This commission has been in the works forever!  My client wanted a quilt that was mauve and sage green, which aren’t my usual colors.  When I have a commission, I always want to put quilts out there that I love, and so that I can stand behind them knowing I did my best work.  When this quilt came along, I knew I had to find a way to make mauve and sage green work with my somewhat modern aesthetic.

I finally found fabric that I knew would work for this quilt–Garden Party by Blackbird Designs.  The fabric was a jellyroll and a piece of yardage, so I had to find a way to turn it into something queen size.  I chose the pattern called Basket Case, and then I built out my borders.  (Side note: Allison of Cluck Cluck Sew writes a great pattern— and I’m VERY critical since 75% of the patterns I read are so poorly written.)

But my favorite part of the quilt is the back.  Yes, definitely the back.

Now I have to figure out how to make a king size double wedding ring using the colors red, blue, green, and yellow work for me.  That’s going to be an even bigger challenge!  Suggestions welcome.

I pretty much followed the pattern, except that I elongated the quilt and added some larger squares for visual interest.  The pattern was hard to follow because my brain wanted to cut and piece the quilt differently than the author.  The design, though, I truly love.  This will definitely not be my last quilt of this design.  I have some Tula Pink Nest waiting to have this treatment, I think.  I loved this design from the minute I saw it on Pinterest.  By the way, are you all on Pinterest?  If you aren’t, we need to rectify that.

She opened an Etsy shop, so convo her if you have to have one.

My friend Jessi, also from our quilt guild, also opened an etsy shop.  She’s selling felted wool needle books that come with an embellishing kit so that you can bead it any way you want.  I love that idea!  Jessi thrifts for and felts her own wool.  I love my resourceful friends.

Seeing what my friends are making really makes me want to get in  my studio and make some stuff!

A couple months ago, I was at a longarm quilting club meeting at a LQS.  You’d think there would be about 5 of us there, right?  No.  More like about 25 or 30.  Anyway, someone was asking about stitching-in-the-ditch.  They asked one quilter if she always stitched in the ditch on custom work.

Let me back up.  You might need to know some quilting terms:

edge-to-edge:  one design throughout the whole quilt.  It can be free-handed, machine generated, or a pantograph.  Maybe it’s a heart motif being stitched all over quilt.  Whatever it is, it will be all over it, edge-to-edge.

Custom:  This is not edge-to-edge.  It kind of means each “section” of the quilt gets a different treatment.  The quilter/designer determines what a section is.  Maybe it means that every star on the quilt will have design A. And maybe it means all the background will have design B.  And then maybe borders will have design C.

So, anyway, someone was asking if the quilter if she always stitched in the ditch when doing custom work.  Her response was, “Yes, how else would you anchor the quilt?”

An epiphany for me.

I had no idea I was supposed to be doing that.  The quilter who asked the question didn’t know it.  Another longarm quilter who showed a sample of her work (no, I’ve never brought a sample of mine!!) clearly didn’t know this either.

You’d think that would be one of the first things I’d learn as a quilter, right?  So, the hardest part about longarming is building a community because it’s solitary work.  Learning the trade is hard when you work by yourself.  There is no book to teach the “rules” of how you’re supposed to do it.

So, all you newbies, stitch-in-the-ditch on your custom work (prior to doing the “real” quilting).  This is labor-intensive and adds several hours to each quilt, but the results are definitely worth it.

It’s no secret that I love thread.  All kinds of thread for all different machines and projects.

For sewing and piecing on your domestic machines, many of you probably use Guterman.  Not a bad thread until you try Metler Silk Finish, the thread I’ve been using for years.  It’s like going from RoseArt to Crayola– a little better, but the other will do in a pinch.  In fact, the other will be just fine if you haven’t tried the other.  I mean, thread is thread, and who wants to spend a fortune on thread?

But I recently bought a box of Aurifil since one of my clients talks so highly of it.  I wasn’t expecting a life changing experience.  It’s just thread, remember.  But Wow!  There’s no comparison.  It runs through the machine like butter. Or like silk.  Or like air.  Or like something that is smooth that goes through a machine.  In fact, it makes me tongue-tied and completely lost for words.

I love falling in love.

The table is modeled after one I saw at a LQS that is used in their classroom.  It wasn’t as pretty, though.  It was unfinished wood and splintery.  So I had my handy woodworking husband put this together and stain it for a more finished look.

Above the table is a WIP– just for eye candy.  Under the table are two sea grass baskets from Target.  The one on the right houses inexpensive, new thread that is still wrapped in plastic (so that it doesn’t get dusty).  The basket on the left is my ruler base, pantographs (yuck!), marking tools, and all the other longarming tools I need.  In the plastic tub under that basket lies the inexpensive thread that has already been opened.  Keeping it in the tub keeps it free of dust. (My real thread, Superior Threads) are to the right of the table, not shown, in a plastic three-drawer little chest.  It’s not shown because it’s unsightly, but I had to find a way to keep my thread dust-free.  I’m not as particular with my sewing machine thread.  It’s out in the open on the wall collecting as much dust as it can because my domestic can take it.

On the wall next to the table is a clipboard that hangs on a tack.  That is where I keep my thread color cards (ordered from Superior Threads), batting price list, and tension information and charts (I make notes in there regarding what needles/thread/batting work/don’t work for what projects, etc.  It’s much easier than trying to keep it all straight in my head.)  When running out the door to meet a client, I grab this clipboard in case he/she needs to look at thread samples.  I might even put batting samples on a ring by the clipboard in case I need to start bringing those, too.

Underneath the clipboard, leaning against the wall is a big brown cardboard envelope.  It contains quilting stencils.  I ordered a giant stencil online, and it was shipped in that, and I knew that it was perfect for keeping all my stencils housed neatly.  I don’t want them on display because truthfully, I don’t like visual clutter.  Not that you could tell if you looked at this place right now!

On top of the table is a block of wood that I had my husband saw (route?) grooves to hold the rulers.  It took him about 10 minutes, seriously.  I love this thing.  I’d actually love to keep it out of sight or somewhere else, but I don’t want it on my sewing table because it’s too big.  Until I come up with a better ruler management plan, here’s where it is.  One thing that might work is if I come up with a system where I put a sanded piece of wood on my ironing table (and store it underneath), and then it can be my cutting table when I need it.  Then it will make sense keeping my rulers on my ironing table.  Right now I cut on my sewing table, so usually I’m sitting to cut.  It’s not perfect… but then, bringing in a cutting table will change the configuration of my studio, which will inadvertently change the configuration of my office, and I’m just not ready for all that.

And this is where the magic happens.  It’s like this:  The one thing you can do to make your quilts look better is to press them well.  When you are done piecing your quilt top, press it with starch.  I do not use starch at any other step in the process, typically.  When you do this, you will see if there is anything that needs to be fixed with your quilt.  If it is wavy, try magic sizing to shrink it up.  Magic sizing is the “I-don’t-know-what-to-do-so-I’ll-try-this spray.” There is a reason “magic” is in the name.  Advice:  if you have to use magic sizing due to the fullness in the quilt top, try to figure out why that’s happening.  Ask someone, but chances are–it’s because you aren’t using a straight and accurate scant quarter-inch seam and/or you aren’t pressing thoroughly after each seam.  OR maybe it’s because you are using steam in your iron. (perhaps the topic of our next post)

Also in the basket–

• basting glue
• blank calendars (used for goal setting)
• paper/pen
• calculator
• colored pencils (sometimes needed for drawing the quilt, and then doodling different designs on it)
• squirt bottle of water with a tiny bit of starch in it (for unruly, wrinkly yardage)

So, what was meant to be a quick little post looking at my pressing nook ended up being a wee bit longer.  Any tips on improving my space is very welcome.

So we watched it.

And then I gave it a whirl.

Now I’m wondering why I didn’t try this sooner.  Karen McTavish, you’re a genius.

It all started with these two Dia de Los Muertos pillows.

This led to the largest hunt for jumbo pom-pom trim ever.  I’ve scoured most nooks and crannies trying to find more for good prices.  No luck– however, I did find some for less than desirable price-points.

And I was so into making these pillows that I needed an excuse to make more, so I planned a holiday pillow exchange for my quilt guild.  So I made this one.

The one I received is from Marilyn.  Marilyn is known for her beading and handwork.  The pillow I received is perfect for our home and for me.  It truly was my favorite pillow there– although I would have gladly left with any of them!

No, I don't normally keep it on the floor. It is just there for staging!

You want to see a little more detail?

I love Marilyn's embellishment and handwork!

Beautiful, right?

And then the neighbor next door had us over for cake to celebrate her birthday.  Did someone say cake?  So I had to make her a pillow, too!

But that wasn’t enough.  Nacho Baby’s teacher sent a card stock gingerbread man cut out to decorate for homework.  So while Ethan was making his beautiful, I traced the template and made the teacher a crazy-patch gingerbread man.  I was going to appliqué it on a school bag for her (because every teacher loves bags and who else has a Christmas school bag??), but then I opted for a pillow at the last minute.

And now I’ve decided the whole world is getting one for Christmas… or until I run out of pillow forms.

Oh, and if you are related to me, act surprised on Christmas Day.

La Dolce Vita, king size, 36 blocks

This is a commission that has been a year in the works.  Maybe even longer.  It started as a cute little pile of Dolce by TanyaWhelan.  One of my clients, (let’s just call her my generous benefactor) has  had several quilts made for her family, but none for her.  This was going to be her quilt for her bed in her bedroom.  I needed a little more fabric, so I threw in a few others to make it look a little less match-matchy.

For the pattern, I wanted to do something a little less traditional, and I wasn’t sure she’d go for it.  But she did.  And when half the blocks were made, I was so tired of this quilt.  Then eventually I made the other half a few months later.  And then I let it sit because I knew it needed some improv piecing on the back.  So that took a couple months since I work so quickly.  And then it took a couple weeks to quilt.  And then a week to bind.  Have I mentioned this quilt is HUGE?  It’s super duper king size.  36 blocks in all (plus the ones on the back).

La Dolce Vita, back

So, 11 months later, I finally have it done, and I took some pictures– getting it a little dirty in the process.  So I took it home throw it in the wash.  Orange streaks (from a hand-dyed fabric) appear throughout my quilt.  I died.  I hyperventilated.  I was going to have a panic attack, but I wasn’t sure how. Hypoxia, anoxia, somatic cell death.  Funeral.

And then I remembered the chemical Synthrapol.  It’s a chemical that you put in the water when you are worried something might run.  Synthrapol molecules (or some chemistry type of word) wrap around the dye molecules floating in the washing machine water, and then they carry those dye molecules away so that they don’t get absorbed in the fabric, kind of like a color catcher.  So I held my breath, bit my nails, and gave it a whirl.  It worked.  I slowly came back to life and started breathing again.  Lesson learned.

By the way, I did pre-wash all my fabric (because I’m nuts and LOVE using pre-washed fabric), and it still ran.  When you are working with hand-dyed fabrics, sometimes, there are excess dye molecules that haven’t set in the fabric yet (or something like that).  Next time I’ll pre-wash my hand-dyed fabrics with Retayne, my other fabric chemical.  My advice to you:  buy each of these to have in case of emergency. (I’m not an amazon affiliate and will not profit if you do, fyi.)

Where did I learn all this?  From my art quilter friends Laurie Brainerd and Leslie Tucker Jenison.  They are brilliant at all things dye-related, fabric-related, and at talking me off the ledge when I most need it.  Where did I find these awesome ladies?  My quilt guild.  Go join one if you haven’t already!

Another valuable lesson was learned from working on this quilt.  Pick out your fabrics in natural light.  I used a different white for the outer border than for the innards of the quilt.  And one white is so white that it’s almost blue, but it isn’t.  It’s white.  And the other one is just white.  But when these whites get together, they aren’t jiving like I planned.  When did I notice?  When I was photographing the quilt outside after I finished it.  So now I’m contemplating setting up a card table and sewing outside instead of in my studio.  What am I going to do?  Leave it.  If my client wanted a perfect quilt, she would have called Pottery Barn, right?

The Amish always make a giant, intentional error in their quilts, like flipping a block upside down.  They call this a humility block because only God is perfect, and they don’t want to compete with that.  I love their confidence assuming that if their quilts didn’t have a humility block, they would indeed be perfect.  So, when I make a mistake, I usually refer to it as my “humility block.”  Well, I could have left the orange or went with mis-matched white fabric.  Whatever the case, this quilt has definitely given me a dose of humility.

Close-up of some quilting. I can't get enough of feathers.