Quilt “Finds” in Golden

On a recent trip to Colorado we visited the Rocky Mountain Quilt Museum.  The exhibit was very well done and quite enjoyable.  Our visit there, however, turned into a bit of an adventure when I discovered they had vintage quilt tops for sale.  The museum had recently acquired a number of very nice tops, all donated from various sources.  Occasionally after someone passes, the family finds quilts stored in dressers, closets, and trunks.  Because the family has no interest in these old quilts and doesn’t have anyone to give them to, they donate them to the museum.  I am sure some very fine examples may be saved by the museum, but usually the quilts and tops are sold to help support the mission of the museum.

Rocky Mountain Quilt Museum

Rocky Mountain Quilt Museum, Golden, CO

Quilt “Finds”

I was super excited to see fine vintage quilt tops for sale.  Here in New York, a few quilt tops become available, old quilts are sometimes found, but for me to see a large stack of old, vintage quilt tops was quite the “find.”  I looked through the pile, then was directed to another area of the museum store where there were even more quilt tops.  Tops ranged in age from the 1860’s through the 1970’s.  There were a number of 1930’s tops, feed sack tops, many different quilt patterns, applique quilts, many hand pieced, some pieced well, some not so well.  It was fun to see so many old quilts and to wonder about their history.

Wondering About The Past

As I thought about these quilts, especially the 1860’s to 1880’s quilts, I wondered if they traveled to Colorado in a wagon.  For the “newer” quilts from the 1900’s through the 1930’s, I wondered if they were made by pioneers in Colorado, or whether, they made the trip from some other place as people moved and resettled in Colorado.  Life in the early days of Colorado, the 1800’s even into the 1930’s was tough.  Women often lived in isolated and remote areas in the mountains, on farms, some lived in mining camps.  This was the old “west.”  Some of the tops looked like they were made just for bed coverings, yet others showed impeccable workmanship with tiny running stitches in the seams and excellent applique hand stitched with tiny blind stitches.

While at the museum I bought a book titled, “The Quilt That Walked to Golden,” written by Sandra Dallas with Nanette Simonds. (ISBN 13:978-1-9333081-7-3)  This excellent text is written from diary excerpts of many pioneer women and details “women and quilts in the mountain west from the overland trail to contemporary Colorado.”  I have found this book informative and very insightful in telling the story of these hardy and resourceful women, their lives, struggles, their heartwarming stories, and the hard realities of life on the frontier.

The title of the book is rather interesting.  The author points out that when pioneer women were preparing to leave the “comforts” of civilization in the East and travel by wagon to the west, they wanted to take some of the niceties they owned.  Dishes were often packed in flour and sugar barrels.  Dressers may have started the journey on the wagon, but were often discarded as the wagons became harder to pull across the high prairie.  And, of course, they wanted to take their best dresses.  Husbands, on the other hand, only thought about tools needed to carve out a new home, farm, business, or mine stake, taking enough quilts to keep warm, enough food, and other life-saving items.  In an effort to compromise, women often put on and wore all of the garments they could manage, including several petticoats and multiple dresses.  In spite of traveling with their wagon representing their new start in life, most of the settlers walked to the west.  As a result, their garments were not in very good shape when they arrived.  Not wanting to waste anything, the women cut up their dresses and made into quits.  Thus, the “quilt” was really a dress worn on the long, hard walk to Golden.

My Quilt Finds – Personal Selections

I originally left the museum that day with four quilt top finds.  I chose each of the quilts because of something unique about it.  All were in excellent condition, hand pieced except one with very tiny machine stitching and hand applique.

1860-1880 Applique.  Although with a few little stains, the fabrics in this quilt are in excellent condition and the fabric colors true and not faded.  It is large enough for a twin bed.  This applique pattern is not one that is often seen, it has excellent construction and almost new fabric condition.  I plan to longarm quilt this top with designs that might have been used in the period.  It will make a very nice display piece.

1930’s String Quilt, Star Pattern.  I selected this quilt for several reasons, the fact that it was string pieced by hand, the background fabric is purple, and that the star points cut from the string pieced fabrics are all hand stitched together.  The bonus with this quilt is that there is even some of the newspaper still on the string pieces star points.  A friend who is a quilt appraiser suggested keeping this top in an archival box, taking photos of the newspaper and trying to find out the origin of the newspaper.  I plan to do this as I think it will add to the interest of the top.  I would love to quilt it, but will keep it as is because of the historical nature.

Vintage 5-point Star – Feed Sack Material.  This top caught my attention because of its construction.  The white background feed sack fabrics were stitched together as squares by machine.  There are a couple of places you can see the printing on the material.  The machine stitching is excellent and with a very short stitch length.  The star points and center pentagon are all appliqued to the top.  Then, the fabric was cut out behind the stars.  There are a few water stains, but I think these will wash away.  The fabrics are very strong woven, the stitching, including the hand applique with very tiny stitches is also very strong.  I plan to longarm quilt this twin size with appropriate period designs.

1930’s “Enhanced” or “Improved” Nine-patch.  Looking at this top I am reminded of both a nine-patch and also the double wedding ring because of the melon shaped pieces.  Although not pieced as well as the others because it has long running stitches in the seams and the points do not come together very well in many places, the top is an eclectic mix of a wide range of 1930’s fabrics.  It is indicative of the thirties with both bold and soft colors and the many, many  prints that were available during this time period.  This large top will certainly cover a double or larger bed.  I will be quilting this on the longarm, too, using designs that would have been used in the thirties.

Not Quite Done!

After getting to the car to leave the museum, I reflected on my purchases and decided to go back into the museum and purchase one more quilt that I had seen.  I did not want to get back to my New York home and regret that I had not purchased this one.  This quilt was quite a lot more expensive than any of the others, but it was unusual.  Very large, about king size, the red, green, and yellow prints on white background was a triple Irish chain.  The quilt is beautifully pieced with tiny hand stitched piecing, precisely cut patches, is square, and has an unusual half square triangle border around the whole quilt.  It, like the others, is in excellent condition; it has a few little water stains, but has fabric that can take the quilting, the washing, and could even be used.   Like the others, I will use patterns to enhance the triple Irish chain pattern.

When we traveled to Colorado, I never expected to come home with these treasures.  It goes to show that you never know what you will find.  But, you must always be open to taking advantage of an opportunity as you many never have an opportunity like that again.   Fortunately my husband also saw this as a unique opportunity and encouraged me to take advantage of it, too.  Before we could fly home from Colorado, though, we had to go and purchase another suitcase just to carry our quilt top treasures home.  And, getting back home, what fun there has been for me to share with others this wonderful adventure and the quilt finds from Golden (Colorado).

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Rocky Mountain Quilt Museum – Worth the Trip

Quilt museums are few and far between.  Even regular museums often do not have a quilt collection, or if they do, rarely display that collection.  Rocky Mountain Quilt Museum is a little different.  It is the mission of the Rocky Mountain Quilt Museum “to collect, preserve, exhibit, and educate the public about quilts; honor quiltmaking traditions; and embrace the evolution of the art and craft of quilting.”  This is accomplished through exhibits and special events.

Rocky Mountain Quilt Museum

Rocky Mountain Quilt Museum, Golden, CO

When we visited RMQM in September (2017) we were privileged to see two wonderful exhibits, the American Quilt Study Group (AQSG) “Civil War Era Quilts” and “Pagtinabangay: Quilts of Caohagan Island.”  Neither exhibit was so large that you couldn’t spend time reading the info plaques and posters explaining the project or display.  It was interesting that these two exhibits were on display at the same time as the quilts varied considerably from each other.  One, of course, documenting American quilts from the 1850’s and 1860’s.  The other displaying the introduction of and growth of quilting into a sustainable means of income for a small group of people on a very small island in the Phillippines.

Civil War Era Quilts

Civil War Era Quilts is the result of an American Quilt Study Group quilt study completed in 2014.  It is a collection of reproduction Civil War Quilts reduced in size to a maximum of 200″ perimeter.  The original quilts were made from 1850 to 1865. It was interesting to read how each quilt study group maker researched that particular quilt and decided how to make a reproduction of it.  Quilt reproduction received much attention to detail using fabrics very similar to original often quilted by hand.  One the makers even went to to the trouble of harvesting cotton by hand, prepared it, and used it as “batting” in the reproduction.

Pagtinabangay: Quilts of Caohagan Island

Introduced to quilting by a Japanese woman who was highly trained in the “art” of quilting, several Caohagan Island residents along with one young girl began to make quilts with fabric brought to them by the Japanese woman.  Slowly others began to take up quilting, even a few men.  When they found that their quilts could be sold, many more began quilting.

Quilters have always been industrious and resourceful people. Quilters use what is available, fabric and fabric scraps, and spend precious time cutting, piecing and quilting. Quilts often reflect the culture and life of those making them. The quilts of Caohagan Island do this, as well, as the “colors and patterns evoke the tropical environs, while the handicraft is of the highest caliber. The results are quilts that evoke a far-away place but retain a human touch to which anyone who views them can relate.”  As I looked at the many quilts on display, it reminded me of the lovely pictorial art my nine year old granddaughter enjoyed drawing.

Worth your time to visit.

If you travel to Colorado, be sure to visit Rocky Mountain Quilt Museum in Golden, Colorado.  You will not be disappointed.

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Plattsburgh Quilt Show Picks

As a part of our Delightful Quilting & Sewing business we vend at several quilt shows throughout the year.  Recently we traveled across New York to the top northeast corner to Plattsburgh, NY.  Champlain Valley Quilters’ Guild, now in their 33rd year, hosted their 16th quilt show in the field house on the SUNY Plattsburgh Campus.  The theme of the show was “Treadle to Technology.”  Much has changed from the days of hand piecing, or even using the “new” treadle sewing machine to piece and quilt to today when an entire quilt block can be pieced, appliqued and even quilted on an embroidery machine.  All you need besides the embroidery machine is the purchased pattern.  There are a number of very beautiful and very complex patterns available.  when the already quilted blocks are finished, simply sew them together into the finished quilt.  Other exhibits at the show including Underground Railroad Quilt, Block of the Month Display, and Common Sense and Pin Money quilt display featuring quilts and other items from the “Material Culture and Legacy of Lula Annie Butler 1909 – 2009.”  Show attendees could spend a few minutes tying quilts for the club charity quilt donations, or attend one of the many demos presented by one of the show vendors.Plattsburgh quilt show Plattsburgh quilt show

The favorite part of any quilt show for me is the quilts.  Because we are vendors at shows in different parts of New York State, it is interesting to see how regionally there are some differences in the types quilts and form of quilting on display.  More and more, however, I am noticing fewer hand quilted and many more professionally quilted, usually with edge-to-edge patterns.  This was the case in Plattsburgh.  There were a few with some custom quilting, usually the applique quilts.  Most of the quilts displayed in Plattsburgh were not made “just for show” like you find at the large national shows, but were made to be used and enjoyed.  The makers of these quilts should be proud of their fine work and I am sure the recipients of these quilts will love them, too.

Our Vendor Ribbon Choice

At some of the quilt shows the vendors can select a quilt to receive a ribbon.  This was the case at Plattsburgh.  My criteria for selection is: (1) design – is it unusual, or a different arrangement of a common pattern, (2) workmanship – well made, nice points, binding applied well, hangs well, (3) machine quilted – either home machine or longarm, (4) quilting pattern selection, is it appropriate for the quilt, and how well it is executed, balanced tension, etc., and (5) quilt made and quilted by the same person.  I also do not give my ribbon to a quilt that has already received one or more ribbons.  I want to encourage someone else who has done an excellent job, but did not receive a ribbon.

Because I was running out of time to look closely at the quilts, I sent my husband, Ron out to scout out a quilt for our ribbon.  He used the above criteria and came back with about five possibilities (written on his hand) for us to check out together.  Our “winning” quilt was Compass Confusion by Karia Strauss (below).  We liked the color combinations, balance of color, the unusual inner border, the pop of orange, the edge-to-edge quilting with a slight contrasting thread that gave nice texture to the quilt and definitely enhanced it.  This quilt satisfied all of our criteria.

quilt by Karia Strauss


“Compass Confusion” pieced and quilted by Karia Strauss

Other Unusual and Very Nice Quilts

Most of the quilts at the Plattsburgh show were pieced, however, those below drew my attention because they were unusual in some way.  Several were hand embroidered, others were applique, and even others told a story.  Looking at quilts, for me, is a lot of fun and I enjoy seeing how quilt makers creatively and artistically bring the whole quilt design together.

Although the photos are out of order below, I am sure you can match the detail photo with the full quilt photo.   I hope you enjoy seeing these quilts as much as I did.

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Don’t Be So Hard On Yourself – We All Start At The Same Place

I was cleaning out a notebook that was turned in with a traded in longarm machine recently.  Nearly everything had something to do with the machine, maintenance, how to use it, our troubleshooting issues.  There was one paper, however, I came across that I decided to keep because it reminded me of where I was a few years ago when I first started to longarm quilt.  It was the same place that all longarm quilters start, at the beginning.  Below is the content of that page written by Carrie Dugan in 2004.

Beginning Longarm Quilter Oath and Rules

Please remember these things when you get your longarm machine and start quilting.

  1. When I was learning to tie my shoes, I made a knot.
  2. When I was learning to write, no one could read it.
  3. When I was learning to ride a bike, I fell off.
  4. When I was learning to cook, I burnt the dish.
  5. When I was learning to drive, I landed in a ditch.
  6. When I was learning to piece a quilt, my seams were not always 1/4 inch.

I will repeat the Beginners Longarm Oath Each Day for the Next 3 Months. (or longer if I need to)

  1. I am learning, so, it is OK if I make mistakes.
  2. I am learning, so, NO Longarm Quilting Police will be at my door for at least 1 year.
  3. I am learning, so, my circles may look like squares.
  4. I am learning so, my feathers may look like chicken scratch.
  5. I am learning, so, my quilts may not turn out square.
  6. I am learning, so, my threads may break, I will figure out how to adjust my tension.
  7. I am learning, so, my pantos may not line up correctly.
  8. I am learning, so, my quilt may not win an award.

I am learning!!

I will Practice!!

I will improve!!

I am having fun learning.  I will become a confident and proficient longarm quilter.  It will take practice, practice, practice and more practice.  I will be patient and not hard on myself.  I will love the process.  I will reach my goals.  I will be happy with the rewards.

!!!I will become an excellent longarm quilter!!!

Learn, practice, and you will improve.  Take classes, read books, watch videos and practice some more.  You will improve.  Perfection comes with time and experience.  None of us are born with experience, we all travel the same road to become confident and proficient.  Have fun and enjoy the journey.  Thank you Carrie for this important reminder.

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Listening To The Heart Of The Quilter

If you quilt for yourself, you can do whatever you want with the quilting with a panto, your own edge to edge designs, free motion quilting or templates.  After all it is your quilt and you can do whatever you want.  If you quilt for others, however, it is not your quilt and you need to listen carefully to the quilt maker to catch their vision for the quilt.
For quilts that come to my studio for quilting, I have questions I always ask the quilt maker:
  1. Who is the quilt for?  I am not being nosy.  A quilt for a young child to use and love really doesn’t need custom quilting like a wedding quilt might.  Some quilts will be washed many times, other quilts, seldom, if ever.  Knowing the purpose of the quilt can be important in guiding the quilting decisions that include type of batting, the style of quilting and perhaps, even the selection of thread.
  2. What is the quilt maker’s vision for the quilting?  Although quilters that bring a quilt to be quilted don’t want to do the quilting, they often have a vision of what they would like to see.  They may not personally like feathers all over, they might think the recipient of the quilt would love geometric patterns, they have likes and dislikes and know the recipient best.  It is important to do what the customer wants, if at all possible.  It might not be what you would do if the quilt were yours, but remember, the quilt is not yours.

Once I have a good feel for the purpose, use and quilt maker’s vision for the quilt, I offer

quilting

6″ floral pattern compliments flowers in 1930’s print.

possible options.  For example, if they think a floral panto would be nice, I show the customer pantos I think would be the right scale for the quilt and with a pattern that would look nice with the quilt pattern and fabrics as illustrated in the photo above.  For custom quilting, we talk about possible design options for the blocks, sashing and borders and I show the customer samples of what is possible so they can see if it fits with their vision for the quilt.  Most people like options to choose from.  That is why we have shelves of cereal, soda, cookies, and everything else in our stores.

Hunter's Star blocks quilted.

Custom quilted – Hunter’s Star blocks, feathered block treatment with separate “circles” stars in the stars. Simple piano keyboard in the border, stitch in the ditch along inner border.

Finally, after deciding how the quilt will be quilted, my client helps select the thread.  We talk about the “star” of the quilt.  Is it the quilt pattern and fabrics, or the quilting, or a balance of all?  Based on that decision, I start pulling out thread color options.  Variegated, solid, poly, cotton, puddling the thread across the fabrics to see how each looks.  Some are taken off right away as they are too light, too dark, too prominent, or fade away and not even visible.  Looking at what is left the customer, sometimes with a little guidance, is able to decide which color and type of thread really looks the best.  A slightly off white thread, King Tut, was chosen for the 1930’s quilt to highlight the quilting without over powering the fabrics.  The Hunter’s Star quilt has pale blue thread.  Testing white thread first I found too much contrast, however the pale blue offered just the right amount of contrast on both the white and blue in the quilt.

As a quilter, you have that vision.  You made the quilt and you, either consciously or subconsciously, have made these same decisions.  However, if you quilt for others, or even allow friends to use your longarm, you need to remember, it is not your quilt.  I even have a couple of clients that came to me because their former longarmer did what she wanted on quilts rather than what the customer wanted.  Help your customers (or friends) make the right choices to enhance their quilt in the best way possible with quilting suitable for the use and intent of the quilt, and the vision of the quilt maker.

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Call For Entries – More Than A Ribbon

As we enter a new year, 2017, you may be thinking ahead to quilt shows this year and entering one or more of your quilts.  In fact, some shows like Genesee Valley QuiltFest, Rochester, NY, are already accepting quilt registrations.   Because I am planning on entering several quilts in this show, I thought it best to think about what judges might be looking at in the judging process.

Can a quilt be ruined with quilting?

Some time back I read a blog by Lori Kennedy entitled “6 Ways to Ruin a Quilt with Quilting.”  Since we all think that quilting should enhance the quilt, in reality, it is not always the case.  Continue reading

Safety in the Quilting Studio

Nothing can put your life on hold like an injury.  It is unexpected and unplanned.  Depending on the severity of the injury you can have daily activities and hobbies upset for a few hours, a few days, or even weeks.

After my husband sliced the skin off the tip of his finger yesterday with a box knife, I wasinjury clipart reminded even more of the need to be careful in the sewing room.  In the sewing room we work with rotary cutters that are equally as sharp as the box knife.  It doesn’t take much for an injury to happen, a careless (or not so careless) placement of the ruler, not thinking about where we place our hand and fingers, or even not thinking and leaving the safety off and the rotary cutter blade exposed for “just a second.”  There are even other hazards, such as pins and needles, sharp scissors, and electric cords running in different directions.  Although you may feel you have everything under control, if you have young children, grandchildren, or pets that roam through your quilting space, rotary cutters, pins and needles and stray cords are tempting, hazardous, and potentially deadly.  Pets are even attracted to things that adults and children would ignore.  For example, one of my Longarm customers needed a switch replaced on her Longarm because the cat, who liked to jump up on the frame and lay on the quilt, chewed the cap off the machine switch.  Fortunately for the cat, the machine was unplugged.

think safety first posterAlways think “Safety First.”  Whether you are cutting, sewing, pressing, or any other task, always think about your safety and the safety of others, including your pets.

Cutting Safety:

  • Replace mats that have grooves and marks that have not “healed.”
  • Replace the blade in the rotary cutter regularly. Dull blades do not cut well, need more pressure to cut, and may slip out of the fabric causing a wrong cut, damaging the ruler or hurting you.
  • Purchase rulers that have a non-slip surface, such as Creative Grids rulers,
    non-slip cutting rulers

    Creative Grids non-slip rulers and InvisiGrip non-slip static cling sheets.

    including the Stripology Ruler, or place InvisiGrip™ on the bottom of rulers. This clear static cling film provides a non-slipping surface on the bottom of the ruler.  Slipping or sliding rulers not only result in poor cuts, but can contribute to damage to the ruler from the blade and possible danger to the quilter from a cut from the rotary cutter.  After testing InvisiGrip™ on my 24” cutting ruler I have decided to put it on all of my clear rulers.  I have been very impressed that is really does provide a non-slip surface.

  • Use an elevated cutting table to work at a comfortable (and safe) height. A cutting table can easily and inexpensively be made from a short folding banquet table and lengths of PVC pipe cut 10-12” long and put under each leg.
  • Make sure the cutting area has good lighting and is clear of stray pins.
  • Keep your non-cutting hand behind and away from the direction and angle of the rotary cutter.
  • Always close the cutter after every use.

Quilting Room or Studio Safety:

Think "Safety First"

Think “Safety First”

  • Work in a well-lighted space.
  • Always use a pin cushion or magnetic pincushion to keep pins and needles secure. Invest in a magnetic wand to swipe across the floor to pick up any stray pins that have fallen.
  • If children or pets frequent the area, make sure dangerous items like pins and needles, scissors, and rotary cutters are put away. It isn’t a matter of organization, although that helps, it is a matter of “safety first.”
  • Never use an extension cord with the iron. Most extension cords are not heavy enough for the wattage draw and it could cause a fire.
  • Even if unplugged, a dangling electric cord from the iron can be a temptation to children and pets that might pull on it causing the iron to fall off the ironing board and onto the pet or child causing injury.  Always place the unused iron in a safe location.
  • Avoid running cords across traffic lanes. Tripping and falls are the number one cause of injury in adults ages 65 and over.  Even if you are younger, it is still dangerous to have cords across the path.
  • Always unplug the iron and sewing and/or quilting machines when not in use. Who knows what else could happen, but most have sensitive electronics in them that could be damaged by power surges or lightning strikes.  This type of damage is never covered under the product warranty.
  • Pets are attracted to dangling thread, thread spools and cones. They are wonderful toys!  But, they can be dangerous and deadly to your pet.  Make sure thread is put away and not a temptation.
  • Longarm owners with pets – the dangling quilt top and batting seems to be a wonderful place to play hide and seek, a great place to sleep, or claw. Dogs seem to especially like to chew the batting.  Cats also seem to like to jump up onto the frame and sleep on the quilt, like a hammock.  The Longarm is such a temptation.  You could close the door to the studio, put a shower curtain (plastic) over the quilt, or use strips of aluminum foil to reduce the temptation.  If you have other great solutions, please post them below in comments.

injury prevention planSafety first is a habit.  Take a critical look at your quilting area, make provision for safe, but convenient, storage for dangerous items, develop a procedure for putting things out of harm’s way and shutting things off when you leave your space. Get into the habit of always thinking about and doing the “safe” thing.  It may take a few seconds longer, but a careless unsafe move can cost hours, days, weeks or more of pain and the inconvenience of not being able to enjoy your time sewing and quilting.

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Squaring Up Flying Geese Units

Regardless of the technique we use or how carefully we work with fabric patches, there are bound to be slight irregularities in seam allowance or minor distortion in the fabrics.  To correct these problems, it is a good idea to start with slightly oversize patches and square up the subunit to the correct measurement.  I usually start with 1/8th to 1/4th inch oversize patches.  Once constructed, there is a little to trim off when squaring to the correct measurement for the subunit.

Flying geese units often have more issues with construction than other units, especially if made with the traditional method using triangles.  Newer techniques help minimize the problems, but it is still a good idea to square up the subunits.  (See “The Best Flying Geese Technique I Know!)

There are several rulers on the market designed to easily square up flying geese units.  All will help preserve the ¼” seam allowance and keep the points from being trimmed off.  Some, however, only work with one or two sizes of flying geese.  Studio 180 Design, however, has, what I think, is the best flying geese ruler on the market.  It is called Wing Clipper.  With it you can square up flying geese units from 1”x1 ½” to 5 ½” x 10 ½” in half inch increments.  There is also Wing Clipper II for squaring in ¼” and ¾” measurements.

Flying Geese units trimmed with Studio 180 Design's Wing Clipper ruler.

Flying Geese units trimmed with Studio 180 Design’s Wing Clipper ruler.

I have used Wing Clipper for a number of projects and really appreciate how easy it is to use and how beautiful the flying geese units looks when squared up correctly with this ruler.  Click to see a video demonstrating the Wing Clipper.  If you can’t find this ruler at your quilt store, you can order it on line from Studio 180 Design.  The ruler comes with excellent directions for both left hand and right hand cutting and a chart with cutting instructions for all of the sizes you can trim using the ruler.

 

The Best Flying Geese Technique I Know!

I love making blocks that use flying geese now that I learned this construction technique.  I no longer am sewing bias edge triangles together.  The technique is easy to do and with each construction you are making four flying geese units which are enough for a block.

Below is a short video from Fons and Porter showing this construction technique.  From 5 pieces of fabric you will have 4 flying geese units.  I recommend cutting the patches a little over size so that the final flying geese unit can be squared up to size.

Once you try this technique, don’t hesitate to tackle any block that has flying geese units.

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Easy Flying Geese

Flying geese subunits are the mainstay of many star blocks.  The challenge with the flying geese subunit is maintaining the points and the distortion because of bias stitching.  All of this results in subunits that are not quite rectangular.  If you try to square them up, another challenge is the math and trimming (squaring the subunit) to keep the ¼” accurate so that the points are nice and sharp.  As a result, many quilters simply avoid making anything with these flying geese.

The good news is that there are several methods and techniques that, when used separately, or combined, result in perfect flying geese.  Not only are these methods and techniques easy, but fun.  In the next several posts I will cover techniques and methods for piecing perfect flying geese.

One Seam Flying Geese

Nothing could be easier than stitching only one seam.  Sounds impossible, but it is true.  Following are two videos that illustrate this technique, one with Ricky Tims and the other with Jenny Doan.  After you see this technique, you will want to run to your stash and start making these easy flying geese by the hundreds.

 

 

 

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