Quilting to the Edge of a Quilt

How close to the edge of a quilt should your quilting stitches get?  My gauge is no closer than 1/4". You need a little bit of space to trim, if necessary, when squaring up the quilt after quilting is completed and before putting the binding on.

Getting too close to the edge with your quilting stitches will cause you to cut through the stitching when you trim your quilt. If this does happen, and it did to me, here's what you can do to secure those loose ends.

There was a 10" area on one side of the quilt where I had nicked the quilting stitches. I noticed this when I was working on the binding. I always machine sew the open edge of the binding to the quilt, then hand sew the folded edge to the back of the quilt. So, before hand sewing the binding in place, I went back over this area with my walking foot, using a short stitch length and back-stitching where the thread ends were. This really helped "lock down" those thread ends and gave added stability to the one seam where the binding is stitched to the quilt. Without this security, the thread ends would eventually pull up to the quilt surface and the quilt stitches would come undone.

If you take your quilt to a long arm quilter, ask how they quilt the edge of a quilt. Some begin their stitching off the quilt (on the batting/backing area) to check their tension, then move onto the border to begin quilting; likewise, when they finish a quilting line they stitch back off the edge. I've seen this several times when a client brings a quilt for binding. To avoid cutting through the stitches when you trim the quilt edges, you will want to pick some of those early stitches and get a length of thread tail that you can knot off and bury into the quilt batting.

I generally start my quilting inside the surface of the quilt, and use one of the "ditches" to begin my stitching so there are no starts/stops close to the edge. My threads are on the top of the quilt where I can see them. After I am done with a line of quilting, I thread both threads into a hand sewing needle, poke it through to the back of the quilt, knot the thread a couple of times close to the stitches, bury them into the batting and cut the thread ends.

Copyright ©2014, Sharon Baggs

My sewing/quilting space

When I tell people I quilt my own quilts on a domestic sewing machine, they often think this is a very difficult, nearly impossible task. "You need a long arm!" they cry. Sixteen years ago when I started to learn the process of making quilts, there were not many long arm quilters out there. So the natural next step, after piecing my first quilt top, was to learn how to quilt on my home machine. And so I did.

My first quilt was a monochromatic blue quilt with a pop of gold border, that saved it from boredom. I did some stitch-in-the-ditch (stitching into the seam line) around the perimeter of the quilt, added some diagonal lines and stitched a cable design in the outside border.

The center block design I choose was a bit small for the space, but learning to enlarge designs came later. I used my walking foot to painstakingly stitch the lines as carefully as possible. Today I could stitch this design quickly and easily with the use of a free motion foot, but this was my first step with quilting and I only used the walking foot on this quilt. I also used blue thread to "show off" my work.

The quilting on my first quilt is something I will always be proud of. I don't apologize for it. Sure, skills and techiques have changed since then and that's all part of the evolution of learning. The important thing is I got started, believed I could do it and kept at it.When I say, "I love to QUILT" this is the part of the process that I'm talking about.

Having a good set-up is the key to continued learning and success, so I've made some changes along the way: I started with a New Home machine and then switched to a Bernina 153 which I still use for quilting. My machine had a small table attachment and I added a larger plexi glass surround table to support the quilt. All of that sat atop my dining room table where I did all my sewing and quilting for the first half of my quilting career.

Several years ago I bought a sewing cabinet which I could put my machine into. Now the machine sits flush with a large table support to the left of my machine. I can sit comfortably and don't have to reach my arms too high, which was an issue when I used the dining room table. Placing the cabinet in the left-hand corner of the room allows for a closed space so the quilt remains supported and doesn't fall off the edges of the cabinet.

A good task light above the machine is a helpful addition and a cushioned chair that allows height adjustment. I have a metal thread holder for cones of thread. I also keep a small plastic box to the right of my machine to hold my scissors and safety pins.

Quilting your own quilts on your home sewing machine is possible! It's fun, affordable, and you can say with pride, "I quilted it myself!"

Copyright ©2014,Sharon Baggs

Hemming jeans

Hemming a pair of jeans/pants is a type of alteration that isn't difficult, but procrastination usually sets in. I bought these pre-Christmas, so yeah, 3 months sitting on the mending pile qualifies as loafing.

These jeans (Kut brand: Nicole--high rise bootcut) are 77% polyester, 21% cotton, and 2% spandex--that little spandex provides plenty of stretch to accommodate the waistline and also hugs the legs just right.

First, I took out the original hem by removing all the stitches. I measured it and saw the fabric edge was turned up 1/2", folded another 1/2" and sewn. That equals 1" of fabric in the hem. I pressed the fabric flat to remove the fold lines and tried them on. I put on my highest-rise shoes, which are my Dankso clogs, and used a safety pin to mark the desired length. I pinned up about 2 inches, so I needed to trim 1" off the fabric edge before folding & sewing a new hem.

When altering, I err on the side of a longer length. For example, if my measurements vary from 2" - 2-1/4" or 2-1/2", I will go with the 2" and start from there. In this case, it was perfect. If I went any shorter, the length would be too short. Better a bit long than a bit short. I find this is true with other alterations. Start with a slight taking-in and increase it as you go, if necessary. Leave yourself a little room to work with.

I used a white chalk marker to draw a line 1/2" from the bottom edge of the right side of the fabric. I turned the edge to the wrong side of the fabric and pressed in place. Then I folded 1/2" again and pressed in place. The spandex provides a nice crease so pinning might not be necessary. Just hold carefully as you sew because the spandex also stretches along the fabric here. Don't pull as you sew or the hem will look wonky.

I used a 90/14 topstitch needle (a size 100 would be better) to accommodate the Dual Duty XP Heavy style thread. I set the stitch length to the longest setting (on my Bernina that is 5.0). The long stitch helps ease in the stretch and also mimics the original stitch design on the jeans. All the stitching is triple stitched so I stitched around the hem 3 times. In these photos, the thread looks more purple than it actually is.The photo above (taken without flash), shows a more accurate match--it does blend well with the dark denim.

Use the cut off piece to test thread tension. Generally, the bobbin needs to be a bit looser and the top thread slightly tighter than normal, but you might find the exact opposite is true using your own machine, needle, and thread. Test it and then you'll know how to make adjustments.

Copyright ©2014, Sharon Baggs

Thread Color Cards

It's time to give a little perspective on threads and the value of color cards. There are three brands--Superior, Presencia, and Aurifil--which I have color cards for so I will speak to those here. I have pieced, quilted and serged with many brands over the years, for what it's worth. To me, it's invaluable!

 

My motivation came after ordering this small stack of color cards from Superior Threads http://www.superiorthreads.com/product/group/color-cards/ Represented here is what I use for serging: Omni & ProLock; piecing/bobbin thread: Masterpiece; quilting: King Tut; and bobbin thread when using decorative threads: The Bottom Line.

For polyester and decorative threads, I thread the top of the machine and use a top stitch needle. This 60-wt. polyester thread is perfect for the bobbin.

The value of having color cards is they are made with a small sample of the actual thread so you can accurately color match. Printed sheets of color are helpful but slightly different than reality. I have a printed sheet of Masterpiece thread and the actual color card. Both lovely, but they are not the same. For accuracy, consult a color card.

Masterpiece is a 50 wt., 3-ply cotton thread. It used to be a 2-ply thread and the spools I have are representative of that. I realized after using it and other 2-ply brands that I prefer the strength of 3-ply for piecing & quilting. Now that Masterpiece is 3-ply, I'm looking at the color availability to compliment another brand I use for piecing and quilting: Presencia.

Presencia cotton threads are available in both 60 wt., 50 wt., and 40 wt. I use the 60 wt./ 3-ply to piece with and it's also great for small design quilting. The 50 wt./ 3-ply cotton thread I use for some piecing, but mainly quilting, comes in 180 colors, in a variety of spool/cone sizes. http://www.presenciaamerica.com/Quilting-Sewing-Thread/

Whereas Superior and Presencia threads are the 3-ply threads I prefer for piecing and quilting, Aurifil thread is a 2-ply cotton thread. I use it for satin stitching, machine applique, hand applique, and micro stippling a small area on a quilt. Because it is available in 252 colors (216 solids + 36 variegated) the selection is a big draw for quilters. We do love color! I'm tempted myself when I see an alluring collection endorsed by a big name quilter. It's kind of like eating a box of chocolates. I regret it later...

Beside the 50 wt. cotton, Aurifil offers a variety of threads (all 2-ply) available in 12-wt. for Sashiko and embellishment; 28 wt, for hand quilting, and 40 wt. for machine quilting. They are housed on different colored spindles according to their weight. They also offer Aurifloss, a 6-strand cotton floss wrapped on quaint wooden spools.
http://www.aurifil.com/SiteAurifil/COTTON.html

Back to Superior Threads! After quilting a denim quilt with an entire cone of Olde Golde (Color #976) King Tut 40 wt., cotton, I really appreciated the quality and look of this thread. The color cards include needle recommendations to use with this thread. Some of Superior's color cards, such as these, are 3-hole punched so you can store them in a notebook. Bonus!

Superior produces color cards at their own cost, so the purchase price is the same whether you are buying them retail or wholesale. I spent between $3-$14 for each card or booklet. This booklet for Omni thread has 172 color thread samples. This poly-wrapped poly core thread, available on 6,000 yd. cones, will keep me serging for days.

I have yet to try the Prolock thread for the serger, but I bought the color card so I can see what is available. Superior offers many "try me specials" which is a perfect way to make a small investment in a few spools of thread and see how they work for you. Check out the deals here: http://www.superiorthreads.com/shop/category/thread/try-me-specials/

The best way to learn about a thread is to get some and try it out! Any thread company worth their salt will give you information about thread weight, ply, needle recommendation, etc. You will soon get a feel for what you prefer to use. Happy quilting!

Copyright ©2014, Sharon Baggs