Fall Fabric Art Workshops

I am excited about my upcoming workshops I will be teaching at G Street Fabrics in Rockville this fall.  If you are in the area, please sign up and come.  I understand there are still a few spaces.  These three six hour workshops provide the basic techniques I use in building and quilting most of my wall art quilts.  There will only be eight students with each workshop, to give me time to be available for each student and answer questions.

September 22, 11am to 5pm.  Fabric Art Workshop 1: Applique Techniques to make a top ready for quilting.

Kits for the workshops are available for purchase that includes everything the students need for the projects that will enable everyone to complete or nearly complete each project.  For the applique workshop, the leaves, birds, and dog or cat are all precut with fusible on the back. The student gets to put it all together like he or she wants and different edge finishes are taught as well as how one might choose which finish is discussed.  Threads, needles, and other supplies are included as well as the handouts.

The two quilting classes also have kits of premarked sandwiches with everything one needs to plunge right in and start quilting.

October 6, 11 am to 5 pm:  This is the project for Fabric Arts Workshop II: Quilting with feed dogs up.  Kit has premarked sandwich, thread, a needle, and handouts.

The students will learn there are many interesting results that can be obtained with their feed dogs up.  Of course, a walking foot would always be helpful, but will not be required for this class.  It’s a small 20 x 20 sandwich.

 

October 20, 11am to 5pm, Fabric Arts Workshop III:  Free motion organic quilting.  The Kit for the free motion quilting project is a lightly marked sandwich, with a leaf applique ready to start the class.,  It also includes thread, a needle, and handouts.

Sew I don’t address how to square up and bind a quilt, but I do provide references as to where you can get that information.  There is another part of my work that is also not included and that is surface design and embellishment.  However, I started my art quilt career just using the techniques covered here, and learned how to bind off the internet.  I am considering how I might do a workshop in surface design and embellishment, but not sure I’ll do it yet.  I do provide a bit of information on how you can pull together a design for such projects in the course of the workshops.

Come join me.  There are 8 slots per class and some have already been filled, but if you hurry you might get in.  Contact G Street Fabrics  and ask for the Sewing machine department.

Meanwhile, I’ll go back to making kits…LOL

 

 

Surface Design, Texture, and Embellishment

I love adding surface design, texture, beads, artistic thread work, yarns, and other types of embellishments to my wall quilts.  I think these things, when well done, can take them to a different dimension turning what may be an already nice pictorial/art piece that would be acceptable for someone’s wall to a treasure of a piece that makes the viewer want to stand and look at it for a long time or makes them happy every time they pass by it.

“Well-done” in this case by no means implies perfect, symmetrical, or formal, but it does mean interesting, the right amount, beautiful, technically  good, or just plain fun.  Sew this is what I strive for, although I suspect I will still be trying to make these things work as I see them in my mind’s eye to the last day of my quilting/fabric art life (which I plan on doing for the rest of my life).  But that’s one of the many things that makes playing in my studio so much fun.  Here are a few examples of such work.

detail from one of my deep space quilts with Angelina Fibers and hot fix crystals over a lightly painted background.

 

I learned early on that I needed to draw some guide lines for the direction of the stitching or I’d get them to be blowing around in different directions. Since the water in this quilt is going to look very calm and reflective, it didn’t make since to have the Spanish moss blowing around much. Here you see some of my marks. Also note that I had to break the stitching on several clumps so it looked like the limb is further toward the back from the viewer.

I painted these borders to go along with the vintage panel in the middle.

Sew this week I bought a needle punch attachment for use on my little Bernina 350.  I particularly like the way this little machine, which I purchased to have a machine to carry along with me to classes and other events needing a machine, is rapidly becoming an essential in my studio too.  It will be my “embellisher” now and I also have found it makes wonderful bobbin work with specialty thicker threadsm and makes perfect piecing possible.  I am kind of excited about this.  I plan on making interesting bits on some of my pictorial quilts, like steam clouds coming out of a steam locomotive, tree barks, fluffly little animals, and other interesting textural areas.  I just got a package of wool roving in a variety of natural colors to try it out with.  I also think I will get some other things that work this way…ribbons, sheer fabric pieces, ????

Sew happy everyone!  Try a little embellishing if you haven’t yet and if you send me photos I will post them if you don’t mind.  Send to BettyJo@bjfabricartistcom

Software for Your Fabric Art

Practice painting I did today in Corel Painter

Sew my last couple of posts I’ve talked about the need to learn and practice your machine and quilting.  I don’t know about you, but I also use a lot of software in developing my fabric art.  This, too, requires a bit of practice (nice thing to do when I just want to sit down or am still mulling new ideas around)

I truly appreciate those of you who do everything with pencil, paper, or directly on your fabric.  But one of the things that attracts me to fabric art are the related technologies, and also, I not only find I do a much better job of constructing my pieces when I sketch them all out and print a full sized picture or pattern, but it helps me with a wide variety of decision-making along the way.

I turned mostly to art quilting about a year after my dear Marvin passed in late 2002.  So I’ve been at this now for somewhere around 15 years!  This is astonishing to me.  I have also been quite interested in the tech side of fabric arts for even longer, if you take in in-the-hoop embroidery and computerized machines which I have had now for longer than that.  So I have been collecting software related to my fabric art for a long time, and, while it would be overwhelmingly expensive if purchased all at once, I got it over the years and kept it mostly updated, spreading out the costs.

It started small.  I took a class online from the Pixel Ladies who used Photoshop Elements.  I learned that I could print large patterns using Excel spreadsheets and tape them together.  That opened up the idea to me that I could design my own quilts, quilting designs, and even fabrics using the computer and testing all the colors and placements and so forth without any fabric and stitching to undo or waste in the beginning (note that this saves a lot in the cost of fabrics and threads too).

I also bought Bernina design software when I got my Bernina 200E (I later traded it in for my 830 LE).  I think it was v5 at that time, but not certain.  I skipped everything until I got version 7.0.   I am going to skip the v8 update to save some money because I don’t think the update has sufficient advancement that I use (this does not mean it wouldn’t work for you) on 7.0.  It took me a long time to learn how to use that and very well.  It has some remarkable functions.  I did though, and even nearly finished a book I was writing on learning this program.  It was very close to being done for self publication when they came out with the update, which points out why writing books on software is not particularly the way to go for me.  I take too long to learn it before I can write it.  LOL

From there, I bought Corel Draw, because I found the Bernina software uses a limited version and I wanted all the bells and whistles.  I also added Electric Quilt somewhere along the way years ago.  And then I bought a Wacom drawing tablet that came with a back version of Corel Painter.

Sew there you go….I was off and running and haven’t stopped since.  I’m still learning all this software and probably will always be.  I have found it cheaper to keep it updated at least every other version than let it get old and needing to buy the whole package.  Besides, Corel, especially, gives you some really good buying opportunities once you become their customer, and if you watch carefully, you can often get the updates for much cheaper than the retail price.

Anyway, the point of this is that this year, the year I wasn’t going to buy any new software (heh heh),  I ended up updating everything (except Bernina software), including my Wacom tablet (my old one was 14 years old and had just decided to retire…i.e., it became a paper weight).  And then my son David hooked up his old smaller monitor for me so I have two monitors (really terrific advance and it was free).  So now I have  at my finger tips (and yes, I share it with some of my friends when they come over):

  • Corel Painter 2019 (for painting and fabric design)
  • Corel Draw 2018 (for illustrative drawing, pattern making, and digital work with Bernina design software)
  • Bernina Design v7 (for in-the-hoop embroidery)
  • Corel Paint Shop Pro (for photo editing similar to Adobe Photoshop…I like it better)
  • Electric Quilt 8 (for figuring out how to use a pictorial piece with borders, for designing utility quilts)
  • And several related smaller pieces that came with these items to make them work best.
  • The latest Wacom Intuos Pro tablet with really nice artist’s pen that came with it.  It works with all the above like having a pencil or brush that responds to pressure and turns in some of the programs.

I like Corel because you don’t have to subscribe to it. It also is very powerful, and I can use all the pieces together, and it has great webinars and other tutorials to help you learn it.

So to make a quilt design I might dress up a photo in Photoshop Pro and send it over to Corel Draw for turning pieces into patterns (maybe I liked a flower in the picture, but nothing else), and then to Corel Painter to use as inspiration for fabric pieces and concept design, then put it all together back in Corel Draw where I make a full sized printout or printouts (prepping a fabric file to send to the fabric printing company for larger pieces, for instance).  Then I would maybe design embroidery elements (like lions on the vests in Pendragon or the small wall hangings on the wall).

Now that I have this terrific design setup, for which I am very grateful, I am working to learn it better and practice it more, because I have a ton of ideas how to use all of this.

  1. I am writing a book (or is it three books) on Fabric Art skills that covers everything from the design phase through the making skills, surface design and embellishment, and finishing. It includes patterns, samples, and quilting designs in it (them), and I am hopeful of getting it out by the end of September (but don’t hold your breath).  I’m sure you can see the need for such a setup for this.
  2. In the process I have learned how to make to-size patterns you can print on your regular printer and tape together.  So there will be some of those coming also.
  3. I have already started using digital painting printed on fabrics in my show quilts.  Pendragon has a back castle wall and all the faces that were printed on fabric and used in the construction of the quilt (along with a plethora of other techniques).  I also used a considerable amount of small in-the-hoop embroidery pieces that I digitized myself in Bernina software.

    Pendragon, 34 x 45.  This quilt has been selected for the juried show at IQA Houston this fall.  I’m so excited.

  4. So I am currently working on trying to figure out a design for my next show quilt using this setup.
  5. And finally, well maybe only finally for now, I am thinking of developing a fabric run to assist pictorial/landscape fabric artists and submitting it to fabric companies to see if I can get someone interested in my ideas.  Wouldn’t that be fun?

Sew what did I learn from all of the years working with these technologies?  Learn the software, keep it updated more or less, you can skip at least every other update unless they give you a great deal and have a lot of improvements, practice, and use it to help you save money of fabric, thread, and accompanying items, and it can really help you improve over the years…you can keep your records of your struggles too for future reference.

Sew happy everyone!  If you have design software, it can really open new ideas and opportunities for fabric art if you spend a little time learning and practicing them.  Blessings everyone!

 

 

Building a Pictorial Quilt Part Three: Working with Threads

As I work through my Bayou quilt, and think about past quilts I have made, I realize how much one needs to pay attention to the adjustments, needles, cleaning, setting, and other requirements for optimum machine performance as you use the varying types of techniques, fabrics, and threads.

Threads

Today I am adding more Spanish moss in differing colors of Aurifil’s wool 12 weight thread and additional wool yarn couching using Superior’s almost truly invisible Monopoly.

I was having problems this morning with my wool thread breaking and breaking after hours of working well.  So I stopped and did a thorough clean and check of the machine, oiled it, and added a new 100/16 Superior titanium top stitch needle.  When I cleaned the bobbin, I found a large bunch of wool fluff both outside in the bobbin casing area and in the bobbin casing itself full,  and I blew air through the upper tread track and dislodge additional wool fluff.  I like this thread, but it does require frequent machine cleaning, loosening the top tension, and really fresh needles.  I doubt it would be possible to make wool thread that didn’t do that, although Aurifil’s is excellent.  It is actually 50 percent wool and 50 percent acrylic. I also use a tooth floss threader to thread this through the needle (and the take up lever hole on my Bernina Q20).  I haven’t had the same breakage problem since I did the cleaning.

The Spanish moss here is Aurifil’s Lana wool/acrylic 12 weight thread.

When I am couching using my Bernina Q20, I use Superior’s monopoly.  I truly cannot see it well enough to make sure it is always threaded through the machine right.  Over the past little while, I have found that this thread works best with a universal 70 needle.  I don’t think I could go smaller using this powerful machine, but when I am using my Bernina 830 or Bernina 350, I use a 60 universal needle.  I haven’t figured out why it works better with the universal needle, but it does.  I have almost no problems with it, though I do lower the top tension significantly on all the machines when using this thread.  This thread makes wonderful couching thread when using the machine method that stitches through the yarn or cord.  It basically buries itself down in the yarn and disappears.  In the past, I have also used this thread to quilt over and around painted, appliqued, or thread embroidered areas of a quilt.  I don’t particularly like overall quilting using Monopoly, because I like to see the thread most of the time, even if it is nearly matching and you have to look to see it.  I have used it though when I am quilting through an area that has multiple colors and no particular single color or even variegated thread would work right.  I actually use a magnifying glass to work with this thread.

The gold Celtic border was outlined first with gold thread, then painted with gold paint, but it had no over and under view until after it was quilted with Monopoly thread. I will be using this technique again.

Yarns for couching are really another bit of my stash that might end up growing, but I hope to keep it kind of small.  Still it is exciting to work with.  My machine likes the smoother yarns and cords the best, but I want to use some of the less smooth ones, like the Shetland wool sport weight I am using for the limbs of my trees.  I can see this yarn making whole tree trunks and limbs.  It has various slubs and smooth sections that produces wonderful depth of character.  acrylic yarns are really smooth and even and make wonderful fills.  I’m still learning this element of my pictorial fabric work so I will talk more about it later.  I have found lots of help in learning this from Bethanne Nemesh’s couching work.  She has generously shared much of her techniques on both Facebook videos [only one example…she has several there]  and her blogs.

For background work, I often use Superior’s 100 weight Microquilter or its Kimono silk 100 weight.  This thread seems to call for a small needle also.  I use 60/10 or 70/11 topstitch needle depending on the density of the quilt I’m stitching through.  I sometimes have had to go up to 80/12  topstitch needles when stitching through multiple applique areas or heavily thread embroidered areas.  This thread also requires a lower top tension, just like the Monopoly, though not quite as low.  I  am not giving numbers because everyone’s machine and fabrics are just a little different, so you need to do a sample using the actual fabrics and threads you have on your quilt.

Sttitching on the space dust on one of my deep space quilts using 40 weight variegated Fantastico by Superier.  The background stitching you see here was done with 100 weight Kimono silk.

Sew for most of my quilting where I want the design to really show and machine embroidery, though, I usually use a 40 weight thread of some sort with an 80/12 or 90/14 Superior topstitch needle, depending on the fabrics and threads I am using.   Most of the time I use the 90/14 and it seems to make a great general needle.  My favorite threads for this are Superior’s Fantastico, Magnifico, and Rainbow (they no longer make this thread but I have a lot of it), and when stitching things like rocks or places I don’t want any shine, I use King Tut.  King Tut, a cotton, definitely requires the 90/14 needle.   I also like Aurifil’s 50 weight cotton when I need it a little less visible, but don’t want to use a polyester for some reason.  I use the 80/12 needle with Aurifil 50 weight cotton.

Isn’t this fun?!!! There are soooo many wonderful possibilities to make your pictorial quilt come to life now…I could work hours and hours and hours on it, except my body demands I stop from time to time and walk or stretch or breath….LOL.

Sew happy everyone!  Try out all those wonderful types of threads.  Just get the smallest spools at first so you can figure out whether you like them or not and how they might work for you.  Then make a sampler.

 

 

 

 

 

Building a Pictorial Quilt Part Two: Making a Tree

One of the most fun I have when making a pictorial quilt is making trees, mountains, rocks and water scenes.  Making these wonderful natural landscape items do not require perfect lines and matched points.  So each kind and size of trees I need to “grow” on a quilt may require a different technique and plan.  I have to consider the distance, the species, where the light is coming from, and then decide how to make them.  Here are a few examples:

Here the trees surround the house. For these trees, I digitized them on my Bernina Software (even the tiny trees have little leaf shaped leaves, though I think that is lost a bit to the viewer because of the size). I then stitched them out on black nylon veiling with wash-away stabilizer and free motion appliqued them onto the quilt top with matching thread.

 

This small tree is the stitch out from an olive tree I digitized in my Bernina software on wash-away stabilizer. I placed a tree photo in the art side and traced it by hand digitizing it in the embroidery side of the software. The same could be done by drawing it onto a piece of wash-away stabilizer with Crayola washable marker and free motion embroidering it. In this case I would advise using a layer of black nylon veiling to hold everything together.  The advantage of black nylon veiling is that it can be cut very close to the embroidery (without cutting through the stitching) and the little bits left tend to disappear when you applique it on…often covered with applique stitching. Note that when you soak away the stabilizer, the Crayola marker goes away also.  This happens to be laying on a paper towel, in case you are wondering.

 

Here you see the trunks of some big Cyprus trees in my current ongoing project. I cut the applique shape from different types of commercial woody type fabrics. So then I did highlighting and lowlighting with Shiva oil paint sticks and a stiff brush, then heat setting with my iron (covering it with a paper towel to absorb excess oil paint. I plan on adding a layer of wool batting behind the trees to give them a little more depth because the trees require considerable stitching to make the base look like the Cyprus, but this is how I started these trees.

So the Cyprus trees appear to have windy limbs that seem smaller than such a massive tree trunk would have.  I decided to couch the limbs on with wool yarns and then free motion embroider the Spanish moss.  Here are two pictures of the progress so far:

Here you see some of the limbs on the different trees with some Spanish moss.  I did a lot of looking at Spanish moss photos before I did these so I could figure how they should look. These seem to me to be coming out ok.

 

I learned early on that I needed to draw some guide lines for the direction of the stitching or I’d get them to be blowing around in different directions. Since the water in this quilt is going to look calm and reflective, it didn’t make since to have the Spanish moss blowing around much, though they don’t have to be exactly the same, but close. Here you see some of my marks for future stitching. Also note that I had to break the stitching on several clumps so it looked like the limb is further toward the back from the viewer.  I need to keep it pretty close to the same proportions as the top part, so drawing lines is helpful.

Sew I’ll show you the whole trees when they are done.  That will be a while now because they need to be quilted, and maybe a little more highlighting, to get the full impression.

Sew happy everyone.  I hope you decide to put some trees on your quilts and relax…they are fun to make.

Embellishing Techniques Part 3: Learn All You Can and Use It Well

Okay readers, I am all fired up and my studio is spotless and ready to go.  There isn’t even a chipmunk in my studio (my facebook friends will understand this comment).  After attending Birds of a Feather, and then Mid-Atlantic Quilt Festival, and then spending a lot of time getting rid of a chipmunk and cleaning my studio, it was some time before I was able to start using the explosion of inspiration that filled my head and heart for the future after such inspiring quilting events and spending the MAQF with my friend Mei-Ling who also inspired me.

* * * * *

So to continue the Machine Embroidery pointers…I decided I really have to finish and publish my book on Surface Design and Embellishment, which includes among other things both in-the-hoop embroidery and free motion embroidery, to say all I want to say.  But I did want to give you a little list of things to research on your own and to think about.

  1. Learn about stabilizers..there are lots of them out there and they all do different things.  Sometimes you need more than one at once.
  2. It is possible to remove machine embroidery that messes up without damaging your fabric sometimes, but not always.  I got a little electric trimmer for this purpose and it works most of the times if the fabric on which the embroidery is placed is sturdy enough.

    Summer Melody: I made a big mistake when I embroidered the bunnies on the path. They were sideways!!! So I got the Wahl clipper/trimmer and removed the embroidery and redid the bunnies. There was a small hole that I made trying to remove it without the trimmer, but it was covered by the new embroidered bunnies.

  3. If you are using a commercial design, and you have digitizing software, such as Bernina’s, it’s a very good idea to load it into the software and take a good look at how it is stitched.  You can often correct the designers mistakes, resize it, choose different fills, and make different thread selections before you use it…do this to a copy, not the original…and then do a stitchout before placing it on your main project.
  4. Realize that free motion thread painting is also a good option, but requires practice and understanding of thread density and how that affects your fabrics.  This requires its own blog post (and chapter in my book).
  5. Even decorative stitching available on your machine just to go on that beautiful new blouse you are making often requires proper stabilizing and thread to fabric considerations.
  6. You can use decorative stitches within a pictorial wall hanging or to enhance applique and pieced projects.  It’s very exciting and there is much to learn and try out.
  7. This kind of work takes time, thread, stabilizers, and practice but the results can be really rewarding.

* * * * *

Use what you already know how to do in interesting ways and spend some of your precious time learning and practicing.  One excellent idea that some quilters have suggested is to make simple utility, charity, and baby quilts for your learning and practicing.  I think this  is a wonderful idea, but you DO need to do SOME simple practice you are going to throw away or put into your reference notebooks.  I do suggest you don’t let the practicing and learning take over all your sewing and quilting time though.  Make yourself make that masterpiece quilt or  important project.  It’s all about balance in the studio, but be brave!

Suggested project:  Steps to a tree wall-hanging with birds and flowers.  With this wall-hanging, either find a coloring book tree or draw a simple tree and choose by the look you want what techniques, fabrics, and threads to use.  For instance, 1.  Make the background: the background could be pieced, appli-pieced (or pieceliqued..same thing), or painted or all of them to get the background you want.  2.  Make the large part of the tree trunk and large limbs…use appliqued woody fabric, couched on yarn, or paint, then free motion couch or embroider the small twiggy parts of the tree.  3.  Add the leaves…use free motion machine embroidery, appliqued leaves, or digitize leaf sections you embroider on black netting with washaway stabilizer and applique in place.  4.  Add the birds and flowers…use commercial embroidery for in-the-hoop embroidery machines, sizing appropriately, or applique by hand, or paint and then applique.  5. Sandwich and quilt…use monofil polyester to in-the-ditch and around-the appliques stabilizing, then either quilt using your walking foot or free motion stitch the quilt, block, square, and bind.  Please send me a photo to include in a blog post if you make a wall hanging inspired by this idea.

 

 

 

Starting and Stopping Thread Work and Quilting

Sew it’s been a while.  I’ve been enormously busy finishing my quilt for the Mid Atlantic Quilt Festival…and yes, I finished and I’m now working on my little Milky Way “You are Here” mini.  It’s only about 20 x 20 inches and it’s for my part of the space exhibit at MQX.  All of my deep space quilts will be there and this is just a little fun piece to show where we are in our home galaxy.

There are a lot of opinions out there in fabric art/quilting land about how to best start and stop your thread.  Do you bury it? Do you stitch small stitches and cut close? Do you back it up and cut close?  The answers to these questions can frustrate anyone dealing with this issue.  Some quilters have no problems with it because they’ve already decided just what they are going to do and do it the same all the time.  I however have a plethora of ways to get going and stop.

For the most part, I hate to bury knots.  On my show quilts, especially, I stitch very densely in many areas, and sometimes there simply is no way to get that knot fully under the top without problems.  Also, I’m not convinced it really holds down the thread any better than other methods.  So I analyze what I’m working with and so forth to decide what to do.  Let me just say at the start, that if I am making a utility quilt…baby, give away, cuddle on a cold night…I will back stitch or stitch a short stitch close cut.  It just takes the rough and tumble better than buried knots.  I’m sure there are those who will disagree with me about this, but I stand by it after 65 years of sewing.  So here is how I handle this issue for wall and show quilts:

  • Thicker threads, such as 12 weights and some 30 weights almost require burying in some form because they just show up at the end.  Maybe I will just bury them without a knot and carry the thread through the quilt fairly far using a long basting needle.  If it works out in my overall quilting, I bury the thicker thread and stitch over the end in my background quilting, but that doesn’t always work.
  • Very thin threads of 50, 60 or 100 weight can easily just be cut close after some close stitching…say 15 stitches per inch (spi), so I never bury those.

But what about those 40 weights and specialty threads, such as monopoly and metallics?  Well, it has been my experience that these very lively threads  WORK better and stay better with a careful back trace stitching and then cut close.  I am not sure judges will agree with me, but the thing is, such lively threads  WILL come up from a bury even when knotted if certain directions of friction are encountered in the handling of the quilt for shipping and hanging and unhanging.  If stitched carefully enough, a backtrack is virtually unnoticeable, except you can probably see it with a magnifying glass and a flashlight. (Did you know that some judges look st your quilts that way?)  But I decided my metallics will be backstitched and close cut since they go through a lot when sent to shows.  If you decide to do this, go really slowly when you backstitch and get it as exact as possible.

The 40 weights are the problem because they aren’t easily determined.  Some of them, such as Superior’s Magnifico and Sulky’s rayons are really shiny and show up everything, especially with a high contrast.  So in that case, I will probably bury them with the long thread no knot method if I can bring myself to do it.  LOL.  Some of them, such as Superior’s King Tut, a cotton thread, will melt into the background when the contrast is low. They do well with a short stitch close cut ending.

Sew the answer then is either to quilt so well and planned that you NEVER have a start or stop (LOL) or to test the starts and stops before setting out on quilting that special project and decide how you are going to approach it. Also, always be flexible as you go, because when you are quilting certain places you can change your mind.

Sew Happy Everyone!  May your dreams be met, your life be full of love and simply lovely!

By the way, I need some funds to help me keep my dreams for 2018 going, so I am hoping to sell several of my quilts this year to finance my attending the Houston show and keep me in stitches (LOL) and make room in my house for more.  You can see which ones on my website gallery…just scroll over the quilt and you can see the price and size.  Contact me if you are interested in one and maybe we can work something out that suits your budget.  I’ve instituted a lay away plan for the quilts. If you don’t want to buy a quilt but do want to help, there is a donate button on this blog if you are so inclined and the funds will all go to financing my trip or keeping this blog going.

 

To Prewash or Not to Prewash, That Is the Question

Color Swirl by Kevin Tatum (my grandson) using Corel Painter.

Any quilter who follows quilting-related social media is probably well aware of the frequent discussions about whether or not to prewash one’s fabric before starting a new project.  Why should one ever want to wash that nice crisp fabric with a good finish?  I’ve heard many a quilter say they don’t  always prewash their fabric.  So why should one prewash?

I came into quilting following decades of fashion sewing.  In fashion, it is always always necessary to prewash washables, or do whatever needs to be done to preshrink the fabric before making it into a beautifully fitted garment that could shrink or change the hand of the fabric when washed, cleaned, or steam ironed.

When I was a young woman I made the most beautiful two piece dress from a drapey rayon challis that I did not prewash because I was anxious to complete the outfit in time for a special event.  I did wear it to that event, and a couple of times after that.  But then it had to be cleaned and I hand washed it in cold water.  I loved that outfit.  It was flattering and beautiful and I had done an exceptional job making it.  When I washed it, it shrank multiple sizes despite the cold water and line drying.  I was astonished.  I was distressed.

I, too, love the look and workability of fabric direct from the store.  Once in a while I have made a small item without washing it.  But on occasion, when pressing something with a strong color and using spray starch or spray water, the color from the fabric migrated to my ironing board cover.  Sometimes that happens even to prewashed fabrics.  The worst colors for this are red, browns with red in them, purples with red in them, and some greens.

I prewash everything washable now, even it it is going in a quilt I will not wash when completed.  I even prewash most silks albeit by hand.  Sometimes, I even wash fabrics twice if they are dark reds or some color that uses dark reds.   On rare occasions, I have been very disappointed when they came out of the wash, because they faded badly or changed the fabric hand in some way to make it seem less desireable.  But I figure it is far far better to find this out about the fabric BEFORE I put all those hours into making the quilt than after.

Prewashing is not only important to prevent bleeding when blocking a quilt, but fabrics shrink at different rates. Differences in the tightness of the twist of the thread when spinning,  the thread count, where the cotton was grown, and the dying and finishing processes can all affect the amount of shrinkage.  This means that soaking/washing the quilt might cause the pieces to become misshapen.  It could cause your perfectly pieced quit top to no longer be perfect, and your appliques to slightly misshape.  It might be so slight you wouldn’t be able to figure out just what happened.  Why does your quilt have a wave now when you were sure it didn’t before?  Why is there a bump in that part of the quilt when you hadn’t seen it before?  why is there a wiggle in that center section that you thought was really straight.  Of course, a lot of that can be corrected in blocking, but if you had prewashed everything, it may be possible these things don’t happen.  Of course, it might just be you hadn’t seen it before.  LOL

So after the fabrics are washed, I will often iron them with spray starch (starching on the wring side to prevent flakiness).  Once that is complete, the fabric is nice and crisp and ready to place in the quilt.  The colors are true to what they will be when blocked.  Despite the time it takes, I encourage you to prewash and iron your fabric before you start your quilt.

One more thing. If you DO have a bleed on your beautiful quilt, the best advice on fixing it that I have ever seen comes from Vicki Welsh in her blog here.

Sew happy everyone.  Have fun working on your Christmas/Holiday projects.

Decided to Make an Additional Show Quilt

I’m working on a new show quilt with a January 23rd deadline.  I started it too late, so it will be a bit of a race to finish on time.  But the thing is, I am really having fun making it.  I am making it mainly so I have something to enter into Mid-Atlantic Quilt Festival because I suddenly realized I had nothing for that show and I have already made arrangements to go to it.  I won’t be sharing pictures or descriptions about it until after its debut.  I put aside the Bayou quilt I am making for a while, because the deadline for it is months later next summer.  This new quilt is going together mostly just from my idea and directly on the quilt, because I wanted to keep the design time very short.  I just made a concept sketch and plunged in, using fabrics I already had on hand and, surprisingly, I have already made a fair amount of progress.  I had an interesting idea for it that required one piece of fabric I didn’t have, so I ordered that.  Everything else is on hand.  So there you go, I have already greatly shortened my usual design time and eliminated the shopping time for this quilt.  This probably means I will finish it, although it is touch and go.  I’m keeping anything about what it is like quiet because I want to give it the best chance possible.  Now that I have been playing around in the quilting community for a while I find I know a lot of the judges, as is the case for MAQF.  They also frequently know my quilts.  I’m sure this is true with other show quilters out there.  Maybe I can make one that they won’t recognize as mine. 

A quilt project like this makes it hard to write blog posts on a regular basis.  Additionally, the Bayou quilt also has some restrictions on sharing pictures of it for the most part until completion, at least.  Nevertheless, trust me when I say it is all fun right now. I’ve gotten both quilts fairly well started and over some of the beginning problems I had for both of them. 

A Question for my readers:

Over the decades I have accumulated a lot of sewing and quilting knowledge.  I’ve sometimes thought I am a techniques collector just for the heck of it.  LOL.  Sew my question to my readers, assuming there are any, is what would you like me to blog about? I can provide some short tutorials, answer how to questions, and talk about quilty things.  I will use your responses to write my blogs while I’m working on these two quilts.  Please respond.

Sew happy everyone! 

 

 

 

 

 

 

My Uncle and What’s Happening in My Studio

I’ve taken too long to write a new post.  This past month has had its lows and highs.

My uncle Betterton passed a week and a half ago.  He was 91 and was two years younger than my mom.  I had five aunts and six uncles on my mom’s side and one aunt on my Dad’s side and all are gone now, as well as my parents.   Uncle Betterton was one of my favorite uncles.  He was always close with my mom and someone everyone could rely on for help.  He had various tough illnesses the last several years, mild dementia, and is now no longer suffering.  He was a strong Christian.  Like my father, he was a civil engineer, both served in WWII, and he and Dad enjoyed a strong friendship.  My memories of him are sweet and dear and the pain of losing him is softened by his wonderful long giving life and his final release from the difficulties of his last few years.

Sew what’s going on in my studio these days?  My “apprentice” Anita and I finished the church banner celebrating the 500th anniversary of the Reformation.  The church members apparently love it, and I was really pleased with how it looks.  I have still not gotten a good photo of it, but I will share as soon as I do.  The big community celebration is next Sunday.  I guess this tells you that I attend a Lutheran church.  I do.  It’s five minutes drive from my house and the it’s a lovely church with services not far in liturgical style from the Episcopal church.  I grew up an Episcopalian.  For many years I drove down to Georgetown to go to the historic St John’s Episcopal in Georgetown where Marvin and I both were very active and sang in the choir.  After Marvin passed, I moved to Ashburn, Virginia, and the drive to Georgetown got even longer, so I looked for somewhere closer.  Our Savior’s Way Lutheran Church is in my neighborhood…now that’s a luxury I had not had for decades.

I have gotten a start on my next show quilt.  I’m not sure I would call them “show quilts” any longer, except that’s a term many understand.  I like to show them, but my primary goal for these quilts is to make wonderful art, and hopefully sell most of them in the long run.  Everything I make I hope to meet show quilt level, but sometimes show judges don’t seem to understand why the techniques I choose are done the way they are, or how difficult they really are.  Sometimes they seem to see things and remark on them that I simply cannot see, and sometimes I think they don’t see something about my quilts that I think is especially unique and interesting.  Maybe I need new glasses, a flashlight, and a better magnifying glass.  Or maybe I need a microscope.  LOL  So I have found a lot of freedom in reaching for creating beautiful art the best way I can make it and not worrying too much about what a judge might see or not see.  Competition can be rough on one’s ego.  He-he-he

Anyway, back to my latest project.  It’s based on the art piece I bought the rights for one art quilt from the Disney artist Joel Christopher Payne.  It’s set in the Bayou and has interesting trees, and two rather rundown homes with light peaking out through the cracks in the boards.  One is a houseboat, and the other is a shack built on stilts on a platform.  The scene is at night and there is a little pale light filtering through the trees in a way that suggests a heart shape, and there are fireflies.  This is a huge challenge for me, but really, I am enjoying myself so far.

I have the houseboat “built” and the shack about half done.  Yesterday I did a little low and high lighting with Neocolor II pigment crayons.  When you use them with fabric, you can just color it on and then brush it with water to blend it onto the fabric and then heat set it for a permanent color.  Sometimes when I heat set it, it gets lighter so I have to go back and add more color, but it’s a wonderful way to over color an existing fabric pattern to add shadows and lights where you need them or “correct” colors.  In this case, I have three different wood print fabrics that I have backed with Steam-a-Seam II light and cut into board shapes.  I am using these to “build” the shack and the houseboat.

The picture has really big trees that also have some Spanish moss hanging from them.  I have five different tree bark prints that I will use to make the tree appliqués.  They, too will need to be overpainted to get the right look and color,  I am planning on thread painting the Spanish moss on, and probably it will be more than Joel put in his picture because this is a fabric and threads interpretation of his wonderful art piece.

I have obtained some glow in the dark paints and threads to make the fireflies with, and the paint has some additional pigment so it will look good in light too.  I may add crystals to the fireflies for added dimension.

The biggest challenge as I see it is the light that is getting the back light that is coming through the trees and reflecting across the water right.  I am thinking this will have to be done with paint, but I’m still thinking about it.

Sew I hope you all have a wonderful week.  Try something new and push to get it as well done as possible.  I have a lot going on in my studio besides this new quilt, so I hope I will get back to my weekly blogs for a while.  Cheers!