Hidden Threads

If you are interested in a quick and easy way to see if you’d like fabric painting, I have a story to tell you:

About two years ago, I decided that I wanted to see if I could paint fabric.  I’m not an artist, so I didn’t want to make a big investment.  Let’s face it, quilting isn’t a cheap hobby, and I had the idea that if I wanted to spend money, I wanted it to be on fabric that I knew was beautiful, not on my fumbling attempts at making something presentable.

I read somewhere, I’d tell you where, but I can’t remember . . . I read that you can use inexpensive acrylic paints (the stuff in the little bottles you find at the craft store) to paint fabric, and I thought that might be a good place to start.  This was in the fall, and within a couple of weeks I found a sale at a major crafts store that had craft paint on sale three bottles for a dollar.  I bought a few dollars worth of paint, a couple of brushes, some sponges, and one stamp (a cat’s paw print).

Now, I needed some fabric.  I wanted ready to dye fabric, some quality muslin, but couldn’t find any around, so I started looking for sales on 200 thread count sheets that were 100% cotton.  When I found a sale, I bought a couple of white flat sheets.

Now, we move on to the fun part.  And it WAS fun.  First, I washed the sheets to remove any sizing and cut them into fat quarter sized pieces.  I thought these would be easier to handle.  I then set-up my painting area and covered it with a big trash bag to catch the spills.  I squirted some paint onto a paper plate, and kept my brushes in a plastic cup that I’d filled with water.

After that, it was just experimentation.  I added a little water to my brush, filled up on paint and started in.  When I wanted to completely color the fabric, which was most of the time, I increased the amount of water.

After I became a little more sophisticated, I started using sponges, stamps, and gel medium to keep my designs from running.

Mostly, it was just pure fun; I didn’t waste much fabric, and sewing the denser fabric pieces hasn’t caused me any problems as long as I use Sharp needles.

I let my painted pieces dry on a wooden drying rack that I place in the tub on top of another trash bag.  Once dry, I let them set for a few days and then washed them, alone, in warm water.  They don’t bleed much.

My painted fabric pieces are color-fast and looked darn good, if I do say so myself.  I started the entire project for under $20.00, and now do it a couple of times a year.

My favorite painting process involves blending colors, and I have created blends that have come in handy, for applique in particular.  I have moved on to other painting methods, but my acrylic craft paint phase was fun and the color on the all of the fabrics that I’ve used has stood up to multiple washings just fine.

This is a great way to spend a fine spring or fall day when you have a couple of hours to spare.  Give it a try.

Ever been confused by the math involved in determining the size of side setting triangles?  I sure have.  These are the quarter square triangle cuts that are usually used to fill in along the edges of quilts that are set on point.

I hope the table below helps to sort it all out for you.   The first column shows the finished size of the quilt blocks you are using, i.e. a 6 1/2 inch block finishes at 6 inches.  The second column shows the size of the square you should cut.

After cutting the square, make two additional cuts, one along each diagonal, like a big X.  This will leave you with four side setting triangles.  Have an odd sized block?  Here is the formula:  multiply the size of the finished block by 1.414.  Take that sum and add 1 1/4 (1.25)  inches for the seam allowances involved.  That’s it.

I admit it, I hate to prewash fabric. . . because of the ironing! I look at a project or projects, make a pile of likely fabrics, and there they sit, waiting to be separated and washed. I’ve told you a little about my organizing strategies, about combining projects to make the process less of a chore, but eventually it’s just me, the ironing board, and the iron. . . .oh, and a mountain of fabric.

Why does it all have to end up so wrinkled? No matter how hard I try. Why do the edges have to fray, tangle, and make demented spider webs of wadded thread that only a pair of scissors can fix? (No, I don’t plan on going over all of my fabric with pinking shears before I wash it.)

I have to admit that I enjoy pulling the fabric out of the dryer (Yes, I use the dryer). I even like putting it in the washer on the gentle cycle.

But the ironing! Yikes.

It’s sweaty, thankless work. I don’t mind ironing blocks, or even ironing blocks in progress. I don’t mind ironing quilt tops. It’s as if my brain rebels at taking perfectly flat and nicely folded fabric and disturbing it. It seems unnatural.

Prewashing is usually an important step. I know that!

Why isn’t cotton fabric preshrunk? I’m not pointing the finger at anyone; it’s just a thought.

When I first started quilting, I was afraid of color. I tried to stay with pre-designed fabric groups, thinking that was the safest thing to do.

As I look back on it, I think that I must have developed my color-sense in a pretty typical way. Out of necessity, I moved from coordinated fabrics to picking my own. I sometimes had scraps that I wanted to use, or needed a contrasting fabric that a designer’s line just didn’t have.

I did my homework, being careful to use good contrast, studying the color wheel. One thing I discovered, though, was that I sometimes disagreed about contrast. Sometimes I wanted more harmony in my quilts. I wanted the patterns to almost melt together in some spots, resurfacing in others.

I think my perception of what’s “right” about color has more to do with current fashion than I used to. It makes me feel freer. . .I think.

After you have explored all of the standard layouts, you still aren’t done with this block! I said that it was versatile and dramatic, but I didn’t say that it could look charming, even old fashioned.

Small Circle Drunkard’s Path Block

If you reduce the size of the quarter-circle piece in the block, you can create small spheres by combining four blocks together. A reduced block size, around four inches, looks really cute with small circles throughout. This design works well with vintage and specialty fabrics. It makes a great Christmas quilt too.

I have some templates available from my Drunkard’s Path Page. Take a look in the side bar near the bottom of the page. Happy Sewing.

When I outlined the advantages of using the drunkard’s path block, I forgot to mention how dynamic it can be when using just two colors. You might want to fancy it up by using strip sets, or even diamond patterns to build drama, but even using a simple red and black fabric palette can have stunning results. You can see by the two renderings above how graphic and dramatic even a small quilt can be. These layouts were made using 16 of the two-piece drunkard’s path blocks. This can easily be done in a day. Really.

Variations on the Drunkard’s Path Block

If you want more drama, try adding a designer touch by creating fabric gradations out of 2 ½ inch strips. This was done in a Simply Quilts episode with 1-inch strips, but I don’t like wasting that much material. I buy jellyrolls and stitch them into one long piece of fabric. Then I cut the template shapes and sew my pieces together, orienting my strips so that they are all facing the same direction.

Need a little more pizzazz? Half circle inserts add a little more complexity. Want to try it? Get some templates from my Drunkard’s Path Page and start sewing.

Visit my previous Drunkard’s Path post: Explore the Drunkard’s Path Block

The drunkard’s path block presents some challenges for quilters who haven’t done much curved piecing.

A two piece block with one gentle curve, it’s a great place to begin your curved piecing adventure. It is a lot easier than a 16 piece star block, and you can literally stitch a drunkard’s path quilt together in an afternoon. Want an easy, graphic, and eye-popping quilt? The drunkard’s path has some unusual layouts that can look artful when used as wall hangings, or make impressive center medallions - you choose.

Check out my drunkard’s path page for some templates and a few layouts that will change your mind about trying this fun and interesting block: The Drunkard’s Path

Tips on Making the Drunkard’s Path Block

Be careful cutting your template pieces. Use a marker with a narrow tip. If you are using a rotary cutter, mind the curves. The more precise your cut pieces are, the easier it will be to sew them together.

You will be working with bias, so handle the fabric carefully to avoid distortion. If you are having problems, starching the pieces can help.

Curves are easy if you take them a little at a time. Pin your pieces at the ends and in the middle of the seam. The middle mark will help make sure you are staying on track.

Place the piece that bows out on top, and the concave piece on the bottom. When you start to stitch, don’t pay attention to all the bunched up fabric. Curves can be tricky because they look more complicated than they are.

Just pay attention to lining up the edges of the fabric at the presser foot. Stay focused on that small segment. Everything else will fall in line. Take three or four stitches and then adjust the fabric. Paying attention to a three-or-four stitch length BEFORE the needle and making sure you have a 1/4-inch seam will keep you on track. Making regular starts and stops will allow you to readjust the edges of the fabric.

If you are having trouble lining up the fabric, dry loosening your presser foot tension. It will also help to use a stiletto.

If you take your time and go slowly, you will start to position the fabric into the necessary curve. It will come naturally so don’t worry too much about it.

The trickiest part of the process is at the end of the seam. Watch to make sure that the fabric doesn’t shift out of alignment at the very end. Leave the last pin in until the presser foot grips the fabric.

When you inspect the finished curved seam, sometimes it will look pleated or puckered when it’s not. Ironing will often take care of the problem.

If you think you might like to try this block and need a template and some layout suggestions, visit my Drunkard’s Path Page. I really love this quilt block and would welcome any comments you might have about it.

I used to keep leftovers from quilting projects in little project bags, thinking that this would be an easy to keep track them. It didn’t take too long for me to have dozens of bags that contained. . .who knows what, stuffed under beds, in closets, behind doors, in the garage.

I moved from this unsuccessful strategy to keeping scraps, sorted by color, in under-the-bed plastic storage containers. This worked for a while. It was even pretty entertaining, with all those little pieces of fabric, showcased by fabrics in similar colors, all reminding me of past projects. It was kind of a textile trip down memory lane. . .until I ran out of beds to store fabric under. Seriously, every plan I dream up to contain this fabric explosion foils me.

I don’t have a house big enough to contain all my fabric without some serious spring cleaning. Now, don’t suggest that I just get rid of some of the scraps. I can’t bear to part with anything larger than two inches square.

I’d love to see some pictures of quilter’s scrap heaps, bins, and bags. It would be a little like looking at writers’ offices, or sculptors’ studios.

I always have a secret feeling that my next big idea is hiding in the scraps, among all those loose threads, hiding under that purple plaid fabric that I thought I’d ‘probably’ never use again.

So you want to make a sandwich, but don’t know about filling. For me, the part of quilting that gets my creative juices flowing is the design and quilt-top assembly. I’ve usually left batting considerations for the end of the process, and given it short shrift to boot, but I’m learning to do better. Batting can make or break a quilt. It will determine how far apart you can quilt a piece, how it will drape, and how warm it will keep your family, and that’s just for starters.

Why Is Batting Important?

Want to avoid bearding, want to eliminate loft, want to create a warm and comforting throw that will keep the kids cozy on those cold winter nights? Pick the right batting and those things are easy to do. Pick the wrong batting and – well maybe you’ll get it right next time, or with the quilt after that.

Because quilting supplies are getting more expensive all the time, and your time is becoming more precious too, it’s important to understand how critical batting can be to a successful project.

My next few blogs will explain about batting terms and qualities. The explanations should help you stuff a great quilt.

The last thing you want is to fail with the easy stuff, so enjoy this primer on filler so you can make a quilt that realizes your vision, both inside and out:

Batting in the Olden Days

Historically quilts were stuffed with whatever was around. Wool, flannel, and even paper were pressed into service. As we’ve moved away from ‘needing’ to quilt to ‘wanting’ to quilt, we’ve become a little more exacting in our batting selections. There’s really a lot to choose from, even exotic materials like bamboo and silk. When you make your next quilt, you should give your batting at least a much consideration as your thread, backing, and binding choices. It’s part of the construction – more than that, it is an essential quality in the final feel and look of your overall quilting project.

I am not a fan of hand sewing the binding onto my quilts. Over the last year or so I’ve been exploring the machine binding attachments available on the market, and as yet I can’t find one that sounds reliable.

As a matter of fact, what I can find are horror stories about most of the major brand name and generic binders. Out of desperation, I started using the reverse method, where you sew the binding on the back of the quilt and wrap it around to the front, then stitch it in place. After a little practice, this has worked great for me, and I’d recommend it to you too.

Pricilla Bianchi has a PDF that explains the process beautifully. Give it peek when you get a chance. Once you try this method, you’ll never finish a binding by hand again: All By Machine Binding Method