A Red Dress: Part 2 – Houston Quilt Festival

So many of you commented about my new red dress, which I made for the award ceremony at the Houston Quilt Festival! Well, I’m home from Houston after a very enjoyable week, and it’s time for an update. We arrived in Houston on Tuesday afternoon. Part of the prize for the top winners is travel and hotel accommodations. Here I am, ready to go to the convention center for the awards! Makeup, nail polish, Annie Pennington brooch and earrings (of course!) – the works! ūüôā


Here are those red shoes!


The presentation of the awards is fun, with all of the category awards given first. The blue ribbon winner in each category is revealed from behind a black curtain on the wall of the auditorium, with spotlights focused on that quilt. The eight big awards are given last. My quilt, Blue Plate Special, was awarded the Master Award for Thread Artistry, sponsored by Superior Threads! After the awards are all given, attendees get to get up close to see the winning quilts, and talk to the makers. And, yes, the top winners get flowers! ūüôā


On Wednesday, there is a luncheon at which the top winners all give short speeches, then Preview Night is from 5PM to 10PM. This is the way my quilt was displayed.

025 (2)_2

026 (2)

027 (2)_2

I spent a lot of time in front of my quilt for the next four days, talking to thousands of people.

houston 2015, marcia Baraldi 2_2 houston 2015, marcia Baraldi 3_2

002_2 003_2

You can see all of the prize winners here. I was also awarded an Honorable Mention for my quilt Crystal Garden, but that’s a post for another day.

Here is Blue Plate Special




The quilt is 73″ x 73″, and was completed this year. It is white cotton sateen on the front and back. It all started with the dark blue print strip of fabric that surrounds the central star, and forms the border corners. That strip was left over from a quilt kit I cut out for my Mom to piece! The fabric was a print stripe, and this section wasn’t used, so I kept it. The colors for the quilt all flowed out of that little print strip. And the corners are the size they are because that’s all the fabric I had! Those strips were appliqued on, then I used a decorative machine stitch – little satin stitch dots – to accent the edges. All the rest of the color on the quilt is digitized machine embroidery. The more solid-looking, darker areas are machine embroidery applique, done with old¬†Cherrywood fabrics from my stash. The free-standing lace border and the large swirl designs are from Zundt; the rest of the embroidery designs are from OESD. Except for the lace, the embroidery was all stitched on the quilt top only. After the embroidery was completed, I layered the top, batting (Hobbs 80/20 bleached), and backing, then did all the quilting free-motion on my APQS George, which is a sit-down machine. The quilting was done with The Bottom Line thread in the needle and bobbin. I usually like to use silk thread in the needle, but I didn’t think this quilt was going to be good enough to justify the expense! To make the lace, I embroidered segments on water-soluble stabilizer, joined all the segments together in a big loop, then soaked the stabilizer out. I soaked this for a couple of days, with several water changes, because I don’t want any stabilizer¬†to remain¬†in the lace. Then, after the lace was complete, and the quilting was all finished, I stitched the lace to the quilt, using free-motion stitching and monofilament thread. I hope this quilt does half as well at the other shows in which I’ve entered it!

Now, it’s time to get back to work on my quilt to enter into next year’s Houston contest.


The deadline is only about six months away…

An idea!

I love figuring things out. I like the problem-solving aspects of sewing. I like making things work, using materials and techniques in new ways to achieve a desired result. I like it when ideas swirl in my brain. My brain has been pretty quiet the past few years, with not too much swirling going on. But I had an idea for a quilt I’m working on, and I tried it, and it worked! It feels good ūüôā

Machine embroidery finds its way into much of my work, both garments and quilt, and sometimes in new and unusual ways. I particularly like using machine-embroidered free-standing lace on my quilts. These are designs that have been specifically digitized to be stitched on a water-soluble substrate, then, when the substrate is dissolved, the threadwork remains. Not every design can be used like this. Well, any design can be stitched on water-soluble stabilizer, but when the stabilizer is dissolved, all that will remain is a wad of thread! FSL designs have a great deal of supportive stitching, and retain their shape when the stabilizer is removed. I’m quite partial to Zundt FSL designs, and all of the samples below are from Zundt.

With free-standing lace, the back of the design will be visible as well as the front. When I attach the lace as an edging or insert on my quilts, the back of the lace can be seen on the back of the quilt. And the back is half the quilt! I want the back to be pretty.

This is lace from the first quilt on which I used FSL (free-standing lace). Here’s the front…

Lace 1 front

Pretty, right? But here’s the back…

lace 1 back

Yuck, I used white bobbin thread, and it definitely detracts from the look. (My quilting tension, with dark blue thread in the needle and white thread in the bobbin, on a white backing, leaves a lot to be desired, as well! But this was one of my first show quilts.)

Using the same or matching color thread in the needle and bobbin solves the problem. Front…

Lace 3 front

…and back.

Lace 3 back

With silver and light gray, I was able to use only light gray thread in the bobbin with good effect. Front…

Lace 4 front

…and back.

Lace 4 back

I almost always use Superior Threads Bottom Line thread in the bobbin for machine embroidery. It’s the perfect weight, it creates no lint, and it comes in lots of colors, so I can match the bobbin thread pretty closely to the top thread.

Here’s another sample, front…

Lace 2 front

…and back. I changed bobbin thread, using light gray for the silver metallic sections, and purple for the rest.

Lace 2 back

Okay, now let’s say I’m using a lace design with lots of colors, and I can’t use the same bobbin thread for the whole design without having the back look ugly. And let’s say that I’m making edging for a big quilt, and need to stitch this design 80 or 90 times! That’s a lot of bobbin changes. But we do what we need to do! And that’s what I did for the lace on Gloria’s Garden.

Lace 8 front

You can see on the back that I changed a lot of bobbins!

Lace 8 back

I’m working on a new quilt. A big quilt. And I want to edge it in lace. And the lace has a lot of color changes. Here’s the front of a section. Lace 6 front

Here’s the back of that section, which I stitched with green bobbin thread.

Lace 6 back

Yuck, right?! Not pretty at all! So….(here’s where the idea comes in!)…I thought, why can’t I use monofilament in the bobbin? I’ve used monofilament in the bobbin for quilting, although not often,¬†and it works just fine. So I wound a bobbin, stitched out¬†some designs, and…

Lace 5 front

Wow! Look at that back!

Lace 5 back

It’ll be great for my quilt! The monofilament bobbin thread even makes the front look better, I think. I used Superior MonoPoly Reduced Sheen Clear. It stitched beautifully on my 15-needle commercial machine. I haven’t tried it on a home combo machine, but I have no reason to think that it wouldn’t work well. I like to dissolve away all the stabilizer in my lace so it has a nice soft hand. The final product with MonoPpoly is just a bit stiffer than if it were stitched with Bottom Line, but not much. An added benefit is that you can wind a LOT of monofilament on a bobbin! I think I’ll do it this way a lot!

Now I know that I’m probably the only person in the world who makes FSL to edge large quilts! But many of you make bookmarks and Christmas ornaments and small FSL items. This technique would be great for that! Try it and let me know if you like it!

Victoria Meets Woodstock

Once in a while, I make a quilt that is not exactly my style!


“Victoria Meets Woodstock” (35.5″ x 42″, made in 2009) started with¬†a gorgeous hand-dyed cotton sateen¬†fabric panel from Bryerpatch Studio. It was originally intended for this little quilt I made for Mark’s office door (Mark’s Little Quilts) but I decided the fabric was too pretty to use as a background, and that I needed to do something special with it instead.

So, I embroidered designs from one of the Martha Pullen Kent State book/embroidery CD sets. Not the white or light-colored embroidery as shown on the antique garments, but black embroidery on bright swirling colors! Lots of black free-motion quilting, stitched with fine silk thread, creates the appearance of black Victorian lace.

Victoria detail_2

I had made a black scalloped, machine-embroidered Zundt free-standing lace border, but the quilt ended up too small for the border.  So I used that black lace on a jacket I made for myself! This is not the best picture of me, but it shows the jacket well!


I have worn this jacket so much! It’s a texture-y poly knit, it’s comfortable, it goes with everything, it washes well, and it looks good – what else is there? I made it from the t-shirt pattern in The Sewing Workshop’s Trio pattern. Of course, this doesn’t look at all like that pattern! I¬†changed the pattern to have¬†a front opening, V-neck, and long sleeves ūüôā I made facings for the neckline and front opening, then stitched that unused black lace on top.

Okay, back to the quilt…Instead of the black lace, I machine-embroidered individual little free-standing lace flowers (again, Zundt, from the Adorations 3 collection) in the colors of the fabric, and stitched them on the outer edge. If you look at the full photo of Victoria Meets Woodstock at the top of this post, you can see that I matched the colors of the flowers to the colors of the outer edge of the quilt, so that the color flow continued into the flower edge!

I had used those same FSL flowers in Gloria’s Garden. The design is one of the dark purple flowers in the upper left hand corner of this photo.


Again, back to Victoria Meets Woodstock! I like my quilt backs to relate to the front – after all, the back is half the quilt! I found this wonderful flowery stripe that was perfect!


I usually bind my edges in some way, but in this case, I used the backing fabric to make a bias facing.

And check out the label!


This quilt won 2nd place in the Wall Quilts – Machine Quilted category at the 2011 AQS Knoxville show. That was the only show into which it was entered – I forgot about it until it was too old to enter into any other shows! It’s hard to imagine forgetting about a quilt this bright!


My daughter and I will soon be going to Arrowmont School of Arts and Crafts to take a week-long workshop together. Arrowmont is a lovely old crafts school nestled in the Smoky Mountains, hidden just off the beaten path in Gatlinburg, TN. This will be my fifth visit there.

The first time, in 2004, I think, Annie and I took a class in glass fusing. What a wonderful time we had! The next year, she and I tried enameling.

Two years later, in 2007, David joined us, and we took a class in woodworking. It was a blast! Learning something new with grown children, focusing on the task at hand, in beautiful surroundings – well, I highly recommend it!

This is the coffee table David made. After he got home, he finished it, and it was one of his most prized possessions. When everything else in his life fell apart, this was one of the few things he took great care of. It is now in Annie’s living room, and she cherishes it.


This was Annie’s wild and crazy table! She included every technique we were taught ūüôā Unfortunately, it sustained some water damage in a closet and¬†had to be¬†discarded.


And this is what I made. It was supposed to have a quilt made to go behind the wavy lattice, but that hasn’t happened, and the table is still unfinished.


The surroundings are so gorgeous! The entrance to Great Smoky Mountain National Park is just a couple of miles away, and there is a little scenic drive even closer.

100_4575 100_5147 100_4601 100_4570

In 2008, Annie couldn’t make it, and David and I took a workshop in bead-making. Hot glass and torches. These are some of the beads he made.


Because they needed to cool overnight in the kiln when we left, the instructor shipped them to us. Sadly, they never made it here. I wish so much I had some of¬†his Arrowmont¬†beads! Aren’t they beautiful?

David had¬†taught¬†himself¬†some lampworking before we went, and fortunately Annie and I do have some of the beads he made at home. She made me a pendant with one of those beads (but of course I can’t find the photo right now!)

I made some beads, too. So what did I do when I brought mine home? Added fabric, of course! I made a quilt. This is “Monochrome.”


It is 45.5″ x 60″¬†and was made in¬†2009. It¬†is truly a mixed techniques quilt!¬†It includes English hand smocking (because I needed some hand work to do while my husband was in the hospital for a week), fabric manipulation (inspired from a costume in the stage production of “Phantom of the Opera”), foundation piecing, machine applique, digitized embroidered motifs and free-standing lace.¬†And glass beads above the tassels! It includes cottons, necktie silk, machine embroidery, monofilament, and silk¬†threads, perle cotton, seed beads, glass, purchased tassels, and cotton batting.¬† Embroidery designs were from EmbroideryOnline, Zundt Designs, and Martha Pullen/Zundt.

“Monochrome” won 2nd place in the Computer-Aided Machine Embroidery category at the 2010 Houston Internation Quilt Festival, and an Honorable Mention at the 2010 AQS show in Paducah.

Here’s a close-up…


And the beads (click on these images to see them better)…

beads2 beads

Now, it’s been seven years since I’ve been there. Annie and I will be learning about wood-turning. She’s done some, but I never have. If previous years are any indication, it will be a fun, memorable, relaxing, and creativity-inspiring week!

A Very Versatile Machine Embroidery Design #3

You may have noticed that I use a lot of machine embroidery designs that are not “things.” No animals, no people, no coffee cups, no still lifes. Sometimes floral designs. But mostly, I really like swirl designs that lend themselves to many different looks. I’ve written about two other designs in this post and this post. Today I’m featuring a set of designs (yes, Zundt!) that I’ve used in several ways.


The designs have a satin stitch outline around a long, open, running-stitch filled center.

Here I used just the smallest design, repeated and mirrored to form a border.

ME borders

When those center fill stitches are stitched with metallic thread, it creates a soft, shimmery look that almost looks like it’s been painted.

All four of the designs were used in “Every Cloud Has A Silver Lining.” (2010)



The swirl design here is just to the left of the butterflies. I also used a couple of large floral designs and free-standing lace. The fabric is silver gray Radiance, and all of the embroidery (all Zundt) was done with gray Isacord and silver metallic thread. The butterflies, the large lace motifs (the quilt was cut from behind the motifs) and the wide lace edging (not visible in this photo; look at the full shot above) are free-standing lace. It is 85 inches square, and the embroidery used approximately 47,000 yards of thread and nearly 5,000,000 embroidery stitches. After the embroidery on the fabric was done, I free-motion quilted with Superior Threads silk Kimono thread.

This photo is from before it was completed, but it really shows the sparkle from the metallic thread (and Stella the cat says she needed to be in this post!)


This quilt won the Pfaff Best Machine Workmanship award at Houston in 2010


and a first place at Paducah in 2011.


But I wasn’t finished with these designs! This is a very different look in “Distraction.”


I pieced white and dark gray Kona cotton, then embroidered swirls over the pieced fabric. I love the way the piecing shows through the metallic-filled swirl centers – a lovely transparency!

Distract_detail2 Distract_detail

One of my favorite parts of this quilt is that I pieced the binding to match the pieced stripes in the fabric! Details matter! ūüôā


Actually, I wasn’t pleased with the way the edge of the quilt was slightly stretched, so I later took off the binding and re-did it so it would be smoother, but I¬†couldn’t find a picture of the final edge.

Finally, here is a little quilt I made, “Lime Frost”, which will probably be a donation quilt at some point.


It is Radiance, apple green and silver metallic thread, and a few Swarovski crystals. Besides the large central swirls that were also used in the other quilts, the smaller corner swirls are from my Craftsy class project.


I hope this has inspired you to think of using those embroidery designs in multiple ways, and to use them as the base for lovely quilting!

Mother’s Day

Here in the U.S., we celebrate Mother’s Day this Sunday.¬† One of the most memorable things I’ve ever done with my Mom is the creation of “Gloria’s Garden.”

Gloria's Garden_full

The quilt is 73″ x 73″, and was made in 2009. Mom chose the fabrics and pieced the top (a variation of “Blooming Nine Patch”, from Traditions with a Twist by Blanche Young and Dalene Young Stone.)¬†¬†I did the embroidery and quilting.

Gloria's Garden_detail

The lace border and all of the 3-D flowers are digitized free-standing lace, made from over 60,000 yards of thread.  My embroidery machines logged nearly 7,000,000 stitches in the making of this quilt, including over 3,000,000 in the lace border alone.  Embroidery designs are from Zundt and OESD.  That, of course, does not include all the stitching in the quilting, which was all free-motion.


The quilt won 1st place in Computer-Aided Machine Embroidery at Houston International Quilt Festival 2009.


And to my breathless delight, the quilt won the $12,000 Gammill Longarm Machine Workmanship award at the American Quilter’s Society Paducah 2010 show.¬†(Note: I quilt on a table-set longarm machine, not a frame system.¬†I move the fabric, not the machine.¬†But that year, the categories were divided by the type of machine, instead of whether the machine was moved over the quilt, or the quilt was moved under the machine.¬†The rules have since changed.)

My daughter surprised my Mom by travelling to the award’s ceremony.


To make it even more special, Annie, who is a talented jewelry artist, created matching silver brooches for Mom and me.


The flower echoes the shape of some of the free-standing lace embroidered flowers in the quilt, and the flowers I quilted.  The flower center features a small piece of one of the fabrics used in the quilt.

The quilt is now in the permanent collection of the National Quilt Museum in Paducah, KY. The curator of the museum took my photo with the quilt when I was there “visiting” it.

GG at museum

Happy Mother’s Day, Mom!


¬†Celebrate moms everywhere with Craftsy’s Sale through my link: http://www.craftsy.com/ext/SusanStewart_holiday. I get a small portion of each sale, and you get up to $20 off all online classes!

Another Rose

In my previous post, I featured variations of my Rose pattern. This is another dress made from that pattern.  I thought this one needed its own post!


This dress was made from white and gray Robert Kaufman Radiance fabric.  This fabric is a silk/cotton blend, and it is one of my favorites for both garments and quilts.  You can see some of my quilts made with this lovely stuff in some of my previous posts here, here, and here.

I’ll go through some of the adaptations I made to the pattern.¬† First of all, I added godets to the skirt, for the most wonderful twirliness.


To do this, I divided the rectangular skirt front into four equal sections, and the back into three (there is no godet at center back, not at the side seams.)¬† The godets are segments of a circle – the legs of the godet are the length of the finished skirt.¬† I used a quick-rigged compass – a pin, pencil, and string of the correct length – to draw the curve at the hemline.¬† While I allowed a deep hem (4″) on the white sections, that wouldn’t work on the curves of the gray, so I¬†allowed for only a narrow hem¬†(1″) at the lower edge.


I stitched the skirt sections together, then embroidered over the seamlines with thread to match the gray fabric.  The embroidery designs are from the Martha Pullen Kent State Museum Collection, Volume 2, Disk 1.


For the front bodice, I reshaped the neckline, then added an appliqued yoke that echoed the neckline shape.  Again, the embroidery was stitched over the seam.  The bodice back is unchanged from the pattern, and the bodice is lined with batiste, which finished the neckline.  Oh, yes, I also interfaced the neckline with silk organza.


The cap sleeves from the pattern have a small embroidery stitched on them, and are also lined with batiste.


The front “belt” is FSL embroidery from the Martha Pullen/Zundt CD, Vol. 3.¬† The lace was stitched on WSS, soaked, and then stitched on top of the finished waistline seam.


The back waist is finished with a big silk organza sash.

Then, to top everything off, I added some hot-fix Swarovski crystals.¬† You can see them in the previous photos accenting the embroidery on the skirt front (I didn’t add the crystals to the skirt back,) sleeves, bodice, and belt.


I even added them to the dark gray pearl buttons after they were sewn on!

I no longer have this dress, so I’m glad I took lots of photos.¬† I hope this¬†and the previous post give¬†you ideas on how to take a basic existing pattern and change it up in lots of ways.

Photo Transfer Quilts

During the past week, I participated in the 5-day artist challenge that has been making its way around Facebook.¬† It involved posting three projects for five days, and nominating one person each day to continue the challenge.¬† Well, thinking of projects for that challenge, plus the ideas I have for this blog, have brought home to me the large and varied body of work I have created.¬† It’s kind of fun to look back at all – well, at least some – of the things I have made with fabric and thread!

In the challenge, I posted photos of Shark’s Teeth garments, elaborate Christening gowns, some of my favorite quilts, and a prom dress!¬† So here’s yet¬†another type of work I’ve done.¬† This is a group of small wall quilts I made in 2010.¬† I like to take close-up photos of the flowers in my back yard.¬† I don’t have a fancy camera, or any particular knowledge of photography.¬† Some of these photos were printed on photo transfer fabric, and I incorporated them into little quilts.



This photo transfer was framed with a pinkish fabric to pick up the pink of the lily, and a green batik to blend with the leaves.  This was appliqued onto a subtle light ivory/cream/pink fabric, which was machine embroidered with OESD swirls that again picked up the colors in the flower.  The yellow and gold FSL flowers are from Zundt.



This is a photo of a phlox with a big, fat bee!  Again, a narrow inner border picks up the colors in the flowers, and tiny FSL Zundt flowers were added after the quilting was done.



In a previous post, I wrote about the silver-centered FSL daisy pins my daughter made me for Mother’s Day.¬† I placed these pins in a patch of black-eyed Susans and took one of my favorite back-yard photos.¬† So¬†I took another photo without the pins, transferred the photo to fabric, quilted it, and added a similar pin!¬† As in the quilts above, I used borders to pick up the colors in the photographs.


I love this tiny (8.25″ x 9.25″) quilt!¬† Look closely, there’s a honeybee tasting some nectar!¬† I had some scraps of ombre fabric; I spliced the picture and border with 1/4″ strips of fabric.

There was a beautiful pinky-peach rose quilt, as well, but I don’t know where it is, and I don’t have a photo of it.

I don’t remember what brand of photo transfer fabric I used.¬† My first quilt made with photo transfers was my parents’ 50th anniversary quilt, which I will post about in the future.¬† I had printed those images¬†on my home printer.¬† But for these little quilts, I e-mailed the images to my local print shop, then took in the freezer paper-backed transfer fabric, and had them print it.¬† For the cost of a few color copies, I had images that were brighter and more crisp than I was able to print at home.¬† Then I heat-set the ink, trimmed the photos to the size I wanted, added borders, and quilted.¬† Try it!¬† It was¬†fun!

Sterling Silver and Machine Embroidery – Unusual Partners!

My daughter is a jewelry artist.  About five years ago, trying to find a way to make a little money during grad school, she made these pretty little brooches.  She made the hand-crafted sterling silver centers, and I contributed the free-standing lace machine-embroidered petals.  These were really cute, I thought, and very versatile, as the centers could be removed and used with a variety of flowers.


So, of course, I made a quilt with a silver-centered flower!  This little quilt was donated to the silent auction at the Houston Quilt Festival in 2010.


The upper flower is machine embroidery directly on fabric.  The middle flower is a photo transfer from a photograph I took in our back yard.  And the lower flower is a double layer of free-standing lace petals with one of the silver flower centers.  This flower can be removed from the quilt and worn!  The light green border fabric is silk dupionni, free-motion quilted.  And all the machine embroidery designs in this post are Zundt, of course.

Then Annie tricked me!  She said she had a commission for three black-eyed Susan pins, and could I please embroider the flowers.  Some time later, I received a package in the mail.  Three lovely pins for me!   So of course I photographed them in their natural setting.  Look closely to find the silver-centered blossoms!


I’ve worn these a lot.¬† I’m not a “bling-y” kind of person, but these are casual and fun, a mix of silver and thread, and a wonderful reminder of my wonderful daughter!