Quilts, Quips, and other Nearsighted Adventures

Most quilters know what quilt borders are.  And most quilters also realize that not all quilts have borders.  We also recognize quilt borders can vary in widths and can be designed as strips of fabric, pieced blocks, or applique. 

Yup.  We know what quilt borders are, but what are they supposed to do?  We will look at all the answers to that question as well as work with some quilty math to make sure our borders look the way they’re supposed to.

Borders perform the following important functions:

• They help square up a quilt.

If you have followed the “Sherri’s Squaring Up Process”, your quilt should be squared up – which means it’s the same measurement on both vertical sides and the top and bottom are the same size.  So if the pattern states the quilt should measure 75-inches wide and 102-inches long, this means the left and right side will measure 102-inches and the top and bottom will measure 75-inches exactly. 

However, we all know technically this can be difficult to achieve.  If you square up each step of the way – meaning you measure each block unit, each block, each sashing, and each row to make sure they’re the right size – before sewing them together, everything should come out  correctly.  By squaring up at each step, it’s easy to find where you may be off a bit and fix the issue then, not after the center is completed.  If you do this now, when it’s time to sew on the borders, the center should be pretty much dead on the correct size. 

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However, sometimes, no matter how careful you are, the center isn’t square.  One side may be a half inch longer than the other one.  This is when borders can really help square up the quilt center.  The process isn’t difficult.  You simply need your quilt center and a space large enough to lay your quilt out flat.

Step One – Measure the quilt across the left, right, and center vertically.  Then average your three measurements together.  So taking the quilt above as an example, let’s say the three vertical measurements were 102, 102 ½, and 102.  Add these three figures together and then divide by three:

102 + 102 ½ + 102 = 306 1/2

306 1/2  divided by 3 = 102 1/6, which I would round to 102 and then add 1/2-inch for seam allowances.

We make the borders 102 1/2-inches long and sew those onto the left and right sides, easing in any fullness. 

Now to deal with the horizonal borders.  The center is supposed to measure 75 across, but since we’ve added left and right borders it will be bigger.  Let’s say the borders are 5-inches wide each (finished).  That allows us to add 10 total inches of additional width to the 75-inches of the original center.  So now our center should measure 85-inches across.  Again, get out that measuring tape.  Take a measurement horizontally across the top, bottom, and middle of the quilt.  Let’s say our measurements are 85, 84 ¼, and 84 ¾ inches.  Let’s add them together and average.

85+ 85 + 84 ¾ = 254 ¾ 

254 ¾ divided by 3 = 84 11/12  which I would round to 85 and add a half-inch seam allowance.

Make the horizontal borders 85 1/2- inches long and sew them onto the top and bottom, easing in any fullness.

If you follow this process, your quilt should be square and ready to sandwich and quilt.  However, let me also throw in a couple of warnings.  First, if the three numbers your averaging are off by ¾-inch or more, something is really off somewhere.  Take a long, hard look at the quilt and see if you can figure out exactly why it’s off so much and correct it.  This is why it’s important to square up as you go.  It’s a lot easier to determine why one block is off and it’s not as much to rip apart and correct.    Second, if your quilt averages are off more than ¾-inch, it’s super easy to just cut off some strips of border fabric, sew them on, trim off the extra, and then repeat on the other two sides of the quilt.

As a long armer, I’m pleading with you not to.  Unsquared quilts are really a pain to quilt and make them look pretty.  There are tucks and pleats and it’s just a pain-in-the-you-know-where to quilt.  And if the quilt is a wall hanging, it may look good with the initial hanging, but over time, the quilt will droop, making the longer side more obvious. 

• They prevent tucks and puckers along the edges of the quilt during the quilting process.

Personally, I love a quilt without borders as much as I love a quilt with borders.  Many of the 1930’s quilts I adore don’t have borders.  However, if you have a pieced quilt – especially if it’s a heavily pieced quilt – it’s easy for the edges of the blocks to get tucked under the quilting foot (either on a stationary or moveable head) and form a pleat or pucker.  The smooth surface of a border allows the foot and needle to travel over the edge of the quilt completely without getting hung up on a seam.  If you really don’t want borders on your quilt, then baste some removable strips of fabric (this is a great way to use up ugly fabric) to allow your long armer a “safe” area to exit the quilt and then return to it.  After everything is over, these temporary borders can be removed before you bind the quilt.

• Borders secure seams.

With some quilts this doesn’t matter as much as with others.  If you made a quilt which is pieced, often the blocks which line the top, bottom, and sides of the quilt will begin to become “unsewn” as the top as handled.  Seams will begin to pop.  This can be a real issue when the quilting process is started, as it’s easy for the quilting foot to get tangled up in these open seams.  This is especially true with heavily pieced quilts.  There are a couple of ways to get around these unraveling seams.  First, after the top is completed, stitch around the entire top, about 1/8-inch inside the outer edge to prevent the thread from raveling out of the seam.  The second way to prevent this is to add a border.  The border seam will encase the outer edges of the blocks and keep the seams stable. 

• Borders frame the quilt.

Borders can act as a frame for your beautiful quilt center.  It can pull out your focus fabric to pull the quilt together.  It can echo your applique theme, or the pieced blocks used in the center.  I’ve always said borders are the punctuation marks for your quilt sentence.  Make those borders an exclamation point, not a period or a comma.  Use the borders to enhance and frame the quilt center, not detract by overpowering it or by being completely underwhelming.

• Borders can increase the size of the quilt.

This sounds like such an obvious answer to the question, “What do borders do?”.  Of course, they make a quilt bigger.  However, this answer can save the day if you’re making a quilt which is size-specific.  When I made the hubs his “Everyday is a Good Day to Fish” quilt, he had a couple of definite requests:  He wanted it long enough that it would have a pillow tuck and wide enough that it would drop over the bottom edge of the mattress.  Since I was working with panels, my options for height and width were somewhat limited, but adding borders saved the day.  Eventually it became the perfect size.  You may experience the wonder of this border characteristic yourself.  If you have a limited number of blocks – such as some donated for a charity quilt – or you get elbow-deep into a pattern and decide after 10 or so blocks you really don’t want to make any more – adding borders can bring these blocks to a decent sized quilt for use. 

If limiting your stash is a priority, borders can be used to eliminate leftover fabric.  Because the options are always open to make several borders of different sizes, a great deal of stash can be used.  In one fell swoop you’ve reduced your stash, added height and width to a quilt, and framed it beautifully.  What’s not to love about that?

• Borders can create a desired look.

As well as echoing the quilt’s theme, borders can make your quilt look very traditional or very modern.  Don’t believe it?  Let’s take this quilt center:

This is a very traditional quilt, constructed in batiks.  Let’s throw on a very traditional border, such as one with swags:

Now it takes on a very traditional look.  Nothing wrong with that, but you can see how the traditional swag added to the old-fashioned look of the traditional blocks. 

Let’s add a more modern border and see what happens.

Suddenly those very traditional quilt blocks look much more up to date than the ones with the swag border. 

As well as framing the quilt or extending its theme, borders can also “age” the quilt.  This is something to keep in mind as you design your quilt. 

Historically, antique quilts are shown both ways – both with and without borders.  And to complicate the border issue, some of those older quilts may have borders on either the top and bottom and not the sides, or on the sides and not the top and bottom.  Some of them have borders on three sides.  Our quilting foremothers were pretty fabric savvy.  They often would add borders only to the sides of the bed which would be seen.  So if only the sides of the bed were in view from the door of the bedroom, only the sides received borders.  If the top of the quilt would be covered by pillows, it didn’t have a border.  And if the quilt did have a top border, often it was covered by a piece of muslin.  These pieces of muslin were called “Whisker Guards.”  They protected the top surface of the quilt from the long beards some men had. 

Today, borders are quilty items which may come with a pattern or not.  If you’re designing your own quilt, they’re something you may choose to omit or add.  Are there rules about how many borders you can add and how big they should be? 

Nope.  There are as many border choices as there are stars in the sky.  Quilting has no hard, fast rules, but there are a few guidelines to consider.  Here are a few of them.

1.  Consider the Golden Ratio – Two of my most popular blogs are https://sherriquiltsalot.com/2020/06/03/destination-the-borders/ and https://sherriquiltsalot.com/2018/07/26/sashing-and-the-golden-ratio/.  Both of these go into more detail about the Golden Ratio than I will here.  The Golden Ratio is considered to be the perfect proportion and occurs in nature pretty regularly.  Mathematically, the Golden Ratio is 1.618.  It works like this:

To begin, with please note when we’re working these equations, we use the finished size of the block, then add in the seam allowances prior to cutting the fabric.

Let’s say you have 8-inch blocks, and you want to add a couple of borders, but you have no idea where to start.  Multiply 8 x 1.618 to get 12.944.  Now divide 12.944 by 4 (because the block has four sides) to get 3.236, which we round down to 3-inches.  The widest we could make the first border is 3-inches.  Now let’s see what’s the narrowest width we could make the first border.  To do this, divide 8 by 1.618, which equals 4.94438.  Now divide 4.94438 by 4 to get 1.23609, which we round down to 1.  The narrowest width we could make the first border is 1-inch. 

However the best news about the first border is that it can measure anywhere between 1-inch and 3-inches wide and look perfectly wonderful.  So pick any measurement between 1-inch and 3-inches and add ½-inch to it for seam allowances.  For the sake of this blog, let’s pick 2-inches as the finished size of the first border.  Now we want to add a second border.  How wide and how narrow could we make it?  This time we take the size of the finished first border (2-inches) and play with that.

Multiply 2-inches by 1.618, which gives us 3.236, which can round to 3.  The second border can be 3-inches wide.  Since typically borders progress in size, we won’t formulate how narrow the border could be, I just add ½-inch to the width for seam allowances and cut my border fabric out.  But let’s say we want a third border.  How do we work that?  There are a couple of ways I go about it. If I’m constricted by size (such as the quilt may be a wall hanging) or simply want a smaller quilt, I take the finished width of the second border (3-inches) and multiply it by 1.618 to get 4.854, which we round up to 5-inches.  However if I needed extra width on the last border, I can add the first two borders together (3 + 2 = 5) and multiply that sum by 1.618.  In our quilt, this means the final border could be as wide as 8.09 or 8-inches. 

•  Consider the blocks’ proportions – This method isn’t quite as “mathy” as the Golden Ratio.  It uses a fraction of the size used in the body of the quilt.  Using ¼ to 1/3 or ½ to 2/3 of the block size can be used to determine the border(s) size(s). For instance, if you had 12-inch blocks, the borders can be 3-inches (12 divided by 4), 4-inches (12 divided by 3), 6-inches (12 divided by 2) or 9-inches (12 divided by 2/3).  The size you select is your personal choice, and sometimes it depends on the border fabric.  If you have fabric which has a large scale print you want to keep intact and emphasize, you’ll want to have a wider border.  Just make sure the border doesn’t overwhelm the patchwork. 

• Consider the size of the quilt – This is really the “looks good to me” method, although I prefer the term “common sense” reasoning.  Smaller quilts need smaller borders.  Otherwise they look completely overwhelmed.  Larger quilts can handle larger borders.  Guidelines (not rules) for this are:

• Wall Quilts: 3-inches or less
• Crib Quilts: 3-inches
• Twin Quilts: 4-inches
• Full Quilts: 5-inches
• Queen Quilts: 6-inches
• King Quilts: 6-to-7-inches

When posing the question, “What do borders do?” the answers are numerous and sometimes they do more than one thing.  They can both frame and enlarge the quilt.  They can carry on the theme of the center and make sure your quilt center is square.  Like a lot of quilty parts, they perform more than one duty.  I hope this blog gives you a real idea of what all they can do, as well as how to put them on correctly.

Until Next Week, From My Studio to Yours,

Love and Stitches,

Sherri and Felix

According to the Oxford Dictionary, the word finite is an adjective that defines someone or something as having limits or bounds, such as “My fabric stash is finite.”  It has its limits.  Something which is finite cannot go on indefinitely nor automatically replenish itself. 

Time is defined in Wikipedia as “The continued sequence of existence and events which occurs in an apparently irreversible succession from the past, through the present, and into the future.”  We measure time by seconds, minutes, hours, days, months, years, and centuries.  While time itself isn’t finite, we do put boundaries and deadlines on it.  Taxes are due by April 15. Christmas is December 25.  Your birthday date never varies.  Your age continues in sequence.  While time may continue long past our expiration date, the amount of time we’re allotted is finite. 

All of this musing about infiniteness of time and the finiteness of us brings me to this week’s blog topic:  If you could only make 15 more quilts in your lifetime, what would they be?  Besides the research in the definition of the words, I also casually polled a several of the quilt groups I quilt with.  I asked each member of the group the same question – If you could only make three quilts during the rest of your life (to shorten the response time I asked for three and not 15), what would they be?  I honestly believed some quilts would overlap.  I fully anticipated there would be overlaps of Dear Jane, Baltimore Albums, Caswell Quilt, or other popular quilt patterns.

Nope.

I honestly don’t believe (I didn’t keep notes with every group) the same quilt was mentioned twice – which totally ruined my original blog topic “The Quilts Everyone Wants to Make Before They Go to that Great Quilting Bee in the Sky.”  So what you’re getting from me this week are the quilts I want to make during the rest of my life.  There are fifteen.

• Love Entwined

I have actually started this quilt.  I have the center star completed and some of the applique prepped.  About the time I started this quilt, I had a trifecta of family health crisis, and it was set aside.  I have the fabric stored and I need to drag it back out and get busy. This is based on the 1790 Marriage Coverlet.  The original actually has no name and Love Entwined is Esther Aliu’s homage to the original.  If you’re interested, the pattern can be purchased from Esther’s website and there is a Block of the Month club on Facebook which will tackle this project in 2025. 

•  Sunbonnet Sue

This sweet girl with her big sunbonnet and perpetually positive attitude has been on my quilting radar since I began quilting in the early eighties.  I have the pattern, I have the fabric, and I really have to get started. 

•  If Mary Was a Quilter

I saw a picture of this quilt somewhere and it took my breath away.  The Madonna and the Christ-child, with the Child wrapped in a quilt.  This was one of those quilts I knew I had to make from the minute I saw the it.  I immediately began Googling the pattern, but was bitterly disappointed when I discovered it was out of print.  I casually mentioned this to my regular Tuesday night Sit and Sew, when my friend Karen suggested a store (in Ohio I think) which might carry it.  This wasn’t a quilt store, but kind of like a general mercantile shop.  Sure enough, a quick search on the store’s website yielded the pattern.  It’s laying on my cutting table…which is as far as it’s gotten since it arrived in the mail.

• City Sampler

This wonderful, small-block quilt is designed by Tula Pink.  I love Tula’s fabrics and have used them in many, many quilts.  However, this quilt caught my attention by the way she described it in the forward: 

“You will notice…that the blocks are not named but simply numbered. This is intentional. I may have designed the blocks and given you the instructions on what to cut and where to stitch, but I have not infused the blocks with any meaning. This is your quilt. The fabrics that you choose, the colors that you use and why you are making it are what will give the quilt a purpose. Name your blocks, write in the margins, cross out the ones that you don’t like, draw hearts around the ones that you love. In a perfect world, everyone’s book would end up looking like a journal, coffee stains and all. The more adventurous ones might rename the book and write their own introduction. Tula Pink’s City Sampler is a collaboration between you and me. I am the platform, and you are the speaker, so stand on my shoulders and tell the future who you are and why you make.”

This is a quilt which gives you a ton of freedom.  If you’re an advanced quilter, you can have a wonderful time changing up blocks and deciding which ones to make.  If you’re a newbie, the blocks are simple enough to allow you the same design choices an advanced quilter has, just on an easier scale.  With each block, you build confidence.  This is a stunning quilt, whether you make ten, 25, 50, or all 100 blocks.  The blocks are 6 ½-inches, which is one of the reasons it appeals to me, as I love small blocks.  I’m collecting gray and yellow fabrics for this one, and since the blocks are so small, I just need scraps (which I have plenty of), not yardage.

• The Bible Sampler Quilt by Laurie Aaron Hird

There are many Bible quilt patterns.  I like Laurie Hird’s pattern, primarily because I have made her Farmer’s Wife Quilt (the first one), and had a blast.  The blocks are small – 6 ½-inches unfinished.  However, the range of blocks makes this a fun sew.  Some of the blocks are easy and others will challenge even advanced quilters.  A CD comes with the book which contains the templates and the paper piecing patterns, so you do have a construction choice. 

•  Baltimore Rabbits

I love Baltimore quilts, and one has been on my quilting bucket list for nearly as long as I’ve quilted.  However, this whimsical take on bunnies added to the seriousness of a Baltimore quilt won my heart a long time ago.  For awhile the pattern was hard to find, but evidently it came back in print.  I purchased it this year and have a few fabrics ready to go.  It’s by Bunny Hill Designs.

• Hop to It

Edyta Sitar’s designs are yummy.  It’s difficult to resist any of her patterns.  Hop to It was published in 2009, so this is an early Sitar pattern.  I love the flowers and their settings in the blocks.  I have started this quilt.  I took an applique class with this pattern, but haven’t completed it yet.  I want to pull it out and finish it up.

• Vintage Valentine

I first saw this quilt years ago.  Stitchin’ Heaven introduced this pattern as a block-of-the-month a long time ago when I first began to applique.  While I adored the pattern, at that time in my life a block-of-the-month would put a serious dent in my budget.  So I added it to my “Want to Make” list and waited. 

Well, Stitchin’ Heaven decided to re-issue some of its favorite vintage block-of-the-months and this pattern was one of them.  I have almost all the blocks. It’s so sweet it makes your teeth hurt.

• Carolina Rose

This quilt literally snuck up on me.  While researching 1930 quilts and quilting publications, this pattern came up on my Google search feed.  I knew North Carolina had a star quilt block, but had no idea it had an applique quilt block.  These are very much like the Rose of Sharon blocks, which was on my Quilting Bucket List.  I just changed it to the Carolina Rose.  I have an outline of the block – applique pieces and a small placement diagram and was lucky to find these.

•  Country Inn

I’m oh-so-close to finishing this.  The blocks are appliqued, and I have begin piecing the quilt together.  I’m currently making the Dresden plates to go in the corners.  Many, many applique quilts are comprised of small pieces.  I love the boldness of this quilt – the large pieces and bright colors.  I think I’ll have a lot of fun quilting this one, too.

•  The Caswell Quilt

This pattern was drafted by Corliss Searcey from the Caswell Carpet (circa 1835) in the Metropolitan Museum of Art.  I love the floral applique and the border treatment.  I have the pattern, and the reproduction fabric to construct the quilt.  Pinterest has loads of pins on this quilt in almost every conceivable colorway.   However, with the old-fashioned flowers, I think I want mine done in reproduction fabrics.  Now I just need the time to start this one.

•  The Minister’s Quilt

This quilt was introduced to me through The Applique Society.  We’re working on this as a block of the month, receiving five blocks per month. It is designed by Veronique of Waddlebird Designs.  The pattern is an authorized reproduction of an antique quilt held at the Historic Huguenot Street.  It does remind me a great deal of the Caswell Quilt.  The quilt pattern is available through Veronique’s website, Waddlebird.com.  The blocks are downloadable.

•  Poinsettia Bouquet

This is a Judy Niemeyer pattern.  While I love Judy Niemeyer patterns – it was by working my way through Blazing Star that I came to my Zen with paper piecing – I can’t do more than one every two or three years.  She’s just one of those designers I have to be in the mood for to make one of her quilts.  I do like this pattern very much, though.  It’s a bit different from Judy’s other patterns and I think it’s an unusual Christmas quilt.  I have the pattern, not the fabric, and this will probably be my swan song as far as Judy Niemeyer patterns go.

•  Sunflowers

I love 1930’s quilts by Marie Webster.  I love the fact she gives wide open spaces for quilting and gorgeous applique that’s not too fussy.  And since sunflowers are one of my favorite flowers, this quilt is just perfect for me.  As much as I adore 1930’s applique, it’s only fitting I make this quilt and…

•  Orange Blossom

One of my favorite quilting colors is orange.  I have no idea why.  I don’t use orange in any of my home dec.  I don’t wear orange – I look horrible in it.  But I do like orange in my quilts.  Anything from cheddar to pumpkin is my friend.  So I need to make this Mountain Mist 1930’s quilt.  I love the area available for quilting and the teal swags which perfectly off-set the oranges.  This quilt is primarily quilting, not applique.  It wouldn’t take long to construct, but it might take a bit to quilt. 

What’s on your quilting bucket list?  Do any of ours overlap?  Time itself may be infinite, but our own time is finite.  I think it’s a good idea to have a list of quilts we really want to make and work on those.  We can certainly add others too, but if you’re like me, there are a few quilts you really want under your needle before our finite time is up.

Until Next Week, From My Studio to Yours,

Love and Stitches,

Sherri and Felix

In quilting, there is this trinity of items which work together to make constructing a quilt a wonderful experience.  Throw one or more of these things out of alignment and you’ve just assured yourself of a frustrating sewing experience.  And while I stand by my assertion there are no hard, fast, rules in quilting, there are some guidelines which make a lot of sense.  The topic covered in this week’s blog is one of those guidelines.

The three items you absolutely must have in hand to make a quilt are thread, fabric, and a needle.  For today’s column, I am specifically talking about sewing machine needles, not hand sewing needles.  One of the items listed determines everything else used – the fabric.  So let’s pause for a minute and talk about quilting fabric.  To be sure, quilts can be made from any type of fabric.  I’ve seen quilts made from recycled jeans.  In the 1970’s, polyester fabric or cotton/polyester ruled the fabric stores because 100% cottons were pretty much unavailable.  Art quilters use any type of fabric needed to make their quilt say what they want it to (and a lot of non-fabric, too).  Today, the majority of quilters reach for 100% cotton fabrics for most of their quilts, followed by flannels, wools, batiks, and homespuns.  For the sake of this blog, I’ll talk primarily about 100% cotton quilting fabric, but will certainly throw in bits of information about the other fabrics as we come to them. 

Fabric

Cotton fabric has a tight weave with an average of 60 threads per square inch.  The highest quality quilting cottons have an average of 68 – 75 threads per square inch.  Batik fabrics can have as many as 200 threads per square inch.  Quilting flannels have between 60 and 75 threads per square inch* and worsted wools can have 100 threads per square inch.  Homespuns are a true outlier, as they have 60 threads or less per square inch.  All of this “threads per square inch information” is important because it determines what type of sewing machine needle you need.  If I am using “normal” quilting cottons in my quilt, I realize the thread count is high, but not as high as a batik or as low as a homespun.  I need a needle which will pierce the 60-ish thread count cleanly.  I don’t need one so large it will leave a hole in the fabric or one so small it struggles to go through the fabric at all. 

Sewing Machine Needles

So now it’s time to look at sewing machine needles.  Before we go into much more detail, for the purpose of this blog I will be using Schmetz needles as examples.  I decided to use this brand because they seem to be readily available in both Big Box Stores as well as quilt shops.  Zone of truth:  My favorite sewing machine needles are Organ Needles, but they don’t seem to be available anywhere near me except on websites.  Since Schmetz is apparently more accessible, I decided to use Schmetz as the example.  Also, be sure to read your sewing machine manual to find out what needles your machine can use.  Some sewing machines are brand-specific – they only take certain kinds of needles (many of the older Singer models are like this). 

Sewing machine needles are one of the items we tend to take for granted.  As long as things are humming along under the needle and over the feed dogs, we’re pretty happy.  But let the needle break or skip stitches and it’s one of the first troubleshooting steps we make.  Can’t remember the last time you changed your needle?  Well, then it’s time to do that.  I think quilters are even worse at this than garment sewers.  A garment sewer seems to instantly realize they can’t sew chiffon with the jeans needle they just hemmed a pair of pants with.  Quilters, since we tend to stick to the same types of fabric, may not keep up with just how long that Universal needle has been hanging out in our machine.  Rule of thumb:  Finish a project, change your needle.  Needles are one of the least expensive sewing notions.  Replace them often.

Needle Categories and Types

Needle points fall into three categories – ball point, sharp, and rounded-sharp.  Using the correct needle for the fabric makes all the sewing difference in the world.  Ball point needles have a slightly rounded point.  These are great for sewing knits, but in our quilting world, they are particularly good for piecing homespuns, which have a looser weave than most quilting cottons.  The ball point is made to push the fabric threads apart, not pierce them.  Sharp needles are made for woven fabrics, such as quilting cottons.  While the blunt tip of a ball point would make a hole in cotton fabric, a sharp will cleanly pierce the cotton threads.  The rounded-sharp may also be used for homespuns and some flannels*. 

Within these needle point categories are nine basic styles:  ball point, denim, embroidery, leather, metallic, microtext, quilting, universal, and topstitch.  There are also some specialty needles such as winged, double, and triple, etc.  For the sake of this blog we’ll look at the most common needles used in quilting – ball point, Microtex, quilting, and topstitch, and universal. 

• Ball Point – Generally, this isn’t a needle quilters use often.  However, if you’re sewing homespuns or you’re making a t-shirt quilt, it’s good to have these in your studio.  Typically, when I make a t-shirt quilt, the t-shirt is surrounded by cotton fabric, making the blocks easy to sew together.  However, if you opt to sew some shirts together to make a larger block (such as a center medallion), ball point needles are needed.  The rounded point slides the knit fibers apart and won’t make holes in the shirt.  The same thing holds true for the loosely woven homespuns.

• Microtex – This needle is sharper than the universal with a slenderer shaft.  It is used primarily on fine wovens and heirloom sewing.  I love the Microtex for piecing.  And if I’m piecing batiks, I absolutely have a Microtex in the machine.

• Quilting – The quilting needle has a tapered point for stitching through multiple layers and across seams.  The shape of the point minimizes damage to the quilting fabric.  If I am making a block such as this:

And my needle will be crossing a lot of seams I’ll reach for a quilting needle over a Microtex.

• Topstitch – A topstitch needle has an extra-large eye and a deeper groove for use with either heavier fabrics or heavier threads.  It can even accommodate two threads for more pronounced stitching.  This is the needle I usually reach for when I’m quilting a quilt sandwich on my domestic sewing machine.**

• Universal – This needle is truly the workhorse of the sewing world.  Sewing garments?  It’ll work.  Making a quilt?  If you have a universal needle, usually there are no problems.  So what makes this needle so special?  They come in two popular sizes – the 80/12 for lighter weight fabrics (think thin, flowy fabrics) and 90/14 (think quilting cottons).  The needle point falls somewhere between the sharper tip found on a Microtex or Quilting needle and the rounded tip of a Ball Point needle.  These are great to have on hand and if you can only afford one type of needle, this is the one I’d advise you to purchase.  If you get a free pack of needles when you buy a machine, chances are it will be a pack of mixed 80/12 and 90/14 universal needles.

Anatomy of a Sewing Machine Needle

Yes, a sewing machine needle has parts, and this is important because certain parts interact with the fabric and others with the thread – however all the parts must work together to make a stitch.

The butt of the needle is the very top (I have no idea why they call it the butt when it’s the top, but it is what it is).  This is the part which is inserted into your machine.  When you change your needle, it’s a good thing to cover the feed dogs just in case the old or new needle slips and falls into the feed dogs.  I’ve had a needle fall into the feed dogs and it was no fun.  I finally had to take it to my sewing machine tech to get it removed.  It’s also a good idea to tighten the needle clamp with a screwdriver to make sure the needle is firmly inserted and won’t fall out. 

Below the butt is the shank.  The shank generally has important information on it, such as the needle size.  Machine needles make sense.  The higher the number, the heavier duty the needle (hand sewing needles work the opposite way).  This number is generally written like a fraction, such as 90/14.  The top number – in this case 90 – is the European number.  The 14 is the American.  Some needles, such as Schemtz, will have color bands on the shank which indicate the type of needle and the size.  The color code is generally brand-specific, so be sure to consult the needle packaging.  Some needle brands have no color bands at all. 

The blade is beneath the shank, and this contains the “business” end of the needle.  Present in the blade is the long groove which the thread has to “nest” in, the eye, the point, and the tip. 

If you turn your needle sideways, you’ll observe a slight indentation on the back of the blade.  This is the scarf.  The scarf allows the bobbin hook to grab the thread loop to create a stitch. 

I know all of this sounds like a lot of minute detail about sewing machine needles – probably more information than you wanted to know.  If you’re a quilter, you simply need a good needle in the machine, the correct size, and you’re ready to go, right?  That’s true, but remember the “Holy Trinity of Quilting” – fabric, needle, and thread – must work in harmony to make your sewing experience pleasant, not frustrating.  Which leads us to the third part of our trinity….

The Thread

There have been books written about thread.  I have written blogs on thread (go here: https://sherriquiltsalot.com/2023/10/11/threading-the-needle/   ).  I, myself, am a self-confessed thread snob.  There aren’t any plans with this blog to re-hash a lot of what’s in my other blogs about thread.  What I will emphasize here is the process of piecing a quilt and the thread required for that.  Raw-edge machine applique, finished edge machine applique, embroidery, and other types of garment sewing and topstitching require other types of thread.  For the purpose of piecing a quilt, these characteristics should be considered:  thickness, staple, strength, and color.  But first, let’s look at what makes a good piecing thread.

Most quilters prefer cotton thread for piecing because cotton threads can withstand the heat of an iron better than a polyester thread can.  That said, don’t let anyone tell you that you can’t use polyester thread when piecing.  Years ago when polyester threads were still a relatively new sewing notion and their quality was on the inferior side, I would have agreed with this statement.  However, polyester thread has come such a long way.  Cotton-wrapped polyester is also a good choice for piecing; however, personally I still prefer a cotton thread.  If you opt to use polyester thread in any form, either in the seams or on top of the quilt, just be careful about the heat settings on your iron. 

Good piecing thread should also have a smooth twist.  If you hold a strand of thread up to the light and you can see bumps or inconsistent twists in the thread, it’s not good quality.  These bumps (called slubs) can get caught in your tension disks, contact points, and the eye of the needle.  They will also add bulk to your seams, making them not-so-flat.  The one thing you should see when you hold the thread up to the light is fuzz.  I realize that sounds counter-intuitive.  Less fuzz should mean less lint, which in the long run is better for the machine, right? 

Not exactly – at least not in this case.    The absence of any fuzz means either the thread is not labeled correctly, or it is glazed thread, which you don’t want to run through your machine.  Glazed thread is for hand quilting.  Using glazed thread in a sewing machine can gum up the tension disks and other parts of the machine.  Ideally, you do want to see a small amount of fuzz and it’s consistent.  A lot of fuzz or uneven amounts of fuzz indicates it’s not a quality thread.

So now that you have your thread in hand, and it seems to have a nice, even twist and just the right amount of fuzz, there still are a few characteristics to keep in mind. 

• Thickness – Cotton thread usually comes in 2-ply or 3-ply.  This simply means either two strands were twisted together to form the thread, or three strands were twisted together to form a thread.  A good quality 2-ply cotton quilting thread is stronger than a 3-ply thread of poor quality brought about by inferior processing.  A 3-ply thread can be smoother than a 2-ply thread if it has a tighter twist.  What we are looking for is a thin, smooth thread which will make the best seam because it will lie flat in the fabric.  If the quality of the thread is the same, a 50-wt. cotton thread will make a better seam than the heavier 40-wt cotton thread.  When pressed, not only will the seam lie flat, but points will match up better. 
• Staple – Cotton thread is made from cotton fibers (called staples) twisted and spun together.  In some threads, the cotton fibers are short, and it takes a lot of them to make a spool of thread.  With other cotton, the staples are longer, and it doesn’t require as many to make a spool of thread.  This is called long-staple thread and generally it’s made from Egyptian cotton and some American cottons.  While you can certainly piece with either short or long-staple cotton thread, a long-staple will leave less lint in your machine. 
• Strength – A non-glazed, fine cotton thread is not the strongest thread on the market; however, because the average stitch length for machine pieces is 12 stitches per inch, the strength is in the quantity of stitches, not the thread all by itself.  A high-quality 50-wt cotton makes a great piecing thread.  If you find your thread is breaking, check your needle size.  Typically, a 50-wt thread uses an 80/12 needle.  If you have the right needle in the machine, check your tension.  It should be about 4.0.
• Color – This one is up for debate.  Most of the time, quilters stick to some basic colors – white, beige, grey (light and dark), and black.  This is convenient.  Most quilts use at least a three- or four-color range and one of these colors of thread is sure to blend in with the fabric.  And this is handy, for two reasons.  First, it allows you to buy in bulk or stock up on thread when it’s on sale. You know you’ll use those colors.  Second, it keeps you from having to change thread every time you sew onto another color of fabric.  However, there is another school of thought which declares you should change thread colors each time you sew onto another color of fabric. 

So what should you do?

This is one of those quilting issues which definitely falls into the “personal preference” category.  I can tell you what I do – I stick with the basic colors.  I’ve quilted almost 40 years, and the basic quintet has served me very well and saved me some money.  The only time I don’t is if I’m making a two-color quilt, and the colors are stark opposites – such as a white and red quilt.  White thread would stick out like a sore thumb with red fabrics.  Occasionally, if the quilt is show-bound, I may be pickier about the thread.  If I find a light-colored thread shows too offensively on a darker fabric, I use a Pigma pen on the thread so it will match the fabric.

A couple of last thoughts about thread before I end the blog.  First, concerns the shelf life of thread.  If you purchase thread today, chances are it can stay in your thread stash for eternity and beyond.  That’s just how good our modern thread manufacturing is.  However, if you have spools in your thread stash which look like this:

The thread is wound on Styrofoam, gold plastic, or wooden spools, put it on display in a pretty jar and enjoy looking at it.  That thread definitely has a shelf life and the used by date has long passed.  If you’re curious about the usability of any thread, pull about eight to twelve inches off the spool and see how easy it is to break.  If it snaps in half easily, give it a hard pass and toss it in the jar.  If you struggle to snap it, it’s probably useable.

Second, a few years ago there was this rumor going around quilt circles concerning freezers and thread.  Rumor was, if you stored your thread in the freezer, it would extend the shelf life of the thread.  That rumor is false.  Storing thread in the freezer only gives you cold thread and takes up the room you need for extra ice cream.  Plus, the thread could pick up moisture and that moisture will wreak havoc in you machine.

How The Trinity Works to Give You the Best Sewing Experience

1.  The fabric should be good quality material.  Thin fabric isn’t a lot of fun to piece and even less fun to quilt.  You don’t have to pay an arm and a leg for quality fabric, but do make sure you can’t see through it. 
2. Match the needle to the fabric.  If your fabric choice is homespun, go with a ball point needle which will push the loosely woven threads apart.  If your choice is quilting cottons, a universal, Microtex or quilting needle will work just fine.  Batiks?  I seriously recommend the Microtex to pierce those 200-count thread weights.
3. The needle is the conduit that passes the thread into the fabric to form a stitch.  The weight of the thread is just as important as the size of the needle.  The thread needs to rest in the long groove on the blade of the needle.  If the thread is too thin for the needle, it will wiggle and loop around, forming bird’s nests and loopy stitches.  If the thread is too thick for the needle, it won’t fit in the long groove at all, giving you just as much grief as a too light-weight thread will.  A 50-wt cotton thread is a great starting place.  You can decide which ply you and your machine prefer.  Personally, my very favorite piecing thread is the 50-wt, 2-ply Aurofil.  Make sure you thread is good quality, has a consistent twist and fuzz, and is preferably long-staple. 

If all three – the thread, fabric, and needle – are compatible, you’re just about guaranteed a smooth, wonderful, sewing experience you’ll love.  But just like a triangle, remove one of those sides, and the experience collapses. 

Until Next Week, From My Studio to Yours,

Love and Stitches,

Sherri and Felix

*Let’s talk flannels for just a moment.  There is 100% cotton flannel.  This is the loosely woven, low thread count kind.  Cotton flannel is used in shirts, sheets, pajamas, and I have used it as the backing for some quilts. On occasion, I’ve also used it as the batting for baby quilts if the baby is born in the summer and traditional batting would be too hot for the newborn.  This is the type of flannel which a ball point needle works well with.  There is also the type of flannel I call “quilting flannels.”  Maywood Studios produces a lot of this type of flannel.  It’s thicker and more tightly woven than cotton flannels and has a bit of spandex in its manufacturing process.  A 90/14 needle is recommended for this type of flannel.  If a quilt is made entirely of this flannel, it’s super thick and may need a jeans needle to quilt it.

**Generally I don’t purchase brand-specific needles – primarily because my Janome M7 can use either Organ or Schmetz needles just fine and brand-specific needles can be pricey.  However, about a year ago I was quilting a wall hanging and was having the most difficult time.  Thinking the needle was old, I changed the needle. I knew I was using the correct sized needle for the weight of thread (40 wt), and everything should be good to go, except it wasn’t.  I finally Googled the issue for my machine.  Low and behold Janome had two suggestions – use the silicone washers beneath the bobbin (which I was already doing) and use the Janome brand blue-tipped quilting needles.  Since I was pushed for time to complete this quilt for a competition, I figured what did I have to lose?  I had a pack of the blue-tips overnighted.  After they arrived the next day, I swapped out the needles and started over.  They worked perfectly.  So when all else fails, Google the issue.  It may be your needle.

***Added bonus tip – If you’re like me and find yourself swapping out sewing machine needles frequently, you may find one of these:

Is a handy thing to have.  They’re found on Madamsew.com for $7.59.  It helps keep your needles organized so that when you have to change needles, you know you’ve got the one you need. Or you could make your own with an old tomato pincushion.

Somethings are so easy to take for granted.  Items and people we see every day.  Objects we regularly use.  And words.  So many times we take words for granted because we use them so often.  “Love” is one of those words.  We love people, but we may also love ice cream – however, in the great scheme of things I hope we love people more than ice cream.  Quilters can be terrible at this.  We bandy jargon around all the time and just assume other quilters – especially new quilters – know exactly what we mean. 

And they may not.  Sure those other quilters may nod in agreement, but they could have no idea what we’re talking about.  Today, I’d like to hit the pause button on making quilts and re-visit some of the terms we use and not only define them a bit better, but also really explain why understanding them is important.  Quilting “language” is really no different than any other niche’ hobby jargon.  We use words only quilters identify with, and those words can change meaning over time – like the word “binding.”  

Basic Foot – The term “presser foot” is usually shortened to just “foot” with almost any type of sewists – garment, crafter, or quilter.  Most folks who regularly use a sewing machine understand this pretty well.  However, we also may hear the term “basic foot” a lot, especially when we’re shopping for a new machine.  A “basic foot” can mean a lot of things to different people, depending on which foot you use the most.  For a quilter, if someone pops out the term “basic foot,” we assume you mean the quarter-inch foot.  For others who keep a walking foot on their machine, they may assume the basic foot is the walking foot.  Technically, the basic foot is neither.  It’s this foot:

This is the foot which comes on most machines.  It’s the foot used in most garment construction and it’s pretty standard across the board.  It helps you keep a consistent 3/8-inch to 5/8-inch seam allowance used in clothes making.  Understanding this term not only helps you, but it will also help the sales staff understand any presser feet discussion.  If they tell you the machine comes with a basic foot, you’ll know that’s not a quarter-inch foot and you can ask if that foot also comes with the machine.

Walking Foot – I’ve mentioned this foot in the last several blogs, but it’s only because I feel it’s so important. 

This foot works with the feed dogs to push both the top and bottom layer of fabric under the needle at the same time.  It’s invaluable when matching stripes, checks or plaids, sewing on binding, or any other type of sewing with bulky seams (such as bag making).  This is a foot.  A walking foot is also called a dual feed foot, but it is not dual feed.  A sewing machine with dual feed actually has a separate motor which allows the top fabric to feed under the needle at the same speed as the bottom fabric with all feet.

Pressing vs. Ironing – While these two words kind of imply the same idea – getting the wrinkles out of cloth – they’re not.  In fact many quilters would tell you the verb iron or ironing has no place in quilting.  Sounds kind of picky, doesn’t it?  Let me explain why quilters press and don’t iron.  Ironing denotes a back-and-forth action with an iron.  Pressing is the up and down motion of an iron.  Quilters press their cloth.  They press seams open or closed, they press a quilt block flat, they press applique pieces with fusible webbing on the back to another piece of cloth.  Quilters discovered ironing with its back-and-forth motion can stretch the fabric’s bias, making a quilt block all kinds of wonky. The up and down motion of pressing doesn’t.  So even if both words connote getting rid of wrinkles or even if a quilt pattern uses the verbs press and iron interchangeably, press your quilt block, don’t iron it.    

Press the Seams Open or to One Side – This is a bit trickier, because the situation defines the seam action of open or “closed” (pressed to one side).  One of the first concepts I learned in my beginning quilt classes was to press to the darker fabric so there would be no “shadowing” through on the lighter fabric (the dark fabric wouldn’t be seen through the lighter fabric).  Then you must think about “nesting” the seams, so they lock together, and nothing is mismatched. Pressing to the dark side will help you lock the seams.   Overall, I would cautiously tell you this is still true.  But with nearly 40 years of quilting under my belt, if I told you pressing to the dark side worked every time, I’d be lying to you. 

Quilt block construction requires you to put all the quilting balls in play as you work out a quilt – things like color placement and seam allowances, and how you plan to quilt your quilt.  Whether you plan to quilt your quilt or if you plan to “quilt by checkbook,” sometimes the quilting determines how you will press your seams.  If an overall, edge-to-edge quilting design is used, pressing your seams to the dark side works pretty well.  Especially if there’s no one area where there is a lot of bulk.  Take for instance the Nine-Patch blocks above. Although the blocks have several seams in it and while some of them come together at one spot, there’s not a whole lot of bulk.  The quilter could press towards the darker fabric, which would both prevent any shadowing and allow the seams to lock so all the corners meet. 

But this block:

Is a Starburst.  It has many seams and lots of those come together at one spot.  Pressing those seams closed (to the dark) would make the center super bulky in spots.  However, pressing the seams open would evenly spread the bulk out and make it easier for a needle to quilt right through the center. 

If custom quilting is in the plans, or quilting in the ditch, you probably want to press the seams closed (to one side).  If the seams are pressed open, the thread is exposed, and the quilting stitches could compromise the piecing stitches.

Piecing Thread – The type of thread used for piecing your blocks sounds like such a picky thing.  Thread is thread, right?  Does the type you use really matter?  Well, yes.  It does.  First, you don’t want to piece with specialty thread.  Rayon, metallic, monofilament, and quilting thread shouldn’t be used for piecing.  Some of these threads aren’t sturdy and your blocks won’t hold up.  Some of the threads are too thick and take up too much room in the seam.  Ideally, you want two or three ply, 50 to 60 weight thread. 

This type of thread is perfect for holding your block together while not taking up too much room in the seam.  My favorite piecing thread is Aurofil in either 50 or 60 weight.  It’s two ply and stitches beautifully.  Hopefully in the not-to-distance future I’ll do another blog on threads.

Change Your Blades, Change Your Needles, Change Your Pins, Change Your Seam Ripper – Quilting is a consumable hobby.  Nearly everything we use must be replaced at some point. 

Our problem is – well, my problems is, and I’m assuming some of you have the same problem – I tend to put off replacing them until they are dull beyond belief. At least until recently.  Recently my right shoulder has decided to allow arthritis to set up shop in its joint.  To keep the aches and pains down to a dull roar, I have to make sure these things are sharp.  When your rotary blade begins to make small skips or you really have to press down hard to make it slice its way through fabric, it’s time to change the blades.  Change your sewing machine needle regularly after 8 to 10 hours of sewing.  Replace hand sewing needles, pins, and your seam rippers.  Those things do grow dull.  If you can’t remember the last time you purchased a new pack of needles or pins or a seam ripper, it’s time to replace them.  Trust me. 

Know What a Quilt Sandwich Is and How to Make One —  Most of the time even beginner quilters realize at some point the quilt top has to marry the batting and the backing.  They must be layered together before they can be quilted.  What new quilters may not realize is the “technical” term for this layering is a Quilt Sandwich.  The backing is placed right-side down on a surface, the batting is added, and then the top is put on top of the batting, right side up.  Generally the batting and backing are several inches wider and longer than the top to allow for any shrinkage during the quilting process.  If you quilt your own quilts, you become accustomed to how much “extra” batting and backing you need for quilting on your long arm or domestic sewing machine.  If you are farming your quilting out to a long armer, you’ll need to ask them how much they require.

Know Your Basting Options – There are so many.  If you’re a new quilter, I suggest you try a couple of different options to determine which one works best for you.  First, there’s actual basting with thread.  This used to be done by hand, but now since a lot of domestic machines come with a basting stitch, you can baste it on your machine.  If it’s a large quilt, a long armer may agree to baste it for you.  I like this method if I am hand quilting a top or if the quilt sandwich will be stored for a while before I get around to quilting it.  Second, there are adhesives.   These are basting sprays or powders.  Personally, I like the sprays for smaller quilts I plan on quilting on my Janome M7.  If you use either on a bed quilt, you’ll want to wash your quilt after quilting to remove the basting spray.   For those of you who are worried about the lingering pH effects of the spray, Roxanne now has a basting spray which is pH balanced.  Third, you can always use safety pins to hold the quilt sandwich together – just be sure to place the pins closely enough together to prevent any slipping.  If you plan on long arming your quilt or having someone long arm the quilt for you, there is no need to baste. 

Understand the Term “Binding” – This is one of those quilting terms which has changed over time.  When you hear this term now, most quilters assume you mean the French fold binding – a strip of fabric usually 2 ¼-2 ½ -inch wide folded down the middle, wrong sides together.  This binding is machine sewn to the front of the quilt and then flipped over the wrong side of the quilt where it is whipped stitched down by hand.  The two layers of binding fabric, cut on the cross grain or the lengthwise grain, protect the raw edges of a quilt well.  However, there are also times you may use a bias binding.  This binding is not as wide as the French fold, and it’s cut on the bias of the fabric.  It’s used on scalloped borders.  The bias cut makes it easier to fold and manipulate smoothly around the scallop curves.  This is a very sturdy binding and holds up best to time and wear and tear.  Many antique quilts have bias binding.  Bias binding can also showcase plaids, checks, or stripes well, as it puts them on the diagonal. 

Quilter’s Knot – To make this knot, you wrap the thread twice around the needle and then pull it down to the end of the thread.  This knot is smaller and more compressed than other knots.  It’s used in hand applique and hand quilting thread. 

Strip Piecing – This involves cutting strips of fabric, sewing them together, and then sub-cutting them into two-patches or other units needed for piecing.  Knowing this technique and when to use it can save you a lot of time, fabric, and money.  I do have a future blog planned on strip piecing.

Know How to Choose Quality Fabric – and Realize It’s Going to Cost a Little More – First a blanket statement:  Yes, quality fabric is found at quilt and fabric stores.  However, it can also be found at Big Box Stores.  You just may need to look a little harder for it.  Big Box Stores try to be medium-priced so as not to scare the beginning or weekend hobbyist away.  But that doesn’t mean you won’t find some good Moda or Henry Glass tucked away somewhere in the bolts or pre-cuts.  I could caution two things.  First, thin fabrics generally don’t hold up well to the piecing and especially the quilting process.  Plus it can be incredibly linty.  Second, (and this is a personal matter) I would much rather make a smaller quilt out of good fabric than a large quilt out of inferior quality fabric.  Good quilting fabric – one which has a nice thread count per inch and you can’t see through it – pieces and holds the quilt stitches beautifully.  That said, also be aware, good fabric costs a bit more.  Even at a Big Box Store.

There are Hundreds of Fabric Styles.  Don’t Worry, You’ll Find Yours – One of the best, greatest, most wonderful things about quilting fabric is there are hundreds of styles available in hundreds of colors.  So much so, it can be overwhelming.  My first reaction when I visited Hancock’s of Paducah was to go right back out the door.  It was overwhelming – so many colors, so many styles, so many designers – I didn’t know where to start.  You may feel similarly just walking into your smaller, local quilt shop.  Personally, I think the best way to acclimate to all the colors and designs is to find your favorite colors and start there.  Over time, you’ll discover which designers and design houses you gravitate to.  For me it’s Fig Tree and reproduction fabrics.  That doesn’t mean I don’t use other fabric, but more than likely my most-used fabrics fall into one of these two categories.  You also may discover something else:  Your favorite quilting colors may be different from your favorite color.  My favorite color is purple.  But if you examine my quilts, I actually use very little purple in them.  I do use pinks, yellows, and oranges.   Go figure.

Sometimes You Are Not the Problem.  Your Machine Is – When your machine is giving you bobbin barf, skipped stitches, or some other issue of malfeasance, we automatically think it’s something we did or didn’t do.  So we re-thread the machine, change the needle, clean the machine, turn it off and turn it back on.  And it still happens. Then we grab the sewing machine manual, flip to the troubleshooting section and do everything it tells us to do…and things still don’t get any better.  At this point, it’s time to take the machine in.  If you’ve tried everything you know to rectify the situation, it’s time to talk to a tech.  The machine may have a timing issue or need a thorough cleaning only a sewing machine tech can give it. 

There Are No Quilt Police, But There Is Constructive Criticism – I’m going to put this out right here:  There are no hard, fast rules in quilting.  There.  I’ve said it.  But the fact of the matter is, there aren’t.  There are a lot of suggestions – such as the ¼-inch seam allowance – which stay pretty consistent, but even that’s not the Holy Grail of Quilting.  So don’t allow Miss Prissy Perfect at quilt guild meeting to cower you into thinking you’ve done anything wrong.  Just because she may not have made the quilt the same way you did, doesn’t make the way you constructed it wrong. 

However, there is such a thing as constructive criticism and that can be life altering to a quilter.  If you have a really good quilter in your life who can show you faster ways of doing things, or a new technique, or demonstrate methods to make your quilting better, you want to hang onto that person.  I’ve learned more from these quilters than from any book, video, or class.  I’m fortunate enough to have several of these quilters in my circle and if I run into an issue or need an opinion, they give me solid advice.  And they aren’t Prissy Perfect about it.

And finally…

Quilt Design Isn’t Difficult – Generally when the term “Quilt Design” is thrown out there, we tend to think about designing an entire pattern.  And that is a serious undertaking, but it’s not the only thing comprising quilt design.  Quilt design can be something as simple as making the blocks larger or smaller, altering borders, or changing out some of the blocks in the pattern for those you like better.  It could mean making 20 of your favorite block, sewing those together, and adding borders – all without a pattern.  Can any of this lead to “serious” quilt design?  Absolutely.  Start small and keep experimenting.

Hopefully this blog has helped clarify some quilting terms and ideas.  It’s easy to believe that everyone understands what we mean when we discuss binding or design or bobbin barf.  However, our terminology may leave others baffled and confused.  If you’re one of those new quilters who have shaken your head over the jargon, I hope I’ve assisted in a little additional understanding.

Until Next Week, From My Studio to Yours.

Love and Stitches,

Sherri and Felix

This year is quickly coming to an end.

It’s all been a blur – 2024 has literally flown by before I knew it.  Part of my plan this year was to bring you into my quilt studio.  Tell you about some quilt tips and tricks.  Introduce you to a little more quilt history.  And maybe let you in on a few lessons I’ve learned as a quilter.  That’s where we are now.  As we’re rapidly approaching the end of 2024, I would like to take this opportunity to share with you a few (and sometimes hard) lessons I have learned in my 30+ years of quilting. 

I wanted to learn to quilt not so much for the quilts as it was for the fellowship with other quilters.  I enjoy the company of quilters – a wiser, more generous bunch of folks I don’t think I’d find anywhere else.  However, it has been through the process of quilting and learning to quilt I gained insights into other areas of my life.  In short, quilting has taught me more than just how to make quilts.  It’s taught me how to live.

Lesson One:  Perfection Can Be Found in the Simple

Some of the loveliest quilt blocks and quilts are simple ones.  Nine-patches.  Monkey Wrench.  Snowballs. Double Nine-Patch. Half-square triangles.  All of these blocks are simple and can be made with only two colors of fabric.  Easy construction, straight seams.  These are the blocks we introduce to new quilters because of their simplicity.  They do not take long to assemble and on a good afternoon when you have two uninterrupted hours to spare, you can make quite a few of these blocks.  Assembled, they make a lovely quilt top which can be made even lovelier with simple quilting.  When I look at a quilt made from blue and white nine-patches sewn together without sashing to form an Irish Chain Quilt, I honestly don’t think there’s nothing much else in the world that’s anymore perfect.  And it’s absolutely one of the simplest patterns out there. 

Life doesn’t have to be complicated.  Sure, we all walk through our trials.  There are difficult times in everyone’s life, but we don’t have to wallow in permanent despair.  Things change and time moves on ahead.  Despite the hardships we may be facing, joy can be found in simple things.  Clean bed sheets.  A good cup of coffee or tea.  Texting with a friend.  Reading a few pages in a favorite book.  Quilting has taught me that simple things done well give us a few perfect moments in the middle of complete chaos.

Lesson Two:  We Are Never Through Learning

One consistent thing about quilting is this:  There is always something new to learn.  Just when we think we know every method known to man about how to make a flying geese, another one comes along.  And this is great!  The more methods we learn, the more options we have.  What technique works best for me may not work best for you.  So, thank goodness for all the flying geese techniques because heaven knows there are hundreds of quilt blocks that use them.  It was this concept – quilters are never through learning more about quilting – which drew me to quilters.  Open-minded folks are always wonderful to be around.  You learn as much from them as you do from techniques.

Always be open to new information.  You don’t have to agree with it but listen to it.  Sift it through the absolutes you know.  Even if you don’t concur with it, listening to it will give you insights to the person conveying the information to you. 

Lesson Three:  Practice Brings Consistency

One of the first techniques new quilters learn is the quarter-inch seam.  And you know what’s one of the most difficult quilting techniques to perform consistently?  The quarter-inch seam.  That’s why we quilters have so many gadgets and notions to help us perform the quarter-inch seam.  However, the more you sew that seam allowance, the better you get at it.  You’ll even get to the point where you can look at a seam and tell if you’re off a thread or two.  The more I practice any quilting technique, the better I get at it.  Even if I tuck that technique away and don’t use it for a while, I really don’t forget it.  I may be a bit rusty when I return to it, but it doesn’t take long for me to pick it back up.

We’ve heard “Practice Makes Perfect” chanted for most of our lives in nearly every situation.  And while technically perfection can’t be achieved, consistency can – in almost every situation.

Lesson Four:  There are Consequences for Speed

I understand the concept of instant gratification.  I do.  Find a pattern you love online, put it in your cart, hit up PayPal, and sometimes all you have to do then is point, click, and print.  TaDa!  Instant retail gratification. Some quilters enjoy pushing their way quickly through a project so they can move to another one.  If I can hit the pause button for just a minute here, I would like to interject this:  Speed is really not your friend – that is unless you really like quality time with your seam ripper.  The faster you sew, the more mistakes your apt to make.  The more mistakes you make – well, those can be discouraging because no one likes to rip their block apart and re-sew it.  Recently I discovered a new way speed doesn’t work well – quilting with rulers.  Don’t let all those YouTube and Instagram videos fool you.  Those ruler quilting reels are sped up.  Slow and steady wins the race when quilting with rulers, as well as with most other quilting techniques.

There are some things in life (and quilting) you can do faster than others.  Just be discerning enough to know which ones you can and which ones you can’t.

Lesson Five:  Learn to Think Outside the Box

Quilting teaches this lesson in spades.  Making a quilt and you need three yards of fabric for the borders, but when you measure things out you discover you only have 2 ½?  We can figure that out.  Throw in some contrasting cornerstones and maybe some creative piecing with leftover scraps and we have those borders covered.  Most of us have learned it’s really kind of rare for a quilt to completely fall within the directions we’re given.  We may run short of fabric, make the blocks smaller than needed, or there could be mistakes in the directions.  If any of these situations pop up, we have to work with the fabric we have and come up with some new ideas.  Quilters do this all the time.

In life, it pays to be flexible.  Whether it’s the grocery store being out of plain flour and you have to substitute self-rising, or we simply have too much to do in a day.  Seldom are things truly bad or life and death situations.  Quilting teaches you to pause, take stock of what’s available, and make some decisions.  Sometimes those decision may be radically different than what you originally wanted, but it does help to be flexible.

Changing the subject just a bit… you may remember this quilt.

This is my 2023 Temperature Quilt (pattern available at White Arbor Quilting/Bethanne Nemesh).  Each bird represents one week in the year; hence there are 52 birds.  These are paper pieced blocks, and I had a blast making these feathered babies. I didn’t know temperature quilts were so popular with quilters until after I completed mine.   So much so that the Australian Catholic University and Dr. Tracey Clement began to track these quilts and their makers.  Dr. Clements saw my quilt on Instagram and asked if I would participate in her survey.  I agreed to, and this week she sent me the rough results, which I thought I would share with you.  The survey was open 63 days, and 176 quilters completed the survey.  Nine quilters had not completed a temperature quilt, so that left 167 valid responses.  All of the responders are female – which was unexpected by not surprising.  Most of the quilters fell in the 65-74 age range with the 55-64 age range coming in a close second.  Demographics out of the way, let’s see why quilters decided to make a temperature quilt.

I had my suspicions the world of academia assumed we were making these quilts as a response to global warming – did it show up in any of these quilts and how widely did the temperatures swing?  While this reason for making a temperature quilt did show up in the survey, it had the fewest number of responses (about 5).  The majority of respondents (> 60) were like me – they saw a temperature quilt on social media and decided they wanted to make one (like we do a lot of quilts!).  The third most popular reasons (around 16 for each category) were quilters liked the idea of a year long project and/or liked the idea of having complete control over the outcome.  The second reason listed for making a temperature quilt was “other” and it held steady at about 55 responses. 

Unsurprisingly (at least to me), 2020 was the year most of these temperature quilts were made.  This makes sense.   We all were home, sewing our stashes to the bare bones.  The year I made my quilt (2023) was the second most temperature quilt productive, followed by 2021. Which to me also makes sense.  By the time all those 2020 quilters began flashing pictures of their temperature quilts online, a bunch of us decided we wanted to make one, too!

According to Dr. Clement, there will be follow-up interviews and more data analysis before she publishes her findings.  I’m kind of anxious to see what she finds out. 

Until Next Week, From My Studio to Yours,

Love and Stitches,

Sherri and Felix

I’m going to begin this blog with a question:  How many of your sewing machines can sew a straight stitch?  Raise your hands.  Go ahead.  I’ll wait.

If you sew on a machine, it stitches a straight stitch.  All sewing machines will stitch a nice row of even stitches.  I’ve heard some machines make a prettier straight stitch than others.  There are those of us Featherweight owners who will swear on all we hold precious that a 221 or 222K makes the prettiest stitch out there.  Others will claim a Juki 2010Q has the straight stitch to beat all straight stitches. Bernina fans like their machines’ straight stitches, too.  Most machines will even offer a variety of straight stitches – the triple stitch, double stitch, etc.  The straight stitch is why the domestic sewing machine was invented – to ease the burden of the women who, at one time, had to make all their families’ clothing by hand.  It sped up the process and allowed the women to have more “free time.”  The straight stitch is the bedrock of our sewing machines.

Now let me ask you another question.  How many of your sewing machines can make a zigzag stitch?  With very few exceptions, I’d wager most of your machines can at least perform one type of zigzag stitch, and in many cases more than one.  Quilters almost take this stitch for granted.  Unless you use a zigzag stitch to sew your binding on or as a decorative stitch, we generally don’t tend to cue into this stitch.  I mean sure, if you make garments, you may use a zigzag or pinking shears to finish your seams so they won’t ravel, but maybe not for much more than that.  It’s not that we neglect this feature on our machine, it’s simply we don’t think about it often.

Third question:  How many stitches can your machine make besides the straight stitch and the zigzag stitch?  Go on.  Count.  Grab your manual and check.  I’ll wait….

My Janome M7 Continental has 400 stitches and with its stitch composer, the actual number of stitch types is limitless.  I have read in several places that the average number of stitch types that come on a basic sewing machine is 17.  That’s a lot of different types of stitches for us to use and enjoy.  But guess what?   If someone hadn’t taken the time to invent a sewing machine with a zigzag stitch, none of these stitches would be possible. 

That’s right.  That high-tech embroidery machine or equally high-tech sewing machine is primarily based on this:

The first zigzag sewing machine. 

The zigzag stitch fundamentally changed the world of sewing.  It changed what we could do with a machine, and it changed the sewing machine manufacturing world.  And while it wasn’t the only reason Singer’s stopped manufacturing wonderful straight- stitch-only machines like the Featherweight (cost of production was the primary reason), it certainly weighted that decision.  When faced with the decision of purchasing a machine which would make only a straight stitch over a machine that could make a straight stitch and a zigzag, most women back then would make the same decision we would today – pay a bit more money and have more options. 

Let’s have a look at what it took to develop a zigzag machine, how a machine performs this stitch, how it ties into today’s multi-stitch machines, and how the zigzag stitch also relieved our foremother’s of additional hand sewing.

Who Invented the Zigzag Sewing Machine

If you remember from my blog: https://sherriquiltsalot.com/2023/09/13/the-sewing-machine-renaissance-part-i/  and: https://sherriquiltsalot.com/2023/09/20/the-sewing-machine-renaissance-part-2/ you know we had a workable, straight stitch sewing machine by 1851.  Elias Howe and Issac Singer worked out their differences, there was a patent trust developed, and bingo, bango, bongo, the housewife had a domestic sewing machine of sorts.  As soon as the Singer company gave Issac the boot (because as my paternal grandmother used to say, “That man is a piece of work.”), the Singer company began full-on development of a line of straight stitch sewing machines, each a little better than the one before.  The culmination of the idea of a straight stitch sewing machine reached its apex with the Featherweight (in my own personal opinion).  These little jewels are still sought after today and work wonderfully. 

However, there still were some steps women had to perform by hand.  Buttonholes,  for instance.  If you remember your Little House books, Laura worked as a seamstress to help earn money for her family.  The woman she worked for sewed shirts by machine, but Laura had to work buttonholes by hand because the machine couldn’t do a zigzag stitch.  Buttonholes and seam finishing were done exclusively via manual labor because there was no other way to do them.  Then in 1873, a woman changed all of this.  I would like to say this person was a fed-up seamstress who was tired of working hundreds of buttonholes by hand, but that would be wrong.  The inventor of the zigzag sewing machine was Helen Blanchard, and she did it for the money.

Born in 1840 in Portland, Maine, Blanchard showed an aptitude for mechanical devices at an early age.  She tinkered with many different types of inventions, but didn’t begin patenting her inventions until her family ran into financial difficulties.  After business losses from the panic of 1866 and the death of her father, Blanchard and her family had to sell their property.  Shortly afterwards, she borrowed money for her first patent.  She patented the zigzag sewing machine in 1873.  This sewing machine was different from the standard straight stitch machines of this time, as the zigzag made for a studier seam.  With the success of this zigzag machine, Blanchard continued to make improvements to both straight stitch and zigzag machines and sewing machine needles.  In 1881, she established the Blanchard Over-Seam Company of Philadelphia.  Her company was very profitable, and she was eventually able to buy back her family’s property. 

Helen Blanchard’s improvements to the sewing machine allowed for the industrial growth of sewing machines.  Twenty-two of Blanchard’s 28 machines were installed in large factories, saving time and money in the commercial sewing industry.  Although most of her patents relate to sewing, she experimented with other ideas, including a patented idea for a pencil sharpener.

With all her contributions to the field of sewing machines, their accessories, and sewing machine needles, you’d think Helen Blanchard would be enshrined in the Quilters Hall of Fame or some other related sewing Hall of Fame.  Nope.  She was admitted into the National Inventors Hall of Fame in 2006 for her US Patent No 141,987 for the Zigzag Sewing Machine. 

How the Zigzag Stitch Works

Singer was the first sewing machine manufacturer to jump on board the zigzag stitch band wagon.  Blanchard’s zigzag machine was designed for use in factories; Singer wanted domestic machines to also have this feature.  Since the company already had so many straight stitch machines in production, they invented an accessory which could be used on the straight stitch machines to produce a zigzag stitch.  And they were able to do this with pop-in cams called “The Singer Automatic Zigzagger.” 

These cams replaced the machine’s presser foot with its own and drew mechanical power from the needle clamp (which meant only straight stitch machines that had a needle clamp with a side-facing thumb screw would work).  It created the zigzag stitch by moving the fabric from side to side.  This cam had a series of grooves on its underside which, along with the movement of the feed dogs, shifted the fabric from side to side, allowing the machine to zigzag.  Singer produced a series of cams allowing for as many as four different zigzag stitches.  The YS Japanese Sewing Machine and White Sewing Machine companies led the way for other machine brands, producing their own sets of cams designed for low-shank machines.  All of the cams had a width control (also known as “bite”). 

The cams worked okay, but there were problems.  Thread loops could form on the back, the width of the stitches might vary wildly in a single seam, the fabric would pucker, or only the bobbin thread would form a zigzag stitch – the top stitches would remain perfectly straight.  Somedays it would take more patience than thread to sew a single zigzagged seam.  However, overall, cams were a workable solution to a lot of sewing issues.  Eventually the cam moved from being a part of the needle clamp to the top of the machine.  As a child growing up in the 1970’s, I can remember my mom’s sewing machine using cams.  This was a big deal for the Singer machines – with those cams a Singer Touch and Sew could make more types of stitches than any other machine.  Singer Sewing Machine Company  dominated the market for a long time.*

But as time and technology marched on, computers, motherboards, and computerized mechanisms became normal for use in homes.  We had microwaves, digital watches, desk top computers and computerized sewing machines.  In 1980, circuit boards made their way into the domestic sewing machines and completely changed the way machines stitched.  Instead of the fabric moving to make a zigzag stitch, the needle moved to make the stitch, and the fabric continued to be fed vertically over the feed dogs, resulting in a smoother, prettier stitch.  To put our sewing history in context in a personal context, my wonderful mother is 84 years old.  She had a standard straight stitch Singer with only a cam for a zigzag stitch and eventually moved to a Singer Touch and Sew with multiple cams for multiple stitches.  I’m 62 years old.  I’ve never owned a machine which only performed two stitches or took cams.  When I began sewing in earnest in my twenties, my first “basic” machine was computerized and had multiple stitches, including three kinds of zigzags. 

Why This is Important

Driven by the concept that a domestic sewing machine could make both a straight stitch and a zigzag stitch, Helen Blanchard and those innovators who came after her pursued two ideas: the notion a domestic machine would make sturdier, finished seams and — since the machine could make a zigzag stitch — it would also make better buttonholes.  As a result, technology moved us from this:

To this:

And from cams to the computerized technology which allows our sewing machine needles to move in all directions. We now have hundreds of different types of stitches, automatic buttonholes which accurately fit buttons, the blind hem stitch, the ability to sew knits, and sew on buttons by machine.   We have domestic embroidery machines which a few generations ago weren’t in anyone’s wildest sewing dreams.   Instead of owning a set of cams made only for use with one machine, we now own lots of different types of sewing machine feet for all these stitches — feet which are often interchangeable with other low-shank machines. 

All because of the pursuit of a zigzag sewing machine.   As quilters, we may not use this stitch often, but we should be thankful for it and Helen Blanchard each and every time we sit down at our tech-savvy sewing machines. 

*Let’s pause and take a minute to talk about Singer Sewing Machine Company.  For years – nearly since it’s inception in 1851 – Singer dominated the world of domestic sewing machines, halting production for only two years during World War II.  It maintained its dominance throughout most of the 1960’s.  However the Japanese and European sewing machines began to eat at Singer’s bottom line because they were the first to come out with zigzag capabilities for most of their machines, leaving Singer  struggling to catch up, since they originally only made cams for the Featherweight. The sewing machine market began to shift somewhat and by the 1960’s, Singer began to diversify into other fields such as audio and photography.  Eventually, in order to survive, Singer had to sell off some of their diversified fields to maintain their cash flow. However despite so much effort, by 1999 Singer declared bankruptcy (this process needs its own blog).  It was acquired by Kohlberg and Company, who also acquired Husqvarna and Pfaff.  Eventually all of this merged into the SVP Group. 

Until Next Week, From My Studio to Yours,

Love and Stitches (both straight and zigzag),

Sherri and Felix

Usually once a year – more than once a year if I run across new ideas or helpful tools – I write a blog about quilt retreats.  According to the Quilt Retreat Registry there are over 100 locations in the United States designated for use as quilt retreats.  These can range from converted homes, hotels with rooms designed specifically for quilters, to smaller convention centers with a passion for hosting quilters, to quilt shops with large rooms or who rent out parts of local hotels.  For a list of quilt retreat locations near you, go here: https://ronatheribbiter.com/quilt-retreat-centers-us/.  Rona the Ribbiter breaks down quilt retreat locations by state. 

This blog is a little different.  This is a blog which talks a bit about retreat “etiquette” and a few things to be mindful of if you venture into quilt retreat category.  My local guild has hosted a retreat since 2012, and I make arrangements for it as well as field and filter any issues we may have – and there have been times when there have been some … situations arise I never thought of and had to deal with.  Whether you’re a seasoned retreater or one new to the experience, it may be worth your while to take a minute to peruse this week’s blog.

Come Prepared and Organized

If you’re new to quilt retreats, the whole experience of packing up your sewing area and transporting it to a new location can seem kind of daunting.  You worry about forgetting something important or something you really need.  And when you glance over your fabric and patterns, all of it seems a bit overwhelming.  What do you bring and what do you leave at home?

I really like these types of boxes:

You can find the clear, plastic boxes at Amazon, some dollar store establishments, and office supply places.  I use one box per project and double check to make sure I have all my fabric and any specialty notions for the project in the box (thread, fusible webbing, special rulers, etc.), as well as the pattern.  Then I take an index card and list the name of the project, difficulty level, how close I am to finishing it, and what’s in the box – just in case I need to “borrow” from one project to the next.  I personally think these boxes are a great way to keep everything corralled.   And the box doesn’t have to be clear plastic.  Sturdy cardboard boxes with lids work just as well.

General sewing supplies work a bit differently.  Items such as rotary cutters, extra blades, extra sewing machine needles, scissors, marking tools, etc., can be used in all projects.  I try to make a place to keep all of these together.  Recently I discovered this:

It’s a collapsible, three-tiered rolling cart with locking wheels.  The shelves have a lip around them, so items don’t fall off.  This works great for organizing fabric units if you’re chain piecing as well as a wonderful place to corral some of your larger sewing tools – such as rotary mats and pressing surfaces. 

I have also purchased this:

I found this tool caddy at a yard sale with the price tag still on it.  I think it will work wonderfully for keeping my rulers organized and for storing my rotary cutters, basting glue and spools of thread. 

And if you’re still worried about remembering all your general sewing supplies, I can offer you my packing system.  A couple of weeks out from the retreat date, I set a box or basket near my sewing machine.  Every time I pick up a tool to use it, I place it in the box or basket when I’m through.  This gives me a good idea about what to take with me.  If you’re still a bit daunted, Google retreat packing lists.  There are several great ones on the internet. 

With all of that said, there still is something to consider and that’s the sewing space – both yours individually and the space as a whole.  My guild’s retreat is held in a conference room at a state park.  It is large and well-lit, and since we limit the number of retreaters, we all have plenty of space to bring our collapsible wagons, carts, and a couple of sewing machines.  We each have two tables and a nice chair.  However, if I decided to attend a retreat I wasn’t familiar with – I didn’t know how much sewing space would be available to me – I would ask about it before I packed a single thing.  I wouldn’t want to encroach on anyone else’s space, so I would be mindful about what I brought.

Know Your Machine and Bring Your Manual and Maybe Even Your iPad

Chances are that your machine will get a great deal of use during the quilt retreat.  As a matter of fact, if you haven’t had your machine serviced within a year or eighteen months prior to the retreat, you may want to call your tech and get your machine a “spa day” before loading her up and hitting the road. 

If your machine is a recent purchase, be sure you know the basics.  Quilters are among the most patient and generous folks I know, and if you have an issue with your machine, chances are good several of them will help you figure out any problems.  However, it helps to remember that:

1. No one else at the retreat may have your brand of machine; and
2. It’s their quilt retreat, too.  They have arrived with unfinished projects they want to complete and new ones they want to start.  Don’t monopolize their time.  Bring your manual to help troubleshoot any issues.  An iPad or cell phone will allow you access to YouTube or other sites which also can help you (how did we ever quilt without the internet?). 

Have a Good Idea About What You’re Doing

A quilt retreat is a great place to get quilty ideas and learn new tricks, tips, and techniques – however, it’s not a workshop (unless one is given at the retreat) or class.  If you’re having some issues with a block or technique, having all that quilting knowledge in one room is a huge advantage – quilters will help other quilters.  But I caution again, don’t monopolize someone’s time.  Don’t expect to have someone hold your hand as you complete each unit and block.  If you run into part of a quilt you are really having issues with and you’ve asked for help, but you still can’t quite “get it,” there are a few steps you can take yourself:

1.  Put the project away and work on something else for a while.  Quite often our brains simply need a break away from what we’re working on.
2. Google the pattern.  There may be pattern corrections, a blog, a YouTube video or some other type of instruction which can help you (another great reason for bringing your iPad). 

Don’t Bring Anything You’re Asked Not to Bring

Sometime the location of the retreat may have certain regulations.  If the retreat is at a hotel with a restaurant, they may ask for no outside food deliveries.  If it’s at a religious retreat center, the rules may include no adult beverages.  Be sure to read through all the retreat information before packing to make sure you’re in compliance.

Honestly the biggest issue I’ve personally had with this is irons.  Yup.  Irons.  While most quilters can’t quilt without one, your retreat information may ask that you limit pressing tools to small, travel-type irons.  There is a reason for this rule.  Unless the retreat location has been built to specifically house quilters and other crafters who use irons, the fuses and wiring may not accommodate a lot of irons being plugged in at the same time.  Irons pull a lot of voltage.  If you have a room full of quilters and each of them has a standard iron and all of those irons are plugged in, some fuses are gonna blow and the power will go out until the fuse can be fixed.  More than likely the retreat organizer will ask one or two specific folks to bring their regular irons and set up pressing stations for everyone to use. 

Pets – most specifically dogs – have also become an issue.  Another quilter friend of mine who has a by-invitation-only retreat let me know she finally had to issue a “No Pets” rule.  She never dreamed she would have to do this, but she had several quilters ask to bring their pets to the retreat.  “It never occurred to me anyone would want to bring their pet to a quilt retreat,” she told me.  “There are needles and pins everywhere and all we needed was a couple of dogs to get underfoot and trip up some of us old geezers.”  Chances are, no matter how much you adore Fido or Fluffy, they can’t come to retreat.  If there isn’t a written rule about pets, ask someone before you show up with yours. 

Be Considerate of Others

This sounds like such a basic rule, especially considering how awesome most quilters are.  However, sometimes we are so locked into our normal routine, we forget how it may affect others.  If you normally use a scented body wash, you may want to opt for a non-scented one during retreat.  Some retreaters may have sensitive noses or get migraines from the odors which don’t bother us at all.  So when you pack your personal items, you may want to opt for unscented body wash, shampoo, and lotion.  Along with your iPad, pack your ear buds.  Just because you’re interested in a YouTube video or want to listen to some music doesn’t mean those around want to hear it, too. 

If there are designated cutting areas, use those for short cutting steps.  Plan to do major cutting at home.  Cut out your quilt there, not at retreat.  Be mindful of space.  If you need to run extension cords, bring some tape to secure them to the floor so they won’t be a trip hazard.  Keep your quilting supplies in your space.

Pack Mindfully

We are so careful as we pack for retreats – we organize, re-organize, and pack – making sure we have all our necessary supplies and projects.  If I can offer one word of advice about packing, it would be this:  Remember what goes in must come out.  Everything you bring to retreat, must go home.  And while we really want to sew until the last minute, it’s really good to hit the pause button about an hour before leaving and start to pack up  as mindfully as we packed to come to the retreat.  Make sure all the projects are back in their boxes along with any special thread, rulers, fusibles, etc.  Be sure you pack the foot pedal to your sewing machine.  Check to see if you left any rulers or rotary cutters at the cutting area.  Unplug your iron and give it time to cool down.  I try to break down my area in the order I’ll unpack it at home.  This really saves me time once I re-enter my non-retreat reality. 

Also tidy up the area.  While most retreat locations plan to clean up behind their customers, it’s nice to have the larger pieces of fabric which may clog the vacuum picked up off the floor. 

Watch the Snacks and Beverages

If the retreat location does allow adult beverages, know what places open containers are appropriate and where they’re not allowed.  If everyone is asked to bring a snack (at my retreat, the snack table is legendary – my guild has such good cooks!), be sure to have enough for everyone and something which doesn’t require refrigeration (unless you have access to a refrigerator). 

If you have dietary restrictions, you may want to keep your snacks in your sewing area, so they won’t accidentally be eaten by everyone else.  You gotta eat to have energy for quilting marathons!

And Finally A Few Last Thoughts….

1.  Bring a cushy for your tushy.  No matter how wonderful the chairs are, at a retreat you’re sitting for much longer periods of time than what’s normal for you.  A cushion for the bottom of your chair may help ease some aches and pains.
2. Bring an extra light.  I’ve found the lighting in a room can change throughout the day.  The room where my guild has its retreat has a wall of windows on one side, so the daytime lighting is great, but at night it’s not so great.  An extra sewing light (besides the one on your machine) is a handy thing to have.
3. Bring a variety of projects.  You may come to retreat with a quilt all cut and prepped and ready to go, thinking that you’ll get that top completed and ready for quilting.  But take it from someone who’s been there, by the end of Day Two, you’ll need a break from the project to keep your sanity intact.  Bring some handwork and two or three other projects to work on.
4. Extra fabric may come in handy.  Quilters are infamously creative, and chances are you’ll see new patterns, tips, or techniques you want to try.  A few extra fat quarters thrown in your bag will allow you to try these out during retreat, so you don’t forget anything when you get home.
5. We’re not college students any longer.  Forget the all-nighters.  During the very first quilt retreat I participated in, I made the mistake of sewing until the wee hours of the next day.  And I suffered for it.  The following day found me tired, achy, and grouchy.  Try to stay on your regular sleep schedule.  This keeps life pleasant for others and better for you. 
6. Bring a positive attitude.  All the folks coming to retreat are looking forward to a good time of fellowship, fun, and creativity.  Don’t be a “Debbie Downer.”  Even if your quilt project turns out all kinds of wrong and you’re concerned about things other than quilting, don’t let a negative attitude try to be your BFF.  As Thumper said, “If you can’t say something nice, don’t say nothing at all.”

I do hope you’re able to attend a quilt retreat, a quilt cruise, or even an all-day quilt bee.  There’s nothing like quilty fellowship and experiencing all that creativity in one room. 

Until Next Week, From My Studio to Yours,

Love and Stitches,

Sherri and Felix

PS — Continue to keep Western North Carolina in your thoughts and prayers. Asheville is completely cut off, and some small towns have been completely wiped off the map. There is a dire need for bottled water, infant formula, diapers, baby wipes, and just the basics we take so much for granted. Lots of nonprofits are in place, working to make sure folks are rescued, emergency workers and folks have hot meals and a place to stay, etc. The outpouring of care, concern, and physically meeting folks needs is amazing. If you feel led to donate, go here:https://www.bpr.org/bpr-news/2024-09-28/list-ways-to-donate-and-help-flood-victims-in-western-north-carolina-after-hurricane-helene.

Since I’ve had quite a few emails and messages today concerning Hurricane Helene, I thought I’d make brief post updating my readers.

I live in North Carolina. In the Piedmont — an area which puts me smack-dab in the middle of the Tarheel State. I am fine. My daughter and her family are fine. My son and his wife who live in Florida are fine. I appreciate more than you’ll ever know everyone who has asked about me and my family. Quilters are seriously the best people ever.

What’s not so fine is Western North Carolina. There’s a lot of flooding. Some folks have literally lost everything except what little they could carry out with them. There obviously is no power and there’s no cell service. Families are hanging onto their sanity by sheer will and the power of prayer as they wait to hear from their loved ones. I can only imagine how parents with kids at App State are feeling.

Pray for North Carolina. Pray for the linemen. Pray for the rescue personnel. It could be a while before we get everything cleaned up and all the questions answered.

#Northcarolinastong #ReBuildboone #Prayforwesternnorthcarolina

PS — If you feel led, please direct donations to Samaritan’s Purse (www.samaritanspurse.org). They are already on the ground in Boone, assembling medical facilities. Or direct your donations to the American Red Cross. I did hear Appalachian State University has its dining hall up and running for anyone who needs a hot meal.

The top photos were screen shot from Appalachian State’s Facebook Page and Beech Mountain’s Facebook Page. The Oz photos are mine.

As promised, this blog is a continuation of last week’s blog about sewing machine feet.  Since the holiday season is right around the corner, and some of you lucky quilters will receive a new sewing machine for Christmas, I thought it might be a good idea to look at the “standard feet” which come with most machines.  However, there also are some specialty feet you may want to have Santa drop in your Christmas stocking as an added bonus.

Even Feed Foot/Walking Foot — These are the same foot.  And I know I mentioned in the first blog this was a “standard” foot which comes with most machines.  However, I seriously love this foot and use mine several times a week.  If your machine doesn’t come with one, I would ask for one.  This foot evenly feeds the top and bottom fabric together over the feed dogs.  It’s perfect for matching stripes and plaids, sewing anything on the bias, and for sewing “fluid” fabrics such as silks, satins, homespuns, and Minky.  I love it for sewing binding strips together and for attaching the binding to the quilt.

Adjustable Binding Foot – The full name of this little jewel is Universal Adjustable Tape/Bias Binding foot.  You can use the dials and adjust the foot to suit various with of bindings.  This is a very specialized foot and all it does is put bindings around the cut edge of the fabric.  This foot assures the binding is always neat and professional-looking, without any hand sewing (flipping the binding to the back of the quilt and whip stitching it down).  If you prefer sewing your quilt binding down entirely by machine, you may want this foot in your Christmas stocking. 

Patchwork/Quarter Inch Foot – This foot was also mentioned in the first blog.  If you are given a sewing machine not specifically geared towards quilters, this foot may not be included in the “standard” feet which comes with the machine.  If you’re a quilter, you definitely want this in your Christmas stocking.  It takes the guess work out of perfect ¼-inch seam allowances.  Or if you use French Seams in garment construction, this foot is handy for you to have, too.

Additional Quilting Feet – Usually a traditional darning foot comes with nearly any machine:

However, there are lots of other quilting feet you may want – especially if you want to do thread painting or quilt on your domestic machine.  There’s the Open-Toe Quilting foot:

Which allows you to see your quilting a bit better.  I like this foot for quilting around applique shapes.  I can clearly see the outer edge of my applique, so I don’t quilt over it.

There’s the “Spoon” Quilting Foot or more accurately the Clear Glide Quilting Foot.  This is also used to quilt along the edges of applique.  Some quilters prefer this foot over the Open Toe Quilting Foot. 

And finally, there’s the Ruler Foot.  Do not try ruler quilting without one of these feet especially made for use with ruler work.  Some machines’ darning feet look exactly like a Ruler Foot.  However, compare the difference:

The Ruler Foot is a bit taller and thicker than a darning foot.  It won’t allow a quilting ruler to slip under it and the needle to clip it. 

If quilting on your domestic machine is definitely in your future, I recommend the Open-Toe Foot, Ruler Foot, and Walking Foot.  You’ll get a great deal of use out of all of them. 

Roller Foot – This foot is for use with denim, velvet, and leather.  While the “standard” quilt may not use any of these fabrics, art quilts might.  If you’re an art quilt fan, you may want to eventually add a Roller Foot to your collection.

Adjustable Blind Hem Foot – If you’re a quilter who still does alterations or some garment construction, this foot ensures your blind hem is neat and gives your garment that tailored finished without having to painstakingly hem it by hand.  However, if you love the look of hand stitched applique, but hate the time it takes, try your hand at hand applique by machine.  This type of applique is different than raw edge.  The edges of the applique pieces are turned under and glued in place.  Then the pieces are glued to the background fabric and are machine sewn down with the blind hem stitch with monofilament thread.  If done correctly, no one will know you didn’t sew all those thousands of pieces by hand and will marvel at your ability to do it so quickly.

Super Slim Zipper Foot – This foot is much slimmer than the standard zipper foot included with most machines.  The slim zipper foot makes sewing in zippers easier, faster, and more accurate.  It is also great for sewing on snap tape, pipings, and other trims.  It can get super-close to zipper feet or the piping cord while still holding your fabric down, eliminating the broken needles you may experience with the standard zipper foot.  Most quilters eventually delve into bag making (quilting seems to be the gateway drug into bag construction).  If you’re one of these folks who make bags, you definitely may want a Super Slim Zipper Foot.

Button Foot – This is not the same thing as a Buttonhole Foot.  You use this foot to actually sew on buttons.  You can use this foot to sew buttons on garments (of course), however, if you’re an art quilter or a quilter who may use buttons on applique quilts, you may want this foot – especially if you find sewing on buttons as tedious as I do.

Gathering Foot – I admit, this is a foot I used a lot when I sewed for my daughter when she was young.  This foot lightly gathers fabric and attaches it to the edge of the flat fabric quickly and easily.  As a quilter, if you make pillows and use ruffles to finish them, you may want this foot.  I have a gathering foot, but in the Zone of Truth, I haven’t used it since I began exclusively quilting.    

Narrow Hem Foot – This foot creates a rolled hem on lightweight fabric (which is super tedious if you have to do it by hand).  If garment construction as well as quilting is on your project list, you may want to eventually invest in this foot. 

Clear Zigzag Foot —  Hands down, this is a great foot to have.  The clear zigzag foot can be used for a lot of stitches – from the straight stitch to zigzag to satin stitches to decorative stitches.  It allows for a great deal of accuracy at the beginning of sewing seams, especially on heavy fabrics.  It’s also a very convenient foot to have when doing applique, embroidery, cutwork, and monogramming.  Being clear, it allows for maximum visibility and control especially when working with intricate designs or using delicate laces. 

In addition to the “fancy feet” listed above, you also may want to include a Low Shank Snap-On adaptor if your machine happens to be one of the high-shank models.  Most domestic sewing machines are low-shank – that means your feet snap on or clip on.  When purchasing your new machine, it’s always a good idea to know ahead of time if it’s a high or low shank.  If it’s a high shank, you may want to add the low-shank adaptor to your Christmas list so you can use many of the generic feet available.  If you have a “fancy” embroidery machine, chances are it’s a high shank. 

Now onto all those buttons and knobs…

First of all, let me emphasize every sewing machine brand is a bit different.  And every sewing machine comes with a manual, which you should read through.  That said, the fancier the sewing machine, the more options are available, and the thicker the manual is.  If you’re like me (especially if you have sewn for a while and tend to keep the same brand of machine), you breeze through the front part, thread the machine according to the diagram, and keep moving.  If I encounter a problem, I pull the manual back out, hit the troubleshooting section, solve my problem, and then shelve the manual again.  It would take a dire lack of reading material in my house to make me read every word on every page of my Continental M7 manual. 

What I want to do with this last section of this blog is to briefly go over the basic knobs and dials and do my best to troubleshoot each one. 

• Bobbin Winder – Used to wind thread onto the bobbin.  Usually it’s on the top of your machine.  It’s important to make sure the thread is threaded onto the bobbin correctly before beginning the winding process – and this information is found in your manual.  If the thread isn’t correctly inserted, it will wind beneath the bobbin itself, leaving you with a lovely bird’s nest which must be cut off.  Make sure the bobbin is seated firmly in place before beginning the winding process.
• Spool Pin – Holds your spool as you’re sewing.  Most machines have the options of both vertical and horizontal spool pins. 
• Stitch Width Adjustment Dial – This primarily works with the zigzag stitch and the blanket stitch.  On the newer, computerized machines, you may not have a dial, but a screen for making adjustments.  This dial adjusts how wide your needle travels when moving from stitch to stitch.
• Tension Adjuster – This is a pretty important knob or dial. When you thread your machine, you pass it through the tension discs.  Usually the tension is factory set but depending on the weight of the fabric and thread, some adjustments may need to be made so the tension remains correct (the bobbin thread shouldn’t “pop” up to the top fabric and neither should the top thread show on the bottom fabric).  One of the first steps I take when having tension issues is to re-thread my machine, making sure I have the presser foot raised.  If you thread the machine with the presser foot down, the tension discs close, so the thread can’t pass through them.  If you re-thread your machine and are still having tension issues, then you need to play with the tension numbers.  Be sure to check with your manual for instructions on the best way to adjust the tension.
• Thread Guide – The thread guide is the system which feeds the thread through the machine and maintains proper tension while sewing.  Personally, if I have any issues with my machine, the first step I take is to re-thread it, making sure I follow the thread guide.  Most of the time my issues have something to do with the way I thread it. 
• Take-Up Lever – This is the metal hook attached to your thread guide which pulls thread from your spool through the machine.  You hook your thread into the take-up lever as part of the threading process.  It’s important to make sure the thread is completely seated in the hook before sewing.  Otherwise it will slip out and you’ll have tension issues and lots of birds’ nests.
• Thread Regulator – This is the first part of the thread system.  Sometimes the regulator has only one opening.  Sometimes there’s more than one.  Be sure to read your manual to know which opening to use (right, left, or both).  It depends on several factors and your machine’s manual can instruct you about which one (or both) to use.
• Automatic Threader – This is a feature I have a love-hate relationship with.  It grabs the thread and pulls it through the eye of the needle.  I simply find it faster not to use this feature on my machine, however as I’m getting older, my eyes are appreciating it more.  When you take the time to learn how to use this correctly, it’s a wonderful feature.  I simply have not taken the time yet…but that time is coming.
• Needle Clamp and Screw – This clamp holds your needle in place with a screw.  When the time comes and you need to change your needle, place a piece of paper over your feed dogs (this keeps the old needle from accidentally falling into the feed dogs – something you don’t want to happen ask me why I know this).  Use a screwdriver to loosen the screw, replace the old needle with a new one, then use the screwdriver to tighten the screw on the needle clamp.  It’s important to use a screwdriver.  This ensures the screw has tightened the clamp to the point the new needle won’t slip out.
• Backstitch/Reverse Button/Knotting Off Button – Being able to sew in reverse or having your machine tie off your threads is important.  You need this for paper piecing and Y-seams for sure.  With some machines, the reverse stitch is activated by a lever, and with others it’s a button.  Newer machines may give you the option of a knot or a reverse stitch. 
• Stitch Selector – On some machines the stitch selector is a dial and on some computerized machines the stitch selection appears on a screen.  Nowadays even the most basic machines have a dozen or more stitches and computerized ones can have hundreds.  If your machine is one of those which has too many stitches to memorize, the manual will come in handy.  The manual usually has a chart somewhere in it that lists all the stitches.  My M7 actually has an app for your phone or iPad which lists all the stitches, and the feet needed for each.  It comes in handy.
• Stitch Length Adjustment Knob – This is a knob you need to get familiar with as a quilter.  This knob (or on-screen button) adjusts the length of stitches by changing how much fabric the feed dogs pull through the machine for each stitch.  This knob is often used in conjunction with the stitch width adjustment dial to create the perfect zigzag or blanket stitch for your machine applique stitches.  If you quilt on your domestic machine, the stitch length is often used at “0” to begin quilting (to lock your thread) before the feed dogs are dropped for free motion quilting… which brings us to…
• Feed dogs/Feed Dog Up and Down Button – Most quilters are quite familiar with the feed dogs – they’re the metal pieces which sit under the needle that work to guide the fabric through the machine. Somewhere on the machine there should be a button, knob, or lever which allows you to drop the feed dogs below the needle plate so you can free motion quilt or thread paint.  After your free motion or thread painting project is complete, be sure to clean the feed dogs with a soft brush to get the lint out.
• Needle Up/Down Button – Not all sewing machines have this wonderful knob\button, but in my opinion, it should become standard on all machines.  When the “needle down” is activated, the sewing machine needle will stop in the down position, allowing you to safely lift the presser foot lever and reposition the fabric without it shifting. This is great for turning corners, Y-seams, and paper piecing.  All sewists really need this feature. 

I hope the last two blogs have achieved three goals.  First, if a bright, shiny, new sewing machine will be under your tree this year, you’re aware of the very basic sewing machine feet you need.  Second, to make you aware of some specialty feet which may make your sewing and/or quilting life easier.  And third, I wanted to supply just a bit of a review on all the knobs, buttons, and levers on your machine.  Sometimes if you don’t use them regularly or take them for granted because you use them so much, you forget what all they’re capable of doing.

Until Next Week, From My Studio to Yours,

Love and Stitches,

Sherri and Felix

Before you begin reading this week’s blog, let me make you aware I have a PS at the bottom with some additional information about the Sear’s Quilt Show at the Chicago World’s Fair in 1933.  I’ve written several blogs about this show and have done numerous guild presentations on it. 

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It was recently brought to my attention that it’s time to start my holiday shopping. 

I am one of those people who really like to have everything purchased, bagged, and tagged by Thanksgiving.  I don’t know how it works at your house, but since I do all the holiday shopping, baking, and decorating, this is my call.  I don’t sweat the shopping as much as I did because my children are now adults and tend to like pictures of dead presidents done up in green ink (money).  A simple trip to the ATM a week or so before the holidays tends to do the trick.  However, I also realize some of my readers may be getting something new and shiny under the tree…that sews…and takes thread…and can help you produce marvelous, quilty things. 

Sewers can be kind of persnickety when it comes to their machines.  Some of us that would be me like certain brands over others.  I’m a Janome girl.  I’ve sewed on one for over 30 years and it has always been a pleasant experience.  I see no need to jump track and change.  But no matter if you’re getting your first sewing machine or your fifteenth sewing machine, they come equipped with lots of feet and lots of knobs and buttons.  What I’d like to do today is review some of the basic feet which come with nearly all machines, the specialty feet that may come with some higher-end machines, and maybe a foot or two you’d like to have someone drop in your Christmas stocking for future use.  I also want to review the basic knobs and buttons and their use. 

All sewing machines come with a presser foot.  Most of the come with presser feet – meaning you’ll have certain feet which work best for certain jobs.  Sometimes these feet are named after what they do and are categorized by the terms “high shank” and “low shank.” 

The type of shank your machine has usually is found online through a Google search (search the brand and model) or in the sewing machine manual which comes with the machine.  This information is important if you decide to purchase a generic foot for your machine – you’ll need to know what kind of shanked foot to purchase.  Some of the feet will snap on and some will screw one.  The machine’s manual will give you detailed directions on how to take your feet on and off (and often there are YouTube videos, too).  Quite often if you purchase the same brand of machine, the feet from the old machine can be used on the new one. 

The foot which comes with all machines, and will probably be on your machine when purchased, is the Standard Foot:

This is usually used for straight-line stitching and the zig-zag stitch.  This is a great presser foot for beginner sewers to use while they get used to the machine. 

The Zig-Zagfoot comes with many basic machines. 

With some machines, their standard foot can’t be used for the zig-zag stitch, so you have to switch feet for this stitch.  I have the option of using an open-toe foot for my zig-zag stitching – the open area makes it easy to see and control the zig-zag stitches.

Most basic sewing machines also include a Regular Zipper Foot. 

This foot has an opening on either side of the foot.  These openings allow you to sew close to your zipper on either side and you can also use this foot to sew piping.  Sometimes, depending on your machine, you may need to move the needle when you use this foot.

If you purchase a sewing machine made with quilters in mind, chances are you’ll come across this foot:

This is called the Quarter-Inch Foot.  I’ve also heard it called the Quilter’s Foot.  Either way, this foot helps you keep a consistent quarter-inch seam allowance.  If you’re into French Heirloom Sewing (or any garment sewing that requires a quarter-inch seam), you’ll also love this foot.  It gives flawless seams and perfect finishes.

Most machines also come with a Walking Foot.  And I’ll be honest here – next to my Quarter-Inch Foot, this foot is my favorite – so much so if my sewing machine didn’t come with this foot, I’d purchase it separately.  This foot uses teeth similar to the feed dogs and it’s ideal for thick and heavy fabric or thick and heavy seams (such as sewing the binding onto the quilt).  It also works well with fabric which tends to stick.  I know a few dressmakers who won’t use anything but a walking foot on their machine and consider it an absolute essential when sewing knits.  I use it for sewing the binding on my quilt, joining rows of blocks together, and sewing on borders. 

The Buttonhole Foot usually comes with all machines, even those produced with quilters in mind. 

Buttonhole feet have come such a long way.  The ones used when I took Home Ec in high school were absolutely atrocious.  But the new buttonhole feet make sewing the perfect buttonhole so easy and so perfect.  The newer buttonhole feet measure the button which is inserted into the back section of the foot and sews a buttonhole the correct size every time. 

A Piping/Cording Foot generally is also included. 

This foot is easily recognized by the open grooves on the underside of the foot which holds the piping or cording in position.  The piping or cording then passes through the foot in a straight line, producing neat, even stitching every time.  And if I’m sewing on super skinny stems onto a machine applique block and those stems are either straight or have gentle curves, I’ve been known to pull this foot out for that very purpose.  The narrow stems fit snugly in the grooves and are easily sewn on.  Please note that for this to work, the stems have to be really skinny. 

One foot which I received with one of my first machines was the Teflon Foot.  It’s an odd-looking foot and as a quilter, I didn’t think I would use this very often. 

This foot is made for use with laminated fabrics, vinyls, leathers, and suedes – fabrics which aren’t used in many traditional quilts.  However, as I began to make a few art quilts here and there, this foot really came in handy as I used more “nontraditional” quilting fabrics on these.  Then I discovered bag making.  Not only will your walking foot come in handy for making bags (all those thick seams), but if you use clear, vinyl pockets in your bags, you’ll pull out your Teflon Foot every time.  It makes sewing that stuff a breeze. 

Usually there is also a Satin Foot or Open-Toe Foot.  This foot is often made of a clear material to allow you to easily see where you’re sewing.  It can be used for the zig-zag foot, decorative stitches, and satin stitching.  It allows for a buildup of stitches to sewn onto the fabric and gives you maximum visibility.  If you like raw-edge machine applique, you’ll love the open-toe foot.  You can see every stitch and makes everything more accurate.

The last foot which comes with most sewing machines is the Darning/Free Motion Quilting/Open Toe Foot. 

I’m not sure how many people actually mend their clothes by darning any longer (however, as part of the Big Stitch/Slow Down and Hand Stitch Movement, some folks are using colorful embroidery thread to mend their clothing – especially jeans).  But this foot can be used for so much more than mending.  The open toe foot can be used for thread painting and free motion quilting.  Simply drop the feed dogs and have fun!

For the next blog, I’ll go over some of the additional feet you may want to purchase (if they don’t already come with your machine).  I’ll also go over some buttons and knobs to make sure you know what they do.  This blog is already over 2,000 words with the additional information about the Sears Quilt Show, so it’s time to wrap this week up.

Until Next Week, From My Studio to Yours,

Love and Stitches,

Sherri and Felix

PS – For those of you who may be newer readers to my blog, I have written and researched the 1933 Sears Quilt Show pretty extensively.  I’ll post the link to a few of these blogs at the end of this PS.

If you remember, the winner of the Sears Quilt Show was a lady named Margaret Caden.  She jumped through some pretty shady hoops to win the first prize ribbon, cash award, and the title of “America’s Greatest Quilter” (she didn’t put a stitch in the quilt).  Part of the fame of receiving that first-place award was your quilt was presented to the First Lady of the United States.  And in 1933, the First Lady was none other than Eleanor Roosevelt.  We have pictures to prove that this indeed did happen.

Mrs. Roosevelt happily accepted the quilt and then it simply disappeared.  Quilt historians have searched for that quilt for years and it has never been found.  It is not in the White House archives.  Eleanor’s children and grandchildren have been questioned about the quilt’s whereabouts, too.  None of them can remember ever seeing the quilt at the White House, Campobello, Hyde Park, or Val-Kil. Some people who knew Mrs. Roosevelt well didn’t think she would keep a quilt like Star of the Bluegrass around if she knew about Mrs. Caden’s “shady” way of entering the quilt.   It’s almost like quilt grew legs and ran away.  And for the record, I haven’t found the quilt, but I have a new idea about what happened to it.

The year 1933 was a desperate time for the United States.  Many parts of the country were beginning to feel the hard pinch of The Great Depression.  West Virginia was one of the first states to feel the claws of economic hard times digging in their citizens.  Coal was king to this state and most families had at least one (most of the time more) family member who worked in the coal mines.  For as long as locomotives and steamboats ran on steam, coal was needed.  But with the introduction of gasoline powered motors to locomotives and boats, the need for coal declined.  And with the declining need for coal, the living standards for many West Virginians also declined quickly and drastically.  Mrs. Roosevelt toured these towns in West Virginia, which had been devastated by economic hardships – many times by herself, driving her own car.  A practical woman, she sought to meet the needs of these people while still maintaining their dignity – which to Eleanor Roosevelt meant the chance to purchase their own homes, grow their own food, have the basic necessities in their homes, and educate their children and themselves.  She was so devoted to this cause, she worked with the members of her husband’s cabinet and developed cities where this could happen. 

She oversaw every small detail of these housing developments.  Each house had two bedrooms, a kitchen, a living area, a root cellar and indoor plumbing – something we certainly take for granted but was truly a luxury to these folks.  The houses were furnished with one double bed and two single beds.  The kitchen had sinks and a refrigerator.  The homes were heated by steam radiators. She also made sure these rooms had “necessary comforts” such as plates, cups, bed linens and quilts. 

One of the first cities she developed was Arthurdale, West Virginia.  She was intimately involved with the people who moved here.  She paid personal attention to each home, making sure it was just right.  I’m wondering if maybe she gave that Sears Quilt Show Award Winning Quilt to one of the first houses in Arthurdale?  According to Eleanor’s children and grandchildren, she didn’t use quilts in her home.  If Mrs. Roosevelt had no great love for quilts, she may have donated it for use in the first house. 

Maybe.

I can’t prove it or disprove it, but it does sound like something she would do.  It’s just another idea and honestly, we may never know, but it is one more piece in the puzzle of “Where did the Star of the Bluegrass go?”.

If you’re ever near Preston County, West Virginia, you can visit Arthurdale and the first New Deal Village.  Folks have carefully preserved 160 or the 165 original homesteads in what is still called “Eleanor’s Little Village.”  It’s interesting to note that she was so involved with this community, she visited it a total of 33 times.  And you can rent one of the houses to stay in while you visit.

History of Arthurdale

Source:  Eleanor Roosevelt by Blanche Wiesen Cook (Thank you Jeannie Wall for the heads-up about this wonderful book).

The Problems with the Quilts, the Sears National Quilt Show, and Re-inventing Applique