Mug Rug Hugs

I am continuing to cannibalize The Secret Garden. This time I am using it to make mug rugs for some dear friends I will be seeing in January. The entire project was made using leftovers and scraps. I didn't even have to buy the thread.

Here is where I started:

Rocky Mountain Four-Patch Chain block from The Secret Garden.

I ripped out a few seams in this block to remove the four corner squares, which were the perfect size for mug rugs. I then sewed the four cross-pieces together in pairs to make two more squares, and I had the makings of 6 mug rugs.

This project turned out to be a big learning process for me (that's a good thing). I didn't have any directions to follow, so I had to wing it, using what I had learned from other projects. I did a lot of ripping out, but in the end, I let some imperfections go. It was hard to do, but I kept telling myself:

1. Nobody will notice
2. Nobody will care
3. I am being too much of a perfectionist
4. I have already spent way too much time on this
5. Why do they have to be perfect anyway?

I used my machine's monogramming capability. It doesn't look as nice as the results you get from a machine with a true embroidery feature, but I wanted a machine that is designed primarily for quilting. I only had to rip out half a monogram. I guess I learned something from my earlier attempts to make labels. It occurred to me, after the fact, that stabilizer might be a good way to go here.

For the actual quilting I tried some straight line quilting, parallel to the "ditch" lines, about 1/4" out. It looked terrible on the back (the side with the monogramming) because it crossed over the monogramming.

Next I tried a stippling or meandering pattern for the free-motion quilting. After doing three I decided I really didn't like the way it looked. In the end I went with a loopy pattern. I have not used this before, but I liked the way it looked. Instead of quilting it from the pieced side, I quilted from the monogrammed side, making sure not to quilt over the monogram.

Loopy quilting

The backing fabric is left over from from some yardage I bought to use in the piecing on the front. The coral backing fabric appears on the patchwork front of some of the pieces. A black companion fabric appears on the front of other pieces. I really like this fabric. The black was provided in the original BOM kits, and I was excited when I found the same 
print in coral.
 
For the binding, I was going to do it the easy way - attach to the back and machine-sew on the front, close to the edge. This looked terrible with white thread. I didn't want to try it with coral thread in the bobbin because I had been experiencing tension problems all through this project and I thought it would look really bad with two different colors if the tension was even the tiniest bit off. 

So, I just sewed the front of the binding down by hand. The white thread shows up too much for my taste, but at the end of a project I always have less patience for ripping out. If I had thought about it, I would have machine-sewn the binding onto the front and hand-sewn it on the back, perhaps using coral thread.

And here they are! I will be making a total of 8.

Lessons learned:

• Use a stabilizer when monogramming. (I did not.)
• Don't quilt through monogramming.
• Thread should match binding. 
• Take tiny stitches when hand-sewing the binding.
• Think carefully about whether to attach the binding to front or back, especially if you change your mind about method. 
• It's harder to do free-motion quilting on a tiny piece than on a fairly large piece.

Slice and Dice, Part 2

My first "art quilt" is finished. I really think of it as a practice piece more than anything. I learned several new techniques doing this project, and it was fun. The most amazing thing I learned was that it is possible to make a quilt without following any of the rules!

Ta da!

After I finished quilting the piece, I spent some time thinking about how to finish it. I thought that if I used a print for the binding it would look too busy. If I used a solid color, it would take away from the dramatic effect of the purple horizontal lines. My friend, Nan, had mentioned facing to me as another method of finishing. I decided to try it.

I spent a few days thinking about what fabric to use for the facing. Unfortunately, I didn't have enough of the backing fabric left for the facing. I wanted to find something that would co-ordinate nicely with the backing fabric - probably a solid. I wasn't convinced that it would look good to have a wide solid border around the back, but I told myself it would be on the back, not the front, so it would be okay.

As I was about to run over to the fabric store, I was struck by an inspiration. What if I used pieces of The Secret Garden for the facing? I had used it for the front, so why shouldn't I use it on the back? I didn't have to go to the fabric store after all!

I made the facing, and sewed it down by hand with a blind hem. It resulted in a rather thick edge, but it actually gives the piece a little more stability, so it is not a problem for this type of project.

I wanted to try out the monogramming function on my new machine, so I decided to add some monogramming to the facing instead of making a label. I thought maybe I would do it after the facing was sewn onto the edge. I don't know why. I think I was worried about placement if I did it before adding the facing to the piece. That was probably not the best way to approach it.

The back, with facing

I stitched a sample of the title, and it looked okay, so I stitched it on the facing. (Well, to be honest, it looked "okayish." My machine is not one of those embroidery machines. It can do monogramming, but it is not terrific.) As I was adding the monogram to the facing, it looked like the fabric was not feeding through the machine in a straight line, so I pulled on it a little to keep the letters in a straight line. Hah! That was a bad idea. The letters got scrunched up and turned out too close together. I had to do it over three times. It was a real pain to rip out the monogramming, but I didn't want to have to rip out the seam holding the facing on. It didn't come out as straight as I would have liked, and the fabric had some holes in it where I had ripped out the monogramming, but it's only the back, right?

Then I added my name and date to the other side.
After finishing the facing I started thinking about whether I should make a hanging sleeve, and how. Alas, my research revealed that it is better to think about this before you sew on the facing. Oh, well. Live and learn. 

Now that I know what I am doing (sort of), I will think more carefully about what fabrics I will use before starting a future piece.

Lessons learned:

• When you select a backing, make sure you have enough for a facing or binding, or else have a clear idea of what you will use.
• Plan your hanging sleeve BEFORE you do the facing or binding.
• Practice the monogramming, and don't try to pull it straight if it seems to be going crooked.
• Think outside the box!

Pish Pash

I finished it! The "Pashmina" table runner.

SLM thinks this is why it's called Pashmina

I still have to learn what setting to use on the camera to make my photos of quilting come out well. I had some issues with focus, lighting, and color.

I had to take the closeup photos in three sections:

I used wavy lines for the free-motion quilting. It turned out pretty well. I think my control got better as I went along. Practice, practice, practice. Ideally, I would do all of the quilting in one sitting to maintain consistency, but my arms would probably fall off if I tried to do this - especially on a larger project.

I decided to use the backing fabric for the binding. I thought it would look good.

Backing with matching binding

I'm not thrilled with the way the binding turned out on the front. I didn't realize it would come out looking like the stripes on a barber pole once it had been trimmed and folded into a narrow strip. It does look nice on the back, though.

I tried something new (for me) with the binding. Instead of machine-sewing it onto the front, folding it over, and then hand-sewing it down on the back, I wanted to spare myself the tedious hand-sewing. I machine-stitched the binding onto the back of the project, folded it over, and then machine-stitched it down on the front, very close to the folded edge. That was SO MUCH easier.

I wasn't sure how it was going to look on the back. I don't think it looks that bad. In some places you can't even see the top-stitching. In other places you can see it, but it's on the back, so I can live with it.  

You can see the top-stitching a little bit

If I had matched the thread color better, this might have been less noticeable. As it happened, I just decided to use a color I had on hand. It was close, but somewhat darker than the fabric.
 
Lessons learned:

1. Measure twice, cut once.
2. Relax.
3. Give yourself a realistic but not too distant deadline.
4. A solid color might be best for your binding. Test a print by folding it into a narrow strip.
5. Don't be lazy when it comes to thread color.

Migrating Geese Table Runner

I made a table runner using a Timeless Treasures Tonga Treats kit that I bought for practically nothing on sale from Craftsy. I love batiks! This color run is called Spice. The pattern for the table runner was included in the package.

Here is the backing. The backing, binding, and batting were not included in the kit.

I used Insul-Bright for the batting. It is an insulated backing designed for projects like this. Theoretically you could put a hot dish on it and your table would be okay. I'm not going to do any experiments to see if that is true. It's nice to know that I have a little extra protection, though. Insul-Bright is washable, too. What a great idea.

I sewed the binding down by hand. That wasn't too bad for this size project. I don't know if I would want to do it for a bed-size quilt. However, I do prefer the way it looks

I stitched in the ditch around the squares and then I stitched diagonally across the squares in an alternating chevron pattern. The squares that consist of two different prints do not have stitching along the seam where the two prints join - i.e., all of the squares have only one diagonal quilting line.

Although the overall project is somewhat busy, I don't like the two fabrics with such light prints that they appear to be practically solid cream. One has very light dots. The other is, I think, called Java Blender. I wish I had tried to substitute. If I were doing it again, I would substitute with a low-contrast print in a light rust and/or light brown.

What did I learn from this project?

1. Small projects are really easy.
2.  Geometrical quilting lines are really easy.
3. You don't have to use what's in the kit.
4. It IS possible to completely finish a quilting project!