Editing pantographs is probably one of the most wonderful things the new computerized quilting machines can do.

But since I don't have a computerized quilting machine, editing them myself is the next best thing. This "Gothic Vine" pantograph, above, is perfect for my customer's quilt. But there were 3 open spaces that were bothering me. So, I edited it.

First, I used a blue dry erase marker to make some changes to the design while the pantograph was under the plastic film on my machine:

I made a photocopy of the section I wanted to edit, and I drew the new lines onto the photocopy using Anita Shackleford's dotted-line method so that the curves would be smoother.

I trimmed down the original sheet and made 5 photocopies of just the area I wanted:

And then the edits were added to the original paper pantograph, with a bit of finessing and some scotch tape:

Now it's ready to go!

Today I'll be making this pantograph fit into the center of a quilt, with one separate border surrounding it. I'll be redrawing the right and left edges for that, and hopefully the end result will be beautiful.

On this gorgeous Fall day, with perfect temperatures and singing birds, I have finished this October table runner for my customer. The picture above is how it looked with the sun shining in the window through the stitching.

I used a pantograph called "Sunny Leaves" by Deb Geissler. I chose Rainbows poly variegated thread #829 All Spice, teamed up with Aurifil 40 wt. cotton in a matching gold color in the bobbin. The top tension seemed a little tight, so I soaked the spool of Rainbows with silicone thread lubricant. It behaved just fine after that and so I've ordered a 2000 yd. spool of All Spice for future quilts, since I only have a small 500 yd. spool on hand.

This pantograph seemed to be the perfect fit for this Fall runner. The backing was not showing the quilting detail like I had hoped, so I've used some sunlight and some studio light to bring out the leaves on the front:

Tomorrow will be spent in Klamath Falls with my quilting student. We are finally going to choose fabrics for her first quilt project: a Log Cabin lap quilt. We're using Eleanor Burns' book, which is the book I used for my very first quilt class back in October of 2001.

I'm going to make the same quilt along with her because for some reason that makes sense to me. Maybe a few lessons down the road I'll feel differently. But since I only have one student it seems like we should both be sewing, doesn't it?

Next up in the queue is this beautiful quilt which has a Tuscan feel to it:

My customer has requested Custom Lite. This level includes one all-over design in the center, SID to accentuate the small white border, and a separate border treatment for the outer burgundy border. I had intended to start it today, but after looking at the focus fabric again, I decided to order a special pantograph design for the center of the quilt. Here is the focus fabric with its graceful swirls and leaves:

And here is the pantograph I chose. It's called "Gothic Vine" by Willow Leaf Studio:

The border idea is still in my head, but I'm leaning towards mimicking the curvy designs in the panto as well as the spikey grape leaves in the focus fabric. Since I must wait for the panto to arrive, I decided to order a cone of Rainbows #839 School Daze thread for the border. But I like to leave my options open for thread. I have to see it in person before I can commit.

Hopefully this week will be nice and productive.

Today the purple and green Sampler quilt will be getting its machine binding completed, and then it will be ready to go home.

The quilting is not the star of this quilt, the fabrics are. But the backing fabric is subtle enough to really display the texture of the quilting.

My customer provided Poly-fil Traditional 100% Polyester batting and it was a dream to work with. It's not as drapey as 100% cotton, but it proved to be the perfect batting for puffing up the unquilted areas. The quilt is a bit stiff in the tiny purple cornerstones right now, but with laundering and use it will soften up beautifully.

Now for the fun part: turning the binding onto the front and attaching it by machine. I chose to purchase a dark purple binding fabric that matches the darkest purple in the rose-patterned focus fabric. I'll use clear thread in the bobbin in order to camouflage the stitching on the back, which is how I always do machine bindings. Just for fun I'm using a very dark purple shimmery embroidery thread on top to attach the binding onto the front of the quilt.

And, with any luck it will be ready for delivery by this afternoon!

Tomorrow begins a new project for Common Quilts. I will begin teaching a quiltmaking class. It's a first for me. I'm hoping that the 40+ quilts I've made in the past 9 years will count for something as I pass on my love for quilting to a new generation.

Purple and green is certainly the most loved color-combination among my prolific customers.

Today's lovely project not only represents the beloved purple-and-green combination, but it also represents another customer favorite: the Sampler.

Longarm machine quilters have a secret love affair with Samplers. The excitement of all those different blocks calling out for different quilting designs, is what keeps this longarmer from going completely nutty out here in the wilderness.

After speaking at length with my customer about how to quilt this beauty, we decided on stitch-in-the-ditch (SID) for every block in order to highlight all of the different piecing. And, because that would leave open spaces here and there, I'd fill in where necessary to keep the quilting uniform. I decided on using clear nylon thread for all of the quilting in the blocks. I didn't want to interrupt the flow of all of those beautiful fabrics with thread color. The fabrics on this quilt do all the work, so I didn't want to detract from them.

As soon as I saw this quilt, I knew I wanted to use one of my favorite pantograph border designs on the deep green 6" border. It is called "Maggie's Roses" by Deb Geissler and it's part of a group of designs that is printed onto one pantograph roll. The roll includes a beautiful allover design of roses and leaves, 2 different sized rose border treatments and a couple of rose corner motifs. For the border quilting I wanted the thread to show. So I chose Metro embroidery thread in a shimmery rose color (#2155), coupled with Aurifil 40 wt. cotton in a matching color in the bobbin.

Using a pantograph on borders requires turning the quilt midway through the quilting process. The top border was quilted using the pantograph from the back of the machine. Then, I worked through the sampler blocks using minimal SID just to stabilize the center of the quilt. Getting to the bottom of the quilt, I again returned to the back of my machine and used the pantograph on the bottom border.

It seems like a lot of work undoing all of those pins and turning the quilt. But the result is worth it! Especially if there is a certain pantograph border that is perfect for the job. And since I am a bit obsessed with things being uniform and even, I would never attempt to put roses and leaves on a border using freehand.

I love thinking up quilting ideas for quilts. But I usually find safe ways of executing them. I'm not sure if it stems from my lack of confidence, or my disdain for ripping out imperfect stitches...

After spending a much-needed sewing day at our Quilters Guild meeting, I was able to put the center of the star together for my newest show quilt project!

But it if wasn't for the quick and caring response of the quilt pattern's creator, Deb Karasik of Quilt Mavens, I would still be trying to figure out where I had left this missing piece:

Even though it was a Sunday morning, I emailed her and asked if she could somehow help me by sending me just one section of the paper piece I needed to make a new wedge.

Within only minutes, she had responded. She emailed me the PDF file for that section, I printed it out on my printer, and before I could say "I need my nap" I had pieced it and put it back on my design wall.

Here is the next block, with the fabrics I've chosen:

I highly recommend her patterns. Visit her website and be prepared to drool!

www.debkarasik.com

I finished this adorable cat wallhanging for my customer, and delivered it to her at the Guild meeting. I think she loved it! I had a great time working on it, in fact I'd wished it was a bigger quilt! The fabrics were beautiful. and each quilting area was fun to approach and fun to execute.

Here is a shot of it with side lighting, which is hard to come by here in my studio:

When I think of table runners, I never think of pantographs. Last week, that changed.

What you're seeing in this picture are the backs of 2 completed table runners side-by-side. The one on the left was quilted using "Iron Works" and the one on the right was quilted using "Pretty Petals". Both of these designs are by Celine Spader.

I ordered these pantographs. from Digi-tech. When you place a pantograph order from Digi-tech you have the option of purchasing your design in digital form, or in paper form. I use paper patterns, and was pleasantly surprised when given the choice of what SIZE I wanted my pantograph to be! You can order the default size or you can order a custom size.

How wonderful that is for me, since I love dense tight patterns and my customers like wide open patterns. I can purchase the same design, but in different sizes depending on the project.

Be prepared to wait a bit longer for a custom size. I think it was about a week or so before I received my custom-sized pantograph. Compared to 3-5 days when I've ordered stock patterns from other businesses.

If you've never been to Digi-tech's site, you'll be amazed at the hundreds of designs you've probably never seen before.

http://stores.homestead.com/jschick/StoreFront.bok

I know other longarmers have used pantographs on table runners. But for some reason my brain hadn't fully grasped it yet. Now I'm in the market for small, dense pantos to use specifically for my customers who want table runners done inexpensively.