Most quilters are familiar with this block:

And most of us call it “Bear’s Paw.”  As quilt blocks go, it’s an advanced beginner/intermediate block.  The construction isn’t tricky, but some precision is required with those half-square triangles.  There is some debate about when this block actually developed, but quite a few quilt historians believe it began as a sawtooth border in early American quilts.  Sawtooth blocks such as the ones below

Appear in many early nineteenth-century quilts, arranged first in borders and then developed as their own blocks.  As time and creativity progressed, by 1823, we see the first “Bear’s Paw” block in Ohio.  Quilt historians believe the block was named “Bears Paw” due to all the stories about bears in that area of the United States.  The same block appears on Long Island, New York a few years later and it was called “Ducks-Foot-in-the-Mud.” 

I understand this name. I really do.  If you squint when you look at the block, it does kind of look like a duck’s muddy footprint.  However, when you trace the block further south, down into Pennsylvania, the Quakers who settled  this state, called the same block “Hand of Friendship.”  Side note:  I am in Guilford County, which was heavily settled by Quakers.  I’ve lived here over forty years and I’ve heard the block called both “Bear’s Paw” and “Hand of Friendship” pretty equally.  The block is also known as “Forest Path,” “Indian Trail,” “Irish Puzzle,” “North Wind,” and “Rambling Road.”  However, the moniker “Bear’s Paw” is the name which stuck and it’s the one most quilters are familiar with.  Electric Quilt 8 shows six versions of the block and Barbara Brackman’s Block Base has four, one of which looks suspiciously like a Churn Dash block. 

Like I said earlier, this isn’t a complex block with lots of small pieces.  It’s actually pretty easy to construct.  There are two techniques you really have to be careful about – the half square triangles and making sure all your block units are the correct size so everything lines up.  And it’s because of the block’s relative simplicity that, once basic construction is mastered, you can really spice things up.  Let’s talk about how to make a 12-inch finished Bear’s Paw and then we will play with some design options and talk bit more about the Block’s dubious history.

The basic “Bear’s Paw” block looks like this:

To make this version in a 12 ½-inch unfinished block (the size of the block before it’s sewn into a quilt) you will need:

From the background fabric cut:

Four 2 ¼-inch squares

Eight 2 ¾-inch squares (cut squares 3-inches if you want to make them larger and then trim to correct size)

Four 2-inch x 5 ¾-inch rectangles

From the “Paw” fabric cut:

Eight 2 ¾-inch squares (cut squares 3-inches if you want to make them larger and then trim to correct size)

Four 4-inch squares

From the center fabric cut:

One 2-inch square

Make the half-square triangles first, by drawing a diagonal line across the wrong side of one of the 2 ¾-inch squares.  Match one of 2 ¾-inch “Paw” fabric to a 2 ¾-inch background fabric, right sides together.  Sew a seam on both sides of the drawn diagonal line, ¼-inch away from the line.  Cut the square apart on the line and press the seam allowance towards the darker fabric.  Trim the half-square triangle to 2 ¼-inches.

You may also want to consider those four 4-inch squares.  In these directions, you’re cutting them as one square from a piece of fabric.  However, there’s nothing stopping you from making these squares a four-patch:

Or a half-square triangle:

Or even sewing strips of fabric together and cut those into 4-inch squares.

Honestly, the sky is the limit with that 4-inch space.  You could make a 4-inch block from nearly any pattern….or applique on that 4-inch space.  You’re only limited by your imagination!

Then assemble the block as shown above, making sure the triangles are all facing the correct direction. 

I must confess this is one of those blocks I have to lay out on my mini-design board before I start stitching everything together.  As sure as I don’t, one of my half-square triangles or paws will be pointing in the wrong direction.

This block makes a lovely quilt set in rows without sashing:

Or with sashing:

It takes on an entirely different look set on point:

Set on point, with setting squares and triangles:

Set on point with corner squares and sashing:

“Bear’s Paw” is an awesome block, no matter how it’s used.  I think I would feel comfortable piecing one as small as 8-inches, but for anything less, I would pull out the paper piecing.

Now that’s we’ve taken care of construction (or at least the way I would put the block together), let’s deal with this block’s dubious past.  In nearly every source I used for research with “Bear’s Paw,” it mentioned the block’s place in Underground Railroad Quilts. 

According to legend, the appearance of a Bear’s Paw quilt meant the runaway slaves were on the right track to freedom.  The sight of a Bear’s Paw block in a quilt could also mean that in order to find food, they would need to follow a bear’s trail by looking for bear scat (bear poop).  Along this trail, they would supposedly find enough berries, fresh water, etc., to sustain them until they arrived at the next Underground Railroad post. 

Along with Bear’s Paw, there were other quilt blocks which held secret meanings:

• The Monkey Wrench Block – According to folklore, this was the first block to appear in the open, and represented a freed African-American blacksmith who could travel between plantations and spread the word when it was time to leave.  It told folks to gather supplies and get ready.  When the block was hung outside, it meant the time was right for the escape.

• The Wagon Wheel Block or Carpenter’s Wheel Block – This block indicated a safe wagon or cart was on its way.

• Crossroads Block – This could be a symbol referring to Cleveland, Ohio, which was a main crossroad to freedom.  Leading out from Cleveland were several routes to free states.  This block could also mean reaching a turning point in one’s life – they needed to decide to escape or stay put.

• Bowtie Block – This meant it would be necessary to travel in disguise or to change from the clothing of a slave to a person of higher status.

• Shoofly Block – This block identified a person who could guide the slaves and help them escape along the Underground Railroad.

• Tumbling Blocks or Boxes Block – It was time to pack up and go because an Underground Railroad Conductor was in the area.

• Broken Dishes Block – This block symbolized broken crockery at some future landmark.

• Britches – This block meant the escaping slave should dress as a free person.

• Log Cabin – The Log Cabin – either the quilt block or drawn on the ground, indicated it was either necessary to seek shelter or that a person was safe to speak with.  Some sources even say it indicated a safe house along the Underground Railroad.

• Rose Wreath – This symbol indicated someone had died on the journey.

• Drunkard’s Path – Zig-zag as you go along – you may be stalked by hounds.

• Double Wedding Ring – This block meant it was now safe to remove chains and shackles.

• Flying Geese – This block was always pointed north to show the correct direction to head towards. 

All of the supposed symbolism the blocks carried with them was ignited by a book written by Jacqueline Tobin and Raymond Dobard, a journalist and art historian duo.  About 25 years ago, they wrote Hidden in Plain View: A Secret Story of Quilts and the Underground Railroad. 

For the book, Tobin interviewed Ozella Williams, a South Carolina quilter who descended from enslaved people.  Williams recalled an oral history shared by her grandmother that explained enslaved people made quilt blocks with coded meanings to help guide escapees to freedom.  The story was appealing because as Sandra Daniel, an African American quilter and owner of the Country Barn Quilt Company in Augusta, GA, said, “…Those blocks actually gave slaves directions on how and when to leave and which route to take.”

This narrative, once it was out in the open, spread quickly.  The book sold well and everyone from teachers to quilters to historians embraced the book.  However, a disconcerting issue quickly popped up.

There was no evidence of such things as Underground Railroad quilts.  None.

According to Tracy Vaughn-Manley, a Black Studies Professor at Northwestern University and Black Quilt Historian, while there’s plenty of evidence enslaved people made utilitarian quilts from old clothing and scraps of fabric given to them by their enslavers, there is no evidence of Underground Railroad Quilts.  “Based on my research, and the research of highly regarded slave historians, there has been no evidence.  No letters, no notes, nothing that would signify quilts were used as codes,” Vaughn-Manley said in an interview with PBS. 

Quilt historian Laurel Horton agrees. “The history of quilts and slavery conditions contradict this code story.”  However, Horton is also a folklorist.  As a narrative, she recognizes the cultural significance of the codes.  “It’s appealing because it gives the idea of agency, that your ancestors had some way of dealing with their situation.”

Still other quilt historians, such as Mary Twining-Baird, vehemently disagree with both Vaughn-Manley and Horton.  “If people’s lives were at stake, then it stands to reason that there would be no trace of the quilts.  Of course there is no documentation! Literally if anyone found out they could lose their lives.” 

Hmmm.  This is a lot to unload with one simple quilt block – the Bear’s Paw. 

As with much of quilt history, what we have as record is the re-telling of oral histories which invariably either becomes lost to time or open to interpretation.  And this is one of those quilting history/mysteries I’ve mulled over for a while.  I can share with you what I think, and you are free to disagree with me in the comment section of my blog.

1. The Bear’s Paw as well as most of the quilt blocks recognized as codes do pre-date the Civil War, so they definitely would fit the time frame.  However, the outlier is the Double Wedding Ring.  It came into existence during the late 19^th century. 
2. Nowhere in all the literature and artifacts we have is there any scrap, mention, or drawing of an Underground Railroad Quilt.  If they existed, surely somewhere along the way, no matter how frightened or secretive people felt they had to be in order to survive, some sort of evidence should have remained.
3. When researching this blog, I was particularly interested in Harriet Tubman.  For me, it seemed if anyone would have utilized a quilt code, it would be her.  The Underground Railroad quilts would deliberately be understated, everyday items – literally hidden in plain sight.  They would raise no suspicions.  In my research, I asked if Harriet Tubman used these quilts.  The answer from the National Parks Service (who are involved in preserving some of Harriet’s routes) was a strong negative.  “No,” was their reply.  “The Underground Railroad code is a myth.”
4. This one is the clencher for me.  As stated before, I live in Guilford County.  Quakers, who were devout abolitionists, moved into this county around 1750.  Immediately they opened schools, churches, and businesses.  They also became an integral part of the Underground Railroad Movement.  Jamestown, the small town I am in, became a particular “hot bed” of the movement.  The Mendenhalls and other Quakers had possession of a Precious Cargo wagon (still carefully preserved) and many of the larger Quaker homes here had hidden rooms which served as a stopping place for enslaved persons escaping to freedom.*  With all the thoroughly preserved artifacts we have from the Quakers, with all the archives at Guilford College (a Quaker College), and in all the Quaker church histories we have, there is no mention of Underground Railroad quilts.  And I can’t help but feel that if those quilts were truly used, we would have some evidence of them. 

So no, I personally don’t believe Underground Railroad quilts ever existed. 

There you have it.  The long and muddled history of the Bear’s Paw block.  While its imaginary history may be just a bit more glamorous and adventuresome than its reality, it’s still a pretty block.  It’s not too hard to construct – just challenging enough to keep our half-square triangle skill set in place. 

Until Next Week, From My Studio to Yours,

Love and Stitches,

Sherri and Felix

*It’s always interesting when the Guilford County Powers That Be decide to demolish an old Quaker home in the name of progress and more townhomes.  Many times in the process of the inspection prior to demolition, secret rooms are found which more than likely once hid runaway enslaved people. These stand as a true testament to the Quakers who fully lived out their faith on a day-to-day, real-life basis.

A couple of weeks ago I wrote a blog about quilting tools and notions I would never buy again. This week I’d like to talk about the topic of quilting tools and notions quilters love and couldn’t imagine living without.  Just like with the other blog, I surveyed three different quilt groups to get their input.  The results were a long and varied list of supplies – some of which I had never used but may very well put on my Christmas list this year.  Because the list was so diverse, I divided the items into categories:  Cutting Tools, Rulers, Pins and Needles, Marking Tools, Technology, and Miscellaneous.

Cutting Tools

1.  A Good Pair of Scissors.  Kai was the name brand bandied about the most on the survey.  The length of the blades varied, but the primary issue was they needed to cut to the end of the point. I have three pairs of the small Kai scissors (blade length 2-inches) and several pairs of the larger Perfect Scissors from Karen Kay Buckley.  While I don’t think you have to spend a fortune for a good pair of scissors, you do want them to hold up to the abuse we put them through.  Electric scissors can cost over $700 and regular thread snips hit the market around $3.00.  On average, a decent pair of fabric scissors should hit your wallet for about $25.
2. Cutting Machine – Under this category, we’re looking at tools such as the Brother Scan-and-Cut, Accuquilt Cutters, etc., — anything that does the cutting for you.  I’m a bit divided on this one.  I have a Brother Scan-and-Cut and have tried to use it for applique, but always found it took a long time to cut out what I needed.  You had to program what you wanted, treat your fabric, and then send it through the cutter.  By the time I prepped the machine, treated the fabric and let it dry, and then actually cut my applique pieces out, I could have performed the same task without the cutter in less time (which is the reason why I am in the process of putting my Scan-and-Cut on Facebook Marketplace).  I guess if you’re not in a huge hurry to start an applique project, this gadget may be just what you need – you can cut out dozens of circles, Sunbonnet Sues, flowers, leaves, etc., with the push of a button. 

However, I have an Accuquilt and I do love it.  It is one of the electric ones, so it spits out quilt pieces like nobody’s business.  I realize you need certain dies for certain shapes, but if you need to produce 120 two-and-a-half inch squares, the Accuquilt can certainly do that for you in a fraction of the time that a ruler and a mat could take.  Bonus, all those 2 ½-inch squares will be perfectly 2 ½-inches.  There is no sweating if your cutting is accurate or not, because the Accuquilt makes sure it is.

•  Quilting Ruler with Cutter Combo – I do not own one of these, but according to several of my quilting friends who have one, they are the bees’ knees.  If you have arthritis in your fingers and hands, this gadget takes the stress off and keeps your cutting accurate. 

•  A Good, Ergonomic Seam Ripper – If I remember correctly, this also made the list of Quilting Tools I’ll Never Buy Again.  This is one of those tools we definitely have a love/hate relationship with.  We hate to use them, but if you have the right one, it does make picking those stitches out just a little easier.  We’re human, and we’re gonna make some quilting mistakes – it’s a fact you have to face.  If you have to “unsew” some stitches, make sure you have a sharp seam ripper that fits comfortably in your hand.  And remember, if you have the same seam ripper for several years, it dulls just like a needle or a pair of scissors.  Splurge on a new one.

• Thread Cutter with a Base/Blade Saver – Honestly, this is a gadget I had never considered until my BFF Janet gave me one for Christmas.  This is such a stellar notion to have if you’ve chained pieced a lot of units and need to cut them apart.  There is something oh-so satisfying about cutting those units apart with one of those.  If chain piecing is your jam, you may want to get one of these.  They’re not expensive and they are wonderful quilting tools.

The Blade Saver is a great notion to get the very last vestiges of sharp-iness from your rotary blade.  When you change the blade in your rotary cutter, you can take the used blade and insert it in the Blade Saver.  Then you can use it just like a thread cutter with base. 

Rulers

1.  Clear Rulers with Accurate Grids and Built-in Grippers – For those quilters surveyed, no matter what their preferred length and width of ruler, they all wanted a clear, not opaque ruler, with clearly marked inch increments and built-in non-slip grippers.  I completely agree.  This is why Creative Grids rulers have been my favorite brand of rulers for over twenty years. 

•  Folding Rulers – This gadget never crossed my mind.  I have seen them advertised on quilting websites and in magazines, but I never thought a great deal about them.  However, Cindi, a good quilting buddy of mine, told me they are great to take on retreats.  They fold up, taking up less space and making them easier to pack.  Once they are unfolded, they do retain their straight shape.  I trust Cindi’s word on this, since she attends numerous quilt retreats through the year.  I think this one will be on my Christmas list.

Pins and Needles

1.  Glass Head Pins – Known for their sharp points and the fact the heads will not melt under the heat of an iron, these pins are favorites of quilters and other sewists.  These are not expensive, so treat yourself to a box or two (because no matter what anyone says, quilters do need to pin) and enjoy the process.
2. Fork Pins – These little jewels look like this:

And are known for their ability to keep fabric securely in place.  The double-prongs keep seam allowances firmly lined up with no wiggle room and can easily handle the bulk and weight of borders as they’re pinned to a quilt center.

•  Wonder Clips – These now come in a variety of sizes and some even have ¼, ½, and ¾-inch marks.  While first introduced as a way to keep your binding in place when it’s folded over to the back of your quilt as you sew it on, quilters soon discovered Wonder Clip were great pin substitutes.  Personally, I think they’re great to use with young sewers who may be just a tad immature to deal with pins.  And I think they work better at keeping block units grouped together than any pin.
•  Good Hand Sewing Needles – If you think all hand sewing needles are created equal, go here: https://sherriquiltsalot.com/2020/10/28/hand-sewing-needles-more-than-meets-the-eye/.  Overall, in the great concept of quilting, even the most expensive hand sewing needles are relatively inexpensive.  However, the variances between a good hand sewing needle and a bad hand sewing needle can make a huge difference in your stitching experience.  Cheap needles are notorious for cutting thread, being difficult to thread, and breaking.  My favorite hand sewing needles are John James (the kind made in England, not China), Tulip, and Roxanne. 
• Magnetic Pin Cushions for Wrist and Tabletop – The particular brand which received the most recommendations is Riley Blake.  These do make handy-dandy places to drop your pins and needles without having to stop and jab them into a cloth pin cushion.

•  A Good Thimble – These can take a little getting used to but will actually speed up the hand sewing process.  However, they must fit correctly and be comfortable to use.  For more information, go here: https://sherriquiltsalot.com/2020/11/18/thimbles/

Marking Tools

While this entry didn’t surprise me, the fact that there were no specific marking tools mentioned, does.  It seems like every quilter has their favorites – from the water soluble blue markers to Frixions to pencils.  Currently my favorite is a Hera Marker.

This leaves no ink or pencil residue behind, since it marks by creasing the fabric. 

Regardless of your marking tool of choice, it’s important to have a few in your quilting space.

Technology Tools

This was another category I wasn’t surprised at, but was a little taken back on how few entries were in it, when you consider we have quilting calculators, laser levels we can use to help trim and square up quilts, and sewing machines which can do nearly everything except cut the quilt out (but with an Accuquilt, you even have that option).  Long arm machines are now computerized to the point you can plan out the quilting, hit a button, and let it go.  Oh how far we have come in the last 100+ years…

The iPad was a frequently mentioned favorite tool.  Besides checking your email and shopping on-line at your favorite quilt shop, an iPad can be used to download patterns and watch instructional videos at your sewing machine while taking classes or making a project.  iPads are small enough to slip in your sewing bags, but offer almost the same amenities as a laptop.

Electric Quilt 8 (EQ8) was also listed as a preferred techno tool.  And I agree.  While, yes, you can certainly sketch  your quilt and math it out via calculator, EQ makes it much easier and faster, with so many additional options. 

Miscellaneous

•  Quarter Inch Quilting Foot – While this particular entry comes from a friend of mine who just recently discovered quilting, I think all quilters can attest of the joy and accuracy this foot brings to piecing.  If you don’t have one, you may want to get one.
• Good Lighting – Lots of quilters listed this.  They have paid good money for good lighting and will do so again in the future.  If you’re laying out cold, hard cash for lighting, skip all the advertising schpells and go straight for the lighting which is the closest to direct sunlight available.  Not only does this lighting make it easier to see, but it also makes a big difference when choosing fabrics.  Hues, shades, and tints look their best under natural sunlight.
• Good Iron – I wrote two extensive blogs about irons a few weeks ago.  The most interesting information I discovered is that all irons – expensive or inexpensive – have about the same life span unless you’re really hard on your irons and drop them or knock them off the ironing board like me .This means just because you may spend more for an iron doesn’t mean it will last you years and years.  The average life span of an iron is three years and for a decent iron with good steam capabilities, a long cord, and solid soleplate, plan to spend about $45 on average.

• Bent Tip, Pointy Tweezers – These are great to use as a stiletto, hold and place tiny pieces of applique, and I also use these to pull up my bobbin thread to the front of the quilt when I am quilting on my domestic machine. 

• Wool Pressing Mat – These things make pressing a breeze.  The wool holds heat so you’re able to literally press the front and the back of a block or fabric or quilt center with one pressing go-round.  These come in super-small sizes (great for freezer paper applique) to the size which fits your entire ironing board.  Word of warning, the super inexpensive ones may not be comprised of 100% wool and do not work as well as the 100% wool ones. Plus the fake ones smell even worse than the wool ones for the first several uses. 

• Design Wall – No matter if this is the flannel back of a table cloth pinned to a wall in your studio, or one made from foam board and flannel, or the smaller ones you can sit directly next to your sewing machine, or the portable kind you can purchase and take with you on quilt retreats, design walls are a crucial tool to have if you’re piecing complicated blocks or arranging quilt blocks for a quilt top.  They allow you to lay things out and make sure everything is in the right place before picking up the blocks or block units and sewing them together.

• Organization Mat That Has Room for Tools – This mat sit beneath your sewing machine and has pockets for your seam ripper, scissors, stiletto, and all the other sewing tools you use when you’re quilting.  It’s a great way to keep them together.  And if you’re keen to make your own, there are a lot of patterns available.

• Bias Tape Makers – These come in sizes ¼-inch through 2-inches.  Many applique quilters love these, as they allow you to make yards of stems without a lot of time, fuss or effort.   Bonus, they are relatively inexpensive and can be found at both quilt stores and big box establishments (as well as Amazon).  Some come in nifty kits, but they also can be purchased individually. 

• Roxanne Glue – This one is my personal favorite glue.  Roxanne has cornered the market on glue and the ways you can apply it.  Roxanne has a glue you can dab, a glue you can pour, and a glue with a needle-nose you can use to lay down a line of small, glue dots.  And I think their glue stick is the best on the market.  Roxanne Glue is also ph-balanced, so there is no need to worry about long term damage to your fabric.

• Pop Socket – These great, little inventions were made primarily for cell phones.T hey allow you to hold onto your phone or prop it up to watch videos or talk.  However, once quilters saw them, they realized pop sockets worked great for quilting rulers.  It allows a firm hold on a ruler while the hopping foot does its work along the ruler’s side. 
• Light Box – Whether you make your own or purchase one, if you applique, it’s hard to live without a light box.  They help you accurately trace patterns, lay your applique out, or trace a pattern directly onto your fabric.  I have a Cuttapillar and love it…however, I really would like to have a light box as big as my dining room table to make appliqueing borders just a bit easier.

• Yazzii Bag – I have lots of bags I tuck my sewing into, but I don’t have one of these.  Since this quilting notion was mentioned on several surveys, I decided to do a little research on it and find out what made it so wonderful.  According to the description, a Yazzii Bag is a  “Crafters Dream! Get organized with this ultimate craft storage bag. There are 20 see-through zippered pockets of various sizes to hold all your craft accessories. This bag has a large area on the bottom to provide additional space for unfinished projects, quilting fabric, and more. It also has a slot for a 12×18 cutting mat — an asset to any crafter.”

It is certainly impressive and there are Yazzii bags of all sizes.  They even have a 100-spool thread organizer that I am seriously in love with.  I can see how this bag would make organizing and packing for a quilt retreat or class super easy.  I don’t have one of these yet…but it’s going on my Christmas list.

And there you have it.  All the quilting tools we would buy again.  I know we may have missed a few, and if yours isn’t on this list, please leave your favorite tools in the comments.  Again, I would like to thank the Network Needlers Chapter of TAS, my Tuesday Night Sit and Sew Stitching Sisters, and the High Point Quilt Guild.  All of your input was invaluable to this blog.

Until Next Week, From My Studio to Yours,

Love and Stitches,

Sherri and Felix

Of all the quilt techniques available, my favorite is applique.  I do both machine and hand applique and like them both equally.  Hand applique tends to slow me down and soothe me.  Machine applique is faster and takes a different skill set.  Both are a bit like painting with fabric. 

Applique is defined as “a sewing technique in which fabric patches are layered on a foundation fabric, then stitched in place by hand or machine with the raw edges turned under or covered with decorative stitching.”  The word “applique” is taken from the French appliquer which means to “put on.”  Applique began as a practical way to mend holes in tents, blankets, and clothing.  Examples date back to the ancient Egyptians and Middle Ages. The process was used to strengthen worn fabrics, patch holes, and add decorative flair to banners and ceremonial costumes. 

Differing from piecing – which can also be done by machine or by hand – applique allows the quilter to tell a story, represent an event, reconstruct a landscape, or almost anything else the quilter desires.  And to be honest, while those can also be pieced (somewhat), most of the time applique gives a better representation.  Piecing is all seams, no matter if they’re straight or curved.  And sometimes the things we want to represent in our quilts have some odd shapes which cannot be accurately reproduced with seams. 

For me, applique was love at first stitch.  This technique allowed me to make beautiful quilt blocks without much piecing involved.  And to me, applique holds some advantages over piecing (per Sue Pelland also):

• It doesn’t require the precision that piecing does.  While yes, precision does come into play with applique, applique is much more forgiving than piecing.  When you piece, if your seams are off kilter or you lop the top off of triangles, it can be glaringly apparent.  With applique, if your shapes are a little off, no one knows but you.
• The ¼-inch seam can be difficult to consistently execute.  The buttonhole stitch for machine applique is much easier to master.  An inconsistent ¼-inch seam can bring about much “weeping and wailing and gnashing of teeth.” Seams won’t match and block sizes may be all out of kilter. However, with applique, as long as your thread matches your applique piece, no one will notice if your buttonhole stitches go a little wonky on occasion.
• Pressing is easier with applique than with pieced blocks.  When you press pieced blocks, there’s always the dilemma (unless your pattern contains specific pressing directions), which way to press the seams so they nest or whether or not to press the seams open to reduce bulk.  The entire time you’re mulling that over, you also have to consider the quilting part, so those stitches won’t have issues with the seam integrity or bulk.  With applique blocks, you simply place the right side on top of a pressing cloth and press on the wrong side of the block.  Easy-peasy, no major decisions have to come into play. 
• No bulky intersections.  There’s no denying, some pieced blocks can have a lot of bulk coming together at one intersection.  And if you’re constructing small, pieced blocks, it can seem as if you’re working with nothing but one intersection after another.  That bulk, whether beneath a quilting needle of a machine or a quilting needle in your hand`, can be difficult to deal with and it may seem you can never get the block or the quilt to lay completely flat.  With applique, generally the only seams coming together are the ones joining the blocks (unless you’re making a pieced and appliqued quilt).
• Truing up is easier with applique.  If you’re constructing a quilt which is comprised of only applique blocks – no pieced ones set in – trimming to size is a breeze.  You simply make the blocks an inch larger than needed, applique, press, then trim the blocks down to the size needed.  No maddening surprises of blocks too small to trim.
• Applique can mimic the look of pieced curves without the headache of actually piecing the curves.  Anyone who has made a curvy quilt, such as a Double Wedding Ring or Drunkards Path, knows piecing curves can be a bit tricky.  They require a certain skill set and a large amount of patience.  Sometimes you can avoid this trauma by appliqueing the curved piece. While  I don’t think you could do this for a Double Wedding Ring quilt, ask me how many stress-free Drunkard’s Path blocks I’ve made by applique. 

Applique is a long-standing technique, and I happen to love the type which evolved in the 1930’s.  Quilters used applique in Broidery Perse, Baltimore Albums, and other quilts, but  by the early twentieth century, quilts were trending towards being only pieced.  It took the ingenuity and talent of applique artists such as Marie Webster, Bertha Corbett, Rose Francis Good Kretsinger, Charlotte Jane Whitehill, and Hannah Haynes Headlee to really shake up applique and move it away from  the nineteenth century (and earlier) appearances.  From these women came realistic flowers, Sunbonnet Sue and Sam, and the art-deco look of the twenties and thirties.  However, there is one applique artist I haven’t written about who managed to contribute to this shake up, and that’s a woman named Ruby McKim. 

Ruby McKim was born in 1892 in Millersburg, Ill, to Morris T. Short and Viola Vernon Short.  In 1899, when she was eight, the family moved from Millersburg to Independence, MO, into a log cabin riddled with holes from the Civil War.  Two years later, Mr. Short, a fronter missionary affiliated with the Reorganized Church of Jesus Christ, Latter-Day Saints (now Community of Christ), died of ill health.  Viola then supported the family on her income as a church librarian.  The family was financially poor, but it was rich in values.  Viola was an accomplished teacher before marriage and a strong promoter of children’s education.  She made sure Ruby, as well her sister and brother received a good education.  Mrs. Short later published her own book about education and traveled around the country promoting it.

Ruby developed an interest in drawing early in her life, constantly carrying around a sketchbook with her everywhere she went.  After high school graduation in 1910, her uncle sponsored additional art studies for her at the New York School of Fine and Applied Arts, now known as Parson, The New School for Design.  She graduated in 1912, with her diploma signed by Frank Alvah Parsons, himself.  After graduation from  NYSFAA, she returned to Independence and became the Supervisor of Drawing for Independence School District and was a popular teacher.  Manual High School soon lured her away and by 1916, she relocated to Kansas City to teach art there. And it was during this time and in this place that Ruby McKim found her love for art and her love for sewing meld together. 

Henry Hold and Company, a New York publishing firm, was preparing to launch a series of children’s stories about small woodland animals written by Thomas Burgess.  The publishing firm held a contest.  They wanted a quilt pattern designed for children, which they would publish in their newspaper.   Ruby won the contest.  Her Quaddy Quilty quilt blocks were published in a promotion which was co-copyrighted with the author.  This was her first, and probably most famous, quilt series. 

In 1917 she married Arthur McKim, a public relations businessman as well as her former high school sweetheart.  On October 31, 1918, their first daughter was born – Betty.  As soon as the baby could be left with the grandparents, Arthur and Ruby set off to sell Ruby’s patterns and design ideas to publication syndicates across the country.  Ruby would write letters to little Betty, filled with illustrations and pictures of whatever she and Arthur saw that day.  Sometimes Ruby’s spelling was questionable, but the letters seemed like story books to Betty.  A second daughter, Marilyn, was born five years later and the grandmothers informed Ruby that her traveling days were over. 

The McKim family briefly settled in St. Louis, but soon returned back to Independence and converted the first floor of Viola’s house into offices and made the second floor into apartments for the two grandmothers.  By 1925, McKim Studios had become a home-based mail-order business that oversaw the publication of Ruby’s designs in newspapers and magazines throughout the United States.  The McKims also published catalogs of patterns and kits under titles such as Patchwork Patterns and Designs Worth Doing. 

By the time 1922 rolled around, Ruby had begun a 16-year career with Child Life with her Alice in Wonderland series. 

She was also supplying designs to other magazines and syndicated features.  The Kansas City Star, The Omaha World-Herald, The Nebraska Farmer, Woman’s World, Successful Farming, and The Indianapolis Star were among the publications which featured McKim’s designs.  Eventually Better Homes and Gardens welcomed Ruby as their artcraft editor, and she designed kits and patterns for quilts and other home decorating projects. 

Like her mother, Ruby developed a keen interest in children’s education, and her quilts The Jolly Circus, Nursery Rhymes, Colonial History, Bible History, and Bird Life were part of her children’s series which appeared in the 1920’s.  Farm Life, State Flowers, Flower Garden, and Patchwork Parade of States became popular series during the 1930’s.  Quilters eagerly waited for each block installment, clipped it out from the newspaper, and saved them, as most women wanted to collect the entire series.  Newspapers running her patterns often sponsored contests for the quilts made from these patterns, which not only increased the paper’s sales, but also their circulation, since hundreds of women entered these contests.  Many of Ruby’s pattern collections have survived, have been reprinted, and are offered on the internet, proving that McKim’s designs are still just as popular as many of the other 1930 applique artists. 

In 1931, Ruby published her book One Hundred and One Patchwork Patterns.  This book served as a comprehensive pattern encyclopedia and how-to book for avid quilt makers at a time when this information could be difficult to find.  Her husband, Arthur, oversaw the publishing process and decided once the book was published, it was time to go to Europe to explore other publishing markets.  The McKims came home with a contract for a paper in Australia and a new idea for another business – imported, domestic, and antique dolls by mail-order.  From the mid-1930’s onward, McKim Studios gradually evolved away from quilt patterns to Kimport Dolls, a business which continued for the rest of their lives and was later carried on by their son, Kim, who was born in 1933. 

Her final quilt pattern was American Ships published in 1937. 

Eventually she became editor of Doll Talk, a position she held for decades.

Ruby Short McKim was a great deal like the other 1930’s applique designers.  She took an enterprising hobby and turned it into a profitable business.  In a business world dominated by men, she worked hard to take her place at the table of commerce and be successful.  Unlike a lot of those artists, her husband became a vital part of her business phenomena.  They worked closely together until Arthur’s death in 1967.  At his death, Ruby penned a poem as a tribute to the part he played in her life, and it was sent to all their mail-order friends as a final memorial of their life together.  Ruby died nine years later, on June 28, 1976.

The Encyclopaedia Britannica called Ruby Short McKim “one of the 20^th century’s most innovative American quilt designers,” and she was included in the first edition of Who’s Who of American Women and is listed in the subsequent editions of the encyclopedia.  According to a biography of McKim, she became a successful entrepreneur during a period when women did not enter into the business industry.  The publications of her works led to quilt contests and shows which spread across the United States and her works experienced a revival from 1999 to the 21^st century.  McKim was inducted into the Quilters Hall of Fame in July 2002, the 33^rd member to be so honored, in recognition of her “important contributions to the quilt revival of the early twentieth century through her widely distributed designs, her book, and her business.”

While I have read a great deal about Marie Webster, Bertha Corbett, Rose Francis Good Kretsinger, Charlotte Jane Whitehill, and Hannah Haynes Headlee, I was late to the Ruby McKim Admiration Club.  A few looks at her quilts and her book made me an instant fan.  If you have a few minutes, pour yourself a beverage and Google her quilts.  If you find yourself falling in love, I’m about to tell you something wonderful.  Ruby’s youngest granddaughter, Merrily McKim Tuohey, pulled Ruby’s patterns and book out of the attic and revived them.  She has an online shop that has Ruby’s patterns and books (https://www.mckimstudios.com/).  I really like her Flower Basket Block of the Month. 

Until Next Week, From My Studio to Yours,

Love and Stitches,

Sherri and Felix

Big doings over here at the Fields House.  After a couple of years of dealing with a leaky stone chimney, we finally got the leak fixed.  We have a stone façade chimney and the façade had pulled away from the brick.  Result:  My fireplace looked like a water feature every time we had a hard rain. 

We tried everything.  We called everybody we thought could remedy the situation.  It wasn’t until we found a stone mason who guaranteed his work for ten years that we found a solution.  Once we were sure the leak was completely repaired, that meant the ceiling had to be repaired and re-painted. 

Well, once that was put into play, we decided we may as well paint the walls in the dining room and living room (the fireplace separated the two rooms).    While we’re talking about painting, it’s about time to re-paint the kitchen…and the entry way….and the hallways … and the bedroom…don’t you think? And the old floors?  They need to go, too.  And the kitchen cabinets.  I call this syndrome “Home Renovation Dominoes.”  You flip one project into play and then another domino falls.   My house will be total chaos for a month or longer, but it’s gonna look sooooo good when the last contractor leaves.  Meanwhile, my saving grace is I can still navigate into my quilt studio and access my coffee maker.  However, poor Felix has been relegated to a spare bedroom.  Which he is fine with.  He still has a bit of “Stranger Danger” complex and hides from anyone he doesn’t know (i.e., everyone but Bill and me).

Like most quilters, I have quilts hanging on the walls and quilt ladders as well as draped across the backs of couches.  As I was relocating them to my studio for temporary storage while the painters did their thing, I found my self muttering under my breath about how much “stuff” I had accumulated during 40 years of marriage and made a solemn promise to myself I was seriously going to slim things down.  I kept questioning myself about things I purchased and why did I need them.  Why did I keep them?  Did I really need those six pairs of candlestick holders I received as wedding gifts? (No) How many times did I use them? (Maybe once) Did I remember who gave them to me? (Absolutely not). All of this pushed me to think about the tools I had in my quilt studio.  If I had to offload some tools, which ones would have to go?  Which ones would I not purchase ever again?  I had a good idea, but just to be sure I polled a few more quilters.  Come to find out, we all had certain quilting paraphernalia we would just as soon toss as keep.

• Best Press – I know, I know.  There are quilters who absolutely love Best Press and won’t use anything else.  However, I’ve never felt it was as good as starch and I really could never justify the expense.  A bottle of Best Press on Amazon is $13.04.  A can of Niagara Spray Starch is $3.59.  Better yet a gallon of Purex Sta-Flo starch concentrate is $10.99.  Simply mix one to two ounces of starch concentrate with 16 ounces of water.  That means, if you use two ounces per bottle, you can have 64 sixteen-ounce bottles of spray starch for a whopping 17 cents per bottle. 
• Excessive Yardage – I have come to an ugly realization about myself.  I have stash beyond any life expectancy.  I’ve made a solemn vow to use what fabric I have and if I need to purchase any additional fabric (such as applique backgrounds or backings), I will purchase only what I need.  Which brings me to my next one…
• Backing Fabric.  My exception to this is anything I quilt on my long arm – which hates pieced backings, even if the quilt is loaded horizontally so you’re only stitching over the seam once.  For anything I plan to quilt on my M7, I’ll make a pieced backing.
• Block Specific Rulers/Specialty Rulers/Specialty Templates* – These were the number one item both my quilting friends and I declared never to buy again.  They’re like having a bridesmaids dress in your wardrobe.  They work great for one occasion and then they simply take up space.  In my opinion, the only uni-tasker anyone needs in their quilt studio is this:

Not some fancy-schmancy one-use ruler or template. 

• “Binding Buddy/Binding Baby” – From what I’ve heard, these are pretty popular right now.  They’re cute, semi-practical, and help keep your binding neat and untangled.  I guess in many ways I’m old-school, because my first, last, and best binding buddy is a section of a pool noodle.  The binding can be wrapped around it and pinned.  When you’re ready to use it, remove the pin, and the pool noodle piece will lay in your lap while you sew the binding onto your quilt.  I’ve also found pool noodles a handy place to store applique stems until you’re ready to use them.
• Half-Square Triangles on a Roll/Paper for Large HSTs – This is a tool which I do believe has a place in my quilt studio, but only for certain sizes of HSTs.  For my larger HSTs, I like to make them a little bigger and then use my Eleanor Burns Half-Square Triangle Ruler (which, if you make a lot of HSTs, may be a good investment for you) to cut them down to size.  However, due to all the bias this block unit has, any HST smaller than 2 ½- inches finds me reaching for the papers.
• Rotary Blade Tools/Specialty Blades/”Bargain Blades” – We all love our rotary cutters and use them a lot.  In the past few years, several rotary blade “accessories” have hit the market and not all of them have improved my cutting life.  More specifically, I am talking about the rotary blade sharpener.

I asked for one for Christmas and my family dutifully complied.  I was thrilled, thinking I may be able to get some additional time out of my blades by sharpening them when the blade began skipping and not cutting my fabric.  Boy, was I ever disappointed.  The sharpener over promised and under delivered.  I followed the directions carefully, but to my chagrin, the blade was no sharper than when I put it in the sharpener. 

Specialty rotary cutter blades (such as the pinking blades) are the other cutter accessory which was panned.  This was another notion which seems to over promise and under deliver. Another type of blade that received a lot of flak were cheap blades.  One contributor to my survey specifically mentioned the super cheap ones offered on Amazon and another person highlighted the ones offered in some hardware stores which tout they can be used by quilters and in a toolbox.  Don’t be fooled.  They can’t — those blades will destroy your mat.

I think I will also add cheap rotary cutters. I’ve found cheap rotary cutters either fall apart too easily or don’t come apart at all, making it difficult to change the blades.

• Fancy Seam Rippers – While they may be beautiful to look at and delightful to hold, most of them aren’t made for long periods of picking out stitches (such as when a quilting motif goes horribly wrong).  While seam rippers will always remain a necessity for as long as quilters are human, they should at least be easy to use, not cost an arm and a leg, and be ergonomically correct.

• Rotating Cutting Mat – I’ll be honest, this one came from my surveys.  I have a rotating cutting mat and I really like it, but about half of those folks I surveyed said if given the choice, they wouldn’t purchase another one.  Why?  They don’t paper piece or use many small pieces of fabric to trim.  Personally, since I do a lot of both, I enjoy my rotating mat and have found it the perfect size to keep beside my sewing machine for quick cutting ease and to pack and take on quilt retreats.

• Template Plastic – As long as there’s freezer paper and Apliquick, I’ll never purchase template plastic again.

• Heavy scissors/Pinking Shears/Specialty Scissors – Quilters who mentioned pinking shears stated they never use them, and I agree.  I don’t use mine, either.  Heavy scissors hurt hands.  And specialty scissors (such as those used for cutting rag quilts) aren’t used enough to justify their purchase.

While we’re discussing cutting tools, I had a few mentions about specifics on rotary cutters which irritate some quilters.  Some quilters didn’t like rotary cutters with curved handles.  Others didn’t like rotary cutter with a side handle such as this:

And still others swore off any rotary cutter without a self-retracting blade.              

In retrospect, I think that cutting tools of any type are a very personal choice.  I believe you should take your time before investing in scissors or rotary cutters.  Pick them up and get a feel for how they will work for hours in your hand.  And don’t stop at your hands.  The muscles used for rotary cutter and scissors extend up your arm to your shoulder.   If you can’t imagine using them for an hour at a time without discomfort in your arm, put it back and try another.    

• The Embroidery Module for My Sewing Machine – I assume this one may raise some eyebrows, as I have quilter friends who love their embroidery machines and modules.  They use them for both embroidery and for quilting their quilts. 

I look at embroidery modules/machines like this:  If you can handle having your sewing machine tied up while it’s stitching out an embroidery pattern and not having the capacity to sew while this is happening, then an embroidery module will work well for you.  If you can’t, then maybe you should invest in an embroidery machine, so you can piece and embroider.  However, there may come a time when you’re “done” with embroidery and a machine is far easier to sell or trade than a module.  I’m at that point.  I thoroughly enjoyed my Baby Lock Spirit while the grand darlings were younger, but now they’re pre-teens and have no interest in anything embroidery related.  After I get it cleaned and serviced, I’m selling it.  It currently does nothing but take up space in my studio.

• Pre-cuts – I admit this one took me by surprise, as this one is not mine, but several folks gave this answer on my survey.  I like pre-cuts and for the most part have had really good luck with them – most have been accurately cut.  The most common problem most of my responders have is accuracy – the pre-cuts were too short, too big, varied in size, or were cut crooked.  And I don’t think anyone likes those zig-zaggy edges on jelly rolls.  They’re just too messy.  But let me throw in a helpful hint if you do find yourself working with a jelly roll.  Before you open it, head outside with it and a lint roller.  Open the jelly roll from any ribbon or cellophane covering and run the lint roller over it several times.  This tends to get rid of most of the threads. 
• Stilettos – This one is one of mine and several of my responders agreed.  I’m not sure why they don’t like a stiletto, but I prefer a Sixth Finger Quilting Tool:

This has slanted finger and a flat finger and is useful for more things than just feeding fabric beneath the presser foot.  It’s great to use with binding and it can hold the fabric apart if you need to press a seam open.  It is also helpful for use in applique.

• Any Templates or Rulers That’s Not Non-Slip – Personally I think all rulers should be non-slip.  It would cut down on so many cutting mistakes on fabric and fingers.  And while there are certainly  non-slip grippy stickers you can purchase to go on the back of a ruler, I’ve found those cumbersome.  This is why I’ve had a long-time love affair with Creative Grids rulers.  All of those come with non-slip surfaces built into the back of the ruler.

• Safe-er Grips – These are the Safe-er Grips

Normally used in bathrooms, several years ago, these were introduced as quilting tools.  You could affix one of these to your ruler and use the handle to move your ruler or template over instead of simply sliding it.  While there are a few quilters who still love them, most of us agree they just get in the way.  Case in point, we’ve had one in our prize box at Guild for door prizes.  It’s been in the prize box for two years.  No one wants the thing. 

In closing I would like to thank the Network Needlers Chapter of The Applique Society, my sisters in stitches from Tuesday Night Sit and Sew, and the members of the High Point Quilt Guild.  Thank you for taking the time to answer all my questions.  There will be a follow up to this blog concerning the quilting tools we absolutely cannot live without.

Until next week, from my studio to yours,

Love and Stitches,

Sherri and Felix

Welcome back to the topic of irons! When I jumped down this rabbit hole, I had no idea there was so much information out there about irons. I thought I’d give you a little history, throw in some nice pictures of antique irons and iron care and call it a blog. Little did I know…

We’re beginning with the best irons on the market and then follow up with the steamy topic of water in the resevoir — should you or shouldn’t you?

The Best for the Buck

Wirecutter, a kind of online mini-Consumer Reports (they accept no ads) took the time to test out 22 of the best selling irons and were kind enough to supply me with the top three.  During the testing, they considered steam bursts, wattage (all had to have at least 1,500 watts – enough to get the job done), comfort, and a long cord. 

Coming in first – Chi Electronic Iron with Retractable Cord 13102.  This jewel of an iron advertises itself with a water tank lid which swivels out for easy filling, 8-foot retractable cord for easy storage, electronic temperature control, Titanium-infused ceramic soleplate and a unique adjustable steam control.  Currently Amazon has this one for $102.  It logs in with 300 steam holes and at 1700 watts it has enough power to remove wrinkles or press seams to one side.  According to Wirecutter’s review, the Chi “has been a reliable performer for three years with regular use on clothes, bedding, and sewing and craft projects (where it really shines).”  The steam bursts are powerful but smooth.  It’s light and has a larger-than-most water reservoir so it doesn’t need filling quite as often as other irons.   The biggest selling point for me is it has a 30-minute auto-shutoff time when you leave it vertical – the longest of any iron I know of.  If I can discipline myself to take better care of my iron, I believe a Chi 13102 will be on my Christmas list. 

Coming in second – Black+Decker Allure Professional Steam Iron D3030.  This is an excellent choice if a high dollar iron just isn’t in your budget.  It creates a strong whoosh of steam, its stainless-steel plate glides smoothly across a variety of fabrics, and its handle is comfortable to pick up, hold, and use.  It advertises itself as having dynamic steam technology, an auto-clean system, variable temperature and steam controls independent of each other (sometimes when you lower the temperature of the iron, it will not steam as well), a stainless-steel soleplate, and a shut-off time clocked at 8 minutes.  Its price on Amazon is $44.99 and it works at 1600 watts and weighs around two pounds.  According to Wirecutter , “It’s a fantastic, affordable iron – as long as it works.”  It’s still a top performer, and almost half the price of the Chi, but will need to be replaced sooner rather than later.

Coming in third – Rowenta SteamForce DW9280.  This iron is advertised on the Rowenta site as: (This gets wordy. Feel free to scroll ahead) The state-of-the-art steam iron from Rowenta. This DW9280 Steam Force iron has steam force technology, a new pump injection technology that forces steam into the fabrics, pushing 30% more steam into the fabric. It has high performance steam, one touch controls for ideal steam and temperature selection; steam output is automatically adjusted based on fabric selection. The READY-TEMP System is an LED display indicating when the soleplate has reached the appropriate temperature for the selected fabric. The iron features Steam MOTION SENSOR, a smart electronic system which stops steam when the iron is not moving. Loaded with features, the Steam Force iron has the following: 3-way smart automatic shut off after 8-minutes if left vertically 30-seconds horizontally, 30-seconds if tipped over. The cool spray mist activated by an ergonomic trigger provides a light mist to remove stubborn wrinkles. The stainless-steel micro steam 400 precision soleplate is stainless steel has an excellent non-stick and scratch resistant properties. The new precision shot area offers a special shot of steam concentrated at the top of the soleplate tip. New ‘profiled’ soleplate design with rounded edges to ensure an optimum glide in all directions, especially laterally. The high precision tip on the soleplate is perfect for hard-to-reach areas, it allows excellent detailed ironing: reach narrow edges, seams and collars. The anti-drip system helps prevent spitting and leaking when the thermostat is on a low setting. The self-clean system flushes out loose mineral deposits ensuring optimal performance. The integrated anti-calc system will extend the life of the iron. The iron has an easy to fill, extra-large water tank and a 7-feet electrical cord with 360-degree pivot, it has a handle that is ergonomically designed for maximum comfort and comes with a 1-year warranty.

Whew. What a lot of words to describe an iron.

Wirecutter claims this Rowenta performs better than any iron they’ve tested.  According to them, the Rowenta Steam Force DW9280 melts creases out of crinkled shirts and flattens quilt seams with almost no effort.  They have used the original test model since 2015 and it still produces strong steam with just a few “minor” water leaks onto fabrics.

Hmm.

I spent about an hour searching for this iron on Amazon to no avail.  They have updated versions of the Rowenta but not the DW9280.  Joann Fabrics (online) did have the iron for $149.99 – which makes it more expensive than the Chi 13102 with the 300 steam holes and 30-minute auto shut-off time and is the top-rated iron. 

Let’s enter Sherri’s Zone of Truth for a moment.  I owned Rowenta’s in the past.  My very first “grown up” iron was a Rowenta.  I used it through two babies and teaching heirloom French sewing.  It was utilized a  great deal and  finally conked out on me after 10 years of weekly (and sometimes daily) use.  I figured an iron which had gone through so much and lasted 10 years deserved a repeat performance.  I loaded up the kids, went to JC Penney’s, and purchased another Rowenta.  For a young family on a snug budget, plunking out a cool $100+ for an iron may not have seemed like a wise purchase.  However, I knew the brand had dependently served me for 10 years.  That equated to roughly $10 a year, which in the long run was a cheap purchase.  I flipped out the credit card, purchased the iron, loaded the kids back in the mini-van, and headed home. 

That new Rowenta lasted me less than a year.  After a few months of use, it leaked water everywhere.  I thought perhaps I had simply purchased a lemon, until I began comparing notes with the women who were in my sewing classes.  They had the same issues I did (this was pre-Google days, so I couldn’t do a proper search about the problem).  Disgusted, I loaded the kids back in the van along with iron and went back to Penney’s – and to give the store credit, they gave me a new Rowenta, no questions asked. 

The same thing happened with my new Rowenta.  Water leaked all over my ironing board.  This time I stopped using water in the reservoir and simply misted my clothes with  water in a spray bottle if steam was needed.  After about a year, the Rowenta decided to quit working and I purchased a Black+Decker iron.  I haven’t purchased another Rowenta steam iron since.  For this blog, I did dig into Rowenta’s background and found that water leakage in American made Rowenta’s is a fairly common problem.  However, the German made Rowenta’s had the best reputation.  So, if Rowenta’s are your iron jam, you may want to check to be sure it was manufactured in Germany. 

One iron which didn’t make the top three, but you see and hear a lot about is the Oliso Iron.  This is the iron with the legs.  If you leave your iron in a horizontal position, the iron has legs which lift it off the pressing surface.  It received mediocre reviews.  It reportedly leaked around the legs but some of them did have a 30-minute shut-off.  What I have noticed among my friends which have an Olsio is, once it has lived out its lifespan, it was not replaced with another Olsio. 

Finally, before we move into iron care and the touchy subject of what kind of water to use in your iron or even if you should, I’d like to share a few esoteric facts I picked up in my research.

1. There are no left-handed irons.
2. The automatic shut off was developed in 1996 and soon became widely used.  While it’s a wonderful safety feature to have, those of us who tend to have longer pressing times dislike it.  However, there are a few Chi irons with no automatic shut offs.
3. Irons whose soleplates are coated with a non-stick substance typically don’t hold up to cleaners.
4. According to Consumer Reports, all irons – the expensive kind and the inexpensive kind – have about the same life span.
5. In the research I’ve used for this blog, cordless irons were not part of the equation.  The reason given was because they are of “inferior quality and don’t tend to heat up as well as those irons which are plugged into an electrical outlet.” 

Well.

Let’s re-enter my Zone of Truth.  I have two Panasonic Cordless Irons and I absolutely love them.  They are great for ironing large pieces of fabric, such as borders, quilt backs, and quilt centers.  There’s no cord to get in the way and they both have given me no issues with heat – and the oldest Panasonic Cordless is 3-years old.  They are lightweight, have a nice water reservoir, and re-heat quickly.  That said, let me also add I don’t use them in my everyday quilting, but they are put through the paces about twice a month.  If you’re interested in a cordless iron, I advise you to read the reviews and make up your own mind. 

Care and Cleaning of Your Iron

The better care you give any piece of equipment, the longer it will last.  And while irons (at least most of them) have a shorter shelf-life than those of twenty years ago, every bit of extra love we give them can keep them working longer.  If your iron comes with an instruction book, I strongly advise you to keep it.  Care (especially internal cleaning) varies from iron to iron and what worked in your last iron may not in your new one.  If you lose your booklet, don’t despair.  Google the make and model of your iron and it should be online.  Read through it before cleaning anything.  The following suggestions are general ones and may not pertain to your iron. 

1.  If you use your iron daily, plan on cleaning it once a month. 
2. Clean the sole plate.  There are commercial cleaners available for this process, each with varying degrees of effectiveness.  Be sure to follow the directions carefully and use them in a well-vented location, as they may cause a bit of smoke.  One commercial cleaner I used caused so much smoke, it set off my smoke detectors (and yes, I was following directions).
3. You can make your own cleaner by mixing baking soda and water with a 2:1 ratio. Apply to the iron’s soleplate, especially coating the area’s with heavy mineral deposits.  Wipe it off with a clean cloth.
4. Dip cotton swabs in distilled water and insert the ends into the steam vent.
5. Fill the reservoir with water and run the iron on full steam.  Do this over a sink or bowl to allow the steam to flush any water scale or dust through the soleplate.  Once the water reservoir is empty, the iron is clean. 
6. If your iron has a self-cleaning feature, utilize it.

If your iron’s soleplate is sticky with black stains – usually a combination of burn marks, melted fibers, etc., — those can be removed with a dry cotton towel and salt.  Simply turn your iron to the highest setting and turn the steam option off completely or empty the reservoir.  Run the hot, dry iron over the cotton towel until its clean.  If there are still some stubborn stains remaining, sprinkle a tablespoon of salt on a newspaper, paper towel, or dry cotton towel and repeat. 

Once the soleplate is all clean and shiny, be sure to wipe down the rest of the iron with a damp cloth.

At this point, I would like to re-visit step five above – fill the reservoir with water and run on full steam.  Several of the sites I researched in writing this really long blog mentioned adding vinegar and water to the reservoir to clean it. 

And I get it.  I do. Vinegar descales any residue left by hard water.  A lot of us use white vinegar and water to descale our coffee pots.  It makes sense that this would probably work with an iron, too.  I wouldn’t use a water/vinegar mixture in any iron unless the directions for that specific iron said it was okay.  The reason is this:  Vinegar can react with some rubbers and plastics (like gaskets and the reserve itself), wreaking havoc on your iron’s innards.  Unless the directions for your iron says vinegar is fine to use, I would stay away from it.

Finally, let’s talk about water.  I know some quilters don’t ever fill their reservoirs with water. I know some quilters (including myself) who do keep water in their irons.  If you’re one of those quilters who do enjoy a good, steamy iron from time to time, what kind of water should you use?  There are five myths surrounding water and irons and I’m here to dispel each of them and then tell you which is the best kind to use.

Myth One:  Regular Tap Water is Best

Nope. 

While most high-quality iron manufacturers state you can use regular tap water in your iron, most iron manufacturers have never lived in an area of the Midwestern United States or other areas with high levels of limescale and sediment in the water.  They cannot possibly fathom the levels of both of these some of us have.  Just don’t use it.  If you’re still uncertain, read your iron manual.  You may notice some fine print that says extra-hard water will need to be diluted.  Go the safe route and don’t use tap water – especially if you live in the Midwest or have well water.

Most of the time when your iron spits or leaks from the soleplate, it’s because you’re using tap water.  What’s probably happening is this:  Sediments and limescale are accumulating on the gaskets controlling your steam vents and preventing a proper seal. This causes leakage.  The fix is to fill the reservoir with clean, filtered water, turn the iron on to high, and pump the manual steam button.  While you do this, use your other hand to move the steam control level back and forth from no-steam to full-steam, and back again.  This raises and lowers the steam gaskets and will hopefully dislodge some of the sediment on the gaskets as they rise and sink in the steam vents.

Myth Two:  Distilled Water is Best

Nope …. And yes.

This one is a little tricky to explain, so bear with me.  Truly distilled water is a perfectly lovely thing to use in your iron’s reservoir – in theory.  However, it’s really not a good idea for most irons.  Here’s why:  Distilled water has no solid minerals in it.  It’s been super-heated and turned into steam and then collected (rather like a dehumidifier does in your house).  Distilled water is pure water.  Which sounds like a wonderful thing – the best thing – to use in your iron’s steam system.  Until you remember your basic chemistry class.

See, pure water molecules are starving to get their little atomic hands on carbon dioxide from the environment, making the pure water molecules just slightly acidic.  Which makes them prone to corroding metals…and your iron is full of metals. Savvy?

The “yes” part of this myth is for some irons which specifically state in their manuals to use distilled water.  The innards in these irons are made from non-corrosive materials.  However, if your manual doesn’t state distilled water can be used, just don’t. 

Myth Three:  Deionized Water is Best

Nope.

Deionized water is cheaper than distilled water and is defined as water which has had its ions removed.  Now, let’s go back to basic chemistry class again.  If the ions are removed from the water, the water is now starving for positively charged ions.  Putting water that’s starved for ions in anything electric is a very bad idea.  You’ve got alternating current flowing through your iron and a bunch of working metal parts.  Add deionized water to that and you’ll have temperamental beast of an iron in no time flat.

Myth Four:  Spring Water is Best

Nope.

Spring waters are full of minerals, which are great for your health, but not so much for your iron.  Minerals are solids which can gunk up your reservoir and steam vents.

Myth Five:  Keeping Water in your iron will shorten its life.

Nope … and yes.

If you use any of the waters above, then you will shorten the life of your iron no matter if you keep the reservoir full or empty it at the end of every sewing session. Most irons – no matter how much money you spend or whether or not you keep the reservoir full or empty – have the same average life span, which is about three years, give or take (or if you’re the Iron Destroyer from North Carolina).  If you are using your iron regularly – every day or several times a week – the water in your iron is being cycled out pretty quickly.  The trouble comes when you let water – any type of water – stay in your iron for a week or longer.  If you’re only using your iron for occasional pressing or use it once a week or less, then empty the reservoir before you store your iron.

Okay…drum roll please….What is the best kind of water to use in your iron?

Filtered Tap Water

Water which has been filtered through something like a Brita has most of the solid particles filtered out of it.  If you have a refrigerator with an icemaker and water dispenser, this is even better, as most refrigerator filters will even filter out the sodium that’s present from water softeners.

I think we’ve covered most of the pressing topics concerning irons (sorry, couldn’t resist the pun). You may want to bookmark this blog for when you need to make your next iron purchase. I hope you’ve learned something, because I certainly did.

From My Studio to Yours,

Love and Stitches,

Sherri and Felix

PS Standard disclaimer applies for both blogs. I’m not employed nor do I receive any type of compensation or free gifts from any of the iron manufacturers, water filer companies, etc., mentioned in this blog.

Today we’re discussing one of the unsung heroes of quilting…the iron.

I am more than aware sewists of all types use irons of all types.  There are lace irons and steam irons.  There are gravity fed irons and large, complex ironing systems. What I wasn’t prepared for is how uncoupled today’s young adults (read some Millennials forward to today’s Generation) are from them.  And heaven knows I was unprepared for the fact my daughter, who grew up with me sewing and having an ironing board and iron at the ready in my dining room, didn’t even own an iron – something which came to light when she asked to come over and press the grand darlings school uniforms. 

“Why iron when you have a dryer?” she asked.

Because the uniforms were cotton.  They needed steam and starch or sizing to look respectable.  Anyway, that all led to an interesting conversation about the chemistry of ironing, the fact a dryer didn’t always do a good job, and an Amazon order for a steam iron to be delivered the next day (thank goodness for Prime). 

I share this little story because I think most of us really don’t give a second thought about our irons.  As long as they heat up and do their job, we’re okay with them. We don’t consider color or contents or any of the other characteristics we may pay closer attention to with other quilting tools.  We plug them in, they sit there until we pick them up to press a seam, and then turn them off when we’re through.  It’s when they don’t heat up correctly that we frown and begin looking for a replacement.  So with that in mind, what I want to do with this blog is share some of the history of the iron, what makes a good iron, and how much money should we plan on spending for an iron.  I’ll leave ironing/pressing techniques for another day and another blog.

A clothes iron is also called a flatiron, smoothing iron, dry iron, and steam iron.  The name used depends on what country you’re in.  However, no matter where you’re at, it’s a small appliance used to press clothes to remove wrinkles and unwanted creases.  Domestic irons (the kind most of us use in our studios) generally range in operating temperature from 250 degrees to 360 degrees (Fahrenheit).  It’s named for the metal (iron) of which the device is historically made and the use of it is generally called ironing.  We quilters press (move the iron in an up and down motion) instead of iron (move the iron in a back-and-forth motion) because normally we’re not ridding the fabric of wrinkles.  We’re pushing the seam allowances in one direction or open.  Ironing a quilt block instead of pressing it could distort the bias and that’s why we generally press and not iron.  Historically, ironing was the final step in laundering clothes.

Ironing or pressing works by loosening the ties between the long chains of molecules which exist in polymer fiber materials.  With the heat and the weight of the ironing plate, the fibers are stretched, and the fabric maintains the new shape when cool.  Some materials, such as cotton, require the use of water to loosen the intermolecular bonds. 

We will discuss irons and water a bit later.  While steam seems like such a simple thing, when it comes to your iron, opinions are all over the map.

The Hot and Heavy History of the Iron

Before the introduction of electricity into everyday household use, irons were heated by combustion, either in a fire or with some kind of internal arrangement.  An electric “flatiron” was invented by American Henry Seely White and patented on June 6, 1882.  It weighed almost 15 pounds and took a long time to heat.  The UK Electricity Association is reported to have said an electric iron with a carbon arch appeared in France in 1880, but this claim is considered to be pretty doubtful.  Two of the oldest sorts of iron were either containers filled with a burning substance or solid lumps of metal which could be heated directly. 

Metal pans filled with hot coals were used for smoothing fabrics in China by the 1^st century BC.  A later design consisted of an iron box which could be filled with hot coal and had to be aerated by attaching bellows to it.  In the late 19^th and early 20^th centuries, there were irons which were heated by kerosene, ethanol, whale oil, natural gas, carbide gas (acetylene, as with carbide lamps) and even gasoline.  If the natural gas and carbide gas sound a bit dangerous, remember some houses during this time were equipped with a system of pipes for distributing the natural or carbide gas to different rooms in order to operate appliances and lights.  And despite the risk of fire, liquid-fuel irons were sold in US rural areas up through World War II.

In Kerala in India, burning coconut shells were used instead of charcoal in irons, as they have a similar heating capacity.  This method is still in use as a backup device, since power outages are frequent in that area.  Other box irons had heated metal inserts instead of hot coals.  From the 17^th century, sadirons  or sad irons (from the Middle English “sad”, meaning “solid”, used in the English through the 1800’s) began to be used.  They were thick slabs of cast iron, triangular, and with a handle, heated in a fire or on a stove.  These were also called flat irons. 

In the industrialized world, these designs have been replaced by the electric iron we’re used to.  This iron uses resistive heating from an electric current. The hot plate (the sole plate) is made of aluminum or stainless steel polished to be as smooth as possible.  Sometimes it’s coated with a low-friction heat-resistant plastic to reduce friction below that of the metal plate.  The heating element is controlled by a thermostat which switches the current on and off to maintain the selected temperature.  Early electric irons were considered too dangerous to be successful.  Those irons  had no easy way to control their temperature and the first thermostatically controlled electric iron didn’t appear until the 1920’s.  The first commercially available electric steam iron was introduced in 1926 by a New York drying and cleaning company, Eldec, but it wasn’t a commercial success. 

The patent for an electric steam iron and dampener was issued to Max Skolnik of Chicago in 1934.  In 1938, Skolnik granted the Steam-O-Matic Corporation of New York the exclusive right to manufacture steam-electric irons. 

This was the first steam iron to achieve any degree of popularity, and led the way to more widespread use of the electric steam iron during the 1940’s and 1950’s. 

With all this technology funneled into a working steam iron, you’d think the only reason people wanted one was to remove wrinkles from their clothing.  And while this was certainly true, there were two other reasons:

1.  To remove all the moisture from clothing and linens so they would not mildew.
2. To kill any lice.  Ew.

Modern Irons

Modern irons have come a long way from the heavy ones introduced in the twenties and thirties.  Most of them have at least some of the following features:

• A design that allows the iron to be set down, usually standing on its end, without the hot soleplate touching anything and damaging it.
• A thermostat ensuring a constant temperature.
• A temperature control dial allowing the user to select the operating temperatures – usually marked with types of cloth such as silk, linen, cotton, etc.,– instead of temperatures.
• An electrical cord with heat-resistant silicone rubber insulation.
• Injection of steam through the fabric during the ironing process.  Steam is produced by water in a reservoir inside the iron.  This reservoir usually has an indicator showing the amount of water in it, and the iron constantly sends steam through the hot part of the iron into the fabric.  It may also give a burst of steam when a button is pressed. Sometimes there is even a dial which controls the amount of steam emitted as a constant stream and has an anti-drip system. 
• Cord control at the point where the cord attaches to the iron.  Usually there is some sort of spring to hold the cord out of the way while ironing and setting the iron down.  This actually prevents fires.
• Some irons have a retractable cord.
• Some irons have a non-stick coating along the sole plate to help the iron glide across the fabric.
• Some irons have anti-burn control.  If the iron is left flat for tool long, the iron shuts off to prevent scorching and fires.
• Another irritating feature some irons have is automatic cut off.  If the iron is left undisturbed for several minutes, the iron will automatically cut off.  Some irons even have 3-way automatic shut-off.  This feature will be discussed later in the blog because it’s one of the most disliked modern features for many quilters.
• There are cordless irons.  And they are wonderful.
• Many are self-cleaning, anti-scale, and have vertical steam.

Okay, that’s a lot of information about irons.  Probably more than you wanted to know.  But I always think it’s interesting to see how our sewing tools developed and a little history about the inventors, if I can find it.  Now I want to move into the nitty gritty of this blog – what to look for in a good iron, how much money to spend, what are the best irons so far in 2024, how to take care of your iron, and….do you put water in your iron or not, and if you do, what kind do you use?

Obviously, this will be a two-part blog.

What to Look for

I am pre-supposing one issue with this part of my blog:  You are not like me.

I am notoriously hard on irons.  They get bumped off my pressing station, dropped in the floor, carried and toted from yonder and back, tossed in the back of my Tahoe and are generally disrespected in so many ways.  For this reason alone, I do not purchase expensive irons.  As a matter of fact, the first characteristic I look for is price.  What is the cheapest iron in the store or on-line?  That’s the one which will be thrown in my shopping cart. It may last me a year or a day, but at least I won’t have the nagging thought I spent hundreds of dollars on an iron which met an untimely demise. 

Now with me keeping in mind you’re much more responsible than I am, let’s talk about what the average person – not the iron-destroyer from North Carolina – should look for in an iron.  These characteristics are supplied from Consumer Reports, Martha Stewart, and several quilt books.

On average, irons range in price from $15 to $150.   There are more expensive ironing systems, but for this blog, I only want to deal with the types of irons which rest on the end of our ironing board.  What is truly interesting is that price itself doesn’t always indicate performance.  According to Consumer Reports, the best irons ranged around the $50 mark.

The basic features you should pay the most attention to are these:

 Steam – Both steam and water in any iron can be enough to set some quilters off.  They don’t like steam because it can stretch the bias.  Water left in the reservoir can shorten the life of the iron (or does it?).  However, there are two reasons why steam should be given careful consideration.  First, you may not always be ironing quilt-related items.  You may actually need to iron a cotton shirt or skirt or other apparel.  With these, steam is the most effective way to get rid of the wrinkles and creases.  Second, you don’t have to fill the water reservoir when you use the iron in your quilt studio.  Most irons work just fine without it.  So, you may want to purchase an iron with an adequate steam rating just in case…on the spur of the moment…you have to iron some piece of clothing instead of just tossing it in the dryer with a wet cloth to get the wrinkles out. 

Soleplates – Choose from stainless steel, anodized aluminum, and nonstick.  The best gliders are often stainless steel or ceramic.  Consumer Reports tested the nonstick soleplate and found they did not glide as well as the others.

Controls – Iron controls run the gamut from dials, slides, and digital controls.  Make sure the controls are easy to see and adjust and that fabric settings are clearly marked.

Comfort – This is pretty important for quilters because we handle our irons a lot…and the average quilter is in his or her mid-sixties.  This means just perhaps some of us are experiencing some arthritis in our fingers, arms, and hands.  So, the weight of the iron, the feel of the handle in our palm, and the ease of which it glides across fabric is pretty important.  If you purchase an iron in a brick-and-mortar store, take the time to pick it up.  Imagine lifting it up and down several times during a quilting session.  Pay attention to how it makes your hand feel.  If you buy your iron online, try to get one you’ve used before and really like.  If that’s not possible, be sure to read the reviews to get both the good and bad about the product.  Even an iron which is excellent at ironing may feel awkward or heavy in your hand, and that’s not good. 

Other features to consider are automatic shut-offs, burst of steam or surge, retractable cord, self-cleaning system, adjustable steam, anti-drip, transparent water reservoir, and vertical steam (which is great for curtains).

Next week we’ll look at the top three irons on the market according to Wirecutter and handle the hot topic of should you or shouldn’t you use water in your iron, if so what kind is best, and does it make any difference at all if you let water remain in the resevoir. Lots of conflicting thoughts about those topics, believe it or not. And prepare yourself for some basic chemistry…

From my Studio to Yours…

Love and Stitches,

Sherri and Felix

Here’s a few more mistakes we make and how to correct them.

• Rows Don’t Line Up or Points are Chopped Off.  As far as the blocks in the rows not lining up:

Sometimes this is caused by inaccurate cutting, but more often than not it’s caused by inconsistent seam allowances.  I know you’ve heard me ad nauseum about keeping a consistent seam allowance, but it’s important for all types of piecing.  So if your blocks are offset from each other in rows, the first thing to check is your seam allowances.  Most of the time if this is corrected, the blocks will line up just fine. 

I have learned for myself that consistent measuring and squaring up usually eliminates mismatched rows.  It’s a process.  First I make a test block.  If the block is the correct unfinished size, make a note of the unfinished size of each block unit (such as four-patches, flying geese, etc.).  Then I cut out my fabric and make enough block units to create several blocks.  I sew the blocks, measure them, and trim if necessary.  If the blocks require sashing, I also cut out my vertical sashing strips and sew those to the right side of the block.  If both the block and the sashing strips match perfectly, then I know both my cutting and my piecing is accurate.  Once I make two rows, I sew those together.  If the rows match up the way they should, I continue this process.  It’s a lot easier to correct mistakes when there’s only two or three than to complete the quilt center only to discover things really went wonky on the second row. 

Chopped off points are a pretty easy fix.  We’ll use a flying geese unit as an example.  Personally, I have found the basic flying geese construction the most accurate way to make one of these units (other than paper piecing). 

Once you have your “geese” rectangle and your side squares cut out, draw a diagonal line across the squares.  Lay the squares, right sides together, on the ends of the rectangle.  Sew a thread or two above the line.  Repeat on the other end of the rectangle.  Press and trim the excess square fabric away.

If this process has been accurately completed, there should be ¼-inch (or slightly more) fabric extending beyond the beak of the goose.  Now flip the flying geese over and look at the back of it.See that spot where the two lines of stitches makes the X?  When joining the flying geese to another unit or piece of fabric, the stitching line should go right through the middle of the X or slightly above it.   

This way the point isn’t chopped off.  This holds true for any point or corner. Make sure your stitching line is slightly above the point or corner and it won’t be lobbed off when joining it to another unit. 

• Wavy Borders or Sashing.  I won’t go into a lot of detail here, but will point out this blog:   https://sherriquiltsalot.com/2020/06/03/destination-the-borders/ which shows the correct way to put on borders and why it’s important to measure, measure, measure.  What I will say is make sure your borders and sashing strips are all cut on the same grain – either all width of fabric or length of fabric.  Don’t mix the two.  That will definitely cause them to be wavy.

• Where Do I Look When I’m Sewing or Quilting?  This almost seems like a “duh” question – you look at your fabric, right?  But where on your fabric?  At the needle?  The point before the needle?  Or is it behind the needle? 

Sewing is a bit like driving a car.  Your focal point should be slightly forward to see where you’re going.  The eyes need to be focused on the point before the fabric goes under the needle – this is true no matter if you’re quilting or piecing.  This line of vision helps you see where you need to go before you’re already there.

• Squaring Up.  This is one point I really try to drill home with my beginner quilters.  Yes, squaring up is important. While squaring up isn’t as fun as piecing, it is just as important.  When each block unit is the correct size, each block is the correct size, each piece of sashing or setting units are the correct size, and the borders are the correct size, your quilt top will lie completely flat, which is one of the goals.  And a flat quilt top quilts beautifully.  To find out how to do this, go here: https://sherriquiltsalot.com/2022/11/16/what-you-need-to-know-about-grain-lines-and-squaring-up/

• Never Underestimate How Important Pressing Is.  Pressing after each step helps your block units lie flatter, therefore your block will be flat.  Pressing seams in the correct direction allows you to nest seams, so corners, points, and seams line up.  Pressing in the correct direction prevents “shadowing” from the darker fabric (always press towards the dark side as much as possible).  However, the most important thing I think good pressing technique does is reduce bulk.  If seams are pressed to the side where needed, or open, bulk is reduced which makes the block lie flat and makes the quilt easier to quilt.  The needle won’t stall out in bulky spots.

• The Kind of Thread and Needle Used Is Important.  The right tool for the job makes the job much easier.  Many of my regular readers remember I am a thread snob.  Cheap thread leads to lint.  Lint makes your machine work harder and need frequent cleaning.  Long staple thread produced less lint.  For piecing, you don’t want a thread weight which takes up a lot of space in your seam allowance.  A 50- or 60-weight thread (preferably two-ply) makes a great piecing thread.  Quilting thread is an entirely personal choice.  If you want your quilting stitches to melt into the background, choose a thread with a higher weight.  To show off your stitches, a lower weight thread works well.

Be sure to match the correct needle to the thread and fabric.  This is source of many skipped stitches – the needle is too large or too small for the diameter of the thread or you’re using the wrong needle to sew the fabric.

• Not Storing Your Quilt Sandwich Correctly.  If there be some time between when you layer your quilt sandwich and the time you sit down to quilt it, be careful how you store your sandwich. If you’ve spray basted, laying it flat until it’s quilting is a good idea.  Remember basting spray is not a permanent adhesive.  Folding the sandwich several times can cause the quilt layers to come “unstuck.”  If you baste with needle and thread, make sure the basting stitches are secure enough to keep everything in place.  The same goes with pin basting.  If you’ve pin basted, make sure the pins are close enough together, so nothing shifts.  And beware of brass pins.  A friend of mine used brass pins to baste with, then set the sandwich a side for several months.  When she returned to the sandwich to quilt it, the brass pins had rusted, leaving brown spots all over the front and back of the quilt. 

• Check for Fabric Value.  I’m not talking about monetary value.  Nope.  While that can be important, what’s even more important is you have lights, darks, and medium color values in your quilt.  When pulling fabric for your quilt, it’s easy to use all the fabric from one family.  And there’s nothing wrong with that, except most fabric families now are primarily mediums.  And this means your quilt will look “muddy” because there are no true lights or true darks to mix things up and cause distinct contrasts.  The easiest way to make sure you have a good mix of lights, darks, and mediums is use your phone to take a picture of the fabric.  Once the photo is in your album, edit it to the back and white (sometimes called noir, silver tone, or mono) setting.  Then give it a close look.  If you can clearly see white, gray, and dark gray-to-black fabric images, you’re good to sew.  If everything is gray-ish, you’ve chosen all mediums and need to revisit your fabric choices.

• Keep Spray Bottles Clearly Marked and Separated.  This is one of those mistakes which comes from personal experience.  As quilters we have spray bottles of starch, sizing, starch alternatives, water, Flatter, and spray baste.  It’s okay to keep all those spray bottles used with your iron on or near your pressing surface.  May want to keep that spray baste in another area of your studio, away from your pressing station.  Just sayin’. 

• May Want to Take a Peek Beneath the Fabric Before You Sew.  This primarily applies when you’re sewing a lot of fabric bulk, bulky seams, etc.  Make sure you don’t have the additional bulk of something else caught up in your fabric.  It’s easy to get a border folded back on itself and sewn into a seam twice.  If you’re in the quilting process, it’s common to have the quilt back pucker because it’s gotten caught up in the wrong place.  And I’ve even accidentally had the sleeve of the extra-large sweatshirt I was wearing get sewn into a quilt.  That was not a good day.

• Close that Rotary Cutter When You’ve Finished Cutting.  I think if there are children around your cutting area, you tend to be very safety conscious and close the cutter when your through.  However, when you’re alone or with other adults, you may opt to let this safety rule slide.  Please don’t.  Close the cutter.  Accidents happen.  I left a cutter open on the mat and my cat, Sam, jumped on the cutting table about the time I laid the rotary cutter on the mat.  As a result, the cutter was knocked off, bounced off my knee, and slid down the front of my leg.  I didn’t require stitches, but I didn’t think I would ever get the bleeding stopped.

Come to think of it, wear closed toe shoes in your cutting area, too.  If you accidentally drop an open cutter on your foot, it could be disastrous.

• Be Careful How You Transport Your Sewing Machine.  More than likely, at some point, you will need to make your machine mobile.  You may want to take a quilting class or attend a retreat and need to take your sewing machine with you.  I’ve tried corralling my machine in the back of my car or in the floorboard.  The best way I’ve found to keep the machine stable, in one piece, and unharmed is to set it in one of the seats and seatbelt it in.  The seatbelt holds everything nice and steady until you get where you’re going.  This is important because the last thing you really want to do is deal with the aftermath of A). Gathering all the pieces of your sewing machine back together once you arrive at your destination or B).  Find out your machine took a hard tumble and no longer works. 

• Sometimes Handwork is Easier than Machine Work.  There are some quilters who enjoy handwork and there are others who would prefer not to hand piece.  Then there are those who absolutely refuse any type of handwork at any time.  I’m one of those who enjoy both.  However, I do understand those who do not, under any circumstances, want to do any handwork.  But, let me throw this in here:  Under some situations, hand piecing is actually easier and faster than machine piecing.  I’m thinking about small, set-in seams in particular.  In those situations, hand piecing is more accurate and faster than wresting with a sewing machine.  And if per chance you do make a mistake, hand stitching is easier to take out in those situations than machine stitches. 

I hope my mistakes and how I corrected them prevents you from having the same problems I did.  And if you find you’re continually making these mistakes, I hope my “fixes” can help you put a stop to your problems. 

Until Next Week, Keep Stitching.

From My Studio to Yours,

Love and Stitches,

Sherri and Felix

Everyone makes mistakes.  It’s true.  If you’re human, stuff is going to happen.  And if you’re a quilter, you may as well determine that some … blunders are part and parcel of the art.  One of my goals for this year’s blog is to bring you into my studio (or at least as close as I could get) and discuss what I do and why.  This week, I want to tell you about some of the mistakes I have made (as well as a few of my quilting friends admitted to me they made) and how we corrected them.

•  Sewing too long.  There are times when everything in your quilt room will flow together.  The seams are a perfect quarter inch.  Netflex is showing four of your most favoritest movies.  Needles aren’t breaking, the fabric is beautiful, and you found your preferred wine on sale this week, so adult beverages are not a problem.  You could sew for hours.  And hours.  Perhaps you do.  But somewhere around the third or fourth hour, you start making rookie mistakes.  Suddenly your half-square triangles aren’t the right size, or your seams go wonky.  The flow stops.  You get irritated at the quilt and at yourself and wonder how the evening could end so badly when it started out so great.

The answer is easy.  You’ve sewn too long.  Even though we love our craft and could (and do) sit behind a machine for hours, after a while, we need a break – both our bodies and our minds.  It’s not good to sit so long in one position and our brains need some time to do mindless things.  Through the years I’ve learned my max sitting and sewing time is three hours.  I need to get up, move, and hydrate.  Do something mindless for a while, or if it’s late, go to bed. 

The key to correcting this mistake is to find out what’s your limit is.  Is it one hour or two?  Perhaps it’s forty-five minutes.  Whatever it is, take note of it and get up from the machine before you reach your limit.  You’ll leave and return to your project with a much better attitude than if you exceed your limit and keep pushing yourself.

• Consistently making the wrong size block.  There are a couple of ways to correct this mistake.  The first one is to invest in a quarter-inch foot (also called a Quilter’s Foot). 

When you line the outer edge of the foot up with the fabric, or have the fabric next to the phalange, you’re well on your way to making the correct size block.  If you don’t have a Quilter’s Foot, measure from your needle over ¼-inch and mark that spot with a piece of painter’s tape or a marker.  Line your fabric up with that mark and sew. 

If you’re sewing a consistent ¼-inch seam and the blocks still aren’t the right size, the problem could lie in accurate cutting.  Measure a few pieces before you cut everything out.  For instance, if the pattern calls for twenty 4-inch squares, cut a couple out and measure them to make sure your cutting is accurate. 

• The fabric runs when you wash your quilt.  I’ve written blogs about this and my passion for pre-washing.  Personally, I have never had any fabric bleed or crock on any quilt when I’ve taken the time to prewash the fabric.  Prewashing was ingrained in me when I was a beginner quilter.  My teacher prewashed and emphasized why it was necessary.  To me, it’s as natural and important a part of quilting as the ¼-inch seam.  I bring the fabric home, toss it in the washer, hang it to dry, press it while it’s still barely damp, fold and store it or proceed to cut out what I need for a quilt.  If I add the fabric to my stash, I clip one corner off.  This tells me it’s prewashed and ready to rock and roll when I need it.  Prewashing pretty much guarantees the fabric will not shrink any more (or at least not much) and neither will the colors run.  If I’m iffy about a particular fabric – such as an over-dyed batik or a red, blue, or black material – I can use Retayne or Synthrapol. 

I also realize I seem to be in the minority.  Very, very few of my quilting friends prewash.  It’s an extra step.  It takes time away from the quilting process.  For those of you who decide not to prewash but still freak out about your fabric bleeding or crocking, wash your finished quilt in cold water, on a gentle cycle, and use three to five sheets of color catchers

in the wash.  Closely examine the quilt when you remove it from the washer. If you see areas of bleeding, repeat this process until the color catchers come out with no dye on them.  If there is no bleeding fabric, either let the quilt air dry or toss it in the dryer.  Do not put it in the dryer if there is fading, as the heat will set the areas where the material has bled onto another fabric, and you won’t be able to wash it out. 

• Free Motion Issues.  Okay, let’s just be honest.  Dropping those feed dogs and quilting your quilt on a domestic machine is just a little scary the first two or three times.  We are used to the feed dogs doing all the work for us, grabbing the wrong side of the fabric and pushing it over the feed dogs at a consistent rate so we have even stitches.  Once the dogs are dropped, all of that is up to us. 

I wish I could give you some formula like the Golden Ratio or Quilter’s Cake to make it easy-peasy, but I can’t.  What I can do is share with you the tools I use which have made free motion quilting easy and fun for me.  The first tool is practice.  Practice, practice, practice, and then practice some more.  Even though I have a long arm and use it, I still quilt small-ish quilts on my domestic machine.  And while the outcome may look similar between the two machines, the technique is definitely different (with a long arm you bring the foot to the ruler, and with a domestic machine you bring the ruler to the foot).  So practice is necessary in order to become fluent with either.  The easiest way I’ve found to foster practice is construct a few quilt sandwiches – no bigger than 18 x 18-inches square – and keep them by your machine.  Then each time you sit down behind your machine, they’re ready for you to take a few minutes, drop your feed dogs, and practice.

From personal experience, I really want you to know how beneficial this is.  First, the sandwich is smaller than most quilts, so it’s easier to control.  But this allows you to feel the rhythm of your machine without dealing with the bulk of a larger sandwich.  It’s easier to manipulate, allowing you to be comfortable while your discovering favorite fillers, how to quilt from dot to dot, and learn how to deal with tension issues.  And I always practice on a sandwich before I put a quilting stitch in my quilt.  I use the same thread on  top and in the bobbin that I’ll use on the quilt.  This way I can iron out tension issues, needle problems, or anything else before I quilt my quilt.  Second, this process allows you to build confidence and even be a little more daring on a sample than you would be on a quilt.  I’ve even drawn quilt blocks on a practice sandwich to experiment on how to quilt them. 

There are a few tools I feel are indispensable for free motion quilting. 

1. The Supreme Slider

This is a Teflon coated plastic sheet with a sticky backing and a hole in it.  Position the slider over your needle plate, with the hole over the feed dogs.  The sticky backing will hold it in place as you free motion your quilt.  The Teflon coating reduces friction to zero and makes moving that quilt sandwich oh-so-easy.  The Supreme Slider comes in regular, medium, and large sizes (although the large is getting harder to find).  Personally, I find the small works for most quilts, but I have a medium I use frequently, too.  They are slightly pricey, so you may want to begin with the medium or small and move to a larger size if you feel it’s necessary.  One word of caution, if you switch from free motion and your feed dogs lowered back to a foot which requires you to return your feed dogs to the up position, be sure to remove the Supreme Slider from your needle plate.  The feed dogs will chew a hole in it ask me how I know. 

• Water Soluble Marking Pens

Even the most experienced quilter will need to make some registration marks on their quilt sandwich.  Personally I really like the blue water-soluble pens the best for this.

• Mega Magic Bobbin Genies

What the Super Slider is for the quilt sandwich, the Mega Magic Bobbin Genies are for your bobbin.  These are ultra-slim and simply drop in your bobbin case and then your bobbin sits on top of it.  These help to eliminate backlash, birds’ nests, and eyelashes on the back of your quilt when your quilting (especially when you get good and fast at free motion).  I always keep one in my domestic sewing machine as well as my long arm. 

• Quilting Gloves

They simply help you keep a good, solid grip on your sandwich.  I also wear mine when adding borders to a large quilt.  The grippy stuff on the gloves helps me wrangle all the fabric bulk.

• The Right Machine Needle

I cannot emphasize enough how very, very important the right needle is.  And it’s also a personal decision.  Some quilters use Microtex needles, others use denim or top stitching needles.  It’s just crucial the needle has a sharp point which can cleanly pierce through the weight of a sandwich.  Some sewing machines have their own brand of quilting needle.  I quilt and sew on a Janome.  Janome has a line of “Blue-Tipped Quilting Needles” made for quilting.   I am always a bit skeptical about brand-specific equipment (many times producers will hike up the prices on brand-specific items because they’re supposed to be better than generic equipment).  However, I gave them a try and they are very, very good.  And while we’re on the subject of needles, it’s important to change your needle before and after quilting a quilt (you can get by without doing this if the quilt in question is a small one). 

• Running Out of Fabric.  This does happen on occasion.  As a matter of fact, it happened to me this week.  I thought I had purchased enough backing fabric for a quilt and was a half-yard short.  Fortunately, even though the fabric is a couple of years old, I was able to find it (thank you Shabby Fabrics).  Now I’m in a holding position waiting for it to arrive so I can quilt my quilt.  So how do you avoid this dilemma?

Read the pattern carefully.  Highlight the yardages, fat quarters, etc. needed.  Most good quilt patterns do allow for mistakes and will “pad” the amounts needed by several inches.  If I’m purchasing fabric for a specific quilt pattern, I’ll take sticky notes with me to the quilt shop.  As the sales associate cuts what I need, I will write the yardage and what it’s for on the sticky note and attach it to the fabric.  If I’m purchasing fabric online, I’ll print out what’s in my cart and write this same information next to each fabric.  This way I’m checking and double-checking my yardage.  With either, as soon as I have the specific fabric for a particular quilt, I cut the quilt out.  This way if I have made a mistake, I can rectify it then.  If I wait a year or longer (and sometimes even a few months) to buy the additional fabric I need, it may not be available.  If pulling from my stash, I measure twice to make sure I have enough and again, label the fabric.

Sometimes you can fudge on the amount.  For instance, if the pattern calls for a yard and you have ¾-yard, sometimes some skillful cutting can make up the difference – again remember most quilt patterns call for a smidge more than you need.  One tip I will offer concerns block-of-the-month programs.  If the program offers an “oops” package, it’s usually a good idea to purchase it.  The “oops” offers a few additional inches of each fabric used in the quilt just in case you mess up.  If you purchase a quilt kit, and cut it out as soon as you can.  This way if you’ve been shorted any fabric, you can contact the shop where the kit was purchased, and the material will still be available.  If you wait a year or two to begin the quilt and you find you’re short, it may be too late to get the fabric the kit calls for.

If you find you’re short and you’re in the middle of a project (like I am now), it’s frustrating.  If you have the name of the fabric (it’s on the selvedge), you can Google it and see if any is available.  A search will usually also include Etsy and Ebay (which has saved me from a few disasters).  If the fabric is found, purchase it.  If it can’t be found or it’s beyond your price range, make a design decision and change it up. 

And if you’re waiting for your fabric to arrive, simply move to another project during this time.

There still are quite a few mistakes to cover. We’ll finish this topic up next week. Until then, keep quilting!

From My Studio to Yours…

Love and Stitches,

Sherri and Felix

PS — My favorite “bleed” corrector for quilts is a mix of two parts Oxyclean to one part hydrogen peroxide. This does form a paste, but a paste is easier to control than a liquid which may make the bleeding worse. Dampen the area which has the fading on it and then with a cotton swab or soft brush (a baby toothbrush works GREAT), gently work the paste into the area. Let it set for a few minutes and wipe off. You may need to repeat this a few times, but generally it works pretty well.

Quilters can be inspired by lots of things.  Pictures.  Music.  Dreams.  Color (which is a big one for me).  We gaze at new patterns, new quilts, and color graphics on the internet and in quilting magazines.  We can get that “quilting rush” from watching videos from our favorite quilters.  However, sometimes inspiration can come from the quiet voice of the past.  The old quilt blocks.  The antique quilts we see in antique stores, and if we’re lucky, a relative’s home.  Sometimes the quilter’s rush is replaced with the joy of creating something from the past.  And that’s what I want to discuss in today’s blog.  Reproducing old quilts.  Or to really be more specific, accurately reproducing these quilts. 

It’s one idea to reproduce an old quilt.  It’s entirely another to do it accurately.  Also, let me adamantly say, there is nothing wrong with reproducing an old quilt inaccurately, either.  Many of the quilt blocks we use in our quilts are hundreds of years old.  However, despite their advanced age, they work well with modern fabrics, reproduction fabrics, and everything else in between.  Like a good little, black dress, they are timeless.  But if the desire ever hits you to make a quilt accurate to a particular time period, there are certain things to consider. 

For the purposes of this blog, we’ll consider making a Civil War quilt.  I chose this time period for a couple of reasons.  First, many quilt shops (both online and brick-and-mortar) carry a line of Civil War Reproduction Fabric.  Some quilt sites (such as Hancock’s of Paducah) have a large selection.  Others are smaller and more curated.  The second reason is you can still find fabric made during this era – especially indigos.  Both of these factors will play an important role as we move forward with our quilt.  The other considerations are quilt blocks, colors, fabric, and techniques.

Quilt Blocks

Civil War quilts are really pretty easy to research.  There are well over 50 books with Civil War quilt patterns listed on Amazon.  These texts cover everything from blocks, to construction, to colors.  You’ll find there are samplers and applique quilts and even the infamous Dear Jane quilt to consider.  For this blog, let’s find a block which is accurate to the Civil War period and work with a layout.  After some Googling, I discovered that small, pieced blocks were very popular during this war – averaging around 6 ½-inches unfinished.  Applique blocks were larger.  Applique and piecing were usually not mixed with these quilts – they were either pieced or appliqued. 

For our pieced block, we’ll work with the Ohio Star.

This quilt block was allegedly developed during the 1800’s, so it does fall squarely within the dates of the Civil War.  According to Barbara Brackman, the block was constructed in honor of the Ohio town of Oberlin and Mary Leary Langstrom who lost her husband during John Brown’s raid on Harper’s Ferry.  The block also is called the Variable Star, Eastern Star, Western Star, and Texas Star. 

For the applique block, we’ll use the Oak Leaf and Reel (sometimes called Lover’s Knot), which came into prominence around 1830.  This pattern was frequently used on wedding quilts and was one of the first patterns to involve curves.  It seems to have suddenly appeared on the quilting scene in Pennsylvania, but quickly spread to other parts of the United States and it still remains a classic.  The applique pieces surrounding the center may change a bit from quilt to quilt, and I have seen the center block with a circle appliqued on it, but the basic design has remained the same.

It is important, if you want to make a realistic reproduction, you research blocks which were used during the time period.  For instance, a Sunbonnet Sue would be out of place in our Civil War Quilt.  She wasn’t really introduced to the quilting world until the twentieth century.  A Google search is a good place to start, followed by Barbara Brackman’s and Carrie Hall’s research.*

Colors

If you’re constructing an accurate reproduction quilt, you want your colors to also be as accurate to the time period as possible.  The internet makes this easy… and difficult at the same time.  For instance, I searched “Civil War colors” and this came up:

These were some of the colors used for Chaplains Uniforms.  With this search, it primarily returned the colors of Civil War uniforms (lots of blues and grays and butternuts).  However, the color palette then had so many more options.  I found searching the term “fabrics” was a much better option than “colors.”

The Civil War Era color palette was vast – so much bigger than blues, grays, and butternuts.  And this fact fits.  The height of America’s calico production was from 1850 until 1855.  There were literally hundreds of yards produced in a day in one mill alone.  All of this added up to about 10,000 different prints per year.  All of which leads us to our next consideration…

Fabric

When we think about any reproduction quilt, our minds immediately to go all the wonderful reproduction fabrics available.  The demand for reproduction fabric began in the 1970’s as the United States Bicentennial drew quilters and crafters back to the past.  And the market for this fabric is still quite active. Most of this fabric is very, very good and for the most part, very accurate.  But stop for a minute and think about the fact that during the heyday of America’s calico production, there were 10,000 different prints rolling out of production every year.  There is no way today’s fabric manufacturers could reproduce that many prints. Despite the demand for this material, the retail market for reproduction fabric is a niche group, and not as many yards of this fabric are sold when compared to all the other fabric available.  Designers do reproduce some of the prints in the most popular colors, but the market is limited for cost effective reasons.  However, don’t let that discourage you – there are still hundreds of options offered. 

While the Civil War reproduction prints may be accurate, due to the differences in dying processes, the colors may not be completely correct.  There will be some variances, but those are minor, and the bonus is the reproduction fabrics are color fast, something the old natural and synthetic dyes couldn’t claim. 

It’s kind of interesting to note not all fabric manufacturers can legally make reproduction fabric identical to the fabric of an era.  Not only have dying methods changed, but some of the prints are still copyrighted.  For instance, the prints on Civil War fabric were not (for the most part) under copyright.  Fabric houses can duplicate those prints on current fabric.  However, once you get to the 1930’s, things get a little more complicated.  One of the big fabric resources for quilters during the Depression (and into the 1940’s) were Feed Sacks.  Companies who sold their products in sacks (flour, sugar, chicken feed, salt, etc.) became highly competitive with their prints and colors.  Many of them copyrighted their dyes/colors and the prints.  So while fabric houses can reproduce a lot of the Feed Sack prints and colors, they can’t tip-toe into copyrighted territory.  This is why some of the 1930’s colors (especially the mint green)** in reproduction fabric can be  just a bit off from the original. 

But let’s posit this scenario – what if you have actual fabric from the time period?  Even though the Civil War is well in the past, you can still find fabric from that era (especially indigoes).  And Feed Sacks can be purchased at antique stores, and on Etsy and Ebay.  I have a plastic bin full of them.  What could be more accurate for a realistic reproduction quilt than to use the actual fabric from the time period?  If I have it, should I use it?  And should I mix it with current reproduction fabric?

The answer is yes…and no…to both questions.  There are several considerations to ponder before using antique fabric or mixing it with currently produced material.  Vintage fabric is defined as anything more than 30 years old (some of my stash may be heading towards this territory).  If you add this type of material into a quilt – unless the quilt is made entirely of vintage fabric – it could cause the quilt to be incorrectly dated.  When a quilt is given an “age” (usually by an appraiser or quilt historian), the age of the quilt is taken from the most current fabric used in the quilt.  For instance, if I made a quilt and used Feed Sacks and my Aunt Grace Feed Sack Reproductions, it should be dated in the 2000’s not 1930’s because the Aunt Grace line is more current.  However, if this fact slips past the appraiser or historian, it may be dated to the 1930’s, and that would be incorrect.  Would this fact slip by most appraisers or historians?   No.  Most of those are highly trained, but it could happen, and the wrong date can affect the monetary value of a quilt.

Another consideration is how the quilt will be used.  If you really want to use vintage fabric in a quilt, you may want to choose a quilt type which wouldn’t be handled a great deal, as the thread weave in vintages may not hold up to a lot of wear and tear.  Wall hangings would be a great possibility for antique fabric.  Another consideration is fabric weights.  Avoid mixing them too much.  Today’s reproductions have a tighter weave than most vintage fabric.  It’s not good to mix a tightly woven fabric with one which is more loosely woven.  The difference will cause the fabrics to pull apart as it’s handled.  And if the quilt will be washed or in direct sunlight, you may want to give serious second thoughts about using vintages.  Neither is good for antique fabric.

If you do use vintage fabric in the center of your quilt, you may want to use reproduction fabric in the borders, as the tighter weave of the newer fabric will stabilize the center well.

Techniques Used

It’s important to remember that although a working sewing machine was invented by Elias Howe in 1819, sewing machines weren’t widely used until 1850.  So if you’re making a reproduction quilt prior to 1850, hand piecing would be the most accurate technique to use.  After that, machine piecing is fine.  Hand quilting didn’t give way to machine quilting even after sewing machines began to show up in most households.  While, yes, some quilts made from 1850 onward were quilted by machine, it wasn’t until the 1990’s that machine quilting became widely accepted and used (both domestic machine and long arm).  Applique was performed by hand (usually a type of needle turn) or machine from 1850 forward, however machine applique didn’t become really popular until sometime around the 1930’s.  It is interesting to note that these early appliquers did use a kind of basting glue.  So grab those glue sticks and use them freely and without guilt.

Quilting motifs are another consideration.  If accuracy is your goal, you can’t just pull a pantograph or your favorite computerized quilting design out and let your long arm or domestic machine do its thing.  Vintage quilts contain echo quilting, quilting along seam lines, cross hatch, double cross hatch, hanging diamonds, Baptist fans, and feathers.  If you can’t decide how to quilt your quilt, spend some time Googling antique quilts in your reproduction’s time frame.  This should give you a good idea about how to quilt your quilt.

Finally…

When most quilters talk about reproduction fabric or reproduction quilts, generally two eras come to mind:  Civil War Quilts and 1930’s Quilts.  Quilt shops (both online and brick-and-mortar) usually carry a bit of each, making reproduction fabric from both of these eras easy to find.  And I have found a few shops  now carry American Revolution lines, too.  But sometimes we fall in love with fabrics or quilts (or both) from a completely different era and we struggle to find either useable vintage fabric from this period or reproduction fabric.

Besides being a huge fan of 1930’s quilts, I also love the Edwardian period.  And fortunately for me, with the recent surge in popularity of Jane Austin, there have been a few Edwardian reproduction fabric lines made, including a Jane Austin Quilt Kit.

In my search for this reproduction fabric, I found costuming websites extremely helpful.  They offered accurate colors and reproduction fabric for costumes, some of which could be used in quilts.  And in the process of looking through hundreds of webpages at this fabric, I found French General fabrics matched up fairly close to some of this material (which may explain why I have some ample yardage of this line in stash). 

Listen if the past whispers to you and urges you to create something new from something old.  And don’t be afraid to think outside the box with this type of quilting…or any other.

Until next week, keep stitching!

From my studio to yours, Love and Stitches,

Sherri and Felix

*Barbara Brackman has written many books on Civil War quilts as well as other period specific quilts. She also writes a blog on quilting. It’s well worth your time to Google this wonderful lady who has done extensive research on quilt blocks (her encyclopedia of blocks is amazing) and see what she has to offer. Carrie Hall (1866 – 1955) was determined to piece a cloth block for every known patchwork pattern of more than 150 blocks. The College of Spencer Museum of Art, University of Kansas, took the blocks, drew colored illustrations of each, of them, added templates, and all known names of each block. These can be found in Carrie Hall Blocks: Over 800 Historical Paterns from the College of the Spencer Museum or Art, University of Kansas.

** Green was a problematic for fabric manufacturers. We tend to think of this green as the infamous “poison green” of the 1800’s.

It is not. This is the real poison green.

This green became popular during the 19th century  and is called Scheele’s Green. This green was truly the “it” color of the time (think of it as the 19th century’s Pantone Color of the Year). Wallpaper, paint, upholstery fabric, curtains, and clothing were made in this color. However, the color was produced synthetically from a mix of copper, oxygen, and arsenic. Over time, exposure to this dye literally was killing people. Once the priority formula was revealed, people ditched everything made in Scheele’s green and green as a color fell out of favor. When it was re-introduced in the Thirties as more of a minty green, the manufacturer made sure it was distinctly different from Scheele’s green and had it copyrighted. 

Some of these copyrights remain in place, so today’s reproduction manufacturers alter the color slightly so not to be in violation.

There is really nothing much lovelier than an Irish Chain Quilt.

The simple design with printed or solid-colored fabric squares paired with a light background draws the eyes across the quilt top.  Add the fact that this particular Irish Chain is made from nine-patches, and you have simplicity at its finest. 

I’ve always wanted to make an Irish Chain Quilt because 1).  I think they’re lovely 2).  The Single Irish Chain is simple and easy and 3).  I have some ancestors who came from Ireland.  Nothing like getting your quilting DNA entangled in your actual DNA for the perfect quilt, right?

Well…it would be amazing if the Irish Chain actually came from Ireland. 

Yeah, there’s some kind of debate about that. 

The first link in my Irish Chain ancestry is John Perry who was born on May 22, 1754, in Northern Ireland.  By 1774, at 20 years-old, he’s in Maryland and a new Patriot was born.  After serving in the Revolutionary War, he traverses through Virginia and West Virginia, before settling down with Elizabeth McClung and producing quite a few children.  He died in 1813 and is buried in Monroe, Virgina.

As far as the Irish Chain Quilt … well, its ancestry is a bit murkier. The first literary reference for the quilt is found in T.S. Arthur’s 1849 story The Quilting Party.  This block:

the single Irish Chain was “officially” named by Nancy Cabot, the quilt columnist for The Chicago Tribune, in 1933 (it was one of the first, if not the first time, it was referred to by this name in print).  It’s worth noting this was probably not the first time this name was given to this particular Nine-Patch variation, either.  As a matter of fact, this one of the few quilts I’ve come across which didn’t have other names.  Some quilts/quilt blocks either had or still have a half a dozen or more names.  However, it’s important to remember that the single Irish Chain is a Nine-Patch variation.  So while most of the time we tend to think of it looking like this:

It can also look like this: 

And still be an Irish Chain.

If you’re thinking about all of these Irish Chains and Nine-Patches, you may be wondering what’s the difference between a Nine-Patch and an Irish Chain?  Well, a Nine-Patch can be an Irish Chain, but it can also be just a Nine-Patch.  It all depends on consistent color placement.  Let’s look at a Nine-Patch which can only be a Nine-Patch. Take a look at this quilt:

The blocks don’t work together to create an over-all linked pattern which looks like a chain.  The centers and the corner squares are all different colors.  This is a great quilt, it’s just not an Irish Chain.  However take the same Nine-Patch block, and use the same fabric in the center square and the four corners like this:

Now put them in a quilt:

And you have an Irish Chain.  It’s the consistent shading in the Nine-Patch’s center square and four corner squares which will make it an Irish Chain. 

You can up the game of a single Irish Chain by adding an alternate block.  For instance, let’s take the Nine Patch and throw in some pieced corner squares, keeping the fabrics consistent:

And add this block, with the same consistent corner fabric…

Then lay them out in alternating rows…

And you get a Double Irish Chain.  The pieced block has 25-squares in it.  The alternating squares can offer a great opportunity to show off your (or someone else’s) quilting skills.   Or, if you like to applique, that block is a great place to showcase some of your applique skills.

Not to be stopped with only a Double Irish Chain, quilters also developed the Triple Irish Chain.  For this quilt, you begin with a pieced block of 49 squares:

And add this alternating block, which also offers ample opportunities for quilting or applique.  Or both.

The construction of these quilts really hasn’t changed a great deal since the eighteenth century.  Single Irish Chains burst upon the quilt landscape then.  Triple and Double Irish Chains appeared around 1840-ish.  This is a quilt pattern which would be completely appropriate for reproduction fabrics, as well as modern day ones.  If you want your Irish Chain to reflect a certain time period, simply research the colors and use those accordingly.  The color palette for most Chains is limited, so coordinating your fabrics shouldn’t be too much of a problem.

Okay, back to what I said in the beginning of this blog.  While my Irish ancestry was fairly easy to pin down (thank you Ancestry.com), the Irish Quilt’s past is just a tad murky.  As a matter of fact, there’s a good chance it isn’t even Irish.  Stay with me here.  I may just blow another quilty gasket.

According to Barbara Brackman, the earliest recorded Irish Chain Quilt Pattern dates to 1814 and it was published in America.  If the fact this information comes from the Dean of all Things Quilty Barbara Brackman herself is enough to make you accept the whole “Irish Chains Originated in America” idea, you may find a photo in a book called West Virginia Quilts and Quilt Makers an interesting rebuttal. 

There is a photo in this book of a quilt which look remarkably like an Irish Chain, but it was made in Ireland around 1805 and it’s pieced with Irish thread and the fabric and quilting design is definitely Irish.  It was pieced and quilted by Margaret Kee Boggs of County Claire, Ireland. However, this quilt isn’t called an Irish Chain, it’s called American Chain.

Oy-vey.

Let’s recap.  The Irish Chain is one of those wonderful quilts which is beautiful in its simplicity.  It elevates a Nine-Patch variation to great heights and can show off a two-color quilt like nobody’s business.  The pattern morphed into a Double and Triple Irish Chain and all three of these patterns have remained popular from the mid-eighteenth century through today.  Because this quilt has not changed, it lends itself to reproduction fabrics as well as any modern-day prints.  It’s easy enough for a beginner and challenging enough for an experienced quilter.  It doesn’t have a vast color palette, so any fears one may have about fabric choices should be eased.  The Double and Triple chains have more than ample opportunity to show off quilting and/or applique skills.

All-in-all, the Irish Chain could just be the perfect quilt pattern.

A Few Tips from My Studio

• The pieced squares in the single, double, and triple chain look as if you could spend hours cutting out small squares and then just as many hours sewing them together.  If this is causing any hesitation on your part about the quilt’s construction, remember that this type of quilt lends itself to strip piecing.  Most directions now tell you how to join your strips of fabric along the length and then sub cut those into two or four patches.
• Most nine-patch blocks in the single chain work best if they’re 6 ½-inches unfinished.
• Curvy quilting will help soften the vertical and horizontal lines.
• You may find spray starch or starch substitute a helpful tool to have on hand to stabilize the strips just a bit.
• See this?

This is the original Irish Chain.  Quilters have long been known to name blocks after familiar objects.  This Irish Chain is a surveying tool.  Each chain was divided into 100 links and each link was 10.08 inches  The entire chain measured 1,000 feet.

Then just for fun, I’ve set the Irish Chains on point. 

Until next week, From My Studio to Yours,

Love and Stitches,

Sherri and Felix