Quilts, Quips, and other Nearsighted Adventures

I love getting comments from my readers – both those who agree with what I write and those who vehemently disagree with what I write.  My blog about quilt store etiquette had several comments and it was fun responding to each one of those.  A few months ago, one of my commenters asked if I could write a blog about Broderie Perse.  And if there’s one thing I love even more than comments, it’s blog ideas you want to hear about (so feel free to leave suggestions – hint, hint). 

I have viewed many quilts which used the Broderie Perse technique – primarily antique ones.  As a matter of fact, until last year, I considered Broderie Perse one of those “older” applique techniques, rarely used any longer, but beautiful when executed correctly.  However, 2022 kind of threw this idea for a loop.  You all know my affinity for Zoom classes.  I took several applique Zoom classes last year which used this technique, and the results were amazing.  I decided then I needed to up my applique toolbox to include this technique.  

Broderie Perse actually means Persian Embroidery, but it’s not embroidery at all.  It’s applique.  This type of applique has been around since the 1700’s.  And since this technique has quite a bit of history behind it, I thought it would be a good idea to begin with its definition and then move to its history.  Broderie Perse fabric is a Chintz material.  Chintz comes from the Hindi meaning “spotted, speckled, variegated, or sprayed.”  Chintz fabric usually has a white base with floral and animal prints on it.  The most popular of these prints is The Tree of Life, which found its way onto hundreds of quilts in the 1700s.  These prints were made from a woodblock, and were printed, painted, or stained.  Most of the Chintz fabric came from Hyderabad, India, and they were used for bedcovers, quilts, draperies, and curtains. 

Now let’s start at the beginning of Chintz’s exportation from India to other parts of the world and an explorer named Vasco de Gama. 

Vasco reached Calicut, India in 1498.  From that point, lots of items were exported from India to England and France – primarily spices and minerals.  However, the lovely Indian Chintzes also were included in the exports.  They were well-received and became much sought after.  By the time 1680 rolled around, more than a million pieces of Chintz were imported to England each year.  It seemed every household which could afford the imported fabric, had to have it.  It was a best-selling item which put a lot of gold in the pockets of import companies and dry goods retailers. 

However, it also put a lightning bolt of fear in the hearts of fabric manufacturers both in England and France.  At this point in history, neither country had the knowledge nor the technology to make printed fabric.  They could produce solid-colored fabrics and then dress makers and tailors could have this fabric embroidered.

But they didn’t know how to make the Chintz fabric which was now so popular it was used in the clothing of royals and well-to-do:

And when this clothing was no longer worn by those folks, it was passed down to servants and others which re-made the Chintz into linings or clothing.

So you can see how all this Chintz-iness put a serious crimp the in the money coffers of local textile mills.  Chintz popularity grew so wild that by 1686 France banned the import of Chintz and in 1720, England followed suit.  Their governments felt the bans were needed in order to protect their local fabric manufacturers and uphold this end of their economy.  Which it did – but boy, did the consumers grumble.  They liked the Chintz.  They wanted the Chintz.  They were not happy they could no longer get it. However, in the long run, these bans worked in favor of the consumer.  The textile mill owners in France and England soon realized they had to “up their game.”  They had to learn how to produce printed fabric.  But India wasn’t real keen on sharing their technology (because the bans hurt them economically) and England and France couldn’t find the Thomas Edison of fabric printing anywhere in their countries.

As almost any historian can tell you, where there is a great want for something which is super-scare, little things called the “Black Market Economy” and “Legislative Loopholes” will emerge.  The biggest legislative loophole came from France, and it concerned the Court of Versailles. 

The Court of Versailles was exempt from the ban – so all those French noble folk could continue to get all the Chintz they wanted.   

England’s royalty wasn’t about to be so two-faced boldly divided.  There weren’t any stated loopholes, but there was a great deal of subterfuge in play.  To begin with, England’s military had a presence in India.  These military personnel began to carefully obtain samples of the Chintz printing in each step of the manufacturing process.  These were smuggled back to England along with any information garnered when the samples were acquired.  And a priest, Father Courdoux, who was living in India actively converting the Indians to Christianity, also played a crucial role.  While he was busily converting India’s citizens to the Roman Catholic Church, he also was pumping them for information about Chintz printing.  This knowledge was then written down and sent back home. 

With all the samples and information flowing into both countries, by 1759, England and France were producing their own Chintz. 

But in many ways the damage was already done to Chintz’s popularity.  By 1759, the French had been without Chintz for 73 years (unless you were in the Court of Versailles). The English had no Chintz for 39 years.  By this time, the women of both countries had purchased the remaining imported Chintz and developed ways of making it stretch as far as they could.  They cut it up – separating the flowers, fauna, and animals.  Then they stitched those down on a solid-colored background which closely matched the background of the Chintz.  And Broderie Perse was born.

This is a museum example of English Broderie Perse.  The figures were stitched down using a very fine buttonhole stitch or the raw edges were folded under and whipped stitched into place.  One tidbit of interesting history which really surprised me was it appears a paste was sometimes used to adhere the applique motif to the background before sewing.  Quilt historian Kimberly Wulfert shared this information: “In more than one source I have read, paste was used in the early 1800s by women making cut-out Chintz quilts.”  In the 1882 Dictionary of Needlework, Bullard and Shiel mention Broderie Perse Quilts and also mention paste: “The fabric is stretched on a frame and then the applique pieces are pasted in place.  Once the paste is dry, the fabric is removed from the frame and the motifs are stitched in place.”  Unfortunately, no mention is made about what the paste is made of or from.  However, I assume we can surmise from this that the use of basting glue is not a new idea to quilting. 

So this is how England and France handled the Chintz shortage, but what about the United States?  By the 1700’s we had settled the East Coast and were gradually pushing westward.  Did the US have a Chintz affinity, make Broderie Perse Quilts, or suffer from the Chintz bans?  The answer to these questions is “Yes.”  Yes, the women of the United States loved Chintz fabrics.  And yes, they felt the pinch of the Chintz bans.  Both France and England exported goods to the United States.  When both countries were “banning” the fabric, it meant less Chintz yardage was reaching our coastline.  Even when England had the technology to manufacture their own Chintz, we were at their mercy on pricing and taxes.  As a colony, we were forbidden from manufacturing any of our own printed fabric, so we could do nothing to lower the price on Chintz or even to change the market competition.  As a result, Americans were paying a high price for any Chintz fabric, regardless of the quality.  Most families could not afford to pay for yards and yards of the beautiful fabric, but you know what?

Most families could afford one yard.  And American women developed what they called “One Yard Quilts.”   Just like the English women, they would take the one yard of Chintz, cut the figures apart and trim off any borders or print, then applique those down onto their homespun fabric.  The result was a standard-sized bed quilt. Where the American Broderie Perse and the English Broderie Perse really differed was in the arrangement of the figures.  American quilters would arrange as many of these related figures together as they could to form a large center block which was appliqued.  Then other pieced blocks were arranged around the center block to make a Medallion Quilt.  These quilts became so popular that once America was able to manufacture their own printed fabric (in the late 1700’s), Chintz fabric was printed with one large design for the Medallion center and enough smaller pieces to surround it.  By 1840, Chintz could easily be found, and it was affordable.  It began showing up in pieced quilts as well as appliqued.

We can’t leave the history of Broderie Perse behind without talking about one of the most famous Broderie Perse quilts: The Rajah Quilt.

The Rajah Quilt is a large quilt created by women convicts in 1841, while traveling from Woolwich to Hobart.  They used the materials organized by Lydia Irving of the British Ladies Society for “Promoting the reformation of female prisoners.”  First, let’s take a look at the Powerhouse of Persuasion known as Lydia Irving.  Lydia served on Elizabeth Fry’s British Ladies Society.  Elizabeth was the leader of this group and one of the society’s goals was to reform women convicts and then re-introduce them back into the public as true gentle women.   Lydia had a two-pronged approach to this goal:  First, talk to the captains of the convict ships who were taking these women to the (then) penal colony of Australia and persuade them to allow the British Ladies Society to give the female convicts much needed items to take with them – knives, forks, aprons, and sewing materials.  Second, she convinced the Naval Board to fund these items.  The plan was to visit every convict ship the night before it sailed to calm the women bound for Australia and give them the items.

On April 5, 1841, 180 women prisoners were given sewing supplies before they sailed on the ship, Rajah.  The women’s names are still known and listed in records.  They set sail from Woolwich and by July 19, 1841, they had arrived at Hobart.  It was during this journey they embroidered and sewed materials into an appliqued coverlet now known as the Rajah Quilt.  Kezia Elizabeth Hayter (who was the only free woman aboard ship) was probably the “designer.”  Kezia had come from Millbank Penitentiary to help the women of Australia form their own society, mirrored after the British Ladies Society.  Approximately 29 of the female convicts worked on the quilt.  The quilt includes a message embroidered in silk thread which thanked the “Convict Ship Committee.”  It was presented to Jane Franklin, the governor’s wife.  The quilt was sent eventually sent back to Britain to Elizabeth Fry and was forgotten.  It was rediscovered in the 1980’s, tucked away in an attic in Scotland.  It was returned to Australia in 1989 and is now held at the National Gallery of Australia.  It can be noted research shows this quilt wasn’t particularly unique, as other forms of convict needlework are mentioned, but what does make The Rajah Quilt special is it’s the only documented quilt made by convicts which still survives. 

After reading nearly 2,000 words about Broderie Perse, maybe you’ve decided you’d like to give it a try.  It’s not difficult – especially if you like applique.  And it can be done either by hand or machine.  You may have most of the supplies already in your studio.

Broderie Perse Supply List

Applique fabric – For a traditional look, use cotton Chintz fabric with medium- to large-sized, clearly defined motifs.  If the figures are too small, the process may become too frustrating, especially if you’re still fairly new to applique. 

Background fabric – In traditional Broderie Perse, the quilter matches the applique background fabric to the Chintz background.  I have seen Broderie Perse on contrasting backgrounds and it’s lovely.  Use what you like.

Fusible Web – This is for machine Broderie Perse.  You’ll want a light to medium weight. 

Basting Glue – This is used for hand sewn Broderie Perse, but it comes in handy if the fusible webbing comes loose with your machine applique.

Stabilizer – This is for machine applique.  A light or medium tear-away works well, as does the iron-on Easy Knit.

Sewing Machine – This is for Broderie Perse done on the machine.  Your sewing machine needs an adjustable zig zag or buttonhole stitch. 

Applique Needles – These are for the Broderie Perse done by hand.  I usually use a #9 or #10, but like most things quilting, use the needle you like best and works well for you. 

Thread – The thread should blend with the different colors of your motif, no matter if you’re sewing the motifs by hand or machine.

Small, Sharp Scissors – You’ll fussy cut around the motifs, so you want a scissor you can control and get into small spaces and curves with easily. 

General Sewing Supplies

To Begin

No matter which applique method you choose, the first step in Broderie Perse is selecting the motifs.  Study your Chintz carefully and choose the motifs you want to use.  Avoid any small ones, as they can be frustrating to sew either by hand or machine. 

If you are machine appliqueing – Apply the fusible web to the piece of fabric with the motifs.  Rather than attempting to press the fusible only on the pieces you want to use, just apply the webbing to the entire piece of fabric. This way you know the fusible is on all motifs.  Once the fusible is pressed into place (be sure to follow manufacturer’s directions), leave the paper backing on the fabric.  This makes the motifs easier to cut out and stabilizes any curved, bias edges. 

If you are hand appliqueing – Carefully cut out the motifs you want to use.  If the Chintz is soft, you may want to press some starch into the wrong side of the fabric to give it a crisper hand.

Once the motifs are cut out, you will probably need to do some additional trimming.  For machine applique, you want as much of the background removed as possible.  For hand appliquers, some decisions will need to be made at this point.  If you plan on using traditional needle turn applique, you will want to leave a slight background margin around the motifs to turn under – less than ¼-inch but a tad more than 1/8-inch.  If you plan to use a buttonhole stitch, trim away as much of the background as possible.  You won’t need a margin to turn under.

Even if you have a really good idea of what motifs you want to use and how you want to arrange them, cut out as many motifs as possible.  It’s always better to have too many than not enough.  And who knows?  Once you begin arranging all the applique pieces, you may come up with a better idea and need more.

Let me also insert a word of caution here about the background fabric.  If the applique background is a different color than the Chintz background, and you’re either machine appliqueing or hand appliqueing using a buttonhole stitch, make very sure all the Chintz’s background is trimmed away as much as possible.  If not, it will be glaringly noticeable.

Once the motifs are chosen and trimmed, begin arranging them on the background fabric.  If you’re machine appliqueing, keep that paper backing on the motifs until right before you’re ready to press them into place.  I find my iPhone super-helpful at this point.  Arrange the motifs.  Take a picture.  Look at the picture and see what you want to change.  Keep this up until you have everything arranged the way you want it. 

If you are machine appliqueing – Once you’re happy with the design, remove the paper backing from the motifs.  Using the picture on your phone as a reference, arrange the applique pieces a final time, making any adjustments needed.  Then fuse the motifs into place, using an up-and-down pressing motion and following the manufacturer’s guidelines for temperature setting. 

It’s easy for the applique pieces to shift out of place when pressing.  And this can be really frustrating, especially after you’ve spent a lot of time arranging and re-arranging your design.  I can tell you how I handle this.  I use pins to hold the motifs in place.  I push the pins into the design vertically, and then remove them as I press.  If you want to use this method, you’ll need to have a heat-resistant pad under your design.  In the past I’ve used folded sheets or beach towels.  However since this little tool entered my quilting life

I use my wool mat.  It works better than anything. 

If you are hand appliqueing – You will want to glue baste your motifs into place.  You can pin them in place, but I have found the applique pieces want to shift when pinned.  I glue in a similar method as I fuse.  I pin the motifs in place by pinning them down vertically.  Then I carefully lift the edges of the pieces and apply the glue (Roxanne’s Glue and a pair of tweezers work wonderfully for this).  Once everything is glued into place, I allow it to dry.  Then I carefully remove the pins, adding more glue if needed, and give the piece a press with a hot, dry iron.  This will set the glue.  One word of caution – no matter if you’re needle turning or using a buttonhole stitch, if you hand appliqueing, don’t put glue on the edges of the motifs.  It will be impossible to turn the fabric under or push a needle through it.  As I lift the edges of the applique pieces, I apply the glue more towards the center of the motif. 

Once the applique pieces are securely in place, now it’s time to stitch.

If you are machine appliqueing —  Now it’s time to determine if you want to blanket stitch, zigzag stitch, satin stitch, or use one of the other decorative stitches on your machine.  It’s really helpful if you have a spare motif to practice on.  This allows you to try out stitch lengths and widths to see what will work best.  Before you begin stitching, but sure to apply the stabilizer to the wrong side of the background.  The stabilizer helps prevent the background fabric from being chewed by the feed dogs as you manipulate your fabric, so the needle follows the curve of the motif.  Be sure to change your top thread as you stitch, as this thread needs to match the applique piece, not the background.  Once all the stitching is complete, follow the stabilizer’s directions on how or if to remove it.

If you are hand appliqueing – Most hand sewn Broderie Perse employs either needle turn – where the edge of the motif is folded under and stitched in place – or a tiny, closely set buttonhole stitch. 

Either way works well, and it’s all up to you and whichever technique you like best.  Just like with machine applique, be sure to change your thread to match the motif, not the background. However, unlike machine applique, you don’t need a stabilizer if you’re hand appliqueing.

And that’s it.  Broderie Perse isn’t difficult, but it is handled a bit differently than “traditional” machine or hand applique.  I have not made an entire Broderie Perse quilt, but I have begun using the technique in applique, by cutting out leaves or flowers and adding those in my “traditional” applique pieces.  It adds a lot of detail without a great deal of work – and you have to love a technique which does that!

Until Next Week, Remember the Difference is in the Details!

Love and Stitches,

Sherri

With one of our first “official” blogs of 2023, I am bravely tiptoeing into a controversial territory.  This hot-button topic is one I’ve seen quilt guilds nearly split over and quilters get a bit defensive about.  What quilty topic could possibly be so contentious? 

Prewashing fabric.

Before you either:

A.  Shout down this idea because color catchers are now a “thing” and can even be found at your local Walmart

B. Declare with great certainty modern dye processes have reach the stage where fabric is completely color fast

Or

 C. State you only make art quilts or wall hangings, neither which will ever be washed

Indulge me for a few minutes about the subject of prewashing, bleeding fabric, laundry detergents, chemicals, and cleaning dirty quilts.  I realize this is a lot of territory, but I promise we’ll cover it as succinctly as possible.

Let’s begin with a Zone of Truth.  When I started quilting in the early eighties, I was taught to prewash my fabric.  I considered this the very first step in beginning any quilt.  As I developed my stash, any new purchase made its way into the laundry room to be washed and air dried.  I thought everybody prewashed their fabric and was pretty confused when I discovered they didn’t.  I found out some quilters thought prewashing was an unnecessary step which took time away from the actual quilting process. They had great confidence in modern dye methods and color catchers. 

I get this.  I really do.  I understand why some quilters would simply rather not prewash their fabric.  I also understand why some folks would only prewash because they fear a fabric would bleed.  While still in this Zone of Truth, I will tell you yes, one of the reasons to prewash any fabric is to try to prevent one fabric from fading or bleeding onto another.  However, prewashing is no guarantee your fabric won’t bleed.  Bleeding is an entire subject unto itself, and it will be covered in this blog.

Why You Should Prewash

So, if prewashing is no certain guarantee to prevent bleeding, why prewash?  I mean bleeding is essentially what A, B, and C deal with at the beginning of this blog.  If prewashing serves up no sure-fire bleed prevention, why should any quilter take the time and energy to wash all their fabric?  Glad you asked.  There are actually several reasons.

• The fabric may be dirty.  Just because the fabric is new-to-you, doesn’t mean it’s necessarily clean.  Consider the process: Fabric is manufactured in one place, may be dyed and treated at another location, shipped to a warehouse for distribution, trucked to a local store, and then either displayed or stored.  Between manufacturing and the LQS sales floor, hundreds of hands may have touched the fabric.  So yes, the fabric could be dirty.
• You may want a soft fabric to work with.  This is especially true with hand piecing, hand quilting, or hand applique.  Sometimes removing the finish off the surface of the fabric by prewashing makes the material easier to handle.  This also gives you the option of using the just the right amount of starch or sizing to give it the feel you need in order to execute the technique you’re using.
• You may want a smooth-looking quilt.  Prewashing does remove the shrinkage factor.  If a quilter is using 100% cotton fabrics, some shrinkage will occur. Often it will happen at various rates between different fabric manufacturers, even though all your material may be 100% cotton.  If you throw  different types of fabric into the quilty equation (homespuns, sateens, cottons, etc.), you’ve really upped the differences in shrinkage.  Homespuns shrink more than cottons.  Cottons shrink more than sateens.  When every inch of fabric is prewashed, the shrinkage factor is removed.  If a smooth quilt is what you’re working towards, prewashing just about guarantees this appearance.
• You may be allergic.  If you’re like me and have a pretty low tolerance for things like perfumes, powders, and dust, the finishing on quilt fabric may also send you into a sneezing frenzy.  The finishing chemicals (the compounds used to make the fabric look “pretty” on the bolt) can flake off into tiny specks and after a good inhale into your sinus passages, you may find yourself in full-out sneeze mode.  Prewashing the fabric gets rid of the finishing chemicals and will make your sewing life more comfortable.  After all, you don’t want to sneeze all over your pretty, new fabric.
• Most of the time, prewashing will help prevent bleeding.  Prewashing does remove excess dye; however, it does not in and of itself, prevent all bleeding. 

Why You Shouldn’t Prewash

Just as there are reasons for prewashing, there are also reasons for not prewashing:

• Unwashed fabrics have a crisper hand.  When the finishing chemicals are left on the fabric, it’s crisper.  It also sews and presses better.
• You want an “antique” look for your quilt.  Unwashed cottons used in a quilt, along with untreated cotton batting, can produce the soft look and feel of an antique quilt.  Don’t prewash your fabric and quilt the top with an untreated cotton batting.  Bind it.  Throw it in the washer on a delicate cycle and let it air dry.  It’s at this point the fabric and batting will “pucker” due to shrinkage and give your quilt that soft, antique look. 
• Perhaps the quilt will never be washed.  If the quilt is destined to be a wall hanging, it can certainly fall into this category.  Likewise, most art quilts.  If it’s an heirloom quilt which will be looked at more than it’s used, this type of quilt also fits into this classification.  I guess my question is at this point, do you really know that for sure?  Who’s to say your great-great descendants won’t throw the quilt into their Maytag? 
• It takes time.  As I said in the beginning of this blog, it’s another step and it’s time which could be spent cutting out the quilt or piecing the blocks. 

Remaining in this Zone of Truth, it’s really up to you if you want to prewash or not.  You know what you want your quilt to look like and what kind of time you have at your disposal.  Let me just throw in these few cautionary statements:

Be consistent – Either prewash all your fabric or none of it.  This way you know how all your stash has been handled, no matter when you acquired the fabric.  Personally, I’ve moved beyond washing every piece of fabric that comes into my house.  I’m not at the same place I was when I started quilting in the early eighties.  I participate in fabric swaps and donate fabric for raffle quilts and charity projects.  I anticipate most quilters are not like me and don’t prewash.  As I hand the fabric off to the donatee, I tell them the fabric hasn’t been prewashed.  This way they know how to handle my it.  I also don’t prewash fabric destined for my art quilts.  I like the stiffness unwashed fabric gives to the quilt and honestly, most art quilts will be carefully vacuumed and not washed.  Ditto with my applique backgrounds.  I don’t wash those.  I’ve found the slight shrinkage difference between the unwashed background fabric and the prewashed applique patches work to gently pull my hand applique stitches beneath the fabric, making them nearly disappear.  What you don’t want to do is mingle prewashed fabric with non-prewashed fabrics.  The difference in the shrinkage factor (the unwashed material will shrink a bit and the prewashed fabric won’t) may make the quilt’s appearance a bit wonky.

Use the bleed test – Directions for this are given a bit later.

Children’s quilts – If the quilt is for a child, be sure to prewash all the fabric if for no other reason than to make sure it’s clean.

Precuts – Personally, I don’t prewash any precuts.  Most patterns designed for jelly rolls, charm packs, etc., don’t allow for a shrinkage factor and may need the entire fabric area available for use.  Quilts made from precuts are the ones I throw into the washer along with a couple of color catchers once they’re bound.

There are no quilt police – There aren’t any at all, no matter what anyone tells you.  No one needs to “fabric shame” you no matter what technique you decide to use. 

How To Prewash Your Fabric

At this point, if you have decided to prewash all your fabric every time you make a quilt or think there may be certain times you’ll prewash, you may be asking, “Is prewashing any different than doing regular laundry?”

The answer is “Yes.”  This may surprise you, but it is different from washing your towels and pajamas.  However, it’s no harder, either, but there’s a couple of things to keep in mind.  First, use cool water and the gentle cycle.  If you dry the fabric in the dryer, use a low heat or a delicate setting. Sort your fabrics into lights and darks – just like you’re supposed to do with your clothes.  The biggest difference to consider is the soap.  If you remember this blog: https://sherriquiltsalot.com/2022/05/18/stuck-on-glue/ I stated the most important idea to keep in mind with both fabric and quilt preservation is the pH.  You want the pH in to be as close to neutral as possible.  Most laundry detergents are alkaline – and this is for a good reason.  The vast majority of clothing stains are acidic.  When an acidic stain meets an alkaline detergent, the result is a salt, which easily washes away.  To preserve the fabric, we want to keep it as close to a neutral pH as possible.  Orvus (sometimes this is labeled simply as “Quilt Soap”) is my personal favorite.  However, there are hundreds of kinds of soaps on the market which are pH balanced.  Any of these are fine to use, just don’t use one with optical brighteners.  One helpful hint:  If you’re washing a fabric which may fray a bit, such as loosely woven quilting cottons or homespuns, you may want to pink or zig zag the edges so there won’t be threads everywhere in the washer.

Bleeders and Crockers

Now let’s talk about bleeders.  Commercial fabrics are colored with dyes which for the most part, are color fast.  Today’s dyes are even better than those produced only five years ago.  However, as you handle all your fabric, remember every piece of it has the potential to bleed – most notoriously reds, blues, deep greens, browns, blacks, dark purples, and all batiks.  Fabric whose color is transferred to surrounding material are called “bleeders” or “crockers.”  Bleeders can truly be heart breakers.  I speak from personal experience.  Once upon a time, I made a small Rose of Sharon quilt.  It was not much larger than a small throw quilt, but I had hopes of entering it in a show.  I dutifully prewashed all my fabric.  I even washed my reds twice.  I did beautiful hand applique work.  I finished the top, sandwiched the quilt, and quilted it.  Bound it.  Threw in in the washer one final time.  I opened the lid of the washer to a gorgeous Red Rose of Sharon Quilt with a pink background – background which was white before I washed it. 

There were lots of tears that day.  Lots. Of. Tears.

Even though I had thoroughly prewashed the fabric, it still bled.  Bleeding (or crocking) occurs when the bleeder fabric transfers its color to an adjacent fabric as they rub together.  It can happen when the fabric is wet or dry.  I had a dark quilt back (which also had been prewashed) crock all over my long arm during the quilting process when the fabric was obviously dry.  However, there are times when we all have to use some of those fabrics which may bleed in our quilts.  How do we handle them in such away to minimize the risk?

Allow me to introduce you to the bleed test.  It’s quick, it’s simple, and is about 98 percent effective. 

Step One:  Take a 3-inch square of the fabric you need to test, and a 3-inch square of white fabric.

Step Two:  Take a container of cool water (somewhere between the 80–85-degree range) and add 1/8-teaspoon Orvis or some other pH balanced soap.  Stir to distribute the soap.  Add the two fabric squares to the container and stir for a few minutes.  Then let them sit for 30 minutes.  Check the container to see if there is any dye in the water.  If there isn’t you’re good to go.

Step Three:  If there is dye in the water, repeat the process with the same fabric squares.  However, this time when you remove the squares out of the water, lay them out to dry on a paper towel, with the two pieces of fabric slightly overlapping. 

Step Four:  After the squares are dry, give the white piece of fabric a careful look.  If no dye has transferred to it, you’re probably okay to use the darker fabric.

Retayne

So…what if there is a dye transfer?  What do you do?  Is there anyway you can use the darker fabric without fear of bleeding?  There are a couple of other steps you can take at this point.  First of all, there is a product on the market called Retayne.  Lots of quilters and fabric dyers know about this chemical and I can testify from personal experience, it works pretty well.  Retayne was developed as a color fixative for commercially dyed fabric, but now it can be found in quilt shops and big box stores such as Hobby Lobby and Walmart.  The critical issue with this chemical is the directions.  They should be closely followed.  The fabric needs to be agitated in hot water (140 degrees) for twenty minutes, rinsed in cool water, and dried immediately.  I suggest you use the hottest hot water setting on your washer and turn off the cold water tap in the back the washer. 

The reviews on this product are a mixed bag.  Some quilters love it, others have had less than stellar results.  I think those who have been less than impressed with Reytane probably haven’t had their water hot enough. I would issue a few cautionary statements about the product:

1.  Always, always, always follow the directions with Reytane.
2. Rit Dye also has a color fixative, but it’s not the same thing as Reytane.  It only works on fabrics dyed with Rit.
3. There are some “home recipes” for Reytane.  I have not tried any of them, but from the chatter I’ve read on quilting sites, overall these are a waste of time and money.  They seem don’t work.
4.  Remember Reytane is a chemical.  It is not pH neutral.  It’s important we keep our fabric and quilts as close to pH neutral as possible.  As soon as you’re through either making your quilt or treating the fabric with Reytane, be sure to wash them with a pH balance soap to put the fibers back in neutral territory.  Any quilt or fabric treated with Reytane should be washed only in cool water.

Synthrapol

There also is a product called Synthrapol, and the chemistry teacher in me completely geeks out with this product.  It is so cool. Synthrapol is a surfactant usually used in hand dying fabric.  It keeps the unattached dye molecules suspended in the wash water instead of allowing them to settle back onto the fabric.  Directions for use depend on if you use Synthrapol as a prewash or after wash, so read the instructions carefully and follow them to the letter.  However, you may use a surfactant every day and not realize it. 

If you wash dishes with the blue Dawn dish detergent, you use a surfactant – it keeps the greasy food particles from settling back on your dishes.  And it’s only the blue Dawn which has the surfactant quality.  So, could you use blue Dawn as a surfactant on your fabric?

Yes!  I have used it on small pieces of fabric – usually two yards or less.  If you’re dealing with major yardage, you will probably want to stick with Synthrapol. 

If you’ve used both Reytane and Synthrapol on your fabric, and you’re still not sure about the bleeding issue, you can repeat the prewashing processes until the rinse water runs clear.  These steps may need to be repeated several times.  However, if any doubt remains, I wouldn’t put that fabric in my quilt no matter how much I loved it.  The possibility of it bleeding all over a quilt I had spend weeks of time on just isn’t worth it.  There is bound to be other fabric out there I can use which is color safe. 

What to Do If You Have a Bleeding Quilt

If you’ve had the heartbreaking, soul-numbing experience of having a fabric bleed on your already constructed quilt, don’t lose heart.  There are still a few things you can do to try to salvage it.  First – no heat whatsoever.  No hot or warm water, no iron, no drier.  Heat will set the stain permanently.  Don’t let the quilt stay folded up when it’s wet – that’s a sure-fire way for it to crock more.  Let it dry flat and then try the following:

1.  Hydrogen peroxide on a Q-tip or cotton ball. 
2. Dissolve some Oxyclean laundry powder in cool water.  Saturate a cotton ball with the mixture and try it on the stain.

You can repeat these processes as many times as necessary.  If all else fails, after the quilt is completely dry, wash it again and use some Color Catchers.

What to Do with a Dirty Quilt

All quilts get dirty.  Wall hangings, art quilts, heirloom quilts, antique quilts, and quilts used every day.  This part of my blogs deals with “regular” quilts.  Cleaning wall hangings, art quilts, heirloom quilts, and antique quilts are dealt with in this blog: https://sherriquiltsalot.com/2022/06/01/caring-for-antique-quilts/

However, the fact is, most of the quilts we make are in pretty constant use – bed quilts, cuddle quilts, throws, lap quilts, and crib quilts.  Things get spilled on them or they simply get soiled from use.  There will come a time when they need to be cleaned and it’s essential to know how to do it properly so we can extend the life of the quilt for as long as possible.  If you made the quilt, how did you treat the fabric prior to quilt construction?  If you prewashed your fabric, treat the quilt in the same manner as you treated the fabric.  Use a pH balanced soap.  If Reytane was used, be sure to use only cool water.  If the quilt is heavily stained in places, try using a stain remover with Oxyclean to lift the stain so it will wash away.  If you didn’t prewash your quilt, be sure to throw some Color Catchers in with the quilt. Wash the quilt on a delicate setting.

I know some folks may be wondering if handwashing would be better for the quilt.  Not necessarily.  If you read the blog referenced above which deals with cleaning antique/heirloom quilts, you’ll discover handwashing quilts brings about its own issues.  I do handwash my delicate applique quilts, though.

You can dry your quilts in the dryer, if desired.  A low heat setting or a setting for delicates works just fine.  Personally, I like to let mine air dry on their own.  I believe the washer puts them through enough stress.  The biggest take away from cleaning dirty quilts should be this:  Do everything you can to return them to a balanced pH.  This will extend the life of the fibers.

To prewash or not to prewash will remain a hotly contested question among all quilters.  However, like most quilty things, there is no right or wrong answer – it’s what works best for you.  I would encourage you to remember the bleed test and use it on dark fabrics and all batiks (which are notorious for bleeding).  If you do have a crocker, remember we have Retayne and Synthrapol to help stop the bleeding.  And a good washing does everyday quilts a world of good. 

Until next week, remember the difference between a good quilt and a great quilt is all in the details!

Love and Stitches,

Sherri

Quilts are made for many reasons.  Sometimes they’re a gift.  Sometimes they’re made to live on a bed, as physical hug for the person residing under the covers.  Sometimes they’re made for play or to simply cuddle under while watching TV or reading a book.  And some quilts are made for the sheer joy of creating.  I don’t know why you make your quilts.  I don’t know if you create because you’re in love with the process of making something functional and beautiful and you’re happy with this process.  I also have no idea if you’re constantly striving to become a better quilter and while you’re delighted with the creative process, you wonder what you could do to improve your skills and make stunning quilts.  Me – I fall somewhere between those two categories.  I love everything about making quilts (well…except for the whole cutting the thing out process).  I make quilts for all kinds of reasons, too.  However, I do make quilts to enter into quilt shows primarily because I want the judges’ critques.

Not my quilt, but isn’t it stunning?

Right now, I can almost picture my reading audience.  It’s suddenly divided into two camps – those who enjoy entering their quilts in shows and making quilts for this reason, and the second group who hate the idea of their quilts in any type of competition.   They may not mind showing their quilts at all, but don’t believe in competing against other quilters.  So, before I have a quilty war on my hands, let me say both camps are right.  There are no rules which state  you need to enter at least one quilt in a competition.  There are also no regulations stating quilt competitions are wrong.  Like most things concerning quilting, it all depends on what you like and what works best for you.

This blog will spear head two topics.  The first topic is how to make an award-winning quilt.  Yes, I have done this a few times.   I do have a few ribbons under my belt, so I can somewhat speak from the point of I-do-know-what-I’m-doing-most-of-the-time.  And even if you have no plans on entering any quilt show, you may get a few tips about what characteristics go into making stunning quilts – because at some point in your quilting career, you will want to make a special quilt for some occasion or person and will want that quilt to be super-extra-special.  The second topic deals with how to handle the competition – what to do, how to prepare, what’s expected, etc. 

Characteristics of Award-Winning Quilts 

1.  Strong visual impact and use of color

For the last several blogs I’ve preached the use of lights, mediums, and darks.  All of those lessons should be taken into account when choosing fabric for a show quilt.  Before a judge touches your quilt, examines the stitches, or feels the binding, they will simply look at your quilt.  It needs to grab their attention right then because the judges only have a few minutes to spend with each quilt.    If it doesn’t, they’ll critique the quilt, but then it will be waved away from the holding table.  Also remember, most of the time quilts are judged on a flat surface, not hanging.

If I can give you one piece of advice at this point, take pictures of your quilt blocks on your design wall.  Take a picture with your cell phone, then flip the picture to black and white to make sure the contrasts are working for you.  Then lay them out on a flat surface and repeat the process.  Between the two photos, you will see what you may need to change.  And it’s a lot easier to change anything while you’re working with blocks than later when the entire top is assembled, and the borders are on.

•  Almost Perfect Piecing

Be careful with your points.  Be sure they’re sharp and the points aren’t lopped off.   The seams and points should match up precisely and be sure the thread blends in with the piecing.  If you’re like most quilters, we tend to use a palette of neutrals when we piece – dark gray, light gray, beiges, white, and black.  If any of the thread colors stick out like a sore thumb, don’t be afraid to take a marker, Pigma pen, or Inktense pencil to the thread and make it match the fabric. 

Watch for shadowing – this is when the darker fabrics show through the lighter ones.  I realize most of the time we press our seams towards the darker fabrics.  However, there are times when we can’t.  If you are dealing with this issue, there’s a two-step process to work around it.  First shorten your stitch length a bit.  Then, once the seam is sewn, trim the dark fabric in the seam allowance from ¼-inch to an eighth of an inch.  If the thought of such a tiny seam allowance gives you the heebie-jeebies, back the lighter colored fabric with a thin muslin.  This is always my last resort, because no matter how thin the muslin is, it does add a bit of extra bulk in the seam allowance.  However, this method does work, the seam allowance is kept intact, and I haven’t experienced any real issues when I quilt the top. 

•  Every Bit of Workmanship is Looked at Carefully

Remaining on the topic of piecing for a few more sentences, let me reiterate the following:

          Intersections should meet

          Points should be kept sharp

          Thread should match the fabric

          Avoid shadowing

Let me also add it’s important to watch your stitch size.  Every sewing machine comes with a default stitch length.  Many times this stitch length is too long for quilts.  My machine’s default stitch length is 2.5.  I lower it to 2.0 – 1.8, depending on the size of my block units. 

For applique (no matter if it’s by machine or hand), make sure the edges are secured and the curves are smooth.  Like pieced quilts, points should be sharp, no matter what applique method is used.  Thread should match the applique pieces, not the background fabric, and avoid shadowing by lining any light-colored applique fabric which rests on top of  a dark piece of fabric.

The quilting itself – whether by hand or machine – should consist of small, straight stitches.  It should be of a consistent density, not too heavy in some spots and then hardly there in others.  The stitch length should be even and if backtracking is needed, it should go directly over the previous stitching.  Some quilt judges go so far as to say there shouldn’t be any quilting on applique pieces.  I really beg to differ on this opinion.  Some applique quilts have large applique pieces.  Quilting can be used to add details to these units.  For instance, I’ve quilted in veins of leaves, details in petals and flower centers, and have given the illusion of fur on a bunny.  In all of these situations, the applique pieces have been large, and the quilting added to, not detracted from, the applique.    I will go so far as to say this:  I don’t think an edge-to-edge design is effective for an applique quilt destined for a quilt show.  It’s fine for other applique quilts, but not for show quilts.  However, I do think it’s perfectly okay for the quilting to showcase details in the applique elements. 

•  Binding and Edge Treatments are Important

Once upon a time, several years ago, I had the awesome opportunity to assist a well-known quilt judge with a small exhibit of applique quilts.  This was several, several years ago and I didn’t know as much then about quilt judges and quilt judging as I do now.  The judge carefully looked over all the quilts, and the next thing they did was grab each quilt by the edges and feel the binding all the way down the sides.  After the judging was over, I asked why.  I was told all quilt judges will examine the binding.  This judge just did it as one of the first things off the list.  In short, I was told it’s important for the binding fill to the folded edge.  The binding shouldn’t be flat.

The corners also need to be 90 degrees and stitched shut on both the front and the back.  The thread needs to match the binding as closely as possible.

Most of the time, included with the examination of the binding, the borders also are assessed.  The edges of the quilt should hang straight.  This means you need to square up the quilt center before sewing on the borders, and all the borders should be cut on the same grain of fabric – either all width of fabric or length of fabric – don’t mix the two.  If cording, beading, or scallops are used, make sure they are well done and held securely in place. 

•  The Back of the Quilt is Also Examined

One of the last items a quilt judge checks off is the back of the quilt.  The judge generally flips one corner of the quilt over so the edges meet near the right or left side and examines the quilt.  If the work is exceptionally good or there are questions, the quilt may be flipped so the entire back shows.  If the back is pieced, seam lines will be examined to see if they’re straight.  Quilting stitch length will also be noted.  The judge will also check to see if she can tell  where the quilting stopped and started again.  “Obvious starts and stops” is a frequent entry on many quilt critiques (including my own). It’s important to camouflage stops and starts as much as you can.  The easiest way to do this is use a busy quilt back.  A multi-colored print quilt back can cover a multitude of quilting sins – just sayin’. 

It’s also a good idea to make your quilt back interesting.  Add some kind of stand out feature, such as the use of left-over quilt blocks or an interesting label.  Both of those go a long way in impressing a quilt judge. 

•  Make Sure Your Quilt is Show Ready

Make sure your quilt is clean.  If you need to wash the quilt to remove any marking, please do so.  After it dries, press it.  Make sure there is no pet hair anywhere on the quilt.  If you smoke, take the quilt somewhere for it to “air out” for a few days to rid it of any smokey smell.  Trim and bury any thread ends.  Examine the quilt top closely.  Make sure all applique pieces are securely stitched as well as any beading or embroidery.  Finally, if you are able, hang the quilt and make sure the borders aren’t wavy.  If the quilt label is securely attached, it’s ready to be entered in the quilt show. 

Now you’re ready to fill out your quilt show application and send the quilt to be judged.  There are several issues you need to be acutely aware of before surrendering your quilt to the quilt judging committee.

Know your competition audience

If the show is  primarily for applique quilts, don’t send in quilts which are exclusively pieced.  If it’s a modern quilt show, don’t send in a traditional quilt made with traditional calicoes.  If it showcases art quilts, don’t send in a miniature.  Be sure your quilt is compatible with the competition.  Which means…

Read the application, rules, and regulations thoroughly

Read them through, set them aside, then read them through again.  There are some things you need to be exceptionally aware of.  First, is it a juried show?  If it’s a juried show, the process is a bit more difficult.  A juried show means you can’t just willy-nilly fill out the application and send it in with the quilt.  Usually this means you must first submit pictures of the quilt to a group of quilt judges who will decide if your quilt meets the criteria for the show.  If your quilt is chosen, you’ll be notified and it’s at this point the quilt is sent into the show.  Normally, juried quilt shows are only for the super-large quilt shows such as the AQS and Mancuso quilt shows – not the smaller, local ones. 

However, for both juried and non-juried shows, it’s vitally important to read and understand the application.  Some shows require a separate registration form for each quilt and often there is a separate fee for each quilt.  Others may request pictures of the quilt to be turned in with the registration form regardless of whether it’s a juried show or not.  However the one item all registration forms have in common are deadlines, and you must respect those deadlines.  Putting on a quilt show is an enormous amount of work (I was in charge of a small, local three-day quilt show, so yes, I speak from experience), and the deadlines help bring order to chaos.  Note the deadlines.  If you need to mail in the registration, fees, and pictures be sure to drop them in the mail at least a week before the due date.  If you can’t drop your quilt off on quilt intake day or pick it up after the show, find someone to help you.  Don’t think it won’t matter if you’re an hour or two late.  Chances are the show helpers will have cleared out and gone to lunch by then. 

Quilt categories are another area which need special attention.  Somewhere on the registration sheet or with the information accompanying it, there will be a list of quilt categories.  It’s important to register your quilt in the category which best describes it.  For instance, there will probably be a category for wall hangings and one for art quilts.  If you have a quilt which fits the size for wall hanging, but is more of an art quilt, be sure to place it in the art quilt category.  Two groups which tend to give quilters problems are small quilts/miniatures and duets.  There is a difference between a small quilt and a miniature.  A small quilt is exactly that – a small quilt.  It can be a wall hanging, a table topper, or something similar.  A miniature is a scaled-down replica of a large quilt. Duets are quilts made by two quilters.  And while you may have pieced and/or appliqued the quilt entirely by yourself, if someone else quilted it, most quilt shows would place this quilt in the duet category.  There is some debate about this, especially if the quilter has paid for the quilting, but the best advice I can give you is to read the regulations carefully to determine what the show’s definition of a duet quilt is.  It’s important to register your quilt in the correct category.  In some larger shows, no matter how beautiful quilt may be, if it’s entered in the wrong category, it’s disqualified.  Smaller quilts shows are more flexible, and they may opt to move your quilt into the correct category. 

Also pay close attention about the hanging procedure.  Find out if a sleeve is required and if it is, what size it should be.  Will all everything be hung?  Are sleeves required for small wall quilts or miniatures (sometimes they are displayed on a flat surface).  What about quilted clothing?  Will those be hung on the pipes and drapes, or do you need to supply a clothes hanger? 

Lastly, the quilt intake day for judging, the day the quilts are judged, and the days of the show may be several days apart.  What will be the quilts’ “traffic pattern?”  Will you need to pick them up from each event and take them to the next or will they move from the judging back to you and then you take them to be hung at the show?  And most importantly, what is the security surrounding all the events?  Will the quilts always have quilt show folks around them?  If the quilts stay overnight at the show location, is it locked and off-limits until the show opens?  I never want to think of someone stooping so low as to steal a quilt, but the past few years have certainly shown us this is happening with an alarming frequency.

Now What?

Okay, you’ve bitten the bullet, filled out the forms, paid the fees, and your quilt is now in the process of being judged and then hung in a quilt show for everyone to see.  Now what should you expect?

First, let’s talk about what I consider the best thing that comes from a judged quilt show – the judges’ critiques.  Some folks look at “critique” as a dirty word.  It’s really not.  The judges aren’t criticizing everything about your quilt.  They will tell you the great things about your quilt, as well as what areas you need to work on. During the judging process, the judges spend only a few minutes with each quilt and dictate to someone (this person is called the judging scribe and they write everything down) what’s good and what’s not-so-good.  This lets you know what you need to work on.  I find this very, very helpful because I want each quilt I make to be better than the last one. However, let me also add this:  The critique will tell you what areas need work, but they won’t tell you how to fix it.  The judges can only spend a few minutes with each quilt.  It’s up to you to research and discover how to correct  any quilty areas which need help. 

Now allow me to be honest with you at this point.  The critiques are helpful to me.  They may not be helpful to you.  If you think reading though several “needs more” comments or not winning a ribbon will tarnish you love of quilting, you may want to steer clear of entering your quilts in shows.  I have quilty friends who are great quilters but they won’t enter shows for this reason.  They realize the process may dim their love of quilting.  Likewise if you’re one of those people who absolutely must come away with some kind of prize or ribbon, you may want to steer clear of shows.  You won’t win a ribbon at every show. You won’t take Best of Show at every show (especially if it’s your first quilt show entry). You just won’t.  If a lack-luster showing in a competition will alter how you feel about quilting, be very careful about what quilts you enter in a show and what shows you enter.  I want the critique.  If I get a ribbon, it’s a bonus. 

Finally realize all judging is subjective. Yes, there are certain quilt elements every quilt judge will look at – sharp points, seams that meet, even quilting, great contrast, etc., but a lot of it comes down to the judges’ likes and dislikes.  Some may like embroidery.  Some may not.  Some may have a preference for applique quilts.  Some may drool over great hand quilting.  When it comes down to the last half-point, it all may depend on the judges’ preference.  My quilting BFF won Judges Choice because she used a lot of blue in a quilt and the judge loved the color blue.  The use of this color broke the tie.

Oy-Vey. 

And let me add this here – although most quilts are judged horizontally, they’re shown vertically.  You will be surprised at the difference when viewing your quilt vertically rather than on a bed.  The results are stunning!

Not every quilt we make will be a show quilt.  Some of you may choose to never enter any of your quilts in a show.  Some of you will.  There are certain quilt elements every great quilt has regardless of its show status, and these are the essentials which turn a good quilt into a great quilt just perfect for special people or a special occasion.  I’d like this blog to serve two purposes.  First to encourage you to do your best work with every quilt – but always have fun in the process.  And second, enter a quilt show and get a critique if you’re inclined.  You will learn a great deal.  

Until next week, Remember the Details Make the Difference!

Love and Stitches,

Sherri

Here we are again…365 days (more or less) after the first day of 2022.  The New Year is upon us, and once again (since it’s now tradition), it’s time to reflect back at my quilty predictions of 2022 and see how well I did foretelling what would happen in our quilting world.  So without further ado let’s take a look back at my 2022 prognostications and see how well or how badly I did.

1.  Zoom will remain a major player in the quilting world.  I think I nailed this one.  Guilds are still using this option, because they’ve discovered a wealth of quilting teachers from all over the world  available with a click of the mouse.  Not only that, but quilters from all over the world can join their guild.  Many quilt instructors have decided to completely forego leaving the sanctity of their own quilt studios and comfort of their own beds and are only teaching via Zoom and other similar platforms.  For as much as we still love in-person meetings (and need them), Zoom is here to stay.  Embrace it. 

Personally, I love it.

•  The return of in-person quilt shows.  Again, I will give myself a 100 on this one.  As more people received vaccinations and boosters, we timidly tip-toed back into small, local shows and then the larger national and international ones.  Most of us shed our masks and determined Covid would always be with us in some shape or form, and we would deal with it.  We needed to return to “normal” life and for us quilters, that means quilt shows.  We drove ourselves to local shows, boarded buses and planes to get to the large, far away ones, greeted fellow quilters with hugs, and shopped until we dropped.  We oohhhed and awwwwed over quilts and decided quilting was still the most fun anyone could have
•  Brighter colored fabric, but more expensive.  I did pretty well with this prediction, too.  I think 2022 produced some really stunning fabric lines, although I still believe most of them lack a true dark.  The colors were bright, beautiful, and clear, hinting at the hope we had for a new year with new beginnings.  However, a lot of the fabric gave us sticker-shock.  The average price of a yard of quilting cotton fabric was $9 in 2022, with some areas selling a yard for as much as $15.  Batiks averaged $15 per yard.  However, the prices didn’t go as high as some predicted.  The cotton crops were actually better than expected in 2022, with 118.5 million bales produced, 2.7 million higher than 2021.  The 2023 isn’t expected to reach the 2022 levels, but you never know.  The weather at its best is unpredictable, and the supply chain still has major kinks to work out.
• Organic quilting will be a player in 2022.  With so many people either returning to sewing in 2021 or picking up the hobby, I believed many of these folks would turn to quilting as a way to continue the craft.  And while we did see the number of quilters and guild members increase, most of these “newbies” remained within the traditional realm.  There were no clear break aways, no massive increase of art quilters, and no shunning of the “traditional” quilting rules.  I completely missed this one.  For number four, I get a big, fat “F.”
•  T-shirt quilts will get an upgrade.  This one was pretty accurate.  While T-shirt quilts remain popular, they are also now known as “Memory Quilts.” These encompass quilts made from baby clothes, caps, special garments, etc., and include lots of specific events in life not marked by special T-shirts.  And gone are the uniform blocks set in neat rows and columns.  Layouts are varied and a lot more interesting. 
• Comfort is key.  When I wrote out this prediction, I specifically mentioned a return to quilted clothing.  I believe I failed in this prediction.  While standard quilted coats such this

Remain popular, quilted clothing as we quilters know it, has remained seemingly popular only with quilters, who tend to make their own.

Okay, four correct predictions out of six isn’t too bad.  Now, let’s take a squinty look at my quilting crystal ball and see what 2023 may have in store for us.

Prediction One:  Sustainability will remain important as more and more quilting goes “green.”  I think we will see the development of certain quilting tools, such as cutting mats, made from recycled materials.  I think there will a push to use as much of the fabric as we can in our projects to keep it out of landfills (although cotton fabric has a pretty fast rate of complete deterioration).  Crumb quilting, scrap quilts, etc. may become the next hot topic in our quilting world.

Prediction Two:  Pieced quilts will reach a new high in popularity.  I’ll be completely honest with this one – I read this prediction on several other professional quilting blogs.  I’m not sure why this is a prediction, other than pieced quilts do take less time to construct than applique quilts (no matter if the applique is done by hand or machine).  If folks’ schedules are filling up, and time for quilting is becoming more compact, this prediction makes sense.  However, from a quilter who absolutely adores applique, I’m a bit bummed by this.  Not to say a pieced quilt isn’t a thing of beauty and a joy forever…but yeah…I do love me some applique.

Prediction Three:  Two-color quilts will be abundant.  As I perused quilting web sites and magazine this year, I began to see more and more quilts made from only two colors.  I think this trend will continue, as these quilts are crisp and elegant looking.  My biggest issue with two-toned quilts is deciding on only two colors! 

Prediction Four:  The slow-stitching trend will grow in popularity.  Again, let me throw this one in a Zone of Truth:  I love handwork.  Ever since I started quilting I had to have two types of on-going quilt projects – one for handwork and one parked under my sewing machine needle.  When I tired of one type of sewing I could switch to the other and hand sewing proved itself to be wonderfully portable during those years I ran Mom’s Taxi Service.  But as I’ve grown older, I have the heart-felt realization of just how therapeutic it has been in my life.  It comforted me when my dad was in Hospice.  It occupied my time at my mother’s bedside when she was in and out of the hospital until they diagnosed her hemoglobin and iron issues.  It (and prayer) kept me sane when my daughter was diagnosed with cervical cancer, and it re-played its sanity inducing qualities while my brother was undergoing stem cell treatments.  At a time when I could have easily turned to something else to calm me down, it was needle, thread, fabric, beeswax, prayer, and a thimble that stitched my world back together.  And these feelings about handwork – slow stitching – have only grown stronger as I have grown older.  At the end of my most hectic of days, 15 to 20 minutes of hand work calms my spirit and clears my mind so I can sleep.

We must admit, the last two years of our lives have teetered on the verge of panic, insanity, impatience, and worry.  I think a lot of quilters discovered what I have known for a long time – slow stitching is just the best. 

Prediction Five:  Dense quilting will be featured in the majority of quilts.  Most quilters with some years of stitching behind them can attest dense quilting has slowly become a “thing” over the past several years.  There are probably several reasons behind this.  More quilters have long or mid-arms.  Domestic sewing machines now have ruler feet, allowing any quilter who has no fear of dropping their feed dogs, to produce the same quilting stitches that once were only done by long arms.  Quilters have found this is fun and a lot of us have come to love the quilting part of quilts as much as we love the piecing and applique.  Since we love it, we do more of it.  I still prefer any of my bed quilts or cuddle quilts to be soft and not quilted within an inch of its life, but wall hangings, table toppers and runners, or show quilts?  Stitch them until they can stand up on their own. 

Prediction Six:  Landscape quilting will become popular.  If you’re like me, you’ve seen landscape quilts before, and visions like this

Come to mind.  These types of landscape quilts are lovely, have beautiful details, and are so wonderful to look at.

And we’re intimidated beyond measure if we think we could make one even similar to these.  Many of us wouldn’t even attempt it.   All I gotta ask at this point is why not?  The quilters who made the above landscape quilts have done this a long time, but they didn’t begin with all these quilts oozing all that talent.  They probably began with a much simpler type of landscape and gradually moved into these breathtaking beauties.  I think, since COVID kind introduced free form piecing and quilting coupled with the fact we have lots of new quilters who aren’t intimated by what they don’t know, we could possibly have a resurgence of landscape quilts which may be as simple as this: 

And there’s nothing wrong with that. 

This year should be interesting.

Now comes the time when I introduce the theme for 2023.  I struggled with an idea for this year.  We’ve covered a lot of quilty territory since I began writing my blog.  I looked at the award-winning quilts from Paducah and Houston.  I listened to my quilty friends talk about what was under their needles.  From all of these sources, I have decided 2023’s theme is (insert drumroll here)

 The Difference is in the Details.

Why this theme?

Well, as I looked at beautiful quilts, dissected the award-winning quilts, and listened to my quilting buddies, I realized the things which make the difference between a good quilt and a great quilt are the little details. Some of these you may not even think about, as they may be second nature to you.  Others may be more obscure, and they may not have even crossed your mind.  But they all have one thing in common:  they’re not hard – they just might take a few more minutes of your time.

We’ll talk about a lot of those little details this year!  And I’ll keep you up to date on what’s under my needle.  My fruit blocks are finished, and I will begin assembling this quilt with a new technique I want to share with you.  I have designed the borders for my alphabet quilt and will raw-edge applique those – they’re pretty detailed, so this is gonna take a while.  I will also finish my Colors of Springtime Quilt and my reverse applique project.    As far as new projects go, I want to finally begin my long-put-off Sunbonnet Sue Quilt and Windblown Tulips.  However, my biggest challenge this year is quilting my tops.  I have three laying on my long arm, gently reminding me they’re not quite done.  I have a feeling my personal theme for 2023 is Finishing, as I have several quilts which are really in the home stretch.

Happy New Year from My Studio to Yours!

Love and Stitches,

Sherri

Bethlehem wasn’t a winter wonderland.  It was mild, with dusty roads and scrubby bushes and trees.  A manger was a far cry from a baby bed, and He wore swaddling clothes, not cute onesies or warm pajamas.  His mother was an exhausted young woman, who gave birth in a stable, not a sterile hospital room.  Her only birthing companion was her husband, not a midwife, doctor, or nurse.  Instead of a waiting room full of anxious and excited family, there were shepherds, a few sheep, and  later some Wisemen from the East, bearing the only baby shower gifts received:  Gold, frankincense, and myrrh. 

Humble beginnings for the King of Kings. 

But yet hope sprang eternal in that Baby’s cry beneath a bright and guiding star.  Hope for redemption.  Hope for an abiding grace and unfathomable mercy – not deserved, but certainly hoped for.  Hope for peace during a time when the world was such a violent place.

This year has been a whirlwind of events which have taken our breath and worried our souls.  It’s been a year when peace of mind became a precious commodity.  But now…during this time of giving each other gifts, spending time with treasured family and friends, let’s pause and remember the hope which took on a human form one night in Bethlehem of Judea, thousands of years ago.  And as we face the New Year, let’s remember no matter what it may throw at us, we still have that Blessed Hope.

When the star in the sky is gone,

When the Kings and Princes are home,

When the shepherds are back with their flocks

The real work of Christmas begins.

To find the lost

To heal the broken

To feed the hungry

To release the prisoners

To rebuild the nations

To bring peace among brothers and sisters

To make music in the heart.

— Howard Thurmon

Merry, Merry Christmas, from My House to Yours!

Love and Stitches,

Sherri

We’ve all probably had this happen.  At some point, in our quilting journey (especially if you’ve quilted for a while), it happens.  And if it hasn’t happened to you yet, you can be pretty sure it will.

What am I talking about?

The ugly quilt square.

You’re not sure how it came about… you were so careful in picking out your fabric.  So exact and tedious with the construction…but somehow, something went terribly wrong. 

I have two universal theories about ugly fabric:  Can it be used somehow in applique?  Can it pass for grass or a flower center or something?  If you don’t applique, there’s only one other thing you can do with ugly fabric – cut it in small pieces.  And if it’s still ugly, the pieces are too big.

But ugly quilt blocks are a whole different matter.  The colors could have looked great in the fabric shop under the florescent lights.  But in different lighting the material may look off.  You may have honestly believed the quilt block would look better with more of the same quilt blocks surrounding it, but no, those just ramped up the ugliness about 500 per cent.  So now you have an ugly quilt block (or three…or more) and don’t know what to do about it.  I know some of you would just throw them in the circular file and move on with life – make something different with the fabric or put it in your stash for another day.  But for some of us, once we’ve made a few blocks, we feel like we’ve made a commitment to the cause. We’re bound and determined to perservere, even if it means we’re surrounded by ugly quilt blocks. This blog will offer a few suggestions about what to make with an ugly square or some squares you have no idea what to do with.

1.  Make a pillow.  If you’re only dealing with one large, unattractive square, frame it with some other fabric and make it into a pillow.  If you have a few small squares, join those together and make a pillow.  Even if you’re still not thrilled with them after constructing the pillow, a pillow is much easier to hide than a quilt. 
2. Put it (them) on the back of a quilt.  Even the most unattractive blocks can add a little spice to a plain quilt back.
3. Make more of the same ugly block, then cut them up.  I have found one of the best ways (and one of my favorites) to use both ugly fabrics and ugly quilt blocks is to cut them up and make a Disappearing Nine Patch Quilt

Not only is this super fun, it’s also really easy.  Add some dark or light fabric to unify the blocks and quilt and you may find those ugly blocks aren’t so ugly after all.

Another way to cut up the blocks for use is to make them into 5-inch charm squares.  Cut them down into 5-inch squares and then peruse the patterns on the internet which use these charms.  Once again, altering the blocks from what they were supposed to be into something manageable and useful may be all you need to do.  When these 5-inch charms are paired with a consistent 5-inch charm (all the same color) to create half-square triangles, you may discover you’ve made an awesome quilt you absolutely love.

•  Make more of those ugly blocks, sash them, and make a table runner or table topper.  I have found that with both ugly fabric and ugly blocks, the color fabric used for sashing is crucial.    Black, dark-ish gray, and white seem to make everything play nicely together.  And with a small project such as a topper or runner, at least you don’t have to make a ton of those ugly blocks.

•  Make them into another project.  They can be used for appliance covers, bags, iPad holders – the list is as endless as your imagination.  

• When all else fails, give the block(s) and the fabric away.  My regular readers know this is an escape route I’ve used more than once.  When the I dislike the project so much I have to force myself to stitch it, when I have lost all interest in it, or I really fight with myself to try and like the fabric, I’ve been known to kiss that project good-bye. I will leave it on the free table at my guild, turn around, and walk out.  I will toss it in my box of donation goods for the thrift store.  If another quilter really likes it and mentions that to me, it will be in her backseat before she pulls out of my driveway. 

There is no shame in that game.  You’ve unburdened yourself from an albatross of a project and it’s found a welcome home somewhere else.  It’s a win/win. 

•  Throw the block(s) away and put the remaining fabric in your stash.  Believe it or not, you’ll probably use it.  It may work great for a quilt back, applique, or wonderfully match a future purpose. 
• Use them for quilting practice.  Sandwich them up with backing and batting.  Stack them near your sewing machine.  One evening a week, drop those feed dogs and practice quilting on your sewing machine.  If you have time, do this daily.  I can’t even begin to tell you what a confidence building exercise this is and how much it will improve your quilting. 

So, with all the escape routes marked for ridding yourself of unattractive quilt blocks, how do you avoid making them in the first place?  It all pretty much boils down to the basics.

• Be careful purchasing your fabric.  In this blog:  https://sherriquiltsalot.com/2021/02/ I discuss how different lighting can alter the appearance of the material.  Most stores have florescent lights and those can really throw colors off – especially blues and greens.  If possible, take your fabric to the window and look at it.  Sunlight does little to alter the fabric’s true appearance and it’s your best friend if you have some doubt about a choice.  Also be careful what fabrics you have next to each other.  The adjacent colors have been known to throw a color “off” a little.  If you place a lime green or purple next to a warm color, they tend to heat up.  Likewise, if you put them adjacent to a cool color, they’ll cool down.  If you place a white next to a red, it may appear pink.  The blog I mentioned earlier covers all of this. 
• Be careful about the complexity of a quilt block.  The more pieces a block has, the more opportunities there are to make mistakes.  Those blocks will have more seams, more fabric placement, and more block units.  My go-to for complex blocks – even after 35 years of quilting – is paper piecing. For me, it simplifies everything and lowers the chances of making construction mistakes. 
• Make sure you have a range of true values.  Lights, mediums, and true darks should go into any quilt/quilt block to show true contrasts.  Often the very reason a block looks ugly is because only mediums were used or lights and mediums.  This will make a quilt/quilt block look “muddy.”
• Search for a border fabric to pull all the fabrics together.  Sometimes a great border fabric will cover the many sins of the blocks.  Some of my long-time readers know I have problems with brown fabrics.  Brown is probably my least favorite color.  If I have to use it in piece quilts, I tend to automatically search for a border fabric with some brown in it.  It will soften the color and make (at least in my mind) everything go together.  For whatever reason, I’m okay with brown in applique quilts.  Probably because it serves a function such as stems or vines. 

I hope this blog does two things.  First, I hope it gives you some ideas about what to do with an ugly quilt block – or several ugly quilt blocks.  There are some options out there for you if you find yourself between the rock of not being able to throw the blocks away and the hard place of not know what to do with them.  However, I hope the second thing you may get from this blog is this — it’s okay to throw those blocks away if you need to.  There are no quilt police.  It’s not a wrong decision.  Sometimes ridding yourself from the blocks is what you need to move forward with the next project.

Until Next Week, Make Your Quilt Yours!

Love and Stitches,

Sherri

 This year is quickly drawing to a close.  Most of us (despite all the Christmas hullabaloo) are looking at 2022 in the rearview mirror.  There’s less and less of the calendar on the wall and the shiny new one is just waiting to be unwrapped and hung up in its place.  With this in mind, I’d like to take some time to review this year of “Make Your Quilt Yours!”  We’ve covered a lot of territory in 52 weeks.  However, I would feel remiss if we didn’t review a few of the ways we can take a quilt pattern and make a quilt from that which reflects our tastes, our personalities, and our concerns.

1.  Substitute the colors.

For some quilters this comes easy.  They take a look at the pattern, review their stash, and make a list of what fabrics on hand matches the yardage and value requirements.  They may let this simmer over night to make sure they’re in quilting Zen about their choices, then grab their rotary cutter and get down to business.

For other quilters, this may not be as easy.  If a quilter has been used to picking out fabric which resembles those used in the pattern (or purchasing a kit), the decision to stray from this can cause some anxiety – will the quilt look right with my fabric choices verses the designers?

Let me reassure you, there is a way to make sure your quilt will be just fine.  It all has to do with color value.  Color value is defined as:  The value (also called lightness or luminosity) of a color is a measure of how light or dark a color is while its hue is held constant. The lightness of an object depends on the reflectance of that object.     As a former physics teacher I could go into color waves/particles, refraction of light sources, etc., but I won’t.  The concept of value which is important to all quilters is this – the lightness or darkness of a fabric.

That’s it.  That’s all you need to be concerned with.  And now the question you may have is, “How do I tell what the value of a fabric is?”  As quilter, it’s important to know all quilting fabric falls into three value categories – lights, mediums, and darks.  As a matter of fact, if you have an older quilting pattern, when the yardage is listed it may only note so many yards of lights, so many of mediums, and so many of darks.  However, these directions were written back in the day when fabric manufacturers actually produced true darks.  Most of what masquerades as darks now are really mediums.  So how do you feel comfortable about the choices you make? 

It’s honestly not hard.  Most of us are in possession of this:

A cell phone. And one of the neatest features on a cell phone is a camera and the camera plays a major role in determining the color value of fabrics.  Let’s say we want to make this quit:

But we want to make in a different color way.  No problem.  Take a picture of the quilt pattern front.

Somewhere in the camera settings on your phone, you have the ability to change the picture’s appearance from a colored photo to a black and white one.  You want to find that setting and flip the picture to a black and white appearance.  I have an iPhone 12 Pro.  I simply pull up my picture, tap edit on the top right-hand corner of my screen and find the saturation button at the bottom.  I click this on and lower the saturation level to -100.  The colored picture changes to a black and white one.    This black and white image is very important.  The areas which show up as white or nearly white are the lights.  The gray parts are the mediums, and the nearly black sections are your darks.  Simply reference the black and white picture against the yardage requirements in the pattern directions and you’ll be fine. 

I would also repeat the same photo process for the fabric.  I would do this because, like I stated earlier, fabric manufacturers are producing fewer and fewer true darks.  Most of the fabric families on the quilt shop shelves are actually mediums, even though they may “read” dark when compared to the other fabrics.  Take a picture of the fabrics you want to use, flip it to black and white, view it with a critical eye.  Make sure you have a fabric which will work as a true dark.  The use of only lights and mediums in a quilt can result in a “muddy” looking quilt top.

•  Change the size of the quilt.

When I started quilting, my target patterns were always small quilts.  There were reasons behind this:  smaller quilts took less fabric, therefore cost less; smaller quilts took less time to make; and smaller quilts were easier to quilt on my regular sewing machine.  The longer I quilted, the bigger the quilts became and soon I was making bed quilts almost exclusively.  Now I have more bed quilts than I need, and I’ve gifted quite a few to family and friends.  So, my quilting has gone back what was in the beginning – primarily small quilts I can use as table toppers, table runners, cuddle quilts, and lap quilts.  I still make a few bed quilts, but not nearly as many as I did years ago.

However, what hasn’t changed is the appeal of certain quilts.  I still make the quilts I like, only I tend to make them smaller. 

You may find yourself in a similar situation.  You may not need bed-sized quilts or may not want to invest in the expense of all the fabric.  If you quilt your own quilts on a domestic machine, it’s certainly easier to handle the bulk of a smaller quilt than a queen-sized.  If any or all of these conditions describe where you’re at in your quilting journey, don’t be afraid to shrink the quilt.  Make the blocks smaller or make fewer blocks.  Just adjust your borders accordingly.   Or leave the borders off entirely. 

The same holds true with enlarging a small quilt pattern.  You can increase the size of the blocks or add extra borders.  The only word of caution I would issue is this:  be careful with applique quilts.  Sometimes the applique pieces lose their characteristics if enlarged or shrunk too much. 

For a more detailed description on how to do this, go here:  https://sherriquiltsalot.com/2021/10/20/running-all-the-numbers/ where I have all the math formulas there for you.

•  Alter the borders.

Personally, I think borders can be the most underrated part of a quilt.  If a quilt was a sentence, the borders are the end punctuation.  Therefore, borders can be a question mark, a period, or an exclamation mark.  Let me explain.

It’s super-easy, once you get to the end of the construction of the quilt center, to just measure it for the borders, cut out some fabric strips, and sew them on.  At this point, you’re probably ready to bring closure to a project which may have taken weeks or months or years, but who’s judging?  I call these borders periods.  Even though the fabric may be lovely, you may have added a flange, or even multiple borders, but they’re all still just fabric strips, measured correctly and sewn on.  They’re the Friday sigh of relief after a long week at work.  Nothing particularly ugly, but nothing really eye-catching either. 

Border question marks are those quilts without borders.  Is the binding large enough to serve as a border?  Should it be considered a border?  Does the quilt need borders?  Why doesn’t the quilt have borders?  So many questions…

Then there are the borders which are exclamation marks.  These are the ones which not only frame the quilt center in the loveliest possible way but are works of art within themselves.  You can tell the quilter took the time to plan and execute borders which aptly draw a conclusion to the quilt.  They not only frame the center, but also pull the eyes to and from the center.  They complement it and repeat certain elements in the quilt which brings both cohesion and conclusion to it. 

Next to substituting color choices, altering the quilt border can be one of the easiest ways to put your signature on a quilt.  If the quilt pattern has some applique on it, it’s easy to repeat the applique in the border.  If the quilt is pieced, use some of those blocks in the border.  Allow the border to echo what’s in the center of the quilt.  Not only will it add a bit of pizazz, but it will give the quilt cohesiveness. 

•  Develop some signature elements.

If you’ve walked in the quilt world long enough, you know there are some quilts you can look at and just know who they belong to.  Judy Neimyer is one.  Most of her quilts have this dazzling center with lots of spikey elements and flying geese, softened by some circular motion or elements.  Kim Diehl is another.  She can take traditional quilt blocks and turn them on their heads or put them in such a sweet setting that it makes you immediately want to make one of her quilts.  These designers have consistently used these “trademarks” to their advantage.

There’s no reason you can’t do this, either.  This can be approached in so many different ways but let me offer a few suggestions.

• Have a signature color.  I admit, this one is one of mine.  Most of my quilts (not all of them, but most), have purple in them somewhere.  Purple is my favorite color and is usually found somewhere in my quilts – even if it’s just on the label.  This one has gotten so bad that if my quilty friends can’t find purple in one of my quilts, they’re a little disappointed.  It’s kind of like Find Waldo, but with fabric.
• Add some sparkle.  I don’t mean actual sparkle, such as is in metallic fabrics.  Adding sparkle to a quilt means finding a fabric which may be unexpected and adding it to your quilt top in small amounts.  Some quilters call this their “zinger” fabric.  It adds just a bit of a different twist to a top.  For instance, let’s say you’re making a quilt which is primarily purples and greens.  Your sparkle may be an over-dyed orange fabric, used sparingly in the smaller pieces of blocks.  It adds spice to the quilt top and helps the eye move across it. 
• Have a signature quilting motif.  This motif doesn’t have to be large.  It can be worked into the quilting in some way – it doesn’t have to be the primary motif.  For instance, mine is hearts.  Most of the time – especially if I quilt my own quilts – somewhere on the top will be quilted hearts.  I have a friend who quilts her name into the quilt.  I chose hearts kind of by accident.  It was one of the first quilting motifs I learned to do by hand and machine.  I have gotten really good at making them and use them judiciously. 
• Quilt your conscience.  This one can be a little tricky, and truthfully, it may be the one signature element about your quilts only known by you until word gets out.  I came upon this idea when researching a blog I wanted to write about Quaker Quilts (which I shelved – not enough information available and I felt an actual person with Quaker beliefs could do it better and more accurately).  During the pre-Civil War Era, Quaker women refused to purchase fabric or cotton for batting which was produced by slave labor.  They held steadfast against the enslavement of any persons and could not in good conscious use anything produced via slave labor.  Therefore many Quaker quilts were made of woolens, linens, silks, and fabric imported from England (which had outlawed slavery years before America did).

Today, the idea of quilt your conscience may include quilting “green.”  It could mean using batting produced by environmentally friendly methods, or fabric dyed in such a way it doesn’t hurt the environment.  It could mean upcycling left over quilt blocks or making scrap quilts in order to reduce the among of fabric in landfills. 

This also could mean quilting current events – goodness knows enough of us did during Covid.  These quilts not only are a historical marker, but also provide quilters an emotional out for their feelings, their fears, and their thoughts. 

•  Design a signature label.

I hope by now I have drilled into your mind the importance of labeling your quilts.  The label should list your name, city and state, the date the quilt was completed because the date it’s started and the date it’s completed can be years apart, and who the quilt was made for and the occasion (if any).  This is the minimum which needs to go on the little fabric label on the back of your quilt.  However…you don’t have to stop here.  The printing can be done in your favorite color.  You can handwrite the label, embroider it (by hand or machine), use a favorite applique element, or ink in a small picture.  The wonderful designer Tula Pink includes an esoteric fact on her labels – something I started including on my label several years ago.  Somewhere on my label will be the average price of some household good that particular day.  It could be a loaf of bread, a cup of coffee or a gallon of gas. 

If you’ve made the quilt during some kind of  major crisis, such as COVID, it’s good to indicate that somewhere on the label, too.  It puts the quilt in historical perspective. 

By adding more than the standard information on your quilt label, you’ve made that element of your quilt uniquely yours.  All changes don’t necessarily have to go on the front of the quilt.

I hope this blog helps you in two ways.  First, I hope it assists you in overcoming any anxiety you may have about changing up quilt patterns.  Remember, it’s just fabric and it’s just a quilt – and honestly, there are very few things which can’t be “fixed” on a quilt.  Secondly, I hope it inspires you to make each quilt you construct uniquely yours.  These design elements don’t have to be large or complicated.  They can be small and tucked away in a corner or on the back of a quilt.  Dream big, start small, and then work your way into making a quilt truly reflect you, your values, your sense of humor, and the love you have for quilting.

Until next week, Make Your Quilt Yours!

Love and Stitches,

Sherri

It’s been a long while since I’ve thrown up the Grumpy Quilter logo on my blog.  However, the time has come, and I need to get this off my chest, not only for myself but also for my friends who either work in a quilt shop or own a quilt shop.  I have never owned a quilt shop, but have worked in one, have friends who are employed at a quilt shop, have friends who own a quilt shop, and have certainly spent enough time in a quilt shop to speak with authority on this subject:  Quilt Shop Etiquette. 

You wouldn’t think of eating in a restaurant with your mouth open or talking loudly or running after a waitperson to get their attention or leave after you’ve ordered because you think the prices are too high (at least I sincerely hope you wouldn’t). Just like there are certain rules of etiquette for restaurants, there are certain standards of comportment for quilt shops.  Over the past couple of years, I’ve noticed some quilt shop customers’ behavior which has left me flabbergasted.  Then, I thought to myself, “Self, maybe these dear people have never been enlightened to proper quilt shop etiquette.  Why don’t you give these folks a heads up?”  So, consider this blog my attempt to educate those fabric consumers who may not know The Unspoken Rules of Quilt Shop Etiquette.

1.  There are guidelines for behavior outside the quilt shop.  Just in case you don’t know, quilt shop employees and owners have a life outside the retail establishment.  They have families, other interests, obligations, etc., just like you do.  So, if you see them outside the quilt shop, it may not be the best time to ask questions about a fabric line, a pattern, a class, or complain about something in the shop.  Say hi, smile, and move on.  Chances are after dealing with retail issues all week, the owner or employee really doesn’t want to talk about quilting for a bit. 

Sometimes the quilt store employee/owner may give you information about the shop and then it’s okay to proceed with a quilty conversation.  For instance, I have a dear, dear friend who is employed by a large quilt/fabric store.  I see this person usually at least once a week and we text back and forth almost every day.  If she gives me some quilty information, I may ask questions, but it doesn’t take up our entire interaction. 

Just be aware of the situation and be sensitive to the fact they may not want to “talk shop.” 

•  There are guidelines for behavior inside the quilt shop.  First, let me give you some cold, hard facts about quilt shop revenue.  According to the American Retailer, most quilt shop owners only keep 1%-3% of any fabric sale.  So, let’s set up this scenario:  You decide you want to make a queen-sized quilt.  You don’t have a pattern in mind, but you know the quilt shop you frequent has lots of patterns.  Once you enter the door, either the owner or employee greets you and finds out your plans.  Patterns are pulled out.   Decisions are made.  Fabric is auditioned, photographed, discarded, substituted, and finalized.  By this point, there’s a good (and realistic) chance the employee or owner has spent two to three hours with you.  Equally realistic, the final costs may come to $350.  Yes, this can be considered a chunk of change.  However, also realize if the store owner makes 1%-3% net on the sale, this only comes to $3.50 — $10.50.  If it’s the employee who made the sale, they’ve only earned $1 — $3 per hour on your purchase. 

It’s no wonder more and more brick-and-mortar quilt stores are closing their store fronts and moving to on-line sales only. 

And before you wonder if this is truly a realistic scenario, let me remind you, at one point I was a part-time quilt shop employee (mainly to support my habit).  I cannot begin to tell you how many times I had worked with a customer in this same situation, only to be told right before I started to cut the fabric, “Don’t bother.  I’m sure Walmart or some shop on the internet has the same fabric and pattern for less money.”  The matter was made infinitely worse if they blatantly shopped the internet while I waited on them. 

Seriously.

For everyone’s sake, don’t be this customer.  You just really injured your relationship with the quilt shop (i.e. don’t expect to have the welcome mat rolled out the next time you come in the shop), you’ve wasted the owner’s or the employee’s time they needed to help other customers or fill orders, and the fabric at the big box stores isn’t close to the quality of quilting cottons.  The courteous thing is to walk out with something, no matter the reason for the visit.  It doesn’t have to be an expensive purchase.  It can be a marking pen, pins, or needles.   I’ll issue a Zone of Truth here:  This is what really bothers me about shop hops and the Row-by-Row experience.  These events are coordinated with the thought they will help quilt store owners stay afloat during what is considered the slow time of year – summer.  The idea is customers will come into the shop to either get their shop hop passports stamped or pick up their Row-by-Row pattern.  Quite often this is all they leave with – and both items are free.  No purchases are made. 

Again, don’t be this customer.  The purchase doesn’t have to be large or expensive.  A few dollars here and there during the slow time of the year goes a long way in keeping the quilt shop’s doors open. 

Now let’s talk about special orders.  Sometimes when you’re making a quilt, you need a special fabric.  The store may have had this material in stock at one time or it may not have enough for your needs.  You may have searched in vain for a substitute or for other locations which may have the fabric.  Nothing worked and now you ask the shop owner if they will special order the fabric for you.

If you have a good relationship with the shop, chances are the owner will do his or her best to make this happen.  They will do this as a favor for you – their loyal customer and friend.  Now you need to know how to handle this situation to maintain this relationship.  If an entire bolt is ordered, realize this means 12-15 yards of the fabric is now winging its way to the shop.  You need to prepare yourself to purchase the entire bolt, because the shop owner may not sell the remaining fabric after they’ve given you the actual yardage you need.  If the owner insists this is not necessary, at least buy five yards to make it worth their effort. 

Also keep in mind as much as you love your LQS, other people love it just as much as you do.  This means at any given time you decide to visit your favorite quilt shop, other quilters may also be there.  No matter how good a customer you are, no matter how much of your paycheck resides in the shop owner’s till, wait your turn.  You may know how much you spend at the shop.  And the owner certainly does.  However, those customers there who are ahead of you have absolutely no idea.  If you try to jump ahead of them, it will make you look like an awful person and if the quilt shop owner acquiesces, it makes them look like they play favorites.  This will leave a bad taste in the mouths of the other customers, and they’ll be less likely to return.  Then the store owner loses revenue.  If you absolutely can’t wait, tell the owner and plan to return a bit later.  Trust me, you’ll earn major brownie points. 

And while we’re discussing shopping etiquette, let’s talk about the quilt shop employees.  You may be BFFs with the owner.  You may know the owner by name, know their kids’ names, even their grandkids’ names.  However, when you come in the shop and she or he is busy with another customer or involved with something else (because bookkeeping, ordering, and payroll must be done), don’t demand ask for the owner to wait on you.  A quilt shop owner employs others who may know more about quilting than they do.  And quite often this is the case.  Trust me, an employee can often have better input than the owner.  They may have quilted longer, had more quilt education, or be better at picking fabrics.  Don’t turn your nose up when an employee offers to wait on you.  Treat them with kindness and respect.  Trust me when I tell you they do a great job and will go out of their way to make sure you’re happy.

Lastly, let me hit three other personal responsibility items.  You could be the best quilt shop customer ever, but if you neglect the following three details, your best-customer-ever status will quickly disappear:

1.  Come prepared.

Know what you want and have the needed information with you so the quilt shop can make sure you leave happy.  For instance, if you need border fabric for your quilt, know how much you need and at least have a picture of the quilt center on your phone to reference the colors.  The best-case scenario is to have the center with you.  If you need backing, know how big your quilt is.  Don’t expect the quilt store owner or employees to read minds or be psychic.  If you need to match your focus fabric, at least have a picture or a swatch of it with you.  Just because the shop had the exact same fabric two weeks ago doesn’t necessarily mean they have it now.    If you’re starting a new quilt, have the pattern with you or be prepared to find one at the shop. 

In other words, do your homework.  This ensures you leave happy, and no one is frustrated.

•  Note the layout of the shop and respect it.

Most of the time, even the smallest quilt shop will have a designated area for cutting, another area for auditioning fabric, and possibly a classroom area which serves as a place for consultation or problem solving.  Respect the layout – it’s there for a reason.  Don’t audition fabrics in the cutting area.  Don’t have lengthy consultations or problem-solving sessions at the fabric audition area.  If you’re at a new quilt store (or one which is new to you), ask where the designated locations are.  This is important because generally a layout is in place to control traffic and over-crowding.  And if a shop is super-busy, it’s often critical these areas are respected. 

•  Realize the quilt shop owner or the employees may not be conversant with all quilting techniques or sewing machines.

I can tell you how to find out what sewing machines your LQS is familiar with:  Look what’s at the entrance of the shop.  If a fabric store sells machines, they’re in broad view as soon as you step into the store.  Why?  Remember what I told you about net fabric sales – that it’s generally only 1%-3% of the total purchase?  Not so with sewing machines.  Usually the biggest net sales are made from sewing machines.  Those will be out front and center of the LQS, set up and ready for you to try.  If you have the brand sewing machine the shop sells, the owner and the store employees will be very, very familiar with that brand and can help you with nearly any issue you have. 

If you don’t have the store’s brand, the quilt shop staff may not be able to help you.  For example, if you have a problem with a consistent ¼-inch seam allowance, they will probably give you generic advice, such as “move your needle over,” but they may not be able to tell you how to do this on your machine. 

Don’t get upset.  Go home and boot up your internet machine.  Search for your machine’s manual. Find out how to move the needle. This is why God gave us Google. 

Likewise, don’t expect all of the store’s employees to be familiar with every quilting technique.  Chances are there will be some folks proficient in the major quilting techniques such as color choice, piecing, and hand and machine applique.  But other more obscure methods like broderie perse or trapunto?  Maybe not.  But again, that’s why God gave us Google.  Go home and use it.

Okay.  End of rant.  I honestly don’t complain too much, but this is one of those times.  Having been a quilt store employee as well as a customer, I can understand the frustrations on both ends.  However, some of our behaviors have gotten out of hand.  I have noticed since we’ve been released from COVID lockdowns, everyone’s patience seems a little worse for the wear.  Take a deep breath and realize it’s usually not the store owner’s or the employees’ fault.  Quilt shop owners are like other business owners right now – it’s difficult to find help.  There may be lines at the register and the cutting table and fabric is not immune to supply-side logistic nightmares. 

Just …. Be kind everyone to everybody.  Take a deep breath and be kind.

Love and Stitches,

Sherri

If block units, blocks, and all the sashings are squared up and the cutting is accurate, at this point, your quilt center should be squared-up, too, right?

This is where we left off last week.  We went through exactly what the squaring-up process is and why it really shouldn’t be left as the last step before sewing on the binding.  At this point, we’ve square up everything as we have constructed the quilt and now we’re ready to put on the borders.  And yes, if you’ve faithfully squared-up the block units, blocks, sashing, and rows, your quilt center should come out to the size the quilt pattern says.  It’s easy to think at this point you only need to cut the borders to the size dictated by the pattern and sew them on. 

Well, yes…and no.  Technically if all the squaring up has been done, the borders should go on quickly and easily.  However, if you’ve come this far, you want to be sure everything will still go together wonderfully in the end.  So here’s what we will do:

1.  If you’re quilt top is badly wrinkled, press it.
2. Lay it out, face-up on the floor or a table – some surface which is big enough, so the quilt lies flat.
3. With a measuring tape, measure the length of the quilt an inch in from the right and left edges and in the middle.  Average these three measurements.  The average will be the length to cut your side borders.  Ideally, all three measurements should be the same.  However, there may be variances and if there are, the measurements still should be pretty close.
4. Cut out your left and right borders the width needed per the pattern and the length deduced by your average.
5. Find the center of the length of the border strip and the center of the length of the quilt.  Pin both centers together and then pin the edges together, working from the center pin down one side and then the other.  Sew on and repeat on the other side.
6. Press the borders, with the seams pressed towards the border strip.
7. Lay the quilt out again, face-up on the floor a table – some surface which is big enough that the quilt lies flat.
8. Now measure how wide the quilt is.  Again, take three measurements – one an inch from the top, one an inch from the bottom, and one across the middle.  Average these three measurements together and cut your top and bottom border this length and the as wide as the pattern calls for.
9. Repeat the pinning and sewing as dictated for the left and right borders.

One really helpful hint about borders – border pieces cut along the lengthwise grain of fabric really stabilize your quilt center the best.  However, whatever you do, cut all the border pieces on the same grain – all lengthwise or all crosswise.  If you mix the grains, the borders will be wavy.

Sandwich your quilt and quilt it or send it to the long arm artist.

Once the quilting is done, you’re on the final stretch.  And at this point, you have two options:  Do you want to wet it and square it up again or not?  There’s a reason this becomes an option.  A long arm artist will baste the top, bottom, and sides of your quilt to the backing and batting.  This will help stabilize the quilt and keep all three layers of the quilt sandwich from shifting and keep it square.  They will also do some stitching in the ditch along some of the squares for the same reason.  If you’re quilting your quilt on your domestic machine, you do the same thing.  However, no matter how careful you are, the quilt could become slightly un-square during the quilting process – not so much the quilt center, but the borders.  Instead of the corners being a perfect 90-degrees, they become a bit wonky.  There are two ways to approach putting those borders back to a 90-degree angle.

The Wet Method

I will be honest at this point and tell you I generally only use this method for wall hangings which must lie flat and even against a wall or truly special quilts, such as those destined as mile-marker gifts (such as weddings, special birthdays, etc.), or quilts which are definitely show-bound.  While this method does work wonders to get everything squared-up beautifully, handling a wet quilt can be difficult and the larger the quilt, the more difficult it can be. 

This method requires two items – a washing machine and either an area you can pin the quilt flat, or one of these:

A cardboard dressmaker’s cutting surface.

The first step with this method is to trim the backing and batting even with your quilt center.  To make sure I get the four corners of the quilt as close to 90-degrees as possible I use a square ruler along the sides, like this.

Then thoroughly wet your quilt.  I generally do this via the washing machine on a delicate cycle (my washer does not have an agitator – if yours does you may opt for a soaking in the tub or shower stall instead of using the washing machine).  Helpful hint insert:  If you’ve used water dissolvable marker or Frixion pens on your quilt, this is a great time to get those out.  After the quilt has gone through the delicate cycle and spun out, it’s time to pin your quilt to either a clean carpet or the cardboard cutting surface.  Pin judiciously, making sure the sides and top are perfectly straight and even.  If you’re using a carpet, you may want to purchase one of these:

The laser light can help you line up your quilt evenly.  If you’re using one of the cardboard dressmaker cutting surfaces, the gridded lines on it are your guide. 

This process takes time.  Use your hands to spread the quilt out and manipulate the quilt sandwich to square it up.  After the corners are at 90-degree angles and the sides are even, pin it in place and allow it to dry completely.  If you have a fan, you may want to use it to help it dry quicker.

The Dry Method

This is the method I use the most, because most of my quilts are made to be “used up.”  They’re not show quilts or super-special-once-in-a-lifetime quilts.  The quilts are cuddle quilts, play quilts for my grand darlings, picnic quilts, lap quilts, and charity quilts.  This method will square these quilts up nicely, but I don’t have to wet them.

The first step I take is to trim down the backing and batting – especially if the quilt was long armed.  Traditionally we always make sure the batting and backing are several inches larger than the quilt top, but most long arm artists want you to have a 6-inch to 8-inch border of the back and batting so they can clamp it to hold the quilt taunt.  I trim those down to about an inch, just so I don’t have so much bulk to deal with.

I realize the borders may still be basted down to the batting and backing, and if the stitches are still pretty well intact, you can skip this next step.  If the basting stitches have broken or aren’t intact, I take the quilt sandwich to the sewing machine and stitch the sides and top and bottom of the quilt again, about 1/8-inch away from the edge of the quilt top.  This keeps everything taunt as you begin to square up the quilt for the last time. 

If you don’t have one of these:

You may want to purchase one.  I find these square rulers are the most useful for squaring up the corners.

Place the square ruler at one of the corners of the quilt.  Line it up as best you can at the bottom (or top) of the ruler and along the sides.  Then, with a rotary cutter (a 45 mm or 60 mm works best for this), trim the backing, batting, and any slender pieces of border fabric you need to in order to make the sides, top, and bottom of the quilt square and even. 

Now all you have to do is bind your quilt and enjoy!

I hope these two blogs have helped you in two areas.  First, I really want you to understand how important it is to square up your quilt with every step, and if you’re making large blocks, it’s crucial to make sure your fabric is on-grain.  These minor actions play a major role in making sure your quilt will lie flat or hang straight.  Second, I hope the blogs have demonstrated squaring up isn’t a horribly scary process.  As long as you have a good ruler, cutting mat, and sharp rotary cutter, you’re good to go.

Until next week, Make Your Quilt Yours!

Love and Stitches,

Sherri

Have you ever viewed a quilt which looked like this?

It’s a really nice quilt, and the maker may have spent a lot of time thinking about design and color and techniques.  But there’s just something off about the quilt.  You may not be able to put your finger on exactly what it is, but something is off.  So, you wonder is it you, or is it something else?

Well, if you looked at the quilt above and thought those thoughts, it’s not you.   It’s the quilt.  Even though a quilt may be perfectly pieced or appliqued beautifully, there’s still something wrong.  It doesn’t hang straight.  It may look a bit wavy.  It simply doesn’t look right, but you can’t figure out exactly what’s wrong with it.  There are technically a couple of things which could be happening here, either independently or in conjunction with each other – off grainlines and/or poor squaring up.

As I’ve stated many times before, fabric has three grainlines:  crosswise (also known as width of fabric or WOF), length wise (known as length of fabric or LOF), and bias – which cuts across both the crosswise and length wise grains.  For my quilters out there who are also garment makers, you are probably familiar with these terms.  Generally, if quilters are cutting fabrics in strips in preparation to sub-cut it into units, the strip is cut across the width of the fabric.  And here is where the first issue may crop up.

Quilter’s cottons (or any other 100 percent cotton fabric for that matter) are woven.  This means the threads or yarns are placed perpendicular to each other and are attached by weaving, to make up the warp and weft of the fabric.  Once the fabric is completely woven, it’s processed, finished, folded, and wrapped around a bolt.  During these processes, the threads can shift, causing it to lose its perpendicularity. 

Now the fabric is off grain.  And to be honest, most fabric is off grain by the time it’s rolled off the bolt to be cut.  If you’re making a garment, cutting fabric strips to be sub-cut, or cutting out large quilt blocks as either setting blocks or applique backgrounds, it’s important to put the fabric back on-grain.  This is not a difficult process at all.  Simply make a small cut across the selvedge, about an inch in from the side:

And rip the fabric from selvedge to selvedge. 

Then re-fold the fabric to make your crosswise (WOF) cuts, making sure to line up the torn edges.  Now you’re ready to rock and roll.

At this point, let me throw in a Zone of Truth.  If you’re cutting small fabric pieces to go into block units, it honestly doesn’t matter if the fabric is on-grain or not.  By the time you get those pieced and quilted, no one should be able to tell if you’ve corrected the grain line or not.  However, the larger the fabric pieces, the easier to tell if they’re off-grain.  Even when they’re quilted, they will want to ripple and not lie flat.  My general rule of thumb is if I am cutting strips or blocks 3-inches or larger, I make sure my fabric is put on-grain. 

Now let’s talk about what may be the second issue which could be wrong with the quilt at the top of this blog:  Improper or absent square-up.  What is square-up? In broad terms, squaring up a quilt pertains to the quilt sandwich – it’s a step taken after the quilt is quilted and before the binding is sewn on.  The process makes sure the four corners are at a perfect 90-degree angles.  However, like I said, this is a broad definition.  Personally, I think a quilt should be squared up at every step during construction.  Let me explain.

To me, squaring up a quilt begins as soon as you have the quilt pattern in hand.  The very first thing I encourage any quilter at any level to do is read the pattern twice before purchasing fabric or making the first cut.  The first read-through is to get you acquainted with the process the designer took.  And now here’s a Zone of Truth about fabric designers:  Some of them are really great.  Some of them are not.  Don’t be fooled by a pretty cover.  Take that pattern out and read it.  As you read it, look for certain aspects:

1.  Pictures, illustrations, or line drawings – Quilting is a visual art.  Sometimes a picture can be far more helpful than words.
2. The cover picture is clear – While I may not choose the color way the designer chose, the cover picture has enough clarity I can take a picture of it with my cell phone and flip it to black and white so I can see how many lights, mediums, and darks I need.
3. It indicates in some way if it’s a beginners, intermediate, or advanced quilting pattern.
4. If it’s an applique pattern, it tells you if the applique pattern pieces are reversed or you need to reverse them with a light box.
5. The designer has listed his or her website.  This is important.  Go to the website and see if the designer has updated the pattern.  No matter how hard designers try (and the vast majority of them try really hard) not to make mistakes, mistakes do happen.  Good pattern designers usually have a place on their website where they list the pattern, any mistakes, and the corrections.  If you cannot find a corrections tab on the designer’s website, Google the pattern.  If nothing about the pattern is returned but the images of the designer’s quilt and their site, you may want to rethink making the quilt.  This usually means either no one has purchased it, or the directions are so poor no one has attempted it. 
6. The directions allow for a bit of extra fabric in case you make a cutting error.
7. As you are constructing your block units, the pattern supplies you with an unfinished unit measurement.

For me – and I’ve quilted for 35-years at this point – these seven aspects are important.  However, number 7 is super important in the squaring up process.  Let’s say you have to join a half-square triangle to a square.  The HST has an unfinished measurement of 2 ½ inches and the square also has an unfinished measurement of 2 ½-inches.  If the pattern lists this unfinished block unit measurements as 2 ½-inches x 4 ½-inches, you realize once you’ve sewn the HST and square together, the unit should measure 2 ½-inches x 4 ½-inches.  Once the HST and square are joined and pressed, you can measure it.  If it is the correct measurement, you can proceed to join all of these units together, checking as you go to make sure the unfinished measurements stay consistent.

However, if the joined HST and square aren’t 2 ½-inches x 4 ½-inches, you realize you must take steps to correct it.  Seam allowances can be examined to see if they are a true ¼-inch.  You can re-measure the HST and square to make sure they have been cut and trimmed correctly.  In other words, you can correct the tiny mistakes before they become huge quilty issues.  This is why those unfinished block unit measurements are so important. 

But what if the unfinished block unit measurements aren’t in your pattern?  Don’t worry.  You can figure out those measurements on your own.  For instance, let’s take a look at this block:

This is the Greek Square block, and it’s made up of HSTs and squares which are pieced from two rectangles.  The finished block is 6-inches, which means each HST and pieced square should finish at 2-inches (2 + 2 + 2 = 6).  Unfinished means you simply add ½-inch for the seam allowances.  So as you’re piecing each HST and square, you want those to be 2 ½-inches, unfinished.  Once they’re joined together in rows, the row should come out to 6 ½-inches (2 ½ + 2 ½ + 2 ½ = 7 ½.  Then subtract two ½-seam allowances for the middle block:  7 ½ – 1 = 6 ½.  Once the square is set into rows, that extra ½-inch seam allowance will go away and the block will finish at 6-inches). 

Figuring out the unfinished measurements isn’t hard, and it’s important to do if the pattern doesn’t supply them.  While all of this may seem like intense (and even unnecessary) attention to detail, it’s these actions which are the first “squaring up” of the quilt.  You make sure the block units are the correct size.  If they’re not, you adjust cutting, seam allowance, or even the thread (by switching to a different weight or ply) to make sure the units come out at the correct unfinished size.

Once the units are made, join them together to make the block.  Because of all the care put into the units, the block should come out at its correct unfinished size.  However, it’s still necessary to measure the blocks to be sure.  I make several blocks and then spend some quality time at my cutting mat, measuring and trimming (if needed).  This is the second “squaring up.”

Now let’s talk sashing.  Sashing is the strips of fabric you put between the blocks and between the rows.  It has lots of design possibilities.  Sashing can be pieced or appliqued.  Wide sashing opens up lots of quilting opportunities.  It adds width and length to a quilt.  However, if used correctly, sashing can also be a great squaring up tool.  I learned this little trick when constructing my Dear Jane.  As you’re cutting your quilt out, also cut the vertical sashing to the size required by the quilt pattern.  After you’ve constructed your block, sew a sashing piece to the right side of the block.  If the sashing and the block are the same size – whoop whoop!  Your block is squared up, and the sashing is the right size.  If one is off, re-measure both and make corrections where needed.  This is a great, little square up trick, and it saves time.  Once all your blocks are completed, the sashing is already sewn on and you’re ready to sew the blocks into rows.

Speaking of rows, now it’s time to sew the sashing between the rows and on the top and bottom of the quilt (if required).  It’s important to make sure all the rows are the same length.  There’s a couple of ways to do this.  If the pattern doesn’t have any borders, you can check and see what the finished width of the quilt is and add ½-inch.  If your rows measure this, you’re golden.  If the pattern has borders, you can subtract the combined border finished width from the width of the finished quilt and add ½ inch.  All the rows should come pretty close to this width.  If you’re off a smidge (1/4-inch or less), don’t sweat it.  This amount can be worked around. 

Once you’re sure your rows are approximately the same length, now it’s time to make your horizontal sashing to go between the rows.  If it’s a solid piece of fabric, cut the  fabric strip across the WOF (joining pieces if necessary) to fit the measurement of the row width.  Find the center of the row of blocks and the center of the horizontal sashing and pin the two centers together.  Then pin out from the center for the left and right sides.  If you’ve measured, cut, and joined correctly (if needed), the horizontal sashing should be easy to pin into place. 

Sometimes the sashing looks like this:

Those small squares which fall beneath the sashing are called cornerstones.  And while this may look a tad intimidating to construct, it’s really not.  Here’s how it goes:

1.  Cut the strips of horizontal sashing the finished width of the block, plus ½-inch for the seam allowances.  So, if the finished width of your block is 8-inches, you’d cut the strips at 8 ½-inches.
2. Cut the cornerstones the same size as the finished width of the vertical sashing, plus ½-inch.
3. Sew the cornerstones to the horizontal sashing strips. 
4. Sew the horizontal sashing to the rows, matching and nesting the cornerstone seams with the vertical sashing. 

If block units, blocks, and all the sashing were squared up, once the quilt center is assembled, it should automatically be squared-up, too, right?  Is there a need for additional squaring up at this point?

Tune in next week to find out the answer to this and other burning quilty questions….

Until Next Week, Make Your Quilt Yours!

Love and Stitches,

Sherri