Quilting

Quilting is a sewing method done either by hand, by sewing machine, or by Longarm quilting system. The process uses a needle and thread to join two or more layers of material together to make a quilt. Typical quilting is done with three layers, the top fabric or quilt top, batting or insulating material and backing material. The quilter's hand or sewing machine passes the needle and thread through all layers and then brings the needle back up. The process is repeated across the entire piece where quilting is wanted. A straight or running stitch is commonly used and these stitches can be purely functional or decorative and elaborate. Quilting is done on bed spreads, art quilt wall hangings, clothing, and a variety of textile products. Quilting can make a project puffy, or with dense quilting, can raise one area so that another stands out.

Quilting types and equipment:
Many types of quilting exist today. The two most widely used are hand-quilting and machine quilting. Hand Quilting is the process of using a needle and thread to sew a running type stitch by hand across the entire area to be quilted. This binds the layers together. A quilting frame or hoop is often used to assist in holding the piece being quilted, off the quilter's lap. A quilter can make one running stitch at a time. Another option is called a rocking stitch, where the quilter has one hand, usually with a finger wearing a thimble, on top of the quilt, while the other hand is located beneath the piece to push the needle back up. The third option is called "loading the needle" and involves doing four or more stitches before pulling the needle through the cloth. Hand quilting is still practiced by the Amish within the United States, and is enjoying a resurgence worldwide. Machine Quilting is the process of using a home sewing machine or a Longarm machine to sew the layers together. With the home sewing machine the layers are tacked together before quilting. This involves laying the top, batting and backing out on a flat surface and either pinning (using large safety pins) or tacking the layers together. Longarm Quilting involves placing the layers to be quilted on a special frame. The frame has bars on which the layers are rolled, keeping these together without the need for basting or pinning. These frames are used with a professional sewing machine mounted on a platform. The platform rides along tracks so that the machine can be moved across the layers on the frame. A Longarm machine is moved across the fabric. In contrast, the fabric is moved through a home sewing machine. Tying is another technique of fastening the three layers together (and is not a form of quilting at all). This is done primarily on quilts that are made to be used and are needed quickly. The process of tying the quilt is done with yarns or multiple strands of thread. Square knots are used to finish off the ties so that the quilt may be washed and used without fear of the knots coming undone.

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Quilting: Processes and Definitions:
Traditional Quilting Processes Traditional quilting is a six-step process that includes: 1) selecting a pattern, fabrics and batting; 2) measuring and cutting fabrics to the correct size to make blocks from the pattern; 3) piecing (sewing cut pieces of fabric together using a sewing machine or by hand to make blocks) blocks together to make a finished "top"; 4) layering the quilt top with batting and backing, to make a "quilt sandwich"; 5) quilting by hand or machine through all layers of the quilt sandwich; and 6) squaring up and trimming excess batting from the edges, machine sewing the binding to the front edges of the quilt and then hand-stitching the binding to the quilt backing. Note: If the quilt will be hung on the wall, there is an additional step: making and attaching the hanging sleeve.

Definitions:
Piecing: Sewing small pieces of cloth into patterns, called blocks, that are then sewn together to make a finished quilt top. These blocks may be sewn together, edge to edge, or separated by strips of cloth called sashing. Note: Whole cloth quilts typically are not pieced, but are made using a single piece of cloth for the quilt top. Layering: Placing the quilt top right side up atop the batting and the backing, which is right-side out. Quilting: Sewing the three quilt layers together, using stitches in decorative patterns, called motifs, or in utilitarian patterns, such as straight lines, using bigger stitches. Borders: Typically strips of fabric of various widths added to the perimeter of the pieced blocks to complete the quilt top. Note: borders may also be made up of simple or patterned blocks that are stitched together into a row, before being added to the quilt top. Binding: Fabric strips cut on the bias or straight of the grain, sewn together, making a long strip that will fit the perimeter of the quilt, which is typically sewn to the top edge of the quilt. Quilting: Stitching through all three layers of the quilt sandwich, typically by hand or machine in decorative patterns, which serves three purposes: 1) to secure all three layers to each other, and 2) to add to the beauty and design of the finished quilt, and 3) to trap air within the quilted sections, making the quilt as a whole much warmer than its parts; for example, a single layer or all three layers used separately. Quilting is usually completed by starting from the middle, and moving outward toward the edges of the quilt. Examples: simple or complex geometric grids, "motifs" traced from published quilting patterns or traced pictures, complex repeated designs called tessellations, or stitching within the seam line itself, i.e., stitching in the ditch. Note 1: Quilting can be elaborately decorative, comprising stitching fashioned into complex designs and patterns. The quilter may choose to emphasize and add to the richness of the quilting, by using threads that are multicolored and/or metallic, or that contrast highly to the fabric. Conversely, the quilter may choose to make the quilting disappear, using "invisible" nylon or polyester thread, and stitching in the ditch (in the seam line). Many quilters draw the quilting design on the quilt top before stitching, while others stitch "freehand."

Note 2: While the majority of quilt tops are pieced from many smaller patches of fabric (patchwork quilts), in which the patterns of individual blocks, or the pattern created by combining the blocks is the emphasis, whole cloth quilts typically use a single, non-figural piece of fabric and the elaborate quilting is the emphasis. Polished chintz, sateen or other shiny fabrics are often used in whole cloth quilts to aid in emphasizing the intricately detailed quilting stitches.

History of quilting:
Piecing fabric together is also very old. It was more often used for clothing but also occasionally for decorative objects like this exquisite pieced pillow from the 15th century. The making of pieced quilts made up of cut pieces of fabric sewn in block form with the blocks then sewn together to make the quilt is a more recent development. Pieced block quilts, often called patchwork quilt, did not become the dominant form of quilt making until the mid-19th century, and still is not the traditional form in Provence, Wales, and parts of India. Quilting at the dawn of the nineteenth century Quilt making was uncommon in America in the late eighteenth century and early years of the nineteenth. Most women were busy spinning, weaving and sewing in order to clothe their family. Commercial blankets or woven coverlets were a more economical bedcovering for most people. Only the wealthy had the leisure time for quilt making so Colonial Quilting was done by only a few. Obviously quilts were not made of left over scraps or worn clothing as a humble bedcovering during this period. Instead they were decorative items that displayed the fine needlework of the maker. Whole cloth quilts, broderie perse and medallion quilts were the styles of quilts made during the early 1800s.

Whole cloth quilts:
Quilts made of a solid piece of fabric are referred to as Whole Cloth Quilts. The three layers of top, batting and backing were quilted together. The quilting itself became the decoration. Both wool and cotton solid color quilts and white quilts were made during this period. The white ones are sometimes called "whitework". A few were made with a simple overall quilting design but many were works of art with beautiful quilting including feathers, flowers and other natural motifs. Some were made even more exquisite by a method called trapunto. Trapunto is the technique of slipping extra stuffing into certain areas of a quilt to bring out the quilting in that area. For example trapunto can make the area inside a feather or flower making that part of the quilt a little thicker. Women were proud of fine and even quilt stitches in these quilts

Broderie perse quilts:
Broderie perse refers to the applique of cut out motifs from printed fabric onto a solid background. This form of quilt making has been done since the 18th century. The popular printed fabric during this period was chintz imported from India. Printed fabric was expensive even for those who were well off. By cutting out birds, flowers and other motifs from printed fabric and sewing them onto a large homespun cloth a beautiful bedspread could be made. The technique was also used on some early medallion quilts as in the example linked below. Broderie Perse bedcoverings were usually used on the best bed or sometimes only when guests were staying in the home.

Medallion quilts:
Medallion quilts are made around a center. The center was sometimes a solid piece of large scale fabric like a toile or a Tree of Life, an appliqued motif or a large pieced star or other pieced pattern. The central area was surrounded by two or more borders. Although some borders were solid, many were pieced or appliqued.

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Changes in quiltmaking during the mid nineteenth century:
Progress in technology deeply affected the number and styles of quilts made during the middle years of the 1800s. The industrial revolution brought about the most dramatic change as textiles came to be manufactured on a broad scale. This meant women no longer had to spend time spinning and weaving to provide fabric for their family’s needs. By the 1840s the textile industry had grown to the point that commercial fabrics were affordable to almost every family. As a result quilt making became widespread. A great variety of cotton prints could be bought for the making of clothing and even specifically for making a quilt. Although scraps left over from dressmaking and other sewing projects were used in quilt making, it is a myth that quilts were always made from scraps and worn out clothing. Examining pictures of quilts found in museums we quickly see that many quilts were made with fabric bought specifically for that quilt. Another major shift was in the style of quilts made. Although a few earlier quilts were made in the block style, quilts made up of blocks were uncommon until around the 1840s. With so many fabrics being manufactured quilters could create their blocks with a delightful variety of fabrics. Some block style quilts were made of a set of identical pieced blocks while others contained a variety of blocks made with different patterns. The blocks were sewn together and a border may or may not have been added. During this period the invention and availability of the sewing machine contributed to quilt making. In 1856 The Singer company started the installment plan so that more families could afford a sewing machine. By the 1870s a good many households owned a sewing machine. This affected quilt making in two ways. First of all women could make clothing for their family in much less time leaving more time for quilt making and secondly they could use their sewing machines to make all or part of their quilts. More often the sewing machine was used to piece quilts but occasionally the quilting was done with the sewing machine.

Two types of signature quilts:
One significant type of quilt made during this period were signature quilts. Indelible ink was available after 1840 making it possible to not only sign a quilt but to add inscriptions including poetry, personal messages or other information. The more elaborate autographs and inscriptions are seen most often in quilts made before the Civil War. We refer to quilts in which all the blocks were the same pattern as friendship quilts. Often each person made a block and signed it. Other times one person made the quilt then each person signed a block. Sometimes a person with exceptional handwriting inscribed all the signatures. There was no single way that friendship quilts were made. Friendship quilts had special meaning for those who were traveling westward as they could look at the quilt and remember friends and family left behind. The other kind of autograph quilt was the album quilt that consisted of several unique quilt blocks. More often these album blocks were appliquéd while the friendship quilts were usually made up of pieced blocks. The most elegant of thes album autograph quilts were Baltimore album quilts. Baltimore album quilts originated in Baltimore, Maryland in the 1840s. These album quilts of lovely appliquéd blocks were sometimes designed by the maker though in time patterns by accomplished designers were used as the popularity of this quilt style spread. They reflected the prosperous community of Baltimore as most were made not with scraps but with new fab

Quilting for the cause in the United States during the Civil War era:
There were many years and events leading up to the American Civil War. First quilts were made to raise funds to support the abolitionist movement then during the Civil War quilts were made to earn money for the war effort and to give warmth and comfort to soldiers. The patterns were much like those made mid-century but the purpose was different. Quilts connected to the abolitionist movement and the Civil War were made for a cause.

The movement to free the slaves and the role of quilts:
Even before 1830 abolitionists were working hard to end slavery. One way they did this was to hold grand fairs to raise both awareness and money for the abolitionist cause. Quilts were one of many craft pieces sold at these fairs. These quilts were usually fine quilts often with beautiful appliqué. Women sometimes put anti-slavery poems and sayings on the quilts they made for fairs as well as for friends and family. The goal was to show the terrible plight of the slaves. Some abolitionists were active in the Underground Railroad helping runaway slaves get to safety. There are stories that certain quilts were used as signals to help the slaves in their flight to freedom. The idea that a log cabin quilt would be hung on the line of a safe house was one. More recent stories tell of certain quilts being used to tell the slaves what they needed to do to get to safety. This all sounds quite romantic but there is no historic evidence that quilts were ever used in this way. But we do know that a valiant effort was made by both whites and free slaves to help these slaves to their destination. Quilt historians have written about the lack of evidence that Quilts of the Underground Railroad were any more than stories that have caught our imagination. Quilts to warm the soldiers and quilts to raise money for the war Women on both sides were very active in raising money for the war effort and making quilts and other bed coverings for soldiers. In the north quilts were still made for fairs but now these fairs earned money to support needs that came about because of the war. In the south lovely quilts called gun boat quilts were made to pay for much needed gun boats. But it wasn't long before it was obvious that soldiers on both sides would need blankets and quilts to give them warmth. In the north women either made quilts or remade quilts from bed coverings. Since the cots were narrow two bedspreads could be made into three quilts for soldiers. The United States Sanitary Commission was in charge of collecting these quilts and distributing them. In the south it was more difficult. Even though cotton was grown in the south it was manufactured into fabric in the north. Before long fabric was almost impossible to obtain so women had to spin and weave before they could sew together a bed covering. Needless to say most of the quilts made for soldiers on either side were made with practical patterns and fabric. Very few have survived to this day.

Quilting During the last decades of the 19th century, the Victorian Era:
Quilt making continued to be a popular craft during the latter part of the 1800s. The Victorian influence was a bit delayed in the United States because of the Civil War and it's aftermath.

The Crazy Quilting Fad:
In terms of quilts the latter years of the nineteenth century the best know quilt style was the Crazy Quilt. Crazy quilts were made of abstract shapes sewn together. Usually the quilt maker then used embroidery to embellish the quilt. First fancy stitches were sewn along the seams. Often the maker also added embroidered motifs including flowers, birds and sometimes a spider and web for good luck. Crazy quilting was quite the fad during this period. Magazines encouraged making crazies. Young women were particularly eager to make them. These quilts were seldom used as bedcoverings. Instead they were made smaller and without batting to be used as decorative throws.

Traditional Quilts Were Still Made:
Because the crazy quilting craze was so popular during this period one might overlook the fact that many traditional quilts were also made. Utilitarian quilts were pieced and tied or simply quilted for everyday bed coverings while beautiful pieced and/or appliquéd quilts were created for special events like a wedding or when a beloved minister was transferred to a new location. These were more often elaborately quilted.

Charm Quilts Were Another Fad:
Another fad that swept the quilt making world was the making of charm quiltsthat required a different fabric for each patch. Some included thousands of pieces of fabric. Part of the fun was trading fabric with friends and getting that young man a girl might admire to contribute a bit of an old shirt.

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