Monthly Archives: September 2017

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I can't remember the last time I sewed at home. It's probably been nearly two weeks. (Eek!) Thankfully, I did get some quality time with my sewing machine at a workshop last weekend. Bay Area Modern hosted Karen Foster (@capitolaquilter on IG) to share her Improv Abstraction technique featuring curved piecing. I've played with gentle curves previously in my Finding Dory mug rug and Improv Tumbler mini. Karen's technique involved creating parts and using them to play with the composition of the piece.

four small quilts featuring Karen's Improv Abstraction design technique: blues, magenta and chartreuse, purples, and multicolor

We spent the morning piecing the gentle curved unit and putting them together into larger parts. I made 12 units featuring the same gentle curve and pieced together two larger chunks. The first used three of my units, and the second connected two units vertically. I "fussy pieced" (is that a thing?) the seams for the curve to be continuous.

twelve navy and grey gentle improv curve units on design wall

seven navy and grey gentle improv curve units and two larger chunks on design wall

In the afternoon Karen introduced her technique for more extreme curves. You can see the example on the right in the photo of Karen's work below. Unfortunately, I had to leave early, but Karen showed me her technique before I left. I haven't had a chance to try it out yet, but it blew my mind. I'm looking forward to adding a new skill to my repertoire. The examples below include a "what not to do" in the upper left, and the lower left shows different options for pressing seams. While I generally press seams open, I think freeform improv piecing is a great time to play with how you press seams to see what works best for the piece. (Tip: Consider shortening your stitch length if you are going to press seams open.)

teal and mint pieced gentle improv curves

This was a great class to build skills with curved piecing and to just play with the design elements of the overall piece. I intend to keep my quilt small. I have a bit more of the navy (Kona Nautical) and a bunch of the grey (Kona Pewter). I'll definitely play with the extreme curves and I may include some strips and squares like Karen used in her multicolor quilt.

Karen Foster and Sarah Goer standing in front of Sarah's work

Thanks for a great class, Karen!

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It is my pleasure to share my latest quilt pattern for Modern By the Yard, the free quarterly e-zine by Benartex. I choose a Fall palette with a pop, featuring azure, chestnut, and wine, to make the easy five block table runner featuring their Fleurish fabric line.

Fall Fleurish quilt table runner featured in Modern by the Yard

My design features irregular hexagon beads on panels of color. (Be sure to check out the magazine for a reverse view as well.) Fall Fleurish is a beginner friendly, super fast sew, featuring HSTs and rectangles. The table runner is quilted with echo walking foot lines and the beads are free motion quilted with a ribbon candy motif.

table runner quilt pattern Fall Fleurish

table runner quilt pattern

Fall Fleurish table runner quilt pattern

Please share pictures with me if you make one. You can use #sarahgoerquilts on social media. Check out my pattern from Issue #5 of Modern By the Yard, Summer Splash.

I hope you enjoy this issue of Modern by the Yard. Head over the Sew in Love with Fabric for previews of all the projects and a link to the full issue which you can view online or download as a PDF. This beautiful cover quilt is designed by Amy Friend of During Quiet Time featuring her Improv fabric and Improv Paper Piecing technique.

quilt pattern for table runner in Modern by the Yard

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I'm so pleased to be joining Sam Hunter for her 2017 Back to School Blog Hop for Sewists. This is Day 27 on the 32 day hop so there is a ton to check out! If you're just tuning in, be sure to visit the entire lineup from the links at the end of this post.

When I began quilting, I learned to make bias binding and to finish by hand. Now, my preferred method is to attach the binding completely by machine. Most often, by the time I'm at the binding stage I'm just ready to be done and I really appreciate the speed of this method.

 

Start by creating your double-fold binding strips, in your desired width. Your binding should be about 10" longer than the perimeter of your quilt. I originally used a 2 1/2" wide binding, then 2 1/4" wide before I settled on 2" as my default. I prefer to  cut my  binding strips on the bias for a couple reasons. I think it's easier to work with. The bias cut produces binding that has a little give to it. I also think it wears better in the long run for quilts that are going to be used and washed regularly. The give in the bias allows the fibers of the binding to move instead of wear and fray. If your quilt has curved edges, the bias binding will allow you to more easily follow the curve as well. (Note: If you prefer straight grain binding made from width of fabric strips, you can still machine bind!) I recommend that binding strips be connected using diagonal seams to avoid bulk created by straight seams.

 

After quilting and trimming your quilt (the white stippled section of diagram is the quilt, the grey is the table), begin by stitching your binding to the edge of the back of your quilt. Use your 1/4" foot and normal stitch length and start in the middle of an edge of your quilt. Leave about 10" of binding loose before you start sewing. I use Aurifil 50 wt. for attaching my binding. Align the raw edge of your binding strip to the edge of the trimmed quilt. Attach binding to the first side of your quilt. Stop 1/4" from the corner of the quilt and backstitch. (The arrow in the diagram shows where the corner of the quilt is.)

 

Fold the binding at a 45 degree angle. The fold should line up with the edge of your stitching and the corner of the quilt. (The first diagram shows fold line in red. The second diagram shows binding folded on this line.)

 

Then fold the binding back along the first edge of the quilt so the raw edge of the binding is along the second side of the quilt. Be sure that this second fold goes just past the edge of the quilt. I like to use a wonder clip (see in photo below) to hold that folded edge while I begin sewing the next edge.

 

Starting at the edge of side two, stitch using your 1/4" foot and normal stitch length. Continue with this method until you have turned all four corners.

 

When you are about 12-18" from your starting point, backstitch and trim threads. Lay your quilt flat with the loose ends of the binding strips overlapping along the edge of the quilt. Cut your ends of your binding strips so that they overlap by the width of a strip (shown in green above). My ends overlap 2". (Note: Remember that if your binding strips are 2 1/2" wide you should have a 2 1/2" overlap.) I find it helpful to cut off a small chunk of binding from the end of the strip and use it as a guide to measure this width to trim the ends of the binding.

 

Unfold the binding and pin the ends right sides together at a right angle and mark a 45" line on the unfolded, wrong side of one end of the binding (shown in red on the diagram). Check to be sure that binding will lay flat without any twists when this seam is sewn. Sew on the line with a reduced stitch length. Trim off excess fabric, 1/4" from stitching line. Finger press seam open, then fold binding to lay flat and press with an iron. Stitch remaining edge of binding to quilt.

 

Press binding away from quilt. Press each edge close to corners, but do not press the corners.

 

This is what the self-mitered corner looks like on the bottom of the quilt.

 

For the second pass around the quilt I switch to my standard clear-view foot and I like to position my needle to the far left so the foot is level on the binding. Increase stitch length to 3.0 - 3.5. I start by using just a few wonder clips (you could also use pins) to hold the binding in place on the top of the quilt. I  don't clip/pin the entire perimeter as I prefer to adjust the binding as I stitch and use a stiletto to move and guide the binding layer as it feeds into the machine. If you don't have a stiletto, a long, heavy duty straight pin, like the Clover Flower Head Pins, works well for me.

 

With the binding pulled taut over the edge of the quilt, stitch 1/16" to 1/8" from the folded edge of the binding. Your stitching will be visible on the back of the quilt. The width of your binding strips and where your stitching falls in this step will determine how far away from your binding edge the stitching will be on the back. This part is a bit of an art. Use a little trial and error to find a look that you're happy with on front and back. See my finished example in the last photo below.

 

As you approach the corner, you'll have to prepare the binding. I usually do this when the corner makes it onto my sewing table, about 6" from the needle.

 

Start by folding up the bottom edge, then fold the right edge of the binding over the top. I use a straight pin to hold the first fold in place along the right edge of the binding so that when I fold over the right side the seam meets at a 45 degree angle.

 

Once you're happy with where the corner seam falls, pin the binding in place. (I prefer pins to clips here because I can sew really close to the pin before needing to remove it.)

 

As I approach the corner, I stitch right up to the pin before removing it.

 

Once I remove the pin, I use a stiletto or flower head pin to guide the fabric. Stop in the needle down position one stitch past the corner of the seam.

 

Rotate the quilt and continue on the second side, removing the last pin after a stitch or two (and without sewing over it). You should be able to continue around the entire perimeter of the quilt without breaking thread. I backstitch once I get to where I started.

 

Tada! Here's the top view of the finished binding. (Adorable Ninja fabric by Elishka Jepson.)

 

Here's a view of both sides of the finished binding. The rainbow striped fabric is the backing. You can see the line of stitching visible on the backing fabric from attaching the binding.

Please don't hesitate to ask any questions or let me know where you wish there was another photo or diagram.

 

If you want to see the full view of the quilts used in this tutorial, check out my Purple Ninja Quilt, Wizard of Oz Baby Quilt, Caterpillar Fizz, and Racoon Envelope Mini.

 

In case you're new here, I send out a newsletter every 2-3 weeks. Sign up here to receive color and design inspiration straight to your inbox and don't miss a beat about what's going on at Sarah Goer Quilts.

 

I hope you're following along with the hop. There are so many exciting topics being covered! Bookmark this page to return daily for the rest of the hop. I'll update links to direct posts as they are added.

Day 1 – August 15 – Sam Hunter: How to spray baste a BIG quilt

Day 2 – August 16 – Mandy Leins: Thread Dread: removing stray bits after quilting

Day 3 – August 17 – Nancy Stovall: Batting Choices - The Sweet Creamy Filling

Day 4 – August 18 – Ebony Love: 7 Indispensable feet for your sewing machine

Day 5 – August 19 – Michelle Freedman: Machine throat plates

Day 6 – August 20 – Teresa Coates: What's What: Top-stitching, Edge-stitching, Under-stitching

Day 7 – August 21 – Kelly Cole: Getting your Sew-Jo Back

Day 8 – August 22 – Megan Dougherty: Choose to Fuse: tips for working with fusibles for applique

Day 9 – August 23 – Kim Lapacek: Tricks to being productive while hauling your kids around

Day 10 – August 24 – Yvonne Fuchs: Circuitboard quilting on Domestic and Longarm Machines

Day 11 – August 25 – Sandi Hazlewood: Chain Piecing Quilt Blocks Tips

Day 12 – August 26 – Juliet van der Heijden: Teaching a Child to Paper Piece

Day 13 – August 27 – Maddie Kertay: How to Fold Fabric for Versatile Storage

Day 14 – August 28 – Cath Hall: Working with Lawn Fabric

Day 15 – August 29 – Tracy Mooney: Tips for the Perfect Seam

Day 16 – August 30 – Teri Lucas: How to Bury Thread

Day 17 – August 31 – Debby Brown: Securing Machine Quilting Knots

Day 18 – September 1 – Flaun Cline: How to put some sparkle in your fabric pull (part 1)

Day 19 – September 2 – Jessica Darling: How to put some sparkle in your fabric pull (part 2)

Day 20 – September 3 – Trish Frankland: A bigger blade really IS better?!

Day 21 – September 4 – Robin Koehler: Tips on how to travel with handwork

Day 22 – September 5 – Jane Davidson: How to make scrappy HSTs

Day 23 – September 6 – Linda Pearl: Low cost tips for organizing your sewing room

Day 24 – September 7 – Christa Watson – Top 10 tips for quilting on a domestic machine

Day 25 – September 8 – Sarah Nunes: To Starch or Not to Starch

Day 26 – September 9 – Suzy Webster: Testing fabric for bleeding

Day 27 – September 10 – Sarah Goer: Machine bind your quilts like a pro – You are here!

Day 28 – September 11 – Vanda Chittenden: Beginner paper-piecing tips

Day 29 – September 12 – Cheryl Sleboda: Needle threading tips

Day 30 – September 13 – Kim Niedzwiecki – Different thread weights and when to use them

Day 31 – September 14 – Sandra Healy: Conquer Your Fear of Machine Appliqué

Day 32 – September 15 – Sandra Starley: Tips for Collecting Antique Quilts

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