I’ve been using Illustrator for just shy of a decade, so it is absolutely shameful that I didn’t know how to draw a quarter-circle until a few months ago. So, for anyone else in that boat (I know some of you use Illustrator too), I posted a quick tutorial on it over at my Web dev blog on rachaelarnold.com. (Once upon a time I had a grand ideas of having a few different blogs. I even updated them all. These days, I pretty much stick to this one here, but on rare occasions I update the one on Web development, too.)

There’s also one on quickly drawing half-square triangles.

Perhaps eventually I’ll get ahold of a copy of a real quilting program, but Illustrator works well for now, even if it is a 4+ year old version.

What do you use, software-wise?

In related news, Lynette was the only one to leave a comment on the Simplicity 4055 giveaway, so she wins! I know she has a copy of the pattern already, so there may be a substitution at her discretion. Perhaps I’ll try giving away the pattern again later.

It seems I’m back to the drawing board with shoes for the show. I was sewing along last night, and saw Moof sneak by and then scurry back out of the room… in the mere seconds it took to go figure out what he was up to, he managed to do this:

So, for now I’m going to try to unpack the boxes that are sitting in our den—I have a pair of black pointy flats in there somewhere. But, maybe I’ll try Target again.

Here’s what I was working on while my shoe met its fate at Moof’s jaws:

That’s 4/9ths of the quilt top! I have finished eight of the nine blocks; all that is left is adding the background to one more and sewing the rest together. They’re all a differently sized, but I think there will only be two set-in seams, thank goodness.

I’ve been almost manic about finishing this top, even though I have no deadline or intended recipient. I think I just really like it. It might be a while before I quilt it, though, as I need to work on other things (like the 1812 costume and a valentine I have to ship to my swap partner by Tues…). I’m currently trying to decide on what to do for the back… either piece together a whole backing from the leftover fabrics I used on the front (I have plenty), or use that for a second top and get something else for the back. Decisions, decisions. Lola Pink Fabrics just reopened up using the old Above All Fabrics platform, and their Tula Pink is on sale, plus they have Thomas’ Pear Tree, which I’ve been meaning to buy (the LQS brought it in, but only the pink colorway, and despite the abundance of pinks in this Tula Pink quilt, I’m not such a fan…), so that plan might win out.

Do your animals cause setbacks in your crafts, or am I just cursed?

How to use

From what I’ve read, fusible thread runs best in the bobbin, so that is how I’ve been using it. You can run it through the needle, but you’ll want to lower your top tension and use a larger top-stitching/metallic/embroidery-style needle with the larger eye.

Superior suggests using an invisible thread or a thin polyester thread in the needle so that you can pull the top thread out once the fabric is fused. I don’t think that the Gütermann thread melts quite completely enough for that to work—at least, it didn’t when I attempted it. If it does work, you could use a blanket stitch or any other type of machine applique. Instead, I’ve been using a matching thread for the fabric and satin-stitching over it.

First, sew the edge of your shape using the fusible in the bobbin. I’ve found that the tension isn’t always quite right (and haven’t wanted to test much), so a few snips of the top and bottom threads around the edge will allow you to smooth out any gathering.

Then, cut out the shape out as close to your stitching as possible.

Next, lay your applique on your background fabric and press, using the appropriate heat setting for your fabric (in other words, this may not work well on synthetic fabric, as you can’t press hot enough to melt the thread without risking melting the fabric also).

Finally, stitch around your applique to securely attach it to the background. Here, I’ve used a satin stitch.

Why thread instead of something like Steam-a-Seam?

As with any technique or style, there’s more than one way of accomplishing something. The advantage of using fusible thread over a fusible web is that there is no additional layer added to your fabric. This results in a much more pliable/soft applique. Since I’ve only found fusible webs in prepackaged sheets approximately the size of a sheet of paper, this allows for much larger applique pieces (although I know that larger by-the-yard cuts are available).

Polyester-blend or nylon?

Since I’ve only used poly-blend, I can’t make a conclusive statement, however I suspect that nylon fusible thread would be far better. Nylon has a lower melting point than polyester, so nylon will fuse more quickly and easily than poly or poly-blend. How many times have you heard not to use nylon invisible thread, as it will melt if you iron it? Exactly.

Superior Threads’ fusible is the only one I know of that is 100% nylon. YLI Fusible Thread is nylon wrapped over a higher melting-point core (they won’t say what). And Gütermann is a poly/nylon blend.

Side note: did you know that “polyamide” is another word for nylon? Gütermann’s is labeled “Polyester/Polyamide”, not poly/nylon.

Do you use fusible thread for applique? What thoughts do you have about it?

Source: manchestergalleries.org via Rachael on Pinterest

Ready?

I used watered-down white acrylic paint to tone down the bright pink a bit. Now, using scrapbook border cutouts, I’ve started slowly stenciling on the black design. I am not doing the best job (the black is a bit blurry/blobby), but I am content with my progress so far. It’s slow going, however, as I only have a couple of the right borders, and have to leave them on until each pass is dry, meaning I can only do a few rows a night.

Then, I’ve been making a ton of progress on my kaleidoscope quilt blocks. I’ve made all the kaleidoscopes for it, though I’ve only snapped a photo of some of the hexagon ones (the other fabric made square ones that will be matted in a circle). I had so much fun cutting them out and arranging them, that I have a bunch of extras to use on the back of the quilt.

Once I finished sewing them together, I started building the rest of the blocks. This one just needs the frame and background fabric added.

I’m finished with the non-kaleidoscope blocks also. Here’s my favorite block in the quilt (also the largest at 20×26″). You can almost see the sliver threads running through the background fabric.

So that’s what I’ve been doing this week. Sadly, I think I need to be less productive in the sewing arena and more in the household chores arena this weekend.

Don’t forget to enter my giveaway of Simplicity 4055!

What are you working on this week?

Leah Day posted about the chemicals we use in quilting a while ago, and how those may affect the life of our projects. The researcher in me was especially interested in a scientific study on adhesives used in quilting that she linked, which ran tests on the effect certain spray bastes, fusible webs, and fusible battings have on fabric over time.

I’m a nostalgic kind of person. I like the idea of having tangible connections to the past, am someone who hopes her descendents might pull out a quilt saying “my great-great–aunt Rachael made this way back in the early 21st century” or something. Maybe it is because I have very few heirloom items (dating more than two generations back) of my own family’s due to various bungled moves, natural disasters, and general neglect—not much more than some photographs survive in my family line, to my knowledge.

But on the other hand, I lean toward creating items that are meant to be used, loved, and washed—all things inimical to conservation. I occasionally use fabric that isn’t quite the quality I’d like because the design printed on it is perfect for the project. I don’t always go back over a seam with a skipped stitch or two, figuring it will be years before it starts to matter.

It’s hard to know what might be considered an heirloom, even. Maybe that quick baby quilt you threw together on a deadline becomes so dear to a child that when they have children of their own, it is that quilt they want to pass down—not the one you made with heirloom-quality materials and presented to them later in life. The quilt your child hates because it is so “old-fashioned” might be “quaint” or “retro” and favored by their own children.

Crafting is always a wager—will it be liked? Will it be kept? Will it be cared for? Will it last?

So, you take a risk, and have to begin making decisions. Should you only use only high-quality fabric because it might become an heirloom? Do you decide to alter design decisions so that you don’t have to use certain products? Or do you continue using them, knowing your quilt might only last for your lifetime? That you might be endangering your profitability if a museum doesn’t want to take the risk that your art can’t be preserved?

It’s a question that is important to any creative person—regardless of intended audience or medium (or possibly precisely because of those things).

I don’t have an answer for my own projects. Immediately, I just ran out of 505 spray, and was going to try a cheaper alternative, but am reconsidering after reading that study on spray bastes—of the three, it had no severe effect compared to the control.

I’m working on the Organic Spins quilt, using Steam-A-Seam Fusible Web. It’s not one of the tested products, so who knows how it will hold up. I’m still going to use it—I’ve already started and have no desire to do turned-edge applique without it, and would prefer that to raw-edge.

But, that is a project for myself. If I want to make it for someone else, would I make the same decisions? Probably, but with less conviction than for my own.

What decisions do you make about the products you use in crafting? Is it something you care deeply about, or do you prefer to make what you wish, using what you will, regardless of the possible issues down the road? Somewhere in-between?

Specifically, this is the size HH (6-8-10-12) pattern, so you need measurements smaller than 34-26-36 according to the package, although considering the modern ease added, you may be able to get away with using the size 12 even if you are closer to 36-28-38 (what they consider size 14), and if you’re really adventurous, you can try to scale the pattern up.

To enter, simply comment on this post. There’s only one entry per person, so duplicates will be ignored. North America only this time, sorry my (non-Canadian/Mexican) international friends. Make sure to enter by 11pm EST on Tuesday, January 31, because I’ll be drawing a winner then. The winner will be announced February 1.

If you don’t win or want to buy the larger size, there’s still plenty of time to pick it up at your favorite store or online (Simplicity Sewing Pattern 4055). Watch for 99¢ or 5 for $5 sales. If you can’t get it on sale, you might want to consider the original Sense and Sensibility 1804 – 1812 Regency Gown pattern, which doesn’t have modern ease built in, and comes with historical notes, for about the same price as a full-price Simplicity pattern.

If you do make it, consider finding patterns for the proper underthings—modern bras don’t give that Regency lift-and-separate/shelf silhouette.

Are you making a Regency gown this spring? What for? What fabrics are you using?

So first, a few hallmarks of Regency shoes (looking as close to 1810/12 as possible):

• Almost-flat heel, generally a wedge
• Pointy is common, but there are rounded toes too
• Side seams from sole to top
• Usually have decoration on the top
• Generally have a back seam

Here’s an example:

Source: manchestergalleries.org via Rachael on Pinterest

And here’s another with rounder toes and laces to go up the leg, with more obvious seams:

Source: manchestergalleries.org via Rachael on Pinterest

Honestly, those are awfully similar to the row of ballet flats at Target (or probably any other shoe store). The most noticeable difference is the size of the vamp (or upper—the part that covers the top of your foot). Historic shoes had vamps that extended back to at least the middle of the foot, where as modern shoes often barely cover the toes. Side seams can be faked with trim, but vamps will be obvious. If you really want to be authentic or authentic-looking, this is where modern shoes will fail you.

Here’s a modern pair from Target:

Source: target.com via Rachael on Pinterest

Add a bit of ribbon to the side to fake seams, and stick more around the flower, and you can have something similar to this historic pair:

Source: manchestergalleries.org via Rachael on Pinterest

(See how the modern vamp barely comes up to where the decorations start on the historic pair?)

There are other modern pairs with even less obvious soles than those yellow ones (which come in other colors, by the way). Some might have higher vamps, some might have different or no decorations. Basically, grab some ribbon, tassels, and a hot glue gun, and you can turn basic ballet flats into something Regency-esque.

So, here is my favorite pair of historic shoes. I used to despise pink, but well, I just love these:

Source: manchestergalleries.org via Rachael on Pinterest

And here is what I bought for $10 at Target last night:

Source: target.com via Rachael on Pinterest

A bit of diluted white paint to pull the intensity of the pink down a bit, some black paint, stencils, and ribbon, and I think I can have a pretty decent set of Regency-ish shoes, don’t you? These even have a side seam (although again, it’s too far forward)!

Stay tuned, I hope to show you the painted shoes later this week!

Don’t forget stockings!

Ladies always wore stockings. During the Regency, they were usually light-colored. I’ve seen conflicting information about whether they came to the knee or higher, but since no one should ever see the top, it probably won’t hurt to stick with knee highs.

So, I picked up knee-high white socks while I was shopping. The ones I grabbed where Xhilaration®—on sale for $1.50— but there might be others that are more sheer or stocking-like available as well (I’m kind of a sock whore, so these will be used whether I find a better pair or not).

Of course, modern socks will stay up due to the magic of elastic, but for that slightly more authentic look, you can always tie a ribbon right below the knee to look like you need that support!

Have you thought about your shoes yet? Have any tips for making modern shoes look more historical?

A note about the prices: my Target is currently undergoing a bunch of renovations (yay, fresh food is coming!), so many, many things are on clearance that might not be elsewhere (like the new dishes we bought, a bathroom shelf… really, the timing has been perfect). Looking at Target’s site, the shoes don’t seem to be on clearance, but do check at your local store. Target isn’t sponsoring this post or anything, by the way, I just shop there. A lot. Like more-than-once-a-week lot.

As I discussed many months ago, I custom designed the medallion using a stock image that I modified and had printed by Spoonflower on their linen/cotton blend fabric. I chose the image because it incorporated patriotic symbols that were just gaining importance in the late 1700s—making something that might have been sold as a commemorative piece. The linen-cotton blend is heavier than quilting cotton, but a much more interesting texture. Linen-cotton blends weren’t uncommon at the time, from what I can tell, but the medallion might not be entirely period. The imagery might be, however.

The center medallion section of the quilt was made after 1795, but before the turn of the 19th century, according to my story.

“E Pluribus Unim” (Out of many, one) and the bald eagle were adopted as part of the Seal of the US in 1782. The phrase was first used on coinage in 1795, on the $5 gold piece known as the half-eagle.

Also in 1795, a new flag was adapted with 15 stars after Vermont and Kentucky were admitted to the Union. This flag (or variants thereof) was in use until after the end of the War of 1812 (actually, until 1818).

This is why there are only 15 stars in my printed medallion, since it was intended to date to around 1795. By the time of the War’s outbreak, there were 18 states (Number 18 Louisiana was admitted in April 1812).

Finding fabrics is the hardest part of this. A design was easy enough to come up with, but even reproduction fabrics aren’t necessarily always spot-on. I’m actually not sure that any of my fabrics are even 80% accurate to the times, but it gives the right look, which is okay with me.

I took a lot of inspiration from this image that I found of scraps from a quilt thought to date between 1780–1800. I don’t know where I came across it, but if you do, please let me know so that I can give proper attribution:

The flowers, leaves, and wheat motives are in many of the fabrics I chose.

Some of the fabrics I used are modern interpretations of a general late-18th/early 19th century styles (like the two prints from French General). Others are probably pretty close to appropriate, but perhaps in colors that are more pleasing to 21st century sensibilities. Looking at some of Barbara Brackman’s blog posts about original designs and her repros, the updated colors are often obvious.

I really tried to focus on madder and indigo colors in the early part of the quilt, working toward adding more yellows in the parts that, according to the story, date to 1812. I was apprehensive about the two differently designed sections working together—even when I took the photo at the top of the page after piecing them—but after getting it all quilted and put together, I’m very pleased.

I can’t wait to see what all the other quilts are like! Are you going to the show? I hope we can meet!

Now, while I love looking at designer clothing, gowns alone won’t usually inspire me to want to trek halfway across the country for an exhibit, but this is more than just a show of his designs. The curating team used advanced imaging techniques and intense study of the construction of three iconic dresses in order to show visitors how the gowns are structured—and James’ designs are often very complex in structure. There are also touchable displays—the team painstakingly created prototypes of different aspects of the construction.

So, while I won’t make it, maybe you can. Tell me all about it, if you do!

If you’re interested in Charles James in general, there is a catalogue available from the Museum’s shop, as well as a (unrelated to the exhibit) book published in 2006: Charles James (Fashion Memoire).

His dresses also appear in many fashion books, including High Style: Masterworks from the Brooklyn Museum Costume Collection at The Metropolitan Museum of Art and 100 Dresses: The Costume Institute / The Metropolitan Museum of Art

I’m not using it as my kaleidoscope fabric, however, since the repeat is so large 1yd isn’t enough, plus it is perfect just the way it is. Which meant more shopping, giving me all this:

(And some more, since I had to audition solids.) The two prints that I am making kaleidoscope blocks out of (including a quick Photoshop render of possible kaleidoscopes) are also from Parisville:

To top off the standard quilter’s cotton, I found this fabulous Linen/Rayon blend with silver threads interwoven to use as the background fabric for the quilt, and a great brown linen that is solid on one side, and has silvery flowers on the other to use as frames. Here is my first (almost) completed block:

I still have to do the actual applique stitches, but everything is fused together. Have you ever used fusible thread? I made the mistake of spending a lunch hour watching Superior Threads’ videos about it (Charlotte’s Fusible Web), and since I didn’t want to wait for a shipment, ran to JoAnn to grab the only fusible they have (Güttermann). I want to try another brand, as I don’t think Güttermann’s melts as well as a good one should, but I am a convert. It is awesome. I’ll tell you more about it as I work on more blocks for this quilt.

This will finish at 8×12″, paired with nine others of varying sizes for a 50×60″ quilt. Yes, I know there are no kaleidoscopes in that block. Just stay tuned…

Have you done a Stack-n-Whack quilt?