Quilting the Quilt 5 Articles to Improve Your Quilting Table of Contents
How to accomplish curved crosshatching...... 3-5
How to handle quilts with open seams...... 6-8
Quilting the Quilt: Getting from here to there...... 9-14
How do you properly use rulers when you quilt?...... 15-16
How to quilt feathers – 2 Methods...... 17-20
Current Article Title | 2 How to accomplish curved crosshatching
traight crosshatching is Sa very popular design motif that can be found on a multitude of antique quilts of yesteryear, as well as today’s masterpieces. It gives a formal look that is beautiful, adds wonderful structure to patchwork and it can be accomplished easily using a longarm machine.
A contemporary alternative to straight cross hatching is curved crosshatching.
This grid-based design is a lovely way to add movement and dimensionality to a quilt, and is especially effective on neutral fabrics where the texture of the motif can be easily seen. Take a look at the difference between the look of straight crosshatching on the diagonal (Illustration 1) versus the same block with curved crosshatching that emanates from the X and Y axis (Illustration 2).
It looks complicated, doesn’t it? It isn’t, but this is one of those techniques that requires the use of a ruler so the arcs of the curved crosshatching lines are the same as it radiates from one side of the space to the other. Keep in mind that the final look will vary based upon the depth of the curve provided by the ruler you choose. There are a variety of great rulers out there but my two favorites are Deloa’s Boomerangs or Pro-Curve Lite Rulers. Illustration 1: Straight-line crosshatching on diagonal in square First, decide what size grid you’ll be stitching. Keep in mind that while a tiny quarter-inch grid might sound like a wonderful idea at first, you may regret how long it will take you to place this grid in the blocks on your queen-sized quilt. In general, I like to keep the grid size no smaller than 1/2” for most quilts. If the quilt is going into competition, then all bets are off. You’ll find grids that are as small as 1/16” in the amazing works of art sporting blue ribbons at the most prestigious quilt shows around the globe!
The first step is to stabilize the area you will be filling with the crosshatching. For this article we will be working with a square. Stitch in the ditch around the block prior to filling it with crosshatching. This will prevent the block from becoming distorted as you add the crosshatching lines. Using your favorite marking Illustration 2: Curved crosshatching [continued on next page] using X & Y axis in square
How to accomplish curved crosshatching | 3 device, draw in a registration line down the middle of the block, both horizontally and vertically. These lines will help you keep your ruler properly aligned (Illustration 3).
Position the needle in the upper left corner of the block. Keep the center etched line in your curved crosshatching ruler aligned with the registration lines you marked previously. Position your ruler on the left side of the machine’s hopping foot using the ruler foot for your machine and an extended base. Refer to this article for more information about how to hold and use rulers safely with your longarm machine.
Run the machine down the curve of the ruler to the bottom left Illustration 3: Mark X & Y axis corner as shown in (Illustration 4). Travel along the seam’s ditch to registration lines the next entry point as shown. Slide the ruler to the next position while keeping the etched center mark on the ruler aligned with the center mark you made through the middle of the block. Continue in this manner until you reach the opposite side.
Break your threads or travel down the ditch to the lower right corner and move the machine along the edge of the ruler to the lower left corner (Illustration 5). Travel along the ditch to the next entry point while being sure to keep the ruler’s etched middle line oriented to the registration mark you placed denoting the center of the block. Continue to follow the stitching direction as shown in the diagram.
While the specialty crosshatching rulers have etched lines designed to allow you to stitch out curved crosshatching without marking any of the stitching lines, I recommend you go ahead and draw out Illustration 4: Stitch direction of first the curves you’ll be stitching if this is the first time you’ve tried this layer of arcs technique as it is much easier to erase an errant drawn line than a stitched line. Once you’ve worked with curved crosshatching a little more you may find you do not need to draw out the path but, for now, go ahead and mark everything before you stitch.
There are a multitude of ways to add variety to curved crosshatching grids. This article has focused on placing curved crosshatching in a square in a very uniform way. But take a look at how amazing it is in a pinched diamond shape! [continued on next page]
Illustration 5: Stitch direction of second layer of arcs
How to accomplish curved crosshatching | 4 In my opinion, the real power of curved crosshatching comes out when you prevent the first two intersecting arcs from crossing over each other along two sides of a square, triangle or other shape. This provides a frame that allows one to direct the eye as it flows over a block. Here are two examples. Aren’t they lovely?
Take a look at the negative spaces in the next quilt you work on to see if curved crosshatching might enhance your patchwork. If you have any questions, post them over in our APQS.com forums — there is a wonderful community of quilters there who’d love to help. Do you have an example of curved crosshatching you’ve done on a quilt? Share it over on our Facebook page! If you have any questions about APQS machines or the accessories that make curved crosshatching easier, call an APQS store or contact your local dealer. We are here to help! n
Written by Angela Huffman. Angela is an APQS dealer and the owner of Quilted Joy Studio in Louisville, Kentucky.
How to accomplish curved crosshatching | 5 How to handle quilts with open seams
ou may have heard the phrase “every quilt tells a story,” but let’s Yface it — some quilts seem like they come from a horror novel. Every quilter has struggled with some aspect of the process at one time or another, and each of us has a horror story to tell about one or more of our quilts. Sometimes the story ends with the quilt destined for the scrap pile, but many times we can “right the wrong” and still arrive at a happy ending.
In this post, we’ll come face to face with that dastardly villain known as the “open seam.” It creeps up on unsuspecting quilters who hurry through a project, convinced they can eyeball a 1/4-inch seam with one eye closed, leaving unsewn sections in the patchwork. It haunts quilters who eschew pins and rely on brute force to align slippery fabric edges only to leave lots of frayed fabric along the edges. It cackles at quilters who fight feed dogs by pulling and stretching savage fabric to tame it into submission, leaving a puckered wobbly mess.
And once it has weaseled its way into a quilt, it dares the quilter to find a seam ripper, challenging him or her to a duel. Most times the quilter will pick up that gauntlet and rip, rip, rip until
they can re-sew the seam Photo 1 properly. But other times the open seam wins the battle and it sneaks into the quilt anyway, where it lies in wait for an unsuspecting longarm quilter to discover it by accident.
If the quilter’s lucky, they’ll catch the problem before it goes on the frame; if they’re not so lucky, the hopping foot on the quilting machine may slip right between those two unsewn fabrics where they’ll quickly stitch herself inside the quilt like a prisoner in a maximum security cell. If you have ever had that happen, then you know that doesn’t result in a happy ending! (Photo 1)
In a fairy tale quilting world, every quilt would have precise 1/4-inch seams — not too big and not too small, but just right. They would be perfectly pressed with no threads to trim, no fraying and no bulk. That is indeed every quilter’s dream. But alas, even if our quilts depict a fairy tale kingdom we must snap out of it and get back to reality. We quilters were born to be real, not perfect. Even award- [continued on next page]
How to handle quilts with open seams | 6 winning quilters struggle with making intersections align perfectly every single time, and have been known to skimp on that 1/4-inch seam if it meant that their points would not be cut off in the block.
It’s how we handle those imperfections that measure our success. Inaccurate seams pose lots of challenges, but with a little planning and forethought we can make lemonade from those lemons and still taste the sweetness of a job well done.
As a machine quilter, the best way to handle those horrible inaccurate seams is to conquer them before you load the quilt on your frame. Take the time sew the seam properly, even if it means ripping out a section to do so. If you quilt for others, it is helpful to educate your client about the pitfalls of open seams. Option 1 is to pay you to do repair them, in which case you’ll want to have a fee structure established for the service. Option 2 is showing the client how to do it themselves (thus saving your time and her money). The advantage to Option 2 is that if they learn how to correct the error (and will learn how long it takes to do that) then there’s a good chance they’ll be more careful with her next quilt before ever bringing it to you. You might need to teach them about the merits of pins, how to work a seam ripper, or how to add a second row of reinforcing stitches right next to the original line to help secure the seam.
Personally I prefer to educate the client about how an open seam can impact the quilt’s final appearance, not to mention the risk of tearing the quilt if I accidentally catch on an open seam. But there’s still an Option 3 — where the piecer decides to do nothing about the seams, and doesn’t want to pay me to fix them either. At that point I let the piecer know that the quilt will have “holes” in the piecing but I work within those limitations while still protecting my quilting machine and the quilt as best I can using one of the methods below.
Use these tips if you are faced with the horror of an inaccurate or open seam and won’t be fixing it before quilting: Photo 2
Most importantly make sure you are aware of the trouble spots before you load the quilt. Spend as much time examining the back of the quilt as you do the front. Look for inconsistent seam allowances and put a safety pin in them on the front of the quilt so you can find them later. (Photo 2)
If you are doing an overall design using a pantograph, locate the safety pins with each advance of your fabric before adding your quilting stitches. You can do a “dry run” by moving your machine along the pantograph line near the safety pin without actually sewing. If the open seam falls under or near the stitching line, use a dry-erase marker on top of the clear protective cover over your pantograph to redraw the design near the bad seam so that you will not quilt over it. (Photo 3) Photo 3 [continued on next page]
How to handle quilts with open seams | 7 Alternatively you can hand baste or machine baste the seam closed on the quilt top and then quilt the design. Remove the basting when complete.
You can run a straight stitching line on top of the seam to permanently close it (This will appear as a straight stitched line in your design, which may not blend in. This solution works better when custom quilting where you can camouflage it like stitching in the ditch.)
Use a double-sided wash away adhesive like Dritz Wonder Tape to temporarily hold the seam together while you quilt over the top. Follow the instructions on the package and slip the tape inside the seam to secure it. (Photo 4)
You could use wash away fabric glue to hold the offending seam in place. (Photo 5)
Leave the safety pins in the quilt when you are finished (or put them back in to identify the open spot if you needed to remove them to execute one of the methods above.) Show the client the pins and Photo 4 advise her to hand-sew each of the open seams closed so that the quilt will not prematurely come apart. If you couldn’t convince the client to repair the open areas before you quilted it (or pay you to do it properly) then perhaps the sight of those safety pins glaring back at them will be a reminder that if you don’t conquer the open seam demons when you have the chance, they will come back to haunt you! n
Written by Dawn Cavanaugh. Dawn is the National Director of Education for APQS
Photo 5
How to handle quilts with open seams | 8 23 14 21 24 25 15 16 12 16 by DAWN CAVANAUGH 22 20 13 11 34 13 National Director of Education for American Professional 17 18 12 I’ve chosen flying geese to illustrate is to start and stop for each one—unless the background design. The photo of 11 14 15 Quilting Systems. how to rethink the pathways that I stretch my teardrop shape to reach Section A on my sample quilt illustrates Contact: [email protected] apqs.com can help you finish quilts faster. The the next block as shown in Design 2. these two15 techniques side by side19 for 9 14 8 10 quickest way to quilt a project is to I can move from goose to goose in comparison.13 26 17 12 6 use the same blending thread color one continuous motion, completing In Section B (page 78) on the quilt 8 25 8 QUILT QUILTING THE THE QUILTING 7 throughout, but that isn’t always the half of the teardrop shaped design on sample, I’ve9 quilted a different 10shape 6 9 10 most desirable choice, especially if you the way up, and the other half on the inside the goose sections, but it can still have high contrast between your fabrics. way down. Study Design 2 to see how be completed with one pass (or with two 7 11 4 5 The key to speedy machine quilting this works for both the teardrops in if you want5 a different1 thread color for 4 27 2 18 isn’t necessarily moving your machine the goose design, and the pathway for the6 goose triangles.) This works well by 3 1 3 or fabric faster. The secret is taking the 16 2 2 Getting from Here to There time to plan your route so that you can 3 1 4 5 efficiently move from patch to patch DESIGN 1 DESIGN 2 Twenty years ago, machine quilting was considered “cheating” by a great majority of quilters, with few starts and stops. It means and it was rare to find a machine-quilted project among show winners. Now hand-quilted quilts quilting your background sections at the 23 14 14 12 21 21 24 25 15 15 make up only a small percentage of completed quilts. same time as your main fabric sections 16 12 1216 16 11 10 20 13 11 11 13 if you can use the same color of thread. 22 20 13 6 5 Quilting the Quilt: Getting from here to there 34 34 13 However, if you want contrasting thread, 12 9 4 8 17 18 5 6 11 14 15 you must think about your designs in a 9 10 7 different way so that you can connect he fast-paced world in which we shapes instead of allowing them to float 15 19 9 9 8 14 8 7 10 10 6 14 26 17 7 19 live has contributed to the decline inside a patch of fabric. 13 6 6 17 15 T 12 12 11 8 2 of hand quilting. The Internet connects To understand this concept, look 7 8 25 8 7 15 3 14 us instantly with quilters around the at the teardrop shape in Design 1. It 9 10 8 6 9 10 9 5 world. We can buy fabric in our pajamas starts and ends at the bottom of the 16 13 and can find inspiration online. It’s no block, and it “floats” inside the triangle. 7 4 11 4 54 5 16 wonder machine quilting is now the top If I have several of these flying geese 5 1 4 27 2 218 2 18 3 1 1 18 3 17 finishing method—we’ll never live long units in a row, I won’t be able to get 6 3 17 1 10 16 3 18 enough to complete all those projects we to the next unit unless I stitch in the 2 21 2 20 2 3 11 1 4 1 want to stitch by hand! Twenty yearsditch, ago, start andmachine stop for every single 12 1 5 1 While we may secretly aspire to one, or travel in the background 19 quilting was considered make a Best of Show quilt, most of the fabric to get to the starting point for the next teardrop shape. As long as time we make quilts simply because “cheating” by a great 14 16 12 21 14 15 SECTION A 15 17 they are fun! Many times we fell in love I’m comfortable with how my thread 12 16 15 14 11 1018 20 12 16 majority of quilters, and it 13 11 13 13 13 11 with the fabric or the pattern. Since will look on the main fabric as well 34 6 5 we have so many quilts to make and so was rare toas find the background a machine- fabric, I can use 9 4 8 5 6 little time, machine quilting is a natural continuous quilting to travel to the 9 quilted project among 11 3 10 7 decision. We can cover the territory next block (and get the background quilted at the same time!) That pathway 9 10 8 14 9 10 quickly with an allover quilting pattern. show winners. Now, hand- 7 10 12 6 8 7 19 17 But if we do want to pay special is illustrated In Design 1. 6 17 9 7 15 6 quilted quilts make up only 8 2 8 12 11 attention to parts of our quilt, it’s nice But if I want to use a different 7 15 3 14 to know some secrets for speeding up a small percentagethread color ofin the goose sections and 8 9 5 5 2 that process as well. the background fabric, my only choice 16 13 completed quilts. 4 4 4 5 4 6 16 5 2 18 2 2 18 2 18 3 1 3 31 20 17 3 1 he fast-paced world in which we live has contributed to the 1 10 18 17 decline of hand quilting. The Internet connects us instantly with 21 2 20 T FonsandPorter.com 76 | FonsandPorter.com JANUARY/FEBRUARY 2015 11 12JANUARY/FEBRUARY 2015 Fons & Porter’s: Love of Quilting | 77 1 quilters around the world. We can buy fabric in our pajamas and can 21 1 1 1 19 find inspiration online. It’s no wonder machine quilting is now the top finishing method — we’ll never live long enough to complete all 14 those projects we want to stitch by hand! 16 17 15 12 16 15 14 13 18 13 11 While we may secretly aspire to make a Best of Show quilt, most of the time we make quilts simply because they are fun! Many times we fell in love with the fabric or the pattern. Since we have so many 11 3 quilts to make and so little time, machine quilting is a natural decision. 9 We can cover the territory quickly with an allover quilting pattern. But 10 12 10 8 17 9 7 6 if we do want to pay special attention to parts of our quilt, it’s nice to 8 know some secrets for speeding up that process as well.
[continued on next page] 5 2
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It 9 4 5 4 6 16 7 5 15 little time, machine quilting is a natural us instantly with quilters around the continuous quilting to travel to the 11 10 9 8 9 3 6 9 10 2 18 2 10 25 7 18 2 18 decision. We can cover the territory world. We can buy fabric in our pajamas next block (and get the background starts and ends at the bottom of the 3 1 3 31 20 17 3 1 16 13 1 10 18 17 quickly with an allover quilting pattern. and can find inspiration online. It’s no quilted at the same time!) That pathway 9block, and it “floats” inside the triangle. 10 8 14 9 10 7 10 7 12 116 4 4 4 16 21 2 20 FonsandPorter.com 8 19 5 5 17 wonder machine quilting is now the top 76 FonsandPorter.com JANUARY/FEBRUARY 2015 If I have several of these flying17 geese 9 5 1 7 11 15 JANUARY/FEBRUARY 2015 Fons & Porter’s: Love of Quilting 77 1 But if we do want to pay special | is illustrated In Design 1. 6 74 27 2 12 218 6 21 | 18 8 2 3 81 1 2118 3 12 11 17 1 1 finishing method—we’ll never live long units in a row, I won’t7 be able to get 6 3 17 19 attention to parts of our quilt, it’s nice But if I want to use a different 1 10 16 3 18 15 3 14 enough to complete all those projects we to the next unit unless I stitch in the 21 2 20 to know some secrets for speeding up thread color in the goose sections and 8 9 2 3 2 want to stitch by hand! ditch, start and stop for every single 5 5 11 12 2 1 4 5 1 16 14 1 13 that process as well. the background fabric, my only choice 16 17 15 1 19 While we may secretly aspire to one, or travel in the background 12 16 4 15 14 134 18 13 11 make a Best of Show quilt, most of the 4 fabric to get to the starting5 point for 4 6 16 5 Section A 2 Design 2 18 2 18 time we make quilts simply because the2 next teardrop shape. As long18 as 3 2 31 20 17 3 12 1 14 3 1 14 15 16 17 21 15 1 10 SECTION A 1218 17 they are fun! Many times we fell in love [continuedI’m comfortable on next with page] how my thread 12 16 15 14 11 1018 13 20 11 16 13 11 11 13 21 13 203 with the fabric or the pattern. Since will look on the main fabric as well 34 2 6 5 JANUARY/FEBRUARY 2015 FonsandPorter.com 11 JANUARY/FEBRUARY 2015 1 76 | FonsandPorter.com 12 Fons & Porter’s: Love of Quilting1 | 77 we have so many quilts to make and so as the background fabric, I can use 21 10 1 1 9 9 4 8 6 12 19 10 5 8 17 little time, machine quilting is a natural continuous quilting to travel to the 9 11 7 9 3 6 Quilting the Quilt: Getting from here to there | 10 8 10 7 decision. We can cover the territory next block (and get the background quilted at the same time!) That pathway 9 14 10 8 14 9 10 quickly with an allover quilting pattern. 16 17 7 10 15 12 6 12 8 7 19 17 But if we do want to pay special 15 14is illustrated In Design 1. 18 6 17 9 11 165 7 15 2 6 13 8 2 13 8 12 11 attention to parts of our quilt, it’s nice But if I want to use a different 7 4 4 6 5 15 3 14 to know some secrets for speeding up thread color in the goose sections and 8 9 2 5 205 2 2 18 that process as well. the background11 fabric, my only choice 33 1 3 1 16 13 4 4 4 5 4 6 16 5 10 9 10 12 2 18 2 2 18 2 18 8 3 1 3 1721 31 20 17 3 1 1 9 7 6 18 17 1 10 8 21 2 20 FonsandPorter.com 76 | FonsandPorter.com JANUARY/FEBRUARY 2015 11 12JANUARY/FEBRUARY 2015 Fons & Porter’s: Love of Quilting | 77 1 21 1 1 1 19 5 2
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14 12 21 12 15 23 24 14 14 15 15 21 12 16 11 1021 1416 2025 12 12 11 10 20 13 11 13 15 12 16 23 16 2124 14 13 14 12 21 22 12 13 13 11 11 10621 5 11 2025 15 15 34 20 16 16 13 12 12 16 11 10 6 5 20 13 11 34 34 11 13 11 16 13 22 20 13 13 6 5 6 34 9 4 8 34 4 13 5 6 17 12 34 9 8 5 18 5 6 11 9 4 14 8 15 9 6 9 12 9 4 8 23 5 14 10 17 7 18 5 6 10 11 14 15 21 24 25 15 239 24 14 9 7 16 12 21 25 10 7 15 10 16 16 12 16 7 9 22 208 14 13 11 8 11 10 615 19 9 910 22 20 13 14 13 7 89 19 347 8 15 10 14 6 9 34 8 13 17 714 7 15 26 10 6 19 7 19 910 14 6 13 6 17 14 8 17 19 12 7 15 10 6 8 2 17 18 12 17 7 12 11 6 15 26 15 17 7 1519 12 7 6 8 2 7 8 13 17 18 11 14 6 8 6 17 12 11 11 14 15 8 2 7 25 12 8 2 12 11 12 11 15 3 14 7 8 25 8 7 14 15 3 14 8 9 9 10 8 6 15 3 9 10 7 15 3 14 5 8 9 9 9 15 19 9 16 515 13 10 5 8 99 6 9 10 14 8 10 19 16 13 10 16 5 13 13 26 17 14 8 26 16 13 124 6 13 6 17 4 5 7 16 8 4 4 12 4 8 4 11 5 25 45 7 5 16 4 16 8 25 4 8 2 2 5 1 18 11 45 5 16 1 18 3 2 174 27 2 2 18 2 5 1 18 7 2 17 18 2 3 9 10 1 183 1 3 9 1 18 174 276 3 2 9 10 2 18 18 3 17 18 7 1 6 3 3 6 18 17 10 3 3 1 1 6 9 10 10 1 10 1 10 3 18 17 18 17 18 17 16 1 10 16 3 21 2 20 21 20 21 20 2 1 2 2 2 2 21 2 20 11 12 7 11 3 12 11 2 3 1 4 5 1 1 using the background pieces for traveling.11 1 you the pathway with the same4 and 5 12 71 11 1 11 124 Look at Design 7 and notice that only 1 4 5 1 DESIGN 3 5 1 using the background pieces1 forDESIGN traveling. 5 you19 the pathway with the same and DESIGN 6 1 19 5 1 1 Look at Design 7 and notice that only 4 27 DESIGN 3 2 18 5 1 DESIGN 5 DESIGN 619 1 19 Designs6 3 and 4 illustrate the paths I chose contrasting threads. 3 Designs 3 and 41 illustrate the paths I chose contrasting threads.4 27 2one quilting line travels out18 from the one quilting line travels out from the 6 3 3 1 to connect the goose blocks. Look at Section D and study the 16to connect the goose blocks. Look at Section D and study the corners16 to the teardrop shape in the corners3 to the teardrop shape in the 2 2 16 Section C shows a spiraling3 design14 shape 16in each goose15 triangle. This Section C shows a 12spiraling design14 2 shape in each goose153 triangle.1 14 This 4 5 12 center. This provides the connection 14 2center. This provides the connection 17 14 15 17 16 17 14 21 15 16 15 17 21 15 1 4 5 12 15 14 16 18 12 16 12 12 15 14 13 18 through each goose. You can stitch13 12 design starts and 11stops16 in the far13 corners15 14 through each goose.11 You10 can18 stitch13 12 design starts20 and 11stops16 in the far corners15 14 1611 10from18 patch to patch with13 20the same 11 16 from patch to patch with the same In Section B on the quilt sample,13 I’ve quilted a different11 shape inside 13 13 13 11 13 11 13 13 6 5 6 5 the spirals goose close sections, together but or farit canapart, still beof completed 34the triangle. withI can quiltone passboth the(or the spirals close together or far apart, of 34the triangle. I can quilt both the thread color, but I will not be able thread color, but I will not be able 23 14 9 4 8 depending23 on the density of quilting24 background and the goose design1214 at the depending21 on the density of quilting24 25 background and the goose design at the 915 4to join the shapes8 inside the triangles to join the shapes inside the triangles with14 two21 if you want a different15 25 5thread color for 6the goose triangles.) 21 1516 14 5 6 12 12 11 16 3 11 23 12 you desire. Designs24 5 and16 6 show same3 time with14 the15 same thread color. 15 11 169 21 3 with that same shape if I want different you desire.12 Designs 5 and 6 show 16 same time with the same thread11 10 color.21 1622 11 202511 9 2012 13 3 1111 10with that same shape if I want20 different 10 7 This2213 works well by using the11 background20 pieces for traveling. 13 13 12 16 16 10 7 13 13 22 13 13 11 6 5 13 1134 thread. I need to add a second line that 34 3420 9 34 thread. I need to add a second line that13 6 5 Designs 3 and 4 illustrate the9 paths I chose 10to connect the goose12 blocks. 9 10 93410 8 14 9 12 10 10 12 9 8 10 10 17 8 18 14 10 9 4 12 10 12 6 11 14 15 takes me back out of the corner and 8 17 18 9 10 SECTION B 12 7 17 11 88 14 15 takes me back out of the corner19 12 and 179 4 8 SECTION5 B 6 7 17 7 17 8 18 6 19 6 17 9 177 7 15 6 9 7 6 17 9 9 7 8 5 15 6 6 6 11 8 14 15 returns to the intersection at the top 8 6 7 8 2 7 10 7 returns9 to the intersection at the top 12 11 8 2 7 8 12 11 10 of the goose so7 that I can travel to the 15 14 19 9 10 of the goose so that I can travel to the 15 3 9 15 19 8 159 14 14 8 926 8 9 15 38 14 next block. Design 8 shows how I chose 7 10 5 6 13 19 10 2 910 175 14 2 5 14 8 26 8 2 9 14 8 19 7 10 5 6 next6 block. Design 8 shows how I chose 16 13 17 7 5 15 26 175 12 17 8 2 7 1519 to make that 13jump. 612 13 6 6 256 17 16 13 8 8 2 7 8 12 48 2 12 11 8 to make that jump. 12 11 4 6 25 4 7 85 254 4 8 4 7 Even though I’ve laid out a path for 4 4 9 5 6 16 5 6 4 2 5 4 4 10 2 16 1815 34 7 14 5 Even though I’ve laid out a path for 6 9 1015 3 14 89 3 5 1 209 6 3 2 1 18 2 2 20 17 18 7 2 18 you with each of these design ideas, 2 109 2 18 5 10 3 8 91 6 3 9 103 1 6 3 9 10 1 3 1 20 3 2 1 18 2 2 20 17 18 2 18 you5 with each of these design ideas, you18 can vary17 the path to your liking. 3 1 3 3 1 1 10 16 3 13 1 16 13 1 10 7 you18 can vary17 the path to your liking. 21 20 4 11 4 5 2Maybe you prefer quilting up the 47 5 7 5 16 1 4 11 12 21 4 20 1 11 21 4 11 5 4 27 1 45 2 5 21 2181Maybe you prefer quilting16 up the 1 right side and then coming down the 25 1 11 2 5 16 18 3 1 2 1 1 19 21 1418 1 12 3 2 174 27 1 2 2 18 18 3 17 18 3 3 27 6 21 18 3 3 1 1 161 right side and then coming down the left. Maybe you want to do the goose 6 1 10 3 1 18 17 1 19 18 17 1 10 163 3 2 162 3 21 20 left. Maybe you want to do the goose design at a different time than what 2 2 1 4 215 2 20 112 12 2 3 2 1 14 design at a different time than what my sequence suggests. How you get 3 1 16 11 1217 1 4 5 DESIGN 7 15 1 4 DESIGN5 8 1 using the background pieces for traveling. you the pathway with the same and 1 19 12 1 Look at Design 7 and notice that only Section B DESIGN 3 DESIGN 4 SECTION C 14 15 14 18 DESIGN 5 my sequenceDESIGN suggests. 6 11How16 you get 1 from “here to 19there” isn’t important as 16 Designs 3 and 4 illustrate17 the paths I chose contrasting threads. DESIGN 7 15 13 DESIGN 8 13 one quilting line travels out from the DESIGN 4 12 16 SECTION C 15 14 13 18 11 from “here to there” isn’t important as long as you achieve your desired result. to connect the goose blocks. Look at Section D13 and study the 12 corners to the teardrop shape in the 23 24 14 1415 15 21 Experiment to find what works best for 23 16 14 21 14 25 14 long as you achieve your desired result. 21 24 25 17 Section C shows a16 spiraling design1415 shape in each12 goose15 triangle. This 121616 1216 11 10 21 20 15 center. This provides the connection 23 16 14 14 12 12 12 13 151621 11 11 1117 13 3 you. Try these techniques to speed up 21 24 25 15 14 1518 through22 each goose.15 You can stitch 122016 design starts and 11stops16 in the far13 corners15 14 11 10 18 20 12Experiment to find what works16 bestfrom forpatch to patch with6 the5 same 23 24 14 16 22 15 1220 13 13 13 1111 10 113420 13 13 13 13 11 21 25 12 16 16 13 13 3413 6 your machine quilting, and have fun! 16 22 12 13 13 11 the spirals11 close together3411 or far apart, of 34the triangle. I can quilt both the 3 9 you. Try these techniques to speedthread up color,5 but I will not be able 112016 1013 6 5 12 10 9 4 8 22 20 13 34 3417 18 5 6 12 12 11 14 15 17 18 depending2313 on the density of quilting24 background and the goose design14 at the8 9 your machine quilting, and179 have4 tofun! join the shapes8 inside the triangles 34 21 25 6 9 9 11 1514 7 15 6 11 10 16 5 3 12 12 10 9 4 8 8 10 7 17 18 5 6 you12 desire. Designs12 5 and 6 show same time with the same thread11 color. 14 11 15 11 169 3 with that same shape if I want different 17 18 8 11 22 14 15 20 9 13 17 10 7 9 15 7 9 346 10 8 7 13 19 8 109 10 14 thread. I need to add a second line that 15 1019 14 9 8 9 7 10 6 9 12 17 109 26 1017 817 7 14 1519 12 10 14 8 8 26 13 18 7 10 17 6 5 612 6 11 2 14 15 takes me back out of the corner and 15 13 19 9 9 97 SECTION B 12 178 8 6 21417 8 8 7 19 17 12 11 15 9 8 127 10 10 8 6 6 6 7 9 25 7 15 8 6 returns to the intersection at the top 19 14 10 26 8 7 19 8 8 12 11 14 8 13 17 5 2517 8 2 7 15 2 4 3 14 13 26 12 17 6 9 6 4 6 7 5 of the goose15 so that I can travel to the 6 8 2 7 8 15 10 8 99 8 7 12 11 6 9 10 3 14 12 8 9 10 258 19 2 6 109 20 10 5 2 1815 25 14 8 26 8 9 3 1 3 1 next block.16 Design 8 shows how13 I chose 5 4 13 2 4 7 55 175 15 3 14 2 9 10 6 10 6 16 13 9 8 9 7 12 SECTION D 6 8 9 8 to make that jump. 10 2 6 7 9 20 10 11 5 4 2 4 2518 4 16 7 3 1 4 3 5 1 5 16 13 411 6 4 5 1 54 5 4 4 2 4 7 Even though I’ve laid out a path for 5 1 9 4 27 2 5 2 18 21 618 3 16 17 18 5 SECTION42 D 6 2 10 2 3 18 3 1 1 6 1 9 10 7 3 4 27 1 20 3 12184 1 18 2 2 18 2 3 18 you with each of these18 design17 ideas, 6 11 45 3 5 3 1161 10 3 163 1 20 17 3 1 7 11 4 5 1 3 17 54 27 2 2 18 16 2 1 10 18 2 you18 can vary21 the2 path to your 20liking. 5 1 3 1 21 2 1 18 3 3 17 1 4 27 6 2 2 18 3 7 11 124 2 1 4 215 Maybe you prefer20 quilting up the 1 6 3 1 3 1 10 11 3 1 54 5 1 18 17 2 163 5 1 11 12 1 1 19 16 21 4 27 1 2 21 181 21 20 1 right side and then coming down the 2 6 32 1 2 1 19 3 11 2 1 4 1 3 2 3 12 1 165 left. Maybe you want to do the goose 1 4 5 1 2 19 2 design at a different time than what Design 3 Design14 4 3 16 12 21 14 15 1 4 5 14 12 15 17 15 12 211616 15 14 11 1018 14 20 DESIGN 712 15 16 DESIGN 8 my sequence suggests. How you get 11 10 11 17 13 13 13 11 12 16 DESIGN 4 13 13 20 12 13 [continued11 on next page] SECTION C 34 15 14 18 11 16 6 5 from “here to there” isn’t important as 14 16 12 14 13 6 5 13 12 15 34 17 21 15 14 15 21 11 10 20 12 9 4 8 long as you achieve your desired result. 12 16 15 14 18 13 6 11 16 9 4 12 1311 10 11 20 23 13 14 5 14 13 12 218 11 16 5 13 6 21 24 25 15 15 11 96 5 3 Experiment to find what works best for 13 23 24 34 14 16 15 12 9 12 11 10 20 10 7 34 21 16 25 6 5 11 16 11 16 10 713 3 22 12 2016 13 13 11 FonsandPorter.com you. Try these techniques to speed up 13 11 78 | FonsandPorter.com34 JANUARY/FEBRUARY 2015 9 4 8 13 6 5 JANUARY/FEBRUARY 2015 Fons & Porter’s: Love of Quilting | 79 22 520 6 9 4 9 8 3410 8 14 9 10 9 34 8 10 13 12 your machine quilting, and have fun! 5 6 10 11 9 7 14 3 8 6 9 19 179 4 8 9 7 17 18 6 1017 9 12 10 7 7 7 15 12 10 6 17 17 10 7 5 6 615819 12 11 14 15 18 6 8 72 7 FonsandPorter.com9 11 14 15 9 8 17 12 11 78 | FonsandPorter.com JANUARY/FEBRUARY8 2 2015 7 12 11 6 JANUARY/FEBRUARY10 2015 Fons & Porter’s:7 Love of Quilting | 79 9 7 10 8 14 9 10 8 9 87 10 12 6 15 3 14 10 14 158 7 8 19 9 17 8 15 3 14 7 6 17 9 19 7 9 15 109 6 5 14 2 17 15 7 19 8 61519 99 8 7 8 10 5 6 16 6 8 2 7 14 10 26 5 17 7 12 11 19 13 8 2 14 8 26 13 12 11 6 5 6 17 16 1315 2 7 13 12 17 8 2 8 12 11 12 6 4 7 254 15 3 4 14 16 8 4 8 15 3 4 14 5 8 6 5 8 4 9 5 25 164 4 15 3 14 8 9 9 5 5 2 18 2 2 6 3 220 17 18 7 2 5 18 5 2 10 3 28 9 1 18 7 3 16 1 13 6 3 9 10 1 9 10 1 18 3 172 10 5 2 18 18 17 3 16 131 10 3 6 9 1 20 3 1 16 1 10 18 17 13 4 4 4 4 21 2 20 4 5 6 SECTION D 16 5 21 20 4 5 16 7 11 2 4 11 124 2 4 2 16 1 7 2 11 18 12 2 3 20 17 18 5 5 12118 1 1 1 2 18 3 211 1 18 3 4 5 1 5 1 1 3 2 1 19 3 1 5 1 3 17 4 27 2 Quilting2 18 the Quilt: 21Getting from18 here to there3 18 | 1 1711 1917 18 1 4 27 1 10 6 2 18 3 3 1 1 1 10 6 3 1 18 17 1 10 3 18 17 163 21 2 20 16 21 20 21 20 11 12 2 2 1 2 2 11 12 21 3 1 16 11 1 12 2 1 14 15 1 4 5 1 2 3 1 16 14 17 1 1 19 17 1 15 14 15 181 4 5 12 16 1 12 19 13 16 13 11 19 15 14 13 18 13 11
16 14 15 14 17 14 16 12 21 14 15 16 17 14 15 12 15 12 1116 17 3 15 141215 13 18 11 12 1321 16 15 14 11 3 11 1018 20 12 16 15 14 18 12 11 16 1311 10 11 20 13 13 13 11 13 13 11 16 13 6 5 13 34 6 9 34 109 12 5 10 10 12 8 10 179 4 8 8 5 6 9 7 179 4 8 6 5 6 11 9 7 3 11 69 8 3 11 3 9 8 10 7 10 7 FonsandPorter.com 78 | FonsandPorter.com JANUARY/FEBRUARY9 2015 JANUARY/FEBRUARY 2015 Fons & Porter’s: Love of Quilting | 79 10 9 10 10 8 14 9 10 10 9 9 12 87 10 5 12 6 2 12 108 10 5 14 17 8 172 7 19 17 8 7 9 7 6 6 19 9 6 7 15 6 9 17 6 17 87 2 8 15 8 12 11 7 6 7 4 4 8 2 7 8 4 6 12 11 5 4 6 5 3 14 2 20 2 1815 2 8 9 3 2 1 1815 3 14 3 1 8 3 1 20 3 5 15 2 9 5 5 2 16 13 5 2 16 13 4 4 4 4 4 54 21 6 16 5 4 4 6 4 16 5 1 4 5 5 21 2 18 2 1 2 18 2 18 6 2 3 2 1 2 3 18 3 1 20 17 3 1 2 3 2 18 1 20 3 3 17 18 1 17 2 1 20 3 1 1 18 1 10 18 3 1 10 3 18 17 21 2 20 11 12 21 2 20 1 11 12 21 1 1 1 21 1 1 1 19 21 1 1 19
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5 2 5 2 4 4 6 5 4 4 5 6 2 2 18 3 2 1 2018 3 1 3 2 1 20 3 1
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7 11 4 5 7 11 4 5 1 5 4 27 2 18 5 1 6 3 1 4 27 2 18 6 3 3 1 16 16 3 2 2 3 2 2 3 1 4 5 1 4 5
14 12 15 23 2124 14 14 12 21 12 11 1021 2025 15 15 11 16 16 13 12 12 16 16 11 10 20 13 13 11 11 13 34 22 20 13 6 5 6 5 34 34 13 9 4 8 12 9 4 8 5 6 17 18 5 6 11 14 15 9 9 10 7 10 7
9 8 15 14 9 8 7 10 6 19 910 14 14 8 19 7 10 6 17 7 15 26 17 7 1519 6 13 6 6 17 8 2 7 12 8 2 12 11 12 11 7 8 25 8 14 15 3 7 15 3 14 8 9 9 10 8 6 9 10 5 9 5 16 13 16 13 4 4 7 16 4 5 11 4 45 5 16 2 2 5 1 18 2 1 18 3 174 27 2 2 18 18 3 17 18 3 6 3 3 1 1 1 10 18 17 18 17 1 10 16 3 21 2 20 21 20 11 2 1 2 2 12 1 3 11 12 1 4 5 1 using the background pieces for traveling. you the pathway with the same and 1 1 Look at Design 7 and notice that only DESIGN 3 DESIGN 5 19 DESIGN 6 1 19 Designs 3 and 4 illustrate the paths I chose contrasting threads. one quilting line travels out from the to connect the goose blocks. Look at Section D and study the corners to the teardrop shape in the 2323 2424 1414 2121 2525 1515 2323 2424 1414 1515 1616 1212 16 2121 16 Section 2525C shows a spiraling design14 shape in each goose15 triangle. This 12 14 center. This provides the connection 1111 1616 17 16 14 1212 15 161616 17 21 15 2222 2020 1313 15 14 2222 18 12 1313 16 1111 12 34 13 through each2020 goose.1313 You can stitch13 12 design starts and 11stops16 in the far corners15 14 11 10 18 1313 20 16 from patch to patch with the same 34 13 343411 13 13 13 11 6 5 1717 1818 the spirals close1212 together or far apart, of 34the triangle. I can quilt both the 1212 thread color, but I will not be able 1717 1818 1111 1414 1515 1111 1414 1515 depending23 on the density of quilting24 background and the goose design14 at the 9 4to join the shapes8 inside the triangles 21 25 6 15 11 16 5 3 12 you desire. Designs 5 and 6 show same time with the same thread color. 11 11 169 3 with that same shape if I want different 15 22 20 13 10 7 15 1919 99 1515 99 13 1414 88 1010 1919 1010 34 thread. I need to add a second line that 1313 2626 1717 1414 88 2626 9 1066 1313 12 9 10 171710 8 14 9 12 10 1212 88 8 121217 8 18 10 66 12 11 14 15 takes me back out of the corner and 2525 SECTION B 8 7 88 17 8 6 88 17 9 7 25256 17 9 7 7 1519 6 77 8 6 8 returns to the intersection at the top 99 1010 9 66 99 8 1010 2 7 77 12 11 9 1010 66 99 1010 of the goose so that I can travel to the 15 14 19 9 10 15 3 5 14 8 26 8 2 9 next block. Design 8 shows how I chose 77 13 5 175 2 1111 44 55 77 1111 12 44 6 16 13 55 11 558 8 to make that jump. 44 2727 22 1818 55 11 25 66 33 411 44 2727 4 22 5 1818 4 4 Even though I’ve laid out a path for 66 6 33 4 33 11 4 6 16 7 5 1616 9 10 2 5 33 6 9 10 2 20 2 16161 18 2 2 18 2 18 you with each of these design ideas, 3 1 22 3 1 18 3 3 1 20 17 3 1 22 33 22 3 22 33 11 44 55 1 10 11 44 55 you18 can vary17 the path to your liking. 7 21 20 11 4 5 2Maybe you prefer quilting up the 5 1 11 12 1 21 4 27 1 2 21 181 1 right side and then coming down the Section6 C shows a spiraling design through each goose. You can3 1 1 19 1212 3 left. Maybe you want to do the goose 1414 15 2121 14 stitch the spirals close together or far apart,1212 depending on the 16 15 2323 2424 14 14141515 1515 2121 1212 1616 1111 10102121 20202525 2 1111 1616 1313 1212 1212 16162 3 1616 1111 1010 132020 design at a different time than what 1313 1313 density1111 of quilting6 you desire.1111 Designs 5 and 6 show you the 13 1 4 5 3434 2222 2020 1313 6 55 14 66 55 my sequence suggests. How you get 3434pathway with3434 the same and contrasting16 threads. 17 1313 DESIGN 7 15 DESIGN 8 DESIGN 4 99 44 88 12 16 SECTION C 15 14 13 18 1212 99 44 11 88 from “here to there” isn’t important as 55 66 1717 1818 55 66 1111 1414 131515 99 99 1010 77 1010 7 long as you achieve your desired result. 12 7 23 24 14 1415 15 21 Experiment to find what works best for 23 88 14 21 25 99 10 24 1515 1414 16 99 15 912 12 16 88 11 10 20 77 2110 16 25 66 1919 91010 1010 11 11 11 16 1414 13 3 1717 771414 88 22 121919 77 2016 13 13 66 6 you. Try these techniques to speed up 22 66 1313 13 1515 2626 11 1717 34 1717 77 15151919 13 5 88 22 20 1212 66 1212 1111 66 3413 your machine quilting, and have fun! 77 3488 22 77 88 88 1212 1111 2525 10 9 12 10 9 4 8 17 18 15155 33 1414 6 12 11 14 15 17 18 8 12 77 1515 33 17 1414 88 99 99 1010 88 9 11 14 7 15 669 99 1010 6 55 99 55 8 10 7 1616 1313 1616 1313 15 9 9 8 4 44 19 10 10 14 4 1555 19 77 1416169 11 8 44 44 7 44 1616 6 11 10 26 55 55 17 17 7 1519 22 14 18 8 26 2255 11 13 1818 6 5 22 6 2 3 13 11 18 33 171744 2727 22 12 17 22 1818 1818 33 17171818 3 66 33 6 338 11 2 7 811 8 12 11 11 1010 12 8 1818 1717 25 1818 1717 25 11 1010 1616 8 33 2121 2020 4 4 7 15 3 14 9 22 6 2121 2 5 2020 1111 22 10 8 9 11 7 22 6 2 9 10 1212 9 10 11 33 1111 1212 2 6 9 20 10 115 44 552 18 11 usingusing thethe backgroundbackground piecespieces forfor traveling.traveling. youyou thethe pathwaypathway withwith thethe samesame andand 11 3 11 1 LookLook atat DesignDesign 77 andand3 noticenotice thatthat onlyonly 1 16 13 DESIGNDESIGN 33 Section C DESIGNDESIGN 55 1919 DESIGNDESIGN 66 11 1919 DesignsDesigns 33 andand 44 illustrateillustrate thethe pathspaths II chosechose contrastingcontrasting threads.threads. SECTION D oneone quiltingquilting lineline travelstravels outout fromfrom thethe 7 11 4 4 4 16 7 toto connectconnect thethe goosegoose blocks.blocks. LookLook atat SectionSection DD andand studystudy thethe 5 5 cornerscorners toto thethe teardropteardrop shapeshape inin thethe 11 4 5 1 2 14 54 27 2 2 18 18 3 17 18 1616 5 1 SectionSection CC showsshows aa spiralingspiraling designdesign14 shapeshape inin eacheach6 goosegoose1515 triangle.triangle. ThisThis 31212 3 1 141421 1 center.center. ThisThis providesprovides thethe connectionconnection 1 1717 4 27 1414 15152 1616 18 1717 2121 1515 18 17 1515 1414 6 1818 1212 3 1616 1 1 10 161212 3 1313 throughthrough eacheach goose.goose. 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How you get 1212 FonsandPorter.com DESIGNDESIGN 4 4 SECTIONSECTION C C 1515 1414 78 | FonsandPorter.com1818 JANUARY/FEBRUARY 2015 11 1616 from “here to there” isn’t important as JANUARY/FEBRUARY 2015 Fons & Porter’s: Love of Quilting | 79 9 1313 131310 118 14 9 from “here to there”10 isn’t important as 9 8 10 12 10 7 14 8 6 19 longlong as as you you achieve achieve your your17 desired desired result. result. 7 6 17 9 7 7 15 6 23 1414 17 14 7 1212 61519 21 2321 2424 25 6 141515 8 1515 2 7 21 8 ExperimentExperiment to to find find what what works works best best12 for for 11 2323 2424 1414 21 1616 15 25 12 12 11 10 20 12 11 2121 2525 8 15 2 7 12 121616 11 1616 11 10 1313 20 3 1616 22 1212 16 1313 1313 1111 11 1111 3 you.you. Try Try these these techniques techniques 15to to speed speed3 up up 14 22 1111202016 13 66 55 2222 2020 1313 3434 3434 8 9 13 15 3 14 34 1313 5 youryour machine machine2 quilting, quilting, and and have have fun! fun! 348 9 99 12 5 99 44 8 16 1717 18 1010 12125 12 1010 8 13 17 18 55 66 8 1212 1111 1414 151516 13 17 1818 9 81111 1414 1515 99 1717 9 77 664 1010 77 4 4 5 88 4 6 16 5 4 4 16 5 2 2 18 1515 99 9 2 88 18 2 3 1 20 17 18 3 1 15 21919 18 10109 3 1010 2 117 18 14314 15 1919 1414 99 88 3 26 77 1 3 1 66 19 18 17 14 8 1313 1010 26 1717 5 1717 1077 151519 2 17 14 8 2626 12 1 10 66 5 66 2 18 1313 6121717 88 22 8 8 1212 1111 21 2 20 1212 6 77 8 2525 8 21 20 88 25 88 11 12 2 1 2511 4 44 7 21 1 15 33 1 1414 99 12 4 66 7 55 15 1 1 1010 88 99 77 1 66 99 1010 19 99 1010 22 66 99 20 1010 55 22 1818 1 19 33 11 20 33 11 1616 1313 SECTIONSECTION D D 4 77 1111 44 454 4 1616 77 11 4 5 1655 14 15 11 455 11 55 2 14 22 17 18 55 11 16 44 2727 2 17 1221818 2121 1818 33 15 1717 18 11 12 16 44 2727 66 22 18 33 33 1 15 141211 18 11 6 3 15 14 11 18 1811 10 13 16 33 13 1818 1717 6 3 13 10 16163 13 11 1616 3 21 20 2 22 21 22 20 2 33 11 2 1 4 5 11 22 33 11 1212 2 1 1 4 5 11 44 55 1 1 11 3 1 1919 11 3
10 Design 7 9 Design 8 14 1212 9 1414 12 10 14 10 1515 1616 12 17 21218 10 1515 1414 1212 21 17 9 12 6 17 1515 1212 8 211616 1515 1414 1111 10101818 13 2020 12 7 17 11 1616 1212 16 13111311 1010 9 1111 2020 7 1313 13 1313 6 11 8 11 16 1313 8 66 55 1313 11 3434 6 Look at Design 7 and notice that only one quilting line travels out 3434 6 55 from the99 corners44 to the 8teardrop8 shape in the center. This provides 55 66 99 44 88 5 2 55 66 1111 99 33 99 5 2 the connection1010 from patch77 to patch with the same thread color, but I 1010 77 FonsandPorter.com 78 FonsandPorter.com JANUARY/FEBRUARY 2015 FonsandPorter.com JANUARY/FEBRUARY 2015 Fons & Porter’s: Love of Quilting 79 78 | | FonsandPorter.com JANUARY/FEBRUARY 2015 4 9 will not be able to join the 4shapes inside the triangles5 with thatJANUARY/FEBRUARY same 2015 Fons & Porter’s: Love of Quilting | | 79 99 1010 88 14414 9 6 1010 99 887 41010 6 1212 6 5 1010 7 1414 88 7 6 2 1919 shape 17if17 I want different thread.2 I need to add a second18 line that 77 66 6 1717 99 7 77 3 15215 1 20 66 3 1 1717 77 2 156151919 20 8 1 18 66 88 22 77 3 1 3 8 takes me back out1212 of1111 the corner and returns to the intersection at 88 22 77 1212 1111 the top 15of15 the33 goose so1414 that I can travel to the next block. 8 15 3 1414 Design 8 8 99 5 15 3 88 99 55 5 21 22 1 55 21 1 shows how1616 I chose to make1313 that jump. 1616 1313 4 4 44 44 [continued on next page] 44 55 4 66 1616 55 44 4 1616 55 22 18 22 22 1818 22 1818 3 2 11 18 33 33 112020 1717 33 11 22 1818 33 2 17171818 17 33 11 11 1010 1818 17 11 10 1818 1717 10 2121 2 2020 21 20 2 1111 1212 21 22 20 11 1111 12 2121 11 11 1 12 11 1 11 1919 11 1919 Quilting the Quilt: Getting from here to there | 13 16 1414 1416 1717 1515 1616 14 1515 12 1717 1515 1414 1818 12 11 1616 15 14 18 1212 13131616 1313 11 15 14 1313 18 1313 1111
1111 33 1111 33 99 10910 12 1010 1010 98 1012 1212 9 8 10 1717 88 9 77 1717 66 99 77 66 88 88
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2121 11 2121 11 Even though I’ve laid out a path for you with each of these design ideas, you can vary the path to your liking. Maybe you prefer quilting up the right side and then coming down the left. Maybe you want to do the goose design at a different time than what my sequence suggests. How you get from “here to there” isn’t important, as long as you achieve your desired result. Experiment to find what works best for you. Try these techniques to speed up your machine quilting, and have fun! n
Written by Dawn Cavanaugh. Dawn is the National Director of Education for APQS. This article was featured in the January/February 2015 issue of Fon’s & Porter’s: Love of Quilting.
Quilting the Quilt: Getting from here to there | 14 How do you properly use rulers when you quilt
uler work is a quick way to make a quilt spectacular, but it can Rbe intimidating. The most important thing to remember is safety. The last thing you want is to hear the heart sickening sound of the hopping foot crunching on Plexiglas while using your APQS longarm quilting machine.
The first step to properly using rulers is to make sure you have an extended base mounted to your quilting machine. An extended base is a small, plexiglass table that attaches to your longarm machine’s throat (Photo 1). It provides a large surface area under the quilt to support your rulers so they do not make unwanted contact with the needle. It also helps to add small gripping devices like adhesive sandpaper dots or rubber dots to the underside of your ruler to reduce slipping.
The next step is to consistently practice the proper grip. For a moment, let’s think about how you cut fabric with your rotary cutter Photo 1 and a long ruler. As you move your rotary cutter up your favorite piecing ruler, you walk your hand up the ruler like a spider to provide even resistance so the ruler doesn’t drift away from your desired cutting line. The motion of moving your hand along the ruler to keep it stable for the rotary cutter is exactly the same thing you’ll do with a ruler and a longarm machine.
When using a longarm ruler, splay out your thumb and forefinger of your non-dominant hand and lay them on the longarm ruler. Use the other fingers of your hand to hold onto the edge of the ruler with as many points of contact as you can manage. The area between your thumb and forefinger is the sweet spot. Keep your hopping foot along the ruler between these two fingers where you have the most control. For utmost control and safety, try to keep these two fingers pointing toward the hopping foot. Sometimes this may mean switching your hands around, holding with your dominant hand and driving the machine with the other hand.
If you are working with a shorter ruler, you can slide the ruler as you go to keep your hopping foot in the sweet spot between your two fingers(Photo 2). If you are working with a longer ruler, you’ll need to ‘walk’ your fingers down the ruler to reposition this sweet spot so your ruler doesn’t dangerously start to tip as you move the hopping foot along the edge of the ruler.
Press down with the ruler only hard enough to keep things stable. To Photo 2 check how much pressure you need to put on the ruler, lay it on top [continued on next page]
How do you properly use rulers when you quilt | 15 of a piece of paper on a table and press down. Find the amount of pressure it takes to prevent the paper from being removed from under the ruler and how much pressure it takes to be able to move the paper. Right where those two levels of pressure meet is the pressure you should use to hold the ruler on your longarm machine. You want stability but you don’t want to press so hard you prevent the machine from moving freely.
There are many, many different rulers and templates out there. Have fun exploring all they can do, but remember to hold them correctly and practice good ruler safety. Make sure you post some photos of the quilts you finish with rulers over in our forums or on our Facebook page. We’d love to see what you are working on! n
Written by Angela Huffman. Angela is an APQS dealer and the owner of Quilted Joy Studio in Louisville, Kentucky.
How do you properly use rulers when you quilt | 16 How to quilt feathers – 2 methods
hen delving into the world of custom quilting there is one Wdesign element that virtually all quilters want to learn to create – feathers! Feathers can take a simple quilt and send it soaring over the top with texture and visual interest. The best part is, with a little practice, anyone can create beautiful flowing feathers.
I think it is fair to say that feathers are my favorite thing to quilt. But before I ever touched the longarm machine I spent some time with pencil and paper. I practiced several different techniques for drawing Illustration 1 feathers, the key being that as I drew them, I did not lift my pencil from the paper. You can practice feathers using pencil and paper, a dry erase board and erasable marker, or even on a graphic design tablet like I use to create my quilting design plans. Once you feel comfortable drawing feathers by hand, you are ready to move on to creating them on the longarm.
I have found that there are two common methods of creating feathers. Neither is right or wrong, but often one method seems to feel more comfortable to some people than the other. I would recommend at least trying both methods a few times and then choosing the one that feels right to you.
Method #1 The first method is one in which each feather plume is created individually (Illustration 1). For this feather you are going to draw your spine with a water soluble or disappearing ink pen. Begin at the base of the feather spine, creating individual feather plumes trailing up the right side of the spine. The bulk of your back tracking will be over the length of the plume as you come back up the plume you just created to make the next.
When you reach the top of the marked spine, follow the line you drew in with stitching all the way back down to the base to create your stitched feather spine. By drawing in our line with [continued on next page]
How to quilt feathers – 2 methods | 17 removable ink before stitching, we avoid backtracking over the spine and create minimal thread buildup. Just as you did the right side, trail again up the left side of the spine creating plumes in the same manner. When you reach the top be sure to put one joining plume in the center to close the feather.
Voila! You have created a beautiful traditional feather!
[continued on next page]
How to quilt feathers – 2 methods | 18 Method #2 The next method for feathers is the one I personally prefer. It is often referred to as the “bump-bump” method.
For this version, you will again draw your spine first using water soluble or disappearing ink to plan ahead the placement of the spine. Start at the base and create a plume. When you reach the base of that plume, instead of backtracking over the length of the plume, push your stitching outward away from the first plume and go on to create another. Next you will backtrack over the hump or “bump” of that plume and then “bump” a second time to create the next plume.
By “bumping” over every other plume we are again eliminating backtracking that can cause thread build up. Here I have demonstrated using a contrasting thread, but by using a blending thread you will create texture and hide backtracking. [continued on next page]
How to quilt feathers – 2 methods | 19 Once you reach the top of the spine, you will again create your stitched spine by trailing back down the line you marked ahead of time in water soluble or disappearing ink. Reach the bottom of the spine and trail back up the left side of the spine in the same manner as you did the right, creating plumes and again being sure to place one or two small feathers at the top to close the feather.
Spend some time mastering one or both of these methods for creating feathers and you will be on your way to creating multitudes of heirloom quilting designs in no time! n
Valerie Smith, published quilting artist and blogger. She is a published quilting artist based out of northeast Ohio. Quilting over a decade and sewing most of her life, she made the decision to purchase an APQS longarm quilting machine. She has since built a successful business focused on hand guided custom machine quilting. You can find her blog – Pumpking Patch Quilter – at www.pumpkinpatchquilter.com.
How to quilt feathers – 2 methods | 20 © APQS | apqs.com