Threaded Needle Hints

I could never claim to be an accomplished hand quilter so I am often lost for words when someone new to patchwork asks for advice on how to start hand quilting their first project. When this happened recently I decided that it was time that I did some research so that I could at least point them in the right direction.

If you have been hand quilting for a long time you probably do all these things, or have a better technique that suits, but if you are new to patchwork maybe some of these hints will help.

	Pre-washing fabric before piecing removes the sizing (stiffening) so the needle moves though the fabric easier.
	Choose an even batting without lumps and seeds.
	Use a light to medium density batting, as a high loft batting will be too thick to allow fine stitches. At a lecture several years ago an award winning quilter, Dianne Johnston, advised that she used the very finest batting she could find when stitching quilts that were intended to be entered into competitions.
	The lanolin in wool batting helps the needle slip through the work.
	Running the needle through your hair will add oil to the metal.
	Change the needle after 10 hours of quilting as the point blunts quickly.
	Hold the free end of the thread and unwind it from the spool until it reaches your elbow. Cut at this length. The thread will be used up before it begins to wear out.
	Trim the thread at a diagonal for easier threading.
	If the thread is difficult to thread through the eye of the needle, turn the needle around as one side of the eye is usually larger than the other.
	Knot the thread at the freshly cut end.
	The smaller the needle (between) the smaller the stitches. However learning to make even stitches is more important than the size of the stitch when you first start quilting, so start with a needle that feels comfortable and change as you master the skill of making even stitches.
	Some people quilt using a running stitch and some people use a stab stitch. Choose the method that suits you.
	Pull the quilting thread firm enough to remove the slack but not enough to cause the fabric to pucker.
	Hold your thumb over the exit point to prevent knots as you pull the thread taut.

Finally take a class, or at least find a good reference book, to find the best technique to suit you.

I found these "tried & true" needlework hints that are that are worth repeating regularly in "Great Quiltmaking: All the Basics" a Better Homes & Gardens Book published by Meredith Books

Cut thread on the diagonal to enable the end of the thread to slip through the eye of the needle.

Use 18" - 24" lengths of thread for hand sewing.

When hand sewing knot the cut end of the thread so that the thread will be drawn through the fabric in the same direction that it came of the spool

Use matching thread for seams & appliqués

Use matching or contrasting thread for quilting

Try to match bobbin thread to the backing fabric when machine quilting.

Thread is the backbone of every textile project whether it is a garment, an embroidery or a quilt

So why would you take any less care when choosing the thread for piecing and quilting your patchwork than you would take when choosing the fabrics that you use to make the design?

The other day I heard someone say that she just used whatever thread came to hand when she was doing patchwork and this set me to thinking about how little most of us know about the different types of thread and their optimum uses. So I did a little research and you can read the results below.

Today we have access to a wide range of threads made from a variety of natural & synthetic fibres and the general rule of thumb is to match thread type to fabric eg: use a natural fibre thread with natural fibre fabrics and synthetic threads with synthetic fabrics. This way the thread and the fabric is compatible and will "wear" at the same rate.

(There are obviously times when you might break this "rule" to produce a particular decorative result.)

The thickness of the thread should also be considered. If the thread is too thick the seams will not sit flat when piecing. Save those thick threads for decorative surface stitching.

(When quilting, choose the thread thickness to achieve the desired result ... thick threads for heavy stitching with high visibility, finer threads for a softer finish with an emphasis on traditional quilting shadows)

The colourfastness of the thread is also important and this does not just refer to colourfastness in the laundry. Obviously it is important to use wash fast colours if the work is to be laundered but it is also important to consider:

*    Crock fastness .... colour rubbing off
*    Sublimation ... loss of colour when heated eg. a colour change when a fabric is ironed.
*    Light fastness .. fading when exposed to daylight over an extended period of time.

(Manufacturers of good quality thread spend much time, & money, researching the best dyes for each thread type to minimise colourfastness problems. They also have quality control procedures in place during manufacturing to ensure that they produce the best possible thread.)

Some threads have been especially treated (glazed) for use as hand quilting threads. It is not recommended that these threads be used in a sewing machine as they are very springy and will not hold a good tension.

(A thread does not always have to be glazed to be suitable for hand quilting.)

Good quality cotton threads are mercerised, bathed in a solution that promotes strength and lustre, giving a superior result for hand & machine work.

Match the colour of the thread to the fabric for best results.

(If you prefer to use all purpose colours try a mid grey for piecing fabrics with blue & green tones but choose a soft milk coffee colour to piece reds and gold and a natural/neutral cream for any light pastel colours.)

Increasing your awareness of those thin little strands that keep our quilts together can mean the difference between making a good quilt and a great quilt, with a long life expectancy.

Be a clever patchworker in future and choose the most appropriate thread for the job.

Colour Play with Thread

Have you ever wished that you could change the colour of some of the fabrics in your finished patchwork to achieve a better blend of colours, or to tone down one colour that catches the eye more than you had expected?

It is possible to modify the colour of a fabric in the patchwork top depending upon the colour of the thread being used for the quilting.

A simple modification is achieved by stitching with a slightly darker thread over a light fabric to create a darker variation of the original fabric. Stitching with any of the meandering stitches (freehand filler stitches eg: stipple, loops etc) will also help to blend and merge the seam lines.

A more adventurous result is achieved by meandering with a complementary colour (complementary colours are opposite each other on the colour wheel). I was reminded of this technique earlier this year when I was asked to stitch with an acid green colour thread over a red-orange fabric. My natural instinct, when quilting for others, is to colour match as close as possible to the fabrics so that I don't change the colours chosen by the maker of the patchwork. However, in this instance the patchworker was not happy with the dominant effect of the red-orange fabric in her top and wanted to soften that colour. By choosing a complementary colour she was effectively toning (greying) the strong colour so that it stopped overwhelming the quilt.

This is an artist's technique that is worth remembering when we are quilting. By changing the colour of the thread used over the quilt when quilting we can blend the colours and add an other dimension to the finished work.

So be an adventurous patchworker in future and have fun with thread colours.

The secret to achieving smooth flat seams when piecing patchwork

Lately, I have been reading "From Fibre to Fabric" by Harriet Hargraves. I have had this book on my bookshelf for several years but had never got around to actually reading it properly. I now wonder why I waited so long to discover so much practical information.

One item that has stuck in my memory is Harriet's explanation about why some people can make seams that sit flatter than those made by other people.

The secret is all to do with the thickness of the thread that is being used to stitch the seam. It makes so much sense when you think about how thick some of the threads are that are on the market these days. A thick thread will create more bulk, and therefore a lumpier seam line, than a finer thread.

I have been using, & recommending, Cotton Mako Ne40/2 for stitching patchwork seams as it is the universally useful thread in the Mako range suitable for both quilting and piecing and it makes a nice smooth flat seam.

Mako 40/2 is finer than the 40/3 available in some other thread brands on the market today. (The No after the "/" designates the thread ply)

Mako 40/2 is made from long staple Egyptian cotton so it is naturally strong and it is mercerised for added strength & lustre.

Mako 40/2 is available in 158 plain colours so you will be sure to find a colour to suit your project.

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How to stop the tangles when hand stitching

How often have you cut a long strand of thread with the intention of finishing the entire row only to find that the thread tangles or frays before you are finished?

In the same way as for machine sewing, the thread passes through the fabric many times before it actually makes a stitch and each pass will drag on the thread and create wear on the surface of the strand. This will happen no matter what the quality of the thread.

The answer is to cut shorter strands .... one embroidery teacher taught me to cut a strand only as long as the distance from my wrist to my elbow... a handy way to remember to keep the strands short. I know it does mean threading the needle more often but I have discovered that this is preferable to having my thread wear, lose it's sheen and become rough to handle

Another handy hint that was given by another embroidery instructor was to run an anti static sheet along the thread strand. (anti static sheets are those things that you use in a clothes dryer to reduce static build up in your clothes). This hint was given for using embroidery stranded threads but it also works when appliquing. I had forgotten this hint until I found an old crumpled dryer sheet in my embroidery kit when looking for something else the other day

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Cotton threads are Wonderful to use ...

Synthetic sewing threads such as polyester have been available for more than thirty years, in fact ever since synthetic fabrics become available. They replaced cotton sewing threads for general purpose use because they were considered to be strong & clean to use.

However this should not stop you choosing a cotton thread for craft work.

Cotton threads are wonderful to use

	for Patchwork & Quilting, for both the piecing of the tops & the quilting
	for Lace making
	for Embroidery where a soft, subtle effect is desired

They are simple to use if you remember that they are weaker and will create more "fluff' or lint than synthetic threads.

So for trouble free stitching when using cotton thread

Clean your machine regularly
... most people wash their car & have it serviced regularly
... so why wouldn't you take the same care of your sewing machine by routinely removing the lint build up each time you change a bobbin

Buy good quality cotton threads
... this is one place where price will be a true indicator of quality
... good quality cotton thread is spun from long strands (long staple fibres) so it is smoother, stronger & cleaner than thread made from short (or waste) fibres.

Buy Mercerised Cotton
... this is an additional manufacturing treatment to remove loose fluff and add lustre & strength to the thread.

With a little bit of thoughtful planning you can really enjoy using some great threads.

Needle sizes are usually given in either European or American codes, with some brands such as Schmetz listing both measurements:

European	60	65	70	75	80	90	100	110
American	8	9	10	11	12	14	16	18

The numbers refer to the diameter of the needle & the higher the number the larger the needle.

The most common sizes are:

Size 70/10 for fine, light weight fabrics

Size 80/12 for most fabrics - patchwork weight & dress fabrics

Size 90/14 for heavier fabrics - drill & medium denim

In addition to the the blade thickness (size) coding, needles may be classified by the type of tip or special coating applied to the point & shaft:

Universal Needle - the general purpose needle suitable for most uses.

Ball point needle - designed to stitch knit fabrics. It will penetrate the fabric more easily without causing any damage.

Stretch needle - are slightly different to the ball point needle. they are usually finer and teflon coated to allow smooth penetration of elastic fabrics such as lycra.

Denim or Jeans Needle - This has a very tapered point for piercing densely woven fabric. Also good for machine embroidery on heavier fabric

Metafil Needle - Usually has a larger eye and is designed for use with threads that would normally break when overheated eg with metallics and other speciality threads.

Microtex Needle - has a very fine tapered ball point to stitch microfibre fabric without puckering. Also useful for densely woven fabric & heirloom sewing.

Leather Needle - has a knife edge point designed to penetrate the hide. The stitching holes are permanent so there is no room for error when using these needles.

Sharps Needle - The equivalent to a "sharps" hand sewing needle .. it has a very fine sharp point for use on fine woven fabrics.

Twin Needles - These are used for embroidery and are available in different needle sizes & spacings. eg; 2.0/80 is a set of 2 size 80 needles set at 2mm apart. They are also available in a ball point configuration for knit fabrics.

Triple Needle - the same principle as a twin needle set but come as a set of 3 needles. Great decorative effects can be achieved by combining different thread weights & metallics in these needles.

Quilting Needle - these have a special tapered point to stitch through thick layers of seams when quilting. Some brands are also teflon coated.

Spring Needle - designed for freehand embroidery with or with out the use of a hoop. The eye & the shaft is designed to reduce thread breakage and the spring at the top of the needle helps to stop the fabric moving with the needle. This needle is often used instead of a hopping/darning foot.

Wing Needle - The needle tip has "wings" which create a wider hole in the fabric for decorative hem stitching & heirloom sewing. Usually only available in larger sizes (100 & 120)

Some of the specialist needles are quite expensive but the results can be worth the investment.

Helpful hints:

A good guide for needle selection is to start with a universal needle for general sewing. If stitches skip try a ball point needle, if threads break try a metafil needle.

If you are planning to work on a special fabric, or want a special effect, do some testing before hand to select the most appropriate needle for the job.

Remember that machine needles should be replaced when they become blunt. A good guide is to routinely replace the needle after 8 hours of use. A blunt needle will damage the fabric & can be the cause of skipped stitches.

You know the old saying that a craftsman is only as good as his tools ... well that applies to our work as well. If we want to be able to work with comfort and ease we need to keep our tools in good repair.

Rotary mats & Cutters:

	Keep blades dry and retracted when not in use
	A drop of machine oil on the blade keeps it running smoothly
	Use a separate blade for cutting paper & label blades for their purpose (I keep 2 rotary cutters in my studio, one for fabric & one for paper. The fabric cutter, the one with a good sharp blade, is identified by a fabric tape threaded through the handle.)
	Store mats flat and out of the sun to prevent warping

Disposing of broken needles and other "sharps":

	Keep a sealed container near your machine to safely dispose of broken needles.
	An empty film container or pill bottle will work well.
	If you have small children, punch a hole in the top, just large enough to push a needle through, and then glue the top to the base so that it can not be accidentally removed.

Storing threads:

There is nothing more annoying than having to untangle threads before you can start work.

	For Aurifil threads, you can anchor the loose thread with the spool base.
	Check other brands to see if they have a securing system. If not, a strip of kitchen plastic wrap will stop the threads tangling. For an even neater fix, buy a metre of heavy duty table cover plastic and cut it into small strips to wrap around spools.
	You can buy purpose made bobbin tamers these days, or you can make your own with plastic tubing. Buy 1.5cm tubing, cut it into short lengths, the height of a bobbin, and then split the tube open on one side. It will now flex open to wrap around the bobbin and stop the threads tangling.
	For convenience, store wound bobbins with the matching thread. (I like to keep my bobbin and thread together in small plastic bags that I hang in colour groups on a pegboard system. This serves 2 purposes - keeps the thread free of dust and I can find the right bobbin instantly)
	If you don't have space for a peg board arrangement the deep spool boxes, available from craft shops, usually have enough height to allow a bobbin to sit under the spool on each prong.

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I subscribe to several email lists and I often read some great hints sent in by other subscribers. I thought you might find this one useful.

Want to know if a fabric will bleed before you buy it ?

Carry a piece of white fabric with you and rub it across the fabric several times with a little pressure. If the colour shows on your fabric it could be a bleeder and you are forewarned.

This colour transfer is known as "crocking" and is an indication of excess dye on the surface of the fabric in question.

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Something to remember about using vanishing and water soluble marking pens ...

Most marking pens become permanent when exposed to heat. So do not press your work until after you have removed the temporary markings that you used to position the embroidery or quilting.

Even exposing the marks to sunlight for a period of time can be sufficient heat to make some pens become permanent, so try to remove marks as quickly as possible.

There is however, one marking pen that disappears when it is treated with heat.

If you have both types of marking pens in your collection be sure to store them separately and identify them very carefully!

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I am sure you know these standard metric equivalents but, just in case you are my age and were brought up on imperial measurements, here are some visual mnemonics to help you remember ....

30cm ...... think of a 12" ruler

18cm ..... think of a standard skirt or trouser zip (7")

10cm .... equal to an Envelope depth

create your own memory joggers for other common measurements

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Using a thimble:

If you have trouble using a thimble try first adding a "rubber fingertip" (from an office supply store) then cover this with a slightly larger metal thimble. Fold the rubber collar back over the thimble edge so that it can be used to help grip the needle to pull it through the fabric (originally from Vicki Tatum)

Free Motion Machine Quilting:

If you machine does not allow the feed dogs to be turned down, or if covering the feed dogs takes up to much space under the needle simply turn the stitch length to zero so that the feed dog teeth do not affect the movement of the fabric. (Originally from Sharon Sauser)

Fabric Markers (I've seen this hint in lots of sources):

Crayola Washable Markers work well to mark embroidery and quilting lines on fabric. They are available in lots of colours and they wash out of cotton, polyester, acrylic and nylon using cold water. Make sure you check the laundry instructions to be sure you are using the Washable Markers! (Originally from Blanche Rehling)

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Historians think it is a good idea to keep a record of your textile projects.

Whether they are quilt tops or embroideries, future generations will appreciate reading a project diary about how & why the work was stitched.

Include a photograph plus details about size, when the project was started, when it was finished and why it was created. Also have a section on costs, problems encountered, and solutions, and include a small swatch set of the fabrics used in the project.

A record such as this is a wonderful reminder of all the textile projects that you have made over the years. Even projects that end up being UFOs or WIPs ¹ have a story to tell.

In the same vein, it is a good idea to always label your work. An artist would not consider their work finished until it was signed and so it should be for our quilts and embroideries.

You never know which of your quilts or embroideries will survive to become a family heirloom in 100 years time so be sure to add a label to every project!

See more labels designed by Hatched & Patched

A label can be embroidered, hand written with a permanent ink pen or printed on the computer, they can be simple or fancy, made of plain fabric or a pre-printed design, stitched to the front or the back of your work. They should always include the following information:

maker's name

place where project was made

date

Additional anecdotal information can also be included such as:

name of the project, if appropriate

recipient's name, if appropriate

inspiration for project

Some people advocated adding the label to a quilt before the quilting process. This method means that the label is permanently attached and its removal will damage the finished project.

Other people add the label as the last step to complete the project. If you do this, it is always possible to hide an identifying "tag" inside the binding, by printing your name and the dated on the seam allowance.

For an embroidery project, you can often hide your signature in the stitching.

¹ UFO - unfinished object, and WIP - work in progress

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Choosing a bobbin thread

I have frequently espoused the view that Cotton Makó Ne 50/2 makes a great bobbin thread for detailed quilting & embroidery. Especially when you want to colour match the bobbin thread to your top thread, as there is wide range of colours from which to choose.

I recently had an unexpected chance to confirm this when I was quilting an extremely large satin wedding gift quilt. I wanted to use Aurilux in the needle, to enhance the beautiful sheen of the quilt top, but needed to use Cotton Makó in the bobbin to match the cotton backing fabric.

I made an arbitrary decision to use Cotton Makó Ne 50/2 for this job because I had a spool of the perfect colour open, with a bobbin already wound ready to go.

I was so pleased with the results that I wanted to share my thoughts with you ....

Regardless of composition, always choose a fine, smooth thread.

When you are stitching close designs a fine bobbin thread will cause less thread build up on the back of your work.

You will be able to wind a lot more thread onto the bobbin when using a fine thread. This means fewer bobbin changes. With my project above, I found that the bobbin held twice as much Cotton Makó Ne 50/2 as it did of the Ne40/2 that I use for most stitching.

A smooth bobbin thread causes less friction against the needle thread so it will work with a wide range of top threads.

Regardless of the threads you use for your stitching, get into the habit of looking after your machine ... clean the bobbin race & case regularly ... brush out any lint & then wipe the race with a cotton bud dipped in machine oil to pick up any last wisps.

The general rule for most machines is to use the same thread in the needle & bobbin but there are times when you might choose to break this rule to achieve a particular result

... So why not start experimenting today?

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Choosing & Using Pins

Have you ever stopped to think about which pins to use for which job when you are sewing?

I know that I have always been aware that there are several different brands & styles of pins but have not really given much thought to why one pin was more suited to a task than another.

My light bulb moment occurred this week while I was re-reading an old copy of "Quiltmaker" magazine (No 48). I found an article by Jan Magee that explained the different types of pins that are available plus some practical hints on how to pin for accurate stitching. It made me stop and mentally organise the knowledge that I have absorbed from classes and fellow patchworkers over the years.

If you have been involved in patchwork for some time you are probably already aware that a longer pin is easier to use than the shorter dressmakers pin. The most commonly used pin is approximately 4cm long, with a sturdy shaft & a yellow ball top head. These pins, with the bright heads and long shafts, are easier to see on patterned fabric than the plain dressmakers pin. The longer shaft also allows the pin to be inserted into the fabric several times, to securely match points, while still leaving the head off the edge of the fabric.

If you have ever had a packet of pins that bent with every use you will agree that it is worth paying a little more to get a brand that has a sturdy shaft.

Click on photo for a closer view
From Left to Right:

Dressmaking
Quilting
Appliqué
Flower

Another pin that is popular with patchworkers is quite small. Known as a sequin or appliqué pin it is usually only 1.5cm long. True sequin pins are often made of brass and have a plain metal top while the appliqué version has a small white top. These are ideal for hand appliqué work as the thread does not catch on the pin as you work.

Flower head pins are very useful on loosely woven fabrics and laces as the flat head does not become entangled as you work.

To look after pins, & extend their life, get into the habit of replacing them in their container, or a good pin cushion.

Growing up on a farm, I can remember being told that a pin cushion filled with clean fleece will keep the pins rust free by coating them with a fine layer of lanolin each time they inserted into the cushion ... of course you do need to have a friend on a farm to supply a stock of clean lambs wool fleece <G>

You can also buy pin cushions that have an emery "strawberry" attached. Inserting the pins into this and twisting gently will also keep them rust free and sharp.

One of Jan's hints for successful pinning talked about the "bite" that you take with the pin as you insert it into the fabric. If you pick up a lot of fabric with each pin you are probably pinning too loosely and this allows the 2 fabrics to move as you stitch. A smaller "bite" will help you match seams more easily.

It is very tempting to stitch without taking the time to pin ... I have often been guilty of rushing ahead like this ... but I find this can frequently result in a waste of time as I have to "reverse stitch" or unpick to get a better seam match.

Using pins to match points, seam junctions, easing curves and starts & stopping points is just common sense. Patchwork seams are narrow so you may also find that it helps to use a few pins along the length of a long seam.

I now know that the time spent pinning is worthwhile if it saves me from the horrible chore of unpicking!

Start practising pinning for success

What colour thread should I use to ....?

I am often asked this question and I think the answer varies according to the job that is being stitched.

For piecing I like to blend the thread colour with the fabric. I know many people will say that they always use a grey thread as it is a good blender.

However if I am stitching warm colours such as red, brown, gold and orange I prefer to use a milky brown thread as I find that this is less obvious over this colour palette.

Mid Grey will work over blues and greens but once the colours move into a tint or pastel version then it is worth looking at a neutral calico/linen colour as a dark thread will leave a shadow line in the seam.

For quilting the answer could be the same as the answer to the question "How long is a piece of string?"

The rule in dressmaking is to choose a darker rather than a lighter thread but I do not think that this always works for quilting. I often find that a darker thread looks too heavy, and even dirty at times, on the lighter fabric. My personal preference is usually towards a medium or slightly lighter thread colour than the fabric.

If the intention is to add an extra dimension to the patchwork with the use of the quilting thread then use colours that show some contrast or even variegated threads.

If a subtle effect is desired with the quilting shadow being the desired effect then choose colours that are close to the fabric colour but opt for a tone of the colour (greyed version) rather than the clear colour. So you would still use an apple green on the apple green quilt but choose a duller greyed version of apple green rather than a bright clear apple green.

If you are stitching freeform meanders try to avoid a perfectly matched thread colour as it can be very difficult to see where you have already stitched.

If you are choosing thread for any of the appliqué techniques where the stitch is hidden then match the thread to the piece to be applied rather than the background.

Choosing thread for hand quilting

Recently I had a conversation with a customer who was looking for Cotton Makò thread to finish her hand quilting project.

She had been using a different brand of thread and had found that the batting had started to pull through to the surface of the fabric as she stitched.

She told me that a friend had recommended that she change to her favourite thread ... Cotton Makò ... and had even given her some thread to test. She said the problem seemed to disappear once she started stitching with the Makò thread.

Now, as much as I would love to take full credit on behalf of Cotton Makò, I explained that there could have been several reasons why her other thread suddenly changed it's behaviour and that it is often a combination of reasons that will cause a problem.

The wall hanging on which she was working was heavily appliquéd with a fusible web so

	some areas of the work were much thicker than others
	the fabrics were of different qualities and "feel"
	some fabrics such as the pretty batiks that abound at the moment are very hard to needle
	the one needle had been used to quilt the fused & non fused areas and it had a blemish along the shaft where it had lost it's smooth surface
	the thread that she had been using may have developed a static affinity to the batting

I think that the secret to enjoyable quilting, whether by hand or machine, is to use a good quality tools:

	good quality, smooth mercerised thread such as Cotton Makò
	good quality needles with a smooth eye and polished finish
	change the thread in the needle regularly when hand quilting
	use an anti-static treatment on the thread, & fabric, if a problem does appear

Most of the problems that we experience in our textile art are rarely caused by one thing. We are usually working with a variety of fabrics, piecing techniques, battings and backings and their ease of use will be dependent upon their compatibility.

However, regardless of the cause of this quilter's problem I was very pleased to hear that she found Cotton Makò to be the solution!