There’s No Business Like Show Business…



I don’t know how many of my readers are old enough to remember those old Judy Garland and Mickey Rooney movies – the ones where Judy and Mickey always find themselves in a bit of a pickle and the answer to their dilemma was putting on a show.  This decision invariably led to the next thirty minutes of great music that showcased their dancing skills and left the viewer feeling entertained and remotely better about life in general.

It’s kind of like that in guild life.  Every couple of years or so, some guilds find themselves replenishing their coffers by putting on a quilt and vendor show.  My local guild is no different and this year it was my turn to head things up and I’ll never do that again.  It’s a job that requires pulling together a lot of people and muscle and organizing a lot of committees.  Then you kind of toss it up in the air like a pizza crust and hope for the best and pray it doesn’t land on your face or you fall flat on another part of your body.  Just sayin’.

Our show was August 12-13, 2017.  However, the planning began a year ahead of that and the show activities began on August 6, as we took in and registered the quilts at Karen’s house.  Lorraine Covington, a local NACQJ judge, presided over the judging on August 7.  This was our first judged quilt show and I really wanted to make it special for all our members who were brave enough to enter their first judged quilt event.  So we held a reception for those members that evening at the church where we meet.

Aren’t the quilts beautiful?  Isn’t this the best set up ever?


See this face right here?  This is Sarah, my friend that is moving to New York to work at Columbia University.  She’s been quilting about three years now.  She just found out she won best handwork and first place in small wall hangings.  I really hate to see her leave this area, but I will always remember this face…

On Friday afternoon, the we begin to set up for the show.


It does truly take a tribe to do a quilt show.  I am incredibly thankful that our guild never disappoints when it comes to volunteering. These folks are the best. We got the gym taped off in record time and then the quilt racks arrived.



And the quilts were hung.


And yes, I did win a ribbon.


After 5 p.m. the vendors began to arrive.  By 9:30, they had, for the most part, set up.  Then we all went home and rested up for the next two days – which are a blur to me at this point.  I had a wonderful time, bought some beautiful stuff, and was dead tired by Sunday night.


So, my guild’s 2017 Reach for the Stars! Quilt Show is now in the history books and on the treasurer’s spread sheet.  Financially, it was a huge success.  Guild-wise, everyone worked their collective tukuses off and had a great time doing it.  For me, it was wonderful working with the quilts, our members, and our vendors. However, I am glad it’s over and I am more than happy to have more time to quilt again!


Love and Stitches,

Sherri and Sam



The Precious Patchwork Called Life

I celebrate the art of quilting.  This is what this blog is about – quilts, quilting, making the art better and preserving it for the future.  But for right now, I don’t want to talk about quilts.  I want to talk about people.

I have never sold a quilt.  I have made plenty, though.  Some of these are put back for my children and the grand darlings.  Some I give away to local cancer patients, kindergarten kids, and the scouts.  To sell a quilt would hurt my heart.  I pour not only my time and resources into a quilt, but pray over it and the person who will receive it.  It’s as much a ministry as standing behind a pulpit.

The week prior to my guild’s show, my aunt and cousin came up from South Carolina.  The cousin that came was Kemp.  You may remember me writing about him.  He had cancer and I made him a red, white, and blue Disappearing Nine Patch for him to take with him during his chemo treatments.

He’s well now.  He still has to go for maintenance treatments, but he is cancer-free.  That weekend was the first time in a zillion years that my kids, my grand kids, my mother, my aunt, my daughter-in-love and son in-love had gotten together.  For some, it was the very first time they had met.


This folks.  This is what life is about.  Laughter and love and family and the way it is all stitched together in that precious patchwork gift called life.


Besides the show (which went of fine, thanks…pictures to come as soon as WordPress will let me load), this week also marked a time of good-byes in my life.  See this little group here?


This is my tribe.  These are my sisters in every way but blood and shared DNA.  This is the group that decided to form High Point Quilt Guild.  This is the Tuesday Night and Sew.  And we’re losing two very important members.


Sarah is our youngest member, the daughter of Karen.  Sarah is primarily a hand-piecer and a hand-quilter.  Her mother taught her.  And she is moving to Columbia University in a few weeks to work with the graduate students.  She is inspiring.  One of my greatest fears is that we will lose the next generation as quilters.  She gives me hope that my fears are unfounded.


The other person we will lose is my partner-in-crime, Shelle.  We have gotten into more trouble together than I will ever admit.  Quilt shop trips, Pigeon Forge Quilt Fest, Guild Meetings…she, Janet, and I have always been there together.  She has been a force to be reckoned with in the guild and has helped me tremendously with my long arm.  If I had screwed something up royally, I could always hear her voice in my head “Don’t worry about that, honey.  It will quilt out.”


I’m going to miss that.


She’s moving back to Minnesota.  Her children and grandchildren are in that area and I certainly cannot blame her for wanting to get back home to family.


I will miss both of these ladies tremendously and right now I  am exceedingly thankful for Skype, texting, cell phones, airplanes, and Amtrak. Distance cannot break the Sisterhood of Stitches.


So right now, I am thankful the show went so well (pictures to come, I promise).  And I am sad that two of my friends won’t be so near-by anymore.  But more than anything, I am grateful for quilters and the quilts they make and the love and friendships that stitch us all together in this crazy quilt called life.


Love and Stitches,

Sherri and Sam



Running on Empty….


Oy-vey, what a week.


My guild’s show is next weekend.  Have I mentioned that I’m the show chair?  Because if I haven’t mentioned it before, let me inform you now:  I am the High Point Quilt Guild’s Show Chair.  This little event has been percolating in my brain kicking my butt for the last 18 months.  It has taken over my kitchen, quilt studio, entry way, and back hatch of my SUV.  Quilt take-in is Sunday at Karen’s house and then the show is August 12-13 at the Hartley Drive YMCA in High Point.  If you’re in the area, please come by.  We have 30 vendors and a boutique that is to die for.


That said, my schedule has been very busy and between the show and getting Mom better and work and having out of town company this weekend, I’ve been running on coffee and adrenalin most of the week.  The past show chair, Shelle, told me it’s kind of like riding a bull.  All the fuss and worry as you strap yourself onto the beast is the prep work.  The day of the show, you just hang on and ride the monster.


It’s been an experience and it’s actually been fun talking with the vendors and other guild presidents who are bringing their guild’s raffle quilts in to sell tickets.  And talking with our judge, Lorraine, has been a blast.  In the middle of all of the hoopla and exhaustion, I got a phone call from a good quilting buddy that doesn’t live in my area.  She was checking in, mainly to see how Mom was doing, and to make sure I hadn’t worked myself into the ground.


“So, how’s it going?” she asked.


“Not bad.  The show is nearly all complete.  Vendors seem happy, guild president is happy, guild members are volunteering…it’s all good,” I replied


“Had your judging yet?”


“Monday, August 7.”


And she snorted. I mean, my friend actually snorted.  “I hope your guild’s quilts are better than my guild’s were.”


I immediately got defensive.  I quilt with a great group of women and their work is awesome. “What do you mean?” I asked.  I knew she could hear the suspicion in my voice.


Now keep in mind this woman is a teacher.  She has taught quilting and piecing for a long, long time and when I was a beginner, she took me under her wing and really mentored me in the art.  So, anything she says, I listen to with almost reverence.  However, this not my first quilting rodeo.  I’ve been doing this for 28 years.  I’ve seen some things and made some quilts.


“What I mean was our quilts were boring,” she replied.


“I’ve seen a lot of quilts,” I replied.  “I’ve made quite a few myself.  I’ve never considered any quilt boring.”


Deep sigh on the other end of my iPhone 7.  “What I mean is, I saw the same quilt pattern over and over again.  And the same fabric lines.  Doesn’t anyone have any imagination anymore?  Where has all our creativity and bravery gone?  I swear if I see one more pattern by _______ in a show, made with the same line of fabric from _____, I think my head will explode. What happened to making up your own pattern and being courageous enough to pick your own fabric?”




What has happened?  Have we lost our imagination to Pinterest and social media?


I haven’t really thought about it before, but my friend may be right.  In the last three quilt shows I’ve attended, I’ve seen the same patterns in different color ways.  And while I do quilt with a several different groups, I’m not sure how many of us go off the beaten path and work from our own imagination and creativity.




May I insert at this time that our grandmothers and great grandmothers often did not use a pattern?  Could we not only be losing our creativity but also sacrificing our heritage?


I want to explore this idea further in the near future, after the show.  In this year of quilting fearlessly, I think we do need to ask ourselves are we dancing to the same band or are we (at times) brave enough to leave the quilting dance floor and try a little yoga?  When I started quilting seriously back in the early 1980’s the rotary cutter was just being introduced in some areas. Most quilt instructions came with templates you had to trace around.  There was no quarter-inch foot for sewing machines.  The internet was still somewhere out there in the future.  And home computers were nowhere to be found.


Yet in many ways, I feel this was when I did my best, most imaginative work.  I had nothing to compare it to and no influence on style or color.  The end product was really mine and not just a carbon-copy of a picture on a pattern.  And while I’m more productive today, I fear I’m not turning out an art that is really my own.


It’s something to think about in the upcoming weeks.


For those of you that have inquired about Mom, we had a doctor’s appointment with the hematologist last Wednesday.  He was very informative and encouraging.  Despite all the tests, he’s not sure why Mom’s body isn’t absorbing iron.  He said sometimes this just happens.  But he did schedule her for iron infusions and the first one was today.  She may not feel the results for several days or it may even take the next infusion to make some difference.  I just know she’s ready to feel better.  Continue to keep her in your thoughts and prayers.


Remember there will not be a blog next week as I will be in the thick of the show’s final details.  I will tell you all about it soon.


Until then…


Love and Stitches,

Sherri and Sam










The Cash in Your Stash



Take a look at your stash.

Go ahead. I’ll wait….

What did you see?  Is there more of one color than another?   Are you missing basics?  Do you know if  you’re missing basics?


Most sewing enthusiasts, regardless of what they like to sew, have some fabric put back for projects, and believe me, quilters are no exception to this rule.  I have quilting friends who have stashes that are literally floor-to-ceiling-come-to-Jesus stashes, and then I have friends whose stash literally fits into one or two drawers.  The first kind of quilter purchases fabric because they like it, it’s on sale, and they don’t mind having material that’s not pre-destined for a project.  This first kind also keeps nearly all the leftover scraps.  The second kind of quilter only buys fabric for a project they’re working on and may keep some of the bigger pieces of leftover material.

I’m somewhere in the middle.   I have a good-sized stash, but it’s manageable.  It all fits neatly (most of the time) in a bookcase and I have a few bolts of fabric stacked beside of it.  A 2014 survey taken by the National Quilting Association, stated that the average quilter has a fabric stash worth $6,000.


Six thousand dollars.  That’s a lot of money to have invested in material. If I’m investing $6,000 of my hard-earned money in anything, I want it to be worth my investment and give me a good return.  I don’t think fabric should be any different.  So what do you buy?

I mentioned earlier in the year, when I was bemoaning the fact that quilt shops seemed to be closing left and right and being eaten up by the internet monster, that we needed to not only buy from our LQS (both on line and store front), but that we also need to carefully cultivate our own stash.  What does that mean and does that make a difference in what you buy?


I have to admit, I’m as big of a sucker as anyone when it comes to a fabric sale.  And when my quilting peeps get together and we visit a quilt store, I know that I am going to purchase some fabric to take home with me.  It’s inevitable.  It’s like going to the grocery store – you know you’re going leave with  toilet paper.  When we go to a quilt shop, I’m going to buy fabric.


There are a few personal guidelines I adhere to:

  • If you see a fabric you absolutely fall in love with, buy five yards. The reason behind this is that once a fabric line is completely sold out with a manufacturer, they will not reprint it unless there is a HUGE (and I mean HUGE) demand for it.  Chances are five yards of that beloved fabric will take you nearly anywhere you need to go with any size quilt.
  • When you buy it, realize you have to manage it. It’s like bringing home a new puppy.  It may be cute and cuddly and has completely won over your heart, but you know you have to train it.  It’s the same way with fabric.  It’s lovely.  You love to pet it.  You have all kinds of ideas about what you want to do with it.  But you have to organize it in such a way that it protects the fabric, allows you to see it, and keeps your work area, well, workable.  And there are tons of ways to do this, but we’re not going there with this blog.
  • If I am buying for a particular quilt pattern, I generally purchase a quarter to half-yard more just in case I make a mistake. Any leftovers I can always add to my stash.
  • Buy quality fabric. It will make the sewing experience easier and your quilt will hold up longer.

Allow me to field some questions here:

If I am serious about making my stash something workable, where do I start?

I am a big proponent of shopping your own stash before making a trip to the store.  And as big of a thrill as I get when I purchase pretty fabric, I am overwhelmingly overjoyed when I find I have everything I need already in my studio.  This is how I go about making sure that I at least have a good backbone stash.

1).  Purchase solids in the primary and tertiary colors.  And this should really be yardage verses fat quarters or pre-cuts.  This is not extravagant spending.  Quilts generally use solids in their layout and most of these solids fall in either the primary and/or tertiary range.

2).  Make sure you have a range of prints in your stash.  Have small enough prints that can read solid from a distance.  Have medium-sized and large prints in there, too.  Nothing screams boring like a quilt made from the same sized prints and the same value-range of fabrics.  Which brings me to my next point…

3).  Make sure you have tints, hues, shades, and saturations of all levels.  These terms were explained in detail in earlier blogs.  Quilts should sing with not only different colors, but also with different saturation levels.  Otherwise it just kind of “grays” out.


Now let’s talk background fabrics.  And I’m talking “traditional” background fabrics – neutrals.  I realize that quilters can literately use any color as a background fabric, (as a matter of fact the last several best of show quilts at the Paducah AQS show had very colorful backgrounds), but let’s stay traditional at this point – whites, creams, ecrus, blacks, grays – if you find these on sale, purchase several yards.  You will always find a use for these fabrics.  And don’t be afraid of using a printed neutral as a background.  White on white, white on ecru, black on gray, etc., make for subtle movement and added interest in a background.  The only caution I would throw out here is be careful if you’re using the background for hand applique.  Often the tone-on-tone prints have a “rubbery” feel to then and are difficult to get a hand sewing needle through.


What about that (ah-hem) questionable fabric on the sale table that has been marked down to $3 a yard?  Should I purchase any of that?


But maybe not yardage.  If you’re purchasing from a quality fabric establishment, the material, no matter how homely it looks, is good fabric.  People just haven’t thought out of the box about that material, so it’s been left to languish in the bargain bin.  If a stack and whack quilt is in your future, and there is fabric there with good repeats, grab it and march yourself to the cash register.  If applique is your thing,  and there is fabric with large flowers or leaves, you may be able to fussy cut some of those for a project.

Never pass a sales table without thinking out of the box.  If it has possibilities, buy a half yard.


I have an established stash.  How do I make sure it’s workable?

It’s no secret that my favorite color is purple.  Therefore, my stash has quite a few purple pieces of all tints, hues, values, and shades in it.  My least favorite color is brown.  Needless to say, I don’t have a lot of brown material.

Your favorite colors will always beckon you from across the room.  Some colors just make you feel happier or more serene than others and you gravitate towards them.  However, you have to look at a stash the same way a painter prepares his paint palate to create a landscape – there has to be a good range of all colors.  Quilts are no different.  So even though you may favor some colors more than others, make sure you have at least some of each to start with.

The color I have the most difficulty with?  Green.  Not because I don’t like it, I just never seem to have just the right green.  I think it’s a calculated ploy to make me have to buy more fabric.


What about precuts?  Should I have them?  And if so, how many?

To me, precuts are a personal decision.  If you’re working with a pattern that calls for 2 ½-inch strips, it makes the most sense to try to find a jelly roll that will work for you.  And there are tons of wonderful layer cakes.  The pre-cuts I work most with are fat quarters – they’re just the most versatile.

But all of the precuts can be limiting.  There are patterns out there just for them, but with yardage you can make any pattern.  So I do not tend to have a great deal of precuts in my stash, with the exception of fat quarters.  I really have to love them or find them on sale before I purchase them.  And that is a very personal, creative decision.  Folks feel differently about them and that’s fine.

I carry one of these with me when I shop.


If I find a fabric I want to use in a quilt, this does give some idea about how much to buy.

I hope this helps someone with their purchasing habits.  A fabric stash is an investment.  Purchase wisely and use it well.


Love and Stitches,


Sherri and Sam



Pinterest will be My Downfall….

This is one of those weeks where I didn’t get a lot of work done on my own things, but did get a lot of work completed for my little quilting world.  I’ve been so terribly busy with organizing my guild’s quilt and vendor show that I’ve had little time to devote to my quilting or piecing.  I’m thankful to say that most of the work is now complete.  I have to finalize the vendor layout, make the welcome packets, and print the quilt tags.  After that, it’s pretty much just wait until quilt take in day.




While I don’t mind working for my guild, I can honestly say I will be happy when the show is over and I have this off my shoulders.  This is the first time my guild has done a two-day show as well as a judged show, so the logistics on this one has been a little different and I’ve been scared to death that I’m going to forget something.  By nature I’m a list maker, so I have about half a dozen lists and then a list of my lists so I don’t forget anything.


However, the time and my circumstances have limited my sewing time.  I hope I can make up for the lost progress this weekend.  The next two days are ripe for some sewing progress.


I have come across a couple of really neat patterns and ideas this week that I want to share with you.  The first one came up on my Pinterest feed on Thursday.  It’s the Affairs of the Heart by Aie Rossman (her first name is pronounced like a long A).

Affairs of the heart quilt

I must ask, what’s not to love about this applique quilt?  Something about bright batiks shimmering against a deep, rich, black background just thrills me.  It catches my eye and my imagination.  So, when Pinterest threw it up on my feed, it took me all of 10 seconds to decide I had to get the book.  For those folks that have an embroidery machine, you can get the program to use your machine to sew on the pieces.  Personally, I’m going to go through all my batik scraps, pull from them, and do freezer paper applique.


The second pattern that Pinterest had on my feed was this:

Vine and berries table runner

It’s the Vine and Berries table runner by Edyta Sitar.  I’ve been on the lookout for a small table runner for my kitchen table and fell in love with this the minute I saw it.  I really need to stay off Pinterest for another six weeks.


The third pattern that I ordered was one by a designer I’ve never heard of before – Ardie Skyjod. The pattern is Ardie’s Friendship Star.

Ardie's Frienship Star

The Friendship Stars are made of tiny half-square triangles.  Thankfully, these can be paper pieced, so all those tiny bias edges won’t drive me nuts.  I love the beautiful simplicity of this quilt and want to make it in blues, although it would be a great stash buster.


Anyway, as soon as the show is over, I have some new projects on the table as soon as the last bits of the three present ones are finished.  I have competed the flying geese curves for my Halo Medallion and am setting those in the Drunkard’s Path blocks.  I hope to complete those tonight and then work some more on Santa’s Loading Dock.


While my summer has slowed down with teaching, this fall is gearing up to be busy.  I will be teaching a hand applique group this fall that will cover several types of techniques.  I’m looking forward to that.  And there are three retreats on my schedule – always a good time!


For those of you that have asked about Mom, she is slowly recovering and feeling better.  We have an appointment with a hematologist on Wednesday to see if we can’t get her hemoglobin count boosted a little faster.  She’s tired of being tired, and is ready to get back to teaching her classes.  Please continue to keep her in your thoughts and prayers.


There will be one more blog in July and another the first week of August.  The week of August  7th, there will be no blog as that is the week of the High Point Quilt Guild’s 2017 Reach for the Stars! Quilt Show.  If you’re in the area, the show is at the Hartley Drive YMCA on Saturday, August 12 from 9-5 and Sunday, August 13 from 10-4.  Please come by and visit us!

2017 raffle quilt

This is the HPQG 2017 Raffle Quilt

Until next week, quilt fearlessly!


Love and Stitches,


Sherri and Sam



Put a Label On It, Too!

So, your quilt is finished…it’s quilted and it’s bound and maybe you’ve even put a sleeve on it.  It’s ready to give away, display, or put on a bed.  You’re done.  Kaput.  Completely finished and ready to start on a new project, right?


Is there a label on it? If there isn’t, then no… you’re not done.  Every quilt you make deserves a label.


I’m a stickler about labels.  I don’t care if your label is fancy or plain, for heaven’s sake put a label on that thing.  Why?  Ask yourself where your quilt will be in 10, 20, or even 50 years.  I’ve purchased quilts from antique stores, thrift stores, estate sales, etc., that have spoken deeply to me and I have no idea who made them and where they came from.  And while they have a caring home with me, I would love to know the history of these beautiful things.  I’ve made each of my children several quilts and both of the granddarlings.  In 50 years, if the quilts hold up, I really want my future generation to know that I made them, the name of the pattern, who quilted it, why I made it, where I made it, and any other esoteric information that I think would be important.


Quilters that have access to an embroidery machine can make beautiful labels with that equipment.  I don’t have an embroidery machine, but I have found that I can create labels that are elaborate or to-the-point with some fabric, freezer paper, and an ink jet printer.  The printer needs to be an ink jet due to the fact you’re going to run freezer paper through it.  The wax on the freezer paper will melt and make a huge mess in an laser printer.  I will walk you through this process, but right now let’s consider what should go on that label.

The name of the quilt – name your quilt just like you name your children or your pet.  Sometimes this is simply the name of pattern.  Sometimes it’s not.  It may be something you derive from the fabric line, a specific time in your life, and idea…it varies. But after spending weeks and weeks with the quilt, please do give the thing a name.

The name of the quilt maker – that would be you and anyone who helped you pieced the top.

The name of the person who quilted the quilt – I’ve always thought this got short shrift with quilters who didn’t quilt their own quilt and it’s not fair to the long arm, mid arm, or domestic machine goddess who performs this art.  If you did quilt the quilt, then when you list your name as the quilt maker you can phrase that something like “Pieced and Quilted By______.”  If you didn’t quilt your own quilt, add another line to the label and state who quilted it.  In the future, I know quilt historians will be tracking quilting as much as they track piecing for individual styles.

The city and state where you made the quilt

The year and month the quilt was completed and what (if any) occasion it made for

That’s the minimal you want on the label.  You also may want to add a favorite quote or Bible verse or anything else you think is important concerning this quilt.  Several of my quilts are inspired by songs, so I also put the song title, date it was released, and the artists involved.  Tula Pink does something really wonderful with her labels.  She will add the average cost of an everyday item (such as a loaf of bread) on the label to give some historical perspective.  I think this is such a cool idea!


So how do you go about making the ink jet labels?  It’s really simple.  I use a word processing program (Word) to make my labels.  I open a blank document and then set my page size to the size I want my labels.  Then I chose my font and the size I want it.  It’s good to bold face the type so that it can be easily seen.  You may want to get a little fancy and drop in some clip art. I play around with this until I get what I want.  Then I print it out on plain paper so I can see how it will look and hold it underneath the fabric I’m using for the label to get an idea of how will it will show up.

Sometimes I get really fancy….


Let’s park it here for just a minute and talk about the fabric for the label.  I’ve used scraps left over from my quilt, Moda white fabric, Kona white fabric, and other fabric brands.  I can honestly say the type of fabric I’ve had the best luck with is quilting quality white muslin.  It goes through the printer easier and has had few mishaps.  Whatever fabric you do chose to use, be sure to wash it and get the finish out of it.  The chemicals that are used to finish the fabric before it’s shipped can impair the ink adhering to the material.


Once you’re satisfied with the way your label looks on paper, then it’s time to get it on the fabric.  The freezer paper that works best is the 8 ½-inch by 11 inch kind that can easily go through the ink jet bed.  Cut the label fabric a little wider than 8 1/2 inches and then cut it to fit the paper exactly.  It doesn’t have to be 11-inches long, but I’ve found that if you cut your fabric smaller than the width of the freezer paper, it may peel slightly off during the process and jam your printer.  Press the fabric free of wrinkles and then press it firmly onto the shiny side of your freezer paper.  Load the freezer paper into your printer so that it will print on the fabric side.



After the label has printed, it’s very important to heat set the ink.  Peel the label off the freezer paper and use a dry, hot iron to press the label. If you think that the quilt will be washed a lot or you’ve used colored ink, you will want to use a product called Bubble Ink Jet Set to prevent the ink from fading and/or running.


Now trim the label to the size you need it and technically you’re finished with the label.  You can press the edges under ¼-inch and then slip stitch it to the back of our quilt.  However, this is the point where a lot of quilters get creative.  The will use an orphan block and insert the label in the middle of that.  They will use applique on the label that repeats and idea on the front of the quilt.  The sky is the limit here and I’ve seen labels that are just as pretty as the top and the quilting.  It can be whatever you want it to be – just let your creativity, imagination, and time schedule be your guide.


My favorite thing to do with labels is to take the left over bias binding I used on my quilt and sew it on the label to frame it.


Do allow me to add this consideration.  The above process was outlined with the idea that the label is the last thing you’ve put on your quilt.  The quilt is already quilted and the label is hand stitched on the back.

If you want to ensure that the label does not ever come off, add the label to the back and then quilt the quilt.  The label will never come off if you handle it this way.


Give this method a try.  Just for heaven’s sake…put a label on it!


Love and Stitches,


Sherri and Sam







If You Like It, Then You Need to Put a Sleeve on It….

I am in quilt show mode…


My guild’s bi-annual quilt and vendor show is August 12 – 13, 2017.  I’m not only busy with vendors and layouts and quilt in-take issues, but I’m also working like a mad woman with my own quilts.  They are finished, but if you’ve planned to put a quilt in a show, there are a few additional steps you must make sure you’ve completed.  The label is a given, but you must always attach a sleeve to the quilt so that it can be hung on a quilt rack.  The exception to the sleeve may be a miniature quilt, home dec items, and quilted wearables. Just be sure to read the rules on entry procedures carefully.


I had three quilts that needed sleeves, and I couldn’t help but wonder how many quilters actually knew how to make a show-ready sleeve.  So, here’s how I do it.  The directions aren’t mine, but are based on Libby Lehman’s 1992 instructions.  These sleeves are the type that AQS require for its shows and it’s the type that fit most quilt racks – a 4-inch deep pocket.


First of all, measure the width of the top of your quilt and cut a piece of fabric 9-inches by the width measurement.  I use quilting muslin for this.  It works wonderfully.



Fold the 9-inch ends under twice.  I generally just eye ball this measurement and try to make the folds a half-inch. Press and sew close to the folded end.



Fold the sleeve in half lengthwise, wrong sides together, and press.  This press line will serve as a guide.


Open the sleeve and fold the edges to the middle and press again, wrong sides together.  Press firmly (I also use a little spray starch at this point).  These new fold lines will serve as your hand sewing guides.

Now take the sleeve to your machine and with the wrong sides together, sew a ¼-inch lengthwise seam.  Begin the seam about a half-inch from the end and backstitch.  Continue sewing the length of the seam, stopping about a half-inch from the other end and backstitching again.


Take the sleeve back to the ironing board and carefully press the seam to one side.  Be very, very careful not to press over the previously pressed edges that are your hand sewing guides.  The sleeve will be convex on the side without the seam and this is how it should be.  If it were flat, the horizontal quilt rack rod would not fit in correctly and your quilt would hang catawampus.



Pin the sleeve along the pressed edges to the quilt back.  The top of the sleeve should be about a half-inch from the top of the quilt – this usually hits just below the binding.  Hand sew both sides of the sleeve down, just be careful not to stitch through the front.


And there you go. A nice sleeve for your show-bound quilt or any quilt you’d like to hang on a wall.  Since the sleeve is hand sewn, it can easily be removed after a show without damaging your quilt.  It’s also a good idea, if you’re making a quilt you anticipate entering in a show, to go ahead and put the sleeve on it as you are binding the quilt.  It will just save you time in the long run.


Have a great weekend and quilt fearlessly!


Love and Stitches,

Sherri and Sam




Tip Toe Through the Tulips….

Tulip Needles text

I am always excited when I find a new product that makes my sewing life a little easier.  And I discovered a new needle a few months ago that really has helped my hand sewing — Tulip Needles.  While this is not a new product in the needle market, it is a new product to me and I’ve only just begun to see these needles in some local quilt shops.


Tulip needles (also called Hiroshima Needles), have been manufactured for almost 300 years in Japan.  Originally produced for the Samurai’s piecework, they were made from the tatara (iron sand) in the Kake region.  I’m sure all of that is very interesting, but I know you’re now asking what makes this needle so much better than any other needle in your sewing box?


First of all, in the manufacturing process, needles must be polished.  The Tulip Needles are polished lengthwise. This means that they will glide through fabric easier – the needle, thread, and fabric are moving in the same direction.  If a needle is polished cross-wise, there will be additional pull when moving the needle and the thread through the fabric.  You may not feel this pull initially, but your hand and fingers will tire from it.  That lengthwise polish on the Tulip will add some additional time to your hand sewing without the fatigue that may set in earlier with another needle brand.


The eyes of these needles are also larger.  This means, depending on your eyesight, you may not need a needle threader.  And the eyes are polished both inside and out so the chances of your thread snagging in the eye are few.


These needles are flexible; however, they are thicker than other needle brands.  This is the part that took me the longest to get used to.  I’ve always used a thinner brand of needle, so this took a while for me to adapt to.  But those thinner needles were prone to bending after a while.  I don’t find this to be true with the Tulips.  They are flexible and the points are sharp, again due to Tulip’s polishing process.


In short, I am in love with these needles.


There are a couple of drawbacks to them.  They can be difficult to find in local quilt shops.  I have found that Find X Designs in Sanford carries a wide selection (and they have a brick and mortar shop on Carthage Street in Sanford and a web page for ordering on line, too).  They are a little more costly than the John James or Clover brands.  Six Tulip needles ran me $8.50 plus tax.  They do come in tiny tubes with stoppers so they are easy to keep up with.


If you hand applique or hand piece, you may want to give these needles a try the next time you need to replenish your supply.


I apologize that there was not a blog last week.  Life has a way of happening sometimes and situations are snatched from your control.  My mom was hospitalized last week.  There were a lot of sleepless nights spent at Wesley Long, but the doctors have diagnosed what was wrong and thankfully, thankfully, thankfully it was nothing too serious.  She’s back home and I’m back home and we’re both trying to get caught up on our sleep (because no one really sleeps in the hospital).  Please keep her in your thoughts and prayers.  She will be fine, but it’s going to take some time.


I took my hexies with me to work on while sitting with her.  And Mom has decided she wants to give them a try.  So, this afternoon I am getting out my Cindy Blackberg stamps and making her a hexie package to send to her.  Another hand piecing convert! And yes, there is a pack of Tulip Needles in that box!


Keep Quilting Fearlessly!


Love and Stitches,

Sherri and Sam



In a Bind…

The binding and the quilt label are two of the last tasks to be completed on a quilt. And at this point, it’s easy to let these two items slide into the “Oh-my-God-is-this-quilt-EVER-going-to-be-done” category and rush through them.


Let me encourage you not to do this.  The borders, binding, and labels are the punctuation in your quilt sentence.  They are the very last statement you can make about your quilt and they should be given same care and workmanship that the piecing and applique are given.  Borders will be addressed in the near future, but since I’m binding three quilts right now, I want to explain how I do my binding in the hopes that it may take away any fear you have about the process.  I’m pretty old-school when it comes to some areas of quilting and binding is one of them.  I like my binding to be dark, as it takes the most wear and tear on a quilt.  It’s one of the first things to disintegrate on an older quilt and the first thing that’s going to show dirt on a newer one.  I like my quilts bound with a double-fold and I like them done by hand.  I also like them cut on the length-wise of the grain instead of the cross-wise grain.


When planning this step, the quilt and the binding must be given equal consideration.  The binding will go around the perimeter of the quilt.  It should harmonize with the top and serve as the last “frame” of your quilt.  Generally speaking, I cut my binding out when I’m cutting everything else out for my quilt.  The pattern gives the size of the finished quilt and often even the number of strips needed for binding the quilt.  So, let’s pick the process up at this point.


The reason I cut my binding out at the very beginning is so that it’s done and ready for me at the end.  For me it interrupts the work flow if I have to get up from my machine and do more cutting and then sew it together.  If it’s already cut and waiting in my project box for me, all I have to do is pick it up, sew the strips together, and then begin the binding process.


I also cut both my binding and borders on the length-wise grain (running parallel with the selvedge).  The length-wise grain is less stretchy and more stable.  If borders and binding are cut along the length of the grain, they won’t ripple.  It also helps stabilize the center of the quilt.  If your quilt is show-bound, it’s even more important to make your binding this way.  I’ve worked with two quilt judges over the last couple of years and the first thing both of them did was run their hands and fingers over the binding to make sure it was full and that the binding wasn’t “bumpy” where the strips were joined.  If the binding is cut on the length of the grain, the strips are longer, so there are fewer of them, and therefore less chance of “bumpiness.”

Ideally, the quilter should buy enough yardage to cut one continuous strip of binding with no seam – especially if the quilt is headed towards a national show.  This can be expensive, but I do know a couple of quilters who do this religiously, no matter where the quilt is going.  The way they absorb this extra expense is that their binding is always a basic, solid color —  black, blue, dark brown, dark gray, etc.  They buy seven or eight yards, designate it for binding use only, and can get several quilts bound out of each color.


So how do you determine how much binding you need?  As stated before, the binding has to cover the perimeter of the quilt, so add the measurement of all four sides together to get the amount needed.  Add 15-20  inches to this to compensate for turning corners, and then a little more if you plan to use left-over binding as a border around the quilt label.  How wide should you cut it?  Well…that depends.

Typically, binding is cut 2 ¼-inches wide.  That’s the “look” of today’s quilts.  Binding width changes from time to time and from quilt type to quilt type.  For instance, if a quilter is making a “historically accurate” Amish quilt, she or he may want to cut that binding a little wider, as older Amish quilts did have wide binding.  If the quilt has two batts in it, then you may want to cut the binding somewhere between 2 ¼ and 2 ½-inches.  One of my show-bound quilts is an applique quilt that has two batts—a wool batt next to the top and a cotton batt under that (the added wool batt makes the applique look as if it’s trapuntoed).  It was dubbed “the beast” by my long-arm artist because the batts made it so heavy.  Because there were two batts, and one of them was wool, I cut that binding at almost 2 ½-inches to make sure it would be wide enough to cover the edges.  Remember, the binding’s job is to cover the raw edges of the top, batting, and backing completely, so it must be wide enough to accurately do this.  If for some reason 100% polyester batting is used, the binding may have to be cut less than 2 ¼-inches because those battings are thinner.


Cut the strips the desired width and sew them together on an angle.  Angled seams distribute the bulk better than vertical seams and are less “bumpy.”  I lay one strip on my machine bed at a 180-degree angle and then position the second strip on top, right sides together, at a 90-degree angle and sew from top left corner to lower right corner.

Do this until all the strips are sewn together.  Then trim the seams to ¼-inch and press open.



Then press the sewn strip in half, wrong sides together.  This is a double-fold binding strip.



Now let’s give the quilt top some consideration.  Once the top is quilted, the batting and back are still extended beyond the top’s edges.  It will all have to be trimmed off before the binding can go on.  The one thing that you don’t want to do is to trim the back and batting even with the top.  Trim it between 1/8-1/4 of an inch beyond the top.  This extra will make sure that the binding is fully filled and there are no empty spots in it.


The next decision to tackle is thread.  The thread should match the binding.  In this case, I have a pretty blue fabric that I’m using for the binding, but it’s difficult to match.  I had to fall back on a neutral mid-tone gray for this one.  The back of my quilt is white.  At this point, it would be really easy to determine I need a gray thread on top, to match the binding and a white thread in the bobbin to match my back.


Nope.  Not in my quilting world.


In fact, I deliberately use a bobbin thread that contrasts with the back of my quilt back.  I know that doesn’t seem to make any sense, but trust me, I’ll show you why in a few paragraphs.  So, I also wound my bobbin with the gray thread I used on top of my sewing machine.  And I used my dual-feed walking foot.  This allows the quilt top, with all its bulk, to feed evenly through the machine and allows the binding to be sewn on easily and without rippling.


Now let’s start the sewing-on-the-binding step.  Avoid beginning to sew at a corner.  My binding method (and most binding methods) are difficult to accurately perform if the binding strip is started at a corner.  Begin about midway down one side and line the raw edge of the binding strip up with the raw edge of the quilt top – not the edge of the batting and backing that is cut 1/8-1/4-inch larger than the quilt top.


Open the binding strip up so that it lies flat.


Turn the left side over to form a 45-degree angle.


Take a few stitches and stop with the needle down position.  In fact, if your sewing machine has the needle-down function, you will want to use it while sewing on the binding.  Believe me, it makes life a little easier.


With the needle still in the down position, raise the presser foot and fold the binding back to its original position, lining up the raw edges of the binding neatly with the raw edges of the quilt top.  This process causes a “pocket” to form and that’s what you want it to do.


Continue sewing until you get to ¼-inch away from the edge.  Tie off.


Flip the binding up, so that it forms a 90-degree angle with the binding you’ve just sewn down.


Fold it back down, so that the fold is even with the raw edge of the sewn binding.


Begin sewing again ¼-inch down from the top of the fold.  This should line up with the previously sewing binding.

Repeat this process for all three sides of your quilt.  Begin the fourth side this way also, but you’re going to run into your binding pocket that you made at the beginning on this last side.  When you get to this point, tie off, and cut the remaining binding off, but leave about a six-inch tail. 


Now you’re going to tuck that remaining binding tail into the binding pocket.

As you’re working through this process and making it your own, you may find a shorter binding tail works best.  I always cut mine about six inches to see how it’s going to fit in the pocket and then begin to trim it.  It’s always easier to make that tail shorter than to wish you had left it longer!  I use a chop stick to push my binding tail into the pocket.  You may need to work with it a bit to get it to lie smoothly.  When the tail is tucked in all nice and neat, sew the remainder of the binding to the quilt (usually this is a small gap of only a few stitches).

Take the quilt to the ironing board and press the binding out.


Flip your quilt over and look at the back to make sure there are no puckers.  Notice on mine how nicely that dark gray thread shows up.  Now I will tell you why I use a contrasting thread on the back of my quilt…


When I turn my binding to the back to slip stitch it down, the contrasting thread serves as a sewing guide.  If the folded edge of my binding meets that gray thread, I know that it’s being sewn on straight.



And look how full my binding is!  That extra batting and back I left around the edge makes sure that every spot of my binding is full and pretty.


Because of the way the binding was sewn, the corners will miter nicely, fully and easily. And don’t forget to put a few slip stitches in the corners of the miters.

This is the way I bind at least 98 percent of my quilts.  As with everything, there are exceptions.

First, if you are binding a quilt with scalloped borders, disregard everything in this blog.  Those a specialty bindings that have to be cut on the bias and may have to be cut smaller than 2 ¼-inch wide.  That’s a whole different blog.

Second, if you have a directional print, such as a stripe, a check, a plaid, or polka-dots, you may want to disregard this blog.  You may opt for cutting them on the bias for a different effect, or cutting directionally so that it looks uniform.  That’s a different blog, too.


Third, even though I much prefer a hand-sewn binding on most things, I don’t always do that, either.  If I’m making a quilt for a baby or child that’s not an heirloom – you know, one that is probably going to be literally loved to pieces – I’m putting that binding on by machine because that little quilt is surely going to be seeing the inside of a washing machine a lot.  I also do machine binding if I’m making a quilt for a cancer patient or some other charity organization.  Those quilts will be laundered a lot.


One of the great things about this method is that other than measuring the perimeter of the quilt and figuring out how much binding is needed, there is no math.  I have found, in the many years I have taught quilting, that most quilters tolerate math pretty well.  They’re formulating how much fabric to buy, how many pieces to cut, and in some cases, altering the pattern to fit their vision.  But when the project is almost over and they have to deal with more math with the binding, it’s easy to just tuck that project away and promise yourself that you’ll deal with it in a week or two.  With this method, the binding is cut and waiting for you and you don’t have to drag out your calculator.


Until next week, Quilt Fearlessly my friends…


Love and Stitches,

Sherri and Sam


Sir Sam, Chief Binding Inspector


Obligatory “What I Did on My Summer Vacation” Blog

I’m back from the beautiful North Carolina coast, rested and ready to get back at life.

We ate lots of good food…


We had a wonderful time last week with our family.

And had a wonderful view…

It was so nice to sit on the back deck every morning, have my coffee there, and read for a while.  I miss it a great deal.

One of the highlights for me with this trip was taking a ferry ride out to Lookout Lighthouse.  I love light houses and North Carolina has a rich history of them. My state is called the Graveyard of the Atlantic for a good reason:  there are literally thousands of shipwrecks along our coast. (  Due to that reason, my state also has quite a few wonderful, old lighthouses.  Lookout was pretty with its black and white diamonds.

The lighthouse keeper’s house was under renovation, so we couldn’t see the interior.  There were a couple of outbuildings that we couldn’t get into either, due to the same renovation and preservation process.


These Blanket Flowers were everywhere.  I love the colors – they’d look wonderful in a quilt.

Lots if inspiration everywhere…

I also got a good bit of reading done.  I’m re-reading Jeannie Sullivan’s book on applique.  If you love to applique and this book is not in your library, go  to Amazon right now and buy it.  It also has a CD with it that has Jeannie’s beautiful patterns on it.


What did I get done while on vacation?  I did get these hexie blocks completed.


I have a plan underway to work on this quilt in the near future:


I still need to purchase enough background fabric to make the white hexies and I have to make a decision on the color of the connector diamonds.


I am really busy with quilts – I promise.  However, I can’t put them on my blog yet because they are show-bound for the month of August.  After our guild’s show August 12-13, I will post pictures of them.  I’m binding like a mad woman and will (hopefully) have a binding tutorial up in the next week or two with my binding method.


My niece and my daughter took good care of Sam while I was gone, but he did miss me and hasn’t let me out of sight very often since I returned.


Until next week…Quilt Fearlessly!


Love and Stitches,

Sherri and Sam