Quilts, Quips, and other Nearsighted Adventures

I would like to talk about one of my very favorite topics this week – fabric.  It’s no secret that all quilters like pretty fabric. And fortunately, we live in a day and age where material producers can manufacture fabric that appeals to all quilters.  However, there is one type of fabric that can give quilters a fit – directional fabric.

Directional fabric is any fabric that has a distinct “up and down” or flows in an obvious direction.  For instance, this fabric is not directional fabric.  I can turn it this way…

Or this way….

And it doesn’t make any difference.  There is no distinct up and down. 

However, this fabric does.  If I turn it this way it looks correct.

If I turn it around the other way, it doesn’t.  The ballerinas would be dancing upside down. 

Striped fabric falls into the directional fabric category.  While it can be used either vertically or horizontally, a quilter must work to keep it all going the same way in his or her quilt.  Border prints often must be treated the same way, depending on if it’s used for small patches or the actual quilt border.  While striped and border prints usually run vertically when coming off the fabric bolt, care must be given when cutting them out so that they work correctly with a quilt. 

In other words, if you want to use directional fabric in your quilt, there is some additional planning that must be done.  At this point, you may be asking yourself, “Is it really worth it?  Is using directional fabric that important in a quilt that I have to add extra time and effort in the planning stages?”  To be sure, not all quilts have or need directional fabric.  However, directional fabric adds movement to a quilt and, if used correctly, can help the eye move across the top.  It can give it added interest and just a little more “zing” than normal.  My very favorite type of directional fabric is stripes.  I love to cut striped material for binding.  I cut it on the bias so that it slants sideways around the quilt.  This is particularly effective with red and white striped fabric on Christmas quilts – it looks like peppermint candy canes. 

There are generally three types of directional fabric:  Border prints, stripes, and those fabrics that have a definite up and down.  We will look at each and discuss how to use them effectively.  Since we’ve already mention stripes, we will begin with them. 

Ideally, you want all the stripes used in your piecing to run either vertically or horizontally.  There are some exceptions to this (as in Spider Web Quilts),

but usually you will want the strips to run either all left to right or up and down.  Therefore, striped fabric is generally not a good choice for any quilt you plan to strip piece.  As you strip piece, the patches will be turned and twisted, so you run into the situation where some of the strips in the block will be vertical and others horizontal.  If you’re making a scrap quilt, it doesn’t matter as much.  Ditto if you’re copying an antique quilt.  Our quilting fore mothers didn’t care if their stripes ran different directions.  The scale of the stripes is also something that should be considered.  If the stripes are wide and the pieces in the block are small, the fabric may not work. 

Border prints in themselves are just a lot of fun to use in quilts.  Obviously, they can be used for the quilt borders, but they are useful for a few other things.  I use them as a starting point to help me pick my other fabric for a quilt.  The colors may not necessarily match what I end up using, and I may opt not to use the border print, but it’s a great place to start designing your quilt.  If the border print has wide repeats, there is a chance that I can use part of that repeat in my sashing – which really helps pull the quilt together.  And if you’re into kaleidoscope quilts, border prints work perfectly for that technique. 

Fabric that has a definite up and down or flow is the trickiest of all to work with.  You don’t necessarily want to use the fabric in a quilt block and have it upside down – again unless it’s a scrappy quilt.  In my opinion, this fabric takes more planning that striped material. 

So how do you make directional fabric work in your quilt?  There are options out there, and I’d like to tell you how I manage all of these wonderful, directional fabrics. 

1.  I see if I can miter the striped fabrics and/or the border prints in my quilt borders.

The wonderful thing about border prints used as borders is that it looks like you’ve performed excruciating piecing or applique when you haven’t.  So not only can a border print work to pull all the colors of your quilt together, it can also fool the viewer into thinking you spent hours on your borders when you didn’t (but keep that to yourself and let everybody else wonder at your piecing or appliqueing skills).  However, since a border print is inherently just a fabric with really large stripes, if you simply cut the strips to fit the sides of the quilt and sewed them on as normal, it wouldn’t really look right. However, you can get around mitering (if that’s really not your thing), by adding cornerstones.

But in my opinion, if the corners can be mitered, it looks so much better – kind of like a picture frame around the quilt.  Mitering isn’t difficult and I covered this topic in my 2018 blogs on borders. 

•  Templates can save your quilting neck when you use directional fabrics.

I admit that using templates is probably one of my least favorite quilting techniques.  I imagine this deep feeling of resentment comes from my early quilting days when everyone was taught to piece by using templates.  When I began quilting in 1986, rotary cutters were not used by the majority of quilters.  I had to make templates out of card stock or thin cardboard, trace those onto my fabric and then cut out my patches.  I thought that this was too laborious and the least fun thing ever.  When the rotary cutter and cutting mats began showing up in quilt classes and shops, I was delighted. 

There is one handy-dandy thing about templates:  If they’re cut out of see-through paper, you can easily preview your fabrics in the shape they’ll be after they’re cut out.  This means you can turn the templates the way the fabric patches will be oriented in the quilt, so you can clearly see if the directional fabric will work as well as how you need to cut it out.  And usually, I will trace around the templates on the directional fabric and cut out my patches with scissors.  Then I use a piece of painter’s tape or a sticker to label the patch and where it goes in the block.  This process takes a little extra time, but it assures me that my directional fabric will be oriented the way I need it to be. 

•  If you love the directional fabric, but don’t want to go through mitering or templates, use it as a focus fabric in a block that has a large-ish center.

Take for example, this block:

It has a nice, large center square.  It would be a great idea just to fussy cut your border fabric or other directional fabric and use it for the center in this block.

This would mean little waste in fabric, plus it would be really easy to make sure your directional fabric is turned the right way.  It adds interest and helps pull the quilt colors together. 

So, don’t let directional fabric daunt you.  It’s a great thing to use in the quilting process.  It adds movement to your top and it’s just plain fun.  It does take a little extra planning and perhaps a little extra fabric, but it’s so worth it!

Until next week, Quilt with Passion!

Love and Stitches,

Sherri and Sam

This isn’t exactly a rant…not really.  These are just a few thoughts that I have about quilt classes – both taking them and teaching them.  I have done both (both taught and taken), so I think I’m speaking from all sides of the sewing machine on this one.

I love to take classes.  Even after quilting over 30 years, I still have a lot to learn.  With every class I sit in, I come away with something new.  It may a little thing – like a new organizational idea – or a big thing – like how to make Y-seams easier.  Equally, I enjoy teaching classes.  I don’t teach as much as I used to, but I do enjoy meeting new quilters (new to me or new to quilting).  I love the teaching process and I love sharing what I know.  And I always learn something from my students.  Always.  Their feedback makes me a better teacher.

After teaching a recent one-day workshop where I encountered a few hiccups among my students, I wondered if they had thought through exactly what they needed to do before class in order to be ready for class.  As a former high school science teacher, this concept is not foreign to me.  The first several days of a new science class were always  spent telling those kids how to prep for a lab and what I expected from them in class.  However, with a quilt class or a workshop, there usually isn’t much more than a supply sheet or an email to get folks ready for a day of quilty instruction.  With this blog, I want to give you the nuts and bolts about how to get ready for class.  And unlike high school where you could see the teacher the next day to clear up any confusion, you won’t see your quilting instructor until the next week, the next month, or if it’s a one-day workshop, maybe not ever again. 

First, let’s look at what the class is.  That sounds pretty silly, but let’s define it.  A quilting class or workshop is a time to learn, fellowship, and share.  You’re hopefully going to learn something new, have a chance to talk with other quilters, and share ideas with each other.  Now let’s look at what the class is not.  It is not a gossip session.  It is not a gab session.  And for heaven’s sake, it’s not a guild meeting or a bee.  I’ve run into situations where I’ve taught or been in a class where there were several members of the same guild in attendance.  I’ve heard more about their guild’s business than I had a right to know.  Please remember everyone has paid their class fee and that money is spent to learn. 

Okay, that rant over, let’s move on.  With any class, there is a supply list involved.  Don’t wait and read it the day prior to class – as a matter of fact, read it at least a week before the class.  Read it thoroughly.  Then read it again.  Highlight, underline, or circle anything you need to particularly remember or special supplies you need to purchase.  Then read it again – just to be on the safe side.  This list is important because it’s not only going to tell you what you need to have as far as fabric and notions go, but it will also let you know if there is any special equipment you need to bring, if you need to bring your own pressing station or if one will be provided, or if there is a cutting station and there is no need for your own mat.  The instructor should have his or her contact information on that sheet.  If you have any questions, ask the teacher for clarification.  They honestly won’t mind this one bit. Clearing up any questions before class means there is more time for actual instruction and fun!

Next gather up all your supplies.  From a teacher’s point of view here, it’s really great if you have exactly what’s on the supply list.  If your instructor requests fat quarters and you decide to bring enough scraps that equals the number of fat quarters required, be prepared for a longer prep time.  When I’m teaching, I know that I don’t ask for anything superfluously.  I have a good reason behind everything I require for class.  Most quilting teachers do.  And if the instructor asks you to do some prep work before class, make sure you have that in hand. 

As you gather all your supplies, organize them.  Plastic boxes with snap on lids are great, as are Ziploc bags.  Caddies that hold your general sewing supplies are awesome, as are thread catchers to keep your area neat.  It’s also a great idea to put your name on everything.  I can’t imagine anyone stealing in a quilt class, but one yellow Olfa rotary cutter looks pretty much like another yellow Ofla rotary cutter.   And if you accidently leave something behind, the teacher will know who to contact in order to get that back to you. 

Also note what supplies may be for sale at class and their costs.  Sometimes teachers prefer one brand of thread or a certain notion or will have the pattern available for purchase at class.  Bring cash to purchase them.  I know we all use debit cards out the wazoo now, but not all teachers are equipped to take them.  Correct change is a terrific thing to have to make your instructor’s life easier.  If the class is held at a LQS, the shop may have the supplies and then debit/credit cards can be used.

While we are talking about supplies, let’s also hit equipment at this point.  As a teacher, this is one of the areas that gives me the most grief, so let me park it here and discuss a few things about any equipment required – primarily your sewing machine. 

 Make sure you know your machine. 

This is a biggie.   If it’s the machine you regularly use and you haven’t used it in a few days, plug it up and run few stitch lines to make sure it’s working okay.  If it’s a machine that you only use occasionally, do the same thing.  And if you’ve been blessed with a brand-new machine (lucky you!), definitely spend some quality time with it before class.    Know how to change the needle.  Know you to thread it.  Know how to change the feet.  Know how to wind a bobbin and change the needle position.  Go into class at least knowing the basics.  This is important because the class instructor may not have ever sewn on your brand of machine.  This means he or she may not be able to help you if you have issues.  Couple that with the fact that if you need help with your machine, you’re cutting into class time and selling the other people in the class short. 

•  Make sure your machine is up to par.

If it’s been about eighteen months since you’ve had your machine serviced, make an appointment with a tech and have it serviced.  This extends the life of your machine and makes it sew so much better.  If you’ve had it serviced, make sure you’ve got a new needle in and you’ve cleaned and oiled it (if you’re machine can be oiled). 

•  Make sure you have all the supplies for your machine.

Be sure to pack your machine’s power cord and foot pedal (if needed).  You’d be surprised how frequently those two things are forgotten.  Extra bobbins (preferably wound before class) and sewing machine needles are very handy, as well as any extra feet you think you may need. 

While you’re gathering up your machine and supplies, also pack a positive attitude.  Come to class excited to learn something new.  Support your fellow classmates.  Be encouraging to each other.  I love it when this attitude pervades a class – any I’m taking and certainly any class I teach.  It makes life so much better and I think you actually learn more when this is present.  Don’t be afraid to ask questions.  Some teachers may request that you hold all inquiries until the end of class or until he/she is finished explaining a point.  If that’s the situation, you may want to make note of that question and ask it at the appropriate time.  No question is ever stupid.  And as a former teacher, I can certify that if you have a question, there is the distinct possibility someone else in that class has the same question, too.  Ask it. 

Finally, mind your manners.

Be on time.  If you’re taking a class that requires you to bring your sewing machine, come a few minutes early so you can have the machine set up and ready to rock and roll when class is supposed to start.  If you’re running late or must miss part of the class, most teachers would appreciate an email, text, or phone call to let them know ahead of time.  If you have to come in late, set up as quietly as possible so not to interrupt class.  If you must leave early, do it quietly and inform the instructor beforehand. 

If you have to share a sewing space, be sure to respect boundaries.  Allow the other students in class to have enough room to use their machine and tools.  Be courteous to your teacher – not just with words, either.  If the instructor is speaking to the entire class, stop sewing or winding bobbins (which should have been wound before class) or talking to a friend.  Give the teacher your full attention and enable the other students to do the same.  Keep walkways and aisles free of clutter for safety’s sake.

Lastly, when class is over pack everything up and prepare to leave so your teacher can also leave.  Most teachers, including myself, don’t mind staying few minutes over to answer any questions.  However, don’t hold the instructor hostage.  If you have a question that requires a detailed answer, ask if you can call or email him/her later to get clarification.  Most teachers don’t mind this at all.

In closing, I would like to encourage you to take as many classes as you’re able to.  I always learn something in every one I take.  And if you’re a seasoned quilter, think about teaching someone else.  It doesn’t have to be in a classroom setting.  One-on-one works perfectly fine.  Pass the art of quilting along to someone else!

Until next week, Quilt with Passion!

Love and Stitches,

Sherri and Sam

 Which type of quilt do you like to make the most – a simple quilt or a complex quilt?  Or does the choice depend on the timing, the fabric, and your mood?  What I’d like to discuss with this blog is both types of quilts and why it’s important as a quilter that to embrace both types. 

While I like both types of quilts, I do tend to favor complex quilts more than simple ones.  I embrace the challenge of harder quilt patterns.  It stretches me as a quilt artist, and I like the feeling of accomplishment I get when I put that last stitch in the binding and can stand back and look at what I did.  However, a steady output of complex quilts is just as bad as ongoing production of simple quilts once you’re past the beginner quilting stage.  With this blog, I want us to examine why it’s important to have both types of quilts in your quilting pattern stash, as well as why it’s vital to have a pattern stash as well as a fabric stash.

Simple quilt patterns are wonderful things for every quilter to have tucked back in their files.  If a quilt is needed for a charity cause or a quick gift, those patterns are invaluable.  You can pull them out, cut your fabric, sew them up, and quilt them in a couple of weeks or less.  Clearly these quilts are made for use and not for show (not that they shouldn’t be attractive – they’re just not show-bound), so the color way will carry the quilt.  I have three quilt patterns I consistently use for baby quilts and five I use for charity quilts.  I’ve used these patterns so often I don’t have to think too hard when I’m cutting them out or sewing the tops.  I’ve just about memorized how much fabric I need for each, so I can quickly shop my stash and then get down to business.  These are great patterns.

However, complex patterns have taught me a few things these simple quilt patterns have not.  Complex quilts have taught me you can make assemble a quilt easier by breaking it into units or steps.  Simple quilt patterns obviously do this, too, but a difficult quilt pattern really teaches you the value of the process.  If a pattern calls for cutting out 180 squares that are 2 ½-inches, you quickly learn it’s easier not only to figure you how many 2 ½-inch x 44-inch strips to cut from the fabric, it’s also best to cut them all out at once.  If the directions call for 80 flying geese units, find a Netflix show to binge watch and sew those all suckers up.  And if it calls for 20 quilt blocks that must true-up to 10 ½-inches unfinished, you learn to do that as you go along and not wait until the end.  All of these practices – and more – I’ve learned from the harder quilt patterns, not the easier ones. 

Complex quilts have taught me the importance of organization.  Harder quilt patterns have a lot going on all at once.  I’ve learned to bag and tag units and blocks clearly and keep them together so they’re within easy reach when needed.  I have also learned one other tiny detail that’s sometimes really helpful with a quilt with lots of different units – often the stitching process can be made easier if I can use fabrics that have a definite right and wrong side.  This will ensure that parallelograms are turned the right way and I won’t have to rip them out. 

This next concept that I’ve learned sounds contrary to the way most folks understand things, but I’ll own the fact that I learn differently.  As my regular readers know, I’ve written several blogs about paper piecing, when I use it, and how much I appreciate its accuracy.  I began quilting in 1986.  I was introduced to paper piecing then and hated it.  It wasn’t until 2010 that I learned how to properly paper piece and my love affair with it began.  And it was through a Judy Niemeyer quilt pattern – a pattern designer who is not necessarily known for her easy quilts.  However, the way that Judy explains paper piecing, how to cut the fabrics, label and bag, and then actually do the process was one of those “light bulb” moments in my quilting life.  So sometimes the harder quilt patterns can clarify techniques you are struggling with.

But I also don’t want to sound as if I’m slamming simple quilts, either. There is great beauty in simplicity when technique is executed well. If you’re struggling with a particular technique and can find an easy quilt pattern that highlights it, oftentimes you can get a good grip on the skill by making the simple quilt. However, aside from that, there is one other very important thing I love about an easy quilt pattern:

It’s wonderful therapy.

I quilt for a lot of reasons, but one of those reasons happens to be it’s a big stress reliever for me.  During the difficult times in my life, having something simple to sew and quilt calms my soul and spirit.  While I’m dealing with whatever problem has crossed my path, I don’t want or need anything else complex.  I need something that allows my hands to be busy and my mind to be free to think over the situation.  It’s often through these simple quilts that I find my greatest peace of mind (because they’re so easy and I’ve made them so often I can pray through the construction process), and I feel productive – because when I’m through I have a quilt to give away.

In closing, I think it’s important to have both simple and complex quilt patterns in your files.  You never know when life will throw you a curve and you’ll need a quick quilt, and you’ll never know just how far you can stretch yourself as a quilter unless you try out some hard quilts.  Have some of both tucked away.

Until next week, Quilt with Passion!

Love and Stitches,

Sherri and Sam

At one time or another, especially if you’ve quilted for a while and have perused quilt sites for inspiration, you may have heard the terms paper piecing, foundation piecing, or English paper piecing (EPP) bandied around a bit.  For a beginner, either new to quilting or the whole I’ve-only-traditional-pieced quilt group, those terms can be confusing.  Are they the same thing?  If they’re not, then how are they different?  When do I use them?  And most importantly, which one is best?

Like most other quilting techniques, the best one to use depends on the quilt you’re making.  I will readily admit that English paper piecing drives me up a wall (to me it’s too tedious, or maybe I’ve been spoiled by Cindy Blackberg’s Stamp Piecing Method).  The English paper piecing method uses cardboard templates. You trace around your templates on the wrong side of the fabric and then cut the patches out with a ¼-inch margin.  Place the cardboard template in the center of the fabric and hold it in place with a dab of fabric glue.  Then you fold the fabric around the template and baste in place.  When several of these are done, they are whipped stitched or ladder stitched together to form a pattern.  Some quilts, such as Lucy Boston’s Patchwork of the Crosses, or the 1718 Coverlet require English paper piecing.  Other patterns can be adapted to it (such as Grandmother’s Flower Garden), if the quilter really enjoys this method.

English paper piecing is normally not confused with paper piecing or foundation piecing, but foundation piecing and paper piecing are often used interchangeably.  The difference between the two lies in the supplies used.  But in order to understand the distinction between them, let’s define them first.  Foundation piecing is a piecing method used to stabilize the fabric as the block is sewn together.  It employs muslin (or some other thin cloth) as the foundation.  Strips of fabric are sewn onto the muslin, often in random order, to create a quilt block.  Foundation piecing is used in string quilts, spider web quilts (sometimes, not always), and Crazy Quilts.  The muslin is not removed before quilting, it’s incorporated into the quilt.

Paper piecing is different from foundation piecing in that the block pattern is either drawn or printed onto a paper source.  The block’s patches are positioned onto the paper and sewn on with by machine by a dictated numerical system.  Sometimes units are paper pieced and then the units are sewn together into the block.  There are two main differences between foundation piecing and paper piecing:  The block is printed onto paper and after the piecing is finished, the paper should be removed.

That is the cut and dried method.  I will also admit that in today’s technology-driven quilt world, there are a few gray areas here.  With the onset of freezer paper than can be run through an ink jet printer, muslin can be ironed onto the freezer paper and sent through the printer and have the paper pieced pattern printed onto it.  The muslin can be removed from the freezer paper and the pattern used as a traditional paper pieced block without the quilter having to remove the papers at the end of the process.  And on the other hand, some paper piecing “papers” tout the fact they don’t have to be removed before quilting the quilt.  So, you can see why today the terms foundation pieced and paper pieced are used interchangeably.  In many quilters’ eyes they are literally the same thing. 

Those are the three categories of paper piecing and their definitions.  Now let’s look at the circumstances where paper piecing may the best choice for making a block.

1.  If the block is really complicated.

There are some blocks I wouldn’t touch with a ten-foot pole unless I could paper piece them.  Take this block:

It looks complicated, if you think in terms of traditional piecing.  But if you want to paper piece the block, it can be broken down into units and then sewn together.  And FYI here, if you have the EQ software, it does have the paper piecing option for most of the blocks in it.  There are some blocks you can’t paper piece.  Electric Quilt also allows you to mirror-image the block, which is something you must do if the block is not symmetrical. 

•  The block has lots of bias.

This is a personal thing here.  I get really antsy if there’s lots of bias edges in a block.  It’s easy to stretch out of shape even with the most careful handling and pressing.  However, between starching the fabric and the stability of the paper, the bias tends to keep its shape perfectly.

•  The block has lots of pieces.

If there are lots and lots of units in a block, paper piecing seems to simplify the process without overwhelming me.  I can concentrate on one unit at a time and as the units are completed, suddenly sewing the block together doesn’t seem quite so daunting.

•  The blocks are tiny.

If Dear Jane taught me nothing else, it taught me that smaller blocks are much easier if they’re paper pieced. 

The unfinished blocks in this quilt are 4 ½-inches.  That’s small, but I learned that if I can paper piece those, the corners match pretty perfectly, and the bias is protected.  I’ve embraced this concept to the point where I paper pieced 99 percent of my Farmer’s Wife and now paper piece nearly all my pieced sashing cornerstones in a quilt.

•  You’re working on a group quilt, such as a raffle quilt.

If you’re working on a quilt where lots of people will be making blocks, paper piecing will assure that all blocks will turn out the same size (fingers crossed…).

The biggest drawback with paper piecing is that it does require more fabric than traditional piecing.  So, if you make the decision to paper piece a pattern that has traditional pieced fabric requirements, allow yourself 1/4-yard to a yard extra material.  With paper piecing, you trade fabric for accuracy:  Yes, it takes more fabric, but yes, it’s also more precise.

There are lots of notions that are available for paper piecing.  You don’t necessarily have to use standard copy paper to do this, but that is the most readily available.  If I’m out of my desired paper piecing paper, I copy (either by hand or by copier/printer), the pattern onto standard copy paper.  I unthread my machine, remove the bobbin, and shorten the stitch length.  Then I “sew” around each of the sewing lines on the pattern. 

It’s important to understand that most paper piecing patterns have two lines drawn on them.  More often than not, the sewing line is a solid one and the cutting line is a dotted or dashed line.  The reason I do this is to perforate the pattern so it will make for easy paper removal.  While copy paper is the most readily available medium, it’s also the hardest to remove.  Between perforating the pattern beforehand, and then sewing the fabric on with the same small stitch, copy paper can be easily removed. 

The second most readily available paper piecing paper is newsprint. 

This can be purchased or ordered from most office supply stores or Amazon in 8 ½ x 11-inch size, so it can be run through your copier or printer.  This is easier to remove than standard copy paper, but I still recommend that you perforate it.  And FYI, if you live in an area like I do where humidity runs rampant until the end of October, note that this paper holds humidity well and that can make it difficult when running it through a copier/printer.  Run a hot, dry iron over it before printing or keep it near a dehumidifying agent.  Either of those will help a great deal.

The next group of papers for paper piecing are opaque.  You can see through them, which really makes them really ideal for this technique – you’ll see why in just a bit.

Vellum – This medium used to be constructed from an animal membrane, but now it’s produced from rag cotton.  It feels like a cross between parchment paper and super-thin plastic. 

See-through papers – This includes my favorite June Tailor’s Perfect Piecing Papers, Carol Doak’s papers, and myriads of other papers.  You may have to try a few to find the one that works for you.

Wash-away papers – If the thought of spending hours pulling out papers from your project before quilting it drives you up a wall, then this may be the product for you.  These vary in thickness and quality, and some can be put through the copier and printer and some cannot.   Read the directions and review them thoroughly before using.  And on a side note, if you’re not a pre-washer, you may want to include that step in your prep work if you use this medium and plan on just soaking the blocks in a sink to get rid of the papers.  Of course, if you’re planning on completing the quilt and then throwing it in the washer with a color-catcher, you can get around the pre-wash. 

After you’ve picked the paper you’re using for your pattern, go ahead and trace, print, or copy the block/block units onto it.  Then assemble everything else you will need:

Sewing Machine – Standard rules apply here.  Make sure it’s cleaned and oiled and has a good needle in it.  Shorten the stitch length to 1.8 or 1.5, depending on what paper is used.  On a side note, paper piecing is notoriously “linty” and dulls your needle no matter what medium is used.  It’s a good idea to clean your machine and replace your needle when the quilt top is completed.  And speaking of needles, I use a topstitching needle for paper piecing.

Awl – Sometimes this is needed to help move the fabric and paper over the feed dogs and under the needle.

Walking Foot – This is optional.  Some quilters like to use them with this technique and other quilters don’t.  I find a walking foot is exceptionally helpful in paper piecing.  There is more thickness than usual with this procedure – fabric, seams, and paper.  I find that a walking foot is a big asset in moving all of that over the feed dogs.

Thread – Quality piecing thread – the same kind you would use of for any other piecing.

Iron or Another Pressing Tool – An iron, seam roller, or wooden presser is a must.  To save time (and steps, unless you’re Fit Bit attentive), use a method that can be kept near your sewing machine.  It simply saves time.

Straight Edge – A straight edge is used to help fold back the paper before trimming.  This straight edge can be almost anything that is thin – so it can’t be a ruler.  It can be an index card, a strip of Mylar, or a postcard.  My favorite things to use as a straight edge are these:

These are advertising cards you can pick up at quilt shows or maybe even receive in the mail that are of thick, coated card stock.  They are nearly perfect for every pattern (unless you need a long, straight edge) and are free.  Can’t get much better than that. 

Add-a-Quarter Ruler – This tool is used to keep a ¼-inch seam allowance when trimming.  If you decide you really like to paper piece, and plan on doing it often, you may also want to add an Add-an-Eighth ruler to your quilting tools. 

An Add-an-Eighth ruler will help you maintain a 1/8-inch seam allowance for times that a ¼-inch seam allowance is too bulky.  These rulers come in a longer length and a shorter one.  I have and use both kinds.  And they’re handy for other cutting jobs in quilting, so this isn’t a one-use only tool. 

Glue Stick – A bit of glue is used to hold the first patch into place.  This doesn’t necessarily have to be a fabric glue stick.  Any glue stick that says it’s water soluble can be used.

Transparent Tape – Any clear tape that you an see through.  This may be needed for pattern repair.

Fabric – Fabric with a firm weave is the best, as the wear and tear on it will be more than what’s experience with traditional piecing.  Remember that the stitch length is shortened, so more time will be spent on the feed dogs.  Then the paper must be removed.  Loosely woven fabric doesn’t hold up very well under those conditions.  If you do any type of prep work on your material (such as prewashing), go ahead and do that.  Then look at your pattern:

Decide what colors go where and mark them on the front of the pattern. 

Then measure your patches and flip the pattern over so you’re looking at the back side of the pattern.  This is where an opaque medium really comes in handy.  You will need to measure the individual patches and cut them out from the fabric.  You can use the front side of the pattern for this if the patches are symmetrical (the same on the left and the right, such as rectangles, squares, and some triangles).  If it’s asymmetrical (not the same on the left and right), you need to work from the back of the pattern and make templates for the asymmetrical pieces.  If you’re using standard copy paper or newsprint, a light box is a great tool to have to get you through these steps.

When you cut out your patches and/or templates, be sure to add a half-inch to give yourself enough seam allowances.  Truthfully, if you have a pattern that is made for paper piecing, most of the time the directions will tell you how big to cut out the patches and even have templates if needed.  Judy Niemeyer patterns are great paper piecing patterns. 

While her patterns look challenging, she breaks down the cutting and sewing directions into easy chunks.  For me, Dear Jane was one of the most difficult paper piecing quilts.  Jane Stickle hand-pieced the original quilt, which made putting together odd shaped patches a bit easier.  However, for today’s quilter, a lot of those blocks need to be paper pieced.  The patterns had to be reversed and even then, some of those patches drove me up a wall. 

Now let’s get down to it.

Step One

Take the first patch and use a dab of the glue stick to adhere it to the wrong side of the patch marked number 1 on the paper piece pattern.  Make sure that the fabric not only completely covers the area, but also overlaps all sides at least ¼-inch.  This is for your seam allowance. 

If you’re using standard copy paper or newsprint, you will probably want to hold it up to the light so you can see that you’re doing this correctly.  This is where an opaque paper piecing medium is really handy.  There is no guess work.  However,  if you’ve perforated your copy paper or newsprint paper, you’ve reduced any chances of error. 

Step Two

Take the second patch, and while still working from the wrong side of the pattern place it on the unit marked number 2.  Make sure there is ¼-inch overlap on all sides. 

Now flip it to line up with the edge of the first patch, so that right sides of the fabric are together. 

You may want to pin it in place to make sure it doesn’t wiggle out of position. 

Step Three

Now flip the pattern over so you can see the right side of the pattern – the one where all the lines are.  Sew on the solid line.  You will want to start a few stitches from where the solid line begins and then sew past the line for a few stitches.  This is to allow all the threads to lock and not unravel.

Step Four

We’re still working from the right side of the pattern.  Take your straight edge and line it up with the solid line. 

Fold back the paper over the straight edge.  Take the Add-a-Quarter ruler and line the lip up with the edge and trim.   

Step Five

Flip the pattern over to the wrong side.  Flip the second patch out to make sure it covers all of the area it needs to and has a ¼-inch seam allowance extending out into all the unsewn sides.  If it does, great!  Press the patch and repeat this process until all the areas are covered.

If you’ve found you may need to make some adjustments and need to rip out the patch, be aware that due to the small stitch length, the pattern may tear.  Use the transparent tape to mend the pattern and keep moving.

Step Six

Once the entire unit or block is covered with your patches, now it’s time to trim the block.  Put the block or unit on your rotary mat right side up and trim along the outer most dotted line.  If you’re paper piecing units, once all of them are complete and trimmed, they can be assembled into a block. 

At this point, you will need to consult your pattern directions to see if the papers can be removed then, or if you need to wait until the entire quilt centerd or entire quilt top is completed before removal.

That’s it!  That’s all there is to paper piecing!  It’s a bit different, since you’re working with a paper medium and from two sides of the pattern, but I solemnly swear this is a wonderful piecing method! 

Until Next Week, Quilt with Passion!

Love and Stitches,

Sherri and Sam

I am fortunate to have quilting friends from all over the world.  Some of us are internet buddies and some of these folks I have been blessed enough to meet face-to-face.  One of these friends is a lady named Eileen who lives in New York.  When I was President of the Applique Society, Eileen was my Vice-President, right-hand help, and partner in crime.  She reads my blogs and after one recent publication posed this question to me:  How does applique affect you differently than piecing?

I’ve pondered this ever since she asked me that.  To be sure, both of those techniques can intertwine.  An applique quilt can have a pieced background, or a pieced quilt can have applique interspersed in the blocks or have an applique border.  They’re not necessarily independent of each other.  However, as far as my quilt journey goes, given the choice of piecing or appliqueing, I will usually pick applique over any other technique.  I know why – I love to applique.  Something about that quilt method grabbed my attention from the time I took that first stitch.  I’ve tried most of the applique techniques out there and love all of them.  However, after mulling Eileen’s question over in my mind for about a month now, I have realized something:

Piecing does affect me differently than applique.

Now before all you avid piecers get riled up, let me plainly state that I love piecing blocks, too although not nearly as much as I love appliqueing blocks.  The two quilting applications are more different than alike and it’s important to come to grips with those differences as you plan quilts.  Let’s talk about strictly pieced quilts first. 

While with both techniques, it’s really all about the fabric, in piecing, the fabric is truly front and center.  Fabric choices have to be made with the idea of greatest visual impact in mind.  It’s the fabric that will primarily “Carry the Show” in a pieced quilt, even more so than the piecing.  Did I just blow another quilting gasket in your brain?  That’s right.  In a pieced quilt, the fabric choices will carry the greatest visual impact.  Now I am not in any way, shape, or form condoning deliberately sloppy piecing.  Piecing should be done as accurately as possible.  However, when you step back about 10 feet from a pieced quilt, the average person’s eyes don’t pick up piecing mistakes (unless the quilt is being judged…the judges will pick up piecing goofs).  In the space of about 10 feet from the quilt, the fabric choices are what stand out.  It’s the colors, hues, and shades that make the biggest impact.  This is why I preach make sure your darks are true darks, your mediums are true mediums, and your lights are true lights.  If your darks aren’t real darks but mediums, the visual impact goes down and your quilt looks “muddy.” 

The quilting itself is also really important in a pieced quilt.  It’s also a priority in an applique quilt, but in my opinion, making quilting decisions about an applique quilt is easier – and I’ll have more about that later.  Overall, quilting in and of itself is more than just stitches to hold the three layers together.  It should enhance the quilt as much as possible, whether it’s an all-over, edge-to-edge design or custom quilting.  With a pieced quilt, there are three design concepts driving the visual impact:  Piecing, fabric/color choice, and quilting.  Two of these have starring roles – the quilting and the fabric/color choice.  Piecing co-stars.  I realize that I may get some push back on this comment, but in my opinion, it’s true.  Again, unless the quilt is being judged, apply the 10-foot rule listed above.  The piecing is important and should be as accurate as possible, but the visual impact is driven by the colors and  enhanced by the quilting.  That’s why the quilting motif should match the theme of the quilt.  For instance, if you’re using the Maple Leaf block, then don’t quilt flowers across the quilt, if you use an all-over design.  A leaf motif would be a better choice. 

However, if edge-to-edge quilting is not your thing, then the sky is really your limit when you quilt the quilt.  Each block can have a custom look.  It’s at this point – more so than an all-over quilt design – that the quilting begins to have as much visual impact as the fabric/color choices, even from 10-feet away from the quilt. 

With an applique quilt, the applique is the star of the show, period.  Every other decision made about the quilt should enhance the applique and not compete with it – from the choice of background fabric to the quilting.  This puts pressure on the quilter to make sure the fabric decisions are the best they can be, and the applique method used emphasizes the applique and doesn’t compete with it.  So, the type of applique technique I use on a quilt may not necessarily be my favorite, but it may be the best for the quilt.  The thread used is equally important.  I’ve written several blogs about different types of applique and thread, so if you’re curious, Google those.  I won’t rehash everything here. 

The way I quilt my applique quilts is really pretty simple.  (Please note at this time, I do not in anyway consider myself a true long arm artist.  Even now if I have a quilt that is show-bound, I have someone else quilt it.)  My procedure usually goes something like this:  I quilt around the applique pieces and then echo stitch   around those one or two times.  I do a dense background stitch to make the applique seem to “pop” off the quilt top.  If the borders are appliqued, I do the same thing with them.  If the borders are plain strips of fabric or pieced, I’ll do as much custom work as I’m comfortable with.  I also tend to use as fine of a thread as Loretta the Long Arm will tolerate with my applique quilt.  Nothing should compete with the applique, not even the quilting thread. 

With these thoughts in mind, I have realized something: Piecing a quilt stresses me more than appliqueing a quilt. I know this is a personal thing. Applique may drive you up a wall, and that’s fine. The reason there is so many quilting techniques is that there are so many different kinds of quilters. For me, there are way too many decisions that I have to get as close to perfect as possible with piecing. And while I really do enjoy piecing, I feel as if I always have to think three steps ahead in the process – even with paper piecing (which is much more precise than regular piecing). With applique, once my pieces are prepped, all I have to do is enjoy the process. So, when I say applique relaxes me, this is the reason. I don’t have to think. I just have to enjoy it – whether it’s machine or hand applique.

I know this is a really personal blog, and while yes, I’m out to get applique converts, Eileen’s question really got me to thinking hard about why I like applique so much.  I love the fact that it’s like “painting with fabric” but even more than that, it relaxes me, relieves stress, and let’s my brain take a break from everything else whirling around me.  And that’s what quilting should do for every quilter.  Whatever technique you enjoy, it should serve as an island of sanity in an insane world – whether it’s piecing or applique or a combination of both.  And lately the quilting process itself has become one of my chief joys.  Adding that extra texture with a touch of whimsy brings me a great deal of happiness. 

So … go forth and find your joy in quilting. 

Until next week, Quilt with Passion!

Love and Stitches,

Sherri and Sam

As hard as it is to believe, it’s almost Autumn.  In a few weeks, not only will the days get noticeably shorter, the temperatures will begin to hover in the blessed range of the 70’s and 60’s – at least where I live. Fall brings visions of pumpkins and Halloween and Thanksgiving.  But for me there’s an added event that adds extra spice to my Autumn experience – my annual quilt retreat. 

I’ve written about my guild’s “Drop Everything and Just Quilt!” experience several times.  It’s an event that I look forward to every year.  As of this blog, it’s 63 days, 22 hours, 33 minutes, and 35 seconds until it starts (not that I’m counting or anything).  It’s noticeably smaller this year, as there is another quilt retreat held on the same date, but I believe it will be better than ever.  I love quilt retreats and go on at least two every year.  If you get a chance to attend one, go for it. It’s at least several days of uninterrupted sewing time where you don’t have to plan for meals, nor does it matter if you wear make up or a bra.  Quilting is the name of the game and it’s the only game in town.

Packing for a retreat can be a bit daunting.  Unlike the last minute get-away trip that may fall in your lap, packing for a retreat takes some thinking and some planning.  It’s not something you can wait until the last minute to do.  So, in this blog I wanted to share with you how I pack for an overnight quilt retreat that can be reached by car.  Any quilt retreat you have to fly to get to requires an entirely different planning scenario. 

First, let’s deal with some standard logistics.  Find out if you need to bring your own linens and if meals will be provided on sight or do you have to go out to eat.  Are the meals included with the price of the retreat?  Will there be trips to local quilt shops or will workshops offered? All of these play into how you map out your time, what you bring, and how much cash you need to have.  If workshops are offered, there should be a supply list.  Be sure you have all the items on the supply list that you need.  Depending on the teacher and the workshop, some of what you need may be provided by the instructor.  It’s not unheard of for teachers to have some of the supplies available for purchase. 

Next, read through all of the retreat information.  I know you did this when you registered but go through it again.  This time look for cutting and ironing specifics.  These may not have crossed your mind, but they are important.  Regular irons pull a lot of wattage, and having multiple irons plugged in can throw a breaker or blow a fuse.  There may be ironing stations available, so all you may need to pack is a small, travel iron and an ironing surface.  Cutting stations may also be available.  If that’s the case, you need only pack a small cutting mat to use at your machine, the rulers you will need, and a rotary cutter. 

Another thing you may also want to do at this point is find out what the room set-up will be.  Will you have a long table to yourself, or will you have to share it with another quilter?  Will you have a smaller table to yourself?  All of these will help you plan how you can most efficiently and ergonomically set up your sewing station.  If you have your own sewing table that you’ve specifically set up to meet your needs, ask if you can bring it.  I know that as I’ve gotten older and have more back issues, I need to have my table at a certain height to reduce stress on my neck and shoulders.  Lots of quilters I know have resolved that issue with the Ezy-Quilt tables that not only adjust for physical needs but are also convenient to transport.  It never hurts to ask and usually the answer is “Yes.”  Just remember, you’re sewing for hours a day, for several days.  Make it as comfortable for yourself as possible.  Keeping comfort in mind one more item you may want to throw in your car is a cushion for your tushie.  Standard padded chairs and (God forbid) folding chairs aren’t comfortable after about two hours. 

After all of those questions are answered, go into your home quilting area.  Take a look around and make notes of the items you use every time you sit down to piece, applique, or quilt.  Those are the items you want to pack up first.  I have found it super easy to keep all of these together in one place at home.  When I’m packing to go class or a retreat, all I have to do is grab this…

And this…

At this point, I know I have my essentials covered.  I also make sure I’ve packed this:

It’s a combination thread catcher and pin cushion.  This helps me keep my work area tidy.  The pin cushion is Velcroed on, so I can move it if I need to. 

Now let’s get down to the nitty-gritty.  You’re attending this retreat to get some projects completed or at least on the path to progress.  The next set of questions that need to be answered concerns the quilts you plan to work on.  The first obvious question that needs to be answered is how many projects should I take?

When I’m considering what to take, I begin with a timeline.  This is where finding about meals and any “field trips” comes into play.  If you have to leave the retreat area, you need to allow time out of your day for this. So, if you plan on quilting from say 9 a.m. until 10 p.m. that night, if you must go out for meals, you want to deduct about 2 hours for each off-site meal (if a sit-down restaurant is supplying the meals).  More for shopping excursions. 

Once the actual amount of sewing time is determined, it’s time to decide what projects to take.  As a rule of thumb, I have found it’s better to have more projects than you may need – for two reasons.  First, you may hit a stumbling block on a project that you just can’t get around.  It may need to be put in time out until you get home and in your own sewing space.  Second, it’s absolutely miserable to be at a quilt retreat and run out of things to sew.  However, don’t bring so many projects that you take up half the sewing room space with all your stuff.  There’s a fine line between being adequately prepared and being unrealistic.  After you get a quilt retreat or two under your belt, you know what your fine line is.

At this point, I begin to put my projects into boxes, if they’re not already in one.  I’ve found that boxes are the easiest way to stay organized, and if the projects are small, or the boxes are big, I can fit two quilts in one box.  I get these boxes prepared this way:

1.  I make sure all the projects are cut out.  Even if there are lots of cutting stations at the retreat, I don’t want to waste valuable sewing time cutting a quilt out.  Also check your retreat information.  Some retreats won’t let you tie up a cutting station cutting your quilt out. 
2. I begin to put everything I need for that project in that box – the pattern, any notions or tools that’s not in my general sewing caddy, or specific thread.  Since most quilters use either beige, white, or gray sewing thread, those are packed in my regular sewing supplies.  But if a specialty thread is needed, such as for machine applique, I make sure all those threads are in the box.  Remember when I introduced those small containers I found at Dollar Tree finds a few blogs ago?  They really come in handy at this point.  I can keep all my threads, special rulers, and other notions organized.  I have learned the key to packing for a quilt retreat is to remember you have to unpack when you get home.  If you organize your projects when you pack them up and keep them that way at retreat, you never have to wonder exactly where you stopped on the project when you get it out to work on it again even if it’s not until the next quilt retreat – not that I know anything about that. 
3. I label each box with the project’s name.  I use an index card to do this.  That way if I need to make myself a note about the project (such as I need additional thread or yardage), I can write that on the index card.  When I’m unpacking, it will remind me what I need in order to complete each project or if I’ve run into any issues with quilt construction.   
4. I pack a variety of sewing projects – big ones, small ones, machine work, and hand work.  This way if I get bored with one technique (because, let’s face it – after a few hours on one project, that’s all you can handle no matter how much you may love it), I can move to another.  I also like to actually finish something on retreat.  If I have a few small projects tucked away in a box, I can do this.  And if I decide I want to visit with a friend at retreat, I can pull my chair over to her sewing area and do hand work while we chat.

Now a couple of odds and ends before I end this blog. 

• I take a back up machine.  Remember my little Juke I call Jenni?  She’s small and light and doesn’t take up an enormous amount of space.  While Big Red is a given (she’s going to go on retreat), I take Jenni just in case Big Red has some issues.  I also make sure that both machines are cleaned and oiled before I leave.  And if one of them is due for service, that’s done before I hit the road.
• I find out if adult beverages are acceptable.  I love a glass of wine after dinner, but some retreats don’t allow alcohol.  I always check before I make a last-minute stop at the Teeter to stock up on 19 Crimes.
• There are a few things that you may need that you’re not thinking about as you throw fabric and scissors into boxes.  Those are: pain killers, a water bottle, a heating pad, comfortable shoes, and Ziploc bags.  Sewing for hours a day can cause some physical discomfort.  The pain killers and heating pad go a long way in stopping any small aches before they turn into big ones.  Comfortable shoes are always a given, under any situation.  And stay hydrated!  After an hour of sewing, stand up, stretch, and drink some water.  Be as good to your body as you are to your quilt. Ziploc bags are handy for lots of things, from somewhere to stash your wet toothbrush to bringing home small scraps you may want to keep.
• You may find one of these very handy:

These folding wagons are wonderful.  I have two of them.  One is only for beach use and has larger wheels that go across the sand easily.  This one is strictly for quilting use.  You can put a lot of stuff in one of these and wheel it to your sewing area.  It makes loading and unloading a breeze and I store my project boxes in it at retreats.  At home, it folds up neatly and takes up little storage space in my closet. 

• There are lots of great quilt retreat packing lists on the internet.  I encourage you to search for one and use it.  There a couple of items you may want to add to that list just to make sure all your bases are covered:

Extra needles – both sewing machine and hand

Your cell phone and iPad and their chargers

Your foot pedals and power cords to your machine ask me how I know this.

Clothing that can be layered.  This is important, because temperatures can vary greatly – both yours and the rooms’. 

Lastly, make sure all of your paperwork is in order – any balance owed is paid, you have the roommate requested (if you have one), and you know the address of the location.  This last item is important for two reasons.  First (and the most obvious) is so you can plug it into your GPS.  Second, make sure your emergency contact knows where the retreat is located.  God forbid anything happen on a quilt retreat, but if it does, they will know where to find you.  It’s also a really good idea to make sure the Retreat Leader is aware of your emergency contact information as well as any food or medical allergies you may have.  Most retreat registrations forms have a space for this.  Make sure it’s filled out accurately and legibly.  And if you have any medications or special foods you need that require refrigeration, ask if there is a refrigerator you can stash your stuff in or if you can bring an ice chest. 

Whew.  I think that covers most of it.  Every time I pack for a quilt retreat, I learn something new.  But what I really want to leave you with is this:  if you have an opportunity to attend a quilt retreat – even if it’s just a one-day retreat – take advantage of it.  You will get a ton of stuff done, you’ll enjoy wonderful quilty fellowship, you’ll learn something new, and make new quilting friends.  Quilt retreats are truly worth every dime and every minute of preparation.  And if there isn’t a quilt retreat in your area, why not develop your own?  Grab a few quilting buddies, find a location, and set up for the day.  Everyone can bring their own lunch and order pizza for dinner.  If it’s a small group, someone’s house may work just fine.  If it’s a larger group, a church fellowship hall or library room may be available for minimal or no cost.  It doesn’t have to be fancy-smancy.  What counts is the fellowship and the progress on projects.

Until next week, Quilt with Passion!

Love and Stitches,

Sherri and Sam 

I’ve made few confessions about myself this year.  In an effort for you to get to know me better – what kind of person I am as well as what kind of quilter I am – I have confessed a few things, with the latest being that for many years I was a “topper.”  But today I have another confession to make:

I’m a classic Type-A personality. 

What does that mean?  Individuals who are Type A personalities tend to be outgoing, rigidly organized, highly status-conscious, sensitive, impatient, anxious, proactive, and concerned with time management. People with Type A personalities are often high achieving “workaholics”.  And all of that makes me sound like a person most people wouldn’t want to socialize (much less quilt) with.  When I was in my teens and twenties, the description nailed me to a T.  But children (both my own and those I taught) toned me down quite a bit.  Today I am a mellowed-out Type A – which means I still am a voracious list-maker, I’m more patient (because stressing out does nothing for your blood pressure or anyone else’s) and am not status-conscious.  I still strive for good time management and am pretty organized (but not rigidly so).  I am proactive about things and people that are important to me.  However, I think age and circumstance have put the brakes on my workaholic-ism.  If I have an opportunity to quilt or play with the grand darlings, everything stops for this and no cares are given. 

So, most of my Type A personality traits are under control.  But most Type A personalities are also perfectionists.  And this issue has been one that has plagued me the most throughout my life.  It often rears its head in my quilt studio.  In other areas of my life I’ve generally had deadlines that spurred me to jump the perfectionist fence and just keep moving – because Type A personalities generally hold deadlines in near reverence. 

But I normally don’t have deadlines with my quilting.  Hence dealing with the demon of perfectionism in my quilt studio can be difficult.  And this demon has the tendency of sucking the joy out of quilting. 

Now, I am not talking about striving to make your quilt the best it can be, nor am I condoning sloppy workmanship.  I think every quilt deserves your best efforts.  However, I have a habit of allowing the sticky web of perfectionism to stop me in my tracks.  I tend to completely halt working on a quilt until everything looks just right.  For instance, I will repeatedly rip out a seam in order to get all the points perfect.  And in the long run this does absolutely nothing for me or the seam. 

I had to learn to get over this.  To borrow a phrase from Frozen’s Elsa, I had to “Let it go…”

If you’re like me and have these same issues, allow me to share – from my heart to yours – what I’ve learned and how I cope. 

First, I had to embrace the concept finished is better than perfect.  No other quilt taught me this better than Dear Jane. 

So many small blocks and kites…so many techniques on this quilt.  I learned that if I continued to stop work on this quilt to correct minor imperfections, I would never get it done.  Although the top still needs to be quilted (I don’t have the skill set yet to do this quilt justice), it is finally finished, and I am earnestly thinking about making another one. 

If you’re a half-way serious quilter, at some point,  a quilt will come into your life that will teach you this lesson.  As much as you should strive to make this quilt as well as you can, employing every ounce of knowledge and talent you have, it won’t have perfect piecing, or perfect applique, or perfect quilting.  You will realize that your best is all you can give it and you need to move on.  In the long run, you have to embrace the fact that no one is really going to notice those teeny, tiny mistakes.

Next I learned that comparing myself to other quilters is the kiss of death.  I quilt with three fantastic groups of quilters.  These women and men are serious about their craft and can work wonders with needle and thread.  I can readily say on any given day, most of these folks can out quilt me by a mile.  And my guild’s show and tells are inspiring….and intimidating.  I can easily look at those quilts and tell myself “I can never do that…I’ll never be as good of a quilter as they are…”  It would be super easy for me to go home, pack up my stash, sell my machines and throw my hands up in despair.  It could be a pretty straightforward decision to just stop quilting.  I could allow my creativity to plummet.  However…

Most of those quilts I’m envious of are made by artists that have practiced their craft for decades.  I must embrace this fact. Lots of these quilters have been quilting years longer than I have and they’ve worked through the same issues that I have – and perfected their craft through practice, repetition, and learning from mistakes.  I tell myself the same thing as I admire the quilts at quilt shows.  It’s easy to get intimidated by award-winning quilts.   I had to acknowledge that my quilt journey is probably radically different from other quilters and comparing myself and my quilts to others only serves to bring my journey to a screeching halt. 

It’s just not worth it.  Comparing myself to others sucks the joy out of my quilting.  I learned to draw inspiration instead of intimidation from these quilts.  And in the long run, I really don’t think any quilter wants to intimidate another quilter.  Most quilters enjoy helping other quilters along the way.

I also have to ask myself, “Why am I making this quilt?”  There are so many answers to this question.  I could simply like the pattern or the fabric or the technique.  Those are quick answers to that question.  I could be making it as a donation to my guild’s Charity Quilt Program.  Maybe I’ve got plans to give it to a loved one or friend.  With those quilts in mind, I don’t have to be as picky about all the corners meeting perfectly or a few points having their tops lopped off.  Those techniques won’t matter – the only thing the receiver of that quilt will feel is my love for them.  I hope when they wrap themselves up in those quilts, nothing but my affection and concern is felt.

But there are those quilts that come into my life when I just know they are destined to go into a show.  Whether it’s the complexity of the pattern, the harmony of the fabrics, or just the quilter’s instinct in me, I realize pretty quickly this quilt could stand up to some serious competition.  That’s when I allow all my perfectionistic OCD-ness to come out to play.  And it generally pays off.  However, to hold every quilt I make up to show standards creates nothing but stress.  For me, quilting is a stress-relief from a job that is wracked with deadlines and guidelines and the bottom line.  I can do my best work for every quilt but shouldn’t freak out about every little detail.  That can wait for the heirloom or show quilts. 

All quilts hold the great and wonderful capacity to be learning experiences.  When we allow them to be just that, we’ve entered the true “Zen” of quilting.  We’re practicing our craft, learning new things, and allowing our creativity to run rampant.  It’s wonderful feeling.  Don’t let the demon of perfectionism ruin it for you.  Remember what I’ve learned:

It’s perfectly okay not to be perfect.

Until next week, Quilt with Passion!

Love and Stitches,

Sherri and Sam

I have a confession to make.  It’s not a particularly ugly one or anything remotely scandalous. And I imagine in the quilting universe there are more than just a few quilters out there who also can testify to this confession:

For years I was a topper.

Yup.  That was me.  I made quilt tops.  I rarely quilted a stitch (unless it was a small quilt).  I made so many quilt tops that despite the fact I’ve owned a long arm for three years now and have kept Loretta humming, I still have two bins full of tops.  When I began to quilt, the person who taught me only hand quilted, so that’s how she instructed me to complete my quilts.  And while I love to hand quilt, the process is time consuming.  This, coupled with the fact that I enjoy machine piecing, led to the dilemma to lots of tops and few completed quilts. 

Now, many years later, I’m comfortable with machine quilting on Big Red and I’m growing more comfortable with Loretta every day.  Of course, the obvious outcome of this is I have more completed quilts, but I will also share with you that quilting my quilts has made me a better piecer.  And while I realize that lots of quilters quilt with their checkbooks (pay someone to quilt their tops), I would like to encourage you to quilt at least a few of your own tops.  I think you’ll be surprised how much this improves your sewing and piecing. 

1.  When you quilt your own quilts, you have to think about the entire quilt from the beginning.

It’s really easy to become captivated by pretty fabric and equally pretty patterns.  However, after you’ve quilted a top or three, you begin to understand that if you have lots of points coming together at one spot, certain sewing and pressing techniques will need to be used to make the quilting process go smoothly.  If you’re a novice quilter and your quilt has some quality negative space, you understand that there will be major quilting involved, thus a longer time commitment (so if you’re on a deadline, this pattern may not be the best choice).

You understand that some fabric handles the quilting process better than others.  You deal with the fact that if there are lots of colors in the top, you may be changing thread more often.  You know that a busy quilt backing hides your stitches and a solid or muted backing emphasizes them. 

It’s evident that the more you quilt your own tops, the more consideration is given to each step of the quilting process – from choosing the pattern and fabric to how you piece your top.  This overview makes you a better quilter because each step is really perceived as part of the whole and not individual processes.  This brings us to the second point…

•  You get pretty darn picky about your patterns.

The more I quilted, the leerier I became about pattern designers that farmed out their quilting instead of quilting at least some of their own tops.  In my mind, if a designer didn’t see his or her quilt through the entire process (at least at some point), they may not have a grasp on how every choice affects the completed project.  You learn quickly that lots of tiny pieces in a quilt means you have to deal with more bulk.  And to me, the kiss of death with any pattern is the phrase, “Quilt as desired.”  Um.  At least give me some suggestions. I may not use your suggestion, but I will have a jumping-off point to dive into the pool of my own creativity.

•  Quilting your own quilts makes you extremely aware of what really does and does not work.

Besides becoming aware of what type of fabric can handle machine quilting well, you become equally aware of what type of backing your machine likes, what type of batting gives the desired drape, and what quilting notions are really worth their salt.  As far as backing goes, I learned quickly that all of my machines really like the 108-inches and larger fabric backing.  They simply quilt better with those.  Of all of my machines, Big Red actually handles a pieced back the best.  Loretta will hiccup over a pieced back unless the seam is horizontal.  See, it’s knowledge like this that helps me make decisions when I’m purchasing fabric.  If I’m quilting on Big Red, I can use the fabric requirements on a pattern.  If Lorretta will be doing the quilting, I budget and plan to purchase backing fabric – just because I don’t always have time to deal with her issues.  I’ve learned Big Red can work with just about any batting.  Loretta likes cotton, 80/20, or wool.  And my long arm is much more pickier about thread than the other machines. 

As far as quilting notions go, the one item that threw me a big-time learning curve was what I used for paper piecing.  I really like this product:

It’s kind of like the interfacing used in garment making.  The big plus this product has concerning paper piecing is that it’s opaque – you can see through it.  In addition, you’re supposed to be able to leave this in your quilt top – which beats the heck out of pulling all those paper pieces out of a quilt top when you’ve finished sewing the center.  I used quite a bit of this in my Farmer’s Wife quilt and in the small quilts I made in 2018.   I also used it in a 2017 Mystery Quilt challenge I participated in.  I quilted my small quilts on Big Red and she gave me nary a problem about the papers left in the tops.  I threw the Mystery Quilt on Loretta and she gave me nothing but grief.  Moral of the story:  If I’m paper piecing and planning on letting my long arm work her magic, all of those papers will have to come out, regardless of what the directions say.  That means after I finish designing and appliqueing my Farmer’s Wife borders, I will be spending an evening binging on Netflex and pulling out the papers. 

It’s knowledge like this that is gained by quilting your tops yourself.  It brings so much information to the table as you’re making decisions about your top.

•  You learn the importance of correct pressing.

I have written several blogs on pressing verses ironing.  If you haven’t read those, let me summarize here:  Ironing and pressing are inherently different actions and pressing is not optional when it comes to quilting.  Ironing is the back and forth action used for getting the wrinkles out of clothes.  Pressing is an up and down motion used for setting stitches and seam allowances.  The back and forth motion of ironing can really do some damage to bias cuts of fabric (it will stretch them), while up and down pressing will not.  A quilt that has blocks with stretched bias blocks is difficult to get to lie flat, so that means that no matter what kind of machine you quilt your top on, there is a big chance that you’re going to get puckers and tiny  tucks. 

In other words: Iron your clothes.  Press your quilt blocks. 

The next concept you grasp pretty quickly is bulk reduction.  And I’m not talking weight loss here – I’m talking about eliminating as much bulk as you can where seams come together.  There are certain blocks where this is not possible – like pinwheel blocks.  When all those seams meet at the junction of the four half-square triangles, there is a couple of tricks that can be played to help reduce block, such as “spinning the center” on the back of the block. 

However, the fact remains that there still is some serious thickness there.  You make a plan to quilt around it. 

But you learn that it’s important to reduce bulk as much as you can, so that your machine needle doesn’t break as it travels over the quilt sandwich.  I’ve learned to press the seams so that they nest. 

When I began quilting, pressing seams to either the right or the left was an anathema to me.  I had made clothes before I quilted, and in garment sewing, the seams are pressed open.  And on occasion, I still press block seams open, especially if there are a lot of points coming together and I can’t spin the seams.  The more I quilted my own tops, the more I learned that reducing bulk was sometimes more important than following the pattern pressing directions.  However, there’s one instance when your quilt seams should always be pressed to the side:  If you’re planning to stitch in the ditch around your blocks or block units.  If these seams are pressed open, your quilting stitches will merely catch thread, and not fabric.  This weakens all the stitches and they will rip out with repeated use or laundering.

•  You learn that “squaring up” is important in each step of the quilting process.

I have probably talked so much about “squaring up” that you’re rolling your eyes and whispering, “Not again!” under your breath.  However, as a former teacher, I will tell you the same thing I told my students, “If I say it more than three times, it’s really important.”

So, folks…squaring up is important.  Every step of it is important.

If all your blocks are the same size, that means your quilt center will come out as true to size as possible.  And if the borders are put on correctly (I have several past blogs that deal with the correct way to put on borders), then your quilt will lie perfectly flat.  It will be a beautiful thing to behold – no ripples, straight and even borders…it will be lovely.

When it comes to quilting it, it will truly be a thing of beauty and a joy forever.  It will lie flat as it’s quilted – no matter if it’s quilted on a stationary machine or a movable machine.  And I probably don’t have to tell you that if you’re quilt lies flat, you’ve reduced your chance of puckers and tucks on the front or back to almost zero. 

Unless you’ve quilted a top that isn’t square, you may not appreciate what a fine thing a truly squared up quilt is.  Those quilt like a dream and when the quilting is done, the completed project looks awesome.  Plus, it’s given you no trouble.  Easy-peasy.

If you’ve never quilted one of your own tops, I hope this blog encourages you to try it.  Start small…work into larger tops.  When I began to machine quilt, I quickly grew to love seeing the texture come into play and watching secondary patterns emerge.  You can have a great deal of fun with the quilting.  So add another layer of quilting knowledge and fun to your adventures.  Just …. Quilt it!

Until next week, Quilt with Passion!

Love and Stitches,

Sherri and Sam

Remember those days when you first began to quilt?  Remember the excitement you had looking over new patterns?  The thrill of those first fabric safaris?  The anticipation of those first cuts and stitches?

Remember all the mistakes we made?

Ahh…. Good times.

I look back at those time (and those quilts) with a great deal of fondness.  When I signed up for my first block-of-the-month club, I had lots of sewing experience, but zero quilting knowledge.  For a woman that made all her children’s clothes and most of her own, quilting threw me a learning curve or two.  I thought that this week I would write about some of those early quilting mistakes I made.  For those of you that have quilted for a while, I know you’ll roll your eyes at some of them (as you admit to yourself that you made those goofs, too). For those of you that are new to quilting or have only made a few quilts, I hope you realize that all of us quilters made most of the same mistakes you have. 

• Don’t mix pre-washed fabrics and fabrics that have not been pre-washed.

This sounds like a minor thing.  And I will admit quilting fabric has improved over the years to the point where crocking isn’t a real concern unless the fabric is really dark and shrinking (on a significant level) rarely happens. However, I still don’t think it’s a good idea to mix the two.  I also admit that there are still (sometimes heated) debates about the benefits of pre-washing or not pre-washing your fabrics.   But, if you’re like me and tend to wash and iron your fabric before you put it in a quilt, it’s a good idea to make sure all the fabric is prewashed.  If you sew a piece of pre-washed fabric to a piece of non-washed fabric, the non-washed fabric can still shrink a bit when the quilt is laundered.  This situation may lead to a slightly puckered appearance along the seam lines or applique pieces.

• The ¼-inch seam is pretty much the “standard” quilt seam allowance.

This was the hardest thing about quilting for me to conquer.  I sewed clothes before I quilted and the standard seam allowance for most clothing patterns is 5/8-inch (or at least it was back when I made clothing – I have no clue if this still holds true).  The ¼-inch seam just appeared to be too small.  I worried about my seams raveling down to the thread and the quilt falling apart.  But after quite a few of my first blocks came out really wonky and bulky, I quickly learned that I had to master that ¼-inch seam allowance.  Today’s quilters have lots of tools to help with that – special quilters feet for their sewing machines, marking tools, seam guides, etc.   Use whatever works for you to get a consistent ¼-inch seam.  And be sure to recognize the difference between a scant ¼-inch seam and a full ¼-inch seam.  A scant seam is just a thread or two shy of the full ¼-inch.  Some patterns use the scant and some will use the full.  Always make a test block to see what works.  If the block comes out smaller than the quilt pattern indicates it needs to be, switch to the scant ¼-inch seam and try it again.

• Cut accurately.

As most quilts are cut out via rotary cutter, mat, and ruler, one of the best pieces of advice I can give you is to learn to use all three accurately.  Let’s start with the rotary cutter.  There are literally dozens of these made.  Take the time to really research the different kinds of cutters to find the best one for you.  Personally, my favorite is the Martelli brand.  These are super ergonomic, and I can cut for hours without my hand hurting.  For those left-handed quilters out there, they make cutters for you.  The kind of cutter you pick depends mostly on the kind of quilter you are.  If you’re an occasional quilter, almost any brand may do.  If you’re a serious quilter, it depends on the type of quilts you make.  If applique quilts are your passion, you’re only cutting background fabric, so a less expensive rotary cutter will work.  If you’re a piecer or combination piecer/appliquer, plan on spending a little more for a good cutter.  That thing is literally going to be an extension of your arm, so make sure it fits comfortably in your hand.

You’ll probably want a self-healing mat – one where any marks made by the rotary cutter will fade out.  A rotary mat is a serious investment, but even the self-healing ones will need to be replaced from time to time.  Again, my favorite brand is Martelli – I get the most bang for my buck with them.  Their mats seem to last FOREVER.

Try out several rulers, too.  For all- purpose cutting I use these three most of the time. 

My longest and widest ruler has a lip on the end so I can set it firmly against my mat when I make a cut.  This helps prevent any slippage. 

I also use this one for smaller cuts. 

I like Creative Grids rulers because they have the non-slip circles built into them, so they’re less inclined to slip.  And this one technically isn’t a ruler, it’s a binding tool. 

However, it’s exactly 2 ½-inches across which makes cutting all those 2 ½-inch strips and blocks a breeze.  Out of all three of these – the cutting mats, rotary cutters, and rulers – rulers are the easiest things to throw down some serious money on.  There seems to be a ruler made for almost any kind of block you want to cut out.  My general rule of thumb is that if I can’t use a ruler for more than one kind of block, I don’t buy it. The ruler will be sitting in my ruler file most of the time and I consider that a waste of money.

Once you’ve settled on the mat, ruler, and rotary cutter that works best for you, be sure to at least use the same mat and ruler throughout the project to make sure all the cuts are consistent.  You’d be surprised that there can be as much as a half inch difference between some brands.  And this is how to hold a ruler as you cut:

The ring finger and pinkie stabilizes the ruler against the fabric, so it doesn’t slip. The middle finger, index finger, and thumb put pressure on the ruler to hold it in place.  Also, as soon as the rotary cutter begins to skip and not cut through your fabric, change the blade.  Additionally:

Always move the rotary cutter away from your body.  And close the cutter when you’re through using it.

Only use the rotary cutter with a rotary mat.  Any other type of surface will dull the blade quickly.

Crisp fabrics are easier to cut. So, if you pre-wash, use spray starch or sizing when you iron the fabric to give it a firmer hand.

Some quilt patterns will tell you to stack your fabric when you cut it. Just be aware that the more fabric layers there are, the less accurate the cutting becomes.

Square up the edge of the fabric before you make your first cut by cutting a small strip off the side so that the layers will be even.

• Press the correct way and press often.

Pressing the seams isn’t an optional step when it comes to quilting.  Pressing helps the points and corners to match up as well as makes the block lie flat.  If the blocks lie flat, then (hopefully) the quilt top will lie flat.  And technically there are several tools that can be used to press your seams.

You can use one of these:

Simply run the slanted end over your seam to push it to one side.

Or this:

You simply roll this over your seam to help it to lie flat. 

I use either of these when I’m paper piecing.  With paper piecing, you’re ironing each seam every time you add another piece.  And while my small ironing station is near my sewing machine, it’s still time consuming to turn around and iron each seam.  So, one of these pressing tools speeds things up and can stay right by Big Red or Marilyn as I stitch.

However, there comes a time when you have to use an iron.  Using the steam setting is clearly a personal choice.  Since keeping water in your iron tends to speed up the iron’s death cycle. I opt not to use keep water in the tank but have a spray bottle of water that I can use if a tough area needs a spritz or two of steam.  And always use an up and down motion when pressing, instead sliding the iron back and forth – this movement can stretch the bias of the fabric and make your block all kinds of wonky.

• It’s not a race.

It’s really not about speed – although when a quilt pattern and fabric completely captivate your creativity, it’s easy to want to rush yourself through the process to see the pretty product.  And if you’re sewing lots of straight seams, it’s even easier to sew fast.  I’ve found that block-of-the-month clubs or group sews also make me want to push my pedal to the metal and rush through the process so I can keep up with everyone else. 

Keep in mind that faster does not equal accuracy.  Slower sewing generally means more accurate sewing.  For me it all boils down to this:  I hate ripping out what I’ve sewn.  I would rather sew at a slower pace and be able to keep the seam I just sewed intact and accurate. 

• If you’re new to quilting, don’t “go big or go home” and don’t go too complicated too soon.

If you’re new to quilting or haven’t made too many quilts, it’s easy to choose a bed quilt for your first quilty venture.  I mean, quilts normally go on beds, so why not make a quilt you can sleep under? 

First, making a bed quilt – even a twin-sized – is a serious commitment of time and money.  It takes quite a bit of fabric to make a bed quilt.  You can learn the same quilting lessons on a smaller quilt that you can on a larger one without the serious monetary investment.  And if you decide that quilting really isn’t your “cup of tea” there has been no significant money spent.  Make a couple of smaller quilts and if the quilting bug bites you hard, then go big or go home.

Same thing applies with the pattern choices.  Find a pattern that identifies itself as a true beginner quilt, such as the Rail Fence.  That one has lots of straight seams.  Don’t try something like Storm at Sea even if you have lots of sewing experience in other areas.  Start simple and work your way into the more difficult patterns. 

• Practice, practice, practice.

Every good quilter was a beginner at some point.  The way good quilters become excellent in their field is practice.  Quilting is just like just about everything else in life – the more you do it, the better you get at it. 

• Watch your stitch size.

I have found that (generally) the pre-set stitch length on most sewing machines is just a tad too big for piecing.  Big Red is a Janome 7700 – which was advertised as a quilter’s sewing machine.  Her stitch length is pre-set at 2.20. 

When I am piecing, I lower this to about 2.0 or even 1.9 if I’m sewing small pieces together.  There are a couple of reasons for this.  First, with quilting, you don’t have to lock your beginning stitch or your ending stitch.  The thread gets caught in the adjoining seams.  However, a longer stitch length doesn’t lock the thread as securely as a small stitch length does.  Second, a smaller stitch length ensures your block won’t be wonky. I’ve found a longer stitch length – even the pre-set on Big Red – tends to make my block feel kind of floppy (for lack of a better word). 

And if you’re paper piecing, you’re going to need to set that stitch length even smaller.  I go down to a 1.8 or even 1.5 when I’m paper piecing.  The smaller stitch perforates the paper foundation and makes it easier to release.  I have a future blog about paper piecing coming up, so stay tuned.

• Join a guild or some kind of quilt group – one that actually meets face-to-face.

Don’t get me wrong, I love my Facebook, Instagram, Pinterest and other internet groups.  If you run into a problem and post on one of these, you’re going to get some solid answers in a short amount of time.

However….

There is nothing like meeting face-to-face with a group of quilters.  I have always been especially inspired by my groups’ show-and-tells.  The work is stunning and the knowledge these quilters can pass along is invaluable.  Don’t be afraid to go to a guild meeting or a bee – as a whole quilters are a very welcoming bunch and love to share.  Most guilds have a Facebook page.  If there’s a guild in your area (Google it to find out), see if they have a FB page or website so you can find out about meeting times and dues in advance.  This quilty fellowship really helps sharpen you as a quilter – in my opinion, it’s invaluable.  Don’t quilt in complete solitude.  Get out there and meet some quilting friends!

• “True Up” after each step.

If you’re not sure what this means, it’s really simple:  After making each unit for a block, make sure it’s the right size.  Then as you finish a block, measure it to make sure the block is the right size.  Then as you make the borders, make sure they’re the right size for the quilt center.  I love quilt patterns that tell you what size each unit in the block should be.  That goes such a long way in making sure your block ends up the right size.  And while most quilt patterns will tell you how long the make the borders, be sure to measure the center in three places vertically.  Take the average of these three measurements and cut your left and right borders that length.  Sew those on.  Then measure again horizontally in three places, take that average and make your top and bottom border.  This procedure will square up that quilt top.

This takes some time, but it really pays off in the long run.  Your quilt top will lie nice and flat.  Your borders won’t be wavy.  And it will be a dream to quilt.

• And finally, don’t worry about making mistakes.

I have never made a perfect quilt top.  Every quilt I make has mistakes in it.  And every goof up I’ve made has taught me something.  That’s the great thing about quilting.  You’re always learning and evolving into a better quilter. 

Don’t let the fear of making a mistake stop you from trying something new.  Keep moving with the quilt.  Finished is way better than perfect and keep in mind that all quilters make mistakes.  We also learn clever ways to hide them.

______________________________________________________________________________

I just received a disturbing Facebook update from the North Carolina Quilt Symposium. The 2019 Symposium is the last one we will have. The NCQS has fallen victim to the same scenario that a lot of our LQS’s have — they cannot compete with YouTube videos, internet classes, and on-line fabric and quilt sites.

Seriously people. Support your local LQS as well as your local quilt groups. We’re going to turn around one day and will have lost all of these. And our quilting culture will never be the same again.

However, I do see this as a wide-open opportunity for local quilt guilds and bees to step up in a LARGE way to fill this gap. Don’t let me down, fellow quilters.

Until next week, Quilt with Passion!

Love and Stitches,

Sherri and Sam

This week I’d like to discuss a couple of words that are bandied about quite a bit with quilters – design and consistency.  Those are a couple of words you hear about in quilt judging.  The word “design” comes into play even more often when quilters talk about quilt designers, those designers’ designs, and how to design their own quilt.  We’re discussing design first, as that’s probably the word that most folks are familiar with.

When we throw out the word design, what comes to your mind?  Is it patterns?  A quilt design program?  Is it a sketch on graph paper?  Or do you automatically think to yourself, “I use quilt patterns – I could never design my own quilt!  I don’t even know how to begin!” 

Then let me stop right here and blow another quilting gasket in your brain:  Every time you make a quilt, you design.  Yes, you do.  Let me explain.  When we typically think about design, we embrace the concept of a quilt pattern.  Design is much more than that.  Quilt design embraces color and impact.  It consists of workmanship.  Design begins the minute you decide to make a quilt – whether it’s a pattern that you’re drawn to (or may have drawn yourself), or simply a lovely piece of fabric you’ve got to take home with you.  From that moment on, you – as a quilter – have begun the design process.  You’ve either decided on a pattern and have to make fabric decisions, or you’ve decided on the focus fabric and now have to find a pattern.  Whichever comes first in your quilting process, the design decisions are now beginning

When you have your pattern and your focus fabric, the next step in the process is picking out the supporting fabrics – the neutral, the lights, and the darks.  I’m not going into too much detail here, as I’ve really written ad nauseum about this in the past.  If you need to refresh your memory, re-read my 2019 blogs on the subject.  Even if you’re copying the fabrics on a pattern as closely as you can, you’re still designing.  Chances are the exact fabrics needed may not be available and substitutions will have to be made.  However, it’s very important to remember all the fabrics chosen should be picked with the idea that the greatest visual impact is needed for a truly wonderful quilt.  Make sure your darks are true darks and not mediums and the lights are true lights.  Great color combinations coupled with wonderfully pieced blocks or stunning applique all make for great visual impact. 

The next design concept that comes into play is workmanship.  Here’s where quilt experience comes into play.  The longer you quilt and the more quilts you make, the better your workmanship becomes. Quilting is like a lot of other art forms in this concept – the longer you work at it, the techniques evolve into something truly wonderful.  For instance, if your quilt pattern has lots of flying geese, and you’ve quilted for several years, you may know a great way to make those geese that’s not in the pattern directions.  Use the technique that works best for you and embraces your best piecing.  I’ve said the following until I’m nearly blue in the face, but I’m repeating it once again:  The quilt pattern and its directions are suggestions in moving from the beginning to the finished product.  The quilt pattern designer often will use either the standard directions in making a unit or the procedure that works best for him or her.  And neither of those may not work best for you. 

And here is where the word consistency comes into play. Make sure your units/blocks have uniform appearance.  For instance, let’s look back at those aforementioned flying geese.  If you struggle with this unit and tend to cut the tips off of the beaks of the geese, just go ahead and cut all the tips off the beaks.  That way it looks like this plan was part of the design, and not just a struggle with workmanship.  No one is going to know but you. 

Workmanship also includes making sure intersections meet and the points are sharp.  It means that the piecing thread either matches the fabric or blends in with it. 

If the quilt is hand appliqued it means that the stitches are so small they aren’t seen, the curves are smooth, and the points are sharp.  If you have trouble attaining points on leaves or petals (or anything else in your applique), round those suckers off.  Do that for all the pointy pieces of your applique so that it will look consistent.  If your quilt is raw-edge machine applique, make sure the stitch used is right for the size of the applique piece and the thread matches the applique fabric as closely as possible.  If it’s machine applique with a finished edge, make sure the stitches are small and are as near as possible invisible to the eye. 

Now let’s discuss the actual quilting in a quilt.  I have reached the point where this is one of my very favorite parts of the quilt-making process.  I love seeing the texture come into play.  To me, good quilting just adds another layer of personality to the quilt top.  When considering design and workmanship in the quilting, a couple of things are obvious.  First is the size of the quilt stitch.  If you’re hand quilting, this means that all of your stitches are consistent in size – it doesn’t necessarily mean that all of your stitches are tiny.  I know we’ve all heard the great quilt history stories of the past where those women could hand quilt up to 10 stitches an inch.  As long as your hand quilting stitches are pretty much the same size both on front and on back of your quilt, that’s true consistency.  The same holds true for machine quilting – either on a stationary or moveable machine.  This gets a little tough when moving the needle around curves, but it’s something to strive for.  That’s why if you have a long arm or mid arm with a stitch regulator it’s a good idea to learn how to work with that option turned on.  It’s the sure way to make all the stitches uniform length. 

Finally let’s talk about the quilting itself.  Most quilts require some “stitch-in-the-ditch” quilting.  This stitching is done along the seams and stabilizes the quilt layers so they don’t shift any during the quilting process.  It’s a good idea to make this stitching as invisible as possible, so use a thread that matches the fabric.  If there are lots of color changes in your top, you may want to give monofilament thread a try, as it blends with anything.  Keep the stitches in the seam.  After the stabilization is finished, then the actual quilt design needs to be considered.  My “go-to” quilt design is a large, all-over, edge-to-edge meander – which works if it’s a play quilt or a charity quilt or some quilt I’ve pieced together just for fun.  However, I will be the first to admit it lacks complete creativity.  The meander works great to hold the quilt layers together, but on the whole, it really adds nothing valuable to the quilt (however it can be very effective as tight meander background stitch).

Try to find a design that goes with the theme of the quilt.  If you’ve made a quilt top with lots of flowery fabric, quilting flowers over it is completely appropriate.  If you’ve made a Christmas quilt, holly leaves would be perfect. However, I’ve seen quilts where I’ve really struggled to understand the reasoning behind the quilt design.  For instance if you make a quilt with the Maple Leaf block, why would you want to quilt flowers across the top?  In my mind, these two don’t go together, but maybe it’s just me…

In closing, what I’ve tried to say in this blog is:  Pay attention to the details and do the best work that you can.  You’ll never regret the time and effort put into making a quilt the best it can be.  I may moan and groan about being faced with more work, but I’ve never looked back at a quilt and considered any of that extra labor a waste of time.  I love looking at that quilt and knowing it was done as precisely and correctly as I could make it.  While I will always believe a finished quilt is better than a perfect quilt, I do get a buzz out of knowing that I completed that quilt to the very best of my ability. 

Until next week, Quilt with Passion!

Love and Stitches,

Sherri and Sam