Sewing With Nancy

When thinking of traditional quilts, you may think of a four patch, a nine patch, or a simple square. But what if you made a few simple modifications changing the block sizes and arrangements? You'd be a quilt designer. I call it change-up patchwork. Begin your journey with a traditional four patch, mix up the lineup using three different sizes, 4", 8", and 16" finished quilt blocks. The various sizes of four patch blocks are cleverly combined to create modern, a small-to-large block theme. "Change-Up Patchwork" that's what's next on Sewing with Nancy Sewing with Nancy, TV's longest-airing sewing and quilting program with Nancy Zieman

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making a difference in sewing, quilting, crafting, and needle arts for over 30 years. Amazing Designs and Klass Needles. During this three-part series on change-up patchwork, this first program is going to be featured on the four patch. And you just saw this quilt that has three different sizes, 4", 8", and 16" blocks, and they're the traditional block sizes. Where there are three different fabrics, in this instance, stitched together and alternated with solid blocks. The creating of the four patch is what I'd like to show you now. And these principles will apply throughout all the sewing of this program. We're going to be making stratas, strips of fabric, crosswise strips of fabric that have been cut and sewn together. And there are two different stratas, one with the gray and coral, and the other with black and gray. And later, I'll be sub-cutting these into sections, and you can kind of get the idea how that four patch is created. But first, we need to talk about how to set up the machine to get the best stitching, do the pressing, and then accurate cutting. Because we'll be stitching, sub-cutting, cutting, stitching, a whole bunch of different configurations, it's good to use a short stitch length. Straight stitch. I have about 2.0 millimeters in length. I put in a new needle-- I can't stress that enough. About a size 80 quilting needle, or universal needle, is what I like to use. And on the machine I have a patchwork foot that's 1/4" wide on one side, so I can guide an accurate 1/4" seam allowance. This next option is optional. It's a seam guide. And I have two seam guides, the width of the strips apart. Now, these strips, to make a 4" finished patchwork, four patch, were cut 2 1/2". That extra 1/2" is used for the seam allowance. So, I have two seam guides on both sides 2 1/2" apart, and now I have my two fabrics. Now, normally the strips of fabric would be 40" wide, the crosswise strip of the fabric, but for time sake, I'm just going to sew with a very short stitch length on a shorter strip of fabric. But you'll get the same idea. It may be tempting to lengthen that stitch, but don't. Just make it that 2.0. You'll have a better seam, and when the time is coming to sub-cut it, you're not going to have frayed seam allowances. Now for pressing. Pressing is as important in quilting and in garment sewing. You got to sew, press, sew, press as my mother always told me to do. And when working with this, I always press the seam flat, set the seam, and then press the seam allowances to the dark side. Now, I'd like to take two steps here. Press to the dark side, catching the tip of the iron right next to that seam and guiding it along, giving it a little steam, but then, do a top press. Make certain I don't have a lip. And there's sometimes a lip or a little tuck that you can get if you don't top press. And then, if you would like to set that seam, use a block of wood, a tailor clapper, and just let the moisture of the iron absorb into the wood, and you get a very sharp seam. You're going to create two stratas, as I told you earlier, with coral and gray and another with black and coral, and we're going to cut the subsections at 2 1/2" sections. And let me just straighten out my cut first. And then cut many 2 1/2" sections. I'll line everything up, cut, cut, and you just keep on cutting, and I'm doing it sitting down and I would rather do this standing up, and you can see that I have here the sections cut. Now, to make that four patch, I'm going to align two sections together. Nest the seam allowances. Notice how everything is going to be pressed to the darker side. Now, I'm going to chain stitch the pairs together. The setting on the machine is the same because I still have 2 1/2" strips. When I get to the seam-- one seam is pressed down, the other is pressed up-- it will go over nicely. I have another pair all set up ready to go. Just chain stitch together, and you'll be chain stitching lots of blocks. But you have now created, or I have created, a four patch. The last thing that is needed is some pressing. And we're going to press the seam allowances flat, and then press them open. And it would be a good idea to clip apart the sections. I'm just going to press from the top. And hold. And when you are done, ta-da, you have a four patch, and that's the basic of this program. Once you know how to create a traditional four patch, you can make it in any size. We just created a 4" finished block. It actually measures 4 1/2" with seam allowances. Then you create an 8 1/2" and a 16 1/2". And the reason I chose these sizes is that they're divisible by each other so that all these blocks can nest inside of each other. And when... we look at the quilt, when we look at the quilt behind us, you can see I started in the left corner with a smaller 4 1/2" blocks, the 4" finished blocks, and then it gradates into the 8 1/2" block, alternated with the solid blocks. And as the quilt works downward, near the bottom I have several big, big blocks, the 16 1/2" block, when it's finished and sewn into the quilt. In the instructions that come with today's program, you'll get all the layout, the yardages, and you'll know how to work with these, but let me just show you how you can design your own block. This is old school, but this is how I work. I always design quilts on graph paper. You could use it electronically if you have a program such as this. This is just faster for me. But just to see the simple math that this takes, I just used a 1/4" square for each inch, drew out my blocks. Then, if you're wondering what size to cut the strips to create the stratas, you cut the strip the finished size plus 1/2", the seam allowance. So here we had 2 1/2", 4 1/2", and all blocks in this instance for the large one would be 8 1/2". You just saw how we used two stratas to create the 4 1/2", and when they'd be cut in the 2 1/2" strips, you get a four patch, 4 1/2". Here's the 8 1/2". When we cut these strips into 4 1/2" sections, you would end up with, as you can see, an 8 1/2" block. And then the big guy is a 16 1/2" block and the strips are 8 1/2". Really simple math. But it's going to get a little more challenging as we go along in the program, but I wanted you to get the basics. Now, in laying this out, we have some kind of sub-rows. We go to the top of the quilt, you can see that the 4 1/2" block and a solid block but then it butts up to an 8 1/2" block. So the layout of this

is as follows

Here's a mini row. We start with a four patch, a 4 1/2" block, and repeat it again. And then alternate the next row. You'd sew the side seams together. Then, the next portion of this row would be a solid block, four patch, solid, and four patch. After sewing the side seams, you'd stitch the horizontal row because what butts up to it is an 8 1/2" block, and it's the width. Once you sew the seam allowances everything will nest inward together. The beauty of this is working with three different colors. And I happened to choose black as the alternate block. It almost gives the illusion of an 'L shape'. You can work with the colors, you can work with the sizes, but now you know how to create a basic four patch block. The beauty of this quilt is its simplicity. Tweak the sizes of a four patch strip, and the patchwork design gives the illusion of movement when four blocks are combined. Use bold, bright batik fabrics or your favorite print/solid combination. Remember, you're the quilt designer. I like to call this the "Spinning Four Patch" because there are four patches put together, and then the sizes have been changed so that, as I mentioned earlier, has the illusion of spinning or a pinwheel. But it's constructed in the same way as we did the basic four patch block. When designing this quilt, I referred back to good old graph paper, 1/4" graph paper, and just to show you that basic block that I worked with before, an 8 1/2" block, just drew it out, and then to show you how I work with this design, I drew an 8" square, drew a line down the center, divided it by 4 x 8, and then instead of dividing it exactly in half, I simply drew lines horizontally that are uneven. So when this block is created, I just need to fill in the blanks with some color. It's three-color, much the same as the block that I worked with before, but it has a totally different look to it. This doesn't look like a four patch. It doesn't have much movement. It doesn't look like much, but yet, when you put four of them together, ah-ha, you have a new design. Now, we refer to this little graph paper so that you know what to cut the sizes. What sizes to cut, I should say. So, if I go back to my little......basic thing here, we see this section is 4" wide and 3". So we're going to make a strata that's 3 1/2" because we have to have seam allowances, with another 5 1/2" block. And then, the second color would be 5 1/2" and 3 1/2". So, we have two stratas that we're going to place together. The bold batiks, when you put a combination of different colors, it all comes together, and this is one of the combinations that I'm choosing to work with. They've already sewn the stratas. 5 1/2", 3 1/2" with purple and yellow, and then purple and green same sizes, keeping that purple always the 5 1/2" or the larger size. And if you stack them, right sides together, this is the way they'll be sewn into when they're sub-cut. So, I have them stacked nicely, aligned on my paper, and they're going to be cut into 4 1/2" sub-cuts. That's what my graph paper told me. So, here you go. I'm just going to straighten this edge, and then cut these into 4 1/2" sections. Try to be as accurate as possible. And there you have a pair that will be sewn together. Another pair that will be sewn together. And here's a close up of me chain stitching these sub-cuts, these sections together to create a four patch block. Four sections will go into one of these big 16 1/2" blocks, and I'll show you how they're laid out. I have a different color combination for you. So here's one block. And then you match a mirror image, the opposite corners, put the pink in the middle, and then, we're going to put another block here, and I've got to find my remaining block. Here we go. And the seam would be sewn. Horizontal seam would be sewn and then the vertical seam would be sewn. I think I said it wrong. Here is the vertical seam. Vertical seam and horizontal, and when you're done, ta-da, you get a spinning four patch block. Pretty simple, but very easy to work with. Then we're going to look at this block. Here's one of the blocks that we have, and I have one hiding back here. I'll just show you what it looks like, placed on the block. And with sashing, cornerstones, they set off the blocks very easily. We tied this quilt, an old fashioned way of putting the layers together. Tying by hand in the corners. It's lofty, it's soft, it's easy to put together. So envision this in a different color combination, or, if you'd like, use the brights. Working with uneven-sized four patches and then you have a spinning four patch. A block that is usually symmetrical takes on a totally different feel when what was balanced becomes uneven. Don't change the sewing steps, only the strip sizes. I call this table runner a high/low four patch. You may think, where's the four patch in this configuration? Well, you'll soon see that it's very easy to find, but it's just the layout that makes it different. I go back to my graph paper just to show you that we're working with an 8 1/2" block, and I drew out that basic 8 1/2" block, 4" sections, and then, drew another 8 1/2" block, really 8", of these squares, and then divided it asymmetrically. Then you can see the difference of how this is created. So, down below, I have the 8 1/2" block, or the 8" finished block, that we started with, and then look at the block change. It's the same construction. It's just different sizes and, of course, different fabrics. Now, to determine the sizes of the stratas or the strips, I go back to my little paper, my cheater paper, and this drawing below, I'm just going to draw, separate the two sections horizontally. And if I count my stratas above, we have two sections. And this one, we have six. So, I would put two fabrics together, 2 1/2" and 6 1/2". And I'll show you what that looks like. So here we have the 2 1/2" and 6 1/2". I'll lay that out. Below it is another 2 1/2" and 6 1/2" in a different color combination. And... See if I can get this right. And this is what this would look like. So the same type of sewing, but different widths. I have to say that when we were making this in our sewing studio, we auditioned fabric. I wanted this color combination, but where should the dark gray go, where should the light gray go? I couldn't tell. So, I did cut segments of the colors of fabric just the way it would lay out, didn't sew them together, just cut them, and did a little auditioning. Making three different samples, cutting them apart. We'll start at the bottom. You can see the teal small section. As we move our way up, we have the dark gray section, and then the light gray section. There's no wrong answer here. What I happened to choose was this configuration, and that's what I like. So you may want to consider that when you're working with colors such as this. Sometimes when you have dark colors, it's best to use them in just small segments. So, these blocks were cut-- let me cut some for you-- into 2 1/2" segments and then 6 1/2" segments to make the size of the block. I'll find my rotary cutter. Ever had this problem, it's always hiding? So I'll cut one section, and you'll chain stitch this together in the same manner that you chain stitched your other symmetrical blocks. And this is a 6 1/2" section, and I will cut it. And then you just change-- You just stitch it together to create the block. Four blocks are what are used to kind of make the configuration. We'll go to our block here, And I'll put the dark corners together. And then, the teal corners together. And we have another block hiding. And you can see how the layout works. Another four patch, high/low. Big sections, little sections, but, really, just working with that graph paper, checking out color, doing some auditioning, and sewing it together in the traditional way. And now you have three ways of working with a four patch. Do you have a jar, a box in your sewing space filled with old buttons? Most of us hold these treasures, yet others make a hobby of collecting them. Please welcome Jill Gorski of the National Button Society who is joining us via Skype from Colorado Springs. Good to see you again, Jill. You as well, Nancy, thank you. The National Button Society has been around many years. Give a brief history to our viewers.

Jill

is as follows

Yes, that's true. It started over 75 years ago, and it was originally just so people could get together and share their love of their buttons. And now we strive to preserve those histories and those beautiful pieces of artwork that we all share in common in our grandmother's button boxes and jars, etc. Not all buttons are just purely functional to hold clothes together. And one we're going to start off with was all news to me. It's an Army locket button.

Jill

is as follows

Yes, that's one of my most special buttons that I have in my collection. It's a wonderful piece of artwork.

Nancy

is as follows

So,

here you can see that you have two buttons

a regular Army button and then the locket button. The locket button has the felt on the back of it, or it's placed on the felt because when you open it up it has a surprise inside.

Jill

here you can see that you have two buttons

That's correct, that's correct. And, hopefully, you'll find a surprise picture inside. Sometimes you'll find them with just the covers on them, but often you'll find actual pictures inside those locket buttons.

Nancy

here you can see that you have two buttons

So, sweethearts could send a button to their loved one, and they could have that picture close at hand.

Jill

here you can see that you have two buttons

That's correct. They were purchasable from your local store with Army ration tickets in World War I, and you could send your Sammy a locket button, which was approved by the Army to be worn on the uniform. Now, buttons, you mentioned to me they should be stored a special way, and I certainly don't store my buttons the way that you recommend. Yes, that's true. Unfortunately with all the heat or dryness or lack thereof, we have difficulties storing our buttons because of the different materials they're made from. So the best thing to do is to at least get those button jars and tins opened. Take the lids off, and let those buttons breathe. They need air and they need to have that circulation. Ideally, play with your buttons all the time, and then you won't have a problem. (laughing) -

Nancy

here you can see that you have two buttons

But there's another way that you could mount them on mat board. This photo shows some of your buttons and how you preserve them.

Jill

here you can see that you have two buttons

That's correct. I try to put a few buttons on a board every day. It's a bit of a challenge sometimes to get them all on the boards, but it is truly the best way. They don't clunk together or break. They have their air circulation, and they are easily seen and identified whenever I need to get to one.

Nancy

here you can see that you have two buttons

But then you recommend a special wire to attach them to the back of the board if they're a shank button or if they're even a hold button.

Jill

here you can see that you have two buttons

That's correct. Anything that's coated, like the types of wire you can get from a cable person, perhaps, that makes a bunch of cable or that sort of thing, and you can buy it at your local home improvement center. It has a great coating, and you strip the coating off and inside you'll find plastic coated wiring. And you tear those apart, cut them into pieces, and use them to twist onto the back of your board.

Nancy

here you can see that you have two buttons

Then you can label them or give them identification.

Jill

here you can see that you have two buttons

Absolutely. Now, there are conventions of button lovers.

Jill

here you can see that you have two buttons

Yes, yes, and we look forward to those. There are state-level societies in 39 of our 50 states, and we have conventions once a year. And then, there are National Button Society conventions. They're usually held in August, and they travel around the country, and one will be coming here to Denver very soon. We hope everybody comes to see us there and check out the buttons. And the competitions are pretty fierce, but we also have buttons for sale and seminars, etc. So, great for collectors to find a button show in their area, and also just to-- As you said, there's some history involved with it. Absolutely.

Nancy

here you can see that you have two buttons

Well, Jill, what a great opportunity to learn more about buttons, how to preserve them, how to look for-- Buttons can also hold rouge, or it could be compasses, you mentioned to me. Yes, yes, there were some. The Colt firearms company made special plastic buttons that held rouge when you unscrewed the top of it. They're very collectible.

Nancy

here you can see that you have two buttons

Very clever. Well, thank you for sharing the little history and anecdotal things about buttons. I'm glad you could join us. Thank you so much, Nancy. Button up!

Nancy

here you can see that you have two buttons

Okay, I will do that. (laughing) I hope you've enjoyed this program, And we soon can have the rest of the series coming up on Sewing with Nancy Go to NancyZieman.com where you can find more about buttons under Nancy's Corner, of course, and watch any of your favorite Sewing With Nancy shows online 24 hours a day. Thanks for joining us. Bye for now. Nancy has written a fully illustrated book that can be used to create nine quilts featuring contemporary block variations included in this three-part series. The book is $14.99, plus shipping and handling. To order this book, call 800-336-8373 or visit our website at sewingwithnancy.com/2919. Order item number BK2919 "Change-Up Patchwork" Credit card orders only. To pay by check or money order, call the number on the screen for details. Visit Nancy's website at NancyZieman.com to see additional episodes, Nancy's blog, and more. Sewing with Nancy TV's longest-airing sewing and quilting program with Nancy Zieman

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