Tag Archives: Tutorial

Cheshire Cat?

Now you see her, now you don’t? Yes, that’s me! Two weeks ago I opted out of my own 30-day challenge, stopping at 20 days in a row of blogging. And since then was Thanksgiving, with several days of family fun. Besides that, I’ve been trying to finish some projects — don’t know if you know this, but the end of 2017 is rolling right up! (And not a moment too soon, huh? Heckuva a year, and not all in the good way…)

Right now I have three quilts in progress. Two are from my medallion class. Christmas Is Coming! needs binding attached.

The other is the bear’s paw quilt, which is still on the frame. Well, in fact, it is AGAIN on the frame. It is again on the frame because I’m having thread tension trouble on my longarm. Remember this?

This was the worst of it, but not the last of it. After struggling with getting the tension settings improved, I decided to take the quilt off the frame and putting a testing sandwich on. Prior to taking it off, I basted all the way around the edge, and also used great big stitches to baste through the body of the quilt. The basting stabilized the piece, so layers would stay put for returning to the frame later.

My test sandwich got covered with stitching. I managed to get the top and bottom tension adjusted well, but still had intermittent messy looping areas on the back. When the tension is BAD and there is looping, it’s because the tension is bad. When the tension is GOOD and there’s looping, it’s often because the thread is catching somewhere, like a rough spot in the thread path. I’ve done this long enough to know some of the places to look. (I have a long list of them, if you are interested.) I worked through all those things that I could. While it improved, it still wasn’t as good as it should be.

I called the company and spoke with the head technician. He agreed I’d done all the right things and asked me to bring the machine to the factory. Fortunately, that’s only about a half hour away from me, so I took it the same day. After two hours working with a technician, the best we could come up with was replacing an inexpensive part, the last thread guide above the eye of the needle.

Before returning to my bear’s paw project, I wanted to test it again on something small. Son’s fiancee likes seasonal decorating and I hoped to make a table runner for her for Christmas. I figured that would be a good project to test quilt. After all, if there was looping on the back, it wouldn’t matter. When used as intended, no one would see the back!

I tend to make things more, rather than less complicated. So I had to fight my instincts and make this a simple project. I made three puss-in-the-corner blocks with fussy-cut centers. (Yeah, I couldn’t go all the way to simple!) I set them on point and framed them with a border. I had a piece of appropriate fabric for the back. So I loaded it all up and quilted it.

(There is more to the story of how the quilting went and what happened next. That part of the story will come later this week.)

The last step on the table runner was the binding. I had just the right amount of just the right fabric. However, when it came to attaching it, I wasn’t sure how! All my quilts prior to this have had squared 90° corners. This also had 45° angles. Have you used them before, or other angles than 90°?

This morning I watched a video tutorial that explained how.

Here is my finished table runner.

The table runner has the edge of red binding. Underneath it is another quilt on the table.

Taking a couple of extra minutes to fussy cut the centers made these simple blocks look fancy.

Can you see the figure-8 Christmas tree stitched into this setting triangle? Another easy way to make an easy project look more intricate.

I’m off and running again. Thanks for reading! I always read comments and try to respond promptly. If I don’t get back to you soon, it’s because I’m offline. See you soon!

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Two Ways To Make Flying Geese

One of the reasons I love flying geese blocks is they can be made almost any size. Blocks that are on grid are less adaptable for sizes. For example, regular 9-patches are on a 3-grid (3 rows by 3 columns) and are most easily made in sizes that multiply easily by 3, such as 6″ finish with 2″ patches, or 7.5″ finish with 2.5″ patches. For a harder one, bear’s paws are on a 7-grid, so are most easily made in sizes like 7″, 10.5″, or 14″. But geese are ungridded. (Half-square triangles and hourglass blocks also can be made any size.)

There are a variety of ways to make geese, but I only use two of them. One is the stitch-and-flip method. With this, the base (goose) is cut the size of the finished block, plus 1/2″ each direction for seam allowances. For example, if you want a block that finishes at 3″ x 6″, cut the base as 3.5″ x 6.5″. The background (sky) is cut as two squares, both half the length of the finished block, plus seam allowances. Using the same size block, cut two pieces that are 3.5″ square. Pat Sloan shows how to put these together to make a perfectly sized flying geese unit.

The method works great. However, you do have waste triangles of fabric cut off. Some people make good use of them and convert them into half-square triangles for other purposes. I do not. For small flying geese, throwing away the waste doesn’t bother me much. For larger ones, it does.

The other method I use is the four-at-a-time method. Why choose this one? The process allows more efficient use of fabric, because there are no waste triangles. For me, the disadvantage is I have to be more careful of my seam allowance. To adjust for that, I check sizing on the first set I make. If I need to trim slightly, that means I need to use a slightly bigger seam allowance, perhaps only a thread width bigger. (See the tip below for trimming your flying geese units.) Even so, it’s a great way to make a lot of geese quickly and with no waste.

Here is a video that clearly explains the process, as well as a link to another set of instructions from Connecting Threads.

For each FOUR geese units, use 1 large square and 4 small squares.
Large square = finished length of unit + 1.25″
Small square = finished width of unit + .875″ (that is 7/8″)

Example: for four flying geese units finishing at 3″ x 6″, cut 1 large square (the geese) at 7 1/4″, or 7.25″. Cut 4 small squares (the sky) at 3 7/8″, or 3.875″.

Draw a diagonal line across the wrong side of each small square, corner to corner. Arrange two of them right sides together in diagonally opposite corners of the large square, with the drawn lines meeting in the middle. The small squares will overlap a little. Pin them in place. The photo below is a little murky. The small squares are of dark blue, with wrong side up.

FG 1
Stitch from corner to corner, a scant 1/4″ away from the drawn line. Then turn around and stitch the other direction on the other side of the drawn line.

Cut on the drawn line between the two stitching lines. The video shows using the rotary cutter and ruler, but scissors work fine.

FG 3
Press toward the sky squares. You end up with two pieces shaped sort of like a heart.

FG 4

On each of those pieces, pin another of the small squares with the drawn line running from the corner through the “cleavage” of the heart. Sew 1/4″ from both sides of the drawn line, as you did before. Cut apart on the drawn line, and press toward the sky triangles.

FG 5

What is the difference in fabric used for the two methods? I’ll use this example, with flying geese units with finished measure 3″ x 6″. To make FOUR units this size:
Stitch-and-flip requires 4 (units) x 3.5″ x 6.5″ = 91 square inches of the base fabric, and
4 (units) x 2 (per unit) x 3.5″ x 3.5″ = 98 square inches of the sky fabric.

Four-at-a-time requires 7.25″ x 7.25″ = 52.5625 square inches of the base fabric, and
4 x 3.875″ x 3.875″ = 60.0625 square inches of the sky fabric.

For this size example, stitch-and-flip requires substantially more of each fabric, compared to the four-at-a-time method. While that might not seem like much, if you need a lot of geese, it adds up quickly. I don’t always have that much more fabric available. Note that different sizes of flying geese will have different outcomes on this calculation, because of the proportion of the seam allowance compared to the rest of the unit.

One more alternative is to create the effect of flying geese using half-square triangles. Instead of 32 flying geese, I could have used 64 half-square triangles. I chose not to do this because I wanted the toile of the base fabric unseamed.

A trimming tip: if your geese are slightly too big and need to be trimmed, make sure you leave the point, or “beak,” intact. Trimming at the bottom, along the “wings,” will be less noticeable.

Do you use flying geese in your quilts? Do you have a favorite way of making them? Questions or comments?

Lessons: Unpieced Borders (aka “Strip” or “Slab” Borders)

One of the biggest stumbling blocks making medallion quilts is getting borders to fit. Pieced borders provide their own special challenges. But plenty of quilters, of any kind of quilt, have trouble with unpieced borders.

When I started quilting, almost every block quilt or strip quilt had an unpieced border, or perhaps two. Books on quilting gave recommendations to make the width proportionally pleasing to the center of the top. Too wide and it would look like you’re trying to make the quilt bigger. Too narrow and it wouldn’t have enough visual impact.

Quilt police chimed in with edicts to join lengths together at an angle, or with a perpendicular seam, depending on their own preferences.

Patterns continually called for cutting border strips across the width of fabric.

Most sources recommended measuring the quilt center in three places (the same direction) and averaging those three. Somehow, that would magically make your border fit.

And occasionally I saw instructions to mark the center of the border strip, the center of the top, and perhaps at the quarters, and pin those marks. Usually it was recommended to pin every few inches in between.

Whatever these instructions did, they did not, generally, make borders fit better. I’m in a longarm quilting group in Facebook, and badly fitting borders might be the number one complaint quilters have about their customers’ work. They share photos of the worst cases. Once a top is loaded on the frame, it’s easy to see the ripples and waves of excess border fabric. That will not quilt out!

How does this happen? A lot of ways. The most common, I expect, is that people cut a long strip of fabric, probably across the grain, lay it on without measuring or pinning, and sew. As they sew, they smooth the border out, continuing to stretch it farther and farther as compared to the quilt piece below it. The feed dogs pull slightly more against that bottom layer, making the problem even worse. It’s almost like gathering a skirt by having more fabric on one layer than on another, and easing it in. Do you do this? I have!! What a mess!

Medallion quilts often use unpieced strips in the interior, as well as outer borders. Rippling inner borders make it nearly impossible to correctly fit the next borders to them. You can sew it on, but the distortions will make a flat, squared top impossible. The flatter the top, the more easily it can be quilted and the better it will look finished.

There are easy ways to make borders fit better. Here are a few tips.

  • Square the center’s corners before attaching a border. Splayed corners will multiply if they aren’t fixed. (The “center” is everything that is already assembled into something that will be bordered. If you are adding multiple borders, each new border becomes part of the center once it is attached.) Use your largest square ruler to check the center’s corners. If the center’s edges don’t align to the square, you can either trim them to square, or adjust seam allowances perpendicular to the edge to improve the shape. OR if the problem is minor, attach the strip border and then trim it to square.
  • Cut border lengths along the selvage if possible. The grain is more stable than on width-of-fabric, meaning you’ll get less stretch and distortion.
  • If you need to join lengths, use a perpendicular seam. It is easier to align the pieces correctly this way. You won’t have a bias seam to stretch. And the seam is shorter than if joined on the diagonal, so any mismatch in the print extends for a smaller length.
  • Determine the correct length of the strip border and cut it to size. (More on that below.)
  • Pin. A lot. A lot of pins. Smooth the center its full length and find the middle of its edge. Mark that point with a pin. Find the middle of the border strip and mark that point with a pin. Match the middle-point pins. Remove the pins (each through only one layer) and pin the two layers, center and border, together at that point. Smooth the border strip along the center’s edge until it reaches each corner. Pin the corners. I pin near each corner twice, about a half inch apart. It keeps the layers from shifting at the start and end of sewing. If you’ve measured and cut your border correctly, and if your center isn’t too out of square, the two pieces should fit well together. Pin about every 2″, easing with more pins where needed. (Why pin so much? The pins allow you to ease the layers together where they don’t fit exactly. And they help support the weight of the layers so they don’t shift, which makes sure your seam allowance maintains its width. The bigger the center is, the more weight and the more closely you need to pin.)
  • If you have corner blocks, they will be on the third and fourth strips of the border set. Begin your pinning by matching the seams of the corner blocks to the first and second strips of the border set. Continue to pin as above.
  • Secure your long seams by backstitching at both ends.
  • Use your walking foot (even-feed foot) if it helps keep the layers from shifting, giving a smoother seam.

How to determine the correct length of the strip border
When I began quilting, I relied heavily on a few online sources of information (and back then, there were only a few!) One of them was Bonnie Hunter of Quiltville.com. (She still has great stuff on her site. Take a look around, especially at her Tips & Techniques.) Bonnie has a whole page just on border hints, and this is where I learned to cut and attach border strips.

According to Bonnie, the best way to assure your border will fit and your quilt top will lie flat is to use one measure (for each direction) across the center of the quilt top. She says:

Some people take several measurements across the quilt and average that measurement for borders. (hear me gasping in fright here!) I *NEVER* “average” when measuring for borders because they can still flare, and where they are going to flare the worst is at the center of the quilt sides…That’s why the CENTER measurement is the one to go for. If the ‘averaged’ measurement is longer than the quilt CENTER measurement, you are GOING to have a flared border. If the ‘averaged’ measurement is smaller than quilt  center measurement, you are going to have borders that are too tight for your quilt center, and the center of your quilt is going to balloon out. Just use the center measurement and your quilt will lie flat!

How to get that centerline measurement? Should you hold the quilt top in your lap and move the measuring tape across it a few inches at a time? (Can you see my eyes rolling?!?) No.

  1. Lay the quilt top out flat, preferably on the floor. If you don’t have enough room to spread it out, you can bunch up or fold in the sides. But the center must be spread out flat in a straight line, without twisting. Smooth it out without stretching, just to flatten it to the floor.
  2. Cut two border strips for that direction and stack them on top of each other. Cut one end perpendicular to the length.
  3. Lay them across the center. Start with the cut end flush with the edge of the quilt top. Smooth the strips out so they are flat against the center. Don’t stretch them!
  4. Mark the other end of the top strip using a straight edge and pen or pencil.
  5. Cut the strips on the marked line.
  6. If you will have corner blocks, repeat with the other two strips in the other direction prior to sewing the first two strips on. If you won’t have corner blocks, sew the first two strips on, and then repeat.

Click on any photo below to open the gallery.

I’ve applied hundreds, maybe thousands of borders using this method. My quilt tops are almost always square and flat. Thanks to Bonnie Hunter for the lesson!

Turning a Block On Point Twice

Friday Jim and I drove down the Mississippi River from La Crosse, WI. We were returning from a two week trip to see our son, who lives in Washington state. With 2,000 miles behind us on the train, it felt great to switch to our own car.

In Prairie Du Chien, WI, we stopped for lunch. On one wall of the diner hung a quilt with a patriotic theme. It was a medallion quilt, centered by a stylized American flag. The flag block was turned on point twice, emphasizing its importance and creating a nice, large center.

I liked the setting, and especially liked that a non-square rectangle was turned that way. It’s a setting I haven’t used myself.

I’ve written plenty about turning large blocks on point to center a quilt. In one post I described the types of blocks suited for an on-point setting, if it is only turned once. In another I showed how to do that, with the math needed to cut your setting triangles large enough. I’ve also written about turning small blocks twice, creating an “economy block.”

But I’ve never written about turning a larger rectangular block twice. Here are some cool things I learned about it.

*~*~*~*~*

The Part I Already Knew
If you turn a square block twice, you’ll double its dimensions. Consider an example of a 15” block. Turn it twice with an exact (not over-large) setting, and you will create a block that is 30” wide. Using the math for diagonals,
15” x 1.414 = 21.21”.

Now turn it again:
21.21” x 1.414 = 30”.

This block setting is often called an “economy block.” It’s an especially effective way of highlighting a small centerpiece, such as a special or fussy-cut piece of fabric.

Economy block setting – a square turned on point twice.

The Part I Didn’t Think About Much, But Probably Knew, Too
As it turns out, you can do this with non-square rectangles, too.

Non-square rectangle, squared first with unequal triangles, and again with equally-sized ones.

The Part I Didn’t Know, And Figured Out Last Night
The size relationship for both types of blocks can be generalized, and is far easier than multiplying by 1.414. If the length of the inside shape is A, and the width of the inside shape is B, the distance across the diagonal of the interior square is A+B. That means the length of the exterior square is A+B.

In the economy block example above, the interior square is 15”.
The resulting block is 30” square, or 15” + 15”.

In the second example, if the interior blue rectangle is 12” x 18”,
the resulting block is 30” square, or 12” + 18”.

The next time you want to frame a rectangle with setting triangles, remember how easy it is to determine the finished size. Length plus width of the interior rectangle (square or not!) is the width of the resulting square.

Ain’t math fun? 🙂

Giving Credit and Avoiding Copyright Violations

There’s a new skirmish in the quilting community. Apparently the admin for a Facebook group used tutorials and patterns created by other people, without attribution. When challenged on it, she kicked the complainers out of the group and made the group private.

Stealing is wrong, and though I don’t know the details of this story, it sounds like the admin did the wrong thing.

A couple of bloggers/quilters I respect have written about the incident and how to avoid copyright infringement. (See Sam Hunter’s post and Lori Kennedy’s post.) I’ve written about it, too, with some different links and thoughts. Since the last time I posted about it was a couple of years ago, I’ve updated that information below to provide it again.

Do you remember Robert Fulghum’s famous essay? “All I Really Need To Know I Learned in Kindergarten” begins like this:

Screen Shot 2015-09-01 at 5.20.28 PM

The essay was published in Robert Fulghum’s book All I Really Need to Know I Learned in Kindergarten. I am using this excerpt based on “fair use” rules for copyright.

Honestly, we don’t share everything, but I know bloggers and crafters are incredibly generous. Mostly we don’t hit. And as to messes, what happens in your studio should stay in your studio!

But there are three things here I think we should take seriously. One is playing fair, and one is not taking things that aren’t yours. And when we do mess up, we should apologize.

I see two separate areas of trouble when it comes to playing fair and giving deserved credit. One is for bloggers, and the other is for quilters and crafters. Obviously the two groups overlap.

BLOGGERS
Sometimes, in enthusiasm to share cool stuff and brilliant thoughts, bloggers use work that is not their own. Using information from other people might include photos, words, charts, tables, logos, or illustrations. The easiest violation is with photos. I wrote some about this earlier this year.

Are you sharing photos of someone else’s work? (This happens a lot after quilt shows.) Did you give them credit? There are both ethical and legal concerns on this. Legally there are copyright rights to the photo itself, and also to the creative work being photographed, such as a quilt. I am not the best person to speak about the legal issues, but I know enough to be very careful about sharing photos of anyone else’s quilts. In fact, unless I am linking directly to a picture someone else posted, I pretty much don’t do it anymore. (Some photos are in the public domain, meaning there is no copyright protection. Those can be shared freely. Still, information about the creator and the owner of the work should be included.)

Ethically, using someone else’s work without crediting is taking something that’s not yours, and it’s not playing fair. Ask yourself how you would feel if a photo of your quilt appeared in various blogs, but the bloggers didn’t have the courtesy to credit it with your name, or a link back to where they found your glorious quilt. Or even to ask permission to use the picture.

If you’d like more information on posting other people’s content appropriately, see a really helpful post from HubSpot Blogs. It is on citing sources and not stealing other people’s work on the internet.

QUILTERS, SEWISTS (SEWERS), CRAFTERS, ET AL
When it comes to creating tangible (rather than digital) work, there are other ways to take things that aren’t yours. Here again, there are obvious (I hope!) examples of wrong-doing, as well as others that might seem more grey.

First, a lot of people see no harm in copying a pattern that someone else purchased. If your friend buys a pattern and you want to make the same thing, you can just make a photocopy or scan of hers. In fact, your whole bee or swap or small group can have copies, too, right? But there is harm, as it deprives the creator of pay for their work. Imagine working — many hours of effort — to create a product for sale. Imagine someone taking it without paying for it. That is stealing, plain and simple.

Sam Hunter wrote about this better than I can. When a friend-of-a-friend stole one of Sam’s patterns rather than paying for it, it created a sticky situation, to say the least.

And remember, this isn’t true just of patterns that you buy one at a time. It also counts when you didn’t buy your own book or magazine patterns, but photocopied someone else’s instead.

Now comes the harder part, the grey area. Now also comes the caveat. I am NOT an attorney and am not providing legal advice. Most of the information provided below is based on two posts by Jen Bernstein. [Links below.] She is an attorney, but she also is not providing you legal advice. If this is an area of concern for you, please retain your own attorney. 

The design (what a quilt or project looks like) and the pattern (instructions of how to make it) are separately copyrighted. So let’s say you see a quilt and don’t want to buy the pattern. Instead you spend time figuring out how the block is made, how many of them there are, and how big they likely are based on the size of the original. You draw it all out in EQ7 to get your layout and fabric requirements. Ta-DAH! It’s all good, huh? Well, maybe not.

Depending on how closely “your” design matches the original, you may have infringed on a copyright. For more information, see Jen Bernstein’s guest post “Can You Copyright a Sewing Pattern?” on Abby Glassenberg’s While She Naps blog.

Don’t take things that aren’t yours. That’s the legal part of this. Now I’ll return to the ethical part: play fair. To me that includes acknowledging others for their inspiration and contribution.

That might mean literal acknowledgment in blog posts and Instagram and pins, or on labels. Some people say when you label your quilts, you should include the pattern and designer’s name, or the source of inspiration. I’m not likely to put that stuff on labels (I design my own quilts), but I agree with the intention.

Or it might just mean having an attitude of gratitude when we create. None of us is the first ever to make a quilt. That happened thousands of years ago. Regardless of how original we think we are, how fresh our designs, we were inspired by something.

Even if we are “self-taught,” likely that means learning from online sources or books, which someone else wrote and made available to us. We should be proud of ourselves and our work — we do amazing things! But we can be humble enough to feel gratitude for those who came before us, and for those who work by our sides.