Scrappy Blue Diamond Quilt

My blue scrap bin has been overflowing, even after I pulled out an assortment of light and dark blues for the pinwheel quilt I posted last time.  Many of my scraps are long strips, so I decided to make a blue quilt using these strips. I also cut more strips, ranging in width from 1 1/2 inches to 2 1/2 inches wide.   All these strips came out of the blue scrap bin, often from wider strips.  The length of the strips varied from 5 inches to 40 inches.

I cut out a bunch of 6 1/2 inch squares from newsprint to use as foundations for the blocks.  The blocks I made used light fabrics on one side and medium/dark on the other side, as shown in the photo below.  I found I had to mark a straight line on the wrong side of the fabric to ensure the seam was straight.  In spite of the spiffy laser line on my new Brother machine (more about that in another post), I couldn’t get a really straight line without marking.

Six inch finished blue diamond block

Six inch finished blue diamond block

After I had 80 blocks made like this, I arranged them into diamond shapes and sewed together the blocks to make the quilt top below.

Scrappy Blue Diamond, 48 by 60 inches

Scrappy Blue Diamond, 48 by 60 inches

There were lots of strips left over so I used them to make the quilt back as shown here.  I had been careful to stay with a limited blue palette in the blocks so the colors would blend, but I used some stronger blue colors in the back.

Strip pieced back for blue diamond quilt

Strip pieced back for blue diamond quilt

And here is what is remaining in my blue scrap bin.  It doesn’t even look like I made a dent in it!  Actually I did, because before I started it was hard to get the top closed.   I used up most of the lights but still have plenty of medium and dark blues left.

My blue scraps after finishing the blue scrappy quilts

My blue scraps after finishing the blue scrappy quilts

I think it is time to either get serious about managing my scraps or give them away!  More about scrap management in another post coming up — several quilters have developed systems for organizing scraps, and I’m going to investigate them to see if I like one.

Hand-pieced Scrappy Triangle Quilt

While I was traveling this summer I took along some hand piecing work.  I cut a bunch of light and dark five inch squares from my green and blue scraps.  I marked lines 1/4 inch to each side of the diagonal on all the light squares, then pinned each light square to a dark one (right sides together, of course).  Then I hand pieced by sewing along the marked lines.  Once the lines on both sides of the diagonal were sewn, I cut down the middle between the stitching and the result was two half square triangle blocks.

After I got home i put the squares up on my design wall and arranged them until I had a pleasing pattern.  I used a sort of expanding pinwheel pattern, but lots of other patterns are possible.

Here is the resulting lap-sized quilt top.  The finished blocks are 4 inches.

Blue Green Scrappy Triangles, 40 by 48 inches

Blue Green Scrappy Triangles, 40 by 48 inches

I like the result and it was nice to have a portable handwork project along.  Not very speedy, though.  I probably could have done the quilt top in a day at home on the machine!

Make a Thread Tension Sampler for Free Motion Quilting

I have taken a break from quilting for a couple of months because I was travelling.  When I started up again things just weren’t working very well.  I couldn’t seem to get the thread tension adjusted so that my free motion quilting looked good.  I decided it was time to go back to basics, do some testing  and create a reference sampler.

I made the sampler from a half yard of  a high thread count fine cotton that I buy by the bolt.  I use this fabric for printing photos onto fabric and for painting.  So it was available.  The test results I got might be different with a regular thread count cotton — perhaps I will do another test.  I just bought a large amount of Moda muslin so if I do another test, I will use that.  But for now here is what I found:

Results vary widely depending upon the thread used, both top and bobbin.  The best tension was 4.0 (the default setting on my machine) for a combination of Madeira size 40 Rayon top thread and size 100 silk bobbin thread.  The best tension for a Mettler size 50 cotton top thread and Superior Masterpiece 50 cotton bobbin thread was 7.0.  I will keep my sampler piece around for reference in the future when starting a new quilting project.

Here is a photo of my sampler, which is about 16 by 20 inches in size.   I used 80/20 batting and quilted a grid with rectangles about 3 1/2 inches high by 5 inches wide.  The exact dimensions don’t matter.  For each thread tension, I stitched in an area about  2 1/2 inches  by 3 1/2 inches, making sure to stitch several straight lines and sharp corners and a number of varying sized loops.  I used a .05  micron Pigma pen, but any fine point permanent marker will do.  It is important to make lots of notes on the fabric so you can remember how you stitched each section.Sampler made from 1/2 yard of fabric.

Sampler made from 1/2 yard of fabric.

As you probably know, there isn’t much consistency in thread sizing.  Mettler makes a rather “fat” size 50 thread.  Superior Masterpiece is a thinner size 50 thread, as are size 50 threads from Aurifil.  Even finer are the Superior “So Fine” polyester threads.  Superior Bottom Line is a size 60 polyester thread, thinner yet and intended for the bobbin.  Size 100 silk is extremely thin and available from both YLI and Superior.   All of these, and many others, are high quality threads that can be used in your quilts.

Here is a closeup of the front side of the Mettler/Masterpiece test.  The top view looked fairly good and about the same for all four of the tension settings I used.

Mettler tension test.  Top thread Mettler size 50 gray.  Bottom thread Superior Masterpiece size 50 white

Mettler tension test. Top thread Mettler size 50 gray. Bottom thread Superior Masterpiece size 50 white

And here is the back of the 4.0 and 5.0 tension settings.  As you can see, the gray top thread has come to the back and looks pretty bad, especially for the 4.0 setting.

Back side of Mettler tension test sampler, for 4.0 and 5.0 thread tensions, showing the gray top thread coming through

Back side of Mettler tension test sampler, for 4.0 and 5.0 thread tensions, showing the gray top thread coming through

The 6.0 and 7.0 settings look much better.  The 7.0 is the best.  You probably can’t tell that from these photos.  I will show a couple of closeups of another test later that show you a better view, more like what you will see when you look at your own stitching close up.

Mettler test back side for thread tensions 6.0 and 7.0.

Mettler test back side for thread tensions 6.0 and 7.0.

And here is my test using Superior Bottom Line, a size 60 polyester thread, in both top and bobbin.  The best tension setting was 5.0.

 

Superior Bottom Line front of tension test sample

Superior Bottom Line front of tension test sample

Here is the closeup of the back for the tension 4.0 result.  You can see the top thread coming through and the bobbin thread taking a shorter path around the curve, because the top tension is too loose.

Superior Bottom Line thread tension 4.0 from the back, showing tension is too low.

Superior Bottom Line thread tension 4.0 from the back, showing tension is too low.

And the same effect happened on the front for the tension 7.0 result.  Here the top tension is too tight so it pulls the bobbin thread up, and now the top thread is taking the shorter path around the curve.

Front side of Superior Bottom Line thread tension 7.0 stitching, showing bobbin thread pull through because the top tension is too tight.

Front side of Superior Bottom Line thread tension 7.0 stitching, showing bobbin thread pull through because the top tension is too tight.

These tension problems are less obvious when the top and bobbin threads are the same color, and when the color matches your fabric.  And an occasional tension irregularity will happen in any quilt if the thread doesn’t feed quite smoothly, or you don’t move your quilt smoothly.  But the overall result will be much prettier if you get the initial tension setting right.  A sampler like mine, stitched out on your own machine using the needle, threads, fabric, and batting you use most often, will help you get the setting right on every quilt with a minimum of testing.

Book Review: “The Creative Habit: Learn it and use it for life” by Twyla Tharp.

This book was recommended by Elizabeth Barton in the class I took from her this spring through the Academy of Quilting. I have been slowly reading it ever since. I am still not finished, but I have read enough to highly recommend it.

This book is written in a very conversational, down-to-earth style.  All the concepts are illustrated with real-life examples, and numerous exercises are included to help the reader understand their own creative motivations and how to get started and keep going through the creative process.  The author, who is a dance choreographer, talks about what it is like to face a looming deadline for a performance, knowing that somehow the creative ideas will come and that she will be able to create a dance. She has given a lot of thought to the creative process, and developed many practical tools and habits that facilitate creative development. I particularly like the discussion about “scratching for ideas”.

What I have learned from this book is that understanding the creative process and having the “tools” to use it can make the difference between a craftperson who copies the work of others and an artist who creates genuinely original work. And it helps to understand that all artists, no matter the medium, go through the same intimidating process of coming up with ideas and turning them into finished work.  Importantly, there is plenty of emphasis on the hard work and investment of both time and emotional energy that it takes to get from that vague beginning of an idea to a finished piec of art.

If you have the goal of becoming a creator of truly original art quilts – and it is perfectly OK if you don’t – this book is an excellent resource.

You definitely won’t find this book at your local quilt shop, so here is a link where the book can be purchased at Amazon: The Creative Habit: Learn It and Use It for Life

Quick notions holder made from a placemat

Some years ago (close to ten) one of my friends at my quilt guild was using a small holder she had made from a quilted fabric placemat.  It was so simple that I made two for myself from a couple of old placemats I had at home.  Recently I decided to make a smaller one for travelling.  I had a little demonstration quilt left over from my binding class so decided to use it.

The “full size” version of this holder uses a placemat and four gallon-size zippered freezer bags.  The smaller version I made uses four quart-size zippered freezer bags.  The demonstration quilt I started with is 8 inches by 18 inches.  Here are photos of the outside and inside of the little quilt.

Outside of Notions Holder quilt

Outside of Notions Holder quilt

Inside of notions holder

Inside of notions holder

Working on the inside of the holder, I placed the four freezer bags with the “zippers” on the left and right ends and the zipper edges staggered a little bit as shown in the photo below.  Two bags face to the right and two to the left.  I used painters tape to hold the bags in place.  The bags overlap in the center so I can attach all of them with one seam down the middle.

The four quart sized freezer bags taped in place before sewing

The four quart sized freezer bags taped in place before sewing

Then I sewed through all the bags and the quilt along the center line with a lengthened zigzag stitch.

The bags are attached with a zigzag stitch down the center

The bags are attached with a zigzag stitch down the center

I cut away the bottoms of the bags that were closed off by the stitching, leaving a little edge so the bag wouldn’t tear along the stitching.  This edge will not even be noticeable once the notion holder is finished.  Then I did an optional step, which I didn’t do on my original larger notions holders.  I applied hem tape over the zigzag stitching and stitched it down with a straight stitch on each side.   Use a normal length or slightly lengthed stitch; a very short stitch will puncture the bag more and weaken it.

hem tape covers the zigzag seam

hem tape covers the zigzag seam

The tape makes the whole thing look a little more finished.  I don’t know if this helps strengthen the  attachment of the bags. My original bags, now used for nearly ten years, are still going strong so the tape isn’t really necessary.

After applying the tape, I stitched one side of a two inch strip of Velcro to each edge to close the holder.  You could use a ribbon, a snap,  or a button if you prefer.  Since the Velcro will get used frequently, I stitched it down all the way around so it will be secure.

A strip of Velcro tape on each side provides closure

A strip of Velcro tape on each side provides closure

Here is a photo of the holder with some notions in it.  If the labels on the bags bother you, they will come off easily with a cotton swab and a little rubbing alcohol.  I did that after I took this picture.  Notions in the bags will be more visible with the labels removed.

The inside of the completed notions holder

The inside of the completed notions holder

I am pleased that I was able to make this holder quickly and make use of the little quilt I had.  If you want to make a full size one, most any fabric placemat will work; they don’t have to be quilted.  I prefer quilted ones because I often use the inside of the cover to hold pins and needles.  Of course you can make your own “placemat” also.

I use one of these to hold accessories for the sewing machine I normally take to classes, and use another to hold hand sewing tools and other items that I take to guild meetings.  I’m sure you can think of many uses also.

Zentangle drawing and quilting

In my gallery are photos of several quilts I have made from Zentangle drawings.  Zentangle (www.zentangle.com) is a recently invented art form that is a beautiful kind of structured doodling.  In its simplest form, practicing zentangle requires nothing more than small squares of good drawing paper (stiff paper is best), a few good drawing pens, and a couple of soft pencils.   Pigma pens are recommended but you can use many others such  as ultra fine point Sharpie if that is what you have.  Just don’t try to use a ball point pen.

These minimal supplies make Zentangle the ultimate portable art form.  Put the supplies in an envelope, tuck them in your purse, and you can amuse yourself easily the next time you are stuck waiting for something or someone.  The process of doing the drawings is very meditative, so it is a great way to distract yourself when life throws you one of those inevitable challenges that you must slog through.

Here are photos of some of my  zentangle drawings.  They look very complicated, but they are produced step by step in such an organized way that anyone can achieve success quickly.  A lot of zentangle drawings are completely abstract, and that is what I did at first.  I would show you those first drawings but I can’t seem to find them right now!  For a couple of the ones below, I was experimenting with some more representational elements.

Zentangle Butterfly

Zentangle Butterfly

Zentangle Abstract

Zentangle Abstract

Zentangle ribbon burst

Zentangle ribbon burst  wouldn’t this make a cool quilt?

Zentangle trees

Zentangle trees

There are many Certified Zentangle teachers available to teach you this art (list at http://www.zentangle.com), but there are also  books available.  As a first book, I recommend “Zentangle Basics” by Suzanne McNeill. Suzanne has written many books about Zentangle; you can find them at your local art supply store or on Amazon.  I will put direct links to some of the books at Amazon at the end of this posting.

Once a zentangle drawing is made, it can be turned into a quilt.  A great book  on this is “Zen Quilting Workbook” by Pat Ferguson.  Suzanne McNeil has also a good book called “Inspired by Zentangle – Fabric Arts Quilting Embroidery”.  The two photos below are quilts I made from designs in “Zen Quilting Workbook”.

Zentangle quilt pattern  from Zen Quilting book

Zentangle quilt pattern from Zen Quilting book

Colored Zentangle quilt, pattern from Zen Quilting

Colored Zentangle quilt, pattern from Zen Quilting

All of these quilts are done by enlarging the design as desired, tracing the design on the fabric with water soluble or iron-away pen, creating a quilt sandwich,  and stitching the pattern outlines by free motion.  The  fine detail lines and solid black areas are filled in with ink.  The softer gray shading is done with pencil.  Colors can be applied in many ways with paints or inks. Although the basic Zentangle form uses just black, white, and gray,  many artists have extended it into various colors.  And some lovely drawings and quilts have been done that are white or silver patterns on a black or other dark background.

One day I did an original  graphic abstract zentangle design and used it for the pocket on a tote bag:

Zentangle embellished tote bag

Zentangle embellished tote bag

Check out my quilt, “Quiltangled Portland” in my gallery. There is also a photo of another quilt there  from one of my original abstract zentangles.  And here are the links to the Zentangle books I recommend above:

Zentangle Basics by Suzanne McNeil  — well, I don’t understand why, but Amazon won’t let me link to this book.  They sell the book, I just can’t make a link to it.  You can go to Amazon and type in the title and you will be able to order it.

Zen Quilting by Pat Ferguson:  Zen Quilting (DO #5375)

Inspired by Zentangle: Fabric Arts Quilting Embroidery by Suzanne McNeil:  #5366 Zentangle Fabric Arts

Happy tangling!

 

 

A new binding corner “tool”

Recently I was sewing on a binding and couldn’t immediately find my binding corner tool made from template plastic.  This is a simple homemade 3 inch square with a diagonal line drawn across the middle, described in my book, “Fast Fabulous Quilt Bindings”.  It works great for marking the corner so you know when to stop sewing as you approach each corner.  Sewing accurate, consistent seams is a critical part of achieving good looking bindings.

So my tool was not available, but I had a pad of Post-It Notes nearby.  I grabbed one of the Notes, lined it up on the corner, stuck it down in position, and then sewed right to the edge of the paper.  NO MARKING REQUIRED!  It is so cool when you invent something completely by accident.

Here is the process.  You are attaching the binding and approaching the corner.  Stop sewing about 3 inches away from the corner as shown in the first photo.

Approaching the corner

Approaching the corner

Slide the binding sideways a little to see the actual quilt corner while you are placing the Note down.

Slide the binding to the left

Slide the binding to the left

Then place the Post It Note down with one corner right on the corner of your quilt and the opposite corner on the raw edge of the next side of your quilt (where you will sew down the binding after you have turned the corner).  Position the Note with the sticky edge on the upper left so that once you have the Note in position, this edge will be stuck to the quilt.  If it won’t stick, you can always use blue painter’s tape to hold it down.

Slide the binding back into position under the Note

Place the Note in position with the right corner on the quilt corner and the left corner on the quilt edge

Once you have the Note in position, slide the binding back in place.

Slide the binding back in position under the Note

Slide the binding back in position under the Note

Resume sewing until you reach the edge of the Note as shown in the photo below.  Backstitch a few stitches.   Your seam is now perfectly positioned at the corner along the diagonal.

Stop stitching as the needle reaches the paper

Stop stitching as the needle reaches the paper

Remove your quilt from the sewing machine, cut the threads, and make your “flip and fold” corner in the usual manner.

 

 

 

 

 

Completion of “Working In Series” quilts

I have completed six quilts in my Working In Series class, and will show all of them in this post.  The class was very challenging and I recommend it highly for any of you interested in producing more art quilts.  Again, the class is taught by Elizabeth Barton through the Academy of Quilting (www.academyofquilting.com) .

Here are the quilts, in the order I completed them.

1.  Blue spheres.  The background is hand painted.  A variety of white on white fabrics were used for the strips.  The spheres started with circles in several blue and green fabrics.  The shading was produced with a white Paintstik (see earlier post for details).

Blue Spheres

Blue Spheres

2. Purple circles.  Deep purple background fabric, lavender strips (some hand painted), and a variety of purple circles.

Purple on Lavender

Purple on Lavender

3. Purple circles on yellow strips.  Half the yellow strips were painted with a diluted brown paint to darken them slightly to add more depth.  The background is dark purple.  A variety of purple and blue fabrics were used for the circles.

Purple on Yellow Strips

Purple on Yellow Strips

4. Black and white and red.  Black background fabric,  A variety of black and white prints for the strips.  Red-orange circles.

BLack and white strips with orange red circles

BLack and white strips with orange red circles

5. Blue, tan, and red.  Here circles were cut out of the original circles.  I like this idea and want to explore it further.

Blue tan and red

Blue tan and red

6. Cream, Blue gray and brown.  The blue gray strip fabric was a handpainted piece left over from a previous fabric painting class taught by Michelle Scott.

 

Cream BlueGray and Brown

Cream BlueGray and Brown

 

I can think of many ways to explore this theme further, and look forward to doing so in the future.

Class Supply Lists and Free Patterns now available here on my blog

I have learned that I can make files available for download here on my blog.  It is so simple I should have done it earlier!

To make things more convenient for the shops I teach at and the students in my classes, I am making the class supply lists available.  They are provided at the bottom of the CLASSES page.  Just click on the link.  As long as you have Adobe Reader on your computer, you should be able to open the file and print it.

I did the same thing with the fourteen free quilt patterns that were previously available only at my Patternspot.com store.  They are available on my PATTERNS page.  Scroll down past the three “for sale” patterns  and you will see the pictures of each free pattern with a file link you can click on to get the free pattern.

Evolving My “Sliced Circles” Designs

Continuing on with my progress in the “Working In Series” class.   I did numerous sketches of fractured circles, split circles, etc.  I went looking for photographs of circular things, and walked around with my camera taking pictures of circular things.  I printed out some shaded circles from my drawing program.  I made some very uninspired sketches and mockups.  A few seemed promising, but didn’t get me excited.

Finally, I found some photos of some interesting old circular gears by searching online.  I printed out the photos and sliced them up, reassembling them into a collage of sorts.  I liked the feel of it and decided to pursue the idea.  I am not showing my cut and paste mockup here because the original photos are copyright protected.  But I will show you where I went from that mockup.

Here is my first mockup, using a watercolor painted background and some shaded spheres printed out from my drawing program:

Sliced blue spheres on white strips

Sliced blue spheres on white strips

You will see the quilt I made from this mockup in a later posting.

I began working on this quilt (I did an earlier post on how I used paint to shade the spheres) but at the same time I was working on variations of the design.  Following are a few sketches that I decided show promise.  Some of them ended up as quilts, and others are waiting to be developed further.

Fractured Circle Study 3

Fractured Circle Study 3

Fractured circle study 4

Fractured circle study 4

 

Fractured circle study 10

Fractured circle study 10

After these sketches I did some of the designs with turned applique and some with fused raw edge applique.  Stay tuned for the finished quilts!