Welcome to Pine Tree Quilters Guild where people passionate about everything quilting share and learn more of our art. If you peruse this website you will read of the many different ways we seek to enhance our joy of quilting; and, wherever you are in your personal quilting journey, novice to expert, we invite you join us for the happiness the guild experience brings to us all.
Waterville Thomas College, Summit Room, 180 West River Road, Waterville, Maine
Saturday, January 25, 2020 Business meeting at 10:00 a.m.
Our speaker for the afternoon is Donna Johnson from Orono. Donna has been playing with fabric for much of her life – sewing clothes when younger, and making her first quilt while in grad school from scrounged fabric from anywhere and everywhere, making up the design as she went along. Sometime in the 80’s, she went to a Quilt Visions exhibit at the Farnsworth Museum, where, among the quilted wallhangings, was a ‘Nude in Calico’, which made her realize that one could do pretty much anything one wanted to. So, although she has no desire to do nudes in anything, that sort of set her free to continue making artwork of her own design.
Donna has played with a variety of fabrics and techniques over the years, making mostly wall art, with the occasional wedding, baby and charity quilt thrown in. Eventually she started playing with surface design of fabric – dyeing, screen printing, gelatin printing, stamping, painting, shibori, and dyeing with plant-based dyes. These days her original work often uses a fair amount of her own surface designed fabric. Donna will be showing a range of her quilts, and talking about some of the techniques she uses to create her quilts and wallhangings.
I hope you will join me at the Members’ Meeting in welcoming Donna. I am looking forward to her presentation.
A quick note, we do not presently have a snow date for the January Members’ meeting. Let’s hope for good weather for Saturday, January 25, 2020 at Thomas College.
Wendy C. Reed – Bath, Maine
I saw my first “potholder” quilt in 1985 at the Maine State Museum in Augusta. It seemed a perfect method to use when undertaking a project made by a number of different quilters. I have since found out via our statewide documentation (Maine Quilt Heritage) and through the careful research of Quilt Historian, Pamela Weeks that this was indeed a very popular method of quiltmaking in the 19th century, especially in Maine and a few other New England states.
I have seen photographs of potholder quilts in numerous publications over the years, but at present, the only book I know of dedicated to the history of this method is “Civil War Quilts” by Pamela Weeks and Don Beld. I highly recommend this book for anyone interested in quilts made for Civil War soldiers and for learning more on this wonderful construction method of quiltmaking.
The American Quilt Study Group (Lincoln, NE) published an article on Potholder Quilts by Pamela Weeks in their annual publication, “Uncoverings” in 2010. This can be found on their website; www.AmericanQuiltStudyGroup.org.
I have made a number of potholder quilts with blocks as small as 3” and as large as 16”. It is method that works well with piecing or applique or a combination of both. I have outlined some tips that will help you enjoy your “potholder” quiltmaking journey!
Directions for making a Potholder Block for Bicentennial Project for PTQG members
So here we go! Please have fun making a block(s) and join the PTQG project!
1. As with any quilt, the size of your block will be determined by your desired overall quilt dimension. However, you must remember that your ¼” binding will be a factor in that measurement. For this Maine Bicentennial project, we are making 8” blocks, which means after quilting and binding your finished block will measure 8 ½” due to the binding all around.
2. You may choose any batting that suits you as long as for a whole quilt it is roughly the same weight and thickness throughout. For this project we recommend a lightweight cotton or low loft wool batting.
3. Make an 8 ½” unfinished block of any pattern or design using 100% cotton fabrics. Please do not use the following types of fabrics as they would not have been used 200 years ago: No – batiks, no holiday prints, no kid’s fabrics and no novelty prints.Cut a batting and backing each a little more than 8 ½” and sandwich the three pieces. Quilt the block, you can mix machine and hand quilting.
4. After your block is quilted it is time for trimming. This is the most crucial part of this method. No matter what size you determine your finished block to be – they must all be the exact same size or they will not fit properly when stitching them together. In this case our blocks will be trimmed to 8 ½”.
5. A nice even binding is equally important. I recommend a single, straight (not folded or bias) binding cut to 1 ¼” by the perimeter of your block, plus 4” (example; if your block is 8” finished – you will need to cut your binding strip 36” long [32” + 4”]). Cut your binding selvage to selvage to allow a bit more “give” in your fabric strip. Simply start stitching your strip down (using ¼” seam allowance) leaving a 2” tail piece (see photo #1).
Your mitered corners must come to a nice sharp point so that when the blocks are stitched together there will be no gaps at the corner intersections. Stitch along your edge stopping ¼” before the end (photo #2).
Turn your block and binding 90 degrees, placing your fold along the top making sure that the fold is on or a bit above your top edge (photo #3), stitch directly down the next side and repeat at each corner.
When you come to your starting edge, stop at least 2” before your starting place and remove the block from your machine. Bring binding edges together (photo#4) and make a crease or mark with a pencil on that line.
Pin those tail pieces together and stitch one or two needle widths to the left (photo #5) to create a little camber (photo#6) then trim to ¼”, press open and stitch down.
The camber allows you to stitch down your binding without creating any puckers. Then simply turn your binding and finger press or pin as you desire and stitch the backside down.
6. And now you are ready to stitch the blocks together. I use what I call a “modified ladder stitch”. Using a single thread, bury your knot under your binding and bring the needle up to the top of your mitered corner (photo #7).
Take a couple of stabilizing stitches, then with your thread on the edge facing you, cross directly over, turn your needle perpendicular, taking a bit of fabric, then turn your needle back toward you in one sweeping stitch (photos #8,#9,#10,#11).
Once you get the hang of it, it moves pretty quickly. The smaller the stitches, the stronger the seam will be!
Have you decided what quilt(s) you are entering and if it needs copyright permission? Below is a list of designers and publishers we have information for. All “permissions” require proper pattern, book, publisher and designer credit be given. Look in the book or magazine. There may already be a statement that gives you permission to display the quilt. If you need to take the next step, determine who to contact – you may need to contact the publisher as well as the author/designer/artist. For additional questions email Sue at email@example.com or Lisa.