Quilters to the Rescue

Transcription

1 Welcome to the Handi Quilter Education Webinar February 11, 2016 Quilters to the Rescue This Webinar is being recorded. You will find it on the Education tab at HandiQuilter.com While you re waiting for the Webinar to begin, make sure your computer speakers are on, so you will be able to hear us.

2 Welcome to the Handi Quilter Education Webinar

3 Your presenters today are: Vicki Hoth Handi Quilter Studio Educator Marie Eldredge Handi Quilter Studio Educator 3

4 This Webinar is being recorded. You will find it on the Education tab at HandiQuilter.com/webinar

5 To find a Handi Quilter retailer near you to purchase Handi Quilter supplies go to:

6 Challenges with Vintage Quilts: Stains Holes Irregular blocks Inaccurate piecing Threads on the back that need to be trimmed Discoloring Hand piecing Weak fabrics Wavy borders Fullness in the piecing Not symmetrical Previous marking such as pencil or factory Matching fabric for binding or backing Should it be only hand quilted or machine quilt it and get it done? Should it be quilted authentic to the era?

7 Quilted by Marie Eldredge Marie said, I wanted to keep the personality of the work that was done creating the top. I chose to quilt an asymmetrical design that would not draw attention to the imperfections in the quilt top. My quilting supports the flowers but the quilting has a whole new design woven around and through the original design. I used a little darker thread to help hide the stains in the cream fabric.

8 The quilting that Marie chose helps take your eyes away from the imperfections because the quilting is so unusual and phenomenal.

9 Quilted by Vicki Hoth Grandmother s flower garden quilts are typically hand quilted. Vicki chose to use the HQ Fusion to quilt a curly swirl design throughout the white hexagon shapes. She stitched a continuous straight line framing the diamond hexagon shape and added a four petal flower in the center of each diamond.

10 Back of quilt

11 Quilted by Mary Beth Krapil Mary Beth found that because of the inconsistency of the piecing she had to change her original quilting plan. She said, I was going to add some free motion micro-quilting, but I really liked the quilt as it was and I was afraid the micro-quilting would call attention to the wonky blocks. Also when I measured the quilt the length varied from 91 inches to 87 inches and the width varied from 73 inches to 75 inches. I knew it would never be made square. I only hoped I cold make it fairly flat.

12 Quilted by Mary Beth Krapil

13 Quilted by Amy Van Gurp Amy had to remove some seams and re-stitch to ease in fullness in the center of the quilt. Amy starched the quilt to help shrink some areas. She also measured as she quilted to keep it square. Amy added a lot of microquilting to help tame this quilt.

14 Quilted by Amy Van Gurp

15 Quilted by Cathie Zimmerman Cathie commented that the piecing on this quilt was not accurate. It had tucks in the blocks and had stains in various fabrics. Cathie had to rip out many of the seams and re-stitch to try and square the quilt up. She chose a quilting design to mimic the piecing and added straight line quilting and many circles throughout the quilt.

16 Quilted by Cathie Zimmerman

17 Quilted by Debby Brown Debby said, this bright and cheery quilt called my name the very first time I saw it. I wanted to play with the happy colors and large open spaces. She had plans for the sunflowers, but the unique characteristics of this quilt caused her to go to Plan B.

18 Quilted by Debby Brown Fullness in center of sunflower The quilt was not flat and the sunflower centers were very puffy. She controlled the excess fabric by quilting freehand pebbles in the sunflower centers.

19 Quilted by Debby Brown Debby wanted to change the look of the quilt by giving the sashing and cornerstone the look of a pieced alternate block.

20 Quilted by Diane Henry Diane said, The idea behind the designs I chose was to give the quilt a sense of life and movement while preserving the grace and peace of the original quilt top.

21 Quilted by Diane Henry

22 Quilted by Diane Henry Border design

23 Quilted by Elaine Gilmore Elaine s quilt had many issues. It had stains, holes, and the fabric was very thin in various areas. The piecing was not very accurate. Elaine chose a different way to quilt the blocks. She made one large motif that included both the white block and the pieced block.

24 Quilted by Elaine Gilmore

25 Quilted by Harriet Carpanini Harriet s quilt is made from shirting fabric. Because the piecing was so inaccurate she chose to quilt a different design in each of the nine blocks rather than detail the piecing.

26 Quilted by Harriet Carpanini

27 Quilted by Kerri Rawlins Kerri chose two different digital designs for her quilt. She ignored the sashing and quilted the design through the red, green and cream fabrics using cream thread. She enlarged the feather design to make it look like a doily around the Dresden plate.

28 Quilted by Kerri Rawlins

29 Quilted by Linda Matteotti Linda said that this quilt had many piecing imperfections, but it was wonderfully square and had fairly consistent block sizes. That allowed her to use a large symmetrical pattern with out too many adjustments. She removed a border, then removed a row of blocks and then reapplied the border. There were many stray threads, and since everything was solid blue and white, the blue threads shadowed through the white in many places. It took a lot of hours to remove them with a tiny crochet hook. I could have avoided that step by making sure the threads were under control before I started quilting.

30 Quilted by Linda Matteotti

31 Quilted by Linda Matteotti Because Linda could not find the exact blue fabric for binding as the quilt top, she placed a white piping between the binding and border to deceive the eye with the colors.

32 Quilted by Sarah Watts Sarah took a very hands-off approach to prepping her vintage quilt top. The quilt top had non-accurate seams, particularly where the points and sections meet up. She attempted to iron it, but felt that was making it worse and stretching it out. She went ahead and embraced the extra puffiness and fabric, and in the end you can see several places where she had tucks and folds occur. The quilt top had numerous stains but she chose to ignore them because she was too scared to wash or use a product. And really they are minor and only noticeable when you get your nose close to it.

33 Quilted by Sarah Watts

34 Challenges with Vintage Quilts: Some of the issues can be fixed. Some can not. Trying to fix some issues may harm or damage the quilt. Some issues such as stray threads on the back, open seams, and wavy borders are a few that need to be addressed. Pressing and starching usually help to tame the quilt top. Do you want the piecing to be the main stage or the quilting? Each quilt top is unique. Do you want to maintain the unique characteristics or make it your own style? Hand quilting or machine quilting? Done is better!

35 To find a Handi Quilter retailer near you to purchase Handi Quilter supplies go to:

36 Thanks for joining us today. Can you remember all of this? You don t have to. A copy of this webinar will be on the HandiQuilter.com website under the Education tab. Just click on Webinars. The next Handi Quilter Education Webinar will be offered March 10, :00 p.m. Eastern Time 12:00 p.m. Central Time 11:00 a.m. Mountain Time 10:00 a.m. Pacific Time