I finally got around to finishing the little sampler which was started as the first project in Vol 1. The quilting was a bit experimental on this one where I tried out new stencils and a mixture of feed dogs up and free motion.
The stencils I chose were purchased on my trip to the mainland a little while back- simple lines which fitted nicely onto the centre panel and scallops for the sides. The nine-patches were gridded.
Because the sampler is quite small, I quilted the centre lines with feed dogs up, pivoting as needed. I got a bit lost on this one, missing lines here and there while trying to find an efficient continuous line to follow. In the end, I decided I didn't like the result much - it's rather boring and doesn't leave a lot of texture. One to keep in mind though when texture is not wanted.
Floyd supervises the marking stage
The scallops were interesting to do. This is the same stencil I started marking on Julie's quilt before I changed my mind. Seeing the finished results, I'm glad I did. Two of the borders were quilted with feed dogs up and two of them free motion. Free motion was much faster, although wonkier - and after washing it's not that easy to tell which is which.
One is free-motion, one is not.
In this book, Harriet gives us another way to sew binding strips together. Previously we had to cut each end at a 45 degree angle and stitch - I found getting the edges even with this method a bit hit & miss (missing more often than hitting).
This time the ends are left square, sewn then trimmed back later. Much easier.
Marking the bottom of the top strip helps get that sewing on the right angle.
The results are pretty much invisible
Of course it doesn't always work! Oops.
I found that marking the bottom edge of the top strip keeps everything aligned (as seen in the first picture). As I get more experienced, I should be able to just eyeball it.
Harriet also shows us a new way to join the ends of the bindings when stitching to the quilt top, but i forgot to take pictures, so another time for that.