Why Do I Need So Much...

Why Do I Need So Much Fabric to Make a Quilt?

A plain block has only 4 sides of ¼” seam allowance. 
Therefore, is a one-inch square piece

 cut 2” square (1 + ¼ + ¼ + ¼ + ¼)?   

 NO, here is why:

 If I want to piece a 2”x 2” block with one-inch pieces, 

how big must my piece of fabric be?

    The same 2” X 2” block kept plain, 
with no piecing,

is how big again?

 

3 X 3 equals 9, and 2-1/2 X 2-1/2 equals 6-¼

Subtract 6-1/4 from 9 to see how much more fabric it takes to piece the square.

Pieces not square nor rectangular has scraps leftover – requiring yet more fabric.

Ferns in the forest

A fern frond made from fabric, 22" long

A search for royalty free images of ferns yields a huge variety of examples to choose from, such as the frond worked in fabric pictured above.

In the warm, humid south we find ferns everywhere, as prolific as weeds.

My backyard has a crook and hanging bird feeder holder and each summer a fern/vine climbs and trains itself around the metal. I cut off an end, sandwiched it between two pieces of clear Contact paper, and scanned it at 300 dpi.

After opening the scanned image in Paint, I set the printer to 400% of the original. Below you see the result. The enlargement is clear and distinct - providing all I need in the way of detail.

The 'live' fern is the tiny one, the larger image the print.

The Golden Flute

"The Golden Flute" is a story quilt: it tells a story not yet told. A riddle, perhaps...but sometimes life is a riddle. Stories can be entities that demand to be told. From where else come our dreams? They grip the mind of the teller and shake them up until the story comes out.

I began this quilt with little idea of how it would come about. I knew I wanted a curved border, that the colors purple and pink would figure prominently, along with lady bugs. In the quilt world where squares and triangles are called "churn dash" that could mean almost anything.

Where do lady bugs live? On leaves and flowers, in sun and shade with their friends the butterfly and dragonfly - and fairies if we are lucky.

Bog Shirt Dress

Nursing a peturnia through our hot summer, with my Mother's Day rose 

The bog shirt makes a great summer dress - big, loose and cool. And took about 15 minutes to make. It's 100% linen, and I don't bother to iron it, just taking it out of the dryer as soon as the dryer stops. Love that texture.  Note the  "ugly quilt" on the sewing table inside the living room window.

Lazy Summer Sunday

It came!  The catalog of the Irving Penn exhibit at the Metropolitan Museum of Art.  It's a treasure.
I am wearing my latest fashion: The big purple bog shirt made of linen. The older I get the less I care about appearances - obviously.

A Tummy Time Quilt for Baby Girl Beuk

I had a hard time getting inspired for this quilt and I was running out of time. But finally decided I loved the block - so why not make it a "One Block" quilt. My parameters (y'all know how I love the challenge of limitations) were a set of 5 Fat Quarters, and whatever I could find from the stash. I only had to buy backing/binding. BTW: Tummy Time quilts are for laying on the floor so baby can have time on its tummy. The experts are advising against using quilts to cover baby in the crib. They are also used to cover baby in the carrier.

Transfer Lines from One Side of the Fabric to the Other

During my career as a custom seamstress, original patterns
and alterations to ready-made clothes were a major part
of my activities.

When I'd "pin fit" on a human body or dress form, I would
work from the right side of the fabric. It was then necessary
to transfer the lines made by the pins to the wrong side
for matching and sewing.

The garment is carefully removed, and working from the
wrong side of the garment, chalk would be pressed
along the pins, making a "rubbing" of the pins. Then pins
were removed and the garment was sewn, matching
up the chalk lines. How easy is that?

Fussy Cut for "Mine Alone" Quilts

 

Every quilter wants her quilt to be hers alone.  

After all, she did the work, in spite of using classic shapes

 and patterns, and manufactured fabrics.

 

How far will we go to make something unique?

 

One award winning quilt at Spring Paducah 2017 uses tiny pixel-like dots -
 not fabric prints but "separate, minuscule dots"
 placed with tweezers and fused.  

Others color their fabric, or use dye methods that produce random results.

Fussy cutting implies and requires selective choices.

 

 It happens when we use the cut and position of the print
 to create a focused design. 

Joining two fussy cuts to create another image takes the concept further. 

Paula Nadelstern has turned it into an art form,
 and while I have never made a Nadelstern style kaleidoscope quilt,
 her books taught me a lot over the years.

Most are familiar with Willyne Hammerstein's Millifiori which uses

repetition of fussy cut English paper Piecing to create
 amazing one-of-a -kind quilts.

 In that method, the paper shape is covered with the fabric.

It's a simple matter of placement.

Juxtaposing Two Fussy Cuts,

My Process

• I start with a vague idea, then select a pattern and fabric that generally fits the idea.

• My work surface is an inexpensive cork board that measures about 17" X 23."

The Pattern

1.  I draw the pattern full size on graph paper from a tablet by June Tailor, 12.5" X 12.5." In this case I want my block to finish at 8" square. I use pencil in case I want to make changes. Note: Ziploc 2 gallon freezer bags are excellent pattern protectors at 13" X 15."
2.  I cut a piece of clear cellophane gift wrap the size of my pattern, and glue it over my pencil drawing with Elmer's Washable Glue Stick, to protect the paper pattern from glue from the fabric.
3. The pattern is pinned to the cork board.(I love being able to pin into my work surface.)
4. The center square is just a square-on-point, so I measure my pattern and make a "viewing window" from cardstock, the finished size of the square. I only need one, so I don't bother with a template.

 Corner Triangle Template

1. Using heat resistant template film (from Jinny Beyer Studio, sold as Multi-Purpose Template Film) I trace my corner piece. After adding 1/4" seam allowance to all edges I cut it out.
2.  A 1/16" hole punch,  (from Jinny Beyer) puts a hole in the template at each seam intersection.
3. With the template on the fabric, I trace guidelines from the fabric to be able to repeat the fussy cut. I believe I first learned this from Paula Nadelstern.

The Pattern and corner template

The Fabric

1.  I will use pins to note the general edges of my center square, [note: see June 10, 2017 post] and remove the viewing window. Adding  3/8" seam allowance to the area for the center square, I cut the fabric, place it on the pattern and pin. The large seam allowance lets me re-arrange the square once the corner triangles are pinned to the board.
   
   

   

   On the left, fabric for the center square. To the right is the fabric for the corner triangles.

     The corner triangles are cut using the template.

2.  I place the template on the fabric, lining up the guides on the template to the print in the fabric, and trace around template shape with a Micron Pen. With all four corners traced on the fabric, I cut them out.

Corner Triangle

Using template film with a quarter inch guide marked, I starch, turn 

and press the seam allowance along the long edge of the triangle.

Putting it together for glue basting...

  

1. The center square is on the pattern and secured with 2 pins. Only one pin would allow it to "swivel."
2. The corner triangles are pinned to the board, with the edges even with the corner pattern line PLUS one square or row, for the quarter inch seam allowance.
3.  The pieces are pinned only to the board, not to each other.

1. With the corner triangles pinned in place, you can remove the pins in the center square and move it around slightly until you are happy with this 'trial run.' Pin the center in place again with 2 pins. 
2. Remove the triangles. 

Putting glue on the seam allowance. Any glue that gets on the cellophane wipes up with a damp towel.

 

1. Thinking of the corners in terms of compass points, add glue to the seam allowance only of 2 of the triangles and place them at the North and South corners, exactly as in the 'trial run.'
2.  After the glue has set, but not dried, you can fold the triangles to the center, to reveal the seam allowance. Remove all the pins and carefully pull the unit loose. Take it to the machine and stitch in the crease that was pressed in when you turned the seam allowance.
3. Press the triangles back in place, face up. Repeat the process with the East and West corners.
   
   

   The center is finished!

Creating a Legacy

Rachel Remembered...

 

A legacy quilt is a collection of blocks that are special to the maker...milestones or significant elements in a life. It is a way of saying: This has meaning for me.

When I started my legacy quilt, it was just an abstract idea. Then, surfing the web, I ran across the fabric collection called Rachel Remembered by Moda's Beth Gutcheon. It was a "WOW" moment.
The Rachel in the collection was Rachel Jackson, wife of Andrew Jackson. My Rachel was my 3rd daughter, born and died on June 23, 1970.  You try to make something beautiful out of everything. But while I remember Rachel, I want her remembered in a lasting way.

The fabric arrived, blocks appeared: The large block pictured above was made in the 1980's, using a border print. The colors worked. The date palm symbolizes the dates we grew on the ranch. The unfinished block, called "A Light Unto My Path." It's an adapted design.

Diamond In A Square Paper Pieced

Making 380 Diamonds in a Square to Finish at 2"

After printing the needed number of paper foundations,

I drew the square, plus seam allowance, on the wrong side of the my main color fabric.

Cutting from strips would mean wasted fabric. The diamonds are basically squares set on point, which means the cut edges are on the bias.

 With center squares pinned to the foundation papers,

 I stitched each "corner" to a bias cut strip of background fabric, 1 - 1/2" wide.

The strip was pressed to one side, and with wrong side up, the corners were cut to size.
The triangles between that are cut off will be sewn to the next side.

A bias strip, cut selvedge to selvedge yielded 27 corners, approximately.

UPDATE: today is 12/31/2019
I am still making diamonds...progress, not perfection.

 

 

Fabulous Free Motion Quilting

"It's Not a Quilt Until it's quilted"

I forget who said this, but it has been a standard for years. 

I didn't really  "retire" - just changed jobs...now I am a full time quilter.

Quilts by Rosemary

Rosemary's blogspot has an excellent tutorial on using "Press N Seal" ®

to "mark" quilts for free motion machine quilting

without marking the quilt.

Check it out

 

Neocolor II Water Soluble crayons

A shaded tulip in Block 4 - Diamond Hill pattern by Esther Aliu

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 The Fabric Medium is "Golden GAC 900" - The coloring agent is Neocolor II

I love the way the Neocolor II Watersoluable wax pastels work with fabric in applique!

These pencils open up so many opportunities to practice creativity!

Glue Sticks! Love em!

I use a lot of glue sticks - especially for absolutely awesome applique - to assemble the units, and then to apply the unit to the background in preparation for stitching.

A piece of scrap wood, and a couple of hole cutters for the drill, and presto, I had a glue stick holder to clamp to the table. The lid of the glue stick is screwed into the wood.

I put my palm on the clamp handle and lift the stick out of the lid.

Ami Sims - Applique Artist Extraordinaire

http://amisimms.com/stbascat.html

Ami's awesome St. Basil's Cathedral

done entirely in her "invisible applique" technique

 

Martelli Tools and Techniques for Sewing, Quilting, Arts and Crafts

Using the Martelli Rotary Cutter

Here I am trying out my new Martelli Rotary Cutter

***Click on the Red Text to be directed to a YouTube video***

The Martelli cutter is ergonomically designed for maximum comfort. It has a spring loaded guard, and will cut up to 30 layers of fabric at one time.  The 24" No-Slip Strip Ruler guarantees perfectly cut strips every time. I also picked up a "No-Slip" mat for my sewing machine pedal, and unlike some, THIS ONE WORKS!

I got this beauty at the Azalea Quilter's Guild quilt show in Mobile, Alabama - with great "show special" pricing. Martelli goes to trade and quilt shows all over the country - check out their website to see when they are demonstrating at a show near you. 

Update: 12/31/2019 - I found I NEVER use the 24" No-Slip Strip Ruler. I think that is because I can't see through it! But I am addicted to the Quilter's Select rulers which are truly non-slip. I used mine frequently to draw patterns with a Sharpie - leaving a black line on the edge. One day, I decided to clean my ruler with alcohol. Yes, it removed the black line, but also removed the non- slip coating on the ruler. It wasn't a disaster - there is enough coating left to keep the ruler effective.

On A Quest for color!

In Search of the Best Solids

 On the left is Riley Blake's Confetti, by Lori Holt. The fabric on the right is the American Made Brand by Clothworks.

 

 I am judging only the density of the weave of the fabric.

 It is obvious the American Made Brand is a closer weave,

 which means less fraying, and better "wearing."

 

As to judging color in this test - the Confetti solids are a range of pastels,

 while the American Made Brand was a sampling of intense colors. Apples to Oranges!

 

 However, comparing the two sources in the color "Black," 

American Made was the winner for deep, rich color hands down.

 

I do like that Riley Blake offers a color card - our solids are like a box of crayons - even if we don't buy them all, we want to see what is available. When ordering online, it helps to have all the information you can get to make good decisions.

 

 

UFOs and Other Flotsam and Jetsom

Treasures of the Sewing Room

The Double Wedding Ring, threads from raw edges tangling in

the scrap of sole fabric for quilted slippers...

Moonglow neatly folded...

Sedona Through the Trees, forever wanting its final Stars,

Those sad and lonely earthbound UFOs 

I used to fantasize that as long as I had a quilt to finish, my life would continue. Nope, can't die tomorrow - have to get that border on.  Then the pile grew, and my thoughts changed to: I hope when I die whoever finds these will finish them. My treasures haunted me with their pointing fingers - damning me and my ADD to a hell of scraps and tangles threads.

UFOs served a purpose in their time - providing a means of learning and creative expression. the real treasure is the person who makes them and the things she has learned along the way. Therapy through rough times.

The work we did on these UFOs are the stepping stones in our education. Sometimes, life with all its chaotic demands intervenes, sometimes we just reach a point where the project isn't serving, or our skills aren't  compatible with the demands of the project, and we need to leave it and "practice" our craft on something simpler, till we can go back to the project and work joyfully - not frustrated and self castigating. 

I thought that when I retired I would have SOOO MUCH time! Okay, at times I never expected to be able to retire - sometimes life forces us into paths we wouldn't think of taking. But this thing about TIME...There still isn't enough hours in the day to do everything I want to do - to try - to experiment with...(this is still after I gave up being a pit crew member for a local NASCAR team, even if all I did was sew the patches on the clothing). The point is I have to make every day, every hour COUNT for something. It isn't enough to make a quilt for the sake of having a quilt. I give most of them away, anyway. If a quilt project doesn't serve a purpose such as teaching me something or honing a skill - I don't have time for it!

70 petals!

Esther Aliu's applique pattern: Diamond Hill. 

Block 3 requires 70 individual flower petals. To speed up the process, I am using Jinny Beyer's template film as both templates and working foundation to build my motif on.

 I have used a piece of 100% cotton voile in the center that I can glue the petals to.

The school glue will go through the voile to hold the piece in place while I work.

Shaped Piecing - for Quilters

How would you like a beautifully shaped border on your quilt?

Or an inset to focus on a special applique or embroidery?

I have been using shaped piecing to embellish children's clothes, and make baby quilts since the early 1980's - when I was taught to do "Drunkard's Path" and decided there must be an easier way to do it. 

Then I thought, why not work on a larger scale...a bed size quilt?

It only looks intricate - but is actually very easy, if you take it a step at a time.

Cut a template, and draw the shape on the piece of fabric that will be on top.

Cut the shape out, with about 1/4" allowance for turning under.

Using the template and a medium hot iron, press under the raw edge. Test the iron on a piece of scrap template first. If the iron is too hot, the template film will warp.

Lay the top piece of fabric over the contrasting fabric

 and press with starch, then pin.

 

Set the machine to a blind hem stitch, and adjust to a long length of stitch. 

This is called "top basting" and the stitching will be removed.

This is how the back and front side of the fabric will look

 after you have "top basted" the two pieces together.

Trim the seam allowances to about 1/4"

Lay the two pieces of fabric right sides together and smooth out the crease in the top piece. 

In this illustration, I have drawn "between the dots" with a marker for clarity.

Working only an inch or two at a time, smooth the seam allowances and stitch from dot to dot.

The point in this pattern is a little tricky, but practice it. You may wish to sew from the other side when doing the point. Take is slow and easy. No stress.

Remove the basting, and press on both sides. Enjoy your border!

 

 

Stitching a closed circle, oval or other shape is even easier.

 Use the same method of top basting.

Be reminded that the text and illustrations presented on this page are protected by copyright.
Please feel free to use the methods shown,
 however, if you share, or teach the information, it is only fair to name me as the source. 
I am retired, and do not sell. But I am dedicated to furthering education
in the fiber arts in any way I can.  

HAVE FUN!