Since it’s still January, I’m keeping my resolution to finish projects before haring off on new ones. While I’ve quilted two projects I started in 2014, I got Impact bound first. I’m still mulling over fabric choices for the more complicated binding on my landscape.
Impact was inspired by Terry Aske’s quilt, Wedges. Her quilt was inspired by others, as she discusses here.
Wedges by Terry Aske
I began with the same technique, random width strips of fabric sewn together, then cut into wedges using the eyeball measuring system. I used only two sets of strips, but inserted white and solid wedges to make up the circle. I put in some of my modern fabrics by Zen Chic, Marcia Derse, and Parson Gray.
I found I needed a lot more wedges than I thought I would. I came up with some work-arounds to join the quarters, and squared off the corners with big triangles of the gray and green fabrics.
Impact measures 42.5 inches square, is bound with the Parson Gray fabric used in the quilt, and is backed with a “modern” Zen Chic print.
A few posts ago I wrote about Terry Aske’s method of facing her art quilts. Since I have a few almost finished quilts that will look better faced than bound, I was eager to try her approach.
I used my Easter Egg Roll quilt for my experiment as it is small – 14 by 43 inches – and I had more of the backing fabric in case things went badly awry. Here it is surrounded by the facings cut to 2.25 inches and then ironed in a quarter inch on one side. Note the long side pieces are shorter than the sides, and the top and bottom pieces are longer than the quilt’s width. This is to prevent fabric buildup in the corners.
I started by sewing the side pieces to the quilt, making sure each end was the same distance from the edge. Then I pressed the seam toward the facing. To help keep the facing from showing on the quilt front, I stitched about an eighth of a inch out from the facing/quilt seam through the facing and the three layers of the quilt. This seam, often called stay stitching, can be seen only on the quilt back. Finally, I pressed the facing to the back of the quilt, rolling a smidge of the quilt front over to the back.
Next it was time to sew on the top and bottom pieces, using the same method, except for the bits hanging off the edges. Those got trimmed to about a half inch and wrapped around the edges once the stay stitching was done.
I didn’t trim the corners as Terry’s method recommends. My batting was thin enough the corners weren’t bulky.
The facings got sewn down during all the non-dancing parts of So You Think You Can Dance. There sure are a lot of them.
This facing method makes it easier to get square corners. You can get poochy corners if you stitch continuously around the corner and then turn the facing right side out. I have links to both methods on my tutorials page, so you can try both and see what works for you.
A side benefit of attending a big quilt show is “meeting” new quilters through their work on display. This is how I met Terry Aske, a Canadian art quilter, who was juried into Quilt Canada 2014. Of course I checked out her blog when I got home, and found a post that offered a refinement of a quilt facing technique. I do love it when quilting bloggers share helpful tips. It’s the sharing that helps make the quilting community so special.
More and more of my quilts lend themselves to a facing rather than a binding, so I plan to try Terry’s method on the next quilt I need to face. If it works, I’ll add it to my tutorials page.
Here’s her Shades of Gray, that won second place in the modern quilt category at Quilt Canada. Ironically, it’s bound, not faced.
If you’re reading this post and you don’t quilt, I understand why you might think that it’s best to face a quilt looking forward, and wonder why you’d need a tutorial to do that.