Quilts, Quips, and other Nearsighted Adventures

You may have seen a quilt similar to this one at some point in your quilting journey:

This type of quilt is called a Sampler Quilt.  Per dictionary definition, this kind of quilt is called a sampler quilt because they incorporate a sample of many different and varied patchwork blocks and types of patchwork fabric. A sampler quilt can have examples of pieced patchwork blocks, appliqué blocks and paper pieced blocks such as clamshell or hexagons to name but a few.  Samplers are a uniquely American innovation in quilting. Until the early 19th century, most quilts made in the U.S. were similar to those made in Europe, where medallion quilts were all the rage. Starting in the early 1800s, American quiltmakers began designing quilts to feature blocks of the same size, but not necessarily the same pattern, laid out in a grid. In fact, for a few decades, pieced samplers were as prevalent as one- or two-block quilts.  As time passed, some sampler quilts became known as Friendship Quilts or Album Quilts.  I do have a blog planned in the future which features the history of all three of these quilts, but for this post I want to discuss why sampler quilts are important today and how to put one together successfully.

 Years ago, when I taught beginner quilting, I started my students with a lap quilt made of two blocks – a nine-patch and a solid block of fabric.  This simple quilt taught the basics – how to keep a consistent ¼-inch seam, how to strip piece, how to press and match corners, and how to pick out a simple color palette.  My intermediate beginner class always made some type of sampler quilt.  I had my reasons for this choice.  Sampler quilts are generally a bit larger than lap quilts.  Each block taught a different technique, so the student was able to spread their quilting wings and try something new.  Hand work as well as machine work usually figured into my choice, as well as the experience of deciding on an expanded color scheme.  With a good sampler quilt pattern, I could teach lots of techniques and all the students would have invested in it was one block – not an entire quilt they may not really like. 

While sampler quilts may have begun in the early 1800’s, it wasn’t until newspapers had the technology to print quilt blocks in a series that this type of quilt really gained popularity.  Today, they work well in quilting groups – both online and in person.  There are websites and quilt stores which offer one block a month.  If only the pattern is provided, there may be no cost involved at all.  If fabric is included, there is a fee.  Sometimes you know what all the blocks look like going into this kind of BOM and sometimes you don’t.  In addition to these types of sampler quilts, there are wonderful books such as those in the Farmer’s Wife series by Laurie Aaron Hird (she just came out with the third book in this series in May 2020). 

Tula Pink has a wonderful sampler quilt book, City Sampler:  100 Modern Quilt Blocks.  This is also another great sampler source. 

And of course, the Grandmother of all Quilt Samplers is Dear Jane.

The key with sampler quilts is usually each block teaches a different quilt technique.  This is important to remember as you may look for a pattern for yourself.  The blocks in a quilt such as a Baltimore Album Quilt are all different,

but they all possess the same technique – applique.  Dear Jane is a sampler because part of the blocks deal with simple piecing, others with paper piecing, and still others with applique.  With any sampler quilt, the crucial theme to remember is the quilt teaches several different types of techniques, not just one or two.

At this point, you may be asking yourself if you should make a sampler quilt.  I realize not all quilters like sampler quilts – for some, they’re too busy or aren’t uniform enough for their taste.  If you feel this way, there are ways to work around it, and we’ll deal with those issues in just a bit.  However, if there’s a few different quilting techniques you want to learn but don’t want to put all the effort in several quilts, find a sampler which incorporates them in one quilt.  At the end of the project, you’ll know if you like the techniques enough to really master them and  you’ll have a quilt as a bonus. Of course, making a sampler quilt is a good way to reinforce what you already know about quilting or maybe brush up on some skills you haven’t used in a while, too. 

Once you start a sampler, there are some issues you need to keep in mind.

1.  A consistent ¼-inch seam allowance is important.  Anyone who has followed my blog for a while knows I stress that a consistent seam allowance is important.  However, long-time readers also know I’ve repeatedly said the ¼-inch seam allowance isn’t the Holy Grail of quilting – the final block size is.  It’s more important all the blocks end up the same unfinished size than they all have a ¼-inch seam allowance.  However…most of the time, the ¼-inch allowance is the one you need to use.  And this is most important in sampler quilts.  Remember, sampler quilts are made of different blocks.  Other quilts aren’t.  If you’re constructing the same block over and over, you know what areas you can fudge a bit in, so the blocks come out the same unfinished size.  Since sampler quilts are made of different blocks, this luxury isn’t available.  Keep the seams ¼-inch consistently.  If there are few “mistakes” when you’re squaring the blocks up, I have a few secrets to share with you at the end of this blog to help you out. 
2.  Don’t be afraid to make a few test blocks.  There are some quilt blocks and quilt units you’re probably perfectly at ease with – four-patches, nine-patches, log cabins – blocks such as these are pretty simple.  You also may be really good at making your favorite block.  I have two favorite blocks – Corn and Beans and Monkey Wrench.  I can whip those blocks out quickly and accurately, all while have a wonderful time.  But Attic Window?  Well, that’s entirely another issue.  If there are a few blocks in the sampler pattern you think may give you some problems, use your scraps to make a test block of these.  This way you won’t waste the fabric designated for your quilt and you can work out any issues before making the real thing.  And this brings me to number 3…
3. Don’t be afraid to use your plan.  Quilt directions are nice to have, as long as you remember, they’re not the Holy Grail, either.  This is quilting, not the Ten Commandments.  You’re free to deviate from the directions.  So, if there’s a block in the quilt you don’t want to make, feel free to substitute with a block you enjoy constructing or redesign the block to suit you.  I promise the quilt police will not show up at your door with a warrant for your arrest. 

Feel free to also make the blocks out of order.  Generally, there is no reason you have to make block one first before you proceed to block two.  Even if you’re participating in a BOM or a quilt along, if a there’s a block you really don’t know if you want to make, set it aside for a few months.  By the time you’ve gotten some additional blocks under your belt, it will be obvious if you need to make that particular block or can substitute another one.  The only thing which may give you an issue is putting the top together.  If you plan on making the rows as you complete the blocks, then you may want to make the blocks in order (or change the layout of the top). 

If you’re making what I call one of the Super-Sized Samplers (Dear Jane, one of the Farmer’s Wife quilts, or something like Tula Pink’s City Sampler), this same premise holds for them – even more so.  You may decide you want to make all of one type of block at the same time (this is actually a good idea – you can get a good rhythm going and get a lot accomplished).  For instance, with the Farmer’s Wife, you may decide to make all the Star Blocks in one sitting.  Flag those pages and get busy.  You won’t ruin anything by getting all of those completed in one sitting. 

However, let’s park it here and have a serious discussion about these Super-Sized Samplers.  Personally, I love them.  I love the variety and I adore small blocks (unless they have set-in seams – then, ugh!).  I’ve constructed several of these mega-samplers and in the process, I’ve learned a thing or three about them.  These quilts have blocks which range from the super-easy to oh-my-heavens-what-were-they-thinking difficult.  If you decide to make one, the first piece of advice I’d give you is check and see if the quilt has a Facebook Group (most of them do) or a website.  In these groups or on the website, often you’ll find a listing of blocks from easiest to hardest.  If you’re unsure about making the quilt, chose one block from the easy, intermediate, hard, and difficult categories and make one of each.  This process will only take your time and scraps, but it will give you an indication of how difficult the difficult blocks actually are.  Lists are subjective.  What was hard for the list-maker may not be as challenging for you.  The sites will also give helpful construction hints as well as show pictures of other quilters’ work.  I’ve found them to be an invaluable support group. 

The second piece of advice I would like to share is this:  mix the blocks up.  Don’t work from the easiest blocks to the most difficult ones.  At the end of the construction process, you’ll face a wall of quilt blocks which will take a lot of time, effort, and thought.  After a few of these, you may decide to cut your Super-Sized Sampler quilt experience short.  Try to intersperse the hard blocks with the easy ones so you won’t face burn out at the end.  Believe me, I know this from experience.  I accidentally did this very thing in the first Dear Jane I made.  Dear Jane was the first Super-Size Sampler I made (I have the fabric for the second one…so…it’s in the works).  I made the blocks in the order the book published them, so I could join the rows as I went along.  On the surface, this sounds like a great idea, except following this process meant I had all those triangles and kites to make at the end.  And for some reason, my quilting mind could not get over the hump of moving from constructing four-sided blocks to three-sided triangles.

It was not a good time.  I ended up putting Jane in time-out for a good while until I could face all those triangles again.  In retrospect, I should have interspersed making the triangles along with making the blocks.  I will do this on the second one. 

•  Press and measure as you go.  Normally, when I’m making a quilt, I cut everything out, make the units, and then begin block construction.  After I’ve made about a half-a-dozen blocks, I’ll press then and then square them up.  Don’t use this process with a sampler quilt.  It’s so much easier to give the block a good, final press and then square them up as you go.  If you’re making a quilt with all the same blocks, it’s easy to catch your mistakes and quickly learn how to correct them.  Since sampler quilts are made of lots of different blocks, it’s harder to rectify errors.  Stopping to press every block let’s you correct mistakes as you go. 

And there will be mistakes – it happens to all of us.  But I’d like to share some of the ways I get my blocks which have errors in them to cooperate enough to get set in my quilt top without me having to take the block apart – because taking a block apart should always be the last resort.  So, park your seam ripper and consider these options:

• If the block is a tad small, try pressing the seams open.  Normally, I don’t like to press seams open, because the quilting process can weaken open seams.  However, if your block is 1/8- to ¼-inch too small, pressing the seams open can give you just the tad more fabric you need to make the block true-up to the required unfinished size.
• If you have a block which looks like this:

You may be wondering if you need to take the block apart and correct the unit which is coming up a bit too small.  When this happens to me, I don’t reach for the seam ripper, I reach for my freezer paper.  Cut a square of freezer paper the size of what the unfinished block needs to be.  Center and press the freezer paper to the right side of the wonky block.  Proceed to piece as normal, but when you get to the spot where the block unit is too short, consider the edge of your freezer paper as the edge of your fabric and sew as normal.  Once that one seam is complete, remove the freezer paper and examine the seam to make sure the fabric was caught in the stitches.  If it isn’t, try pressing the seams open in the block unit only and repeat the process.

• Finally remember sashing covers a multitude of quilting sins.  If you have a block or two which is a tad small here and there, quite often by the time the block is sashed and set in the quilt, you (nor anyone else) will be able to tell.

•  Use some constants.  Sampler quilts have a variety of blocks and the larger the quilt and the more blocks it has, the more difficult it may be to have a unified look – which is why some quilters don’t like samplers – the quilt looks too busy.  When I make a sampler, I freely pull from my stash and scrappage, but I do try to keep a couple of fabric choices constant.  The first is my background or neutral.  I may use different prints, but the background/neutral fabric will be the same color, hue, or shade.  The second fabric constant will be a line of fabrics in the same family.  For instance, when I decide to make a sampler, I’ll pull one line of precuts – fat quarters, a layer cake, charm pack, or jelly roll – and use one of these precuts in every block.  This is an easy way to make sure the blocks harmonize, and the quilt has a coherent appearance. 

My focus fabric with sampler quilts is usually a medium- to large-size print and I use it in the border.  However, I also look for opportunities to use it in the quilt top – such as in the center square of a star block or square-in-a-square block.  If the focus fabric is sprinkled throughout the quilt top, it really looks pulled together when constructed. 

•  Know your contrast comfort level and stick to it.  If you’re comfortable with as stark of a contrast as black and white, you’re pretty much up for almost any color combination in your sampler.  If complementary contrasts such as red and green are your ideal, own it and have these types of contrasts in your quilt.  The main idea is to be constant in your use of contrasts.  In other words, don’t start out featuring contrasting color schemes in each block and then stop half-way through the quilt.  Use them consistently and be sure to lay your blocks out in the way they’ll be sewn together before starting the construction process.  Look the layout over carefully.  Back up and squint at it.  Take a picture with your phone and edit it to black and white.  Take all of these actions so you can make sure the contrast is spread evenly throughout the quilt top.  If a block has too little or too much contrast, discard it.  You can use it as the label for the quilt. 

•  Watch where you place the yellows, lime-greens, and oranges.  I like a little yellow in my quilts.  It’s a happy color.  I also am partial to lime green and I like orange.  It’s great to use these colors in a quilt but be careful where you place them in your quilt top. The eye travels and homes in on yellow and the colors which have yellow undertones such as lime-green and orange.  Don’t group them all together in one spot, but make sure they’re evenly spread throughout the quilt top.  Don’t put them all in one corner or just in the center.  Spread them out, or else those viewing the quilt will focus in on the one area which has the yellow, lime-green, or orange and not pay as much attention to the rest of the quilt. 

Next week we’re taking a look at some construction ideas for sampler quilts, as well as ways to quilt them.  This week, if you have a chance, take a few minutes and look at some sampler quilts on Pinterest and think about making one.  Do they appeal to you?  If you made a sampler quilt, what would you like to learn or learn to do better?

Until next week, Quilt On!

Love and Stitches,

Sherri and Sam

Over the past several months, I’ve had a few of my readers request “Show and Tell” from me.  Periodically, I post pictures of what I’m working on, projects I’ve completed, and such.  I think, if memory serves me correctly, the last time I posted any pictures of my quilts was right after Christmas.  Several of the quilts I completed were designated Christmas presents, so I had to wait until they were delivered and opened before I could make them public.

I will state this:  If the Pandemic did anything for me (other than give me a greater appreciation for the on-the-front lines medical community, people who didn’t have the option of sheltering in place, and the joy of take out and delivery), it gave me the opportunity to hunker down and work on what I wanted to without the temptation of joining another quilt along.  As a result, I really did get a lot done – as well as making hundreds of masks.  And I loved getting UFOs off my to-do list.  This feeling of accomplishment has carried over into 2021 and I find myself still ticking off the projects I wanted to get completed off my list.

This sweet little sunflower quilt:

Is the result of a class I took with Barbara Eikmeier.  In this Zoom class (another thing I have learned to appreciate and love), Barbara taught the basics of back basting applique.  I have used this technique for years, but her class was a great way to refresh myself on the fundamentals, as well as remember just why I loved this method.  Back basting was one of the first applique skills I was taught.  It’s old school – no glue, special paper, or tools required – just thread, needles, a pencil, the pattern, and your fabric.  Bonus – look at that scalloped border!  Barbara taught an error-less way to make these.  I had so much fun making this quilt.  I love sunflowers, and I hope to use this pattern a make a lap quilt or wall hanging in the future.  The quilting isn’t my best – I used an 80/20 batting and should have stuck to 100 percent cotton.  It’s a little too poufy and I think that detracts from the sunflower.

Last fall, I began a class with Kathy Delaney, who designed the pattern Horn of Plenty for a New Generation.  This quilt is based on the designs by Eveline Foland.  Ms. Foland published her applique patterns between January 5, 1932, and February 24, 1932, in the Kansas City Star newspaper.   The first thing which drew me to this pattern and class was the subject matter.  In my applique world, which is overwhelmingly floral, this was fruit – something delectably different.  The second factor which made me want to make this quilt was Kathy herself.  If you Google Kathy Delaney, you will find a host of patterns and books, as well as a YouTube channel.  Besides being an internationally known quilter and teacher, Kathy is just a wonderful person who loves her students.  And despite the fact I’ve appliqued for nearly 35 years, I knew I would learn a lot in her class – which I am.  I also have met quilters from all over the United States in her Zoom class.

Here are my blocks:

You may notice I have pre-quilted the background in these blocks with a 1-inch crosshatch.  Personally, if I plan on crosshatch quilting my applique, I try to do as much of it as possible before I actually applique the pieces.  Here’s how that works:

•  I prep my applique pieces per normal.  With this quilt I’m using the Apliquick method.  There’s a lot of overlay with this pattern – pieces sitting on top of each other.  The Apliquick paper prevents any shadowing, and I don’t have the fiddly issue of lining my applique pieces with a piece of white fabric.  The heat-set paper takes care of this issue.
• I cut my background fabric between 1 ½-2-inches larger than the unfinished size the pattern calls for.  Normally with applique, you only need an inch more than the unfinished size – the additional fabric allows for any shrinkage which occurs during the applique process (by either hand or machine).  Since I’m actually quilting the background before I hand applique, and the quilting process also can make the background shrink, I add a little more in the area of fabric margin if I’m pre-quilting. 

• After the background squares are cut, I mark them with the crosshatch design and the applique pattern.  In this case I’m using a 1-inch cross hatch. 

• I cut a batting square a little larger than the background fabric square and spray baste the two together.  Once the quilt top is complete, there will be another piece of batting used to quilt the entire quilt.  In order to keep bulk to a minimum, I use a 100 percent cotton batting for pre-quilting.  Once the background and batting are spray basted, I stitch along the drawn crosshatched lines using my domestic sewing machine. I don’t want the quilting to compete with the applique, so I will use Superior Threads Micro Quilting Thread #7003.  This is utterly mindless, enjoyable work.
• Once the pre-quilting is complete, I applique as usual.  Yes, the addition of batting makes it a little awkward sometimes, as well as a bit bulky, but if I plan on crosshatching my applique backgrounds, it is so much easier to do it before I stitch my applique than to have to run the stop-and-go process on my long arm when the top is complete.  That drives me nuts, even with backtracking.  Helpful hint – working on a flat surface makes appliqueing pre-quilted backgrounds so much easier.
• When my applique is all stitched down, I also outline the fruit with one strand of Aurifil 50/2.  I used a stem stitch and made them a bit longer than you would a typical embroidery stitch – the longer stitches look smoother going around curvy fruit.

To ice this fruity, quilty cake, I found this fabric on Bear Creek Quilting’s website:

I could not ask for anything more perfect to use for sashing and borders.

I’ve also completed a quilt or two.  I decided in 2020, I would make both my children a quilt, since I hadn’t given Meg or Matthew a quilt in several years.  This is the quilt I made for Meg:

The pattern is Twinkling Twilight.  Despite the fact it looks as if I’ve used more than a dozen different fabrics, there is only eleven 1/3-yard cuts.  I used Ombre fabrics, so it appears as if there is way more material involved than it really is.  This pattern is comprised of four-patches and triangles using the Tri-Rex ruler, with lots of reverse cutting.  It was a challenging quilt, and I really like it.  It’s bright and bold, and I can’t wait to see Meg’s face when I give it to her.

Now take a gander at these:

These are the pieces I’ve just started working on for my son’s quilt.  And no matter what you may think, the fabric isn’t batik, but it could pass for it.  I’m using the pattern All Roads for Matt’s quilt.  Now, in case you’re wondering if I’m playing favorites because Meg’s quilt is finished and Matthew’s isn’t, let me assure you I cut both of them out at the same time and took both of them with me to the Fall-Quilt-Retreat-that-Didn’t-Happen.  My plan was to get both quilt tops completed, bring them back home, spend my Thanksgiving vacation getting them both quilted, and then have both bound and labeled by Christmas.  Well, as some of you may remember, we were at quilt retreat less than 12 hours when a storm rolled through, and the park lost power.  They sent us home, refunded our money and I continued work on Meg’s since I actually did get started on hers at retreat when an unwelcome guest set up shop in my family.

Multiple Myeloma

My regular readers know my brother and only sibling, Eric, had smoldering Myeloma for about three years.  In January 2021 the shoe dropped, and the disease went from smoldering to active.  The doctors at Duke University had been tracking him during those years, following up with blood work, bone scans, and bone marrow biopsies.  As a result, the disease has been caught early and his outlook is very, very good.  Early cancer detection is a wonderful thing and I truly believe it’s 90 percent of the battle.  However, for Eric, the other 10 percent is chemotherapy and a stem cell transplant.  As I’m writing this, he is almost through with the chemo – which thankfully has had very few side effects.  He’s deciding on the particulars about the transplant, which should take place in the fall. 

Now that you have this background, let’s talk about the quilt which really took front and center in my quilting universe this year and pushed my son’s quilt to the side for a while.   Also allow me to divulge a bit about my relationship with my brother.  Eric is six years younger than I am and despite the age gap, we are fairly competitive (all in good fun, though).  We’ve mellowed some as we’ve both gotten older and we are definitely closer now than we were growing up.  There’s rarely more than a few days between calls and texts.  He’s my brother and one of my best friends. Well before his Multiple Myeloma diagnosis, I decided I wanted to make him a quilt.  As a matter of fact, about four or five years ago I decided I wanted to make him a t-shirt quilt.  Now for another tidbit about us.  We both grew up in North Carolina – a state where college basketball is as sacred as the Holy Season.  We live in the heart of ACC country, where UNC, Duke, State, and Wake Forest meet at the center of nearly every basketball playoff.  Eric is a die-hard, dyed-in-the-wool Carolina fan… 

I am not.

GO DUKE BLUE DEVILS!!

And if you know anything about North Carolina basketball, you are keenly aware Carolina and Duke are the most rivalest of the rival teams.  Forget NBA playoffs with some over-paid basketball players.  Here we all know the best basketball games are the ones between Duke and Carolina.

But I digress…

Several years ago, my original plan was to have my sweet sister-in-law covertly remove some of Eric’s many Carolina t-shirt and hand them over to me so I could construct the quilt.  About a week after we discussed what t-shirts and how many I needed, Deanne called me.

“I can’t get them,” she told me.

“Why?” I asked.  “I mean he has hundreds.  How’s he gonna miss six or nine of them?”

“I don’t know.  It’s like he has a running inventory in his head.  I move one and he asks me where it’s at.  I don’t think this is going to work.”

So, I decided to buy my own Carolina t-shirts.  As a Duke fan, this was a difficult thing to do.  I felt I was betraying my boys.  But slowly and steadily, after each Sweet Sixteen and National playoff, I would purchase a t-shirt here and a t-shirt there.  In a couple of ways this worked better than waiting on Eric to give up a t-shirt.  I could order all the same size (extra-large) and make sure I had a good blend of blues.  When the Multiple Myeloma diagnosis came, I decided I needed to go ahead and make the quilt.  I had ten t-shirts and thought I needed 12 (key word to remember here: thought), so I quickly purchased two more.  Once they arrived, I de-boned the t-shirts and pulled out my pattern…

Only to discover I needed fifteen t-shirts.

In ordinary times, this would not have presented a problem.  I would simply jump on the Johnny T-shirt website and order three more shirts.  But let me refresh your memory of the time frame.  At this point, it’s January 2020.  We’re in the middle of a Pandemic.  Know what didn’t happen in 2020?

College Basketball.

Therefore, no new t-shirts for me to choose from.  After some creative swearing and web searching, I found an Ebay vendor who had three Carolina t-shirts I didn’t have.  The last one was technically a football t-shirt, but the goal lines ran down the far-right side of the shirt, a good portion of which would be cut off in the de-boning process.  I hit the Paypal site, did the monetary transaction and waited for my shirts.  A week later, they arrived, and I began the construction of a monster of a quilt.  I used Angela Walter’s t-shirt quilt pattern as inspiration and eventually it grew to around 110 inches square.  Things were zipping right along until I received a news bulletin on my phone: Roy Williams retired as the UNC basketball coach.

Oh dear.

You have to understand why this was so important.  For years, the incomparable Dean Smith coached the Carolina men’s basketball team.  Even if you dislike Carolina and barely tolerate Carolina fans, you respected Dean Smith.  He was a man of great integrity.  Dean coached at UNC for 36 years, retiring in 1997.  Roy Williams took over and had been the coach since then.  I had a t-shirt in the quilt commemorating Dean Smith. 

Now, in order to make the quilt complete, I had to find one for Roy.   Despite the fact I was on the last row, I knew I had to find the shirt and make it work.  A couple of internet searches and $22 later, I had my shirt.  It arrived in two days, and I added it to the last row. 

Top complete, I quilted it (for the record, Leighanne the Long Arm does not like t-shirt quilts) and sewed on the label.

I still have a quilt or two planned out for the rest of the year.  I need to get busy on my Guild’s 2021 BOM.  It more or less got pushed to the side once I started Eric’s t-shirt quilt.  I have an alphabet quilt in the works, too.  It involves machine applique.  I also am nearly finished with the center of my Grandmother’s Flower Garden.  And I still have 11 more applique blocks to make for my fruit quilt.  This year will be a busy one.

Until next week, Quilt On!

Love and Stitches,

Sherri and Sam

Around the early 1800’s three types of quilts became popular:  the whole cloth, broderie perse, and medallion quilts. Several of my past blogs have featured medallion quilts – how to make them, why the construction process sharpens both your design and quilting skills, and how they’re still relevant in the 21^st century.  Today I want to talk about whole cloth quilts.

Whole cloth quilts were status symbol quilts in the mid-1800’s.  Either a woman had the leisure time and the expertise to produce one of these quilts or she had the money to purchase it.  Making a whole cloth quilt not only took time and resources, it also required exceptionally fine needlework skills.  The majority of whole cloth quilts were constructed of white fabric – thus they are also known as white quilts.  However antique whole cloth quilts exist in other solid colors and there are whole cloth quilts made from print fabric.  There will be more on both of these a bit later.  But first let’s take a deep dive in the quilting DNA of white, whole cloth quilts. 

While most of our quilt blocks and techniques take their origins from England, whole cloth quilts can declare dual nationality – England and France.  From  French shipping records dating from the early 1800’s, we find whole cloth quilts coming from Provencal, France, primarily around the Marseilles area. 

As a matter of fact, so many of these French white quilts were imported, the ships’ manifests simply denote them as “French Quilts” or “Marseilles Quilts.”  This is also true when these white, whole cloth quilts were listed in household inventories, bills of sale, and wills.  England was also producing their share of whole cloth quilts, but these were not as popular as the ones from France. 

The English quilts were a bit different from the French quilts – so different it’s pretty easy to tell which white quilts came from either country.  The English whole cloth white quilts came from Wales.  French quilts generally had smaller stitches (sometimes as many as 22 stitches per inch) than the English quilts.  And the quilts from Wales had repetitive motifs – spirals, paisleys, fans, hearts, leaves, and large circles.  They also had two or three borders separated by double stitching lines.  French quilts generally had no distinct borders.

At this point, there are a couple of issues which muddy the waters for quilt historians.  First, it’s important to remember whole cloth quilts were status symbols – something which is a bit odd for quilts as a whole.  Most quilt early quilts were made for warmth and beauty, with the best quilts saved for guest beds and hope chests.  However, they were not seen as status symbols. Remember a white, whole cloth meant the family was wealthy enough for the woman to have the time and skills to make one or (most likely) the money to purchase one.  This implies just because a whole cloth quilt was in possession of a family, it in no way meant someone in the family made it. 

The second issue to contend with is this:  As a group, white, whole cloth quilts can be difficult to accurately date.  Many of the quilts were “Frankensteined.”  The Marselles Quilts were smaller than most typical American-made quilts.  The French quilts were made to rest on top of the bed and not necessarily hang down on the sides and bottom.  Most American households liked their quilts to have the side drops, as well as be long enough to cover the bottom of the mattress or tick, and reach the top of it, too.  The Marselles Quilts were large enough to only cover the center of a bed.  As a result (and especially as mattresses became larger), women would sew several white quilts together in order to have a quilt which would completely cover their bed.  The best white quilt was used as the center, then additional quilts would be cut apart and sewn on the sides, bottom and top.  As a result, it’s nearly impossible to accurately give one date to the entire quilt. 

The Colonial Williamsburg Foundation found itself in possession of a “Frankensteined” white quilt which was purported to have once belonged to the Tucker Family – a prominent family who lived in Williamsburg in the 1700s.  The family was wealthy enough to have owned several of these white quilts, so this quilt may have been in their possession.  It was donated to the Foundation, and the members decided to have the quilt x-rayed in order to discover more about the quilt and how old it really was.  The results showed four quilts were sewn together to make the large quilt, ranging in dates from 1815 – 1830.

  Each more than likely had a different maker, as stitch length and thread composition are varied, as well as the make and weaves of the fabrics.  This study simply re-emphasizes the trouble quilt historians and archivists have in dating some of the white, whole cloth quilts. 

So, how were these quilts made?  The top of the quilts was usually made from finely woven fabric and the batting of choice was wool.  The wool batting allowed for a raised effect when the quilt was quilted.  In addition, trapunto was also sometimes used.  If you’ve never heard the term trapunto before, let me explain.  When a quilter uses this technique, it means they add additional stuffing between the quilting stitches, like this:

Trapunto makes the unquilted areas or less-quilted areas more pronounced.  Sometimes if a wool batt is used, only small, tight quilting stitches are needed to make the quilt look as if it has this effect.  However, at other times, some additional help is needed. Which brings us to what was used as the backing of a whole cloth quilt.  Most of the time, the backing was comprised of a fabric of less quality than was used with the top.  The weave was looser, so the quilter could tease the fibers apart and insert additional batting, cotton, or cotton cording in the trapunto section.  However, in the best white, whole cloth quilts, the back and the front are indistinguishable. 

It’s worth mentioning there were also richly colored whole cloth quilts made during the 1800s.  These were made with glazed wool and wool batting, in bold, bright colors, particularly the colorfast indigo and red.  Now, here’s where quilting history gets a little confusing again.  These deeply colored, wool quilts were the successors of the woolen petticoats.  In the 18^th century, women wore colored, woolen petticoats which had been intricately quilted.  To show these petticoats off, their dresses had an open panel in the front, like so everyone could see the lovely quilting designs. 

Later some of these petticoats were made into quilts by cutting the length in half and sewing the two resulting panels together.  This is what makes tracing the history of some of these richly colored whole cloth quilts difficult.  Often in books, household inventories, and wills a quilt isn’t mentioned at all.  It’s listed as a petticoat, even though it’s been “Frankensteined” into a quilt.

In the late 1800’s and into the early 1900’s, fabric manufacturers began producing flowered chintz fabrics.  We see their use in broderie perse and medallion quilts.  However, if a quilter came across a piece of fabric she didn’t want to cut up, she may have decided to make a whole cloth quilt from the fabric.  These quilts weren’t as popular as the white or colored whole cloth quilts, but there are a few remaining print whole cloth quilts still in the possession of some collectors.  Unlike the other two whole cloth designs, the quilting is not the prominent feature – the fabric is.  Therefore, the quilting is simpler so the fabric can be showcased. 

Whole cloth quilts began with the Arts and Crafts Movement, and they continued to be popular into the first half of the 20^th century.  Then they became less fashionable with both quilters and fewer households purchased them.  However, recently they’re making a comeback.  With the increasing number of quilters who have access to long arms and stationary sewing machines designed for quilting, more quilters are trying their hand at whole cloth quilts.  This time the quilts are made from any color or print imaginable and the thread ranges from white to variegated (which is really pretty on a whole cloth quilt) to any color the quilter wants.  Whole cloth quilts are once again showing up in quilt shows and in quilting groups.  If you think one of these wonderful quilts may end up on your quilty to-do list, keep a couple of things in mind.

1.  Many quilt stores now sell quilt tops with a quilting pattern printed on it so you can follow the design to easily make your first whole cloth quilt.
2. If you want to make one of these in a more traditional way, make sure your fabric is firm and has a fairly tight weave so the quilting stitches can be seen. 
3. Be sure to prewash your fabric so there won’t be any shrinkage.
4. Cut the batting larger than the size of the quilt (at least three inches larger if you’re hand quilting or using a domestic sewing machine; four inches or more if using a long arm).
5. The choice of thread is important.  Audition several colors and don’t be afraid to throw in metallic or variegated. 
6. Mark the quilting design on the top.  Washable pens or pencils are the markers of choice.  A Frixion pen could leave permanent “ghost” marks and an air soluble may fade before you finish.
7. And finally…the most important thing to remember is work from the center out when basting and stitching.

I love writing about the history of quilts and quilt blocks.  And when I find some technique or block that’s been around for a long time, and discover quilters are still using them today, I just think it’s the coolest thing.  I believe one of the most remarkable characteristics about quilters is we take a technique or a block which is been around for years, put a modern spin on it, and twist it with our own uniqueness.  This is what keeps our art alive and vital. 

Couple of housekeeping items before I end this week’s block.  First of all, I am in the process of starting a podcast.  The segments won’t be weekly, but will probably begin once a month until I can bring myself up-to-speed. This is an idea I began toying with during the Pandemic, but it took me longer to pull things together than I thought.  First, the microphone I used for my Zoom meetings didn’t work … or at least work well… with a podcast.  I recorded one of my blogs and it sounded horrible.  And then I had one critical set back:  My blogs are highly visual.  I bombard you with graphics and pictures and I can’t do this with my podcasts.  So, some of what I planned to do had to be drastically re-written.  I’ll keep you updated, but as of right now, I know Sherriquiltsalot will be available soon on Spotify.  More details to come, I’m sure.

For those of you who have asked, videos are still on the horizon.  I just need some help with equipment and a tutorial on editing. I have the software, so that’s the first step…

Until next week, Quilt On!

Love and Stitches,

Sherri and Sam

It’s the end of July.  Sadly, summer is winding down.  There are Back-to-School sales everywhere.  All too soon (too soon for me, because I am a rare specimen – a Southern woman, who despite the vicious North Carolina humidity, loves her some hot weather), all the summer supplies will be on sale.  Yup.  All the summer clothes, swimsuits, and garden equipment will be relegated to the 50 percent or more off aisle of your local hardware, retail, and dollar store establishments.

Especially the pool noodles.  Most especially those.  I mean, after all, as soon as Labor Day 2021 is in the books, pools close.  Who would need pool noodles then?

Quilters, of course.

So, before all that squishy foamy goodness is gone until Summer 2022, grab the beverage of your choice, kick back in some air-conditioned comfort, and allow me to explain just what we quilters can do with pool noodles. 

In case you have no clue what I’m talking about, these

are pool noodles.  First, let’s dive Get it?  Dive.  It’s a water pun.  into what a pool noodle is.  Originally, these were called Water Woggles and were marketed in the 1980s.  The pool noodle is a cylindrical piece of buoyant polyethylene foam and is usually hollow.  They’re useful when learning how to swim, for floating, for rescue reaching, water games, and aquatic exercise.  Most pool noodles are about 63-inches in length and 3-inches in diameter.  Honestly, there are literally thousands of ways to use these things.  There were at least five pages of pool noodle useage ideas when I Googled pool noodles. 

To begin with, they have two great characteristics.  First, they’re inexpensive even during the height of summertime pool activities. And since it’s now the end of summer and they’re on sale, they’re even less expensive.  Second, since they’re made out of foam, they’re can easily be cut with a knife.  Both of these are important to quilters, because sometimes we don’t need the full 63-inch length.  How can quilters use these inexpensive, foam goodies?  Allow me to give a few examples which may make your quilting life a little easier.

Quilt Storage

One word of warning before we get too deep into this example:  Quilts stored on a pool noodle can only be so big – usually no bigger than a double-size.  Even though there are pool noodle connectors, generally the bulk of a large quilt makes storing it on a pool noodle difficult.

However, we all look for ways to store quilts without folding them.  If you want a way to store quilts so the fabric and batting aren’t stressed along a fold line, this is really a great way to keep them.  Quilts smaller than a 96-inches x 108-inches can be stored on pool noodles.  If the quilts are really small – such as wall hangings and such – several may be stored on the same noodle.  Roll them around the foam (quilt front to the outside) and pin. 

One word about those larger quilts.  If you have to store them for an extended period of time, the best place is on a bed, covered with a sheet.  If you have to fold them, make sure you unfold them, shake them out, and then refold with different fold lines every few months, or you may get a permanent crease in the quilt.  Even worse, if it’s an older quilt, the fibers may fray or split.

Mailing Quilts

If you’re mailing a small quilt, see if you can’t wrap it around a noodle and then put it in a circular mailer (the kind blueprints, calendars, or golf clubs are mailed in).  If this is possible, there’s a much greater chance the quilt will arrive at its destination in perfect health. 

Transporting Quilts

Using pool noodles is also a great way for you to transport your quilt.  For instance, if you’re taking some of your quilts to a show or meeting, and you really want the quilt to look pristine when you get it there, wrap it around a noodle or two.  Most likely you’ve pressed the quilt before these events and want it to remain looking that way.  Using a pool noodle minimizes any chance of it wrinkling. 

Basting Quilts

For this, you’ll need three pool noodles, and this method works best with quilts you don’t have to extend the pool noodles several times with connectors in order to get the needed length.  There are several steps to this, and I’ll try to explain it clearly.

First:  Pin the edge of the backing among the pool noodle in four or five places.  The right side of the fabric should be on the outside of the pool noodle.  Carefully roll the fabric snugly around the noodle and try to avoid making any wrinkles.  (Hint:  The larger the quilt, the more effort this takes).

Second:  Repeat with the batting on the second noodle.

Third:  Repeat with the top on the third noodle.  Be sure to have the wrong side facing out with this one.

Fourth:  Place the noodle with the backing in front of you and unroll it about two feet.  Spray with basting spray (if you like the Quilter’s Select Free Fuse, I’m sure you can use that, just make sure to have your iron handy).  Personally, I like the 505 spray baste.

Fifth:  Take the tube with the batting and starting right in front of you, roll it over the sprayed part, making sure there are no wrinkles.  I apply a little pressure and pull it away from me once I have the edge basted down securely. 

Sixth:  Spray the batting.  Don’t soak the batting.  Spray lightly.  Then take the roll with the quilt top and place it over the batting.  Pull the basted part towards you and roll out more of the backing.  Repeat the process until you have everything basted.

This is a great way to baste quilts and minimize the mess spray baste can sometimes make.  However, it’s easy to see how this process could be a bit difficult with larger quilts.    

Store Binding

This is probably my favorite pool noodle use.  I find yards of binding almost unmanageable. I’ve tried wrapping it around an empty paper towel tube and using a binding buddy, but still had binding issues.  However, once I used part of a pool noodle, I knew I had found my answer to the unruly binding issue.  You only use a section of the pool noodle for binding storage – roughly 9-inches – so, if your pool noodle is the standard 63-inches long, this means you can get seven pieces of foam to use for binding storage.  Use a sharp knife to cut your noodle into pieces.  Take one end of the binding and pin it to the foam piece and simply wrap the rest of the binding around the noodle and secure the other end with another pin. 

I like this binding storage method for a couple of reasons.  First, I tend to make my binding as soon as I complete my quilt top.  This way I know it’s ready to rock and roll as soon as I take the quilt off the long arm.  Second, if I’m running low on the fabric I plan to use for the binding, I know I need to purchase additional fabric, or pick something else.  Once made, the binding can be stored in my project box and remain wrinkle free until I’m ready to sew it onto my quilt sandwich.

I’ve also found this 9-inch length of foam storage goodness easier to hold in my lap while sewing the binding on by machine.  It doesn’t tend to slide off as easily as paper towel tubes.  The noodle makes controlling the binding so much easier.

For those applique enthusiasts who find themselves making yards of bias tape for stems and such, the 9-inch sections of pool noodle is a great way to store them. They won’t wrinkle or stretch while they’re waiting on you to stitch them down.

Put it on a Hanger

If you have a queen-sized quilt top or larger, we know rolling that top around a pool noodle isn’t possible.  Most of us will opt to fold the quilt, but we also realize the creases can harm the fibers and we may end up with semi-permanent wrinkles in our quilt.  Instead of folding my quilts or quilt tops for storage, I lay them over clothes hangers.  I’ve found if I cut a length of pool noodle the same size as the base of my hanger, then slit the side of the noodle lengthwise so I can pop the noodle onto the base of the hanger and lay the quilt over it, I won’t have a fold in the middle of my quilt.  The thickness of the noodle also adds additional support for the weight of the quilt.

I’ve also found this is a great way to store window treatments. 

Use Them as Pincushions

If you must slice and dice a pool noodle to use it, you may find you have a few inches left.  These leftovers can be used for portable pincushions to put in your hand sewing or hand applique supply boxes.  They’re not as bulky as regular pincushions, so they take up less room.

For those quilters who like to pin baste, a larger section of foam is the perfect place to park the safety pins we use.  They can remain open, are easy to grab, and keeps all the pins in one place.

They Make Great Booster Seats for Spools of Thread

This hint mainly pertains to long armers.  Most long arm heads have something like this

That you place the thread on while you’re quilting.  Usually, I use cones of thread on Leighann the Long Arm.  However, once in a while I’ll find Superior Thread may be out of the color of thread I want in cone form or I’ll want a specialty thread.  If either of these occasions occur, I have to settle for spools of thread, not cones.  And sometimes spools of thread “hiccup” on Leighann’s thread holder.  They need a little more height, so the thread won’t wrap around the base of the holder and stop the thread flow.  If this happens, I cut an inch of pool noodle from the length and slide it over the holder then place the spool on top.  The added height stops the problem (most of the time, anyway). 

Quilters have always been known to use non-quilty notions in their studios.  Pool noodles fall into that category.   It’s the end of summer, folks.  Those pool noodles are on sale  and can be used in so many ways.  Go forth and purchase a half a dozen or so.  My favorite place to buy them is Dollar Tree.

Until Next Week, Quilt On!

Love and Stitches,

Sherri and Sam 

Today’s topic is FOMU – what it is, how it works, and (hopefully) I’ll give you a few steps to get over any FOMU in your quilting world.

In case you didn’t know, FOMU is an acronym for Fear of Messing Up.  All of us experience FOMU in some area and at some point in our lives.  It’s typical and normal and human.  I used to get it when I began a new job.  Others have it when they must give a speech or a performance of some type.  And quilters…well, we get it, too.  Sometimes it occurs when we start to cut into a piece of beautiful fabric.  At other times it may occur when we try a new machine.  For me, one of the biggest FOMUs I have is when I’m in a class, learning a new technique.  The only thought running through my head during that time is “I’ve done this stuff for over 30 years…I should know how to do everything by now…”  But I don’t and this is why I’m in class.  I worry I can’t keep up or I’ll do something so hugely wrong it will completely wreck my project.   I had HUGE FOMU moments when I was learning to long arm. 

Biggest FOMU moments in my quilting life?  Working on my guild’s raffle quilt.  A large chunk of our budget comes from ticket sales.  Since I’d rather applique than eat, I always am asked to work on the border.  I’m honored and I have so much fun, but I am anxious I will mess it up royally and ticket sales will plummet. 

Fear of messing up happens to us all.  People who have irrational FOMU are said to have atychiphobia.  I think, as a quilter, it’s easy for us to have FOMU moments because almost everything in the media concerning our art is presented in pristine perfectness.  Websites and sales catalogues glow with faultless examples.  YouTube videos with quilt teachers show only precise and flawless technique and projects – not to mention speedy performance.  All of these things are enough to make any quilter (no matter or long or how short a time they’ve quilted) have just a bit of atychipobia about the process.

I think we all have moments in our quilting where we have to hold our breath and murmur a prayer for clarity and steady hands.  What I hope to do today is give you some tools to work through any FOMU you may have.  Be aware that FOMU may strike at different points in the process.  For me, it’s always when I’m cutting the quilt out – which is probably one of the reasons I dislike that part of the quilt process the most.  For you, it may be when you’ve finished the quilt and have to decide on the quilting.  Or flying geese may be your nemesis.  It varies from quilter to quilter and sometimes even from quilt to quilt.  What I hope to do with this blog is give the tools you need to fight FOMU and keep it from putting a screeching halt on your quilt process.

Get to Point C

In past blogs, I’ve mentioned it’s a good idea to have quilt goals – goals for the New Year, goals in new techniques, etc.  I think a good way to get over any FOMU you may experience with a quilt is to set goals for it.  These don’t have to be anything earth-shattering or major.  Just realize that to get from point A to point C, you have to go through point B.  And if point B is the part of the quilt you’re worried about, the push to keep moving may be enough to spur you through any FOMU moments. 

Face it Head On

As much as I love project boxes, they can be your worst enemy.  They’re great for organization.  You can put your cut-out quilt, threads, patterns, notions, and anything else you need for the quilt in the box, and it keeps everything together. 

However…they make great hiding places for quilts which are giving you issues.  You can tuck that quilt top back in the box, slam the lid, throw it in a closet, and forget about it. 

Don’t.  Don’t do it.

Face any quilting issues head on, even you have to take some time to look at a few videos about the technique  giving you problems.  What you don’t need to do is….

Take Too Much Time Planning

Once you jump on the internet, it’s easy to chase quilted rabbits down quilt-lined rabbit holes for hours. YouTube is the worst for this.  It gets a minimal whiff of what you’re interested in and suddenly sixteen similar videos find their way into your feed.  Next thing you know it’s three hours later and you’re no closer to solving your problem than you were three hours earlier.  Look for answers, but set a time limit for your research – no more than 30-minutes.  Any longer and you’re ignoring the elephant in the room.  Look for answers and inspiration and then use those to push you forward and through your FOMU.

Use What You Love

If you like a particular fabric designer, line of fabric, color of fabric, or a particular quilting technique, use it in your quilts.  You’ll be more prone to jump any FOMU hurdles to get to the part of the pattern you love or to play with some of your favorite fabrics.

Take Your Time Cutting the Quilt Out

Even though this is the only part of quilting I have a dislike for, I don’t try to zip through this process.  The first step in a smooth quilting process is accurate cutting, so this means slowing things down a tad.   If the pattern calls for twenty-four 2 ½-inch blocks, take your time and make sure the blocks are as close to 2 ½-inches as you can possibly make them.  Most quilters can’t be both fast and accurate.  So if you’re like me and cutting out the quilt is probably the biggest FOMU moment you have with a pattern:  Don’t try to cut multiple layers, don’t try to cut so fast you break the sound barrier, and reward yourself after each cutting step – a piece of chocolate, a sip of wine (not the whole glass, because there’s that accuracy thing I spoke about earlier),  or the carb of your choice. 

Realize Outside Forces Can Affect You and Cut Yourself Some Slack

From the beginning, I’ve been a Type A personality.  I expected perfection from myself in everything.  Time and life events have gone a loooonnnnngggggg way to mellow me out, but I still like to know I give anything I undertake 100 percent of my effort and attention.  This (unsurprisingly) includes one of the things I’m most passionate about –quilting.  When working through a quilt, it’s important to realize events, health, and most especially stress, can not only affect the quality of your quilting, but also how you work through the project.  For instance, normally HSTs may be “your thing.”  You may know how to make them and make them well.  They’re not wonky, they’re true to size, and completely lovely.  Throw in a factor such as you’re waiting on some test results from your doctor, or you were rear-ended while driving to work, and your ability to make those absolutely wonderful HSTs may be affected because you’re mind is somewhere else.  If this is the case, cut yourself some slack.  Don’t berate yourself.  Realize everyone has these moments.  Take a deep breath and try something else.  If that doesn’t work, call it a day and get some rest, talk to a friend, or do something mindless.  Just don’t let the outside force turn into FOMU moment.  Soon enough you’ll be back to your usual skill level. 

Test Blocks Are Your BFF

If you’re undertaking a challenging quilt pattern, make a test block out of your scraps.  This helps get you over FOMU in two ways.  First, you’re using your scraps – not the lovely fabric chosen for the quilt – so nothing goes to waste.  Second, the test block takes the pressure off.  It’s made for nothing but your information – is it as hard as you think it will be, are the seam allowances accurate, and is there a different technique you’re more comfortable with you could use in the block?  All a test block takes is your time and your scraps.  But it can go a long way in taking the FOMU away.

Make Peace with Your Seam Ripper

I hate, you hate, we all hate ripping out stitches.  However, it’s a fact of life it’s going to happen because we’re all human and we all make mistakes.  I learned a long time ago there’s really very few ways you can completely ruin a quilt.  You may deviate from the directions, but generally you can get the quilt back on track again in some way (here’s where it’s great to have some quilty friends to help you).  Part of pushing the quilt forward may be taking out some stitches with a seam ripper, and there’s nothing wrong with that.  We don’t like to do it – it takes time away from stitching – but a good seam ripper can be worth its weight in fabric.  Learn it’s your friend, not your enemy. Which is a great way lead-in to my next point…

Cutting Mistakes Can be Great Opportunities

I’ve revealed I dislike cutting out quilts.  I’ve also told you slowing down when cutting is a great way to get over your FOMU when slicing and dicing your fabric.  However, there will be at least one time in your quilting career when you’ll make some cutting mistakes.  Once you realize you’ve goofed, it’s super-easy to let that stop you from moving ahead with the quilt.  Don’t let this become one of those events which completely halt you in your quilting tracks.  Look at the pattern to see if you can shrink the size of the blocks, or maybe even alter the blocks so your unit will work, and you won’t have to purchase more fabric.  Sometimes this means setting the project aside for 24-hours to think about what to do, but usually there is an alternate opportunity out there.

Don’t Be Afraid to Learn New Things

Another great aspect about quilting is there is always something new to learn, or a different way of doing something, or a new technique.  When I’m tossed in a classroom situation (an in-person class, not a Zoom one), my mind battles three things:  1.  I’m probably in an unfamiliar classroom 2.  Despite the fact I packed my supplies and followed the list to the letter, I’ve left something at home and 3.  I need to set my space up so it looks vaguely familiar, and I can find things.  Those three items set my mental teeth on edge, and it can quickly turn in to a FOMU moment.  I don’t know if you’re the same way, but there are several ways to work around it.  Realize the other students in the room are there for the same reason you are – to learn and grow as quilters.  Recognize they’re learning something new, too.  Everyone is in the same quilting boat.

It’s also important to understand quilt teachers love their students and want to help them.  From my personal experience, I want each student to leave my classroom understanding what I’ve taught and I’m more than happy to take additional time to explain things.  Don’t let fear of the classroom stop you from learning something new.  And classes (both Zoom and in-person) are a great way to make new quilting friends.  

And last, but most important…

Remember it’s just quilting, it’s just fabric, and it’s all a part of your quilting journey

This isn’t brain surgery, it’s a hobby.  It may be a passion, but it’s not a person.  Notions, fabric, patterns – they can all be replaced or altered to fit.  There’s no need to stress yourself out over any of it.  If you have a FOMU moment, take a deep breath.  Work on another part of the quilt.  Let mistakes become creative, alternative opportunities.  Take 24-hours away from the project if you need to.  Just be sure to return to it and finish it because….

Finished is way better than perfect!

Love and Stitches,

Sherri and Sam

What’s in a name? That which we call a rose
By any other name would smell as sweet;

–William Shakespeare, Romeo and Juliet

Roses are one of the most – if not the most – familiar flowers in the world.  They’ve been plied in poetry, sung about in songs, listed in literature, and (depending on the color chosen) can symbolize true love, purity, innocence, or jealousy.  There’s a parade every year in California which celebrates them, and they can either be the consolation prize, anniversary gift, bride’s bouquet, or funeral spray.

Yup.  Roses get around.

So, it should be no surprise roses have twined and climbed their way into the quilting world.  There are a few pieced rose blocks and quite a few paper pieced rose blocks.  However, by far the majority of quilt blocks with roses in them are applique blocks.  Today, I want to discuss the history of these blocks – how they came about and why.  I should also warn you that despite their lovely appearance in quilts, quite a few of these fabric roses come with some thorny issues.  Get the beverage of your choice and pull up a chair as we go strolling through the quilted rose garden.

To start with, we must understand the time period rose quilts began to gain popularity.  Prior to the 19^th century, the majority (not all, but most) quilts were pieced.  Before this and the rise of the Industrial Revolution, women quilted more for practicality than creativity, self-expression, and any aesthetic goals.  Quilts were made to keep you warm at night and you used your best work and best fabrics in the quilt for the guest bed or those young girls tucked away in their hope chests.  Once fabric became part of the American industrialization process and machines over took the at-home looms, material became cheaper and more abundant because we no longer had to import it or make it ourselves. 

As we moved away from being a farm-driven, agricultural society, households changed.  Income was no longer entirely crop-dependent, so there was some leeway in the household budgets for paid servants and tools which lightened a woman’s workload.  As a result, she suddenly had some precious free time.  Now what to do with it?

I know, I know…right now you and I both want to shout, “Why, she quilted of course!”  And that answer is right…kind of.  While there certainly was time for more of the prettier sewing crafts, the majority of women who had some spare time took up (drum roll, please…)

Gardening.

Now I’m not talking about acres and fields of produce, but they developed a serious interest in kitchen gardens and especially flower gardens.  Store owners and traveling salesmen were quick to take note of this new hobby, and alerted seed companies. In turn, the seed companies began to produce seed catalogues which had the most beautiful, colored renditions of flora and fauna.

And here’s where all of the above ties into rose quilts.  Yes, the women gardened, but they still also made quilts.  At some point (and who knows where or when – there are no records to accurately pin a date), the women decided they wanted to reproduce these beautiful flowers in their quilts.  With their seed catalogs and their own gardens to inspire them, these quilters began to applique flowers in their quilt blocks.  Floral quilts, not just rose quilts, were making a big splash around 1840. 

But who could resist roses?  They’re beautiful and fragrant and if you reproduce them in a quilt, you have a rose garden all year long.  Couple this with the fact roses are used several times in scripture, and you are bound to have some artistic, Bible reading quilters developing an applique quilt pattern.  The block we know as Rose of Sharon probably had the roots of its beginning in The Song of Solomon 2:1-6:

I am the rose of Sharon, and the lily of the valleys.

As the lily among thorns, so is my love among the daughters.

As the apple tree among the trees of the wood, so is my beloved among the sons.

His left hand is under my head, and his right hand doth embrace me.

First, let’s talk about the Rose of Sharon block and then we’ll discuss how wrong it is to compare the block to the flower – and I don’t simply mean appearance-wise. 

In the mid-nineteenth century, quilters began to develop the block, which was probably birthed in the mixed influence of scripture and local flower gardens.  Overall, there are a great many Rose of Sharon quilt patterns, but the central idea in each of these is usually the same – there is a central, stylized rose motif and stems and other smaller flowers (also usually roses or rose buds) which radiate out from the central rose.  Some quilt designers made these blocks large, which made the applique process easier and required fewer blocks to make a quilt.  Others made them smaller, resulting in minute, breath-taking detail. 

These are what are considered “typical” Rose of Sharon blocks.  These beautiful applique quilts were reserved for the best fabric (usually in shades of pink, green, red, and perhaps some yellow).  Usually, Rose of Sharon quilts were used as the “best” quilts in a home, pulled out only when company arrived to stay the night, or as engagement or wedding quilts.  By the end of the nineteenth century, most young, single women on the Eastern United States had at least one of these quilts carefully tucked back in her hope chest.  One tidbit of quilt trivia – Rose of Sharon quilts were much more popular in the Eastern United States than anywhere else in the country.  No one is sure why, and it wasn’t as if no one in the mid-West or far Western US wasn’t making the quilts, but most of the quilts we have in museums and family possessions can trace their roots from Maine to Texas. 

About the same time the Rose of Sharon quilts were developed, another rose pattern came on the scene:  The Ohio Rose.  Here’s where the quilt history of both blocks gets a bit murky.  Some quilt historians use the names of the blocks interchangeably – which is to say, they consider the Rose of Sharon Block and the Ohio Rose to be variations of the same block.  Others don’t.

I’m one of those quilters who sees two separate blocks, despite the fact both blocks were birthed in same time frame, and both use stylized rose motifs.  For me, just looking at each block:

Shows enough differentiation to the point I believe they are separate and distinct blocks.  However, I’m not the only one who holds to this assumption.  If you type in the name Rose of Sharon in EQ8, the result will yield 31 blocks, with most of them looking like this:

Type Ohio Rose in the search line of EQ8, and you only get two blocks, which look like this:

Even when pieced in a quilt, I don’t think there’s enough similarities to call them different versions of the same block.  The Rose of Sharon generally has vines, stems, and buds radiating out of a large, stylized, center rose.  And while the Ohio Rose has the same type of center rose, usually there are only buds on short stems protruding out from it.  The Rose of Sharon is more elaborate and graceful.  The Ohio Rose is not as showy.

With those differences behind us, now let’s return to the reason why it may be wrong to call the Rose of Sharon a rose to begin with.  Most quilt historians believe the block’s name is a direct reference to the scripture from the Song of Solomon (see reference above).  The plains of Sharon in Palestine vary from fertile to swampy, but a red flower did grow there during biblical times:

This flower grew wild (now it is rare and must be cultivated) and in abundance and would have been familiar to the one writing the passage in the Song of Solomon.   However, this red flower is not a rose…it’s a tulip.  As a matter of fact, botanists from this part of the world call it the Sharon Tulip and it grows from a bulb, not on a vine or bush.  There is an actual Rose of Sharon bush, the Hibiscus syriacus, which, despite its taxonomy, is a native of China – not Palestine.

Maybe we should begin a campaign to rename the block…Tulip of Sharon?

Now let’s take a look at these two blocks:

If you’re thinking these are variations of the Tulip Rose of Sharon block, you would be partially correct. The first block is called a Whig Rose and the second is the Democratic Rose.  The Whig Rose has a central motif and is surrounded by eight identical designs radiating out from it.  The Democratic Rose has cockscomb around the central flower.  While the names are often used interchangeably (just like Rose of Sharon and Ohio Rose), they are two distinct blocks used originally for two distinct reasons.  Bear with me, because here’s where quilting became political….

Let me first remind you about the time frame we’re discussing.  As the Whig Rose and the Democratic Rose were designed, the time period is circa 1840… and it’s election time in the United States.  If you think the 2020 election was unique with its polar opposite candidates, mud slinging, debates, character assassinations, and total chaos, think again.  The election of 1840 was probably just as horrendous, but they didn’t have the 24-hour news cycle and social media to contend with.  Henry Clay (a Whig) and Andrew Jackson (a Democrat) were running for President.    I know Whig may be a bit foreign, so let me explain what this party was.  It was a populist party and it stood in defiance of the Democratic party which was pretty autocratic at the time.  Henry Clay and the Whigs supported a strong congress, while the Democrats were content to let the President call the shots and the congress played a more supporting role. 

It was a hard-fought, and sometimes politically dirty, election.   It’s so good to know we’re not the only generation who went through this. Let me also point out during this time, only men had the right to vote in the federal elections and it’s estimated that 80 percent of those males who could vote did vote in the 1840 election. 

Yes, the election was that big.  And while the menfolk could burn up the op ed page in local, state, and national newspapers as well as turn out in droves for in-person debates, women couldn’t.  Most women were relegated to the home and their opinions were not warranted to be scholarly or important enough to be heard outside their own four walls.

Or so the menfolk thought.  We women have always had our own opinions, so I have no doubt the female population of 1840 had their own candidates of choice and probably did tell their husbands, fathers, brothers, and sons exactly what they thought about Henry Clay or Andrew Jackson.  However, getting those opinions out from the home front had to be done subtly – thus enter the Whig Rose and the Democratic Rose.  And if you go by the number of surviving quilts in museums and in family inventories, there were far more Whig quilts made than Democratic quilts.  Let me throw in this little tidbit, too:  If you find a quilt made during this period with a raccoon on it, that’s also probably a Whig quilt.  Their animal symbol was the raccoon.  Likewise, if you find a quilt made during this time with a rooster on it, that’s most likely a Democratic quilt – the Democrat’s animal symbol in the 1840’s was a rooster, which is why the cockscomb surrounded the center rose.  The donkey didn’t become the symbol of the Democrat party until 1870 when the cartoonist Thomas Nast popularized it in newspapers. 

Let me add that every with the Whig Rose or Democratic Rose cannot be thrown into the political quilt category.  Lots of quilters simply liked the design and used it.  Many of those quilters called all of these quilts Rose of Sharon.  And some quilters gave the blocks yet other names, such as The Odd Fellows Rose. 

This rose quilt has its own distinct set of characteristics.  It has a center rose medallion which has tiny triangles and a square in the center with concave sides.  It has four, not eight, identical motifs which not only include full flowers, stems and leaves, but also berries and cockscomb.   In addition, the Odd Fellows chain is worked into the border.  There is a lot happening in these blocks.  There were other rose blocks also developed with similar Rose of Sharon characteristics:

Modern Rose of Sharon quilts uphold most of the traditional nuances associated with this block, but some characteristics have been twisted.  For instance, the traditional Rose of Sharon quilts were made with pink, red, green, and yellow fabrics.  The modern quilters have no issue with steering away from this color palette. The 21^st Century rose blocks are done in every color of the rainbow.  Plus, the historical white or cream background has been replaced with many different shades.  Several years ago, Accuquilt developed the die for the Rose of Sharon quilt for their cutters.  The flowers are also pre-programmed into the Brother Scan and Cut.  While the basic shapes of this block have been preserved, the colors now run the gamut.   

In her quilt-famous book, Old Patchwork Quilts and the Women Who Made Them, Ruth Finley claims the best-known applique pattern is the Rose of Sharon.  I’m not so sure.  Mrs. Finley’s book was published in 1929 – so it was written just a bit before our friend Sunbonnet Sue hit the height of her quilting popularity.  Today, I say both patterns are easily recognizable.  However, I will give our Rose of Sharon this:  It takes far more skill to pull off a Rose of Sharon quilt than it does Sunbonnet Sue.  Sunbonnet Sue is all soft curves and very few shapes.  The Rose of Sharon is sharp valleys and vines.  It’s buds and circles and hills.  It’s points and stems and leaves.  A quilter who can applique a successful Rose of Sharon block by any method has achieved a high level of applique skills. 

And deserves a round of applause.

Until next week, Quilt On!

Love and Stitches,

Sherri and Sam

PS – In several past blogs I’ve mentioned how important it is to change the needle in your sewing machine after about 8 hours of sewing (you can double that amount of time if you use titanium needles).  I know that after 8 hours of sewing, the needle can still go through fabric pretty well and you may wonder why it’s necessary to change it until you get issues with skipped stitches or the needle breaks.  Well, here’s why….

I came across this picture during my internet searches this week.  The needle on the left is a new sewing machine needle.  The needle on the right is a close up of the same needle after eight hours of sewing.  A picture is worth a thousand words.

This blog is the last one in the cutting trinity.  We’ve talked about scissors and rotary cutters.  Today we’re looking at the final leg of the cutting tripod – the cutting mat.  Whether you use scissors or a rotary cutter to slice and dice your fabric, chances are you will use a mat with either or both.  A cutting mat is simply a great cutting and measuring surface.  We will examine what makes a good mat and – more specifically – what quilters should look for in a mat.  Then we will talk about the five best cutting mats on the market today.  So, get comfortable and grab a beverage because we’re dissecting cutting mats today.

As quilters, we automatically think we’re the only ones out there in the cutting universe who use cutting mats.  But we’re not.  There are many mats made for sewers and quilters, but there are a lot of other hobbyists who use mats for their passion, also.  It’s important to purchase mat which will work best with your hobby.  So, it stands to reason the first question anyone has to answer is what kind of cutting tool will be used on the mat?  For us, that means a mat which can hold up to a rotary cutter.  For other folks this means a mat which can withstand a knife or straight edge blade.  Most mats come with a description somewhere on the label.  Read it through to make sure it will work for whatever you’re using it for.  Generally, unless you’re simply using it for measuring and not any cutting, a 2-mm mat is too thin for any blade.

This means the second question is how thick is the mat?  You want a mat which is 3-mm thick or more. Anything thinner than 3-mm is not durable and usually has a plastic-y feel to them.  This means they won’t handle a rotary cutter blade.  As a matter of fact, the blade may slice through any mat thinner than 3-mm.  Somewhere on the mat’s label should be the number of plies in the mat, what the plies are made of, and how thick each of the plies are.  Ideally, you want a 3-mm or thicker mat and the inner ply to be fatter than to outer ones.  A thick inner cutting mat ply helps prevent the mat from being cut through and prolongs the life of your rotary blades.  Another attribute you want is for the matt to be self-healing – which means the plies are manufactured from separate tiny pieces of material which are pressed together creating a solid surface to cut on. Whatever type of cutting implement you use on this mat, the blade will go between these tiny pieces. This separates them rather than cutting into the entire unit of the surface.  After cutting, all these little pieces go back together – more or less.  No matter how careful you are with your mat, eventually you must replace even self-healing mats.  But a mat which is self-healing generally lasts longer and doesn’t develop “ruts” in the mat from your rotary cutter for a good while.

What’s the mat’s surface like is the third question you need to ask.  Does the mat have a textured surface?  Does it have a glare?  A glare isn’t good.  When a mat reflects the overhead light, it makes accurate cutting difficult because it’s hard to see the fabric and the grid lines.  You also want the surface to be slightly textured.  If the mat is slick, it’ll be easy for the fabric to slide around, making accurate cutting impossible.  If the mat is too textured, it will dull your rotary blade.  All mats are generally gridded – either in inches or centimeters.  It’s really handy to have the grid numbered on all four sides.  I live in America, so my mats are in one-inch increments.  If the mat is large, it’s super nice to have a measuring line in the middle of the mat as well as at the top or bottom.  If I’m cutting shorter pieces of fabric, this means I have a closer measuring guideline and don’t have to use a long ruler to cut small pieces of fabric.  I also think (at least for quilters), the mat should be marked with 45, 60, and 30 degree angles, and have clearly delineated bias lines for cutting bias strips.  Beginning quilts may not use these so much, but the longer you quilt, the more important these become. 

The last five rotary mat considerations depend entirely on your preference.  These include color, size, markings, quality, and features.

Color – You don’t want a mat which is the same color as most of the fabric you quilt with.  So, when choosing a mat, try to purchase one in a color that will contrast most of your quilts.  For instance, if you love the color green and use green in most of your quilts, you may not want to purchase a green cutting mat.  Invest in a grey, pink, red, or blue one.  When I began quilting in the 1980’s, mats came in two colors – green and gray.  Now there are lots of color options in mats.  Some mats will have different colors on each side, and some are the same color on both sides, but one side may be gridded and the other side plain.  Make sure you can easily see the grid marks no matter what color you decide to buy.

Size – The best size mat for you depends on a couple of factors:  What size quilt do you most often make and what kind of space do you have available in your cutting area?  You don’t want a mat larger than the table it will be placed.  Can you leave your mat out all the time, or will you have to store it between uses?  Do you like to use long rulers and cut lots of yardage needed for large quilts or do you make primarily small projects and use shorter rulers?  Answering this question is important, especially if your space is limited and your budget it tight.  If you can only afford to purchase one mat when you begin to quilt, make sure it’s the right mat for you.

Grid Measurements – Most mats have a measuring grid which covers the surface.  If you live in the United States and purchase most of your patterns in the US, you want to make sure your mat has measurements in inches.  However, if you live outside of the US and purchase most of your patterns in countries other than the US, you may wish to have metric measurements as well as standard measurements on your mat.  The good news is that there are mats which have the standard inches on one side and metric on the other, so you are free to purchase whatever patterns from wherever you want and still be able to do the cutting without any math conversions.  This wasn’t a huge issue until patterns were sold via the internet.  Now we can purchase patterns from anywhere and with the right kind of mat, cut the quilts out without any issues. 

Another item to pay attention to is whether the markings on the mat incorporate the sizes you traditionally use.  For instance, the mat’s description may read “11-inches x 17-inches.”  This may mean the mat’s surface measures 11” x 17” but the grid lines on the it may only be 10-inches x 16-inches.  Look at the mat carefully to make sure it measures how and what you need it to. 

Quality – We’ve already discussed it’s important the mat be self-healing.  Let me also add to this some self-healing mats can have as few as three plies and as many as 15.  The thickness of the mat will impact how you will want to store it, whether it may warp, and how long it will last.  You will also want to check and see if the mat has a warranty.  Most reputable mat producing companies usually provide some kind of warranty to assure you they believe in their product and stand behind it.  You will pay more for this added quality, but it’s worth it to have a product which will stand up to years of use and if anything does go wrong, the manufacturer will make it right. 

Added Features – Considering all this information, it’s easy to see there are literally hundreds of mats to choose from.  However, there are other features you may want to consider before you go mat shopping.  If you’re like me and attend quilt retreats, classes, and workshops or you enjoy taking your quilting on the road with you as you travel, you may want a mat which can do double-duty.  There are mats which have one side that allows you to cut and then you can flip it over and the other side lets you do your pressing. 

There are mats such as these:

That open like a portfolio and one side is for cutting and the other is for pressing.  There are cutting mats that can be taken apart and packed, then reassembled once you’ve reached your destination. 

And there are mats which rotate (these are my favorite).  The rotating mats are really good for those quilters who paper piece or work with tiny piecing units or small applique blocks. 

Now with all of this information, before I leave you, I want to list and describe the five best cutting mats for quilting and sewing in 2021.  These are not my choices but were polled from quilters in Quilters Review.  All of these mats are self-healing.

1.  Crafty World Professional

This is often called the “best cutting mat” and it comes in three handy-dandy sizes:  9” x 12”, 12” x 18”, and 18” x 24”.  It has blue and green color options and seems to be the best mat for quilters, hobbyists, and crafters.  It’s versatile and flexible can be used for everything from quilting, garment making, and model kit building.  It has a smooth surface and the self-healing capability to ensure it lasts 10 times longer than ordinary mats. Thick and double-sided, it’s easy to use and accurate for cutting quilting fabric.  Clear lines are available in 1/8-inch measurements.  The 3mm thickness protects your work area and has a non-slip base to keep it firmly in place, no matter how much you’re cutting.  It will last for years before it needs to be replaced.

•  Olfa’s Fabric Cutting Matt

This mat is only 1.5mm thick, so it is on the thinner side of self-healing mats.  However, it is a larger mat – 24” x 36”.  It works great for cutting those long pieces of quilting fabric with your rotary cutter.  The mat has one side which is solid green, and the other side comes printed with grid lines in one-inch increments.  The surface is smooth, but should not be used with fixed-blade knives – it’s made for rotary cutters.  This mat does have the angle markings I mentioned earlier.  And as rotary mats go, the Olfa is pretty easy to clean – a gum eraser can remove anything that gets stuck in the mat.

•  US Art Supply Self-Healing Cutting Mat

This mat is very similar to the Crafty World Professional, but this one come with a pink and blue color option.  This is an 18” x 24”, and it has five ply construction.  The grid marks are in ½-inch increments with 1/8” marks for accurate cutting and both the 45-degree and 60-degree guides.  The mat is reversible and both sides have the grid markings.  It is 3mm thick, resilient, can be used repeatedly, and has a long-life span (well…a long life span for a mat, anyway).  If you aren’t crazy about pink and blue, there is also a green and black option.

•  Dahle Vantage 5-Layer Healing Mat

This mat’s five layers means it has maximum self-healing potential, and this one mat covers all the bases from sewing to crafting to cropping.  It comes in three color options:  black, blue and clear.  It also comes in several sizes:  9” x 12”, 12” x 18”, 24” x 36”, and 36” x 48”.  Each of these mats feature a 3mm thickness and has a preprinted ½-inch grid to allow for accurate measurements.  The five-layer PVC construction means this mat has maximum self-healing.  PVC construction protects all of your blades from becoming dull and damaged.  It also has a limited warranty, so if your mat doesn’t meet your expectations, you can return or replace it.

•  US Art Supply, Self-Healing 5-ply Cutting Mat

This mat measures 36” x 48” and is green and black.  It has 5-ply, self-healing construction as well as ½-inch grid with precise alignment due to the 1/8-inch marks.  It also has 45-degree and 60-degree markings.  The mat is reversable and has the grid on both sides.  This mat can handle rotary cutters, craft tools, sharp blades, and writing instruments. 

Once you’ve decided which mat is the right one for you, it’s important to make sure you place the mat on a hard, flat, solid surface which is at least as big as the mat.  If you try to cut on a soft surface (such as carpet), your cuts won’t be as accurate.  At this point, if you’re like me and don’t like to cut through more than two layers of fabric at a time, you’re good to go.  However, if you like to stack your fabrics and cut multiple layers at once, make sure 1) Your rotary cutter can handle multiple layers and 2) You’re stacking the same type of fabrics together (such as all quilting cottons or all batiks).  Mixing thin and thick fabrics for cutting will make the process difficult and your slicing and dicing inaccurate. 

After you’ve used your mat for a month or so, if possible, turn the mat so you’re cutting from the other side.  This will slow down the wear and tear on the mat and evenly distribute the erosion. 

Cutting mats are an investment, and you will probably want to make them last as long as possible.  You can extend the life of your mat by rotating and flipping them often and avoid cutting in the same place each time.  If you must store your mat between uses, be sure to lay it flat, and never, ever leave it in a warm place, such as the trunk of a car.  The heat will warp it.  Likewise, if you leave it in a cold place (like the trunk of a car in the winter), your mat may become brittle.  If the mat gets dirty, clean the surface with lukewarm water and mild detergent.  However, at some point, your mat will need to be replaced.  If the surface has ruts in it and the grid marks are growing faint, it’s time to go shopping for a new mat. 

Two more items before we wrap up this blog on cutting mats.  When I began my research, I noticed several sites which had information on how to de-warp your warped cutting mat and how to restore the mat’s self-healing properties.  According to several hits via a Google search, you can de-warp your mat by ironing it.  You lay a pressing cloth or towel on your mat and press.  Self-healing properties are said to be restored by soaking your mat in warm water and then laying it flat to dry.  I’ve never tried either of these methods, but if you have and they worked, please let me know. 

I’ve completed a few quilts and am planning on a show and tell blog in the near future.  A couple of these quilts are meant to be gifts, so I can’t show them until I gift them…so….it’ll still be a few weeks.  But until then…

Quilt On!

Love and Stitches,

Sherri and Sam

Last week we talked about all things scissors…fabric scissors, paper scissors, embroidery scissors, how to take care of your scissors…we covered the field from how much to spend to how to store them.  This week we’re turning our attention to the other cutting instrument in your quilt studio – the rotary cutter.  This cutter is the second most-used tool in quilt studios, with the first being the sewing machine.  Initially rotary cutters were developed in the 1980’s and were used in the garment industry.  It wasn’t long before quilters decided they needed this tool in their lives and it made the leap from the sewing notions aisle to the quilting making aisle.  What did quilters do before this?  Well…they used scissors.  Quilters would spend ours cutting out their quilt patches by hand with sharp scissors.  Each piece of fabric, as well as each completed block, required precision trimming with scissors. 

Once the rotary cutter was introduced, not only did the cutting and trimming become faster, it also became more accurate. Quilters could quickly move through the cutting process.  Before the rotary cutter, cutting could take days (or even weeks) of tedious work.  This change made quilting more exciting – at least for folks like me who would rather get through the slicing and dicing as soon as possible so we can get to the good stuff.  In the blink of an eye, the rotary cutter changed the quilting industry and quilt making forever. 

The choice of rotary cutter is just as important as the one you will make about the scissors you use.  And making that decision can be difficult, because as soon as you hit the rotary cutter aisle in a brick-and-mortar store or a website, the choice seems endless.  Couple that with the fact the price range varies as much for cutters as they do scissors, and it’s easy to feel dazed and confused.  So, the first item we’ll discuss is what to look for in a rotary cutter.  Just like scissors, rotary cutters are an extension of your hand.  You want to make sure the cutter feels comfortable and is controllable.  Safety features are also important.  As you begin your search for your perfect rotary cutter, keep the following in mind:

1.  There is a wide variety available.  You have to search for the one which best suits your needs.  There are different brands, some use different blades made from different metals and there are narrow ones and wide ones.  Handles can vary from brand to brand and even be different within the same brand.  Some come in kits with fun accessories which will make your cutting experience easier and more enjoyable.  When I began my search for a rotary cutter, I made a list requirements:  It had to be ergonomically friendly for carpel tunnel, blade replacement should be easy, and it had to have a blade cover.  As I shopped, I disregarded any cutters which didn’t meet those requirements.  It took a while, but the I still use my original cutter almost daily. 
2. There is more than one size blade diameter.  Most blades run from 18 mm to 60 mm in diameter.  Which size do you need?  It depends on your cutting preferences.  If you like cutting multiple layers of fabric, then you need to steer   your shopping towards the 60 mm sized rotary cutters.  However, its important to remember as the size of the blade increases, you may lose accuracy, maneuverability, and ease of cutting.  If you’re creating intricate shapes with your fabric, fussy cutting, cutting around templates, or cutting through no more than two layers of fabric at a time, you will probably want a smaller, more maneuverable blade.  You may want to purchase an 18-mm to 28-mm cutter.  If you want one rotary cutter to cover all your cutting needs, then the middle range cutter (45 mm) is probably your best bet.  With this size, you won’t lose a great deal of precision, but you will still be able to cut through most fabrics easily, including stacks of thinner fabrics.  Personally, I have 45 mm, 28 mm, and a 60 mm rotary cutters.  Bear in mind I didn’t purchase all of them at once, but over a quilting life span of 34 years.  If I had to pick one size rotary cutter to keep and disregard the rest, I’d chose the 28 mm.  As a rule, I cut no more than two layers of fabric at a time (I have accuracy issues if I cut through multiple layers).  For me, the 28 mm is ideal.  However, for cutting through batting, you can’t beat the 60 mm.  I purchased the 45 mm when I started quilting, and still use it for cutting strips.  You will need to weigh your cutting habits against your wallet and decide what is best for you. 
3. Consider blade safety.  A good safety feature to look for on a new rotary cutter is a button which allows to retract the blade when you’re not using it.  And as a general rule, you want to keep your fingers away from the blade when cutting, as well as push the rotary cutter away from you when slicing through any fabric.  I can hear some of you now, “I don’t have kids in my home.  Why do I need to retract my blade when I’m not using it?”  Allow me to offer up a personal experience. 

For the longest time, I never retracted my blade.  When I began seriously quilting, my kids were older and knew not to touch my rotary cutter.  I’d lay the cutter down on my cutting table, walk away, and not worry about it.  Then one hot, southern summer day, I was cutting out a quilt and needed a potty break.  Let me emphasize it was a hot day and I had on shorts.  And sandals.  Two important points.  I put my rotary cutter down and moved away, and in the process accidentally knocked my cutter off the mat.  It skipped down my bare leg and across my sandaled foot.  I had a total of four gashes which would not stop bleeding.  It took my son, a local fireman, and God only knows how many butterfly band aids to stop the bleeding – all because I didn’t retract the blade when I left the cutting area.

You need a rotary cutter with good safety features.  Trust me. 

•  Consider the blade material.  A good blade will save you both time, energy, and money.  It will allow you to cut through as many as six layers of fabric at a time.  You won’t have to exert a lot of effort to move the cutter through multiple layers of cloth, either.  You’ll be able to use it through multiple projects without needing to replace it.  You won’t have to re-purchase fabric because your blade had  tiny burrs on it and as a result, it chewed your fabric.  Most of all, a good blade is safer.  With a good, sharp blade, you’re less likely to exert so much force on the cutter you lose control over the blade.  The best rotary cutter blades are made from tungsten or carbon steel – the same material good kitchen knives are made from.  So, when you’re shopping for rotary blade replacements, be sure to read the package carefully to make sure the blades are made from one of these metals.  Olfa’s blades are made from Tungsten steel and Improve Cut blades are comprised of carbon steel.  Titanium blades are a recent addition to the blade family.  I sew with titanium sewing machine needles, but haven’t tried these blades (I tend to purchase rotary blades in bulk and don’t need anymore right now).  However, some of my quilting buddies have used the Titanium blades and have nothing but good things to say about them. 

All rotary blades dull over time.   As you use your cutter, notice if you have to put a lot of effort in pushing it through the layers of fabric or if the blade “skips” cutting in places.  If either of these are true, then it’s time to replace the blade.  And I’ll admit, this is not my most favorite task, but replacing the bad blade with a good one really makes cutting easier.  All good cutters will let you remove and replace the blade, allowing you to keep the handle which best suits your hand.  If you’ve tossed the blade replacement directions, YouTube or Google search your particular cutter.  I just about guarantee you can find the directions (and better yet, a video) on how to replace the blade.

I quilt a lot, and as a result I use my cutter several times a week and must replace my blades pretty regularly.  If this is also your scenario, you may want to do what I do – purchase blades in bulk.  I’ve found this very cost-effective.  If you don’t quilt as much as I do, most brands of blades come in packs of five.  However, blades are among the more pricey consumables in a quilt studio (discounting fabric).  The good news is big box fabric/hobby shops stock most of the popular blade brands.  Use their 40 percent off coupon to buy your blades.

• The blade handle is very, very important.  You will be gripping the hand of your rotary cutter for hours.  It’s very important the handle is comfortable to hold at the angle you’ll use it.  Fiskar’s ergonomic handles are a quilting favorite, but my advice concerning rotary cutter purchase is the same as buying scissors:  if possible, go to a store and purchase it.  Hold it in your hand and imagine pushing it through layers of fabric for hours at a time.  If your hand is comfortable with the initial purchase, any subsequent purchases can be made online.

However, if you can’t purchase your rotary cutter in person, be aware there are some brands made specifically for special needs.  There are some handles specifically designed with arthritis and grip issues in mind.  My Comfort Cutter from The Grace Company allows you to add attachments to your handle, so it can be personalized for your grip, and is designed to allow you to press from overhead, making cutting easier. 

•  Your particular brand of cutter may offer accessories.  It’s a given you’ll need rotary cutting mat to go with your cutter, and we will discuss those later in the blog.  However, there are some other accessories you may want to consider.  First, there’s a ruler track.    A ruler track can be carefully placed on your fabric, then your rotary cutter fits into the track on the ruler like a rail car, and you simply follow the line up and down.  This provides a very straight cut.  The only draw back is at some point you’ll run out of “track,” limiting the length of the cut. 

Another accessory which comes with some cutters is extra blades.  This is a nice added bonus, since you will use those blades.

•  Make sure the cutter fits your handedness.  Like scissors, rotary cutters come made for right-handed people and left-handed people.  And some cutters are ambidextrous and may be used by righties or lefties.  Be sure to read the cutter description to make sure it will work for you.

Now, with all that said, I’d like to list the six best-selling rotary cutters.

Fiskars 45mm Contour Rotary Cutter

This rotary cutter cuts smoothly and precisely, even through as many as six layers of fabric.  It works for either right or left-handed quilters and the ergonomic design prevents hand fatigue, allowing for accurate cutting for extended periods of time.  My favorite thing about this cutter is the thumb control on top of the handle.  One touch with your thumb causes the blade to engage or retract (meaning the blade won’t be exposed when you lay it down).  This cutter comes with steel blades.

Fiskars 60mm Titanium Softgrip Comfort Loop Handle Rotary Cutter

If you’re comfortable cutting multiple layers of fabric, this is your cutter.  It’s ergonomically designed to prevent hand fatigue and provides excellent control.  It’s made for right or left-handed quilters and this design provides great visibility for either.  This cutter comes with a titanium blade so it’s tough enough not only for cutting through multiple layers of fabric, but also wonderful for squaring up quilts or cutting batting.

Olfa 45mm Deluxe Handle Rotary Cutter

This cutter cuts up to six layers of fabric easily and works well for most quilting applications.  The rubber grip contoured handle is easy on the hand, but not as ergonomically friendly as the previous listed rotary cutters. The handle does include a squeeze trigger blade control which allows it to self-retract.  When engaged, the red button keeps the blade open for longer periods of time.  One of the best characteristics about this cutter is the blade can be moved to either side, making it perfect for either right or left-handed cutters.  The Olfa 45mm Deluxe Handle Cutter also has a pinking blade which can be used on loosely woven fabrics (such as homespun) to keep fraying to a minimum.

Olfa 60 mm Deluxe Rotary Cutter

This handy-dandy cutter can slice through 8-layers of fabric at a time.  The handle is ergonomic and includes a squeeze trigger which allows the blade to self-retract.  This cutter is a good choice for anyone who makes tote bags or quilted purses.  It can easily cut through the thin foam used in making those.  Just avoid cutting foam which is thicker than the width of the blade.  It also makes easy work of trimming the quilt sandwich or cutting batting.  Quilters who make rag quilts find the 60mm Deluxe cutter especially useful when cutting through those projects that involve layers of wool.

Martelli Ergo 2000 45 mm Rotary Cutter

Allow me a moment of complete self-plugging of a product:  I love Martelli Cutters because of their ergonomic design.  The cutter puts your hand in perfect alignment for cutting, taking a great deal of strain off the wrist, arm, elbow, and fingers.  And because of the added pressure of correct hand alignment, a quilter can cut up to 15 layers at a time.  Since Martelli’s are built so differently than Fiskars and Olfa, changing their blades is a bit different, but the company puts out handy YouTube videos which explain how to use the blade guards and how to change the blades.  You can’t switch the blades to different sides, so you will have to purchase either a right-handed or left-handed cutter.  The cutter can be refilled with any 45-mm blade on the market.  These cutters are not (at least to my knowledge) sold in fabric or quilt stores.  The company does vend at many, many quilt shows and has a wonderful on-line store.  I can also personally attest their customer service is stellar.  I’ve contacted them before about an issue I was dealing with concerning their 45mm cutter and they simply shipped me a brand-new cutter, no questions asked. 

Olfa 9551 Rty-1/G 28mm Straight Handled Rotary Cutter

This cutter is perfect for small quilting projects.  A quilter can push the tab forward to use the blade and pull it back to retract it.  It’s great for working on small pieces, or cutting out around templates or applique pieces, as this cutter handles curves smoothly.  The blade switches sides for either right or left-handed users.  Keep out of the reach of children as this cutter is pretty simple to figure out.

How to Care for Your Rotary Cutter

Just like scissors, purchasing a rotary cutter is a financial investment.  And with any such pricey purchase, it’s important to take care of the cutter so it will last a long time.  It’s equally important to take as much care of the blades.  While the blades will be replaced, there are some things you can do to prolong their lives.

1.  Never cut paper or interfacings with your cutter.  This will dull the blade.  If you find yourself reaching for the cutter when your want to cut these, purchase a separate cutter for cutting paper or interfacings.  
2. Be sure to keep pins away from the cutting area.  If you accidentally hit a pin, it will put a nick in the blade, and it will no longer cut all the way through the fabric.
3. Old blades are still very sharp.  Find a way to safely dispose of these.  Some folks fold an index card in half and tape the short sides.  They put the blade in the pocket and then tape across the top.  I keep an empty parmesan cheese container in my sewing room.  I put used blades, dull pins and needles, and broken sewing machine needles in this.  When it’s full (and it takes a long time to fill it), I duct tape the top securely and then toss it.  Whatever way you decide to dispose of your used blades, make sure it’s secure enough that the blades won’t injure anyone emptying the trash.
4. Don’t scissor back and forth with your cutter.  It will make a rough edge along the seam and loosen the threads.  Instead, use the strength in your shoulder to push the blade forward, away from your body in one smooth action.  It takes practice, but eventually you will make steady cuts.
5. Store the cutter and blades out of the reach of children.   These things are sharp.  Kids are way smarter than we give them credit for.  They can figure out how to use a rotary cutter in a hot second.
6. Never leave the blade open on your work surface (see personal injury story above).  Get in the habit of closing your blade each time you place it down. 

You want a cutter which will fit your hand and take as much strain off your wrist, elbow, arm, shoulder, and fingers as possible.  My advice is to purchase the cutter which best fulfills your requirements and doesn’t bust your wallet.   Your choice of cutter will depend on what kind of quilter you are.  If you’re primarily a piecer, comfortable with cutting through multiple layers of fabric at a time, you will probably opt for a 45mm or 60 mm cutter.  If you usually are cutting around templates or dealing with applique pieces, a 18mm or 28mm cutter may be just what you need.  If you’re mostly an applique quilter and cut your applique pieces out with scissors, you may opt for the 45mm rotary cutter.  It will still handle layers of fabric, but remain controllable in the event you do decide to use it with your applique.  The choice is a personal one, and eventually (if you quilt long enough) you may decide you need a couple of different rotary cutters in different sizes. 

I had planned to cover rotary mats in this blog, but I’m already well over 3,000 words.  We’ll hit those next week.  So, until then…

Quilt On!

Love and Stitches,

Sherri and Sam

You can’t make a quilt if you don’t cut some fabric.

That’s the simple truth.  Once fabric and pattern are in hand, the next step is cutting.  And I’ll admit (and as many of you already know) this part is the one I like least in the entire quilting process.  However, unless you buy a pre-cut quilt kit, you can’t get to the fun stuff until you’ve sliced and diced it all up.  Making sure you have good scissors, rotary cutters, and a good cutting mat will make this process easier, accurate, and if you’re the least bit like me – a little more enjoyable.  So, today’s blog will talk about all those cutting tools, what makes the good ones good and the great ones great, as well as how to take care of them.  Each one of these is an investment in both money and ergonomic ease.  Choose wisely and be prepared to plunk down some cash.

Scissors Verses Shears

Okay…I’ll admit since the introduction of the rotary cutter to the quilting universe, scissors are nearly a second thought now.  Until the 1980’s, quilters traced around templates and then cut their patches out with scissors.  Once rotary cutters showed up on the quilting aisle in fabric shops, the use of scissors to cut quilting fabric declined.  However, even though we cut most of our quilt tops out with a cutter, there still are times when scissors come into play.  It’s important to know what makes up a good pair of scissors and how to take care of them. 

To begin with, there are two types of “scissors.”  There are the scissors and shears.  What’s the difference?  A lot.  To begin with shears are shaped like this:

And scissors are shaped like this:

This is the quickest way to tell them apart.  Now let’s get into specifics.

Shears are primarily used in garment construction.  The bend between the handle and the blades makes shears the perfect cutting instrument for slicing through multiple layers of fabric.  The blade length is longer in shears than in scissors – the beginning length in most shears is 7-inches.  Scissor blades can start as small as an inch.  The handles are different, too.  Shears’ handles have one hole for the thumb at the end of one blade and a larger hole on the other to accommodate four fingers.  Shears were developed for serious fabric cuttage.  Their shape is perfect for cutting several layers of material without putting undue stress on the wrist and fingers. 

At this point, your burning question is “Do they have a place in my quilting world?”  Maybe.  Depends on what kind of cutter you are.  If you’re comfortable cutting multiple layers of fabric with a large rotary cutter, then probably no.  However, I do keep two pairs of shears in my studio and find they’re easier than scissors to use when I need to cut batting. 

Scissors, on the other hand, can run the gamut in blade size and use.  There are specialty scissors out there for nearly every type and kind of crafting.  My aim is to make you understand the differences, what makes a good pair of scissors, give you an overview of the types, and tell you what kind I keep in my studio.

Scissors differ from shears in blade length, handles, and what they’re used for.  Blades on scissors can vary from as small as 1-inch to greater than 8-inches.  And there are some non-scissor scissors (such as snips) which are generally tossed into this category.  The handles have two holes of the same size, which means one can accommodate the thumb and the other one or two fingers.  Other than the shape, the biggest difference between shears and scissors is what they’re used for.  Shears are made for big, heavy-duty cutting jobs.  Scissors aren’t.  They are for small cutting projects. 

With the differences between the two explained, let’s talk about what we need to look for no matter which one we decide to purchase. 

1.  The blades should move easily.  You shouldn’t have to force them apart or back together.  If they’re difficult to open and close, this will tire your hand quickly.
2. Look at the pivot point or screw.  This is sometimes called the button.  You should be able to wipe this area clean and it should show no sign of wear or rust.  I personally like my buttons to stick up above the blade instead of being inset.  More on why this is preferable in a bit.
3. They should feel good and have a comfortable weight in your hand.  You don’t want them too light (this may make accuracy difficult) neither do you want them too heavy (this will tire your hand).  If possible in this internet-purchasing world, go to a store and buy your scissors.  This way you’ll actually be able to hold them and get a good idea of the way they feel in your hand.
4. Make sure they’re made for your handedness.  Most scissors are made for right-handed people.  If you cut with your left-hand, be sure you purchase a pair made for left handers.  And some scissors are ambidextrous.  The great news is most scissor companies make all three types – left, right, and ambidextrous.

 Scissors and shears are investment purchases.  If you buy quality ones and take care of them, they will last you a lifetime.  My mom still has the shears she used when she made my clothes when I was a little girl.  They’re over 50 years-old and still cut wonderfully.  So, should you purchase one or both?  If you make garments as well as quilts, then you probably want a good pair of each.  If you only quilt, you can make do with only scissors.  New types of specialty scissors are introduced every year. At this point, I’d like to talk about the most popular type of brands and how they rank.

Fiskars

The great thing about this brand is you can find them at both big box stores and many small quilt and fabric shops.  They’re a great all-around brand and run the price range from inexpensive to high-end pairs with all the bells and whistles.  Fiskars offers scissors, shears, and snips and has products which can be used from the kindergarten classroom to the most exclusive sewing studio.  The range in cost tells you about the range in quality, so for this reason quilters, we want to head towards the more expensive end of the Fiskar models (if you can afford it). 

Gingher

For me, when I pick up a pair of Gingher scissors, I’m a kid again, rummaging through my mom’s sewing area.  Gingher Brand has been around since 1947 and by 1965 they were the crème d’ la crème of the sewing world.  Unlike Fiskar, Gingher offers a more limited range of models on the higher end.  This means all quality, all the time – no second guessing needed.  Basically, any Gingher scissor which goes home with you is bound to be wonderful.  These scissors are all metal, although the handles may be gold or silver.

Kai

While this brand may be one of the newer ones to us quilters in the United States, Kai scissors and shears have been made in Japan for over 100 years.  Kai scissors and shears are made with stainless steel and vanadium.  What’s vanadium?  It’s what Kai uses to make their scissors extra strong and helps them stay sharp for way longer than typical sewing scissors.  I’ve test-driven Kai scissors and am impressed.  Most likely the next pair of scissors I purchase will be Kai’s.  Currently, I have a pair of Gingher’s I’ve used for years – since I taught French heirloom sewing in the 1980’s – and they’re still just as great as the day I bought them. 

This scissors I’ve mentioned above are standard sewing scissors.  There are plenty of specialty scissors on the market and now I want to mention those.  Some of these are well-worth the money and others simply depend on what kind of quilter you are.

Karen Kay Buckley’s Perfect Scissors

It’s no secret I love these scissors.  They come in several sizes (my favorites are the 1 ½-inch and the 7-inch ones).  The handles are flexible, so they can be used for long periods of time without rubbing sore places on your thumb and finger.  I think the best feature is the micro-serrated edges.  I’m an avid appliquer and cut my applique pieces with these scissors because the serrated edges help keep the fabric from fraying.  Two warnings about these scissors:  First, if you ever need to sharpen them, make sure the tech knows the blades are micro-serrated, and second, occasionally knock-off brands appear on the internet (especially on social media sites).  Purchase the real thing at Karen’s website.  The imitators aren’t nearly as good as the originals. 

Pinking Shears

Pinking shears have come a long, long way.  Back in the dark ages when I took home ec, they were bulky, heavy, hard to open and close, and cut in zigzags.  Today they come in all colors, are lighter and easier to use, and cut in scallops as well as the traditional zigzag.  Before there were sergers and fray block, pinking shears were the only way (besides a zig-zag stitch on your sewing machine) to finish the edges of your fabric.  The zig-zag stitch on your sewing machine would often leave a raised edge which could be seen from the right side of your sewing project (especially after it was pressed), plus it was an additional step in the construction process.  Lots of sewers just opted to pink everything.  I own a pair of pinking shears.  I purchased them in the 1980’s when I made all of my kids’ clothes and a good chunk of mine.  I still use them when I’m piecing a block with curves.  Pinking the pieces works sometimes works better than clipping the curves.  If you only quilt, you may want to seriously count the cost of pinking shears against the amount of time you would actually use them.  If you make garments as well as quilt, pinking shears are worth the investment. 

Embroidery Scissors

Yes.  You need a pair.  I use my embroidery scissors every time I sit down to sew.  As a matter of fact, I use embroidery scissors so much, I have three pair – one at Dolly, one in my hand sewing kit, and another pair in my applique kit.  They’re the perfect size to snip threads and trim applique pieces.  While these won’t be used for cutting large chunks of fabric, you do want a pair with good points, feels solid in your hand, and can be sharpened if needed. 

Rag Quilting Snips

If you decide to make a rag quilt, you can certainly use your regular scissors to make the perpendicular clips in the seams.  However, if rag quilts are your thing, you will probably want to invest in these snips.  Once you use the snips, I’m told you will never go back to using regular scissors.  Fingers rest above the handles instead of being slipped into holes in the handles.  This is a good thing, because you make a lot of cuts through multiple layers of fabric in a rag quilt and may get blisters using regular scissors.  The spring action of the handles mean they will pop right back into place for the next cut with no effort from you.  The rounded tips create a bit of a buffer at their ends, just enough to keep you from cutting too deeply into a seam allowance.  I have made one rag quilt and have no desire to make another, so I don’t have a pair of these snips.  However, if I enjoyed making these quilts, I would definitely invest in a pair of Rag Quilting Snips.

Fiskar Soft Touch Titanium Scissors/Shears

Fiskar labels these as scissors, even though they have a bend.  For me, the biggest selling point with the Soft Touch is the titanium nitride which coats the blades and prevents wear.  However, there is another great selling feature about these:  the spring action handles.  These handles prevent hand fatigue and for those of us with arthritis, carpel tunnel, or other aches pains, the spring action takes a lot of stress off the fingers and wrist.  I had a pair of the Soft Touches when I made clothing and loved them. They fall in the mid-range price of Fiskars, so their purchase won’t hurt your wallet too badly.  By the time I wore mine completely out, I was no longer making clothes – just strictly quilting – and chose not to replace them.  However, if I went back to constructing garments on a regular basis, I’d purchase another pair. 

Gingher Knife Edge Applique Scissors

Before I knew these as a type of applique scissors, I was acquainted with them under the alias of “Lace Scissors.”  When I taught French Heirloom Sewing, these scissors were a must for anyone trimming fabric away from lace.  I use them so much I have two pairs of them.  At some point, a quilter realized these chrome over nickel scissors were super-duper handy for applique.  The paddle-like blade (sometimes known as the duckbill –as a matter of fact, as an instructor I referred to these scissors as “the ducks”) keeps one edge of the fabric away from the blade while the pushing edge you want to cut toward the sharp blade.  The offset handles provide a good view of the fabric as you’re cutting.  I applique a lot and use these scissors a great deal.  They are a bit pricey.  If you’re not an avid appliquer, you can live without them.  However, if you’re as smitten with the art as I am, you may want to eventually invest in a pair or ask for them at Christmas or your birthday. 

Gingher 4-inch Safety Scissors

These blunt-tipped scissors remind of the scissor we had to use in elementary school,  but don’t let looks fool you.  Despite the rounded end, the scissors are sharp.  These are great to have around for little clipping tasks and you don’t have to worry about puncturing fabric or skin.  You can safely toss these in your purse or sewing tote.  I don’t have a pair, but my friends who travel via airplane tell me these are great to take on a flight.

I don’t own every pair of scissors I’ve mentioned.  I do have two pairs of Karen Kay Buckley’s Perfect Scissors (the 1 ½-inch and the 7-inch), a pair of 8-inch Gingher scissors, and several pairs of embroidery scissors. I’ve been gifted several others, but these are the ones you’ll find out and in use in my studio.  The Perfect Scissors and Ginghers are used to cut fabric.  However, if you’ve quilted long enough, you know you’ll also end up cutting a fair amount of paper, too.  Which brings us to the next topic…

Do I need to be super-picky about the scissors I use to cut paper?

Maybe. 

It depends on what kind of paper-cutting you’re doing.  If you’re only separating pattern pieces by rough cutting, then pick yourself up a cheap pair of Fiskars.  However, if trimming freezer paper applique patterns and any other type of detail-oriented paper cutting are in your quilty future, you may want to be a bit more discerning in you paper-cutting-only scissors. 

Westcott Titanium Bonded Scissors

These are definitely a “do-it-all” scissor.  The titanium-bonded blades can slice through cardstock, cardboard, and laminate, as well as tissue-paper patterns.  The plastic handles are gently contoured to prevent cramping or any stress to your hand.  These are an investment purchase – they do cost a bit – but if you give them proper care, they should last a lifetime.

Scotch Precision Scissors

These scissors check off all the major boxes.  They come with a rubberized grip which means comfort, no matter if you use them for just a few minutes or long hours at a stretch.  What’s especially appealing is their universal design – left-handed and right-handed folks can use the same pair of scissors.  The thumb holes are shaped to accommodate the natural squeezing action of all users, reducing not only awkwardness, but also pain and swelling when used over and extended amount of time. A quick Amazon search turned up several pairs, all around $5.00.

Canary Small Scissors

These are designed specifically for paper art, but if you’re trimming teeny-tiny freezer paper pieces for applique, you’d love to have a pair of these.  Canary Scissors are handcrafted in Seki City, Japan.  They have a sleek, sharp blade which can navigate small areas and tight turns easily.  These are around 4-inches, are lightweight, and portable.  However, the handles are small, so if you have large hands, they may be uncomfortable for long periods of use. 

At this point, I want to encourage you to keep your paper-cutting scissors in one area and your fabric scissors in another.  Don’t use your fabric cutting scissors to cut paper – it will dull them.  I’ve heard some instructors say as long as you wipe down the blades after using the scissors, it doesn’t matter what you cut.  I haven’t found this to be true for myself.  I developed a system many years ago to not only keep the two types apart, but also how to tell which kind of scissor should be used for what kind of use.  I began seriously sewing when my kids were young, and kids need to cut paper for all kinds of projects.  After they had mistakenly grabbed my good Ginghers one too many times, I came up with this idea.  Every pair of scissors destined to cut paper had red or orange handles.  Fiskars have orange handles and Scott Precision scissors have red ones.  One quick glance at the handles let the kids know if the scissors could be used for their art projects.  I’m using the same system with my grand darlings. 

Of course, there’s always this method:

But then you have to keep up with the key!

Scissors are one quilty tool you’ll use nearly every time you sit down to sew – whether you’re working at your machine or are hand sewing.  Investing in good, quality pairs is the first step in scissor nirvana.  Like just about every other quilting tool, regular care and upkeep will go a long way in extending the life of your scissors for years.  So, now I want to give you my Top 10 Tips for Taking Care of Your Sewing Scissors.

1.  Avoid Moisture

Moisture is not good for any scissors.  When we think about moisture, we think about water and wetness, and yes, you need to avoid having your scissors around any liquids.  However, you also don’t want to keep your scissors on your ironing board.  The ironing board will retain moisture from steam and if you stash your scissors on it, they come in contact with some dampness.  Make sure your fabric is completely dry before you cut into it, too. 

• Cut Only Fabric with Your Best Fabric Scissors

We may have several pairs of scissors we use in our studio, and probably one of those pairs is predestined for only cutting paper.  But the other scissors may also cut ribbon, interfacing, fusible webbing, etc.  This is fine, but you may want to keep one pair for fabric only.  True, this tip is more for folks who make quilts and garments, but the first time you pick up your best scissors for a prolonged cutting job and find they’re chewing the fabric more than they’re slicing through the quilting cotton, you’ll thank me for this tip. 

• Tighten the Pivot Screw and Apply Oil Periodically

Over an extended period of time, you may feel the blades are looser.  It’s fine to take a screw driver and tighten the pivot screw (which is also called a “button”).  You may also want to put a drop of oil on the screw, and wipe down the excess. 

•  Get Them Sharpened Regularly

One of the things I miss most about Hancock Fabrics is their scissor sharpener.  At least once a year, they would have a couple of guys come into the store to sharpen scissors.  You’d sign up for a time slot and bring in your scissors and the two men would work their magic.  I finally found someone in High Point who sharpens scissors, and recently took six pairs to him – however, it had been nearly three years since they had been sharpened.  Sometimes local quilt shows will have a scissor sharpening tech you can utilize.  If your local fabric or quilt store doesn’t offer these services, Google local knife sharpening shops.  Quite often they will sharpen scissors, too. 

•  Wipe Them Clean

Some fabrics are abrasive and can damage the metal on your scissors, especially some man-made fabrics.  The best way to prevent this from happening is to wipe down the blades with a clean cloth after each project. Be sure to wipe the area around the screw, too. This is why I like the screw to stand out and not be inset — it makes cleaning this easier.

•  Avoid Pins

Don’t cut over pins.  And while this tip is more for garment makers than quilters, it’s important to remember.  If you end up cutting through a pin, you’ve probably inflicted serious damage to your scissor’s blades.

•  Don’t Drop Them

This can damage the alignment of your scissors, nick the blades, and cause the blades to bend or the tips to break.

•  Keep the Case Closed

Store your scissors in a cool, dry place, preferably in their own sheath, pouch, or case.  Be sure to store them in a place where they won’t be knocked off onto the floor.  And for those of us who travel with our scissors, transport them in their case, pouch, or sheath to protect the blades.  If your scissors didn’t come in one of those, wrap a rubber band around the blades to keep them stable

•  Spend Your Money Wisely

We’ve already covered this pretty well.  But let me reiterate this:  Scissors are an investment.  A quality pair will cut better, last longer, and can be sharpened over and over again.  They will last you a lifetime.

•  Cut At the Right Spot

It may come as a surprise, but there is a right place on the blade to cut thin fabrics, small areas, and thicker fabrics.  When cutting layers of fabric or thicker fabric, start at  the part of the blade near the pivot screw and use the entire length of the blade.  If you’re cutting thinner fabrics or smaller areas like notches or small curves, use the tips of the blades.  This sounds like a little detail, but cutting with the wrong area of the scissors can cause them be become misaligned – as well as making your cutting much more difficult.

If all of this information has caused you to pause and take a second look at your scissors, then I have done my job.  Quilters use rotary cutters and mats so much that I don’t think we give our scissors the consideration we need to.  I remember when I began quilting in 1986, the rotary cutter was still a relatively new tool, and it was a long while until we saw rotary cutting directions in quilt patterns. We traced around templates and then cut our patches out with scissors.  Over time, things have changed, but every once in a while a pattern will grab your attention which requires you to trace templates.  And you may find it easier to cut these templates out with scissors rather than your rotary cutter.  A good pair of scissors makes this easier.  Trimming applique pieces is also easier with sharp scissors.  Invest in at least two pairs – one with 7- to 8-inch blades and a smaller pair.  Keep them sharp and take good care of them. 

While we’re on the subject of cutting, next week we’ll cover rotary cutters and mats – two things we all keep in our studio.  So, until next week…

Quilt On!

Love and Stitches,

Sherri and Sam

I want to talk about the third quilt in the 1920-1930 popular pattern trinity.  We’ve talked about the first two – Sunbonnet Sue and the Double Wedding Ring Quilt.  I mentioned Grandmother’s Flower Garden (hereafter known as GFG) was just as well-known as the other two.   During the 1930’s all three quilts were so popular quilt shows often gave each quilt their own categories at state fairs. You’ll find there are some similarities in the histories of the Double Wedding Ring Quilt and the GFG.  We’ll start with the history first. 

When I see any quilt made of hexagon patches, the first idea which pops into my mind is GFG.  The six-sided shape is so identified with this quilt pattern that it’s difficult to wrap your mind around the concept hexagons are used in lots of other ways in both pieced and appliqued quilts.  However, it’s important to remember this geometric shape wasn’t used in what we recognize as a GFG until much later in its quilty life.  In its beginning – way back in 18^th century England – it was known as a “one-patch.”  The term “one-patch” was given to any quilt patch which solely used throughout the piecing process to make the quilt.  So, a hexagon was a one-patch….

But so was this…

And this

because the entire quilt top is made up of only one kind of patch. 

No one knows exactly who came up with the hexagonal one-patch.  Perhaps some quilter was inspired by the mosaic tile work in a floor, wall, or stained-glass window. 

Maybe they took inspiration from a seal.

We don’t know for sure and probably never will be able to pinpoint who took the first scrap of fabric and formed a hexie out of it.  What we do realize is this six-sided patch formed quilt blocks like this:

And the English quilters gave these blocks the names Flower Garden, Mosaic, Honeycomb, Six-Sided Patchwork, French Rose Garden and French Bouquet.  We’ll talk about how all of these names merged into the one single name we recognize – Grandmother’s Flower Garden – a little later in the blog. 

As you’re able to tell, in the outset, the hexagons weren’t used in what we consider the “traditional” GFG.  They were used in a variety of ways and in a variety of settings.  Another characteristic of those early one-patch quilts were the colors.  We’re used a conventional color palette of pastels which must include yellow centers, green, and white.  The earlies hexagonal quilts were made in browns and grays and fabric choices ranged from silk to wool to calicoes.  So, how did all these changes come about? 

Just like Sunbonnet Sue and the Double Wedding Ring, the GFG is an immigrant to this country.  The early renditions of the quilt left England by the 18^th century.  As a matter of fact, by 1770, quilt historians can trace  hexie templates to this country.  Many quilt historians believe the hexagon quilt block is one of the oldest quilt patterns.  It’s probably not older than the four-patch, but most likely older than the earliest Double Wedding Ring Quilts (remember, DWR quilts existed long before they were called DWR – that name wasn’t adopted until the 1930’s).  We do know the first  GFG block pattern was printed in 1835 in Godey’s Ladies Book, and it was called Mosaic.  This was the earliest printed quilt pattern of any type in America. 

Unlike the Double Wedding Ring, we really can’t pin down when the Mosaic block was re-branded as Grandmother’s Flower Garden.  With the DWR, we can pin down publications and their dates to come up with a highly reasonable time when the block and quilt became universally known as the Double Wedding Ring.  We can set an acceptable timeline for Sunbonnet Sue’s birth.  Not so with GFG.  We do know that as late as 1929, it was called Honeycomb as well as GFG.  At some point during the 1930’s, quilters settled on one name and just like the DWR, the moniker stuck.  When we look at a quilt like this:

Both quilters and most non-quilters know this is as Grandmother’s Flower Garden Quilt.

The next part of this blog is my speculation, but I do base it on the reading and quilt research I have done – which encompasses what a lot of quilt historians have written about the GFG.  We know during the Depression Era, mid-west publications such as The Kansas City Star, printed quilt pattern advertisements in every publication.  For a very small fee, you could write into the newspaper and receive instructions on how to make the block.  Quite often, you didn’t even have to send off for the pattern.  Lots of newspapers and magazines published the directions in each edition.  It stands to reason it was during this time the name Grandmother’s Flower Garden became so strongly associated with the Mosaic block that all other names fell by the wayside – just like what happed with the Double Wedding Ring.

However, unlike the DWR, a particular color palette became closely linked to the GFG – to the point we nearly wince when we see any GFG which deviates from it. 

The center is nearly always yellow, representing the center of a flower.  The first group of hexies (a total of six) surrounding the center could be any color, but they were usually a solid color and were in the pastel family.  The next grouping consisted of 12 hexagons and these were generally also a pastel solid.  The last group of 20 hexagons were either white (representing a picket fence surrounding the garden) or green (representing the flower bed or garden).  Depending on the pattern, there may also be diamond shaped “joiners” around each block, playing the role of sashing.  These diamonds could vary in color, but most of the time they were green – especially if the last row of hexies was white. 

At this point, we have to ask, “Why was this pattern so popular during the Depression Era?”  A quick glance at the pattern lets you know the quilt would be a scrap-buster.  Quilt patterns such as GFG and the Double Wedding Ring were/are popular because both use up serious scrappage.  And during the Great Depression, people were learning to make do with what they had.  Any leftover bits of fabric from garment construction, etc., weren’t thrown out.  They were carefully saved for projects such as these two quilts.  However, I suspect that like the DWR quilt, the makers were after more than just a pattern which would use up scraps.

If you remember from my blog on DWR quilts, we discovered quilt makers made the DWR quilts for entertainment and a little friendly competition.  Quilters competed to see how many squares they could put in the arches and how small they could make them.  With the GFG, we see quilters competing in a similar way – how small could they make the hexagons and if they could make all the flowers differently.  These quilts were more than just a way to keep your family warm – they entertained the quilt maker during the Depression’s dark days of making do and wondering if your family members would make it home from World War II.  However, like Sunbonnet Sue and the DWR, it’s difficult to pin down exact reasons.  Until the Women’s Movement, quilts and quilting were considered “women’s work”, and no one could see the need for documenting anything much.  Families were fortunate if the best quilts were saved and passed down to the next generation.  You were even luckier if there was a label or accurate oral history given with the quilt. 

Overall, how you construct a GFG hasn’t changed that much.  During the quilt’s heyday, cardboard templates were cut from cereal boxes, newspapers, old mail – anything sturdy enough to make the required sized hexagon.  The template was laid on the fabric and traced, then cut out with enough seam allowance to enable the quilter to baste the fabric to the template.  When enough hexies were made, they were whipped stitched together to form a block.

In other words, they were English Paper Pieced.  Nowadays many quilters still make their hexagon patches the same way, however, we’re fortunate enough to have pre-cut card stock which we use to glue-baste the fabric instead of thread-basting it.  Then the hexie patches are whipped stitched together.  Some quilters leave the papers or cardstock in until the quilt is complete and then take them all out at once.  Others don’t.  If you’re fortunate enough to find an old GFG or other hexagon quilt which used newspapers for the templates and those templates are still in the quilt, it may be easy to date your quilt if you can find a template with a year printed on it. 

While I’ve always admired GFG, I have never been a huge fan of English Paper Piecing.  I am constructing my GFG by using Cindy Blackberg’s Hexagon and Connector Stamps.  This method completely alleviates the use of papers of any sort.  I simply stamp my hexies and connectors out on the wrong side of my fabric, cut the out, and then sew along the stamped sewing line.  Cindy retired a few years ago and her stamps are no longer manufactured.  Occasionally you can find them on Ebay.  However, a Google search came up with a few stamp suppliers.  If you own an Accuquilt, this company has several sizes of hexagon templates.  So does Inklingo as well as the Brother Scan and Cut (and I imagine other such cutters have similar templates). 

After the GFG quilt top is made, the next step is quilting it.  This is one of the few quilts which has a traditional quilt pattern.  The hexagons are generally quilted ¼-inch in from the seam.  But while researching the GFG for my blog, I came across this:

And it completely took my breath away.  Obviously, this is machine quilting (I couldn’t find out who did the quilting or if it was done on a domestic machine or long arm).  Finding this picture has made me completely re-think how I want my GFG quilted. 

Before I close out this blog, I want to stop and have us consider the hexagon patch all by itself.  I know we’ve concentrated on one particular quilt pattern it’s used in.  But hexagons lend themselves as much to applique as to piecing:

They’re a perfect patch for flowers.  They can serve as building blocks for walls, trees, and snowmen. 

Fussy cut and strategically placed, they are stunning sitting alone on a background. 

And then there’s this awesome idea (which is not mine, but belongs to Avery Lane Sewing). 

Hexagon cupcakes.

So, besides being the lone patch in one of the most easily recognized quilt patterns ever, the hexie patch has tons of potential when used all by itself.  The sky’s the limit with this little block.  Just think outside the hexagonal box.

Until next week, Quilt On!

Love and Stitches,

Sherri and Sam