how to Bind A Quilt 12 Quilt Binding Methods

How to BIND a QuIlt: 12 NEW Quilt Binding and Finishing Methods for Your Art Quilts from Quilting Arts

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On the Edge A Big Finish for Your 1 sArAh Ann sMith 3 Small Quilts terrY grAnt Not Bound by Tradition 2 sherrie spAngler Picture It Framed 4 lYric kinArd

how to bind a quilt: 12 new quilt binding and FiniShing methodS For Your art quiltS QuiltingArts.coM 1 ©interweave press llc how to Bind A Quilt 12 Quilt Binding Methods

let’s face it: Conceptualizing and stitching it on top of a backing fabric making an art quilt is fun. Finishing with raw edges. and putting a binding on it isn’t (at How to BIND a QuIlt: have you ever tried to finish a small least for me). if 12 new Quilt Binding And art quilt with a zigzag along the your studio is Finishing Methods For edge, only to have the corners come anything like mine, Your Art Quilts out an utter mess? terry grant has it’s harboring a come up with a smart (and simple) from QuIltINg arts heap of unfinished way to finish those small quilts and quilts, just begging EDItorIal DIrEctor Pokey Bolton have their corners stay clean and to be completed assIstaNt EDItor Pippa Eccles neat. lyric Kinard lends her art and so they can be design expertise and offers several released and creative services methods for presenting and mounting appreciated by the greater world. DIvIsIoN art DIrEctor larissa Davis your works of art so that they shine. PHotograPHErs l arry stein not to worry, this ebook has come to So get out your unfinished quilt tops; Korday studios the rescue! in the pages ahead, you’ll with all of these options, i’m confident find 12 creative—yet easy —ways Projects and information are for inspira- you’ll find the perfect finishing tion and personal use only. Quilting Arts to finish those quilts. For instance, method to complement them! MAgAzine is not responsible for any li- take Sarah ann Smith, who shows a ability arising from errors, omissions, or few finishing techniques, including Cheers, mistakes contained in this eBook, and readers should proceed cautiously, espe- how simple it is to create a perfect cially with respect to technical information. binding for quilt tops with curved interweave Press LLc grants permission to edges. Sherrie Spangler cleverly photocopy any patterns published in this issue for personal use only. demonstrates a nontraditional method Pokey Bolton for framing a quilt top simply by Editorial Director

put morE iNiN your lifE fabric dXb\fm\ip. 28 texture FROM MISTAKE TO MASTERPIECE Quilting Arts MAgAzine® explores ideas, , and techniques for related to embellished and contemporary art quilting. tips QUILTentering SHOWS inside, you’ll find design inspiration, directions, step-by-step from photo gorgeous photo graphy, and for developing your to motivation ART QUILTp. 14 personal style, at all skill levels. sketching made easy p. 46

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how to bind a quilt: 12 new quilt binding and FiniShing methodS For Your art quiltS QuiltingArts.coM 2 ©interweave press llc how to BIND a quilt 12 quilt binding methods

Ad a p t e d f r o m Quilting Ar t s Ma g a z i n e Au g u s t /Se p t e m b e r 2007 a n d Oc t o b e r /No v e m b e r 2007 he edge n t o

b y Sa r a h An n Sm i t h

The mini-quilt shown here illustrates most of the binding challenges you will face, including standard edges and corners, inside and outside curved edges, and a point.

hat if” may be the most useful phrase in an artist’s vocabulary. What if I used a pillowcase back “Winstead of a bias binding? What if I used a sheer fabric instead of cotton or silk? How would it look if I stitched an accent line inside the bias binding? In this article, we’ll look at all of these options for finishing quilt edges. When you’re ready to use one of the techniques, be sure to read through all of the steps before proceeding. Sometimes one alternative is clearly the edges? If your quilt is designed for most of the challenges you will face. better looking or more suitable to the the wall, you can use any edge-finish The sample quilt includes standard intended use of the piece, but other (or lack thereof) you want. If you are edges and corners, plus inside and times the answer is what looks best making a garment or bed/lap quilt, outside curved edges, and a point. to you. The question then becomes, you’ll want a durable finish that will To bind a curved edge smoothly, “How do I choose?” The answer is: stand up to washing and the wear and you must use bias (fabric that is “Make visual decisions visually.” Copy tear of use. on a 45º angle to the woven edge) that sentence, post it front and center in your studio, then abide by it. Do u b l e -Fo l d perfect Once your quilt is nearly finished, set Bi a s Bi nd i n g out your fabric and fiber options and miters really look at them. Do you—gulp, The double-fold bias binding with a For Sarah’s instructions on how to gasp, gleefully watch the “quilt police” mitered corner is probably the most make a perfect miter with any width of bias binding, check her blog entry shake their heads—leave the edges familiar edge finish for contemporary quilts. For demonstration purposes, dated July 20, 2007. Go to raw with the batting artfully hanging sarahannsmith.com and click on I created a mini-quilt that illustrates out, perhaps painted? Do you enclose the Blog link.

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because bias stretches. The narrower the binding, the easier it is to get it smooth and flat, especially on curves. A double-fold bias will wear substantially longer than a binding cut on the straight of the , so it is particularly good for garments and

bed/lap quilts that will get a lot of use. 1 Diagram 1 ⁄4" Diagram 2 Ma k i n g t h e St r i p 1. Cut your binding strips 6 times the width of the desired binding, plus 1 1 ⁄4" (add an additional ⁄4" wiggle room if desired). For a binding that Fold First fold 3 finishes at ⁄8" you will need 21⁄ "-wide strips (not including 2 Diagram 3 Second fold wiggle room). Diagram 4 2. Sew your binding strips end-to-end, using diagonal seams 1 with a ⁄4" allowance, until you have the length of your quilt perimeter plus several inches. 3 Press under a ⁄8" 3. Fold the strip in half lengthwise, finger-pressing orlightly pressing Diagram 5 ending tail Diagram 6 Finish the seam with an iron. Add i n g t h e b i nd i n g 1. Align the binding raw edges with 1 the quilt raw edge and, using a ⁄4" seam allowance, sew the binding to­ the quilt, beginning at least 4"–6" from a corner, and leaving a tail of the strip with the next side of the tail. Allowing a 1⁄ "–1" overlap, about 4"–6" (on large quilts, leave 2 quilt. Starting at the corner, stitch trim away the excess. (Diagram 5) a tail of about 12"). When stitching down the next side. (Diagram 3) is about 2" from the corner, place 2. Refold the beginning tail so the 1 Repeat at the remaining corners. a to mark ⁄4" from the corner. ending tail is tucked inside; pin. Stitch up to the pin and . 4. Stop stitching about 4"–6" from Finish the seam. (Diagram 6) Remove the pin. Remove the quilt where you began; backstitch. 3. Turn the binding to the back. Fold from the machine and cut the Remove the quilt from the machine the mitered corners in opposite threads. and cut the threads. (Diagram 4) (Diagram 1) directions on the front and back to 2. Fold the binding up to make a 45º Jo i n i n g t h e t a i l balance the bulk. angle as shown. (Diagram 2) end s a nd finishing 4. Blindstitch the binding to the back 3 3. Fold the strip back down (covering 1. Press under a ⁄8" seam allowance using an invisible hand-appliqué the 45º fold). Align the new fold on the beginning tail. Tuck the stitch or stitch in the ditch from with the edge of the quilt and align ending tail inside the beginning the front. Blindstitch the join. how to bind a quilt: 12 new quilt binding AND FINISHING methods for Your art quilts QuiltingArts.com 4 ©Interweave Press LLC how to BIND a quilt 12 quilt binding methods

tips • I like to start the binding on the lower left side, where the join is relatively unnoticed as the eye A subtle line of travels in its accustomed path (from color can be added left to right and top to bottom) by using a triple-stretch stitch in the across a quilt. ditch where the binding meets the quilt top (see the red stitching along the binding of this piece). For a perfect finish, sew in the ditch • Loosely run the binding strip before hand sewing the binding to the back; this will cover the line of machine stitching. For around the quilt to make sure a a faster finish, after sewing the binding to the front, pin it to the back and stitch in the ditch seam doesn’t land on a corner (too from the front, catching the binding on the reverse. much bulk); if it does, adjust your starting point slightly. The pillowcase method (also called the edges of the opening and stitch the “escape hatch” or “bagged back”) the opening shut. is a great option when you have lots • Slice an opening in the center of of knots and threads from doing the back, as I did on this piece. Pi l l o w c a s e extensive beading or hand embroidery, This is called the “escape hatch.” because it covers the entire back. Finish You can hand stitch or fuse the Sometimes a quilt is done just as it is, Th e ­P i l l o w c a s e opening shut. and a bias binding (either matching e c h n i q u e 1. Complete all work on the quilt fabric or contrasting) or any other T top. Cut batting the same size as noticeable edge-finish would detract There are two ways to turn a quilt (or slightly larger than) the quilt from its composition. In this situation, with a pillowcase backing: top, and do most or all of the consider a pillowcase finish, which • Leave an opening along one side. quilting (a piece of cloth under turns the front of the quilt After turning the quilt the batting is optional at this ever so slightly right-side out, turn under point). to the back.

tips With the pillowcase method presented here, the front of the quilt is turned slightly to the back, ensuring that the backing will not be visible from the front of the quilt. Here are a few hints to keep in mind when using this method: • Before trimming your finished quilt top, decide where you want the edges of your finished quilt 3 to be, and plan for a ⁄8" seam allowance. This will ensure that you don’t hide part of what you 1 intend to be visible when approximately ⁄8" from the front is rolled toward the back. • It is difficult to get sharp corners with a rolled edge, so consider rounding your corners to make things easier.

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1 4. Trim ⁄8" from all edges on the called “favoring” the edge. When backing. seen from the side, you won’t see the backing/facing, so it gives a NOTE: If you will be using the escape clean, professional finish to the hatch method, apply fusible web to a edge of your quilt or garment. section of the back and cut the opening Use an up-and-down (not sliding) now. motion with a dry iron to set the 5. Place the backing on the quilt, seams in place. right-sides together, and sew along 1 TIP: If you rest a piece of wood or a For a quick and easy the outside edge using a ⁄4" seam heavy book on top of the area you just finish, try the “escape-hatch” allowance, easing the top and method (see The Pillowcase Technique). ironed as it cools, it will “set” better and slightly stretching the back to fit. The opening is fused closed, then hidden stay where it belongs (instead of trying under the label. 6. Trim away as much batting as you to uncurl). can from the seam allowance. 10. Stitch the side opening or escape NOTE: I do some additional quilting 7. Trim the outside corners to reduce hatch closed (or fuse it). If the after adding the pillowcase backing to bulk when turned. Clip all inside backing is fusible, iron it now. You keep the backing in place (see Step 10). curves and cut notches in all may wish to add some quilting or 2. Trim the quilt top and batting, outside curves. Clip into inside stitching to keep the backing in 3 corners. being sure to allow for a ⁄8" seam place, as I did here, especially if 1 allowance. (The extra ⁄8" is for the TIP: Avoid clipping into the stitched your quilt backing is not fused. “roll” toward the quilt back.) seam. If the fabric is raveling a lot, use a 11. Sew or fuse your label over the 3. Cut the backing exactly the same short stitch length to reinforce the seam escape hatch to hide the slash. size and shape as the top. and use a no-fray product where the clips approach the stitching. Sh ee r s 8. Turn the quilt right-side out. Use Quilts bound with sheer ribbon a point-turner, blunt-tipped large are lovely, but the ribbon can be knitting needle, or a crochet hook expensive, poor quality, or difficult to shortcuts to corners. find. I developed a method of using To speed up the process, use fusible web on the backing (before you 9. Iron the seam allowances toward sheer synthetic fabrics to finish the stitch it to the quilt), using one of the the center of the quilt as follows. edges, providing a subtle visual “stop,” following methods: Roll just a smidgen of the front yet allowing the viewer to see the • For the escape hatch method, apply edge of the quilt to the back; this is composition extend all the way from fusible web extending 1" or so edge to edge. I use a heat tool to cut around the planned escape hatch and sear the edges because sheers fray Clip off corner Cut notches location. a lot. You can also rotary cut these • For small quilts, apply fusible web strips and allow the edges to fray, or to the entire backing. use tulle (netting) or stretch mesh, For either method, sew with the which will not fray. Because this piece fused backing on top and reduce the has curves, I cut my strips on the bias. presser-foot pressure so the fusible For a quilt with straight sides, you adhesive doesn’t bunch up under the presser foot. To reduce drag, place may cut the sheers on the straight tissue paper or tear-away stabilizer grain. Because sheers can be fiddly, over the fusible; remove the stabilizer I use a wrapped corner instead of a once stitching is complete. Clip Clip into corner mitered corner. how to bind a quilt: 12 new quilt binding AND FINISHING methods for Your art quilts QuiltingArts.com 6 ©Interweave Press LLC how to BIND a quilt 12 quilt binding methods

Di r e c t i o n s 1. Rotary cut your binding strips at least 2" wider than the desired 1 width. For a ⁄2" edge, cut strips 1 2 ⁄2"–3". Cut a separate strip for each side of the quilt (cut each strip 2" longer than the quilt side).

2. Fold the binding strip in half lengthwise and insert the quilt, easing the binding fabric until it is snug against the raw edge of the quilt; pin. Repeat on the opposite side. (Photo 1) TIP: Spray baste the inside of the sheer to make pinning easier.

3. the binding in place, 1 5. Position sewing ⁄2" (or desired width) from binding strips the quilt’s raw edge, then trim the on the final 2 sides of ends of the binding strips flush the quilt, pinning from the with the quilt. middle and working outward. 4. It is necessary to trim away the Trim the excess binding strip 7. In the same manner as above, excess width of the binding strip 1 length, leaving ⁄2" extending at topstitch and trim away the excess (on both the front and the back of each end (for wrapping to the back binding strip width. the quilt). First, secure your quilt of the quilt). to an ironing surface by pinning 6. Wrap the 1⁄ " excess strip length on both sides of the stitching line, 2 to the back and fold it up on the stabbing the through the back. Repeat on the other end. binding and underneath the excess fabric. Carefully lift the excess fabric and cut/sear the excess away, Photo 2 1 leaving ⁄8"­ beyond the stitching. (Photo 2) Photo 1 NOTE: If you sear too close to the stitching, your sheer may pull loose. Also, you might melt your threads. Practice on a scrap and on the back side of the quilt before working on the front. Keep the heat tool somewhat vertical or you may accidentally melt the binding with the hot shaft of the tool.

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it creates a straight line across the top, “poking-out bits” extend beyond Wr a p -a nd - it makes it much easier to add a sleeve the central background; see Steps 2 Tu c k and hang the quilt. and 3.) Layer and baste your quilt sandwich. Complete most of the NOTE: You need to decide on this With the Wrap-and-Tuck method, 1 quilting, leaving at least ⁄2" margin the backing is wrapped around to technique before you have finished 1 unquilted around the edge of the the front, so it’s important to select a quilting. Leave ⁄2" unquilted all around central design. backing that will make a nice frame the outside edge so there is room to tuck for the front. The wrap method solves the fabric under the quilt top. 2. Trim the batting into a rectangle so two challenges presented by highly that all the “poking-out bits” are irregular quilt edges. First, it provides Di r e c t i o n s supported by batting. 1. Cut the backing and batting stability to design elements that 3. Trim the backing, ensuring that oversized. (The excess required extend beyond the quilt top so they it extends far enough beyond the depends on how far any don’t sag or flop. And second, because edge of the batting to wrap over

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what if? You can gussy up the edges where the wrap tucks under the top with satin stitching, couched , embroidery, beads, or other decorative details.

7. Pin, baste, glue, or fuse the edge of the quilt top to the wrap, making sure the corners stay nicely the exposed batting and tuck tucking it underneath the quilt mitered. underneath the quilt top (with top; press the folds. at least 1⁄ " tucked under the 8. Complete the quilting. Be sure 4 5. Fold the corners to create miters; innermost part of the quilt top). to quilt the new frame and the press. “poking-out bits.” 4. Fold opposite sides of the backing 6. Fold the remaining sides inward; inward, wrapping it smoothly tuck under the quilt top and press around the edge of the batting and the folds.

Sa t i n s t i t c h i n g Satin stitching, a tightly packed , is a familiar stitch used in many fabric postcards and Artist Trading Cards (ATCs); it works as an edge-finish on larger pieces as well. It can be tricky to get a dense, classy result, but with practice and a variety of techniques, satin stitching offers a pleasing edge-finish option. The following are the strategies I recommend. In general, I make two to three rounds to cover an edge. For the first round, a narrow width and somewhat open-length zigzag is used to secure the three layers of the quilt. Wider, tightly packed stitches are used for the subsequent round(s). Di r e c t i o n s 1. Starting with your quilted sandwich, You can use the same thread all the way around or secure the quilt top and backing change thread colors to blend with the fabric, as I did here. fabrics to the batting along the I wanted a variegated look at the night sky’s edge, but not a stripe, which happens when you machine zigzag stitch with variegated edges of the quilt by fusing it, or thread. To avoid the stripe, I used free-motion zigzag stitching use wash-away tape. (This is not with variegated thread.

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width and somewhat open length (convex) edge of the curve, zigzag to secure the 3 layers of lift the presser foot slightly your quilt. On the featured quilt, and pivot the piece so that experiment I used a 2.5 width and a 2.0 stitch your satin stitch will slightly • Try different thread colors, stitch length for this round. overlap previous stitching. This widths, stitch lengths, and tension is repeated until the curve is settings. 5. Ro u nd 2: Set your machine to the rounded. • If your edge wants to ripple or desired stitch width and length. stretch, or the stitching wraps too In this case, using a 40-weight b. I get smoother curves when far to the bottom side, try stitching Rainbows™ trilobal polyester I turn curves on the fly, in with a piece of wash-away stabilizer under the edge. To remove the thread from Superior Threads, I other words as I am stitching. stabilizer, tear away as much as used a 3.5 stitch width and a .35 I grab the edges of the quiltlet possible, then spritz with water to length—even shorter than for and “steer” the edge as if I dissolve the remainder. a . If you use a fine were holding a steering wheel thread, such as regular 50-weight driving down a winding road. sewing cotton, your stitch length necessary if your quilt top is fused Try both and see which works best may need to be even shorter. and/or densely quilted—every for you. quarter inch or closer along the TIP: If, after Round 2, there are bits 8. Op t i o n a l : Depending on how the edges.) If the fabric isn’t secured to of batting showing, use a fabric pen or edges look after 2 rounds and how the batting, it has a tendency to lift fabric paint to darken the batting along you want them to look, do a third up or wiggle out from under the the outside edge. round of satin stitching. satin stitching. 6. Co r ne r s : I stitch up to the end 2. Make test samples using different of the corner (or “poking-out threads and stitch settings, and bit”), pivot with the needle on the experiment with wash-away outside corner, then make sure to what if? stabilizers. overcast the previous stitching. What if you sew embroidery floss or When possible, I try to do a few perle cotton around the satin-stitched TIP: Do a test to be sure the stabilizer stitches on the diagonal to create edge, like a barber’s pole? What if you will wash away completely. a mitered look and fully cover the change thread colors along the edge, creating long, irregular dashes of 3. Use an open-toe embroidery foot. corner. (This foot allows you to see what color, echoing colors in the quilt? 7. Cu r v e s : you are doing and has an area There are 2 ways to turn scooped out underneath to permit satin-stitched curves: dense stitching to pass through needle-down-pivot or on-the-fly. On this piece, I painted the edges of the smoothly.) If possible on your a. Most branches instead of stitching them. machine, reduce the presser-foot appliqué pressure just a little; or use a books teach free-motion quilting foot, but the pivot keep the feed dogs up. (The method front-to-back motion of the feed where you dogs helps you keep an even line stop with with free-motion zigzagging.) the needle in the down 4. Ro u nd 1: If you are using a position wash-away stabilizer, place a strip along the under the edge. Use a narrow outside how to bind a quilt: 12 new quilt binding AND FINISHING methods for Your art quilts QuiltingArts.com 10 ©Interweave Press LLC how to BIND a quilt 12 quilt binding methods

or “ladder” stitch. A three-step Co u c h ed zigzag also works well. You can y a r n s even use a decorative stitch; my machine does one that looks like a what if? Using on the edges of quilts Instead of having an invisible join, checkerboard—it gives a fun “dots is one of my favorite techniques. what if you leave the ends dangling? and dashes” look to couched yarns. A single, thick strand of a bulky Or start a new strand of yarn at Make some test samples using each corner and knot the yarns at chenille yarn creates a nice frame, plus different yarns and stitch settings. the corners? Or string beads onto a it is quick to apply and uses a lot less Try my suggested stitch width and strand of perle cotton, twist the perle thread than satin stitching. You can length on a scrap, and adjust to cotton with a thicker yarn, and every also combine yarns, thick or thin, to so often slide a bead up into the area suit the thickness of your yarn, create the perfect edge for your piece. being stitched (being careful not to hit quilt sandwich, and preferred look. For the winter scene, I twisted three the bead with the needle)? (Diagram 1) slightly different purple yarns to create Tip: one strand with enough presence for It’s important that your stitch quilted, it’s helpful to fuse, securely the edge. swings from the outside edge of the yarn, spray baste, or glue the fabric to on the right, into the quilt sandwich, the batting to secure the layers. Di r e c t i o n s on the left, with the center line (real or 1. Select a stitch that goes to both the imaginary) running along the raw edge 3. Whether using one strand of yarn right and left of a center line. This of the quilt. or several twisted together into line can be imaginary, as it is in the a single strand, hold a couple of 2. Use an open-toe embroidery foot center of a plain zigzag, or it can inches of the yarn behind the to provide the best visibility. As presser foot and stitch a bar- be a stitched line, as in the stitch with satin stitching, if your quilt that I call the “railroad tracks” (zigzag stitch) at your starting top is not fused and/or densely point.

I twisted three yarns together as I applied them; you can vary the twist from loose to tight. It can get tricky, especially on a large quilt, to twist several yarns as you stitch. Instead, you can sew the yarns into one combined strand first, then apply them to the edge of the quilt.

Diagram 1 A: Zigzag, 3.5 wide × 2.5 long B: 3-step zigzag, 3.5 wide × 2.5 long C: Railroad or ladder, 3.5–4 wide × 2 long D: Checkerboard, 4.5 wide × .35 long

ABCD

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4. The “line” where the yarn butts edge of the quilt, with the yarn How many different kinds of bindings up against the outside edge of the wrapping around the outside are there? Lots! There are also many quilt is your center line. Adjust of the needle. This will create a variations on the themes I’ve shared the stitch width so that the needle sharp corner instead of a rounded, in this article, and you can always use swings from the yarn onto the quilt squished corner. more than one technique in a quilt. enough to secure it. Use a bamboo Ask yourself “What if…?” Then, take 6. As you reach the starting point, skewer to guide the yarn as it feeds out some fabric and fiber, and see how trim away the original tails. under the presser foot. it looks. Remember: “Make visual Continue stitching until the yarns 1 decisions visually!” 5. At the corner, pivot with the overlap at least ⁄2". Secure the needle down on the outside ends with a bar-tack (zigzag) To see more of Sarah’s work, visit and clip the ends. sarahannsmith.com.

It can get tricky, especially on a large quilt, to twist several yarns as you stitch. Instead you can sew the yarns into one combined strand first, then apply them to the edge of the quilt.

I twisted three yarns together as I applied them; you can vary the twist from loose to tight.

You can couch the yarn around the outside edge of any “poking-out bits” or, as I did, carry the yarn behind those spots.

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“What is Life?” • 21" × 21½" • Unbleached cotton Osnaburg by ­ Roc-lon®, frayed and washed in the dryer. Background and backing fabric act as a frame.

Ad a p t e d f r o m Quilting Ar t s Ma g a z i n e Not Fa l l 2005 hen I started quilting years Wago, I dutifully finished every quilt with a neat, traditional binding. bound Then I left precision piecing and began by doing improvisational, layered work tradition with a lot of raw edges and texture. b y Sh e r r i e Spa n g l e r Traditional bindings, with their evenness and predictability, didn’t suit my new style, so I began experimenting on my own with alternatives. My goal was to give a looser, creative feel to my quilt edges without them looking sloppy or unfinished. I started paying closer attention to raw edges, tearing them on grain and raveling them as much or as little as each quilt demanded. I didn’t want exposed batting to look like an accident, so I shaped, tugged, and painted it. Instead of just letting quilting tails dangle randomly, I planned my quilting with dangling starts and stops in mind. Sometimes I even add a fringe of extra tails. Without being bound by traditional rules, I find it much easier to let the “art” of the quilt continue out to the edge. how to bind a quilt: 12 new quilt binding AND FINISHING methods for Your art quilts QuiltingArts.com 13 ©Interweave Press LLC how to Bind A Quilt 12 Quilt Binding Methods

gENEral tips tEchNiquEs raW Wraps • tear backing and background 1. after quilting, trim quilt to desired backiNg fabric as finished size. fabrics, rather than using a framE or a rotary cutter, because tearing 2. Cut or tear strips of “binding” 1. Choose a backing fabric that looks gives a softer edge. Further fray the fabric in various widths and good on both sides. tear it several edges by pulling threads by hand lengths. Sheers, tulle, and painted inches larger than the quilt top. or tossing the fabric in the washer cheesecloth work great. and dryer. 2. Cut batting slightly smaller than 3. press strips in half lengthwise, the quilt top if you don’t want • if the backing fabric will extend wrong sides together, and wrap batting to show. if you do want it beyond the edges of the quilt top, around quilt edges, overlapping to show, cut it larger than the top acting as a frame, make sure the strips and pinning as you go. but smaller than the backing. backing looks good on both sides. 4. run meandering lines of machine Solid colors, hand-dyes, and batiks 3. quilt without going into the stitching through all layers, then are perfect, but avoid anything with backing frame. thread tails can be press lightly. an obvious “wrong” side. left as a decorative element. optionAl: Instead of stitching the • batting has such an interesting 4. as an alternative, use background binding on, tack with or beads. texture that it’s a shame to hide it, fabric from the quilt top as the so i let it hang out. any type or frame. tear the top and backing To see more of Sherrie’s work, visit color can be used, depending on the same size and cut batting at sherriequilt.blogspot.com. 1 the look you want. i usually use least a ⁄2" smaller all around. unbleached warm ‘n’ natural® extend quilting lines into the n eed F reS h because i like its flatness and frame, encasing the batting.

off-white color. Sometimes i use a inS piration? fluffier batting, or black or gray, and ExposED battiNg sometimes i paint it. 1. Cut batting larger than the quilt look inside top. You can trim it back later if • Soften the edges of exposed batting cloth paper too much shows. by trimming them irregularly ® and then gently tugging on them, 2. quilt without going into exposed scissors thinning out some areas. batting.

• quilting thread tails can be a 3. trim batting. You might want just decorative edge element. if the tails a few tufts poking out, or maybe 1 look too messy, bury some or give an even ⁄4" all the way around. i them a haircut. often have the batting wandering in and out from between the top and backing.

4. if you plan ahead, you can paint the edges of the batting before you A bi-monthly publication layer it. i usually finish the quilting dedicated to collage, first and then paint exposed mixed media, and batting with fabric paint and a small brush. i don’t worry about artistic discovery. heat-setting unless i plan clothpaperscissors.com to wash the quilt. how to bind a quilt: 12 new quilt binding and FiniShing methodS For Your art quiltS QuiltingArts.coM 14 ©interweave press llc how to BIND a quilt 12 quilt binding methods a big finish Ad a p t e d f r o m Quilting Ar t s Ma g a z i n e for your small quilts Ap r i l /Ma y 2008 hen I started making fabric postcards and small quilts, I searched Wfor ways to finish the edges neatly. Traditional bindings seemed too heavy for most small pieces. I liked the look of a zigzagged or b y Te r r y Gr a n t satin-stitched edge, but I could never get them to lie flat or look neat, and turning the corners was a problem. The stitching seemed to hang up on the corners, and often the corners would get chewed up by the needle pushing the fabric down into the machine. I wanted a narrow finish, scaled to the size of a small work. I wanted a clean, straight edge that would give my piece a precise, finished look. After some trial and error, I developed some strategies that produce a neat zigzag finish for my “Green Beans” • 4" × 6" small pieces. “Small , Big Pond” • 9" × 9"

1. Start by making the piece larger M a t e r i a l s than you intend the finished size to be. I like to start with a piece that is • Your quilt 1 ⁄2"–1" bigger in each direction than • Ruler the finished size. • Fine-point permanent marker 2. After the piece is quilted, use a • with a zigzag stitch ruler and a permanent marker to that can be adjusted in width mark the final size on the top of the • Perle cotton, size 5, in a color that quilt. (Figure 1) you want for your edge Matching thread 1 • 3. Leaving approximately a ⁄2" of floss • Sharp scissors loose at the beginning, lay a piece how to bind a quilt: 12 new quilt binding AND FINISHING methods for Your art quilts QuiltingArts.com 15 ©Interweave Press LLC how to BIND a quilt 12 quilt binding methods

4. When you get back around to the thread tails are going to prevent the start of the stitching, cut the perle problems that often occur when cotton so the end butts right up you stitch around corners. to the start and then stitch over it, 7. Zigzag over the perle cotton and taking a few extra stitches beyond the edge again. As you approach a the start. The raw ends will be corner, grab the thread tails and use virtually invisible. (Figure 3) them to guide the stitching up to the corner. Stop, with your needle down at the corner, pivot, and use the thread tails to pull the corner

Figure 1 gently toward the back, under the foot, while you smoothly stitch into of perle cotton on the marked line the next straight side. (Figure 5) and zigzag over it. Use a narrow When you are finished, you can zigzag that just covers the width just pull the thread tails out and of the perle cotton. By doing this discard them. before you cut the edges off, you can get it nice and smooth, with neat corners. Hold the perle cotton taut against the marked line as you Figure 3 stitch. (Figure 2) I use a stitch- 5. Next, carefully trim the excess width setting of 1.5, but you can fabric off, as close to the stitched leave the stitch length at whatever perle cotton as you can get without the default is on your machine. If cutting the stitching. (Figure 4) If you are comfortable using a cording you happen to snip 1 or 2 stitches, foot, that is fine too; however, I find don’t worry. Small errors will be turning corners with my cording covered later. foot is awkward so I prefer to use my walking foot and carefully stitch over the perle cotton. Figure 5

You can stitch around the piece several times if you want more coverage. A few stray threads may pop out of the sides in several places. Carefully trim them off. I use black for my edges more often than any other color, as I Figure 4 did for the “Green Beans” postcard, but I have also used other colors, such 6. Using a hand- as the light blue I used for “Small Figure 2 threaded with a heavy-weight Frog, Big Pond.” You just need to be thread (I use buttonhole thread), sure that your thread color matches TIP: It’s best not to start and end at take just one stitch through each the perle cotton as closely as a corner. The start and stop are less corner of your piece. Cut the thread possible. noticeable along one of the sides. off, leaving 2 long tails at each To see more of Terry’s work, visit corner (each about 3" long). These andsewitgoes.blogspot.com. how to bind a quilt: 12 new quilt binding AND FINISHING methods for Your art quilts QuiltingArts.com 16 ©Interweave Press LLC how to BIND a quilt 12 quilt binding methods

Ad a p t e d f r o m Quilting Ar t s Ma g a z i n e Fe b r u a r y /Ma r c h 2008 picture it framed b y Ly r i c Ki n a r d

mounting A piece from “Small Works” • 3 or framing 10" × 8" × 1 ⁄8" • This 5" × 7" quilt is mounted on a painted turns projects gallery-wrapped canvas. The machine quilting design continues onto the canvas and around the sides; it was into ‘art’ drawn with a black permanent marker.

ave you ever finished a gorgeous little piece of fiber art, ­The presentation of your artwork Hproudly shown it to a friend, then cringed as you heard, says a great deal about your feelings toward it. An oil painter does not “That is the prettiest potholder I’ve ever seen”? If so, don’t throw throw her masterpiece into a cheap up your hands and write your friend off as a numskull who doesn’t poster frame and call it done. She appreciate fine art. There are many, many people in the world who searches carefully for the finest frame have no frame of reference other than the potholder with which to that will complement the artwork. compare a 6" × 6" piece of fancy fiber art. My own dear husband, The frame, after all, becomes part of the work in the same way borders or a who has always supported my artistic endeavors, shocked my binding finish a quilt. Mounting socks off when I showed him my first experiment with framing a and/or framing your fiber pieces small piece by saying, “Wow. It looks like real art.” So what did it elevates your work to “art” with a look like before? A potholder? Well, actually, perhaps it did. capital A.

how to bind a quilt: 12 new quilt binding AND FINISHING methods for Your art quilts QuiltingArts.com 17 ©Interweave Press LLC how to BIND a quilt 12 quilt binding methods

This piece measures 3 3 9 ⁄8" × 11 ⁄8" (framed). The quilted piece was machine stitched to heavy watercolor paper—just outside of the marked line that indicates the size of the mat opening (shown in inset; see “Framed with a mat”).

• Irregular or wavy edges look lovely Sh o u l d y o u Pr e s en t a t i o n mounted on Plexiglas or on a u s e a r c h i v a l When you choose to frame or mount painted or collaged gallery-wrapped m a t e r i a l s ? your artwork, there are several things canvas. It is best to use acid-free mat board, you must consider. Do y o u w a n t t o mounting board, or foam board. Do y o u w a n t t o p r o t e c t y o u r p i e c e s h o w o r c o v e r w i t h g l a s s o r n o t ? Ho w l a r g e a nd / o r h e a v y is y o u r y o u r ed g e s ? • Glass protects your work from dust, p i e c e ? • If you don’t mind covering up smells, liquids, kids, etc. The smaller your artwork, the your edges, frame your art. One • Spacers can be used either between • more it needs a mat or something advantage to framing is that you the mat and the glass or between the to frame it and set it off, giving it don’t have to finish the edges of work and the mat to accommodate importance. your work. dimensional or embellished work. • The larger your piece is, the more • If the piece already has a border and • Though expensive, you should support it will need. is bound, another mat or frame may consider non-glare or UV protective be redundant. You might consider glass. • Heavy benefit from mounting your work as described • Note that glass can separate the being sewn to a mounting board. on page 20. viewer from the tactile nature of • Very large quilts stretched around • If the piece has borders and finished fiber art, which is, after all, one of bars need cross supports as well. edges (but no binding), you might the primary reasons most of us love want to frame it without a mat. this medium. how to bind a quilt: 12 new quilt binding AND FINISHING methods for Your art quilts QuiltingArts.com 1 8 ©Interweave Press LLC how to BIND a quilt 12 quilt binding methods

how seriously you take yourself as an stitch length. Stretch the cloth a little Fr a m ed artist. Once your piece is mounted as you go to keep the artwork taut. The easiest way to frame your work according to one of the following Trim your artwork to the size of the is to take it to your local frame shop options, place it in its frame, with paper and insert it into your frame. and let them do it for you. However, or without glass, according to your Op t i o n 3: Cut a piece of acid-free preference. Note that Options 1 and 2 it’s best to call around first and find mounting board or foam board the require the use of a backing board for someone familiar with textiles. I’ve size of your frame minus a tiny bit. pieces larger than 5" × 7" (to provide seen artwork hot-glued to a backing Wrap your artwork around the edges added support). board—the horror! You can also and sew the turned edges, taking long frame your work yourself; it really Op t i o n 1: Cut a piece of heavy stitches from edge to opposite edge of isn’t that difficult to do, especially if watercolor paper to the interior size the fabric until it is stretched tightly you make your artwork the size of a of your frame. Use a fusible web to around the board; insert it into your standard pre-cut mat or frame. attach the back of your artwork to the frame. paper. Trim the fiber art to the size Fr a m ed w i t h o u t Op t i o n 4: Sew your piece directly of the paper and insert it into your a m a t to an acid-free mounting board or frame. Take your art with you to help you foam board. This is a good option if choose a frame that will complement Op t i o n 2: Cut a piece of heavy your artwork is heavily embellished. your work. Frames come in as many watercolor paper to the interior size of Cut your board to the size of your styles as your artwork. Don’t skimp your frame. Machine stitch your work frame and, using an awl or a small on quality. Remember that how you right along the edge of the watercolor nail and hammer, punch holes present your work says a lot about paper, using a heavy needle and a long around the edges of the board. Heavy

3 A 5" × 6 ⁄4" quilt mounted 3 3 on mat board (9 ⁄8" × 11 ⁄8" framed). See “Framed, no mat, mounted on mat board.” The back of the piece (inset) illustrates the starting point for the stitching (top, near center) and the ending point (upper right corner).

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embellishments can use a few holes 2. Center your artwork on the mat underneath them as well. Using a and carefully mark just under the Mo u n t ed strong thread and needle, sew your edges. Mounting your art allows it to sit artwork through the holes in the on top of a surface that separates it 3. Use an awl or a small nail and board. a hammer to push 2 holes into from direct contact with the wall. The 1 mounting surface can become a frame Fr a m ed w i t h a m a t the mat every ⁄2"–1" inside your marked line. for your artwork or it can disappear, Carefully choose the color of your mat causing your work to “float” in front as it will become part of the overall 4. Using a strong, matching thread of the wall. These techniques work composition. When in doubt, choose and a needle, come through the very well for pieces with wavy edges white (it won’t clash with your client’s back of the mat, catch the very as they won’t need to conform to a couch). A large mat can set off a small edge of the artwork, and come frame or a mat. piece beautifully. I especially like a back through the second hole to ® small piece in a gallery-cut mat where make a knot. Pl e x i g l a s the bottom of the mat is longer than 5. Without cutting the thread, move Before you choose Plexiglas as a the other three sides. It is as if the to the next hole and repeat the mounting surface, remember that art is up on a pedestal saying, “Look process. you will be able to see the wall color at me, I’m important!” A mat also through it and consider how that will gives your artwork a little space if 6. Set your mat board into your frame look with your artwork. You can easily with or without spacers and glass, 1 you are using glass. Adding spacers find someone to cut ⁄4"-Plexiglas either behind or in front of your mat according to your preference. and flame polish the edges for you by will provide even more depth to your looking in your local phonebook or on presentation. When using a mat, you can use any of the options listed above to mount your work and get it ready to frame. You must, however, cut your paper or mounting board to the size of the frame and center your artwork on your mounting board, according to the opening of the mat. Fr a m ed , n o m a t , m o u n t ed o n m a t b o a r d With this method you have the advantage of a frame and the added border space of matting, while also showing the edges of your artwork. A piece from “Small Carefully choose the color of your Works” • 5" × 7" • mat board; it will become part of your Mounted on an 8" × 10" piece of composition. Plexiglas. The quilt is stitched to the Plexiglas 1. Cut the mat board to size for your at each corner. The chosen frame. hanging wire is attached to the Plexiglas near the center of the back. how to bind a quilt: 12 new quilt binding AND FINISHING methods for Your art quilts QuiltingArts.com 20 ©Interweave Press LLC how to BIND a quilt 12 quilt binding methods

the Internet under “plastics.” Flame polishing creates clear edges on the Plexiglas rather than the opaque edge caused by cutting. To mount:

1. Do not remove the protective paper from the Plexiglas.

2. Place your fiber art where you would like it to be, either centered or above center.

3. Outline your art with a pencil.

4. Remove your artwork and mark 2 “Circles” • 7" ×10"• 1 dots (diagonally, about ⁄8" apart) Mounted on in each corner. These dots will 5" × 7" wrapped stretcher bars (inset). show you where to drill the holes through which you’ll stitch your artwork to the Plexiglas. (Step 9)

5. Mark 2 dots on the Plexiglas for your hanging wire or fishing line.

6. Using a small bit in your power drill, slowly and carefully drill a hole at each dot.

7. Lay out a towel on your work surface, to keep your Plexiglas Thread the needle through the from getting scratched, and Wr a p p ed s t r e t c h e r corner holes then come back up remove the paper. b a r s through the Plexiglas. Repeat This method brings your work away 8. Using strong fishing line or picture several times, then knot the thread from the wall, giving it more presence wire, make a loop through the 2 on the back of the quilt. It’s a little without adding anything beyond holes you drilled in the center. tricky to do, but you can get it the outside edges of your art. It also It should be tight enough that with practice. the wire/fishing line won’t show creates that wonderful depth shadow 10. Spray glass cleaner onto a above the artwork when it is hung. on the wall. Pre-made stretcher bars cloth and use it to clean your Remember that many people hang can be purchased in sets at many art fingerprints off the Plexiglas. wired works on a picture hanging or craft stores or you can make your (Do not spray directly onto the hook that will add up to 1" of own with 1" × 1" lumber, using a saw Plexiglas.) hardware above the hanging wire. and a few nails. From now on handle the piece only 9. Using a needle and strong knotted 1. Assemble your bars just smaller by the edges. Also, be sure to carefully thread, attach your work to the than your artwork. wrap your piece in Bubble Wrap® or Plexiglas by turning the corner 2. Cut a piece of cloth large enough cloth when storing and transporting of your artwork back and just to wrap around the bars and staple, it in order to keep the Plexiglas from catching the edge of your work. tack, or fuse it onto the inside of getting scratched. how to bind a quilt: 12 new quilt binding AND FINISHING methods for Your art quilts QuiltingArts.com 21 ©Interweave Press LLC how to BIND a quilt 12 quilt binding methods

the bars. I always use a tightly woven black fabric so that it will resources “disappear” behind the quilt.

3. Lay your artwork face down and F r a m e s , s t r e t c h e r b a r s , place the wrapped stretcher bars h a r dw a r e , m a t s , b o a r d s face down on top of the quilt. Use • americanframe.com straight pins to hold the 2 together. • dickblick.com 4. Using black thread, hand sew • jerrysartarama.com your quilt to the top edge of the • lightimpressionsdirect.com stretcher bars, just catching the back of the quilt. Hold up the G r e a t i m a g e s o f f i b e r a r t m o u n t ed stretcher bars and look to see if o n Pl e x i g l a s o n Me l o d y Jo h n s o n ’ s Bl o g your piece hangs straight before • fibermania.blogspot.com/2005/07/ sewing down (at least) the bottom how-to-mount-quilts-on-plexiglass.html corners. For larger pieces, I sew all 4 edges to the fabric-wrapped 1. Prepare your canvas in any way 3. Using a needle and thread, hand stretcher bars. that complements your artwork. sew the quilt to the canvas. I Paint it or collage it with luscious usually need a to push the Ga l l e r y -w r a p p ed handmade papers. Make it plain, needle in and a rubber finger to c a n v a s textured, or patterned. Remember pull it through. This is one of my favorite methods. to paint or collage the sides of your To see more of Lyric’s work, visit You get to play twice, once with canvas as well. You could simply lyrickinard.com. textiles and again while painting or cover the canvas with fabric that is collaging the canvas. The canvas pulled to the back and stapled. Use becomes an extension of your quilt. I your imagination. usually use at least a 1"-thick, 2. Let any paint or adhesives you pre-stretched canvas that is stapled have used dry completely. Then lay or attached with a spline on the back your artwork on the canvas and rather than the sides of the stretcher use straight pins to hold it in place. bars.

The back of this piece shows the hand stitching that secures the quilt to the gallery-wrapped canvas.

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