Online Quilt Magazine.com

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Premium Online Quilt Magazine – Vol. 4 No. 9
Online Quilt Magazine.com
It’s Baby
Safety Month –
Meet Australian
How Safe Are
Fabric Designer
Your Quilts?
Saffron Craig
How To Use
Templates For
Perfect Quilt
Block Pieces
We Finish Leah’s
Modern Quilting
Three New
Projects to
Make
Design Project
© Online Quilt Magazine.com All Rights Reserved P a g e | 1
Cover – “Valley View” Quilt by Saffron Craig
Premium Issue Vol.4 No.9 – September 2013
Online Quilt Magazine Table of Contents
Australian Fabric Designer- Saffron Craig ……………………………………………………………..………………………………………………..…………………………………..……….
Page 4
PROJECT – Valley View Quilt ………..…………………………………………………………..…..……..………………….……………………………….……………………………………...….
Page 9
Proper Seam Pressing in Quilts …………………………………………………………………………………….…………………………..……………….…………………………………………
Page 12
Modern Quilting Design …………….…………………………………………….……………………..……………..……….………………………..……..…………………………….…………..
Page 15
Tips: Baby Safety Month ………………………………………………………..……….………………………………...………………………………………………………………………….…….
Page 19
PROJECT – Four Seasons Quilt Pattern ………………………………………………………………………………………………………………………………………………………………….
Page 22
Early Indigo Dyeing and Printing Methods ……………………………………………………………………………………………………………………………………………………………
Page 26
What’s New from The Fat Quarter Shop ……………………………………..…………………………….………………………………………………………………………..……………….
Page 30
Hints and Tips From Brannie …………………………………………………………………………………………………………………………………….………………………………………….
Page 33
PROJECT – Soft Clutch Purse …………………..…..……………...…………………………..…………………….…………………………………………….……………………………………..
Page 35
Quilting Templates - How to Use Them to Cut Perfect Quilt Block Pieces and Avoid Frustration …………….……………………………………………………………
Page 43
Quilting Machines – Finding the Right One for You ………………………………………………………………………………………………………………………………………………
Page 47
Book Review – “New York Beauty Diversified” by Linda Hahn …….………….………………………………………..………………………………………………………………….
Page 50
Reader “Show and Tell” …………………………………………………………………………………..…………………………….……………………………….………………………………...…
Page 52
BLOCK OF THE MONTH – Birds in the Air Block ………………..…..……………….………..........................................................................................................
Page 54
Today's Tips..................................................................................................................................................................................................................
Page 56
YES – We Want To hear From You ..............................................................................................................................................................................
Page 57
Letter from the Editor
Jody Anderson
Hi!
Woo Hoo!! It’s the end of August, and for those of us in the Southern Hemisphere, that means only one
thing – SPRING!!! It’s my favourite time of year, and already the weather’s warmer, all the blossom trees
and bulbs are flowering, there’s new leaves coming on trees, and lots of lambs in the paddocks (yes – I’m
in rural Australia!).
I feel this burst of new Spring growth leading to a similar-sized burst of new ideas and projects, and
whilst I’m sure this is going to lead to some UFO’s for a while, watch this space for all sorts of new quilts
and projects for you to try too.
Speaking of which, this month, we feature well-known Australian fabric designer Saffron Craig and her
gorgeous “Valley View” Quilt project. There’s another great project from Rose, and a fun purse I made as
well. We have all sort of interesting new articles and your regular favourites back again too.
If you can, take your laptop outside and soak up some sun as you read through your magazine!
Have a great Month!
Jody
Australian Fabric Designer – Saffron Craig
By Saffron Craig from www.saffroncraig.com
My first fabric printing memory comes from being
13 where I organised the art class to print
curtains for the school office. I have always found
that I am happy when I am designing and drawing
and creating things with fabric, whether it’s a
quilt, bag or a dress.
How much fun is it to walk into a shop and
purchase fabric? Have you ever wondered what
goes into creating those fabrics? That moment
where a designer places a patterns onto fabrics?
Well for me it is one of my favourite things to do.
I have been designing fabrics commercially for
the past 6 years now and I love it!
Sometimes I wonder if it was my fabric obsession,
my fascination with patterns in particular that
called me to design fabrics.
My friends who share this passion with me
display their favourite fabrics folded in glass
cabinets alongside their Wedgwood china. So
that every time they walk past their cabinet they
get to enjoy them.
I studied at the Royal Melbourne Institute of
Technology and I can still remember my interview
to gain a position in the prestigious course. I wore
my hand painted long sleeved silk dress.
I think it took me a month (if not longer) to hand
paint the fabric. It was a 30 degree day and I was
so hot. I was accepted and my University lecturer
years later mentioned that she still remembered
the dress—so I think the hand painted silk dress
had something to do with being accepted.
Conquer Strip Piecing Techniques. . .
No More Wasted Time and
Frustration Sewing Your Blocks
Together
Personally, I enjoy being hands on when printing
fabrics with stencils, linocuts, or screen printing. I
have been teaching workshops lately passing on
this fabric printing knowledge I have learnt over
the past decade.
When you begin a new quilt project, do you sometimes feel like you are fighting a
war? First you face the “Battle of the Quilt Blocks.” For me, at least, sometimes it’s a
challenge just to choose a block or two for a quilt. The first one may look too hard.
The second one may use too many different fabrics.
http://saffroncraig.com/pages/workshops
All my designs usually start with a hand drawing,
a simple pen on paper sort of stuff,
Then after you have spent hours – maybe even days – eliminating blocks, you find one
that is just right. Or at least, you’ll be happy using it in your brand new quilt.
Like all designers I literally have sketchbooks full
of images and doodles that beckon to be turned
into a fabric. Those quick sketches are transferred
into the computer using illustrator software and
this process takes up a large part of my week.
Ahhhh – a sigh of relief!
Next, it’s time to look at the color scheme and fabrics to use. Finally, you have
everything set and you’re ready to cut your fabric. Faced with cutting a bazillion little
squares, you stop and think “there must be a better way!”
And, truly, there is – Strip Piecing!
With the advent of the rotary cutter, quilters figured out that they could sew strips
together and then cut the “strip units” into segments to sew into blocks – rows of
squares, alternating rectangles and squares, and more.
Using this technique, your cutting and sewing time for each quilt is slashed – leaving
you time to make more quilts! In our brand new DVD Mentor – Conquering Strip
Piecing – you’ll see just how this works, and learn how to make a beautiful quilt with
complicated-looking borders, too.
To get all of the details, visit:
http://how-to-quilt.com/strippiecedquilt.php
In the past I have designed fashion prints. They
tend to be quite subtle, while fabric for quilting
can be much more adventurous.
I like to use a new colour palette for each range. I
take into consideration the people I am designing
for and create colours for them. Girls like pinks!
They really do and so do I. Being a redhead I did
not wear it much as a child so now I can go crazy
with it. For example, with my wombats range I
knew it would be for girls so I used soft pinks and
purples.
I love designing for quilts as I can be bolder and
more creative with my colour palettes. Currently I
love the colour yellow as it makes me feel happy.
When designing a range I ask myself questions
such as What story is the range going to tell? The
scale of the designs? The contrast? Who is the
person who will use the designs? The colours?
And then I need to consider the ways the fabrics
will be used to create a product.
Colours are important to consider when designing
fabrics, I have spent years learning about colour
theory and creating my own colour palettes. How
colours work together can be quite complicated,
and is even more so when printing fabrics.
Consideration is paid to the brightness and
variation of tones. Adding the wrong shade of
grey for instance can dull a once lively colour
palette.
For my current range Valley View I used bright
bold colours, experimenting with yellow and hot
pink.
As a designer I chose to work with bright colours
in saturated tones, and they are the brightest
fabrics I have ever created. I love using this range
and its colours are so wonderful to work with.
Every time I cut them up and sew them into a
quilt, bag or wallhanging I feel enormously lucky
and grateful I have found what it is I love to do.
The last three ranges I have printed are Organic
which I love. Using Organic fabrics is very special
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Check out the New Quilts Available
Now!!!
to me as I try to be as eco-friendly as I can.
http://en.wikipedia.org/wiki/Organic_cotton
With my softie craft panels I print the pattern for
the softies onto the fabric so there is no need for
a kit and from there it is a simple cut and sew and
stuff project. I have Owls, Koalas, Wombats and
Kookaburras as well as craft panels.
http://saffroncraig.com/collections/softies
I really think that it is important that we teach
children to sew, and this is how I came to design
my Softie Panels.
It’s how I learned to sew as a girl, and thankfully I
had a patient teacher though dare I say I am quite
the enthusiastic student.
And I love that children love sewing them.
What is your fabric obsession?
About the Author: Saffron Craig is an Australian fabric
designer based on Sydney's Northern Beaches. Her
beautifully designed fabrics can be transformed into quilts,
bags, clothes, wall hangings, cushions, or anything your
heart desires. Saffron’s fabrics are successfully sold
throughout Australia and in selected shops across the
world.
In 2012 she was selected as one of 10 artists to design a
bespoke illustration for Lego's 50 year anniversary in
Australia. In July 2012 Saffron launched her first organic
fabric range with Fern Textiles and has just released her
third organic fabrics range called "Valley View". For more
information go to http://www.saffroncraig.com .
Project – Valley View Quilt
From www.SaffronCraig.com
For this lovely quick small quilt, Saffron
used her own Valley View Quilt fabrics.
You Will Need:
Valley View print 24 inch/60cm length
Lucky clover print 8 inch/20 cm
Spotty Dotty Flowers print 8 inch/20cm
Texture fabric print 8 inch/20 cm
Cheaters quilt print 10 inches/25cm
Cloud fabric print 16 inch/40cm
Backing fabric and batting measuring at
least 48 inches/ 120cm square.
Extra fabric of your choice for binding
Valley View quilt cutting instructions:
remaining strips across top and bottom. Press
seams.
* One 24 inch/60 cm square of Valley View print
Add a strip of Spotty Dotty Flowers print to either
side, and a (yellow) texture fabric print strip to
top and bottom as shown.
* Lucky clover print, cut four 1 ½ inch strips (2 x
24 inches long for the sides and 2 x 26 ½ inches
for top and bottom)
Finally add the cheaters quilt print strips to the
sides, and trim as needed. Sew the cloud print
strips across the top and bottom to finish.
* Spotty Dotty Flowers cut two 3 ½ x 26 ½ inch
strips
* Texture fabric print, cut two 4 x 32 ½ inch strips
* Cheaters quilt print, cut two strips of two
square rows fabric (plus seam allowances) to fit
the length of your pieced quilt top
* Cloud fabric cut two x 6.5 inch strips to fit the
width of your quilt top.
Assembly:
Refer to the photo above and piece your quilt
top.
First sew a strip of Lucky Clover print down each
side of the valley view centre panel, then the
Press all seams well.
Quilting:
Sandwich together your quilt top, the batting and
your backing fabric together and baste.
I hand quilted my quilt by stitching in the ditch
with white pearl thread. In the centre panel I
stitched lines through the white sky.
On the sides where the cheaters quilting fabric is I
stitched in pink thread to emphasise the shapes
of the blocks.
Binding:
You can purchase Saffron’s Valley View Quilt kit
with her fabrics through her online store, at:
http://saffroncraig.com/products/valley-viewquilt-kit
Cut sufficient 2 ½ inch strips of your choice of
fabric for binding. Join all strips at a 45 degree
angle.
Press the strip in half lengthwise with wrong sides
facing. Sew the binding to the quilt, mitring the
corners as you go.
Trim the batting and backing to 1/8 inch beyond
the quilt top. Fold the binding to the back and
slip-stitch it in place.
Thanks for making this quilt with and be sure to
send me a picture when you’re finished or add it
to my flicker page.
info@saffroncraig.com
www.facebook.com/saffroncraig
www.flickr.com/photos/saffroncraig/
Happy quilting,
Saffron
Proper Seam Pressing in Quilts
By Jan Myers from www.QuiltingResourceCenter.com
Pressing the seams in your quilt is one of the
most important tasks for the completed work. A
good press will mean that the quilt is assured a
smooth flow from piece to piece both visually and
to the touch.
Most quilters will find that they have a style of
pressing that suits them best, but before you find
that style it is important to realize what pressing
is not.
What Pressing is NotPressing the seams in your quilt is not the same
as ironing. Although you will be using an iron and
an ironing board, it is absolutely critical to
remember that you are not ironing (that is,
running the appliance over the seam with gentle
pressure) but just coaxing the seam down in
order to seal it and make it less visible.
Pressing the seam is often thought of as a way of
strengthening the seam, but this is not really the
case.
No strength is added to the seam itself by having
it seam pressed down; instead, pressing the seam
will mean that should any stitch come undone,
the cotton batting in the quilt will not push up
through the seam.
This can be said to strengthen the integrity of the
quilt somewhat, but it does not make the seam
itself any stronger.
What Pressing Is Pressing uses the weight of the iron itself to
create seam allowances that might otherwise
result in lost fabric. In a work such as a quilt,
which requires many pieces put together, lost
millimeters on each piece can mean a big
difference in the end product. Pressing quilt
blocks as they are made eliminates this problem.
Pressing will help give the quilt a uniform
appearance and feel.
Types of Pressing There are two types of pressing; side pressing and
open pressing. Side pressing is simply pressing
the seams to one side, and is generally advocated
by most quilting instructors.
Open pressing involves application of the iron
both to the back and the front of the blocks. This
can take twice as long as side pressing, but those
who use it say that it greatly helps in the
appearance of the quilt.
This style is most appropriate when using
machine stitched pieces, which are stronger than
those done by hand; the stitch is less likely to
come undone, and therefore hiding a hole will
not be necessary.
Pressing Technique When you are pressing blocks in the full quilt, the
seams should be pressed towards the darker
patches.
If your quilt involves a more intricate pattern,
with spirals and compass shapes, then try
pressing in a clockwise pattern; at the very least,
make sure that your presses are all uniform in
direction. This will lessen the bulk in the middle
of the pattern when all the seams are pressed.
About the Author: Jan Myers is the author of numerous
articles and books on topics from organizational
development and leadership to quilting. It was her
avocation, the love of quilting, that inspired the popular
online membership site for quilters known as the "world’s
largest quilting bee" at
http://www.QuiltingResourceCenter.com
Article Source: http://EzineArticles.com/?expert=Jan_Myers
Pressing seams is probably one of the dullest
aspects of quilting, but it is important to make
sure that you do it accurately. It will help to
maintain the integrity of the quilt and can also
make piecing that much easier.
Keep up to Date with What’s Happening on our
Facebook Page – Do You Love Quilting Too?
Bonus blocks, hints and tips added all the time!!
One last hint, don't use steam! The heat from the
iron will be sufficient for pressing. Moisture may
cause colors to run, and will make the blocks
more susceptible to distortion.
http://www.facebook.com/#!/pages/DoYou-Love-Quilting-Too/271888039492644
Modern Quilting Design
By Leah Day from www.FreeMotionQuilt.blogspot.com
This month we finish our 8-part series from Leah
where she has covered 5 different filler quilting
designs before making and quilting a modern
quilt to practice them on. Follow along and finish
up with us!
This month we're going to finish up this project
by filling each section of our Zen Break with a
different design.
So far we've learned Stippling, Sharp Stippling,
Zippling, Circuit Board, and Loopy Line.
Each of these designs can be used to easily fill a
section of the quilt like this:
But photos only do so much. Let's see how this
works in a video! (Click the link below)
http://youtu.be/alLhKalbWYA
If you're looking for even more easy, beginner
level designs to play with, check out the book
From Daisy to Paisley which features 50 beginner
level designs! Click Here to check it out now.
This month we have a very easy job: fill in each
section with a different design!
Because the quilt is largely secured thanks to the
Zen Break, you can start quilting anywhere you
like. No, you don't have to quilt from the dead
center of the quilt, unless you really like to.
It's a good idea to take a minute before jumping
on the machine to look at your quilt and decide
how you will move over the surface.
With this quilt, you really can move from section
to section easily by simply travel stitching over
the Zen Break lines.
Easily wiggle from the Stippling area to Zippling
area by stitching on the Zen Break lines
Another thing you might want to put some
planning into is where each design goes. Yes, this
quilt is supposed to be a lesson in imperfection,
but I still get obsessive about having two identical
designs smacked right next to one another. I
pencilled in names of the designs so I wouldn't
end up with a Stippling section right next to
another Stippling section.
Once you get that small bit of planning out of the
way, stick that quilt under your needle and get
started! The goal here is to fill each space
consistently, but in a logical fashion so you don't
end up locked in a corner.
Of course, if you do get locked in a corner, what
do you do? Travel stitch back out! Find the
nearest Zen Break line and use it to get out of a
tight space if needed.
The only design that's a bit tricky to apply is
About the Author: Leah Day is the author of the Free
Circuit Board. This design isn't wiggly, and it's
based on straight lines and right (90 degree)
angles.
This particular design is trickier to apply to wiggly
wobbly areas, so it helps to mark some straight
lines that serve as a base for this design.
Motion Quilting Project, a blog project dedicated to
creating new free motion quilting designs each week and
sharing them all for FREE! Leah is also the author of From
Daisy to Paisley - 50 Beginner Free Motion Quilting Designs,
a spiral bound book featuring 50 designs from the project,
and she now has three Free Motion Quilting classes
available through Craftsy.com. www.daystyledesigns.com
LUDLOW QUILT AND SEW
Discover new and exciting projects to quilt
and sew each month with clear and easy to
follow instructions.
Visit our website and subscribe to Ludlow
Quilt and Sew’s free monthly newsletter now.
So that's it for this quilt. Just take these 5 designs
and stitch them in each section of this quilt.
www.ludlowquiltandsew.co.uk
Let’s Go Quilt!
Tips: Baby Safety Month
By Penny Halgren from www.How-To-Quilt.com
While it’s not quite the same as the dimensional
effect of embellishments, consider appliqués
instead. And don’t just stitch the appliqués on.
Fuse them to your quilt top then add the appliqué
stitching to the borders.
Since September is Baby Safety Month, it’s a
good time to review a few safety measures to
consider when making baby quilts.
First of all, resist the urge to add rhinestones to
make a little girl’s baby quilt more “princessy.” As
adorable as these embellishments are, they pose
a choking hazard for tiny babies.
They might also contain lead or another
substance that the child does not need to ingest,
even if it didn’t choke her.
Those big buttons that you want to use as wheels
on a car or truck for a little boy’s baby quilt are
just as hazardous.
Since the fabric is heat fused plus sewn, little
fingers are less likely to work it loose.
If you are making a quilt to be used in a crib, get
the accurate dimensions and don’t make the quilt
too big.
If the quilt is too big, there will be a section that is
either folded under or flapped over the rest. A
moving baby might end up with his head covered
and this might create a smothering hazard.
Never use unknown fibers to bat a quilt for a
baby. Batting used in baby quilts should be able
to withstand washing and drying.
And you should know beyond a shadow of a
doubt the full content of the batting.
Even if you don’t usually prewash your fabrics,
prewash the fabric for the baby quilts you make.
These days, you can never be too concerned
about what a baby’s sensitive skin might react to.
When you wash, use a laundry detergent that is
free of dyes and fragrance and don’t use fabric
softener in your drying cycle.
As tempting as it may be to use your embroidery
machine to sew large name or monogram on
your baby quilt, give careful consideration to the
stitch you choose.
Satin stitches are generally used for monograms
or adding a name, but unless they are a very tight
satin stitch, the littlest pull can begin ripping
them out. A loose thread might wrap around
baby’s finger or toe and cut off circulation.
For a fun, easy-to-make and SAFE baby quilt,
check out our Flannel Baby Quilt:
www.Flannel-Baby-Quilt.com
A better stitch to choose for baby quilts is a step
stitch. It is a tight stitch and lies flat against the
fabric instead of raised like the satin stitch.
About the Author: Penny Halgren is a quilter of more
than 27 years, and enjoys sharing her love of quilting
with others. Sign up for her free quilting tips, quilt
patterns, and newsletter at
http://www.How-to-Quilt.com
Don't keep this Online Quilt Magazine
all to yourself –share it with your
Quilting Guilds and Friends!
Creating a special baby gift takes common sense
and creativity. When you run across a technique
or item that isn’t safe, use your creativity to find a
safer alternative.
Don't wait - Invite them to
www.OnlineQuiltMagazine.com to
Subscribe and receive each New Issue
as soon as it's Published!
PROJECT – Four Seasons Quilt Pattern
By Rose Smith from www.ludlowquiltandsew.co.uk
This quilt is based on the weathervane quilt block.
I have made sixteen blocks in four different colours – one each for
winter, spring, summer and autumn.
They are 12″ blocks and I have used white as the background fabric
across all the blocks.
The finished quilt measures 54″ square and I have used 1¼ yards of white fabric, with less than ½ yard
(about 11″) of each of eight coloured fabrics.
(These are paired together with four dark and four medium fabrics in each colour.)
Cutting requirements
Needed for each block:
2 ½ inch squares: four white, four dark colour
2.7/8 inch squares: four each in white/dark colour, four each in white/light colour
One 4 ½ inch square in dark colour
Four, 2 ½ x 4 ½ inch rectangles in light colour
As a guide, for the whole quilt I cut four 2 ½ inch strips and ten 2.7/8 inch strips of white.
For each block I cut in the dark colour two strips 2.7/8 inches wide and one 4 ½ inch square and in the
light colour two strips each of 2 ½ inches and 2.7/8 inches.
Making each quilt block
Make half square triangles with the 2.7/8 inch squares. Place a white
square with a coloured square, right sides together, and mark a line along
the diagonal. Sew a ¼ inch seam either side of the marked line and cut
along the line to produce two half square triangles. You need eight white
squares and four squares of each colour for each block.
Lay the squares out with the large dark square in the middle surrounded
by the light rectangles and the dark 2 ½ inch squares.
The white 2 ½ inch squares are in the corners and the half square
triangles are placed on the edges of the quilt block.
To get the direction of the triangles correct, you can see that the blue
triangles make one larger triangle pointing away from the middle while
the white triangles make two larger triangles pointing in on each edge.
Begin by sewing as many of the squares as possible together in pairs.
On the top two and bottom rows you can sew the patchwork pieces
together across the row. For the middle row you need to sew the two
triangles on each edge together first so that they will be the right size to
sew to the blue rectangles.
Continue sewing the squares together to complete five rows of
patchwork. Sew the rows to each other.
Make four of the weathervane quilt blocks in each colour pairing.
Across the top you can see winter and spring while summer and autumn
are in the bottom row.
Sew the blocks of one colour together in rows.
Quilt Border
I have used quite a strong colour to frame the quilt for the border. The
strips are 3 ½ inches wide and you will need two lengths of 48 ½ inches to
sew to the top and bottom of the quilt and two lengths of 54 ½ inches for
the sides.
That completes the four seasons quilt top. It can now be layered, quilted
and bound.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
About the Designer:
Rose Smith was born and brought up in Zambia in Africa. She moved to the UK when she was 18 and now lives in
Shropshire, indulging her passion for quilting and sewing. She has sewn all her life - ‘anything that stood still long
enough’ in the words of her children - but now finds that patchwork and quilting have taken over her life. She indulges
this passion by posting patterns and tutorials on her website for all to share. www.ludlowquiltandsew.co.uk
Early Indigo Dyeing & Printing Methods
From Kimberly Wulfert at www.antiquequiltdatingguides.com
Both indigo plants and cotton plants grew
abundantly in the warm humid climate of India,
as did the best plant for red dye obtained from
the root of the madder plant.
In the 16th century, India's textile workers
discovered how to make color dyes adhere to
cotton and linen, thus making it colorfast.
Before this important discovery, colors and
designs printed onto cotton and linen, would
soon wash out and fade in the sun.
Berry and vegetable dyes were not fast. Clothes
were drab and colorless. People valued wools and
silks, which held color well. Silk was too expensive
for the average person and wool was too hot in
some climates.
Most vegetable and plant dyes washed out
except for indigo, a blue dye, which is why many
woven white and blue check fabrics were woven
in the colonies.
Indigo was fast, madder red was not. But getting
the blue dye from the indigo plant was not easy
or quick. It was labor intensive and produced an
expensive dye that was valued across the world.
The primary method for dyeing with indigo was
vat dyeing, where a chemical reducing bath took
place in a vat (container) above or below the
ground.
This was necessary in order to make the insoluble
indigo plant soluble. The process of getting the
dark blue dye from an indigo plant started with
fermentation in the vat filled with an alkali
solution.
oxygenation took effect (in about 12-15 minutes)
which turned the cloth blue. Afterward the indigo
was insoluble again.
Commonly, the last remaining color in an old
faded or deteriorated quilt is cotton indigo dyed.
The resulting dye liquor would be left to cool and
harden. It was cut into hand-size chunks to be
shipped in divided boxes to indigo dyers who
then ground it to a powder that was soluble in
water.
Dyers boiled the mixture, then cooled and stirred
it. They removed extraneous materials like twigs
that would affect the printing.
Next, the mixture was put into the vat with the
cloth; copperas and lime were added to it and the
dyebath became yellow in color.
After a time, the cloth also turned yellow. It was
not until it they lifted it from the vat that
Simply adding more dye to the bath would not
produce a darker shade of blue. This required
repeated submerging followed by oxygenation
after each dipping. If an area were to remain
white, a resist paste made of wax or a flour paste
was brushed on to cover it to prevent the dye
from penetrating the fabric under it.
There were two other methods that printers used
to apply indigo to cotton: pencilling (also spelled
penciling), and China blue.
Pencilling was used to hand brush blue onto small
areas of a multicolored print, usually chintz. A
brush applied the reduced dye directly onto the
area, where sit oxygenated quickly. It could look
spotty as uneven, and have a poor registration.
There were more pencillers (usually young girls
and boys) employed in mid- eighteenth century
print works than any other job skill.
The China blue technique did not reduce the
indigo plant beforehand. Instead, indigo plant
was applied to cloth using wood blocks or
engraved copperplates.
After printing, the cloth was placed first in a lime
bath, then in copper bath, then back and forth
repeatedly. This yielded a light or light-medium
shade of blue on a light ground.
Bird, bouquets and pillar prints made with fine
linens are the result of this rare technique.
Eventually, stable direct printing of indigo was
possible in the last quarter of the 19th century.
Glucose utilized indigo in such a way that the
reduced version combined with steam fixed the
color.
German scientists first synthesized indigo in the
1880s, patenting it in the early 1900s.
Commercial dyeing with synthetic indigo did not
begin until 1897, but home dyeing and trial runs
were made earlier and synthetic dyes were
available to the public.
Many shades of indigo dyed cotton are found in
quilts made from 1890 to 1918, the start of WWI.
Synthetic indigo dye essentially replaced the use
of natural indigo by the early 1920s.
Dyes on fabrics are one of the clues to dating
textiles and quilts, but indigo dyes were used
around the globe and for generations, making it
quite difficult to date indigo dyed fabrics found in
America. It is easier to date this fabric when it is
on a quilt as the style of the quilt provides a
strong clue to dating it.
About the Author: Kimberly Wulfert, PhD is a quilt
historian, teacher, writer, researcher of Quilts New
Pathways into Quilt History. For more information about a
quick way to date antique and vintage quilts check out the
easy to use Antique Quilt Dating Guides...by Style, 17751900 and 1900-1950
http://www.antiquequiltdatingguides.com
Article Source: http://EzineArticles.com/?expert=Kimberly_Wulfert,_PhD
What's New from The Fat Quarter Shop
From Kimberly Jolly at www.FatQuarterShop.com
We're pleased to be able to bring you a selection
each month of the Newest Fabric Releases and
the new season fabric "must haves".
Lori Holt’s latest fabric collection takes a new
contemporary spin, with the help of her
daughter, Kassidy Grace.
Gracie Girl, a true collaborative effort, blends the
pair’s styles for a perfect mix of vintage and
contemporary.
Gracie Girl is available in yardage and a wide
array of pre-cuts. Shop now!
Check it out at:
http://www.fatquartershop.com/Gracie-Girl-LoriHolt-Bee-In-My-Bonnet-Riley-Blake-Designs.asp
Gracie Girl by Lori Holt for Riley Blake Designs
Shop pre-cuts for boys and girls, or mix and
match with yardage!
See this range at:
http://www.fatquartershop.com/Celebration-BunnyHill-Designs-Moda-Fabrics.asp
Celebration by Bunny Hill Designs for Moda
Fabrics
It’s time to celebrate! Bunny Hill Designs’ new
collection is perfect for happy boys and girls.
Celebration pairs playful with classic prints,
perfect for a fun nursery.
High Street by Lily Ashbury for Moda Fabrics
Add some style to your stash with High Street by
Lily Ashbury for Moda Fabrics.
High Street is filled with fashionable prints in
bold, punchy colors. Oranges, pinks and yellows
will lure you in! Make a bright quilt or some
decorative pillows with High Street to finish your
Summer in style. For more, go to:
http://www.fatquartershop.com/High-Street-LilyAshbury-Moda-Fabrics.asp
Florence by Denyse Schmidt for Free Spirit
Fabrics
Florence by Denyse Schmidt for Free Spirit Fabrics
celebrates the vintage textiles of the North East.
These nostalgic vintage prints will warm your
heart. Corals and greens keep the vintage prints
feeling modern and updated. Shop the collection
of pre-cuts and yardage.
View this collection at:
http://www.fatquartershop.com/Florence-DenyseSchmidt-Free-Spirit-Fabrics.asp
Hints and Tips From Brannie
By "Brannie" Mira-Bateman
Mum then went out to the garden and came back
with an armful of green herbs. I think she called
it "parcel" or something.
This morning my Quilty Mum said she was going
to die.
She shoved it all - material and parcel - into a big
pot and started to cook it!! Smells awful!
I was, naturally, quite concerned at first and I
made the right sort of noises, but she seems all
right to me.
I can't imagine what it will all taste like when
she's finished! I hope she doesn't think I'm eating
any for dinner!
I've kept my eye on her all day, just in case (actually, I did have a bit of a nap on the big chair
for quite a while), but she has just been poking
around as usual and I see no cause for alarm.
She got some pale fabric, twisted it all up and put
rubber bands on it until it looked like a big messy
knot.
Speaking of which, I might have to stir her up
shortly. I've asked politely, smooched a bit,
played with the string on the door knob beside
her and then jumped up to the cutting place and
walked across what she's doing.
Sometimes she just doesn't take the hint.
I'd hate her to die on me before she gave me
some meat!
She's just muttered, "It's not working anyway.
Maybe it only works to make green wool". (I can't
imagine wool would taste any better.)
She's heading for the cold cupboard. Great! It
must be meat for dinner. When do we want it?
Naow!
Love Brannie,
Join The Club!
the Quilt Block of the Month Club Cat!
Project – Soft Clutch Purse
From www.BagMakingPatterns.com
What better way to use up a fab piece
of fabric than in this soft clutch-style
purse?
With a magnetic clasp to hold the front
flap shut, this purse also has two inside
‘pockets’ and a zippered central divider
pocket.
It’s big enough to fit your phone, coins,
cards and keys, whilst still small enough
to be both practical and fashionable.
Ours is made from hand-dyed and printed fabrics pieced with black sashing, and decorative hand
quilting, but you can use whichever fabric you choose –select a single print, or get creative and piece up
a design of your own!
Purse Dimensions are 8 ¼ inches wide x 5 inches high.
You Will Need:
1/3 metre / yard fabric for the purse outer and zippered pocket
1/3 metre / yard fabric for the lining
½ metre (½ yard) medium-weight fusible interfacing
Piece of light-weight fusible pellon measuring at least 9 x 14 inches
1 x 7 inch zip in a colour to match the lining
1 x small magnetic clasp
Scraps of heavy-weight fusible interfacing for inserting magnetic clasp
Purse Construction:
Please read all instructions fully before beginning. All measurements are in inches, and unless stated
otherwise, a ¼ inch seam allowance has been used.
Referring to the attached Cutting Guide, carefully cut the required bag pieces from the bag fabrics,
interfacing and pellon as required. Iron the interfacing to the back of each piece as indicated in the
Cutting Guide, and fuse the pellon on top of the interfacing on the wrong side of the bag outer panel.
Assembly:
To start, insert the magnetic clasp as
shown to both the bottom end of the
purse outer, and the top end of the
purse lining.
Fold the purse outer side in half
vertically to make a crease up the
centre. From the bottom edge,
measure up 2¼ inches on that line and
mark that point with a lead pencil.
Cut a square of heavy interfacing approximately 1½ inches square and iron it to the back of the outer
panel on top of the pellon and centred over the marked dot.
This will help protect the fabric in your bag and stop the clasp from wearing through with repeated use.
(You can use the medium weight interfacing here if you do not have any heavy weight, although the
heavier weight gives better protection.)
Push the two prongs of half of the clasp (with the hole in the centre) into the right side of the fabric to
create indents, then use your unpicker tool to make two tiny slits in the fabric there, to push the clasp
through. Make the slits smaller than the width of the prongs. Push the clasp prongs through to the
back, turn the lining side piece over, slip on the 'washer' provided with the clasp and fold the prongs
over onto themselves, over the back of the clasp. (If you splay them out, you run the risk of them
eventually piercing through the bag fabric.)
Cut an approximate 2 inch square of the medium weight interfacing and place it over the top of the
folded prongs on the wrong side of your lining side. Use the iron again to fuse it in place, as another
safeguard to protecting your bag fabric.
Repeat this with the other half of the clasp on the lining piece. Fold to find the centre, then measure
down 1½ inches from the top and insert the remaining half of the clasp on that point.
Next insert the zip. The inside of this
purse has a folded lining ‘pocket’ then
the zippered pocket, then a back folded
‘pocket’.
Lay the zippered pocket lining face up on
a table as shown, so that the 9 inch edge
is at the top.
Position the zip at the top, facing up and with raw edges aligned. Lay the 9 x 9½ inch lining panel on top
with right side down as shown.
Use your zipper foot to sew the zip in place between the two fabric layers. Pull the end of the zip tape
down slightly at each end, so the zip finishes neatly in between the fabrics before it reaches each side
edge.
Repeat for the other side.
Fold the zip lining ‘pocket’ inside out as shown, and bring up the unsewn edge to meet the wrong side of
the zip. Place the 9 x 14 inch lining panel (the end without the magnetic clasp) on top with right side
down. Pin and sew the zip in place, tucking in the ends as you did for the first side.
Now fold up the purse lining. Bring the front (smaller)
lining panel up so that the folded bottom is level with the
fold at the bottom of the zippered pocket, and fold with
right sides together.
Note that the top edge will be about a ½ inch longer than
the top of the zip. This is folded down at the end to bind
that front edge.
Fold the longer back panel to match.
Sew the sides together, starting a ½ inch down from the
top on each side.
Fold up the front bottom edge of the purse outer as
shown. (End with the magnetic clasp.) Fold it up 4½
inches, pin and sew the side seams.
Lay the purse lining on top so that right sides of the
flap are together. Pin and sew together, starting just
on top of the zip at each side and sewing around the
flap.
Turn right sides out, and put the folded lining into the
purse outer. Trim the seam allowance if needed for a
smooth fit.
Press the flap and purse flat, then fold under the seam allowance twice at the front edge and hand slip
stitch it in place to cover the front raw edge of the purse to finish.
Soft Clutch Purse Cutting Guide
Cut the required number of each piece according
to the measurements on each diagram.
* Please note – all measurements are in inches.
Purse
outer
Purse
lining
Cut 1 outer fabric
Cut 1 lining
Cut 1 pellon
Cut 2 medium-weight interfacing
Cut 1 outer fabric – for zip pocket inside
Cut 1 lining
Cut 2 medium-weight interfacing
Quilting Templates - How to Use Them to Cut
Perfect Quilt Block Pieces and Avoid Frustration
By Patricia Serra
Quilting Templates are used to mark and cut
fabric into units to be pieced together into quilt
blocks. These blocks are then sewn together to
make up the quilt top.
every one of those squares come out to be
exactly 12 inches by 12 inches when cut.
It is essential to use only quilting templates which
are 100% precise to ensure that the units will line
up correctly when pieced together.
Nothing is more frustrating than cutting all the
units for a quilt block and when pinning or
basting them together discovering that they do
not line up properly!
Imagine how nearly impossible it would be to
measure out several hundred 12 inch by 12 inch
squares with a ruler onto your fabric and have
Even more impossible would be to measure
several hundred 12 inch curved patterns free
hand. As you can see, the use of quilting
templates is absolutely essential!
You can make your own quilting templates from
paper, cardboard, poster board or flexible plastic,
which is sold in many quilt and craft shops
specifically for use in making templates.
To make the template you must first choose the
quilt block pattern you are going to use.
There are many patterns available online or you
may choose to buy a quilting book which will
many times have not only different quilt patterns
but instructions on what shape and size
templates will be needed to make up the quilt
blocks along with guidelines on how much fabric
to purchase.
it will enable you to accurately trace the diagram
of the template.
These books often have drawings of the quilting
templates in various shapes and sizes that you
can trace to make your templates.
Once you have selected your quilt block pattern
and located the quilting templates needed, place
the template material over the diagram of the
template and trace the outline using the thinnest
possible drawing pen.
If you are not using clear template material, it is
helpful to place the diagram and the template
material over a lightbox so that you can see the
outline of the diagram.
If you do not have a lightbox, you can tape the
diagram with the template material placed on top
of it onto a sunny window so that the light behind
If you have used flexible plastic to make your
quilting template, it should hold up for multiple
uses. However, if you have used paper or
cardboard or any such material whose edges will
wear out quickly, be sure to replace these
templates very frequently.
Paper templates are good for one use only
whereas cardboard or posterboard templates can
be used several times before becoming worn out
and unusable.
Remember, precision when marking and cutting
your units is crucial to the successful piecing
together of the quilt block. It is best not to try to
save time and money by reusing slightly worn
templates - they will only result in inaccuracy
which will produce disappointing results.
You can also purchase premade templates.
When purchasing ready-made quilting templates
it is best to select those made of sturdy acrylic
that have been laser cut which ensures precision.
These premade templates are available in many
shapes and sizes both online and in quilt and craft
shops. They will save you a great deal of time
over using homemade quilting templates, will be
100% accurate and will last for a very long time.
To mark and cut your fabric into units lay the
well-ironed fabric on a flat surface wrong side up
and place the template on top of the fabric, being
sure that the template grain line lies parallel to
either the lengthwise or crosswise grain of the
fabric.
If using a scissors, trace the outline of the
template onto the fabric, using a pencil or fabric
marker that makes a very thin line. Then cut out
the units, being sure to use very sharp scissors
that you have reserved for use only with fabric.
To save time and eliminate the need for tracing
the template over and over, use a rotary cutter
and mat.
together units and having them line up 100%
accurately to produce beautiful quilt blocks.
Rotary cutters come in various sizes. The small
ones are good to use when cutting curved
patterns whereas the large ones are excellent for
cutting large, straight lines and for cutting
through several layers of fabric simultaneously.
About the Author:Patricia is an avid crafter and has made a
number of quilts and quilted pillows over the years. She
enjoys writing about and sharing her knowledge of quilting
with interested others.
Article Source: http://EzineArticles.com/?expert=Patricia_Serra
Once again, lay your well-ironed fabric wrong side
up on a flat surface on top of a rotary mat to
protect the surface, place the template on top of
the fabric, and proceed to cut using the rotary
cutter.
No need to trace around the template. All you
need do is cut around the edges of the template
with the cutter.
Once you have all your units cut you are ready to
begin sewing. If you have used precise quilting
templates and have carefully marked and cut
your fabric, you should have no trouble piecing
Quilting Machines - Finding the Right One for You
By JD Roberts
Whether you're just getting started in quilting or
are ready to move on to more advanced work, it's
important to have a quilting machine that fits
your situation.
you'll probably want a more general sewing
machine so you can do general sewing and
mending as well.
You might even want to give machine embroidery
a try as well. If you already own a sewing
machine, you may already have what you need,
so read on to see!
With quality machines costing everywhere from
$100 to nearly $10,000, choosing can be a
daunting task. This article provides some
introductory guidance to help you narrow your
focus and pick a machine that's best for you.
First, your machine needs to be able to do
quilting stitches. Older and inexpensive machines
may not have this, but most recent machines
have at least one or two.
The Basics
Here's some things you need to consider in
choosing your quilting machine. If you're just
starting and don't have a machine, you may not
want something exclusively for quilting.
There's a chance you won't be into quilting
enough to justify a more expensive machine, plus
You'll probably want several different quilting
stitches, so the more the better. Those that do
usually have lots of other stitch patterns as well,
making them more versatile and more useful for
other projects.
Don't be afraid of newer computerized machines.
Nowadays this usually means they're even easier
to use than "regular" machines.
They're nice to have, but not essential. Also
watch out; some of these are a bit flimsy and may
be more trouble than they're worth.
Many include elaborate built-in embroidery
patterns that are great for lots of sewing and
craft projects, including embroidery.
Finally, be sure the machine you're getting has
plenty of power. This is particularly important if
you plan on doing your own quilting.
You'll also need one or more quilting feet.
On the other hand, many people just pay to have
someone with an advanced machine to the final
quilting for them. When in doubt, go for more
power. This is helpful for various other sewing
purposes, and usually also indicates a more
rugged machine.
A foot is the U-shaped contraption that goes
around the needle and holds the fabric down.
Some sewing machines come with one or more
quilting feet, others don't include any. If that's
the case for a machine you're interested in, be
sure they're available as options or accessories
and include their cost in your price comparisons.
Advanced Quilting Machines
A smaller number of sewing machines are
designed specifically for quilting. These bigger
machines are typically called "long arm quilting
machines" and are much more expensive.
Some machines designed with quilting in mind
include some sort of bed extension accessories.
This provides a larger flat surface that's level with
the sewing making it easier to manoeuver the
material around - especially important when
you're doing the quilting.
If including a table also specialized for quilting
your total cost can easily be $1,000 or more. In
fact, one of the most popular models sells for
$6,000. So you can see why a lot of quilters
choose to have the final quilting done for them.
But if you do a lot of quilting these machines are
a good investment and can even become a source
of income.
So what's a long arm quilting machine? It's a
sewing machine designed specifically for quilting.
Its defining characteristic is the long spacing
between the needle and any vertical part of the
machine.
This gives you a lot more leeway in working with
larger quilts. Many such machines are on wheels
so that you can roll them around a table to sew
your laid-out quilt.
An even better arrangement is a quilting frame.
This is a table with guide rails, machine
attachment, and other mechanisms to move the
sewing machine and quilt around. Some include
rolls for rolling and unrolling the quilt as you work
on it.
These are expensive, but the best arrangement if
you do lots of quilting. They can be very large,
sometimes as big as 12 to 14 feet long.
In Summary
If you're moving up and are pretty confident
you'll continue doing lots of quilting, you could
look for a specialized long-arm machine that has
a compatible table you can add later.
If you're just starting out you'll probably want a
more general sewing machine that includes the
features needed for quilting.
About the Author: JD Roberts blogs about various makes
and models of quilting sewing machines. At the time of this
article, his latest post is on the Brother CS6000I
computerized sewing machine.
Article Source: http://EzineArticles.com/?expert=JD_Roberts
Book Review
By Annette Mira-Bateman from www.QuiltBlockoftheMonthClub.com
Linda's first book, "New York Beauty Simplified"
demonstrated simple paper piecing techniques
for making these quilt blocks.
Quilters are often put off by the thought of
curves and fine points in quilts, but Linda's clear
and concise instructions will have everyone from
beginners to experienced sewers easily producing
New York Beauty quilt blocks.
This new book combines 8 traditional quilt blocks
with the New York Beauty patterns.
“New York Beauty Diversified” by Linda J. Hahn
The 19 projects will leave you spoilt for choice the only problem being where to start. The basic
instructions in the first section are clear and easy
to follow.
Hints and tips along the way will soon have you
mixing and matching blocks to create unique
quilted projects of your own.
The quilting designs are shown in detail and can
be a valuable resource for use on your future
quilts. If you've ever had an urge to try New York
Beauty blocks, then this is the book for you.
"New York Beauty Diversified" by Linda Hahn is
published by AQS Publishing, PO Box 3290,
Paducah, KY 42002-3290
or look up www.AmericanQuilter.com
Reader “Show and Tell”
This month we continue our regular segment of
“Show and Tell” quilts made by our Online Quilt
Magazine Readers. It’s been another busy month
too!
We will include them as long as you can send
them to us, and that way we can all share in the
wealth of creativity and inspiration abundant
within our quilting community.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
“I have two quilts to show you. The first is “apple
core” board with appliqué flowers. The second is
“Drunkard Path” with a turn. The fabric is cut
with the Sizzix machine (Big Shot) and dies. I love
the time you can spare when you cut the fabric
that way. It is always the same cut, and it goes
very quick!”
- Jacqueline B., Belgium
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
“Here's a quilt I recently finished for my cousin in
New York. I had a lot of fun with FMQ in the
empty light blue spaces so I've included some
details to give an idea. It's the first time I've FMQ
where it mattered. My cousin was thrilled with
the result (she had seen the top once it was
finished). The design is by Bev Barnes of Dianne's
Country Rose in Richmond, NSW.”
- Susan H., Australia
Block of the Month
This Month’s Block is a fairly simple half square
triangles variation block that will give you plenty
of design options for a quilt design.
To make this 9 inch block as shown, you will need
4 different fabrics, and once you have rotary cut
the pieces according to the Cutting Diagram, you
can piece them together as shown.
water soluble marker pens from your
fabric, and hand wash well, as detergents
and ironing may set the ink permanently.
(And we have heard too in some cases
where when not properly washed out, the
blue pens have actually rotted the fabric.)
Today’s Tips:
* For a fabulous video tutorial on how to bind
your quilts perfectly, check out the Missouri Star
Quilt Company’s new video at:
http://youtu.be/0vCWpxBRs20
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1. She who has the most wins! The most
important tool for quilting is your fabric
collection. Build a good stash and then
you'll always be able to find that special
piece you need to complete a project.
(And who really needs an excuse for this?)
2. Carefully press the seams in quilt blocks
by lifting the iron and placing it down on
each new area without moving the iron
across the fabric so you avoid stretching
or distorting your fabric.
4. Take photos and keep a written record
of all your completed quilts. Make sure
you label each of your quilts properly too
on the back, so there is always a
permanent record of who, when, and for
whom the quilt was made.
(If you want to make a fancier label, try
some of the labels you downloaded as
one of your New Member bonus gifts.)
Please keep your handy “quilty”
hints and tips coming too –
We’re always on the lookout for
great new ideas to share!
3. Use plain water only when washing out
YES, We Want to Hear From
You!
"Quilt-y" Quote…
* One quilting project, like one cookie, is never
enough!
As our Online Magazine continues to grow each
month, we need your feedback in order for us to
continue to improve our publication for you.
* Quilting fills my days, not to mention the
living room, bedroom and closets.
* Stash Management Flunkie
•
We want to know how you liked it.
•
We want to know the topics you're
interested in.
•
We want to know if you have any
suggestions, Hints or Tips of your own that
you'd like included, or if you know anyone
we should include a story on!
Please send me an email with your Testimonial,
Tip, Suggestion, “Show and Tell” Quilt or
Enhancement – I'd love to hear from you!
Send all emails to:
jody@onlinequiltmagazine.com
To subscribe to our Monthly Online Quilt
Magazine, please go to
www.OnlineQuiltMagazine.com and
register so you don’t miss another issue!
If you'd like to submit an Article, or a Project for
Publication, or take advantage of our Very Very
Reasonable Advertising Rates, please email details
or queries to Jody at
jody@onlinequiltmagazine.com

Online Quilt Magazine.com

Transcription

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