Mixing Australian aboriginal textiles and batiks: a bippity boppity boo quilt

I got a wonderful surprise this week! This quilt top was loaned out to 3 Hens and a Chick quilt shop to use in a shop display illustrating how different kinds of fabrics—Australian aboriginal prints and batiks—can be successfully mixed in a project. The top was returned to me this week... quilted and bound! It felt like my fabric fairy godmother waved her magic wand and *poof*... bippity, boppity, boo!

Charm Squares on Point. 42.5" x 48"
Featuring fabrics from M&S Textiles Australia and Majestic Batiks.

This quilt uses 5" charm squares [purple colorway] from M&S Textiles Australia. To complement the Australian aboriginal designs, two batiks [from Majestic Batiks] in a medium/dark value were used for the alternate squares, setting triangles and outside border. [Note: 3 Hens and a Chick quilt shop carries fabrics from M&S Textiles and Majestic Batiks.]

Charm Squares on Point. 42.5" x 48" (finished size).

The designs and color palette of the batiks chosen were more subtle so they would not compete with the Australian prints which were the focus of this quilt. The narrow inside border is from 2.5" strips from a pre-cut strip roll [M&S Textiles Australia]. The lighter value of this fabric framed the charm squares and provided contrast with the background and border fabrics.

Mixing Australian aboriginal fabric prints with batiks.

The lovely long arm quilting was done by Cheryl Johnson, one of the chicks at 3 Hens and a Chick quilt shop. The edge-to-edge pattern of swirls, spikes and waves complements the more organic fabric designs without distracting from them.

Long arm quilting on the outside border.

The backing fabric is Spirit Dreaming, also from M&S Textiles. This diagonal design affords movement on the back... and the use of this fabric print for the binding, created a subtle striping effect—without having to cut the fabric on the bias!

Backing and binding fabric: Spirit Dreaming from M&S Textiles.

A noteworthy point of observation: the binding was sewn down by hand! (Oh, my fabric fairy godmother is sooo generous!)

5" charm squares of batiks and 

National Sewing Machine Day

As we celebrate National Sewing Machine day (June 13)—yesterday, today and through the year—I hope you seek out and contact your local quilt shops and independent sewing machine centers for supplies and equipment. These businesses carry the "first quality" fabrics you will want to work with and the machines and proper tools to get the job done—professionally and correctly.

As the world came to find out over the past few months, Sewing is a Super Power as sewists and quilters poured their experience, expertise and talent into making masks, scrub hats and hospital gowns. Quilt shops and independent sewing centers not only supported the makers and recipients of these endeavors, they continue to provide:

• inspiration and instruction
• "first quality" fabrics 
• unique kits and projects
• machine quilting services or resources
• machine repair and maintenance services
• notions and tools
• patterns and books
• support and camaraderie
• These things you don't get in the big box stores.

... and now and again they can pull out a secret magic wand and perform a little Bippity, Boppity, Boo magic! I hope you cross paths with your fabric fairy godmother (or godfather) soon.

Thanks again to Cheryl, Carol, Teresa and Sherrie at 3 Hens and a Chick quilt shop for a wonderful surprise. 

My Citizen Mask sewing process

Early in April, after reviewing myriad opinions, websites, blogs, and videos, I chose a mask pattern and did my stint in making masks. The masks were for members of my household and our neighbors. This blog seemed to be a good place to document the process of this (yet another coronavirus quantantine) sewing activity for current and future reference.

Citizen Masks with cotton batiks and knit drawstring ties.

Pattern
I chose the fitted, contoured Citizen Mask 1 Pattern from masksofloveunc.weebly.com. This mask design has a pocket for a filter.

Fabrics
The fabrics I used are cotton batiks from Majestic Batiks. These batiks have a thread count of 205. This is higher than the majority of printed quilters cottons that have a 120 thread count. [Except for the cotton prints from Art Gallery Fabrics which also has a thread count of 205 and is OEKO-TEX certified].

The drawstring ties are knit fabrics from Art Gallery Fabrics.

Citizen Mask 1 pattern and batiks from Majestic Batiks (205 thread count).

Cutting
Cut 2 outside pieces and 2 lining pieces. Use two different prints for the outside and lining of the mask so you can easily tell them apart.
Press 1/4" hem on the outside pieces and lining pieces.

These are the batiks used for the outside of the mask.

Sewing
Sew down the hem allowance close to the raw edge on both outsides and both lining pieces.
With right sides together, stitch the curved seam of the outside mask. Repeat for lining.
Clip the curves or pink the seam allowance at the curve.

NOTE: For reference in the photos below, there is white thread in the bobbin and a matching thread on top.

Batik is the outside and the black/white print is the lining fabric.

With right sides together, align the mask outside and lining, matching the top and bottom center seams.

Nest the seam allowances to make a nice join.

With the lining side facing you, start at the edge of the lining and sew mask outside and lining together along the stitching lines at the top and bottom. Back stitch (for about an inch) at the beginning and end of the stitching lines.*

Trim the seam allowances where the seam lines meet at the bridge of the nose.

Turn mask right side out. Press.
The outside of the mask extends beyond the lining fabric as shown below.

Fold the extension so the hemmed edge meets the lining (a line indicated on the pattern piece). This makes the casing for the adjustable tie.

NOTE: the white bobbin stitching is from the previous step where the hem was sewn down.
With the lining side of the mask facing you, stitch the casing close to the hemmed edge.

With the lining side of the mask up (facing you), sew down the left and right casings, stitching close to the edge. Back stitch at the beginning and end of the stitching line.

Topstitching
In a continuous stitching line, topstitch around the mask about 1/8" from the edge. Starting on the bottom edge, topstitch to the first casing, up the casing (slightly to the inside of the previous casing stitching line), across the top, down the other casing, across the bottom. DO NOT stitch the casings closed!

NOTE: the white stitching is the sewing line (bobbin thread) for the casing.
The topstitching is about 1/16" to the right as shown above.

Nose Bridge Wire
To allow for a better fit, I inserted a wire at the bridge of the nose.
Using 18 or 20 gauge wire, cut a piece approximately 6" long. Fold in half and twist. Use needle-nose pliers to curl in the cut ends so they will not puncture the fabric or have a sharp end.

Lay the twisted wire along the center top of the mask (where the bridge of the nose will be) and mark the placement.

Nose Wire Pocket
Reduce the stitch length on your sewing machine (so the wire cannot poke through).
Sew a pocket for the nose wire approximately 1/2" wide and the length of the measurements from the step above. Leave and opening at one end to insert the wire.

Sew the pocket for the nose wire, leaving one end open for wire insertion.
Insert wire and sew closed.

From the inside of the mask, going between the lining and the outside fabric, insert the twisted nose wire into the pocket. Sew the nose wire pocket closed, being careful not to sew over the wire and break a needle.

Drawstring Ties
I used knit fabric from Art Gallery Fabrics for the mask's drawstring ties.
Cut a piece of knit approximately 1" to 1-1/4" wide by 24" to 30" long.

Pull the ends to stretch and the fabric will curl on itself. There is no need to finish the edges as the knit fabric will not ravel. [Big time saver!]

Using a bodkin or safety pin (whatever will fit through the casing), feed the knit drawstring tie through the casings so the mask will tie at the top of the head. The ends of the drawstring can be knotted, if desired.

Outside of mask. Note it ties at the top of the head.

Inside of finished mask.

Inside/lining side of the mask.

Notes and Tips

• Use two different fabrics for the inside and outside of the mask. This will make the inside and outside easily identified and the wearer will not accidentally put the "outside" next to her/his nose/mouth.
• Backstitching at the beginning and ends of stitching lines with strengthen and secure the seams—especially at the high stress points such as the casings.
• * When sewing the outside mask to the lining, do a deep backstitch (3/4" to 1") so the thread tails will be well into the middle of the mask when it is turned right side out. (This makes the process faster as the thread tails don't need to be cut close.)
• The knit drawstring ties are soft and stretchy for comfort. The drawstring can be adjusted through the casings for a better, snugger fit and to accommodate various head sizes. 
• The nose bridge wire helps prevent glasses from fogging (for those that wear eyeglasses).
• A filter can be inserted from the inside of the mask to sandwich between the outside and lining fabrics.
• Avoid making extra holes in the mask-making fabrics (decorative stitching, embroidery, excessive pinning, etc.). Holes in the fabric defeat the purpose of protection.
• I found the videos from The Fabric Patch give a good explanation and illustration about fabrics and supplies for making masks, how small virus particles can be, and lessons learned from making thousands of masks.

Stay healthy. Wash your hands. Wear a mask. Maintain social distance. Do your part!

Experiments with natural dyes and quilting cottons

Donna Brown's "Can you Dig It" natural dye class was an eye-opener to putting nature's color palette on cloth.

Dobby weave cotton cloth hand dyed with logwood and osage orange.

I have some experience fabric dyeing with synthetic dyes, but the time had come to learn about pre-1856 colorants—natural dyes, extracts and pigments—for coloring textiles. So, for the class supplies, I gathered cuts of several quilting cottons that I generally use for sewing, garment making and quilting, along with a few rubber stamps, stencils and brushes, to learn about natural dyes and techniques for applying these colorants to cloth. Here are the results.

Immersion Dyeing
The class spent time weighing and mordanting the fabrics prior to the dye process. Dye pots were prepared and the coloring began.

Osage orange (yellow) overdyed with Logwood (purple) on
a white textured yarn-dyed cotton from Diamond Textiles.

Logwood (blue violet) took nicely to a printed batik from Majestic Batiks.
Notice the flower motifs of the batik design.

Pomegranate (yellow) overdyed with Logwood (purple) on a
pintuck cotton from Diamond Textiles.

Direct application of natural pigments
We learned about mixing natural dye extracts and pigments with tragacanth so the colors could be directly applied to textiles. Various tools can be used to create patterns and imagery to make complex art cloth.

Stencilling on Tweed Thicket, a yarn-dyed cotton from Diamond Textiles.

Rubber stamps and stencils on silk broadcloth.

Initially, the colors were from the pure pigments. However, with a room full of artists, painters and a few experienced dyers, the workshop participants quickly began creating and sharing elaborate and beautiful "custom color" dye mixtures.

Pigments mixed with tragacanth for direct application techniques.

Direct application of pigments with a foam brush
on embossed cotton (Diamond Textiles).

Stamping with a wood block on cotton knit from Art Gallery Fabrics.
The highlight colors applied to select leaves with pigment pastels.

First layer: monoprinting with a Gelli plate
on white cotton [ColorWorks from Northcott].

Silk screen (central motif) and stenciling on a batik from Majestic Batiks.

Silk screen, stamping and direct application on various quilting cottons.

Once cured (about a week for the direct applications), I'll be excited to begin working with these samples!

Natural dyes on quilting cottons. Photo credit: Yvonne Martin-Kitt

Not one "mean girl" in the bunch
Natural dyeing is a combination of history, chemistry, and art. I enjoyed all the ingredients and aspects of the recipe. Thank you to Donna Brown, a knowledgeable and generous instructor, for taking me on my maiden voyage with natural dyes, extracts and pigments! You made me and everyone successful in our creative textile endeavors.

Donna Brown (left) and I at Shakerag Workshops 2019.

And to the fellow artists who graciously shared in this learning experience with me, your talents, friendship and thoughtfulness are without limits. Thanks for a wonderful experience.

"Can You Dig It?" natural dye workshop. 2019 Shakerag Workshops.
Photo credit: Yvonne Martin-Kitt.

Holiday sewing projects from panels and pre-cuts

Everyone has decked the halls, the walls, the chairs, beds and sofas... and it's beginning to look a lot like Christmas at LQSs [local quilt shops]. Inspiration for decorations and gifts abound and panels, pre-cut bundles and kits are at the ready for your sewing and quilting pleasure! 

Pillows for the beds or cushions for the couch at Stitch Morgantown.

Fabric Project Panels
The Nordic inspired Hygge [pronounced Hoo-guh] Christmas collection from Lewis & Irene has cushions (above) and stockings (below) that feature the Norwegian Tontuu (house elves). I think these pillow and stocking panels would make a great canvas for some hand stitching embellishment, too!

Christmas stockings at Stitch Morgantown.

Winter-themed placemats and table runner from the Snow Day collection from Lewis & Irene. How about a shimmery rayon or metallic thread for the quilting?

Snow Day table placemats and runner at Bernina in Stitches.

Projects with Pre-cuts

Pre-cut strips make the process fast and easy. Ask your local quilt shop for a package of pre-cut strips and a pattern.

Majestic batik strips at Must Stitch Emporium.

The Rockport Basket [Auties Two pattern] is a spacious tote or project bag made with pre-cut batik fabrics from Majestic Batiks.

Rockport Basket at City Square Quilts.

Showcasing an exotic collection of pre-cut prints from M&S Textiles Australia, take the "jelly roll rug" process and make smaller items such as a set of placemats, mug rugs or a table topper. 

Precut strips from M&S Textiles Australia.

Pre-cut Kits
The Walker Bag kit uses festive floral metallic fabrics from Under the Australian Sun collection from The Textile Pantry.

The Walker Bag kit from The Textile Pantry.

This next project is a dual duty item! It's an eyeglasses case but it's also the perfect size to fit a rotary cutter! Travel in style—and in safety—to your next quilting retreat or class.

The Melba eyeglass case kit from The Textile Pantry.

One size fits All

Pillowcases are a one-size-fits-all gift that can be customized to anyone's hobbies or tastes.  Who wouldn't love this Lambkin pillowcase on their bed... using Art Gallery Fabrics.

Lambkin pillowcase at Stitch Morgantown.

I've made at several of these flower baskets in dozens of fabric combinations! The Melba Flower basket pattern is a free download courtesy of The Textile Pantry. 

My red/white/black basket uses two coordinating red yarn-dyed wovens from the Provence Woven collection by Diamond Textiles for the basket base and Squared Elements (inside lining) from Art Gallery Fabrics. Fill your baskets with Christmas cookies, candies or seasonal greenery for a festive table setting.

The Melba Flower Basket pattern from The Textile Pantry.

Make a quick trip to your local quilt shop for patterns, panels and pre-cuts before the big guy in the red suit comes to your house. And I hope you find time to make merry with fabric and stitch during the holidays!