It’s The Little Things That Really Count

I recently taught longarm quilting and computer guided classes two days in Iowa. The thought occurred to me during one of the classes that what I was trying to get across was that successful quilting is the result of doing many little things right. Quilters often wonder why the quilt is a little askew, the blocks are not quite square, the panto isn’t quite straight, or the tension is not quite right. The results they had hoped for were not quite there.

What are the little things that count? After careful thought, here is my top 10 list of things to pay attention to for an outstanding quilt.

  1. Choose quality fabric for both top and backing. Yes, there is a difference in fabric. You do get what you pay for. I prefer to prewash my fabric tossing in a color catcher to capture any fugitive dyes. I don’t like finding dyes bleeding and even color fast fabrics may have a little color loss in the wash. The color catcher captures the dyes keeping them from migrating and attaching to the fabric in other locations.
  2. Besides careful piecing using a consistent 1/4 inch seam allowance, trim subunits and blocks to size before piecing into the next larger unit. Because I like to trim, I always cut patches slightly oversize. In fact, I use Studio 180 cutting rulers that start with a slightly oversize measurements to allow for trimming to size. The subunits and blocks come out perfectly sized, points in tact and look awesome when sewed into the quilt.

    careful piecing

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

  3. Learn the correct way to add borders to a quilt top. Borders when properly applied will “square up” the quilt. Both top and bottom border should be cut the same length, even if the length of the top and bottom of the quilt are not quite the same measurement. Ease in any fullness, but always cut the borders the same length. The same is true for the side borders. Cut both of them the same length. Ease in any fullness. Sew top and border together with the fullest one on the bottom where the feed dogs gently pull the fullness evening it out for a perfect look.
  4. Spend the few extra minutes it takes to load the quilt correctly on the longarm frame. Always square up the top and bottom of the backing piece so that the backing is square. If you try loading backing with an uneven top and/or bottom, scoops of backing may develop on the sides of the backing, which when quilted may pleat the backing. Even with squaring the top and bottom of the backing, it is best to roll and smooth the backing onto the take up roller, then, transfer the backing from the take up roller to the belly bar roller holding onto both rollers keeping tension on the backing.  Stop rolling periodically to smooth out any little wrinkles in the backing as it rolls onto the belly bar roller.

    loading a quilt

    Transferring quilt backing from take up roller to belly bar roller keeping tension on the backing.

  5. Use quality batting. Quality batting has a consistent thickness throughout and has nice even edges that are not warped. The batting is very important in the quilt, not only as a filler between the top and backing, but it provides the place for the top and bobbin thread to meet when the knot is formed. When batting is poor quality with thick in places and thin in other places, it is impossible for the tension to be adjusted to create a perfect stitch every time.  In places where the batting is very thin, there is no hiding place for the knot to form resulting in what looks like poor tension with the top thread pulled to the bottom or the bobbin thread pulled to the top. You only cheat yourself by using poor quality batting.
  6. Open the batting and let it relax for a few hours before using it. If that is not possible, put the batting into the dryer on the no heat cycle for about 10 minutes to fluff it up and help remove the folds.
  7. Baste the batting to the backing with the vertical channel lock engaged to create a basting line that is perfectly parallel to the rollers. Use this basting line as a placement line for placing the top. Your quilt can’t possible end up square if you don’t load it square with the frame.
  8. Center the quilt top with the center of the frame.  Use a zero center tape mounted on the frame to reference when loading the quilt and each time the quilt is advanced to keep the quilt top tracking squarely centered on the frame. The quilt top should be smooth, but never distorted or pushed to one side or the other and the sides always kept at the designated measurement regardless of variances in width of the quilt.

    zero center tape

    Using a zero center tape to keep the quilt top square with the frame.

  9. Train your eyes and your fingers to recognize quality tension. You should see defined stitches, not the thread as a flat line or pokes of the bobbin thread on top or top thread on the bottom. Your fingers should feel the thread pulling into the batting on both the top and bottom. Physically check the tension by looking at the stitching, especially on the bottom if you are not sure.

    quilt sample

    Flat line thread and “pokies” where the batting is very thin.

  10. Use thread that is engineered for machine quilting.  Machine quilting thread is stronger and designed to work at the higher speeds longarm quilting machines
    quilting thread

    Quality machine quilting thread available in a wide array of colors and sizes.

    operate.  Machine quilting threads come in all weights, #, and TEX, fiber content, and a huge selection of colors.  Yes, it is a little more expensive than regular sewing thread, but the total cost per quilt would only be from a few cents to a few dollars more.  Don’t forget the machine needle.  Size the needle to the thread.  It is the groove that carries the thread below the quilt where the top thread loop can be picked up by the hook and bobbin thread.  If the groove is too small, tension problems result.

Are there more?  Yes. Each of these might seem like such a little thing.  But the sum total of the little things done right result in an all over top quality quilt.  Just think about it.  If you purchased a new car that had just a few little things not quite right would you be happy with the product?  It’s only one tire that is just a little out of round, a little scratch in the door paint, one tail light that is dim, the cup holder not quite large enough, and a little stain on the seat.

Resolve to do the little things.  You will be happy you did.

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Yikes! Terrible Tension – What Do I Do?

Some days just don’t go as planned with Longarm quilting and you have to stop, step back and analyze what the issue is and what to do about it.

The quilt I was working on was made of excellent quality quilting cotton, 1930’s reproduction fabric.  The batting was top quality Quilters Dream Blend 70/30 (select, mid-weight) and the thread was top quality Superior Threads King Tut and So Fine 50, both designed for Longarm machine quilting.  I used the Towa Bobbin Gauge to set the bobbin tension at my normal setting of 200 for the M-hook on the Nolting Pro.  I was using IntelliQuilter computer guided system for this quilt and the machine and bobbin were correctly threaded.

The problem: Regardless of how carefully I adjusted the tension, the bobbin thread either pulled to the top or the top thread pulled to the bottom railroading, inconsistent tension.  Some places looked wonderful, others not very good.

poor quilting tension

Inconsistent poor tension.

I can say that I have not had any tension adjustment problems in several years since starting to use the Towa Gauge to adjust the bobbin tension at the same setting regardless of the thread.  So, why now?  Was it just a bad day, careless top tension adjustment, the weather, the particular computer guided pattern, one which I had never stitched out before, or some other issue.  I continued to adjust the tension on the “fly” as I stitched out two rows of the pattern.  Not having much success I decided to quit for the day.

The next day after taking a really good look at the back of the quilt, I had to make the

poor quilting tension

Inconsistent poor tension.

dreaded decision to totally take out all of the quilting.  The inconsistent tension was in too many places to even consider repairing the spots.  More importantly, I had to figure out why it was happening and fix the issue before working on the quilt again.  I talked with a friend who also had a Pro (now upgraded to the Nolting NV) and IQ to see if she had any suggestion.

I could rule out some things as they were not a factor:

  • I ruled out any mechanical issue as this machine is only a few months old.
  • I ruled out any problems with IQ as that also is only a few months old.

    terrible quilt tension

    Really terrible tension!

So, that left me with the quilt sandwich, thread, and adjustment.

Here is now I solved the problem:

  • I could not change the quilt sandwich, however, part way through quilting I realized that I had loaded the backing incorrectly with the scrim side up rather than down as it should be. I feel that this was a factor to some extent because the “fluffier” side was down toward the backing rather than up touching the back of the top.
  • The pattern was a medium density pattern with quilting less than 3” apart, sometimes 2” apart, many curves and points which probably caused a lot of needle flex as the machine moved back and forth around the pattern. I made sure I had a stronger, thicker needle in the machine and used the MR 4.5/19 for the M-hook in the machine.  Even using a size 20 needle might have helped even more.
  • Because of the denser pattern, the very inconsistent tension and trouble fine tuning the tension, I reasoned that the So Fine 50 (poly) thread in the bobbin was not a good match for the heavier #40 King Tut (cotton) on the top. I switched bobbin thread to Robison Anton 50 cotton.  And, if that had not worked, I would have used the King Tut in the bobbin also so that the threads would be evenly matched as far as strength and elasticity.
  • I slowed IQ down so that there would be less needle flex and have more time to precisely place the stitches. The settings I used were 1.3 Speed and 1.1 Detail.  These slower speeds also meant that I needed to slow the machine speed down.  If this speed had not worked, I would have slowed IQ and the machine down even more.  If I had been hand guiding this pattern and experiencing the same issues, which quite possibly could happen, I would need to slow down my hand guiding speed.  With a denser pattern, hand guiding the machine slower would probably happen anyway.
  • I warmed up my machine for at least five minutes, perhaps even more. Over the years I have discovered that if the machine’s internal parts are well warmed up, along with the bobbin case, adjusting the tension takes less time and takes fewer adjustments after starting to quilt on the quilt.  Remove the bobbin from the bobbin case and put the empty bobbin case into the machine for the warm up.  Don’t forget to remove the thread from the top and out of the take up lever.  Warm up using a medium speed.
  • Use the Towa Bobbin Gauge to set the bobbin tension. I checked the bobbin tension on every bobbin and set to 200.  Experience has taught me that this is the best setting for my Nolting Pro with the IQ.  When I use the Pro with Quiltmagine (Nolting’s computer guided system), I set the bobbin at 175.  Each computer guided system, because it so precisely moves and places stitches, places a different amount of stress on the thread.  By experimenting with different settings, I have found these setting to work for me.  Longarm machines run best with a looser bobbin tension as that gives much more flexibility in adjusting the top tension.
  • Once the bobbin tension was set correctly, I spent time adjusting the top tension. My method for that is to tighten the top tension until I see the bobbin thread starting to poke out of the top on my test sample at the side of the quilt.  Then, I start backing the top down until I can only see the tip of the bobbin thread down in the needle hole.  I feel and look at the back to make sure there are no top thread pokies.  I always test using the same setting (stitch length or motor speed) I will use on the quilt, stitch little circles, curves, straight lines and points to see how the machine tension responds as I am adjusting the top tension.  When I am satisfied, and only when satisfied, I started the pattern.
  • I decided to adjust the pattern size a little larger to give a little more gentleness to the curves of the pattern. This slight adjustment was still within the scale of the quilt top design.  With a paper pattern and hand guided, you don’t have this flexibility, so you simply have to work with what you have.
  • Once I started IQ stitching the pattern I stopped several times within the first several inches to check the tension top and bottom and made little refinements to the tension. I did not want to make any assumptions and I did not want to spend any more time ripping out machine quilting stitching.  If I had been hand guiding this pattern, I would have done the same, stop a number of times as I started stitching the pattern to check the tension top and bottom.   As the pattern continued to stitch out, I checked periodically across the row, and across every row.
  • Because I had started quilting this in the early afternoon, I kept at it until it was finished. When success presents itself, I did not want to stop until completed.

Problem Tension Solved!

You might be asking if every quilt is such a struggle.  The answer to that is, no.  My normal setup does involve sufficient machine warm up, using the Town Bobbin Gauge to set the bobbin tension, testing and adjusting the tension on a test strip at the side of the quilt, and stopping frequently when I start quilting to make fine top tension adjustments.  Normally I do not have problems and am able to work through the project without any issues.  Just why this quilt was a problem, other than the factors I mentioned before, it is hard to determine.  Perhaps each of the variables contributed something to the problem.   Situations like this are frustrating and for new Longarm quilters, almost overwhelming.  Rather than fret and stress, it is best just to step back, look at the whole quilting picture, analyze the problem and the variables involved, and even check the simple things like thread path.  Even with my experience, I am happy that I had a Longarm friend to bounce ideas off and that the problem inconsistent tension was solved.

1930's quilt

Beautiful Quilt, Beautiful Quilting – Job Well Done!

Is Perfect Longarm Tension Possible?

Learning to adjust the machine tension is the biggest learning curve in longarm quilting.

perfect longarm tension

Perfect tension looks as good on the back as on the front.

Quilters often become more comfortable with quilting pantos and free motion quilting before they are comfortable adjusting the tension.  We aren’t used to adjusting tension as most sewing machines today rarely, if ever, need the tension adjusted.  Longarm machines, however, DO need the tension adjusted, usually with every quilt and every thread change.

Let’s take a look at why tension must be adjusted, then how to do it successfully.

Why does tension need adjusting?

  • Each quilt is different – different fabrics, different backing, perhaps different batting, and different threads in top and bobbin.  Each of these variables will affect the tension.
  • Today is a different day than yesterday.  Even high humidity can affect cotton causing it to absorb moisture from the air.

How to adjust tension successfully:

  • Accept the fact that tension must be adjusted and checked frequently and re-adjusted if necessary.
  • Use top quality batting that has a consistent thickness.  It is impossible to adjust tension when batting is thick in places and thin in other places.
  • Use top quality thread that is designed for machine quilting, especially longarm quilting.  Longarms operate at a much higher speed than home machines and operate best with strong machine quilting thread.
  • Use a Towa Bobbin Gauge to reliably and consistently set the bobbin tension with
    towa bobbin gauge

    Towa Bobbin Gauge

    every new bobbin.  Nolting L-hook set at 100-125 and M-hook set at 200-225.  Once the bobbin tension is set, you do not touch the bobbin again, only the top tension will be adjusted.

  • Use space at the side of the quilt, the backing and batting placing a strip of fabric on top to test and adjust the tension.
  • Always use the same color thread, or nearly the same color, in both top and bobbin. It does not need to be the same thread, different weight threads are OK.   Using the same color thread will “hide” the places where there are slight inconsistencies in tension.
  • Always adjust the tension using the stitch length or motor speed you plan on using when quilting the quilt. Changing the stitch length or motor speed will usually affect the tension.
  • Tighten the top tension until you see the bobbin thread poking or nearly poking out the needle holes on the top of the quilt.
  • Now to balance the tension, loosen the top tension until the bobbin thread is back
    thread tension

    Thread Tension

    down in the needle hole. You want to barely see the bobbin thread down in the needle hole.  The bobbin thread should not be visible on the top and the top thread should not be visible on the bottom.  When you can still see the bobbin thread down in the hole, you know the top and bottom thread will be forming the stitch in the batting.  This way you should not have to look at the back of the quilt very often.

  • Once adjusted, feel of the stitch line on the back of the quilt. It should feel depressed into the batting.
  • Once the tension is balanced at the side of the quilt, you can start quilting on the quilt. Be vigilant when you start quilting the panto or blocks, stop and check the tension frequently at first and tweak if needed.  Because the quilt top is not the same as your test strip at the side, you may need to make a little adjustment to the tension once you start quilting.

For more on tension see “Guide to Quilting with Your Nolting.”

Yes, you can achieve perfect longarm tension.  It takes time, patience and practice using the technique described above.

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What’s Special About Egyptian Cotton Thread?

Perhaps in quilting circles you have heard that the best quilting thread on the market is made of Egyptian cotton.  But what makes it better than cotton grown in the US, China, India, or other countries and why should quilters look for Egyptian cotton thread?

“Dr Bob” of Superior Threads explained more about Egyptian cotton in a September 17, 2017 educational post.  There is also a short video below where “Dr Bob” explains and demonstrates more about cotton thread and answers questions about the differences between short, long and extra long staple thread, coated thread and thread “memory.”

Dr Bob writes, “Last week both Walmart and Target announced that they were pulling sheets branded as Egyptian cotton from their shelves because they “suddenly discovered” that they are not Egyptian cotton. We’ve been fighting the Egyptian cotton mislabel battle for years, knowing that Egypt does not grow enough cotton to make all the Egyptian cotton sheets, towels, clothing, and thread that is sold. Our cotton threads really are made from Egyptian-grown extra-long staple cotton.

Here are some interesting cotton facts from a recent year:
A standard bale of cotton weighs 480 lbs.
In one year, the world produced 114 million bales.
The top five cotton-producing countries:
1. China (26% of total)
2. India (23% of total)
3. United States (16% of total)
4. Pakistan (8% of total)
5. Brazil (7% of total)
Egypt ranks number 15 among cotton-producing countries and produces only .0005% of the total amount. That is one-twentieth of one percent. If Egypt is such a tiny dot on the cotton-growing map, why is Egyptian cotton so prevalent? Why is there so much Egyptian cotton clothing, bed sheets, towels, and thread? The truth is, there isn’t. The label may say Egyptian Cotton but the contents are not. Whether it is due to false advertising, misunderstanding, or ignorance on the part of seller, the fact remains that it is incorrect. There is not enough Egyptian cotton in existence to produce all the products labeled as Egyptian Cotton. It would be safe to say that there is 10,000 times more Egyptian cotton sold than is grown.
Does it really matter? Those who know cotton quality obviously understand that it does matter. Otherwise, many companies would not be falsely claiming that their cotton is ‘Egyptian Cotton’ when in fact, it is not. There is something about the climate, soil, water, and minerals in Egypt that is ideal to grow the highest-grade cotton. It is not possible to tell the origin of cotton fibers by examining them. But you and your machine will know the difference. A high-grade cotton with advanced processing will be clean, smooth, and consistent.
What about Superior’s MasterPiece and King Tut cotton thread? As far as I can tell, we are the only thread company that can honestly say this: 100% extra-long staple Egyptian-grown cotton. Our factory buys cotton from Egypt, transports it by ship to Japan for spinning, twisting, gassing, finishing, mercerizing, dyeing, and winding, and then ships it to us in Utah, USA. And it is guaranteed to work in your machine.”   From Superior Threads.

From personal experience, I use both Master Piece for all of my piecing and King Tut for longarm quilting.  I have found they are excellent, low lint cotton threads that are strong and perform to my highest expectations.  There are many colors available to blend with any quilt.  Although they are more expensive, they are higher quality than regular cotton thread and I know they will last and I won’t have problems with breakage, knotting, or bird nests.  Inexpensive thread is never worth the aggravation.  For the few pennies extra per project, I find using top quality thread is always the best decision.

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Practice Quilting Without Wasting Fabric and Batting

Yes, we all know that practice makes perfect.  Practice develops muscle memory which is used to repeat the movements needed to free motion quilt (both on the home sewing machine and longarm) or to follow a panto smoothly with a longarm.  But, how can we practice without feeling like we will spoil a nice quilt or charity quilt, or without wasting fabric and batting?

The “Strokes” of Free Motion Quilting

Although cursive writing is no longer being taught in schools, back in the day when it was, students took a class called penmanship.  In that class they traced the letters and repeated the strokes needed to create beautiful hand writing, or at least legible writing.  This usually started in late 2nd or in 3rd grade.  Learning to free motion quilt is very similar to penmanship class.  There are only five strokes you need to practice which are the arc, “s,” loop, hook or point, and straight line.  Unlike penmanship class, however, these strokes (movements) need to be practiced and mastered working in all directions, not just left to right.  Like penmanship, mastering the strokes first before applying them to a design is helpful and actually shortens the learning curve of free motion quilting.

Practicing Free Motion Strokes

Practicing Free Motion Strokes

One quick look at a panto will confirm that all free motion quilting designs are a combination of two or more of these strokes (movements).  So, how or where does a quilter practice to become proficient and confident?

Practice Without Wasting Fabric and Batting

The good news is that it is not totally necessary to practice at the machine or longarm.  Simply moving the hand and arm through the strokes builds muscle memory.  As a result, the quilter can create a series of exercises making these strokes on a whiteboard with a dry erasable marker, using a pencil on paper, or even following a panto pattern with your finger.  Remember that these strokes must be made in all directions, R to L, L to R, top to bottom, bottom to top, diagonally, etc.  Although these exercises are a wonderful place to start and practice to remain proficient, at some point it is necessary to work at the machine.

Practice At The Machine

For longarm quilters, pantos are a great place to start.  The design is already there, the strokes pre- planned, and the results should look very nice.  And remember, no one knows whether your laser was on the line or not.

If you feel you are not ready to tackle one of your quilts, or even a charity quilt, the next

Cat Crate Pads from Practice Quilts

Cat Crate Pads from Practice Quilts

best option is to purchase inexpensive fabric and batting (neither recommended for quilts you cherish or give) and simply practice the strokes over and over again.  Then begin to build the strokes into simpler designs at first, progressing to more complicated designs.  If you are feeling wasteful in doing this, know that veterinary offices usually welcome things that can be used as mats in the pet crates.  Our local vet has crates that are 14″ x 18″ for the cats.  Because I use a lot of practice fabric and batting on the frame at quilt shows (about 5-7 yards per show), I always “recycle” or re-purpose the “quilt” into cat crate mats.  I cut them to size and either zig-zag or serge around the edges before giving them to the vet.  They do appreciate them, use them, may even wash them a number of times until they are no longer usable.

If you want to learn a new design, learn feathers, or improve the designs you already do, practice them before you start quilting on the quilt.  Use the whiteboard, paper/pencil, trace with your finger, or trace the design with the machine not running, or keep a practice “quilt” ready.  Even when I free motion quilt a small project at my home machine, I always have a practice piece ready to get warmed up on.  For larger projects I plan to longarm, I always have a large practice “quilt” ready to zip onto the longarm.  Practice is never a waste of time or materials.  It is the best, and only way, to improve your quilting skills.

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Is Your Thread Unwinding Correctly?

It seems fairly easy. Put the spool on the spool pin and thread the machine. This simplethread selection task, however, may be the source of thread issues if you have not first noticed how the thread is wrapped on the spool.

How Thread Is Wound On The Spool

You have probably noticed that thread is wound differently with some thread wrapped around the spool in parallel winds (stack wound) while on other spools or cones the thread is cross wound creating the “x” signature.   How the thread comes off the spool or cone does make a difference in how it sews. In fact, some thread may actually kink up or twist as it unwinds.

Position the Spool/Cone Properly

Spools with thread that is stack wound or parallel wound should be positioned so that the thread will unwind straight from the side of the spool. On your home sewing machine the spool should be placed on a vertical spool pin so that the thread can unwind off the side of the spool as the spool rotates. For cones or spools where the thread is cross wound, the thread should come off the top of the cone/spool rather than the side. On a home sewing machine, these small cones or spools would be placed on a horizontal spool pin where the thread pulls off the top of the small cone/spool.

Longarm quilting machines typically use cross wound thread on large cones which unwind from the top of the cone when sewing. The cone holders are vertical pins near the back of the machine where the thread unwinds up off the top of the cone and up through a thread guide above the cone as the machine is threaded. Sometimes Longarm quilters want to use specialty, decorative threads that are usually used on a home sewing machine. Often these threads are stack wound (parallel wound). To use these threads successfully on a longarm, a horizontal spool pin must be used to prevent these threads from twisting and knotting. Additionally, because a Longarm machine stitches so much faster than a home sewing machine, the twisting and knotting can be very frustrating with many stops and starts to try and remedy this situation. Horizontal spool pin adapters are available and may be made of plastic or metal. Some of these adapters screw into the machine and others clamp onto the existing spool/cone pin.

Cone/Spool Adapters

The video below from Superior Threads below illustrates the two different types of thread wrap as well as how to use the Superior Threads thread stand for use with either type of wound thread. I have one of these stands and use it at my home sewing machine when using the large cones of thread I might use at my Longarm. These cones, of course, are too large to mount on my horizontal spool pin in the top of my Janome Horizon. Other times I might use a decorative stack (parallel) wrapped metallic thread. These threads are known to have kinking and twisting problems. The only way to successfully use these threads is with a side delivery method. The Superior Threads thread stand can be set up for this use, too.

Another spool pin adapter system is called “Specialty Thread Spool Pin Adapter,” www.thethreaddirector.com. This has a sturdy post adapter with a spool pin that is perpendicular to the post adapter. Depending on which way you attach it to a vertical or horizontal post it can be used for either stack (parallel) wrapped or cross wrapped thread.

Although you might “get by” positioning a spool incorrectly, using the correct thread delivery method for the cone or spool allows more successful stitching. While a stitching issue might look like a tension issue, it may really be caused by how the thread is coming off the cone or spool. Remember, when thread is manufactured, parallel wrapping goes on from the side and must come off of the side. Cross wrapped goes onto the cone from the top and must come off of the top.

 

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Binding Tips Part 2

framesLike a frame is designed to complement a photo or painting, a quilt is not complete with out its frame, the binding.  Binding nicely applied is even, has sharp mitered corners, and the quilt fills the binding.

In The Quilt Show video below, Julie Cefalu demonstrates a technique to make sharp mitered corners and another technique for a nice finish.  Add these techniques to her previous video and you are all set to perfectly bind your next quilt.

Although the video is made demonstrating the techniques on a domestic machine, the same techniques can be used when stitching the binding to the quilt using a longarm.

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What Quilters Should NOT Do

If you have made a New Year’s resolution to work on your quilting skills, congratulations! There are a lot of opportunities out there to do that from guild workshops, quilt shop classes, and even online classes. There are also a few things as a quilter you should not do. Angela Walters, Longarm quilter and author, has words of wisdom that are important for all quilters regardless of skill level.

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Selecting Thread for Machine Quilting

Why Machine Quilting Thread

Whether you are a Longarm quilter or quilt at your domestic machine, it is important to choose a thread designed for this type of work. Longarm machines operate at higher speeds than domestic machines. Also, stitching through the three sandwich layers of a quilt cause more wear and tear on thread than ordinary sewing. Fortunately thread manufacturers understand these demands and have designed thread for machine quilting.

Machine quilting thread can be found in both cotton and poly and is available from a number of manufacturers. Because of the larger volume of thread required in quilting a quilt, machine quilting thread is available on cones that hold 2500 yards or more. Although we may balk at the price of machine quilting thread on cones, we need to remember that they hold several times as much as a standard spool of thread. When compared to the price of the spool, this thread really does not cost that much more and often costs less per yard than spool thread. It is important to know that hand quilting thread should never be used on a Longarm or domestic machine as the glazing on the thread will gum up the machine.

Considerations for selecting quilting thread:

  1. It is designed for machine quilting
  2. Choose a fiber type
    1. Cotton – select long staple cotton for the least amount of linting
    2. Poly – usually is low lint
  3. The look wanted on the quilt
    1. Dull look to the thread or shiny look of the thread
    2. More visible – select thicker thread, less visible – select a thinner thread
  4. Color
    1. To blend with fabric color but show quilting texture, select a couple of shades lighter or darker rather than the exact color of the fabric.
    2. For contrast, select a totally different color than the fabric.

Angela Walters is a Longarm quilter and author of several books on quilting. In the video below from her blog, she answers the question, “What are your favorite threads?” As she notes in the video, these are her opinions and she is not promoting any particular product.

 

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Quilt Binding Part 1

This past summer I had the opportunity to be the scribe for quilt judges at a local show. Having this responsibility opened my eyes to what the quilt judges look at as they make their decisions on each quilt. Judging criteria varies considerably depending on the quilt category (art, traditional, etc), but one thing that is consistent across all categories is the binding. Judges look with a critical eye at the binding. They look at how even the binding is applied, is the binding full (of batting), are the corners nice miters and flat, are the seams diagonal and pressed open. The binding is the frame for the quilt and if the binding is done well it nicely frames the quilt and makes the quilt look good. Poorly applied binding can diminish the affect of even the most beautiful quilt and quilting.

Part 1 of this series on binding from The Quilt Show teaches how to construct the binding strip, how to apply the strip to the quilt to get the best mitered corners (I learned a new technique), and a quick method for a mitered finish.

Note that in the video she uses a 2 ¼” strip. This width works very well with thinner batting. If using a slightly thicker batting, a 2 ½” strip would work better.  Binding is usually stitched from 1/4 from the edge of the quilt sandwich.  All of the techniques in the video are the same regardless of the width of the binding strip.

After viewing this video on binding, you should be able to make your bindings shine in the eyes of any quilt judge.

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