What’s In Your Sketchbook?

The day I bought a sketchbook for my quilting ideas marked my transformation from dilettante to determined quilter.  Before then I guess I hadn’t felt I deserved an actual, special purpose place to record my ideas and trial color schemes and layouts.  Yes, I covered the backs of envelopes and scratch paper with stuff, but it was all very off the cuff.

While I don’t use my sketchbook as much as I should, I like looking through it to see the transmutation of ideas and the clippings of pictures, ads, and even fabric swatches I’ve collected.  I have quite a collection of ripped out ads that have caught my eye, plus glossy photos from old calendars.

And I do like using colored pencils.  Which reminds me I really should buy some Derwent Inktense watercolor pencils.  I might as well enjoy coloring fabric too.

On reflection, I think I should call it my idea book because sketchbook is too narrow a term.

Thread Bared

In my decades long infatuation with fabric I seem to have overlooked something even more basic to quilting – the thread that holds everything together. For years I’ve bought a few neutrals to piece with and 40 weight black, white and cream thread to quilt.  Yet thread is beginning to insinuate itself into my quilting life.  Thick thread, variegated thread, metallic thread, holographic thread, thread that snarls up my sewing machine, thread I apply by hand.

And with the discovery of thread comes a new passion on which to lavish money.  How can I resist the Kinetic Kelly or Molten Mocha holographic thread offered on one website?  The website claims this thread is “Perfect for cross stitch, needlepoint, crochet, knitting, bead knitting, bead crochet, fly fishing, crafting, embroidery, quilting, crazy quilting, and any creative technique.”  Fly fishing?

Like many quilters I’ve taken it as an article of faith that the only kind of thread to use is cotton; maybe silk for fancy handwork.  Yet longarm quilters have adopted polyester thread with enthusiasm, and other pros in the quilting world are also espousing polyester thread.  I gather it has to do with lint creation (or the lack of lint) when sewing at high speeds for long periods of time.  Poly advocates says it’s also thinner and stronger.  Here’s a video from Superior Threads about the differences between cotton and polyester thread.  According to the video, poly thread is NOT stronger than cotton thread, and will NOT cause a quilt to shred.  So, what’s a quilter to do?

I guess it’s time for some thread myth busting.  (Say that 3 times, fast.)  And time to learn new terminology like high tenacity trilobal and textured polyester.  Here’s an explanation of how thread tension works from Superior Thread’s website. Its solutions are pretty basic, but it does offer some tips.  Now I know to use a poly bobbin thread when I have metallic thread on top.  I have tried Bottom Line, a 60 weight polyester thread, in my bobbin to fit more thread on the bobbin.  Next, I’ll try cotton bobbin thread with polyester on top.  Supposedly it “grips” the poly thread better.

From now on I’ll need to pay more attention to my tension settings as I try different threads.  While I knew to loosen the tension with metallic and holographic threads, I should also be loosening it with a bunch of other threads according to this table from Superior Threads.

The only downside to thread love is that all these tempting varieties are simply not very available where I live.  The local JoAnn’s carries Guterman (which feels like rope after sewing with Aurifil), Sulky rayon and some other decorative thread, and Coats and Clarks.  A local sewing machine center sells a few lines of Superior Thread but really focuses on machine embroiderers’ needs.  The internet is great for thread shopping, but you can’t pool some thread on your fabric to see how it’s going to look.  It looks like I’ll just have to attend more national quilt shows to shop for thread in person.  What a sacrifice that will be.

The Project From Hades

You wouldn’t think that quilting a lot of straight lines on a quilt would be difficult.  Well, I sure didn’t, but have found out differently.  Let me back up a bit.  I sewed a top pretty much copied from the Trajectory Quilt designed by Megan who blogs at Monkey Beans.  At the time I just had a picture to go by, so I guessed how to put it together.  Since then, Megan has developed a tutorial so it should be easier for you to make.

Constructing the top wasn’t hard even though I did it quite differently than Megan, and I had fun combining fabric for the backing.  The problem began when I pin basted the whole thing together with batting.  The problem is the batting, I think.  (Of course, operator error is always a possibility.)  I’m using a poly batting called Soft and Bright.  It’s a bit heavier than the cotton batting I usually use, but this is a 60 inch square lap quilt so extra warmth is good.

I’m used to the batting kind of sticking to the top and backing, or at least being chummy with them.  This poly batting seems to repel the top, similar to magnets when you put the like poles opposite each other.  As a result the top is acting like “do I know you?” with the batting, despite the pins.  I’ve been re-pinning the top after every few inches of quilting to deal with the creep, and who knows where it will end.  And the batting is stiff, heavy, and difficult to manipulate.

Now, I’ve quilted a few tops in my time, so I’m not a beginner. This “simple” project is taking me down a peg or two.  And I’ve quilted only a fifth of it so far.  Excuse me while I go repin this monster again.

Second Chances

Sometimes I get discouraged or baffled about a piece and fold it away in a large plastic tub.  And then I forget about it.  Last week I emptied the contents of that tub to try to find some fabric I swear was in there.  I never did find that fabric, but I became reacquainted with four incomplete projects.  I finished one, “In the Summertime,” shown below.  Another, “Lost Heart,” I think I found a way to make better.  And the other two I returned to the tub to await inspiration.

Quilters often talk about their UFOs, projects that stalled for one reason or another.  I thought I’d call mine IPs for in process.  Since I don’t usually follow a pattern, it’s my call for when a quilt is done.  “In the Summertime” was created in an online class on circles and was “done” insofar as quilting and edges, but it just looked puny.  So I mounted it on a quilted rectangle and added beads.  If I had pulled it out of the bin a month ago I might have finished it differently.

My point here is that there is often no one “right” way to realize a quilt unless you’re obsessed with intent on following a pattern exactly.  Try setting aside your IPs and revisiting them after at least six months have passed.  You may find a way to give them a second chance, even if you cut them up and use the pieces in another project.

First Stop on the Art Quilt Tour

A friend pointed me to a website that sells materials/yarns/embellishments, etc. for art quilting.  Of course I had to click the link, and found oodles of fabrics, hand dyes, etc., to tempt me. The site also has a blog, with links to other blogs.  And that’s where I went down the internet rabbit hole.

Here are some details of quilts by Judy Coates Perez from her website.

This one, “The Three of Swords,” does the combination of machine and hand stitching I’ve been experimenting with.  And look at the opening in the heart that’s filled with circles.  And the variegated thread in the blue area.  Sigh!

And here’s her “Moon Garden,” with a paper silhouette feel.  I think the most beautiful part of this one is the back.

I’ll write about more wonderful quilts online in the future.  I’m in awe of the creativity and skills out there.