Fused, Hand Printed and Quilted Binding

My bindings are fused to the edge of the trimmed quilt.  I usually use fabric to match the quilt and when necessary, I will print the binding after it has been fused in place.  I protect the quilt with masking tape before printing the binding.  After the paint dries, I will peel away the tape and machine quilt the binding to match the quilt.  This makes the bindings pretty nearly invisible, firm, and helps my quilts hang straight. 

Primary City Finished

 

31" x 45" 

Here it is in it's full and finished state.  I decided to go ahead and try making all the edges jagged.  I used my usual fused binding technique, but there were a lot of little corners to bind!  I think it took as long to bind this piece as it did to quilt it!  I figured I could always trim it into a nice straight rectangle if this approach failed. 

Now, about the title.  I have been using Primary City (for the primary color scheme).  I am not crazy about that title, so will have to mull the title.  Usually a good final title comes to me during the final stages of construction, but that has not happened yet with this piece.  Hopefully, I will come up with something by the time I am ready to add a label.

Finishing the binding for Red Planets

I fiddled around with the binding a bit to get the miter to look right and wrapped the binding around to the back, where it is fused in place.  I stitched in the ditch to anchor it.  This technique would never fly in a quilt show.  I wonder if I will someday regret doing the binding this way?  For now - it seems like a great solution!  Quick and it looks great.  I am happy with this piece and am wondering if this is a direction I can go with the deconstructed screen prints I have.....I really would like to build a series with them, but have been somewhat stymied in all my efforts.  Tomorrow, I will show the finished piece!

Binding the Red Planets

 I have decided to do something different for the binding.  I did not have enough long strips of this color to make a proper miter, and I wanted the gray to gradate the same on the binding as on the piece, so I used a strip of binding (with fusible on the back) - but I stitched it in place, folding the miters at the corners and stitching them in place, also.

Screenprinted Binding for Reflections

 I screenprinted the cottonwood trees on the binding after it was in place.

Masking tape protects the quilt from any ink that might extend beyone the binding.

Once the ink is dry, I remove the tape.  I am pleased that I have been successful in positioning the screen so the print of the trees continues naturally into the binding. Next, I will machine quilt the binding to make it blend in with the quilt even more!

Here is a picture of the quilted binding.

Fused Binding for Reflections

 I purchase Mistyfuse on a roll from the Mistyfuse Website, and I have covered my worktable with teflon.  This makes it easy to apply the fusible to the fabric.  I am using fabric leftover from Reflections - which is a wholecloth quilt of hand dyed fabric. 

I cut the binding fabric into 1 1/4" strips (you could use any size, but this is what I like).  I lap the binding about 1/2" over the top edge of the quilt, then fuse it in place.

Six Mandalas Bound

I felt this piece should have a sewn binding because the Damask tablecloth fabric frays really badly and this is a whole cloth piece.  I wanted to use the same red dyed tablecloth for the binding, but I tried something different.  I put Mistyfuse on the back of the binding fabric.  Then, I sewed it in place on the front of the quilt.  When I folded it to the back, I fused it into position instead of hand stitching.  This makes for a flatter binding and it was quick to do.  I don't think it would pass muster with a judge at a quilt show, but that is not my plan for this piece, so I am not concerned.  It was kind of experimental, but I am satisfied with it.  I stitched in the ditch from the front to anchor the fused binding into place through all layers.  It won't be going anywhere. 

Printing the Fused Binding

 I had hand dyed blue fabric left over from the collage that I was able to use for the binding.  Above - the binding (note the mitered corner) has been fused in place and I have applied masking tape to protect the quilt.  Because of the pronounced, high contrast swirls of the block printing - I will be using the middle of the printing blocks to do the binding - I try to match it up so it looks like the binding is actually part of the quilt (which it is, I guess).

 Above, the block printing spills over onto the tape (again, note the mitered corner on the binding).  Tape removal reveals the freshly printed binding that blends nicely with the quilt.

 

  

Above, you can see how the tape saved the quilt from the paint as I printed the binding.  I carefully selected the part of the printing block I would use in each section.  I was really wanting the swirls to look right.  Below - removing the tape after block printing and screen printing are dry.

Machine Quilting the Binding

 It is a bit tedious to machine stitch along that 1/2" binding, but it really doesn't take very long. 

 I use the same thread on the binding that was used when quilting the quilt.  The variegated dark thread above is a Superior King Tut - Ebony is the color.  Below, is a YLI Trilobal Polyester - the color is called Stone.

Printing the Binding

Binding Details

 

Here is a detail showing the binding that has been fused in place (above).

  Below is a detail showing the binding after it has been screen printed with text using Pearly White Screen printing ink.

 The next step is to block print on top of the screen printing.  Above, I have applied paint only to the edge of the printing block.  I am only printing the binding, which is about 1/2" wide.   Below, a well used (paint stained) printing block is face down on the binding - printing the edge.  My print table is covered in plastic - which is pretty much covered in paint (dry paint doesn't stain anything!)

 Here are three of images of the binding after it has been screen printed and block printed.

I have never been disappointed with this binding method!  It may seem like a lot of fussing, but - I don't have to do any hand stitching!

Fused Gray Binding

 The binding fabric is leftover from the body of the quilt.  It already has Mistyfuse attached to the back and it has been cut to 1.25" strips.  I start with the corners, because that is the most difficult part.  I do a fused miter and try to match the fabric color.

 Here is a binding strip fused in place on the bottom of the quilt.  I am so glad I have just the right amount of fabric leftover from the quilt and it is a perfect match.

 It looks kind of wonky in this picture, but that is just the angle of the camera.  This is how it looks with the plain binding strips fused in place.  Next, I will print the binding to match the quilt.

Fused Binding for 12" Square "Winter Walk"

 This 12" piece is ready to be bound - so I decide to bind it with silk organza, fused in place.

 Below - the finished piece - I've quilted the binding.  I like the way it looks on the bottom and sides.  I don't think I will use organza binding on my next piece except in areas where there is organza on the quilt.

Now, to try this approach in a larger scale!

Printing the Binding for Last Light

The fused binding for this piece is hand dyed fabrics that matched the collage fabrics in the body of the quilt.  I planned to print the binding after it was in place on the quilt.  To accomplish this, and to get the prints in the correct location, I placed masking tape right up to the inside edge of the fused binding.  

 

The next step was to print the binding.  I wanted the binding print to blend right in with the other printing, so I was very careful with my placement of the blocks and also with my color choices.

 As I pulled away the tape, I was hoping for the best.

I was happy with the way this turned out.  Next - to quilt the printed binding.

Stitched Binding for Hedgerow

I like to finish off the printed binding with quilting stitches. This secures the binding in place and creates a nice firm binding that holds it's shape well and hangs nice and flat.

I got a little wonky printing the binding (I covered the quilt with a piece of paper to mask it so there would not be printing spilling over onto the quilt and this made it difficult to align the block perfectly (the block was also upside down so I could not see the details on it, either)
I am sure I could figure out a way to overcome this, but I am not really sure it matters all that much. I like things to be a little bit irregular.

I also like the look of the black thread.
What do you think?

Binding Questions for Hedgerow Quilt

Here is the black thread quilted Hedgerow piece - trimmed.
I am contemplating a different approach for the binding. . . .

Considering binding it in red, so to try the look - I have hung it on my design wall with red fabric behind it.

I'm not crazy about the red, so I decide to bind it with a matching hand dyed fabric, which I will print to match the quilt.

Above is the quilt with the unprinted binding fused in place.
Below, it is shown finished with the binding printed to match the quilt.

Now, to stitch the fused and hand printed binding with black thread.

Fused Binding Tutorial

To create a fused binding, I attach Mistyfuse to the back of the binding fabric.
Then, I cut it into strips 1 1/4" wide. I start by fusing the binding strip to the front of the quilt - corners first, one corner at a time. When it is cool, I insert a straight pin at the exact corner of the quilt (this is so the miter will be formed correctly)

I then fold the binding diagonally at the pin to the back. Before fusing, I fold it down to make sure the miter will be correct. Adjust accordingly.

I flip the quilt over, fold and fuse the folded binding to the backing.

Here is a fused miter from the back of the quilt.
This particular binding is hand dyed fabric, and it has not been block printed to match the block printed front (yet). I will show that process in tomorrow's post.