QUILTsocial | Issue 07


I'm so excited to share this issue with you, within it there are treasures of quilting know-how that will help you improve your quilting skills. One of my challenges is sewing Y seams, and who doesn't struggle with these at first? Follow the instructions and you'll be well on your way to achieving perfect results. Other essential skills you'll want to hone are achieving perfect points every time using easy foundation piecing, 2 ways to machine quilt a binding, improving your 5 quilt label essentials and the 7 critical questions to ask yourself before quilting your quilt. Plus...expand your creativity using Northcott ColorWorks Concepts fabric, using bright and colorful patterns that engage your quilting senses! Enjoy the patterns in this issue, and Happy Quilting!

Q .c


…eat, sleep, quilt, repeat

Diagram 2

Visit www.QUILTsocial.com to

download a PDF version of this issue.


essential TIPS for

* sewing Y seams

* foundation piecing =

perfect points every


* quilting fun with

ColorWorks Concepts


* 2 ways to machine

quilt a binding

* improve your 5 quilt

label essentials

* 7critical questions

before quilting a quilt

* PLUS *

Carefree Quilt

Laughing Flowers

Wall Hanging

French Press Cozy

Wonky Squares Quilt




| issue 7 1



The creative sensation pro II sewing

and embroidery machine is the evolution

of the PFAFF ® brand’s advanced

technology. The result is performance with

superior precision and control.


Limited LLC or its Affiliates. © 2016 Singer Sourcing Limited LLC or its Affiliates. All rights reserved. All statements valid at time of printing.


Exclusive Double

Ribbon Stitches

PFAFF ® Precision Portfolio

Perfect control in each and every stitch.

• ActivStitch Technology

This revolutionary technology delivers gorgeous embroidery

even when using challenging threads like metallic.

• The Original IDT System

Absolutely even fabric feed from both the top and the bottom.

Only from the PFAFF ® brand!

• Precise Positioning feature

Place every embroidery design exactly where you want it.

• Exclusive Stitch Creator feature

Create new 9mm stitches or edit built-in ones with

professional finish.

• Shape Creator feature

Combine decorative stitches or design elements instantly to

create unique borders and designs.

Ask your local dealer for a personal




At participating Canadian dealers

Like us on

58 Summer 2016 NPT Ad_FNL.indd 1 2016-05-06 3:37 PM

editor's letter

If you've been following me on Sunday

QUILTing, a segment on QUILTsocial

blog, you'll remember I started making

quilts with mom earlier this year. We

decided to get together every Sunday

(hence the name..) in the afternoon,

tea included. We have joined forces for

many reasons, one was to spend more

quality time together, and since we

would soon be done with light chit chat

we thought it might be fun to make

things together. Mom has been sewing

clothes for over 50 years and has

dabbled in quilting for the last seven

years. This was my opportunity to get

on with the projects in my stash. As I

mentioned in my first post, 4 ways to

work quilting in your busy lifestyle, it's

a lot easier when you team up with a

quilting friend, you share the work and

it keeps you on a meeting schedule,

like church.

Here's our first quilt, completed in the

spring called I Love to Knit. The fabric

print, with sheep that knit and knitting

jargon all over it, was absolutely

impossible to resist as I happen to

own a knitting obsession as well. The

top and backing are both pieced as

I wanted to make it reversible and

use up all the fabric. I love everything

about it, the way it was pieced and

the way it was quilted - what a team!

Since I bought this fabric, it has taken

me a long time to cut it up, so we

kept the pieces wide and long enough

not to lose the funny knitting sheep

and long script. We added fabric

with text and flowers, and I just had

to embroider the quilt label by hand.

You can see and read more about

this quilt, and the other two baby

quilts we made in the summer, in the

subsequent Sunday QUILTing posts.

I hope you will find the technical

articles and purposeful projects in this

issue of QUILTsocial very helpful in

accomplishing your quilting dreams.


follow me on





… for those who gather with thread and fabric to

‘eat, sleep, quilt, repeat’.


Carla A. Canonico



John De Fusco



John De Fusco, Carla A. Canonico, Alessia De Fusco


Elaine Theriault


Jean Boyd


Jennifer Houlden


Nancy Devine



Carla A. Canonico


Sandra Armas

WEBSITE / BLOG : http://QUILTsocial.com

Like us on Facebook : QUILTsocial

Follow us on Twitter : @QUILTsocial


QUILTsocial is a quarterly eMagazine published by A Needle

Pulling Thread. It is available free for personal use online at


A limited number of printed copies of QUILTsocial are available for

purchase at select quilt shops and specialty stores. Ask for it at your

local shop. QUILTsocial is not available by subscription.


If you are interested in carrying QUILTsocial in your store, please

email john@QUILTsocial.com.


Designers and other contributors who would like to be considered

for future issues please email carla@QUILTsocial.com with a

brief description of your work and your proposed project for the


©2016 QUILTsocial. All rights reserved. Issue #7. ISSN 2368-5913.

No part of this publication may be reproduced without written

permission from the publisher.

All designs, patterns, and information in this magazine are for private,

non-commercial use only, and are copyrighted material owned by

their respective creators or owners.


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Elaine’s Quilting Tech Tips!

Advertiser Index

55 A Needle Pulling Thread Magazine

63 Brother

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64 Gütermann Creativ

07 Northcott


60 QUILTsocial


4 .com | issue 7


QUILTsocial issue 7

c o n t e n t s












Hooked on Books

Summer Berries Table Runner

Summer Apron with a 10° Twist

Laughing Flowers Wall Quilt

The Wonky Squares Quilt

Carefree Quilt

French Press Cozy

2 reasons to use the Dual Feed Foot

2 ways to machine stitch a binding

Tips for sewing Y seams

Tips for using the Free Motion Foot




| issue 7 5

hooked on books

Scraps, Inc. (vol.2)

15 Scrap–pieced Designs for the Modern Quilter

Compiled by Susanne Woods Scraps, Inc. (vol.2)

Most quilters present their finished quilts as gifts to friends and loved–ones, but

often these projects leave extra fabric scraps that quiltmakers can't bear to just

throw away. Scrap–based quilting titles are consistently best–sellers as quilters

are always looking for new and innovative patterns to feature these treasured

fabrics. Most often, these are the quilts that get kept by their maker as a reminder

of all of the other quilts they have gifted over the years. Scrap quilts can be

tricky to design due to the variety of color challenges that random scraps can

introduce, but these patterns solve those issues through clearly illustrated color


128 Pages, ISBN 978–1–940655–19–2

Lucky Spool


Quilting Basics

Michael Caputo

Have you ever thought about creating a patchwork quilt, but decided

it would take too long or be too difficult? If so, Quilting Basics is your

perfect introduction to this popular craft. Beginning with the "Getting

Started" section, quilting teacher Michael Caputo will show the tools and

equipment, and demonstrate the sewing skills you will need, plus the basics

of constructing your quilt. Section two is a series of 12 workshops, each

introducing you to new skills, with a project at the end which enables you

to practice what you have just learned—a great way to get to grips with

the theory. As you progress through the workshops, you'll learn how to join

pre–cut squares, sashing, piecing and paper piecing, using templates, and the

different types of applique.

160 Pages, ISBN 978–1–78249–309–9


Sewing Pretty Bags

Debra Valencia & Cheyanne Valencia

Sewing sisters Debra and Cheyanne present 12 quick and easy projects for

sewing boutique handbags, shopping totes, pouches, and more. With step–by–

step instructions and fresh, modern designs, they show how to make beautiful

bags for both fashion and functional uses.

Get inspired to express your unique personality with the stunning prints and

colours of today’s contemporary fabrics. You’ll look stylish carrying your one–

of–a–kind accessory, personalized with fancy trims, pockets, beads, flowers or


128 Pages, ISBN 978–1–57421–951–7

Fox Chapel Publishing


Sewing Essentials

Serger Techniques

Pamela Leggett

Learn to operate your serger like a pro. Popular instructor and sewing expert

Pamela Leggett demystifies the serger and makes using it fun with her

invaluable guidance. Through this detailed guidebook and DVD workshop

you will get to know your serger inside and out. Master once–daunting

techniques and learn spool–threading secrets, how to adjust tension and

control the fabric feed, and how to sew basic stitches lickety–split. Clear and

concise instructions throughout the book make it easy to learn how to use

flatlock stitching to secure heavy fabric, embellish with decorative stitching,

or create heirloom–quality pintucks and ruffles. Whether you're a beginner

or have sewing experience, this must–have reference will give you the

confidence to do more with the serger than you ever thought possible.

160 Pages, ISBN 978–1–62710–917–8

Taunton Press



6 .com | issue 7


Join the fun! www.NorthcottFabricCircle.com

Join the fun! www.NorthcottFabricCircle.com


100% cotton - looks like suede - feels like silk

100% cotton - looks like suede - feels like silk

Toscana captures the subtle tones and elegant textures of an Italian fresco and it


looks just


like suede!

the subtle

The kaleidoscope

tones and elegant

of 135 colors



of an Italian

a comprehensive

fresco and it




in values

like suede!





shades to delicate

of 135





for contrast comprehensive

in quilting.

range in values from rich shades to delicate pales, ideal for contrast in quilting.

Toscana is an ongoing blender program that is supported with a

Toscana is an







patterns and



is supported with wide assortment of patterns and precuts.


Using the right tools and fabrics can make a difference in

the execution of these creative endeavors, but this series of

projects can be accomplished just the same using what you

have at home.

In this installment, we explore a table runner for summer using

fabric with a summer theme; however you can imagine this

runner in another assortment of fabrics with fall, winter and

spring themes. For fall you can tie in more harvest tones, or

cooler winter tones. The idea is to envision this being used in a

multitude of settings. This runner can be used on a picnic table,

kitchen décor, dining room or family room setting. Or even a

fireplace in the season chosen. It can be made to any size, and

with all of the technique blocks shown here, you’ll have no

shortage of creativity for adding more blocks to the runner.

Besides exploring your creativity, you’re using a several

techniques like circular decorative stitches that can be done

in machine embroidery or using a circular attachment in

sewing mode. These make the embellishing part of sewing and

quilting easy and fun.

You’ll also look at embroidery needle felting, vintage decorative

stitching, and surface embellishment using free motion sewing.

Each block of this runner that explores these techniques can

be constructed as separate components to be used for hot

pads, placemats, a focal element displayed in a picture frame or

serving tray. Keep an open mind and adapt this table runner to

your home decorating needs.

Another idea would be to keep each element block separate

and use the circular attachment tool to stitch a circle around

each individual technique ‘block’ with right sides together of

lining and fabric right side. Leave an opening in the seam and

turn the blocks right side out. So there would be a needle

felted embroidery piece, circular stitch piece, decorative

vintage stitched piece in a circular shape and so on. Then using

a bar tack the circles could be placed in an artistic array on your

table. Sew many ideas!

It’s important to remember that a mix of assorted fabrics gives

the surface interest, and in this case linens, cottons, silk Dupioni

and felt have been used to create texture and dimension. I

think having a runner with 2 façades is so cool. I can adapt it to

my mood, include more decorating options in one, and can be

flipped depending on the occasion.

I encourage you to adjust the patterns to your desired sizes,

adjust the shapes if you like, and most of all have fun with it.

Summer Berries

table runner

skill level intermediate

finished measurements 45'' x 10'' [114.5 x 25.5cm]



• an assortment of cottons, linens, silk Dupioni

• 20” [0.50cm] silk

• 20” [0.50cm] linen

• 2 Printed Cotton fat quarters for texturing

• 2 INSPIRA® Fabric Magic pieces cut to the same size as

each fat quarter

• 6 Jelly Roll Strips 2½” x 45” wide for Vintage pieced blocks

(other fabrics like silk can be substituted)

• Linen for circular stitches and embroideries cut to the

embroidery hoop size

• Dupioni silk for embroidered lettering cut to desired size


8 .com | issue 7


sewing feet used

• embroidery foot

• general sewing foot

• topstitching foot with guide

• ¼'' seam foot

cutting tools

• rotary cutter

• cutting mat

• INSPIRA® scissors

embroidery requirements

• embroidery software or built in machine

embroidery designs

• HUSQVARNA VIKING® suggested needle felting


• PFAFF® suggested needle felted designs


• INSPIRA® microtex needle size 80 or 90

• INSPIRA® embroidery needles size 90


• assorted colours of Robison- Anton® 40wt Rayon

thread for machine embroidery

• assorted colours of Sulky® 30wt Blendable threads

for construction

• all-purpose thread for construction


• INSPIRA® Tear N Wash with graph for making


• INSPIRA® Stabilizer Cut Away for machine

embroidery lettering

• INSPIRA® Stabilizer Fast & Easy Tear Away for

decorative stitches – 1 piece

• INSPIRA® Stabilizer Aqua Magic for ornamental

embroidery on tea cozy


• circular attachment tool

• needle felting kit for machine embroidery

• craft or wool felt pieces for embroidery felting

• standard hoop 260 x 200

• metal hoop 180 x 130

• extension table for your machine

• quilting gloves

• rick rack trim or assorted trims

• stiletto for point turning

• marking tools

• Singer Steam Press

• assorted buttons

HUSQVARNA VIKING® DESIGNER EPIC sewing and embroidery machine

Husqvarna Viking® provided the following sewing machine

and products to make the sample:


embroidery machine


The table runner design is one of the built-in signature

designs and fonts on the HUSQVARNA VIKING®

INSPIRA ® Stabilizers

INSPIRA® Machine Needles

INSPIRA® Scissors

Robison-Anton® Embroidery Threads

Sulky Threads

Signature 40wt Cotton Machine Quilting Thread





| issue 7 9

Software possibilities

Back of needle felted embroidery

Front of needle felted embroidery

Needle felting components (1)


Preparation steps

1. Prewash cotton and the other fabrics if


Note: It’s also important to measure the

intended table, or create a size that can be

used for a multitude of sizes.

2. Create your patterns using INSPIRA

Tear N Wash stabilizer with graph for

making drawing easy. Adjust your

pattern according to the size of your

center table.

3. All of the finished measurements

of the blocks lettered from A-J

are the measurements after the

techniques were completed and cut

to size as a finished block. So the

starting measurements would vary

depending on the size of the selected

embroideries and the size of your table


Schematic of finished sizes of technique

blocks letters A to J


Cutting blocks

A Single felted flower 6” x 11”

B Textured block 6” x 11”

C Triple Felted flower 12” x 11”

D Decorative Vintage Stitch block 13” x 11”

E Textured block 7” x 11”

F Summer Berries Font embroidered

block 13” x 11”

G Textured Block 7” x 11”

H Decorative Vintage Stitch block 13” x 11”

I Circular Decorative Stitches 11” x 11”

J Textured Block 7” x 7”

If you have a sewing advisor on your

sewing machine, set it to woven

medium for this project.

Thread your sewing machine with

cotton thread for construction. Or Rayon

thread for machine embroidery.

Machine embroidery fonts

1. Hoop the INSPIRA® Cut Away stabilizer

and Dupioni silk, and load the built-in

embroidery fonts of choice. In this

case it was a size 40 Swirl. You may

choose to pick a font from your

Premier Software like Marlow 15-40

mm. Always look at your fonts and

decide if it suits the project.

2. Thread the machine with 40 wt

embroidery thread and bobbin


3. Explore the placement of the fonts,

and preferred embroideries that can

be incorporated at the same time. A

simple theme was kept for Summer

Berries. When the embroidery is

complete cut way excess stabilizer.

4. This embroidered block was cut

larger to have enough room to add a

2½” strip horizontally just below the

letters, and a textured piece which

was left over after all blocks were cut.

These additional embellishments

were each stitched on after the

embroidery was complete using a

straight stitch.

5. Embellish with a piece of trim.

6. Cut this block to desired size and press.

7. Add buttons.

Machine embroidery felting

1. This particular design is a candle

wicking embroidery. This is a great

example of a built-in embroidery

design being crossed over and used

to do embroidery felting.

2. Load your embroidery design, and

install the Embroidery felting kit onto

your machine.

3. Following manufacturer’s instructions

install all of the important items, work

with a felting needle.

4. Always experiment with

embroideries. Candle wicking designs

work beautifully. Try other designs.

Have fun with it.


10 .com | issue 7


Instruction photos by Cheryl Stranges

5. Hoop the linen fabric and place the

felt piece on top. The felt is visible

as the embroidery design is felting.

Essentially the felting needle will

push the felt through the linen and

the felted design is occurring on the

underside facing your sewing table.

See the design by removing the

hoop from the machine and turning

the hoop over.

6. There are other ideas that can be

incorporated into these felted pieces.

Wool Roving can be used with or

without the craft felt. It’s always a

great idea to use a water soluble

stabilizer on top of the roving to keep

it in place.

7. Also remember that when working

with felting a great way to remove

the excess felt after the embroidery

is complete is with appliqué scissors.

These allow to get in close to

the roving or felt without cutting

through the main piece, which in

this case is the linen. You can go

through the embroidery felting

process more than once, if you

prefer thicker looking designs.

8. Quilting embroidery designs look

beautiful. And can be repeatedly

felted for a more pronounced

finish. If you felt a hat for example

and two pieces of polar fleece are

felted together, use an invisible

stitch outline around the design if

you use invisible thread. Each style

of project will dictate whether it’s

necessary to do this. Most single

layer of felted embroideries don’t

require this extra stitching.

9. Cut each of the felted embroidery

pieces to desired size and press.

Circular motion stitching using machine


1. Select embroidery mode. Select

a decorative stitch in the stitch

menu. This could include quilting,

fun, vintage or a multitude of

other stitches.

2. Choose a hoop size to work with.

Include stabilizer in your hoop and

linen fabric. Select a stitch, and select

the shaping feature, shaping will allow

you to place the stitches in many

shapes. Circular shape was selected

for this technique. Duplicate the

stitch to accommodate the desired

shape size and this will fill in the circle.

Repeat these steps selecting another

decorative stitch. Adjust the next circle

size to correspond to the previous

circle but a bit smaller. Repeat for

each circle that will be larger than the

previous circle.

3. Bring decorative stitches into

embroidery mode. Proceed to

embroider the circles. When this is

complete remove excess stabilizer. Cut

this block to desired size.

Circular motion stitching using machine


1. Select embroidery mode. Select

a decorative stitch in the stitch

menu. This could include quilting,

fun, vintage or a multitude of

other stitches.

2. Choose a hoop size to work with.

Include stabilizer in your hoop and

linen fabric. Select a stitch, and select

the shaping feature, shaping will allow

you to place the stitches in many

shapes. Circular shape was selected

for this technique. Duplicate the

stitch to accommodate the desired

shape size and this will fill in the circle.

Repeat these steps selecting another

decorative stitch. Adjust the next circle

size to correspond to the previous

circle but a bit smaller. Repeat for

each circle that will be larger than the

previous circle.

3. Bring decorative stitches into

embroidery mode. Proceed to

embroider the circles. When this is

complete remove excess stabilizer. Cut

this block to desired size.

Free motion before Fabric Magic

Free motion after Fabric Magic




| issue 7 11

Textured pieces next to strip colours

Pieced strips

Circular motion stitching using the Circular Attachment tool

1. This technique is done in sewing mode. Use manufacturer’s

instructions to install the circular attachment tool to the

machine. Prepare the fabric to be stitched with a piece of

stabilizer on the underside.

2. Select a decorative stitch, there are a variety of thread

weights that work very well with this technique. Choose a

bobbin thread, and use a topstitching needle.

3. The measurements for the circle diameters are the

measurement guides on the tool. So if you choose a 6” circle,

you can stitch this wonderful stitch in a circular motion.

4. Place the fabric with the pin inserted through the fabric and

stabilizer and place into the tool.

5. Exploring a variety of stitches, and diameter measurements,

will yield a multitude of results. Once the stitches are

on one circle, select another beautiful stitch; adjust the

diameter measurement by sliding the measurement

guide to the desired size. Place fabric with the pin inserted

through the fabric and stabilizer again and place into the

tool. Stitch another circle.

6. Create as many as desired in different areas of the fabric.

There are many shapes and templates to work with so enjoy

this wonderful tool.

7. Cut your technique block to desired size. Press.

Creating surface embellishment

1. Use each fat quarter to create an inspiring surface

embellishment. Your INSPIRA® Fabric Magic can be cut the

same size as the fat quarter.

2. Thread the machine with 40wt Rayon thread or use Sulky

Blendable. A topstitching needle is also recommended. But

experiment with needles.

3. Select a free motion setting and install a free motion sewing

foot on the machine. Select a straight stitch. Proceed to

free motion for small circles in a loopy fashion on the fabric.

Having the Fabric Magic on the underside allows the fabric

to slide very well.

4. Use zigzag or other decorative stitches to free motion with.

Fill in the entire area of the fat quarter. If you would prefer

to sew without free motion, leave the sewing machine in a

regular stitching mode.

5. Use a channel quilting foot as a guide, or a multi-line

decorative foot to select a straight or decorative stitch. And

stitch rows first vertically and then horizontally across the

fabric. Diagonal stitches work very well.

6. When all of the stitching is complete, use a very good

steam iron or press to hover above the stitches with a burst

of steam. The fabric will immediately begin to kink up and

create a wonderful texture. When this process is complete,

cut your technique block to desired size.

Jelly Roll blocks

1. Cut the strips to desired length and an assortment of fabric

types can be used. A 2½” x 12” length was used.

2. Use the ¼” piecing foot and place each strip right sides

together and stitch them one after another to create the

block. When this step is complete, press each strip to one


3. Place a piece of Tear Away stabilizer behind this piece and

select Vintage stitches. 40wt Robison Anton thread and a

topstitching needle were used for this project.

4. Install a topstitching foot with guide onto the machine and

stitch each of the vintage stitches down each seam.

5. Remove any excess stabilizer when complete.

6. Press.

7. Cut this technique block to desired size. Press.

Table runner construction

1. Set sewing machine for sewing mode.

2. Audition the table runner blocks in various orders. This is

where a creative design wall is very helpful. You can place

each piece on the design wall and move the order around

until you get what you like.


12 .com | issue 7


Vintage stitching

Textured pieces next to strip colours

3. Once you have decided what works well, prepare to pin each

of the technique blocks right sides together, and join them

to each other until you have a very long strip. The letters A to

J in the schematic of blocks is simply a guide. You can create

whatever you love. Some of your techniques may vary from

ours, just remember to have fun. It’s all about the learning.

4. Press your seams to one side on each panel.

5. When complete fold the strip of creative blocks in half, right

sides together. Stitch the last block on each of this runner

strip short seams together. Leave an opening of about 4” in

the seam. This is going to be used later to turn the runner

right side out.

6. Determine the order of the blocks now, as you have one

big circular tube of blocks. The table runner is going to

be different on the front and back. In this project the

embroidered summer berries became the center focal point

on the front. But any order will be fine.

7. Place fabric right sides together and sew the long edges as it

already has finished side seams. Place it on the sewing table.

8. Cut the rick rack, and place in between the seams and pin

into position between the long edges.

9. Stitch the two long edges. When these are complete turn the

table runner to the right side through the 4” seam opening.

10. Press and close the seam.

Cheryl Stranges

Product & Event Specialist, Husqvarna Viking






| issue 7 13




with a

10 degree


The pattern is

designed for

a serger and


with a sewing

machine. It

can be made


with a sewing

machine. The

advantage of

using a serger is

that the exposed

seams in the

skirt are sewn

and finished in

one step.





| issue 7

skill level easy

finished measurements

top edge to bottom edge 26½” [67cm]

skirt width 50” [127cm]



• 32” [80cm] Fabric 1 (floral)

• 39” [100cm] Fabric 2 (solid)

• 1yd package or 1yd x 20” Sulky Soft n Sheer extra

required notions

• Sew Easy 10⁰ Wedge Ruler

• quilting ruler 6” x 24”

• 45mm rotary cutter


• Kai Scissors 4½”

• Heirloom Glass Head Pins

• 4 spools Gütermann Serger thread

• 30 wt Sulky Cotton Blendables thread

• Topstitch needle size 90/14

• Clever Clips

• Clover Double sided basting tape

• Heirloom Air-erasable marker

• Heirloom Stop Fray


Fabric 1

Bib: 2 – 12” x 11” (1 lining and 1 bib front)

Wedges: 2 – 17” x 14”

Binding: 2 – 2½” x 22”

Fabric 2

Ruffle: 2 – 3½”x 40”

Waistband/Ties: 2 – 4½” x 40”

Neck Ties: 2 – 3½” x 40”

Wedges: 2 – 17” x 12”

Soft n Sheer Extra

Bib: 12” x 11”

Waistband: 2¼” x 20”

Serger set up

4–Thread Overlock Stitch

Neck Ties

1. Cut one neck tie strip 20” long. For each tie,

place right sides together, serge the length and

across one end.

2. Put a dab of Fray Stop on the threads at the corners.

3. Turn right-side out. Press and set aside


1. Fuse Soft n Sheer Extra to the back of the bib front.

2. Place the lining and front right sides together on a cutting

mat with 11” as the width.

3. Line up the Sew Easy 10 degree wedge ruler with the #23

along the bottom edge of the fabric with the edge of the

ruler in the bottom right hand corner. Only trim off the

excess fabric on the right hand side of the ruler and discard.

4. Repeat for the left hand side of the bib.

Inserting the neck ties

1. On the right side of the bib front; place the raw edge end of

each neck tie about ½” in from each side, along the top edge

of the bib.

2. Hold in place with double sided basting tape. Place the

lining and the bib front right sides together.

3. Serge across the top of the bib catching the neck ties in the

seam. Check to make sure the tie ends have been caught.

4. Serge the side seams. Put a dab of Fray Stop on the threads

in the top corners.


Serge the waistband/tie strips together to create one long strip.

To create a firm waist band, place 2¼” x 20” piece of Soft n Sheer

Extra to wrong side of the waistband centering it over the joint

and matching one of the raw edges. Fuse in place.


1. Using the Sew Easy 10 degree wedge ruler, place the #6

along the 14” top raw edge of the fabric and the #23 along

the bottom raw edge.

2. Cut along both edges of the ruler. Discard the small wedge

from the side.

3. For second wedge flip the ruler 180 degrees lining up edge

of ruler with cut edge of fabric, #6 along the bottom raw

edge and #23 along the top raw edge.

4. Cut 2nd wedge. Repeat for remaining wedges.

Cut: 7 wedges from the 17” x 14” pieces of Fabric 1

6 wedges from the 17” x 12” pieces of Fabric 2




| issue 7


Cutting the wedges on fabric.

1. Serge the wedges together to create the skirt.


1. Serge the ruffle strips together to create one long strip.

2. Change the serger settings to a Flat 3 thread or Rolled Hem.

Serge the lower edge of ruffle. For a more decorative edge,

thread the upper looper with Sulky 30wt blendable thread.

3. Change the Serger back to a 4 thread overlock with a long

stitch length and the Differential Feed increased to 2. Gather

the top edge of the ruffle.

4. Change the Serger Differential Feed to N. With right sides

together; center and pin the ruffle to the bottom of the skirt.

Serge in place. The ruffle will be slightly longer than the

bottom skirt edge. Using a quilting ruler and rotary cutter,

trim off excess ruffle.

Binding for skirt sides

1. On the short edge of each binding strip, press up ½”. When

applied this will create a nice finish on the lower edge of the


2. Fold the binding in half lengthwise with wrong sides

together and press.

3. Starting at the bottom edge of the skirt, match the lower

edge of the skirt with the folded edge of the binding, pin

the binding to the wrong side of the skirt side, raw edges

together. Serge in place. Repeat for the second side. Put

a dab of Fray Stop on the threads at the bottom edge of

binding. Press the binding to the right side of the skirt.

Use double-sided basting tape or Clever Clips to hold the

binding in place, hiding the serged seam. Note: The binding

will be topstitched with the sewing machine.

Assembling the apron

1. Mark the center of the following pieces with an air erasable


• Lower edge of the bib

• Upper edge of skirt

• Waistband

2. Matching the center marks, pin the bib to the upper edge of

the skirt with the bib lining to wrong side of the skirt.

3. Pin the waistband with the Soft n Sheer Extra to the upper

edge of the skirt; right side of the skirt to right side of the


Note: You should have a sandwich with the skirt between the

waistband and the bib.

4. Starting on the tie about 3” from the skirt edge, serge


5. Fold the ties in half right sides together along the length.

Serge across the ends of the ties. Serge the length of the

ties starting at each end working towards the middle of the

apron. Stop when you get to the serging from step 14. Put

a dab of Fray Stop on the threads at the corners of the ties.

Turn the ties inside out and press.

Topstitching with a Sewing Machine

Sewing Machine Set up

Sewing Foot: Regular sewing foot

Top and Bobbin thread: Sulky 30wt Blendable

Needle: Topstitch needle size 90/14

Stitch: Straight stitch

Stitch length: 3 mm

1. Reposition the binding if necessary and topstitch.

2. Topstitch the neck ties.

3. Topstitch the bib.

4. Fold in the seam allowance on the waistband and press.

Hold in place with double sided basting tape. Press the bib

up from the back of the apron. Pin in place. Topstitch the

waistband and ties.

Note: This will hold the bib up.


16 .com | issue 7


Photo courtesy of H.A.Kidd and Company Ltd.

To add texture and movement, use variagated thread to sew seams.

Sew Easy 10° Wedge Ruler

Serge the wedges together to create the skirt.

Donna Housley


& Cathy McClean




| issue 7 17

Using 3D elements

for your wall quilt

Nancy Devine

Cheerful flowers after a long winter

makes everyone smile.

Tulips are one of my favorite

flowers. They are simply elegant.

Although they are a symbol of

spring, they are often used in

flower arrangements throughout

the year.

I dreamed up the Laughing Flowers

wall quilt, which was inspired by

a line in a Ralph Waldo Emerson


"The earth laughs in flowers..."

– Ralph Waldo Emerson

It's got some 3D elements, and

high definition fun – what's life

without whimsy?



• fat quarter neutral fabric

• fat quarter quilters' muslin

• template plastic

• Firm and Flexible interfacing (the kind

used to create 3D items like vases and


• fabric for quilt binding

• quilt batting

• fiber fill

• various fabric scraps

• laces and/or small doilies

• small buttons

• very firm woven fusible interfacing

• Feather Lite HeatnBond

• 505 spray

• small Clever Clips

• spring action thread snips

• air erasable marker

• Flatter pressing spray

• green pipe cleaners

• glue stick

• embroidery floss

• numbered quilting pins

• Heirloom Stop Fray

• ½” diameter wooden dowel

• machine embroidery thread

• Sew Smooth

• Handmaid

The woven heart flower basket is a

traditional Scandinavian decoration.

They're fun to make and quite useful for

all sorts of things, but they are a bit of an

acquired skill.

In this tutorial, the hearts are made with

heavy weight paper (which is traditional).

I wanted to see if I could 'fabricate'

them, employing the technology of

heavy-duty interfacing and Fray Check.

I was not disappointed.

Weaving these hearts takes practice. I

found that using a numbering system

helped to follow the tutorial until I had

the muscle memory to weave a heart

without thinking about it. Those cute

numbered pins helped a lot! Just be

careful that you don't get scratched

while you're weaving.

Print the heart basket template.

Cut two pieces of contrasting fabric, 7"

wide x 18" long, as well as 7" wide x 18"

long heavy duty woven interfacing. Fuse

fabric to interfacing.

Trace with an air erasable marker. Lift the

middle portion of the heart template in

order to trace the pattern.

Weave the heart pieces together, then

pull slightly on the sides to even the

heart shape.

Apply Fray Check to all the cut edges

and allow to dry.

A cardboard template and an air

erasable marker help create the

woven heart flower basket.

These sweet numbered quilting pins help a lot with the

weaving process.

Once you've woven your heart, give it a good (and

fragrant) press with Flatter.




Photos by Nancy Dervine

| issue 7 19

How making fabric tulips is a meditative process

Nancy Devine

Fill the basket with flowers you've made.

Sew along the traced line of the leaves.

Clip curves along the leaves before turning them.

This will make the seam smoother and reduce

overall bulk.

Wrap pipe cleaner stems in thin strips of fabric.

Let's make some flowers to fill the basket.

I had planned to make about 6 flowers,

but in the end, I made 9 blooms to fill the

heart. Let's see how making fabric tulips is a

meditative process.

For the leaves, fold green fabric scraps

double, right sides facing together. Lay the

doubled fabric on top of a scrap of quilt


Trace the template onto the fabric side.

Pin the layers together, leaving an opening

for turning at the bottom of the leaf. Sew

along the traced line of the leaves.

Sew around the shape on the drawn line.

Cut out the shape, adding ¼'' as you cut it


Clip curves. Turn leaf right side out and push

out the top of the leaf. Wiggle the seams to

make sure they're smooth. Press well.

Use green embroidery floss to hand quilt

stitches long the outside of the leaf. Tear ¼''

wide strips from the green fabric. Run a glue

stick along the top of the strips. Wind fabric

strips along the length of the pipe cleaner

from top to bottom.

Set aside to dry.

For the tulip buds, sew the three sections,

right sides together, starting at the dot

marked at the top of the bud. Clip curves

and turn right side out.

Turn under ¼'' hem and hand sew it with a

running stitch. Stuff the bud firmly with fiber

fill. Pull up the gathering threads to keep the

filling inside, but don't knot them.

Dip the end of the fabric-wrapped pipe

cleaner into PVC glue and then into the end

of the tulip bud. Pull the gathering threads

tight around the stem, and secure to the

stem with a few stitches and then tie a knot.

Knot tightly.

Run a bead of PVC glue along the bottom

third of the tulip leaf, and wrap the leaf

around the stem, at its mid point. Secure

with a small Clever Clip. When the glue is dry,

join the leaf edges at the bottom with a bit

of hand stitching.

I found making fabric tulips a meditative

process, and I hope you enjoy it too.

Gather the ends of the stuffed flower head, and

secure to the stem.

A bit of hand quilting using embroidery floss on

the leaves creates texture and interest.

Leaves clipped to the stems


20 .com | issue 7


Laughing flowers

wall quilt templates


Tulip Bud

Cut 3

¼” Seam

cut 2 of fabric

cut 2 of interfacing


cut along this line

place on


Tulip Bud

Cut 3


Tulip Leaf

¼” Seam


cut along this line

Nancy Devine for QUILTsocial.com

Cut 2 of fabric

Cut 1 of batting

Add ¼” seam




| issue 7


Fray Check makes the woven

heart strongerNancy Devine

A lovely basket that elevates our quilt into another dimension.

These next steps for making a cheerful Scandinavian–

inspired quilted wall hanging, will have a lot of help

from Fray Check, a stabilizer, the running and zigzag


Now that the cut edges of the basket have been

stabilized by the skillful application of Fray Check, let's

get it ready for placement on center stage of the

Laughing Flowers wall quilt.

Clip any stray threads that have not been contained by

the Fray Check.

Outline each square of the woven heart with

embroidery thread, using a running stitch. This is quite

tricky, but it's necessary to stabilize the weaving.

A stunning pair to create a lovely edge to our woven basket.

Outline each square of the heart weaving with embroidery thread, using a

running stitch.


22 .com | issue 7


Quote for printing on inkjet fabric. in two font styles

Apply Fray Check to the cut edges of the woven basket fingers.

Zigzag the edges of the heart, taking care not to accidentally

sew it closed, I found that marking the start and stop points

of the bottom of the heart with pins was helpful. I used

embroidery thread and a machine embroidery needle to do

the stitching.

You'll find the embroidery needle is both very sharp and has a

larger, stronger eye to accommodate the thicker, more robust

embroidery thread. Using the proper needle will ensure that

the stitches are pretty and the thread won't break.

Iron on another piece of heavyweight woven interfacing

trimmed, about ¼'' smaller than the heart, to the back of the

shape. This will help stabilize it before it's attached to the wall


Download the wording for the quilt and print it out on inkjet

printer fabric. If you prefer, you can download this version and

embroider the words onto the wall quilt. If you're doing this,

you'll need to use some stabilizer, and do the embroidery prior

to the quilting.

I like to cut out the wording patch using a wave-edge rotatory

cutter, but pinking shears are also an option.

Now that stabilizer and Fray Check have made the woven heart

stronger, we'll be quilting the substrate for our wall quilt, which

is an artsy fancy way of saying getting the backdrop ready for

the our laughing flowers basket.

Zigzag the edges of the heart basket, making at least two passes to fill in the edge.

Sew the buttons to the heart, and then tie them for a decorative finish.




| issue 7 23

Sulky's PolyLite thread adds

shimmer to wall quilt

Nancy Devine

Spray baste all the layers of the quilt sandwich.

We wove together and decorated a sweet woven heart basket

for our Laughing Flowers wall quilt. Let's get the background

quilted and ready for the flower–filled basket. The background

will be a little thicker than the usual quilt so it can support

the 3D woven heart basket, let's see how to create a more

solid background for the wall hanging. Then, we'll add some

shimmer to it with Sulky's PolyLite thread.

There's been a lot of hands-on work involved in this little

quilt so far, and there's more to come. When you change your

machine's needle to work on the quilted substrate of this quilt,

take a moment to take care of your hands with a good quality

lotion. I like Handmaid in a scent called Celebration. It smells

like birthday cake, and that's the best smell in the world –

well, next to new fabric...

The quilt sandwich is a bit different:

•18 • x 22 neutral fabric




ultra firm interfacing





A match made in heaven! Hands that sew can use some tender care.

A walking foot and quilting guide makes short work of creating

the diamond quilt pattern.


24 .com | issue 7


Press all the layers together so they're smooth. Spray baste the layers

together, and use safety pins to secure the corners.

I elected to quilt the wall quilt in a diamond pattern, using Sulky's PolyLite

thread in a pale pink because I love the little shimmer it creates.

Install your walking foot according to the manufacturer's instructions. At

this time, I also changed my machine needle because this is a robust quilt

sandwich. A new, sharp quilting needle will go through the layers more

easily and create beautifully formed stitches.

Use a quilting ruler to draw a line on the diagonal, from the top to the

bottom of the quilt sandwich, this will be your quilting guide. Stitch

quilting lines, first in one direction and then the other to create the

diamond pattern.

Once the quilting is finished, embellish your quilt with the wording label

using your stash of lace, buttons, and small doilies.

Spray baste the back of the woven heart and place on the quilted


Stitch to the background, very close the edge of the heart, taking care not

to sew it closed. (see photo)

Sometimes we'll look at a quilt and know it's something wonderful, and

small details like Sulky's PolyLite thread that adds shimmer is a detail that

makes all the difference. We're going to finish up our laughing flowers

wall hanging. It's already making you pretty happy, right?

Embellish the wording label with a lacy edge.

...but don't stitch the heart closed.

Stitch the heart to the quilted substrate...




| issue 7 25

2 Sewing tools

to make binding a quilt easier

Nancy Devine

The finished details in our Laughing Flowers Wall quilt are revealed today.

We're going to create a hanging system and bind the

quilt using 2 sewing tools to make binding a quilt

easier: Flatter starch free spray and small Clever Clips.

From coordinating fabric, cut two 5" squares. Fold in

half on the diagonal and press with a dry iron. Don't

use steam as it will distort and stretch.

Pin the folded triangles to the top edge of the wall quilt,

matching the raw edges.

Stitch the hanging pocket very close to the edge of

the quilt, and then again, slightly more inward from

the first stitching.

Cut 20 – 4" squares of coordinating fabrics and

join them together, alternating patterns. Cut the

resulting strip of fabric in half, and sew the two

halves together along one short edge. This is the

binding for the quilt. Bind the quilt. For tips on how,

follow Elaine Theriault's excellent QUILTsocial tutorial

on binding a quilt.

Press the binding to the back of the quilt and clip

with Clever Clips. If you do this while the pressed

edge is still warm, the fabric will really hold a crisp

crease. It's a great solution for those corners that

persist in looking a little more loose than desired.

Press pieces Flatter for a charming pieced border.

Sew the hanging corners close to the edges of the top of the quilt.


26 .com | issue 7


Slip stitch the binding to the back.

Raid your stash of mini doilies and pretty

buttons to make this wall quilt shout

hello to spring!

Create a label for your wall quilt, and

iron it on to the back using HeatnBond


Dip the ends of the blooms in PVC glue,

and place in the basket. Allow the flower

arrangement to dry.

Once the glue has dried, assess which

ones might still be a bit floppy. These can

be tacked to the quilt using tiny hand

stitches. If the edges of the basket are not

secure enough, they can be secured with

hand or machine stitching.

If you like, tack a couple of ribbon or raffia

bows to the edges. Insert wooden dowel

and hang for everyone to enjoy!

That's all from me for now, I hope you've

found these 2 sewing tools to make

binding a quilt easier, useful. This basket

full of fabric tulips is a pretty, hopeful and

happy welcome to the coming spring.

Until we meet again, remember to make

a mess and have some quilting fun!

Mini doilies and pretty buttons make this wall

quilt shout hello!

Add a quilt label to your quilt.

Use small Clever Clips to secure the binding to

the back of the quilt, bonus: zero scratches from

the pins!

Slip stitch the binding to the back of the quilt.




| issue 7 27

quilting fun with




Jean Boyd

This was left over from the original "Soho" panel I used

in a project from QUILTsocia Issue 6.

Let’s have some more quilting fun with the new ColorWorks Concepts

fabric from Northcott! In Issue 6 of QUILTsocial, I showed you how to make

placemats, a table topper and a table runner using the Soho Panel and

coordinating fabric from this new, modern collection from Northcott. You

can have a look at all the fabrics here. You can also find out which quilt shops

in the USA and Canada have these fabrics by using the Product Finder link at

the top of the page on the Northcott web site.

Table topper, table runner and placemats using the Northcott "Soho" panel

I started with one Soho panel and some

coordinating solids. After finishing my

table set, I still had fabric left over. The

panel had sections cut out of it, but I

knew I could figure out a way to use the

leftovers to make a small quilt.

I designed this little quilt using the

Electric Quilt program. I’ll show you how

to make your own version of the quilt.

Here’s how I started. I cut the remaining

panel pieces into squares and

rectangles. You need 12 of these pieces

for the quilt. The squares will be about

4½" and the rectangles will be about

3½" x 4½". The measurements don’t

have to be exact as long as they are

approximately this size.

To complete the blocks, I decided to

use these 7 solids from the ColorWorks

collection by Northcott, but you may

choose other colors if you wish. You

need 20" of each of the 7 colors. From

each fabric, cut 3 – 3" strips on the

lengthwise grain. Cut the strips into 7½"

lengths. You'll have 6 strips 3" x 7½" of

each color.


28 .com | issue 7


let's make the

Wonky Squares


Leftover Panels from the New York Beauty Panel

20" of each of 7 different solids

Cut 6 – 3" x 7½" strips from each solid color fabric

Photos by Jean Boyd




| issue 7 29



quilt blocks

with Soho

fabric panels

Jean Boyd

Now that you have everything cut out, let’s start making the

tilted quilt blocks for the Wonky Squares quilt using the colorful

Soho fabric panels. Choose 4 different solid color strips to go

around a center square or rectangle. Sew the first strip to the

center square using a partial seam. Press seam toward strip.

Sew the next strip on the left side of

the block. Press seam toward strip. Trim

excess fabric.

Sew the next strip across the top of the

block. Press seam toward strip. Trim

excess fabric.

Sew the last strip across the bottom.


30 .com | issue 7


Finish sewing the partial seam on the

first strip. Press the block carefully. Trim

excess fabric.

Place a 7½" plastic ruler square or a 7½" square of

template plastic on the block on an angle.

Trimming the Block

Place a 7½" plastic ruler square or a 7½"

square of template plastic on the right side

of the block, lining up the center with the

center of the fabric square. Place the ruler on

an angle, tilting to the right.

If you're using a plastic ruler square as shown

in the picture above, you can rotary-cut

around all 4 sides to make a 7½" block. Using

a revolving cutting mat is helpful.

If you're using a square of template plastic,

use a fabric marking pencil to trace around

the plastic. Then rotary-cut on the drawn

lines to make a 7½" block. Handle carefully

because all the outside edges are on the bias.

Make 11 more 7½" blocks like this. The ruler

can be placed at a different angle on each

square to give more variety to the blocks.

You can also tilt the ruler to the left on 6 of

the squares for even more visual appeal. You

may have to cut a few more 3" x 7½" strips to

complete all the blocks.

Next, we need to put these titled quilt blocks

together to make the Wonky Squares quilt top.

Rotary-cut the block.

Handle carefully to avoid stretching the outside bias





| issue 7 31





& sashing

Jean Boyd

ColorWorks Concepts fabric for the sashing

Now it’s time to start sewing the tilted

quilt blocks and sashing. At this stage

of construction, it’s a good idea to place

the blocks on a design wall or on the

floor, so you can arrange them to create

good color balance.

For the sashing, I used another of the

ColorWorks Concepts coordinates. This

print is a little more neutral so it tones

down the bright colors in the blocks. You

will need 20" of fabric.

Cut 31 strips 2" x 7½" on the lengthwise

grain of the fabric. The edges of the

blocks are all on the bias, so cutting the

sashing on the lengthwise (less stretchy)

grain will help to stabilize the blocks.

Place the sashing strips between the

blocks on your design wall.

Cut 20 – 2" squares from scraps of the

solids for the sashing squares. Place

them on your design wall along with

the rest of the quilt pieces, arranging the

colors as desired.

Sew the 3 blocks and 4 sashing strips

from Row 1 together like this. Press

seams toward sashing.

Sew the remaining 3 rows of blocks and

sashing in the same way.

Sew blocks and sashing strips together.

Sew 4 – 2" squares and three sashing

strips together like this.

Press seams toward sashing strips.

Make a total of 5 sashing rows.

Sew the sashing strips with squares to

the completed rows.

Sew the sashing strips with squares to the

completed rows.

Now that you've finished sewing the

tilted quilt blocks and the sashing, it’s

time to add the border. I’ll be using

the leftover solids from the ColorWorks

Premium solids collection by Northcott.

ColorWorks Premium Solids

Arrange the blocks as in diagram


32 .com | issue 7


Place sashing strips and 2" squares on the

design wall.

a clever


to make a





Sew the first side

border with a

partial seam.

From each solid color, cut 1 or 2 – 5½" strips on the

lengthwise grain. My strips measure between 10" and 14"

in length. It makes a more interesting border if the strips

are different lengths.

Put the completed blocks on a design wall or the floor.

Start placing the strips around the outside of the blocks

until you have an arrangement you like. You may have to

cut a few extra 5½" strips.

You need to have 2 side borders that measure about 43"

and top and bottom borders that measure about 34".

Sew the border strips together, end to end, to make the

length you need for each side. Press seams open.

Sew on the first side border with a partial seam. The

bottom of the border should be even with the bottom of

the quilt. Press seam toward border.

Sew on the bottom border next. Press seam toward border.

Trim excess fabric.

Sew on the next 2 borders, trimming excess fabric as

needed. Then complete the seam in the first border.

After making the borders, you'll probably have enough

solid color fabrics left to make a pieced backing. Another

opportunity to get creative!

Press the quilt top carefully and you're all ready for quilting!

I hope you enjoyed making the borders this way, it cuts

from the monotony.

Borders are sewn on




| issue 7 33

Carefree Quilt

4 tips for keeping your quilt pieces in order

Jennifer Houlden

The new layout

You might recall that in Issue 6 of QUILTsocial

I started a piece that had lots of 4½'' squares

with ¼ circles added to them, I was having

fun playing with the Carefree Curves circle

templates. Now it’s time to put these squares

together but keeping track of them could

be a challenge. So here are 4 tips for keeping

your quilt pieces in order as you sew them

together – no reverse sewing today!

When I pulled out the project to continue

working on it I realized I still had a lot of work

to do. My original layout has gone and I have

come up with a new layout that I like better

and it uses up more of the shapes I made last

month. I tend to like symmetry in my designs

and this one will be no exception.

First things first I need to finish putting bias

strips around all of the ¼ circles before I can

sew the squares together.

Here the bias strips are all sewn in place.

Doesn’t that Sulky rayon thread just shine on

the dark teal fabric? I'm very happy with how

the light thread contrasts with the dark fabric.

TIP 1 – Design Wall

Lay out all the pieces on a design wall.

Working off a design wall means that you

can work on sections at a time but still see

the whole project and keep track of where

everything goes.

At one time I used a bed to lay everything out

on but it's hard to see the whole picture on a

bed. The design wall that you stand back from

and look at from a distance works a whole lot

better to see the whole picture at once.

TIP 2 – Camera

Take a picture. A picture is worth a thousand

words and it tells you where each piece is

suppose to be when you can’t remember.

More times than not I have mixed up the pieces

and since I took a picture it was easy to see

what I had done wrong so the fix was quick.

Without a picture it takes a lot longer to see

where the piece was turned the wrong way.

Project pieces laid out on the design wall


34 .com | issue 7


Photos by Jennifer Houlden

Labels HeatnBond bias tape maker and bias strip Laid out 9 patch block

TIP 3 – Labels

Label your pieces. Use numbers, letters or a combination of


Use small sticky labels to write the row number and position

letter on. Masking tape works but I found that if ironed too

much it's hard to peel off the fabric and leaves a sticky residue

whereas the sticky labels don't.

Or use flower head pins with numbers and letters written on in

marker. You can also purchase already numbered pins from your

LQS – I unfortunately, do not have any so I made my own.

TIP 4 – Arrange by machine

Lay out the block you're working on in order by your sewing

machine when sewing it together, this will ensure that each

piece is placed in the appropriate spot when sewn together -

well unless the little gremlins who hide in the closet come and

mess them up when you aren’t looking.

Note I have sticky notes on mine as well. I tend to use all 4

methods to keep track of my pieces that way I shouldn’t have to

do any reverse sewing because nothing gets mixed up.

All those 4½'' squares are sewn into either 9 patch or 12 patch

blocks waiting for the center to be decided upon. I’m going to

put one of the wagon wheel designs in the center. But oh no, I

ran out of the pre-made fusible tape that goes with the Clover

fusible bias tape maker. What to do?

No worries, I’ll use the bias tape maker to press the strip of fabric

into the right shape and size. Then cut a piece of HeatNBond

Lite and iron it to the back side of the bias tape.

It worked like a charm and I'm back in business.

The center of this quilt is done and isn’t the symmetry of the

design wonderful. As you can see I added the circles which are

going to flow into the border but that’s for tomorrow along

with some tips on quilting.

I had an easy time sewing all the 4½'' squares together with

no reverse sewing and no mix ups thanks to using those 4 tips

for keeping your quilt pieces in order.

Quilt center complete

HeatnBond strip fused to back of bias tape




| issue 7 35


Jennifer Houlden

critical questions before quilting a quilt

I kept track of everything and was able

to put all those squares together without

any reverse sewing thanks to those great

organization tips I used. They sure made

life much easier. I've put the borders on

and now it's time to think about quilting

this masterpiece. There are 7 questions

to ask yourself before quilting a quilt.

Borders on the quilt – just need to outline the

circles in dark teal

When I first decided to outline the pieces

with the dark teal bias tape I wasn't so

sure about it and really wasn't sure I

would like it but I love it. It adds to the

quilt and makes the fabrics and shapes

pop. Now just to add it to the circles in

the border.

As you can see I have an uneven border.

I've always wanted to make an uneven

quilt but this one is still symmetrical. It

could result in issues with binding but I'll

leave that conundrum for another day.

Now it's time to get on with the quilting

and answer those 7 questions.

Question 1 – Will the quilt be washed?

If the quilt is an art quilt then more

than likely it will never see the inside

of a washing machine but if it's a kid's

quilt then it may see the inside of the

washing machine many, many times. If

the fabrics were not pre-washed then it's

a really good idea to add a dye catcher

to the first couple of washes to catch any

excess dyes and prevent dye running

into lighter colored fabrics.


36 .com | issue 7


Pink tinged dye capture sheet that captured red dye

I have had great success with the Dylon

Dye Capture sheets which I picked up

at my LQS. Here's one that has turned

pink as it caught the red dye circulating

through the wash water.

Also if you're going to be washing the

quilt this will determine the amount of

quilting being done on the piece. For

overall even shrinkage you don't want

the quilting lines to be any further apart

than 6" – 10". This is also dependent on

the type of batting being used. I tend

to stick with closer quilting lines when I

know it's going to be washed.

Question 2 – What type of thread?

Cotton, rayon, polyester? Thread that

matches or contrasts? I tend to use a

variety of threads. For this piece I picked

out a few spools in teals and browns,

cotton and rayon.

Array of Sulky thread in cotton and rayon

I decided to use one of the lighter brown

Gütermann rayon threads in 30 wt as

I want the background to lighten up

slightly as I find it very dark. By using

a lighter colored thread I'll get a high

contrast which will take away from

the dark background and show off the

quilting lines. The rayon thread will add a

shine to the background as well.

A great way to test the color on the fabric

other than just lying a piece on the quilt is

to put a little sandwich together and sew

a few lines. This will give you an idea of

whether you like it or not and whether it

provides the contrast you're looking for.

My favorites are the two darkest. And

here I thought I was going to go with a

lighter thread for contrast. Now I'll have

to rethink what look I want.

Auditioning threads on the brown fabric

The bobbin thread I tend to match to the

top thread – it may or may not match

the backing fabric. I also tend to use a 50

wt cotton thread such as Gütermann in

the bobbin no matter what is on top.

I like to use backing that goes with the

front of the quilt and the thread may

or may not blend in with the backing.

If a busy background is used then the

stitches on the back of the quilt will

blend in with the fabric more. If a plain

backing is used the stitches will stand

out more. It all depends on the look you

want and whether you want to hide

your stitching.

Question 3 – What type of batting?

There are many different battings on

the market. There are cotton, blends of

cotton with either bamboo, polyester

or wool, pure wool (one of my favorite),

bamboo, silk and polyester to name a

few. Batting is very much a personal

preference and can be project specific.

For this project I'm using a 100% cotton

because I don't want it to have much

loft. If I wanted loft I could use one that

is a blend 80% cotton and 20% polyester.

Loft is puffiness. Children's quilts look

great with some loft as do bed quilts.

Wall hangings and art quilts tend to look

best with a very low loft or thin batting

such as cotton, silk or bamboo.

Question 4 – How should it be basted?

Basting is a very personal thing. There are

3 different ways to baste a quilt – safety

pins, 505 adhesive spray or stitched with

a basting stitch. My favorite is safety pins.

The key with all three is to make sure

the quilt layers are not going to move

when quilted. There is nothing worse

than finding puckers and folds in the

backing after going to all that hard work

of quilting a quilt.

Follow the directions on the spray

adhesive – some need to be ironed to

set the layers while others don't. And

some don't work very well with polyester

fabrics such as Minkee fabric.

With pins, my rule of thumb is to have

them a fist width apart. This ensures

nothing moves as it gets sewn and

manipulated through the sewing machine.

Quilt sandwich basted with pins

Question 5 – Walking foot or free

motion quilting?

This depends on what you're most

comfortable with, what the quilt is for

and what most suits the quilt design.

For this piece I'm going to do echo

quilting with the walking foot to fill in

the large open spaces. I could do the

echo quilting with the free motion foot

but I have much more control with the

walking foot and the stitches remain

perfect and even. With echo quilting it's

important to have control in maintaining

even spacing for the result to look good.

Quilting feet

Question 6 – What marking tool to use?

Oh there are so many different marking

tools on the market. My favorite are 3

from Clover.

The Clover Chaco Liner which comes

in several different colors and has a

wheel that dispenses a chalk line as it

moves along the fabric. The chalk usually

disappears when sewn over but if not it

can be wiped away with your hand.

The Clover White Marking Pen which is

awesome on dark fabrics. Just remember

that it takes time for it to show up after

you draw the line. To get rid of the line

just iron over it. This will work perfect on

the dark brown background fabric.

The Clover Blue Water Erasable works on

medium and light fabrics and can be

erased with the eraser pen or with water.

It's important that all marking tools

be tested on a scrap piece of fabric to

ensure that they'll come off once the

lines are no longer needed especially on

the lighter colored fabrics.

Assortment of marking pens

Question 7 – Is there going to be


Embellishing should be added after

the quilting is done if it's in the form of

buttons or beads as they are hard to quilt

around. If the embellishing is in the form

of couching then it may be part of the

quilting and can be added along with

the other quilting. I've got some cording

and yarn that may do the trick.

I haven't decided if I will embellish

this piece or not. I see that I took out

part of the design from my new layout

yesterday which I wish I had kept in the

open areas between the corners and the

wagon wheel center so I may put some

couching or applique in there once the

piece is quilted.

Assortment of items to use as





| issue 7 37

How to face a QUILT in

12 easy stepsJennifer Houlden

Once the quilting is done the next step

is to finish the edges. I could use the

traditional method of binding a quilt to

finish this piece but I have run out of

the brown fabric. I could use one of the

printed fabrics but I don’t really want to

frame the piece, I just want it to run off

the page so to say and it needs either

brown binding to do that or another

method of finishing. Instead of binding

I'm going to face my quilt which will give

me that run off the page look I want.

And the other reason I'm facing this quilt

is because I have 'jut outs' on the border.

I couldn’t just do the quilt with simple

straight borders, oh no they had to be

fancy and artistic. Makes life interesting.

If I did want to bind this quilt I would

definitely have to use bias binding to get

around all the corners.

For the purpose of this post I'm facing

a small piece so you can see the steps

and finished project easily. This piece

was originally on a frame which I took it

off of and now need to finish the edges.

Aren't the colors wonderful – spring has

sprung in my studio!

Facing complete on pink dahlia quilt – a dash of

spring color

Facing a quilt

I do suggest using a fabric close to the

same color as the edge of the quilt so

that the facing blends in with the front

of the quilt. I usually try and have a

backing that matches the front as well

but not this time.

Step 1 Square off all edges of excess

batting and backing.

Step 2 Measure all the vertical sides

of the quilt. Cut each piece 4" by the

vertical measurement.

Measuring the vertical edge before cutting

Step 3 Measure all the horizontal sides

of the quilt. Cut each piece 4" by the

horizontal measurement plus 3". The

reason this piece is cut longer is because

the ends are tucked under for the final

finishing and stitching on the back.

Press in half – wrong sides together

Facing pieces pinned to front of quilt

Step 4 Fold all pieces in half with the

wrong sides together and press. I use

steam when pressing these pieces to get

a nice crisp fold line. By the way, this mini

travel GO IRON is deceivingly powerful!

Facing pieces attached with a ¼'' seam in

matching thread

Step 5 Place the vertical pieces along

the vertical edges of the front side of the

quilt with the raw edges meeting. I pin

these in place with flower head pins.

Step 6 Sew the strips in place with a

¼'' seam allowance. Make sure to use

matching thread to the fabric in the top

and bobbin. You'll see why in Step 8.


38 .com | issue 7


Press facing pieces over edge of quilt

Sewing the stay stitch

Press facing to back of quilt

Step 7 Press the facing strips towards the

edge of the quilt so that they hang over.

Step 8 Turn the quilt over and from the

back sew an ¹∕₈'' seam between the edge

of the quilt and the ¼'' seam just sewn.

This is the stay stitching and will help

create an edge to the quilt as the facing

is pressed to the back of the quilt. The

stitching will be seen on the back of the

quilt so this is why you want the thread to

match the fabric.

Step 9 Press the facing to the back of

the quilt. Use a hot steam iron for a nice

smooth edge.

Step 10 Hand sew the facing to the back

of the quilt. The vertical facing needs to

be sewn down prior to the horizontal

facing being attached.

Step 11 Repeat steps 5 – 9 for the

horizontal facing strips. Make sure to

center the facing strip on the horizontal

edges so there is equal amounts hanging

over each end.

Step 12 Hand sew the facing in place

and fold the extra fabric under to create a

finished edge with no raw edges showing.

If the piece is small I don’t sew this folded

edge to the quilt rather I leave it open so

I can put a hanging rod in through the

opening. But if it's a larger quilt I'll put a

proper hanging sleeve on with a pleat.

My piece is going to take a little bit

longer to do the facing than this one did

because I have a few more edges with

all the jut outs but at least those jut out

pieces are small so won't take long to sew

in place. All in all, my piece will have 10

vertical facings and 10 horizontal facings.

This piece will definitely need a hanging

sleeve if it's to go on a wall. I think it

would make a nice table cloth.

There you have it, facing a quilt in 12 easy

steps which is just as easy as binding

but the facing gives the piece a totally

different finish and look.

Horizontal pieces pinned to quilt

Hand sew facing to back of quilt

Facing sewn in place on back




| issue 7 39


improve your 5 quilt label essentials

Jennifer Houlden

Leftover circle block

Your quilt has been pieced, quilted and

bound and now it's time to add the

finishing touch - a label. Some labels are

hand written, some are embroidered,

some are computer generated but they

all have something in common and

that's the 5 essential details to include

on every label.

It's important for all quilts to be labeled

so that future generations can see

where these pieces of art came from,

who they were made by and when. As

well as what they were made for.

I’ve decided to use one of my left over

circle blocks for my label for the quilt

I've been working on earlier this week.

Although there might be specifics

about the size of a quilt label when a

quilt is entered in a juried show, there's

no rule as to what size the label has to

be or should be for personal quilts.

My label is going to be 12" x 12" and

I'm going to hand write the details

pertaining to this quilt in marker. I

have a whole array of Fabric Fun fabric

markers that I picked up at my LQS and

have just been itching to use them. I

suspect they'll be perfect for writing my

5 essential details.

First I had best read the instructions on

what I need to do to use the markers – if

there's any special prep for the fabric

or not. These markers are non-toxic,

odorless and permanent.

There's no special prep for the fabric

but I ironed a piece of freezer paper to

the back of my block just to add some

stability to the fabric for writing on it.

The markers have 2 tips – a thick tip and

a fine tip. I'm using the fine tip for this


Everything is ready and I’ve picked the

ink color to use on the label. I tested

each color on a piece of scrap before

making my choice.

Freezer paper on back of block for stability


40 .com | issue 7


Every label should include the following 5 essential details.

1. the title of the work or name of the quilt – mine is Wagon Wheel

2. pieced, designed and quilted by – my piece is quilted and pieced by me as well

as an original design

3. date made – I put the date finished as sometimes the piece can take several

months to make

4. where was the quilt made – name of studio, town and province or state – can

even put in country if you wish

5. who was the quilt made for or what was the quilt made for – mine was made for QUILTsocial

Fabric markers

Test piece – blue marker wins

If the quilt is going to be in a

show then I strongly suggest

putting your address, telephone

number and e-mail on the label

as well. There are many quilts that

go missing every year and if these

details are on the label then just

maybe it will find it’s way home.

So the ink has dried on my label

and now it's time to set it. To set the

ink turn the piece over and iron on

the wrong side of the fabric at the

hottest temperature that the fabric

will tolerate.

Once the ink has been set it's

washable at temperatures up to 60

degrees Celsius.

After pressing edges of a label to the

back hand sew it to the back of the

quilt – do not fuse it with a fusible

web as it will eventually come off

especially if washed. Hand sewing

is the best way to affix the label to

ensure it stays on for years and years

and years.

Your quilt is now complete and

ready to be loved as all quilts should

be. The lucky owner and their family

will always know the story of their

quilt thanks to the 5 essential details

to be included on every label.

Completed label

Label ready for hand sewing onto back of quilt

Double tipped marker




| issue 7 41

French Press Cozy

Foundation piecing = perfect points every time

Template drawn on foundation paper

First 2 pieces ready to sew

It has been a beautiful summer at the

cottage despite that occasionally we

had no power. Since there's no power it

means coffee is made in a French press

which tends to get chilled very quickly

when the air around is cool. I thought it

would be a great idea to make a cozy for

my French press. I want to have triangles

in my design and of course they need to

be perfect so using foundation piecing

method will make perfect points.

I've gathered my tools for this project

– lots of embellishments which may

or may not get used along with basic

quilting tools, thread, fabric in nice bright

cheerful colors and Stitch n Sew EZ-print

quilt block sheets for foundation piecing

from HeatnBond.

These sheets can be used in a printer

which is wonderful if you have your

template on your computer. As well they

are transparent enough that it's easy

to trace the design directly onto the

sheet. They are made from a non-woven

specially constructed 100% polyester

making removal simple by just tearing

away in any direction and no distortion

of project.

Also a perfect product as a machine

embroidery stabilizer plus they are

machine washable and dry-able.

I've not used this product before so I'm

keen to give it a go to do my foundation

piecing for my coffee cozy.

First of all I drew out a pattern on a

piece of letter sized paper to fit my

french press. Then I traced it onto the

foundation paper with a fine marker.

I used red but any color will work. The

sheets are definitely easy to see through

for tracing and I didn't need a light box

or window.

Foundation piecing

With my fabric pieces cut I placed the

first two pieces on the foundation paper

with right sides together. Pinning the

two pieces to the foundation paper

ensures that they won't move and that

the ¼'' seam allowance remains.

Sewing on the line

Finger press seams

Trim off excess fabric

Jennifer Houlden

¼'' of fabric over the line

Piece 2 trimmed with a ¼'' seam allowance


42 .com | issue 7


Piece 3 in position

Foundation piecing complete with perfect points

Piece squared up

Removing the paper

Point turner on back of sandwiched piece

Photos by Jennifer Houlden

There should be a ¼" of fabric beyond

the sewing line. In order to make sure

placement is correct I held the fabric

and paper up to a light like Stella or a

window to ensure the fabric was in the

right place.

Sewing from the backside I used a bit

shorter stitch and followed the red line.

Even though the red line was drawn

on the front it was very easy to see and

follow from the backside with the paper

being so transparent. The shorter stitch

makes removal of the paper easier.

Finger pressing works very well for

foundation piecing and it means you

can stay sitting at the sewing machine

and not have to get up after each seam

is sewn. Definitely allows for more

efficient work flow.

After pressing the fabric, the excess fabric

needs to be trimmed off. Fold over the

foundation paper on the line next to be

sewn on the backside, place a ruler on

the fold at the ¼'' mark and use a rotary

cutter to trim off the excess fabric.

The piece is then ready for the next piece

to be sewn in place with a ¼'' seam

allowance already in place.

Place the next piece on the trimmed

piece with raw edges meeting.

Continue the process until the

foundation piecing is finished.

Square up the piece leaving a ¼" seam

allowance all the way around.

The final step is to remove the paper

from the back. I placed a straight edge

along the stitch line which made

removal of the paper a cinch.

I'm thrilled with this product, loved how

it sewed with no distortion, was easy

to remove and I'll definitely be using it

again for more foundation piecing in the

future. I do own 4 French presses so of

course each one will need it's own cozy.

The top of the coffee cozy is pieced

together with 2 bands of black – one

on either side of the perfectly pieced

triangles. For layering the top, batting

and backing I'm going to use the

envelope method. With this method

I don't have to put a binding on to

finish it. I'm also going to use 2 layers of

batting for extra insulation on those cool

spring and autumn mornings.

Once the layers are sewn together and

the layers are turned right side out the

corners will need to be poked out. I

used this handy dandy point turner and

the pointed end turned those points


Here's the piece quilted using Sulky

Blendables 30 wt cotton thread. I

switched to 90/14 Topstitch needle to

do the quilting as I was using a thicker

thread and going through 4 layers since

I used 2 layers of batting. I had a few

threads to pull through to the back with

my self-threading needles. I do love selfthreading


After trying to sew a buttonhole on my

machine which I have to say I have never

done because I never sew anything

that requires a buttonhole, I was rather

unsuccessful. So rather than try and figure

it out, I used velcro to secure the tab to the

body of the cozy and called it done.

Quilted coffee cozy

French Press Cozy




| issue 7 43

2 reasons to use the

Dual Feed Foot

(Walking Foot)

Welcome to another

awesome QUILTsocial issue!

I've had the opportunity to

test drive the Husqvarna

Viking Sapphire 960Q and I

can't get enough of it.

This time, I'm going to

explore some techniques that

use different presser feet and

how each, along with the

features of Sapphire 960Q,

make some sewing tasks that

much easier to do.

Organizing your presser feet

Like everything else in our sewing

rooms, we need to keep our presser

feet organized. We start off small with

only the presser feet that come with our

sewing machines and they fit nicely into

the sewing machine accessory box.

At some point when you start buying

more presser feet (and trust me – you

will), you'll no longer have enough room

to keep them in that accessory box and

you'll end up with a mess like this.

I found this little plastic container which

has worked wonders for keeping all

my presser feet contained in one spot.

Notice that I even have a screwdriver

that fits in the box so when I need it, I

don't have to hunt for one.

This box has served me well. While

there's no room in the box to keep the

labels that come with the various feet,

I keep them in that messy drawer. I've

used these feet so often, that I know

what each one is called and what each

one supposed to be used for. Well for the

most part!

You must take very good care of a little

box like this because it's worth a lot of

money. I can't imagine what it would

cost to replace the contents! Like all

of my tools, I make sure that I return

the presser feet to the box so when

I'm looking for a particular foot, I know

where to find it.

And then, very importantly, this box

ALWAYS goes in a special place so I know

where the box is at all times. I can't say

that enough – there's nothing like trying

to find a particular presser foot to do the

job and you can't find the box, so you

substitute (or buy a new foot) and then

realize how much easier the job is if you

have the correct presser foot.

Storage box for sewing machine presser feet


44 .com | issue 7


Photos by Elaine Therault

If you want to keep the little labels that

come with the presser feet, I found

this different type of storage container

which I purchased from my Husqvarna

Viking dealer. It's called the Deluxe

Presser Foot Case. There's a pouch for

each type of presser foot and room to

store the little label that comes with

it. That packaging label also shows

the instructions for using the foot. For

some feet, you probably don't need the

instructions, especially if it's one that you

use often, but there are others that get

used less frequently and it's nice to have

a reminder how to use them.

There's also a spot if you're handy with

making labels or you can print labels

on the computer, where you can insert

the name of the foot. What I like about

this storage system, is that it's easy to

store the duplicate feet in the same spot.

Yes – I have duplicate feet – some of the

purchases were intentional and some

were not! It's also easy to flip through

the pages to see what you have. Now to

get rid of the mess in that drawer and

put those feet in my new Deluxe Presser

Foot Case.

The Interchangeable Dual Feed Foot

The Interchangeable Dual Feed Foot is

often called the walking foot. And most

people associate it with stitch in the

ditch quilting. Wait – there's a sample in

a minute!

Our sewing machines have a set of feed

teeth in the bed of the sewing machine

that helps to feed the fabric evenly

under the presser foot. This works well

for the bottom layer, but there's nothing

to help the top layer move along. The

Dual Feed Foot has a set of feed teeth

on the underside of the foot that helps

move the top layer along as the same

rate as the bottom layer of fabric.

Now, you may be asking, "Why don't I

use a foot that helps move that top

layer along for all seams?". Unless you're

working with multiple layers such as

quilting a quilt or stitching long stretches

of fabric that you're not pinning, like

stitching two parts of a quilt backing

together, there isn't really a need to use

the Dual Feed Foot. When it comes to

the long seams for a border, I always pin

that seam so I'm controlling both layers

with the pins. The shorter seams that we

stitch are short enough that they don't

get out of whack like the longer ones do

and so it isn't necessary to use the Dual

Feed Foot.

Using the Dual Feed Foot to piece a

quilt backing

Before we sew that quilt backing

together, let's look at how to prep those

backing pieces.

The first thing to do when prepping a

quilt backing is to remove the selvages

from the edges we're going to sew.

The easiest way to remove the selvages

is to open up the backing fabric and

then refold it so that one selvage is

now parallel to itself. Depending on the

length, you may have to fold the fabric

twice so you now have four layers of

fabric with one selvage parallel to itself

on all layers. I don't like to cut through

more than four layers at a time, so if the

quilt backing is big, you may have to

slide that ruler along the edge to cut all

the selvage off.

Then very carefully and with my large

rotary cutter and a ruler, I cut through all

layers and remove that selvage. (Yes – I

need to get a new cutting mat!)

Removing the selvage using a large rotary cutter

and a ruler

Storage binder for presser feet




| issue 7 45

Depending on how I'm piecing the

backing, I'll only remove ONE selvage

from this first piece as the second

selvage will be along the outside of the

quilt backing.

Then I must remove one selvage from

the second piece of backing and I

usually remove the opposite selvage

from the first one I removed. So if I

removed the selvage with the writing on

the first piece, then I remove the selvage

without the writing on the second piece.

If there's any kind of nap or direction to the

print, you will now have them going in the

same direction when they're sewn together.

Many people don't realize that the

selvages are there for manufacturing

purposes only. The weave on those

selvages is quite a bit tighter and it

doesn't sew or wash the same as the rest

of the fabric. It's best to remove it.

Next up is to put the Interchangeable

Dual Feed Foot on the Sapphire 960Q.

It's easy to put the Dual Feed Foot on,

but I do need my screwdriver as I have

to remove the presser foot ankle. Since

I'm organized and I know where the

screwdriver and the Dual Feed Foot is,

this is an easy task.

TIP Make sure that the U-Shaped arm on

the Dual Feed Foot is around the needle

clamp (the screw that holds the needle

in place). If the U-Shaped arm isn't

properly fitted, you'll have a mess.

Line up the two quilt backing pieces so

the two edges you're sewing together

are the ones that you removed the

selvedges from. I like to sew the quilt

backing with a very generous seam and

I can use the guide on the stitch plate to

keep the seam even.

Is there a reason for making an extra

wide seam? I'm not sure – it's just habit.

And by the way, I press that seam to one

side rather than open. I usually press all

my seams to one side on the top, so why

not on the back as well.

I'm a creature of habit, I like consistency

in what I do. Then I don't have to think as

I'm working. My hands automatically do

the same thing and that makes me happy!

Removing the second selvedge

The Interchangeable Dual Feed Foot

I love the fact that this Dual Feed Foot

has interchangeable presser feet. I can

pick the one that's most appropriate for

the job at hand. I'm going to show you

the difference in a few minutes.

For stitching my quilt backing together,

I'm working with the Changeable

Straight Stitch Foot and for the purpose of

sewing my backing, that works just fine.

Changeable Straight Stitch Foot

Sewing the quilt backing together using the seam

guide on the stitch plate

Why do I use the Dual Feed Foot to sew

the backing together?

This is a very long seam and since I don't

pin those two backing pieces together

(although they have been cut to the

same length), there's the possibility that

the top piece will shift since there are

no feed teeth to control what happens

to it. Using the Dual Feed Foot allows

both layers to be fed evenly and the two

backing pieces will remain the same

length as you can see in the photo above.


46 .com | issue 7


Did you notice that my backing has a

diagonal stripe on it? Now you're asking

yourself, "Did she match up that stripe?"

The answer is NO. Life is too short to

be worried about joining up a stripe,

especially on the backing of an everyday

quilt. Now if that quilt were going to

be entered into a competition, I would

definitely take the time to match it up.

But for an everyday quilt – I don't see the

reason to frustrate myself on a detail that

no one is going to notice. I don't have

the patience, and I don't want to waste

the time. I want to get onto the next


However, if it's going to bother you that

the stripe doesn't match – then I'd pick a

different fabric for the backing. Like I said,

life is too short to worry about this kind

of detail! Before you start to fuss, think

about two things – who is the recipient

and what will the quilt be used for. And

then you can make a decision if you

need to fuss.

I know my friends would be shocked. At

least, those that I started to quilt with

many years ago. I used to fuss over every

little detail and every point had to match.

While I aim for accuracy, I don't fuss

nearly as much and quilting is a whole lot

more enjoyable because of that!

Stitch in the Ditch quilting

The most common use for the Dual Feed

Foot is "stitch in the ditch" quilting. Yes –

there's a picture coming up!

I started out by using the Changeable

Straight Stitch Foot on the Dual Feed

Foot. I know – too lazy to change the

foot and I wanted to see how it worked

for this task. Yikes – that was a little hard

to see exactly where I was supposed

to be stitching. Let's try something


Very difficult to see where the ditch is for quilting

By putting the Changeable Zigzag Foot

on the Dual Feed Foot, I now get a clear

view of where the ditch is for quilting. It's

fabulous to have these two options.

If you're not familiar with what stitch

in the ditch quilting is – you can see

an example in the picture below, I've

stitched in the vertical seam between

the black and yellow fabric. When the

stitching is done well, you can't see it.

If you look at the left-hand side of the

horizontal seam, you can see where my

stitching didn't quite make the ditch. I

was using invisible thread so it doesn't

really show except when I'm pointing it

out to you in an enlarged photo!

Much easier to see where the ditch is for quilting

Stitch in the ditch quilting

Stripe on the backing doesn't match and that's OK

There you have it – a very valuable tip on

protecting your presser feet investment

and how you can save money by not

purchasing duplicates.

Also, two different ways to use your

Interchangeable Dual Feed Foot. Of

course, using the features on the

Husqvarna Viking Sapphire 960Q made

these jobs very easy.




| issue 7 47

2 ways to machine stitch

a binding on a quilt

Did you organize your presser

feet? At the very minimum, I

hope you put all your presser

feet in one safe place!

In this installment, I'm going

to use the Husqvarna Viking

Sapphire 960Q to stitch the

binding on a quilt. There are

several different ways to do

this. I'll tell you what I like and

what I don't like!

Which method to choose?

There are two different ways to stitch

the binding on a quilt. The first is the

traditional way of machine stitching the

binding to the front of the quilt and then

hand stitching the binding on the back.

I love this method. The front of the

quilt looks amazing and the back looks

equally amazing as all the stitches are

well hidden. I did mention yesterday

that I don't fuss with some details, but

binding is one area where I like the

workmanship to be top notch.

The binding is one part of the quilt that

people almost always handle and I

want that binding to look and feel nice.

I also want it to be durable so I use tiny

stitches to stitch the binding in place.

When I first started to quilt many years

ago, the owner of the store that I worked

at, told me that a quilt wasn't finished

until that binding was hand stitched

down. And I've lived by that philosophy


48 .com | issue 7


for years. I enjoy the hand stitching part

although it used to take me forever. I'm

much faster now and I love the process.

I've even been known to hand stitch

bindings in meetings at work, but I work

for a fabric company, so that's OK.

However, I've noticed over the past

decade that many people are sewing

their bindings to the back of the quilt

and then pulling the binding to the front

and stitching it in place with the sewing

machine. Even the store owner that told

me that the quilt wasn't finished until

the binding was hand stitched down, is

sewing her bindings on by machine.

It appears that people don't have time to

do the hand stitching anymore. I make

the time since I love the process and the

finished look! OK – that's not always true

and I'll tell you about that in a minute.

I'm going to give you a brief overview of

both methods so you can judge which

one you prefer.

Method 1: Machine stitching the

binding to the front of the quilt

I start out by prepping my binding. I like

to use 2½" binding strips which have

been joined on the diagonal and folded

in half with wrong sides together. You

can check out this post to get all the

details of making double fold binding.

I like to sew the binding to my quilt

using the Interchangeable Dual Feed

Foot. The feed teeth on the foot and on

the sewing machine help to feed those

thick layers through more evenly than if I

don't use the Dual Feed Foot.

You can decide if you prefer the

Interchangeable Straight Stitch Foot or

the Interchangeable Zigzag Foot for the

job. It doesn't really matter and I tend

to use whichever one happens to be on

the Dual Feed Foot.

Photos by Elaine Therault

The biggest beef I have about binding

is that most people stitch their binding

to the quilt top with a quarter inch seam.

If you use 2½" binding strips, this means

you're going to have "empty" binding

that feels limp and thin or your binding

will not be even on the front and the


You can see in the picture below, I use

the edge of that opening in the Straight

Stitch Foot as my guide for the seam

allowance. This ends up giving me about

a ³∕₈" seam allowance and when I pull

that binding to the back of the quilt and

hand stitch it in place, that binding is

completely full of quilt and feels nice

and firm.

Don't tell anyone I told you this, but I

always check out the binding to see how

it was sewn on! Again – there's nothing

wrong if you use a ¼" seam, but find a

quilt that is done in both styles and then

ask yourself – which one do you like the

best? Then you decide if you want to do

this for your quilts.

Sewing the binding to the front of the quilt using

the Dual Feed Foot

There are also guides on the Changeable

Straight Stitch Foot that help me know

where to stop at the corner. Very handy if

you need it!

I used the Interchangeable Dual

Feed Foot but this time, I used the

Changeable Zigzag Foot. I didn't

find a difference in using either of the

interchangeable feet for this first part.

You can see in the picture, that I'm

using the edge of that opening in the

Changeable Zigzag Foot as the guide for

the seam.

Sewing the binding to the BACK of the quilt

Let's talk about thread color!

Reluctantly, I had to learn how to sew

bindings this way because at work we

often have very tight deadlines to get

quilts ready and there's no time for hand

stitching. Since that first quilt, I've done

several more (including one of mine-

ACK!). I'm still perfecting this technique

but I'll share with you what I have

discovered so far.

Thread color is extremely important.

When initially sewing the binding the

first time, I find it helpful to use a bobbin

thread that matches the color of the

quilt top. It doesn't matter what color

you use on top.

When I sew the binding on the front of

the quilt, I use invisible thread on the top

and use thread that matches the binding

in the bobbin.

In this case, I use my size 80/12 needle

that I use for piecing. That needle has to

go through a lot of layers and the smaller

needle may end up breaking or bending.

While I've seen people use a lot of

different decorative stitches for this step,

I like to use a blanket stitch (D:3) which

is found in the D Menu – Quilt Stitches

on the Sapphire 960Q.

You'll notice in the first picture below

that the default setting of this stitch

has the zags to the left. I want the zags

to go to the right. That's an easy fix on

the Sapphire 960Q when I hit the Mirror

Side-to-Side function. Then I change

the stitch width to 1.5 and the length

to 3.5. You can see in the second photo

the changes I made from the default


I love being able to see the way the

stitch will stitch out on the screen.

Default settings for Stitch D:3

Using the red guidelines on the Straight Stitch

Foot at the corner

Method 2: Machine stitching the

binding to the back of the quilt

The first step is to prep the binding

the same way you would to stitch the

binding down by hand.

This time, when you machine stitch the

binding to the quilt, you're going to

stitch the binding to the BACK of the

quilt. Turn the corners, do the final join –

everything is the same.

Invisible thread for the top and thread that

matches the binding in the bobbin

Setting up the sewing machine

Normally when I use invisible thread,

I change the needle to a small size

because the invisible thread is very fine.

The modified settings for Stitch D:3




| issue 7 49

And now it's crucial that I use the

Changeable Zigzag Foot on the Dual

Feed Foot. If I don't, I won't be able to

see where to stitch. It's important to

use the Dual Feed Foot for this process

as we do not want that binding to

stretch. The Dual Feed Foot helps to

keep the top layer feeding at the same

rate as the quilt.

Let's start stitching

I'm going to turn the quilt so the quilt

top is face up and I'll pull that binding

to the front and very carefully stitch it

in place. I want to make sure that the

binding covers the row of stitching that

I used to secure the binding to the back

of the quilt. Because I used a bobbin

thread that matches the quilt top to

initially sew the binding on, if I mess up

a bit, it won't be that obvious.

Once I'm even closer to the corner, I

position the next side of the binding to

create the mitered corner and hold it in

place using the quilter's awl.

Making the mitered corner and holding the layers

in place with the quilter's awl

Now here's the reason why I don't like

this method. Yes – it's faster than hand

stitching but I find it very stressful to do.

Probably because I'm not happy with

the results. Yes – I know – should I be so

fussy? But have a look at the quilt back. I

do not find this neat.

Sometimes you're right on the line and

sometimes you're not. I like things to be

neat and this isn't neat according to me!

Old habits die hard and I always stitched

that mitered corner when I hand stitch

the binding. You can't do that by sewing

machine. However I have to say that this

mitered corner does look very neat and

I could always go back and hand stitch

that corner down.

Machine stitched binding on the front of the quilt

I'm the kind of person who, when

presented with a problem, likes to find

a solution. The fact that the stitches

don't always line up on the back is a

problem to me.

Stitching the final binding seam on the front of

the quilt by machine

When I get to a corner, I use my quilter's

awl or stiletto to hold the binding in

place. You can see the long pointy

thing in the picture below. If you don't

have one of these metal tools, I highly

recommend you get one. I've heard

of all kinds of tools that people use

instead of the metal quilter's awl, but

you need something that will withstand

a lot of pressure and this quilter's awl is

a must have!

Using the quilter's awl to hold the binding fabric

in place near the corner

The quilt back – sometimes you hit the line and

sometimes you don't

From the front of the quilt, the binding

looks pretty good. I don't feel it has that

smooth edge that you get by stitching it to

the front and hand stitching on the back.

However, this is a perfectly acceptable

way to put the binding on a quilt. I

either need to make sure that I allow

enough time to get all my quilts bound

in the way that I prefer, or I have to

perfect this technique or I just learn to

live with it!

The mitered corner with machine stitched


Here's what I propose to help solve

the issue. The binding and the backing

need to be the same fabric. Then if that

stitching goes off, it won't show. Or

you could use a very busy backing and

a matching thread.

There are ways to make this work and

I'm going to try and perfect it since it's

a technique I know I'll have to use for

future quilts with very tight deadlines.

As luck would have it, I had a personal

quilt that had a very tight deadline that

could not be missed. I had no choice

but to stitch the binding down with

the sewing machine. While I'm not a

fan of a white binding on a quilt, the

quilt binding and the light colored back

concealed any errant stitches!


50 .com | issue 7



for the details.

Featuring Dual Duty Plus ®

Hand Quilting Thread.

For more information visit:


Pattern “Modern Traditional” courtesy of Cheryl A. Adam

15-023 © 2015 Coats. Coats is a registered trademark. All rights reserved.

51 51

Tips for sewing

Y seams

Let's take a look at a different presser

foot and features of the Husqvarna

Viking Sapphire 960Q that will make

sewing those Y seams a snap.

People shy away from Y seams and yet,

there's nothing to them when you know

what you're doing.

Husqvarna Viking Sapphire 960Q

I recently made some cube cushions and

I thought I would share them with you

as I show you how to sew a Y seam.

I recently made some cube cushions and

I thought I would share them with you

as I show you how to sew a Y seam.


Some of my blocks were made with

3¾" cut squares (16 squares per side),

some were made with 4¾" cut squares

(9 squares per side), some were made

with 6¾" squares (4 per side). The

fabrics I used are from Northcott's

ColorWorks Premium Solids and

ColorWorks Concepts (prints)


•13" • squares of batting (six in total –

one for each side)

•13" • squares of muslin (six in total – one

of each side)

•12" • x 12" x 6" foam pieces (two in total)

Variety of fabric squares to make quilt blocks

Make SIX different quilt blocks that

measure roughly 12½" square. If you

used the measurements above, the

squares should all be slightly larger than

12½". That's OK as you need to quilt them

and there might be some shrinkage.

I used the Interchangeable Dual Feed

Foot on the Sapphire 960Q to stitch in

the ditch on all of the 6 blocks. You can

see a picture of the stitch in the ditch

quilting if you check out this post from

earlier this week.I used a cream colored

thread in the bobbin and invisible thread

on the top. Make sure that you use the

Changeable Zigzag Foot on the Dual

Feed Foot so you can see where you

need to stitch. Or quilt them however

you wish.

Then you want to trim the blocks to 12½".

I didn't get too fussy with this process

and certainly didn't worry if the squares

were evenly spaced in the trimmed

block. It's a cube cushion that's going to

be thrown around. No need to get too

fussy with the details!

Once the blocks are trimmed to 12½", I

sewed a basting seam around the edge

of each block using a ¹∕₈" seam allowance.

This will hold the loose edges together

which will make it easier to sew the

Y seams. I must have been in a hurry

the day I basted those edges together

because I didn't use a longer stitch

length – just in case you're wondering

when you see the picture!

And now we're ready to sew those Y seams.

Colorful scraps from trimming the blocks

Cube cushions – couldn't just make one!


I made my cube cushions 12" square so

you need a variety of fabric to make SIX

12½" blocks.

I made my blocks slightly larger than

12½" and once I was done quilting them,

I trimmed them down to 12½".


52 .com | issue 7


One of the 6 quilt blocks needed to make a cube


Quilt the blocks

I layered each of the blocks with batting

and the muslin backing. I didn't bother

with basting – these blocks are small

enough that they don't need basting.

But you could always put in a couple of

pins if you feel the need to make them

more secure.

Baste all three layers together after the blocks are


Sewing the Y seam

Before we get started, let me show

you a picture of a Y seam so you can

understand what I'm talking about.

You can see in the picture below that

there are three different seams that

come together and they look like the

letter Y, hence the name – Y seams.

A Y seam

Setting up the sewing machine

This time, I'm going to use the Quilter's

¼" Piecing Foot. This foot has red lines

on it that mark the pivot points and in

the case of the Y seams, the start and

end of each seam. I love this foot. No

guesswork is needed. I can easily snap

that foot onto the presser foot ankle of

the Sapphire 960Q.

I'm going to choose a straight stitch and

make sure that my stitch length is set to 2.0.

I don't want those seams coming apart.

The FIX function makes it easy to stitch

these Y seams. A normal seam runs right

off the edge of our quilt blocks and in

most cases, another row of stitching will

close off the end securing that line of

stitching. When sewing a Y seam, you

start ¼" in from the edge of the fabric

and no other seam will touch it to lock

the end of the seam in place. Using

the FIX function will essentially tie off

the ends of the stitching, both at the

beginning and the end of the seam. A

very useful function!

The FIX function will tie off the beginning and the

end of each seam to secure the ends

In the photo below, I'm about to start

the first seam. I've taken two of the

blocks and placed them right sides

together. Keep in mind that the line of

stitching you see in the photo is the

basting to secure the three layers of

the block.

I'll use the red lines on the presser foot as

a guide so I can start my seam ¼" in from

the top of the fabric and using the edge

of the foot as my ¼" guide, I'll be sewing a

¼" seam. I hit FIX and the Sapphire 960Q

will tie off the beginning of the seam.

I'll then sew the remainder of the ¼"

seam until I get to within ¼" at the end

of the seam. Again, I can use the red

lines on the presser foot to guide me. I'll

use the FIX function once more to tie off

the end of that seam.

I now have the first seam for the cube

cushion that starts and stops ¼" away

from the top and bottom of the blocks.

Use the FIX function and the red lines as a guide

to start the seam ¼" from the top of the block.

Use the FIX function and the red lines as a guide

to end the seam ¼" from the bottom of the block.

Sew four blocks together in a row using

the same technique as outlined above.

Then join the first and last block together

using the same technique to get a

square with your blocks. Now we have to

add the top and the bottom.

Adding the top and bottom of the

cube cushion

For this next part, I found it easier if I

removed the extension table from the

Sapphire 960Q. It just gave me more

room to maneuver the project. I'm

going to place the right side of one of

the remaining two blocks right sides

together with any one of the blocks in

my loop of four blocks.

Match up the corners. I'm going to sew

the exact same seam (beginning and

ending ¼" from the edge of the block)

as I did to join the first set of four blocks.

Because the seams don't extend all the

way to the edge of the blocks, this is an

easy task.

Adding the top of the cube

You can see below that the ends of each

seam are just touching, but they're not

overlapping each other. Remember that

that line of stitching right at the edge is

the basting stitch which holds the three

layers of each block together. Without

that basting stitch, it would be very

difficult to stitch these cube cushions.

Ends of the seams are touching, but not overlapping




| issue 7 53

Start and stop on each of the four sides

of the bottom of the cube cushion and

then repeat with the last block for the

top of the cushion. This time, you're

going to sew one complete side and

then two half seams leaving half of the

top open so you can insert the foam.

If you buy the 2" slab of foam, you can

use an electric knife to cut it. Works like

a charm!

I used the same process with the thicker

pieces of foam. I placed the first piece in

the cushion. Then I placed the rulers on

top of that foam piece so I could slide

the second piece of 6" foam into the

cushion. I pulled the rulers out and the

foam was in the cushion.

Last step was to hand stitch the

opening closed.

Leave half of the top open so you can insert the foam.

You can now turn the cushion inside

out and admire those Y seams from the

outside. There's no need to push them

out too far. There's a lot of bulk at the

corner and these are fun cushions. They

don't need to be perfect.

Y seam from the outside of the cube cushion

Cube cushion is almost finished

It's time to insert the foam. I happened

to have 2" thick foam that I was going

to use for another project that never

happened. It just so happened that I

had already cut it into 12" squares so

I decided to use the foam to fill the

cube cushions. I had enough foam for 2

cushions. Then I found foam at a mattress

store that was 6" thick. They cut the foam

for me and I only needed two pieces that

measured 12" x 12" x 6". I used the 6" foam

on the remaining three cushions.

Foam cut and ready for inserting into the cushion


It was easy to get the first 5 pieces

of the 2" thick foam into the cushion

form. Notice that I started by filling the

"bottom" or the sewn part of the cushion.

I knew that last piece was going to be

tricky as the foam wasn't going to slide

very well on itself.

Inserting the 2" pieces of foam

I decided to try my rotary cutting rulers

to help slide that last piece of foam

into the cushion and they worked like

a charm. I ended up using two rulers so

the piece of foam that I was inserting

wouldn't touch the foam already inside

the cushion and I had no problem to get

that last piece in the cushion.

Use your rotary cutting rulers to allow the foam to

slip into the cushion

Hand stitch the opening to complete the


You could use any fabric to make the

cubes. Why not use a children's fabric

book, photos that have been transferred

to fabric, embroidery images or anything

that works for you. You just have to

adjust the sizes accordingly.

Despite the fact that all the seams were

Y seams, these cube cushions were a

snap to sew together. And let me say

that we've been having a blast playing

with them in the office.

The features of the Husqvarna Viking

Sapphire 960Q and the Quilter's ¼"

Piecing Foot made it so easy to sew

them together. I couldn't stop with

just one!


54 .com | issue 7


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Fall 2016

Visit www.ANPTmag.com to order!


Tips for using the

free motion foot

We start a new project. It's a rag quilt

and a perfect opportunity to practice

free motion quilting. Here are tips for

using the free motion foot you don't

want to miss.

The Husqvarna Viking Sapphire 960Q

is a fabulous sewing machine for free

motion quilting. If you want to learn

more about this sewing machine, you

can check out this QUILTsocial post

when I first introduced the Sapphire


This is a great project to use up scraps. I

used up a lot of batting scraps by joining

them together. If you'd like to learn

how to do that, you can check out this

QUILTsocial post.

I didn't have enough of the backing

fabric to make complete squares, so

I pieced some of them. Same thing

for some of the squares for the top

– I simply pieced a couple of pieces

together and then trimmed to the

correct size. No one will care and no one

will likely notice either!

Choose the Free Motion Technique icon (bottom left)

Husqvarna Viking Sapphire 960Q

Supplies for the rag quilt

You can make the rag quilt as big or as

small as you'd like. I made mine 7 x 9

blocks for a total of 63 blocks.

For each block, you need a 7" square of

backing, a 7" square of fabric for the front

and a 6" square of batting.

I used flannel for my backing and my

top. Flannel is very forgiving when it

comes to free motion. The nap and the

slightly extra thickness help to conceal a

multitude of sins.

Supplies for one block of the rag quilt - backing,

front of block and batting


56 .com | issue 7


Backing squares and batting squares were joined

when necessary

Setting up the Sapphire 960Q for free


There are a number of features on the

Sapphires 960Q that will make free

motion quilting very easy and it only

takes a minute or two to set it up.

To set the sewing machine for free

motion quilting, I simply touch the Free

Motion Technique icon (the bottom left

button with the squiggly line).

A pop-up screen appears allowing you

to choose between Free Motion Floating

and Free Motion Spring Action. I've

explained the difference between these

two in this QUILTsocial post.

I chose the Free Motion Spring Action

mode because the thread that I'm using

is heavier and the spring action works

best for that kind of thread. The feed

dogs are lowered automatically. I love that!

Choose the Free Motion Spring Action for heavier


This is how the screen looks once you

have chosen the Free Motion Technique.

The presser foot diagram changes and

the Free Motion Technique icon is

highlighted in green. The tension is also

automatically adjusted and the stitch

length remains at the default setting

of 2.5 because once the feed teeth

are dropped, the stitch length has no

bearing on the actual stitch length.

Photos by Elaine Therault

Stitch length is determined by how fast

you move your piece of fabric and how

fast the sewing machine is sewing.

Settings for the Free Motion Spring Action technique

The Free Motion Technique remains

selected even when you turn the sewing

machine off and back on again. The

Sapphire 960Q will remain in this mode

until you turn the Free Motion Technique

feature off which is easy to do, just hit

the Free Motion Technique icon and

deselect the free motion techniques.

only go as fast as you have set it for. It's

a good idea to mess around with the

speed to find one that you're the most

comfortable with.

It's amazing how many people are

afraid to mess around with their

sewing machines. Even worse is they

think they should know all this stuff.

The more I play with different techniques,

the more I learn and I can use that

knowledge base to take things to the

next step. I just recently read somewhere

that if you don't make mistakes and try

new things, you're not learning. So get

some scrap fabric and batting and check

out the various speeds. Which one do

you like best?

Needle Stop Up/Down function IS selected (on

the right)

You also want to make sure that you

attach the Free Motion Spring Foot to

the sewing machine. I prefer the one

with the wide open toe so I see my

work clearly.

Choosing Thread

One of the things I love about the

Sapphire 960Q is that no matter what

thread I put on it, I got excellent tension

and very nicely formed stitches. I can't

stress how important this is. While you

can mess with the tension control on all

sewing machines, I would much prefer

to not have to.

I usually choose thread based on the

color, not on the weight or the brand.

In this case, all my backing fabric was

the same, so I used the same 50 weight

thread in the bobbin for the entire

project. That's the thread on the left.

Then I chose heavier weight threads for

the top – but only because that was

what thread I had in the colors I wanted.

Pop up message to remind you the Sapphire

960Q is set for free motion

Taking as many variables out of the

picture as possible is one way to

achieve great success with free motion

quilting. The next variable we're going

to remove is speed. Adjust the speed

of the Sapphire 960Q so when you

start quilting, the sewing machine will

Adjust the speed

Another good tip is to always use your

Needle Stop Up/Down feature. If you

need to stop for whatever reason, the

needle will stop in your quilt sandwich

which prevents it from moving when

you take your hands off and you won't

end up with a big giant stitch.

Needle Stop Up/Down function is NOT selected

(on the right)

Two different weight threads were used for the

bobbin and the top

I decided to be very adventuresome

and use the same bobbin thread for all

the blocks, but I changed the top thread

depending on the color of my top fabric.

I used three different brands of thread

on the top with three different thread

weights: a 30 weight, a 35 weight and

a 40 weight. Only one of the threads

required that I make a slight adjustment to

the tension which I'll show you in a minute.




| issue 7 57

Being able to use this variety of thread

brand and thread weight is very exciting

and so stress-free. The less I have to mess

around with tension, the more quilting I

do and the happier I am!

Let's have a quick peek at that slight

tension issue that I had. It occurred when

I was using the yellow thread on the top.

Keep in mind that in this sample below,

I used PINK thread in the bobbin. I don't

see any pink thread – do you? This is the

sign of an excellent sewing machine that

is able to handle different weight threads

(35 weight in the top and 50 weight in

the bobbin for this example) and gave

me absolutely no thread pops on top.

Starting and stopping

When you start free motion quilting, you

must bring up that bobbin thread to the

top of your work. If not, you're going to

get a mess on the underside that is nasty

to get rid of. If you have no idea how to

bring up that bobbin thread to the top

of the work, check out this QUILTsocial

post where I've explained it.

50 weight thread was used consistently for the

bobbin, top threads varied from 30 to 40 weight

Top threads were all used in the horizontal


I also love the fact that the stitches are

very nicely formed and well defined. That

makes the project look awesome even

if the stitches aren't super consistent.

We really need to get over that fear that

everything has to be perfect!

No sign of the pink bobbin thread

In the example below, you can see

that some of the yellow thread came

through to the back of the blocks. Mostly

when I went around the corners. I could

probably have left it like that as it only

occurred in one or two spots, but I knew

that I could make a slight adjustment

and get the tension correct. In this case, I

tightened the top tension slightly and it

worked like a charm.

Always bring the bobbin thread to the top of the


I'm using the Open Toe Free Motion

Spring Action Foot so I can easily tuck

those two threads to the back of my work.

Use Needle Stop Up/Down and tuck the threads

to the back of your work

Nicely formed stitches on the front

A little bit of a tension issue

Ugly thread nest

Nicely formed stitches on the back

Corrected by slightly tightening the top tension

An even uglier thread nest


58 .com | issue 7


Start by anchoring the beginning of

the line of stitching with a few very tiny

stitches. This is very easy to do since

you're completely in control over the

length of the stitch. Slowly start the

sewing machine and move your fabric

slightly while you take a couple of stitches.

Once you have your anchoring stitches,

you can bring the machine up to the

speed you're comfortable with and stitch

to the end.

Just before you get to the end of your

line of stitching, slow the sewing

machine down and take a couple of

small stitches to anchor the end of

the line of stitching. Then use manual

scissors to clip the top and bottom

threads. Scissors can be used on the

sewing machine, but I really like to

control the length of those threads

and I'll always have a long tail on the

bobbin to bring to the top if I cut

those threads manually.

After filling the bobbin and placing it

back in the bobbin case, I again bring

that bobbin thread up to the top

(sometimes this is hard if you've cut the

bobbin thread short when inserting it

into the bobbin case). I often leave that

bobbin thread long so I'm in control of

the length at all times.

I start about ½'' over the previous

stitches. I take one or two tiny stitches

to anchor the end, then go into

my previous stitches to secure the

beginning of the new line. This is best

done manually to get the new stitches

to follow the same stitch length as

the old stitches. Then finish the line of


Using the Needle Stop Up/Down, the

needle would stop in the fabric block at

each corner, making it very easy to pivot.

Once I had that first row of stitching, I

just moved the block around without

pivoting to get the quilting design.

That's a lot of information to digest,

but the bottom line is that using the

Husqvarna Viking Sapphire 960Q to quilt

these rag quilt blocks was so easy that I

was kind of disappointed when I ran out

of squares.

Not to worry as I have a couple of other

projects in the wings that I can pull out.

But quilting these small squares is a great

way to try a new design or perfect your

stitch length and it's a rag quilt. These

quilts are meant to be loved, used as a

car quilt, used for the dog. It's a super

quilt to practice on and uses up a lot of

scraps. Have a great day! Ciao!

Elaine Therault

The end of the line of stitching is anchored with a

couple of small stitches

What to do when the bobbin runs out

You know it's going to happen. The

bobbin will run out at some point and it

won't be at the end of a line of stitching.

The question is 'What to do?'.

The first step to clip all the loose thread

ends on the top and bobbin of your

work as you don't want to have loose

threads that cause unsightly messes.

Restarting after the bobbin ran out

One last piece of advice

To quilt the rag quilt squares, I started

at the outside of blocks and worked

my way to the center in a squarish/

roundish spiral depending on how I

felt. No two blocks look alike – the more

consistently inconsistent you are with

your quilting, no one can tell which one

is the right one! You'll see the quilting

motif tomorrow. Since there wasn't a lot

to hold onto, I did pivot my block for the

first row. Normally this is a NO-NO when

free motion quilting, but these blocks

are small enough that it's OK to pivot

and easier to maneuver. I also used the

guidelines on the stitch plate to keep the

lines of stitching the same distance from

the edge of the block.

Trim any loose stitches on the top and bobbin side

Use the Needle Stop Up/Down to pivot on the

outside stitching line for these small blocks




| issue 7 59

don't miss these

projects & tutorials online!





essential steps for

sewing borders with

setting triangles




table runner

how to make needle turn

applique easier

and there's so much more!


60 .com | issue 7


QUILTsocial bloggers

Jennifer Houlden


Jennifer runs Quilts by Jen, a

fantastic educational resource

for quilters with many great free

tutorials ranging from how to

choose fabrics, understanding

the value of fabrics, pressing,

building Bargello runs,

pinning, binding, sandwiching,

couching, quilting, and

much more. Check them out!

Nancy Devine


Nancy Devine is a devoted user

and collector of remnants, scraps,

and vintage buttons. She lives in

Aurora, Ontario, and can often

be found working on her latest

project, and playing around with

her vintage (and much loved)

Bernina machine. Find more of

her work and musings on her blog.

Elaine Theriault


Elaine made her first quilt at

the tender age of 13. The urge

to quilt resurfaced when her

daughter moved from a crib. The

rest is history – she now teaches

several days a week, makes

quilts on commission and quilts

for others on the long-arm.

Jean Boyd


Jean has been designing and

publishing patterns since 1997.

Her work has been published

in several magazines across

North America. Jean holds a

Fiber Arts Certificate in quilting

and has taught extensively

throughout Canada, including

six national Quilt Canada

conferences. She was named

"Canadian Teacher of the Year" in

2003 by the Canadian Quilters

Association and has won

numerous awards for her quilts.




| issue 7 61

BUSINESS DIRECTORY To list your business in this space please call 1.866.969.2678.

Art of Fabric

955 Brock Rd Unit 1B, Pickering, ON L1W 2X9


artoffabric.ca shop@artoffabric.ca

A creative shop offering quality fabrics, specializing

in Canadian designed batiks. Large selection of

art supplies for textile arts & the latest notions.

Authorized Bernina dealer providing quality

service&support. Classroom rental space available.

Brenda Franklin Designs

7570 Mapleton SR 18 RR 1, Alma, ON N0B 1A0

519.638.9958 bfdesigns.on.ca


More than 500 charts available for counted

needlework, latch hook rugs, beadwork, beaded

knits and knitting patterns. Mail/fax order or ask

for our products at your local shop. Contact us for

custom designs or needle felted sculpture.

Brampton Sew & Serge

289 Rutherford Rd S, Unit 7, Brampton, ON L6W 3R9

905.874.1564 bramptonsewnserge.com


Welcome to Your One Stop Sewing Centre! We are

authorized dealers of Baby Lock, Husqvarna Viking,

and Singer sewing machines and sergers. We also

offer a full schedule of sewing classes for everyone.

Bytowne Threads - Ottawa, ON

1.888.831.4095 bytownethreads.com


Featuring AURIfil® thread from Italy. Extra-long

staple Egyptian cotton threads: 12wt, 28wt, 40wt &

50wt - 252 colours. Bobbin threads, black & white:

60 and 80wt. Polyester threads 240 high-sheen

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Country Concessions

1 Dufferin St, Cookstown, ON L0L 1L0

705.458.4546 or toll-free 1.888.834.4407



Visit our lovely and unique quilt shop in the quaint

village of Cookstown. We have over 7000 bolts of

cotton fabrics plus a wide selection of patterns, books

& notions. You will be so glad you came for a visit.

Evelyn's Sewing Centre / The Quilt Store

17817 Leslie St, Unit 40, Newmarket, ON L3Y 8C6

905.853.7001 or toll-free 1.888.853.7001


Evelyn's Sewing Centre in Newmarket is your Quilt

Store Destination! The staff here at Evelyn's is always

on hand to provide Quilt Wisdom, Quilt Inspiration

and most of all we pride ourselves as the place to

make... All Your Quilt Dreams Come True!


271 Lakeshore Rd E, Mississauga, ON L5G 1G8

905.274.7198 gittas.com


Gitta's, named after owner Gitta Al-Basi, nestled in

the east village of Port Credit, is the place where

stitchers meet with their stitching friends, shop for

stitching supplies and see the new stitching designs

from Europe and the United States.

Hardanger House

4708 52 St, PO Box 1223, Stettler, AB T0C 2L0

403.742.2749 or toll-free 1.866.742.2749


Patterns from Canadian, American and European

designers, linen and evenweave fabrics from Zweigart,

DMC pearl Cottons, Caron Collection threads, and

all the related stitching accessories are kept in stock.

Many additional items can be special ordered.

Haus of Stitches

626 Main Street, Humboldt, SK S0K 2A0

306.682.0772 or toll-free 1.800.344.6024


Our one of a kind store offers everything you need

for sewing, quilting, knitting, rug hooking and


Impressions Embroidery & Engraving

#8-449 Mayor Magrath Dr S, Lethbridge, AB T1J 3L8

403.942.3934 impressionslethbridge.ca


Our shop does embroidery and laser engraving.

Laser engraving is a beautiful process for fabric,

as nothing cuts cleaner and more precisely than a

laser. We now carry a nice array of fabric as well to

compliment the abilities of the laser.

Joyce's Sewing Shop

325 Wortley Rd, London, ON N6C 3R8

519.433.5344 joycessewingshop.com


Our mission is to make sewing fun by providing

professional training to teach the benefits of sewing,

to provide excellent service and quality products

to make your sewing easier and to provide friendly

customer service to make you a happy sewer.

My Sewing Room

148-8228 MacLeod Trl SE, Calgary, AB T2H 2B8

403.252.3711 mysewingroom.ca


Canada's Largest Independently Owned Quilting

Store with fabric, patterns, kits, notions, sewing

machines and more! My Sewing Room boasts over

10,000 bolts of 100% cotton fabric from designers

and manufacturers from around the world.

Needles & Knits

15040 Yonge St, Aurora, ON L4G 1M4

905.713.2066 needlesandknits.com

Fabulous selection of yarns. Extremely

knowledgable and expert help. Cozy and friendly

atmosphere. Classes. Guild night every first

Tuesday of the month. Tea with Tove, the owner,

every Thursday from 6-8pm.

Pine Ridge Knit & Sew

17477 Hwy 2 PO Box 68, Trenton, ON K8V 5R1

613.392.1422 pineridgeknitsew.com


We have knitting machines by Artisan and Silver

Reed, embroidery machines by Husqvarna/Viking

& White. Sewing notions and supplies, books and

software. Hands-on lessons and classes. Wide

variety of yarns, threads, dress and pant zippers.

Ruby Pearl Quilts

500 King St W, Suite 8, Oshawa, ON L1J 2K9

905.436.3535 rubypearlquilts.com


We are your full service source of professional quilting

equipment, products, & courses. Led by 44 years of

sewing experience & more than 20 years of quilting

experience, we have the experience necessary to

help you push your hobby to the next level!

Ruti's Needlebed

10 Thomas St, Mississauga, ON L5M 1Y5

905.821.9370 ruti.ca

Mississauga's Finest Quilting and Knitting

Store!! Come see our huge selection of yarn,

fabric, supplies, sewing machines and knitting

machines…a local store for all your quilting, sewing,

knitting needs! We offer a wide variety of classes.

The Yarn Guy

15 Gower St, Toronto, ON M4B 1E3

416.752.1828 or toll-free 1.800.836.6536

theyarnguy.com info@sewknit.ca

See us on Facebook, follow us on Twitter!

Knitting machines, sewing machines, repairs, parts

for Passap, Studio, Singer, Silver Reed, Superba,

White. Sewing notions and supplies, books, ball

yarns, coned yarns, TAMM yarns, Paton's yarns,

Bernat yarns, Phentex yarns, Bernat kits & crafts.

Sew Fancy Inc.

Guelph, ON

519.824.4127 sewfancy.com


Your Premier Canadian Source for Specialty Sewing

Supplies including Smocking, Heirloom Sewing,

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the website for the latest in sewing supplies.

Stitch-It Central

189 Thames Street S, Ingersoll, ON N5C 2T6


stitchitcentral.ca sales@stitchitcentral.ca

Stitch-It Central is a store to satisfy all your cross

stitching needs. We have everything such as

notions, books & magazines, project kits, charts,

gift collections & certificates, papers & accessories,

fabrics and linens, and so much more.

That Sewing Place

16610 Bayview Ave #10, Newmarket, ON L3X 1X3

905.715.7725 thatsewingplace.ca


Introducing That Sewing Place as your sewing

source and Authorized Dealers for Bernina and

Brother machines. Jaret & Liana focus on placing

your sewing needs first, providing outstanding

support, service, and training.

The Stitching Corner

#2, 185 First St E, Cochrane, AB T4C 2E9

403.932.3390 stitchingcorner.ca


Your Needlework Shop in Cochrane.

The Stitcher's Muse

4 - 70 Church St, Nanaimo, BC V9R 5H4

250.591.6873 thestitchersmuse.com


A divine little shop with supplies for all your hand

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Ultimate Sewing Centre

191 Bloor St East, Oshawa, ON L1H 3M3

905.436.9193 ultimatesewing.com


For all your sewing needs be sure to call Durham’s

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Machines, Sergers, & Embroidery machines,

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Upper Canada Quiltworks

PO Box 64, Brockville, ON K6V 5T7

613.345.3956 Fax: 613.342.3327


Visit us online for a wide selection quilt patterns

and books. Techniques include felted wool, fusible

appliqué, punchneedle, rag quilting and printing

photos on fabric.


62 .com | issue 7


Get your game on!

Bring your quilting to a whole new level.

Create your own unique quilts, wall hangings, games, cards, placemats and so much more with Brother’s

Q-Series sewing and quilting machines, and ScanNCut.

Brother’s ScanNCut comes fully loaded with an exciting collection of quilt block patterns so you can design

your own one-of-a-kind creations with the push of a button! Now, cut your favourite material into any shape

— no matter how intricate — without ever touching bulky design cartridges or even a pair of scissors.

Brother’s Q-series sewing and quilting machines and ScanNCut — the only thing limiting your creativity

is your imagination.

Create your own magnetic, quilted tic-tac-toe

board like the one featured here. See how at



Stylist - Q-Series sewing & quilting

machine. Fall in love with the large

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Visit brother.ca/findadealer to find your closest

authorized Brother dealer.


ScanNCut - scans and cuts appliqué,

fabric pieces and quit blocks with ease



Brother and its logo are trademarks of Brother Industries Ltd., Japan. All specifications are subject to change without notice. © 2016 Brother International Corporation (Canada) Ltd.


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