Spring Forth: One More Cuddle Quilt Ready for Outreach Drop-off This Weekend

Happy FRIDAY!!!  The Charlotte Quilters' Guild Outreach committee is doing a drop-off this weekend for charity quilts, and I managed to squeeze one more in for quilting so that I'll have three to turn in this month.  I took advantage of the opportunity to try out a new quilting design called Spring Forth.  It shows up really nicely on the pieced backing side of the quilt: 

Spring Forth E2E in Tabriz Orchid Glide Thread, Backing Side

I knew the quilting design wouldn't show well on the front of this heavily pieced quilt, and I didn't really want the quilting to stand out on the front of this one, so I tried to pick a design and thread color that would blend in and let the piecing shine.  Not every quilt is all about the quilting!

Party At My House, Y'All! C'Mon and Link Up your TGIFF Finishes!

Hello and HAPPY FRIDAY, everyone!  If you've come looking for the Thank Goodness It's FINISHED Friday Linky Party, welcome -- you're in the right place.  I'm delighted to be hosting this week's finish party.  

I'm so excited to share my finish this week.  I know I say this a lot, but I found another new favorite edge-to-edge quilting design that I am crushing on this week: 

37 x 37 HST Baby Quilt with Echo Bubble Meander E2E

This 37" x 37" quilt top was pieced by a fellow member of the Charlotte Quilters' Guild for our Outreach Committee, and it will be donated to one of the NICUs at our local hospitals.  When I was first given this top for quilting, I considered custom quilting it with individual motifs in each of the white triangle units.  However, once I had the quilt top in my studio and was thinking about where this quilt was headed and it's job of comforting and encouraging a tiny, fragile baby and his worried parents, custom quilting just seemed too formal and too stiff -- literally too stiff, potentially, if it was heavily custom quilting, but too rigid psychologically as well.  I wanted this quilt to be soft and cuddly, playful and fun.   And then I found this Echo Bubble Meander E2E (Edge-to-Edge) quilting design by Joyce Lundrigan of Methodist Hill Quilt Studio, and knew it would be perfect to bring positive energy and love to the family who receives it.

More Square Drama for a NICU Cuddle Quilt

 Good Monday morning!  

More Square Drama E2E on a 39 x 42 Baby Quilt

I quilted a new E2E design yesterday on a 39" x 42" outreach top that was pieced by a fellow member of the Charlotte Quilters Guild.  Kind of fun, don't you think?  The digital design is called More Square Drama from Wasatch Quilting and it's dense but not thready because there's no backstitching.  I see marshmallows, or melting ice cubes, or roses, or Flintstone wheels, or fried eggs...  

Why Does Rebecca Need SO MUCH THREAD? And Will It Go Bad Before She Uses It Up?

So here's how the "Firemen Heroes" charity quilt turned out the other day:

"Firemen Heroes" Pediatric Hospital Outreach Quilt

I quilted this donated top using Jessica Schick's Fantasy Flames digital pantograph, scaled to a pattern density of .92, with Glide thread top and bottom in color Lemon Ice.

Top Prior to Quilting

I always like to compare photos of what a quilt top looks like before and after quilting, don't you? With this quilt in particular, simply pieced from large rectangles, I wanted to choose a quilting pattern with curved lines to soften the "brick" effect of the piecing lines and add some movement and interest, but it needed to complement and not overpower the "Firemen Heroes" themed fabric.  

Fantasy Flames E2E Design from Urban Elementz

Had I been using the printed paper pantograph version of this design, the row height would have been 10".  I enlarged that by about 10% for this quilt, both to complement the scale of the piecing and because the batting my guild provides for these charity quilts is kind of on the stiff side, and the intended use of the quilt is to be snuggly and cuddly and comforting for a hospitalized child.  Generally speaking, the more densely you quilt something, the stiffer it gets, whereas more open quilting patterns with more space between the stitching lines will result in a softer, more malleable finished quilt.

Thread Color is Glide Lemon Ice, a Pale Yellow Pastel 

I know some would have chosen a neutral gray thread for this quilt, which would have looked great on the majority of the fabrics, but when I auditioned gray thread on this quilt top it looked dirty to me against the yellow fabric patches.  

Any time I am quilting across a fabric with text, I don't want the quilting stitches to look like scribbles obscuring the words.  In this case, that pale barely-yellow thread just sinks in and disappears.  I can't really visualize what a particular thread color will look like on a quilt just by looking at it on the cone.  I have to unspool a length of each thread I'm considering and lay it across all of the different colors in the quilt top to see which color works best overall, and I can only do that if I have a variety of thread colors on hand to choose from.  Those color swatch cards from the thread manufacturers are helpful for matching similar colors from different thread lines, but I can't use them to pick the best color for a particular quilt.

Speaking of thread...

A Portion of My Long Arm Thread Stash: Glide, So Fine, YLI, Bottom Line, King Tut...

What's the Shelf Life of Today's Quilting Threads?

Several of you commented on my last post with concerns about thread "going bad" faster than we can use it up in our projects.  I found an informative article about that topic here that you might want to check out.  If you don't have time to go read the whole thing, here are the main takeaways:

• No, you probably don't want to sew or quilt with the vintage thread you found at a yard sale or that you inherited from Grandma's sewing basket, because it's likely to have deteriorated significantly and lost most of its strength
• The material the spool or cone is made from affects the thread's longevity, too -- those beautiful vintage wooden or styrofoam spools actually sped up the deterioration of the thread due to chemical reactions between the spool material and the thread fibers
• You can prolong the useful life of any thread by storing it away from sunlight, protected from dust, and at a moderate humidity level (neither too dry nor too humid).
• Not sure whether that older spool of thread is still good to use?  Give it Deborah's snap test

BUT --

• Cotton agriculture and thread manufacturing have seen major advances over the past few decades, such that thread manufactured today is expected to have a much longer useful lifespan than the thread manufactured just 20 years ago
• Synthetic fiber threads such as polyester have a much longer lifespan than natural fibers such as cotton, and they are much less susceptible to deterioration from storage conditions than natural fiber threads.  (This is why heavy duty synthetic threads are used for outdoor sewing applications such as cushions for the deck chairs, awnings, etc.)
• The estimated usable lifespan of high quality cotton threads manufactured today that are properly stored (away from light, dust, and extreme temperature/humidity) is about 50 YEARS!  Wow!  That is WAY longer than I would have guessed, but I found that same statistic from every source I consulted, including from Superior Threads here.  The polyester threads that I run in my long arm machine such as Glide, So Fine, and Bottom Line, are predicted to last even longer than cotton threads.  

So I think it's safe to say that my thread stash is going to outlive me!  This little 40" x 45" charity quilt, with a fairly open quilting design, still ate up over 140 yards of thread (my IntelliQuilter computer calculates that for me when I set up the pantograph pattern).  A densely quilted Queen or King size quilt can eat up 2,000 yards of thread or more, and an heirloom/show quilt with dense microfills can take vastly more thread than that.  Since my favorite long arm quilting threads are not available to me locally and are often backordered, I prefer to have a wide variety of thread types and colors on hand so I can always select the perfect thread weight, fiber, color and sheen for every quilt that comes my way.

Also, thread is yummy like candy but without the calories.  ;-)

PSST!!  I'd Love to Quilt for YOU!

By the way, if you or any of your quilty friends has a quilt top or two that needs quilting, I'd be delighted to quilt for you!  My turnaround for edge-to-edge quilting is currently running about 2 weeks, and you can click here to find out how to book your quilt with me.

I'm linking up today's post with the following linky parties:

WEDNESDAY

Midweek Makers at Quilt Fabrication

Wednesday Wait Loss at The Inquiring Quilter

THURSDAY

Needle and Thread Thursday at My Quilt Infatuation  

Free Motion Mavericks with Muv and Andree

Fresh Off the Frame: Patriotic Star Quilt with E2E Confetti Parade Quilting

I tried out one of my new pantographs yesterday on this veteran's outreach quilt, and I love how it came out!  This top was pieced by a fellow member of the Charlotte Quilters' Guild and I volunteered to do the quilting.

70 x 80 Veterans' Hospice Outreach Quilt, "Flirty Bubbles" Pantograph

Now, I know that some kind of star pattern would be the first choice for many quilters, but to me, that felt too matchy-matchy.  Instead, I chose the Flirty Bubbles pattern from Timeless Quilting, because this design reminds me of baloons, confetti and streamers filling the air during a parade to honor returning soldiers.  I used Glide thread in a creamy ivory color, top and bobbin, and I don't know what kind of batting they gave me except that it was SUPER linty and it had a scrim.

Operation Welcome Home Parade, June 1991

This was my first time using the Flirty Bubbles pantograph, and I'm really happy with how it turned out.  You wouldn't expect anything "flirty" or "bubbly" to be appropriate for a soldier's quilt, but that just goes to show how the name of a pattern can sometimes limit our imagination as far as which quilting designs "belong" on which quilts.  Clever names make it easier to remember the name of a great panto design when we see something we like, and that's why pattern designers rack their brains trying to come up with catchy and unique names for each of their designs.

How I Use Channel Locks To Maintain a Straight, Square Quilt with the Fully Floated Loading Method 

I did a full-float load with this quilt, as I do with almost all of my quilts.  That means that although the backing fabric is pinned to the belly bar at the front of my frame and to the takeup roller at the back of the frame, the batting and the quilt top are not attached to any rollers at all.  Instead, they "float" on the surface of the loaded backing and are basted in place along the perimeter each time I advance the quilt.  Now, I know some quilters recommend and prefer doing a partial float, where the quilt top is attached to the quilt top roller, and this is supposed to give one "better control" so the quilt will come out straight and square.  However, in my own experience (YMMV!) I have tried pinning quilt tops to the quilt top roller several times, and I felt like I had LESS control over what was happening with the quilt tops that I pinned and rolled up for a partial float load.  Especially with a top that has "personality," I just could not get a not-quite-perfectly-flat, not-quite-perfectly-square top to roll up evenly on that bar in the first place.  By doing a full float with that quilt top bar totally removed from my frame and out of my way, I have maximum visibility of the entire quilt top throughout the quilting process, and I have full access between the three layers of the quilt to double check that everything is smoothed nicely and situated properly with every advance of the quilt.  If you're a new long arm owner, definitely try both methods to see what works best for you.

"Full Float" Loading Method, Quilt Top Roller Removed From Frame

(Note that the batting I was given for this quilt was NOT quite wide enough!  Definitely "cut too close for comfort," pun intended!!)

So as you can see in the photo above, I maintain a straight, square quilt by ensuring that my vertical and horizontal seam lines are all perfectly straight each time I advance the quilt, before basting the sides and proceeding to quilt.  I am visually checking any seam that falls near my belly bar, where the needle of my machine cannot reach.  Then I use my machine's horizontal and vertical channel locks to check that the sides of the quilt, the vertical seams, and the horizontal seams between blocks are all positioned as straight as can be, and scootch those seams as needed.  I just hover my needle above a seam line, engage the channel lock, and then drift the machine head along the seam line without stitching.

Basting a Generous Block to Maintain Straight Seam Lines

On this particular quilt, I discovered some manageable but definitely unwanted fullness in the "Home of the Brave" text print block shown in the photo above.  After adjusting the seams above and below this block to be perfectly straight, I used big flower head pins to distribute the fullness evenly along the raw edge before basting the side of the quilt.  That ensures that my hopping foot doesn't "snowplow" the fullness as I'm basting down the side.  There is no risk of hitting a pin with my needle because I'm taking these half-inch basting stitches manually, one at a time, rather than running the machine at a regulated stitch length that might result in hitting a pin.  After basting the side of this one wonky block, I just pull out those pins and then continue basting the rest of the way down the side of the quilt.

By taking the time to check and align each and every seam line with my channel locks throughout the quilt, I get a nice, straight edge when I get to the bottom of the quilt rather than the dreaded "smile effect."  

Note: I've got a couple of magnet bars from Harbor Freight securing the bottom edge of the quilt in the photo above, just because it was a convenient place to put them.  I use those magnet bars to temporarily attach a sample quilt sandwich off to the side of the quilt I'm working on, whenever I want to tweak or adjust tension for better stitch quality mid-quilting.  Normally I'd have an extra 4" of batting and backing on both sides of the quilt where I could lay down a scrap of fabric and test stitch quality.  That's the ideal way to do it, since the specific batting and backing fabric can affect tension and stitch quality in different ways, but I didn't have any extra batting to practice on with this quilt so I had to make do!

Fellow long arm quilters who DO use your quilt top roller to do partial float loading: Can you help me understand how you load a pieced top onto the quilt top roller, especially how you deal with areas of fullness in the quilt top?  I know about twisting along vertical seam lines to accommodate for their bulk, but what I could not figure out was how tightly the top is supposed to be wound on the quilt top roller in the first place and, specifically, how to roll up areas of a quilt that have excess fullness while keeping seam lines nice and straight.  My full float method is working well for me so far, but it would be nice to have more than one method in my "toolbox."

Next on the Frame: 42 x 42 Modern Baby Clam Shells

Next up for quilting is my Modern Baby Clam Shells quilt -- I can't wait!!  Originally, I was thinking of finishin up this long-overdue quilt quickly with simple E2E (Edge-to-Edge) pantograph design like what I quilted on the veteran's quilt.  But...  After putting so much time and energy into the design, the curved piecing, and the broderie perse appliqué, I just can't bring myself to do that.  Instead, this is going to be a custom quilt job incorporating my ProCircles rulers.  I know I want to accentuate my curved piecing and appliqué with SID (Stitch In the Ditch) quilting, but beyond that I'm just going wait and see where inspiration leads me.  Stay tuned!  Hopefully I'll have some progress to show with this quilt in time for my Long Arm Learning linky party on Tuesday.

Meanwhile, I'm linking up today's post with my favorite blog party girlfriends:

FRIDAY

·       Whoop Whoop Fridays at Confessions of a Fabric Addict

·       Peacock Party at Wendy’s Quilts and More

·       Finished Or Not Friday at Alycia Quilts

·       Off the Wall Friday at Nina Marie Sayre

·       TGIFF Thank Goodness It’s Finished Friday, rotates, schedule found here: http://tgiffriday.blogspot.ca/p/hosting-tgiff.html

SATURDAY

·       UFO Busting at Tish in Wonderland

SUNDAY

·       Frédérique at Quilting Patchwork Appliqué

·       Oh Scrap! at Quilting Is More Fun Than Housework

·       Tips and Tutorials on the 22^nd, open 22^nd through end of each month: Kathleen McMusing

How I Achieved Machine Binding Without Shame: Victory at Last!

I am SO excited about the most boring quilt that I finished last night -- because I completed the binding entirely by machine and, for the first time ever, it doesn't look hideous.  OH RAPTURE AND JOY!!

I'm Not Ashamed of My Machine Sewn Binding Anymore!

I pieced this top myself during the Charlotte Quilters Guild's Christmas In July Sit-and-Sew.  The idea was for us to get a head start on some holiday themed outreach quilts for patients who are hospitalized over Christmas, Hanukkah, and Kwanzaa.  I didn't choose the fabrics or the the simple alternating squares layout, and wasn't able to be as adventurous with the quilting as I'd hoped since my longarm machine was misbehaving (I think she's fixed now, though!).  So I went with a simple 1" grid with rulers in the red blocks and a large amoeba stipple in the white squares.  I have to say, I was a lot happier with the quilting after washing it than I was when I first took it off the frame.  It's simple but so soft and snuggly, with the bumpy quilt texture that I love!  I used a variegated red and green King Tut cotton thread in the needle (Industrial size 4.5) with a Forest Freen So Fine thread in the bobbin, and the batting that was provided to me by our guild's Outreach Committee.

40 x 40 Charity Baby Quilt in Christmas Fabrics

There are tons of binding tutorials on the Internet, and I've tried (and failed) with a few of them before.  What finally worked for me this time was a method shared with me by Vivian, who blogs over at Bronx Quilter.  I'm writing this up while it's fresh in my mind and storing it on the Internet so I can find my notes when I need it again.

How Closely Must You Look To Tell The Binding Was Not Hand Stitched?

My criteria for an acceptable machine binding may be different from yours.  I prefer the look and the process of hand stitched bindings for most of my quilts, but after timing how long it takes me to hand stitch all the way around the perimeter of a large quilt (?!!) I realized that not every quilt needs or warrants that level of handwork.  The quilts I'll be binding by machine will be charity outreach quilts for my guild and baby quilts that need to get done and out the door before the baby in question heads off to college.  

It's Easier to See Threads in the Fabric Weave Than It Is to See the Machine Stitches From the Back

What I wanted from a machine stitched binding was a fast(er) process that would look as much like my usual hand stitched binding as possible, and that's what I got with Vivian's method.  THANK YOU, VIVIAN!

So I remember for next time, here are the steps I took to bind this quilt:

• I trimmed my binding strips to 2 1/4" wide.  The Outreach Committee precuts binding strips in kits at 2 1/2" wide. I have no idea what I'm supposed to do with binding that wide, as I normally cut my binding anywhere from 1 7/8" to 2" wide for hand stitched binding, but never wider than that!  2 1/4" was plenty wide enough for me, for this method.
• I joined the binding strips together as usual with diagonal seams, pressed open, and pressed the entire length of the binding in half.
• With my walking foot, using black 50/3 cotton thread and a 2.5 stitch length, I sewed the binding to the BACK side of the quilt instead of to the front of the quilt as I normally would, mitering the corners as I went along.  
• THIS IS CRUCIAL -- sew a few inches with a quarter inch seam allowance, and then take the quilt out from under the machine, wrap the binding around to the front of the quilt, and see whether it's covering the stitching line adequately without too much excess.  Now is the time to adjust that seam allowance a smidge wider or narrower, to get it just right!

Stitching the Binding to the Back of the Quilt First, Mitering Corners As I Reached Them

Note that, even with the binding trimmed to 2 1/4" wide, I still felt that it looked lopsided when I stitched it down with a quarter inch seam allowance and wrapped it around to the front of the quilt.  The folded edge of the binding went WAY past the stitching line it was meant to cover, which would have made the binding noticeably wider on the front of the quilt than on the back.  It also would have moved the final machine stitching line farther away from the binding on the back of the quilt, making it more noticeable.  So I moved my needle one position to the LEFT of center, enabling me to continue using the quarter inch mark engraved on my walking foot as a guide, but evening out the amount of binding on both sides of the quilt.  This was a fairly thin batting this time, however.  If I was doing this on a puffier quilt, say with wool batting or a double batting, I'd probably be safer with the 2 1/4" width.  But I would want to test this first on a scrap quilt sandwich using my actual battings in the event that my quilt had piecing lines that met a quarter inch away from the raw edge of the quilt top.  I'd hate to have my generous-quarter-inch binding chop off any of my precious triangle points!

• I left a 12" gap between where I started sewing my binding to my quilt and where I stopped stitching, with 10" tails of loose binding at both ends.  Then I used my trusty Binding Tool to mark, trim, and stitch those loose ends together with a perfect diagonal seam.  When I use that little acrylic guide tool, the joined bit of binding always  fits the 12" gap perfectly so I can sew the opening shut without any stretching or easing required and no one can tell where I stopped or started the binding.
• Next, I pressed the binding away from the seam line with a hot iron so the folded edge stuck out beyond the edges of the quilt.  I folded the miters of all four corners by hand and pressed them firmly with steam, and then pressed the binding around the edge of the quilt, ensuring that it just barely covered the black line of stitches on the front of my quilt.  I used those nifty Wonder Clips to hold the binding in place after pressing.  (I'm aware that some quilters glue baste their binding before machine stitching it down, but I went with the clips because I'm interested in a fast-and-dirty method for utility quilts, not a guaranteed-perfection-at-a-price method for show quilts).
• Time to change the needle and rethread the machine!  I put Smoke invisible monofilament thread in the bobbin due to my black backing fabric (YES you can wind on your bobbin -- just only fill the bobbin halfway and slow your bobbin winding speed down if possible) and Clear monofilament thread in my size 60/8 needle.  In retrospect, I probably should have used Smoke in the needle as well, since my stitches were landing on the binding fabric rather than on the fabrics of my quilt top.  I used YLI monofilament thread on this project, but I also like Superior's MonoPoly and Aurifil's invisible monofilament as well.

And now, for a BAD decision: I thought it would be helpful to switch the sole of my Bernina walking foot for the next step to the sole with the center guide, but that was a bad decision.  Next time I'll stick with the open view sole that I was using initially, since that would give me a better view of where my stitches are landing.  Also, the guide blade in the center of the other sole wanted to pull my mitered corners apart as I was trying to stitch them down.  Aaargh!!  No more center guide sole for this technique!  That sole is designed for stitch-in-the-ditch quilting, and that's what I'll reserve it for from now on.

Machine Stitching Binding to Quilt Front With Monofilament (Do NOT Use This Guide Sole Next Time!)

As you can see in the photo above, my binding wrapped around to just comfortably cover my black stitching line without too much struggling or too much excess, just as I'd hoped.  Again, this wasn't some magical happy accident -- it's because I tested the seam allowance and adjusted it to get it just right for this particular quilt before I continued sewing the binding all the way around the quilt!

Stitch Settings for Sewing Binding with Monofilament on My Bernina 750QE

• Per Vivian's suggestions, I sewed the binding to the front of my quilt with a narrow zigzag stitch.  I started out with Vivian's preferred stitch length of 3.0 but, since this quilt is destined for a hospitalized baby, I decided I wanted to have the binding more securely attached with the zigzag "bites" closer together.  I ended up with a stitch length of 2.25 and a stitch width of 1.5, but I could make the stitch width smaller next time if I use the open toe sole on my walking foot so I can see what I'm doing!  As you see in the photo above, I've got my needle position moved two clicks to the right of center, but again, that's because of the center guide on my presser foot sole.  I had to do that to ensure that my zigzag was actually on my binding.  The only other setting change I made was to reduce my tension to 2.25, which I honestly don't remember doing (this was late at night) but it was a good "autopilot" decision for the monofilament thread.  Too-tight tension is what makes invisible thread look objectionably shiny and not-so-invisible.

Not Bad, Right?!

And that's it, folks!  The Smoke monofilament thread would have disappeared even more against my dark binding fabric than the Clear, and if I reduced the zigzag width to 1.0 or went with a blind hem or invisible appliqué stitch instead, I bet I could make the binding look even more like it had been hand stitched, with the same speed and ease of application.  I can experiment with other stitches next time.  For now, I'm celebrating that I have a finished Christmas outreach quilt ready to turn in at our guild meeting on Wednesday.  I'm really pleased.  YAY!

Back View of Machine Stitched Binding, PRIOR to Laundering

Interesting side note: in the photo above, my quilting tension looks pretty wretched, but it really is not.  Those white dots you're seeing are the off-white quilt batting showing through the giant needle holes of the larger needle I used for quilting in order to accommodate the King Tut cotton thread, which is a slightly heavier weight.  After laundering the finished quilt, those holes closed almost completely and I can only see specks of batting here and there, where it was actually pushed out on the backing side where the thread passed through.  When I use dark fabric for my personal quilts, I like to use Hobbs Heirloom 80/20 BLACK batting to prevent that problem.  With this quilt's combination of black backing fabric and white squares on the quilt top, though, if I was hell-bent on making my life difficult that way, I would probably have put the black 80/20 on the bottom with a thin layer of white batting on the top to ensure that the black batting didn't shadow through the white fabric and make it look dingy gray.

After Laundering

See what I mean? I wash all my quilts as soon as I finish binding them as a personal preference, but this one DEFINITELY needed to be washed, since it's headed to a hospital NICU.  

Updated October 4th, 9 AM: WOW -- when I shared this binding technique, I didn't expect to stir up a huge controversy about the "safety" of invisible monofilament threads.  In addition to the comments here on my blog post, I've received numerous direct emails, direct messages through my Facebook page and from the Yahoo groups that I belong to or manage, etc.  Keep them coming, but please be specific.  If you're telling me that you have personal experience with quilt guilds, hospitals, or other charitable organizations that do not accept donation quilts that have any monofilament thread in them, I would like to know WHICH guild, WHICH hospital, or the NAME of the charity to which you're referring.  I would also like to know of any other restrictions that organization may have (do they require all cotton batting, for instance?  Or do they require fire-retardant batting?), and the reasons behind those restrictions.  Please know that I am never offended by someone who disagrees with me and I know that people are voicing concerns about this with the best of intentions, and I thank you for that.  However, I strongly suspect that 1) these restrictions are coming from quilt guild members and officers rather than from the charities and hospitals themselves and 2) the restrictions reflect concerns about the much thicker, much stronger nylon threads that have been used by commercial workrooms serving the hospitality industry (think quilted bedspreads and drapery panels in hotel rooms) or for mass-produced bedding that you might find at a big box store.  

I've started researching the tensile strength and melting points for a variety of threads so I can compare them to the monofilament threads that I use and recommend.  I'll be looking at 100% cotton 50 weight thread, the "all-purpose" polyester sewing threads, the lighter weight polyester quilting threads that are used almost universally by longarm quilters, as well as the heavier 40 weight cotton threads that designed for quilting by machine and the glazed cotton threads used for hand quilting.  From my personal experience, I can tell you that I can snap off a piece of .004 monofilament invisible thread MUCH more easily than I can snap off a piece of glazed 100% cotton hand quilting thread.  When I've compiled my research, I will share my findings here.  

40 x 40 Baby Quilt, Off My To-Do List and Ready to Donate!

That's all for today, folks!  I'm linking this post up with:

WEDNESDAY

·       Midweek Makers at Quilt Fabrication

THURSDAY

·       Needle and Thread Thursday at My Quilt Infatuation  

FRIDAY

·       Whoop Whoop Fridays at Confessions of a Fabric Addict

·       Beauty Pageant at From Bolt to Beauty

·       Finished Or Not Friday at Busy Hands Quilts

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·       TGIFF Thank Goodness It’s Finished Friday, rotates, schedule found here: http://tgiffriday.blogspot.ca  

In Fits and Snatches: Modern Baby Clam Shells + Christmas Outreach Quilt

Good morning, my lovelies!  Remember that baby quilt I designed last DECEMBER for a new mom in our family?  Well, her baby just turned nine months old yesterday, and I finally finished...  cutting out the fabric for the quilt top!

I Finished Cutting Out All the Pieces!

You thought I was going to say the whole quilt was finished, didn't you?  Bless your heart.

As you can see in this photo of the entire design wall, these clam shells are gigantic.  They will finish at 9 1/2", making this a 40" x 40" top once I add narrow turquoise borders:

Design Wall With Clams On the Left, Modern Building Blocks On the Right

Why has it taken me ten months to cut out this silly "quick and easy" baby quilt, you may ask?  Okay, so first, for the print clam shells, I was using an acrylic template that I found on Amazon here, but I was tracing around the template with a pencil and then cutting out each clam shell with scissors.  That got old.  Then, I put some of the grippy tape that I use on my longarm quilting rulers on the back of my clamshell template so it wouldn't slide, and discovered that I could cut out the turquoise background fabric with my 28 mm rotary cutter. Yay!  But then there were those pesky giant circles in the center row of the quilt to cut out.  Ugh.  I ended up using a circle cutter contraption that I found on Amazon here (thank goodness for Amazon Prime, right?!) and it worked okay.  You fold a slightly oversized square of fabric into quarters, press lightly, and line your folds up on the right angle lines on the circe cutting template, and then slice through the curved groove corresponding to your desired circle size with a 28 mm rotary cutter.  My acrylic clam shell template has tiny holes for alignment along the seamline, so I used the clam shell template to put markings on my circles that will line up with the clam shells for stitching.  Then I had to cut the partial clamshells, the sideways halves and the top/bottom halves and the quarter clams for the corners.  It was just annoying cutting and I had to think about the best way to do it, and I wasted a good deal of that turquoise fabric from the template sliding around or whatever.  Anyway, I'm glad it's finally all cut out and ready to sew!  The clams have to come of the wall to make room for laying out Double Wedding Rings for a Queen bed runner, anyway, so don't hold your breath thinking I'm going to have the clams pieced together by my next post, either.  See, I'm managing your expectations so you won't be disappointed.   You're welcome.

MEANWHILE...

I quilted the outreach top that I pieced during our guild's Christmas in July Sit-and-Sew.  It's not amazing, but it's acceptable and it's done, and I still have time to bind it and turn it in so it can be given out during the holidays.

One Inch Grid With Amoeba Meandering

I had originally wanted to do something more interesting with the quilting, but ended up settling on a 1" grid in the red squares and "amoeba meandering" in the white squares.  Top thread is Superior King Tut cotton in a green and red variegated colorway with a dark green So Fine wound on the bobbin.  

Miss Millie Has Been Misbehaving!

My longarm machine is still not running smoothly, though, and after LOTS of trouble shooting with APQS Tech Support, we think that one of my encoders is bad.  Instead of the machine running at a smooth, steady speed according to how quickly I'm moving it over the surface of the quilt, mine does a racing lurching thing just randomly.  Apparently it's an electrical problem.  Anyway, the new head encoder will be here Monday and if that doesn't solve the problem, we'll have to replace the more expensive Bliss encoder as well.  These are parts that would have been covered under the APQS Lifetime Warranty if I was the original owner of the machine, but it's out of pocket for me since I purchased the machine secondhand, even though I bought it from a dealer.  It is what it is.

So, what's on my agenda for the upcoming week?  We'll be swapping out the head encoder on my longarm machine on Monday or Tuesday, as soon as that part shows up.  Meanwhile, I have a bit of a mess to clean up in my studio and then I will want to get my machines set up for different tasks.  I'll be doing the curved piecing of the clam shells and double wedding rings on either my 5.5 mm Bernina 475QE (my Goldilocks) or else on my 1935 Featherweight (Bette).  My big machine, the 750QE ('Nina) needs to seam backing together for another outreach top and bind that Christmas quilt.  So much to do, and so little done.  Story of my life.  So here's my Tuesday To Do List, a few days early:

1. Double Wedding Ring
2. Modern Baby Clam Shell
3. Christmas Outreach Quilt
4. Next MMBB Block for Anders' Ishmaelites Quilt

That ought to keep me plenty busy until next week.  I'm linking up today's post with:

SUNDAY

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·      Oh Scrap! at Quilting Is More Fun Than Housework http://quiltingismorefunthanhousework.blogspot.com

MONDAY

·      Design Wall Monday at Small Quilts and Doll Quilts 

·      Main Crush Monday at Cooking Up Quilts

·      Monday Making at Love Laugh Quilt

·      Moving it Forward at Em's Scrap Bag

·      BOMs Away Katie Mae Quilts 

TUESDAY

·      Colour and Inspiration Tuesday at Clever Chameleon

·       To-Do Tuesday at Home Sewn By Us