I’ve been prepping for a show proposal for weeks now. While I was working through my machine woes, I couldn’t back and bind the larger quilts. Now that I have a functional 930, I could accomplish that.
Two years ago, I started this heron piece. I don’t know what I was thinking. It’s a heron drawing I found in my files. It was lovely. So I embroidered it and fit it into a quilt.
But it’s large. The word large is inadequate. It’s roughly 59″ x 59″ It’s larger than I’m tall.
Embroidering it wasn’t’ the problem. But after you add a back and a layer of felt, you have a lump. A very large lump.
So it sat the corner. And I became afraid of it. I made a myth of it. It was too large. It wouldn’t fit through the machine. My arms aren’t as strong as they used to be.
I had a friend ask if I could make it work if I cut it up in some way. That shook me loose. It wasn’t a bad quilt, or even a failed quilt. It was just too big. And I was being a coward.
After that I went hunting my big girl panties.
All of those things are true. It’s too large, it did not fit prettily into the machine. I had to jam it under the machine head. And my arms may be less strong, but my will..? Never doubt my will. No one can tell me no but me.
There’s no can’t like won’t, Sometimes we build myths about our work. “It’s so good.” “It’s no good.” “It will never lie flat” Almost all of that is irrelevant. I won’t know i it’s good for some while after I finish it. I need to stop the negativity and just step into the task. It was backed, quilted and bound in 3 days.
Here’s the details on Great Blue
Here are the other quilts I’ve set up for my proposal. I think the heron’s really necessary. Big girl panties and all. Wish me luck.
Willow MarchEgretBlue FishOctopi ReelBsvkyard ConversationWaterfallBlue PondSnake in the GrassIn the ShellBig FishWaterfall
Do you remember in the Wizard of Oz when they fixed the tin man with an oilcan?
Let’s just start this out by saying I am not a mechanic. By training or inclination. I have 60 years of working with sewing machines by way of experience. I am in no way recommending this proceedure. I’m telling you it worked for me.
You know I’ve been wrestling with my machines. It all came to a head last week when the working 930 Bernina froze solid, mid stitch. This is the fourth machine that has done that.
Don looked at me and said, “Have you oiled it?” Of course I oiled it. All the places in the book.
Fixing is Don’s job. Oiling is mine. Besides, I was restless and distraught and desperate. I got out the new shop light and oiled everything that moved metal against metal. There were a lot of places I would have never found without the light. It felt fruitless. Don said, “Let it sit.” That felt awful, but there wasn’t anything else to do.
The next day, the wheel budged just a bit. I pushed at it. It rotated a bit in a jerky way. Don said, “Let it sit.” I oiled it again like watering the garden.
The next day it didn’t move at all. Or the day after that, Or the day after that. I kept oiling.
Today was the day I pushed the wheel and it moved. All the way around. I got out the light and saw a hunk of thread I’d missed. I pulled it out bit by bit with a hemostate. I oiled again He put it back together and it ran. I kissed both him and the machine.
It sounds simple, but it’s not. The manual on your machine suggests several oiling parts. The idea is that your mechanic will get the other spots during a tune up. That assumes your machine is under ten years old. And being serviced regularly. And that your mechanic knows the older machines. As machines age, they get dry. In places that are hard to reach and not documented.
So the oil can be the cure. Except when it’s not.
Know your machine
What is your machine made of? Outsides don’t count. Insides do. Oil will abrade plastic, and possibly nylon. So you NEVER oil something that’s plastic on metal or plastic on plastic. Only oil metal on metal. Tap on it with your screwdriver if you aren’t sure. You’ll hear the difference.
I was shocked with what I could see with a magnifying shop light. I have several, but this is clearly the best of them. I found places on my machine I’d never heard about, and I do have a mechanics manual.
You also don’t want to open anything that will void the waranty. My machines are 20-40 years old, so that doesn’t matter. Newer machines are also much more complex. You may want to talk to your dealer.
If you’re cleared, take off the panels you can. We’re looking for the secret spots. They hide in the dark.
This is an answer for a machine that is stuck. If your machine is really truly broken instead of stuck, it will tell you. Listen. Pops, bangs, screams, grinds, smoke, the smell of burned plastic, or sounds like it’s chewing, are all indications that something broke. Stop immediately. This will not self heal. Oil it, but don’t expect that to fix the problem.
When and where do you oil?
If your machine is working well enough to move the wheel by hand, you can see all the places where it moves. Oil moving parts that are metal on metal. You will find more places if you can turn the wheel to see where they are.
If it’s not moving at all, oil what you can see. Check that what you’re oiling is metal on metal.
Don’t be upset if you don’t get an immediate response. Oil seeps in. If it won’t move at once, give it some time to penetrate.
What kind of oil? Buy your oil at the dealership. Oil is not all the same. Some kinds actually have shellac in them. If like me, you have many machines, you can buy in bulk. Bernina Jeff. of High Fashion Sewing, in Junction, CO, was kind enough to show us the oil he uses: Velocite # 10 spindle oil. I trust Bernina Jeff. His videos are accessible. He is knowledgeable and kindly. I purchased a number of small bottles and a pint of oil.
Can you oil too much? Of course you can. If you’ve got a puddle, there you are. Wipe it up and call it done. I like to use flannel to clean up oil.
Do check out Bernina Jeff. He has great machining toys for sale, knows his stuff and is a good and gentle teacher.
I do hope you never need this. But I intend to oil every machine I’ve got down to the nubs.
I have to say that this week has left me exhausted. My new to me 930 froze mid stitch, and I am, again. scrambling. Currently working are the 220 and the 20 U Singer.
If it sounds like a first world problem, you’re probably right. But I sew every day, usually around 3-4 hours a day. It’s more than a job. It’s not quite an adventure. It’s certainly my mental health.
When I was teaching, occasionally I’d get a student who would ask me how to do something. Usually it was an amazing idea. But I’d never tried it. I was sorry to tell them I didn’t know exactly how to do that, but that they eventually would. Art is not all about inspiration, and public statements. It’s often fed by the ability to hunt the snark, find a way to make things as you wish. It’s damn hard work.
But if it’s important enough, you find a way. And many artists have the decency to make their journey available to others, so that our art grows, not just in volume or in content but in ability. It’s why we write. It’s why we teach.
If I said that to you in class at one point, I apologize profusely. Just because it’s true doesn’t mean it’s what you wanted to hear. And I thank you for not having hit me.
The art quilt movement rebuilt quilting. Part of it hunted down old skills: hand stitching, hand quilting, pattern pieces, paper piecing and the like. Part of it is new tech: rotary cutters, machine work, computer design, different materials and stabilizers, different threads.
This is not the glamourous part of art. It’s grueling. Try one thing, try another. Look for an answer. Take the best compromise you’ve got.
Edging with three hoops on the 20U
I’m currently working on a koi fish quilt, working title, Upstream. It includes a kick ass koi and waterfalls over cliffs. I’m proud to say I figured out how to do the detail stitching on the 20 U. It involved 3 metal stackable hoops. I’m waiting with some anticipation for my Maggie Frame to arrive. It may really change the whole hooping process
The hoops are important because I can’t get a foot to work on the 20 U. The one foot that works won’t deal with the thickness of the quilt sandwich. Other feet I tried didn’t work with the machine or allow for a zigzag stitch.
For those not familiar with how sewing machines work, your machine will not form stitches if your fabric isn’t held taunt. Your pressure foot usually provides that stability. Without it, something else has to hold your fabric tight. Hense, the hoop. This video does a nice job of explaining how a stitch forms.
So I have to figure out the hoop thing.
On another front, my new crashed Bernina 930 is in pieces soaking in machine oil. I’m sure we’ll figure it out.
Stitched down with water elementals
I’m struggling with finding ways to utilize the Singer 20U. I added in my cliffs, direct applique with the 20U, using that stack of hoops. It’s a less elegant stitch line, but it worked.
Next steps: stipple in, add water splashes, back, quilt and bind.
I love organza and lace for natural elements. I can make water easily with some fusible and sheers. I cut c shapes in various sizes and colors, and fit them into pond or river water.
This is a process I usually do right before I put on my embroidered components. I get everything embroidered, so I’m sure it fits in, and then add the elements (air, wind, water, clouds, smoke) to the background itself before I stitch down any of the embroideries. Only after tthe sheers are stitched on, do I stitch the components down.
There is one problem with that. It leaves my fish and reeds all out of the water. They are in front of the water, but not in it.’
What I’m looking for is the feeling of layers. I usually cut c shapes and swirls. Then I mix them together until I have water amalgamated with different temperatures and depths.
If you think about real water, it’s always in layers. You put your toes in, and maybe you feel the sun warmed top layer, Go further in, and the lower levels feel colder. How do we express that as art? I think the deeper the colors are, the colder they feel. We can make layered water, warm on the top, but colder as we go further in.
So the last thing I often do is to lay a few pieces of organza and lace over top of the fish. Not completely. but enough that they’re completely clearly in the water.
I’ve been a long time follower of the visual path. Our eye travels through a piece of art and makes its own journey. We can build that visual path with our objects and their placement.
A good visual path
should welcome you into that world,
should give you a good tour, covering the surface of the piece.
should graciously show you the way out.
should breathe.
But part of that pathway is perception. How does the structure of the design direct us to travel on that path? Where do we start?
There are some other good questions as well. What makes an entry point? How do we travel? Are we released from the piece at some point? Or does it try to make us stay focused within the piece?
I’ve begun to think about how we enter a piece when we see it. Where does the eye start? Does it make a difference? Being a good dyslexic, I always thought it didn’t, but I’m thinking I was wrong.
As Westerners, we read left to right. So do we enter a project visually from the left and travel over to the right hand side? And what does that do within the language of the piece? What does that positioning tell us?
Handedness is pretty hardwired, but some of it is cultural. We can see an image either from either left or right like flipping a slide. But how do we normally process that?
What matters is what we see first. Where does it direct us to look?
If it faces directly in front of us, that sort of stops the motion right there. We are where we are.
If the subject is facing us, headed left, we see it as the main object.
If the piece is standing facing from left to right, we see it as a main object, but we also see what it is focused on.
The entry point is either a spot that focus us for being open, or for grabbing our attention.
For our purposes, the red arrow is the entry point and the yellow arrows point out the path.
The bird is our entry point. We see what she sees. She’s focused on a pond beneath here.The rocks circle the pond, defining it, but also drawing our eye around it.
Our entry point leads us straight to the mocking bird facing left. . Her glance takes us around the piece following the lizards.
This is just a theory so far. I’m curious what you think about it. How does the facing of the subject change the story of the piece. What is the structural language? What are we saying?
So this is drawn with the eyes facing left. When it’s embroidered, it will be flipped horizontally and it will face to the right. We’ll be in a position to see the world as the fish does.
I’m not sure about this yet. It’s a theory. I’m curious to see what you think as well.
This has been a burning question for me over the last 6 months. I live and die by my sewing machines. It’s what I do. I sew every day around 4-5 hours a day.
Over that time, I;ve locked up 2 220s, 2 930s and a 770, all Berninas known to be tough and durable. I’ve felt like a general who’s horse has died, getting on another horse and inadvertently shooting the new one. It’s been ghastly.
What it’s about is the intense embroideries. They feel like the heart of my work. They’re intense, detailed, textured, and, pardon my vanity, show stopping.
I can’t seem to make them without breaking machines.
I went through this a long time ago. I burned the brushes off my 930 and bought an industrial 20U Singer. It was not a perfect answer. It was way too fast. It chomped through thread. It was incredibly noisy. And impossible to control.
Eventually, I stopped making those larger embroideries.
Lately I’ve needed to work those large embroideries. And we rescued the 20 U from where I left it at Porter.
It was the right decision. Don put a servo motor on it to slow it down. It did a very nice job with my #40 polyester threads.
What is a servo motor?
I’m not sure of the mechanics of the thing. Functionaly it’s an industrial motor with a rhiostat. You can adjust the speed to your taste. It’s infinately more quiet, and takes up a lot less energy.
I wouldn’t say it was the right thing for everyone.
What can an industrial machine offer you?
It is
An incredibly tough machine
An incredibly fast machine
An extra wide zigzag stitch
Those are very different skillls from a home machine.
There is a down side.
They are huge. They take up a large footprint in studio space.
They are harder to manuver. I’m still finding my way about managing stitch angle with it.
Unless you slow them down, they’re too fast for many threads and applications. The servo motor is the best way to control that.
You can’t pick it up and take it to a mechanic. You’ll need to fix it yourself or find a mechanic who does house calls.
They’re kind of crude. They’re rough machines mechanically. Simple to work with but they’re not sophisticated.
Don made this work for me by installing a servo motor. That motor is a miracle. So is Don. I’m grateful for both.
Am I sorry to be working with an older machine? No. They don’t change that much. As far as the changes in machines over the last 50 years, the most important one was being able to set needle up, needle down. With the servo motor, it’s in excellent fighting shape. These machines are indestructable.
Am I thrilled? Yes. Downside and all, I can tackle those big pieces without making a collection of broken sewing machines. Will I use if for everything? Probably not. Again, hard to control.
Want to come play with my new machine? Give me a call and come over. It’s like running a tyranasarus that sews.
We talk alot about contrast. Contrast creates all the excitiment in our work. We think about contrast in color, in dark and light, and in shapes. All of those play a big part in how we view a piece of art.
But there is a more subtle form of contrast: sheen. The first thing your eye sees is not the color or the form. It sees how shiny things are. The sheen separates everything from anything that isn’t shiny. It helps the eye comprehend what it’s seeing, what is important.
The easiest way to think about this might be the hardware paint department. You can get paint that is matt, paint that is eggshell, and paint that is high gloss.
Unlike the paint, there are a lot more subtle differences. Thread and fabric have large variations in shine.
In this piece I used several shades of iridescent organza. This is pure fairy dust. Cut in short lengths it makes Angelina Fiber.
Angelina fiber is more blingy. The organza is one step down on the blingometer. It’s a bit hard to work with in terms of color. It acts like any other organza for applique. I fuse it on with Steam A Seam 2, and stitch it with a soft monofilament edge.
The trick is that it picks up the colors around it. It’s not at all the color you see on your cutting table. And it shines like a neon star. These are the atmospheric appliques that form the water reflection. The moon is white. The ripples are a light blue. And the dark is a deep cobalt. It’s not what you’d expect. But I love it.
You do need to tone it down a bit so that isn’t the only thing people see. How to do that? If you can’t beat them, join them.
The fish applique are metallic thread and have a different sheen. But for the background, i covered it with Sliver stippling. Sliver is lurex as a thread. It looks like Christmas tinsel. It acts like an anaconda in heat. But if you put it in the bobbin and stitch from the back it is easy to work with
The result is that it’s all so shiny it fits in. Which is where I added leaves that are matt, just for contrast.
How do I know if I did it right? I take a black and white photo. If it’s all visible and it balances, I’m there. I almost always take a black and white photo of a piec when I pin everything up, because that’s when I can make my corrections most easily.
You can see the bubbles gleaming out, but the stipple with Sliver makes it a more even treatment, and the fish show up better.
For those of you who have been following along, you know we had a machine crisis for most of last year. It turns out that what I’m doing is really hard on machines. I’m finding my modern machines are just not up to the challenge.
Enter Ebay and Don!
Don found me a newly restored 930 Bernina, It’s a love. It’s still not a strong enough machine for the denser embroideries, but that’s ok. We have a servo motor for the old industrial Singer 20u. Don says he will be ready to start the switch on the motors perhaps next week.
1169-25 In the Shell
So in celebration for the new baby, and because I finally had the right tool, I got In the Shell finally bound.
Do you remember the feeling when you got a new box of 64 crayons? That’s a large enough number that they had some with silly names like Mac and Cheese. Open up the box. Choose your color. Instant antidepressant!
This quilt had the same effect. It got me through machine withdrawal, over the last months.
Madiera has a line of polyester embroidery thread called Neon. It isn’t all neon color. There are restrained greys and browns. But there are some kick ass oranges, yellows, greens, pinks, and reds, You get the idea.
This quilt was a mood lifter. Partially because I love the idea of a baby octopus in a shell, and partially because the colors could knock socks off.
Between the machine and those colors, I’m feeling so much better now.
Never be afraid to use the brightest, boldest colors. They’re not only lovely. They’re good fiber for your diet. And they fight depression. Eat the rainbow!
In a world where sewing machines have automatic cutters, do we need to tie off thread ends?
It’s certainly a time saver to have an automatic cutter. But how good are they? And what do your ends look like once they’re cut?
My 770 Bernina has a thread cutter. I love it when it works. That is part of the issue. But it’s instant, and happens at the push of a button. It does speed things up.
But there are other things lost.
Using an automatic cutter, it works equally well either working from the top or the back.
You can really only tie threads working from the back, unless you’re willing to pull all the threads to the back to tie them. Why go to the bother?
It depends on how you feel about poking up threads, and what kind of threads you are using.
Thread types
I use three kinds of thread for building most images: polyester 40 weight, wound metallic, and flected metallic. I could use rayon, but it breaks more than I want to put up with. I could use cotton, if I could tollerate the fact that it isn’t shiny. So those are my go-tos
Polyester thread is strong. Because it’s all of one piece, it doesn’t fray very much. It’s a softer than metallic.You can clip it right to the edge. You’ll have some poke up but it isn’t wirey.
All metallic thread is different. Since they’re wound of several components, even the best of them are relatively fragile threads, And it frays. The wound metallic is worse than the flecked thread. IF you clip them close. they pop up like the little wires they are, and leave obnoxious poke up endings.
Just because metallics are fragile, I tend to use metallics only from the back side. Thread breaks more through the needle than through the bobbin. But, as a side effect, you can pull the threads to the back and tie them.
It that tiresome? Oh, yes. It slow down your stitchery considerably.
That being said, nothing else looks like metallic thread. It’s a texture that is crisp and shiny. Did I mention that I like shiny?
Is it worth it? It all depends on how you feel about fuzzy threads poking up from the top.
Pulling threads
For this fish, with all his spots, I felt it was essential. I wanted a smoothly scaled surface with separated spots. You can sew all the spots at once and have stitching connecting them through the piece. It works if you intend to stitch heavly over the connections. It tends to be a bit thicker than I like. So each spot was stitched separately and tied off, start and finish. If I just clipped thread, the fish would look furry before I finished.
Could I have stitched in one place and anchored my thread that way? I’m never sure about that. Sometimes I’ve seen it hold, sometimes not. Tieing is sure.
How to pull up thread
Come to the end of your stitching line.
Pull the piece 4-5 inches away from the needle, with both top and back thread attached.
Place the piece under the machine needle exactly where you stopped.
Move the wheel through one stitch. when the needle comes up, take the top thread from both where the stitching stops and from where you put in the last stitch.
Pull the thread from both places, and your thread will pop to the top of your piece.
Cut the ends long enough to make a knot.
Tie top and back threads together
Clip after the knot
So here is my beautiful fish, ready to jump in the pool. He’s all tied together, and he’s sleek in his metallic finish. And nothing is poking up, laughing at him.
Is it fussy? Well yes. But if it gets the look you want, isn’t that the point?
