Sunday Morning Quilts

I know, I couldn't resist, I had to post this review on Sunday morning!  I've been sitting on this book, Sunday Morning Quilts, by Amanda Jean Nyberg and Cheryl Arkison (C&T Publishing, 2012), for a couple of months now, because I couldn't think of the right thing to say about it.

One of the subheadings on the cover is "16 Modern Scrap Projects," and I've been really hung up on the word "modern."  Or is that "Modern," with a capital "M"?  But you know, a) that stuff doesn't really matter, and b) that's not really what this book is about.  Well, ok, there are 10 pages about what defines a modern quilt, but let's just ignore those for now and go straight to the quilts themselves.

There are a lot of fun, bright quilts in this book, but the word I like best to describe many of them is innovative.

There isn't a half square triangle anywhere in the book.  There IS a lot of out-of-the-box thinking, like the Gumdrops quilt above with it's simple raw-edged applique and strip assembly.  Or the Ticker Tape quilt below, where the applique and quilting are done in the same step.

For me, that is the paradox with this whole "modern quilt" issue.  On the one hand, there are a lot of interesting quilts with new ideas - out of the box - and on the other hand there's 10 pages of definitions, which are just creating a new box.  Personally, I hate boxes, and I certainly don't see any reason for them in quiltmaking.

To duplicate the look of these quilts you do need to have a fairly large stash of modern (there's that word again) fabrics, by which I mean solids or simple, graphic prints in clear colours.  But there is no reason that you couldn't use the techniques with any fabrics you have at hand.  I think the results could be quite interesting!

There's a good section about storing fabrics, especially scraps, with ideas about how to categorize and organize them.  And the machine quilting ideas are very accessible.

These are not heirloom quilts, they are quilts that are meant to be used.  I think that is the idea behind the title, although they never specifically say.  If you leave aside the angst about what's modern and what's not, and skip straight to the quilts, there's lots to see and lots to try in this book.

Starting Over

Well, there was much beating of brow and gnashing of teeth around here last night, followed by deep philosophical sighs.  After a day and a half of steady knitting, I got this far:

You will notice that it is off the needles.  I realized that it is now going to be way too short!!  What has happened is that my rows are coming out narrower than the suggested gauge.  So in fact, I didn't need to reduce the number of rows at all.  Fortunately I bought extra balls of this yarn.  I am just going to start over, because some of the yarn near the hem has already been re-knitted twice.

You know, I do usually make a swatch before I start a project, but that is because I have either substituted the yarn or made my own design.  In this case, because I am using the yarn called for by the pattern, I guess I didn't think I'd need it.

Third time lucky!

Debbie Bliss Eco Aran

Recently, it seems like all my Australian blogging friends have been knitting, which is natural for them because it's winter there, but it's put me in the mood for knitting too.  Since I became so allergic to wool, all my wool knitting projects are semi-permanently on hold.  But I do have some cotton lying around.  Webs had a sale on Debbie Bliss Eco Aran a year or so ago, and I snapped up enough for two projects from the Debbie Bliss Eco Fairtrade Collection book that came out in 2009.  I am starting with colour 616, the powder blue:

This is kind of a challenging yarn to work with.  It has several thin plies loosely wound together, so you have to knit carefully to make sure you catch them all in each stitch.  I also found two flaws just in the first ball, which is a pain because then you have to back it up and find a good place to hide the join.  But, I have concluded that it is worth it, because the knitted fabric feels fantastic.  It is very soft and plush, unlike a lot of cottons which can be stiff.

I'm making the Paisley Sweater from the back of the first Eco Fairtrade Collection book:

I don't have much to show yet, because I've had two false starts.  The first time was a tension problem, and I've reduced the size of my needles.  Even though I was knitting to the gauge, the garment was coming out bigger than the pattern suggested.  I met a woman at a quilting workshop who had made one of these projects, and she mentioned that she found she needed to knit this very tightly.  I don't like to put so much strain on my hands, so I have gone with smaller needles.

The second false start occured when I realized that the project was going to be too long.  The front measures 26" long, but when you realize that it isn't 26" from the top of the shoulder but rather from further down, the whole thing became longer than I wanted.  So I decided to shave off 18 rows, which required me to re-jig the placement of the cabled panels, and I had to start those over.

But now I think I'm headed in the right direction.  It is really great to be knitting again, it feels like visiting an old friend.

A New Way to Secure Thread Without a Knot

(Update 02/13 - Apparently this is called a loop knot.)

This is a technique that Alex Anderson demonstrated in an early episode of The Quilt Show.  I can never find the exact episode, but if someone knows please put the details in the comments.  Alex used the technique for redwork, but I have found that it adapts very well to cross stitch.

This technique works whenever you are stitching with two strands of floss in the needle.  I am stitching Celtic Spring 2 over 2, so it has been perfect for that.

Start by cutting the thread twice your normal length.  If you usually stitch with an 18" length, cut your floss to 36".  Pull off one strand, fold it in half so it is double, and thread the cut ends through the needle:

I have used a shorter thread for the demo.  Leave the loop at the end of the thread.

Start your first stitch by coming up from the back.  Don't pull the thread all the way through!  Make the first diagonal stitch of the cross and go through to the back without pulling the thread all the way through.  On the back the folded thread will form a loop:

Run the needle through the loop (you are still on the back of the work), and pull tight:

The loop will snug down flat against the working thread, and secure the whole thing with no knots and no loose ends.

Like everything, this method has pros and cons.

Pros

• Reduces the number of loose ends on the back of the work
• Quicker and easier than a waste knot when you are stitching in a new area
• Slippery threads like gold braid won't work loose later

Cons

• Only works for an even number of threads
• Doesn't work when different threads are blended in the needle
• The two lengths in the needle are running in opposite directions.  If your thread has a nap this may reduce the sheen of the finished piece.  It may even increase snarling in dense stitching or fabric.

For Celtic Spring this method has been fantastic.  In the borders especially you are frequently starting  new colours in isolation, and the waste knots are tedious.  Plus I have been finding that the gold braid tends to work itself loose, which is eliminated with this method.

I also like it in places where there are many colours in a small area, because it reduces the bulk on the back. I start with a shorter length when there are fewer stitches to make.

And it's great for redwork too!  Although for redwork you start with the loop on the top of the stitching, and it works better for stem or outline stitch rather than back stitch.  But it makes a very clean back!  I think I owe a post on that some day...

Celtic Spring Instructions

We had our first official heat wave (3 days or more over 32C) this week, so I haven't wanted to turn on the sewing machine and iron.  But it has been a great time to do some cross stitch.  Celtic Spring is progressing well:

There is a striking lack of instructions with the Celtic Spring pattern.  At the top of the key it mentions, in brackets no less, that the piece is stitched 2 over 2.  It's not clear whether the gold braid is also meant to be stitched double.  It's also not clear whether the backstitching is meant to be stitched with two strands.  In my experience, backstitching is almost always stitched with one strand.  But at the very end of the backstitching instructions it mysteriously says, again in brackets, that the gold braid backstitching should be done with one strand.  Does that mean everything else should be done double?

I decided it was open to interpretation.  I tried cross stitching the gold braid with a single strand, and it looked good to me.  I also did the backstitching under the hand and along the outer border with one strand, and that looked good to me too.

Recently, though, I have been using a new way of securing a new thread, which requires a double thickness. I'll show you that tomorrow.  I like it so much that I tried stitching the gold braid with a double strand too.  Stitching it double has pros and cons, but overall, I like it better.

When the gold braid is stitched with a single strand, it lies flush with the other stitching.  When it is stitched double it has a raised effect, which actually is pretty nice.  The amount of sparkle seems to be the same.

Changing my mind halfway through the piece is challenging, but I don't think it will be insurmountable.  The only place where the difference may show is in the side borders.  The right side border is too far gone to completely replace, but I may redo the left border.  The gold in the bodice can stay the way it is, and fortunately I hadn't done much gold in the skirt, so I have already changed that out.

I am also wondering if the backstitching around the face is meant to be stitched double.  I may try it both ways to see what looks best.

I am glad to have this decided now because it has been worrying me.  It will be easy going from here!

Easy, Accurate Paper Piecing Templates

The final piece in the design of my Hen Party quilt was to decide how to finish off the corners of the border.  I wanted the diamonds to flow continuously around the quilt.  Once I realized that I could make the corner diamonds bigger, it all fell into place:

The centre diamonds are the same 3" size as the Seminole-pieced diamonds, and the outer diamond is the full 6" width of the border.

I made my own foundation paper piecing templates for these blocks.  With 1/4" graph paper you don't even have to measure!  Just count out 4 squares to the inch.  I mark dots in all the corners, and then use a ruler to connect the dots.  Easy!

Then I put my original in the copier, set the quality to draft, and run off as many as I like.  The graph lines don't copy, just the darker pencil lines, so you get a very clean template.  Old copiers used to distort the image slightly, so check your copies to make sure they are still exactly to scale.  My Canon All-In-One prints them off perfectly.

I am also still using the Simple Foundations Translucent Vellum Paper, which is so convenient!  When I'm paper piecing triangles like this I start with oversized triangles rather than strips.  This saves fabric, and it also keeps everything on the grain.  The vellum paper makes it easy to be sure the triangles are in the right place before I sew them down.  Vellum is a little more expensive, but because so many of my paper piecing plans involve half square triangles like this, I will probably keep using it.

Hopefully it will not be much longer before I get this top finished.  I am sooo close!

Seminole Piecing

As I mentioned yesterday, I elected to Seminole piece the border for my Hen Party quilt.  I did wonder, when I made the design, if I was biting off more than I could chew, but fortunately it has worked out very well!  The whole key is to slow down and be very deliberate in everything you do.

My border design called for 3" diamonds centred down a 6" strip.  The sides of the diamonds needed to be 2 1/8", so I cut the brown strips at 2 5/8".  In order for the cream edges to be wide enough, I cut the cream strips to 5 1/2".

I sewed the brown strip between two cream strips and ironed the seam allowances towards the centre.  This is an important step, because it makes it easy to match the corners later on.

Then I cross cut the long pieced strips into units that were also 2 5/8" wide.  Then I started to sew the units together in a stepped pattern.  Hopefully the photo makes it clear:

Each border has 17 diamonds.  When I turn the piece on it's side you can see where it's going:

To make sure the diamonds were centred in the final border, I lined up my ruler with the 3 1/4" line along the line where the diamond points meet.  I cut one side, and then turned it around and cut the other side the same way, so that I ended up with a 6 1/2" border strip:

To square off the ends, I added a 4 1/2" half square triangle:

This is bigger than needed, so when I'm ready to do the final assembly I'll trim the sides even and the end down to 1/4" from the point of the diamond.

It seems like a lot could go wrong with all the bias edges here, but the main thing was that all four sides would finish around the same length.  They did!  And I gave myself some wiggle room in the design, which I'll talk about when I get the whole top assembled.