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Large quilts can be hung using commercially prepared hangers. These hangers squeeze the fabric on top edge in between two pieces of wood. The wood hangers have hooks on the back of the wood.  This then allows one to easily display the quilt by hanging on hooks.  The hooks should be anchored securely in the wall in the final place prior to hanging the quilt.

Another method requires a casing to be made. To do this the assembler needs to add an additional 6 inches to the top of the quilt backing material. The three layers are sewn together and the right sides are turned to the outside as described in Backing and Tie Quilting. However the top edge is not sewn. The top is hand pressed and tie quilted. The directions to complete a casing are:

1.The top unfinished edge of 6″ is finished by turning the edge over and stitching the raw edge in the direction of the finished quilt top.
2.The material edge is folded again and pinned one half inch over the top edge of the unfinished edge of the quilt.
3.The seam is sewed on the machine through the extra folded material, the quilt top, the batting and the backing. A casing has been made in this process.
4.A large pole may be purchased the four inches longer than the width of the
quilt. The pole is inserted through the casing and the quilt is hung on hooks that hold the ends of the poles.

Preparing the Backing

The piece of backing material should be at least 1 inch larger that the top
measurement if one will be tie quilting. If hand quilting a generous six inches on each side are recommended. Fabric for the back may be a large sheet, or fabric material sold as sheeting in quilt stores. Sheeting is available in a variety of measurements and is designed with a low thread count to allow the needle to easily pass through the material. However a good quality muslin may be used. If muslin is used be sure to pre shrink the fabric. Muslin may also be tie dyed to match the quilt blocks on the top. Muslin is normally 45′ wide so the material will need to be seamed.

To do this measure the length of the quilt and add the suggested fabric allowances.

Cut two pieces of muslin this length and seam together with a one inch seam on one selvage (finished tightly woven edge).  Press the seam open.  The selvage of the material tends to draw up the fabric. To correct this clip the selvage (the tightly woven edge only) every 3 inches after the seam has been sewn and pressed.

Assembling Order

The directions given here are for seaming the edge and turning the wrong sides in.

(This is like repairing a torn pillow case by turning the seam edges to the outside with the right side touching each other.)

1.First on a large flat surface lay the batting material down. This is the polyester stuffing although it may be cotton.
2.Place the sheeting or  backing with the wrong side next on the batting.  If the backing was seamed, the seam will not be seen. If the backing was seamed place the center seam to either side of the center of the quilt batting.
3.Next lay the quilt top on the backing.  The finished side will be down and the many seam will be up and can be seen.  However try to remember the extra allowances depending on the finishing quilting method.
4.Hand press to remove the wrinkles and folds in the three layers. Cut the batting at least two inches larger in all directions that may extend beyond the quilt top or backing edge.
5.Pin along the edges of the quilt top joining the top, the backing, and the batting together.
6.On the machine begin on the top edge. Stitch around the perimeter with a one half inch seam. When on the top edge again leave a twelve inch opening.
7.Trim the extra backing and batting to be even with the quilt top. This will be about one half inch.
8.Re stitch around the perimeter making sure the seam is one half inch.
9.Next put your hands in the opening and pull on the backing material.  This will turn the material and the batting so the finished edges are on the outside and the wrong sides and the backing are in the middle and cannot be seen.
10.Hand press the edges of the three layers flat and then the entire quilt top.  Place pins through all the layers about six inches apart in rows on the whole top or baste with large stitches.
11.Slip stitch the opening closed.

Tie Quilting

Tie quilting is a quick way to quilt. It is also used when a quilt is thick or the
ornamentation would make it difficult for hand quilting to be completed through all the layers. Ties should be between 6 to 8 inches at most apart. The logical placement would be at the corners of all the blocks and the mid points on the edges on the blocks. To make a tie thread a large needle (a crewel needle works best) with 2 yards of lightweight wool doubled. Insert the needle from the front going to the back and returning to the front with a quarter inch stitch. Remove the pin. Pull the yarn until a 2″ tail of yarn remains. Tie a square knot. Cut the yarn where all tails of yarn will be the same length. Repeat at each pin until the top has been tie quilted.

Preparation of Finished Quilt Squares.

When the blocks are finished and the paint and glue has dried, each will need to be measured to be 16″ square. This allowed for a one half inch seam allowance on each side. Trim the excess fabric and ironed the finished square again.  As the students finish their squares stacked the squares into groups with a similar background color.

Assembly Format

To complete this step have a large clean floor or push several large tables together to make a flat surface.  Lay the blocks onto the large surface. A decision will need to be made at this point.  “Should the squares be separated with a solid color or joined together with out a visual break.

If the squares are to be joined together without a color to separate them, first stack the blocks in the same direction, where the images will not appear upside down in any of the blocks. The blocks may be stacked in order and then taken to the machine to be joined into strips.

The blocks are joined with the finished designs facing each other to form strips using a one half inch seam. Press the seams in one direction of the strips of blocks from the wrong side. When all the strips have been ironed, pin the finished design side matching the seam lines of the blocks. The pinned strips are then sewn together with one half inch seams. The quilt top may have a variety of blocks pieced together.

However it is best to keep the measurement slightly smaller than the piece of
commercially prepared batting.

If the quilt squares are to be separated with a border the material needs to be cut and then sewn together.

To begin determine the width of the border. A minimum of a two inch border looks nice. When the width and length has been determined add one half (1/2″) to each side to allow for the seam allowance. Thus a finished block of 15″ quilt square would require a 16″ x 3″ piece of fabric to separate the blocks. If the quilt will be 3 quilt blocks by 4 quilt blocks high a total of fifteen (15) separation pieces will need to be cut.

A rotary cutter on a rotary cutting mat with the use of a ruler can cut several pieces at one time accurately. Once the blocks have been pieced into strips with the border separating the blocks press the seams in one direction on the wrong side of the quilt block material.

Next to separate the strips of blocks and borders a continuous strip will need to be cut the correct length. In this case 3″ x 71″. (To determine take the block measurement times the number of blocks + the number of border strips separating the blocks times the width + and add the one half inch seam at the top and bottom of the quilt.) A strip of border will need to be cut for each side and for a separation between each column of blocks. In this illustration 4 strips 3″ x 71″ would need to be cut. The longest dimension will determine the length of fabric needed to purchase for the borders.

When the top has been assembled in either method press the seams in one direction. Then turn the top to the right and carefully clip any threads that may appear at the seams on the finished side. Leave the quilt top flat for at least a couple of hours.

This lets the fabric rest and will be easier to assemble with the backing and batting.

All the elements of design work together to form an attractive design. By using the principles of balance, contrast, emphasis, proportion, rhythm and unity the quilt block design will be pleasing to the eye.

Balance

Balance occurs when the objects are placed in an even, or pleasing way. Formal balance has similar parts on both sides of th central imaginary line of the design. Informal balance has two unequal halves. In this case balance is achieved by the placement of the objects on either side of the imaginary line at different distances. Radial balance has parts of the design that appear to come from a central point. Flowers and wheels have radial balance.

Contrast

Contrast is the difference in color and shape between an object and the background of the design.

Emphasis

Emphasis occurs when an object or a portion of the design image stands out.  This draws the eye to the object. Emphasis can be used by adding a small amount of a contrasting color.  This creates a sense of activity and movement. Other elements may be used to draw attention to a part of the design and develop emphasis. Emphasis is a method used to unify a design.

Proportion

Proportion is a pleasing relationship between and among the parts of the design. All of the parts do not have to be equal. In a picture the tree, people, and organic or geometric objects will appear to have the same proportion to have the illusion that all the elements of the design go together. If one person is very large and all the other individuals pictured are small proportion is used to advance the individual to the foreground. Balance and proportion are related. However the two are different.  Balance stresses the placement of parts in a design. Proportion stresses the percentage or the size of the design parts.

Rhythm

Rhythm in design is similar to rhythm in music. It is the regular repeat of a line or shape within a design. To create rhythm in a design repeat colors, shapes, and textures. This will cause an eye to move around a design.

Unity

Unity is achieved when all the parts of the design look like they belong together. This is sometimes referred to the oneness or completeness of the design elements. Unity is a result of all the elements and principles of design working together.

Designing the Quilt Square

Students reviewed the elements and principles of design before creating the quilt block. The teacher demonstrated the process of fabric painting with a brush or pen, appliquéing fabric, and the addition of trims and notions to a design.
The students created a design and the design was approved when the students could explain how they would complete their design. Students used a variety of techniques to achieve their desired effect in the design.

The Lite Heat n’ Bond was used to appliqué shapes of material to the design. Students cut the shape out of the fabric they wished to appliqué. The Lite Heat n’ Bond fusing material was ironed to the back of the cut out shape. The shape was then cut out again to remove the excess Heat n’ Bond material. The paper was peeled from the back of the shape and placed in the desired space on the quilt block. The iron was then used to permanently affix the shape to the design. (Additional information on using this product are found on the package label.) The students enjoyed using this material.

Some students were involved in painting their quilt square. Fabric paints that could be applied with a brush were used. Also fabric pens in standard and metallic colors were used. Colored glitter paint and glue was applied onto several quilt squares.

The third way some students creatively added interest to their design was by adding buttons, beads and scraps of trim. This required the use of the glue gun and glue sticks. The students were reminded of the safety in using this tool.

Students had to leave an open area on their quilt block design for their descriptive narrative. Students had to write two or three sentences that told the viewer about the memory. Some information that was included was: who was involved, where the activity occurred, what was happening, and why it was special. The teacher proofread the sentences before the students wrote on the fabric with a permanent fabric pen.

Elements of Design

To make a design attractive the basic elements of design were considered: color, line, shape and form, space, and texture. There are many choices of materials and colors that may be used when working with fabric in a quilt. The following is a summary.  One may refer to a basic art book for a more detail explanation of the principles and their execution within a design.

Color

Color is in our world. Light reflects color or the visible spectrum with the range from red to violet. Black is the absence of color. White contains all the colors. Not everyone sees color in the same way. Vision affects how a person sees color when the color enters the eye through the lens and the retina receives the image. An individual who is color-blind does not see some of the colors, or some colors will look the same (like red and green). Students will need to determine the basic color or background for the quilt square before dying the fabric.

Color may be organized into a color wheel system that assists in choosing a color scheme, or a combination of colors that work well together. There are primary colors (red, yellow, blue). There are secondary colors (orange, green, violet). And there are tertiary colors or a mixture of a primary and a secondary color. Every color has several properties that include: hue, value, and intensity. Hue is the name given to a color. Most hues are chromatic or are colored. Few colors are achromatic or neutral (black, grey, white and sometimes brown). Value is the lightness or darkness of a color or the amount of light that is reflected. When white is added a tint is made reflecting more light. When black is added to a color a shade is made reflecting less light. The intensity of the color is the brightness or dullness of a color.

Color schemes may be used to create a mood. The common ones are monochromatic, analogous, and complementary. A monochromatic color scheme has a single color as the base. An analogous color scheme has three colors next to each other on the color wheel. This scheme is more interesting to look at than a monochromatic scheme. A complementary color scheme includes two colors directly across from each other on the color wheel. This scheme is more dramatic.

Color may also be used to establish a mood. Red yellow, and orange tend to be exciting and warm colors. They bring a shape towards the viewer or are advancing. Blues, greens, and violets are cool and passive and tend to make an object look smaller or recede from the viewer’s eye. The following are a list of color characteristics for students to consider when planning their design.

Color Characteristics to Consider When Designing

Green suggests the sense of nature.

Yellow is like the sun bright and cheerful.

Red is bold, powerful, and attracts attention.

Blue is calm like the sky and is cool.

Black may be considered a sad color.

Purple or violet may be considered to be joyful or represent royality.

Line

Lines are used to create a design. There are many types of lines with their own characteristics. Lines create a shape or form or are used to fill in space with decorations. Vertical lines go up and down and give an illusion of height or length. Horizontal lines cause the eye to follow them across the design making a design appear to be wider while providing a sense of calmness. Curved lines move the eye smoothly through the space. Diagonal lines give a feeling of movement and are active. These lines may change direction like a zigzag.

Shape or Forms

Shapes may be used to create an illusion of firmness or softness. A pond or mountain are an organic form or shape that tend to be irregular. Geometric forms or shapes are orderly and give this feeling to the design. A silhouette is created when the eye follows the outline or shape and the shape is generally not filled. Both organic and geometric shapes or forms may be combined in one design.

Space

A design uses space. It has space within the design that may add to or detract from a design. To be useful a design must adapt space for the purpose of the design with areas of interest and areas that are empty providing a place for the eye to rest.

Texture

Texture is how the surface of an object appears or feels. Different textures may be combined within a design. Texture in a quilt block design can be created with the use of different fabrics, by adding trims or buttons or with the use of design lines in the image.

Shopping List for Fabric Designs:

Lit Heat n’ Bond or fusing material with a paper back,

Scissors,

Assortment of fabrics to be appliquéd to quilt square,

Fabric paint,

Paint brushes,

Fabric markers,

Glitter paint and glitter glue,

Fabric paint pens,

Beads,

Buttons,

Fabric trims and notions,

Glue gun and glue sticks.

Any design may be transferred to the fabric for the quilt block. The illustration should be part of a theme to unite the quilt blocks to convey a single general concept. The designs for this grant were designed by the students and transferred to the fabric. The illustrations were completed while the student groups were waiting to tie-dye the fabric. The students let the fabric dry overnight. Then each student ironed his/her piece of dried fabric. Two irons were used on a counter pressing board.

To make a counter pressing board use a large 3′ x 5′ piece of wood. Cover the board first with felt and then cover the felt with a sheet. The board was placed on a large table near a wall with room on three sides to provide students with room to work safely.

After the fabric was smoothed, without creases or wrinkles, students marked off a 1″ seam allowance on the four sides of their quilt square using washable marking pens and the acrylic rulers. At this point all the students had a 15″ x 15″ drawing of a favorite family memory. The students had to consider the principles of design. Refer to a basic design text or Designing a Quilt Square page.

The art teacher demonstrated the transfer using dressmaker’s wax free  marking paper.

The shinny side of the dressmaking carbon paper is placed next to the fabric. The student design was placed on top of the colored tracing paper with the edge of the design inside of the 15 inch marked square on the fabric.  The one inch seam allowance will be outside of the design area. The drawing after it was centered was pinned onto the dressmaking carbon paper. A wide point ball point pen was used to transfer the outline shapes of their favorite family memory illustration. The students had to press hard on the design to ensure the transfer of the design. The students checked the transferring process by unpinning the design and dressmaking carbon paper and lifting one of the corners. They looked to make sure the design could be seen on the fabric.

If the design was transferred the paper and carbon was unpinned. Once this transfer was completed, students were ready to execute the design of their quilt square.
Shopping list for Transfer Supplies

2 (two) irons.

Ironing board or counter pressing board.

Acrylic rulers (6″ x 24″ length). 4 are suggested.

Washable marking pens.

Dressmaker pins (ones with ball heads are easier to use).

Dressmaking carbon paper. (This carbon is easily removed with soap and water. Do not use graphite carbon paper which cannot be removed.)

Wide point ball point pens.

Each student tie-dyed a 17″ square piece of muslin. Students choose their style of tying and their dye color keeping in mind the type of scene they wanted to depict. For example, if they were creating a sunset scene, they might choose a circle tie with a red dye. The Dylon cold water dye and a cold fix were used. The cold fix makes the dye color permanent. Dylon also sells an inexpensive information packet on How To Tie and Dye. It is very helpful.

The middle school has 42 minute periods. The period of time is too short to complete the traditional dye process. This grant project used a microwave dying process. A microwave with a 1.2 cubic feet interior space to accommodate the dye bath to rotate on the microwave turntable was used.

Students first needed to tie their piece of muslin. The classroom art teacher
demonstrated four basic ties from the Dylon information packet. These included a random pattern, stripes, circles, and a tied object. Other fancier patterns may be used if wanted. Remember though, the tie-dye design will serve as a background for the quilt square. Some of the tie-dye will be seen and some will be covered with fabric and/or paint.

Class planning allowed one class period for demonstration and practice tying.  An additional class period the students completed the actual tying for their 17″ muslin square. Students wrote their name on the fabric with a permanent marker on one of the corners before beginning to tie the fabric and subsequently dyeing the fabric.

Students choose the dye color they wanted. The color was selected to coordinate with their design. Groups of four students with the same selected color made up a group.

Each group was responsible for a dye bath color. The teacher demonstrated the microwave dye process. Students filled out a work sheet that outlined the steps of the microwave tie-dyeing and highlighted areas of safety. Job assignments were assigned to group members before the dyeing process was begun.

The classroom had two sinks and five large tables. Two groups were able to dye in a class period with one microwave. Students wore rubber gloves and wore large aprons or big shirts to keep their hands and clothing from being dyed. The micro waving part only took four minutes. However, from the beginning of the dyeing process until the tie-dyed fabric was hung on the clothesline took 42 minutes. The rinsing and wringing of the excess water from the fabric was done at the sinks.

While groups of students were waiting to tie-dye their fabric the students completed a designed for a 15′ x 15″ square.  The drawing for this project was a favorite family memory. However, the illustration will reflect the theme chosen for the quilt. For additional information on designing a quilt square refer to Designing a Square page.

Shopping List for Tie-Dye Supplies:

Dylon cold water dyes

Dylon cold fix

Table salt

String

Rubber bands

Rubber gloves

Microwave(1.2 cubic foot interior)

Potholders
Wooden spoons

Measuring cups, teaspoon, tablespoon,

Apron or big shirt

Plastic clothesline

Plastic clothespins

Directions for Dying

Fabric should be pre washed and dried prior to students tie-dyeing the fabric. All the students in the group should have their fabric tied.

For best results consult the directions on dye packages.

1.Fill microwave safe bowl (plastic square dish pan worked well) with enough cold water to cover the student’s  fabric.
2.Remove the moistened fabric.
3.Dissolve 1 (one) heaping teaspoon of dye powder in 1-pint (2 cups) hot tap
water, stirring well. Add the dye to the microwave safe container.
4.Dissolve 4 (four) heaping tablespoons of salt and Dylon Cold Fix in 1-pint (2
cups) hot tap water. Stir well. Add the salt and fixing solution to the dye in the microwave safe container. Stir well.
5.Place  the students’ damp fabric into the microwave safe container.
6.Follow the microwave dying directions on the package. The process used in this project are listed below.

Microwave Dyeing Directions

1.Put the tied fabric into the dye bath (microwave safe bowl) and stir the fabric in the dye solution.  This will work the dye to all the parts of the fabric.
2.Cover the bowl with a plastic bag. (Inexpensive kitchen size trash bags work well.)
3.Carefully place the bowl into the microwave on a turntable and set the power level on high for 4 (four) minutes.
4.After 4 (four) minutes, remove the bowl from the microwave oven. This will be very hot. Remember to use potholders! Remind to students to stand away from the person carrying the square plastic container to the sink.
5.Place the container in the sink.  Then in the sink, pour out the dye solution
and rinse fabric pieces until the water runs clear.
6.Untie and wash the dyed fabric in warm soapy water. Rinse and hang on a plastic clothesline to dry.

Material Selection

Fabrics for the top may be a cotton or a cotton-polyester blend if they have been preshrunk. Preshrinking is either completed by the manufacturer or requires the user to wash the material in hot water and dry with a high temperature prior to using. A drier set on high or cottons will remove any excess from the material after it has been washed.

Blends (cotton-polyester) may be used if they do NOT have a directional sheen, or  are sheer.  These blends will visually distract from the finished quilt top.  To determine if the blend has a directional sheen place the material on a flat surface and look at the material from different angles.  If there is not a different look from any of the directions then the blend does not have a direction sheen and may be used.

Blends are more difficult to use than 100% cotton. Blends will ravel more as the percentage of polyester in the fabric increases.  This may make the assembly of the quilt top more difficult.   However, blends may offer a design or color that is not available as a 100% cotton and may be used. For beginner sewers it is recommended 100% cotton available in many beautiful colors and prints  be used.

100% cotton is available in different weights.  This may easily be determined by gathering an edge of one layers in the hand and closing a fist.  All the fabric chosen should feel about the same, or have the same weight. Follow the one basic rule: use the same weight of materials in one quilt.

Avoid fabrics with a noticeable amount of finish or sizing. If sizing is in the
fabric, the fabric will feel stiff when purchasing.  Sometimes this sizing is removed when preshrinking but the material and may continue to be stiff after washing.

Corduroys, denims, felts, knits, real dotted swiss (with raise dots), satiny fabrics, sheer fabrics, and wools are NOT recommended.

A good quality muslin makes an ideal background material for tie dying. It is a good material with a neutral background to applying a quilt design to. However, prints and solids can be combined very effectively. If choosing a print consider a print that varies in scale (size) but maintains the theme selected for the quilt. The size of the print motif (design) should be able to be included entirely in one of the square pieces cut for the quilt top. Avoid if you are a beginner sewer, or if students will complete the assembly, gingham or strips.  These are difficult to assembly (sew) into the quilt top accurately.  The lines  will appear off grain and not correct if not sewn in on the line of the fabric. Errors in sewing are easily seen.

Fabric Requirements For the Top

It is recommended to cut the fabric (this project used muslin) blocks in 17 inch squares to have an inch (1″) seam on all sides. The following yardage is provided for a finished fifteen inch block.

For a crib size quilt 45″ x 60″:
15 squares will be needed or 3 yards of 36 or 45 inch wide material.

For an afghan size 45″ x 75″:
18 squares will be needed or 4 1/4 yards of 36 or 45 inch wide material.

For a twin size 75″ x 90″:
30 squares will be needed or 7 1/2 yards of 36 or 45 inch wide material.

For a double size 105″ x 105″:
49 squares will be needed or 12 yards of 36 or 45 inch wide material.

Note additional fabric will need to be purchased if the square blocks will be
separated with a border. Refer to Assembling Squares Post.

Backing Material

The backing material for the quilt may be purchased at the same time as the top material for the squares. If the quilt will be tied with yarn and not quilted with a needle, the material may be a good quality cotton, cotton polyester blend or muslin.

The same amount of material purchased for the top will need to be purchased for the backing material.

Frequently the fabric will need to be seamed to make one piece of fabric wide enough to cover the quilt back. To do this, the backing material will need to be preshrunk prior to assembling the back of the quilt. After preshrinking cut the fabric in half where there are 2 lengths of material the same measurement.  Sew one seam  one inch from the edge of the selvage. (The selvage is the finished edge of the material.  It does not ravel here.)  After the seam has been stitched press the two edges apart using an iron set of a cotton-polyester blend setting. If the seam appears to draw up or be shorter there then at other parts of the backing material, carefully cut the selvage of the fabric in the seam.  For additional information refer to Backing and Tie Quilting page.

An easier alternative to making a backing is to purchase a flat sheet or extra wide material sold under the name of sheeting for the quilt project. Sheeting may not always be available but is a loosely woven (has a low thread count) fabric to allow a quilting needle to easily pass through the material.

Themes for a quilt project can be almost anything.  However, when choosing one, the theme should consider the course objectives, the interests, the skills, and the abilities of the students. Further the materials that are available to use from purchases or donations need to be considered.  Theme topics could include the following:

Student Clubs

Student Activities

Teachers in Action

Families Who are Involved in School

Sports Played at School

School Productions

Historical Moments in the School

The Community of the School

The Cultural Diversity of the Community

Students Helping Others

Student Achievers

Historical Buildings in the Community

Community Leaders

Building Tolerance in a School Community