Raevenfea

Maker of various fabric things

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Posts categorized: Quilting

Altered Steps

Posted in Quilting

  • Finished projects
  • Q015CC
  • The Wedding quilt

There are days I’m incredibly grateful that my first attempts at quilting didn’t scare me off forever. Case in point, my very first ever quilt project. I decided to make up my own bed-sized pattern using two different versions of the Altar Steps block that are both pretty fiddly (one had set-in seams, people. I don’t even like those now!), using fabric purchased from a box-store that shifted all over the place. It was a recipe for disaster.

"Altered Steps" by Rachael Arnold (detail)
ā€œAltered Stepsā€ (detail), Rachael Arnold, August 2015, 54″x68″. Photo by Carl Pfranger.

Somehow, I managed to complete 10 blocks (nine of one, one of the other), although there’s about a 1″ difference in size between them all. I clearly hadn’t read about chain piecing, judging by thread tails. I cut things incorrectly but still used them. I really have no idea what I was thinking. At some point, I came to my senses and moved on to a different project.

"Altered Steps" by Rachael Arnold (detail)
ā€œAltered Stepsā€ (detail), Rachael Arnold, August 2015, 54″x68″. Photo by Carl Pfranger.

In my effort to clear out old works in progress (for fear of being that quilter who has 20-year-old unfinished projects hoarded away in corners of their home—not that there’s anything wrong with that if you’re so inclined, it’s just not a good thing for me, personally—, I pulled out the blocks and decided to do something with it all. My self-imposed restraints: use up as much of the uncut yardage as possible, use all ten blocks, and don’t purchase any new supplies (no quilting thread, no batting, no backing—all stash).

"Altered Steps" by Rachael Arnold
ā€œAltered Stepsā€, Rachael Arnold, August 2015, 54″x68″. Photo by Carl Pfranger.

I knew from the start that there was no way I’d actually make the originally planned quilt—not with these cheap, poorly cut, questionably coordinating fabrics. I also knew that I wanted to do something fast so that I could move on to a project I was in love with, not just in love with the idea of getting out of my sewing and head space.

"Altered Steps" by Rachael Arnold
ā€œAltered Stepsā€ (detail), Rachael Arnold, August 2015, 54″x68″. Photo by Carl Pfranger.

With wide sashing and overly large borders, I managed to use up most of the yardage, a small chunk of pieces that had been cut out (mostly the flowered 5″ squares and yellow strips), and nine of the blocks. The remaining yardage, block, and a few additional scraps made it onto the back and into the binding. The quilt finished at 54″ x 68″—a very respectable throw size, considering what I was working with.

"Altered Steps" by Rachael Arnold (back)
ā€œAltered Stepsā€ (back), Rachael Arnold, August 2015, 54″x68″. Photo by Carl Pfranger.

I backed it with the second sheet of the set I used when making the Bird’s Nest quilt, plus a strip of piecing. I used 80/20 batting, since that’s what would work from my stash (I only had to piece it once). This is the first time I’ve gone directly from quilting 100% cotton to 80/20 the next day, and I did notice a pretty clear difference in loft while quilting: the 80/20 is not nearly as flat. I think I would have preferred 100% cotton for this particular quilt, but it washed up beautifully in the end.

"Altered Steps" by Rachael Arnold (detail)
ā€œAltered Stepsā€ (back detail), Rachael Arnold, August 2015, 54″x68″. Photo by Carl Pfranger.

It’s quilted using a blown-up, much less well-controlled version of the “Flourish” design from the book Step-by-Step Free Motion Quilting by Christina Cameli (thanks Mom). The center is quilted using two similar light yellow cotton threads (because I didn’t have enough of one for the whole thing), while the borders (roughly) are quilted using a light blue (I had about 18″ left on the spool when I finished—talk about cutting it close). The bobbins are a mix of yellow and whatever light beige I had on hand in quantity. I used up the last of the yellow blender and a few more cut pieces as binding, finished by machine.

"Altered Steps" by Rachael Arnold (detail)
ā€œAltered Stepsā€ (detail), Rachael Arnold, August 2015, 54″x68″. Photo by Carl Pfranger.

Five years and 36 other quilts later, it feels great to have a finished project made from those very first blocks along with a stash that is three yards of fabric (that aren’t my style) and a sheet lighter. A part of me looks at this and asks ā€œcould I have done something more edgy, more modern, more creative, more my style,ā€ but another part is happy to have something that went from boxed in pieces to pieced and basted in under a week. There will always be another project to be more innovative with.

Now to decide if the quilt needs a home or should stay at mine.

August 7th, 2015

Less Sashay, More Sashing, Much Sizing

Posted in Quilting

  • Long-term project
  • Q015CC
  • The Wedding quilt

Wide borders and large sashing are easy ways to eat up fabric and make a larger quilt out of just a few blocks. Sashing can also help even out slightly different block sizes, such as was the case with my Altar Step blocks.

I like how this is turning out much more than I expected to.

altar-steps-remix-center-pieced

More importantly than how the project is turning out, I want to take a minute to provide sponsor-free praise of Mary Ellen’s Best Press. I avoided buying it for many years, thinking cheaper box-store spray starch or sizing was perfectly fine. Curiosity got the best of me recently, and I’m convinced I’ll never buy anything else again.

Piecing these slightly wonky, flimsy fabric-made blocks has been amazingly painless after using Best Press. It really does make an incredible amount of difference. I don’t want to say it will magically solve all problems—such as the poor technique of a beginning quilter—but let’s just say it’s well on its way to being a scientific theory from this data set of one.

August 5th, 2015

Step to the Remix

Posted in Quilting

  • Long-term project
  • Q015CC
  • The Wedding quilt

Once upon a time (circa 2010), a young woman decided that she should start quilting. Rather than design a simple project—or better yet, follow a simple pattern—she went a little crazy and pronounced that she would make a huge quilt in the span of a few months as a wedding present to a cousin. It was a dismal plan all around, and needless to say, that first project is still unfinished.

In the present time, a slightly less young woman has grown wiser with age and is tired of half-finished (or less) projects cluttering up her studio-cum-master-closet (and asking ā€œwhat on Earth were you thinking, younger self!?!?ā€).

That wiser woman knows finishing it to the original vision is never going to happen, nor does she want to even try.

altar-steps-remix-pieces

So, while she ponders what to do with ten blocks, a million little cut-out pieces, and three uncut yards of coordinating fabric, you’re left reading a blog post written about herself in the third person, all for the purpose of describing one photo that should have just gone on Instagram.

It’s dangerous work, delving into the dark recesses of the unfinished object pile.

Anyone want a bunch of tiny squares and trapezoids of questionable-quality fabric, possibly pre-washed?

July 29th, 2015

Wheeling Ruffles (Sevillanas)

Posted in Quilting

  • Finished projects
  • Long-term project
  • Q015CB
  • Ruffles

For a time in 2011, I took Flamenco lessons. I’m mostly uncoordinated and soon decided to devote more time to my other fledgling hobby (quilting!), but was inspired to design this quilt. The design and fabric went hand-in-hand: I found the border print and designed the quilt around it. After building it out in Illustrator, I decided it needed ruffles—a decision that stymied immediate progress as I debated buying a ruffling foot or doing it all by hand.

Wheeling Ruffles front
ā€œWheeling Ruffles (Sevillanas)ā€, Rachael Arnold, July 2015, 47″x47″ (excluding ruffle). Photo by Carl Pfranger.

Fast forward to 2015: the fabrics were tucked away in a box, I’d since bought a ruffling foot for other projects, and my quilting aesthetic has shifted away from the quilt design and the style of the fabrics. I decided to make the quilt anyway, mostly to play with ruffles and to mark one more unfinished project off the list (and reduce my stash at the same time).

Wheeling Ruffles detail
ā€œWheeling Ruffles (Sevillanas)ā€ (detail), Rachael Arnold, July 2015, 47″x47″ (excluding ruffle). Photo by Carl Pfranger.

The center medallion piecing is all straightforward pinwheels and flying geese, with a bit of machine applique added to the sashing (raw-edge via Steam-a-Seam 2 Lite, sewn with a ‘hand look’ applique stitch on my machine) . Instead of a plain inner border, however, there’s a ruffle—because what is a Flamenco-inspired anything without ruffles?

Wheeling Ruffles detail
ā€œWheeling Ruffles (Sevillanas)ā€ (detail), Rachael Arnold, July 2015, 47″x47″ (excluding ruffle). Photo by Carl Pfranger.

To make the 3″ ruffled inner border, I cut 3.75″ x width-of-fabric strips, sewed two strips together with a flat-felled seam, used a rolled-hem foot to finish one side, then gathered it all with the ruffling foot using a standard stitch length (2.5 on my machine) and a tuck every 6 stitches. Once ruffled, I pressed it all to keep the pleats in place, then sewed the ruffle and a 3.5″ strip of background fabric to the medallion. Because ruffles are a bit hard to predict length for, I made sure mine were longer than I needed and used the exactly-cut background fabric (35.5″ long) to measure and gauge length as I sewed the seam. I mitered the corners of the inner border, trapping the ruffles there, mostly because it was an easy solution to handling the corners and I liked how it looked.

Wheeling Ruffles detail
ā€œWheeling Ruffles (Sevillanas)ā€ (detail), Rachael Arnold, July 2015, 47″x47″ (excluding ruffle). Photo by Carl Pfranger.

The outer border uses strips of a border print, finished with mitered corners. I planned on adding another ruffle after the printed border just like the inner one with a background strip below, and then a final binding ruffle. But, when I attached the first side of this outer riffle, I found that the cheap border print fabric bunched and pulled far too much, so modified my plan to just use a ruffle on the binding. It worked out fine, and saved me having to purchase another 1.5yds of black for the second ruffle (they sure do eat up fabric!).

Wheeling Ruffles back
ā€œWheeling Ruffles (Sevillanas)ā€ (back), Rachael Arnold, July 2015, 47″x47″ (excluding ruffle). Photo by Carl Pfranger.

The back is pieced together from leftover border print. I must have purchased what I did with that plan in mind, as I had the perfect amount. The quilting is a mix of Gutermann 100% Cotton thread in black and white, with Pellon Eco 70/30 as batting. I free motion quilted a mix of pebbles, stitches in ditches, vines and leaves based off the center square motif, little loops, and echoed the printed design in the outer border. It’s bound in the leftovers of the fabric I used to fussy cut the center square, and has a 6″ ruffle attached.

Wheeling Ruffles rolled
ā€œWheeling Ruffles (Sevillanas)ā€ (detail), Rachael Arnold, July 2015, 47″x47″ (excluding ruffle). Photo by Carl Pfranger.

At 47″ square (+ 12″ of ruffle), this can either be a large wall-hanging or a kid quilt. I don’t know where it’ll end up, yet, but it feels great to cross another unfinished project off the list.

Known fabric list: Michael Miller Fairy Frost and Rouge et Noir Petals; Windham Toni Floral Toss; Springs Creative Saroya Lace Stripe and Saroya Abstract; Free Spirit Black Solid.

July 22nd, 2015

The Art Student and the Cottage Garden

Posted in Quilting

  • Bags
  • Fabric Designer: Amanda Herring
  • Fabric: Essex Yarn Dyed
  • Fabric: The Cottage Garden
  • Zipper

“This Art Student visited the Cottage Garden, and what happened next was a real challenge!” I really couldn’t restrain myself from click-bait copywriting there. Sorrynotsorry.

Art Student Tote front

The MQG paired up with Riley Blake fabrics for a challenge this year. Those of us who were quick enough on the draw to score free fabric ended up with a pack of six fat eighths from the Cottage Garden line by Amanda Herring of the Quilted Fish.

The challenge rules:

  • Make something fantastic that is quilted.
  • Make something you’ve never done before.
  • Challenge yourself to learn something new.
  • Use only Riley Blake Cottage Garden fabrics and coordinating Riley Blake basics and solids.

While I was pondering what to make, bags my fellow guild members brought to our sew-in in May inspired a bit of an obsession with Anna Maria Horner patterns, including her Art Student Tote.

“…Quilted”? Well, I can quilt part of it, sure. “…Never done before”? I usually just make bags without a pattern to varying degrees of success. “…Learn something new”? Well, the VT guild challenged us to learn paper piecing too, and I missed the demo while I was on vacation, and I can add quilted piecing to the bag, right?

That was the long way of saying I decided to make the Art Student Tote for my challenge project and incorporate quilted panels.

Art Student Tote front

I may have forgotten and/or misread the whole “use only Riley Blake…solids” part of the instructions while shopping, so Kaufman Essex Yarn Dyed in black ended up being a substantial part of the bag. C’est la vie. So, I might not qualify for the challenge (although I’m not the only one who used other things, from what I can tell), but I do have a usable product that I’m excited about, and Riley Blake sold a few extra yards of their fabric.

Art Student Tote pocket detail

Choosing what design to use for the pieced section of the bag was difficult until I came across an Urban Threads embroidery that greatly amused me. Stitches need thread, so paper-pieced spools made complete sense. Ironically, my needle thread broke eight times while stitching out the embroidery.

Art Student Tote back detail

Although the pattern only calls for pockets on one side of the bag, I made a non-zippered one for the back. That way, I had an excuse for a center stripe of pewter on both sides of the bag and more opportunity to use the challenge prints. After making spools for one front pocket, I decided that I’d rather return to traditional piecing for the rest and made the back panel inspired by a quilt by Patty Sloniger of Beck and Lundy. Whether piecing 1″ half-square triangles was less painful than additional paper-piecing is still up for debate. I quilted all of the pocket fronts to flannel to keep them lightweight but structured (and quilted).

Art Student Tote back with extension panel

I made the version that includes an extension panel. Because I originally purchased the flower yardage for the lining only, I was about 3″ short when it came time to cut out the extensions. I saw it as one more opportunity to use the challenge fabrics, and pieced in a stripe of small nine-patches.

Art Student Tote exension panel detail

Not everything was rosy. I don’t know if it’s me or the directions, but I had a very hard time following along with the pattern. I had to re-read things a million times, and it still didn’t make a ton of sense in certain cases. The pattern also seems to be missing markings for start/stop stitching on the extension panel. It all turned out okay in the end, but was disappointing for a paid pattern.

Art Student Tote pocket detail

If I make it again (likely with less piecing!), I’ll leave off the extension panel. It may provide more room when you need it, but is a bit awkward when folded down inside the bag. Not to mention, the bag itself is already pretty large! I also need to find a way to hide the raw edges from my center stripe at the very top edge (my fault for lack of foresight when I modified the pattern that way).

Regardless, it seems perfect for toting around projects and quilts that need to be photographed. I’m looking forward to using it to carry stuff for a sew-in next weekend!

All photos by Carl Pfranger

July 11th, 2015

Puzzle Bop

Posted in Quilting

  • Applique
  • Baby quilts
  • Fabric Designer: Thomas Knauer
  • Fabric: Savannah Bop
  • Gifts
  • Q015CA

The embellished fabric bin I made two years ago has been taunting me to use the remaining fabric from Thomas Knauer’s Savannah Bop line that was sitting inside of it. Even after using strips to make the 1 + 1 = 4 charity quilts and the bin, I had about 1/3 yd. of each print in the line in my stash. Finally, the need for another baby quilt gave me reason to pull it out.

Puzzle Bop
ā€œPuzzle Bopā€, Rachael Arnold, February 2015, 48″x56″. Photo by Carl Pfranger.

I settled on the idea of a puzzle—because what is quilt pattern design if not a giant puzzle to solve? As tempted as I was to throw in solids and a yarn-dyed once again, I decided to use up most of the prints in the line and only added in the Michael Miller Kryptonite solid for a bit of contrast. (Here’s my tutorial on how to make the puzzle block.)

Puzzle Bop detail
ā€œPuzzle Bopā€ (detail), Rachael Arnold, February 2015, 48″x56″. Photo by Carl Pfranger.

Then, because the design needed a little something more, I appliqued on a few extra puzzle pieces to fill in the negative space. I especially like the one on the top corner that wraps to the back of the quilt over the binding. (I posted a description of my process back in February.)

Puzzle Bop detail
ā€œPuzzle Bopā€ (detail), Rachael Arnold, February 2015, 48″x56″. Photo by Carl Pfranger.

I free motion quilted this all over in a loose meandering pattern, using a Gutterman green that matches the Kryptonite. The back is Minky Cuddle Pine Ridge in Olive. I tried out Pellon’s Eco Batting this time, a 70/30 cotton/poly blend. It’s bound in Kona Sunflower.

Puzzle Bop detail
ā€œPuzzle Bopā€ (detail), Rachael Arnold, February 2015, 48″x56″. Photo by Carl Pfranger.

This has been a slow year for me, quilting wise (at least considering I don’t have wedding planning to blame). I finished the quilt in February, but just now got around to photographing it and dropping it in the mail. It’s my only finish yet this year, but that should change soon.

Puzzle Bop back detail
ā€œPuzzle Bopā€ (detail), Rachael Arnold, February 2015, 48″x56″. Photo by Carl Pfranger.

At least spring finally decided to grace Vermont!

Puzzle Bop detail
ā€œPuzzle Bopā€ (detail), Rachael Arnold, February 2015, 48″x56″. Photo by Carl Pfranger.

May 8th, 2015

Batting Comparison

Posted in Quilting

  • Batting
  • Product review

I did a demo for VTMQG last week comparing different types of batting I’ve used. I volunteered for purely selfish reasons—I needed to clean out and organize my scraps, and also take stock of which ones I like, and which I might not care to buy again in the future.

The demo was very hands on and doesn’t translate well to the web, but here’s what I found.

The Process

I created three quilt sandwiches of each batting (large enough to cut down to 9″). I used fabric from the same manufacturer to try to keep things consistent, but used a different design for each for ease of visual comparison. The back is a solid. I quilted one of each set with a rough 1.5″-2″ grid, another with feathers and pebbles, and and the third with both.

I trimmed them all down, then overcast stitched the edges of the gridded and feathered squares to keep them from fraying in the wash.

Then, I washed the two overcasted blocks from each set (basic cotton wash, normal dry) to see how they ended up compared to the unwashed third block.

Dried and pressed
Stacked blocks after being dried and pressed

The Results

Batting choices can be very dependent on the project type, and this is certainly not an exhaustive list. I imagine different brands react differently even with the same fiber content. But, knowing how the batting will react to quilting and washing is helpful in making that choice.

Just out of the dryer
Stacked blocks right after being dried. Cotton content resulted in quite a bit of rumpling
Batting Comparison Chart
Fiber Demo Brand Shrink* Loft Max Gap Binder
*according to the manufacturer
Wool Hobbs Tuscany Collection minor medium 4″ resin
Polyester Soft n’ Crafty Extra Loft minor high 2″-4″ resin
50/50 Bamboo/Cotton Nature-fil major low 8″ resin
70/30 Cotton/Poly Pellon Eco Cotton minor low-med 8″-10″ scrim
80/20 Cotton/Poly Soft n’ Crafty 80/20 medium low 2″-4″ scrim
Cotton Warm & Natural medium low 10″ scrim
70/30 Cotton/Poly
80/20 Cotton/Poly
100% Cotton
50/50 Bamboo/Cotton
100% Poly
100% Wool

The least affected by washing and drying was the 100% poly. However, it was not much fun to quilt, and the loft is higher than I personally like.

Poly shank due to the fabric shrinking, but is otherwise unchanged

The most affected by washing and drying was the 50/50 Bamboo/Cotton. There was an extreme amount of shrinkage. A different wash type might reduce that, but be forewarned. It is gorgeous before washing, though.

Bamboo/Cotton shrank drastically

Personal Preferences

I’ve used all of these for various projects, but the two I use most often are 100% Cotton and an 80/20 Cotton/Poly blend. The former is great for all-cotton projects that I want to wash up all crinkly and soft, while the blend is perfect for baby quilts that I back with Minky, as the slight poly content reduces the shrinkage a bit.

What is your favorite batting type?

March 15th, 2015

The Sum of Scraps

Posted in Quilting

  • Fabric Designer: Melody Miller
  • Fabric Designer: Rashida Coleman-Hale
  • Fabric: Essex Linen
  • Quick project
  • Scrap projects
  • Wall hangings

When I make baby quilts, I typically whip up a doll quilt with the leftovers—a winning solution that adds another gift for the kid and eats up scraps. Mustang Summing isn’t a baby quilt, per se (or maybe it will be whenever I give it away), but I needed something that could be bound with facing for a quilt guild demo I gave in November, so I played with scraps and made a doll-quilt-sized wall hanging.

The Sum of Scraps wall hanging
“The Sum of Scraps” wall hanging, Rachael Arnold, November 2014, 12.5″x19″.

The top is just a couple hours of playing around, growing it out from the center of the log cabin block, sewing things together that seemed to work. Cut, sew, press, trim, cut, sew and on and on.

The Sum of Scraps wall hanging (detail)
“The Sum of Scraps” wall hanging (detail), Rachael Arnold, November 2014, 12.5″x19″.

I went simple with quilting, stitching out a square spiral in a gray thread that blends well with just about anything. In a few places, I added highlights using the heavier russet thread I used on Mustang Summing.

The Sum of Scraps wall hanging (back)
“The Sum of Scraps” wall hanging (back), Rachael Arnold, November 2014, 12.5″x19″.

Since it’s a wall hanging, I just used a solid from the stash on the back and finished it with facings using binding strips that were leftover from the other quilt.

This is the first time I’ve used this type of binding, but it seems to work well for this sort of application. I especially like that the top can double as a hanging sleeve. For shows, I imagine you’d have to increase the size of the facing piece to create a standard 4″ sleeve, but I wasn’t too concerned about that for something at home.

The Sum of Scraps wall hanging (detail)
“The Sum of Scraps” wall hanging (detail), Rachael Arnold, November 2014, 12.5″x19″.

It took me three months to sit down and take 30 minutes to sew the facings down by hand (and another two weeks to photograph it), and I still haven’t figured out where to hang it (not to mention that I need a better hanger)!

If you’re looking to learn this technique, I cobbled together my method from memories of various things I’ve read, so I can’t direct you to a specific tutorial for exactly how I made this (should have taken photos and made my own, huh?). Here’s one that seems similar: Super-Duper Easy Way to Face a Quilt (but doesn’t include the hanging sleeve). I know I read about turning the top into a hanging sleeve somewhere, but can’t find the article or blog post. Sorry!

What’s your favorite wall hanging finish?

February 23rd, 2015

Flamenco Quilt Teaser

Posted in Quilting

  • Project preview
  • Q015CB

When I last listed out my various works in progress, I specified that the list included only projects with something already cut out. I felt the need to add that qualification, mostly because the skeleton in my closet is this quilt I designed and bought fabric for in May 2011, which never even made it to the cutting table. When I stumbled across the design file for it while doing some digital organizing, I decided it was now or never—either make it in 2015 or get rid of the fabric.

Flamenco quilt teaser

The style of the quilt doesn’t speak to me like it once did, but there are a few techniques I designed in that I still wanted to try, so cutting and sewing has commenced. Stay tuned!

February 11th, 2015

Wrapping Applique Demo

Posted in Quilting

  • Applique
  • Demos
  • Q015CA

My latest quilt needed something more than piecing for me to love it, so I decided to add a few applique pieces to it after it had been quilted. Then, I decided to step it up a notch and wrap one of the appliques from the front to the back (full disclosure, I’ve been planning on doing something similar on one of my long-term works in progress, so it’s not a terribly new idea of mine).

Puzzle Bop Applique

The trick is that the applique was added after the quilt was otherwise finished. I sewed a backing to the applique piece, turned it right-side out through a slit in the middle of the backing (for clean edges), then topstiched along the edge to secure it to the quilt. When I reached the part that would wrap, I just kept topstitching without the quilt underneath, so that it looks the same as the top.

Puzzle Bop Applique

Once I was done, I wrapped the piece around, and used a ladder stitch to secure the piece to the back by hand.

Puzzle Bop Applique

It also served as a good place to put the label for this quit.

Puzzle Bop Applique

I’ll be back with more info about the completed quilt once it reaches its destination!

February 8th, 2015

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