Megan Collins' Make Waves Quilt / Beauties Pageant 349

Early in 2026, I signed up to take part in my guild’s Secret Buddies program. The idea was simple: Pick the name of a guildmate out of a hat, spoil her throughout the year with little gifts, and then present her with a quilt in November. Participants filled out a questionnaire about their fabric, palette, and design likes and dislikes, so their Secret Buddies had a good starting point for planning and plotting. It was super fun!

I picked my friend Sarah, who loves saturated colors and modern designs, and quickly homed in on Megan Collins’ Make Waves quilt pattern. It can be hard for me, as a quilt designer in my own right, to find time to make others’ patterns. Megan’s designs are fabulous, though, and this was the perfect excuse to delve into one.

The hardest part of making the quilt was choosing the fabrics, so I started with selecting the backing fabric. Sarah loves a good Ruby Star fabric, and a stamp print from Rashida Coleman Hale’s Salutations collection, with its array of bright colors, fit the bill and gave me lots of options for the overall palette. 

Once the flimsy was done, I wavered on what to do for the quilting. When I have a quilt longarmed, I always pick the lowest value on the top as the thread color, but would an edge-to-edge panto with a cream thread detract from the high contrast between the saturated foreground colors and cream background? In the end, I was too afraid it would, so I machine-quilted along the piecing lines in matching thread colors and then hand-quilted spots in 12 weight Aurifil threads, again matching the thread to the solid it appears on.

The one issue I encountered during this process was bearding. At different points on the quilt top—but not consistently across it—bits of batting peek through the holes made by the hand quilting. At the time, I thought the issue was the batting itself. I use Warm and White for 99 percent of my projects. The Warm Company says that there in no right and wrong side to its batting, but because quilters say otherwise, I baste my projects so that the "pimples" are up and the "dimples" are down. Now I’m wondering whether my needles were the issue. I’m constantly putting down one needle and picking up another. Could a less-sharp needle be responsible for the bearding? OK, my expert friends, share your bearding-related insights in the comments.

Of course, this quilt is just half of my Secret Buddies experience! I’ll take pictures of the beauty I received and share them in a future post. : )

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My Quilt-Binding Philosophy / Beauties Pageant 342

I have been involved in a local quilt guild—the New Hampshire Modern Quilt Guild—for several years now. (I’m a resident of Massachusetts, but the group’s weeknight meetings are a short drive for me.) At times I’ve served on the board, as the events coordinator or president. Even as a rank-and-file member, though, I like to contribute on occasion and head up a make-and-take craft or lead a short tutorial.

Years ago, I gave a little spiel on how I machine-bind my quilts. In my mind, I was simply presenting what I had been doing for years. For some of my guildmates, however, this technique was novel—some of them had always finished their bindings by hand! I kind of love that about quilting—how there are multiple ways to accomplish the same thing, and everyone has a technique that works best for her.

So it’s in that spirit that I thought we could have a little conversation about bindings and have included some of my favorite past bindings here in this post.

I can summarize my binding philosophy as follows:

* I love a fully machine-finished binding. My wrists thank me for it, especially for larger projects.

* If I am going to take the time to hand-finish a binding, I use a chunky visible stitch because I want credit for my handwork!

* I cut width-of-fabric strips, not bias strips, because I can cut them fast and they require less yardage than bias strips. I know that bias strips, by nature, wear better, but I’ve never had an issue with my WOF strips.

* My secret for neat corners on machine-finished bindings is a little Elmer’s glue. Just use a little bit and set with heat before sewing.

For more details, check out the tutorials below. Then share your own binding dos and don’ts in the comments!

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• Post your finish in the linky tool. (No links to your own giveaway or linky, please!)
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Rosemary Quilt by Tales of Cloth / Beauties Pageant 299

Until a year ago, I had no interest in English paper piecing. I’m a girl who needs regular finishes to stay engaged, and doing anything by hand takes in the neighborhood of forever. Over time, however, I’ve seen one friend after another embrace, and create truly amazing quilts with, the technique.

Then, last summer, I was faced with some special circumstances: I had to occupy myself while my older son was taking a class an hour away from home. Because of the distance, I stayed near the class site, taking walks and reading books and starting some hand sewing. Pictured here are the fruits of my labor!

I made the Rosemary Quilt from Jodi Godfrey’s book, The Seedling Quilts. This project is not fully hand pieced and perfect for the EPP skeptic. I supersized the sample quilt from the book and made 11 EPP pieces, which I then hand-appliqued onto background rectangles. The remaining blocks without an appliqued EPP design provided an opportunity to highlight favorite prints, including some large-scale designs.

Those solid rectangles are a who’s-who of fabric designers: Kate Spain, Amy Butler, Lizzy House, Heather Ross, and Anna Maria Parry (formerly Horner), among others. For a lady who is famous (notorious?) for using white backgrounds, this Rosemary Quilt is my version of maximalism.

I handed this project to my friend Ophelia for quilting (she and I settled on an edge-to-edge pantograph called, most appropriately, Rosemary!). Then I used one of the featured prints again for the binding. 

I so enjoyed making the EPP sections for this quilt that I started another Rosemary project. I didn’t make too much progress with that second project last summer, but I was in no rush and tucked it away until now. I have two trips planned in the next few months and look forward to whiling away summer nights visiting with family and hand-stitching more Rosemary blocks.

I know some of you are accomplished EPPers. I’d love to see your past projects! You’re welcome to upload them to this week’s linky along with your more recent finishes. : )

 

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Me and EPP / Beauties Pageant 260

These are words I thought I’d never write: I started an English paper-piecing project, and I’m really enjoying it!

But really, with multiple road trips this summer and two weeks when I’ve had to while away the mornings far from my sewing machine, it was either get on board with hand sewing or miss out on creating this summer.

My first go at EPP is the Rosemary Quilt from Jodi Godfrey’s Seedlings Quilts. I’m making a slightly larger version of the pattern that showcases 11 EPP blocks in solid fabrics. The remaining 55 blocks will all be florals and other prints from my stash.

I am pretty pleased with how things are going. I’m sewing about 16 stitches per inch with a straw needle and Gutermann 50 weight thread. Even though this project requires relatively few EPP blocks, the shapes aren’t the easiest to work with (check out those deep Y-seams!), and some of my finished blocks are more precise than others. I think the quilting will camouflage those imperfections just fine, though.

My next project will be Michelle Bartholomew’s Flower Fest pattern. I am hoping that those hexie shapes will be a little more forgiving!

Are you a fan of EPP? Truly, I never thought I would enjoy hand sewing, so it’s been a nice surprise!

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Technique: How I Sew Chunky Stitches on Bindings / Beauties Pageant 226

 

It’s fair to say that I avoid hand stitching at all costs. I don’t enjoy it, it tends to be rough on my wrists, and besides, I’ve got some mad sewing machine skills ... Why would I hand-stitch something that I can sew by machine? 

The one exception for me is chunky hand stitching on bindings—I love the look of it!

This is what I am talking about, a thick line of imperfect stitches that contrasts with my binding and that reminds the quilt recipient an actual person made this object ... 

The technique is easy—so easy, in fact, that I hesitated to write this post. If you don’t already have this binding option in your quilty arsenal, I hope these instructions will help you make the leap.

Ready, Set, Go!

Chunky hand stitching is the final step of binding a quilt. At this point, I have already made my binding with 2.5-inch width-of-fabric strips and attached it to one side of the quilt by machine. Whether I attach it to the front or back depends on the project. Sometimes I like the look of the chunky stitching on the front. Other times, I prefer it on the back. Do whatever gives you the look you’re striving for.

Tools of the Trade

 

This technique requires notions you likely already have on hand ...

 

Thread

I use a 12-weight Aurifil thread when finishing bindings with chunky stitches. I’m sure less expensive thread would work just as well, and I think an 8-weight thread would be fine, too. (Remember, as the number of the weight decreases, the thickness of the thread increases.) I recommend trying what you have on hand and seeing how it works before purchasing something new.

I don’t use a thread conditioner, but if using one makes you happy, go for it!

Hand-Sewing Needle

There is nothing fancy about my needle. It’s sharp, has a big-enough eye to accommodate the thick thread, and is long enough that it feels good in my hand. If you’re savvy about needles (admittedly, I am not), I’d say something in the embroidery or crewel family would work. (If you have insight into needle selection, by all means let us know in the comments!)

Quilting Gloves

I do not use thimbles—I haven’t invested the time (or money) into finding one I like. Instead, I prefer to wear my Machingers quilting gloves. They help me grasp the needle, lessening the wear and tear on my hands.

Step-by-Step Instructions

1. Cut a length (say, 24 inches) of the chunky thread you’re using, and double-knot the end.

2. Insert the needle an inch away (or less, whatever the quilting lines permit) from where you want to start (or, in the case of the photo below, to continue) your lines of stitches.

3. Pull the thread through, burying the knot between the fabric and batting. This will not hurt the fabric! Sometimes I have to lift the fabric a bit to encourage the knot to go through more easily.

4. Start sewing, ensuring the thread passes through the binding and the fabric without peeking through on the other side. My stitches are about a quarter-inch long. I strive for uniformity, but part of the beauty of this stitching is the little wobbles and inconsistencies. : )

Sometimes I can get away with weaving the needle up and down and making multiple stitches at a time.

5. Secure the corners by stitching an X.

6. When you’re close to the end of your thread, tie a double knot a little beyond where your next stitch will end. Sew that last stitch, ensuring the knot lies between the fabric and batting, and bringing the needle through the fabric about an inch from that endpoint. Trim the tail close to the fabric.

That’s it! I think the hardest part of this process is making sure I don’t poke the thread through to the opposite side of the quilt. : )

There are plenty of times when I still finish my bindings by machine—especially when I’m short on time—but I do enjoy hand stitching a binding here and there.

Have you given this technique a try? If so, tell us about it in the comments.

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• Post your finish in the linky tool. (No links to your own giveaway or linky, please!)
• Point your readers back here with a text link or use the button above.
• Visit and comment on other participants’ finishes.

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Click here to enter

Old Dog, New Tricks

Have you noticed the recurrent themes in my blog posts? The list includes my love of Denyse Schmidt fabric, my fear of free-motion quilting, and my avoidance of hand sewing in all its forms.

Apparently, even old dogs—or at least middle-age ones—can learn new tricks because look what I’m working on ...

I know! EPP! I was in need of something crafty to do while watching TV with my husband or waiting around at soccer practice. That, paired with the arrival of my Glitz fabrics for the current Michael Miller challenge, compelled me to give English paper piecing a try. And you know what? I really like it. It’s mindless in a good way and surprisingly forgiving.

I did buy a book (All Points Patchwork) to learn more about EPP techniques, but I’ve perused the pictures more than I have read the words. Still, it’s nice to have a good reference should I need it with my hexies or try my hand at other shapes.

I plan to finish this project as a mini that will live in my foyer. The center clover fabric is from the Glitz line. The gray Cotton Couture solid, also by Michael Miller, is left over from the lining of this bag. I plan to sew another border around the gray one, and I originally thought I’d use some of the white Glitz fabric for it. Now I’m realizing that the little tails from the gray border will likely be visible through the white. Grrr! One way or another, I need to make a decision and run with it—this challenge quilt is due at the end of November!

Have you ventured into EPP and can offer some advice to a newbie? I’d appreciate any dos and don’ts you have to share with me!

P.S. For those of you who read the title of this post and thought it might contain something about my new pup (first featured here), this is for you ...

Miss Rosie, our four-month-old golden retriever pup. Don’t let the cuteness fool you: These days, she’s a defiant adolescent!

Linking up to Let’s Bee Social, WIP Wednesday, Needle and Thread Thursday, and Sew Cute Tuesday ...