tools

Finding New Tools: Whose Tool Box do you Take Things From?

| ellenanneeddy

As quilters, we are excellent borrowers. Quilting as an art form is relatively new. Art quilting really didn’t exist until the 1970s. Rotary cutters were originally used by fashion semstresses. Surgical seam rippers and hemostats are medical tool that tranformed instantly into quilt tools. Men’s fishing bags, now designed in woman’s colors are the package of choice for sewing kits. We know a good thing when we see it. And we’re not too proud to use it. It doesn’t even need to be pink.

Those tools were life-changing for me. I will never work the same way I did without them. I didn’t personally develop them. Most of them were handed to me by a quilter who knew how life changing they would be.

My dad had a saying about horrible projects. “If it’s too hard, takes too long, or is just too awful, you have the wrong tool.” His other saying was, “You can use a hammer for a saw, but it’s hard on the hammer and what ever you are sawing.”

So this week, I found a new tool box to raid. I’ve been playing for some time with rubbing plates and oil paint sticks. This is another borrowed technique, and I love the textures and colors it adds in my work. But I’ve run out of rubbing plates. I’ve kind of bought all the ones that weren’t Christmas, sentiments, and animal prints. I’ve used them to a lather. I’m working on routing my own patterns. But I’m still looking for anything else that will serve.

So I found metal embossing dies on Amazon.

They are a bit deceptive. They are not in pretty colors. They’re all metal dies used for embossing. They work just fine for oil paint stick rubbing. They are smaller than I expected. But I was most excited that there were weeds and grass flowers in them. I’ve wanted some wild weed rubbing plates forever!

Plain silver, celedon, sand, and metallic white against blue.

I have a brand new set of tools for my tool kit! And a new tool box to raid.

Where does this go?

Version 1.0.0

I read a fabulous book called “The White Garden”. It’s speculative fiction about Virginia Woof. It sugguested planting a white garden in WW2 that you could see in the blackout. I was charmed by it. But my self control is not good enough for me to do that in a garden of my own. I always choose color. It’s a character flaw. The concept still makes a great image. I love these glowing weeds at night. All it needs moths and/or fireflies.

So who’s tool kit do we borrow from? If we’re smart, we’ll grab anything that works. Most of the time you get a look at something being used in a way you’ve never thought of before. Like cutting chiffon with a sodering iron. Yep. That’s a thing. I can’t wait to try it.

Where’s the best place to learn about the unauthorized tools? Other quilters of course!

clover Mini Iron: New Uses for Older Toys

| ellenanneeddy

Clover Mini Iron

I’m always tickled when I find a new use for an old toy.

I remember when the Clover Mini Irons came out. I was underwhelmed. There are easier ways to press a seam without heat. I know I had one. I can’t remember where it went.

I was working on a background for my ibis. I wanted clouds and a pond seen from above. These are atmospheric elements, mostly made from sheers and lace.

I like working on my photo wall. I can put things up and see them vertically. There is a distortion if you’re designing on a flat piece if it’s over a certain size. I use Steam a Seam 2 which allows me to reposition pieces until I’ve ironed.

But there is this perilous part where I go to move the piece from the wall to the iron. That walk down the hall is papered with scraps of fabric, properly placed on my piece that have fluttered down as I carried it through. It’s an unhappy moment. When I get it down to the ironing table, everything has to be placed again.

As an experiment, I got this mini iron, in the hopes that it could be ironed just a little.

Steam a Seam 2 can be tacked on just with the heat of your hand, and it can also be ironed on permanently with a hot iron.]

I had some safety concerns, but we figured them out pretty quickly. This is an old iron shoe that I used to place the iron on. It’s heatproof, and even when the iron rolls (which it does) it still is on a non-flammable surface.

I was also concerned about burning my Blue Dow wall. It is highly flammable. I was happy to find the shoe did not get hot enough to affect it.

I can also clean the iron shoe with iron cleaner and the Teflon Sheet with a No Stick Scotch-Bright Scrubby. The blue one if for no-stick pans, and won’t harm the pressing cloth

I was surprisingly pleased with the result. When I went to move my piece, it was stuck enough to stay in place. Definitely, I’ll use this little iron again.

What happened Here?: Keeping Process Shots

| ellenanneeddy

But the other side of that, at the end of the studio day, you have you, your phone, and whatever happened that day. It’s a natural thing to take some pictures. And in the end of that, you’ve got a record of what happened here.

This is another story about technology. Most of us have come to that moment where your phone is your camera. It took me awhile. First off, they needed to be good enough to be your camera. They’ve been that for a while.

But if your camera is always there, you can always use it. Recently I got a new-to-me Iphone 12 Mini. Apple hasn’t continued a line of mini phones, but for me, they’re ideal. My hands are small and I really can’t hold on to a big phone. But the camera is just as good as you could ask. My latest book, Thread Magic Stitch Vocabulary Book, was completely shot with my phone.

I post these in a regular way on my business Facebook page, in albums, because it’s fun for you to see, and it’s good for me to keep track of.I also regularly put some of them in my blog as I talk about my work. But my other reason is that I think it’s really important to have these for the owner of the quilt. Lately, I’ve been sending those photos with the quilts when I sell them. It’s their baby. They should have baby pictures.

I hope you keep pictures of your work on a daily basis. It’s good documentation. Your phone is right there. Use it.

You’ll find the process shots for many of my quilts on my business Facebook page.

Wringer Washer Woes and Wonders

| ellenanneeddy
Don with Frank

I’ve talked before about using old-fashioned appliances for dyeing. They are hidden gems for dyers! They are made especially for cotton and other plant fibers and work brilliantly in processing cotton.

Now that I’m no longer constantly on the road, I don’t dye as much as I used to. I used to dye around 50 yards of fabric a month. Now I dye around 20 per three months. It’s usually for my own use now, although I make some available in my Etsy shop, and you can always call me up and pick out the fabric you’d like on Zoom or Messenger.

But 50 yards or 20, that’s a lot of fabric to wrangle around. I’ve written about mangles. They are awesome ironing tools. But the other ancient appliance I depend on is a wringer washer.

Am I washing out with it? Ah, no. Cotton has to be soaked in solution and then wrung out. I don’t quite have the space even in a full kitchen dye space to wrangle 20 yards in the sink. Enter, the wringer washer. It will hold ample washing soda solution and fabric, and then wring your fabric out for you.

Unfortunately, like most appliances from the 40s and 50s, they’re a little old and cranky by now. When my beloved Maytag started to smoke, it was old enough to put in for social security as well as vote. We went hunting another wringer washer.

It’s not as easy as it sounds. Most of the ones out there have retired to being lawn ornaments. We found one that looked like it was in good shape except for the rust and the fact that it wasn’t moving when we plugged it in. A parts machine, as Don put it.

It seemed like an easy thing to fix. Maytag made the same wringer washer for around 40 years. These washers were 20 years apart, but almost identical. But we needed to meld them into Frankenwasher! A it of this, a bit of that, put together.

We come to our heros of this adventure. I called around Galesburg, looking for someone who might help us with the frankenwasher project. I got a resounding no. No one had wringer washers. No one knew how to fix a wringer washer. No one would want one, would they?

Until I called Dillons Appliance. I love mom and pop stores. I got Sam who knew is father, Jack, used to work on them.. Jack talked his grandson, Jackson through it. And Jackson, who is a brilliant young mechanic, learned from his grandfather how to fix a wringer washer. IT LIVES!

So the moral of the story is don’t let anyone tell you no. All they are telling you is that they can’t help. Keep going till you find someone who says yes.

And find the really good mom and pop businesses that do say yes, because they are treasures, not only because they are willing to help, but because they have wells of knowledge others may have forgotten, and are there for you.

Do check out Dillons if you need an appliance in Galesburg. Frank and Frankson are my heros.

 343 S Chambers St. Galesburg, IL 61401. · (309) 343-0476. 

The other hero of all of this is Don, who is willing to drive all over the countryside searching for ancient appliances and his friend Joe who has moved more appliances with Don than I can count. Did I tell you I’m a lucky girl?

In Praise of Older Machines

| ellenanneeddy

No one likes a new machine better than I do. That whole new machine excitement when you take it out of its box, set it up, and take a square of cotton to run it through its paces, see what marvelous things it does. It’s a magic moment.

And not an everyday one either. Most women keep a machine for around 14-15 years. I do too. At that point, if you sew a lot, you’ve probably worn it a bit. And there’s always the new and cool things the new machines do. But after 15 years with a machine, it’s almost like an extra arm. You know what it will do and how to do it best.

Small disclaimer: I am a Bernina girl. I have no affiliation other than the fact that they have the best stitch in the business. I appreciate other machines. But my workhorses are all Berninas. This is not to say you couldn’t do my techniques on other machines. I’ve demoed everything at one time or another. But I prefer my Berninas for their stitch, their feet, and their toughness.

Several years ago, Don bought me an old Bernina 730. It’s at least 60 years old. I didn’t bond with it over much because it wasn’t quite as fast as some of my machines, but it ran well. Its zigzag was a little ratty. I was in the process of new knees and that occupied most of my time and all of my energy. It got put on my machine rack. I didn’t exactly forget it, but I didn’t pull it out.

Lately, I’ve been working on some much larger work. This is a craziness of some sort, but I have a show coming up in September, and there’s nothing like one big show-stopper quilt to kick that off.

The new 770 Bernina is my love. It’s monstrously fast and excellent for large embroideries. But it hates monofilament thread. Even with the tension adjustments at a slow speed, it stitches about 3 stitches and something breaks. Mostly my temper.

So I’ve gone to using my 230 travel machine which handles monofilament fine. But it’s tiny. It’s a three quarter head machine with a 6 inch throat. I love it. It’s the best classroom machine I’ve ever used. It is, however, impossible to fit a 69″x 50″ inch quilt in that six” throat.

I pulled out the 730. Its slower stitch ate up miles of monofilament nylon without a hiccup. And I’m finally less afraid of the monster sized quilt.

Some personal thoughts:

Machines don’t break down in the closet. Your machine will break down in the middle of a crisis sew. This is just mathematics.

You need more than one machine if you sew seriously. See above.

When they offer you a trade-in on your machine, if you have the money and the space, hold on to your old machine. Becue there may well be things it does better than any new machine on the market.

Finally, if you do garage sales, rummage shops, or Ebay, keep your eyes open for legend machines that may need homes. They show up, much like God-given gifts. If not for yourself, for someone you know who may need them. Good machines deserve good homes.

To Rip or Not To Rip: Stitch removal for Zigzag Stitching

| ellenanneeddy

It happened again. I was sewing along, in the groove, grooving it when I turned over my piece and found I had the wrong bobbin in.

Not just the wrong color. Metallic when I had intended my bird to be soft poly feathers.

There are several things to do at this point. Certainly one is to put your head in your hands and wail. I tried that and it didn’t shift anything. I got out my mustache trimmer, and really looked at it.

The thread was the Madiera bug body metallic (black core) that’s purple, red and green. If it sounds odd, it is. There’s nothing else quite like it. All three shades are the exact value, so you can actually shade with it. The red was a little much, but it added an iridescence to the bird I really liked. I stitched more of it in and decided it a happy accident.

with and without metallic

There are other answers. This would have taken a lot of ripping if it was irredeemable. Enter the mustache trimmer. This is a Wahl Half Pint Travel Trimmer, that is the no-tears-lather for removing zigzag stitching. It’s available at Walmart and Amazon.

Here’s how to use it

I chose not to rip this time. But I’m equipped when I need to. As You Sew so Shall You Rip is about evaluating when you really need to rip and when it’s optional.

This time I dodged the bullet. And I like it!

Studio Essentials: The Glory of the Design Board

| ellenanneeddy
1023-22 White Cherry Pond

Years ago I was in an Amish shop, where I made a purchase I really probably only could have made there. I bought 6 yards of black polyester double knit. The poor lady was scandalized. I was dressed in hand dye, obviously not only English but art quilting English. The Amish keep black polyester double knit for men’s suits. Clearly I was not making suits for some nice Amish man.

But it’s the perfect cover for a design board.

I have in the past hung things up on a balcony to the back porch and walked down the alley until I could see it right. That’s a bit hard on a daily basis, and I no longer have a balcony.

Do you need a design board? Yes. Yes you do. You need to really see what you’re piece is doing.

I have a lot of tools in my studio. I love my machines, my irons, my cutting and ironing table. But queen of them all is my design board.

I no longer work in bed quilt sizes. It’s irrelevant to art quilting. But most significant show quilts are largish. Average size for my work is about 36″ x 45″. It’s hard to find a flat surface that size that has nothing on it. Certainly not the floor. Never mind the other things that already on the floor.

The cutting table accommodates that size, but looking at something on a flat surface gives a distorted view. The only way you can really see your quilt is to hang it up.

Different placements for the bird on my photo wall

There’s a rhythm to doing any kind of art, and once you start working makes you want to push through. It feels good to do that. But it’s a trap. If you don’t look at what you’re doing, it’s easy to do something you wish you hadn’t. Does it need to move over an inch? Is the drawing the way I want it? Are the colors working? If you can’t see it, you can’t evaluate what you’ve done. I can’t really see it on the table., either. The perspective is off when you see it lying flat. So up it goes on the wall. It’s worth leaving it there a day or two if you think something’s not right. You can’t see what’s wrong if you don’t look at it.

My wall a sheet of 4″ thick sheet of blue dow insulation snugged up against the longest wall in the sewing room. And it’s covered with that black double knit.

Blue Dow is available at most building stores like Loews and Menards. It comes 4′ by 8′. It is lightweight and you can pin projects up easily. It can be cut to shape with a bread knife.

Any large piece of fabric like a sheet, felt, or double knit can be used for a backdrop. Black, grey or white make good backgrounds. I like double knit because it doesn’t collect lint and the black is a nice dark black.

It’s also my photo wall. Having a photo wall and set up in your studio gives you consistent photos. If you have the same camera, the same lights and the same background, your photos fit better in with each other and are easier to adjust, since you know what to do for them.

I also usually take a picture of the days work as the last thing I do, so I can evaluate my next step. Usually I post it on Facebook if it’s interesting, but at least for myself, I can see what’s going on. And plan what to do next.

For more information about how to evaluate your piece and it’s progress check out The Importance of Backing Up and The Wrong Bird: The Importance of Not Settling.

For information about photo walls and lights, see Fiat Lux: Studio Illumination

the irony of ironing: taming exploding fabric drawers

| ellenanneeddy
Sheers and metallic lace make the water for this fish

I have several kinds of fabric stashes. There is a small but excellent stash of hand dyed cotton and cheesecloth, and the stabilizers I use. They need to be kept separate because I’d never find anything again if they were not. But there is a sparkle stash, the living falling wall of sheers. And then there is the fabric with no name. I don’t know what you call it. It’s out of the drunken prom queen collection. Sheers with velour. Twinkle organza, sparkle tulle, printed lame. It was originally fabrics samples for fancy dresses.

Much of it came from the Textile Fabric Outlet, which still is at 2121 21st Street in Chicago. But I’ve bought pieces anywhere I found them in my travels. I hope and pray I have a lifetime supply. I haven’t been there in a long time, but they assure me they still sell samples and remnants.


The fabric gets put into different drawers, according to it’s purpose. I have a collection of plastic drawers where I keep fabric and thread. They’re plastic, light weight and cheap. No one ever said they were decorative or stable. But they hold quite a lot of clutter. They pop together like pop bead necklaces. They also unpop from time to time.

That’s when the drawers explode.

Last week one of the stack of two fell of it’s own accord where I usually sit in the cutting room. Thankfully I was not there. Drawers everywhere. Fabric everywhere. And of course since I get lazy and don’t exactly put things away, it all looks like crumply, rumply wads of indescribable stuff that is hopefully fabric. Who knows?

That, and my machine being still out to be fixed led to at least three days of intensive ironing and sorting. Yes, I know, iron is a four letter word. But this time it really helped me out.

Anthony Jones, a fellow quilter who’s taught at many conferences with me once pointed out the difference between pressing and ironing. Anthony started as a tailor and has gone onto quilting. But his early training was in couture. He told me that ironing is the flattening of fabric. It’s a sliding movement across the fabric. Pressing is ironing in one place to persuade a seam to be on one side or another. Pressing leaves the fabric in one place. Ironing moves the fabric, and sometimes your seam as well. There is a difference.

Well, in this case it took ironing. It turned out I could iron 3 drawers in one day. That sounded like process until I counted up to around 40 drawers. I think I have my non-creative fabric project for low energy days for a long time.

One other word about ironing, it’s all in the fabric content. Anything that is a test tube baby,(nylon, rayon, and polyester) can and will melt. I’ve done it once in demo. It was quite dramatic. For regular cotton ironing I use a Black and Decker Classic iron, a recreation of the 1950s black irons. They use very high heat and generate a lot of steam. For the test tube babies, one of the modern irons that are made for polyester clothes is safer. I no longer use expensive irons. These fit my needs just fine.

I found fabric I’d long forgot. I have small sample bridal and dressy fabric samples that make the best dragonfly wings and bug bodies. And wonderful lace and organzas that make landscapes and sky washes. There were wonders I hadn’t seen in years.

And being someone who never really cleans, folds or puts away except when drawers fall out, I had no idea how much less space it takes up to store folded iron fabric instead of stuffing it in a drawer. Who knew?

My machine is home, 6 drawers are ironed and we will resume the channel to chaotic embroidery until the next disaster occurs.

Fiat Lux: Studio Illumination

| ellenanneeddy

You can’t do art in the Dark

Normally I talk about quilting, art and design technique. But my beloved sewing machine is currently at the vet. So my 230 is on the table and I’m puddling along with projects. I thought about the lighting makeover we did recently.

Light is sight. We see nothing without lighting, and without good lighting we just don’t see well enough. That affects everything, from threading needles to photography, to fabric choices. And my eyes aren’t getting younger.

I’ve done my sewing in attics, and basements and back closets, and in class in all kinds of lighting, most of it pretty bad. But a studio makes it’s own demands. Besides, I was hunting everywhere for my reading glasses, all the time.

Lighting has changed drastically since the beginning of leds. I decided to put Don on it. There had to be a way to make this better. He had the best ideas. We made some mostly cheap changes that changed it all!

Led Lighting

Some simpler changes that are really effective. Don changed the 60 watt warm ceiling bulbs to 100 watt bright white leds. It’s not a restful change. But it’s real illumination, even at night. The change is dramatic. It makes the room crackle with energy and it takes out the dark spots. I can even see the things I dropped under the machine on the floor.

The old incandescent bulbs took a lot of energy to create light and threw a lot of heat off as a byproduct. The compact twisty florescent bulbs were more efficient, but they had mercury in them and it made them really bad to clean up after they broke. I’ve had ott lights, but I never really noticed a big difference with them. Leds create light just through electricity. They can be very bright without the heat and so much safer. And I can adjust the temperature on many of them. The link on top will take you to a great Cnet article about leds.

Swing Shop Lights

I’ve already discovered shop lights. My favorite ones have a ring in the center with a magnifying glass. These are one pivot and can be swung directly to the spot where you need one. My first one had a florescent and an incandescent bulb. Now the new led ones can directly change the temperature and intensity. The table clamp means it can be anywhere and won’t fall over. These are a bit pricey but lovely. I have one on each machine table. Pay attention to the lums, the magnification and the size of the arm. The wider the arm, the wider area it illuminates.

Floor Lights

We also put in a pole light at my sewing table with a reading light on it. These are a cheap fix. A pole light reflects light off the ceiling and brightens the whole area. The reading lamp is direct light on your work. They both help a lot. They’re available at all kinds of places at a full price range, and help particularly as a hand sewing or ripping light. Remember to change the bulb to a 100 watt cool blue and the shade to white.

Under Arm Lights

My 770 Bernina has a bright light under the arm of the machine. One more reason to love it! But you can buy those lights, and put them under all kinds of sewing machines. Light right where you need it. Even on old machines.

Photo Lights

We have some excellent photo lights. But they are big and unwieldy. For smaller pieces it’s like chopping vegetables with a machete. Just too much power for the task. So we put in some smaller photo lights that can change temperature and intensity at the push of the button. The heads on both of them are about the size of a large post card.

Consistency with lighting makes for a consistent portfolio. Work is has a consistency in color ranges and tone. Having consistent lighting confirms that and makes it shows off better. In a way, it’s good branding. And they work well for vlogging and videos.

If you aren’t regularly taking photos of your work, start now. If your critics don’t care, your grandchildren will. Everyone’s art deserves to be documented. Yours too.

Neon Signs: My Warning Lights

Did you leave the iron on? Is the mangle plugged in? Are the machines running? Unanswerable questions unless you’re really willing to look hard at every appliance at the end of a hard day. All satisfied by a florescent light and a power strip.

These aren’t about illumination. But they let me know when the electricity is flowing. They’re plugged into a power strip with the other studio electrics. When they’re off, everything on that power strip is off. When they’re on, you know just by putting your head in the room. Some go on the wall. Some are free standing. I have one for each room so I know when I’ve left something on. Do I have the same kind in each room? Don’t be silly. I have a dinosaur, a whale, a star, Jupiter, and a flying bat.

Power Strips

The downside to a lot of this lighting is that is that they use USB plugs. I can’t say I understand it. They just do. You can buy power strips with USB plugs or use an adapter.

I’ve put in links so you can easily find these things. But they’re universally available.

Look for the lighting that lights up your life.

There’s another byproduct of good lighting. Bright lighting makes me happier. That never hurts either.