Design a Bold Modern Quilt Part 4: Quilting | Karen Burns | Skillshare

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Design a Bold Modern Quilt Part 4: Quilting

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.

      Quilting on Modern Quilts: Examples


    • 4.

      Planning YOUR Quilting


    • 5.

      Preparing to Quilt: Marking


    • 6.

      Preparing to Quilt: Basting


    • 7.

      Quilting the Quilt


    • 8.

      Final Thoughts


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About This Class

Quilting is the focus in this fourth and final class in this design series.   You'll see examples of quilting on modern quilts, explore possible quilting patterns for YOUR quilt, and learn how to prepare and quilt your modern quilt.

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. 

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1. Introduction: welcome to Part four of Design, a bold, modern quilt. I'm Karen Burns, also known as the Warp Spinster. In the 1st 3 parts, we did our basic design for the quote. We figured out the colors and the fabrics that we wanted to use, and in the third part we actually pieced the quote. So now we're ready for quoting, If you have not taken the 1st 3 classes, I recommend that you do that so that we're all at the same place as we move forward in this class. To begin our review, the materials will be using for this class. Then we'll look at some quilting on modern quilts, both mine and heather blacks. We'll explore some possibilities for the quilting on your quilt. I'll show you both by hand and using my iPad. We'll talk about preparing your quote, both doing the marking and the basting. And then, of course, we'll be doing some quilting. I can't wait to get started on this quilting phase. It's when the quilt really starts to come to life. 2. Materials: first thing we want to talk about. Our materials will be using for this last phase of our design project, our modern quilt. First, you will want to pull out your original design or your colored version of it too refined a rind or the colored version of that, then will need some tracing paper, probably several sheets of it. We'll use this and the designs to try out some different quilting patterns before making a decision. What we're finally going to dio you'll want a pencil and eraser, probably a ruler if you were. Well, if you're not any better and you're on the straight line that I am, you probably are. I'm pretty miserable at it. Also, if you might be using circles and it might be something you want to try anyway, a compass would be helpful or something around to draw around. For that, I will probably be using a red ball point pen just so you can see it on camera. But you will not. Not not not not be using this for marking your world. Never use a ballpoint pen. Um, this is thes materials. These tools air just what we're going to use to try out the designs for marking. When we get to the mark inception, I'll talk about some a variety of options for marking, including some of my experiences with things to be really careful about. Here are some marking pencils thes are from clover there, dressmaking in various colors. I got white, yellow and pink here, um, with some really stiff brushes, only end to fresh off the mark if you're doing straight lines, masking tape or painter's tape or something without a really, really sticky adhesives like do not use duct tape. I like MacGyver as much as the next guy, but duct tape is just not appropriate for this. You just want something that doesn't have to sticky and adhesive on the back of it. I use this a lot for straight lines because it doesn't require me to make any marks on the quote, so I don't have to worry about trying to get the marks out of the quilt. Then, of course, when it comes to Oh, and I also use this when I'm preparing to based Mike will too, hold them the backing down and taught. Then, of course, you are going to need the sewing machine that you're going to use, your knee jerk will top and the threat that you're going to use to quilt some backing and some batty. And I will cover more specifics about that when we get to that point in the course. But we're on our way. We're ready to take a look at some possible designs that we might use in. Quilting will do some exploring to begin with. 3. Quilting on Modern Quilts: Examples: Let's look at some quilts. I just did a trunk show last weekend, so these were all on the stack. They probably have threats all over them to this one is called Entropy, and it was inspired by a book from Cindy Chris Dela. The book was artful, improbably great book. I'll put a link to it so you can see what it is. It's a nice one if you want to get into improvisational piecing this one has straight line quoting. It's just straight vertical lines, and that's a very common quilting pattern for modern quilts. Often they're very closely spaced, but not always, but just the straight vertical lines or horizontal lines are very popular. Try to avoid dragging these quotes. Karatz My Mike Here's another one inspired by Cindy Christie. Ella's book, This one had named Danger Will Robinson. You know, I just think it It's the robot, and I don't Anyway, this one has vertical lines, but these are gently curved vertical lines, and I don't necessarily see this a lot and modern quotes. But I really like the look, particularly if I have a lot of very linear pieces and lots of straight lines in the patterns, and I like to introduce some curve sometimes. And this one it's also you don't have to mark the quilt. It's a very easy one to do. You just put it under the machine, and they're just gently curving around as the feed dogs pull it through. So it's a lot of fun to do. I like to in the the curved lines, this one we talked a little bit about in the first class in the Siri's more threat. This one starts with horizontal straight lines, but then, in two different places, I have switched it up a little bit. So when we get to the very bottom, I have done some. I did a straight line until about, we'll say 2/3 over, because that's where it should have been. It angles down, and then I echo that same angle down and over on this side. Then it's sort of echoes the other way. Then it turns into horizontal lines for a portion of the quilt, and then it goes off at an angle again for the top of the quilt, and it adds a little more movement to the world. Lots of straight lines and circles here, so I just decided I wanted to. I had some different angles and directions on it. See what's next to her, like this one really have to be careful not to drag across the microphone. Not pleasant for you. This one you also saw in the first class and this is between two rivers. It's a good size quote. I did this one on my longer and this one I did a little differently. It's a representational quilt, and I wanted the quilting to be a part of that representation. So just a refresher. These air, the two rivers that Iowa is between its art Eastern and Western borders. Ours. We're north to south, not east to West, but that's the way it goes. Uh, these green patches, thes screen pieces are fields in Iowa, and the quilting lines I have made to represent the plough lines in the field so many of them are are straight. Here's straight horizontal lines and they're pretty close together. They're 1/4 of an inch apart in that took forever, and then these air diagonal, these air vertical guy horizontal again. So I I switched them up and hear our contour lines. So if there are hills occurs, then they'll do contour or curved lines. I'm a city girl, but I've seen a lot of farms and these actually, the curves are pretty good, but not great. And I just I'm saying that the farmer had to go around a rock or something, which is ridiculous, because farmers would just take the rock out of the field. But there you have it. On the rivers. I did wavy lines to simulate that water flowing. And then also on the background, I did the same kind of flowing lines just to echo that that passed the microphone. This one, uh, this is head ALS. And then I wanted to point this one out for a couple of reasons, and this has mostly unevenly spaced straight lines. But these colored pieces represent different colors of threads, and I spent a long time trying to decide, first of all, that I want this white thread and a quilting to run through the's dark, great pieces, and I decided I did in the end, and then all the time, I was quoting all of this. There are five of these quote. I'll try to include pictures so you can see the folk. Walton is. We're talking about it. But for these threats, I wanted to do something special, and I tried all kinds of things. I tried doing the same kind of quoting on the long arm using thread that matched this. I tried doing it on my domestic machine with just everything I tried it didn't like, and then I finally decided, um, to use a thicker threads. So this is a size five pro cotton. Use the thicker threat and do big stitch quilting, which is purposely a longer stitch. Then you would typically see from well, for master quilters for me and maybe about the same haven't done handle seemed a long time , and I really, really liked that. And I used a product called Tiger Tape, which is like 1/4 inch masking tape that has equal divisions marked on it. So I think I used 1/4 inch tape, and then I used that to get my stitches to be even took some time, but it was OK. It was kind of ah, um, relaxing, meditative sort of thing to dio so you can use different kinds of threads. That's one instance, Where did do some hand? Quilting? This one is called unplugged and the top part, while much of it is done in straight horizontal lines. So this represents technology and that very specific sort of ordered thing about technology disregarding the chaos part of technology. And then when I came to the unplugged portion of it this it represents usually when I'm being my most creative at the beginning. I need to do it on pencil and paper when I'm writing, drawing whatever. I just seem to do better when my hand is moving along with dependent and pencil. So this'll represents the when I unplug from technology. I love technology. Use it all the time, don't get me wrong. But when I unplug from it, then my mind works differently and things flow differently. So I wanted to do quilting that differentiated between the the very ordered life of doing it on technology and, you know, in the library. And so organization is good with me. This one is called Abacus Brother rightly pointed out, it isn't really an abacus. It's a Sorbonne, which is the Japanese counting device. Abacus is Chinese, but people recognize abacus, a za word in Sorbonne. Many people do not recognize anyway, this one for this background portion, I did straight vertical lines which look fairly evenly spaced. So I'm sure evenly spaced was my plan and a recorder into part, which is a lot of quilting. Then these bars here there wouldn separators on abacus. I don't know why I didn't do them in a different color, but there are lots of things I would do differently on this quote when I make it again. But this I sort of simulated wood green on it because that's would And up here is the same thing. Sort of simulated that wood grain was some curves, the beads of the abacus I've done in just a meandering sort of no real pattern kind of thing wandering, meandering and the threat matched, you know, the background or whatever I was doing on the beads, so it didn't match threat on. And what you see really is just the texture, especially if you're matching three. This one is called midnight rain, and it simulates a rainstorm at midnight. And I wanted to point up, show you this one because in this one, I use diagonal quoting. So the quote actually sits like this. And then the quilt, Ian's Diagonal. We'll talk about considerations when you're deciding on your quote design, and one of them is stops and starts and ideally, in quoting You wanna have issues, stops and starts is possible because it's just a pain, too. Stop and start because then you've got whose threat ends. And if you're doing just straight line or the curved lines, it doesn't matter because you're going from off one edge to off the other end. But on some things like this, there are lots of stops and starts because I didn't want to do continuous diagonal lines. That wouldn't really be what we think of when we're thinking of rain coming down. This a little bit of wind. No, it's it's rained streaks of water and then drops of water. So here's that, uh, diagonal line by itself. Here's the start, and here's the stock start and stop. Start and stop, start and stop. So there are a Thanh of Stops and starts. I did this on my long arm, and when I took it off the machine, then I by hand tied and buried, um, tied knots and varied the knots on each of these stops and starts. And that's a lot in general you want went to avoid doing that. But it was just the only way to do it for what I wanted to do on this quote when I took it off the machine because I just couldn't stand to talk more, Um, I realized that what I knew to begin with is that it really needed more quoting, This is not enough. So I'm going Teoh. I pondered it for a long time, and I decided I'm going to do some of that big stitch quoting that, we saw on the one with the colored threads on it, and I think that will work fine. I'll do some in white and different shades of blues, and I think that will work pretty well and I'll be happy with that. So I'll be doing some hand quilting on that one, too. Oh, here's another one inspired by sending grazed Ella's book, I hope I'm pronouncing your name right. I'm sorry if I butchered it, and in this one I've done stitching the ditch on the outside border, so I have occurred to border here and then straight borders and stitching in the ditch is just stitching in right sort of in the same line there, so that it it brings out that particular shape. But you don't really see the stitching itself. Then for the inside, though, to sort of mimic this spiky look in the piecing. I did that in the quilting, so I did diagonal lines, and these are just pretty much random, Put it through the machine, got to the end, turned it and just did another direction. So it's not, They aren't the same angle is they turn, and it's just kind of random thing. And then I did the same thing horizontally and vertically, so it's a sword of a grid pattern. I don't see that grid kind of things so much in mind and quilts in this particular way. Then we have still have a tag on it from the trunk show. This is spinning room. There's a whole long story behind this quotes, and I won't go into the whole thing if you go to my website work. Spencer dot com In under videos in the menu there's a section called Every Quilt a Story and I talked about what this represents and how I came up with all this stuff. I wanted to show it to you because I have here straight vertical lines because mostly I just wanted the quilting to be extra texture. But not, um, really tell a separate story I tried to do. These are bobbins of thread, and I did some mock ups and just small pieces to test it out, and I tried doing seem to me that will teen a thread like as it was winding around the school would be really cool, but it looked really bad. Somehow it looked more like a spark plugs that block with the threat. So I ended up just doing straight lines, but they're unevenly spaced, and I'm okay with that. I actually kind of like unevenly spaced lines. Sometimes there is. Also a part of the story is in the three red lines were Quilty Minds. Most of the quilting is done with white thread, and from a distance, you really can't tell that it's white. You're just seeing the texture that's created and in fact can take it up close. You can't really see these red quilting lines. There are three of them across the quote, and there's a story behind that if but that has meaning for the quote in the story. But you could find out on every story. And finally, I want to show this one. This is called Rosalind. This'd another story about Rosalind, Franklin and D. A. And Watson and Crick and this one, I wanted to point out, because I consider this a modern quota. Have a pattern for this? That's out. But, um, usually I do either straight lines, curved lines, something in that vein when I'm doing modern cults of this one. However, my local quote shop did this on there longer, and this is a pattern. It's, Ah Pantagraph pattern, which means it goes just edge to edge. And this pattern, I think, really suits modern quilting. There are a number of Pantagraph patterns out there that are really for modern. There's no Bauhaus and all kinds of things. This one is pretty cool because it has straight lines, and then it does some circles and comes back to straight lines and more circles. So there are some patterns that are especially appropriate for modern quotes. If you choose to if you have a long arm, or do you have a long quote there on retainer? Um, then that may be an option for you if it's just a matter of finding the right pattern for that, I'd like to share some quilts for inspiration from Heather Black. She's a modern quilter that I follow on instagram her handle. There is quilted juices if you're at all interested in modern quilts or just in beautiful things than be sure to check her out on Instagram. The's quilts have more intricate quoting than you may be wanting to do on your quote at the moment, but I really want you to see some more ideas for how you can quilt different shapes on quilts, what they'll look like and the texture and dimension that they add to it. She was kind enough to give me permission to share these with you, looking forward to having you take a look at these. This is barcode chic, and this one I, I think, is very interesting for us. It's got straight lines, but she's changed the direction of the lines. So for the center part that you're seeing there long vertical lines, I guess we'll call them depends on how you look at it and then to each side of that. They're more horizontal lines, which give some riel consistency and coherence to it. But it's a different texture because she's changed direction on it. I love this quote. This is modern arrangement just makes me happy. The colors are wonderful. And here she has squares and circles, and she has changed the quilting, depending on the shape and where that shape lies so thescore. Where's that intersect those circles she has quilted in a diamond gem sort of look, and then she has straight lines in the circles. But the straight lines are rotating as you go around those four circles. Then, in the circles that intersect the four circles in the middle of them, you'll see that she has a sort of uneven, grid kind of crisscross pattern in it, and then different patterns filling in those spaces between the crisscrosses and the background, she has quilted a little less densely so those shapes in the background in the cream color art quoted less densely, which creates dimension there. But the focus then is still on those more heavily quilted areas. I just love the different quilting patterns that she's used on these that she's demonstrated for us. Just if as if it was for us, the different things that you can do with circles and squares when your quilting banner day I love this one, too. If you look at the quilting, you'll notice that the different shapes of the same color had the same quilting pattern and them. So all of the dark blue solids have a sort of echoing of that rounded end shape. The gold ones all have straight lines, horizontal with the long sides. The mint green ones have diagonal lines. Ah, the background is straight lines. The grays have that sort of squat diamond shape and then fund circular kinds of shapes in that center bar, the off white, the white center bar. This is reeling, and it has. The quilting is straight lines throughout, just across the whole quote. The interesting thing about this, when I read the The Post on Instagram about it, she does ah specific pattern for her quilting when she's doing these straight lines, or at least on this quote, where she would do one straight line, make a larger space. Three straight lines make a larger space. Five straight lines make a larger space, and I think she goes up to seven. I'm not mistaken. And then she goes back and starts over again. So again, it gives it a sort of, um, texture and movement that just straight lines, evenly spaced, wouldn't necessarily make. This is moments. And in this one, Heather has done the straight lines again, and it looks like the same, roughly the same pattern. But it's not straight lines across the whole quilt for the circular shapes and the semi circular shapes the ark shape. She has echoed that shape and her quilting inside. Hm, so it it makes those pop out a little bit more and the straight line than is more of a background. So one more here, this is ladders, and in this one, the shapes the rectangles or strips that you see horizontally. She has done straight lines in the white and then in the gray and teal. She's done again, a sort of very squat diamond shape, with some straight lines in the teal there, and then the background is amore, intricate, dense, kind of quilting, and it it's just a beautiful, um, contrast between those two quilting styles. So my thanks to Heather for sharing these. Thank you, Heather. I love your quotes. And I think all of the students here will love the quotes as well. Take thes as ideas and inspiration for how you might quote this quote that you're working on now or future modern quotes, that you make all sorts of options that you have and be sure to look around and absolutely do follow Heather on Instagram. 4. Planning YOUR Quilting: it's time to start trying out, some quoting the patterns or designs on our only quote design. For that, we're going to use either your we find Ryan that you did all of the colored version of that because my colored version is pretty faint. If I put tracing paper on top of that, it's gonna be difficult to see. I could probably see it, but I don't think you'll see very well. So I'm just going to use my refined drawing. And I could take some of my takes that I have here and take those two down. Just a little bit of tape doesn't have to be much. You get it in a place where you could see it on camera here, keep them in place, and then I'm just going to think about what kind of lines I want. So I might start out first with some straight lines. When you're doing straight lines, you have to decide if you want to. When you come to a rectangle, a straight line here. So I'm right up against my use. The red pan. I'm right up against my one of my pieces. One of my rectangular pieces here and I can either do that. Well, Tyne line right up there. So I'm doing a stitching, the ditch basically there, which will pop that piece up and then do the same on the other side. And then I can start stitching down the middle. Now, if you are doing this, you need to be sure that you're getting your lines straight in relation to that rectangular piece. If it's wonky, it's going to be very obvious. So, um, just be careful when you're coming right up to a straight line that you're everything is straight in relation to that. If you decide to say over here, here's my battle of the darker here. So here's one inch of the line. If I decide to quilt just inside that, so it's just inside the line on top of that piece, then this seem is gonna pop out a little bit, and it's gonna be a little more obvious. Generally, I don't mind that too much, but you may want to be careful of that. If you don't like that look, it just accentuates the scene itself rather than sort of pushing the background back and popping that whole piece up So that's something to think about when you're you're considering that, um, if you have a vertical piece like this or a couple of vertical pieces, I would start marking my quilt close to that line. So if you're doing your first line, you want that that baseline to be very much in the same line to be parallel with that vertical piece. If you're doing horizontal, you want to do the same thing if you're looking for straight lines, if you're looking for angles, of course. And that's a whole other thing. So when you were are trying out different things, I would no, just you hopefully got several pieces of paper you can say, All right, what if I do it? If it's unevenly spaced? How do I feel about that? And that line is not parallel to that. So you know you'll do better with those and then have one that's, you know, just very narrow, like 1/4 of an inch part. You don't have to be really careful. You're just getting the idea about where these lines will be and maybe we'll decide. Well, I think I wanna go off in an angle. It simply Let's see how that would look on. My design might look on good on my design, but you don't like it on yours, so just play around with it. If you want to do circles, you could use a compass. Well, you just kind of back of what say, Well, maybe I want to just do concentric circles inside my circles. See how you might like that and try not to swipe your hand through the blobs of ink. One of the browns with using up one pin. Um, you may decide you want to say do circles. I don't know what possessed me to do solid lines there about it usually do dotted lines to simulated dash lines. And maybe you want to cut out a piece of pie in there and then go around and echo that I always have in the back of my mind. Now, how am I gonna do this if I'm quoting it by doing it by machine? Are these really tight circles that are going to drive me crazy when I drive a world? Or do I want to take up that challenge? Because I really like that look, you could do a spiral in the circles. You could sort of ignore all around it there circles and do straight lines through it. So that's the process. I want to show you on my iPad because it will be easier for you to see some options that I looked at for my particular design and which ones I ultimately decided on. I'll see you back at my iPad. I've switched to my iPad now and procreate because I think you'll be able to see it better than drawing it on pencil on some tracing paper. But you can do the same thing on tracing. I've explored several options here. You can try out some of the same sorts of things on your quote design, or you could do something completely different. I love to see lots of different things, So one option that's always good is just straight vertical lines. These are not exactly evenly spaced, but pretend that they're evenly spaced. So that's an option. It's very common. It's beautiful. I used it a lot. Another option is to have your straight vertical lines unevenly spaced. In this case, I've started with them narrowly spaced on the left hand side, and then the space between the cruelty in lines growing as you go toward the right, you could also just have them unevenly spaced across the surface of the quote. You saw that in at least one of my quotes, and you also also saw that and one of Heather's quotes she has up. As I mentioned, a pattern for how she does that, I don't mind are more randomly, unevenly space. It's a little different look. Both are good. The third choice would be to do wavy vertical lines, just meandering sorts of gentle curves. As you're going up down across the surface of the world and I use this one a lot. I like it to me. It's a very relaxing kind of quilting, and I like that movement and flow to it. You could also turn those wavy lines into a grid structure, and I really like this one. If I my neck. If I when I do another modern quote, I think I might give this a try. I might even make another with this design and give this a try. I'd like the way that it makes the surface look much more dimensional. It looks almost three dimensional. It gives it a sort of warped, moving around space kind of look, And I really I'm intrigued by that. I didn't think I was gonna like it. Grids are not normally my favorite thing on modern quilts, and some people do them very well. Some people do them well. I'm generally not one of those people. You could also combine straight lines and wavy lines. Of course, in this case, I've done a contrast with the curves of the circles by putting straight lines through that area, the quilt and then to contrast with the straight lines of the rectangles and the rest of the cool, loved and curved lines over that. And then, conversely, you could echo the curves of the circles by using wavy lines over those and straight lines over the rectangles. Actually, like this one a lot, you could also have different kinds of lines you could, or different directions for the lines. You could do straight lines as sort of the background of the quilt and then do diagonal lines on one or more of the pieces. So I did hear on that tall T o piece for circles, you could do concentric circles. You could do spirals. You could do lots of different things that was just thinking about Let's try something here on the circle up here. You could start with a line that goes straight, and then as it gets toward the edge, it curves and then turns and goes straight again. Follows the edge of the circle. Go straight again, follows the edge, go straight again, follows the edge, go straight again, and I kind of like that look, too. So that's a possibility. Got all kinds of choices for how you can can break up the quilt circles, particularly Take a look at some of Heather's quotes and you'll see that she doesn't wonderful job of that. Speaking of circles, you could do like ripples in a pond coming out from one of the circles. I chose to do it on the large gold one. You could do it on the any of the others are both of the others. You could also do something like straight lines in the background. I'm not sure you'd have to think about whether or not that was going to interfere with the circles or take the focus off the circles. I kind of like that idea, but I'm feeling like I need something else there, too. So if I decided I wanted to do that, I would ponder some other possibilities, especially. I'm thinking that I would like something to a layer I could use here something down in this corner that I'd like some stitches there somehow and, you know, possibly some straight lines here in the background. I'm not sure about that. How it would look with those circles, but those are the kinds of things you want to explore. Is that too much? Is it just the thing that it needed? Then you could do diagonal lines. Of course. I think those could be very dynamic in this case. I've got diagonal lines in the upper left corner and then diagonal lines that are perpendicular to the first ones over on one side. Um, just a note about stitching this. If you were to grouper, we on here, you're on this one. If we were to stitch here, we could stop and then pick up again. Stop and pick up again. But that's not the most efficient way to do it. Of course, you could start off the end here. Stitch, turn, turn, come back. And then just keep doing that all the way down. Always as I'm designing Quilty, I'm always thinking about how many stops and starts. So I have in the middle of the quote, it doesn't mean that I won't do it if it has stops and starts. I just want to look at the design and figure out how I could do it with the fewest stops and starts possible. You could also do straight lines and radiating lines, and I I kind of like this design. Someday I may do this quilting design on something. I like the straight lines on one side and in the contrast over here of the's radiating lines, Um, I on a hidden layer, okay, on these radiating lines here and again, you could do the staying same stitching process and then to contrast with those straight lines. So I like the straight lines here, the straight vertical lines, and then switching over to these radiating lines. And again, if we were doing the stitching on this, I would probably so that turn Whoa! And I would so a straight line there. So I like thes straight vertical lines on the right hand side and then the switch, as if these lines are radiating out from that tall teal rectangle. Really like that look. And again, you've got the option to So this so you. So here, do it straighter. So there. And then you just turn. Keep making those turns So you don't have any stops and starts on this quilt in the middle anyway, So you have all of those choices and many more, of course, that you could explore. I'm going to have to think about it. I think my first choice is going to be this. My lines will be closer together, except possibly the wavy lines may be fairly spaced apart, so I like that one a lot. My second choice would be this radiating line thing here and like that, and third choice would be to do just the wavy lines over the entire surface. That's a fun one for me to do. I enjoy doing that one. So if it seems appropriate for quote, that's usually under consideration for me. So take some time playing with the tracing paper, or if you've got an iPad or some kind of software that will let you do this that you're comfortable using. Just play around with different possibilities and explore what you might want to do on your quilt. 5. Preparing to Quilt: Marking: it's time to start talking about marking her actual quote. This is an exciting time. So if we decided on the design and we're ready to transfer that in some fashion, to our quote top, there are some marking utensils that we are absolutely not going to use. One of them is able point pen. One of them is any kind of marker permanent for otherwise. I know I heard a story of a woman that I think it was at a long arm quilting conference, and she said she uses Crayola, Um felt markers, felt tip markers to mark her quilts, and it I sort of shuddered and she swears by it, she says. No washes away. It's fine, but I Yikes, I would never try that. It's just too risky. I think that it's not going to come out. The thing about markers that are alcohol based or chemically based, I guess, is that those chemicals that pigment has to go somewhere, and too often it it goes down into the batting. I've had that experience. I have used markers that are supposed to be go away with heat. They may for a while, but they have always come back on my quilt. So I end up with the finished quilt where I'm having toe iron out those those blue spots everywhere where it just come back up. People say that if you live in a cold climate or if you're sending quote to a show and it's in the wintertime, then if you have marked it with the that heat sensitive stuff that it can migrate back out and it will show up again. And I I've had that experience with the the heat stuff, So be careful. Also. There was another kind of marker that wasn't really intended for quilting, but Wolters took it up, and it's supposed to use friction in other words, heat in order to, um, he raised the mark, but and I used them for a while, but there was a particular color or something, but I used it on this quilt and it made a beautiful, nice clean line, and I came back a little while later and it had bleached out the color entirely where that line had been. So I had to get another piece and put it in instead because it had had bleached out that line. So the moral of the story is to be very careful about what you use to market quotes and always, always always test it to make sure that it's going to come out. So what I use mostly nowadays is either the tape. If I'm doing straight lines or a chalk marker of some sort. This is, Ah, thes air clover, um, marking pencils. And I have a white one, which I can use on darker colors. And then I also have a pink and a yellow, which I can use on, um, the white and I don't do it very hard. And then it's got these brushes on back here. But any chops kind of thing that you couldn't brush off later nor might actually washout Aiken first. Most of this off is something that you want to take a look at and test out. Um, there are some chalk powder based things that you can use as well, where you got templates, and then you you pounce this powder on top, and that goes away easily. In my experience, it goes away too easily because it's gone before I've finished quoting the quote, so tryouts and different things be especially careful about, um, chemical kinds of markers. And if you are tempted to try and please test it out in different conditions just to make sure that it's not gonna come back to haunt you, it's it has haunted me. One of my favorite ways to do straight lines is, too. Start out with a piece of either masking tape or painter's tape. I usually use masking, say frankly, and all I'm going to do is take a piece of tape, and in this case you can use a ruler. Thank if you have ah, Rotary Route Rotary ruler you can use, and I will place the tape. In this case. I'm looking at trying to get this parallel to this'll piece here so that when I stitch it, it's not going to look walking. And now and I'm not gonna press this tape on hard, it's it's going to be fine. I don't have toe really lean into it just enough that it adheres while I put it through the machine, and then I can just use that line as my stitching died after I have done that line. Then I can move the tape, particularly if I'm going to do, say, I want to go off at an angle after that, then I can place my tape at whatever angle I want and then stitch that angle. Once I've laid down that first line, then I can use stuck in the tape. Um, that may be stickier than I want to use. Then I can use three presser foot on my machine or one of that, the bars that a lot of machines have. It's It's kind of a little hook shaped piece that you could fit in above your, um, the Threat bar or the needle bar, and you can pull it out to difference. So say, this is my needle bar and I've got a hook over here and I can set it to whatever distance I want from. You can't see that can whatever distance I want from the needle bar. No way to hold that. It's the distance from the needle bar that So here's my line here and now. I've got this hook over here, my needles right there, and I can just follow that line with that bar, or if I'm doing it fairly close together, I could use the edge of my presser foot. Once you've got that first line down, then you can use other methods so that you don't have to actually mark your quote with any kind of marking device at all. So that's good for straight lines. If you've got circles, if it's a fairly large circle and you want to do, say, concentric circles inside of this, then you can use your presser foot and just take your time and work your way around it. Then again, once you've got that line laid out that 1st 1 then you can use your your presser foot and just keep moving in. To do that, if you want to do something like a spiral or something different than you're probably are gonna have to market unless you're very good at, um, just sort of doing freeform quilting FREEHAND quilting If you're going to market market just enough that you can see the line. But it's going to washout or rub out very easily. Used to see quotas hand Coulter's, especially in the old data in the older older days and what in years past, and they marked their quilting on white with a lead pencil, graphite pencil but they would do it quite likely. And it would sometimes often washout, but not always again. If you decide you want to do that, test your pencil. You're probably not going to be able to get in there any race, Um, all of those lines. So if it's going to bother you to see those marking lines, be sure and test the device that you're using. So this one that I could go in and just brush it off, Um, and some of it is going to be hidden by the Quilty minds, but there will probably be some that you want to to move off. So you're gonna mark your quote before you put it on the backing of the batting. You don't want to sandwich it before you market, because then you're not going to be getting good lines because you've got that padding in there, and it's just gonna do all kinds of funky shifting. So you want to do your marking if you're going to have to do marking before you put it together, if you're going to use tape, Um, that's okay to do the sandwiching first, because if you're gonna be sticking pins and whatnot in it, then you won't want to have to deal with the tape where you're doing all that. All right, so that's it for doing the marking. And when we come back, I'll be talking about how you're going to layer this. You may already know all of this, but we'll just do a brief talk about how we could layer this with the back in the batting and get it ready for the Quilty. 6. Preparing to Quilt: Basting: I'm here with Molly, my longer machine and her trusty computer assistant, Millie. And they just wanted me to be sure to tell you that if you're going to have your modern quote quoted by a long arm quilter, then you will just ignore the basting process that we're going to talk about. If you are having a long overdue it, you just give them the backing, the batting and the quote top, and they will take it from there. So if you're doing it on your domestic machine, Yes, by all means, do the base. Dean, if you're giving it to a long term, Coulter, just ignore that part of it. You okay with that, ladies? Good. See you later. Next up is sandwiching the quote. I have cut a piece of backing fabric that is a few inches larger than my quote top. If you are going to have a long arm, quilter, quote this for you, which you may especially be doing if it's a larger quote than contact her or him to find out their specifications. Often long armors went 3 to 4 inches all the way around. Not just because when you quilt, it takes up some fabric, but also because they have to be able to attach it to the frame so they'll have some specific specifications. So I'm just using a piece of bleach muslin, and first thing you want to do is check to make sure you take all the threads in the Schwartzes from the backing. This is wrong. Side up doesn't matter and what I'm doing, but you will ordinarily do it wrong side up, and then you need to stretch this. That doesn't mean to stretch the living daylights out of it that make sure that it stays flat as your layering, the rest of it on it. And the best way to do that is to use tape. If it's a larger quilt, some people will do it on a carpet and pin it stick pins straight down through the carpet. I usually like to just do a piece of tape like in the middle and then go to the opposite side and just start to get the basic size down, so I want to stretch it so that it's flat and straight. I do not want it to get stretched so far that it stretches it out of shape. This is just to keep it straight and flat. And then I'll go to the center of another side. Well, it taught, not stretch it, pull. It talks with peace on the other side, and then I can go in and finish up with take elsewhere, necessarily have to take every square inch of the edges enough that I can see when it's getting hold A shape. I see There's a little bit of a bubble there. Sure, not pulling that too tightly and then just continue around the quilt. I've got it straightened flat. Sometimes I have done it in the past, actually on it. Some people still do it. You can use like binder clips if you have a table top for a surface that isn't too thick. Mine here is probably a couple inches thick. So pretty big binder clips. But you can also use large binder clips to hold down the sides. Okay, so that's right. Okay, so I'm pretty happy with that salvages, but they're still a bit down here. All right, now I've got that straight and taut, so I'm gonna lay my piece of batting, which is also larger than if my quote Tough. I usually have a bit smaller than the backing those so that I can reassure myself where the edges of the backing are at all times. And then I'm going to take my quote top. Which hopes disappeared for a minute. Here it is. And I'm going to lay that on top, and I have I'm going to do this on my domestic machine. So are that plenty of room for that around here? If I were long, I mean it. I would want the backing to be larger than it is here for gonna have to clamp it on here and roll so and same with the sides have to be clamped so and all I'm doing your smoothing this out. I'm not stretching it on, just smoothing it out so that it's flat, relatively centered here. And now comes putting these three layers together. Toe hold them stable so the batting doesn't shift. So nothing shifts. It'll stays in this nice flat taught state the variety of ways to do it. A traditional ways to safety pins. I've done it that way. And they even have handy little devices that how sort of ridges lips gonna get you by the camera that have ridges and that allows you to When you put the pin in and then come back up again, that catches it and you can just clip it, then, um so you could do safety pins. You can do it without this. You can use a spoon. Just put in a safety pin, close it, and you need to do that in quite a few places around the quilt, probably for this cotton batting. They're gonna want it every 45 inches. Because when you're maneuvering things around, you are really shifting stuff, and you want to make sure that in the process of maneuvering it through the machine, you aren't getting the batting, the backing out of whack. So that's one way you can do it is to use safety pins. - So next we want to talk about how we're going to attach these this sandwich to itself, how we're gonna put all of this together to hold them together in place while we do the Quilty. And and there are a number of ways to do that. A traditional way is to use safety pins and you just put it down make sure you hit the surface underneath. I can feel the table surface under there. Then bring it back up again and close it. They have a handy. This is called a quick clip. Okay, which I've had for a long time. It's just wouldn't handle that has a metal peace coming out here, and it has ridges in it, so it looks like it's, um, been milled. That's not the word of one. What do you call thing? Looks like you expand when you go. That what do you call that grooves? One discala grave. Sorry. Now we want. Now we want to make sure that we put this all together and keep these different. Three different layers in the sandwich from shifting world were quilting, especially if you're using the domestic machine. We're gonna be maneuvering and folding and moving around a lot. And it's would be easy for these layers to shift if we didn't have them connected. There are several ways you can do it. One traditional way is to use safety pins. Sort of medium sized ones, I would say not the smallest, but not the biggest, either. You don't wanna make huge holes in your quilt, and you would just put the PN en. Make sure you can feel the surface underneath, so you're sure you've gone through all three layers. Bring it back up again and close it. That closing can be a little tricky, so they have a tool you can use a grapefruit spoon you could use, I think a regular spoon. But this is just a wooden handle that has a metal piece on the end that has grooves in it, and you can put that you slide the pin or slide this under the pin. It catches on one of the grooves, and that just lifts up. That end enough that you can close the pin so it sticks out a little bit from it and you can close up in. So it's a handy tool if you want to do the pinning method when you pin, you'll check specifically with your batting. That should tell you how far apart you need to quote, which is also appropriate for pinning because you're going to be doing so much maneuvering , especially on um, domestic machine. If you're long arm and you don't need to do this year, long armor is going to do the sandwiching and all this, So this is just for domestic machines. So that's one method, another penny method that I have used, which is kind of interesting. You know, the term with pins is that you didn't have to take him out. I usually don't use safety pins because, especially on smaller pieces, because they can get in the way of the quilting. So I may be coming up on a safety pin, and it's right where I want to quote the line and I have to stop and pull it out. And sometimes my line are so in line, doesn't end up being exactly right, so depends on what you're doing and how you lay them out. But you have to have enough pins in there that things won't ship, so you have a lot of pins. Thea, other option that I have used with pins, is using something called a pin more, which is just a little Robert groups reverie kind of peace that will be tips for straight tens. So I have some straight pins here and I actually I have a whole set that he used just for this, and I have it curved. So I have been just a little bit. You can put the pin in, bring it back up, and then you stick the end in this little river piece here so that you don't stick yourself and it stays in, so it's pin more p i n M o r. And I've used those before, but it's the same problem. This, however, is easier. And as I'm coming up on, um, a stitching line, if I'm coming up on this, I can just reach over and pull it apart and take the pin out. And I don't have to stop and maneuver that safety 10. So if I'm pinning, which I we'll do on larger quilts, if I'm not putting them on the longer I often use the pen more. My favorite way, especially on smaller quilts, is too based. Um, just hand based, Um, I just cut, uh, length. I do a double length for No, I don't. I do a single like that and why Doubled is I just do a length of threat. This is inexpensive dead big old cone of it. I just threat up and put on my favorite thimble and just do some good size basting stitches . This is just to hold it together. You are not quoting this. They don't have to be small stitches, and I will start in the center and move out so that if there's any excess anywhere, it's going to move out to the edges of the quote where I wanted. So do the center moving out, cynical in the other direction. Moving out. I may do a couple more lines horizontally and vertically, always starting from the center. And then I will probably do a diagonal line or two as well. If you when you are starting at the center, one thing that you could do crafty scissors appear that one will work. Um, is to take a thread twice a so long as you'll need. And if you're used to doing needlework, it will freak you out because it's too long to manage without getting tangled. But don't not the end. So I just got a single thread here. I'm going to start at the centre and I'm gonna pull the thread through just halfway. I would ordinarily have it longer so that I've got enough to stitch over to this edge over here and enough to stitch over here. So my threat is sort of center there in the center, and then I will stitch everything. Here's my needle stitch all across there. Um, then I'll come back, and because I don't have a knot in this end, I can threat up this end and stitch that direction. It just saves you some nodding and should go. So I think that's probably what I'm going to do with mine. I'm going to do threat basting, and when I come back, we'll have that all basted and ready to go. Mike Walt is not marked yet because I'm doing those straight lines in the meandering lines . And for that, I'm going to use tape once I have this all basted and then the meandering lines I won't need if you have marked it. If you're doing circles or you choose to market for straight lines, then you will have done that before you layer all this and you'll have to be careful here not rubbing off your your marking. You can remark them after you've done it, but this is a padded surface, so it's going to be a little bit different and and harder for those marks. So I'll be back when I've got this all pin based that not been basted. I am. I am thread basting it. I'm all basted. My quilt is all basted So I've done both vertical and horizontal basting lines And then I did diagonals and all I can say is it's a good thing of the basting lines Don't seem to be perfectly straight Now I am ready to lay down my piece of tape which is now stuck to itself and me and I'm going to do it. E think right about here. I ran not to get my head in the shop this time. May this because this is so close to this piece, I want to make sure that I'm we're gonna do that quarter inch straight. My head. I want to be sure this is straight in relationships seem So now I'm going to be stitching here that I could remove the tape and I'm going to use that stitching line as a reference. I think I'll use my presser foot and then just keep quilting from there when I get to the point where I want to do the wavy lines then I will just freeform those. And then I will. Probably. When I get to this edge, I want to do straight again. So I will put down another piece of tape, um, at the bottom here, stitch along that line and then use that as a reference to stitch toward the edge. So next on my agenda is to go to the machine and stitch it something to tell you about. If you're doing straight lines, especially if all you're doing is just straight lines across the quilt, it's good to stitch in one direction. Then turn the quilt and stitch in the opposite direction and just alternate because as you're stitching, it's going to pull in that direction. Even with a walking foot. It's going to be much better with the walking foot, so use one if you have one, but it's going to start to pull it this way. If you've ever done any strip piecing when you're so in lots of long strips together, it starts to bow, and the same thing will happen when your quilting it'll start to pull it, so this just evens it out. If you alternate directions that your quilting straight lines or wavy lines. Any time you're going across the surface of the quote, it's good to to switch directions to alternate directions. So I am going to pull up the tape here and take this to me to my machine and I'll check. It went in with you a couple of times as I move along in my quality and so you could see where Annette I'm going to use white thread. Most of the time I match my while. I use white threat a lot, whatever I'm doing, but most of the time I will match it to my background. And if that same I'll have white thread crossing these darker colors. But that's OK. It kind of ties it all together. So I'm not worried about that. If you want to switch and do thread that matches your pieced rectangles and circles, that certainly is fine. Maybe, you know, I might do that on this this gold circle. If I were doing concentric circles, just remember you're gonna have stops and starts if you're doing just this. If I were doing this when I would probably do, too, if I wanted to minimize my stops and starts would be to start here, stitch up here then right in this ditch. Here there's there's a little valley there between because of how you have the same press. So there's more, more bulk here. The seam is pressed this direction so I can stitch right up against that. That's called stitching in the ditch, and that's going to hide it. And then I can turn and come back. Come back up here stitching the ditch for whatever distance, then turn and come back again. And that way, you don't have toe stop here each time or start here each time so that you've got knots and threats to deal with down there. All right, I will see you back in a little while when I've done a bit of quilting on this. Um, at least boy will come back before I start doing the curved lines for sure. I'll see you later. Good luck with Laina trick. Wilton. Getting ready to quote, which is one of my very favorite things is to see how it quote comes together. When you start quilting it, have fun. CIA Shortly 7. Quilting the Quilt: at my sewing machine, and I've just finished sewing the first line of quilting next to the painters. Take that I laid down on the quilt. I just took my time stitch right next to the edge of the tape but not stitching into the tape because obviously you don't want to stitch the tape to the group. So when I take the tape off, I have a nice straight line that I can now use as a guideline. I'm going to use my presser foot, which will run up against this line here. I probably will new move my needle over a little bit, pens on how far apart I want these lines spaced. Or if I even want them spaced evenly, we'll see how that goes. So I'll check back with you in a few minutes. I have turned by quilt in a different direction because I'm going to continue quilting over here, and that means the bulk of my fabric is over under my the arm of my sewing machine. So I am going to be rolling up this side so that it doesn't drag as I go through. I started quilting. If you remember, I suggested that you start in the center when you were basting if you were based in moving from the center out and the same thing applies to quilting on the domestic machine Anyway, that starts somewhere in the middle rather than from the outside in. If you go from the outside in and do the same thing on the other side, then you're gonna end up with bunched up fabric in the middle. Potentially, I've done, I think, sufficient basting that that probably wouldn't happen to me. But it's a good practice to start in the center and move out. So I'm ready to get on to this next row, and I'm still thinking about what I'm gonna do with those circles. Stay tuned to find out one of the very best things about cruelty. And I think his scenes come alive as you quit stitches into it. These quilting stitches that added dimension and movement and texture that it gives really pulls everything together. Regions I'd like to build process. I'm thinking, as I'm doing this about the circles that are going to be bolting, and I have a plan for doing just some wavy lines with circles, but I'm also thinking about a couple other options. I'm not sure until I sit down with it, whether or not they'll work. I've got some thinking time while I'm stitching here. It's getting there, and I'm very pleased with the straight lines for this. I think it was the right choice. I have stood up to move around. I've been quilting and sort of hunched over for a little while now, and I wanted to remind you to get up and move away from your machine. Periodically, move around, stretch your neck, do some head rotations, and also, while you're quilting, remember to drop your shoulders. It's very common, very easy to start hunching your shoulders up as you're focused and hunched over the machine, and you want to remind yourself periodically to drop those shoulders and just relax will make the quoting more fun. I have finished quoting a little less than half of the quilt here with straight lines, which end up being about 1/4 of an inch apart, and I have changed my mind about doing the wavy lines for the circles. I've decided instead that I'm going to do my number two choice, which were the radiating lines from this tall teal, so you can't see it, But I have probably can't see it. I have it marked in just a pink marker from clover just used for marking designs that I can brush off when I'm finished. So I'm going to head off and stitch that and see how it looks. I have finished stitching out what I laid out the lines that I laid out. I'm not at all sure I'm finished stitching. If I look at this side of the quilt, it has pretty dense quoting. And compared to that, this side is less dense. That can be perfectly OK. I have enough stitches here, too, do the job of quoting which is to hold the three layers together sufficiently. So it's a matter of aesthetics and what I like or not. So I'm going to actually ponder this walk about it a few times, think about it, maybe come up with some ideas for what I might do. Money, instinct is, and I want some more stitching over on this side. So in the meantime I'm safe taking out the basting stitches. And when I'm doing that necessarily, I have stitched over and sometimes caught basting stitches in my quilting stitch. So I'm going to break the thread similar in the middle, and then they just start gently pulling out the thread. And if I meet resistance, I'm going to cut it very close to the stitch that it goes under the quilting stitch that it goes under not very close to it, clip it there and then gently pull it from the other side. I'm not going to do any yanking. You're trying to pull out a whole thread at once, going to be quite general with it so that I don't pull any of the quilting stitches out of shape. So I'll ponder this for a while, and I'll be back with you with a final decision about whether I'm finished. Or rather, I want to do a little bit more 8. Final Thoughts: welcome back. When last we met, I was uncertain as to whether or not I wanted to add more quoting lines on these radiating lines. I had finished quilting, everything I had planned and marked out. But I was unsure about the density of the quilting on the radiating lines compared to the straight lines to the side of it or, in this case, below it. So I left it out for a couple of days, walked by at a few times, and in the end I knew what I had known from the beginning that I wasn't going to be happy unless I added some work wilting lines. So this is my quilt, all quilted with more lines in the radiation section. It's all trimmed, ready for binding. Not sure about the color of the binding yet. I'm thinking maybe the dark teal or maybe black. Not sure yet that will be a couple more days pondering. At least I learned a lot from this world. I was reminded that if I'm not happy with something, I need to give myself some time to decide what to do so that I will be happy with the quilt in the end. One of the reasons that I make quotes actually is to learn new things and with every quote that I make, but especially bold modern quilts. I learned something and I'm happy without, even if the quote isn't exactly what I had envisioned, and I'm not perfectly happy with every little square millimeter of it. I'm happy that I've learned something, and I can apply those things on the next quotes that I make. So now we've come to the end of our expedition of discovery, our journey of exploration that we've been doing on modern quotes. I hope that you've had fun. I know I've had fun doing it, and I hope that you learned a lot about modern quilts and about your own style and about yourself. And most of all, I hope that you'll want to make some more modern quilts. Please share your quilts in the project section. I can't wait to see what you've done. It also love it. If you would share a photo with that quilt or a separate photo of the results of your process, your sketches and drawings and the fabrics that you chose, the color all of those pieces that were a part of this discovery. It's not just the end result. It's the process that you used, what you learned about yourself and what you learned about modern. Quoting that you want to take forward with you, be sure to follow me if you aren't already to find out what classes I'm going to be coming up with next. I have some rolling around in my head, and if you follow me, you'll get notification when I publish my next class. In the meantime, be well, be happy. Be creative, make more modern quilts and peace out.