Block #8 in the Machine Quilting Challenge

Remember that it will be easier to stitch out any new designs if you doodle them first.

I love this design because it has a South American, Mola sort of look to it. It's gender neutral and is great on both traditional and artsy quilts.

Today's stitch-out includes both straight lines and curves. I began with a flower in the center to show you how this stitch can be made to fit around other objects or blocks. You can stitch some sort of design in the middle of your block, or just jump into the 'combs'.

Some stitchers call this design Combs while others call it Bubble E's. Either way, the first thing you need to do is to decide on a size for each of the design repeats. I chose 3/4". You could choose 1", 1 1/2" or whatever you want. This measurement simply means that each comb or E is about 3/4" square.

Begin in one corner of your block and stitch the first comb/E by making a series of vertical lines that curve on the top and bottom to form the next line, one moves up the next down and they're all linked by curves or u-turns at each end. Make 3-4 passes or enough to fill up your chosen measurement and form a square. Now, look at your first comb/E. All of the remaining combs/E need to be the same size as the first one is. Moving either top to bottom or left to right on your block, make the next comb/E only this time move the lines horizontally. Continue making combs/E's, alternating vertical then horizontal until you have completed one row. Make sure when you finish the last one that your are positioned so that you can move down or over to the next row. You can shorten or lengthen the design to fit in and around the object in the center of your block.

I hope you enjoy stitching this design,
See you on Monday,
Heather

Block #7

Here is today's new stitch-out. It features three small flowers and echo quilting. Echo quilting is another way to increase your skill with machine quilting long lines. It takes practice to make them smooth and patience to get the stitch lines evenly spaced.
As a free style quilter - meaning that I'm not into perfection and I don't do much, if any marking - I strive for an overall neat, tidy, artsy look. Notice how my lines are not perfectly spaced, but that the block looks good anyway. Striving for perfection can often keep us from trying. Striving for really good on the other hand is more attainable!
To begin this stitch out. Stitch some sort of large motif or motifs in the center of your block. I used three smallish flowers. Then, simply trace around the design(s) as you stitch. Continue adding new echos of the design keeping each row of stitching somewhat evenly spaced. Choose 1/4", 3/8" or 1/2" spacing. Notice how I handled the bottom left corner area. Once I can no longer get around a section because to do so would be to run off the edge, I continue stitching in a spiral then knot off and move to another area. This adds lots of visual interest because it breaks up the line.

I hope you enjoy this new block,
Till tomorrow,

Heather

Blocks #5 and #6 in the Machine Quilting Challenge

Here are the next two machine quilting stitch-outs for you to try. Both make great background or border designs. The top one is a large, Double, Wavy Cross-hatch and the lower one is a small, Single Wavy Cross-hatch.

To stitch the Double, Wavy Cross-hatch, begin by drawing or creasing (with a Hera marker) a diagonal line in the area you plan to quilt. Stitch along the marked line with a slightly wavy stitch line. Stitch a second line right next to the first line, a scant 1/4" away. Stitch a second pair of lines about 3/4" away from the first pair. Continue making pairs of wavy stitch lines each about 3/4" apart. Complete all of the lines in one direction. Draw or crease a diagonal line in the opposite direction and use it to stitch pairs of wavy lines, again keeping them about 3/4" apart.

For the Single Wavy Cross-hatch, use the same techniques as above using single lines instead of double and stitching a scant 1/2" apart.

Both of these stitch-outs will help you learn more control in the straight-aways - areas of quilting with long continuous lines. Remember, that a wavy line is always easier to free motion quilt than a striaght one.

Enjoy,
Until tomorrow,
Heather

Good Morning!

Here are today's new stitch outs. Don't worry about replicating the flowers, we'll get to those later, just work on the all over designs. The block on the top has a loop d'loop that travels between the larger asterisks and the block on the bottom is a straight stipple.

Remember to doodle the designs on paper before you try to stitch them out on your machine. Use exaggerated arm movements as you doodle so that you can begin to feel the stitch's movements throughout your body.

The loop d'loop is very simple to do. It is like a curvy stipple because of its gentle movement. To make this stitch out look neat and tidy, the loop d'loops need to be quite a bit smaller than the asterisks. Here, the loops are about 1/4" in size and the asterisks are about 1". To make an asterisks, make a long line that is about 1" long, double back on the line half way, thus making a middle point. Then, move out from that middle point in a straight line about 1/2" in another direction then double back to the center again. Make about 8-10 of these 1/2" long lines, radiating out from the center point. Once all of the spokes of an asterisk are completed then curve away with lots of loops until you get to where you want to form another asterisk.

Did you know that artistically speaking people can be divided into two group; Classics and Romantics. For Classics, the straight line is easier to accomplish whereas curvy lines come easier to the Romantics. You can be one or the other, or somewhere in between. Most Classics choose careers such as doctors, lawyers or accountants where precision is a must. Most Romantics choose careers such as grade school teachers, nurses or counselors, with more 'touchy/feely' requirements. I bring this up because it will be easier for you to practice what comes naturally to you first. If you are a Classic, choose stitch outs with straight lines to practice on first. If you are a Romantic, choose the curvier designs.

The straight stipple above can be a little tricky. Like the angled stipple from yesterday, you need to stop your hand movement momentarily each time you change directions. For this stitch out to look nice and tidy, you want your corners to be as close to true 45 degree angles as possible. As you first begin stitching it, verbally or mentally, tell yourself to "stop" each time you turn a corner. Remember to stop just your hands and not the machine. The stopping action lasts less than a second, but it is required. If you stop for too long you will end up with a knot in each corner. If you don't stop long enough then you will end up with curves rather than corners.

Remember, practice will make you better at this and the better you become at it the more you will start to enjoy it and the more you enjoy it, the better you will be at it - ahh! a never ending cycle!

Till tomorrow, have a great day!
Heather

I Really Love to Machine Quilt

I really do love to machine quilt - and I believe that it is that love that has made me a better machine quilter. If you really enjoy doing something then you are more likely to do it and the more you do it, the better you will become at it, so then the more you will like doing it and so on - now I'm tired!
Click on the photo of the table runner above to get a better image of it. I made this for my friend Chris for Christmas a couple of years ago. It is made out of lots of wonderful silks in a variety of tans, blues and blue greens. I quilted each area a little differently. It is filled with flowers, feathers, leaves and lots more. It's one of my all time favorites. It was really hard to give away, but Chris is one of my all time favorites too - so it's a good match.

Till tomorrow,
Heather

Learn to Machine Quilt - Challenge

One of the most common questions that I am asked is; How can a quilter become a better, more accomplished, more artistic machine quilter? When I teach beginning machine quilting, I always suggest that my students practice quilting for at least 20 minutes a day for 21 days in a row. This time format is what it takes for humans to form a habit. Machine quilting is a body language and like learning to dance or play the violin, it takes lots of practice to get proficient and enjoyment to become a master. Anyone can grow their skills regardless of machine type or experience. You just have to be willing to put in the time.

So, here is the challenge I'm putting forth to you all; 20 minutes of machine quilting a day for at least 21 days in a row (no skipping days!). I will add a new design each day or two designs every other day, as time allows. You can practice the new design, add it to other designs that you all ready know or from previous days and build yourself a machine quilting sample book. I used 10" squares because they are easy to handle. You can make your samples any size you want. I plan to zig-zag the edges and place grommets along one side and hold the pages together with ribbon. I began with 11" squares that I trim down after quilting. Choose solids or near solids for the fabric so that you can really see the quilting. Also use thread that is in the same color family, only lighter or darker.

Above are two 10" squares each quilted with a stipple. The block on the top has an angled stipple and the block on the bottom has a curved stipple. The word stipple can be used to describe any continuous stitch design whose lines do not cross over each other to form shapes. The curvy stipple is one of the most commonly used stitch outs (quilting designs) in today's quilting. Because no shapes are formed, it quietly pushes back negative space. Switching up the stipple to the angled design adds a little more interest and energy. Both are great for negative space and can be stitched in just about any scale from a tiny 1/4" to a big 1 1/2".

Before you begin either of these designs, try doodling them first with pencil and paper. Use exaggerated hand/arm movements as you doodle so that you get used to how the stipple feels with your body. Once it feels comfortable on paper try it on fabric. The curvy stipple requires a constant, smooth, curvy movement whereas the angled stipple requires your hands to stop momentarily (while the machine keeps on going) each time you change directions so that you get an angle rather than a curve.

Enjoy!
Till tomorrow,
Heather

Exploring Gelatin Mono-Printing

This is a new piece that I finished recently. The Exploratory Fiber Arts Group that I'm in was playing with Gelatin Mono-Printing this past month, so I spent several days in my studio playing with jello - painting really.

The quilt is 36" wide x 20" tall. All of the fabric began as a pale yellow/gold hand dye by Susan Brooks.


Solstice Leaves: DAY ONE

Step #1; I started by making a gelatin mold in a 11" x 17" jellyroll pan (the recipe is at the bottom of this post).

Step #2; I cut two stencils, one a large square, the other a slightly smaller circle and chose two rubber stamps that I had previously cut - the leaf and a small, hollow square.

Step #3; I mixed up four different shades of paint, a dusky red, dull blue green, dirty squash and a dank, darkish yellow gold.

Step #4; I covered my work area and got out some paper plates (paint pallets) and some 2" rollers along with an Afro pick. Then I cut three rectangles from the hand dye that were just slightly larger than my gelatin plate.

Step #5; I knew I wanted just three blocks even though I had four paint colors. I chose not to use the yellow/gold paint in the background of any of the blocks because it was somewhat close to the base fabric color. Beginning with the lightest color (so I wouldn't have to wash the gelatin plate), I painted the entire surface of the plate with the dirty squash color and a roller and laying down a somewhat heavy coat. Then I curved the Afro comb through it in wavy lines. Next, I laid down one of the fabric rectangles and ran my hands over the surface, transferring the paint.
I lifted up the fabric and set it aside to dry. I painted the next rectangle blue green and the third one red, using the same rolling and combing technique. The first rectangle was dry by the time I finished painting the third one. Then I wiped down the print plate with a soft, wet washcloth.

Step #6; I laid out the three blocks and decided on a layout so that I could choose the layering colors appropriately. I decided that the blue/green should be in the middle. Next I laid down the square stencil and painted inside it with yellow/gold (again the lightest color first) using a roller. Then I carefully lifted off the stencil and laid down the red painted rectangle and ran my hands over the back to lift off the print. I did this again with the orange on the green rectangle then with the green on the orange rectangle.

Step #7; I used the same techniques as above to print the circle shape on each of the rectangles.

Step #8; I finished each rectangle by stamping on the leaf stamp in the remaining forth color.

Step #8; I took the remaining yardage of the yellow gold hand dye and stamped it with the small 1 1/2" hollow square stamp using all four of the paint colors and overlapping the shape and filling the fabric with the design.

Solstice Leaves; DAY TWO

Step #1; I cut up the all over print with the small overlapping squares to use in between the blocks and pieced the blocks leaving a wide border along the bottom.

Step #2; I was unhappy with the lack of balance in the piece and knew that I needed to add something along the bottom so I ripped some smaller rectangles from an unpainted section of the yellow/gold fabric and stamped each one with a different color leaf. Then, I found a darker yellow/gold in my stash and ripped three rectangles that were about an inch larger than the leaf rectangles. I layered the painted leaves on top of the dark gold rectangles and pinned them on to the quilts surface and was pleased with the results.

Step #3; My least favorite! I basted the quilt top with cotton batting and put a great circle print from Alexander Henry on the back.

Step #4; Then the fun began - the machine quilting. I used four different stitch outs, each in thread that matched the area that I was quilting. In each of the large squares on the three rectangle blocks I stitched a concentric square design (very geometric). In each of the circles I stitched variously sized small circles. In the wavy (from the comb) backgrounds, I followed the waves and then I stitched in the negative lines of the leaves. Because I quilted so heavily in the blocks I needed to stitch rather heavily in the background area too, but I didn't want to disturb the mass of little squares so I simply stitched lines, 1/4" apart, alternating straight with curvy.

Step #5; The next day I sewed on the binding. I didn't have any fabric that matched so I had to go to the store and pick something out. It was tough matching up that dull blue/green - not one of today's popular colors!

Gelatin Recipe -
Begin by measuring how much liquid it takes to fill the container you plan to use. My jellyroll pan takes exactly 8 cups to reach the lip of the pan. Empty the pan of water then place it in the bottom shelf of your refrigerator and make sure that it is level.
For 8 cups use the following recipe;

10 packets of gelatin
open them up and mix with 3 cups of cold water - let dissolve and thicken.
Boil 6 cups of water and add to the gelatin, whisking gently until dissolved.
Use a paper towel to pull off any foam then gently pour into the container waiting in your fridge.
Let chill for at least two hours. Use to paint then cover tightly with plastic wrap and refrigerate for up to 6 weeks and use over and over. The gelatin plate will disintegrate little by little as you use it, but that just makes for more interesting opportunities!

Till next time,
Heather