Quiltmaking Basics: What’s Your Angle?

Do you ever feel intimidated by the many angle markings that appear on our cutting mats and rulers?

30-45-60! What’s my angle?

I truly do enjoy each step along the path to making a quilt–even cutting! I can’t say the same for dressmaking. I believe I would have paid big bucks for someone else to do all that cutting. I was always anxious to get on with sewing.

Along with lines marking inches and their fractions, many of the mats and rulers that we use for quick cutting are marked with angles, such as those for 30˚, 45˚ and 60˚. Sometimes I find myself turning a ruler round-and-round until I get it positioned correctly onto my fabric. I’m guessing I’m not alone in this.

Strippy Spools blocks from Craftsy 2013 BOM class.

My Craftsy Block of the Month for May is called Strippy Spools. I named it that because I chose to strip fabrics together in pairs, and some of the fabric combinations create a block that resembles a spool. This block uses a 45˚-angle cut. Sure, I could have purchased a ruler specifically designed for cutting right-angle triangles, but I am just stubborn enough to work with the rulers I already own. Besides, they include the necessary marking…right?

The photos below show you a few ways to use the lines on either your cutting mat or your ruler (or both) to determine and cut the angles you need. The examples demonstrate cutting a 45˚ angle. I hope you’ll give this a try. As the placement of ruler markings can vary from brand to brand, be patient in finding what works for you. There always seems to be a way to make it work.

This works if your board has a 45˚ angle marking. Make a cut along the right-hand edge of the ruler.

Place the 45˚ angle marking on the bottom edge of the fabric. (right-hand cutting)

45˚ angle marking on bottom edge for left-hand cutting.

A simple notes helps me with the correct placement and eliminates frustration.

If you’re interested in making the Strippy Spools block, be sure to check out my free lesson on Craftsy . You can access this lesson, as well as the previous lessons, at any time. They are yours to enjoy forever.

Thanks to all of you who took the time to post comments and express interest in my new line of rulers. Richard was so impressed with the response that he has offered to add another four rulers to our giveaway. The winner of the two rulers plus Grrip-it is Susan Dietrich. Four additional rulers will be sent to: Anna K, Sobana Sundar, Bev Aguilar and Jennifer Willard. Thank you all for participating and to Richard Quint for his generous donation.

Happy Cutting Everyone!

Another Scrap-Happy Quilting Adventure (+ A Super Quick One-Day Giveaway)

This quilting thing? It’s utter madness. I’m not alone, though; I know you share this insanity. You finish a quilt, give it away, and in that pause between taking a deep, refreshing breath and re-committing to getting the house in order, you blow off your good intentions and turn on the sewing machine.

Yup, I did that within hours of the end of my recent holiday. I’d been eyeing another scrap-happy project, a Blue Underground Studios pattern called “Sticks and Bricks” published in the April 2012 issue of American Patchwork & Quilting, and I succumbed. Mind you, I do have a deadline for a magazine project-like thing plus a super-secret pattern in development. What the heck, go big or do housework. I’m opting for a BIG pile of quilts!

Ready for the first draft layout–I’m a little scared of the dark blocks.

I’ll post a picture when I ‘m done, but the Blue Underground Studios version is so pretty, I reserve the right to “forget” to post if I don’t like my result.

As I mentioned in my Tuesday post, I delivered a colorful scrappy quilt to my sister-in-law Laurence when we met up in Los Angeles recently for her daughter’s (my niece/god-daughter’s) bridal shower. Our hostess (and newest extended-family member as mother-of-the-groom) has the perfect setting for styled quilt photography so we staged an impromptu al fresco photo shoot.

I did NOT plan this photo shoot–it was kismet: the colors, the furniture, the sunny day.
Thanks to Marla!

Here’s a closer look at the quilt. One of my favorite long-armers, Elaine Beattie, machine quilted the top in a curvy water-drop motif.

Here’s a look at the quilt back with it’s faced binding and accent triangles in the corners.

Just to update, the latest issue of The Quilt Life (June 2013) has an excellent explanation of faced bindings done by Ricky Tims with how-to photos and a primer for doing the triangles as well. I touched on faced bindings in a recent post and promised to tell you then when the magazine was available on newsstands.

Giveaway Details Here

Oh yes, about that super, super-quick giveaway . . . leave me a comment TODAY and I will  award a copy of Jelly Roll Quilts by Pam and Nicky Lintott at the end of the day and notify the winner Saturday morning. How’s that for insane fun?

Here’s your question:  What do you do: drop everything to quilt or clean your house first, then quilt?

p.s.  Hey Ginabeth, you’ve got a prize to claim from the Verna Mosquera giveaway!  Email us seehowwesew@gmail.com.

p.p.s.  May 18, 2013:  Here’s the name of the Lintott book giveaway winner:  Donna from Texas.  Congrats!

Happy quilting!

The Pause That Refreshes: Taking a Quilting Break in an Art Museum

Detail from a Jan Van Huysum still life included in “Memory of the Netherlands” exhibit, Mauritshuis, The Hague.

As you may have surmised from my recent post series, I’ve been on a quilt-finishing kick lately. Do you know what’s better than finishing quilts? Giving them away, of course! I’m recently returned from a transcontinental quilt-delivery spree having surprised my high-school friend in Florida with that Kaffe Fassett hexagon quilt and celebrating my sister-in-law’s recent birthday with a scrappy jelly-roll quilt. (I’ve got styled shots of her quilt ready for my Friday post–stay tuned!)

What’s the reward for this frenzy of creativity? Ah . . . a refreshing trip to The J. Paul Getty Museum in Los Angeles where I had an encounter with my favorite still-life artist of a bygone age, Jan Van Huysum. As my “art” vernacular has grown over time, I find myself worshipping 17th-century Dutch artists. These are paintings I passed on for years as I delved into late 19th- and early 20th-century art when I was a tagalong to my mother’s museum visits. At that time,  she was experimenting in Impressionist and Expressionist styles in her oil paintings–she segued to clay sculpture after that. My college years were devoted to Renaissance art following studies abroad in Europe and studying/living in proximity to the extensive collection of Old World masters at the National Gallery in Washington, D.C.

Still Life with Flowers and Fruit, c. 1715, National Gallery, Washington, D.C. (partial view)

Although Vermeer’s been my passion for a long time, Jan Van Huysum’s incredible still life paintings are grabbing my attention now. It’s funny, I probably walked by a stellar Van Huysum in the National Gallery’s West Wing about a dozen times before I truly stopped and looked. Wow! While Vermeer opened my eyes to glowing natural light and capturing quiet moments, Van Huysum stuns me with his ability to capture the most perfect details in the play of light and shadow. His water droplets sparkle, his flowers are so alive they practically scent the air, his fruit beg tasting, and myriad tiny insects buzz, crawl, and flit in the artful, colorful, natural abundance.

Detail from a Van Huysum still life included in “Memory of the Netherlands” exhibit, Mauritshuis, The Hague.

I’m having a light bulb moment as I write this post: I started adding little bugs to my dimensional applique still life quilts after I had my Jan Van Huysum revelation at the National Gallery. (Also, Diana McClun’s husband prompted me to add a spider to my first buggy quilt.) How weird is that connection? And here I thought I was so clever!

My little silver/pewter spider.

So, did my obsession with photographing floral arrangements start with Van Huysum or am I obsessed with his still life portraits because I’m a flower girl? Whatever! Like every other blossom-mad quilter, I’m just going to enjoy the journey without excessive self examination. (Although I will visit every Jan Van Huysum painting I can find in France this summer!)

I close with a flashback image from my first See How We Sew post–yes, Jennifer is indeed possessed by a flower mania . . .

My first still life photograph–not quite the scale of Jan Van Huysum, but I’ll get there someday.

May your quilts and gardens bloom!

p.s. If you are near one of the museums on the national tour, do catch the Dutch masters exhibit featuring Vermeer’s Girl With a Pearl Earring.

From Great-Grandma’s Quilts to Gallery Walls: The Creative Journey of Linda Dease Smith

It’s always wonderful to hear of quilts being recognized in a gallery setting, and even more so when the quilter in question is a long-time friend. Linda Smith and I first met over 25 years ago in Boone, NC, as charter members of the newly formed Mountain Laurel Quilt Guild. Before long, she and I found ourselves part of a small group of five within the guild, sharing common interests and quilting road trips. We called ourselves The Common Threads, and one of our goals was to exhibit our work on a regular basis.

The Jones House Community and Cultural Center, Boone, NC; photo courtesy The Jones House

Our first opportunity came in the summer of 1995, when we were invited to exhibit at the historic Jones House Community and Cultural Center in downtown Boone. The month-long show was quite a success, attracting the attention of (the sadly, now-defunct) Lady’s Circle Patchwork Quilts magazine, which proposed a feature article about us and our exhibit. I was honored to write the text for that article. Here’s what I had to say then about Linda:

Linda Smith is the risk-taker (of the group). She laughs when we call her that, saying that we really mean “I jump right in when I don’t have a clue!” Not so. Instead, she is virtually fearless when it comes to quiltmaking, eager to try each newly discovered technique, viewing each step as an adventure. Her work is experimental, fresh, and exciting.

Two of Linda’s pieces from the 1995 Common Threads exhibit; even then, she was showing signs of “breaking out of the box.” Photo by Michael Siede.

Very little has changed since I wrote those words so long ago. If anything, Linda has become even more of an adventurer and innovator. As she continues to push her creative boundaries, she seeks also to explore new venues for showing her work.

Earlier this spring, Linda’s work was featured as part of a four-woman exhibit called Wrapped Up in You at The Gallery at Macon (GA) Arts Alliance. The other three artists were clay artist Malena Bisanti-Wall, jewelry designer Cheri Lesauskis, and mixed-media artist (and the gallery’s Fine Art Director) Heatherly Wakefield.

New works by my friend, Linda Smith, were part of a recent, four-woman show at The Gallery of Macon (GA) Arts Alliance.

Like many of us, Linda started out as a strictly traditional quilter. She made her first quilt in the mid-1970s from a kit, and went on to quilt a few tops that had been pieced by her great-grandmother. As a career counselor (Director of the Career Center at Appalachian State University in Boone), Dr. Smith spent her days helping college students explore post-graduate options. What could be more natural than exploring post-traditional possibilities for fabric and thread?

“I started ‘going off’ in the mid-90s,” Linda recalls. “I had been making tons of little nine patches that I planned to use for a Postage Stamp quilt. I realized that wasn’t going to happen, so I started to explore other ways to use those blocks.” The Skewed Nine Patch quilt (in the photo above) was one of those early experiments.

Nowadays, Linda describes her approach as “somewhere between what if and why not.“ Her contribution to the Macon exhibit included a series she calls Meditation. Its 12 pieces grew from a “somewhat non-specific, between-class” exercise inspired by a class with quilt artist, Hollis Chatelain. All 12 pieces were made using the same elements: two or three rectangles, nine squares, and some lines. Each measures approximately 13″ x 16.”

Linda Smith with some pieces from her recent Meditation series shown in Macon (GA) earlier this year. Her friendly companion is China, pet of the gallery director.

“As I began making these little pieces, I decided that if I liked the design, I would take it as far as I could with different fabrics, in different combinations, to create different moods. All were made entirely from fabrics in my stash.” she says. The materials are a mix of commercial fabrics, batiks, Cherrywood hand dyes, and others that she dyed or painted herself. ”It’s amazing when you stop to look at what you have. I know that some quilters don’t want to cut into those ‘special’ fabrics. I want to use them! Sometimes I barely had enough, so I had to be creative.”

Four pieces from Linda Smith’s Meditation series

Linda finished each piece with a clean faced edging (see Jennifer’s April 16 post) and a sleeve on all four sides to insert flat molding. Always on the lookout for the next innovation, she adds, “Next time, I might try affixing the pieces to artist’s canvas.”

From Linda Smith’s Meditation series (13″ x 16″)

Detail of piece shown above

Another piece from Linda Smith’s Meditation series (13″ x 16″)

Detail of piece above

In addition to the dozen 13″ x 16″ pieces, Linda continued to experiment, this time with size, ultimately expanding her series to include one larger piece (20″ x 24″) and a few small framed pieces.

As an extention of her Meditation series, Linda made one larger, and two smaller, framed pieces.

These days, Linda splits her time between three locations: Boone, Macon, and Amelia Island, FL. (After the Macon exhibit closed, the remaining pieces of her Meditations series went on to the Amelia SanJon Gallery in Fernandina Beach, FL.) While she admits that working from three places can be a challenge, she manages to cope very nicely. Boone remains the center of primary operation, “but I carry my Pfaff everywhere.”

Her quilting continues to become more collage-like. To this end, she takes not only quilting classes, but collage classes, recognizing that “the two overlap and inform each other.” She enjoys combining paper collage and quilted fabric.

One of Linda’s pieces combining paper collage and quilted fabric

The fiber pieces are completed first and then hand-stitched to a collaged or painted canvas. Leaves and trees are a primary recurring theme and although she is often pulled to the more abstract (as in her Meditation series), trees and leaves always seem to pull her back.

Detail of Linda’s piece combining paper collage and quilted fabric

The Artist’s Way (book) by Julia Cameron

For the past few years, Linda has belonged to a small group in Boone comprised of visual artists of various media who expand and inspire her– who encourage her to think outside the box. This group, an offshoot of a 12-week Artist’s Way workshop series, forced her to think of herself as an artist. “It’s been a very powerful experience for me.” At the same time, she continues to “treasure and cherish” the traditional quilting community, particularly through her membership and participation in Macon’s largely traditional Heart of Georgia Quilt Guild. Evidence of this dual appreciation is evident in her Macon home, where old and new pieces exist serenely side by side.

Two quilts by Linda Smith, one “vintage” and one recent

A closer look at that quilt on the wall: Linda’s Funky Flowers

As for sources of inspiration, Linda lists “lots of classes, lots of books (mostly quilt-related at first, but now expanded to include more art-related books as well), attendance at art shows and galleries, and Pinterest. I find so much inspiration there!”

Her advice to those quilters who want to try something new: “Don’t be afraid, don’t worry about what others will say about your art, forget the quilt police. A couple of years from now, my work may look totally different, which might be a good thing. I like to evolve.”

We’ll be watching, Linda!

Before I sign off, I’ve got good news for two SHWS readers–the winners of the double giveaway in our recent First Quilt, Latest Quilt post featuring Verna Mosquera. Ginabeth is the winner of the Prima Ballerina pattern and the packet of eight fat quarters from Verna’s Pirouette fabric line and Kathy Renz has won the packet of 5″ Pirouette charm squares. Ladies, please contact us via seehowwesew@gmail.com with your snail mail addresses and we’ll get your winnings on the way. Thanks again to Verna for providing so generously for our giveaway.

‘Til next time, happy stitching.

An Afternoon of Fabric Play = Five Easy Pieces!

Today I just felt like sewing. Nothing large, or complex. Just something that would let me play with fabric, and that I could start and finish in an hour or so.

A summer or two ago, we decided to plant “a few little lavendar plants” in a bed near our front door. Given the sunny location, and the Mediterranean-like micro-climate here east of San Francisco Bay, it wasn’t long before our little lavendar patch was assuming the proportions of a lavendar farm!

Just a small sampling of last year’s lavendar crop

As last summer ended, I brought some of the harvest to dry indoors, enjoying the fragrance all winter long.

One of many lavendar bouquets to grace our home last winter

With a new crop well on its way, however, I’ve been getting kinda desperate. Hmmmmm. Dried lavendar. Fabric. Ribbons and trims. Small project. Sachets! Not only a worthy prospect to soothe my yen to sew, but a perfect, quick-and-easy Mother’s Day (or end-of-year-for-teacher) gift, too.

There are so many ways you can make them. For the basic sashet:

1. Cut two fabric squares to the size you’d like the finished sachet to be, plus about 1/2″ for seam allowance.

2. Place the squares right sides together, and stitch all around the perimeter with a 1/4″ seam, leaving a generous opening on one side for turning and filling.

3. Turn right side out and fill with lavendar (a funnel or folded sheet of paper helps here). Tuck the remaining seam allowance to the inside, and handstitch the opening closed with a blind- or whipstitch.

Ah, the variations! You can tie the basic sachet package-style with decorative ribbon. Add a charm, just for fun.

This little sachet measures approximately 3″ square finished, but you can make it any size you’d like.

You can center and stitch a piece of vintage crochet work (or other vintage tidbit) to the front fabric before assembling the “pillow.” The size of the crochet piece will determine the finished size of the sachet. If you add a little extra to the cut squares, the fabric forms a lovely frame.

My crochet piece measured about 3 1/2″ square, so I cut my fabric pieces 5″ square–enough for seam allowance and a nice little frame.

As an alternative, you can stitch lace, ribbon, or other favorite trims to the front fabric before assembly. (I added the button after the sachet was filled, turned, and stitched closed.)

This sachet is slightly larger than a teabag.

If you’d like, add a ribbon loop for hanging. For this variation, I placed the fabrics wrong sides together and took a generous 1/4″ seam. (No turning necessary, but I still needed an opening to add the scent.) Once the sachet was filled, I folded and fused wide ribbon to all four sides, knotted a length of 1/8″-wide satin ribbon, and secured the ribbon with a button.

This sachet finished about 4″ square; the ribbon loop makes it hanger ready.

Of course, you can make your sachet a shape other than square (and use fabrics other than cotton). I used scraps of dupioni silk to make this rectangular sachet. Circles and hearts are other options.

Once again, I stitched the ribbon to the front fabric before assembly; finished measurements: appropimately 3″ x 4 1/2″.

So there you go. I spent a delightful few hours fondling fabric, stretching my creative muscles, making a glorious–but highly satisfying–mess, and in the end, came away with five finished little pieces. (And boy, does my sewing room smell good!)

Not bad for an afternoon’s work!

That’s it for now. ‘Til next time, happy stitching!

“First Quilt, Latest Quilt” — Verna Mosquera (Double Giveaway Today!)

Whenever we attend a quilt show, pick up the current issue of a quilting magazine, or peruse the latest book by a favorite instructor, it’s always with the anticipation of seeing “what’s new.” It’s the rare quilter, however, who springs fully evolved to the quilting scene. There’s one experience that we all share, no matter how novice or experienced: the first quilt.  We thought it would be fun (and encouraging!) to ask an established quilter to share not only the most recent, but also his or her very first quilt. And so we launch a new, “occasional” feature–First Quilt, Latest Quilt–and our first featured quilter is the talented Bay Area quilter, pattern and fabric designer, and soon-to-be author, Verna Mosquera.

Verna in her studio; photo courtesy Gregory Case

Since taking her first quilt class in 1996, Verna–in her own words–was hooked. “I knew it was trouble when I couldn’t wait to get home to take my new fabric purchases out of the bag. Still, to this day, I lay out my fabric along the dashboard of my car and enjoy them during the ride home.”

Verna has come a long way from her days as a newbie quilter. In 1998, she began teaching classes, and in 2004 she established what has become a very successful home-based business called The Vintage Spool: Romantic & Timeless Quilt Design. She designs and markets a pattern line  (including Block of the Month patterns), specially prepared fabric kits, and even offers retreats. To date, she has designed a number of fabric collections for Free Spirit (including voiles and laminated cottons) that reflect her distinctive, romantic aesthetic . . . with more to come.

Verna’s Autumn Sunset quilt, made using her October Skies collection; fabric kit and pattern available on The Vintage Spool website; photo courtesy Gregory Case

Here are Verna’s first and latest quilts, and what she has to say about them. (Be sure to read to the end for info on today’s DOUBLE giveaway and the announcement of a special June debut.)

Verna’s First Quilt

In 1996, I decided to take a quilting class as a New Year’s resolution to continue to be more creative. I never in a million years knew how that decision would change my life. I was so fortunate to have had the sweetest, most knowledgable teacher in Laura Nownes. The project was a sampler quilt, one I’m certain that many of your readers have made–if not one very much like it. I learned about choosing an inspiration fabric to set the color palette. Then, with each week, I approached a new block and/or technique. Those 12 weeks gave me an incredible foundation on which to build. I was able to learn the simple rules of quilting which have served me so well.

Verna’s first quilt, made in 1996 in a class taught by our own Laura Nownes

It has been such a long time since I looked at that first quilt. Today, as I pulled it out to take a photo, I truly realized how far I’d come from those imperfect stitches, cut-off points, and horrific applique!

Verna’s early attempts at applique; photo courtesy Verna Mosquera

While I am my worst critic, I still could see a foreshadowing in the quilt of what was to come: my ability to group fabrics and color combinations, my need to use many fabrics in one quilt, and my creativity within each block–almost as if each one told a little story.

Note the angel in the window; photo courtesy Verna Mosquera

My most vivid memory of working on that quilt was how I just couldn’t stop working on it. I would spend hours and hours quilting, and today that has not changed.

Fast Forward to Today

One of the things I love about being an artist is that inspiration comes from everywhere, and I never know when it will spark. Last January, I was vending at a Southern California show and realized that my “neighbor” was one of my favorite booths for vintage buttons, ribbons, and trim. Knowing it would be a danger zone for me, I resisted the urge to step next door until the final hours of the show. It wasn’t minutes into my visit before I shifted from vendor into artist mode. One bit of trim led me to a wonderful button, and on to a gorgeous piece of delicate lace. I had a wonderful time gathering my vintage treasures. As I collected the bits, I ran next door and asked my assistant for a cellophane bag to put my gathered goodies in. As the color palette grew, it reminded me of a painting I had seen years ago on a visit to Paris. The painting was Ballerina Dancers In Pink by Edgar Degas; the wonderful taupes, pinks, and ivories were just stunning together.

Ballerina Dancers in Pink by Edgar Degas

When I got home from the show, I pulled the image of the painting up on my computer. I was amazed to see the colors in my bag were spot on the colors in the Degas painting. Stunned that I could remember the beauty of the colors in the painting so clearly, I knew I had the starting point for my newest fabric collection, Pirouette. When I received the first of those fabrics from Free Spirit, it seemed only fitting to design a quilt to showcase them. The result was Prima Ballerina.

The latest from Verna Mosquera: Prima Ballerina, made using the fabrics from her Pirouette collection for Free Spirit; pattern available on The Vintage Spool website; photo courtesy Gregory Case

Detail of Prima Ballerina; photo courtesy Gregory Case

Thank you, Verna, for sharing your story with us, and for sharing the photo below, which demonstrates how those lovely Pirouette fabrics can grace a “real-life” ballerina as well.

How cute is this? Ensemble (including tote) made with fabrics from Verna’s Pirouette collection; photo courtesy Tara Molles Photography

Thanks to Verna also for providing us with goodies for two wonderful giveaways. Readers, leave us a comment by end of day Wednesday, May 8, telling us a tidbit about your first or most recent quilt, and you’ll be entered into a drawing to receive a Prima Ballerina pattern and a packet of 8 fat-quarters from Verna’s Pirouette fabric line OR a charm pack of  5″ squares from the Pirouette collection. Darra will announce the winners in her Friday, May 10 post.

Finally, we would be remiss if we didn’t tell you that Verna’s first book (published by F&W Media) will be coming out on June 30. It’s called A Sewn Vintage Lifestyle: 20 Pieced and Appliqued Projects for Quilts, Bags and More. Be sure to watch for it!

That’s it for now. ‘Til next time, happy stitching!

Guest Post: “(Aspiring) To Be a Modern Quilter” by Pati Fried

From Laura: Our special guest contributor today is Pati Fried. Pati and I belong to the same mini quilting group, and I have enjoyed seeing the range of her talents through her quilts. Not only is she an accomplished quiltmaker, but a passionate gardener as well. Welcome, Pati!

Quilting has been my passion for a long time. There are oodles of trends that pass through our beautiful, quilty world. Some trends have created such an impact that they become a new style of quilting. Modern Quilting has definitely made that impact and has found a permanent home in the quilt world, alongside its friends: Traditional, Contemporary, and Art Quilting.

What is this fresh, new energy that is rocking our quilt world?  I was curious. My Pinterest Board started filling up. I found myself hovering over the solids, linens, and shot cottons in my favorite quilt shops. I started following Modern Quilt blogs and the first inspirational resource, Fresh Modern Quilts.

The Modern Quilt Guild writes:

Modern Quilting is inspired by modern design. It has many different characteristics, but often uses bold or solid colors and prints, with high contrast and graphics. It may include improvisational piecing, minimalism, expansive negative space, and alternate grid work.  Modern Traditionalism, or the updating of classic quilt design, is also seen as modern quilting.

That’s a pretty broad description. But ya kinda know it when you see it, right?

My work never looked quite as traditional as I intended it to. Don’t get me wrong, I LOVE traditional quilting, reproduction fabrics, and the rich history that makes quilting what it is today. It is classic and beautiful. A Baltimore Album quilt or tiny pieced HSTs (half-square triangles) will always make my heart skip a beat. To be able to balance that with what I was feeling from the Modern Quilts seemed like an answer to finding my own voice.

I joined the East Bay Modern Quilt Guild (EBMQG) about a year ago. It was right before their annual event, Stitch Modern, a month-long extravaganza of all things Modern Quilting. I am so glad I did. What I found was friendship, support, and a whole lot of inspiration – young quilters, new quilters, and a few seasoned quilters like me, all looking for a new perspective. I love this guild. It pushes me out of my quilted box. It encourages me to simplify. It reminds me to focus on what I really want to create and minimalize the rest.

So that’s the big question: What do I want to create? Hmmm . . .

With traditional quilting, my answer was simple – if I like something, I make it. I joke that it’s my “speak, dance, and sing” process. A fabric or a new technique will speak to me.  Then I do a little dance experimenting with them. The result is to create a quilt that–you got it–sings.

How would I simplify or minimize that? I don’t necessarily want to spend time on a quilt with a limited color palette or fabric selection. I live for prints, design, and color. That’s what drew me to quilting in the first place, that mixing and matching, making the fabric speak to me. I want to enjoy the dance as much as the finished product. I still want my quilt to sing – just in a fresher and simpler voice.The green medallion in the montage above was a Round Robin project in progress. The center block was created by Judy Miller, and I worked on the border. The Four Baskets medallion was also a Round Robin project in progress. I created the center block, and Nancy Paterson designed the border. The other examples are some of my first attempts at Modern Quilting.

This is the challenge I have given myself: to embrace what I have learned in twenty years of traditional quilting while continuing to push my skills by enjoying an eclectic mix of patterns, color, and texture. Oh, and did I mention that I want it to be a finished product that will reside in my home comfortably? Yeah, that too.

Quilting is all about the journey for me.  Maybe I fit into the Modern Traditionalist group, and maybe not. To be honest, I am not sure I care what the label is, as long as I am enjoying the dance.

~Pati Fried

We hope you’ve enjoyed this glimpse into the ”quilting journey” of this talented Bay Area quilter.  To learn more about Pati, and to see a gallery of her quilts, visit her website here. For a generous sampling of the Modern Quilts on display at QuiltCon 2013, the first international conference and show presented by The Modern Quilt Guild, check out Darra’s two-part eyewitness post here and here.

‘Til next time, happy stitching!

Introducing Reverse-a-Rulers™, Grrrip-It® and a Giveaway

For the past 2 years, I have had the pleasure of working with Richard Quint of Quint Measuring Systems to develop a new line of rulers for the quilting and sewing industry. Richard’s company has been a leading manufacturer of precision measuring tools since 1995. Since I have always been a stickler for accuracy, this collaboration was a good match for me. When Richard approached me to help with this project, I immediately said that I had pretty high standards and specific requirements for a tool that I would be willing to promote.

I am pleased to say that Richard has provided everything I asked for in this new line of Reverse-a-Rule™ rulers.

1.     Accurate markings with thin and consistent line widths, and clear spaces between the lines for easy placement of the edges of cut strips and shapes assist with accurate cutting.

2.     All rulers are designed and marked for both right-handed and left-handed cutters.

 

3.     All rulers are marked with black lines on one side for use with light-colored fabrics, and yellow lines on the opposite side for use with dark-colored fabrics.

4.     All corners have a slight curve to prevent nicking rotary-cutting blades while cutting.

5.     Rulers are made from polycarbonate rather than acrylic so they will not break, chip, or crack.

6.     All markings are hot stamped rather than applied with the normal screen-printing process so that markings will not rub or wear off over time.

7. Rulers are made in a variety of useful sizes for both cutting and squaring up finished units and blocks. Squaring rulers include 45-degree-angle markings, and all cutting rulers are marked with both 45- and 60-degree-angle lines.

8. New GRRIP-IT® adhesive attaches to any rulers to prevent slipping. 

I am excited that several of the major distributors have picked up on these rulers, so hopefully you will be able to find them in your local shops very soon. I always encourage you to support your locals first, but if you are not able to find them, I have some available on my website and will be happy to help you.

My two favorite sizes so far are the 6″ x 14″ cutting ruler and the 6-1/2″ x 6-1/2″ squaring ruler. I would love to offer both of these to one of our readers, along with a package of Grrrip-It®. If you are interested in putting your name in the hat, simply leave a comment by end of day May 15th telling me why you would like these new products, and I will announce the winner in my next post on May 21st.

Happy creating everyone!

Pre-Wash or Not? Quilting’s Perennial Question

So many choices. What’s best for my quilt?

As a teacher of beginning quilters for over 30 years, one of the questions I am asked most often is whether or not I wash my fabrics before using them. My answer is SOMETIMES. I clarify this by explaining that most of my quilts are made for books or patterns and generally travel with me while teaching. I am not using these quilts and washing them regularly in a way that many quilters may do. My hope is that by not pre-washing the fabrics for these quilts, the quilts will maintain their “new” look and resist soiling and fading. So far, I have been happy with this approach.

In the next breath, I tell students that I do, however, pre-wash all fabrics that I plan to use in a quilt that will be washed regularly, especially a quilt that is intended for a child. Not only do I want to remove any chemicals, but I also want to avoid any surprises by having a release of color (often called “bleeding”) from one fabric onto another when the quilt is laundered.

A sad example of what can happen when fabrics are not pre-washed.

Pre-washed fabrics are softer to work with and generally fray less than those that have not been washed. Also, I often use flannel on the back of baby quilts. Since flannel shrinks more than other cottons, I wash these 2-3 times before using them.

I always wash flannel fabrics 2-3 times before using them in a quilt.

When I started quilting so many years ago, I was told that full-strength white vinegar could be used to set the dye in any suspicious fabric (e.g., hand-dyes, batik, and deep rich jewel-tones). I would always do a color test first, placing one square of white fabric into a clear glass of warm water along with a swatch of the test fabric. If the white swatch picked up any released color, I knew I needed to treat the fabric that I was testing with vinegar before using it in my quilt. If the fabric continued to release excess dye after a few tests, I  simply avoided using it. Fortunately this was rarely the case.

I asked my blogging sisters for their opinions on this subject. Here are their responses:

Darra: ”When I first began quilting (and for many years after), I washed all new fabric as soon as I got it home, to pre-shrink it and to remove any excess dye or chemical residue from the finishing process. This made sense as all the quilts I made at that time were either bed sized or destined for other use—for example as a lap or baby quilts—that would eventually require a trip to the laundry room.

“Nowadays, pretty much everything I make is intended for the wall (or other display) rather than for the bed, so I no longer feel compelled to pre-wash new fabrics. The exception remains the occasional baby quilt: I still pre-wash fabrics that go into those cuddle quilts.”

Jennifer: ”I don’t tend to pre-wash, but I’ve been burned once or twice because of that. So, if the quilt is for bed use, then I may pre-wash. Otherwise, I don’t.  However,  if I’m using a backing fabric from an artisanal or imported source, then I do test for color fastness or pre-wash.”

There are valid reasons to ask this important question “should I pre-wash my fabrics?”

The first concern is that of shrinkage. Will the fabric shrink and if so how much? Will all fabrics used in the quilt shrink the same?

The second concern is whether or not you are sensitive to the chemicals found in unwashed fabrics. If so, then pre-washing should be part of your routine.

Finally, there is the issue of excess dyes being transferred onto other fabrics through either abrasion or by washing (aka bleeding). The fabrics I pay closest attention to for this are the deep, rich, saturated colors and especially batiks and hand dyes.

Be aware of deep, rich saturated-colored abrics as they often release excess dye.

Here are some of the popular products on the market that claim to take care of our concerns.

Retayne – Retayne is ideal for treating fabric before using it in quilts. It’s also handy for commercially made garments whose dye has not been fixed properly.

Synthrapol –Synthrapol works best with HOT water–yes, HOT water–when washing out excess dye, particularly fiber-reactive dye. You are getting out the excess loose dye molecules that have not been chemically bonded to the fabric. This is a good thing! Then you can rest assured that the dye won’t bleed on you, or the family underwear, the next time you wash it. (Taken from the product manufacturer Dharma Trading Company’s website www.dharmatrading.com.)

Quilt Soap (ORVUS) is one of the most-often recommended quilt soaps for washing quilts. Here is a site which gives some specific information as to the ingredients and use of this product:  http://www.generations-quilt-patterns.com/orvus.html.

Shout Color Catchers – I still like to separate my lights from darks when washing. If you haven’t pre-washed your fabrics, and have used both lights and darks in the quilt, you might try placing one of these catchers in the wash in hope of preventing bleeding. Here is an interesting article from Consumer Reports regarding Color Catchers:  http://www.consumerreports.org/cro/magazine-archive/2011/june/appliances/shout-color-catcher/overview/index.htm

Here are a few thoughts to consider before you decide to wash or not wash your fabrics before cutting into them. I suggest doing some homework in order to make the best choice and avoid any disappointments.

1. How will the quilt ultimately be used? Will it hang on a wall or be used as a bed quilt?
2. What type and color of fabrics are you using? Are they good-quality cottons, hand-dyes, batiks, or flannels?
3. Are you sensitive to the chemicals contained in fabrics purchased off the bolt? If so, it is best to pre-wash.
4. If you choose not to pre-wash, are you OK if the quilt shrinks up a bit, giving it an antique look after it is washed the first time?

I have found some really wonderful tutorials and videos online that address this subject. If you are interested, I suggest you take a few minutes to listen and read through them. I’m sure you will find them as helpful as I did.

www.patchwork-and-quilting.com

www.mccallsquilting.com

www.qnntv.com

Fiber artist Vicki Welsh shares her experience with Retayne.

Click here for thoughts from well respected quiltmaker, Becky Goldsmith.

Paula Burch’s All About Hand Dyeing website has a wealth of information on both both Retayne and Synthrapol.

Before I go, I am happy to announce that Beth Carver is the winner of Secrets of Digital Quilting: From Camera to Quilts by Lura Schwarz Smith and Kerby C. Smith from the giveaway in my March 26 post.

Happy creating everyone!

What perfect timing. While teaching at my local quilt shop last night, one of my students reached into her bag and brought out this piece of fabric, or so I thought.

She said her friend, and one of our loyal readers and talented machine quilter Elaine Beattie had given it to her to share with the shop. It is a Breezy sheet that was added to her wash to collect the excess dye from a quilt that bled red dye.

My understanding is that she tossed the affected quilt along with other items and the Breezy sheet together into the same wash load. The Breezy sheet came out red while the excess dye was removed from the quilt. Fortunately the quilt shop had some in stock so I purchased my own supply of 30 sheets. I’m hoping Elaine will give us an accurate account in the comments if I have my story wrong. In any event, plan to use it myself on the sad quilt shown above. I’ll keep you posted.

 

Another Week, Another Quilt, Another Giveaway Winner

Freshly pieced and now ready for quilting.

Another week, another quilt. Yeah, I’m slowing down and looking for a break from the quilt-making frenzy after this. I’ve got a deadline though, a serious deadline to finish this next quilt. My sister-in-law Laurence is coming from France for her daughter’s bridal shower here in the U.S. and I’m making her a quilt for a milestone birthday she celebrated recently. I was going to take it to Europe for the wedding, but as she’s heading my way . .  . might as well use her arrival as my finishing goal.  I’ll probably have to stitch on the faced binding as we drive to the shower.

I picked up Jelly Roll Quilts by the Lintotts, an English mother/daughter duo,  at Back Porch Fabric last fall. Gail Abeloe, the shop owner, had a colorful sample quilt from the book in the shop when I visited. Gotta admit, I’m a sucker for quilts with lots of colors paired with white and so, naturally, I succumbed and bought the book. Like Gail, I’m going for a multi-color palette. I’m stash-busting again and pilfering the leftovers from the Kaffe Fassett hexagon quilt I just finished.

Of course, I like designing my own quilts, but sometimes, following another’s inspiration is liberating, especially when the instructions are so easy to follow.

Wouldn’t you know, I even found leftover strips in my stash from a tenth-anniversary quilt I made for my brother and sister-in-law that I had to drop into this new quilt. See those Hoffman Fabrics butterflies? I loved those butterflies back then and I’m still attached. It’s a great print and I wish I had more, but as we well know, there’s always something out there even more tantalizing.  Just check out my backing and binding options below . . .

A trip to my local quilt shop Wooden Gate Quilts yielded a trove of new Westminster Fabrics. The paisley is the backing, the zigzag print is the binding, and the green floral will be the corner triangles. Yes, I’m doing a faced binding just like the one in my Tuesday post. If you’re fabric shopping in the Danville, CA, area this weekend, do take advantage of a special at Wooden Gate Quilts on the third Saturdays of the month–a discount for the purchase of backing fabric when you bring in a completed quilt top. Follow the rules–the completed top is essential for the promotion.

Giveaway Winner!

Thanks so much for all the interest in faced bindings. That method (and its iterations) is a wonderful addition to your arsenal of quilt-making techniques. Keep your eyes peeled for the June issue of The Quilt Life and check out the comment from Sally2 who used American Quilter Projects 2007  for how-to’s. The winner is Brita, who would like me to make her a sunshiny quilt–Ha! Congratulations!

It’s been a tough week for the American psyche so I’m going to close with a floral tribute. We quilters celebrate beauty, charity, and goodness–all are defenses against malevolence. Jennifer