Welsh Quilt Marking Tips... Tutorial

One of the challenges for me when it comes to teaching this process is that it's very easy for me to assume that others understand some of the foundational basics that I take for granted so I thought I'd cover a bit more before going to fabric.

Marking a quilt for quilting can be really intimidating.  When it comes to marking a Welsh type quilt top, it doesn't have to be a scary thing because it's basically just a series of choices which are made one after the other.  The quilt can be planned on graph paper first or with some experience you can go straight to the fabric.  I still make a basic plan on paper but I rarely stick to it. Allowing innovation along the way makes for more interesting quilts and I suspect that the Welsh quilters understood this well.  (The Celtic ancestors of the Welsh had a highly developed understanding of design and creativity).

So, a few more tips on sketching your design on paper.  When I was working with quilt guilds, I usually did a 2-day class.  The first day we worked on paper and the second day we marked fabric.  The first thing we did was mark around a 6"x24" ruler on a very large piece of paper and then proceeded to divide the 6"x24" 'border' into triangles or whatever so we could fill the divisions with Welsh patterns.  This was the point where many of the students froze up, afraid to make a mistake but after making a few marks on the paper, they were off and running and by the end of the second day they were fearless.  Try marking around your 24"x6" ruler as a 'border' and then fill it with patterns, you have nothing to lose but much to gain by just doing it.

Here's an important tip... when marking, rulers are good for straight lines, creating and dividing the whole quilt surface into borders and so on but when it comes to measuring a border to be divided into triangles or any other shape, the best measuring tool is simple paper tape like you'd put in an adding machine (for those of you old enough to have ever used such a thing).  You just roll the tape out to the length of the border and cut it off neatly... don't tear it.  Now you can fold the tape and use it to figure the spacing within the borders..  I'll get into this more a bit later and also, if you have access to a copy of my Handbook, page 36 has some information on using paper tape to figure spacing.  This really simplifies the marking... there's no fractions to remember as you mark and if you still need to fudge a bit on marking, it's no big deal, just slide the paper strip a bit whichever way you need to..  For now, go find a couple rolls of paper tape, any will work but don't get the thermal kind, just the plain stuff.  Paper is far more useful with this style of marking than rulers and it's a lot more fun.

Here's another tip to remember when marking on graph paper... just because you can draw a pattern into a space on graph paper doesn't mean it'll fit the space in real life.  For example, you've drawn a corner square and on graph paper it's 4 squares by 4 squares and you've planned each square to equal 1".  Now you draw a pattern in the corner block within the 4x4 little squares and tell yourself how great it'll look but will it?  To check out your plan, draw a 4" square on graph paper and draw the chosen pattern in it's true size and then ask yourself again if it'll work or if the pattern looks crowded in the block at real size.  It's been my experience that it's better to error on the side of simplicity with Welsh patterns and design rather than overdoing the design. 

Here's the last tip for today (I think).  When planning your design, choose patterns like you would printed fabrics.  Include some large scale patterns, but also some medium and small scale patterns.  Choose organic, flowing patterns like spirals, hearts or leaves and complement them with the more geometric patterns.   It's like choosing a variety of printed fabrics to work together.  If something looks awkward, check the combination of the patterns and the scale.  I made a pillow with Welsh patterns back in the early days and when it was done it just didn't look right and after studying it a bit I realized that the trouble was in the scale of the patterns, I had small, close patterns around the outside and a larger, more open pattern in the middle and it just didn't look right.  Go find pictures of Welsh quilts and study the patterns and the way the patterns are combined.  There is a simplicity to the whole process that is a bit of a challenge for those of us in these modern'ish' times who often seem driven to make the process as hard as we can.  Relax

So, here's a picture to look at and consider what I've said above.  This is a close-up of the quilt shown below.  Notice the variety of geometric lines and patterns alongside curved, organic lines.  There are smaller patterns (the spirals) and larger patterns (the leaf).  Also, some of the patterns started from templates (more on that later) and some were drawn free-hand.  The cable pattern shown on the gold was spaced using paper tape.

The full photo doesn't show as well as I'd like but you can look at the patterns and see the variety and ideas for how they might be combined.  This isn't a traditional lay-out for a Welsh quilt.  I had seen an antique American quilt that was pieced this way but which was quilted in a very nondescript design so I adapted the Welsh patterns to the pieced top and this is one of my favorite quilts.  Also, notice this one has a binding sewn on the outer edge rather than the folded, knife edge finish.  The pieced design needed the colored binding around the edge to finish it off.  Wholecloth quilts are a challenge to photograph, mine were shot by Mark Frey,a professional photographer who has done many quilts.  And lucky for me, he's a neighbor (around here, that means he lives within 10 miles).

 

 

Enjoy... and if your brain gets too full, take a catnap... it always works for Frank.

 

Welsh Quilt Marking Tutorial - Getting Started

When I discovered Welsh quilts almost twenty years ago, there was very little information in print on how to mark these quilts.  As I studied them and figured out the marking process (the best I could), I discovered that I had to rethink the process and separate it so to speak from what I had already learned as an American quilter and product of the American quilt revival of the 70's.  The best I can do as a quiltmaker is to create a quilt that is inspired by traditional Welsh quilts because I'm creating my quilts in different circumstances.  I've learned differently, the materials are different and I've been influenced by traditions from outside Welsh quiltmaking such as the modern emphasis on perfection.  If anything, Welsh quiltmaking can be a pleasant escape from modern perfectionism.  However, don't get the idea that I see Welsh quiltmaking as a shrine to the past.  I enjoy working in the very traditional style but I've taken everything I've learned in the process and applied it throughout my quiltmaking.  Welsh quiltmaking is my dominate influence now, it's influence is present throughout everything creative that I do.

Right from the beginning, I worked on graph paper to design and I tend to think that my Welsh ancestors would've used it too.  So, to get started, I ask myself a couple questions.  How big will it be, how many borders and so on.  When I work on graph paper, I can figure out options for enlarging it.  For example, if the corner blocks are 4x4 squares on the graph paper, I can figure that one square will equal 1" and then figure the square to be 4"square and so on.  However, the best way to get started is to figure the overall outside dimensions and work towards the inside.

This picture shows a page in my sketchbook with the basic design for the quilt I'm working on at this time.  This give me an outside dimension, the width of the outside borders, an additional set of borders because the quilt is a rectangle and the circle in the center.  I will often try out different patterns in different spots.  Sometimes I use what I sketch in but often times, the design takes on an organic nature and a life of it's own but the design on paper is still a good way to get started, even if you don't stick with it.  You can see where I've written notes around the outside which will help me remember ideas.  I've also included the double lines (lower left corner of sketch) to tell me which side of the dividing lines I plan to put the lines which are a key feature of Welsh quilts.  The double lines define the borders, ect.  Resist the temptation to leave them out, they define the design and are worth the extra marking and quilting.  The double lines are also helpful in defining any pattern that you want to stand out a bit such as a leaf or heart.  Patterns not double lined tend to blend together... more on this later.

 

Now it's time to choose fabric.  The fabrics shown in the picture are both cotton sateen.  The red will go on the front and the floral will go on the back.  I really like florals on the backs, they show the texture differently and hide imperfect stitches.  When florals became popular among the Welsh quiltmakers, the quality of the quilting tended to take a turn for the worse because the stitches and patterns didn't show up as well.  But, I can put it on the back and enjoy it there.  When planning your quilt, quality of the fabric does matter... use the best you can afford.  Sateen works best with sateen, you can put regular, flat cotton on the back but it gives differently and I find that it needs closer basting.  If you plan to use sateen, expect to hand baste it.  Sateen is made up of finer fibers and can suffer from holes left behind by safety pins or other quick methods.



So, go make sketches on some graph paper, choose your fabric and get ready to start marking your top. 

Christmas Eve, Sewing Borders On

Well, it's Christmas Eve and all through the house, it's quiet.  My hubby has gone to bed and the house is quiet.  We stayed home this evening rather than making the traditional trip to the lake house of my sister-in-law.  After years of driving up, we were just ready to stay home.  I've never been fond of being out on secondary roads on Christmas Eve, too many drivers have had some holiday 'cheer'.  They had a big snow last weekend and more snow is in the forcast tonight so it was a good choice to stay home and take it easy.  Netflix is crashed tonight so we dug through our dvds. I settled for one of Agatha Christie's Poirot.

I've been wrapping up a project that I've been working on for the past 9 months or so.  It's an applique quilt that was featured last Christmas in Quiltmania.  I got the blocks pieced last week and the borders ready so with time on my hands tonight, I sewed the borders on and hung it up on the wall to get a picture.

A picture of the quilt hanging on my make-shift design wall.  The clutter is normal but not desirable.  I usually do a sewing room purge and clean in January.  My way of starting a new year.

Now it's time to plan the quilting.  I've considered my options and find myself leaning toward having a long-arm quilter friend quilt it.  It'll be a first for me, I've always quilted my own either by hand or machine but I'm really wanting to just get this one finished.  I have a small wall quilt project ready 'on paper' that is waiting for me.

Happy Christmas.

Mock Binding: Part 2

In reviewing Part 1, I was reminded that it usually isn't best to write a blog late at night, especially when a small computer issue is making it interesting.  So... after going back and making some corrections, I hope it'll make sense. 

As I noted before, the limiting factor on judging how big of a quilt can be bound with this technique, depends on your ability to lay it out after the binding is done and smooth and pin it for machine quilting because the layers must be smoothed out.  I've done 60" square throws a couple times but haven't tried anything bigger. 




This is largest quilt I've bound with mock binding.  The back is pieced and the binding strips are also pieced.  This photo shows how the stitching in the ditch along the binding strips gives the impression of a binding seam (on the green corner in the bottom left of the photo).

 

 

This wall quilt features curved piecing and the red strips around the outside were  sewn on with curved piecing.  The strips were then treated like any other mock binding in the finishing of the binding.

 

I used different fabrics for the binding and the backing on the sample in the Mock Bind Part 1 to better show the process.  The downside of this is that the mock technique may be obvious along the seam around the outside edge of the binding.  If you wish to disguise the fact that it's a mock binding then it's best to use the same fabric for both backing and binding strips. 



When figuring how much fabric you'll need, this is what I would need to take into consideration.

The backing needs to be a little larger than the top on all sides with the strips sewn on.

Add 1" to allow for a 1/2" seam in the backing.

Figure 4 strips, cut 1" by the length of the sides PLUS at least 2-3".

I always figure extra fabric and cut the backing a little larger than the minimal size and usually cut the binding strips 3" longer than the sides of the quilt.  The binding strips can be pieced.

Be sure to use starch on the strips BEFORE cutting them out and then use steam in your iron when pressing them.

For best results, do a practice mock binding project to get the process down before attempting to bind a quilt top.  Start small before going on to larger projects.



 

 

 

 

 

Frank.

A 'Mock' Binding Tutorial: Part 1

This binding technique is used for smaller projects and is basically all done by machine.  It's great for table runners, place mats and other smaller machine quilted projects.  My way of doing it was inspired by Ricky Timm's process which he used on his CAVEMAN QUILTING video and as far as I know, he is the one who came up with the term 'mock binding' which describes the binding very well. I'm not as free-wheeling, I'm more inclined to use rulers to do my cutting (I can't help it) but it works great.  Thanks for the inspiration!!

 

 

To make a sample, start with a square about 10" or so which represents a quilt top.  Choose a fabric for the backing and binding strips.  You'll need a 1" strip for each side of the quilt top.  To prepare the strips, cut enough fabic for the four strips with a little extra for trimmimg (I cut strip fabric 5" wide to allow for four 1" strips and cut the length about 3" longer than the longest side of the quilt top).  BEFORE cutting the strips, starch the fabric well.  I use 'heavy' starch in a can and  spray the fabric several times lightly and press each spray.  Be sure to cover your press surface with a towel. 

 

Now cut the starched fabric into 1" strips.  Sew strips on opposite sides of the fabric square (which would be the pieced top) and press the seam allowances TOWARD the strips, this is important!  Trim to square the ends and sew on the last two strips and press and trim them in the same way.



This shows the strips and the order in which they are sewn to the 'top'.

This shows the top basted to the batting and trimmed. 

Now position the 'top' on a slightly larger piece of batting.  Pin it in place as needed and with a walking foot on your machine, baste all around the outer edge about 1/8" from the outer edge of the strips.  Now trim the batting to the edges of the strips.  A walking foot is needed for best results for the entire process.




This shows the seam and the portion of the seam in the middle that is basted. 

To prepare the back, you need backing fabric slightly larger than the top and batting combo plus enough to allow for the 1/2" seam.   Fold the backing in half, right-sides-together and sew a 1/2" seam along the fold.  You'll need an opening to turn the piece through (like making a pillow).

this picture shows the opening in the backing that was used to turn the piece through

I usually sew part of the seam at a regular stitch length, backstitch and switch to a long basting stitch to sew the portion that will be open to turn and then backstitch and finish the seam at the regular stitch length.  The basting will be taken out before turning the piece inside out.


Now position the top/batting sandwich  right-sides-together with the backing, don't trim the backing fabric, leave it over-sized. Now pin the layers together and sew all around the edges with a 1/4" seam.  Turn the corners with the needle down.  The batting will be facing up during the sewing. 

This shows the sandwich going together right-sides-together.

Trim the excess backing fabric to the edge of the batting and trim the corners.  Take out the basting stitches in the backing and turn the whole thing like a pillow.  Carefully pull out the corners, press  the binding, pin as needed and then using a walking foot, stitch in the ditch along the binding strips. 

Shows stitching in the ditch.  I used different fabric for the backing and binding to help show the technique.  It's best to use the same fabric, it disguises the seam.

Now the bound quilt is ready to machine quilt but before you do, hand stitch the opening on the back closed or just baste it in place and quilt it.

Pin the layers together to make sure everything will quilt out smoothly and go for it.  This is the stage that will limit how large a quilt you'll be able to manage with this technique because you must be able to lay the whole quilt out flat and pin baste for quilting to make sure you don't get puckers on the back.  If the binding doesn't lay flat, you can lightly press it with a lot of steam, smooth it out and let it sit while it dries out from the steam.

I'll do a part Two blog to show some samples and throw in a few tips.
Good Luck!!  If you have questions, email me or use the comment box.

What's Up

 Sorry for the lapse in blogging but this has been a busy couple months.  The season for teaching classes is wrapping up as the holidays approach so I'm looking forward to catching up on all the things that I've neglected or just wanted to do.  There's so much I want to do.  I moved my old Welsh and English quilts to a better storage set-up where I can actually get to them which will make it easier to get out a particular one if I want to get pictures.  I love the old British quilts but they are just a part of what interests me with quiltmaking and related textiles.

So, to catch up on what I've been up to, I taught a class for a guild in Cosmopolis, Wa last weekend and had a really good time with some very free spirited quilters.  It's the second time this year I've worked with them and they're a blast.  This class featured curved piecing and they took to it fearlessly.  We also worked with finishing smaller quilts with a mock binding which I plan to do a tutorial on in the very near future.

I'm also involved with an art quilting group that meets once a month, it's a low-pressure group that includes about everything to do with fiber and fabric.  We often have more ideas than actual tangible works but we share a lot of encouragement and inspiration.  We've done some small challenges from time to time but this last summer, we decided to do some discharging of fabric, swap it around with each other and then do something with our discharged fabrics.  The pictures that follow are of the process I've undertaken with the fat quarter that I acquired.  It's a little stark or just plain bright at it's current stage but one of the things that we're focusing on is showing work in progress to show off the stages of the finished pieces.  That means that we show the work in progress at stages when it doesn't alway make sense yet or reveal the vision of what the maker 'sees' in the work in progress.

 This is the piece I got for the challenge from Andrea, she poured the bleach agent onto the burgundy sateen fabric, folded it and this is what she got and now it's mine to do with.  A lot of ideas for stitching it out went through my head but I finally settled on cutting out circles, to applique them onto sateen and then add a lot of stitching. 

So, I used my circle template to see if I thought the circles would work, cut them out and stitched them onto gold sateen squares.

When I have a piece at this point, I would rather keep it to myself to avoid 'funny' remarks from folks but since I'm trying to share the steps, I decided to include it in todays's post.  When I showed it to the art quiilt group, one of the women told me she really appreciated getting to see it at this point because she so frequently gave up on a project when it hit an awkward spot in process.  I do have a vision for the stitching of the piece after the blocks are assembled but I don't think I can put it into words.

I tried to arrange the blocks to take advantage of the way sateen reflects light but I won't know until it's finished if that was successful.  Also, in the picture, you can see a bit of applique on the left of the gold blocks.  These blocks are from an applique series I'm leading at Rubystreet which is called FA LA LA LA LA, it's a Belgian inspired Christmas wall quilt which you may have seen featured in QUILTMANIA magazine about a year ago. A lot of work.  Interesting pattern.

This picture shows some student blocks with the two reindeer and the lettering. 

 

This is April Works, showing us her piece at a recent art quilt meeting.  April's MASTER PLAN was created in class with Jean Wells and is featured in Jean Wells latest book, Journey to Inspired Art Quilting.  April's piece was juried into the LaConner Museum's recent quilt exhibit and was awarded a second place.  Way to go April! 

Time to get back to work.  The rain has returned to this part of the world after a very dry late summer and even the frogs have rusted.  More later.

Traditional English, Made in America

It's seems like all my plans to get quilt pictures posted have gone by the wayside the last couple months.  I'd love to offer some great excuses but I can't think of any really good ones so I have to admit that I'm just disorganized.  Anyway, the quilts that are shown below are quilts that I made about ten years ago.  They are both made with cotton sateen and cotton batting and the quilting patterns are based on traditional N. Country English quilts.  The blue quilt is a whole-cloth and the red and white quilt is a strippy.

a close-up of the center medallion

The full shot, this one is quilted with blue thread.  A center medallion is surrounded by a flowinf border pattern but the lines that separate the borders are gone.  This quilt has a traditional folded binding which helps make it reversible.  The other side is a blue floral sateen.

 

This detail shot shows how border patterns fill each strip.  The quilting was done with off-white thread.  The sateen is actually a creamy colored sateen, not white.  This quilt also shows the traditional binding which allowed the quilt to be displayed from either side.  I was told during one of my visits to the UK that a quilt could be an indicator of the importance of a visitor.  If the pieced side of the quilt was 'up' on the spare bed then the visitor who would sleep under it was ordinary, probably family.  But, if the wholecloth side was 'up', then the visitor was more highly-esteemed such as a visiting vicar.

This photo shows the full quilt.  The photo should be turned so the strips run up and down which is how a bed side quilt would lay on a bed.  Strippy quilts were very popular in N. England and also in Wales but the English quilters generally ran patterns down the strips while the Welsh continued to quilt strippy quilts with wholecloth style medallion/border designs.  I have a 1930's Welsh strippy quilt pieced from dark green and bubblegum pink cotton (very unusual colors for Wales) with old wool clothing as fill instead of wool batting.  The quilting is done with red pearl cotton and mostly free-hand without marking.  There are places where the patterns look like they had a wreck when they came together.  The knots weren't buried,part of them are on the top and part on the back.  I used to take it with me when I taught hand-quilting, it was seldom that a new student couldn't do as well or better than the stitiching on that quilt!  It's a real quilt of desperation and if it could talk, I suspect it would have stories to tell. 

So, until later.  Enjoy.