

Which is not my favorite.  All those concave and convex curves and bias…just not my thing.  I read through the pattern, and to my surprise, there were no hard, fast directions.  No pattern.  No solid dimensions of what your blocks needed to finish at.  Cut eight blocks of one fabric somewhere between 9 and 10-inches.  Cut eight more blocks from another fabric the same size as the first blocks.  Put one block of fabric A on top of fabric B, with both blocks right sides up.  With your rotary cutter cut a gentle curve.

What?  No ruler?  No template? 


I can’t tell you what a mind-hurdle I had.  Nor can I explain the fun I had, either.  Suddenly I was gifted with permission to make that curve as gentle or as tight as I wanted.  Gentle curves.  Wavy curves.  Almost-straight curves were produced with sheer random.  Sewing them together was fun and easy.  At the end I had four large pinwheel-ish blocks.

But getting over the mind-hurdle of no concrete finished sizes (just trim them all to one size), no template, no pattern…it pushed me out of my comfort-zone box.  It was freeing and fun…and I realized I’d do it again in a hot minute.  Then I asked myself why I wasn’t already doing it more often?

Because I’m afraid of making a mistake.  But honestly, once you get to the point where you understand it’s just a quilt and most things can be fixed, suddenly you find your “comfort zone” has evaporated and anything can happen because by removing those barriers, you’ve given yourself permission to make mistakes.  And this is a good thing. Why?  Because great things can come from making mistakes.  Edison didn’t come up with the lightbulb on the first try.  He made lots of mistakes.  In the end, all those mistakes paid off.  Each one let him know what didn’t work and pointed him to what would. 

Same with quilters.  There are few “mistakes” which are totally unfixable in quilting, so give yourself permission to make some errors.  Great quilts can come from knowing what didn’t work so well and how we “fixed” the mistakes.  Breathe.  Trust yourself through the process.  And   if you get completely frustrated with the quilt, just walk away for a while – not forever, but for a few days. 

At this point, I’d like to leave you with a couple of thoughts.  First, let’s talk about the quilt which seems unfixable.  You’re in the middle of quilt construction and you’ve made some changes.  Maybe you’ve altered some blocks, changed some block sizes, or re-designed the borders – but whatever you’re doing isn’t working.  You’ve put the quilt in time out for a few days, thinking by the time you get back to it, you will have come up with a solution.  But a solution doesn’t happen and now you’re left with a quilt you’re not sure what to do with.  When this happens to me, the first thing I do is consult my quilting friends.

I regularly quilt with a group of women I’ve known since 2010.  We met in person for years, but now because of Covid and all those minion variants, we meet via Zoom.  These women are some of the best quilters (and friends) I’ve been blessed to know.  I can send a picture of my quilt via text or Zoom and within a half an hour, I have options.   These options happen because my friends have space between themselves and the quilt.  I’ve been up close and personal to it for days.  They’re looking at it for the first time.  Their minds see the quilt differently and as a result they can offer me solutions I haven’t thought of.  Quilting friends are invaluable for many things, and their creative minds and quilting talent are two of them.  If you have quilters who are near you, develop relationships with them (this is why bees and guilds are so important).  If you don’t have nearby quilty friends, let me encourage you to join an online or Facebook quilt group.  Most of these groups are carefully monitored and unkind comments and unsolicited advertising aren’t allowed. 

If all else fails and you can’t find a workable quilting solution, you can give the quilt away.  Leave it on a free table at a guild meeting (along with your leftover fabric and any directions).  Drop it off at Goodwill.  Or….simply trash it. Before you hyperventilate by gasping in horror, let me remind you:  It’s. Just. A. Quilt.  It’s fabric and stitches.  It’s plans and designs.  Designs which didn’t work out as planned.  Salvage anything you can (such as fabric and notions), and to borrow a phrase from Frozen’s Elsa – Let it go. 

Now you’ll be singing this in your head the rest of the day…

And remember the quilt wasn’t a total waste.  It taught you lessons.  It showed you what didn’t work.  You took a risk and it didn’t go as planned.  Take what you’ve learned and move on. 

So, as we move through this year’s theme of Making Your Quilt Yours, I want you to try something for me.  I want you to take some risks.  I want you to change somethings in your patterns.  Big or small, it doesn’t matter. I deeply desire you learn to get comfortable taking some risks and changing a few things here and there.  Then send me pictures.  My email is  Show and tell me what you changed.  I’ve shown you folks plenty of quilts I’ve made and have given you specifics (often in nauseating detail) of what I altered, how I altered it, and why.  Please return the favor.  And if you give me permission to do so, I’d like to share it on my blog.

Nothing ventured, nothing gained.

Until next week, Make Your Quilt Yours (and pretty please share it with me),

Love and Stitches,

Sherri and Sam


The Intersection of Reality and Expectations

You will read this blog sometime in February 2022.  However, I’m writing this blog on January 26, 2022.  For the record, I always keep at least four weeks of blogs “in the can” just in case something happens.  I don’t write well under stress.

With this time frame in mind, this blog is about Expectations Verses Reality.  Most of my regular readers know I have a process I muddle through at the beginning of every year.  I make a list of the quilts completed the previous year, a list of quilts I want to finish during the current year, and a list of quilts I want to start.  Each list has its own purpose.  The list of finished quilts is for encouragement.  Every time I look at it, it says, “See?  See what you can do when you focus and kick your determination into high gear?”  In 2021, I completed four quilts – Twinkling Twinkle, All Roads Lead Home, Sunflower Dance, and the T-shirt quilt I made for my brother, Eric.  Four quilts pieced, quilted, appliqued, bound, and labeled.  Not too shabby, if I do say so myself.

I find myself in the middle of three quilts I began in 2021 and am working to finish in 2022:  My guild’s 2021 BOM, a chemo quilt for a good friend, and the alphabet quilt I blogged about in September 2021.  More on all three of these later.  Lastly, there are two quilts I want to start this year – Garden Party Down Under and Windblown Tulips.  I’ll also talk about these in a bit.  Of course, my “Lifers” are still there, but good progress has been made on two of them.  A Day in Grandmother’s Flower Garden is nearly completely assembled.  I’m sewing the columns together. 

Remember, this quilt is pieced entirely by hand.  It’s taking some time, but truthfully, it’s coming along faster than I expected.  I have found I can work on this one for a few weeks at a time and then the quilt and I both need a break.  The columns are long.  I worked out a plan to manage the bulk.  I sew two columns together and then attach those to the quilt top.  This limits the amount of time I’m dealing with all the bulk in my lap or on a table.  The challenge will be the borders, but those are still in the distant future.  I’m really not thinking about them too much right now.

A Horn of Plenty for a New Generation is moving right along.  Over Christmas, I finished prepping all the Apliquick applique pieces, bagged and tagged those, and pre-quilted the remainder of my quilt squares.  This quilt has undergone some serious changes – so much so, it has its own upcoming blog where I will walk you through my design process and explained the decisions I made.  The Language of the Flowers got put in time out.  I think this quilt will remain there at least until I get the last few fruity blocks appliqued in my Horn of Plenty quilt.  I do have the next block prepped, though….so there is that.

Garden Party Down Under is a quilt designed by Irene Blanck.  This quilt is offered as a block of the month through The Quilt Show.  You must be a member of The Quilt Show in order to receive the patterns.  There are two reasons I love this quilt.  First is the designer, Irene.  I’ve met Irene through some sit and sews with The Applique Society via Zoom.  She’s amazing, gracious, positive, and funny.  She also is a very, very talented designer.  She created this quilt during the Pandemic – a time when she couldn’t receive outside shipments of fabric (she lives in Australia).  She pulled her quilt from her stash and it’s bright and beautiful.  She used fabric I would have never dreamed of using.  I’m making this quilt with that kind of fabric – fabric I would look at in a quilt shop but wouldn’t have any idea how to incorporate it into one of my quilts.  Currently the project box holding the material for this quilt looks like a box of 64-count Crayola crayons threw up in it. 

I’m having such a blast collecting the fabric, I can’t wait to start the applique, but I promised myself I would have to complete one of the projects currently under my needle before I make the first cut. 

Windblown Tulips Pieced Background

Windblown Tulips  is a small applique wall hanging.  I’ve pieced the background and have the templates cut out, but this is as far as I’ve gotten with this one.  This project is portable, so I have a feeling it will go with me on the next Florida trip to see my son. As far as my color palette goes with this one, it’s very “me.”  A pop of unexpected, but primarily traditional fabrics. I decided to use freezer paper applique with this project.  All the applique I’ve worked over the past two years has been either Apliquick or raw-edge applique.  I decided I need to re-visit this technique, so I don’t forget how to do it.

Now we get to the part where reality crashes into expectations.  I’m in the middle of three projects.  The first one is this:

You may remember this little quilt top.  This is my guild’s 2020 BOM no judgement – no one said it had to be finished in 2020 and in my defense, I was making hundreds of masks.  For this quilt, all we got were the patterns and a requested colorway.  There were no finishing directions.  We had to come up with our own layout.  Since I love all things on-point, that’s the direction I went.  And I’m really pleased with the layout and the borders – which allowed me to use up some leftover half-square triangles.  I only need to quilt this and get it bound and labeled.  Then I’ll send it to a good friend who’s battling through her second round of cancer.  I’ve had the quilting marked out for weeks, but still am feeling a bit unsettled about it.  I need a weekend where I’m snowed in (with power), a bottle of good wine, and some uninterrupted quilting time.  I’ll anchor the quilt and let it talk to me.  Or I need a weekend when the hubs is fishing or golfing and I have a couple of days to myself.  Either way, my plan is to have this mailed out no later than Easter.  There.  I’ve set a date.  Hold me to it, ya’ll.

HPQG 2021 Mystery Quilt. I promise there is a quilt in there somewhere.

I don’t think I introduced the High Point Quilt Guild’s 2021 Mystery Quilt … and that’s because short of buying the required fabric, I hadn’t touched it until recently.  This was designed to be a two-color quilt, which was something I’ve never undertaken.  I’m still in the middle of making block units, which will soon be sewn into blocks.  This pattern introduced me to a new way of making four-patches and I must admit, I didn’t like it.  It did, however, use my favorite technique for flying geese – the No Waste Method.  I’ll be putting this thing together in a few weeks.  I purchased enough fabric for borders, but I’m debating about taking some of the border material and sashing the blocks.  I’ll see how everything pans out once I get the blocks sewn together and lay them out.

The third quilt I began in 2021 and will finish this year is the alphabet quilt I discussed in this blog:  I’m very happy with this quilt.  If you remember, I had to redraft this quilt from a whole cloth quilt to one with squares so that it would be easier to raw-edge applique.  I completed my squares, cut them down to 10 ½-inches and have sewn them together.  The original pattern had the center of the quilt at 34 ½ -inches x 44 ½ -inches, unfinished.  My center is 47-inches x 58-inches. 

This means I may need to redraft my borders, too.  The original borders were 8 ½-inches wide.  However, once I did the math (10-inch finished block x 1.618 divided by 4) I get about 4-inches.  Since the borders will hold a multitude of appliqued flowers, I decided to leave them at 8 ½.  As a matter of fact, I plan to draw a layout of the borders with the flowers on them at 8 ½-inches and see if perhaps they may even need a bit more breathing room.  The applique pieces are large, and I don’t want them to appear too crowded.  This quilt will have a follow up blog in the near future. 

Do I think I can finish all three of my works in progress this year?  Yes.  I just need to stay focused.  I do this by making not only this list

And keeping it somewhere I can easily see it, but I also make weekly lists of what I want to get done. 

On this list I make sure I have specific goals.  I don’t necessarily tell myself  to spend a certain amount of time each night quilting.  If there’s a sure-fire way to set myself up for failure, it’s that.  My days can vary as much as yours does.  Somedays I have more time to spend in my studio and somedays I have significantly less.  I know I have fewer hours Monday through Wednesday due to the nature of my job.  From Thursday on, my schedule is more flexible.  Each week I make sure I have some goals which can be accomplished quickly and a few which will take more time.  The lighter tasks are taken care of earlier in the week and I hold off on the lengthier tasks until the weekend. 

So this is where I’m at – the intersection of Reality and Expectations.  I think I’ll get through most of my goals this year just fine and safely travel until I get to 2023’s intersection of Reality and Expectations.  Lists work for me.  If you find yourself aimlessly wandering around your quilt studio or wondering what project to tackle next, you may find a list like mine works for you.  It sure feels good crossing things off you’ve completed!

Until next week, Make Your Quilt Yours!

Love and Stitches,

Sherri and Sam


Sticky Situations

Today I’d like to discuss a subject which is entirely subjective:  fusible webbing.

The choice of a fusible can be as personal and biased as your favorite batting brand or fabric designer.  And on the surface, fusibles may even seem like an afterthought compared to all the other quilting decisions you have to make.  I mean, you need to hold some fabric patches in place while you stitch around them – why does this need to be a huge decision?  Can’t you just grab whatever you have laying around and use it?

The answers to these questions are just like most of those in quilting…yes…and no.  To begin with, let’s talk about the difference between fusible webbing and fusible interfacing.  Both are fusibles (can be adhered by the heat of an iron) and both can be used in quilts, but they are different, and each has its own separate purpose.

Fusible interfacing is actually a fabric which gives shape and stability to whatever cloth item you’re making.  Fusible webbing is a fiber.  I use both in my quilting.  I use fusible webbing primarily in machine applique, although there are a few other areas I may use it.  While the term fusible interfacing is usually thought of in the context of garment construction, I have also found it super-handy in some quilting techniques.  For instance, if a quilt I’m making has large blocks which are set on point, such as this one:

I will use a type of soft, thin tricot fusible interfacing to stabilize the bias and keep it from stretching. 

This type of interfacing is easy to piece with and so thin it doesn’t interfere with the quilting process.  I have also used this interfacing on the backs of blocks which have a lot of bias-cut pieces  to stabilize those before sewing the blocks together in rows. I cut the interfacing the exact size of what the unfinished block should be, center it on the back of the block and press.  If I need to (because the block may be uneven), I can use the edge of the interfacing as the sewing edge.  For T-shirt quilts, it’s indispensable as a stabilizer for the knit fabric. 

Featherweight and even medium-weight fusible interfacing are found in my studio.  I use these on the backs of my quilt labels to give them a bit of shape before sewing them onto the back of my quilt.  And if you’re a quilter who also makes bags, you probably have several other different types of interfacing in your quilting space. 

Fusible webbing is different – and from here on out, when I mention fusible, I’m talking about fusible webbing, not interfacing.  One of the advanced techniques I plan on highlighting this year is raw-edge machine applique, and some kind of fusible is needed for this method.  This webbing reacts to the heat of an iron, and it melts onto the back of your fabric and its paper backing is removed– unlike a fusible interfacing.  A fusible interfacing’s bonding agent will melt onto the wrong side of your fabric, but the interfacing itself will remain intact.  There are a couple of great things about fusible webbing and fusible interfacing.  First, neither are too pricey.  Second, both can be found in big box stores such as Joann’s, Hobby Lobby, and Walmart.  And third, fusible is a US term.  In the United Kingdom and some other countries, it’s known as Bondaweb. 

However, before we start discussing the different types, weights, and brands of fusibles, I would like to offer a few tips for using any fusible. 

  • You may want to prewash your fabric before applying any fusible.  Sometimes the finishing chemicals on the fabric prevent the interfacing or webbing from adhering the way it should to the wrong side of your fabric.  Prewashing will remove all finishes.
  • Make sure you use the correct weight for the fabric and object under construction.
  • Keep in mind the webbing fuses two pieces of fabric together and makes them stiffer.
  • Keep fusible tape or strips in your sewing kit.  They’re great for mending – especially quick hem fixes.
  • Always, always, always remember the webbing is not a permanent bond (as neither are glues, basting sprays, or the bonding powder).  It will dissolve with washing or use over time.  It’s always necessary to stitch around the fused piece of cloth to ensure it stays in place.

How Fusibles Work

Unlike fusible interfacing which only has the bonding agent on one side, webbing has adhesive on both sides.  That’s important to keep in mind as your iron is the tool which adds the heat and activates the adhesive.  As long as the paper backing is on the webbing, it’s easy to tell which fabrics have fusible on them and which don’t.  Once the backing is removed, it’s harder.  If an iron directly touches the webbing, be prepared for a sticky mess on your iron.  This is why you may want to keep a tube of this:

In your sewing space or something else which will clean your iron in case of a fusible accident.  Word of caution here…you only need a dab of the cleaner.  One time I used too much on the surface of a hot iron and this produced a lot of smoke…which made the smoke detector go off…which prompted a visit from the local fire department – who were not amused.  And looked nothing like those hot firemen in the calendar, much to my disappointment.

The first step when working with fusibles for any type of applique is to look at your pattern.  Using fusibles for machine applique is a bit like working with freezer paper applique on the wrong side of the fabric – the applique pattern pieces need to be reversed.  Usually, if the applique pieces are reversed in the pattern, it will state this somewhere in the instructions or directly on the applique pattern pieces. If you can’t find this information anywhere, assume the pieces are not reversed. 

To reverse pattern pieces, I use my light box (if you don’t have one of these, go here I tell you how to make your own).  I flip the pattern over, so the printed side is against the surface of my light box.  I then position my fusible over the pattern with the paper side facing up and trace the pattern.  This will reverse all the applique pieces.  If the pattern is reversed, put it on the light box with the printed side up, position the fusible with the paper side facing up and trace. 

After all the pieces are traced onto the paper side of the fusible, use a sharp pair of paper scissors to cut the applique pieces out, leaving about 1/8 to ¼-inch margin around the drawn lines.  Position the applique pieces on the wrong side of the fabric and press. 

A few words of caution at this point.  First, be sure to read the directions for the type of fusible used.  Somewhere in the directions, it should be stated what heat setting to have your iron set on and how long to hold the iron on the fusible.  Too much heat, too much time, too little heat, or too little time will affect the bonding agent.  Second, I avoid using mechanical pencils to trace my applique pattern onto the fusible.  I know that sounds kind of picky, but here’s why:  the wrong side of the fusible – the side with the webbing on it – is bumpy.  I can’t get a smooth line when I trace with a mechanical pencil.  I think the lead is too thin.  I like these pencils:

To trace just about anything in my studio.  The lead is soft enough to give me a smooth line and dark enough I can see my marking, but not so dark it gives me any issues on my fabric. Added plus, they’re inexpensive and can be found in just about any grocery or drug store. 

Then cut the applique pieces out on the pencil lines.  If the pieces won’t be used immediately, leave the paper on.  If not, position them on the background fabric before removing the paper.  Once you’re happy with the block, remove the paper backing, reposition, and press.  This is generally the way I handle my raw-edge applique blocks.  Once the paper is removed from the webbing, the back of the fabric is tacky from the webbing and can be difficult to maneuver.  If my block only has a few applique pieces, I may opt to remove the paper, position them, and then press.  However, if the block is like this:

And has a lot of pieces, I’ll wait and remove the backing until I’m happy with the arrangement.  If you’re still a little unsure of the process, there are a couple of upcoming blogs on raw-edge applique.

Now that we’ve discussed the difference between fusible interfacing and fusible webbing, and know (in a very broad, general way) how to use the webbing, let’s take a look at some of the major players in the fusible world and a couple of minor ones I really like.

Thermoweb – While you may not be familiar with this name, if you’re any kind of crafter, I bet you know the name Heat and Bond.  Thermoweb is the parent company.  They produce iron on adhesive, Heat and Bond, Heat and Bond Light, Heat and Bond Featherweight, and fusible webbings sheets which can be run through an ink jet printer or a cutting system such as the Brother Scan and Cut.  There are a lot of great things about these products.  Thermoweb has  merchandise for just about any fusible need you have.  They are reasonably priced and can found in most big box stores which has a sewing or crafting section.  Years ago, I appliqued a lot of sweatshirts (I did hundreds of sorority sweatshirts for a local college). I tried several different fusibles, but found I preferred Heat and Bond because it left the applique pieces stiff and could stand up to the abuse of a thick, satin stitch.  The downside to Thermoweb is just this – I find even the Featherweight leaves a bit of a stiff hand. However, there are ways to work around this and we’ll talk about them later.

Steam-A-Seam/Steam-A-Seam 2 – Like Thermoweb, this product is readily available in big box stores with a sewing section as well as quilt shops.  The biggest difference between Steam-A-Seam and Thermoweb is the packaging.  With Heat and Bond, the fusible is backed on one side with paper.  With Steam-A-Seam, both sides have paper.  On one side, the paper can be easily pulled away from the fusible.  On the other side, it can’t.  Trace on the side which stays attached to the webbing.  The paper from the other side can double as a pressing sheet or tear away stabilizer (sometimes needed with machine applique).  Like Thermoweb, Steam-A-Seam also has the 8 ½ x 11 sheets which can be run through an inkjet printer. 

Right now, you may be asking “Why two pieces of paper protecting the fusible webbing?  Isn’t one enough?”  Technically, yes.  And while the extra piece of paper can be used as a pressing sheet (and why this is kind of handy will come in later) or a stabilizer, the second piece of paper really serves to protect the webbing if it is stored for a while.  I have found if the fusible not used for a while, eventually the webbing will separate from the paper.  This additional piece of paper helps the fusible to keep its integrity. 

Wonder Under by Pellon – Pellon has given us quilters a lot of great products through the years and Wonder Under is one of them.  Like Thermoweb and Steam-A-Seam products, Wonder Under is available in lots of big box stores and quilt shops.  The biggest difference between Wonder Under and the other two fusibles is Wonder Under is acid-free.  This is something to keep in mind if you’re construction a quilt for the ages – the fusible won’t damage the fabric since it’s ph-balanced. It comes in various weights and types, but it’s important to keep in mind Wonder Under’s fusible bond is permanent. If you’ve fused a piece of applique in the wrong spot, you may be able to move it, but the adhesive will remain behind.

Misty Fuse – Compared to Wonder Under, Heat and Bond, and Steam-A-Seam, this may be a name you’re not familiar with.  I just recently discovered this wonderful fusible.  Misty Fuse has no paper backing, which makes working with it a little tricky.  It is great for use in sheer fabrics, so if you’re using super lightweight fabrics in your applique for things like insect or fairy wings or icicles, Misty Fuse can take care of your machine applique needs without compromising the fabric’s appearance. 

Because Misty Fuse is lightweight, it’s wonderful for applique quilts with multiple layers – such as art quilts or landscape quilts.  These types of applique quilts may have lots and lots of fabric fused on top of each other and a “regular” fusible can add to the bulk of the quilt, making it difficult to get a needle through in the quilting process.  Misty Fuse literally disappears after ironing and doesn’t change the hand of the fabric.  It comes in white, black and ultraviolet – which works great on sheer fabrics. 

Since it has no paper backing, you have to change how you use this fusible.  Lay the Misty Fuse on the wrong side of the fabric, and cover with a silicone sheet (a silicone baking sheet works well), a Goddess Sheet (more on these in a bit), or parchment paper.  Press according to directions. 

Couple of things to keep in mind as you use Misty Fuse.  First, save your scraps.  I keep mine in a Ziploc baggie.  Since there is no paper backing, even the smallest pieces can be used in your applique.  Second, if you have fabric scraps with Misty Fuse on the wrong side and you want to save them, be sure to store them separately from your regularly scrappage.  Misty Fuse is so lightweight, it’s difficult to tell it’s even on the wrong side of any fabric. You could run into some pressing issues if you accidently used some of the scraps with Misty Fuse on them in a pieced block.  Ask me how I know.

Soft Fuse ­ — My relationship with Soft Fuse goes back several years.  I had never heard of this fusible until Dragonfly Quilt Shop opened its brick-and-mortar store in High Point around 2009.  Up to this point, I used whatever fusible Hancock Fabrics had marked down – which meant either Steam-A-Seam, Wonder Under, or Heat and Bond.  I took an applique class at Dragonfly and had the chance to use Soft Fuse.   I was instantly hooked.  It allowed the fabric to maintain a soft hand (not as soft as Misty Fuse, though) and I didn’t have to “window cut” (more on this technique later) any of my applique pieces unless they were really big. 

Like most of the other fusible webbing, Soft Fuse comes in rolls or sheets.  It has a paper backing and bonds well with everything except super heavy fabric.  And it preps just like the major three fusibles.  To tell you how much I like this product, when Dragonfly closed its brick-and-mortar shop, I purchased every roll they had.  The only complaint I have about the product is it doesn’t age well.  I’ve found the longer the product sits opened on a shelf, the more the webbing pulls away from the paper. 

Vliesofix – This fusible is produced by the Czech Bead Company and is available more readily in Europe than in the US.  There are a few quilt websites which carry it, and if you’re curious enough, order some and try it for yourself.  I’ll have to be upfront and tell you I never heard of it until I began researching this blog and have never tried it, either.  It does get good reviews (five out of five stars on Amazon) and it is similar to Wonder Under.  It comes in varying weights and sizes and is used in everything from quilts and other fabric crafts to hat making. 

Tools You Need to Get Started

Fortunately, most of these tools you already have in your quilting toolbox.  There are a one or two you may want to purchase, but in those cases there are inexpensive alternatives you can use until you make your mind up about raw-edge applique. 

  • Sharp paper scissors.  Fusible webbing is paper backed, so a good pair of paper-cutting scissors is needed.  I use my large Fiscars for big pieces and a pair of small embroidery scissors for small pieces and tight curves.
  • Regular pencils.  I know this one seems kind of picky, but I don’t think you get a smooth tracing line with a mechanical pencil.  The lead is too thin.  My favorite soft lead, #2 pencils are Ticonderoga.  In the fall, you can get these for a steal in the back-to-school sales. 
Cutterpillar Wafer Light Box
  • Light Box.  These simply make life easier for tracing.  I’ve blown through three light boxes in my 35-year quilting adventure and am currently using a Cutterpillar.  This has become my all-time favorite due to its versatility and ability to transport.  It’s not bulky and it’s easy to carry to classes and retreats.  If investing in a light box is not in your budget at this time, remember you can make your own.  Just know some kind of light box will make your applique life so much easier.
  • A Goddess Sheet or the equivalent.  Raw edge machine applique is no different from other types of applique in many ways.  Like other techniques, you will want to assemble your piece as much as you can off the block.  This way you only have to move one large piece onto your applique block instead of hundreds of small pieces.  This is easy with hand applique, but it gets trickier with raw-edge machine applique because the fusible is on the back of the fabric.  If you try to press all the pieces together on your ironing board, you may end up fusing that piece to your ironing board cover or pressing mat.  A Goddess Sheet is a Teflon coated sheet which allows you to press your fusible applique pieces to each other, but then it lifts cleanly off the sheet.  A silicone baking sheet or a piece of parchment paper does the same thing. 
  • Learn how to “window cut.”  This applique technique is not used all the time.  As a matter of fact, if you’re working with a pattern that has lots of small applique pieces, you won’t need this technique.  Likewise, if you’re using a fusible which doesn’t leave the fabric stiff.  This technique comes in handy if your applique pieces are large and you don’t want the fabric to be tough from a lot of fusible.  You trace the applique pieces on the paper side of the fusible, and then cut it out about ¼-inch away from the drawn line.  Then you move to the inside of the applique piece and cut the inside of the fusible away about ¼ to ½-inch from the drawn line, leaving just a “fusible outline” of your image.  Press to the wrong side of the fabric and cut out on the drawn pencil line.  Window cutting (or windowpane cutting as it’s sometimes referred to) keeps the fabric from becoming stiff from a large area of fusible.  And the fusible which is cut away can be used for smaller applique pieces.

In closing, I want to caution you there is no “universal” fusible.  In other words, there is no one-and-only fusible you need to keep in your quilt studio which will cover all your fusing needs.  The fusible webbing used depends on what you’re making and your fabric choice.  Bags can require several different types of fusibles as well as interfacings.  The effect desired also depends on the type of fusible used.  If a winter quilt has lots of icicles, you may want to make them out of sheer blue fabric and use the ultraviolet Misty Fuse to keep them looking transparent.  Heavy fabrics such as denim need a fusible made for thick fabrics. 

The brand you like best is personal and subjective.  Just like anything else in quilting, the longer you keep sewing, the more products you’ll use.  What I may really like, you may not.  Like batting, the choices are your own and what works best for you.  My advice is to try several.  Fusible webbing isn’t expensive.  Fuse several shapes using different fusibles to a background.  Stitch around them.  Toss them in the washer and then the dryer – do this several times.  After about the third round, decide which one still looks good to you.  That just may be the brand you’ll want to stick with.

Until Next Week, Make Your Quilt Yours!

Love and Stitches,

Sherri and Sam