Oh, Fransson!

Tokyo Subway Map Quilt: Basics and Supplies

This is the first post in my Tokyo Subway Map Quilt-Along.  This is a laid-back quilt-along that you can join any time you want.  There is no need to "sign up" but, if you want to share photos of your work, you are welcome to join my Tokyo Subway Map Quilt-Along Flickr Group.

 
Welcome to the Tokyo Subway Map Quilt-Along!  I will be posting instructions for making a 60" x 60" quilt composed of 1,600 tiny squares.  (Time to use up those scraps!)  The quilt top will be pieced from 25 blocks, which I'll describe in a series of 25 posts. 

If you're looking to do something a little different, please don't hesitate to make your own drawing and/or calculations for a revised version in a different shape or size.

Please note that, although my pattern was inspired by a real map of the Tokyo Subway System, it is a stylized interpretation that makes no attempt to duplicate the system's actual layout. 

 
A note about difficulty level . . .The construction of this quilt is both incredibly straightforward and deceptively complex.  The fact that every block is made only of squares means that we'll only be cutting squares and sewing with straight seams.  However, the small size and large number of the squares, as well as the unconventional arrangement of the subway "lines" running through each block, demands a certain amount of precision.  In particular, it will be imperative to keep seam allowance consistent throughout the quilt. 

Please let your own comfort level be your guide in deciding whether this is a project for you. 

 
The quilt top will be made from a grid of 40 x 40 squares measuring 2" x 2" before they're sewn.

The squares will fall into the following groups:

"Lines"

The quilt top includes 10 different subway "lines" each indicated by a different color.  Refer to the chart below to see how many print and solid squares (each 2" x 2") you will need for each line. 

Feel free to use as many or as few different fabrics as you like.  I suggest letting your stash be your guide.  If you have lots of smaller scraps, consider cutting fewer squares each from more different fabrics.  If your stash is made up mostly of larger pieces, consider choosing several of your favorites and cutting an equal number from each. 

If you don't have many appropriate fabrics in your stash, you may want to invest in 1/4 yard pieces of one or two prints in each color before starting this project.  If you don't have much solid fabric, a Kona charm pack can be a fast way to get a bunch of little pieces.

This composition relies heavily on harmony among the print and solid fabrics in each colored line.  Lay prospective fabrics/scraps on your work surface and consider whether you think they look right together.  If one fabric sticks out on your table, it's likely to stick out in your quilt too. 

This project will be most successful when made entirely with monochromatic prints.  However, because the squares we're using are so small, you may find that it's possible to fussy-cut monochromatic 2" x 2" squares from a larger print (e.g. green squares cut from large leaves on a big floral print).

"Stops"

Subway "stops" will be represented by squares cut from black and white print fabrics.  Use as many or few different prints as you like to cut 60 total "stops" each measuring 2" x 2".  For best results, choose bold, graphic prints that do not include any color.  Don't hesitate to fussy-cut some of these squares.

Background

All background squares should be cut from the same white solid.  I recommend Kona White or Kona Snow.  Enough white solid squares for this project can be cut from 2 5/8 yards of fabric at least 42" wide.  Cut 45 strips 2" x width of fabric, subcutting into 891 squares 2" x 2" each.

 

I suggest cutting all of the squares before you start piecing.   I'll discuss this more when we get into piecing, but having all of the squares cut will make it easier to distribute each print evenly across the quilt top.

My next quilt-along post will include general piecing directions, including the layout of the first block.

I'm looking forward to quilting along with you!

ETA:  A Q&A thread is now up in the Flickr Group.  Please refer to it for asking or finding answers to questions about the pattern.  Thanks!

Scrappy Paintbox Quilt Finished!

Want to make a quilt like this?  Join the Paintbox Quilt-Along!  See other people's Paintbox Quilts here.

 
I'm a woman on a mission this week.  Last week, one of my students asked me how many quilts I have going at any given time and I was embarrassed to admit that I'd lost count of my WIP quilts.  So, this week I'm trying to get as many as possible completed!

This quilt is approximately 62" x 72".  I should have known this since, you know, I wrote the pattern, but I was still surprised by how big this finished quilt seemed!

 
The finished quilt includes 40 different Kona solids and 200 different prints.  The sashing is Essex cotton/linen (White and, on the back, Putty). 

When I was dividing up the fabrics for the blocks, I accidentally used one of the prints in two different sets of blocks, meaning the total number of prints before binding was actually 199.  I added an extra print to the binding though, bringing the total to an even 200.

 
I made my scrappy binding from 28 different prints, each cut to 2.5" x 10.5".  I sewed them end-to-end and made double-fold binding.

If you want to make binding for your Paintbox Quilt from a single fabric, you'll need 1/2 yard fabric (at least 42" wide), cut into 7 strips 2.5" x WOF.

I love the back of this quilt!  I had debated putting words on it (like the original one) but I'm glad I didn't.  I love all the negative space.

 
And, of course, you can't go wrong with a swatch block like this!

As a reminder, all of the print fabrics that I used in this quilt are tagged on my Flickr Photos.

The 40 solids I used were: Black, Coal, Ash, Brown, Bright Pink, Berry, Copen, Mulberry, Jade Green, Caribbean, Lagoon, Pacific, Azure, Peacock, Pistachio, Candy Green, Lime, Grass Green, Clover, Kiwi, Chartreuse, Peridot, Olive, Cactus, Canary, Buttercup, Corn Yellow, Ochre, Tangerine, Orange, School Bus, Mango, Red, Rich Red, Coral, Tomato, Pomegranate, Candy Pink, Cerise, and Melon.

 
George-Michael has already adopted this quilt.  I'm not sure I'm ever going to get to use it!

Quilt Along 15: Making and Sewing Binding

This post is also available as a pdf download.  As a friendly reminder, this pdf (or printouts of it) may not be republished or distributed without permission.

Download Making and Sewing Binding

 

The binding we're making for this quilt is straight-grain double-fold binding.  The strips we cut for our binding were cut on the grain, rather than on the bias.  There are pros and cons to both straight-grain and bias binding. 

Straight-grain binding:

• Requires less fabric

• Is easier to work with, particularly for making sharp corners.

Bias binding:

• Is useful for binding curved edges

• Can be a more interesting way to show off geometric prints like plaids or stripes

• May wear longer, since the creases aren't right on the grain

I use straight-grain binding for most quilts and think it's a good choice for a simple quilt like this. 

Start by cutting enough 2.5" strips to go around your finished quilt, plus a couple of extra inches.  Trim away selvedges.

I usually sew my binding together end-to-end, using a half inch seam allowance.  If you do this, be sure to use a slightly smaller than normal stitch to prevent the seam from pulling apart as you work.

 

Alternately, you can sew bias seams in your binding, as shown above.  Sewing bias seams isn't strictly necessary, but can result in somewhat less pressure on the seam. 

Use the method you feel most comfortable with.  Personally, I think that pieced binding (as in the example above) looks best when sewn together end-to-end.  If you're using a solid or a smaller or non-geometric print, the way you sew your binding strips together is going to be less apparent on your finished quilt.

 

Once your binding strips are sewn together, press the entire length in half with wrong sides together. 

You can begin pinning your binding at any point on your quilt.  I would just suggest doing it at least a foot from any corner.  (As you pin, the raw edges of your binding should line up with the edge of your quilt, wih the fold on the inside.)

If you find that any of the seams in your binding ball within an inch or so of a corner, you may want to unpin everything and adjust your binding to prevent this.  Having a seam at the conrner can make achieving perfect mitered corners difficult!

When you come to a corner, you'll need to fold the binding in a specific way in order to make a perfect mitered corner.  Start by folding the binding perpendicular to the side you just pinned, as shown above.

Then fold the binding back, as shown above, making sure that the fold is lined up with the edge of the quilt.

 

Turn the folded area so it looks like the above photo and pin in place.

Continue pinning around the entire quilt, repeating the last few steps at each corner.

When you reach the point where the two ends meet, trim away excess fabric and remove the necessary pins to make your binding look like the above photo.  Press the area, creating creases where the two ends meet.

Remove enough pins to allow you to use the crease you just pressed as a guide to sew the two ends together.

Trim the seam allowance to about half an inch and refold, press and pin the binding back in place.  You should now have continuous binding pinned all the way around your quilt.

Sew your binding to the quilt.  I use a 3/8 inch seam allowance, because I like my binding to fit tightly.  If you'd like a little more ease in your binding, you may want to use a 1/4 inch seam allowance instead.  If you have a walking/even-feed foot, you might consider using it here.  If you don't, you may need to lengthen your stitch and turn up your tension slightly to get a nice stitch through all the layers.

When you reach a corner, sew up to the diagonal fold in your binding, as shown above, and backstitch to secure.

Fold the binding back over the area you just sewed and, starting at the corner, continue sewing the binding along the next side.

Sew all the way around your quilt, repeating the last two steps at each corner.

 

Turn your binding to the back of your quilt.  To secure while you sew, you can use pins or binding clips like the ones shown above.  They look and work like hair clips, but are actually designed to hold binding in place while you sew.  (Don't put them in your hair though!  They don't have the same kind of rubbery guards that actual hair clips do.)

 

I like to use a "knotless" start when sewing binding.  To do this, fold a length of thread in half and thread the fold/loop through a sharp needle.  Pull the threads so the loop is at the long end of the thread and the loose ends are up near the eye.  Insert your needle into your quilt sandwich near the edge of your binding and pull it back up through the binding, leaving the loop as shown above. 

 

Thread the needle back through this loop . . .

 

. . . and pull, making a nice little anchor to start your stitching.

 

Begin sewing your binding down, making a stitch every quarter inch or so.  As you sew, make sure that you're pulling your needle and thread through the quilt back and into your batting, but not back through the front of your quilt. 

 

Sew around each corner, folding the binding into a nice mitered corner, as shown.  Continue sewing all the way around the quilt, until all binding is secured.

  

And that's it!  Your binding (and your quilt) is done. 

Finished Mod Sampler Quilts

Here's my finished Mod Sampler Quilt!

 

Here's a shot of the back.

One of my favorite blocks.

A detail of the front.

And a detail of the back.

Here's my scrappy version.

A detail shot of the front.

Another detail of the front.

And a detail of the back.  (It's especially clear in this photo that this quilt has already been washed and dried!)

I'm happy with the way these turned out and hope you're all happy with yours too!  I can't wait to see them all in the Flickr Pool.

Quilt Along 14: Free-Motion Quilting

This post is also available as a pdf download.  As a friendly reminder, this pdf (or printouts of it) may not be republished or distributed without permission.

Download Free-Motion Quilting

 

I prepare my machine as follows:

• Fit machine with darning/free-motion foot.

• Turn thread tension up slightly.

• Set stitch length to zero.

• Lower feed dogs.

• Fit machine with a new needle (90/14 Universal or 90/14 Machine Quilting).  Free-motion quilting puts a lot of stress on your needle, so using a stronger one is often a good idea.

I've read about lots of ways that people whose machines don't have stitch length controls or lower-able feed dogs work around this.  If you're one of those people and want to discuss how you prep your machine, or if you need tips, check out this thread in the Flickr pool. 

  

For this quilt, I used Gutermann cotton thread in a light warm tan to match the natural Essex cotton/linen I used for sashing.

Because free-motion quilting takes so much thread, I like to fill a number of extra bobbins before I start.  (For this quilt I went through four.)  I always use the same thread and bobbin color.  It's more forgiving of slight irregularities in tension (i.e. you won't see little dots of the back color on the front and vise versa).

 

For my scrappy quilt, I used Gutermann polyester thread in white.  I should probably mention again the importance of using quality thread.  I've found that the Gutermann 100% polyester does fine with my machine but, when I've tried to use other poly threads (Dual Duty XP comes to mind) it's been a disaster.  If you're pulling your hair out trying to get a good stitch, try switching to a higher quality or just a different kind of thread.  It might make all the difference.

 

Here's another example of a quilt where I matched the thread to the sashing used.  I'm showing several examples of this because I think it's a good strategy for choosing thread color, since it keeps the sashing looking plain and sharp.

 

Here's an example of white thread used over bright colors.  Because the sashing and areas of most of the prints are white, the thread actually blends pretty well with the brights.

 

The above quilting was done with Coats and Clark cotton quilting thread.  It's not my favorite because I like my stitches to be less pronounced but, if you want your stitches to show, it may be a good choice for you.

Regardless of whether it's the "regular" cotton thread or a cotton designed specifically for machine quilting, I've found cotton to the be easiest and most forgiving thread to quilt with.  If you're a beginner, I would definitely recommend starting with cotton.  Keep in mind that you need to buy thread designed to be used in a machine.  Thread labeled as being for "hand quilting" has a waxy coating that you don't want to put in your machine.

 

I do my quilting in a meandering pattern with no sharp angles and without crossing any of the lines.  Free-motion quilting is sort of like drawing with thread so, if you haven't done it before (and especially if you're not accustomed to drawing) you may find it useful to practice drawing a quilting pattern on a piece of paper first.  

A lot of people refer to the style of quilting I use as "stippling."  As I understand it, stippling means that none of your stitching is more than half an inch apart.  By that definition, what I do could definitely be described as stippling.  None of my stitching is more than about half an inch apart.

 

Once you've figured out what kind of pattern you'd like to use for quilting, you may want to practice on a "mini quilt sandwich" before moving on to your quilt.  My mini sandwich is about twelve inches square.  If you're not sure about your thread color choice, making a patchwork mini sandwich with your scraps can be a good way to audition different threads.

 

Because your feed dogs are lowered, the only thing moving the fabric will be your hands.  I described the process earlier as being like drawing.  The twist is that, with free-motion quilting, you move the quilt/paper instead of the needle/pen. 

Begin by manually lowering your needle, pulling the bobbin thread to the top.  Holding the tails of your thread and bobbin, make several stitches in the same place, creating a "knot" of sorts.  Move the quilt sandwich, stitching in your chosen pattern just an inch or so away from where you started.  Pause, making sure your needle is in the down position, and trim the loose threads.

 

Continue stitching, filling in your quilt sandwich in your chosen pattern.  You'll notice that your hands are not only in control of the shape of your stitches but also in their length.  If you move too slowly, your stitches will be too small and tight but, if you move too quickly, your stitches will be too long and loose.  Part of the reason for practicing on a mini sandwich like this is to get a feel for the right balance between pressure on your presser foot and the speed with which you move the sandwich. 

 

I've seen the suggestion that you should do free-motion quilting "as fast as you can."  While I do find that working more quickly than slowly results in a good even stitch and nice curves, I think it's important to keep your speed in check.  If you start going too fast, your stitches can easily get out of control.  I suggest practicing on mini sandwiches until you've figured out a rhythm that works for you.

Once you're ready to work on your quilt, take a little time to prepare your quilting area.  I suggest using the largest table you can and cleaning it first to make sure no dust or lint gets on your quilt as you work.  One of the keys to moving your sandwich around easily during quilting is making sure that all of it stays on top of the table.  If any of the sandwich hangs off the edges, it can weigh things down, making it more difficult to move.  You can either fold the sandwich, as in the photo above, of just bunch if up in a pile on the table.  I tend to start with the quilt folded and unfold/bunch it on the table as I work.

 

This is a pretty low-tech diagram but, hopefully, you can get some idea from it the order in which I do my quilting.  I find that, with anything larger than a baby quilt, the center is the most difficult part to quilt.  As such, I try to work in a circle around the center.  I find that the trick is to quilt in even swaths across the top.  If I don't make an effort to keep quilting in an even-ish swath, it's much easier to end up with little unquilted nooks and crannies that are difficult to get back to without either stitching over already quilted lines, often bunching the fabric slightly. 

 

Start quilting the same way you did on your mini sandwich -- by making a few stitches in the same place, quilting for a couple of inches and pausing (with the needle down) to trim the loose threads.

 

Continue quilting, turning your sandwich over periodically to make sure your stitches look good on both sides.  (You don't want to finish half the quilt before you realize that you have a thread tension problem!)  If you do have a tension problem -- for instance if your stitches are loose and loopy -- take a deep breath, take your sandwich off the machine and pick them out before moving on, possibly with a different thread.

 

You can see in this photo how I've rolled/bunched the quilt on either side of the area that I'm quilting.

 

Even after you perfect working on your mini sandwiches, it may take some time to get a feel for moving your whole quilt around.  Some people like to wear gloves (either the kind designed specifically for quilting or just yellow dishwashing gloves) to help them get a good grip on the fabric.  I prefer to work without anything interfering with my hands, so I usually just hold the bottom of the sandwich on the left side of my needle (as shown above) . . .

 

. . .and the right side of my sandwich with my right hand.  (Note: I am right-handed.)  For whatever reason, I find it easier to control the sandwich when I have one hand on top and one underneath. 

This is yet another instance where you'll need to figure out what works best for you and go with it.

 

Unlike with regular sewing, where fabric is pulled away from you as it works its way through the machine, I prefer to pull my sandwich toward me as I quilt.  I'm not sure if this works for others as well, but I find it easier to see what I'm doing if I start at the bottom and work my way to the top, as shown in the above photo.  I talked earlier about keeping the whole sandwich on the table at all times.  The one exception I make is when I'm pulling the sandwich toward me and end up with a lot of it in my lap.

 

As you're quilting, be sure that you're taking out safety pins before you get too close.  (You don't want any broken needles if you can avoid it!)  I keep a little bowl nearby to collect these as I work.

Depending on the strength of your table, you may find that free-motion quilting causes a lot of vibration and/or movement of items on top of the table.  If you have anything, especially a beverage, in your work area, you might consider placing them on a different nearby surface before they march right off the edge of the table!

 

If you're doing an allover pattern, you will probably run out of bobbin thread several times during quilting.  When that happens, take your sandwich off the machine and trim loose threads.

 

Replace the bobbin and return your sandwich to its former position.  Place your needle in the down position within a couple of stitches, but not right at the end, of where your bobbin ran out.

 

As when you started, make a couple of stitches in place to secure and then quilt an inch or two away.  Stop, with your needle in the down position, trim threads and move on with your quilting.

Be prepared for free-motion quilting to be physically strenuous.  It can take a surprising amount of work to shift your sandwich around just right.  If you get tired or frustrated with it, walk away for a few hours.  There's no reason you need to finish your quilting all at once.

It took me a little less than two hours to quilt each of my mod sampler quilts.  This is a much improved time over when I started using free-motion. 

 

Once you're finished with your quilting, square up the edges of your quilt by measuring 2.25" out from the seam between the outermost blocks and the outermost sashing. 

 

Don't be discouraged if your first attempt isn't perfect.  Free-motion quilting on a standard machine can be tricky and it will probably take a few projects before your stitching looks exactly how you want it to!

Another thing to keep in mind is that, while you will have been staring at your quilting stitches for hours, the recipient of your quilt (unless he or she is also a quilter!) is less likely to pay them any attention.  I find that, when I'm upset with the way a project looks, walking away from it for a day or two is usually the best policy.  

Good luck with your quilting.  We're almost done!  I'll be back on Tuesday with instructions for making and sewing binding.

Quilt Along Part 13: Making the Quilt Sandwich

This post is also available as a pdf download.  As a friendly reminder, this pdf (or printouts of it) may not be republished or distributed without permission.

Download Making a Quilt Sandwich

  

Start by laying out your batting on a clean, smooth floor.  Spread your quilt top on the batting, smoothing out any wrinkles.  You may need to actually crawl on the top of the quilt to do this.  Trim batting to within about two inches of your quilt top.

 

Starting from the top, carefully roll your batting, as shown.

 

Continue rolling until you have a batting tube like this and set it aside.  Don't worry about pinning the batting roll.  The natural tendency of most battings is to cling to fabric, so your roll should hold itself together without any help from you.

 

Now spread your quilt back on the floor, right side down.  Starting at the bottom of the quilt, use a strip of  painter's tape to secure the edge of the quilt back to the floor.  Move to the opposite (top) side and, pulling the quilt back ever so slightly toward you, tape the center top to the floor as well.  Repeat with the left and right sides and each of the four corners, each time pulling very gently, but not stretching, to make sure the quilt back is completely smooth.

 

Bring back the batting roll and, starting at the bottom, slowly unroll the batting and top onto the quilt back.  You have several inches leeway on all sides, but want to make sure that a) all parts of your quilt top are "inside the edges" of the quilt back, and b) your rows are perpendicular to the sides of the quilt back and parallel to the pieced row on the quilt back.  If you see that you're off, don't hesitate to re-roll your batting and start over.

 

Depending on the width of you top back fabric, you may have several extra inches at the top of your quilt.  Don't worry about that for now.

 

Once again, smooth out your quilt top and batting.  I usually do this by starting at the bottom and crawling up the center of my quilt, smoothing as I go.  You want to make things smooth, but be careful not to warp your fabric as you work.  If you notice that your smoothing is making your blocks wonky, ease up a little bit and work them back into a nice gridded shape.

 

Once your fabric is arranged the way you want it, use curved safety pins to secure all three layers at the center of each block.  If you're new to free-motion quilting, you may also want to place pins at the intersections of the sashing and around the edges.

 

Placing these pins is awkward at first, but it's something you're likely to get the hang of with practice!

 

Once you've placed all of your pins, use scissors to trim through all layers about two inches from the edge of your quilt top.

 

You'll want to handle your quilt sandwich with some care.  However, if you've done a good job with smoothing and pinning, you should be able to flip your sandwich over and have the back be as smooth and even as the front.

 

Here are both of my sandwiches waiting to be quilted!  I'll be back on Sunday morning with tips on free-motion quilting.

ETA:  I've started a thread in the Flickr Group for those of you who use spray adhesives (or other fusible-type products) to share your experiences.  It's here.

Quilt Along Part 12: Piecing the Quilt Back

 

This quilt back is much quicker and easier to piece than the top.

 

Start by sewing a row of six blocks, adding a piece of short sashing between each.  (Your finished row will be: block, sashing, block, sashing, block, sashing, block, sashing, block, sashing, block.)  Order the blocks however you want, but keep in mind that part of the blocks on each end will be cut off, so you may want to put your favorites nearer the center!  Sew one piece of long sashing to the top and one piece of long sashing to the bottom of this row.

 

Fold your 1.75 yard top fabric piecein much the same way you did when cutting the long sashing strips and use your ruler and rotary cutter to remove the selvedge edge.

 

Lay the fabric on your work table, as shown. (The edge you just cut is at the top.)

 

Starting at one side, pin your pieced strip to the top/cut edge of the fabric.

 

You'll probably find that the fabric is about six inches longer than you need.  Once you're done pinning, carefully cut away the extra fabric.  Using a .25" seam allowance, sew the pieced strip to your fabric and press open.

 

From your bottom fabric, your should have two 1/2 yard pieces.  Trim the selvedge from each and piece together, creating one long 18" wide strip.

 

You have a lot of extra length to work with here, so don't hesitate to try to match up patterns.  The print I'm using here is pretty busy, so I didn't make a lot of effort to match it perfectly.  Press your seam.

 

Because your bottom fabric strip is quite a bit wider than the quite back, you can opt to have the seam in it fall in several different places.  I think it's probably most inconspicuous to start pinning the strip at one end, so the seam falls as far off to the side as possible.  If you can tell that your seam is going to be obvious no matter where it falls, you may prefer having it perfectly centered. 

Once you've made a decision, pin and sew the bottom fabric to the bottom of your pieced panel.  Trim away any excess fabric and press seam open.

That's all there is to it!  You now have a completed top and back.  Check back Friday for advice on making your quilt sandwich. 

On Pressing Seams Open

Gosh!  This seems to be quite the hot-button issue so, before anyone else e-mails me to say that I'm "doing it wrong," I just wanted to talk a little more about my rationale for pressing seams open. :)

If there's one thing I believe about sewing/crafting/making it's that there is rarely one right way to do things.  There are rules I find useful and rules, like always pressing to the side, that I have no use for.  While I'm hopeful that some of you quilt-alongers (and my goodness there are a lot of you now!) will find some of my methods useful, I'm by no means suggesting that my methods represent the one correct way to do things.  As always, I encourage you to share your own methods in the comments.

  

The short answer to why I press my seams open is that I think it looks nicer but, specifically:

• It makes the blocks lay flatter.

• It results in more even distribution of seam allowances, which makes for easier piecing and quilting (i.e. no big lumps).

• I find that it makes for more accurate piecing. 

I realize that the conventional wisdom suggests pressing seams to the side is best. I've read various reasons for this, including:

• It makes it easy to "hide" your seam allowance under a darker fabric.

• It makes it easy to match seams because, if one allowance is pressed one way and one the other way, you can butt the two against one another to match.

• It's a sturdier construction method for certain kinds of quilting.

• It prevents batting from "bearding" through the pressed open seam after washing.

Let's look at these one by one. . .

It's true that, when all seams are pressed open, you can sometimes see a seam allowance through a very light colored fabric.  (Though, even if you pressed all seams to the side, this would still be true unless your quilt consistently alternated light and darker fabrics.)  For me, this just isn't a concern.  I can't recall an instance where, after quilting, a seam allowance was still visible to a degree that it bothered me.  Having flat blocks is just more important to me.

Some people do find it easier to match seams by butting the seam allowances.  I'm not one of them.  I'm kind of a stickler for accuracy and I just don't find this to be the most accurate way to match seams.  This is one of those areas where you probably just need to figure out what works best for you and go with it.  (It's also important to note that the way you press your seams can definitely vary from project to project or even within the same block.  You may need to try a couple of things before you figure out what you like best.)

It's true that pressing seams to the side is important to stitch-in-the-ditch quilting.  I'll admit that I have a really strong dislike of stitch-in-the ditch and would actively discourage people from using it.  To be quite honest, I just think it's ugly.  I also feel like, if I'm going to go to the trouble of machine quilting, I want to do it in an all-over pattern that will enhance the overall look of the quilt.  That's not to say that an allover quilting pattern must necessarily be free-motion (a diagonal/diamond pattern comes to mind).  I just prefer an allover pattern to a minimal outline of the blocks.

I'm curious whether anyone has had any experience with this bearding issue (actual experience with batting doing this -- not just being warned against it) because it's something I have never had a problem with.  I suspect that may have to do with the fact that I use natural fiber batting, but I also think it may be another of those situations where contemporary materials have become sophisticated enough that this maybe isn't the issue it may have been in the past.

Anyway, I hope this explanation is helpful!

Quilt Along Part 11: Piecing the Quilt Top

 

Now we finally get to see out quilt coming together!  The care with which you sew your sashing seams will have a huge effect on the quality of your finished quilt, so I encourage you to take your time.

 

We're going to start by sorting out the sashing strips.  You should have 11 long strips and 24 short strips.  Here's what we're going to do with them:

• Set aside two long strips to use on the quilt back.

• Set aside four long strips to use for exterior sashing on the quilt front.

• From the remaining five long strips, cut one 8.5" strip.  The short strips will be used on the quilt back.  The remaining long strips will be used as horizontal sashing on the quilt front.

• The 24 short strips will be used as vertical sashing on the quilt front.

Before we start sashing, we'll need to lay out our finished quilt blocks.  The linked pdf shows the layout I used for both of my quilt tops.  I've also included a photo of my blocks, so you can see the way I alternated the block orientation across the diagonals.  If you're following my layout, I would encourage you to do this too, as it adds some visual interest.

Download ModSamplerBlockLayout

If you don't have a design wall, the top of a bed can be a good place to lay out your blocks.  Once they're laid out, take a long look and decide whether you need to shift any of them around.  When you have your blocks where you want them, stack each row keeping the blocks in order and oriented the same way they will be in the quilt.  Use your cardboard dividers to keep the rows in order.  (This time the numbers on the cards will indicate rows one through six, rather than color combinations.)

 

You'll notice that the quilt top layout uses 30 blocks, but we have 36.  The six "extra" blocks will be used on the quilt back.  If you follow my piecing layout, your six extra blocks will include one of each style (A-F) and one of each fabric combination (1-6).  Set aside these blocks with the sashing for the back.  My Wednesday post will describe how to piece these together with your larger cuts to make the quilt back.

 

Each row will use four small sashing strips.  Using the same .25" seam allowance that you used while piecing the blocks, sew your rows together, placing one small sashing strip between each block.  (So each row will go: block, sashing, block, sashing, block, sashing, block, sashing, block.) 

If your blocks are not quite as wide as your 8.5" sashing strips, try to center them rather than lining them up with one side.  This will make it easier to keep your horizontal sashing even.  However, if you're noticing that your blocks are consistently .25" or more smaller than the 8.5" sashing pieces, I would suggest cutting down all small sashing pieces to 8.25" before doing any sewing.  (Seriously.  If you've sewed a row before noticing this, I would suggest taking it apart, cutting down the sashing and then starting over with shorter strips.  Making this adjustment now will save you trouble in the end!)

I don't usually pin small sashing pieces like this, but I do continue to follow the "rule" I talked about with Blocks E and F -- Sew with the solid strip on the bottom and the pieced block on top.

Once your rows are sewn and seams pressed open, you can continue to use your organizer cards to keep them rows in order.  It may be helpful to use a pin or sticky note to flag the left side of each row.

Note:  If you have any blocks backed with freezer paper, sew them into the rows in the same way you would your other blocks.  Once your rows are sewn, but before you press the seams, carefully tear away all of the freezer paper.  (It may seem odd to take it out before you sew the horizontal sashing but, because these blocks are small, having the block lined up between the small sashing should be enough to get an accurate horizontal seam.)  Notice how, in the photo above, I'm holding down the paper near the seam to keep the seam from pulling as the paper is ripped away. 

If you're having trouble removing your paper and/or find that tearing away the paper is messing with your seams, it's probably because your stitches are too large and/or thread tension too loose.  Try sewing your seam again with a smaller, tighter stitch before removing the paper.  (And remember to hold down the block while you're pulling off the paper, as shown above.)

 

Pinning the horizontal sashing requires a little more space.  I like to start by laying a sashing strip across my table with the ends hanging off either side, as shown above.

 

I then lay a pieced strip on top.  Starting in the middle and working outward, I then line up the tops of the small sashing strips with the edge of the horizontal sashing.  In theory, the small sashing pieces are all identical, whereas there may be variation in your blocks.  This makes the small sashing a better guideline for keeping the row straight. 

 

I usually pin on either side of each piece of small sashing and the in the center of each block. 

 

Sew and carefully press open the seam.

 

Continue sewing horizontal sashing between your six rows, again pinning from the center outward and taking careto match the small/vertical sashing pieces when you pin.  Repeat until you have, from top to bottom: Row 1, sashing, Row 2, sashing, Row 3, sashing, Row 4, sashing, Row 5, sashing, Row 6. 

I find it easier to keep my rows straight when I stop and press after each horizontal seam that I sew.

Meauring 8.25" from the inside seam of the nearest row of blocks, use your ruler and rotary cutter to square up all four sides of your quilt top.  Use the four remaining sashing strips to sew a row of sashing first to the left and right sides, and then to the top and bottom.  Use your ruler and rotary cutter to square up the four corners.

 

And that's it.  Your quilt top is finished!

Quilt Along Part 10: Piecing Blocks E & F

Please note that an early version of the fat quarter cutting instructions for the "other fabric" said to put a 2.5" square of that fabric with your pieces for Block F.  As you may have figured out, this would result in each Block F having two center squares and Block E none!  If you currently have both center squares with your pieces for Block F, please take a moment to place the squares cut from the other fabric with the pieces cut for Block E.  (The 2.5" squares cut from the dominant fabric stay with Block F.)  I apologize for the confusion!   

 

Block E is one of my favorites.  I just love square-in-square blocks and I particularly love the way these turned out.  This is another block with quite a few pieces and quite a few seams, so take your time and aim for precision.

 

Start by laying out your pieces and pressing them, if necessary.  I tend to think that it looks best to nottry to make all directional prints in a block like this face the same way.  If you're using directional prints, I recommend orienting them so they are either radiating out from the center or moving in a circular pattern (either clockwise or counterclockwise is fine) around the center. 

 

Sew your 2.5" x 1.5" pieces to the top and bottom of the center square and press seams. 

   

Now sew the two 1.5" x 4.5" pieces to the left and right sides.  I find that it's easy to keep things lined up without pins, as long as the piece I'm attaching (the longer piece with no seams in it) is always on the bottom, as shown in the photo above.

 

Once you've trimmed threads and pressed your seams, your block should look something like this.

 

Unlike the first four blocks, which we squared up at the end, we're going to square-up Blocks E and F as we go.  For Block E, each "ring" around the center square should measure 1.25" wide.  Once you finish each ring, trim it to an even 1.25" wide.

 

Now we'll use the very same method to add the next ring . . .

 

. . . and then the final one.  Remember, trim each ring to 1.25" wide before moving on to the next.  If your finished blocks are smaller than 8.5", you might consider using the freezer paper trickto prepare them for sashing.

 

I think this is my favorite set of scrappy blocks so far!

 

I'm including Block E and F in the same post because they both use the same basic construction method.

 

As always, start by laying out your cut pieces.  Use the same steps you used for Block E to sew two "rings" around the center square.

 

As with Block E, we'll trim this block as we go.  However, in Block F, the rings should be trimmed to 1.75" wide.

 

I just love this black and white fabric (Garbo by Alexander Henry)!  It's the one I chose for the main part of the back of this quilt.

 

Here are my scrappy versions of Block F.

We've now made it through all six block styles!  I hope everyone has time this weekend to work on their blocks.  I'll be back on Monday with instructions for piecing your quilt top.  In the meantime, I wish you all happy sewing.