- Hi, I'm Deanna Springer.
On behalf of Nancy Zieman Productions and PBS Wisconsin,
thank you for joining us
for this special educational presentation.
Please add your questions for the presenter in the chat
and stay tuned for a Q&A after the lecture.
Then be sure to explore everything else
The Great Wisconsin Quilt Show has to offer,
including beautiful quilt exhibits
and an interactive vendor mall.
Thank you and enjoy.
[bright music]
- Hello, my name is Sue Heinz and welcome to my studio.
While there are a wide variety of edge to edge,
border, block, and linear designs amongst my five books,
today I'm just going to be focusing on grid-based designs
from two of my books.
Why grids?
Well, there's actually three reasons.
They provide structured backgrounds with unique fills
and they look especially wonderful
when paired with quilt tops
that are either modern or organic in theme.
Two, when mirrored and repeated throughout the top
as border, linear, or block designs,
and I'll just show you how easy that is,
you can create a custom look without even breaking a sweat.
And three, grids are fun, fast, and of course,
with my designs, fabulous.
So let's get started.
The patterns that I'm going to be showing you
will come from my new book called Caffeinated Quilting .
And I've chosen grid-based designs that are leaf-shaped
because again, they look wonderful
with organic or modern quilts.
The first design is called Wicked Good.
So I have this on my quilt, this grid,
and now I'm sewing.
I'm going to come up and across the top of the grid.
You wanna fill the entire grid and come down.
So it's a very chubby leaf shape.
And then I'm going to do a big circle,
hang down here for just a moment,
and do a giant S curve up to the top.
But notice that my S curve does not go to the point,
it enters the top of this.
If this is a one inch,
this would be about a quarter inch back.
Now I'm gonna echo that down and echo it back up.
That's the complete design.
But let's see how it looks in the second grid
because I'm gonna have to rotate it.
Come down, do my big leaf once again,
touching all four sides, backtrack, pebble,
S curve down, repeat the S curve back up,
S curve back down.
And then the third and subsequent grids
across this linear plane here
would be a combination of these two, just repeated.
So I'm gonna do one more
and that would be a repeat of the first design I did.
And so on.
A lot of us get confused on what to do with the second line.
How do I start?
Well, generally it is the second pattern here
starts the second row,
and in this case, that is the case.
So I'm gonna start with the second design,
so that is a downward-facing leaf.
S curve up, repeat it back down.
And at this point, I wanna point out something.
I call them hellos and goodbyes.
It's where the design meets a design
either above it or on the side of it.
And what I'm doing is
I'm creating consistent background spaces here.
They're also called secondary designs.
If you have a batting behind this, which you would,
this would create the puff
that is again part of the pattern.
So I wanna come in and go out at the same positions
as either above or to the side.
So this would be a goodbye.
I'm coming off of this one at the same point
that this enters this grid.
And I'm looking to right there to connect
with that top design, so that would be a hello and goodbye.
And then one more, this would be my goodbye,
launching that leaf right at that point.
And then my hello, see how this one is further back.
So I don't wanna enter the grid here,
I wanna pull it further back as a hello like that.
And that is that design and it's called Wicked Good.
Now, when you're doing grid-based designs,
grids can be a football field wide or a very small area.
It just depends on the quilt that you're working with.
So when I go to the end of the line,
I normally would break thread and tie off
and then start a new line.
Don't try and go backwards; it's pretty confusing.
So that is that pattern.
And let me just show you how beautiful it looks.
I love this design for the way that the circles just kind of
sparkle and pop throughout the design,
which makes for some great movement
to the back of your quilt.
Love it, this again is called Wicked Good.
My next design is called Caffè Crema.
And it is a combination of leaves
and an aromatic swirl of wonderful aroma
that you get off of your favorite hot mug.
Again, a leaf shape to start.
And this time, I'm gonna go straight down to the point.
Then I'm gonna launch into a spiral.
The spiral touches all three sides of the grid.
And then you spiral evenly.
What I mean by evenly is keep the spacing
consistent like that.
Now you have a choice with spirals.
I can either go to what I say is the inside of that spiral
or to the outside.
It makes a big difference which direction you go.
And I call these innies or outies.
And most of my designs are innies.
And so I'm gonna do an innie here, go to the inside,
and then just travel down this corridor evenly,
don't touch the sides, don't touch the sides
till you get down to the bottom.
As soon as you touch that bottom, you're done.
You can proceed on then to the next grid,
and that would be another leaf.
So upward-facing leaves have a downward-facing leaf
next to them.
As soon as I'm in a downward leaf position,
the next grid would be a spiral.
Starting the second line, second design is a spiral here.
So that's how I would start.
Hitting all three sides.
Keeping it even as I spiral in, go to the inside, spiral out.
As soon as I touch, go to the next grid
and start my leaf shape.
Watching again my hello and goodbyes.
And you'd continue on like that.
And that, again, the design is called Caffè Crema.
And I think it provides just a beautiful background.
Hopefully you agree.
Again, Caffè Crema.
Grid-based designs, as I mentioned earlier,
can be echoed and made into block and border designs.
Let me just pull this back once more and show you something.
A lot of us have just learned grid-based designs
and just think of them only as a grid-based design.
Wrong!
You've got so many more options to choose from
with any of the designs.
So let's just look closely at this.
Top line, do you see what I'm seeing?
It's a great linear pattern.
Look at here, ah, a beautiful block-based design.
And again, all you've needed to learn
are just two shapes, a leaf and a spiral.
Here's an example of what it would look like as a border.
Pretty special, no?
This design is called Spearmint Tea.
And I think with all the spikes in it,
it would look especially striking
on any guy-based quilts.
And here it goes.
Again, another leaf shape to start.
This time, I'm going to be focused kind of
in the middle of this curve here.
And I'm gonna put in a curl, backtrack on the curl
either on the line or away from the line.
Away from the line is a little easier to do,
stopping when you're in line with this line here,
and then go straight to the point.
Then a slight angled line down back to this point.
Now you're stuck there and you have to get over here.
So I'm gonna put in three points.
Those points angle,
and look at the top, and then rounded back.
Angle, look at the top, rounded back,
and then a third time, repeat,
and head straight to the point of the leaf.
That is the entire design, Spearmint Tea.
Let's look and see what it looks like
on that second grid, then rotate it.
Leaf shape.
My point looks downward.
So it faces the one I've just sewn.
Backward angle, point to the top, rounded back,
point to the top, rounded back, point to the top, rounded back,
and again, ending at the point of the leaf.
This next one repeats that first leaf pattern.
Rounded back, one, two, three spikes, and done.
Again, continuing as wide as you need it to go
and then break your thread, tie off,
then start the next row.
I'm going to change this row for the second time.
You can do this one of two ways.
You can do an exact repeat of this second design,
or just for fun, you can rotate it so that these curls
look at this intersection.
Let me explain.
I'd still do a downward leaf,
but my curl would face this curl.
So again, look to kind of the middle, backtrack,
come on down, curved line, one, two, three points, and end.
Hello, goodbye, got it.
Leaf.
Angled line one, two, three, and like that.
So this is what the sew out will look like.
I have it two ways, one with this type of rotation.
And again, is that not a striking block design?
Or linear, or as a background grid
like I'm showing you right now.
So here, my curls are facing each other.
And the result is that I have a beautiful,
almost circular double wedding ring type look.
My eye just goes to these intersections and around.
But if I did not rotate these curls,
then this is what it would look like.
And let me put these side by side.
And you can see it just has a totally different vibe.
And all you've done was just rotate
one of the two repeats, pretty cool.
Why don't we do a herringbone pattern?
I don't see many grids that look like herringbone.
So let's try that one out.
Again, using my leaf shape,
but this time, the leaf is only pointed at one end.
To do this design, you'd need to just quickly mark.
Don't get out a ruler, just kinda dead reckon it.
A point, a dot in the middle of each grid.
And now we can start.
I'd sewn down to that point and then put in my leaf shape.
It almost looks like a spade in a deck of cards.
Put in a fairly large pebble.
Then I'm gonna go down to the point, back up to the pebble,
and now I'm stuck there and I need to get going
to this second block.
So I'm always going to exit on the bottom.
So let me show you.
It would be the bottom of the leaf.
There's my spade-looking shape,
circle to the point, and back again.
And the bottom would be right there.
This, again, mimics my first block
to the point back up and out the bottom.
Second line does not repeat this;
it actually repeats this.
So that's the way I get the herringbone look.
Actually, this is called Java Bean 3
in my Caffeinated Quilting book.
And actually that means that there's three variations
of this design.
It looks stunning just by rotating
the direction of these leaves.
But for now, I'm gonna go with the herringbone pattern
down to the point, back up, exit out the bottom.
Exit out the bottom and proceed like that.
And this is what that looks like.
Again, unique, fun, fast.
You're probably wondering,
"How do you mark that grid on your fabrics?"
Well, there's a couple of ways to do it.
One is to use this method, which is a stencil and a pounce.
And you just rub the pounce over it
and you'd get a nice grid pattern.
These are wonderful, this is a stencil from Full Line,
and they're wonderful stencils,
but they only come in one inch, one and a half, and two inch.
What happens if you need a different size?
Again, grids have to blend in with the background,
not compete with whatever is going on in the quilt top.
So that's why we have invented this.
This is called Sue's Gridliner.
This accommodates a chalk pencil up to one eighth inch wide.
And it fits in nicely into there.
And it has nice cross hatching.
So you can tell exactly if I wanted to do
an eight-inch grid, I can do it very easily.
And then it also has this wonderful curved edge.
I've been getting a lot of cool border designs
using this wave.
So that's Sue's Gridliner.
And here's an example of the many different options
available to you.
I can do full inch, half inch, quarter, and even eighths.
Wonderful for unique piano key designs.
Clamshell designs has always been
kind of one of those things
that a lot of quilters think are very difficult to do
and you almost need a ruler to do them.
Nope, all you need is a square-based pattern
like what's shown here.
And you need to know a recipe.
The recipe is this, two by one.
That means each clamshell is two blocks wide
by one block high.
Let me demonstrate.
If this was the bottom of my quilt,
my clamshell would be like this, two blocks wide, one high.
If this was the edge of my quilt,
so I can only do a three block pattern,
then again, it would be a half clamshell.
I can erase my recipe real quick.
Okay, second row builds on top of that first row,
two blocks wide, one high,
and there is my clamshell pattern.
And then I do the end.
So let's now put a design within that clamshell.
This design starts as a linear-based design.
So let me show you how that works.
45 degree angle, nice round bowl,
go to the inside of that bowl,
and somewhere between halfway between the edge here
and the point, I'm gonna stop,
angle down, look here, and just get there.
Gonna mimic this on the top, come back around.
And that is the complete sashing design.
For the sake of this next example, though, in a clamshell,
I'm gonna leave off this point.
So this is the only thing you have to learn.
And, oh my goodness!
Is this ever a wonderful design.
Bottom row, I'm going to start on my design first.
It also goes two blocks wide,
but it's a little shorter so I can get in this clamshell.
There it is.
And again, I'm only gonna do a three by two pattern.
Then I would do half of this design.
So you look here and you go, okay, that's half,
and just kind of fake it.
Like that, and then the half clamshell.
This is where the magic occurs on the second line.
Now I've got all this space to play with.
So I'm gonna do a nice hook and then drop this point
down below this line here.
And that creates the puzzle piece that aligns everything
and makes it just beautiful.
What do you think?
Now I'm gonna take this same design
and I'm going to make it into a circular grid.
Circular grids, really?
Yes, and all you need is a circle
cut into eight pieces of pie.
And now I'm just gonna be focusing on just a wedge.
So you don't have to be freaked out and go,
"Oh, my goodness, I'm doing a circle."
No, you're just gonna do a wedge, you can do a wedge.
This second circle here is an alignment line
just for this design.
So again, here's a little sneak peek
at what the design looks like.
Basically, I'm just using this point and rotating it.
So starting with the wedge here,
I'm going to hit right there at that intersection.
Fill this whole space here with the curl,
aligning the curl right on that line.
Hit that mark right there, fill this whole area,
align the curl right on that line.
And as soon as I cross this line,
I'm gonna measure just halfway between this line
and there, it's about there, stop.
And I'm gonna put the point right there
at that intersection again.
And you're done, do it again.
Point and down, do it again.
And you are doing circular patterns.
The reason why I have this point right at that intersection
is again, it creates such a beautiful secondary shape
if you keep these points consistent.
So again, I'm able to turn a linear design
into a beautiful medallion design.
You wanna take it another step?
All right, how about if I continue to take
this shape and I only add one, two more circles onto it.
So now I have a wreath, you know,
think of Christmas, like a hole in it.
And I'm just gonna add on two more circles onto that
and extend out my division lines here.
I'm gonna take the same design and now I'm filling this shape.
Come around the top, this shape.
Come around the top, is this hard?
No, it's quite easy.
Just takes a little doodling practice and you've got it.
And you continue on and you've got
a breathtakingly beautiful design.
Let me show you in another way.
I've got a series of sew outs.
Here's that original medallion, again, as a design
divided into eight.
And this time, I did a little fancy, I mirrored each one.
So one looks at the other.
Then here's the wreath design coming in.
And I get a scallop shape because of the shape,
that 45 degree of my linear.
If you like that scallop look, then you're done.
If you don't, if you want to make it look
a little bit more circular, then just go around again
the circle with your sewing machine
and add something into these valleys.
In this case, I just added some more feathers in between.
Now it looks much more circular.
Then if you really wanna get fancy,
I can also make this circular design into a block pattern
by adding just one more circle.
Let me show you.
Here's my medallion.
Here's my wreath.
And by adding just one more circle,
which is the width of my block, like that,
that creates this beautiful corner pattern.
And now all I have to do is
wing it, so to speak. [chuckles]
You would mirror this individual shape up here.
So I'm going to just chalk in
or pre-mark this curl on this side,
and then I'm gonna do the design.
Go to the inside point, come on down, come on over the top,
fill in that point with some design.
I'm just gonna do that.
And because I've pre-chalked this,
now I've got something to go off of
when I come and make that point and come back in.
And now I have a beautiful block design.
These patterns are easily drafted by using a tool
that we've developed.
And it's called the Circleliner tool.
And it actually does over 90 different circles
and eighth inch increments,
and then divides those into eighths, quarters,
halves, sixteenths.
So it's pretty easy.
I just have this loaded onto a piece of black fabric.
And it's just that easy to do.
You can see the line that it created.
This also works well on a tabletop as I'm showing you now,
but also on your longarm.
Look to our website, sueheinz.com
for more information
on a tutorial about how that would apply to a longarm.
If I wanted this circle divided,
then I just use these slits to divide.
There you go.
How it's attached, we use very high tech tools.
It is just a thumbtack and a rubber cap, that's it.
And these are the designs that you can get.
Here's that same design that I was drawing out
as a medallion and wreath.
And then these are all part of a book called
Drawn to Mastery: Medallions, Sashing, and Wreaths .
And the entire book is almost 50 linear designs.
And then on the next page, I take 'em for a spin.
If you're wondering, "Well, how else can I use circles?
"I'm just not used to using circles at all
in my free motion quilting."
Well, how about if you take this,
any design that is divided into eighths,
you can use them as cornerstones, very easy.
And that creates a very unique and again cohesive look,
especially if you've got the same design mimicked elsewhere
in the quilt as a circular, linear, border, or block design.
I wanna thank you for your attention today
and for your enthusiasm about my patterns.
And now we'll entertain some questions from you.
Thank you so very much, enjoy.
>> HI.
I'M DEANNA SPRINGER.
THANK YOU FOR JOINING US FOR THE
GREAT WISCONSIN QUILT SHOW AND
THANK YOU FOR TURNING IN FOR
"FAST AND FABULOUS, FREE-MOTION
GRID DESIGNS" WITH SUE HEINZ.
HELLO, SUE.
>> HELLO.
>> SO GREAT TO SEE YOU.
YOUR DESIGN WORK IS BEAUTIFUL
AND YOUR QUILTING IS JUST
GORGEOUS AND YOU MAKE IT LOOK SO
EASY.
>> THANK YOU.
>> WE HAVE QUESTIONS.
YOU'RE SO WELCOME.
WE HAVE QUESTIONS FLYING IN SO
WE SHOULD GET RIGHT TO THE
QUESTIONS AND COMMENTS.
SO MANY COMPLIMENTS.
THESE ARE FASCINATING, SO COOL.
JUST MANY, MANY GREAT COMMENTS.
AND A QUESTION FROM FRAN.
HOW DO YOU GET FROM THE PAPER TO
THE FABRIC?
>> ALL RIGHT.
THANKS, FRAN, FOR ASKING THE
QUESTION.
WE ALWAYS APPRECIATE QUESTIONS.
DEPENDS ON WHAT YOU'RE DOING,
OBVIOUSLY, BUT WE'VE GOT SEVERAL
TOOLS.
SO IF YOU'RE DOING A CIRCULAR
GRID PATTERN, WE'VE GOT TOOLS
THAT WILL MEET YOUR EVERY NEED.
THE CIRCLE LINER IS ONE OF THOSE
TOOLS.
AND THAT HELPS YOU TO NOT ONLY
DRAW IT OUT IN PENCIL IF YOU
WANT TO PRACTICE WITH A PEN AND
PAPER BEFORE YOU GO TO YOUR
MACHINE, BUT THEY ALSO WORK ON
YOUR MACHINE.
SO EITHER WAY.
IT WILL EITHER TRANSFER ONTO
YOUR PAPER OR TRANSFER ONTO YOUR
FABRIC, NO PROBLEM AT ALL.
>> AND SO YOU JUST ANSWERED
SHARON'S QUESTION FROM DETROIT.
SHE WAS ASKING IF THE DESIGNS
WERE TO BE TRACED ONTO FABRIC OR
JUST ONTO PAPER FOR PLANNING.
SO BOTH.
>> BOTH.
>> GREAT QUESTION.
CAROL IS ASKING HOW LARGE ARE
THE GRID SQUARES.
SHE'S GUESSING 2 INCHES.
>> I CAN TECHNICALLY ANSWER ANY
QUILT QUESTION COMING AT ME WITH
"IT DEPENDS" AND I'D BE CORRECT.
GRIDS, GRID SIZE DEPENDS ON THE
SCALE OF THE PIECING THAT YOU'RE
PUTTING THE GRID ON.
SO YOU DON'T EVER WANT TO
OVERCOME, OVERPOWER.
SAY YOU'VE GOT SOME DELICATE
APPLIQUE.
2 INCHES IS KIND OF A LARGE GRID
FOR SOMETHING DELICATE, APPLIQUE
OR EMBROIDERY.
I'D GO A LITTLE SMALLER.
BUT, AGAIN, IF YOU TEST THAT --
AND A GOOD METHOD TO TEST THAT,
DEANNA, IF I CAN QUICK DO A
LITTLE HOW-TO, GET YOURSELF A
PIECE OF MYLAR.
IT'S AVAILABLE AT HOME STORES.
AND I'M SORRY.
NOT MYLAR.
PLEXIGLAS.
AND JUST TAPE THE EDGES SO YOU
KNOW WHERE THE EDGE OF THAT IS.
PUT IT ON TOP OF YOUR QUILT.
SO NOW YOU HAVE A ONE-ON-ONE
RELATIONSHIP WITH, YOU KNOW, THE
SIZE OF THE SCALE OF THE
PIECING.
AND THEN MARK WITH NOT A DRY
ERASE.
NO, NO, NO.
IT'S A WET ERASE MARKER.
AND THEY'RE CALLED VIS-A-VIS AND
THEY'RE AVAILABLE AT MOST FEDEX
OFFICE AND STAPLES AND THAT TYPE
OF THING.
AND THEN TO CLEAN IT, TO CLEAN
THAT PLEXI OFF, REMOVE IT FAR
AWAY FROM YOUR QUILT AND SPRAY
JUST A LITTLE BIT OF WATER ON A
PAPER TOWEL.
THERE.
I CAN SPEAK.
AND THEN JUST RUB THE SURFACE OF
THE PLEXI AND IT SHOULD COME
RIGHT OFF.
BUT THAT'S THE BEST WAY TO
PREVIEW YOUR DESIGNS.
>> GREAT IDEA.
AND, YES, WE DON'T WANT ANY OF
THAT MARKER RESIDUE FLAKING OR
RUBBING OFF ONTO OUR QUILT TOPS.
BUT I LOVE THAT.
THAT'S A GREAT IDEA.
BETH IS ASKING WHAT SIZE GRID
SQUARES WOULD YOU TYPICALLY USE
FOR A BABY QUILT PATTERN?
>> IT DEPENDS.
NOW, THAT ONE I WOULD GO LARGER
AND THE REASON I LIKE TO GO
LARGER ON BABY QUILTS IS WE WANT
THEM SOFT WHEN THEY'RE ALL DONE.
AND THE LESS THREAD YOU CAN PUT
ON A BABY QUILT WHILE STILL
KEEPING IT NICE AND SECURE AND
READY FOR 100 OR SO WASHINGS IS
THE AVERAGE THAT YOU WANT.
SO BIG SQUARES, YES, I HEARTILY
AGREE.
>> GOOD.
GOOD TIP.
HADN'T THOUGHT ABOUT THAT.
THAT'S A GREAT IDEA.
AND BOB IS ASKING DO YOU PLAN TO
USE AN ODD NUMBER OF LINES TO
EXIT THE OPPOSITE END OF THE
BLOCK?
>> YES.
IF I UNDERSTAND HIS QUESTION,
BOB, YES.
THREE GETS YOU UP, BACK AND UP
AGAIN.
NO.
ACTUALLY IT'S -- AN ODD NUMBER,
YOU END AWAY FROM WHERE YOU
STARTED.
>> OKAY.
GREAT.
>> SO IF HE'S ASKING -- IF I'M
UNDERSTANDING HIS QUESTION.
IF NOT, BOB, PLEASE REASK THE
QUESTION.
>> REPHRASE IT, BOB.
IF WE DIDN'T COVER IT.
THANKS.
JO IS ASKING HOW DO YOU WORK
AROUND A BLOCK DESIGN TO FILL
THE OPEN SPACE WITH GRID?
>> AGAIN, IT DEPENDS ON THE
BLOCK DESIGN.
BUT IS THIS -- WELL, I'M JUST
GOING TO ASSUME THAT THIS
QUESTION ALSO RELATES TO
APPLIQUE, BECAUSE I GET THAT
QUESTION A LOT.
HOW DO YOU PUT A GRID BEHIND
APPLIQUE.
SO WHAT I'VE DONE IS WHEN DEANNA
AND I WERE TALKING RIGHT BEFORE
WE WENT ON, I DREW THIS OUT.
SO HOPEFULLY THIS SHOWS UP ON
THE CAMERA.
BUT THIS IS -- SAY THIS IS
APPLIQUE AND I'VE MARKED A QUICK
GRID.
SO WHAT YOU WANT TO DO IS --
I'LL JUST DO A QUICK, CONTINUOUS
CURVE GRID HERE.
SO YOU'RE SEWING WHERE YOU CAN
SEW AND THEN AS IT HITS THE
APPLIQUE SHAPE, SO I'LL DO THAT
IN ONE LINE, SO RIGHT THERE,
THEN YOU KIND OF FAKE IT.
YOU SAY, WELL, HOW FAR WOULD
THIS MELON SHAPE BE OUT HERE?
WOULD I BE ABLE TO SEE IT A
LITTLE BIT?
YEAH, I SUPPOSE.
AND THEN YOU JUST USE THE EDGE
OF YOUR APPLIQUE TO TRAVEL, IF
YOU NEED TO, FROM ONE LINE TO
THE OTHER.
HOPEFULLY THAT IS A HELPFUL TIP
TO YOU.
>> BEAUTIFUL.
GREAT ADVICE.
IMAGINE THAT YOUR STITCHES ARE
BEHIND THE APPLIQUE BUT THEY'RE
REALLY NOT.
>> EXACTLY.
>> PAM IN MINNESOTA IS ASKING
WOULD YOU START SEWING ON THE
INSIDE DESIGNS FIRST AND THEN TO
THE OUTSIDE?
>> ON A DOMESTIC SEWING MACHINE,
IF, AGAIN, I'M UNDERSTANDING HER
QUESTION, I ALWAYS START SEWING
FROM THE MIDDLE OF THE QUILT AND
WORK OUT.
NO MATTER HOW WELL YOU'VE BASTED
IT, IT DOES HELP TO REMOVE ANY
OF THE WRINKLES TO THE OUTSIDE.
SO <!0> THAT WAS HER QUESTION,
THEN ON A DOMESTIC MACHINE,
ABSOLUTELY.
ON A LONGARM, OF COURSE, THE
FABRIC IS TAUGHT TAUT BETWEEN THE
RAILS, SO YOU CAN ACTUALLY START
QUILTING ANYWHERE.
>> GREAT.
AND THE NEXT QUESTION IS A
COMMENT.
SUSAN G. IS COMMENTING
FASCINATING.
I DON'T LIKE MARKING ELABORATE
QUILTING DESIGNS, SO I CAN'T
WAIT TO TRY THIS.
>> YAY!
THANK YOU.
YOU'RE CONVERTING.
GOOD TO GET THAT FEEDBACK.
>> BOB IS CHIMING IN AGAIN WITH
A GREAT COMMENT.
WHAT GREAT INSPIRATIONS.
TIME FOR ME TO GET DOODLING.
>> ABSOLUTELY.
>> HERE'S A QUESTION.
I CAN DRAW A STRAIGHT LINE, BUT
I CAN'T SEW IT.
WHAT ADVICE CAN YOU SHARE?
>> IF YOU'VE EVER BEEN A CHILD
-- AND WE ALL CAN SAY WE'VE BEEN
KIDS AND HAVE HAD THAT BRAND NEW
BOX OF BACK-TO-SCHOOL CRAYONS
THAT WE CAN'T WAIT TO GET AT,
THAT IS THE JOY.
GO BACK TO THAT JOY AS A KID.
THIS IS DOODLING.
IT IS NOT FINE ART BY ANY MEANS.
SO JUST, YOU KNOW, WHEN YOU'RE
TALKING ABOUT THE PHONE, WHEN
YOU'RE, YOU KNOW, SITTING IN A
DOCTOR'S OFFICE, JUST DOODLE.
AND WHAT IT DOES IS IT HELPS
INGRAIN THAT DESIGN NOT ONLY IN
YOUR HEAD, BUT THEN WHEN YOU'RE
ON A SEWING MACHINE, YOU DON'T
HAVE ANY HESITATIONS, BECAUSE
HESITATIONS DO SHOW UP.
SO YOU JUST I'M GOING TO GO LEFT
HERE AND I'M GOING TO GO RIGHT
THERE.
DOODLING DOES IT ALL.
>> GREAT ADVICE.
AND NANCY P. IS ASKING IS THERE
A GADGET THAT WOULD HAVE A
PENCIL SO I CAN USE MY PAPER TO
MIMIC FREE MOTION ON MY MACHINE
SINCE I'M MOVING MY FABRIC AND
NOT MY NEEDLE.
GOOD QUESTION.
>> ACTUALLY, IF SHE WOULD EMAIL
ME, KISMETQUILTINGQUILTING@ GMAIL.COM,
TOM AND I MADE SOMETHING FOR A
CLASS OUT OF PVC THAT MIMICS A
DOMESTIC MACHINE.
IT JUST HOLDS THE PENCIL IN
PLACE SO YOU CAN MOVE AROUND
YOUR FABRIC PAPER AND LEARN FREE
MOTION QUILT.
SO I WOULD BE HONORED TO SHARE A
PICTURE OF WHAT WE CAME UP WITH.
AND IF SHE NEEDS ANY
MEASUREMENTS, WE COULD SEND THAT
ALONG, TOO.
>> WOW.
INTERESTING.
THIS QUESTION IS ABOUT PROJECTS.
OTHER THAN QUILTS, WHAT IS THE
MOST INTERESTING PROJECT YOU'VE
MADE WITH GRID QUILTING?
>> OH, MY.
OH, YEAH.
TOM JUST REMINDED ME.
I MADE A SADDLEBAG.
THAT'S A BAG FOR SOMEONE'S
SADDLE, MY CHILD'S SADDLE, AND
IT'S ALL CROSS-HATCHED AND FREE
MOTION QUILTED AND GRIDDED AND I
DID GRID DESIGNS.
SO THAT WAS MY BIGGEST
UNDERTAKING ON SOMETHING OTHER
THAN A QUILT.
>> AMAZING.
I DIDN'T EXPECT THAT ANSWER.
I THOUGHT YOU MAYBE WOULD SAY A
PILLOW OR A TOTE BAG.
BUT A SADDLEBAG.
GREAT.
A VIEWER IN CANADA.
THIS IS AMAZING.
DO YOU SHIP TO CANADA?
SHE'S WATCHING ON YOUTUBE.
>> ABSOLUTELY.
>> WONDERFUL.
AND YOU JUST GO TO
sueheinz.com AND THAT'S WHERE
YOU CAN FIND THE SUPPLIES YOU'RE
TALKING ABOUT.
AND GRETCHEN IS ASKING WHAT IS
THE NAME OF YOUR BOOK?
>> ACTUALLY, I HAVE FIVE BOOKS.
SO THE BOOK THAT I -- THE TWO
BOOKS THAT I REFERENCED IN THE
LECTURE THAT YOU JUST SAW WERE
-- IT'S CALLED "DRAWN TO
MASTERY, SASHING MEDALLION MEDALLIONS."
THAT'S WHERE I GET A LOT OF THE
CIRCULAR DESIGNS.
AND THIS IS NIGH MY NEWEST BOOK,
"CAFFEINATED QUILTING."
SO THEY ARE HIGHLY ADDICTIVE
PATTERNS.
>> AND TRUE INSPIRATIONS, TOO.
YOU CAN FIND THOSE AT
sueheinz.com AS WELL.
OH.
THIS VIEWER IS ASKING, COULD YOU
PLEASE REVIEW THE SUPPLIES I'LL
NEED TO GET STARTED WITH
FREE-MOTION GRID WORK?
>> ON WHAT TYPE OF A MACHINE?
>> WE'LL ASSUME A DOMESTIC
SEWING MACHINE.
>> OKAY.
DOMESTIC.
THE FIRST THING YOU NEED IS A
DARNING FOOT.
THAT'S A FOOT THAT GOES UP AND
DOWN.
IT SOMETIMES HAS A CLOSED HOLE,
SOMETIMES A CRESCENT-SHAPED.
BUT THAT'S A MUST.
AND I THINK IT'S A MUST TO HAVE
A -- SURE.
I JUST -- MY HUSBAND IS HELPING
ME OUT.
SUPREME SLIDER UNDERNEATH.
THE PURPOSE -- THE NAME OF THE
GAME IS TO HAVE THAT FABRIC
SLIDE AS EASILY AS POSSIBLE.
SO I THINK THOSE ARE JUST
WONDERFUL ADDITIONS TO YOUR
STUDIO, IS THE FOOT AND THE
SLIDER UNDERNEATH.
IF FOR SOME REASON YOU CAN'T USE
A SLIDER, AND I RAN INTO THIS,
WELL, SOME PEOPLE'S THROAT HAVE
A CURVED SURFACE AND SLIDERS ARE
A LITTLE BIT DIFFICULT.
THEN TRY CLEAR CAR WAX AND MAKE
SURE THAT IT IS THOROUGHLY
REMOVED BEFORE YOU PUT ON YOUR
FABRIC.
BUT ANYTHING TO MAKE THAT
SURFACE SLIPPERYER IS GOING TO
BE YOUR FRIEND.
>> GREAT TIPS.
THANKS, SUE.
LESLIE IS SHARING A COMMENT.
LESLIE SHARES, I SAW YOU IN WEST
PALM BEACH A COUPLE OF YEARS AGO
AND I LEARNED SO MUCH.
AND SHE LEARNED AGAIN TODAY.
SHE SAYS GREAT REFRESHER.
>> THANK YOU.
>> GREAT JOB.
AND THIS VIEWER IS ASKING HOW
DID YOU GET STARTED WITH
QUILTING, SUE?
>> OH.
WELL, THIS IS ONE OF THOSE I HAD
TO LOOK BACK ON IT TO HELP ME
FIGURE OUT THE ORIGIN OF MY
PASSION FOR QUILTING.
BUT ACTUALLY IT WAS MY MOTHER.
MY MOTHER WAS A WONDERFUL
SEAMSTRESS AND ALL THE TIME I
WAS GROWING UP, YOU KNOW, SHE
MADE ALL MY CLOTHES FOR ME.
BUT WHEN I SAW ALL THOSE WHAT
SEEMED LIKE THOUSANDS OF PIECES
ALL OVER AND THEN TO PUT IT
TOGETHER AND HOPE THAT IT FITS,
I JUST -- I HAD NO INTEREST WHEN
SHE TRIED TO TEACH ME, WHICH IS
SAD NOW, HOW TO SEW GARMENTS.
IN FACT, ZIPPERS AND ARM HOLES
STILL SCARE ME.
BUT WHEN SHE SUDDENLY DIED, I
THINK I ORIGINALLY TOOK UP
QUILTING BECAUSE, A, IT'S FLAT
AND I THOUGHT I CAN DO FLAT
THINGS, ONLY TO FIND OUT IT'S
SOMETIMES DIFFICULT TO KEEP
THINGS FLAT.
AND IT WAS JUST A WAY TO, I
DON'T KNOW, BE CLOSER TO HER.
AND SHE'S BEEN GONE 35 YEARS AND
I THINK SHE'D BE PROUD OF WHAT
I'VE LEARNED FROM HER EXAMPLE
AND KEPT AT IT FOR THIS MANY
YEARS.
>> OH, SHE'D BE SO PROUD, SUE.
YOUR WORK IS INCREDIBLE.
AND VIEWERS ARE ASKING, TELL US
ABOUT THE QUILT HANGING BEHIND
YOU.
>> AHH.
WELL, THIS IS KIND OF MY COVID
QUILT, AND LIKE COBBLER KIDS AND
THEIR LACK OF SHOES, THIS ONE
ISN'T FREE-MOTION QUILTED YET,
WHOOPS.
BUT I SAW THIS.
IT'S A TINY HOUSES PATTERN AND
IT WAS FREE ONLINE.
AND IT JUST -- WITH ALL THE
PANDEMIC STUFF GOING ON, I WAS
DRAWN TO THIS PATTERN.
I MADE IT IN BRIGHT COLORS
BECAUSE DURING PANDEMIC I REALLY
WANTED SOME BRIGHT COLORS IN MY
HOME.
BUT IT ALSO JUST HEARKENED BACK
TO WE'RE ALL A VILLAGE.
NO MATTER HOW BIG OR SMALL WE
FEEL THE WORLD IS, WE ARE ALL
ONE VILLAGE IN AND THIS PANDEMIC
BROUGHT THAT AND IS STILL
BRINGING IT CLOSE TO HOME, THAT
WE'RE ALL A NEIGHBORHOOD, A
COMMUNITY, AND WE NEED TO STICK
TOGETHER.
SO I THOUGHT IT A JOYOUS PATTERN
FOR THE TIMES THAT WE'VE BEEN
LIVING IN IN THE LAST 18, 19
MONTHS.
>> THAT'S A GREAT PROJECT WHEN
YOU'RE HOME SEWING AND GREAT
OBSERVATION, AND I COULD SEE MY
HOUSE THERE AND YOUR HOUSE AND
THE WHOLE SEWING AND QUILTING
COMMUNITY.
WE'RE ALL IN OUR HOUSES SEWING.
AND YOU'RE REPRESENTING ALL OF
US THERE.
SO THANKS FOR BRINGING US
TOGETHER TODAY, SUE.
AND PLEASE TELL US AGAIN HOW WE
CAN CONNECT WITH YOU AND FIND
YOUR BOOKS AND YOUR PATTERNS AND
SUPPLIES.
>> OH.
WELL, I'D BE HONORED TO.
IT IS sueheinz.com.
YOU CAN COMMUNICATE WITH ME.
SEND ME QUESTIONS, ANSWERS,
WHATEVER, QUERIES OF ANY SORT.
WE'LL ANSWER THEM.
AND THAT'S WHERE YOU CAN BUY MY
PRODUCTS.
NOW, THE SHOW IS COMING TO A
CLOSE VERY SOON.
SAD, SAD.
BUT WE ARE OFFERING AN UNHEARD
OF DISCOUNT.
WE RARELY DISCOUNT OUR PRODUCTS.
BUT IN HONOR OF THE SHOW WE'RE
DOING A 15% OFF ANYTHING ON OUR
WEBSITE.
THAT EVEN INCLUDES
ALREADY-DISCOUNTED ITEMS.
SO THAT GOES AWAY AT 6:00 P.M.
CENTRAL STANDARD TIME THIS
EVENING.
AND THE CODE THAT YOU'LL WANT TO
USE IS SAVE15.
>> WELL, THANKS FOR THAT GREAT
SAVINGS AND ENCOURAGING US ALL
TO GET STITCHING AND INSPIRING
US WITH YOUR TECHNIQUES.
THANK YOU FOR SHARING AND THANK
YOU FOR BEING HERE TODAY, SUE.
>> I'M SO HONORED.
THANK YOU.
>> AND WE WANT TO THANK
EVERYBODY FOR TUNING IN AND
JOINING US FOR THE GREAT
WISCONSIN VIRTUAL QUILT SHOW AND
BE SURE TO HEAD OVER TO
quiltshow.com AND TAKE IN ALL
THE BEAUTIFUL QUILT EXHIBITS AND
VISIT THE VENDOR MALL.
ENJOY.
- Deanna Springer: Thanks again for joining us.
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