Oct
5
Sampler blocks
Filed Under Show & Tell | 5 Comments
Show & Tell!
There’s an outreach group within my quilt guild, The Allstar Quilters for Kids, who meet every two weeks and make cheery snuggle quilts for kids in need in our community. I’m sort of an honorary member; I don’t regularly attend the sew-ins, but I do try to support them however I can.
One of the members sent out a call for help making blocks for a quilt that will be used as a fundraiser for the group. I took a couple that had appliqué… because… well, you know :).
Here are my blocks, hot off the needle!
They’re part of the Spring Garden Sampler Quilt designed by Lydia Quigley, offered as a block-of-the-month by many quilt shops. Here’s one, Stitchin’ Heaven.
Can’t wait to see the whole quilt! It will most likely be part of the quilt auction that takes place during our guild’s annual quilt show in February.
Cheers,
Kay
By Kay Mackenzie
Kay’s Etsy Shop
Jan
9
Topic roundup
Filed Under Curves, Notches, Photo tutorials, Points | 2 Comments
Awhile ago, Daniquilter wrote:
I really need to see a step-by-step tutorial of you working through difficult parts of appliqué: inner curves, outer curves, points, what to do when a curve is pointy rather than curvy, etc. In other tutorials I see the beginning and then the end of a piece without the process in between. Love your blog!!
First of all, thank you so much Daniquilter for your nice words about the blog! I enjoy writing it.
It looks like you’re looking for information on hand stitching. It’s all here already! Here’s a roundup of past posts that address these very issues:
Clipping of inner and outer curves
Remember that you can always use the Categories and Keyword Search function to find information about topics in appliqué. If you’re subscribed by email, you’ll need to click over to the blog itself, so that you can see and use the sidebars.
My next quilt show is in Phoenix, Arizona, January 26-28. It’s the Quilt, Craft & Sewing Festival at the Arizona State Fairgrounds! If you’re in that area, I hope to see you there!
Until next time,
Kay
By Kay Mackenzie
Aug
27
More on stability
Filed Under Back-basting (no-template), Hand appliqué | 4 Comments
In the Call for Topics, Debbie asked,
I need to know how to tackle (handle the excess background fabric) of an appliquéd ‘whole cloth’ piece — in other words, one design on a large (say 36 x 42) background. Do you start at the top, middle, random, where? How do you keep that background fabric stable? Do you appliqué the vines first?
Debbie, there’s a reason that appliqué projects are usually done in block format LOL! Working on blocks is more manageable than working on a big honking project, with all of that excess fabric to deal with.
If you do have an appliqué project that’s one design on a large background, never fear… it can be done! I’m thinking we’re talking about hand appliqué here, and your question ties in with the recent post Support for your appliqué. The information given there on support for the background fabric is totally relevant to tackling large appliqué projects.
What area to start in? It’s not like machine quilting, where the conventional wisdom is usually to start in the middle and work your way outwards. I use the back-basting method, which ensures that your motifs end up stitched exactly where you marked them, so no worries about migration of pieces. Using this method, I personally wouldn’t be worried about what section I started on, but knowing me, I would probably work all over as opposed to finishing one section and then moving on to the next.
As for what order to go in, it would be the same as any other appliqué pattern. Start with the motifs that are in the back, and work your way forward. Vines are often the first things to go down, because they are usually behind other elements. You’ll need to study your pattern to see if this is the case.
Another tip about handling appliqué projects: Hold the work from the bottom of the target area. Make sure your wrist is not twisted or bent. Fold or roll the project in your non-sewing hand until you can get a good over-and-under grip on the area that you’re working on.
If your project is large, there’s the true challenge. You might have quite a bit of fabric rolled up in your hand, and that’s why the block format is so popular! You’ll need to unroll, reposition, and reroll as you work.
Suzanne recently wrote and asked, “Please review for all of us how you mark the pattern on the back of the fabric w/o using templates. Very interesting approach that I must try.”
Suzanne, go the the back-basting link above and that’ll give you all the information :).
Until next time,
Kay
By Kay Mackenzie
Aug
17
Support for your appliqué
Filed Under Hand appliqué, Needleturn, Vision | 5 Comments
Maddie asked, “I need help on a good method to keep the appliqué flat when working on large pieces. Currently, I have to keep my piece flat on a tabletop, yet I see other people working in hand. If I work in hand, the final project is not flat.”
Maddie, this is one of my favorite pieces of appliqué information to share. It isn’t something that’s typically covered in appliqué instructions, but I’ve always included it in my books because it’s an important piece of the puzzle in getting pleasing results.
First of all, let’s start with vision and lighting. Bear with me… it all ties in.
For good appliqué results, you have to make sure that your vision is good. Is your glasses prescription up to date? Do you have the proper glasses for close-up work?
Take me for example. My whole life I was so proud of my better-than-20-20 vision. But at a certain point, when we got a new computer system at my day job that ONLY printed out in 10 point type, I had to admit that I needed help. I entered the era of reading glasses.
Groovy granny glasses.
Now I could read the computer printouts. But the glasses were such a pain! Put ’em on, take ’em off. Put ’em on, take ’em off. Where the bleep are they?? Argh.
I mentioned this to my eye doc and he told me I was a good candidate for monovision contacts, so I went to see the optometrist and got me some. Hallelujah!
Now I could stick the contacts in in the morning and get through the whole day without putting on a pair of glasses! That really improved my quality of life! However, monovison contacts means you have a strong lens in your near eye and a weak lens in your distance eye, and your brain blends the two together. They’re great for general seeing but not so great for very precise, detailed, close-up work. So when I really need to see, I put on reading glasses on top of the contacts! That’s right, I go from two eyes to four eyes to six eyes LOL! Oh well, you do what it takes.
You may have a different vision scenario. You need to be able to see the eye of the needle and the grain of the fabric. What I’m saying is, do whatever it takes to get your vision corrected for stitching, and not just at two inches from your face.
Let’s move on to lighting. Good lighting goes hand-in-hand with good vision. You need to be able to direct a strong light right on your work. It’ll make a big difference!
The reason I bring up vision and lighting is that you need to be able to sew in your lap, not up next to your face. I see it all the time… people bringing their project up close to their eyes, stitching up in midair with the background falling away. This encourages buckling of the appliqué.
Put your feet up on a footstool, sew in your lap, and provide support for the background fabric. The June Tailor Quilter’s Cut ‘n Press is an excellent appliqué aid. The cushioned side comfortably supports your underneath hand and the project as you stitch. I’d show you a picture of mine but it’s ancient and “well-loved” in its appearance.
Mary Warner-Stone feels the same way as I do about the Cut ‘n Press, except I use the smaller square one and she uses a longer one. Check out her guest post, Support Your Work.
Maddie, I hope this helps. Let us know how it goes.
Until next time,
Kay
By Kay Mackenzie
Jul
20
Smooth curves
Filed Under Curves, Needles, Needleturn, Quilt shows | 1 Comment
In response to the Call for Topics, Vera wrote, “I cannot get nice smooth curves. I need to know how to eliminate those pointy pleats.”
I wrote a little bit about this in the Back Basting Redux post. I’ll repeat that bit here.
The culprit in chunky curves is the turning allowance and how it’s acting underneath the appliqué edge once it’s turned. First, make sure your turning allowance is not too wide. A quarter of an inch is actually too much. Trim to about 3/16″ of an inch, and distribute the bulk of the turning allowance smoothly underneath as you stitch. Make sure it’s not pleated up on itself under there.
In this illustration, I’ve made an appliquéd heart transparent so you can see what’s happening underneath the turned edge.
On the lefthand side, the bulk of the turning allowance in distributed evenly and the curve of the stitched edge is smooth.
On the righthand side, the turning allowance is pleated up on itself and is causing bumps and points in the stitched edge.
Just make sure your turning allowance is not too wide and that you work a little at a time, turning and distributing as you go. Don’t reach ahead and pull the turning allowance back towards you as you stitch. Hope that helps!!
In other news…
I just got word from my publisher that Inspired by Tradition is going into a second printing! It hasn’t even been five months! That’s gotta be good, right??
I heard from Kathy Delaney that she had a run on her needle packs after I posted about them last time! How cool cool is that! I’m sure that all the batik hand stitchers are now enjoying their Gold ‘n Glides!
I’ll be in Long Beach for the summer edition of International Quilt Festival once again this year. This is such a fun time, I’m really looking forward to it. Hope to see you there, July 29-31.
And, just received this from Ami Simms on one of my discussion groups:
If you have admired the work of Diane Gaudynski, Sue Nickels, and other celebrated quilters, here’s your chance to own one of their quilts. The Alzheimer’s Art Quilt Initiative is going to be auctioning 20 quilts from our first traveling exhibit, “Alzheimer’s: Forgetting Piece by Piece” in an online auction August 1-10. Details are here: www.AlzQuilts.org
Any help you can give us in spreading the word to quilters, quilt collectors, museums, and aficionados about the auction would be greatly appreciated. All profits fund Alzheimer’s research.
Thank you,
Ami Simms
AAQI Founder & Executive Director
Until next time,
Kay
By Kay Mackenzie
Sep
25
Pointy points
Filed Under Hand appliqué, Needleturn, Photo tutorials, Points | 9 Comments
Today I thought I’d post my illustrations showing how to hand-appliqué points. When I was learning to appliqué, this was one of the biggest mysteries to me, and when I finally “got it” my confidence took a big boost.
To begin with, you’ll want a turning allowance of no more than 3/16″. A quarter inch is just too much bulk to stuff under a point.
The stitches are exaggerated for illustration purposes.
Sew to within two or three stitches of the point.
Trim off the folded-under puppydog ear that is sticking out the other side of the point.
Fold the tip down square across.
Take the remaining stitches to the point, the last one coming right out of the tip.
Turn the project.
Starting at the point, tuck the turning allowance under. Don’t try to start further up and work down to the point. There will be no room at the point for the turning allowance if you try to do that. Work from the very point upwards.
When all is arranged satisfactorily, continue to stitch.
I hope this is helpful to you if you’ve found pointy points to be a mystery too.
Until next time,
Kay
By Kay Mackenzie
All graphics © Kay Mackenzie
Jul
8
Hand vs. Machine Appliqué: A Timed Experiment
Filed Under Articles, Freezer paper on top, Fusible web, Hand appliqué, Machine appliqué, Needleturn, Patterns | 16 Comments
I wrote this article awhile ago. I couldn’t get a magazine interested in it, so
I publish it for you here, because I think it’s quite an interesting proposition. This was before I learned back-basting.
Hand vs. Machine Appliqué: A Timed Experiment
by Kay Mackenzie
For quite a long time I was a hand appliquér only. But when I started designing appliqué patterns for publication, I turned to machine appliqué as a speedier way of creating second and third examples of the designs. After all, machine appliqué is a lot faster, right?
Somewhere along the way I became curious about how much time I was actually saving. I decided to conduct a personal timed study to compare a hand method and a machine method. I used a block from A Spin in the Garden, a pattern I was designing.
The spinning vine block in the middle
is the one I used.
I’ll begin by briefly describing the two methods I compared:
| HAND Traditional needle-turn using bias tape maker, freezer-paper templates, and a tracing-paper placement overlay. |
MACHINE Raw edge, small machine blanket stitch using paper-backed fusible web and a tracing-paper placement overlay. |
I used the same block and the same fabrics for both methods. I did not time the initial steps that were common to both methods, including selecting fabrics, cutting background squares, finding my glasses, gathering all materials, supplies, and notions, numbering the shapes in placement sequence, and assigning the colors on the pattern.
After organizing my thoughts and the projects, I set to work, watching the clock and recording the time for each step. I did one method all the way through, then the other. Here are my results.
| HAND | Minutes | MACHINE | Minutes |
| Trace pattern quickly onto tracing paper to make placement overlay. | 2 | Trace pattern carefully onto tracing paper with a heavy marker to make placement overlay, also serves as reversed pattern. | 5 |
| Using front of pattern, trace a freezer-paper template for each shape except vine. Cut out templates precisely on drawn lines. | 8 | Using reversed pattern, trace a fusible-web template for each shape, including vine. Cut out templates roughly outside drawn lines. Cut away centers of flower and leaf templates. | 14 |
| Iron templates onto right side of assigned fabrics. | 4 | Iron templates onto wrong side of assigned fabrics. | 7 |
| Cut out shapes, leaving a turn-under margin outside template. Clip notches. | 6 | Cut out shapes on drawn line. | 8 |
| Make vine using bias tape maker. Apply thin strip of fusible to back of vine. Trace vine placement onto background fabric. | 6 | ||
| Clean and oil sewing machine, change presser foot, insert new needle. Wind bobbin for each thread color. Adjust blanket-stitch setting, test stitching. | 8 | ||
| PREPARATION SUBTOTAL | 26 | 42 | |
| Fuse vine in place. Stitch vine. Then, one shape at a time, using placement overlay, remove templates and place, baste, stitch using thread to match each shape. | 160 | All at once, using placement overlay, remove paper backing and place, fuse, stitch using thread to match each shape (all of one color is stitched before changing thread). Pull thread tails to the back, knot, and bury. | 91 |
| TOTAL | 3 hours 6 min | 2 hours 13 min | |
Hand
Machine
Click either block for a close-up.
It was interesting to note that the pre-stitching phase took longer for machine appliqué than for hand appliqué. Cutting out the centers of the fusible web templates is not applicable for freezer-paper templates, and ironing time for fusible web templates is longer than for freezer-paper templates. For hand appliqué, I didn’t need to set up my machine, and I could trace the overlay quickly and with less care, since it was for placement purposes only.
The time savings for machine appliqué showed up in the last stage, where the shapes were placed, secured, and stitched. The grand total difference in time represented about a 30% overall time savings for machine appliqué.
There’s a lot to think about when looking at these time results. You may be faster or slower at any of these steps than I am. There are many ways to appliqué, and you may use differing techniques that are slower or faster within either hand or machine methods.
Also worth noting is that when I first took up machine appliqué, I don’t think I saved any time at all, because I made a lot of mistakes. Forgetting to reverse the pattern, neglecting to remove the centers of the templates, having the fusible come apart from the paper backing before I had a chance to use it, fusing to the right side of the fabric (force of habit from hand appliqué), and probably a few other embarrassing ways to get things wrong — mistakes in machine appliqué are not a time saver! Now I am comfortable and practiced at both methods, and the times noted in this experiment refer to a “clean run.”
Time, of course, is not the only factor for choosing one method over another. Personal enjoyment, skill level, preference for appearance, portability, appropriateness for the chosen project, type of sewing machine, these things and more can come into play when choosing an appliqué method.
I’m so glad I decided to conduct this personal timed study. Now I have learned that when either method is equally appropriate for my project, and time is the deciding factor, I’ll be saving almost a third by using machine appliqué.
I’d love to hear what you think about this! Did I save as much time as you thought I would?
Kay
Quilt Puppy Publications & Designs
Oct
18
Ladder stitch appliqué
Filed Under Freezer paper on the back, Hand appliqué, Ladder stitch, Photo tutorials, Turned edge | 1 Comment
I found a nice photo tutorial on Liesl Gibson’s Disdressed blog, showing the ladder stitch for hand appliqué. I’ve never used this stitching method, and I learned something. I’ll be trying it out. Thank you, Liesl!
Sep
21
My first appliqué
Filed Under Hand appliqué, Turned edge | Comments Off on My first appliqué
A blast from the past! When you see these “classic” fabrics you’ll probably recognize the year as being circa 1992. I enrolled in a beginning quilting class at Jordan’s Quilt Shop in Mt. Vernon, Ohio. Little did I know how that class would affect my life. I know you know what I’m talkin’ about.
We made a four-block sampler. I told my instructor, Ann Jordan, that I liked the Dresden Plate block the best. She said some fateful words to me that day… “Well, you just might be an appliqué person.”
Did she shape my fate as a quilter with those prophetic words? It turned out to be the absolute truth.
When I quilted my sampler, I went back and showed Ann how the appliqué stitches in the center circle pulled out a little. She said. “That’s why the stitches need to be really little, and tight.” It was an epiphany. Gone forever from that day forward were the big honking stitches perpetrated on my projects in 8th grade home-ec.
Thank you Ann! I hope you are enjoying your retirement. I’ve since moved away from Ohio, and I heard that Jordan’s now belongs to someone else, though they kept the name.
Sep
20
Greetings appliqué fans!
Filed Under Introduction | 1 Comment
Deep breath. Here goes.
I created this blog to explore, celebrate, discuss, and generally delve into the wonderful world of quilting appliqué. I love appliqué. I do it all the time, and I create designs for it. This does not tempt me to proclaim myself an expert. I can happily claim that I am impassioned about the subject. I’ll write about what I know, and a lot of other entries will serve to point appliqué fans toward something interesting.
For more on me and my designs, please visit the “About” pages.
Until next time,
Kay
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