In traditional patchwork you cut the shapes exactly the right size using a ¼” seam allowance on all sides. When paper piecing you should not cut the fabric pieces the exact size. It is important to cut them a little larger than anticipated. You will waste some fabric, but strange things can happen when paper piecing, and it is better to allow a little extra than to come up short.
I find it very helpful to precut shapes larger than necessary. If you are cutting strips, cut each strip at least ½” wider and longer than the section you will cover on the pattern. If you are using half-square triangle shapes, cut the square at least 1” larger than the section you will cover on the pattern, then cut diagonally from corner to corner. For quarter-square triangles, cut the square at least 1½” larger, then cut diagonally from corner to corner, twice. In each of the projects in this book I will give you precutting sizes.
After each seam is sewn, you will trim the fabric shape leaving a ¼” seam allowance.
PATTERNS
All of the patterns in this book are meant to be photocopied. Sometimes distortion can occur when photocopying, so be sure to test the accuracy of a sample photocopy by measuring it against the original before making all of the necessary photocopies. Make sure that you make all of your photocopies from the same original and on the same machine.
If access to a photocopy machine is difficult, consider tracing the pattern onto paper. To use the needle-punching technique, stack and staple several layers of paper together with the pattern on top. With an unthreaded sewing machine and an old needle, sew through all the layers on the drawn lines. After sewing, remove the staples. In addition to marking the lines, the paper will be easier to remove when it’s time.
The patterns in this book have solid sewing lines and dashed seam allowance cutting lines. The exception is the Pineapple block pattern, where you will have to add ¼” seam allowance to the outside edge of the block when cutting out your patterns.
Note that the sewing order is indicated by numbers. Simply sew each piece in numerical order, trim, and press. Easy as that!
I like to pin to ensure accuracy. The pinning techniques I find useful with traditional quilting also hold true with paper piecing. The only difference is that you pin through fabric and the paper at the same time. Here are some guidelines for successful pinning.
To align seams when sewing paper-pieced units together, insert a pin no more than ⅛” away on each side of the seam.
Pin ⅛ away on each side of the seam.
When you have two components that need to align exactly (for example, the center of the Kaleidoscope block), insert the first pin from the back of one half of the block (exactly into the intersection) into the right side of the other half of the block (exactly into the intersection). Push the head of the pin firmly into both intersections. While holding the first pin tightly in place vertically, put the second and third pins on each side of the intersection no more than ⅛” from the first pin. Let the first pin dangle loosely. As you approach the intersection, remove the first pin at the last possible second, letting your sewing machine needle go into the same hole. I have found that this technique works very well.
Place the second and third pins on each side of the first pin.
Kaleidoscope block
If the pins end up on the underneath side, either pull out the pins as you approach them, or pin far enough away from the sewing line so your machine needle doesn’t hit them and break.
In general, you will set your machine stitch length to 18–20 stitches per inch. The stitches should be tight enough to perforate the paper for easy paper removal, but not so tight that seam ripping becomes an impossible task. Make adjustments as you see necessary. Use an 80/12 or 90/14 universal or sharp needle. They are a little heavier, which helps penetrate both the fabric and paper and makes paper removal easier.
When sewing, stitch two or three stitches beyond the drawn line. This allows the next line of stitches to lock the previous line of stitches in place.
For complicated patterns, or ones with long thin points, when the block is completed consider basting a few stitches on the paper tips to help hold the seam allowances in place. (Sometimes they flip in the wrong direction and get sewn into a seam.) Another option is to baste around the outside edge of the finished block. This creates one more division of paper to be removed, but it also helps prevent the seam allowances from flipping the wrong direction. You can use a large basting stitch or the regular tight stitch. The choice here is whether you prefer to remove the stitching (if you baste) or the extra section of paper to be removed (if you use a shorter stitch).
When sewing the blocks together into rows, remove the paper in the seam allowances before sewing the rows together. This allows you to press the seams in opposite directions before sewing the rows together.
Do not remove the remaining paper until the project instructions tell you to do so. To tear out the paper, gently run your seam ripper’s long pointed tip along the seamline. It helps to weaken the paper and makes for easier removal. You can also weaken the paper by machine stitching on the lines without thread before you start paper piecing. This adds more holes in the paper and makes the paper tear more easily.
If you have to remove and resew a seam, cut every third or fourth stitch on one side, then gently lift the thread off of the other side. If there are so many holes in the paper that it falls apart, use removable clear tape sparingly to hold the paper in place until you finish paper piecing. Be careful not to iron over it, or use Sewer’s Fix-it Tape, which can be ironed over.
Another method for correcting a mis-sewn piece I learned from Sue Garman. Using fine scissors, trim away the seam allowance on the piece with the mistake as close to the seam as possible, and gently pull the fabric away. Add the replacement piece and stitch directly on the previous stitching.
I prefer ironing to finger pressing because I’ve seen quilters get too aggressive and stretch fabric out of shape.
Do not use steam in your iron! The water in the steam can distort and weaken the paper.
It is very important to press properly and thoroughly when paper piecing. If you are careless, tucks will be permanently pressed into the block. Many people like to “set the seams” first by simply pressing on the sewn line. This helps to lock the stitches into place. After setting the seam, flip the fabric over so that you see the right side of the fabric; press again. Make sure to avoid any tucks. A mini iron is wonderful (page 6). Try to avoid pressing directly on the printed side of the paper. It can smudge and dirty your iron plate. I use a thin tea towel to cover the pressing surface so the ink doesn’t stain my ironing board.
PLANNING THE QUILTING
Consider how you are going to quilt the top—by machine or by hand. I prefer hand quilting, since it lends a softer, homespun look. I suggest you take the time to try hand quilting. I have always enjoyed this part of the process and find that hand-quilted quilts have a special look. However, it does require a significant amount of time, and if this is a quilt that kids are going to drag around, or for a bed that the dogs jump on (I know about these things), you should try your hand at machine quilting. Your decision is determined by the look you want to achieve and/or the eventual use of the quilt.
BACKING
If your quilt is 42” wide or less you will be able to use one width of fabric for your backing. This eliminates the problem of piecing the backing together. If you get carried away making blocks or want to make a larger quilt and find that your quilt top is wider than 42”, you will have to sew sections of the backing fabric together to create a wide enough piece of fabric to back the whole quilt top. It’s okay to use more than one cotton print for a single backing. This can be as much fun as deciding the fabric for the front of the quilt. Here are a few things to keep in mind:
Never use a piece of decorator fabric or a sheet for the backing. They have a high thread count and are difficult to hand quilt.
BATTING
For hand quilting, I recommend that you use a low-loft polyester batting. It is easier to quilt through than other batting materials.
For machine quilting, I recommend that you use 100% cotton batting. Make sure that you follow the manufacturer’s instructions if it needs to be prewashed.
Depending on the size of my project, I either work on a table top (small quilt) or on my nonloop carpet (large quilt). First you must either tape down (table top) or pin using “T” pins (carpet) the backing for the quilt, wrong side up, and work from the center of each side to the corners. Keep the fabric grain straight and get the backing stretched taut. No bubbles or ripples are acceptable, or you will have folds and tucks in the back of your finished quilt.
Tape the backing.
Carefully unroll the batting and smooth it on top of the backing. Trim the batting to the same size as the backing. Smooth the quilt top onto the batting right side up.
BASTING
For Hand Quilting
Knot one end of the thread and take large stitches through all three layers.
Never baste with a colored thread, since the dye might migrate onto the fabric.
Don’t bother knotting the second end of the thread to anchor your basting stitches. When it’s time to remove the basting, you can just give the knotted end of the thread a little tug and it will pull out.
I like to baste in a grid pattern (about every 4”), so there is an even amount of basting throughout the quilt. Never skimp on this part of the process. It will only cause disaster down the road, since your quilt layers may slip and move during the quilting process.
Baste in a grid.
For Machine Quilting
Unlike hand quilting, you will pin baste every 3” with safety pins. Pin evenly across the quilt, staying away from where the quilting stitches will be sewn.
BINDING
After quilting, trim the batting and backing even with the edges of the quilt top. The binding holds all three layers together and often gets the most abuse when a quilt is loved and used. There are several ways to approach bindings. I will share the simplest way with you; in the future you might want to experiment with other techniques.
1. Cut 2¼” × 42” strips. Trim them to the width of the quilt from side to side, plus 1” for trimming. If your quilt is over 42” wide, you will need to piece strips together to get the desired length. Create this union with a seam that is on an angle as shown. This will prevent a big lump in the binding.
Piece the binding strips.
Press seam open.
2. Fold lengthwise with wrong sides together, and press lengthwise.
Fold and press.
3. On the top edge of the quilt, line up the raw edges of the binding with the raw edge of the quilt. Let the binding extend ½” past the corners of the quilt. Sew using a ¼” seam allowance. Do this on the top and bottom edges of the quilt.
Attach the binding to the front of the quilt.
4. Flip the finished edge of the binding over the raw edge of the quilt and slipstitch the binding to the back side of the quilt. Trim the ends even with the edge of the quilt as shown.
Stitch the binding and trim.
5. Cut two 2¼” × 42” strips. For the two remaining sides of the quilt, measure the length of the quilt from top to bottom. Trim the strips to this measurement plus ½” for turning under. If the measurement is longer than 42”, you will need to piece strips together to get the desired length. Sew the binding strips on. Fold under the ends of the binding to create a finished edge, then fold the binding to the back side. Slipstitch down.
Attach the side binding.
As you travel into the world of quilting, please always keep this in mind—there isn’t one definitive way to make a quilt. Each teacher has his or her own techniques and personal set of guidelines. Expose yourself to as many different approaches as possible. Take classes. Check out the local quilting guild. You will meet great people there. Soon you will become comfortable with what works for you. And remember, always sign, date, and document your project on the back side with a permanent marking pen that is designed specifically for fabric.