For a newbie quilter (or even a seasoned one), the idea of bias edges can be scary. They stretch! They can distort! They can make your quilt top wavy! None of those things sound fun, especially when you are spending blood, sweat, and tears (and money) on making a quilt.
But don't worry, several of my patterns have bias edges so I'm going to share what works for me when I make those kinds of quilts.
First thing first. What is a bias edge?
Here is the simplest way I can explain it (if you want to get technical, here is a good blog post). Fabric has a lengthwise grain and a crosswise grain that goes perpendicular. This makes up the straight grain of the fabric. If you cut the fabric selvage to selvage, that is a straight grain cut. If you cut the fabric diagonally across the straight grain (like you would to make a triangle), that is the bias edge.
The bias edge has considerably more stretch than the straight grain. Which is great if you're making garments, bags, things with curves, etc. If you're making a quilt, it can be...fussy.
1. STARCH your fabric. My friend, starch is your best friend here. Whether you prewash your fabrics or not (I don't, for the record), starch them if you're going to be working with bias edges. Starch adds stiffness and structure to the fabric making it easier to work with.
My process: I lay down a shower curtain liner, place the fabric top and spray generously with starch. I use the the cheap stuff you can find in the grocery store, but there is quilting specific starch like Best Press that I have heard good things about.
Once the fabric has dried, iron with a hot iron over a pressing board (which gives me better results than an ironing board).
Sometimes, if I'm working with wovens (like Warp and Weft from Ruby Star Society) I'll repeat the process twice, but that is not usually necessary.
2. PRESS don't iron. This is an important one.
Whether you press your seams open or to the side, make sure you are pressing (setting the iron down on the seam and then lifting it up) instead of ironing (dragging the iron across the seams). The heat plus pressure from the iron can pull the fabric slightly out of shape.
3. Handle pieces GENTLY. The more we handle the bias cut pieces, the more distorted they can become, and it's not always obvious until trying to sew it to another piece.
If possible, I'll wait and cut the triangles (like for Deltille or Hurrication) until I've reached the step where I need to sew them. If I do cut everything at once (because I want to take a picture for Instagram), I'll leave them stacked on my cutting table until I'm ready to use them. I avoid playing with them and moving them around for pictures as much as I can.
When sewing, I am careful not to push or pull the fabric through the machine and just guide it while the feed dogs to the work. Honestly, this is true for any piecing, but a good reminder for working with bias edges.
4. PIN as needed. Full disclosure, I rarely use pins.
That being said, I will always use pins when sewing long seams with bias edges to keep things from shifting and pulling as the weight of the quilt increases. If you have the space, larger work surfaces to the left of your sewing machine and behind your sewing machine can help hold the weight of the quilt as it's going through the machine.
That's it! Bias edges really aren't as intimidating as they are made out to be. It just takes a little more care and a little practice, and you'll be just fine!
Do you ever have that lightening bolt moment where an idea pops into your head and you have to write it down/sketch it out/mock it up RIGHT. THAT. MINUTE.
I was vacuuming the living room when I thought "what would Hurrication look like if I flipped the background and the corner fabrics?" I didn't even finish vacuuming the room before I opened my computer and started mocking it up. To say I loved the result is an understatement.
At that point, I had already sent the original Hurrication pattern to the printer so it was too late to write this version into it. But I couldn't let it go. I had to make it.
Luckily for you, I wrote up this PDF so you can make it too (you will need the Hurrication pattern as this is only a supplement)!!
I hope you love it as much as I do. :)
Get a copy of the Hurrication Expansion PDF here!
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Want a cute Hurrication sticker? You can get yourself one here! |
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Planning the ombre/color shift in the Hurrication pattern took a little extra brain power due to the way the fabrics rotate within each block. But, let me tell you, the end result was 100% worth it. This might be my favorite quilt I've ever made.
I'm going to tell you exactly how I planned my quilt so that you can make something similar (you will need the pattern to actually make this quilt, you can get it here)!
First, I laid out the D squares (that will become the corners of the blocks) in sets of four to plan the color shift. Once all of the blocks were laid out, I moved and rearranged to ensure that each block had a different combination of fabrics while still maintaining the color shift. Last thing I did in this step was to label each set of squares that represented one block. Also, I left these blocks in place while I was making each block. One, to help ensure I was sewing the right pieces together, and two, to make sure I liked the color shift as I kept looking at it.
Then, I started sewing my blocks together following the block assembly on page 4. BEFORE I added the background fabric, I reevaluated the color shift. At this stage, it was still looking pretty good. I moved or rotated one or two blocks to keep the color shift smooth.
After adding the background fabric, I evaluated the color shift for the last time. Because of the way the fabric rotate after adding the background fabric, this step is when I made the most changes. I swapped one or two blocks, but I spent some time rotating (and then rotating them back) to find the most visually appealing layout.
During this step, I take a picture of every single layout. Even with the blocks up on my design wall, sometimes it is easier to see in a picture. I will also make the picture black and white to see if there are any glaring errors in the color shift.
The last step is to add the D square corners. In the pattern, I have the snowballed corner in the opposite corner of the same color B triangle in the block. However, in this ombre version, I put the D square in the SAME corner as the B triangle. This change helped keep the flow.
That's it! A little bit of planning up front, and working block by block instead of chain piecing was worth all the effort after seeing the result. I love this quilt so much!
I made this color key for my quilt for you to use as a starting point. Depending on your color flow and the fabrics you have, you will probably need to tweak things, but you can use this to get going!
You can get the Hurrication pattern in PDF or PAPER pattern in my shop!
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Want a cute Hurrication sticker? You can get yourself one here! |
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If you've been around for a while, you might remember I had an obsession with the original Warp and Weft line by Alexia Abegg for Ruby Star Society. I am hoarding FQ bundles of that line and the second warp and weft collection she came out with. I was lucky enough to get my hands on some of the newest collection, Warp and Weft Honey, several months ago so I made a Chevron Points with it.
I wanted to show an example of the split chevron style with prints instead of solids and one without doing an ombre/gradient. These fabrics fit the bill for that perfectly!
With a pattern like this, working with directional prints like stripes can be tricky, so I took extra time to line up at many of the stripes as I could, and I think that extra effort was 100% worth it. It didn't workout in every case, but when it did it looks good!
I wanted to use as much of the fabrics as I could, so I took the leftover pieces I had and pieced the backing. It is my favorite things about this quilt because it is extra soft and squishy having woven fabrics on the front and back. It was a little tricker to baste and quilt due to the stretchiness of woven fabrics and I ended up with a few puckers on the back. Honestly, I'm okay with it that way. They won't be noticeable once I wash the quilt and start using it!
I used a black metallic stripe for the binding. You can't go wrong with stripes for the binding. It's my favorite way to finish off a quilt top!
I loved making this one. It is definitely going to be a favorite in our quilt rotation!
Fran of Cotton and Joy in one of my favorite quilty friends. When I found out she was working with Riley Blake Designs on her first fabric collection, I immediately started thinking about what I would make with them.
I initially planned on making a Desert Charm quilt, but then I wrote the Chevron Points pattern. The Modern Solids version of Chevron Points is perfect for showing off prints - and I really wanted to show off the prints!
For this baby quilt, I picked four of my favorite prints from the Daybreak collection plus one extra for the accent. The little bees are my favorite. I smile every time I see them!
I quilted my standard straight lines about 3/4" apart. This has become my go-to for when I have to quilt something myself. It's easy and quick.
Because I didn't use all of the prints I originally selected, I pieced them together for the backing. Making pieced backings is my new favorite obsession. It helps keeps the cost down since you aren't buying extra yardage for the back, it helps keep my fabric stash to a minimum since I don't like storing fabric, and it's just fun. :)
I went with my favorite binding option - stripes!
I really really love everything about this quilt. :)
This pattern has been a long time coming and it is finally available in PDF or PRINTED formats in my shop!
I originally designed and wrote this pattern for Make Modern Magazine back in July 2021. In order to release this one as a stand alone pattern, I made a tiny design tweak, added two more sizes, and one design variation. I'm thrilled with the end result!
For my new cover sample, I went with a moody purple/teal/blue range. I'm really loving this color combo right now. I used Cotton Couture solids from Michael Miller Fabrics in: Eggplant, Venus, Mauve, Iris, Powder Blue, Glass, Ocean, Teal, Cadet, Slate, Wedgewood, and Ice Blue. I used Soft White for the background. (I'm selling these fabrics in a kit here if you want to make the same one!)
My favorite thing about this pattern is the combination of light and dark tones of the same color in each column. I think it gives it a fun, playful look. However, sometimes you just want to show off the prints a bit more. So I added a design variation that has the whole chevron one color. Both designs are awesome if I do say so myself!
As usual, I sent my cover sample to Jill of J.Coterie quilting for long arm quilting. She chose a geometric panto that complements the chevrons nicely. I always think she does a great job picking a quilting design and scale for the quilt!
This one is backed and bound with the middle blue color.
Now for the pictures!
DOWNLOAD YOUR FREE PATTERN HERE!
The Scrappy Valley Quilt pattern came from my desire to actually use my fabric scraps. As long as I've been quilting, I've cut my scraps into commonly used sizes and stored them sorted by color in small plastic bins. (Read more about my scrap storage method here!)
After about 6 or 7 years of this, my scrap bins started to get hard to close. I started to realize that at some point I would need to start using the scraps I'd been saving. I set out to put together a block that used the already precut sizes I've been collecting. I wanted to use as many different sizes as I could.
Scrappy Valley was named after one of my most popular patterns, Mountain Valley, because the blocks follow the same layout. The pattern works best when the same color group is used for each section of the block, but the free pattern include yardage if you prefer to make it that way!
Evenflow is available now in my shop in PDF and Printed pattern formats!
Truthfully, Evenflow is one of those patterns that I never meant to write because it is a derivative of another pattern of mine, Rivermill.
If you recall, last year I was a brand ambassador for Michael Miller Fabrics. One of the things Michael Miller does really well is large scale prints. I really wanted to show off this one print they sent, so I quickly drafted an extra large Rivermill block and made this quilt. I honestly thought that would be the end of it.
But then, I had several people ask me for the fabric requirements. I told them to give me a few days, and I write up a quick pattern extension and get back to them. It hit me that I used a completely different HST construction method. My quick pattern extension was turning into a full on pattern.
I sat on it for a while unsure if I wanted to commit to writing this pattern or moving on to one I have saved in my drafts. Quilters continued to ask for it, so here we are! I added a few sizes and made one tiny design change to spruce it up.
I love love love the end result. It makes such a big impact! I stick to solids on my cover quilts, but this pattern is so fun in prints. It shows them off really nicely.
I used Art Gallery Fabrics Pure Solids for my cover quilt in Terracotta Tile, Miami Sunset, Sweet Macadamia, and Snow (background). I don't typically gravitate towards coral/burnt orange type colors, but these spoke to me. I love the end result!
One of the perks of a big block pattern like Evenflow is that is comes together SO FAST. I can cut and piece the entire top in 2-3 hours depending on how many interruptions my kids make. I was done so quickly and still several weeks out from my pattern release. Instead of moving my pattern release up, I chose to make the back extra special.
I made the original Rivermill for the back! I want to make all of my quilts double sided now. It makes sense. I make A LOT of quilts. I have a stack piled up in the closet waiting to give away or to sell. This way, I could still make all the quilts, but I would have less quilts in a pile at the end. Plus, on a bed, you could just flip it over when you want to change things up. #teamdoublesidedquilts
(Both Evenflow and Rivermill are available in my shop!)
Now for pictures!
In my latest pattern, Evenflow, I am working with larger blocks so I thought it would be helpful to give a quick tutorial on how to trim these blocks when you don't have a giant ruler. Though, I use my 16.5" x 16.5" ruler ALL the time. If you are in the market for a ruler to add to your collection, I would definitely consider this one.
Anyway, here is a quick rundown of how you can use two smaller rulers to square a larger block. In my HST example, I am using a 6.5" x 24" ruler and a 9.5" x 9.5" square ruler (affiliate links).
Last thing before we get to the tutorial, if you want to see this in action, check out my video here!
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I want to square my HST to 14.5" x 14.5". It is currently about 15" x 15".
First, some math. I want to square my block to 14.5". My long ruler is 6.5" wide. So, since 14.5 - 6.5 = 8, I want to make sure I'm following the 8" marks on my square ruler.
Line up the diagonal mark on the ruler with the diagonal HST seam. Make sure there is room to trim to the left and bottom of the 8" ruler marks.
Once the square ruler is lined up, place the longer ruler next to it. Ensure everything is straight, and trim that first edge.
Rotate the block 180 degrees so that the previously trimmed edge is now on the left. Line up the 8" mark and the diagonal seam again and trim.
Rotate block so that trimmed edges are the top and bottom. Line up longer ruler along the bottom edge ensuring the corner of the diagonal seam lines up with the edge of the ruler. Trim that edge.
Rotate block one final time to trim the last side. Line up the 8" marks on the left and bottom edges.
Place long ruler next to the square ruler and ensure everything is straight before trimming that last edge. The corner of the diagonal seam should be lined up with the edge of the ruler.
Sit back and admire your accurately squared HST!
Quiltmas is over, but the fun continues! I whipped up these quick placemats to show off my two Quiltmas blocks.
Placemats are a great option if you don't want to make a full quilt and want to make a quick project instead. Didn't participate in Quiltmas? No worries, your favorite 12.5"x12.5" (unfinished) block will work instead!
Couple housekeeping things: I like bigger placemats so these finish at 16" x 20". The listed supplies make ONE placemat. I easily used my leftover scraps, but a couple coordinating FQs plus background fabric will work too!
For Placemat A, use the following diagram:
For Placemat B, use the following diagram:
These are super quick to make. I made both versions from start to finish in an afternoon. Have fun!
My latest Michael Miller project has had me working with these sweet, sweet baby prints from their To the Moon and Back collection. I love the soft grays and yellows. When I was pregnant with my oldest daughter, gray and other neutral colors featured heavily in her nursery. I would have LOVED this collection to make her a baby quilt back then.
I wanted to feature the prints in a quilt so I chose my Chevron Points pattern that was published in Make Modern magazine. In the original pattern, each side of the chevrons were a different fabric. In this version, I made each chevron out of one print. I love the simplicity of this version. Writing this pattern in multiple sizes in on my to-do list for next year, and I definitely plan on including this design variation.
I went with a zig zag stitch spaced a little more than an inch apart for quilting. I thought the zig zag would be an appropriate complement to the chevrons. It is quick, easy, and perfect for a baby quilt.
The backing is my favorite print in the collection. These sweet yellow and gray rainbows are just perfect. I used a darker gray polka dot print to bind.
Check out the full collection HERE and the issue of Make Modern that includes the Chevron Points pattern HERE (affiliate link).
For the past week or so, I've been working on this Rivermill quilt with fabric from the Michael Miller line Life is Better on the Farm. The florals and the gingham stole my heart, but the reds, grays, and blacks that make up this collection are pretty perfect too. I paired my prints with the Cotton Couture solids: Brick, Black, and Ginger to round out the number of fabrics I needed for the quilt top.
I knew I wanted to do a mix and match style quilt with these fabrics because they work so well together, and my rivermill pattern is great for mixing and matching fabrics. Wins all around here!
Using the Four at a Time HST method and chain piecing all of my blocks means this quilt comes together pretty quickly! I had it assembled, quilted, and binding completed in less than a week.
For the quilting, I kept it simple using a zig zag stitch spaced about 1.5" apart. I played with the settings on my machine to make the stitch wider and longer. It was a fun way to change things up from my usual straight lines or serpentine stitch. I'll definitely use this again!
For the backing, I used on of the prints from the collection. My favorite detail here is the florals aren't solid. If you look closely, there is a faint gingham print inside the flowers. Seriously, how perfect is that?!
This collection didn't include a striped print so I went with the gray for binding. I know I love my striped bindings, but this one looks pretty good too if I do say so myself!
