I finally finished my Classic Horror Monster cross-stitch!!
I’m really bad at finishing cross-stitches so this is a personal best for me…all in the one year!
Top Row: The Mummy, Wolfman, Dracula
Bottom Row: Frankenstein’s Monster, The Bride of Frankenstein, The Creature from the Black Lagoon, The Invisible Man.
I’ve also been working on some English Paper Piecing. I’m doing some clamshells at the moment and also working on a video for hexagons.
This quilt – that this first clamshell block will go into – will take me a while, as I am determined to do it by hand as you are meant to and I’m a very slow hand sewer. If you’d like to follow along just bookmark this post, but I’m warning you now that it will be ages in between updates, I’m that slow a hand sewer.
I’ll be using up all of my halloween scraps as I love the vibrant colours and I hate waste. And a girl can never have too many halloween quilts. 🙂
As of tomorrow the shop move goes into full swing so there might not be a post for a little while. Excited to have this all over with as I hate packing.
I have several sales happening as well at the moment – you’ll need to check out my Facebook page and Hand-made store for all the goodies.
I’m sitting here in bed typing on the very tiny bluetooth keyboard for my iPad thinking about all the things that happened today. It’s just before midnight and even though going to a market today was physically exhausting I am WIDE awake.
So I thought I might share with you what happens after a market –
After I have packed the truck at the venue, Mum and I drive home. We unload, collapse on the lounge with a cup of tea and just relax for a bit. Later on though my mind is filled with all the things that happened during the day – who I spoke to, what it was about, things I can change on the stall, things I can do next time, what I can bring etc.
Each market gives me its own unique feedback – sometimes that feedback comes in words from customers or event organisers, sometimes its as simple as monitoring what sells best/worst/in the middle – which means that for the next market I can try a different set of products, displays, set up and even to how I pack the truck. I try to maintain a balance between the efficiency of packing and unloading the truck (how many trips back and forth from the truck to the location of my stall) and what the customers would like to buy. Sometimes I get it spot on, sometimes I miss a few things, but that is why markets are so important to small businesses like mine.
I’m an online business selling an item that is tactile – which makes it hard to sell based on quality because as a customer you can’t feel the texture, see the brightness of a print or stack bolts in different sequences to see if your idea will work – but as a business owner I am relying on you to trust me about that quality, which you should because I am one of you. I’ve been there, starting from my first quilt (front was good but oh my the backing!), confused by all the tools and gadgets, even more confused by the maths (what are these inch things?) and not really understanding the accuracy of what I was doing.
You need to trust me to select the fabrics and products, trust that I would only stock good quality or things that I use myself. Which is exactly what I do.
Back to the markets…
I do markets to advertise, mingle and engage with my audience in a way that I can’t as an online business. I do the markets to help make the lack of a physical shop less an inconvenience to my customers – so that quilts tops can be dropped off for quilting, picked up once they are quilted, local mail orders can be picked up and so that I get some human contact. I’m in a studio all day on my own and it can make you a little crazy, all that solitude. I do enjoy it but it can be hard sometimes.
So after today’s fun at the Destash Market (my own stuff not the shop’s) I have some really fun things coming to the next market and I hope that if you do come to a market that I’m at that you do pop in and say hi.
I’m still not tired so I guess it’s more work for me until I feel sleepy, can’t do any sewing this late as mum and dad are already asleep. So is the cat…on my feet…
So nearly at the middle of the year, tax time, 6 months till the end of the year and time to reassess what I’m doing.
At the start of the year I made myself a resolution to finish UFOs. I have done a few, not as many quilts as I would have liked but I have also made inroads to finish other UFOs – runners, bags and other craft stuff that I’ve been working on….
I’m doing a Classic Horror Movie Monster cross-stitch from Cloudsfactory that I bought ages ago but have done barely any on. I’ve done Frankenstein’s monster, the Bride and the creature from the Black Lagoon, next is the Invisible Man, then Dracula, Wolfman and the Mummy. I can’t wait until it’s finished and I can get it framed.
I love cross-stitch but I’m really slow to get things finished – handwork is really not my forté so it takes me three times as long to do.
I’ve also been working on using pre-cuts to make a few items. I collect pre-cuts like most quilters do, you pick one up at a show or on sale and it sits in a box or the bag it came in and gets forgotten because you don’t know what to do with it or you struggle with the limitations of the size that its been cut at. I have a jelly roll sitting waiting for me but the project I’m saving that for is something that some friends and I are working on. The other pre-cuts I love at the moment are the mini charm square packs – 42, 2.5in squares – I’ve made a few things with them, but because they are so small its hard to keep coming up with ideas. This is the zippered pouch I’m doing today.
I’m also working on new quilt. I spotted a wreath on Pinterest sometime last year and it was lovely and soft grey tones with brighter peach flowers on it. I loved the colour combination so much I decided that I wanted to make a quilt in those colours. I did start this quilt last year but it has sat in a bag since as I got distracted by other projects. Yesterday I sat and pieced almost all of it and it will be on the quilting machine next week. I’m really looking forward to free-motion quilting something gorgeous in those wide spans of grey linen. YUM!
The move is going well. The new space is nearly cleared out and I’m still packing over at the studio. I’m aiming to be out by the end of the month but it is a little flexible. I really don’t want to muck around with moving as it is such a painful process but it is good in a way because it forces you to declutter and clean things out that you’ve left on shelves and in boxes for far too long.
I’m really looking forward to the new space as it means I can work more to my body’s natural hours. I’m a night owl, its well known that I’m no good in the mornings… 🙂 and because of the new space I am able to teach small classes. Nothing just yet, after mid-July when I’m all sorted, but you can book in now – just email or ring me.
Colour Class – 1.5 hours, $15.
Binding Class – 2 hours, $20, learn several types of binding.
Cutting and Piecing Class – 3 hours, $30, learn about all the tools needed for cutting, how to calculate and cut, then how to piece, press and iron.
Basic Pouch Class – 2 hours, $20, includes inserting a zip.
Basic Table Runner – 3 hours, $30, learn to design and piece a basic runner for your table.
I am located in Gosford so classes are intended for locals or those traveling through the Central Coast. If you are interstate please don’t worry as I can do video classes for you – please PM me if you are interested in those. I’m taking bookings now so if you’d like to secure your place please let me know and I will organise an invoice for a $10 deposit.
Anyways, its another wet and miserable day here on the coast so I’m off to make another cup of tea and get back to my sewing.
I’ve made this Christmas Table Runner using only a mini charm square pack and just over half a metre of Riley Blake Honeycomb Dot in grey (available in the store).
I know so many people who pick up pre-cuts thinking that they will make something from them, but inevitably they end up in a box or cupboard and don’t see the light of day for a very long time. I know it happens, I’m guilty of it myself. But this year one of my resolutions was to FINISH things and so in an effort to help you out there in quilt-blog-land finish things as well…here we go…
Materials
Aspen Frost mini charm square pack (42, 2 1/2in squares)
To start there’s a few little things that I need to make sure you know so we are all on the same page.
We will not be washing these fabrics. Pre-cuts don’t take well to pre-washing and you will lose more of a 2 1/2in square in fraying than you will have left to sew.
There will be minimal left overs as we will have scraps of the grey and a handful of squares that you won’t use.
Starch is optional but recommended. Starch will help your tiny pre-cuts retain what stability they have and will make your finished blocks easier to handle. Starch washes out. Starch recommendation is Mary Ellen’s Best Press, which you can purchase here.
If you have trouble remembering a layout sequence, make sure you have your camera nearby. Snap a quick picture of the blocks once you are happy with the design so you can refer back to it if needed when you start piecing.
The techniques used in this tutorial can apply to any quilted project you just need to adjust your measurements and design as needed.
Preparation
From your mini charm square pack select four lots of nine sets of squares. From the Aspen Frost pack I was able to refine my choice by colour – red, green, blue and white – but whatever pack you have you need to make that judgment call. It could be by print, scale, theme, directionality* etc.
Layout your nine squares in a 3×3 block that you like. Take a photo for reference if needed. See note 5.
Thread up your machine with neutral colour thread (cream, white, black, grey) and your 1/4in foot. Set the machine for straight sewing, with average stitch length and width. My Janome likes a stitch width of just over 5 and a length of 2.
9-Patch Blocks
Take two of the mini charm squares and place them right sides together. Stitch the squares together down one side. Without taking the stitched squares off the machine continue piecing all the pairs of squares that you can from each block (this is where the photos of the blocks will help). Once you have stitched the pairs (12 pairs) you can remove the strand of pairs off the machine. This is called chain piecing** and saves time and thread.
Starting with the first of the stitched pairs go along and add the third square for that row.
Once you have joined the rows of three squares, take everything over to your ironing board, bring your scissors or thread snips.
Snip the threads holding each row together. Set the three rows for one block face down on the ironing board. Check that you have them in the right order (use your photos) and press the seams in alternating directions.
Taking two rows align the seams as shown. This is called abutting*** the seams and will ensure that you have better matching points. This technique can be used anytime you have two seams meeting.
Pin the two rows together making sure you have the seams matching.
Stitch along the edge, remove the pins and check you intersecting seams. Press the rows open and then repeat the process for the third row of that block.
Assemble all 4 of your 9-Patch blocks.
From your 55cm of grey fabric cut three, 2 1/2in strips.
Place your 9-patch block right side down on the right side of one grey strip and stitch along the edge. Attach all four blocks onto the strip in this way
Place the pieced strip down on your cutting mat as shown in the picture and trim the blocks/strip down to size.
At this point I like to spray starch my blocks to aid in keeping them straight and neat, it also helps press out the strips that I’ve just attached to the centre blocks.
Set the seams and then press the strip away from the block.
Layout your blocks in the order you want them in.
Piece the blocks together making sure there is a strip of grey in between each block. You can piece one by one or piece in pairs and then piece the pairs together.
Make sure you have a strip of grey on either end of your table runner length as well.
Trim down any excess grey fabric and press the seams you just stitched in towards the grey strips. Turn the runner over and press from the front to make sure there are no pleats in your seams.
Take one of the remaining grey strips and place it right sides together with your runner, and stitch along the length. Pin if you feel you need to.
Trim the excess fabric strip and then set the seam.
Starch the strip and then press it away from the centre of your runner.
Repeat for the other grey strip and your runner top is finished!
Basting
Press your remaining grey fabric (approx. 35cm). Starch if you like.
Lay the fabric right side down on a flat surface. Tape the selvedge edges down and then tape at intervals along the length, making sure the fabric is taut but not stretched.
Lay your rectangle of wadding on top of the fabric and smooth out so its flat and there are no lumps, wrinkles or loose threads.
Place your table runner right side up on the wadding and smooth from the centre out so there are no lumps or folds.
Pin baste with safety pins, no more than 4in apart. If the pins hurt your hands to close them – use a teaspoon.
Set your sewing machine up with your walking foot. You can increase your stitch length slightly, I tend not to but it does make it harder to unpick if you have a small stitch when quilting. Test a few sizes to find one you like.
Quilting
I quilted this runner in straight lines – ditch stitching in each of the 9-Patch blocks and then ditch stitching the rows and extending it out onto the border. I also did a 1/4in stitch away from the edge of the border to secure the whole runner edge to make binding easier.
To tie in the loose thread ends – from the top of the runner thread the ends onto a needle and pull through to the back of the runner. Tie the threads in a knot and let the knot sit about 1/8th of an inch away from the runner surface. Thread all four threads on to the needle and thread into the runner and away from the stitches, hiding the threads and the knot inside the runner. Wiggle the knot so that it slips under the fabric, if you need to. Clip off the excess thread.
Trim down your backing and wadding to the edge of the table runner and you are ready for binding.
Scale: The size of the print – small, medium, large.
Print: Floral, dots, stripes, scrolls etc
Directionality: Stripes, text, arrows
**Chain piecing
Piecing by means of continuing to sew without stopping. Piecing everything that needs piecing before you need to stop and press, cut or attach the next section
***Abutting the seams
Also known as nesting the seams. Making sure that the folded part of each seams is ‘butted’ up to the next seam so that they sit as flat as possible and reduce bulk.
The other day I was fortunate enough to see this link that a friend (also a quilter) posted on her FB page.
I read it with interest, agreeing with some points, recognising that I could adjust my own view on others.
But one thing has struck me since reading this blog and that is if you piece a backing PLEASE piece it with the same care and attention to detail as you would the front.
Backing is important regardless of your view on it because it will be important to the overall finish of your quilt. Whether it gets professionally quilted on a long-arm or a DSM it doesn’t matter but how the backing sits is a key point in making sure your whole quilt looks its best.
I’ve often found there are several schools of thought on backing. I myself fall into the first category.
1. The ‘Match the backing’ club: This group wants the backing to match the front in some way. Using up the leftover fabrics from the front or matching it with another fabric altogether. This group often consists of Modern quilter’s with lovely pieced backings, those who like symmetry and those who like to use what they bought for that project.
2. The ‘it’s only backing’ club: This group seem to not worry about matching – theme, colour or style – they pick up cheap backings whenever they see it and whatever takes their fancy at the time a quilt is finished, it goes on as backing.
3. The ‘I’ll use something plain’ club: This group use primarily homespun, calico, quilter’s muslin or a very plain wide back. This group is rare. I hardly see any quilts like this anymore.
There is nothing wrong with any of the above ideas for backing. I’ve used all three types over the almost 300 things I’ve quilted over the last decade BUT the one thing that has been the same is that whenever I piece a backing it’s done with care.
Because a backing needs to be attached in a certain way to the ‘leaders’ (the fabric attached to the roll bars on a long-arm frame) it needs to be as accurate as you can make it. As a quilter I have seen many backings – some have come to me off the roll, some cut to size and some pieced – off the roll is best for less changes to the nature of the fabric as I can pin the straight selvedge to the top leader and adjust the bottom one as necessary. Cut to size is problematic as cutting it to size often results in too small, or it shifts during quilting and then one side has less, the bottom doesn’t make it all the way, corners are way off…. Pieced backings cause issue, because lets face it a seam creates a weak spot – seams undo themselves, seams might not be straight and seams may have been stitched incorrectly causing rippling.
So in order to solve these problems –
1. Off the roll: Where you can, leave a selvedge for the top edge of your backing. Talk to your quilter about it and if needed mark it as the top of your backing.
2. Cut to size: Backing for many long-arm quilters needs to be at the barest minimum 4in extra ALL the way around a quilt top size. This is mentioned in the link above. I would say 6in to be safer and 8in if you are getting dense quilting done. Please don’t cut backing ‘to size’ because it just won’t do. If you intend on machine quilting on your own domestic machine then cutting to size can be preferable as it reduces bulk BUT if you change your mind and want it quilted on a long-arm please piece some extra around your backing – an extra strip of homespun, or the like to help us get your quilt onto the machine – or rethink your backing altogether and start again.
3. Pieced backings: Lay your quilt top out flat and measure it. Use those measurements and then add your 4-8in all the way around. Draw up on graph paper your backing dimensions and then work out your piecing from the outside edge in. (Craftsy have a really good class on modern quilt backings with Elizabeth Hartman called Creative Quilt Backs, this may help with your backings if you have trouble). Piece your backing together as carefully as you would the front, taking the time to press as you go and run a row of stitching all the way around the edge of the backing to prevent seams unravelling. Use starch if you like and make sure all threads are trimmed away. Above all don’t rush, I know it’s exciting being nearly done or nearly ready to quilt but don’t rush your backing.
If you are sending your quilt away to be quilted make sure everything is pressed, trimmed and stitched securely so that it can handle any jostling while it travels to the along-arm quilter. Be clear with what you want for your quilt, discuss your options with the quilter and make sure you get anything you need in writing. I use an invoice book when I’m booking in a quilt, I write down the size, price, batting, backing, thread, design and due date (timeframe if the quilt is needed by a certain date: birthday etc). My customers pay a deposit and then the balance when the quilt is picked up. So the deposit amount and date is also included on the paperwork. Other things that we quilters look for when booking in your quilts are things like – do you want the quilt trimmed down ready for binding, do you want us to attach the binding, make the binding, are there labels that need to be quilted on as well?
There’s many things that need to be thought about in the process of making a quilt but if you trust in your long-arm quilter, their experience and talent you will have a finished quilt to be very proud of.
If you would like to know more about long-arm quilting you can check out the machine quilting page, email me frankensteinsfabrics@hotmail.com, ring 0416 023 637 or comment on this post.
Watch this quick video to see the machine in action
After washing all of your fabrics, iron and starch them.
This is how much fraying and threads that happened when we washed these homespuns, we lost just under 3/4in on this green fabric and the others lost about the same but none more than an inch. This is why I urge you to consider buying extra fabric to save you the grief and hassle of going back and buying more fabric.
Watch this video for using starch.
Fold your fabrics in half with wrong sides together, selvedges aligned. You may need to allow the fabric to dictate to you where the fold is, which may pull the selvedges out of line but they will be cut off so don’t worry too much. Your selvedges will not match up – in the photo below you can see the teal fabric selvedges are way off – this is due to two things, washing and grain line. When we washed our fabrics they have shrunk, we removed the sizing that was keeping them nice for the shelves in the shop and the grain line has been ‘relaxed’. By adjusting the position of the selvedge when folding your fabric in half for cutting you will get a much better and more natural grain line and it will be straighter.
Trim off the frayed edge to straighten up the fabric. If you are left-handed you can continue cutting as the fabric is laid out in the right position for you. Right-handers turn the fabric’s newly straight edge to the left-hand side of your board and then continue cutting.
From your five fabrics (50cm pieces of homespun in the materials list) cut three 2 1/2in strips.
Note: the remaining fabric will be used to piece the backing for Mum’s quilt, you can choose to do the same if you wish.
Set up your sewing machine with the neutral thread for piecing, the 1/4in foot and a straight stitch that is the average for your machine – check your manual for tips on this. My Janome likes a stitch width of 5.5 and a length of 2.
Piece the strips together in the sequence of your choice. This is the sequence we have chosen for mum. There is reason behind it, it’s not just random. If you paint put your mind into that way of thinking, but I will explain.
1. Green is on this end because it has a yellow base colour and is essentially the odd one out in this range of colours.
2. Teal is next because it is made up of blue and green so it can sit nicely next to green to help tie it into the block.
3. The blue is in the middle as it is the darkest fabric and will draw the eye in, but it is also there because it is blue – the teal has blue in it so they can sit next to each other, and the blue also is used in making the colour for the next strip so it is tying the two sides of this block together.
4. Purple has a red base (mix red and blue together to make purple) and so this is why it’s next to the blue.
5. Brown is often classed as a red based colour so it belongs next to the purple for this reason. It is also technically an odd one out so it is also balancing the green’s oddness on the other side.
Piecing
Start with the green strip and place it on top of the teal strip. Pin if you feel you need to hold the strips together.
Note: I like to sew my strips together so that as they are being joined so that they are off to the left side of the machine – this keeps them out of the way and doesn’t clutter up the throat of the machine. I am right-handed, as is mum. Left-handers may like to try both ways and see what suits you better. Like all my other notes these are just suggestions of things that I find easier and have discovered over many years of quilting, it’s not gospel and you don’t have to treat it as such. Find what is comfortable for you and your machine.
Continuing adding your strips, keeping them in order and making sure that you are sewing so that the seams are all on the same side. Always start from the same edge.
Once you have joined the 5 strips, press the seams in one direction.
You may notice that the strips are not all the same length.
This is fairly common and is a manufacturing issue and a washing issue. It’s not something that can be fixed. But if you always start from the same edge when joining strips you will reduce the waste of fabric.
Trim the selvedges off the edge that you started piecing on.
Then cut your pieced unit into four 10 1/2in blocks.
Repeat for your other sets of strips and you have made all of your blocks.
In the next blog post we will be cutting the focal piece, adding a small border, assembling the quilt top and preparing for quilting.
Part of a blogger’s duty to her readers is to occasionally divulge a bit of information about her life. I’ve done that with things like what happened with Dad, birthdays and a few other bits and pieces but I feel like you should know ‘me’, know odd little things about Marni. I like to think that I am friends with my customers – whatever varying degree of friendship that may be, we are all different and that’s a good thing but we don’t have to be everybody’s BFFs and live in each others pockets.
So what I’d like to do is open up the comments below this post to you – ask me something that you’d like to know (keep it reasonable, but I will reserve the right to not answer some things), I am pretty open about most topics.
So here is a little confession of one of my many, many quirks…
I love goats. I’ve always wanted a pet goat. They just appeal to me for some unexplainable reason that seems to baffle and bemuse my friends and just quietly I think it stresses out my mother…
I am a Capricorn which may explain the initial attraction as I dabbled with all of that astrology stuff throughout high school. I love the glorious drawings and artworks that people create, showing the mystery and fairytale nature of our birth signs. So I guess I was going to head towards a goat from the start.
I even have a pinterest board dedicated to them and their cuteness.
I love their cute faces, weird eyes and cheeky nature. If I had room (read farm) I’d have a whole bunch of them along with every other animal I’ve ever wanted to own (Clydesdales, ducks, a heap of cats and maybe an Alpaca or two). People think I’m nuts because it isn’t a normal pet to own, but I don’t care.
I’ve even started to collect a few goat knick knacks.
Below is Greycliffe. I used to work at Craft Depot at Pennant Hills and one day I was taking the mail orders over to the Post Office. While I was waiting in the queue I glanced over at the sale bin they kept near the front and it was full of toys. Reached out to see what the quality was like and as I lifted the top toy off the pile, there he was. His little beardy face staring up at me and I knew he’d be coming home with me. The poor lady at the counter thought I was a bit odd as there were much cuter more normal (there’s that word again) toys in the bin and why would I want a goat one?
He now lives in my bedroom along with Koala who is my childhood toy – one given to me by my brother when my sister was born so I didn’t feel left out. I think that was the start of my koala obsession. 🙂
Then I have Gilly who lives on my craft room desk.
Gilly is the tiniest ceramic goat I ever did lay eyes upon. She was purchased for me by my friend Ellie while we were away on our annual Stitch & Bitch Brigade’s Stitchmas in July holiday. We traveled to Blackheath for a weekend away. The group of us (9) rented a house for the weekend, ate, drank and crafted. We went into town and shopped, lunched at cafes and then stopped at the tea house where Gilly was to be discovered.
I love these weekends away with the girls – they are a mix of friends – Susan is my oldest and dearest friend from kindergarden, Fi, Alison, Dimity, Nicola, Jocelyn and Camille are friends of Susan’s that I’ve appropriated and Ellie was my plus one. There are more of us in the S&B Brigade (53 in total) but we don’t all go away together. I am not a part of a guild or quilting group. I’ve always been a bit of a crafting loner, the lone wolf really… I don’t crave social interaction while I’m crafting like many quilters do, it’s just not in my nature.
Anyways, along with Gilly I also purchased a small grey and white cat because… well… cats…
The last piece in my goat collection is this stamp.
I picked this up from the craft show last year at Darling Harbour. Cecile from Unique Stitching had these in a sale bin on her stall and there just was NO way I was walking past this goat. I was only buying felt from her (lovely luscious felt) as she stocks bamboo felt which is great for me because when I want to make felties I want to use good felt. I’m allergic to wool so can’t use the really good stuff and the acrylic sheets pill and fluff up too much for a good finish on a feltie. But now that I’ve tried the bamboo that’s all I will use. It’s perfect in every way except for 2 small things – it costs a little more, but so worth it and that it doesn’t come in the large selection of colours that the acrylics do. But time will fix both of those things and I will be using it regardless.
I’d like to collect more goat things but for now these are enough. My mission at the moment is de-cluttering my life. We are drowning in stuff on this planet and it’s just not practical.
So ask below, what you would like to know about me, as I am the person you trust for fabrics and other quilting paraphernalia and you have the right to know who I am and what I’m all about. 🙂
So this quilt-along will be a little different to your usual type of quilting instructions. Mainly because I’m letting Mum take the lead on this one. It’s her quilt and her learning pace, so there’s no rushing and no set timeframe.
Mum works from home for the most part of the week, working in our shared space, the craft room/office. As it’s on the top floor of the house it does get a bit warm but when the sun is around the back of the house first thing in the morning it is quite chilly. Mum decided she wanted to try and make a quilt for herself. Something small enough that she can give it a go without being too overwhelmed with its size, but big enough to drape over her legs while she works on the computer.
So the other night while we watched CSI (Saturday Crime Night) we pulled out every piece of fabric that Mum owns. Which was not a lot as she’s not really a sewer to the extent I am (read craft hoarder), she used to dabble when my sister and I were little but she mainly painted ceramics and now does cake decorating and some knitting.
Having helped quilters choose fabrics for almost a decade I have created my own process when working with customers who struggle with fabric choice – getting them to tell me little things about the fabrics they’ve chosen so I can work my way through their selections and help nudge them in the right direction – whether that direction be a complete selection or a partial one with more things to find later – and then get the fabrics to speak its design to us.
So Mum’s fabrics were a bit random to say the least. She had a few themes which she’s picked up on but generally it wasn’t a cohesive group of fabrics. We started by dividing them into what groups we could see – blenders, black and whites, brights, small prints (mainly tone-on-tones) and miscellaneous. We also matched up fabrics that worked together, hoping that as we worked through the pile we would find something or enough little somethings that would spark an idea.
Once everything was sorted we stepped back and looked at what we’d done. Mum couldn’t quite see where I was going, she wasn’t really even clear with herself about what she wanted and was concerned that her random fabric purchases and mini raids on my stash had left her with a pile that couldn’t be used.
Which is never the case. Because stash diving gives you the opportunity to see what you have (and how much of it), which means you can then either use what you have buying only a few bits to add in or you can see you have nothing that works and buy from scratch. Both are equally good but it all boils down to the timing, the project and your budget.
So I made her pick up the two fabrics that spoke to her the most and explain why they spoke to her.
The first one she finds calming, the softer colour palette is peaceful and contains her favourite colours. It’s not too bold but it’s still an interesting print.
The second one reminds her of a storm – the turbulent nature of it, the depth of colours in it and the movement in the print. She loves the strength in the colours but was concerned about matching them.
So we went through the shop’s stock, our local Spotlight and my stash. After trying to match the storm print and coming up with very little that Mum felt matched the vibrancy of the fabric, we ended up with the batik fat quarter and a handful of soft homespuns in matching tones.
The design of the quilt also went through several permutations. Starting with the fact that Mum didn’t want to chop up the fat quarter too much and lose the impact of it. We sketched a few ideas, thinking that we were using the storm print. Mum thought about creating a window effect so that we’d be looking out the window at the storm – cutting it up into four squares to make the window panes – but then we were a tad trapped with that design, not having fabric to see how we could expand on the quilt into the border made it difficult. We thought about doing a colour wash – pulling the four main colours from the storm FQ and working with colour gradation, piecing blocks to surround the FQ, possibly edging it with a narrow border of black to frame it and contrast with it, but it all felt a little off so we changed plans. Again.
Because homespuns are a flat, solid colour you don’t want to use them as a large expanse (unless you plan on machine quilting it with detail, like many Modern quilters do), so for Mum’s quilt we decided on strip piecing blocks and as yet we have yet to decide on the width of the strips and in what direction they will go for each block.
Mum’s quilt is a simple layout. The FQ in the centre, trimmed to a square, with a narrow sashing, the 12 pieced blocks surrounding it, a second sashing and then a border.
Materials list for those who’d like to quilt along:
One feature fat quarter – a print that you can pull the other fabrics from
50cm each of 5 co-ordinating fabrics
2.5m of your border fabric (50cm of this will potentially go with the other five 50cm pieces)
60cm of your binding fabric (we have 4 FQs of this colour for Mum’s quilt)
Backing: will be pieced from remaining fabrics with anything extra needed purchased when we get to that stage
Wadding: this quilt’s estimated size will finish at 1.5m square so you can either purchase a 1.7m square of backing (enough for professional quilting needs) or make up a piece using any scraps of wadding you have in your stash.
Tools:
Sewing machine with 1/4in and walking feet
Rotary cutter, ruler and cutting mat
Neutral thread for piecing
General sewing supplies: pins, scissors, marking pens etc
Note: Mum and I have over estimated on fabrics as I roughly calculated she needed about 30cm of each. As we were buying homespun which is generally anywhere from $5 – $10 per metre it was a more economical way to purchase for this particular quilt. If you would like more accurate quantities please hold off on your purchasing until the next post.
So now that we have all the fabrics and the design set what’s next?
Wash all your fabrics. I’ve discussed this before in this post and this is the only part of this whole process where it is up to you.
Then iron and if you like starch them to return them to pre-washed condition which makes for easier cutting. Purchase starch here.
Note: When you wash fabrics there will be fraying. You will lose some off your edges and be required to straighten them cutting into the amount of fabric needed for your quilt. BUY extra if you feel you will lose too much – 5cm extra purchased can save a whole heap of grief when cutting after washing. This is also spoken about in the washing blog post.
Once you have everything washed and ironed and ready to go meet back here for the second instalment of Quilting Along with Mum.
If you have any questions – such as fabrics choice issues – please feel free to post a photo or video of your dilemma and I’ll help you with that part of the process. You can also email me frankensteinsfabrics@hotmail.com.
I’m back after 2 months of non-FF blogging. I’ve been out and about blogging for other pages/sites (list at the bottom), plus I’ve had markets and shows, birthdays, custom orders and Easter in amongst all that too…
I’m here with something that always crops up – especially when I am asked to make table runners for the magazines is what size…
Now this is a question that’s a bit like “How long is a piece of string?” because everyone has a different table or needs a different type of runner for their needs.
So there are some suggestions for making a table runner that I’ve come across in my internet searching –
1. A table runner averages 14 to 17 inches wide.
2. Martha Stewart says to make it as wide as you think looks good, and they should hang down 18 inches at the most.
3. Some suggest that a table runner should be one-third the width of your table.
3. Pick the length and width that look right for your table. If you are unsure make a mock up of the size with paper or spare length of fabric.
4. Table runners run down the middle of a formal dining table. Short runners should hang at least 12 inches off the end of the table on both sides.
Now if that all seems a bit too much to take in just have a look at your dining table and do what feels/looks right to you. Mine is a 6-seater and measures 104cm x 180cm, because of it’s size I would normally make a runner that measures 30 – 35cm wide and 120 – 135cm long. This is sticking to rule #3 of a third of the width of the table and brings the length in enough so that a placemat will fit comfortably at either end of the table. BUT it all depends on the design I’m working on – I may need to adjust the size a bit to allow for firstly metric to imperial conversion and then the block I’m making or the strips I’m cutting. Play around with designs and see what happens – remember graph paper is your friend.
I don’t like things hanging off my table so when I make a runner for my table I make it so it’s more like a table topper – a giant placemat for the centre of the table, so that the placemats sit at the same level around the runner on top of a plain tablecloth (or none at all).
I’ve just finished making a table runner for a magazine commission – it’s a long runner – 1.8m which is the length of some tables (my market trestle tables are this size for example) and 1.8m is a good size if you have either a large table (8-seater) and want to pop placemats all the way around or have a small table and want the runner to drape off the ends.
Like every craft project out there on the net and in every book and magazine you’ve ever read there are specific sizes for things, standards that the industry has put in place for consistency (like mattresses for example – single bed etc) but like anything it is open to interpretation. Make your runner to suit your dining table, coffee table, side tables and even bedside tables – wherever there is a need for something to sit make a runner or mat for it to sit on.
This is what I was doing in all that time I was away from here…
I am not a morning person and will probably never be one. Ever.
Sure I can get into the routine of getting up and going to work, and maintain such a routine but I don’t like it and it has repercussions on my mind and body. When I’m up early (early for me anyway) I actually feel ill. Eating before 10am is a problem because my stomach hasn’t caught up with the rest of my body being awake and just can’t process anything. I’m no good mentally until midday without coffee or a can of some sticky stimulant drink (and that has its own issues). So I crave a life that lets me be free to wander nocturnally and still pay the bills.
I am at my most creative in the dark. In the middle of the night when the world is asleep, the cars have stopped rushing past my bedroom window and silence descends upon everything the darkness touches, I am awake and ready to design, create and make. I’ve never really understood why this is the way my brain works but have just accepted it and moved on. I have read a few things about creative types being more likely to be up all hours so there must be something scientific and chemical behind it.
I like being awake when no-one else is. It’s soothing to me for some reason, I get more done and there are no distractions. The down side for me is that I can’t run my machine at all hours of the night because it is noisy. So I spend the time drawing new designs, writing patterns and cutting up the next quilt. I love to do all the little ‘process’ jobs that come before the actually assembly of a quilt at night. These smaller steps are the ones that many struggle with – first concept through to execution – because getting started is hard. So for me its easier to do at the best time for me, at night, opening my mind to the quiet of the world and just let the inspiration pour through me.
Daylight hours are for work. The hard stuff, the physical, the things that need to be seen clearly and with lots of light shining on every detail. Night is for freedom of thought, dreaming and wondering what if.
The past couple of nights have been late ones for me going to bed well after 2am. I spend some time in my office, sketching and colouring in, dreaming up all sorts of things. Then I head to bed and read for a little while and then when the burn starts in my eyes I sleep.
I’m in the middle of lots of magazine commissions – quilts, wall hangings, table runners, softies and a bit of jewellery. So sketching is a great way for me to get the designs out of my head and tweak them as needed. Nothing works better than graph paper and a pencil, with a really good eraser and a ruler. I keep my set of colouring pencils handy for when I design things with lots of fabrics that way I can mark out each fabric with a colour and get a better view of what I’m thinking. Drawing these things helps me to clarify my design. Even though I have already visualised the finished project in my mind I work backwards deconstructing the piece into its components and then I can work out how to rebuild it and write notes for it so you can make your own versions.
My world is full of colour. I love it, dream it, mix it and match it. My bedroom and craft room are full of colourful clutter because that is what inspires me. I could never design in an office that was all white, with clean lines and everything in its place and so very neat. My design method is entropic. Chaos and colour all rolled into one brain. I wouldn’t have it any other way.
Many people ask me how I come up with so many things all the time. My answer is because my brain never stops. I walk around like a normal person all the while my brain is chugging along at the back designing, calculating and dreaming up new things. I can be having a conversation with someone and can literally feel my brain working in the background. If I stopped I think my world would stop, my life would stop and I wouldn’t be me.
I wouldn’t have my creativity any other way. I enjoy what I do, it makes me who I am and it makes me happy. I am so grateful to have found my life’s passion at such an early stage in my life.
How do you create? Design? Are you a morning or night person
