Earlier in October I had a quilt schlepper’s view of judging a quilt show. My role involved moving piles of different categories of quilts to and from the tables used for judging, fanning the quilts (fast forwarding through a pile of quilts so the judges could get a preview), and holding each one up. That meant I got to eavesdrop on the judges’ comments between themselves, the comments that may not have been officially recorded.
Example of quilt being judged at Garfield County, Colorado, fair.
I’m certainly not going to report specific comments on individual quilts, but I did pick up some hints about what judges focus on in the three or so minutes allotted to each quilt. If you already do all these hints, you can have the joy of feeling justified. If you don’t, maybe they’ll help with the next quilt you enter into a show.
While the tips below are heavy on close up aspects of a quilt, the judges do spend a bit of time looking at each quilt’s design as worker bees hold it up. I learned that quilts made with wool are heavy.
First, bindings – their straightness, the sharpness of their corners, the security of their stitches, their fullness. Judges spend a fair amount of time on them. Hand sew down the miters on the back side edges if you want to impress a judge. The judges I observed didn’t care if a binding was completely sewn by machine as long as the stitching line was unobtrusive and of a consistent width. They also didn’t disparage butt end edges as long as the edges weren’t bulky.
Judges will measure for consistent width of narrow border strips. I know it’s hard to keep one inch borders even on a large quilt, but they do make a difference.
Removal of markings is important as judges will put their noses about four inches from your quilt top. I thought I had removed all markings from my quilt, but the judges found some blue dots. If I had examined my quilt under a surgical light I would have found those marks.
Straightness of quilt edges is important. Wavering edges show up when judges put the quilt edge next to the table edge. So, square up your quilt before binding it. In fact, square it up after each addition of borders.
For hand and machine quilting, judges check for even stitch length, quilting evenly distributed across the quilt, hidden starts and stops (bury those knots), and stitch tension on the quilt back. Free motion quilting will be checked for stitch tension especially. One problem the judges noted with FMQ is that long straight piecing lines can get distorted as numerous passes over those areas push the fabric a bit. This can make the piecing lines look crooked, even if they aren’t. I gathered that stitching in the ditch first helps prevent this. Another tip is to make sure the quilting goes to the raw quilt edge; don’t stop a half inch in, thinking the binding will cover that area. Some of the quilts had a half inch of puffiness between the edges of the quilting and binding.
The judges talked about problems with use of batiks. Apparently the close weave of batiks can cause waviness at the edges.
Judges don’t like animal hair on quilts. If you have a pet, either don’t use black or other dark fabric, or invest in many sticky lint rollers. Use those rollers before you pack your quilt and after you unpack it at the judging location. Remember, cats use different criteria for quilt judging.
Our show judges went through over 100 quilts in one day and remained good humored throughout. They voiced no nasty, disparaging remarks, and strove to appreciate each entry on its own merits. I’ll let you know the public reaction to their ribbon choices later this month.
While cleaning up some old digital file folders I came across this Quilt Inspiration post of quilts made with men’s ties and silk tie fabrics. Here’s a hand pieced tumbling blocks stunner from that post. It’s called Universal Ties, and is by Nancy Ota.
I’ve made two quilts with old ties and can attest to the need for special handling of the fabrics. I picked apart the ties I had and fused the silk to interfacing made for knits. The resulting fabric is stable to work with but bulky. I pressed my seams open to reduce bulk.
Here are my efforts.
Tie Sticks is based on the simple chinese coin pattern. I was pleased to have found a use for the skinny ends of the ties. The legs at the bottom belong to my son, and aren’t part of the quilt.
Taffeta Ties is old, circa 2006. In a burst of hubris I decided to make a quilt with old silk ties and synthetic taffeta and satin.
As I recall, I treated all the raw seam edges with Fray Chek to stop the raveling. That added difficulty to stitching in the ditch. Then I used variegated 30 weight quilting thread in contrasting colors to stitch a simplified cable pattern.
I spray basted a plaid backing fabric onto the rest of the quilt sandwich as I was worried that pins would cause pulls in the taffeta fabric. Because I wanted to be careful about fumes, I did my spraying while the layers were draped over the hood of my car in the garage. (Outside was covered with snow.) Let me tell you, that plaid was not a good choice. I didn’t position it on the batting straight and didn’t notice that until I had done the quilting.
As for the quilting, I didn’t yet understand about knotting and burying your thread ends. A gentle breeze will cause some of the quilting to come out.
I think Taffeta Ties is a sterling example of what not to do when making a quilt – the fabric and thread choices, the quilting used, and the basting method. It has a hanging sleeve, so at some point I actually displayed it.
Filed under Commentary, Completed Projects
Tagged as chinese coin pattern, neck ties, silks