I just discovered that Alex Anderson is offering a series of videos on hand and machine appliqué over at The Quilt Show website.

If you’re not already a member you do need to register but no $$ involved, the classes are free. Check it out at the appliqué classroom page and follow Alex through many hand and machine techniques. A great resource!

Cheers,
Kay
By Kay Mackenzie

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Before the Road to California show in January, I received a very nice invitation from Darlene Christopherson, esteemed appliqué artist and Marketing Developer for the Pellon Quilt Division. Pellon was having a booth at the show, and Darlene invited designers to come by and receive a sample of Pellon’s new Legacy brand battings.

Naturally, I was happy to do so. I was presented with a sample pack of 15 different battings. Wow, that’s a lot of styles! I’ve been itching to stitch up some samples to share on the blog. What came to mind are some ancient appliquéd hearts that have been marinating in unfinished-land for you wouldn’t believe how many years. Let’s just say that when you see some of the fabrics you may take a trip on the hot tub time machine back to the 80s. Apparently when I was a young green quilter I thought I would appliqué a heart out of each fabric in my stash, onto bleached muslin. Well you can imagine how long that lasted. Sigh, the naiveté of youth.

Gentle quilters, I didn’t take the time to hand quilt any of them, just whizzed them up on the Bernina with some swirlies. Some of the swirlies are more “interesting” than others and I make no claims about my machine quilting. Sorry you can’t feel these But I hope there’ll be some useful information here.

I did the poofy poly and wool ones too, though these probably aren’t the styles you’d choose for machine quilting.

And last but not least, how about this dramatic back batting?

I like a low-loft batting myself, and all of the first 12 were fine and dandy for what I do. It’s very interesting the different fibers used… you can choose from cotton, poly, linen, flax, bamboo, soy, rayon, and blends of more than one. When I first started quilting there was Mountain Mist and Mountain Mist. We have so many choices now!

Until next time,
Kay
By Kay Mackenzie

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This is an old block originally called Wandering Foot. That name was thought to bring on the wandering foot to youths who slept under it, so a new name was given to it… Turkey Tracks. Much more attractive, don’t you think? It’s also called Iris Leaf when it’s green on white.

Fused and unstitched.

After some investigation on the Superior website, I discovered that the Holy SuperBobs are Bottom Line, a line of thread developed by Libby Lehman. It’s 60-weight polyester. I perused the rainbow and picked out the color that matched the best.

Wow, you can hardly make it out! It really is whisper-fine.

I fired up my Bernina and adjusted the blanket stitch down a few ticks, reasoning that a very fine thread should be given a pretty small stitch. A few minutes later, and voila! The block was stitched, and looked great! My machine liked the thread, which I used in both the top and the bottom, and Mother Superior says it’s not linty like cotton.

How’s that for blending in? From a short distance you can’t see the stitching at all. This thread might be a nice choice when you really want to mimic hand appliqué while still using your machine, or when using the turned-edge blind-hem stitch method of machine appliqué (which BTW I am not adept at).

One thing I did note is that the edges of the appliqués feel a little “crispy” compared to when I use cotton thread.

On to MasterPiece. MasterPiece thread is 2-ply 50-weight cotton, favored by the Piece o’ Cake gals and by Alex Anderson.

A simple forget-me-not.

Fused and unstitched.

My choices from the rainbow.

I adjusted the blanket stitch to my usual setting, just a couple ticks down in width and length. Away I went!

I like it, my machine likes it. I wound a bobbin for the green, but for the dabs of yellow and blue I used bobbins I already had wound with DMC. Worked great! They really are equivalent in weight so that’s a plus for me that I can mix and match at this stage of evolution in my thread stash.

Now on to hand appliqué. I just happened to have a block in the queue that I needed to stitch up twice, to use as an example in the new book I’m working on for Martingale.

Here are the threads I chose.

Poly on the left and cotton on the right.

I started with the polyester first. I was really excited about trying out this thread for hand appliqué. In the past, when I’ve tried other brands of poly thread, it went around in circles, kinked up, and raveled at the end. I’m delighted to report that Bottom Line stays straight. It sinks right into the turned edge of the appliqué and hides itself really well, and I was not plagued with knots or kinks. Yay! The one thing I did notice is that since it’s more slippery than cotton thread, my thread tail kept shortening up on me and I lost the thread out of the needle a couple times. I guess this just takes getting used to coming from the fabric of our lives.

I was on a roll watching the chocolate challenges on Food Network, so I plunged on ahead to the second version, using MasterPiece cotton. Excellent on all counts.

Can you tell the difference in the completed piece? Neither can I, so I’ve been keeping sticky notes on them .

These pink dogwood blocks may seem kinda pale, and that’s on purpose. I’m going to embroider around the edges of one of them to illustrate how you can better define the edges of your appliqués when you want to use low-contrast fabrics.

Well, thanks guys! I got a lot done yesterday!

Chime in! I’d like to hear from others who use Bottom Line or MasterPiece. How do you use it, why do you like it?

Until next time,
Kay
By Kay Mackenzie

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I found this one on invisible machine appliqué that shows the freezer-paper-template-and-glue method for doing turned-edge appliqué with the blind-hem stitch. The link starts up the video right away.

Until next time,
Kay
By Kay Mackenzie

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Until next time,
Kay
Quilt Puppy Publications & Designs

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The package says, “Use any pattern that you create, scan, or download onto your computer.” I would add a caveat… the pattern has to have templates that are separated from one another. The reason is that when you cut out the shapes, you need to leave a little bit of product outside the line, so that when you cut out the fused motif, you’re cutting fusible and fabric at the same time. That gives a clean edge.

Being a designer, I have tons of appliqué patterns on my computer, but I don’t normally design with all templates separate. To try out the printable fusible web, I took one of my simple patterns from Easy Appliqué Blocks, Moon and Stars, and moved the shapes apart. I also reversed them, which is what you need to do for fusible appliqué. (Didn’t need the centering lines just to print the templates, but I forgot to remove them.)

I took all the paper out of my printer tray and loaded one sheet of fusible web per the instructions. On my printer, the printable side is down so that’s how I loaded it, with paper side down. Then I sent the print job. Well, the sheet crept out of the printer slower than a snail’s pace. I couldn’t figure out why, so I checked my print settings… yep, it was set on Quick. Then I remembered that the package said to use a ‘plain paper’ setting. I rechecked my settings and changed the paper type from automatic to plain paper and tried it again. Voila! It printed on out like I thought it should. On automatic, my printer detected that this was some sort of weird stuff moving through its interior and did the best it could to interpret how to print on it. This was a case of RTFM. If you don’t know that term, it’s short for Read the Fabulous Manual. (Sort of.)

Here’s the printed sheet.

I cut the templates apart.

Then cut the centers away.

Fused to the backs of my appliqué fabrics. (Note: the package says to use no steam, and really, you’ll need to use a dry iron. In case you left any of the lines at all, let’s just say that steam and inkjet do not play nicely together.)

Here’s what the glue looks like after it’s been fused to the motif. Kinda shiny-like.

I positioned and fused the shapes to the background fabric. The instructions again say to use no steam. Normally I would use steam at this stage, because my understanding is that that’s what activates the glue. But I used a dry iron, and, after an initial press, “glided” it as the instructions said to do. Worked fine.

I stitched with my usual small machine blanket stitch and all went well. There was no gumming of the needle.

The product performed quite well for me, and acted just as it said it would. Something to think about is that if you mess up a template, it isn’t going to be all that easy to reprint just one template.

And, all this product was left over. That’s not going through my printer again. I guess I’ll save it and try using it in a future project the old-fashioned way, by tracing.

So, if you see June Tailor Ink Jet Printable Fusible Web and you also have appliqué templates in electronic form (original, scanned, or downloaded), pick up a package and try if for yourself! It costs more but you may enjoy the time saved and accuracy of not having to trace your templates.

Until next time,
Kay
Quilt Puppy Publications & Designs

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Here’s what the fusible side looks like.

I used it to stitch up a new block.

I’m happy to report that the product worked quite nicely for me. It’s a bit heftier that the Wonder Under that I normally use, but since I cut out the centers of my templates, the finished block was not any stiffer at all.

On a couple of the pieces, the edges of the fusible were wanting to separate from the template, but with careful handling I didn’t have to redo anything. Once fused and cut out, the edges of the motifs were crisp, with almost no fraying. Yay! (Note: this may have more to do with fabric choice than with fusible web choice. I’m just sayin’.)

One thing I like is the really good explanation on the back of the package about the variables involved in getting a successful bond. “Time, heat, and pressure are the three key elements,” it begins, and goes on from there with some very good information about these variables. Note: it refers to ‘interfacing’ throughout, which to my mind is a different product from ‘fusible web.’ Maybe they use the same info on their interfacing packages, or maybe the company refers to fusible web as interfacing? In any case, it’s good information for either.

I contacted the Bosal company to learn more about the product, and received a prompt and comprehensive reply. I’ll just quote most of what Drew Serbin, Director of Operations, wrote me.

“Bosal is pronounced Beau-suhl. Our website is www.bosalonline.com and it is quite comprehensive, including information about all interfacings produced by Bosal Foam and Fiber as well as the myriad other craft products we produce, including urethane foam, bonded polyester battings, polyester fiber fill, and vellux craft kits.

If quilters go to our website and go to the “Where to Buy” section, they will see a list of distributors and high-volume retailers. If they click on the “Map” link they will actually see a map of the United States and can click on individual states to find a retailer.”

I clicked on the Bay area on the map and came up with Beverly’s, which we have right here in Santa Cruz. I’ll have to check it out next time I go.

I asked whether polyamide is the same fusible that’s used on other brands, and Drew told me that yes, it’s the same adhesive that’s used on nearly all fusible web, including Wonder Under. My needle didn’t gum up or anything like that, worked fine.

Drew also sent me some great information about other types of Bosal products. These things are beyond my personal ken but they may be of interest to all you crafty people, so I include the info here. Over to you, Drew.

“I would also add that Bosal has one of the most extensive lines of quilters’ fleeces in the market, including two weights of sew-in, scrim supported fleeces, the heaviest-weight fusible fleece in the industry, plus cotton/wool, Bamboo, Bamboo/Cotton and Soy Silk/Cotton fleece.

In addition to the fleeces, your readers might also be interested in our extensive line of embroidery stabilizers, which are available rolled on board or slit rolls in popular hoop sizes. The embroidery stabilizer line includes three water solubles, two tearaways, two cutaways, and a flame-retardant perforated for childrens’ wear.”

Here’s something that sounds interesting for those of you who make your own garment or handbag patterns.

“About eight months ago we launched Bosal Create-A-Pattern, it is a nonwoven tracing material that is is packed in a 46″ wide by either 5 or 10
yard roll. The beauty of Create-A-Pattern versus Swedish tracing paper or the like, is that it is a nonwoven, therefore you can crunch it up into a
ball and it lays right back down flat. Additionally, unlike traditional pattern papers and tracing papers, these goods will not tear and can be pinned. Thus it can be used over and over again without damaging the pattern.”

Thank you Drew for all of the info. If you are a machine appliquér and you see Bosal Fusible Web, you might want to pick up a package and give it a try for yourself. Another one for your appliqué bag of tricks!

Until next time,
Kay
Quilt Puppy Publications & Designs

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I was so grateful when Anne Sutton of Bunny Hill put up Embroidery 101 Part One and Part Two on her Bunny Tales blog. I had had a block stuck up on my wall for awhile, waiting for some embroidery that I was putting off. Anne’s post inspired me to get to work on it… my stem stitch is now so much improved!

Appliqué patterns can often be used as embroidery patterns as well, so go read Anne’s fantastic primer and then you’ll have a whole new use for them!

Until next time,
Kay
Quilt Puppy Publications & Designs

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My web of choice for raw-edge fusible machine appliqué is Pellon’s Wonder-Under, regular weight. Your mileage may vary. I’ve kind-of got it down now, but it was not always so. When it comes to paper-backed fusible web, I suffer from separation anxiety. As in, the web separates from the paper backing before I get a chance to use it. Arggh!

In the past, I’ve tried passing an iron over it on top of a teflon appliqué pressing sheet in an attempt to stick it back to the paper… what a mess. Now I just chuck it when I find that’s it separated.

Here’s what I do now to alleviate the separation issue.

First of all, don’t let the clerks in the store roll it up for you. You know what happens, say, if you place one towel on top of another and roll them up together? The top one ooches along and ends up sticking out farther than the bottom one by the time you get there. I don’t know which law of physics makes this so, but the same thing happens with fusible web and its paper backing. Rolling the product encourages separation. Just ask them to fold it loosely for you.

Then, as soon as you get home, cut it into squares. This is information that I got from my pal Pam Crooks, who got it from the estimable Sue Nickels, machine appliquér extraordinaire. I keep a separate rotary cutter for cutting paper and this purpose. The width of the product is 17″, so if you cut it into 8 1/2″ squares that’s just right, and the squares fit perfectly into a gallon-size zippy bag.

Not only are they flat and happy and much easier to work with than a big floppy hunk, keeping the squares in a bag prevents them from drying out, another culprit in the separation issue.

I keep scraps in an old box lid that fits into the zippy bag when not in use.

As I work on a pattern I start with the smaller pieces and only start a new square when there’s a motif that’s bigger than my biggest scrap of fusible. It’s soooo nice to reach into that bag and pull out a nice fresh, flat sheet in such a manageable size.

Here’s another tip for working with paper-backed fusible web: trace the smaller pieces inside the larger pieces. I learned from Sue Nickels in her book Machine Applique: A Sampler of Techniques to cut out the center of the fusible-web templates. This strategy reduces stiffness in the quilt, and it can save product too if you use that cut-out area to make another template.

Let’s say we’re starting with a pattern like this.


The leaves will fit inside the basket with enough room to spare to cut everything out roughly.

While you’re at it, go ahead and trace the flower center inside the flower.

Use a circle template tool to trace nice round circles. Use a size that is a little bit bigger than the circle. (When you trace, the circle shrinks.)

The arrow is my attempt at telestration in Photoshop.

Last tip for working with fusible web: the smallest, itty-bitty pieces like flower centers are too small to cut the center out of. Then it can be hard to get the paper backing started to peel it off when you’re ready to fuse. I tried the ’scratch it with a pin’ technique but somehow was never skilled enough to do it without fraying a thread or two. My new favorite strategy is that, once the motif is rough-cut, I peel up one side of the paper, going into the motif area a little bit.

Then I lay the paper back down and cut out the motif on the drawn line. When I’m ready to take the backing off, part of it has already been started. In this case, separation is good.

Okay, that is my most sage advice for fusible web management. I hope it proves to be of use to you.

Until next time,
Kay
Quilt Puppy Publications & Designs

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Here’s what the package says:

Here’s what it looks like when you take it out of the package. This is only a portion of it.

I cut out a hunk of the regular supermarket freezer paper and a piece of Ricky’s. Ricky’s does feel softer, thinner, and more flexible. I hope you can see a difference in this photo.

Personally I end up chopping my freezer paper into little pieces for the type of appliqué that I do, but I can see where this product would come in mighty handy if you’ve been taping together sections of freezer paper to use with large patterns in other techniques. For instance, what comes to mind is designing and marking swag borders, where you use a piece of freezer paper that’s the same dimensions as your border, then fold it into sections for the swags.

I went ahead and tested it out for the freezer-paper-on-top type of appliqué that I know.

Note the cardboard underneath. The firm surface helps create a better bond when ironing the template onto the fabric.

I’m a baster… can’t abide pins when I’m trying to stitch.

Works great!

It strikes me as amusing that Ricky would need to call this product by a name that’s not what it’s intended for (wrapping meat for the freezer) so that it will be familiar for quilters!

C’mon gang, chime in. What use would you make out of extra-wide freezer paper?

Kay
Quilt Puppy Publications & Designs

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