Ditching the Quilt

Well, I missed blogging last week by visiting my granddaughter in Pullman, WA, and had a wonderful time with her and her mom.  When I got home I got smacked with numerous things that had to be done:  get another load washed before winter forces me to the laundromat, clean house (urghhhhh), complete repairing my mother's beautifully painted but damaged trays, sort out my sewing shed before the snow flies, etc...and thus no time to write.  Yes, my sewing shed is where I keep my stash and it is outdoors.  Not terribly convenient in cold weather, but protected and out of my way when I don't need it.

In spite of all that, I maintained my sewing routine of 2-3 hours a day driving the Baby Lock and got started on the quilting of my quilt.  I used two layers of batting:  Quilter's Dream cotton "Request" (low loft) and Quilter's Dream Wool.  The wool is wonderful to quilt as it gives beautiful puff to the quilting, but where you want to smash it down as filler it squashes tight to accentuate the main designs.

I ran into an interesting problem that was new to me.  I first stitched-in-the-ditch (SID-ed) the lengthwise and crosswise seams, then the diagonals, each from the center out.  When I looked at the back I discovered that the backing fabric was puckered along only one direction of stitching.

No photo.  You know what a puckered stitch line looks like!

TIP:  Sewing the initial lines from from the center to the outside keeps the quilt from getting pulled unevenly.  This applies to both the grain lines and the bias lines.  The goal is to keep the quilt as square (or rectangular or circular) as possible.  Blocking the finished quilt can straighten it to a point, but being careful at this early juncture makes it easier.

 I suspect that the puckered line may have been on the lengthwise grain as it has the least give.  Solution:  I ripped out that line, and since it went through the middle of a long point, I stitched in the outer seams of the point (dark turquoise in the photo below) to anchor that part of the quilt.  This worked because there was more give on the slightly bias angle.  As I quilted the filler of that point (to make sure my design idea was going to work) I discovered that I liked that the seam in the middle of the point was not stitched down, so I ripped out all the lengthwise and crosswise SID and stitched in the ditches of the outer seams of those four points.  Mission accomplished.  Pucker gone, ready to roll!

Center line (straight grain) of point not SID-ed.  Outer edges of darker fabric stitched down.
Filler on one side of dark fabric not done yet. Note that the corner remains at 90º angle.

TIP:  Sewing garments taught me the importance of fabric grain.  Remember that it is just as important in quilts.  I don't worry about it in paper piecing because the paper holds everything firmly as you work.  However, once the quilt is layered you might have to work around the strength of the grain line and the fluff of the batting while still maintaining its integrity.  By all means keep the straight grain of the top and the backing aligned and un-puckered.  Your quilt will not hang straight if the grain lines are not straight lengthwise and crosswise.  Puckers may ultimately become unsightly tucks as your quilting proceeds.

A spiral quilt has many paper pieced seams to create the gradations that make it so unique.  I have found by trial, error and lots of reverse sewing that it is best to SID along every single seam.  This keeps the straight lines of the spiral straight.  I have tried in the past to stitch a design across un-ditched seams and found that the seams pull, and ultimately my design gets interrupted by those seams popping up so the whole thing is a scruffy mess.  Somehow, if those seams are nailed down first, a subtle design across them works nicely.  Don't ask me why!

Right side not SID-ed.  Left side stitched down.  In this photo the visible
difference is subtle, but significant.

Once the SID is done I can work fancy quilting designs, and that gives the added bonus of getting rid of those pesky safety pins.  I can also work anywhere on the quilt, as opposed to working only from the center out, because the whole quilt is stabilized.

Tester SID-ed then quilted with feathers.

I find the back different and intriguing.

By the time I post this I will be finished with the SID.  I am glad as I find it tedious and tiresome.  However, it is a great way to learn to free-motion-quilt lines, either straight or curved.  It also makes the rest of the quilting much more fun.

Sew a happy seam this week.  I wish you straight, un-puckered seams.

Opportunities

Have you ever looked at your quilt and said, "I wish I had done that differently.  I have such a good idea, but it didn't come to me soon enough.  I wish...., but not enough to take it out and do it over."  Every now and then you might have that opportunity for improvement, but I guarantee you will not be happy at first.

I have been quilting along on my Phoenix bird, but I looked at it differently when I laid it out and showed it to my daughter.  The bird is beautiful by itself.  The rest of the quilt looks and feels like warped cardboard.  Oh dear!  This is not going to be good enough to show and none of my photos show how bad it is.  I can't imagine it blocking out.  It won't even be good enough to give to my sweet granddaughter who drew the design.  Realization.  Devastation.  Destruction of denial.

I have been going through past issues of Machine Quilting Unlimited, and serendipitously came across an article by Jayne Bentley Gaskins, "Taking Trapunto to the Limit." I looked at it months ago, but forgot it completely because it didn't apply to my quilting plans at that moment.  She made a beautiful parrot, but she thread painted it separately then appliquéd it to the background by thread painting the edges down so they melded with the previous work on the bird.  She also stuffed the bird heavily (trapunto) with polyfill so it sticks out significantly from the quilt.  One of her points was that the heavy thread painting dramatically shrinks the fabric, which is exactly what happened to me.  I knew that would happen, but thought I had prepared for it adequately with two layers of stabilizer.  Instead, I was left with an unmanageable volume of fabric around the edges so I quilted the background heavily, which took up the excess, but the whole thing ripples like a bad storm at sea.  On the sewing machine it looked ok.  Laid out on a flat surface it is hopeless.

TIP:  Sometimes there is only so much you can do before it is time to throw in the towel, but what a great opportunity to rectify mistakes and make a truly magnificent quilt.  Wipe away the tears and start planning.  Maybe you'll feel better if you move on to a new project, but do move on.  None of us is perfect.

I had to accept that I now have an opportunity to fine tune the quilt and try some new methods.  My cup is quickly moving from half empty to half full and I am ready with new plans.  I thought I could cut out the bird (batting and all) and thread paint the edges down to a new, fully quilted background, so I tried it on one of the old testers that I had laying around.  The bared edges flaunted the layer of white batting.  Ick!

Cut out feathers

OK, how about painting the edges with Inktense pencils?  Great idea.  So I tried it out:

Painted edges.

Better, but not great.  Next I tried stitching the feathers (with painted edges) to another tester piece, which was layered for quilting, and fooled around with some stitching.  Ah, that looks pretty good with just a straight stitch run back an forth along the edges.

Stitched down

Not bad.  DH liked it and so did I.  So...I sat down and cut out the whole bird trying to avoid cutting stitches on the outside edges.  I did cut a few, but figured I could fix that when I stitched the bird down, but then I found another problem.  The back neck of the bird looked like he had been slammed by a rock and had a major bump.  The black backing was also badly frayed after being handled so much.  That's when I threw in the towel.

I ordered light weight canvas and Misty Fuse and I am ready to start completely over.  I will fuse fabric pieces for the feathers to the canvas and thread paint the bird.  I still have to work out the potential of heavy fraying with canvas and how to handle it.  I will do all the quilting for the background separately from the thread painting.  I will then cut out the bird and appliqué it onto the "finished" quilt.  I am already excited about it.  I kept all my pattern pieces and guides so I am ready to go.  With all that done, plus many hours of practice at thread painting I am optimistic that all will go well and faster than first time around.  I've got my mother's bulldog gene!

TIP:  Practice may not make perfect, but it will make better.  I am counting on that.

An apropos quote from "Art and Fear" by David Bayles and Ted Orland:"

"The function of the overwhelming majority of your artwork is simply to teach you how to make the small fraction of your artwork that soars....even the failed pieces are essential"

Sew a happy seam this week.

Extras for "Columbine"

I tried some new (to me) techniques on my Columbine quilt.  The first of these was machine trapunto.  Trapunto means "stuffed" and it used to be done by stuffing wee bits of fluff between the fibers of the fabric into a defined area.  I did mine the modern way by pinning pieces of wool batting behind the petals of the flowers (no backing) and temporarily quilting around the petals with water soluble thread.  You must use the water soluble thread in the top spool, but can use soluble or regular thread in the bobbin.  I prefer soluble in both top and bottom.  I left the leaves flat because I wanted them to stay in the background.

TIP:  Do not iron water soluble thread.  It melts, solidifies and breaks apart in teenie, stiff pieces that all have to be picked out because they are visible.  Ask me how I know!

When all the petals are quilted, turn the quilt over and very carefully cut away the excess batting close to the stitching around the petals.  I use sharp embroidery scissors.  You can use sharp, blunt-tip scissors, but I find I can't get into tight corners with them.  Relax and work slowly to avoid cutting the quilt top.

TIP:  You have been so careful, but you accidentally cut your quilt top.  Grrrr!  I have done it, but it can be repaired if it is not too bad.  You can place some fusible web or Bo Nash Bonding Powder over the back side of the slit, cover it with a small piece of fabric to match the cut place, and fuse it closed.  Steer clear of the soluble thread with the iron or unstitch a few of those soluble stitches if necessary.  Then mark the area with a safety pin so that when you do the background quilting you can find the spot in order to quilt over it enough to hide the goof and stitch it down securely.

My next venture into the unknown was to paint the blue areas at the center of the white petals.  I don't remember what kind of paint I used, but it didn't do a thing for my columbine.  It didn't hurt them either, thank goodness.  Then I decided to try thread painting based on a meager bit of knowledge I had picked up from a U-tube tutorial.  That worked and I was so pleased with the results that I did the yellow centers with thread as well, right over the trapunto batting.  The unexpected result was that it flattened the centers of the flowers and made the bulk of the petals really poof out.  Awesome dimension!  The photo doesn't show the depth very well so you will have to use a little imagination.

Detail of trapunto, thread painting, quilting and binding.

TIP:  Some quilters like to starch their fabric before quilting, but don't bother if you have used water soluble thread.  Guess what:  it dissolves in starch too!  Those soluble stitches are your guidelines for the final quilting.  Three guesses where I learned that!

When all the excess batting has been trimmed away it is time put the usual quilting sandwich together and quilt the quilt.  You will have two layers of batting where the trapunto is and that makes those flower petals really stand out.  Nice!  Stitch around all the appliqué first, then fill in the rest.  I used stacked pancakes as filler in the center around the bouquet.  In the outer border I used small feathers and some columbine-like flowers.  Lastly I soaked the quilt to clean it and get rid of the soluble thread before binding.

For the binding I used Ricky Tims' method of applying it with piping and entirely by machine.  The only place to learn how to do this is on his "Grand Finale" DVD, but it is well worth the $22 as he covers all aspects of finishing a quilt including the binding.  I was pleased with the results although I used the same color piping as in the outer border so it is not showy...by design.

TIP:  Explore, experiment, stretch your mind and build your arsenal of techniques.  You get better with every quilt.

Here is the finished quilt. It won a "Meritorious" award at the Quilt Colorado Show.

Finished "Columbine"

(Caveat:  the color looks dull on the website, but it is really quite vibrant and true blue.)

Learning to Quilt

By definition a quilt must have a top, a filler (batting, flannel or, as in pioneer days, an old blanket), and a backing.  The sandwich must be fastened together.  A simple option is to tie it together with thread or yarn in multiple places.  Alternatively, the layers can be hand stitched with a varying amount of complexity.  A nicely done hand quilted quilt is a beauty to behold with a quality that cannot be duplicated by a sewing machine.  Today, with the world in such a big hurry, we want to speed up the process, so machine quilting has been reluctantly accepted and is also stunning when well done.

As with anything else, there is a learning curve.  Even a baby has to learn to feed itself and the first attempts can be pretty messy.  It takes time and practice to learn to coordinate the foot pedal, hand movement, machine speed, and even the movement of your eyes.  You can and should research the process via classes and/or reading, but YOU have to experience it yourself and practice.  You must learn about thread and needles in order to rein them in to work for you without causing alarming noises from your machine or broken needles and thread. You must learn what your machine likes and dislikes, and how to adjust the tension properly.  Lots to think about.

TIP:  Practice, practice, practice.  Start with paper and pencil to develop muscle memory of a design.  Make up fabric sandwich squares and spend some time each day to develop coordination.  Mark designs and learn to follow the lines.  Learn to stitch in the ditch.  Learn to do curves then straight lines.  Learn to draw freehand with the needle.  Inundate your brain with quilting ideas and improve your performance one step at a time.

Finally, the appliqué on Hallelujah Rhapsody was done.  It took a very long time.  I quilted it with numerous filler patterns, and that took a long time too, but I believe that on this quilt I became more competent than ever before, and I turned the corner into becoming interested in doing the quilting.  I always loved the sewing, but dreaded the quilting, because it never looked good enough.  They say that the quilting should be planned in the design process as it is an integral part of the quilt.  I knew that, but didn't yet know how to even think of quilting designs that wouldn't be executed for months yet.

TIP:  Before you begin quilting you should quilt around the outside of the appliqué.  I don't remember if I knew that when I made this quilt, but it is great FMQ practice and really improves the look of the quilt.  You can do it with invisible thread if you are worried about possible imperfections.

I quilted the Hallelujah Rhapsody on the fly with different filler designs.  There was no room for anything bigger.  I had chickened out on feathers and added them as appliqué.  Was that insane or what?  I have posted this picture before, but this time note the different fillers.

I learned how to do pebbles.  They are not easy, but invite a rhythm and commit you to strive to follow previous stitching lines perfectly.  They are a great exercise for developing control of the myriad parts that must interact in the process of quilting on a machine.  Among some of the pebbles I inserted flowers.  That was fun, and they make the quilting more interesting.  You will learn to either draw freehand with the needle or follow the marked lines, depending on your personal inclination.  I stippled some.  Did you know that stippling is one of the most difficult filler designs?  You have to constantly move in many directions and this is hard for a novice.  After finishing Hallelujah Rhapsody I found myself thinking about quilting ideas as I designed my quilts rather than as an afterthought.  Definitely a step in the right direction.

TIP:  In your early attempts at quilting try a more defined pattern and leave the stippling until later.  Don't distress too much over your imperfections.  If I had done so on this quilt it would still be in the UFO (Unfinished Objects) pile.

This quilt was my first to be juried into not one, but two shows.  I learned how to enter a show!  I was most gratified to have my quilt accepted even though it didn't win anything.  The judges offered several suggestions regarding my quilting:  attention to tension, strive for even stitches, watch starts and stops.  These comments were not unexpected as I was still very much a novice quilter so I worked on the areas in which I was judged deficient.

TIP:  Don't be discouraged by feedback such as this.  Just work on getting better.  The judges aren't mean, but they are very experienced, and I have found that even their negative findings are couched in positive terms on the evaluation.  Remember that you have achieved some level of competence to be juried into a show.  Very exciting!

Lifetime Quilt Sandwich

The top is done and it is easy to consider the final steps as mundane and tedious.  But are they really any more tedious than sewing all those log cabin blocks?  Not really, just different.  This is what I love about quilting:  there are so many steps requiring different thinking processes and skills.

 First of all you need to purchase batting, after you decide what kind to buy.  Batting comes in cotton, polyester, cotton/poly, bamboo, and wool, in high, medium and low lofts.  This is not specifically a post batting because there are numerous websites that go deeply into the qualities of each.  An individual's choice is very personal based on their own research and experience, and what they envision will show off their quilt to best advantage.  Way too many variables!  For my Lifetime quilt I chose medium loft cotton batting as a supremely safe choice for a relatively new free motion quilter.  It was a good choice.

Next, you need backing.  You spent a lot of time and money planning and working on the front of your quilt so choose a good quality fabric for the backing.  It can be plain or busy, but should coordinate with the color and quality of the quilt top.  My quilt is made of cotton fabric and I didn't want to spend a lot of money on the back.  I also had a substantial stash of blue fabric so I pieced the back with a huge log cabin block using strips 5 1/2 inches wide.

Log cabin backing for "Lifetime."

Pardon the fluff in the lower left.  That is the tail of my canine supervisor.

TIP:  If you are new to free motion quilting you may want a busy fabric for the back so any imperfections in your quilting are less visible.

Now you are ready to assemble the "sandwich."  You can watch a series of online videos on preparing your quilt for quilting.  I have a special top for my ironing board made of a rectangular piece of plywood (60x22 in).  This limited space is all I have for assembling my quilts so I will share my process for those of you who are also space challenged or want to save your knees and back:

1.  Remove the ironing cover so you are working on the plywood (or suitable table).

2.  Center the backing on the plywood.
TIP:  I have marked the center of my plywood on all four sides and in the center.  This makes it easier to be sure the layers are all centered correctly before I start.
TIP:  Tape two pins perpendicular to each other at the center of the plywood or table.  You will be able to feel through the fabric and batting to center them over the pins.

3.  Smooth the backing and clamp it to the plywood on all four sides with clamps (I use large office clamps).  Clamp the fabric snugly, but do not stretch tight.
TIP:  If your quilt is small and doesn't reach to the ends of the board or table, you can tape the ends down with masking tape.

4.  Center the batting on the backing, making very sure that it is straight, and gently smooth any rumples without stretching.

5.  Make sure there are no loose threads on the back of your quilt top, center it on the batting keeping the edges straight, and gently smooth it onto the batting.
TIP:  Batting is a magnet for loose threads so you can clean up the back of your quilt top with a piece of scrap batting or use a lint roller.

6.  Baste.  You can use safety pins, thread or straight pins with Pinmoor point covers.

7.  Baste from the center out and when the visible quilt is done, release the clamps.  Fold back the batting and top, carefully move the quilt toward you, and reclamp the backing onto the back side (away from you) of the table, making sure it is snug and smooth.  The weight of the pins at the front will hold the front part of the quilt and keep it all snug.  Smooth the batting and top over the backing and return to pinning.  Repeat as needed for the rest of your quilt.

At last, ready to quilt.  This was the biggest quilt I had done so I approached the quilting with trepidation.  Stay tuned.