Design a Bold, Modern Quilt , Part 3 | Karen Burns | Skillshare

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Design a Bold, Modern Quilt , Part 3

teacher avatar Karen Burns, The Warped Spinster

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.



    • 3.



    • 4.

      But wait! There's More!


    • 5.



    • 6.



    • 7.

      Getting It Together: Background


    • 8.

      Circles: Fuse


    • 9.

      Circles: YoYo


    • 10.

      More About Circles


    • 11.

      Stitching the Circles


    • 12.

      Final Thoughts 1


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About This Class

In Part 3 of the "Design a Bold, Modern Quilt"  you'll learn about constructing your quilt top:  how to break the design into sections and pieces, measuring and calculating the pieces, and how to make and applique the circles.

I suggest you take the the first two classes in the series, as they will take you through designing your quilt to the point at which we take up the process in this class.

Meet Your Teacher

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Karen Burns

The Warped Spinster


Hello, and welcome!  I'm Karen, and I'm glad you're here.

I've been making quilts for nearly 50 years, and have been teaching quilting and designing quilts for several years.    In the past year I embarked on designing fabric--because what quilter doesn't love fabric?

I retired from the library world six years ago, and since then have spent more time teaching and designing, and pursuing other interests:  reading, researching history, spinning (fiber) and weaving (hence the Warped Spinster name), knitting, etc., etc.   Basically, I love fiber.

And chocolate. 

See full profile

Level: Beginner

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1. Introduction: Hi, everyone. I'm Karen, a k a. The warp spinster, quote maker, designer and teacher. Welcome to this third class in the design of bold modern quilt. Siri's, after exploring design and color in the 1st 2 classes in this class, will work on constructing the quilt you have designed. After reviewing the few materials you'll need for this class will start the process of construction by deconstructing the design that will help us to design the sections in the pieces that will be pieced together to make the foundation of the quote. Then we'll learn how to measure the pieces and do just a tiny bit of math to scale up the size of the pieces. We'll look at how to put the pieces together, including the sequence of PC. Then we'll spend some time with circles. I'll show you two methods for making the circles use INF usable Web and what I call the yo yo Method will consider how to apply the circles to the design and put it all together to be ready for the next class. In the Siris on Quilty, I recommend taking the 1st 2 classes in the Siri's if you haven't already they'll give you the foundation and the design that you want to create. Please join me as we move forward on making our bold modern quote. 2. Materials: you won't need many materials for this class, but let's review the things you will want to have on hand. First of all, you'll need to refine drawing from part two of this series. You want a pencil of any kind. You will also want a ruler 12 inches long about that you wanted at least 12 inches. I guess it could be any kind. Wouldn't metal plastic acrylic? I prefer a clear one so that I can see what's going on even under the rule arise. So I know where my lines are. If you're a quilter, you probably already have an acrylic ruler of some sort that you use for rotary cutting. Probably a little larger than this, and that will work. Find Teoh. I'm going to use the thinner plastic ruler. This has a little bit of distortion. A za light goes through it, but it's not a big deal, So any rule you have will work. If you're doing circles, you will also want to have a compass on hand. Even if you originally to your circles figured design using a mug from the cupboard or something. Well, this is assuming you're going to scale it up that you're not gonna leave it at 8.5 by 11. If you are going to scale it all this compass, you'll probably need it because the chances that you'll find something that's exactly say, double the size of the mug that you use to draw the original circles it's not real great odds. So this is handy to have their inexpensive. You can get him in an office supply anyplace they sell kids, school supplies, supermarkets, big box stores, whatever. They're easy to come by that awful. Also for circles. I'm going to show you two different methods you could use for application your circles to the quote top, and I suggest that you watch these videos through, at least through the circles. Explanations. Before you invest in any of these materials, you want to wait until after you decide how you want to do the application. The first method I'm going to show you uses for usable Web. You'll just fuse your circles under the surface, and for that if usable, web in visited product, this is has paper on one side that you've been drawn, and then on the other side it has and it, he said. That's activated by the heat of the iron. So that's fuse herbal webbing, and you may also for that. Want to have some, if usable, interfacing some lightweight if usable interfacing. This is for shadow through. If you are applying a circle on um, a rectangle or a foundation that is darker than the circle and you see that it's going to shadow through. This will help provide a little bit of a barrier. Since against that shadowing for the other method that I'm going to show you with what I call the yo yo method, you will want a manila file folder or something of similar weight. Um, like oak tag card stock. If you are happy to be a scrapbook, doesn't have to be new, can be scrapped. It just has to be large enough to draw the largest of your circles, and that's it. That's all unique for materials. Oh, of course, your fabric and your sewing machine, Rotary cutter ruler. All of that that you would use to peace straight seems so. Let's get started on figuring out what pieces we need to cut and how we need to put this together. See you soon 3. Deconstructing: We spent a considerable amount of time constructing this design, deciding which shapes we wanted to use, how many of them, what size and where we wanted to place them on the quilt tops. Now, as we begin to think about how we want to piece this quote together, we need to deconstruct it to figure out where we want to put the seams. We want us. Few seems as possible, and we want them to be straight. Seems we don't want to have to deal with these inset corners. For example, I'd like to demonstrate this to you this process to you using my iPad pro in an app called procreate. I think it will be easier for you to see you won't have my hand or a straight edge in the way as I draw the same lines and will probably be quicker for me to draw them digitally, then come to do it with a straight edge in pencil and paper. I will be doing I'm planning to class teaching you how to use procreate by going through this design process that we are doing with pencil and paper. But getting back to today the first thing that I want to do is to hide these three circles . I don't need to consider them yet because they're the last shapes I'm going to add to the quilt. They're lying on top of everything else. So I want to focus on just piecing this foundation. So I'm going to temporarily just hide those so it doesn't confuse us as we're doing this. So now I'm left with the background and two rectangles that I need to piece together. We're going to be cutting up the background quite a bit. Gonna be slicing it up. But we want to do our best to not slice up. The two designed rectangles will actually three. The design has split this horizontal rectangle, and that's good. That's the way we wanted it. But we don't now want seems to start cutting across those. This would be our places for seems, but we want to arrange them so that they are not cutting into any of those rectangles or those design pieces. The first thing that I'm going to do is to look for a seam line that can go from either the top all the way to the bottom or from one side all the way to the other horizontally. So basically, we're going to cut the quote top into two pieces, either vertically or horizontally, and there are a couple of ways that I could do this. First of all, there's a horizontal option here. This will could very well be different than on your quilt, and I could put a seam line right there. I'm not crossing this rectangle here or the other one, so I now divided the quilt into two sections. The top section is smaller and has just one piece. I don't have to piece anything within that, and then the bottom section is larger and has lots of piecing to do you. So that's an option. It's nothing wrong with it. Let's take a look at another option we have, which is a vertical option, and I could put a scene right there again. It's not cutting through any other rectangles except where the design cut through, and I think I'm going to go with that one. Next, I'm going to continue looking for lines that Congar oh, from edge to edge of the quote, and I know that it can't be horizontal, because if I do a horizontal line. No matter where I put a horizontal line. Now it's going to cross the first seem that I did. So I'm going to look for another vertical line, and I do have another one close by to do another vertical line there. And now I've divided the top into three sections, continuing toe look I to have another vertical line here and one more vertical line here, so that has divided the quilt into 12345 different sections that would work fine. We still have to do some piecing within that, but that would work fine. That's a lot of verticality for me, though. On the right hand side, we've got three vertical lines that are pretty close together. In the end, probably no one's going to notice once I finished the Quilty that there are lots of vertical seams, but I think I mean to be happier if I just do away with that one. So let's he race that one. So that is the last those Arthuis three four Excuse me, sections that we're going to work with now we're gonna work on the individual sections and how we need to divide those up again. We want to go edge to edge with a single straight line, but this time we're just going edge to edge of a section, not of the whole quilt. In the first section, this narrow one that we did to begin with, we have one lying to piece their one seam line. So now that section is going to consist of two separate pieces with one scene in the seem to the right of it. I decided not to do that vertical line to break that up, so I'm going to do a horizontal line again. I wanted to go edge to edge without crossing another scene line or breaking up a rectangle so I could do one there. Now it creates a a large vertical piece on the top. Do another one here, and there's a small peace at the bottom. Now I have one more seemed to do here. Two. Piece those two together if I switch over to the far left, remembers a single piece. I don't need to do any more with that, but on the next section, to the right of that, I have two horrors of Until seems to do much like section on the far right and that's it. I think I have all of the pieces, all of the scene lines laid out. Let's take a look at what those sections are here. So first of all, we did this section and divided it into two pieces. Then we have three for five and six over here. Then we have seven, eight, nine and tad here. So we have 10 pieces to piece together into this quote that the sign waas fairly uncomplicated. It's a pretty straight forward composition. Let's take a look at one that's a little more complex. We've got some cross pieces there that are weaving in and out of each other on the left hand side, so let's see how that one might work out again. I'm going to start with moving circles because those are applied on top. Let me see what pencil of going on here, and first thing we're going to do again is to look for something that splits this quote top into two. And this time it looks like that's going to be a horizontal here, So it is going to cross here and again. It's cutting across the design, But that's part of the design. And there's another one here to create that very narrow section, then going toe look at another horizontal. Except that that horizontal this one would be the most logical on thinking of. But that would split across that design. It may come to that in the end, but I'm not seeing anything else that I could go all the way across the design. So let's we've got a big section up at the top, a little narrow section in the middle, sort of middle and then the shorter section at the bottom. So let's start looking at subdividing nose and let's start at the bottom. So if I look at how I can divide it without splitting the design any more than it already is that split up, this pink line does split the design. But the design has done that so that we don't need to do any piecing there so we can subdivide that into two more sections, and in this section we can subdivide using horizontal lines here on. And so now this subsection is three pieces. We don't need to break that up anymore, so but now I can also do a line across here on one here and Gatton, we've got sections, two sections that no one needs to be split again. Right there. We need another seam there. And now we have this section that has that little thing coming through. So we have two choices here. Actually, I could do another color here just so I could maybe see it better. I can either split it here and then across there, which gives me 1234 pieces or how could split it here and then split here. Which gives me 1234 pieces get That's a lot of those horizontal. Seems so. I think I will go with splitting it this way and that will give me a have a nice long peace . It's pretty narrow, but got liking that better. If you like the other way better than you absolutely could do it that way. All right, Now let's switch to the blue here and do the I think we're finished with the bottom section . So now we have one section left here and this lighter purple cuts through. Change that to blue for that again. All right, so this section that lighter purple cuts through the darker purple. But that's part of the design. So I'm okay with that. And again, I have two different choices here for how I'm gonna subdivide this so I could go across here and then here again, that gives me lots of whores on, told, Seems and then I could do. That's 123 This would need to be split again. I'm going to go for a different one. I'm going Teoh instead, split this. And that leaves me a really big piece right there. Which is good. I like that. And then this It is going to subdivide there. All right, So, again, over here, I'm going to have a scene there. And now I have this purple piece that cuts across our slices through that pink strip, so I couldn't split that there, and then this will be peace. You could see we're getting spunky, more pieces than we had in mind. Which makes sense because there are more pieces here and they're interacting differently in a more complicated way. So and again here I have another choice. I could do it this way and then split here, or I could do it here and split there, and I think I like that way better because it leaves me with a larger white space that doesn't have a seam running through it, which I think is a little less distracting once it's quilted, may not make a lot of difference, but that's going to be what I go with. So I think hopes we didn't do this guy here, though he needs to be split there. She had done that in the first one. All right, I think that's it. So let's see how many we have here. We have one year. Oops. Change my pin here. One here to three. Do the backgrounds first, or I six. Seven eight nine 10. 11 were already past number of pieces in my first design. 13. 14 15 16 Background pieces Switch to a point. Better on knees. So that 16 17 18 19 20 21 22 23 24 25. Thank this inning. Think that's it. All right, so this one has 25 pieces. The design I did first has just 10 So there would be more calculation here to do, but they're not difficult pieces again. it's just straight PC and I would again this over, make sure I got it all and that I don't find something I like better. But I think that will work. So our next step for this one then would be to go to the calculations to some measuring do the scaling up, adding the seam allowances, and that is up next. 4. But wait! There's More!: I had a question from a student who said, What do I do now? There is no way for me to divide this without cutting across a design line. There are actually two choices here. Well, actually, there three. But we're just not going to accept the to a completely different desired option. The first option is to actually yes, cut through one of these designs and it would be wouldn't have to be necessarily this exact one. You've got identical choices. Four identical choices going across. And now you could do a second line over here, but it wouldn't really be necessary that to straighten out, because this way you would have. So these two pieces together and you tell these two pieces together and then do that intersection and then the rest you could do as individual pieces, so this would be a section. This would be a section, and that would be a section. So that's one option. The other option is what? Well, they're partial. Seems so where you kind of swirl around the center. Any block where you have that sort of thing going on, you can use partial seems. And if you want to check that out, Go to my class, make a quilt whatever. And I believe it's Lesson six talks about how to put that together without your second option. Thanks for the question. There's nothing wrong with the challenge. Let me know if you have any other questions for designs that you've done. 5. Measuring: it's time to get down to the nitty gritty of doing some major inning calculations for how we're going to put our quote top together for this exercise. He will need a ruler of some sort, and you can use if you're a quitter, you probably already have an acrylic ruler for a rotary cutter. I'm going to use this one. I think it will be easier for you to see on camera, and it's not as thick, so I don't get that sort of parallax shadowing the kind of thing. But whatever ruler you've got, if you've got a wooden ruler, school rulers, steel ruler, whatever will work. I'm doing mining pen so that you can see it better. You may well want to work in pencil, and you may also want a calculator. When you do this scaling up, you don't like working with fractions much. You can use the calculator to do that, so I have my pattern. My design divided into the sections that we talked about in the last video, and now I'm going to label them on good use letters so I don't confuse it with the numbers in the measurements, and I'm going to start with my design shapes first. So this is going to be a be see then the circles air, D, E and F And then I'm going to start with the background. So let's to g here, h I just work our way around J okay, l and M, and you'll see why I want Teoh have those labelled in a minute here. Now all we have to do is take the measurements, the length and the width for each of these pieces in those sections, and that's just lay in the ruler down and measuring it. So first thing I want to do, let's do a first. I'll just do it in order here, and that's one inch wide here. So I'm gonna put one inch here. If it helps you to know what that one inch refers to. You can put some arrows from side to side that will help you, and I'm gonna measure the length, which is two and 7/8. I'm not going to go any finer than eighths because I just don't cut or so 16th and by the time I scale this up, it's not going to matter as long as I have consistent measurements. So, for example, for a it's one inch by two and 7/8 this shares a line with a so H and a air gonna have the same length. I don't even have to measure h of the length height, I guess, of H here because it has to be the same as two and seven eights. When I'm piecing it, those two have to fit together, but I will have to measure the width of H here, and as long as I'm here, I'm going to do that. And that is 7/8 inches. So on your rulers, every inch most rulers have an eighth of an inch on, particularly if it's a quilting ruler. But it's halfway between the three fours in the one inch. All right and G. I know ISS has to fit in with this one inch wide, plus the 7/8 inch wide, so I know that one without measuring, it has to be one and 7/8 and then this piece I have to measure. I haven't measured that yet, and that is 78 says well, now, because this is the same distance. Is this? The same measurement is this than I know. L also has to be 7/8 of an inch here because those have to match up. So I'm going to continue to do this measuring and marking on here. Do the same on yours. And when we come back, I'll show you what we're going to do with that to be prepared for cutting these pieces. 6. Calculating: e have finished all of the measurements laid them out. And for some of them, of course, I didn't have toe measure for two pieces because they share aside so on. It'll, for example, it's 7/8 of an inch, which is actually the same height as G and L A and B share aside. So I know that that's three and 3/4 inches for both of those. The other thing that I did before I came back, waas to map out a chart basically a cutting chart and a way for us to figure these out. So I took each of the measurements for the pieces and listed it in column A. This is a way to organize it that I think will make it easier for you to do your figuring and also to, um, do the cutting. And, you know, I write patterns for living, So I like lists like this. So I have started out with a and I have I'm done them sort of by color. So for the shapes, the design shapes, I have dark blue. I have two pieces for that. I have A and B, so I mark those there light blue has one piece the sea, and then the circles are gold, dark blue and light blue. And then I have all of the background pieces put together organized in one place, because that will make it the that cutting easier if I haven't divided out this way instead of the background sprinkled throughout them. So I have marked all of those down, and now I need to, because I'm going to scale up by two. This is going to be twice the size I need to multiply each of these measurements by two. So for this 1st 1 for example, one inch times two is two inches and two and 7/8 is going to be, um, if you double both of those, it's four and 14 8th so that is five and 6/8 which is five and 3/4 so you may be accustomed to doing fractions. That way, if you're a quilter, it may come fairly easy to you. If you don't like doing fractions that way, then you can just write out how much what the decimal values are for each of those. So for 18 for example, it's 0.125386 point 3755 Eights 37550.62578 0.875 You could just do yourself a little cheat sheet there and then use, um, a calculator to work those out. So I'm going to go through and figure all of those. And then I'm gonna add 1/2 inch because thes are the size of the pieces without the seam allowance. So I need to add a seam allowance, and I need to do 1/4 inch all around. So the with um, is going to have 1/2 inch because it's 1/4 inch on either side of that piece, and then the length is also going to be did that backwards didn't so for this one, for example, it's going to be 2.5 inches to cut it because it's a two inch piece. But I have to add 1/4 inch on each side of it and the same for five and 3/4 which is going to make it six and 1/4 inches for my cutting. So I'm going to do that all the way down the page, and then I'm going to go ahead and cut those pieces from my fabric. And when we come back, I'll have the pieces cut and we can review the sections and how we're going to sew it. So just transcribe your measurements into a chart, multiply each measurement by two and then had had half an inch to each measurement. 7. Getting It Together: Background: I have finished all my calculations, doubling its scaling it up. Now. You might have scaled it up by three or some other number than to what you've done that scaling up and then added the half inch. I did not add 1/2 inch to the circles measurements, depending on the method that you use for application no circles, you may or may not want a seam allowance, and if you do want to seam allowance it unnecessarily strictly 1/2. So I didn't figure the half inch seam allowance for that. Then I cut the pieces according to this chart, and then I have laid them out According to my design, I refined design. So here they are, and you may notice right off this doesn't look like my plan in quilting. The best laid plans usually go around at some point. It turns out I did not have a piece of this lighter blue long enough to make this piece to cut this piece. So I added in some deliberate strips here, he's, um I cut it one inch and they finish it half an inch so that there wouldn't be an obvious seen. It looked like thes seems are part of the plan. If I had just added on a piece of this than you would see that seem and it would break it up and I didn't want to do that eso When I added on that piece, I added in strips, I could have done it with just one strip. But that seemed kind of arbitrary and lonely. So I did three. I remember it. Odds Air better. So, um, that is actually it's OK. It's one of the things you can do. It's a little bit of improvisation in the middle of this quilt, and I'm good with that. In fact, it kind of like it. It ties this in a little bit more. With this drive in, it will tie it, and with the circles over here of it, more as well. Is it kind of Ah, I don't know. Um, Frank Lloyd Wright Prairie style kind of look to it. And I'm in the Midwest, Um, Frank Lloyd Wright country. So that works pretty well. So here all the pieces that I need and I'm going to sew them by section. So these are pieces that are on their own for the moment. I will. So together these two pieces seen those together, and then I will add that piece on the bottom over here. I will. So these two pieces to make that section then I'm gonna sell these to pieces to make that section. Then in a couple of cases, I'm gonna have to so some pieced sections together. So this is a section on its own. This one's now been pieced so I can connect those. And then I can So these two together And now I could just start sewing these vertical sections together, and I will have my piece minus the circles Circles are going to be our next step. I will come back and show you this piece. Are this quote talk when I have finished it, the foundation of it. And then we'll start to talk about circles. So go ahead. And so your pieces together by put pieces together into sections first and then or subsections, and then you can start sewing those bits together. Hi. I want to pop back on for just a minute to talk about pressing. Some people like to press there seems open, always open. And you certainly can do that if you are going to press it toe one side. Sometimes construction dicks dictates how you want to do that. In my case, I think that's probably not going to be true for any of these scenes. When I have a piece that I want to sort of sit up a little bit from the surface of the quote, both visually and actually I will press toward that peace. In this case, I want this white to really be background and to have these pieces appear to move forward or to stand out from that background. So I'm going to press it toward the design shape, my colored rectangles here. It's quite subtle, but it does just help that piece to sort of pop off a little bit on the quote. So whenever I have a choice, I'm going to press it toward the design piece. Now this piece, because visually in the design, it's sitting on top of this darker blue piece. When it comes to thes seems where these two are meeting. I'm going to press it toward this piece because I want to pop it the furthest up from the surface of the quote So just keep that in mind if that's something you want to do. If you don't want to worry about that because it's pretty subtle, then by all means do that. I also want to remind you when you are sowing these two sections together, once you've so these together and now you're going to attach here these two pieces together . So he would, for example, so these together when you then So this piece onto here, make sure that these line up across that piece if they're off and this is an exaggeration, but they're off here, if that's off your eyes going to see it. But just so just take care that those match up if it doesn't match up exactly at the top, it's better to trim that a little bit up there, at least if you have no design elements up there than to have this off visually. So if you have cut and pieced accurately, it should be pretty close. But just make sure as you're sewing those two together, that they're going to be exactly across from each other once you've finished piecing. Okay, now I'm going back to finish PC these together all right. I have my foundation all pieced outside a little bit so you can see where we're at. Foundation is finished. So now I am ready to start working on circles have three circles to do. There are two methods that I'm going to suggest, and in one of the methods you have a couple different options. So I suggest that you watch this section in the next one through, so I'll talk about thief usable Web application in this section and the next, I'll talk about the what I call the yo yo method of doing circles. So you might want to watch both of those before you decide which way you want to applicator and what some options may be for you within that. If you're used to do an applicator, you know what you want to do, then you're good to go. You don't even have to watch these two sections 8. Circles: Fuse: the thief first method that we're going to use for application is the fuse herbal Web method, and for that we're going to need some fuse. Herbal Web. This is paperback if usable with newspaper On one side. On the other side is a slightly sticky, bumpy adhesive that's activated when you use a nine iron to fuse it on Thebe paper side makes it easy to draw on it. So when I want to draw my circles, I can do that accurately without having to try to deal with this. Bumpy uses, frankly, just wasn't doable. The other thing that you may be using I'm going to use it for one of the circles, anyway, is if usable interfacing, which is used when making garments to stabilize an area or maybe add a little body to it like a collar. This is a light weight might even be a sheer weight. Um, interfacing. Either sheer or light will work. Um, we're gonna use this when there's a very dark fabric underneath and a lighter fabric on top and it is going to shadow through. I'm going to use it for this circle because I have a gold that will relapse this dark blue . I think this is actually a sheer weight. A lightweight would have a little even a bit better property for not showing through. So it's going to block some of that light and that color coming through this is just smooth on one side and the other side are little tiny dots off adhesive that again are going to be activated when you apply heat from your iron. All right. First thing we want to do is draw the circle and you want this to be a pretty accurate circle. So I'm going to take my mind off usable Web and determine what size circle I need on mine. The diameter is three and 1/4 and the radius is one in five eights. But I am doubling the size of mine. So and I'm going to use the radius because I'm using this. So this is the center of the circle, and then this is the outside of the circle. So that's half the width of the circle, which is the radius. I'm doubling the one in 58 so it's gonna turn out to be three and 1/4 inches, so I need to set thes the pencil and the center 30.3 and 1/4 inches from each other. I find the easiest way to do that is to take a ruler the center point at one end and then just set that at three and 1/4 here. Can't see that's try that again. All right, so at this point, and then I've got it set there at three and 1/4 pencils at the three. And according then I'm going to This is a pretty inexpensive compass and economical compass , shall we say, And it will move easily out of place. If I move that pencil, it all that'll throw it off. And ordinarily, you could hold it by this little handle up here. But because my pencil is so long longer than you would ordinarily have in this compass, it's too easy for me to bump it. So I'm actually going to hold it by the middle here. And I'm just going to kind of check to make sure I've got a big enough area here to draw, plus a little more. Believe yourself, a little margin outside of it. And then I'm going to just mark an X on the paper for the center point That will give me an accurate place to put down the point. And then if it happens to slip, well, I'm drawing it. I consider it back in and slip. I just did. So I'm gonna make sure you have the same measurement from the center and then my circle around. All right, then I'm going to cut roughly around that circle. It could be closer than this. I just happened to cut out a square. So this is a pencil. You probably can't see it very well, but I have cut. You could cut closer Eighth Eminence or something. This fine, actually. Just don't cut right on the line that you're just for on. I have my circled with some margin rounded that I'm going. Teoh, take that circle Has got paper side up here. And here's my fabric. Wrong side up. And I'm going to put the bumpy, sticky side down on the wrong side of the fabric. Repeat that to yourself and check it three times before you do it. This is the wrong side of the fabric that I'm gonna follow. The manufacturer's instructions for the heat setting on my iron and how long toe hold the iron in order to fuse it and whether or not to use steam. It varies, according to manufacturers, so just follow whatever your manufacturer says. So do say those kind of annoying little sheets that come with the fuse. Herbal interfacing. All right, so I have done that here. Now, another option that you have if you aren't worrying about shadowing through from below another option to reduce the bulk. There's a little bit of bulk and stiffness that's going to happen because of this. Not a lot, but a little bit. And if you want to avoid that, you could in fact cut this out so that there's just a rim. We're gonna cut the center out of this and you'll be more careful than I am about this. Don't be too sloppy about it, and I'm going to cut out the center, okay, so that when I fuse it to the fabric, Theo nly part that's gonna have stiffness to it is this bit of rim not in the center, so that's an option. If you want to do that, if you happen to be doing in the arty style, Modern quote, and you have a heavier fabric. And this might be something that you want to do to reduce a little bit of bulk in the center. Another thing about, um, Web, which you've probably figured out. But an if using. You want to make sure that the peace that refusing to is larger than the piece that refusing because you don't want this if usable adhesive to get stuck to your ironing board or we're still to the bottom of your iron happens a lot. All right, so now I have this roughly cut circle fused to the wrong side of this fat work. Now I'm going to cut on that line, and I'm going to cut it carefully because this is the finished edge of my circle, and I wanted to be nice. I would probably take a little more time if I weren't on camera. When you're doing circles, you don't want to turn the scissors. You want to just hold this scissors in one place and you pivot with fabric a long time ago , preschool or kindergarten teachers and all right, so you would do there's more neatly than I am to go all the way around the circle and you can discard that. So now I have this and I want to apply it to my peace now. So we'll take out and I will measure on my diagram where I want this to go. How far from the edge? How far from the bottom, How far from here However you want to measure, you eyeball it if you want. But through all this work measuring, I think it would be nice to measure where that iss All right, So let's say mine's going to be theirs. You can There you can see a little bit of that shadowing through here. Not too bad that I have the paper backing on it. Still, So I like to do a dry fit. I would probably do the other two circles to just to make sure that they are lying in the place that I want them to be, that I got them placed and then I'm going to take off this paper backing. There are a couple of ways you can do it. Sometimes I bend the edge back and that loosens it from the edge back and forward. I don't I only want to do that about once and any given place, though, because I don't want the edge to rabble very much. So I've got this pulled back a little bit now, and I can just feel the paper off and the paper can go away and again. I can dry fit this because I haven't applied the heat yet. And you can see now with that paper backing gone, I've got a little bit of shadowing through and I'll show you how I'm gonna deal with out in a minute. All right? Now I can once. I'm sure I've got it in the place. I want that. I'm going to fuse this because I've got sticky back here. Once I took the paper off their sticky back here. Now I can again follow the manufacturer's instructions. Infuse this to the surface. You will want to finish this edge. This fuse herbal web is not a permanent solution. Um, and I'll talk about how to do that after we talk about this theme. Yo yo. Method. So that's what you can do if you do not have this shadowing through problem for my case. However, because I do have a shadowing through problem. I'm going to use this interfacing To do that, I am going to again with the fabric wrong side up and the bumpy adhesive side down so against the fabric and making sure that this fuse herbal stuff isn't hanging off the edge, where I'm gonna fuse it to my iron of the ironing board. And I'm going to follow the manufacturer's instructions and fuse this too. The fabric that I'm probably going to turn it over and just press it just to make sure that's good and flat. So then I have a piece like this. It's got a little more body to it. It's harder to see through it because I've got that little bit of barrier there. Then I'm going to treat this justice if it's a piece of fabric because it iss it just has a little stabilizing on it so that I'm going to take my circle, my roughly cut circle unf usable web with the interfacing side up toward me, the bumpy adhesive side down on that and then I'm gonna follow that umph usable webs, instructions to fuse that to the inter faced that work so that I have a piece like this now this is has got some stiffness to it because it's got some extra weight in there and again , I'm going to cut this out and be more careful with this one because I'm actually gonna put this one on my piece. Well, no, I wouldn't, actually, because I'm going to use the other method, but still don't want to be sloppy with this. I might put it on another piece, not to waste all these circles I'm creating. All right again, I have my see, if the sheer weight it's going to give us better hiding. The other thing that you can do with this is to scratch a pan across there across the center. And sometimes that will do it. Usually the edge. I just peel back at one edge, peel off the paper, and that can be discarded. And what you can put that down there is still a bit of shadowing through. But it's a bit better. And once we get some, um quoting and what not going on that will be less noticeable. And I'm using the sheer weight interfacing. If you use the lightweight, it would be stiffer, but it would have better hiding power if you wanted to do that. All right, so that is. And again, I would refuse it according to manufacturer's instructions. It's and you know, actually, I kind of like that shadowing through it gives it a little bit of transparency effect, which is kind of cool. Maybe I do want the shadow through circle. See here that is actually kind of cool. All right, I digress. Other decisions to make. All right, So that's the fuse Herbal Web method. Remember, you can cut out the center. If you're not worried about this shadowing through, you can cut out the center of the usable web before you use it to the back of the fabric. Um, if you you can leave that on if it will add just a little bit more barrier to this showing through, or you could just do it with the interfacing. You got some options, depending on whether you have a light circle on a dark or a dark circle in the light of whatever you could make the decision for your own peace. That's it for the Fuse Herbal Web version. Next, we're going to talk about a version that I called the yo yo method. I'll see you in a bit 9. Circles: YoYo: now for what I call the yo yo method of applicator circles. For this, you are going to need a piece of card stock. Oh, tag Manama file folder. Use minimal file folders. See, this one is for I've been using it already. Some scissors, needle thread and some of your fabric for your circle. This can also be done by machine. But I'm going to show you the hand of method, and then I'll just briefly describe the machine method. So again, I'm going to draw out my circle, figure out what radius I have and use my compass than to draw the circle or whatever you're using to draw your circle. So I got that done, and then I'm gonna cut that out, and I'm going to be careful about how I cut it out because this is going to determine the edge on my fabric circle. So I'm going to take my time and cut it out carefully so that I have a piece like this. Then I'm gonna cut a piece of fabric. That is, um what is that? Between 1/4 and half an inch extra all the way around the circle. Then I'm going to threat up a needle. And I'm going to use a double thread for this because I wanted to be sturdy enough when I start to gather things up. So we're essentially not. Essentially we are going to be just gathering this circle up around that piece of oak tag. So I will take this circle then and I'm going to bring my needle from the front, the right side of the fabric to the backside that will help me later on and then just pull it through toe a nod, and I wanna have a good sturdy, not there. Then I want to take a running stitch all the way around, and I wanted to be pretty Even. So, my stitches air what? Between eight and 1/4 of an inch, maybe. And I want to stitch that all the way around, the larger the circle, the longer it's going to take. But again, don't be sloppy about this. And don't make the stitches to large because then you're more likely to have pleats in the end, So I would continue to stitch all the way around. Hemline started here until I get to the end, and then I'm going to overlap just a bit. My first stitch where it came up from the front side to start. Then I'm going to make sure that I have. I pulled my needle and thread to the right side of the fabric. Then I'm going to take my cardboard circle and put it in the middle. I mean, and then I'm just going to pull this up around that circle, try to keep it relatively center. Fear if I can, I'm going to pull that all the way up when you get to the end. If you start pulling toward yourself and it's not working, you need to follow the way your stitches were going. So you're gonna pull that, get it snugly. You could kind of move this around. That didn't have it very well in the centre, which isn't a really crucial thing. All right, so now I've got it pulled snugly, and I looked to see if I've got this gather evenly around. If it isn't, then I'll get these little pleats in it that are going to show his peaks on the other side . So I want that to be and I want that to be snug that I'm going to hold that with my finger to hold it snug. And then I'm going to take a couple of stitches just to hold that tightly. You have to be fancy stitches, but something toe hold it. And then I'm also just going to do and not just just because that's what I do. All right, so now I have the circle around this cardboard, and I'm going to take this to the iron and press those edges. When I do that, I'm going to press it from the outside in That means it's going to go snugly up against that edge. And I couldn't watch to make sure I'm not putting any pleats in it so that I get any little pointy. So that was a little uneven there, and I could just scooch it around so that I'm not gonna have any points out of that. So I do that and then I will take a little bit of I use flatter. It's kind of a starch thing. It adds a little bit of body and Crispus crispness to the fabric. Some people use best press. You could use a spray starch. This is lighter. I guess it's not so starchy. So I will lightly spray around the edge here and then lightly spray. You don't have to soak it. And then again, I'm going to press it in just to make that edge crisp And to hold that edge for me when that's finished, then I can just reach in. Just gonna pull that back, reach in, grab this and pull it out. You don't want to stretch the fabric as you're doing that now. It will look better after you have pressed it in Started a bit. So here's the circle that I have finished, and then I can apply that. Place it on my quilt and do the applicator. I will probably do hand applique A, but you could do machine applicator and we'll talk about that. Um, after we conclude with this, it will be in the next section. Now, if you want to do this by machine, you can do the same thing, but use a large basting stitch as you're stitching around this or not a large basting stitch, but a basting stitch that goes around the circle and, um, you want to back stitch at the beginning toe hold that when you get all the way to the end , then you can pull it out of the machine and cut the thread, clipped the thread, put the circle in and then pull it. Try pulling The bobbin thread is probably going to go easier than the top threat. And be gentle because you're only in that case, you're really only using a single thread. Where's when we did it by hand? It waas a double threat. So take care not to break your threat after you've done that work. So it is possible to do it by machine. I just like a little hand work now and again. So then we've got the circle we may still have. In this case, we could have the shadow through problem, and I could do the same thing. I could cut a piece of interfacing if usable or otherwise doesn't matter and slide it in where the circle used to be or anything. Actually, you could do very thin batting, which is gonna add some voke to it. It will make it pop up from the quilt a little bit more, which may be what you want. In fact, um, and then that will help the shadow through. If you have shadow when you don't want it there, you can do this for any size circle. Larger, small limiting factor is how large your piece of oak tag is, or card stock or whatever you find. You can actually get card stock that scrapper scrap bookers use that's 12 by 12 and that would certainly be big enough to make some pretty large circles. I've done a large circle that I'm application on this quilt and putting some bubbles on it . What happened to the circle I Oh, here it is. Here's the circle that I used as the template for this. And then this is ready to stitch down quilt That is the call the yo yo method. If you have ever made fabric Aereo's, that gathering stitch will be familiar to you. That's two different kinds of circles. I do want to come back and talk just for a minute. One more thing about circles 10. More About Circles: that method works for circles that you are applying on top of the rectangles, so that's the very last thing. Your place. How are you going to do it, though? If your design has a rectangle that runs all the way through that, slices through a circle or just slices part way through a circle such as you see here, the easiest solution for that is to do if useful, Web application for that rectangle lay the circle down. However you want to do that either if usable, Web or yo yo method, and then fuse that rectangle on top of it and stitch all the way around it that will also work. If you are doing a rectangle, that slice is all the way through. If, however, you want to piece that, then there are some extra steps that you need to go through. If you plan to do the fuse Herbal Web and you want to just move on, you can skip the rest of this video. If you're curious about how to do it or think that you want to piece it instead of if using the rectangles, then I will walk you through how I would do it. All right, So let's say you have this circle and you want Teoh sliced through it about their with directing. If you just slice through it and peace the rectangle in it, then you are in 99% of the cases you're going to end up with the distorted circle. If you want to do just a rectangle that you cut at an inch and finish at half a niche, then you're fine. Let me explain why, when you cut that circle and add the seam allowances, then that's actually a little exaggerated. Then you lose 1/4 inch from this edge and 1/4 inch from this edge. You lose that to your seam allowance that's going to be taken up when you so the rectangle onto it. So if you make up what's in this space here, then you're OK. This is 1/4 inch. This is 1/4 inch, so you have to make up half an inch in that rectangle that you put in the center. And then you're fine if you have. If you finish it half an inch, you have to cut it at one inch so that half inch just makes up for the half inch that you lose on the seam allowance and the rectangle. You would already have figured the quarter and seam allowance on that. So that is the one instance where it will work. It's not letting me back through this. Okay, if, however, you want to do a larger, wider rectangle, then you are seam allowance is going to be more than compensated for where that one's phone okay, so that's a distorted circle. Now it's now an oval rather than a circle. And the wider your rectangle, the more distorted that circles going to be. So here's how I would fix that, how I would do it instead. So if I I want to do that, then I would make two circles by the yo yo meth so it would be pulled up. It would be started. You would have a circle as if you were ready to application, but instead of cutting it in half or wherever that line would be, in my case, it's about half. I would need to add a seam allowance on to that. So here's where I would want that to intersect with that rectangle. It's my finished seed line in order to be able to do that, though of course, I have to add in quarter inch to lose to the scene. So that means I'm using mawr than half that circle. The other half of the circle is not useful in this quilt. And save it for another quote if you want, but may as well it's never gonna work for the other half of this circle. You'll need to do another circle to do that. All right, so here I've got this laid out, and I've cut it with that extra seam allowance in it. So now I'm going to take that, and I'm going to flip it so that I have right sides together against that rectangle. Then I'm going to take the gray rectangle. I'm also going to flip it, just going to look the same here. And then I'm going to put that right sides together on top of that half circle so you can see it's under there and then I'm going to stitch, do my quarter inch seem across there and that is going to flip back once I have so much seem, I will press that back, which means it's going to go back here. And when I do that, it's also going to slipped that have circled back that. So it's under news circle. And here's that quarter inch of the seam allowance there. And now the circle's gonna be okay. That part of a circle for the bottom half of the circle, I'm going to repeat it with the second circle that I prepared the second circle. It's the same size, so I will add the quarter inch to it. Figure out where I wanted to meet the scene. Add the quarter inch, do it right sides together against the rectangle, flip background over right sides together, stitch it, flip it back and then I will applicator. However, I'm going to do that around that circle. Actually, that seam allowance should be others, so there are more steps perfectly doable. You just have to give it a little thought before you do it. If you're doing the just partial, that's not cutting completely through, as I showed in this one. SE want to do just partially into that than the fuse Herbal Web application is your best bet, unless you're an expert piece of and what to tackle this intersection into their. So now I can show you what I did for my design, which is easier than this because my circles were applicator on top. Let me show you how my design turned out. 11. Stitching the Circles: way need to talk about how we're going to stitch these circles down to the foundation background of our quilt. This is one of the circles that I applicator. It's maybe a little closer Upton uncomfortable with, but I didn't mind my hand. I like doing hand application. If you are doing this, my hand odds are you have applicator by hand before and you have a favorite way to do it. If you are new to application, however, you probably wanted to do it by machine. So I want to talk about a few things about machine application my machine has several 100 stitches on. I don't begin to use all the stitches on my machine if yours only has a straight stitch on his exact stitch. You're fine. I actually use zigzag stitch for most of my machine application. When I do it that way, zigzag stitch works fine. You just have to be sure that your stitch is short enough that there isn't a lot of space between the zig in this egg so that the presser foot or the Hopper foot isn't going to be able to pull back that stretch of fabric and stitch over when it's quilting, or to get the hopping from the presser foot cod, which is even worse so you can adjust the length as long as you have it short enough that that isn't going to happen. And then you can also adjust the width so that your taking just little tiny stitches all the way around. So is the exact looks. Fine, actually, the the stitch on my machine that comes closest to being the invisible sort of stitch that I want is this blind hem stitch on many machines on a blind hem stitch. It does stitch stitch right on the edge of the peace that your application. Then it takes a little stitch into the applicator peace than stitch, stitch, bite, stitch, stitch bite. And that's fairly invisible. If you have a matching threat that's read that matches the application on my machine. However, it does stitch, stitch, stitch, bite, stitch, states, stitch, bite And if I have this, the stitch length long enough that it doesn't look really clunky and bunched up, then it's too long, and there's too much space there that the might get caught on the presser Food for the helpers, like so you may have. You may try. Have a stitch like that that you want to try out. See if you wears does a two stitches and then a bite instead of three stitches in the bike . And here is the buttonhole stitch, which is what many people use either if they're doing it by hand or by machine. And this takes a stitch and then a bite stitching a bite stitch invites. So you get that look that you may have seen on older blankets. It's how an edge is finished, and that's really acceptable. I don't like it so well on my machine. But if you have this on your machine and it looks good and you like it, then that's the stitch that most people will use. To be honest, while we're here, I want to take a look at some of the other stitches on this screen. They're lovely stitches, nice decorative stitches. My machine has a ton of them. They aren't really practical for what we're doing here. Application a circle. If you start with one of those fancy stitches, they look at 307 there. That further stitch. If you start out and go around the circle as you come back to the start where it's going to meet. The odds that that pattern is going to match up exactly are really, really slim. So it's best to avoid these decorative stitches for this particular purpose. I wanted to show you house how the zigzag stitch looks with different kinds of thread that may help you to make choices in your threat on this particular one. The bracketed area is using a contrast ing threat used a deep red stitch and six ecstasy at the top. At about one o'clock 12 30 ish. You see that the stitch length is longer energy. Travel clockwise around to about four o'clock. The stitch length is getting shorter and shorter so that the zig and the zag closer together that is getting closer to a satin stitch. You probably going to see that more because you have more stitches on the surface. This one shows the same thing, but in a matching threats. So again at 12 o'clock, it has a longer stitching as you travel counterclockwise on this, then I have shortened the stitch up. It's less noticeable than a matching threat, and finally, this is using invisible threat. There's a section there where I got a little wonky, I see, but invisible thread. You sure you get a good quality of it? They're either. They're usually a polyester, and they're very fine. Very fine. If you have on invisible threat that you've had on your sewing shelf since 1992 don't use it. Back in the day. It's more like fishing line. It's really thick and heavy. I'm not convinced they weren't just selling people fishing line, but nowadays the modern ones are much finer and much more invisible. I think I used maybe why Ally on this, but the one I usually uses. Or Ifill, which is a lovely fine thread as well. It's, uh, fairly invisible if you do a good job there at six o'clock, I when a little while keeping, um, it's It's pretty invisible if you use a good quality invisible threat, and now it's your turn to get your circles placed. Do whatever made her and you need to do to the distance from the edge of from one of the rectangles. Do it by I, however, you want to do it. When she did the circles on based it on to used on which other. Then go ahead and choose your stitching and get those stitched onto the surface. 12. Final Thoughts 1: you're bold. Modern world is pieced congratulations and well done. Here's my top Ready for quilting, which is going to be the topic for our next class in the Siri's, our final class in this Siri's so that, and I'd like to give you a little bit of Homer. Once again, look at some modern quilts, but this time focused on the quilting. On the straight lines are the angle. Do they have circles and curves and make note of which patterns you really like and what you think would look good on your will? And next time we'll talk about some of those different functions how you might want to lay it out on your quilt, how you can mark your quilt so you can tell where you need to stitch. And then finally doing that stitching. I can't wait to see what you all are doing, so please share your project. Note that you can have a cover photo, but you also have a whole page where you could post some more photos and any comments or anything you want to tell us about your process of Get in your world top pieced. If you want to receive notice when that next class is ready, Be sure that you follow me. If you have it, just click on the follow button. I will see you next time. In the meantime, be happy you well and happy closing.