Free Motion Challenge Quilt Along update

I've got a lot of projects on the go, but they're not really at a stage to include in a post yet. So here's one update:

Free Motion Challenge Quilt Along with Angela Walters

I've really enjoyed the weekly videos that Angela produces, even if I haven't watched them or practiced them in order. Since I'm behind anyway, I've decided to start with the ones I like.

From Week 7 I did both the Swirl and the Feather Meanders

Swirl FMQ pattern

Feather Meanders FMQ pattern

Feather Meanders from the back 

As I got near the end of the Feather Meanders, I could feel myself getting into a grove. That's why I'm quilting my friend's batik quilt with Feather Meanders. I love it!

Week 8 was Clam shells.

Angela just drew the horizontal lines to make the different rows even but I drew in the first row of clam shells to make sure that they would be relatively even. As you can see, I tried a few variations based on both Angela's tutorial and her eye candy.

Clam shells and a few variations

From Week 6, I practiced the Serpentine. That was tough, even if I practiced a lot with pen on paper. I've always had problems with "S" curves. I seem to have a flair for curls more than "S" curves!

"S" curves or serpentine

What I learned

• I thought that it would be a great idea to work on sandwiched blocks instead of a whole quilt. In theory it sounds great, but it gets really difficult when you FMQ near the edge of the block.
• I liked the swirls a lot. If they were a little longer and elongated, they would be perfect for a windy sky.
• I really liked the idea of clam shells within clam shells (the top right).  
• My cathedral windows didn't really come out well because the original clam shells were more long than wide. I think that it's best if it's worked within a square, like a grid.  
• My "S" curves or Serpentine stitch may not be individually great, but when there's a whole wack of them, it's not quite as bad. I think that as long as you don't make something really wildly off, it will probably end up blending in. I don't think that I'll be making rows of Serpentine again but I do like them in smaller areas within a quilt.
• If you want to practice your FMQ, this is a great way to do it. However, when FMQ on real quilts with fabric that isn't a solid, and using thread that blends, FMQ is very forgiving - thank goodness. 😊 

Related links

• Angela Walter's Free-Motion Challenge Quilting Along
• Wavy lines from Week 6 is posted in March finishes and April beginnings, April 1, 2018

Linking parties

I'll be linking this post in a bunch of linky parties. Come with me to see what's going on. Monday Making, Design Wall Monday, Moving it Forward, Main Crush Monday, Linky Tuesday, Let's Bee Social, Midweek Makers, Needle & Thread Thursday, Can I Get A Whoop Whoop?, Finished or Not Friday, Free Motion Mavericks, 

Practice Makes Better

I know in theory that practicing a skill increases your skill level. However, I’ve never really seen the results so obviously for myself. It’s now been a little over two years since I started free motion quilting (FMQ) on my new-to-me jag. I first blogged about it in Playing & Quilting, August 27, 2013. At the time, I had no idea how much this would change my quilting.

Free Motion Quilting practice piece

My first class was Free Motion Quilting a Sampler with Leah Day on Craftsy. I started by doing stippling, “S” curves and paisleys. It took a while for those “S” curves and paisleys to look like they were supposed to. I quickly learned that drawing was the best way for me to learn. Now, whenever I want to learn a new FMQ pattern, I take out my pencil and paper and draw until I’m comfortable with it. After that, it usually takes me only a couple of practice tries on fabric to get ready to quilt the real thing.

A modern looking paisley

I’ve recently decided to practice my FMQ on a more regular basis (what ever that means) because just FMQ completed projects is not enough. I still doodle FMQ patterns whenever I get the chance but I really want to expand my repertoire of patterns.

I started by gathering the solid fabrics from my stash that I had inherited from my mother. I hesitate to use them in quilts because they’re mostly cotton/polyester blends. These are perfect for making practice sandwiches. I spray basted rows of long skinny pieces of batting left over from previous projects between the fabrics. For these practice pieces, I found that they didn’t have to be taped together.

For my first practice piece, I concentrated on paisleys and leaves. I found some great ideas in a Dover library book, A Treasury of Design for Artists and Craftsmen. My favourite was a modern paisley that doesn’t have outside edges except where the lines within happen to go to the edge of the design. With an iron-off marking pen, it was easy to draw the outline of the paisley and then quilt the lines within it.  If I was to use this pattern again, I could practice it to figure out how to continuously quilt it without having to travel from one end to another. That would ensure that both sides would have the open effect that makes it special.

Paisley with curves

I also practiced breaking up the space within the paisley to add different designs. I used many straight lines at different angles, from triangles to zigzags, as well as a few curved pieces including a paisley within the paisley. This is a very versatile design that can include pretty much anything you can FMQ within it. The bigger your original paisley, the more you can add.

I got the idea for the leaf patterns in a Zen Colouring Designs magazine. The image didn’t come out well since I used much lighter thread. Again, it’s the same principle of dividing the space to add different designs.

Leaf - divide and conquer

I had so much fun FMQ this practice piece that I ended up binding it and placing it on my wall at work. I smile every time I see it.

I also practiced my cathedral windows based on Cindy Needham’s Machine Quilting Wholecloth Quilts on Craftsy. As she recommended, I took the time to draw out an on-point grid with my trusty iron-off marking pen and then followed her instructions. My edges are a bit off but otherwise, it’s a pretty decent try. It makes such a rich background.

Cathedral windows

What I learned:

• Use solid fabrics for my practice sandwiches. Using ugly patterned fabrics isn’t a good idea because I can't see the quilting as well, if at all.
• Spray basting strips of left-over batting between the two layers of fabric is good enough, as long as the practice piece isn't used for anything else.
• It’s important to stop quilting at least one inch of the border, otherwise the design gets distorted. This is NOT the first time I’ve learned this - and probably not the last time I’ll forget it!
• Practicing like this has given me a lot of confidence. I’m now planning my next fully FMQ project.

I have linked this post to the following linky parties: Let's Bee Social, Free Motion Mavericks. Also celebrating 3 years of partying at Let's Bee Social! See what everyone is doing on Oh Scrap! 
My post was featured on Free Motion Mavericks! Check it out!

FMQ Madness!

I once blogged that there might be such as thing as too much of a good thing - that is, free-motion quilting (FMQ). Now I'm not so sure. Since I've gotten better at it, it's become incredibly addictive. I'm not sure that I'll ever be able to just stitch-in-the-ditch or do some minimalist quilting. It doesn't mean that every inch of every quilt needs to be quilted. It still depends on the quilt; its design, use, etc. I'm just saying that it's really, really difficult to not keep going when you're FMQ.

I can safely thank (or blame) Cindy Needham. I have taken both of her Craftsy courses and have watched them both a number of times. Design It, Quilt It: Free-Form Techniques has some great tips on FMQ. The one that got me though, is Machine Quilting Wholecloth Quilts. This course is about creating Wholecloth quilts (basically from one piece of fabric as opposed to a pieced top). Since most of the quilts are just one colour, which means ample opportunities to FMQ.

Her incredible quilts are usually made of vintage linens over plain cotton or silk fabric. Cindy clearly loves her vintage linens and incorporates them on wholecloth quilts while highlighting the original creator's work. This is all beautiful and truthfully, a little intimidating. So, instead of starting with a wholecloth quilt made of linen, I've started with a project that was less intimidating but that let me FMQ like crazy. It's creating a wholecloth quilt from large print fabric. You use a fabric that has interesting shapes that would be fun to quilt, and you quilt it from the back. Let me explain.

The fabric you quilt on becomes the back of the quilt

Here's the fabric that I chose. It's got all kinds of interesting shapes that would be fun to quilt. I created a quilt sandwich with some lovely light yellow-orange fabric. I chose a couple of threads that would go well with the fabric. I used a thicker thread to outline the shapes while the other finer thread was used for the scribbling and other FMQ shapes such as pebbles, straight lines, S-curves and feathers.

Large print wholecloth quilt

All of the quilting is done on the front of the large print fabric. The beauty comes when you look at the other side! Isn't it amazing that quilting that rather gaudy fabric could create a piece of such simplicity and elegance?

This technique is perfect for quilting with metallic threads. These can be very finicky to quilt with unless they are in the bobbin. Since this project is quilted from the back, it highlights all of the bobbin thread. As you can see from the photo, the flowers were quilted with the metallic thread, sometimes 3 or 4 times so that they will show up.

Here are images of some of the details. The metallic thread and the beading add an elegant touch. You can see the scribbling, pebbles and feathers between the outlines of the flowers and leaves.

Details

More details of metallic thread and beading

What I learned:

• Quilting from the back of the quilt took some getting used to but what an end-product! I couldn't wait to take it out to see the results.
• I've since tried to work with metallic thread that was not in the bobbin. What a mess!
• This was a great project to practice FMQ. There was TONS of FMQ and you can't tell from the end product if you followed the lines or not!
• I suspect there will be a few more of these wholecloth large print wall hangings since they were sooooo much fun to work with.
• I may be ready to work with some linens. I'll start with hankies that I picked up in China. At least if doesn't turn out as well as I'd like, I won't have destroyed a vintage piece!

I linked up to Free Motion Mavericks. Have a look!

Re-quilting a Door Hanging

About 3 years ago I made my first door hanging. I wanted something on the door that wasn't a wreath - it was either make something or repaint the door (in other words, a no-brainer!) I started with four different panels and incorporated various elements from magazines etc. I found some lovely appliqué of flowers and a Canada goose, so I decided to work around these.

Since the hanging would be used in the summer, I chose a white background and lighter colours. The bottom-left panel had the flowers appliqué while the top-right had the Canada goose. I made a block for each of the other panels. The bottom panel had a basket block with flower fabric while the top block was a star with evening colours. I added a star above the goose and embroidered our last name underneath it (I didn't want anyone leaving with it!)

Original quilting

That was the extent of my door hanging. I had very little experience machine quilting so I did a little bit of stitch in the ditch and a few wavy lines here and there and called it done.

When I made that first door hanging, my intention was to have one for each season. This summer I finished my second, spring door hanging. I had learned many lessons about door hangings by then, so it wasn't white, but rather bright pink, green and orange. Nothing calm about that one!

As I've mentioned in my last post, the quilting I do depends a lot on the amount of energy I have in the evenings and on weekends. Low energy this summer has meant that I have watched many Craftsy courses. The one that has inspired me the most lately has been Cindy Needham's Design it, Quilt it: Free-Form Techniques. Since I'm always looking for projects to practice my free motion quilting (FMQ) on, I took out that first door hanging. I had nothing to loose. That door hanging had served me well for two years, so if I messed it up, it wasn't the end of the world.

Stencil for the basket

I really wish I had taken a before picture. In the photo above, the lines represent roughly the original quilting. As you can see, it was pretty sparse - I just didn't know what to quilt.

In the re-quilting, I started with stencils. I used a border flower stencil for the bottom-left side. I added a flower stencil on the basket and then a sun, two stars, a fleur-de-lys and a diamond pattern in the top-right.

Here is some of the FMQ I did:

FMQ using stencils, lines, echoing and swirls

• I added echoing around the flowers, dragonfly, the Canada goose and the star. They had already been bordered but the echoing is much more effective. 
• I worked with the original straight lines above the flowers and added more. 
• Swirls were added around the basket as well as to the left of the Canada goose.
• I scribbled in the white triangles and squares within the basket as well as around the embroidery. That provided lovely contrast.

That filled in most of the space. I really didn't know what to do with the rest of the background, so I watched the Background chapter of Cindy Needham's video once more. I figured out that I had to block off the areas that were still blank and work each one separately. Breaking down the area really helped.

FMQ pebbles within S curves and Dot-to-Dot quilting

I also practiced drawing the swirls and the pebbles a lot, so that by the time I started FMQ, my hand muscles knew exactly what to do. As Cindy suggested, I also used my fingertips to guide the FMQ - that was extremely helpful.

For the star block on the top-left, I used that trusty dot-to-dot from Angela Walter's Dot-to-Dot quilting technique. I didn't want to distract from the design, especially for the windmill in the middle of the block.

Re-quilted door hanging

What I learned:

• I thought that I would really dislike making repetitive designs such as swirls and pebbles. It was very tedious before I got the motion down, but after that, it was really enjoyable and very Zen. Not at all what I was expecting!
• A WHITE door hanging is NOT a good idea. I knew that it would be subject to the elements, but I didn't realise that it might blow away and land in the garden. Darker or brighter colours are much better suited to door hangings.
• I am very happy with the results. The only thing I would do differently the next time is to plan out the stencils a little more. Most were fine, but I overdid it in the top-right panel.   
• Cindy Needham says that we should have movement, depth, and light and shadow in our quilting. I think I'm getting there.

I shared this post at Sarah's blog, Confessions of a Fabric Addict for her Whoop Whoop party! and Link-A-Finish Friday with Richard and Tanya Quilts. Check out the fun.