Guest Blogger Karen Young with Thoughts on the Boston Marathon

Karen Greve Young

Readers, I’d like to introduce my guest blogger, Karen Greve Young. Karen is, in no particular order, an author, a professional strategist, an MBA, a wife and mother, an athlete, and my beloved niece.

I have friends from Boston. For a while, I had family in Boston, attending Boston College and Harvard. And, as I read online yesterday, “Today, we are all from Boston.” For these reasons and because Karen writes so eloquently about marathons, human instinct, and hope, I’m happy to run her article in this month’s blog.

In Karen’s words…
I used to run marathons. My first one was in Napa Valley, in 1997. I had trained for months, running 20-40 miles a week along the San Francisco Bay and Pacific Ocean.  I was driven by my love of running, and I have to admit it, my fear of failing. No matter how well my training was going, I was afraid I would “bonk” before the finish. “Bonking” or “hitting the wall” is the endurance athlete’s nightmare – when you deplete your body’s energy before the finish line. The goal is to push yourself to your limits – just not beyond.

It wasn’t until I saw the finish line that I was certain I would cross it – what a feeling of achievement and relief! And to confirm a myth, yes, a few Napa Valley Marathon spectators sitting at the end of their driveways were cheering while sipping what looked suspiciously like wine (the race starts at 7am).

As soon as I finished that race, I set my sights on my ultimate marathon goal: Boston.

Boston is the only marathon I know of that requires runners to achieve a qualifying time. Eighteen months and hundreds of training runs later, in California’s Humboldt Redwoods, I had the race of my life and ran a qualifying 3:36. I was going to Boston!

My training shifted from constantly pushing my pace to qualify for Boston to putting in just enough miles to enjoy and finish the race.

But I underestimated the hype. Everyone at the start was talking about two things. First, wow, was it ever hot for a race day! And second, there’s no place to qualify for Boston like Boston.  So hubris replaced logic and I thought, “I qualified before, I can do it again.”

Halfway there!

At the halfway mark, I felt strong and was on my way to a new personal best. Then the heat and my unaccustomed fast pace started to kick in, hard. When I reached Heartbreak Hill at mile 21, it seemed to break my heart, my stride, and my spirit.I shuffled along the last six miles in blistering heat thinking every step, “I have to finish. I can’t finish. I have to finish. I can’t finish.” By the time I turned the corner onto Boylston Street at mile 26, all I could do was force one foot in front of the other.

Then I saw the finish line and thought, “I have to pick it up for the finish. This is Boston. I can do this!” So I tried to sprint.

Instead, I fell, hard, on the hot asphalt. I stood up, took a step, and fell again. And then again.

I stood slowly and looked at the finish, three blocks away. It was right there! But I couldn’t move my legs. I had bonked.

At the Finish Line

Then, I felt bodies on both sides of me, as an older man and woman put my arms over their shoulders, reached around my waist and helped me walk. Gratefully, exhaustedly, I hobbled between them as they sacrificed their finish times so I could finish at all. At the finish line, I was immediately put in a wheelchair and surrounded by race volunteers who whisked me away to the medical tent.I don’t know the names of the people who helped me across the line that day, but I will never forget them. My Boston Marathon race pictures – depicting my strong but naive pace at mile 13 and my body collapsed in a wheelchair at the finish – are next to my treadmill at home. They remind me that I have to put in the training to get what I want. They remind me to set high goals and really go for it. They remind me to persevere, even when it really, really hurts.

And the pictures remind me of the two people, who had never seen me before or again, who helped me achieve one of my life goals. To this day, I’m not sure if I even thanked them in my exhausted stupor. But I think of them every time I look at my race pictures.

This week, 14 years after my Boston Marathon, the finish line was tragically racked by injury and grief. And the community – runners and non-runners – immediately stepped in to help.

As New York Times columnist Thomas Friedman wrote, “When you watch the video of the bombing aftermath, notice how many people you see running toward the blast within seconds to help, even though more bombs easily could have been set to explode there.”

Last night, I felt compelled to run. With every step, I thought about this year’s competitors and supporters, and I rekindled the magic spirit of Boston, that terrorism can’t quell.

As I ran, I wrote this blog in my head. Because suddenly, I could reconcile my experience with this one. Because as horrible as things can be, the human instinct that leads people to help total strangers in crisis – not to mention those who work every day to help people in need – means there is hope.

My heart goes out to those injured and affected by this year’s Boston Marathon horror. I fervently hope that the only heartbreak at future races is on Heartbreak Hill.

Come Cruise With Me!

Join me in the Caribbean!

I love it when I can combine a bunch of favorite things in one event, don’t you? Next March (2014), I’m teaming up with Quilt Retreats at Sea and Artistic Artifacts for an eight-night quilting cruise where I can enjoy:

• Travel to warm places while it’s cold at home
• Spending time with my hubby
• Spending time with quilting buddies (quilters I know now and quilters I will meet)
• Sharing my favorite original quilt pattern with other quilters
• Giving out prizes and surprises
• Food, food, and more food
• Ocean view
• Sewing!

Friendship Chain, Purple Rain Colorway — Fabrics will vary

Sounds good, right? I’d love it if you’d join us! We’ll leave Baltimore on Friday, March 28, 2014 on Royal Caribbean’s Grandeur of the Seas. Our ship was refurbished in 2012 and is just beautiful! Click here to read all about the ship. Our stops include Port Canaveral, Florida; Nassau, Bahamas; Coco Cay, Bahamas; and Key West, Florida. We can have beach time, shopping time, sightseeing time, and just lazy time. We’ll return to Baltimore on Saturday, April 5.

On three of our days, we’ll be at sea, having fun piecing a quilt. I’ll be teaching the techniques you’ll need to successfully complete our quick and easy project. This is my favorite pattern, Friendship Chain. Back before the Dawn of Time (when I was in elementary school), we used to make these zigzag bracelets out of paper chewing gum wrappers. This quilt reminds me of those bracelets, hence the name. I can almost smell the Juicy Fruit gum!

Tangerine Sunrise Colorway — Fabrics will vary

Quilt Cruisers will get to choose from two colorways: Purple Rain and Tangerine Sunrise. Our sewing machines are being provided for us along with an expert to troubleshoot as needed and keep us rolling in full bobbins! But the best part about our quick and easy project is that I will cut the kit for you. When you sit down to work, you will not have to cut strips or subcut blocks — it’ll all be ready for you to get started!

If you are a fast worker (and you know who you are!), you might want to bring a small UFO or two. While the ship has lots of distractions for your free time, you may finish your quilt top and want something to work on during the optional Stitch-and-Sail sewing times.

Toward the end of our cruise, I’ll have a surprise project for you to work on. We’re going to have lots and lots of fun!

Royal Caribbean’s Grandeur of the Seas

So, what’s included on the cruise? The Friendship Quilting Cruise Package includes:

March 2013 in Virginia – Wouldn’t you rather be in the Caribbean in March 2014?

• Eight nights aboard the Grandeur of the Seas
• All port fees and taxes
• Prepaid onboard gratuities
• Trip/travel insurance
• Two group cocktail parties
• All onboard meals
• Onboard entertainment
• Quilting classes and instruction
• Project kits and materials
• Open Stitch-and-Sail sewing times
• Group events, prizes, giveaways!

I’d love you to join us! For more information or to register, contact Quilt Retreats at Sea. If you have any questions, e-mail me.

Filling the Well – A Fresh Look

Austin Sunrise from our Room — Do you see the reflection in the window?

For years, I have advocated filling the well. I don’t think it’s sustainable to put art and ideas out into the world without taking in some sort of artistic nourishment. And so, I’ve counseled my friends and students to visit museums, walk art shows, page through beautiful books, and look at engaging sights.

In December, on a trip to Austin, Texas, with my husband, I learned that I was only halfway there with my well-filling philosophy. It appears my recommendations were too limited.

We Walked Everywhere…

Austin is a vibrant and lively city, even in the dead of winter. We walked across bridges, through the city on endless sidewalks, and along a few roads that were not designed for pedestrians. We ate, we walked, we drank, we walked, we listened to music, and we walked some more. We enjoyed galleries, shopped in boutiques, and visited historic monuments and museums.

Here’s what I learned.

Gourdough Foodtruck – Home of Big.Fat.Donuts that you eat with a fork!

All sights and sounds are food for your spirit. You don’t need to limit yourself to “artful” activities. Our wanderings were just what I needed to renew the wellspring that sustains my creativity. The irony? Until I reached for my notebook to jot a quick sketch, I hadn’t even been aware that I had been running on empty. The sensation of choosing a pen and opening the cover seemed foreign. It had been too long.

My new well-filling philosophy?

Embarrassing my Husband

Keep your eyes open. Use all of your senses. Don’t wait until your well is so empty that it’s an effort to get out your supplies and play. Every day (okay, start small and think every week), look around in wonderment and really SEE something. Look at the structure, the colors, the scale, the signs of wear. THINK about your observations and let your brain play with what you see. How do you react to the frayed edges of that fabric or the patina on that sculpture? How do you respond to the snow on the path or the sand on the boardwalk? Do you SMELL the ocean or perhaps something blooming? Do you HEAR the wind rushing through the trees or the ocean rushing to shore? FEEL the sun on your face – or the rain or the snow.

Even if you cannot link these sensations to your art, you are still contributing to your art. Be aware. Be in the moment. Try it. I’ll try it, too.  And let me know how it works for you.

My Conversation with Pat Sloan

A little while ago, I had the chance to do an interview with Pat Sloan for her radio show on American Patchwork and Quilting Radio. We covered a lot of territory, talking about the Power Suits Art Quilts, the tribute quilts I make, and my new book, Creating Celebration Quilts, due out in Spring 2013. Pat’s always a lot of fun and I really enjoyed talking with her. To listen to my interview:

• Tune in to http://www.allpeoplequilt.com/radio/index.htm on Monday, October 29, 2012 to listen to the broadcast at 4pm eastern time.
• Visit http://www.allpeoplequilt.com/radio/index.html after the broadcast to download the podcast.
• Go to iTunes to download the podcast.

Don’t forget to let me know what you think!

Power Suits: An Art Quilt Challenge in Orange, Virginia

I took a road trip yesterday. I packed my truck with the 104 quilts of the Power Suits Art Quilt Challenge and I drove them to the Arts Center in Orange, Virginia, where they will be on display from June 7 until July 20, 2012.

The quilts will be shown in three locations: the Morin Gallery at the Arts Center in Orange, VA, the Law Offices of Sean D. Gregg, and the Virginia National Bank. All three locations are just a few steps away from each other.

The opening reception is scheduled for Thursday, June 7, 2012, from 5 to 7pm at the Arts Center in Orange at 129 East Main Street, Orange, Virginia. Normal exhibit hours at the Arts Center are 10am-5pm, Monday through Saturday. Most of the quilts will be at this location.

You can find some of the Power Suit Quilts at the Law Offices of Sean D. Gregg, 111 East Main Street, Orange, Virginia. Hours are 9am-5pm Monday through Friday.

The third exhibit location is the Virginia National Bank, 102 East Main Street, Orange, Virginia. Hours are 8:30am-5pm Monday through Thursday; 8:30am-6pm Friday; 9am-noon Saturday.

For more information about the Power Suits Art Quilt Challenge or to find out where the quilts are headed next, visit the Power Suits website.

Skipping the Skipped Stitches in Your Free Motion Quilting

Recently, I was free motion quilting a baby quilt and I was interupted by skipped stitches. Everything would be perfect for a few inches and then I’d have to stop and rip. Since quilting is supposed to be fun (and this wasn’t), I did some research, started experimenting, and finally fixed the problem. Here’s what I learned – along with some words of wisdom from a few of my quilting friends.

What are Skipped Stitches?

The needle holes show where the stitches were skipped.

In free motion quilting, skipped stitches are when the needle carries the top thread into the quilt sandwich, but the thread does not form a stitch. The needle may leave a hole when it pulls out of the quilt, but the top thread also pulls out of the hole. Skipped stitches can come one at a time or several in sequence. I have a tolerance for one here and there, but groups look bad and I rip them out and try to figure out what’s causing the problem.

What Causes Skipped Stitches?

Skipped stitches are caused by incorrect timing in the stitch formation process. For stitches to form properly, the hook and needle’s bottom position must be timed just right. There are factors that can affect this:

• How you prepare your sewing machine for free motion quilting
• Thread size and quality
• Needle size and type
• Presser foot choice
• Presser foot pressure
• Your free motion quilting technique

As you make adjustments to solve the skipping problem, remember to change one thing at a time and test on a quilt sandwich that matches the quilt you’re working on.

Machine Preparation

Everything you need to clean your machine

• Make sure the machine is threaded properly. This sounds simple, but a small oversight can cause big issues. Michele Scott, quilter, author, teacher, suggests turning the machine off and back on to restart or reboot to reset anything that may have become “goofy.”
• Michele Scott also suggests trying a single hole or straight stitch throat (stitch) plate. The smaller opening leaves less room for the quilt to flap as the needle punctures the quilt sandwich, pushing it down and pulling it back up.
• Reduce the top thread tension. Start with small changes, but don’t be afraid to approach zero. Just keep checking where the stitch locks (top thread with bobbin thread) to make sure you’re fixing your skipping problem and not causing a tension problem.
• Make sure your feed dogs are down. I know, but check anyway. If you can’t cover them or lower them, then set the stitch length to zero to keep them from moving.
• Make sure the needle is inserted completely and properly.
• Clean the bobbin area and make sure there are no errant threads hiding there. Oil, if appropriate.
• Victoria Findlay Wolfe, artist, quilter, and owner of Bumble Beans, Inc., suggests getting rid of all those dust bunnies hiding under your throat (stitch) plate. You may be surprised by how many you find!
• Shannon Shirley, an award-winning quilter, says she gives her machine a good cleaning. Sounds like a great idea!

Thread

Successful combination of thread for this baby quilt

• Use quality thread. This will cut down on lint (bonus!) and make a nicer stitch.
• Try a different size thread. Sometimes really small threads can be too small to be caught by the hook. If this is consistently a problem, take your machine in to be serviced and explain the problem. This is an easy adjustment.  Try a thread that’s one step larger to see if this is the issue.
• According to Kathy Lincoln, who teaches machine quilting, some batiks grab the thread fiber, interfering with good stitch formation. If batiks are giving you trouble, trying a finer thread could be the solution.

Needles

• Dull or damaged needles can cause skipped stitches. Change your needle.
• Use the right needle for your machine. I like Schmetz for my Bernina.
• Microtex/Sharp needles work well with tightly woven fabrics, like batiks.
• Topstitch needles have a bigger eye, which can be helpful if you are using larger thread.
• Needles that are too small can cause flapping (why do they call it flagging?). Start with 80/12 and move up from there.
• Kathy Lincoln says this about needles: It may seem counter-intuitive, but try going from a sharp point to a ball point needle. The ball point will separate the fibers instead of cutting through them.

Bernina presser feet, left to right: #15, #44c, BSR with clear plastic sole

Presser Feet

• Start with whatever foot your machine manufacturer recommends. Generally, a darning foot is fine.
• My Bernina foot #15 is my go-to foot for free motion quilting.
• If flapping (flagging) becomes an issue, go for a foot that has more surface area, like Bernina’s #44. If you’re using the Bernina Stitch Regulator (the BSR), use the clear plastic sole. The idea is to provide as much coverage around the needle as possible to cut down on flapping.

Presser Foot Pressure

• If the skipped stitches are caused by flapping, then increasing presser foot pressure can help reduce the flapping. While the presser foot does not actually ride on the fabric while you are free motion quilting as it does in regular sewing, increasing the pressure can limit the space within which the quilt sandwich can flap up and down.
• Change presser foot pressure in small increments (On my Bernina, I change in increments of 5, starting with the default 50 setting) and test, test, test. For the batik baby quilt, I finally fixed the problem with a presser foot pressure set at 85.

Technique

• Don’t push the fabric too fast. If you can’t slow your hand speed, then increase the machine speed.
• Use your hands to keep the target section flat and firm (but not stretched or tight). I keep my hands flat, fingers at 12:00 and thumbs pointed toward each other at 3:00 and 9:00. Think of the stereotypical film director framing a shot with his hands. The area between my hands is where I stitch. Yes, you have to reposition your hands pretty often and, yes, it’s worth it.
• Try to keep a steady, consistent speed.
• Make a test sandwich out of the same materials you are using in your quilt. Test before you move to the quilt. Seriously. I like to skip this, but it’s best to play it safe. Use it to test tension and stitch quality.
• I have an anonymous quilting buddy who says she switches off her machine and heads to the kitchen for an adult beverage. Hmm. That sounds like a plan. Take a break and start fresh later.

If nothing here works, then your machine timing may be off. You may need to take it in to your machine tech for service. Be prepared to sew at the shop and demonstrate the skipped stitches. Take your quilt or the test sandwich with you to the shop.

My baby quilt has a batik top, batik backing, and thin cotton batting. I was quilting on my Bernina 820 with Superior Threads’s King Tut (cotton 40-weight thread) in the top and Aurifil Mako (50-weight cotton thread) in the bobbin. The winning combination was a 90/14 topstitch needle, 1.25 top thread tension, the Bernina Stitch Regulator with the clear plastic sole set on BSR 1, and the presser foot pressure set at 85.  Now I just need to finish the binding!

For more information about this quilt, read my previous blog entry.

In Defense of the Proper Quilt Sleeve (…and how to make it in 6 easy steps)

If your quilt is ever going to hang in a show with pipe-and-drape construction, then your quilt needs a proper sleeve. This sleeve needs to be a 4″ tube, finished on both ends, roomy enough for the show pipes, and sturdy enough to hold up under the wear and tear of quilt show life. Here’s how to make it.

1. Cut the Fabric

From a sturdy woven fabric, cut a strip 10” wide by the one inch less than the width of your finished quilt. If your quilt is 18” wide, then you would cut a 10” x 17” strip of fabric.

2. Finish the Ends

Hem the 10” ends of the unsewn sleeve by turning under ¼” hem, pressing, turning under another ¼” hem, and pressing again. Then, stitch in place. This covers the raw edges and creates a strong end for the sleeve. In case you care about thread color, this is the stitching that will show on your sleeve. Choose accordingly. The contrasting thread in the picture is for you, dear reader.

3. Construct the Tube

Fold the strip WRONG sides together so that the hems are at each end and the tube is now 5” wide. I press at this stage to make things easier. Stitch along the raw edge side, taking a ½” seam allowance. Then, BASTE along the fold ½” from the edge. Yes, it sounds weird, but it’s important to do this.

4. Finish the Sleeve

Press the sleeve so that the seam (raw edges) and the basting (folded edge) are nested together, one on top and one against the ironing board. I flip the seam allowance in one direction and the folded edge in the other direction. The task becomes more challenging for longer sleeves.

5. Attach the Sleeve to the Quilt Back

Pin the sleeve to the back of your quilt, centered left to right, about 1” below the top of the quilt. The raw edges should be toward the quilt and the basted fold should be away from the quilt. Do not take the shortcut of stitching the sleeve into the binding. Yes, it will save you time – unless you actually want to use the sleeve without it showing from the front. Resist the temptation.

Now, hand stitch around all four sides of the sleeve, including the ends where the sleeve is open. If you don’t, the people who hang your quilt are likely to slip the pole between the sleeve and your quilt instead of inside the sleeve, leaving potential yucky residue on your artwork. When you stitch, try to catch the sleeve and the quilt backing only. If you go all the way through, your stitches will show on the front. If you catch too much batting, the quilt front could dimple a bit.

6. Finish the Sleeve

Now, rip out the basting that you stitched ½” away from the fold. This makes the outside of the sleeve a little longer than the side that’s against the quilt back, creating ease to go around the pole. If you don’t create this ease, the top of your quilt can appear rounded when the pole is in the sleeve. If you’ve seen this effect, you know why you want to avoid it.

Bonus Tip!

If you’ve decided not to bind the quilt, but use an escape hatch (or knife edge, pillow case construction, stitch and flip – whatever you want to call it) instead, cut the opening you use to “birth” or turn the quilt where the sleeve will go. The sleeve will cover the opening and your secret will be hidden. Laura Wasilowski calls this the trapdoor or encasement binding technique; check it out in her book Fusing Fun! Fast Fearless Art Quilts. Or click here to read Melody Johnson’s explanation of the escape hatch technique. I learned it from her at QSDS…but that’s a story for another post.