a discus sion on needleturn applique

Standard Online Quilt Magazine – Vol. 3 No. 7

© Online Quilt Magazine.com All Rights Reserved P a g e | 1

Online Quilt Magazine.com

Standard Issue – Vol. 3 No. 7 July 2012

Fabric

Thermofax

Screen Printing

– See Just How

Easy It Is!

PROJECT –

Morris Quilt

Pattern

A Discussion on

Needleturn

Applique

Check out

What’s New –

Fabric, Book

and Tips!



Online Quilt Magazine Table of Contents

Needleturn Applique ……………..….………………………………………….…………………………………………………………………………. Page 4

Printing With A Thermofax Screen ………….……………………………………………………………………………………………………….. Page 8

PROJECT – Morris Quilt Pattern ……………………………………………………………………………………………………………………….. Page 18

What’s New from the Fat Quarter Shop …………………………………………………………………………………………………………… 1

Book Review – ‘Liberated Medallion Quilts’ by Gwen Marston ……………..………………………………………………………… Page 23

BLOCK OF THE MONTH – Whirlpool Block ............................................................................................................. Page 25

Today's Tips............................................................................................................................................................. Page 27

YES – We Want To hear From You.......................................................................................................................... Page 28

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Letter from the Editor

Jody Anderson

Hi!

Welcome to our Brand-New-Hot-Off-The-Press July Issue! I can’t believe we’ve reached the middle of

the year already – there’s still a rather disturbing number of ‘to-do’ things on my list, and I really need to

knuckle down and find some time to get it all done. Kids on school holidays for most of this month will

not ease this pressure either, but I do really love having them home.

At least this month we unofficially celebrate our “Christmas in July” so we can enjoy the cold-weather

big baked dinner that those of you in the ‘north’ can have in December. That’s our excuse anyway, and

what’s not to love about two Christmasses in a year? Maybe the kids could make a start on some

Christmassy craft things in the next couple of weeks…?

There’s a special article this month from Judie on needleturn applique, and a wonderful fabric printing

article from Linda that show you just how easy it can be to create your own unique fabrics. There’s new

fabric from the Fat Quarter Shop, and a new project from Rose, and a fun new book to check out too!

Have a great month!

Jody



After quilting for some 36 years, I know what is

my “quilting niche”. What I mean by “quilting

niche” is the genre of quilting I like and do best.

Notice I say “like and do” because there are many

quilt genres that I really like but do really badly.

So my quilting niche is Needleturn appliqué.

There are many Needleturn techniques so which

one do I use? The Needleturn technique I now

use has morphed over the years.

After completing that series of needleturn classes

with various tutors, I realized that I learnt more

about techniques in Needleturn appliqué I DIDN’T

like and was not going to continue to practice. I

still wanted to create beautiful needle turned

pieces, that was a given. So I needed to work out

my own technique of Needleturn appliqué that

satisfied my creative and practical needs.

One of the techniques that the tutors espoused

was marking the design directly onto the

background paper using a type of carbon paper

or artists’ graphite paper. The idea was that the

lines indicated correct placement and the

appliqué fabric would be sewn down following

the line, creating the required shape.

This was a method I simply couldn’t master. I

endeavoured to cut the appliqué shape with the

utmost concentration, yet, when I laid it down

onto the background to fit into its outlined

position, it was never accurate. No matter how

hard I tried, when I needleturned the piece on,

the outlines marked on the background peeped

Needleturn Applique

By Judie Bellingham from www.bellaonline.com/site/Quilting



out and were on show for all the world to see.

And worse still, these marks did not rub or wash

off. It frustrated me almost to tears, so I decided

that that was one method I was abandoning with

glee. Having rejected the technique of marking

the outline on the background, I needed to

develop a method where I could place the

appliqué piece in its correct place, without having

any residual marks showing.

The eyes have it!! Yes, I figured that these eyes of

mine were a pretty good tool. They have certainly

served me well over 55 years or so. I wasn’t

running around banging into things, I could park

my car pretty well between the lines and I was

able to thread a fairly fine needle. So why not use

my eyes as a tool for ascertaining the placement

of my appliqué pieces?

After all, I know where my eyes are at all times. I

can’t mislay them like I can patchwork

equipment. And my idea worked!! I can place the

appliqué pieces into position using my eye,



comparing with my pattern diagram as I go along.

There seemed to be many tens of different ways

of preparation for your appliqué pieces. I was

shown various techniques on how to use freezer

paper, tack the seam allowance, or press the

seam allowance in preparation for laying down

onto the fabric.

One was expected to spend a large amount of

time preparing the appliqué piece prior to

stitching onto the background fabric. This seemed

to me to be extremely time consuming, as well as

resource consuming. I also found that the more

handling of the delicate piece the more frayed

and messy the edges became. It also seemed a

dreadful waste of precious sewing time. So I

needed to devise a way to Needleturn the pieces

on, that didn’t require preparation time and

unnecessary over handling.

This is where I discovered my left THUMB. (I am a

right-handed stitcher). This fat, chubby digit has

been sitting in the same place, minding its own

business for as long as I can remember, but now I

realise it’s my most valuable quilting tool. It’s my

own personal mini-iron that doesn’t need

plugging in, thereby not contributing to

greenhouse gases!!! (Pardon the pun, but it's a

GREEN thumb).

This is how I do it. To begin with, I cut the

appliquéd piece plus ⅛” seam allowance and

place it onto the background fabric and using a

small pin to temporarily fix it in place. Then using

a fine needle (No.12 Piecemakers) and matching

thread, and using the tip of the needle, I gently

turn under the ⅛” seam allowance and make a

small stitch.

Now, this is where the thumb comes in. With my

needle I continue to turn under about 1” ahead

from where my last stitch is made, and using my

left thumb, press down firmly, thus “pressing” the

seam allowance under with my thumb. Voila!! All

the preparation is done in one easy action. While

I’m busy sewing the piece down, my thumb is



pressing the seam allowance under 1" ahead

ready for stitching. It works for me and I find I can

achieve a lot of appliqué in a small space of time.

Hooray!

About the author: Judie Bellingham has been quilting

since 1976 and has taught in Queensland, Interstate and

Internationally since 2000.

Judie is a past vice president of Queensland Quilters Inc and

is the current Editor of the Quilting site at Bellaonline. This

site has loads of information about quilting and offers many

free patterns for readers.

Judie is involved with several quilting and craft groups in

her home town of Brisbane, and is the President of

Sunshine Linus on the Sunshine Coast. Website:

www.bellaonline.com/site/Quilting

Stop Press! BRAND NEW

BAG PATTERNS SET To Be

Released by mid-July!!



Continuing on from Linda’s Part 1 Fabric Printing

article last month in the Premium Online Quitl

Magazine, this issue she looks at Thermofax

printing for creating your own unique fabrics…

Thermofax screens are a great way to print a

detailed image onto fabric without the expense

and trouble of buying and using a traditional silk

screen. They have several advantages:

1 .They are small and light, which makes them

easier to use and store.

2. Images can be emailed to a supplier who will

make the screen and post it back to you. So you

do not need to purchase the expensive Thermal

copier machine needed to burn your image onto

the screen.

3. Any high contrast image can be printed. For

example: a photo, a line drawing, a photocopy of

a copyright free design, a texture rubbing, a block

or leaf print, or a document, letter or other text.

Many suppliers will have a range of designs you

can order if you don’t want to design your own.

Printing With A Thermofax Screen

By Linda Stokes from www.linda-stokes.blogspot.com



A line drawing

A texture rubbing

A print from bubble wrap

4. Your screen can be ordered mounted in a

plastic frame with double sided tape, or without a

frame. If you already own a traditional silkscreen,

a thermofax screen can be used as a stencil,

taped to the front of the screen in the same way

you would use a cut stencil.

5. You don’t need to buy an expensive squeegee -

a small, light one is best. I use a plastic baking

scraper, $3 from a kitchen shop. Hardware stores

have various scrapers or small squeegees for



spreading glue which could be suitable. Even a

credit card or sponge roller can be used.

6. The screens last for 100s of prints as long as

they are properly cared for. The plastic frames

can be re-used too.

The only disadvantages with Thermofax screens

are their size limitation and that they will break

down eventually after long use. They can be

ordered up to A3 size, although A4 is the largest

size I can do on my machine. Warning: thermofax

printing can be addictive!

How to use and care for your thermofax screen

The smooth side of the mesh is more fragile so

this side should be against the fabric when

printing. Keep this in mind if attaching it to a

frame – it’s a good idea to mark the upper side.

You can print with the screen reversed, but it will



last longer if you print with the slightly rough side

of the mesh facing up.

If your screen comes without a frame, the edges

of the mesh should be reinforced by taping with

silver duct tape on both sides, or painting with

acrylic house paint. Take care not to cover any

part of the design. I recommend ordering your

screen with a frame because it’s much easier to

print without getting paint where it is not

wanted.

If you screen has a frame, you may wish to tape

around the inside edge of the frame with the

tape on the frame and over the edge of the mesh,

on both sides. This is not really necessary, but

does make it easier to clean after use.

OK, your screen is ready for printing. You can

print with Permaset or other thick textile paints

as well as thickened dyes or discharge paste. Be

careful if using acrylic paints or Lumiere – these

dry more quickly than textile paints and if they

dry in your screen, it will be permanently blocked.

Tape or pin washed and ironed fabric to table. For

a good printing surface, tape down 2 layers of

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acrylic felt and top with a layer of calico or

sheeting which can be washed when needed.

Do a test print on a scrap fabric first so you know

how many pulls you will need. This varies with

the thickness of the paint and the type of fabric. 1

or 2 pulls is usually enough.

Position your screen on the fabric for the first

print. Have your squeegee ready - it must fit

within the frame - and paint mixed (for more

about paints, see my previous article on block

printing last month).

Spoon or pour a line of paint across the top of the

screen mesh. Hold the squeegee almost upright

in one hand , while holding the frame with your

other hand (see pic opposite) and use the

squeegee to pull the paint over the design,

towards you.

Use the squeegee to scoop up left over paint at

the end of the pull so you can do another pull if

needed. Keep the paint loaded squeegee over the

screen so it doesn’t drip onto the fabric.

Reposition your screen for the next print and add

more paint if necessary.



If your next print will be close to the previous

one, you may get paint on the back of the screen

which will end up on your fabric in later prints.

This is called ghosting and can be avoided by

placing a piece of scrap paper between a wet

print and the screen. But if you’re printing an all

over texture design, ghost images might not

matter to you.

“Thimble of Soil”

A Woman’s Westward

Journey…Life and Quilting in

Pioneering Times. Book Series

by Linda Hubalek

www.LindaHubalek.com



You can continue printing until the fabric is

covered, but don’t allow the screen to sit for long

with paint drying on it, especially in hot, dry

weather – it’s better to wash it out. It will dry

quickly, and you can continue printing.

Wash the paint off the screen as soon as you

finish your print run – gently, under cold running

water with a soft sponge. I use a paintbrush to

clean any paint from the under the edge of the

frame. (Only necessary if you don’t tape around

the edge) Sometimes paint will stain the mesh

but that is not a problem. You can see if the mesh

is clean by holding it up to the light and making

sure the design areas are not clogged. Dry screen

between 2 layers of old towel or stand to dry.

When the printed fabric is dry it can be heat set

by ironing so it will be washable (instructions

should be on the paint jar).

A cat litter tray with some water in it is handy to

have near your printing area. When you finish

printing, scrape excess paint back into the jar and

place screen in the tray before washing. Also

sheets of newspaper in case you need

somewhere to quickly put down the screen or

squeegee between prints.

Silk scarf printed with thickened procion dyes. Thermofax screen

used to print lace image with deColourant discharge paste.



Store thermofax screens upright, away from heat

or direct sunlight.

For more information on designs, sizes and

prices, see my blog: www.linda-

stokes.blogspot.com

About the Author

Linda Stokes is a Western Australian textile artist. Since

completing a BA in Art, majoring in fibre textiles, at Curtin

University 1999, she enjoys working in her home studio as

well as teaching and exhibiting. Surface design on fabric -

print and dye, is her main passion but she enjoys most

forms of textile practice. Other favourites are free machine

embroidery, cloque, mixed media, quilting, etc. Really,

anything that involves colour and texture. Linda is a

member of several textile associations and has been

blogging since 2006. www.linda-stokes.blogspot.com

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More than 900 quilts will be exhibited at the 1st

Annual AQS Quilt Show at the DeVos Place

Convention Center in Grand Rapids, Michigan,

August 22-25, 2012.

The American Quilter’s Society has chosen Grand

Rapids, Michigan, as a new show location in part

because the city has a huge reputation as being

an art lover's paradise.

Also featured at this new Show will be the “Stitch

Like an Egyptian” Special Exhibit of 95 selected

quilts.

Curated by Australia’s own Jenny Bowker, this

display features appliquéd quilts made by the

Tentmakers of Cairo, Egypt and it is the first time

these wonderful quilts have been seen in the US.

Two of the tentmakers will be attending the show

to demonstrate their applique technique. For the

quilts, these artists use a soft thick cotton

Special Exhibit at New AQS Show

Grand Rapids, Michigan USA



background to sew into and over that there is a

background fabric. Then you’ll see two or three

layers of applique; no batting or filler is used for

these quilts. While they may not be quilts that are

stitched together with quilting stitches like we

are accustomed to, people are amazed at the

detail and quality of the applique in their work.



PROJECT – Morris Quilt Pattern

By Rose Smith from www.ludlowquiltandsew.co.uk

I have called this quilt the Morris quilt purely because I used William

Morris fabrics to make it. It measures 32” by 48” and I have made it using

six blocks sewn together in three rows of two.

The quilt top uses 1/2 yard of black fabric, 1 yard of cream fabric and

1.1/4 yards of red fabric.

You will need to cut:

Cream: twenty four 2.1/2" squares, twelve rectangles 4.1/2" by 2.1/2", eighty 2.7/8" squares.

Black: seventy two 2.7/8" squares

Red: forty eight 2.1/2" squares, forty eight 4.1/2" by 2.1/2" rectangles, fifty six 2.7/8" squares.

All the 2.7/8" squares are used to make half square triangle units. These

are made by placing two fabric squares with right sides together and

marking a line along the diagonal. Sew a 1/4" seam either side of the

marked line and then cut along the line. This produces two half square

triangle units.



You'll need these combinations of colours:

• twenty four squares each of black and red

• forty eight squares each of black and cream

• thirty two squares each of red and cream.

I know it's a lot of half square triangles to make, but it does give a very pretty quilt.

Each quilt block is made using eight rows of six - eight squares each. It is

symmetrical, but I'll list the way all the rows are made up:

Row 1: red 4.1/2" rectangle, black/red triangle, two black/cream triangles,

black/red triangle, red rectangle.

Row 2: red rectangle, red square, two red/cream triangles, red square, red

rectangle.

Row 3: black/red triangle, red square, black/cream triangle, cream

rectangle, black/cream triangle, red square, red/black triangle

Row 4: black/cream triangle, red/cream triangle, cream square, two

black/cream triangles, cream square, red/cream triangle, red/black

triangle



Row 5: black/cream triangle, red/cream triangle, cream square, two

black/cream triangles, cream square, red/cream triangle, black/cream

triangle

Row 6: black/red triangle, red square, black/cream triangle, cream

rectangle, black/cream triangle, red square, black/red triangle

Row 7: red rectangle, red square, two red/cream triangles, red square, red

rectangle

Row 8: red rectangle, black/red triangle, two black/cream triangles,

black/red triangle, red rectangle.

Sew the rows together to make a 16" finished size quilt block. Make six of

these and sew them together in pairs. Sew the three pairs of blocks

together to make a quilt top two blocks wide and three blocks long.

That's the quilt top complete and ready for layering, quilting and binding.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

About the Author: Rose Smith was born and brought up in Zambia in Africa. She moved to the UK when she was 18 and now

lives in Shropshire, indulging her passion for quilting and sewing. She has sewn all her life - ‘anything that stood still long

enough’ in the words of her children - but now finds that patchwork and quilting have taken over her life. She indulges this

passion by posting patterns and tutorials on her website for all to share. www.ludlowquiltandsew.co.uk



We're pleased to be able to bring you a selection

each month of the Newest Fabric Releases and

the new season fabric "must haves".

Bungle Jungle by Tim and Beck for Moda

Get crafty with this premiere collection from one

of Moda’s newest design teams, Tim and Beck.

Don’t worry, these pals won’t bite! These cute

little creatures are ready to join in your next

creation. Let your imagination run wild with a

whole herd of cute critters in Bungle Jungle.

This collection is available in fat quarter bundles,

fat eighth bundles, jelly rolls, layer cakes, charm

packs and yardage. You’ll love our Bungle Jungle

Quilt Kit!

Check it out at:

http://www.fatquartershop.com/Bungle-Jungle-

Moda-Fabrics-Tim-and-Beck.asp

What's New from The Fat Quarter Shop

From Kimberly Jolly at www.FatQuarterShop.com



Winter Elegance by Sentimental Studios for

Moda

Moonlight shines through the wintery night sky

illuminating beautiful snow white magnolia

blooms and crimson poinsettias nestled among

flourishing holly branches.

Cheerful cardinals perch on pine boughs, while

delicate snowflakes are all a flurry dancing on the

wind. This collection captures the beauty and

serenity of nature during the winter and will

surely add a touch of classic elegance to your

home.

Winter Elegance by Sentimental Studios for Moda

Fabrics is available in fat quarter bundles, jelly

rolls, charm packs, layer cakes and yardage.

See more at:

http://www.fatquartershop.com/Winter-Elegance-

Sentimental-Studios-Moda-Fabrics.asp

LUDLOW QUILT AND SEW

Discover new and exciting projects to quilt

and sew each month with clear and easy to

follow instructions.

Visit our website and subscribe to Ludlow

Quilt and Sew’s free monthly newsletter

now.

www.ludlowquiltandsew.co.uk



“Liberated Medallion Quilts” by Gwen Marston

Gwen Marston's take on Medallion Quilts is

liberating in itself. She sees herself as a both a

traditional and Liberated quilt maker and

encourages us to take liberties and try to think

outside the square (so to speak) in making this

style of quilt.

She commences with the definition and history of

Medallion Quilts. Many pictures of early

American colonial quilts demonstrate that this

popular style has a long history in the world of

quilt-making.

The how-to diagrams and pictures of quilts under

construction will provide enough ideas to keep

you quilting for some time.

The later chapters in the book bring this style

right up to the present with Gwen Marston's very

modern and more abstract examples.

Book Review

By Annette Mira-Bateman from www.QuiltBlockoftheMonthClub.com



There are over 60 Medallion Quilts pictured in

this book.

Of special interest to all quilters is the "Grand

Finale" - the scrap quilt challenge we could all try

at our next sewing day or retreat.

At Gwen’s Retreats, quilters are asked to drop

their fabric offcuts on the floor, and then all are

free to wander around and select pieces of fabric

to make a liberated ‘no rules’ quilt of their own

from their found fabrics to finish the retreat.

Fab idea - Gold Medallion for Gwen!

This book is published by American Quilter's

Society, and is available through all good craft

bookshops or from AQS.

P.O. Box 3290, Paducah, KY 42002-3290 or go to

www.AmericanQuilter.com

(To show just how easy and fun Gwen’s ideas

were for a modern medallion quilt, I got all

inspired and put this together in three nights! I

have to confess – I LOVED the idea of a no-rules

and very little measurement kind of quilt.)



This Month’s block is called the Whirlpool Block.

This is an easy block made from half square

triangles, but you can change the colours for

quite different effects. Keep with our Christmas

in July theme, and try reds and greens for a

pieced Christmas Wreath!

To make this 12 inch block as shown, you will

need 3 different fabrics, and once you have

rotary cut the pieces according to the Cutting

Diagram, you can piece them together as shown.

Block of the Month



Try a simple layout, or turn into a wreath for a table runner or wallhanging you could add 3D embellishments to.



Today’s Tips:

You may have come across this binding hint

before, but if not, it’s well worth a try…

How often do you want the binding to disappear

into the back of your quilt, by making it in the

same fabric, rather than having to match a fabric

on the front? And sometimes, you want a

different fabric binding on the back for a smart

contrast, and you're stuck with whatever matches

the front?

Try this way of making two colour binding next

time, and we guarantee you'll be thrilled with just

how easy it is. Cut a 1 inch strip to the length you

require in the colour for the binding on the top of

your quilt, and cut a 2 inch strip for the colour

you want on the back.

Sew together with a 1/4 inch seam and press

seam open. Fold the strip in half lengthways with

wrong sides together, and press.

With the 1 inch (top colour) strip facing the top of

your quilt, pin and sew your binding in place as

you usually do. When you fold your binding over

to the back, the seam that joins your two colours

will be exactly on the edge of your folded binding,

so that the colours are split half and half - one on

each side.

~~~~~~~~~~~~~~~

With so many quilters travelling - whether on

vacation, or just to different classes, we came

across a couple of tips this month that may help -

* When doing hand applique and travelling, Load

your bobbins with the colour thread you require

and place them in a medicine bottle. Drill tiny

holes through the top of bottle and pull up your

thread colours. They will stay neat and easy to

use! You will be able to fit several bobbins in a

single container too.

* Since you can't take scissors on the plane, if

you don’t have a little thread cutter, take your

dental floss container along to cut your thread. It

works great!!



YES, We Want to Hear From

You!

As our Online Magazine continues to grow each

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continue to improve our publication for you.

• We want to know how you liked it.

• We want to know the topics you're

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Please send me an email with your Testimonial,

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If you'd like to submit an Article, or a Project for

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"Quilt-y" Sayings…

• Quilters aren't greedy, they're

just materialistic.

• A yard a day keeps the blues

away.

• Fabricologist Resource

Center"...now does that sound

more impressive than "fabric

stash"?

a discus sion on needleturn applique

Documents