Diane-shiko Tips

Many of you have been quilting this design, shown above in my quilt Shadows of Umbria, as a way to obtain a traditional Sashiko look with the ease of machine quilting simple arcs around a marked grid. I get questions about it in my classes and when I teach the technique, so here are a few tips for you. It is explained, step by step, in my book Quilt Savvy: Gaudynski’s Machine Quilting Guidebook, with many detailed photos.

Marking: Clear, crisp, easy-to-see marked ½” grids are the best. I use a ½” marked grid, on point, and use the June Tailor Grid Marker stencil. It makes it so easy. If you can’t see a nice “intersection” of two lines crossing, you are only guessing at a particular point, and the final result will be irregular. Also, you are stressed while doing the quilting because you just can’t quite see where you should be stitching.

I avoid chalk markers, the Pounce type ones, fuzzy tipped markers from too much use, lines you cannot possibly see except on another planet with a different light spectrum. Get a new marker, press lightly on it, let the ink in it wick out to the fabric rather than pushing/pressing so hard the line is fat and blurred and bleeding. Be delicate and precise.

For dark fabrics I like the Clover White Marking pen. It dries and stays crisp and bright, and is ironed out at the end.

Marking is crucial for this design. All four lines of the design “cross” at the point where the two grid lines cross, and precision helps make the design look its best.

Speed: Another tip is to quilt this design at one even speed, not too fast. If you move your hands too fast, the stitches will be so large the design will not look clean and even, but filled with irregular big “basting” stitches. Smooth slow steady hands create lovely even stitches.

Run the machine at a nice even medium speed so it doesn’t sound like a runaway train. Too fast and there go your hands, whizzing away and missing the intersections. Too slow and the stitches get large and uneven, and there goes the look of the design.

Learn the sound of the machine for the correct speed. It becomes comforting and allows you to relax and let your shoulders drop, and arms rest comfortably. You really only need to lift and move your hands for this design, not your arms at all.

Moving the quilt smoothly: Make sure the quilt moves smoothly on the machine bed. Use a Supreme Slider (http://www.freemotionslider.com/) or starch the backing of your quilt. Make sure any Plexiglas has been cleaned and polished so it is smooth and slippery.

I never add anything to my surface, just keep it clean, and I don’t use any sprays near my machine that would settle on the surface and make it sticky. For me, the Slider really helps, but even without it, starching the backing, and my stainless steel bed of my Bernina make a huge difference in being able to move the quilt smoothly.

Look ahead of the needle. Visualize the half-way point on the arc and aim for the next point where two lines cross. Do not watch the needle itself.

Where to begin: I usually place one line of the arcs on both sides of a line forming little ‘footballs’ right in the center of an area as an anchor to hold it in place and then work from that.

Many times I do this from a design such as a quilted feather out to an edge and back perhaps twice, forming a "V," then cut my thread, place the needle at the outside edge or ditch and then work back to the design and “travel” on the edge, or the ditch, rather than on the outer edge of the design.

Visuals: It’s nice to do the Diane-shiko in a slightly different color thread than used for the design or different from the fabric color. But if you choose to try this idea, be sure and echo the design with the background thread color first, then proceed to do the Diane-shiko. This line of echo quilting in the thread color of the background quilting will give you a pathway for travel to the next line and will be undetectable.

Sometimes you have to slow down just a tad to do this travel quilting for a few stitches, and this is when you DO look at the needle and stitches. Being precise at traveling or stitching over a previously quilted line is crucial. If you can do this well, it will be undetectable and look fabulous.

I always place my Diane-shiko on the diagonal, or “on point.” I find there is less distortion of grainlines of the fabric, no pleating will develop, and the look is more elegant. Also, you won’t run into the "issue" of the design lines not being quite parallel to seamlines, a problem that can happen when you mark parallel to seams or with the grainline. It looks bad and can cause excess fabric pushing into pleats. In a very small area it works, but be wary of doing it on a large expanse of background.

Be sure and remove your marking thoroughly when finished. Check it under an Ott light or fluorescent light to be sure it is totally gone.

If you make the arcs correctly the finished design will look like interlocking circles. If the arcs are too skinny and flat it will still look great, but the overall circles will be flattened. Whatever you do, keep it consistent overall and don’t try and change to fatter arcs, flatter arcs, back and forth. Don’t over-correct if you find that the arc you just quilted is too thin or fat. Always try for the correct arc, and the few odd ones will simply blend in. Circles over circles will confuse the eye and no one will notice.

Words of Wisdom: If there is a bad arc, “let it go.” Don’t spend unnecessary time picking out quilting stitches. In time all the arcs will be great. If you stop all the time and un-quilt, you will always be making mistakes because a rhythm and muscle memory for the design won’t have a chance to develop.

Take breaks! Use a magnifier to see the marked grid! My Bernina has one available for purchase, a set of 3 wonderful lenses that do not make me carsick when I use them.

Use a slightly different colored thread so you can see the design, or blend it in with a matching color.

Use this design all by itself to cover and quilt a border, a block interior, a circle in appliqué, the center of flowers, on garments. Divide up a section into soft curves and do this design in one of them, other motifs in the remaining sections.

Yes, you can do this on a smaller grid such as 3/8" or 1/4" for tiny areas, or larger, perhaps a 1" grid. The larger the arc is, the more difficult, in a home sewing machine, to keep it smooth and all arcs similar.

If you do enough of this, it will get better and better. The biggest danger is to try and go way too fast. This design needs your concentration and focus but will garner results in the end. Everyone will love it.

Keep quilting, your work gets better every day.
Diane

Marking quilting designs

It’s so much fun to quilt freehand, but many times, even in a folk art, informal, or pictorial style quilt, it’s nice to be able to plan ahead, plot out your special design, and mark it on the top. You have the control to see where it looks best, move it, change it, be the designer who steps back and looks at the result before stitches go in.

I love to do freehand work, but I do also like to control where designs will end up on my quilt top and how they will look. Often as a counterpoint to freehand designs I definitely like to mark some repetitive, symmetrical design and quilt on the lines rather than “winging it” when the quilt is under the needle.

When I first began quilting I marked everything, absolutely everything. I was way too afraid to try to quilt with no lines. Now I love to do that, and if I draw my own designs many times change them as I quilt them, when I see they would be smoother, better, easier if I make a quick modification. But, those lines are still guiding me, giving me the basis of the design.

You can choose from purchased standard stencils, newer designer stencils, basic traced quilting designs from books or magazines that you must do with a light box, or tracing around moveable motifs.

I really like to draw out a design on freezer paper, cut it out, and place it on the quilt and trace around it. The motif can be pressed with an iron for easier tracing, but be careful not to press any previous blue washout markings when you do this.

For me, with years of experience, I only trace major elements—the outside border, crucial interior lines—and do much of the interior work freehand. Designs will look alike at first glance, but will have variety of detail because of the freehand work.

You can also choose to change out some of the interiors for more interest. Fill one flower center with clamshells, and others with tiny leaves, rocks, or bananas. It also keeps work interesting for you.

Sandra Leichner’s blog shows you how she does freezer paper stencils for her original designs: http://sandraleichner.com/wordpress The entry is titled Freezer Paper “Stencils.”

Try marking a few designs. It’s easier than you think, can be your original work or something standard, and it is SO nice to quilt when the lines are there for you to follow.

Keep quilting, your work gets better every day.
Diane