Canterbury Knight: Fixing mistakes and a marker test

At the end of the day yesterday I was feeling fairly depressed because I thought I had ruined my center block and would have to start all over.  But I decided to try today to fix it.  What happened is that I had added the mote stream behind the knight, and had failed to mostly cut out the fabric under the horse.  I forget how sensitive silk is to things, sometimes.  It is thinner and drapier, and so it showed the edges of the stream right through the horse.  I had steamed it down, so I didn’t think it would come up.

But I was wrong.  Today I found my little Clover ball point awl and a tiny bit of heating the applique with my iron enabled me to slip the awl under the edge without damaging the applique and remove it from the background, as well as separate the horse from the stream.  I recut it, reironed it down and it looks great.  The picture below  shows all the wrinkles and things of the background, but trust me, it is in good shape and all those will disappear with careful ironing and as I work it through. So I am ready now to start the edge stitching, threadwork, and details that go on before adding the border, the word block, the birds and then sandwiching it, which aren’t many.  Most of the details are quilted on.  The horse gets most of his tail and his main.  but beyond that, it is mostly edge stitching.  I am so grateful I managed to fix this!  On to the next challenge!

Ready for the edge stitching.

Ready for the edge stitching.

 

Sew I assembled a bunch of markers to see what I can do about marking the border, which has to be carefully marked, quilted, and then painted.  The border is black cotton/silk Radiance and I am not going to wash this quilt.  I will probably spritz and steam it a little for the blocking, but not enough to remove my favorite marker…the Crayola Washables.  I love those markers, because you can see them, iron over them, and they wash out completely. But you have to wash the quilt to use them.

Anyway, I tested everything from Frixion, Clover White Marking Pen, Fons and Porter mechanical pencil markers, Quilter’s Choice chalk silver and white pencils to White Mark Be Gone.  The Mark Be Gone works on black cotton but not on black Radiance.  You can’t see it.  The Frixion is completely unseeable.  The only ones that you could see are the Quilter’s Choice chalk pencils and the Fons and Porter mechanical markers.  They both rub off fairly quickly.  The Fons and Porter is what I used for Canterbury Silk, and it was very hard to keep on.  I kept having to remark frequently.

The winner, is Quilter’s Choice, both silver and white.  But even they rub off, just not as fast.  The Frixion works great on the other colors*.  And I only need those marks a little for placement of things, so I can do them in such a way that even if the quilt gets frozen in transit and they come back, it won’t be visible.  I do have to mark the light grey castle (yes, it’s grey, not white) for quilting.  I will use the silver chalk pencil for those.

Sew happy everyone!  Don’t get discouraged if you make a mistake.  It can often be fixed, and if not, you CAN remake something, though often there is another solution.

UPDATE:  I also have tested Pismacolor colored pencils, upon the suggestion of Hollis Chatelain.  These are very visible and remove easily with a fabric eraser.  I found they rub off, but not as easily as most markers.

*  If you use Frixion, be sure you place it in such a way that even if it comes back that won’t be a problem.  In my case I am only using it for placements of objects on the central block and it will not show even if it does not go away.  I have been told that quilts that sometimes get in very freezing weather when shipped have been known to arrive with the marks all showing because Frixion returns if frozen.

Canterbury Knight: Ready to Start Making the Quilt

I’m pretty happy with my overall design for this quilt now.  Canterbury Silk is 36 x 44.  This quilt ended up a little longer…still 36 wide, but 50 long.  It was just the proportions needed for the design were a bit longer.  Anyway, I turned the design into a black and white and got it printed on 11 x 17 inch sheets ready to tape together.  I use Corel Draw for this.  If you have the Bernina Software, that has a Corel Draw part of it that will do the same thing for you.  Or if you don’t have either, your spreadsheet software will probably work.  I know that Microsoft Excel works.  You open a new document and place an image in the software and size it to the size you want.  All these programs will automatically break up your document into tiles for printing on the paper size you specify.  It’s a wonderful way to get a full sized pattern.  Here is how it looks on the screen all ready to print in Corel:

Printsnap

 

Now that I have the completed design properly sized, I can measure the central block and all the pieces I need to work with further.  I still need to paint the horse and face of the knight and print them on fabric.  I may do that for the birds, too.  Not sure.  Anyway, I can start to actually make this quilt now.  I love it when I get to this point.

Oh, you may want to see the finished design in color.  I took the horns off the little musician fellow.  That makes him more of a musician announcing the arrival of the knight and not such a jester.

Canterbury-Knight-final-design

 

Sew Happy Holidays everyone!

Canterbury Knight: Reworked Border Design

Reworked border design

Reworked border design

I decided the other border did not fit the series theme, so I spent much of the day reworking the border design, and here is my latest result.  This border was inspired by a Medieval border design found in Dover Pictura Art of Illuminated Manuscript, but I substantially changed and reworked it.  This border is much more in keeping with its sister quilt “Canterbury Silk”.

So I think this design is almost complete.  I was thinking about how to approach the horse and knight and the background castle, and decided it will have to be done in a number of steps. First of all, I will digitally paint the horse all by himself, without any of his armor or tackle, and without his mane and tail.  Then print it on fabric.  The mane and tail will be threadwork, and the tackle will be fabric applique or machine embroidery or both.  The knight will be approached in much the same way, with a digital painting of his face and hair, and the armor and tunic will be fabric appliques and machine embroidery for the details.  I am thinking of just a simple applique with detailed machine stitching of the castle in the background.  This approach will put more emphasis on the knight.

I’m still trying to decide if I really want the court musician or jester or whatever he is in the border with the trumpet, or if I want to replace him with more leaves and a bird.  In any event the whole border will be quilted and then painted, like I did on Canterbury Silk.

What do you think?

Sew Happy everyone…Merry Christmas!

Printing on Silk/Cotton Test Results

In preparation for some of my planned quilts using silk/cotton blend Radiance by Kaufman fabrics, I decided to try some printing on the fabric to see how it came out. I chose a picture from Dover Pictura Fantasy collection because it is rich with colors that could fade or bleed. Here is the picture as it appears on the screen:

Test:  Screen shot

Test: Screen shot

I ironed two layers of freezer paper onto the back of prepared for dye white radiance and using a rotary cutter and ruler, I cut the edges carefully to fit a letter size 8.5 x 11 inch sheet. I set up my printer as described in The Quilt Show episode 702 and taking into consideration some information that Jeanie Sumrall-Ajero provided on TQS–increasing the saturation, contrast, and darkening the picture a bit. Then I printed it in my Epson Workforce printer. Here is how it looked after printing and removal of the freezer paper:

After printing and before rinsing

After printing and before rinsing

Then I heat set it, rinsed it in cold water. squeezed it out, and ironed it dry (thereby adding to the heat setting). Since silk is easy to over-press and damage the look of the sheen, I pressed it from the back placing the right side on a fine piece of cotton on the ironing board. Here is how it looked after all of that:

post rinse and heat set

My eye cannot see a difference. My camera shows a very slight difference, but my camera skills may be responsible for some color differences, so take that into consideration. I believe this is a successful print test. I have not washed it with soap or hot water, but rinsing in cold is sufficient for my purposes, because that allows me to soak off glues and markings and properly block my quilts I might use this method for. More wash testing should be done before using it in a quilt that will be washed repeatedly.

I think it is necessary to use “prepared for dye” fabric, and back it stiffly and all over with freezer paper and set the ink intensity up to make this a success. Also be prepared for slight lightening of your printout on the first rinse. I did repeat rinse and had no additional lightening that I could see.

Sew happy everyone! Hope you find this of some use.

“Hand Sewing” by Machine

It is my belief that almost every look that hand sewing provides can be duplicated in a reasonable facsimile by machine. No, I haven’t lost my mind. At least, I don’t think I have. 🙂

I hope those of you who are hand quilters and embroiderers are not offended. I truly greatly admire the beauty of beautiful handwork. But I have some arthritis in my hands and in dealing with that I have developed a fascination for making my machine provide equally as beautiful stitching and in some cases take it far enough to make the viewer wonder if–or even be convinced that–they are viewing hand sewing.

I also love some of the looks that only a machine can make, but this is not what I’m talking about in this post.

I just think it is fun and challenging to see what I can do with the concept of “hand sewing” by machine. Recently I have been working on the design of a quilt that uses Sashiko for the background and in the foreground is an appliqued Japanese flower arrangement. After thinking about it for a while, I decided to do all the Sashiko by machine.

Now I have some in the hoop Sashiko designs that are lovely, and I will probably use some of these in this quilt. I have done some stitch-outs of these and they look best with 40 wt embroidery thread such as Superior’s Magnifico or Isacord embroidery threads.

But I want to try some bobbin work using the heavier weight perle cottons that hand Sashiko stitchers would use in order to see if I can make it look even more like the hand work. I will let you know if this works and present some photographs of some of my experiments with this…perhaps in a couple of weeks.

Meanwhile, I am also trying out some turned edge machine stitched appliques using 100 wt matching silks and monopoly and various stitches to see which looks the most like needle turned-edge applique by hand. Lots of other sewists have done work on this and some are really good at it. I just want to play around with it and see if I can get it really good.

My machine also has cross stitch on it and I haven’t played around with it very much yet, but I think I will try that also. In addition, I have learned to do some digitizing with my in-the-hoop embroidery using Bernina v6 software that looks very close to hand stitching. I just bought v7 upgrade as a Christmas present to myself and am waiting for it to come in.

I think this is really fun. I hope to share a lot of the results and ways to accomplish them with you in a couple of books I am already working on and plan to complete in 2015 and some bits here on my blog.

Sew happy everyone. Happy Hanukkah and Merry Christmas all!

Beginning the Second Canterbury Quilt

Here we go!  I am beginning the design work on a new quilt in my Canterbury series.  This one will center around the knight from the Knight’s Tale.   It will have a pictorial central section about the same size as on Canterbury Silk and a border inspired by, or even downright copied from, an 11th–12th Century illuminate manuscript.

I have multiple considerations as I work on this central design.

  1. Can I accomplish what I design?
  2. Does it match the overall theme of the series?
  3. Since I am working in a theme from centuries ago, how can I make it appeal to today’s quilt audience?
  4. How should I colorize this central part?
  5. Should the knight look something like the knight from “Equipped to Stand” (shown below) that I made in 2012 or like the ancient illustration (shown at the top of this blog, an illustration from The Ellesmere Manuscript, one of the oldest surviving illuminated Canterbury Tales.).  I really don’t like the way the knight’s head looks on the ancient illustration but I can fix that I think.  I really like the Equipped to Stand knight, but he may be too modern, and I would change his and his horse’s dress, or maybe have his head facing front.  🙂
  6. What should the background look like for him?  It needs more than just the knight for balance.
  7. Should the central theme be silk or can that be cotton and the border made from cotton/silk Kaufman Radiance, like I did for Canterbury Silk?
knight detail from "Equipped to Stand"

knight detail from “Equipped to Stand”

I really hope to make this a beautiful and exciting quilt that also goes well with Canterbury Silk.  I plan on making a total of three Canterbury quilts that more or less match in size and character.

Canterbury Silk a MQX with Best Surface Design ribbon

Canterbury Silk a MQX with Best Surface Design ribbon

Sew send some good wishes my way as I work through this design and subsequent making of the quilt.  I plan on sharing this quilt journey with you and will discuss my techniques along the way.  I hope to post a blog on this at least once a week, and occassionally more often.

Sew happy everyone!

Working With Hot Fix Fibers (Angelina Fibers)

Stellar Nursery, inspired by NASA photos of "Mountains of Creation".  My first deep space quilt.

Stellar Nursery, inspired by NASA photos of “Mountains of Creation”. My first deep space quilt.

I have made two deep space quilts that used large “appliques” of Angelina Fibers…or holographic fibers that make a “fabric” when ironed together and their sister fibers that do not iron together.  I used these fibers to try to represent the exquisite colorful gas clouds pictured in NASA’s Hubble and Spitzer telescope photographs.  I also have used this product to represent foamy tops of waves on a stormy sea on other quilts.  I believe they would also make wonderful steam clouds from a steam locomotive, wings of butterflies, dragon flies, fairies, or angels.

Working with the fibers is not really difficult, but I have discovered some things that make them work better for my purposes.  First of all, one cannot simply place a pile of fibers down and iron them flat if they are to look right. It’s more like painting with your fingers.

You need the following tools:

  • sheets of either a teflon pressing cloth or a saved sheet of backing paper from fusible webbing (note the hot fix fibers only stick to themselves and the bottom of your iron…you can work directly on your ironing board, though I cover mine with backing paper).
  • an iron
  • a pointy something, like a chop stick or a bamboo cooking skewer or a sewing awl to move the fibers around.
  • a hard pressing surface works better than a well-padded ironing board
Set up ready to start

Set up ready to start

Working with very thin layers, I laid the fibers on a backing paper and arranged them as much like I wanted them as possible with such a lively set of fibers, and carefully placed the teflon sheet over the top.

Really thin layer

Really thin layer

Blues change color the most

Blues change color

Sometimes, sliding the pointy thing under the pressing sheet, I made a few adjustments.  I then  ironed over the sheet, drawing the iron across slowly but steadily and without stopping.  That is all it needs to turn it into a “fabric”.

Carefully cover with pressing sheet

Carefully cover with pressing sheet

Here are some of the other things I learned about it:

  • If you iron the fibers too long….and that may be just a few more seconds…it will darken.  This can be useful if you are making a dark nebula, for instance, like the Horse Head.
  • They tend to change colors a bit.  Blue fibers are the hardest to keep their colors.
  • Not all Angelina Fibers are hot fix, but if you are going to cover the fibers with a nylon veiling and sew down, you can use them if they are the color you need by sandwiching them between a very thin layer of the hot fix crystal colors.
  • Work like you are finger painting…round shapes, good for cloud puffiness, are best done in circular motions with your fingers, and carefully laying the pressing sheet over them and pressing. ‘
  • You can kind of comb the fibers with your fingers and the pointy thing if you need them to stretch out sort of straight.
  • The only way to get a hard edge is to make a flat sheet of the fabric and then cut it.  If you want a soft edge (in appearance), don’t cut it, but pull it straight out flat with your fingers until it  tears  off in order to fit into your desired shape.
  • Once the fiber is made into a fabric, this fabric cannot be pulled into any additional shape…there is absolutely no stretch.
  • Sometimes it is possible to remove a layer if you haven’t over-melted your fibers together and don’t like what you have done.

 

layer ready for horsehead

layer ready for horsehead

If you are working out a pattern of some sort, you need to realize you will not be able to mark it except perhaps with a soft chalk marker that will just go away while you are working with it.  I worked on black fabric and printed out a smaller picture of what I was trying to accomplish in color.  Laying it next to my work, I referenced it.  I did mark approximate sections within the nebula on my black fabric using a chalk for sizing purposes.

The resulting artwork should not be washed after completion, so you have to be aware of that during the entire time.  It is possible to block your quilt by laying it on the floor and spritzing it with a fine mist of water, but do not wash it in your washer.  Also, once quilted, don’t pull your quilt too forcefully to try to block it.  So I use a quilt sandwich somewhat larger than I need and square it up by cutting rather than blocking.  The blocking is so it lays nice and flat.

I also printed the horsehead full sized and cut it out like a pattern.  This enabled me to cut out the horsehead part of the nebula by holding it together with the fiber applique before applying it.

Horsehead cut out after making as close as possible with fiber "painting"

Horsehead cut out after making as close as possible with fiber “painting”

The background needs to be completed before you start adding the Angelina Fibers.  In the case of the Sky Horse, I painted some of it first, sandwiched the quilt, spray basting it together, then laid the appliques on the background and covered them with black nylon veiling.  Black veiling virtually disappears in this case.  Then I placed my pressing sheet over that and did a light ironing to join all the appliques together.  Once I did that, I pinned it together with safety pins and did the quilting.

Horsehead layer in place

Horsehead layer in place

I used both black 100 wt silk thread and Superior’s Glitter.   This thread looks almost like the Angelina Fibers and works well for special places, such as the horse’s head.  I heavily quilted it.  Once it is quilted together with the nylon veiling it is much less fragile and I found it went through the shipping to and from and the showing at the Houston show with no apparent damage at all.  Before it is quilted, though, it is kind of easy to crease it.

You can't mark this, so lay a picture beside your work.

You can’t mark this, so lay a picture beside your work.

When used as just a small accent on a quilt, you don’t necessarily need a veiling, but you do need a heavy amount of quilting.  I found that Superior’s Glitter works very well for this also, since it looks like the fiber, but it sews easily.

Tatum_SkyHorse_Full 2014

Sew there you go….that’s how I work with  Angelina Fibers.  It’s harder to describe than it is to do, sew give it a try.  I’d love you to let me know how you find working with it yourself and if you have any tips to add.

Sew happy everyone!

 

I Like Machine Applique

appliques

Appliques from Canterbury Silk at the beginning of the quilting process. These are fused, stitched raw edge applique with narrow single blanket stitch.

I have noticed lately quite a few statements by sewists and quilters about how they really dislike doing, are afraid of, or simply won’t do applique.  I have a little arthritis in these aging hands and find machine applique much more user friendly for this situation than by hand, but it is one of my favorite parts of making a quilt.  I use several applique methods and use each for different purposes.  I decided to share a few of my favorite applique points.

1.  For  very complex edge appliques I always use fused raw edge machine stitched applique.  I decide what look I want to determine if I use a satin stitch, a single blanket stitch, or a double blanket stitch.  I almost always use a really narrow stitch, but once, when I made seaweeds, I used a wider double blanket stitch and it looks really cool. 

 

Thread painted coral and seaweed with wider double blanket stitched edge.

Thread painted coral and seaweed with wider double blanket stitched edge.

For the printed appliques I digitally paint of faces and small appliques, I sometimes use a very small straight stitch with 10o wt silk very very close to the edge.  It depends on what I want to accomplish.

The Storyteller–This quilt relies heavily on appliques. Even the tree trunk, which is embroidered, was embroidered on a separate piece of fabric, cut out, and turned edge machine stitched. You just cannot see it was machine stitched down. The sun is turned edge also. All the other appliques are fused and edge stitched.

2.  For very smooth edged, larger appliques, I usually use a double layer of freezer paper template pressed to the wrong side, and do a turned edge by painting starch on the edge, turning it, and ironing just a small bit of the edge at first to make a smooth edge, and then ironing the whole turned edge down.  Once that’s all starched and heat set, I remove the freezer paper and iron it all flat.  I then stitch it down with 100 wt silk using a very narrow applique stitch.  It virtually disappears and closely approximates hand turned applique.

3.  Occasionally, I have done a reverse applique.  It’s not hard at all and has a unique look.

4.  And finally, there is the painted “applique”.  I will either paint it on the quilt and then quilt or quilt and then paint.  This is good for when you want to shade the applique or make it have a particularly unique look.  Although I use fabric paints that are washable after heat setting, I do not consider these quilts very washable.  They are blockable, but I would not wash these frequently.

Sew try some appliques on your next project. If you don’t like one method…try another. Teach someone to quilt, yourself, your son, your daughter, your BFF, your cat, your dog.

 

 

 

 

Sky Horse, Houston, and Focus for Future Quilts

Tatum_SkyHorse_Full 2014

Sky Horse. A deep space quilt inspired by NASA photos of the Horsehead Nebula

The judges have finished judging and the notifications have gone out, and Sky Horse did not win a ribbon.  Sew I thought I would go ahead and share the finished pictures with you.  The problem has always been getting a good photo of the quilt because of the way it reflects the light.  But the one above is the best I could get after getting a special lens and all.  Here’s the detail:

Tatum-SkyHorse-Detail 2014

I have no idea how well it traveled.  I did my best in packing it to travel without developing serious folds or breaking of the Angelina Fibers applique (if you can call it that).  I have had good success in the traveling of my first deep space quilt Stellar Nursery.  It’s tougher than you might think once it gets the black veiling sewn on and the all-over quilting.

Stellar Nursery, inspired by NASA photos of "Mountains of Creation".  My first deep space quilt.

Stellar Nursery, inspired by NASA photos of “Mountains of Creation”. My first deep space quilt.

I am very happy to have Sky Horse in Quilt Fest in Houston.  It’s a true honor just to get in that show.  Of course, I’m a little disappointed not to get a ribbon, but the quilts that go there are incredible and I also think I did not capture the Horsehead Nebula as well as I wanted to.  I may try again some day.

Over the past few months I have had several discussions with two well-known quilters who both suggested to me that I pick one or two styles and make lots of quilts in those styles reaching constantly for improvement with each new quilt. I think on the whole that they are right.  But I will confess that this is difficult for me because I love so many kinds of art style quilts. 

The first is 1.  deep space quilts as seen above and just for reference here are several from my other styles,

2.  Story landscape quilts:  They tell a story on some kind of landscape:

Waiting...

Waiting…

The Storyteller

The Storyteller

Then I have the 3.  line drawings/blue print quilts:

Tatum_DadsHousePlan-FULL

Dad’s House Plan–a memory quilt for my Dad. This quilt was juried into AQS Chattanooga and will be there this week.

Perspective in Threads - This quilt was recently juried in to Houston's Tactile Architecture special exhibit and will be in the Houston show and traveling for a year thereafter.

Perspective in Threads – This quilt was recently juried in to Houston’s Tactile Architecture special exhibit and will be in the Houston show and traveling for a year thereafter.

And then there is my newest style, which one might call 4.  Innovative.  This quilt is meant to be the first of a series of silk quilts focused on ancient illuminated manuscripts and other old European and American artwork.

Canterbury Silk.  This quilt has been juried in to MQX Midwest and will be debuted there this year.

Canterbury Silk. This quilt has been juried in to MQX Midwest and will be debuted there this year.

Sew in principle, I agree with my quilting friends…4 styles is a lot to build a reputation on, and one needs to focus on a style or two and make many of those quilts.  It’s much like the decision I had to make many years ago to reduce my multiple crafts down to focus on fabric arts. But I have not yet decided.  They are all fun.  What do you think?

 

 

Progress Report and Thoughts on Quilting Economics

Saturday Morning 12 July

Saturday Morning 12 July

Hi. It’s been a while since I wrote a post mainly because I didn’t have anything more interesting to say than “I’m still quilting.” 😀  Well, I finally finished the quilting and moved on to painting the border.

Now I thought that painting the border would not take me more than a day or two, but I have been painting about three full days so far and as you can see, I have less than half of it done.  I’m using a combination of  Lumiere and Setacolor paints.  I found if I accidentally paint a little outside the stitching, it can easily be removed if I act quickly with a dampened paper towel.  Then I finish off the leaves and flowers with a coat of SoSoft glitter finish.  I actually like the Setacolor glitter finish also, but the glitter pieces are much larger in it and I thought the subtlety of the SoSoft works better for this quilt.  SoSoft takes a couple of days to stop being sticky, but it dries to a level where it doesn’t disturb it if you touch it in about 10 minutes.  Setacolor dries faster and better than any of the paints.  After the paint dries for a couple of days, I will turn the quilt upside down into a soft towel to prevent the trapunto effect from being squashed and heat set them by ironing from the back of the quilt.  I’ve already tried this with my sample pieces and know it works well. 

I estimate that I will finish the painting in about three more days of work.   I am using multiple paint colors on each leaf, flower, and swirl and this takes time. Then I will bind it and I have a lot of beading I want to add to the quilt…beads in the middle of the flowers, around the center of the faux sashing between the red center block and the border, and I ‘m debating whether to scatter some beads on the border.  The original design from the illuminated manuscript has some scattered spots of paint that could easily be beads on the quilt.  Here it is.  See the spots?

My design...border taken directly from digital picture of an illuminated manuscript.

My design…border taken directly from digital picture of an illuminated manuscript.

 

Sew that’s why I haven’t been around to post anything much lately.  But I have been taking periodic breaks and watching entries in Facebook, The Quilt Show, and so forth.  I have noticed that there is a bit of disturbance in the quilting world regarding what threads and fabrics to buy, what fabrics “require” what threads, and where “responsible shoppers” buy them.  Sigh.  I may lose some of my followers here, but this is what I think about all of this.  Buy the best grade of fabrics and threads you can, because you are spending so much of your time and effort making these wonderful quilts and garments, but sometimes you can find real bargains of fine quality threads and fabrics.  So buy them where you can get the best for the best price.  If you buy them from JoAnns, or the big box store, you can take comfort in the fact that you are helping supply badly-needed jobs for your neighbors.  If you buy them at your local quilt store, you can take comfort in the fact that you are helping to keep them in business.  If you buy them from the Internet for a particularly good price and convenience without spending gas to go get them, you can rejoice in having saved enough over time to make one more quilt—perhaps even a charity quilt.  Don’t feel guilty for where you shop or what you buy, but DO pay attention to the quality.

Sometimes it is just as cheap or cheaper to buy a high quality thread in a cone on sale than it is to buy a low quality thread in smaller quantities at a discount store.  The lower quality thread also can damage your machine, so that has to enter into your thinking about the economics behind your purchases.  Also, it is not necessary to use cotton threads on cotton fabrics.  The quality of the higher end threads, especially, are so high now that no longer applies.

Sew those of you out there who have developed into–for good reason–thread snobs or fabric snobs, please be gentle with those who shop where you think they should not and buy the threads you think they should not, and vice-a-versa.  Love thy fellow quilter or sewist as thyself.

Sew happy everyone!  Teach someone to sew…your son, your granddaughter, your nephew, your niece, your fiance, your neighbor down the street, your cat, your dog. 😀