Okay, before you get nervous, we don't mean your extra large version...think about the smaller one-inch blade version instead. The technique is certainly not for the faint of heart, but many quilters swear it greatly reduces their "unsewing time" after making a piecing mistake. (Obviously, this is not for removing a quilting mistake.)
Skilled rippers have learned to hold the two fabric pieces in their hands so that the rotary cutter is held like a pencil or pen. One piece of fabric is held taut between the thumb and forefinger of your non-dominant hand, and the other fabric piece is held by the three remaining fingers of your dominant hand, pressing the fabric against your palm.
With both hands separating the seam that must be ripped, use the cutting blade (you can expose just the very end if you like) to "slice" the threads holding the pieces together. Continue to keep the fabric taut between your hands to expose the piecing thread.
If this isn't for you, then make sure the seam ripper you ARE using is sharp. Quilters tend to hold on to utensils way past their useful lifespan. Treat yourself to a new seam ripper if you have to work hard slice your threads...after all, you're worth it!
Showing posts with label quilting. Show all posts
Showing posts with label quilting. Show all posts
Thursday, August 12, 2010
Thursday, July 29, 2010
Marking your Quilt Tops?
To Mark, or Not to Mark
Of course that is the question, but only you (and your client) can decide the answer! Whenever you choose to mark a quilt with any method, test your marks on the back of the quilt in the seam allowances to be sure you can successfully remove them. Test any fabric which you intend to mark-especially lighter fabrics or those with special coatings that may affect how much pressure you apply with your tool.
For water-soluble marking tools, testing is imperative. These tools need a large number of water molecules in relation to the chemical molecules in the ink so that they will lift completely from the fabric. This usually means completely soaking the quilt in cool water (sometimes several times) to make the ink vanish. Lightly spraying or misting the fabric with water will push the ink into the batting, only to come back and haunt you later. Many water-soluble inks can become permanent if exposed to heat (such as an iron, sunlight, or even a hot car). Take necessary precautions and remove the ink as soon as you are finished quilting. You can even use special pens designed to immediately remove the marks from your fabric. Clover is one brand that carries such a tool...visit your local quilt shop to find out more.
To keep your water soluble marking pens in top working condition, quiltmaker Debra Wagner advises that you store the markers in self-sealing plastic bags to prevent evaporation. Debra also places her markers in a tall tin container in the vertical position with the tip facing down, so that the ink will flow easily whenever she wants to use the marker.
Of course that is the question, but only you (and your client) can decide the answer! Whenever you choose to mark a quilt with any method, test your marks on the back of the quilt in the seam allowances to be sure you can successfully remove them. Test any fabric which you intend to mark-especially lighter fabrics or those with special coatings that may affect how much pressure you apply with your tool.
For water-soluble marking tools, testing is imperative. These tools need a large number of water molecules in relation to the chemical molecules in the ink so that they will lift completely from the fabric. This usually means completely soaking the quilt in cool water (sometimes several times) to make the ink vanish. Lightly spraying or misting the fabric with water will push the ink into the batting, only to come back and haunt you later. Many water-soluble inks can become permanent if exposed to heat (such as an iron, sunlight, or even a hot car). Take necessary precautions and remove the ink as soon as you are finished quilting. You can even use special pens designed to immediately remove the marks from your fabric. Clover is one brand that carries such a tool...visit your local quilt shop to find out more.
To keep your water soluble marking pens in top working condition, quiltmaker Debra Wagner advises that you store the markers in self-sealing plastic bags to prevent evaporation. Debra also places her markers in a tall tin container in the vertical position with the tip facing down, so that the ink will flow easily whenever she wants to use the marker.
Friday, July 23, 2010
Rotary Cutting Mats
Rotary cutting mats are not created equally.
Most modern-day quilters cannot fathom cutting out quilts by tracing around cardboard templates and wielding a scissors. Despite the fabulous quilts early piecers created with these simple tools, rotary cutters and mats have dramatically reduced the time investment in each project while increasing piecing accuracy.
Don't sacrifice the benefits of this cutting-edge technology (pun intended) by allowing your cutting mat to distort your accuracy. Soft plastic mats are typically made of white translucent plastic and often have a smooth side and a textured side. These soft mats are the only ones that will roll easily for storage. Their softness allows the surface to accept pins to help manage difficult fabric. However, the soft surface can also scar from rotary cutter blades, and repeated cuts in the same area could affect the accuracy of your cuts.
Hard plastic mats are thinner than soft mats, and don't scar as easily. Some brands are guaranteed not to warp, crack or peel. However, generic mats made of green plastic will not hold up to lots of handling, such as toting back and forth to quilting class. These mats can chip and crack with changes in temperature.
Self-healing mats are great for quilters because their three layers help cushion and protect the rotary blade without leaving permanent grooves in the mat. These mats often have a different color on each side to help you see your fabrics more clearly. Self-healing mats are the most expensive mats, but also add some big benefits. Each type of mat has a place in quilting studios; choose a mat based on your quilting style and space.
Most modern-day quilters cannot fathom cutting out quilts by tracing around cardboard templates and wielding a scissors. Despite the fabulous quilts early piecers created with these simple tools, rotary cutters and mats have dramatically reduced the time investment in each project while increasing piecing accuracy.
Don't sacrifice the benefits of this cutting-edge technology (pun intended) by allowing your cutting mat to distort your accuracy. Soft plastic mats are typically made of white translucent plastic and often have a smooth side and a textured side. These soft mats are the only ones that will roll easily for storage. Their softness allows the surface to accept pins to help manage difficult fabric. However, the soft surface can also scar from rotary cutter blades, and repeated cuts in the same area could affect the accuracy of your cuts.
Hard plastic mats are thinner than soft mats, and don't scar as easily. Some brands are guaranteed not to warp, crack or peel. However, generic mats made of green plastic will not hold up to lots of handling, such as toting back and forth to quilting class. These mats can chip and crack with changes in temperature.
Self-healing mats are great for quilters because their three layers help cushion and protect the rotary blade without leaving permanent grooves in the mat. These mats often have a different color on each side to help you see your fabrics more clearly. Self-healing mats are the most expensive mats, but also add some big benefits. Each type of mat has a place in quilting studios; choose a mat based on your quilting style and space.
Friday, July 9, 2010
Interesting Quilts
Your quilt will be much more interesting and lively if you try to vary fabric proportion and value in addition to color.
The more closely your fabrics resemble each other in these areas, the faster the viewer will scan over your quilt and dismiss it as "average". Start with the fabric's scale. Mix large prints with small-blend florals, geometrics, plaids and stripes. Modern designer Kaffe Fassett is a prime example of someone who has mastered varying fabric scale to create vibrant patterns.
Fabric value introduces another dimension to creating a lively, exciting quilt. Think about walking through a forest filled with beautiful trees. If every leaf, rock and piece of bark was exactly the same color, you would be lost no matter how many different sizes of leaves you found along your path. For example, try incorporating greens with some blue hues to them, some with yellow tones, and even some with black undertones.
If you expand your palette, you'll be amazed at how rich your quilts will look. Besides, it will give you another reason to add to your fabric stash!
The office supply store can help you audition your quilting designs quickly and easily.
Make a sketch of your quilt or take a digital photograph and print it on 8-1/2" x 11" paper. Slip the paper into a clear plastic page protector. Use a fine-point dry erase marker to audition your quilting ideas right on the plastic. Use a paper towel to wipe the marks off until you are happy with your results. Be sure to keep your sheet protector and markers away from your quilt!
You can also purchase clear vinyl at your local fabric shop or discount store for larger designs. Put masking tape around all the edges of the vinyl so that you clearly see each edge. Then lay the vinyl piece over your actual quilt top and use those same dry-erase markers to audition different designs. You can also try transparency markers, which will require water to remove. But be careful...the masking tape helps keep you "in bounds" so that you don't accidentally draw on your quilt!
The more closely your fabrics resemble each other in these areas, the faster the viewer will scan over your quilt and dismiss it as "average". Start with the fabric's scale. Mix large prints with small-blend florals, geometrics, plaids and stripes. Modern designer Kaffe Fassett is a prime example of someone who has mastered varying fabric scale to create vibrant patterns.
Fabric value introduces another dimension to creating a lively, exciting quilt. Think about walking through a forest filled with beautiful trees. If every leaf, rock and piece of bark was exactly the same color, you would be lost no matter how many different sizes of leaves you found along your path. For example, try incorporating greens with some blue hues to them, some with yellow tones, and even some with black undertones.
If you expand your palette, you'll be amazed at how rich your quilts will look. Besides, it will give you another reason to add to your fabric stash!
The office supply store can help you audition your quilting designs quickly and easily.
Make a sketch of your quilt or take a digital photograph and print it on 8-1/2" x 11" paper. Slip the paper into a clear plastic page protector. Use a fine-point dry erase marker to audition your quilting ideas right on the plastic. Use a paper towel to wipe the marks off until you are happy with your results. Be sure to keep your sheet protector and markers away from your quilt!
You can also purchase clear vinyl at your local fabric shop or discount store for larger designs. Put masking tape around all the edges of the vinyl so that you clearly see each edge. Then lay the vinyl piece over your actual quilt top and use those same dry-erase markers to audition different designs. You can also try transparency markers, which will require water to remove. But be careful...the masking tape helps keep you "in bounds" so that you don't accidentally draw on your quilt!
Friday, June 25, 2010
Antique Tops...To Quilt or Not to Quilt...That Is the Question!
Quilters and collectors across the globe often scour antique shops, flea markets, and even garage sales for quilt tops to add to their collections. Unfortunately, not every quilt top that survived the early half of the century is valuable. Some are in such poor condition that they are better off quilted and used, while others may be better and more valuable preserved as tops only.
If you aren't sure whether to quilt those tops or leave them "as is", quilt historian Barbara Brackman shares these ideas for protecting quilt tops while still enjoying their beauty and grace:
Sew a sleeve to the back of the quilt top just as you would a completed quilt. Use a double-folded sleeve so that the top is protected from the hanging mechanism. Use cotton fabric and thread along with single or double-fold binding and bind the raw edges by hand to prevent them from pulling and fraying. Hang the top for all to enjoy.
To give a fragile quilt top added strength, mount a piece of backing fabric to the top. Base the edges of the quilt top to the backing fabric with stitches that are about 1/4-inch long on the front of the quilt, but are about 1 inch long on the backing side. Then bring the backing fabric around to the front edge of the quilt top to cover the quilt's raw edges. Tack in place using as few stitches as possible.
Donate an antique quilt top in good condition to a museum that has a good textile collection. Curators are often interested in older quilt tops as historical records of past techniques, fabrics, and patterns.
If you aren't sure whether to quilt those tops or leave them "as is", quilt historian Barbara Brackman shares these ideas for protecting quilt tops while still enjoying their beauty and grace:
Sew a sleeve to the back of the quilt top just as you would a completed quilt. Use a double-folded sleeve so that the top is protected from the hanging mechanism. Use cotton fabric and thread along with single or double-fold binding and bind the raw edges by hand to prevent them from pulling and fraying. Hang the top for all to enjoy.
To give a fragile quilt top added strength, mount a piece of backing fabric to the top. Base the edges of the quilt top to the backing fabric with stitches that are about 1/4-inch long on the front of the quilt, but are about 1 inch long on the backing side. Then bring the backing fabric around to the front edge of the quilt top to cover the quilt's raw edges. Tack in place using as few stitches as possible.
Donate an antique quilt top in good condition to a museum that has a good textile collection. Curators are often interested in older quilt tops as historical records of past techniques, fabrics, and patterns.
Saturday, June 19, 2010
Design Inspiration Is All Around You
From your newly planted garden to the imprint on your new "green" grocery bag, design inspiration is everywhere if you take the time to open your eyes to the possibilities.
Magazines and catalogs are one obvious source of inspiration. But if you're on a shopping spree, check out the illustrations on greeting cards. Don't miss the store window display, or even the greenery in the aisles. The colors a store uses in its logo can give you a new perspective on color value and hue (they probably paid a design professional lots of money to arrive at those colors--use them to inspire your next quilt!)
And as Fathers Day approaches, if you plan to visit a Museum, take along a camera or sketchpad. Many old items have wonderful designs etched into them. Create a sketch or do a "rubbing". To do a rubbing, place a blank piece of paper over the design, then lightly rub over the design with a pencil or even with a crayon with the paper sleeve removed.
Keep a small notebook in your bag and make a note, or snap a photo any time you are inspired!
Keep your eyes open and get inspiration from everywhere, you never know what will inspire you.
Magazines and catalogs are one obvious source of inspiration. But if you're on a shopping spree, check out the illustrations on greeting cards. Don't miss the store window display, or even the greenery in the aisles. The colors a store uses in its logo can give you a new perspective on color value and hue (they probably paid a design professional lots of money to arrive at those colors--use them to inspire your next quilt!)
And as Fathers Day approaches, if you plan to visit a Museum, take along a camera or sketchpad. Many old items have wonderful designs etched into them. Create a sketch or do a "rubbing". To do a rubbing, place a blank piece of paper over the design, then lightly rub over the design with a pencil or even with a crayon with the paper sleeve removed.
Keep a small notebook in your bag and make a note, or snap a photo any time you are inspired!
Keep your eyes open and get inspiration from everywhere, you never know what will inspire you.
Tuesday, June 8, 2010
Rounding Corners on Square Quilts is Easy
While many of us have taken to producing quilts that will serve as wall art instead of "bed art", it's still helpful to know how to round off the edges of your quilt. This can be especially helpful if your quilt will fall to the floor on your bed, where you can accidentally trip on the excess fabric at the corners of the mattress.
To round off the corners of your bed quilt, first measure the length of the drop from the top edge of the bed to the floor. Next, draw a square on a piece of paper that's large enough so that the square's sides are the same length as the drop to the floor. You can then create a hand-made compass to draw the curve or rounded corner for your bed quilt. Wrap some yarn or string around a pencil, and align the pencil tip so that it is positioned at one corner of the square on your paper. Wrap the remaining string end around a straight pin, and insert the pin into one of the corners closest to the pencil tip (not the opposite corner).
Be sure the string is taut between the pencil tip and pin tip. Draw an arc from one corner of the square, around to the opposite corner. Use this pattern to "round off" your quilt across the border corners. This technique works well for single fabric borders as well as appliqué borders where a twining vine can wander around the corner.
To round off the corners of your bed quilt, first measure the length of the drop from the top edge of the bed to the floor. Next, draw a square on a piece of paper that's large enough so that the square's sides are the same length as the drop to the floor. You can then create a hand-made compass to draw the curve or rounded corner for your bed quilt. Wrap some yarn or string around a pencil, and align the pencil tip so that it is positioned at one corner of the square on your paper. Wrap the remaining string end around a straight pin, and insert the pin into one of the corners closest to the pencil tip (not the opposite corner).
Be sure the string is taut between the pencil tip and pin tip. Draw an arc from one corner of the square, around to the opposite corner. Use this pattern to "round off" your quilt across the border corners. This technique works well for single fabric borders as well as appliqué borders where a twining vine can wander around the corner.
Thursday, May 27, 2010
I Ran Out of Batting!
You will run out of batting before you run out of quilt at least three times every year.
Okay, this was just made up. And if it has never happened to you, let's hope we didn't mess with your "mojo" by mentioning it. But many longarm quilters have suffered the dreaded "two-inches-too-short" dilemma, discovering that they have more quilt than batting at the bottom edge.
The best way to handle this is to avoid the situation in the first place by opening up your batting piece, folding it in half and then in half once again. Do the same with your quilt top, matching the folds with those of your batting. Check all the raw edges to be sure you have plenty of batting extending past the quilt's outer perimeter.
If Murphy has struck and you've discovered that you're short of batting once you've begun, you can still salvage the project with a little extra work. When you reach the edge of the batting where you need to add an extra piece, overlap a new piece of batting on top of the current batting. Be sure the overlap is at least six inches. You won't need to remove the quilt from your frame.
Use a scissors to cut a serpentine path through both layers of batting at once (be careful not to cut the quilt layers or your canvas leaders!) Remove the scrap pieces and then whipstitch the pieces together. This curved "seam" in your batting is easier to disguise as the piece rolls into the quilt, and is more likely to be caught with your quilting stitches to prevent it from separating when the quilt is used.
Okay, this was just made up. And if it has never happened to you, let's hope we didn't mess with your "mojo" by mentioning it. But many longarm quilters have suffered the dreaded "two-inches-too-short" dilemma, discovering that they have more quilt than batting at the bottom edge.
The best way to handle this is to avoid the situation in the first place by opening up your batting piece, folding it in half and then in half once again. Do the same with your quilt top, matching the folds with those of your batting. Check all the raw edges to be sure you have plenty of batting extending past the quilt's outer perimeter.
If Murphy has struck and you've discovered that you're short of batting once you've begun, you can still salvage the project with a little extra work. When you reach the edge of the batting where you need to add an extra piece, overlap a new piece of batting on top of the current batting. Be sure the overlap is at least six inches. You won't need to remove the quilt from your frame.
Use a scissors to cut a serpentine path through both layers of batting at once (be careful not to cut the quilt layers or your canvas leaders!) Remove the scrap pieces and then whipstitch the pieces together. This curved "seam" in your batting is easier to disguise as the piece rolls into the quilt, and is more likely to be caught with your quilting stitches to prevent it from separating when the quilt is used.
Saturday, May 22, 2010
Cutting Fabric
You Can Avoid the "Bends" when Cutting Your Fabric Cross-grain
Rotary cutters have greatly improved the speed at which we can complete our quilt tops. However, in our haste we sometimes end up with long fabric strips that have a bend or unusual sharp point at the midpoint. To avoid this mishap, you must take the time to fold your fabric correctly before wielding your rotary cutter.
Press your fabric to remove the influence of the bolt fold, and then fold it so that the selvages are together. Then pick up the selvages in both hands and slide the selvages from side to side along each other until the fabric's fold is flat. Lay the fabric back down on your work surface and fold the fabric in half again, bringing the fold to the selvage edges so that they line up.
Now you have one edge that is a fold and two selvage edges. Those must all align with each other. When you are confident that the edges are straight, align your rotary cutting ruler with the fold of the fabric, and slice away!
Rotary cutters have greatly improved the speed at which we can complete our quilt tops. However, in our haste we sometimes end up with long fabric strips that have a bend or unusual sharp point at the midpoint. To avoid this mishap, you must take the time to fold your fabric correctly before wielding your rotary cutter.
Press your fabric to remove the influence of the bolt fold, and then fold it so that the selvages are together. Then pick up the selvages in both hands and slide the selvages from side to side along each other until the fabric's fold is flat. Lay the fabric back down on your work surface and fold the fabric in half again, bringing the fold to the selvage edges so that they line up.
Now you have one edge that is a fold and two selvage edges. Those must all align with each other. When you are confident that the edges are straight, align your rotary cutting ruler with the fold of the fabric, and slice away!
Sunday, May 16, 2010
Stitch in the Ditch with Longarm Quilting
Accurate Stitching in the Ditch Depends on Ruler Placement
Domestic machine quilters have an advantage over longarm quilters when it comes to stitching in the ditch. When using a domestic machine, one can use both hands to gently pull the seam apart. This allows the needle to place stitches on the "low side" of the seam, which become hidden when the fabric is released and the top fabric gently folds over the stitching.
However, longarm quilters must use guiding rulers to help them stay on target stitching next to seams and fabric folds. One hand must drive the machine while the other must hold the guiding ruler in position. To increase your success rate with a longarm machine, think about where you place your ruler before you begin to stitch.
If you place the guiding ruler on top of the seam allowance (the high side of the seam), then your hand's pressure causes the top fabric layer to fold over slightly and hide the space where you want your stitches to fall. You may think you're doing an excellent job of "staying in the ditch" until you remove your hand and ruler. Once the top fabric layer relaxes back into position, your stitches will appear to be too far away from the seam, even when they looked perfect just moments before!
Whenever possible, position your ruler on the low side of any seam (the side without the seam allowances underneath). Use invisible thread to also boost your confidence for those occasional misses we all suffer!
Domestic machine quilters have an advantage over longarm quilters when it comes to stitching in the ditch. When using a domestic machine, one can use both hands to gently pull the seam apart. This allows the needle to place stitches on the "low side" of the seam, which become hidden when the fabric is released and the top fabric gently folds over the stitching.
However, longarm quilters must use guiding rulers to help them stay on target stitching next to seams and fabric folds. One hand must drive the machine while the other must hold the guiding ruler in position. To increase your success rate with a longarm machine, think about where you place your ruler before you begin to stitch.
If you place the guiding ruler on top of the seam allowance (the high side of the seam), then your hand's pressure causes the top fabric layer to fold over slightly and hide the space where you want your stitches to fall. You may think you're doing an excellent job of "staying in the ditch" until you remove your hand and ruler. Once the top fabric layer relaxes back into position, your stitches will appear to be too far away from the seam, even when they looked perfect just moments before!
Whenever possible, position your ruler on the low side of any seam (the side without the seam allowances underneath). Use invisible thread to also boost your confidence for those occasional misses we all suffer!
Long Arm Ruler Placement
Accurate Stitching in the Ditch Depends on Ruler Placement
Domestic machine quilters have an advantage over longarm quilters when it comes to stitching in the ditch. When using a domestic machine, one can use both hands to gently pull the seam apart. This allows the needle to place stitches on the "low side" of the seam, which become hidden when the fabric is released and the top fabric gently folds over the stitching.
However, longarm quilters must use guiding rulers to help them stay on target stitching next to seams and fabric folds. One hand must drive the machine while the other must hold the guiding ruler in position. To increase your success rate with a longarm machine, think about where you place your ruler before you begin to stitch.
If you place the guiding ruler on top of the seam allowance (the high side of the seam), then your hand's pressure causes the top fabric layer to fold over slightly and hide the space where you want your stitches to fall. You may think you're doing an excellent job of "staying in the ditch" until you remove your hand and ruler. Once the top fabric layer relaxes back into position, your stitches will appear to be too far away from the seam, even when they looked perfect just moments before!
Whenever possible, position your ruler on the low side of any seam (the side without the seam allowances underneath). Use invisible thread to also boost your confidence for those occasional misses we all suffer!
Domestic machine quilters have an advantage over longarm quilters when it comes to stitching in the ditch. When using a domestic machine, one can use both hands to gently pull the seam apart. This allows the needle to place stitches on the "low side" of the seam, which become hidden when the fabric is released and the top fabric gently folds over the stitching.
However, longarm quilters must use guiding rulers to help them stay on target stitching next to seams and fabric folds. One hand must drive the machine while the other must hold the guiding ruler in position. To increase your success rate with a longarm machine, think about where you place your ruler before you begin to stitch.
If you place the guiding ruler on top of the seam allowance (the high side of the seam), then your hand's pressure causes the top fabric layer to fold over slightly and hide the space where you want your stitches to fall. You may think you're doing an excellent job of "staying in the ditch" until you remove your hand and ruler. Once the top fabric layer relaxes back into position, your stitches will appear to be too far away from the seam, even when they looked perfect just moments before!
Whenever possible, position your ruler on the low side of any seam (the side without the seam allowances underneath). Use invisible thread to also boost your confidence for those occasional misses we all suffer!
Sunday, May 9, 2010
Taking Photos of Quilts
Turn off your flash for great quilt detail photos.
The quilt show season is in full swing, and quilters everywhere will be sharing "oohs" and "aahs" as they ogle each of the quilts hanging proudly in the shows. We are inevitably struck with the beauty and originality of each work, and try to capture the essence of those which inspire us most with photographs.
Here are some tips to getting the most from your digital camera. You've discovered the first hint in the last sentence...get a digital camera! You'll find many inexpensive types on the market today; look for a model that allows you to turn off the flash, has a "macro" feature to get close up photos, and has at least 3 megapixels of memory. Digital cameras give you instant feedback; you are able to tell right away whether your photo illustrates what you want it to.
If you find the quilt's complete layout and design pleasing, stand back away from the quilt, and frame it inside your view screen. Depending on the venue's lighting, you may want to try a photo with flash first, and then turn the flash off. However, if you are more interested in the quilting stitches and design, you'll want to take close-up photos.
For these shots, you want to use the room's typical ceiling and side lights to your advantage. The shadows this lighting direction creates will define the quilting stitches and make them very dynamic in your photos. Turn your flash off. Move in to your close up area and try one photo, using your camera's zoom lens and automatic focus feature. If that photo is not crisp, use the macro feature of your camera. This special feature allows your camera to focus more clearly with very close objects.
Finally, consider taking photos of the quilts you DON'T like as well as those you do. Make notes about what you thought did and didn't work in each of the quilts, including color combinations, design layouts, and quilt density. Be sure to transfer your photos to your computer, or visit your nearest photo center if you need help getting them off your memory device. Store your photos in special folders on your computer labeled according to your categories to find them easily for your future design work.
Happy Quilt Show shooting.
The quilt show season is in full swing, and quilters everywhere will be sharing "oohs" and "aahs" as they ogle each of the quilts hanging proudly in the shows. We are inevitably struck with the beauty and originality of each work, and try to capture the essence of those which inspire us most with photographs.
Here are some tips to getting the most from your digital camera. You've discovered the first hint in the last sentence...get a digital camera! You'll find many inexpensive types on the market today; look for a model that allows you to turn off the flash, has a "macro" feature to get close up photos, and has at least 3 megapixels of memory. Digital cameras give you instant feedback; you are able to tell right away whether your photo illustrates what you want it to.
If you find the quilt's complete layout and design pleasing, stand back away from the quilt, and frame it inside your view screen. Depending on the venue's lighting, you may want to try a photo with flash first, and then turn the flash off. However, if you are more interested in the quilting stitches and design, you'll want to take close-up photos.
For these shots, you want to use the room's typical ceiling and side lights to your advantage. The shadows this lighting direction creates will define the quilting stitches and make them very dynamic in your photos. Turn your flash off. Move in to your close up area and try one photo, using your camera's zoom lens and automatic focus feature. If that photo is not crisp, use the macro feature of your camera. This special feature allows your camera to focus more clearly with very close objects.
Finally, consider taking photos of the quilts you DON'T like as well as those you do. Make notes about what you thought did and didn't work in each of the quilts, including color combinations, design layouts, and quilt density. Be sure to transfer your photos to your computer, or visit your nearest photo center if you need help getting them off your memory device. Store your photos in special folders on your computer labeled according to your categories to find them easily for your future design work.
Happy Quilt Show shooting.
Tuesday, May 4, 2010
Quilt Backing
The seam direction of your backing depends on the quilt's use.
If you are lucky enough to have a well-stocked quilt shop near you, you may be able to purchase wide quilt backing fabric and avoid having seams altogether. However, not all wide backings maintain the same quality. Check carefully before investing in this fabric. Pay special attention to "white on white" backing fabric where part of the design appears to be painted on to the fabric. Longarm needles will perforate and crumble the paint, causing tension issues, more thread breakage, and needle holes that may not recover.
When you are forced to piece fabric strips to create backing large enough for your quilt top, choose the seam direction based on the quilt's use in addition to ease of loading on your frame. Generally, horizontal backing seams are much easier to handle than vertical seams, since the seam will lay parallel to the roller instead of creating bulk as it wraps around the roller.
However, if the quilt will hang on a wall, then situating the backing fabric so that the lengthwise grain runs "top to bottom" will reduce stress on the quilt and prevent sagging and stretching. In this instance vertical seams may be more appropriate.
When you sew backing pieces together, be sure to remove the selvage edges along the seam line. You can decrease the bulk in the seam even further by pressing the seam open instead of to one side. Select a stitch length of 11-12 stitches per inch to secure the open seam better.
If you are lucky enough to have a well-stocked quilt shop near you, you may be able to purchase wide quilt backing fabric and avoid having seams altogether. However, not all wide backings maintain the same quality. Check carefully before investing in this fabric. Pay special attention to "white on white" backing fabric where part of the design appears to be painted on to the fabric. Longarm needles will perforate and crumble the paint, causing tension issues, more thread breakage, and needle holes that may not recover.
When you are forced to piece fabric strips to create backing large enough for your quilt top, choose the seam direction based on the quilt's use in addition to ease of loading on your frame. Generally, horizontal backing seams are much easier to handle than vertical seams, since the seam will lay parallel to the roller instead of creating bulk as it wraps around the roller.
However, if the quilt will hang on a wall, then situating the backing fabric so that the lengthwise grain runs "top to bottom" will reduce stress on the quilt and prevent sagging and stretching. In this instance vertical seams may be more appropriate.
When you sew backing pieces together, be sure to remove the selvage edges along the seam line. You can decrease the bulk in the seam even further by pressing the seam open instead of to one side. Select a stitch length of 11-12 stitches per inch to secure the open seam better.
Saturday, May 1, 2010
Quilts and Feedsacks
Quilters scour estate sales and antique shops for feedsacks, hoping to score big and find a special bag to add to their stash.
Feedsack interest faded in the 1950's as yard goods became readily available, though some feedsacks were produces as late as the 1960's in the Southwest.
Today's collectors help preserve some of the nostalgia surrounding the feedsack era when curtains, dresses, handbags, men's shirts and even bathing suits were made from brightly printed feedsacks.
In their heyday, feedsacks prompted the National Cotton Council to sponsor a feedsack wardrobe campaign. The genre was so popular that 30 million yards of printed cotton material were converted into feedsacks annually in the U.S., according to a 1944 Business Week report.
Today quilters pay as much as $15 for a single intact vintage feedsack!
Feedsack interest faded in the 1950's as yard goods became readily available, though some feedsacks were produces as late as the 1960's in the Southwest.
Today's collectors help preserve some of the nostalgia surrounding the feedsack era when curtains, dresses, handbags, men's shirts and even bathing suits were made from brightly printed feedsacks.
In their heyday, feedsacks prompted the National Cotton Council to sponsor a feedsack wardrobe campaign. The genre was so popular that 30 million yards of printed cotton material were converted into feedsacks annually in the U.S., according to a 1944 Business Week report.
Today quilters pay as much as $15 for a single intact vintage feedsack!
Sunday, April 25, 2010
Quilt Fabric Tips
As much as quilters love buying new fabric, it's amazing how difficult it can be to actually bring ourselves to make the first cut into that beautiful yard of material!
If you are reluctant to get out the scissors to create audition pieces for your quilt, try making photocopies instead. You can do this by scanning the fabric into your computer with a flatbed scanner, or by using an all-in-one printer/copier attached to your computer.
If you don't have either of these devices, make the copies at your local office supply store or copy center.
First make several color copies of your fabric choices, and then make a few black and white copies as well. Cut apart the photocopies into your patches for your blocks and audition each one without endangering your actual fabric stash!
Once you have chosen fabrics that work well in your design, substitute the black and white photocopies for your patches. Since the color doesn't distract you in these copies, you can determine if the value and contrast in each fabric is correct, along with the scale and proportion of the prints.
Photocopies cost just a few pennies and are easily reproduced...but slicing into your fabric prematurely can be costly and traumatic!
If you are reluctant to get out the scissors to create audition pieces for your quilt, try making photocopies instead. You can do this by scanning the fabric into your computer with a flatbed scanner, or by using an all-in-one printer/copier attached to your computer.
If you don't have either of these devices, make the copies at your local office supply store or copy center.
First make several color copies of your fabric choices, and then make a few black and white copies as well. Cut apart the photocopies into your patches for your blocks and audition each one without endangering your actual fabric stash!
Once you have chosen fabrics that work well in your design, substitute the black and white photocopies for your patches. Since the color doesn't distract you in these copies, you can determine if the value and contrast in each fabric is correct, along with the scale and proportion of the prints.
Photocopies cost just a few pennies and are easily reproduced...but slicing into your fabric prematurely can be costly and traumatic!
Monday, April 19, 2010
Quilt Labels
Without a label on your quilt, generations to come will be unable to trace your quilt's history.
Quilt labels not only help establish a quilt's historical importance, they can also help deter theft and even provide identity in case of theft.
Quilt labeling has become such an art form itself that we may revisit it more than once in our tip section. At the very least, you should attach a muslin label to your quilt that includes this information:
Quilt Piecer's Name
Quilter's Name
Date the Quilt Was Completed
Pattern (give credit to any pattern designer)
Inspiration
Title of Quilt
For a simple label, spray-starch a muslin square and then iron freezer paper to the back of the muslin for stability. If you like, use a thin-point marker and ruler to draw straight lines on the paper side of the freezer paper. These lines will show through the muslin and provide writing guides. Use a permanent, non-bleeding marker to write your information on the label (Pigma pens are one brand available in quilt shops). Heat-set the ink with a dry iron. Remove the freezer paper, turn under the label's raw edges, and applique the label in place on the quilt back.
To deter theft, apply the label to the quilt backing before you quilt the project. This extra stitching makes it difficult to remove the label without also destroying the quilting.
Quilt labels not only help establish a quilt's historical importance, they can also help deter theft and even provide identity in case of theft.
Quilt labeling has become such an art form itself that we may revisit it more than once in our tip section. At the very least, you should attach a muslin label to your quilt that includes this information:
Quilt Piecer's Name
Quilter's Name
Date the Quilt Was Completed
Pattern (give credit to any pattern designer)
Inspiration
Title of Quilt
For a simple label, spray-starch a muslin square and then iron freezer paper to the back of the muslin for stability. If you like, use a thin-point marker and ruler to draw straight lines on the paper side of the freezer paper. These lines will show through the muslin and provide writing guides. Use a permanent, non-bleeding marker to write your information on the label (Pigma pens are one brand available in quilt shops). Heat-set the ink with a dry iron. Remove the freezer paper, turn under the label's raw edges, and applique the label in place on the quilt back.
To deter theft, apply the label to the quilt backing before you quilt the project. This extra stitching makes it difficult to remove the label without also destroying the quilting.
Wednesday, April 14, 2010
Rotary Cutters
Rotary cutter blades are actually supposed to rotate! Many quilters mistakenly believe that the rotary cutter should perform like a knife, sawing through the fabric layers. However, a rotary cutter blade should turn freely, just like a pizza cutter.
If you have your locking screw set so tightly that the rotary cutter blade does not move, your blade and cutting mat will wear out prematurely, and you'll fatigue much more quickly as you try to "bear down" to cut through multiple fabric layers with a fixed blade. While you're at it, give your rotary cutter a little TLC and you'll reap the rewards of clean, crisp cuts.
Carefully disassemble your cutter, laying the pieces in sequential order on your table so that you can easily put it back together. If you're nervous about being able to reassemble it, put your digital camera to good use and snap photographs at each stage of disassembly to help guide you later.
Wipe lint buildup from behind the cutting blade. Next add one small drop of sewing machine oil (you may use the oil that came with your longarm) on the plastic surface that sits next to your blade. This small amount of lubrication prevents rust and keeps the blade spinning smoothly.
Reassemble the cutter, keeping in mind that the nut holding the blade should be loose enough that the blade rotates as you slice your fabric. If your cleaning and readjustment don't greatly improve your cutter's performance, it may be time for a new blade!
If you have your locking screw set so tightly that the rotary cutter blade does not move, your blade and cutting mat will wear out prematurely, and you'll fatigue much more quickly as you try to "bear down" to cut through multiple fabric layers with a fixed blade. While you're at it, give your rotary cutter a little TLC and you'll reap the rewards of clean, crisp cuts.
Carefully disassemble your cutter, laying the pieces in sequential order on your table so that you can easily put it back together. If you're nervous about being able to reassemble it, put your digital camera to good use and snap photographs at each stage of disassembly to help guide you later.
Wipe lint buildup from behind the cutting blade. Next add one small drop of sewing machine oil (you may use the oil that came with your longarm) on the plastic surface that sits next to your blade. This small amount of lubrication prevents rust and keeps the blade spinning smoothly.
Reassemble the cutter, keeping in mind that the nut holding the blade should be loose enough that the blade rotates as you slice your fabric. If your cleaning and readjustment don't greatly improve your cutter's performance, it may be time for a new blade!
Tuesday, April 6, 2010
Quilting
You can determine whether fabric will be a good choice for quilt backing by evaluating its selvedge edges in addition to its color and pattern. Study the fabric at the store to avoid disappointment later. Look at the selvedge edges of the fabric, specifically where the mounting pins held the yardage in place for dyeing (you'll see small holes along the selvedge edge.)
Check the right side of the fabric along this strip. If you see small white or light areas surrounding those pin holes, it means that the fabric dye did not completely penetrate each warp or weft yarn. When the pins holding the fabric for processing penetrated the selvedge, they exposed the lighter side of each fiber, making the fabric's "wrong side" visible through the pin holes.
Why is this important to a longarm quilter? Since your needle is very large and will also penetrate the backing fabric from "wrong side" to "right side" your needle could also expose the lighter side of the backing fabric around every needle hole. This phenomenon is often confused with batting bearding or a dull needle. In fact, the fabric itself is the culprit!
Check the right side of the fabric along this strip. If you see small white or light areas surrounding those pin holes, it means that the fabric dye did not completely penetrate each warp or weft yarn. When the pins holding the fabric for processing penetrated the selvedge, they exposed the lighter side of each fiber, making the fabric's "wrong side" visible through the pin holes.
Why is this important to a longarm quilter? Since your needle is very large and will also penetrate the backing fabric from "wrong side" to "right side" your needle could also expose the lighter side of the backing fabric around every needle hole. This phenomenon is often confused with batting bearding or a dull needle. In fact, the fabric itself is the culprit!
Choosing the correct fabric for quilt backing
You can determine whether fabric will be a good choice for quilt backing by evaluating its selvedge edges in addition to its color and pattern.
Study the fabric at the store to avoid disappointment later. Look at the selvedge edges of the fabric, specifically where the mounting pins held the yardage in place for dyeing (you'll see small holes along the selvedge edge.) Check the right side of the fabric along this strip. If you see small white or light areas surrounding those pin holes, it means that the fabric dye did not completely penetrate each warp or weft yarn. When the pins holding the fabric for processing penetrated the selvedge, they exposed the lighter side of each fiber, making the fabric's "wrong side" visible through the pin holes.
Why is this important to a longarm quilter? Since your needle is very large and will also penetrate the backing fabric from "wrong side" to "right side" your needle could also expose the lighter side of the backing fabric around every needle hole. This phenomenon is often confused with batting bearding or a dull needle. In fact, the fabric itself is the culprit!
Study the fabric at the store to avoid disappointment later. Look at the selvedge edges of the fabric, specifically where the mounting pins held the yardage in place for dyeing (you'll see small holes along the selvedge edge.) Check the right side of the fabric along this strip. If you see small white or light areas surrounding those pin holes, it means that the fabric dye did not completely penetrate each warp or weft yarn. When the pins holding the fabric for processing penetrated the selvedge, they exposed the lighter side of each fiber, making the fabric's "wrong side" visible through the pin holes.
Why is this important to a longarm quilter? Since your needle is very large and will also penetrate the backing fabric from "wrong side" to "right side" your needle could also expose the lighter side of the backing fabric around every needle hole. This phenomenon is often confused with batting bearding or a dull needle. In fact, the fabric itself is the culprit!
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