Adding quilt borders is a common last step when making a quilt. Toby Lischko shows you how to properly put borders onto your quilts.

Using a walking foot is the easiest and quickest way to quilt borders. Continue reading for 7 easy border quilting ideas using a walking foot.

Join Julie Plotniko for step 4 of a wholecloth walking foot quilt as she uses SCHMETZ needles and Gütermann thread and a UNIQUE marker to create complex looking border designs that can be stitched with ease. Free pattern and tutorial.

So I have shared with you the overall quilt, the quilting on the pink logs and border. As well as the 12 of the 15 quilting fill patterns. Now do you want to know what I did in the red logs? It was…

Not all quilting borders are outdated! Get inspired by these modern quilt order ideas and use the quilt border designs for your next project!

Ever since sharing my Winsome quilt last week I've received a lot of questions about how I did the scalloped border. I admit that up until this month I was completely intimidated by the idea of scallops, and also a little afraid I'd mess up my quilt. So today I wanted to share a tutorial showing how I created the scalloped border. Are you ready to try it? First of all, here's what we're talking about. See the curved edges on the quilt below? That's a scalloped border. Around the web you can find a variety of different tutorials and tricks to make scallops. Each technique seems to have a different "look" to them. Some have deeper curves, some are more of a "wave" look -- personally I prefer the size and shape of these scallops. Plus the tool I used here* makes scallops SO easy and you can use this template for any size quilt. I'm not one to buy a bunch of unnecessary rulers, but this is definitely one that I'm happy to have in my toolbox. I've used it twice in the last month and I know I'll be using it again. **This post contains affiliate links, which means I may receive a small commission (at no additional cost to you) when purchases are made through links found in this post. Thank you! Ready to get started? Here's what you'll need: Scallops, Vines, & Waves ruler from Quilt in a Day (find it here on Amazon*) Marking tool of some kind like a disappearing ink pen or another non-permanent marking pen Sharp scissors Pins Bias bindingYou'll also need a quilt that has already been quilted and is ready for binding. I'd recommend having no less than a 2.75" or 3" border on your quilt. Keep in mind that if your border is less than 2.5" or 2.75" then you'll be cutting into the block portion of your quilt top when you cut the scallops! Step 1: Trim the edges of your quilt so they're even. Sometimes after quilting the edges of a quilt can be a bit wavy and you'll want a nice, straight edge to work with. I went around my whole quilt and trimmed the border to be 3.25" all the way around. Step 2: Ok. Time for just a bit of math - and this is the trickiest part, I promise! Measure the width and length of the quilt top. Subtract 4" from each. For example: width: 68" - 4" = 64" length: 77" - 4" = 73" Take these two numbers and refer to the chart on page 15 of the booklet that comes with the ruler. By looking at the chart* I can see that for the top and bottom edge of the quilt I can get 8 scallops that are each 8" long. And on the sides of the quilt I can get 9 scallops that will be about 8" long. So now I know I'll be making 8" long scallops. It's okay if your scallops are different sizes, but you'll want them as close in size as possible. Having 6" long scallops along the top edge and 9" long scallops along the sides would be noticeable. But having 7.5" and 8" scallops would not be. *If you want to skip the chart and do the math yourself, scroll to the very bottom of this post and I'll step you through it. You really have a lot more options when you do the math yourself so it's worth taking a look! Step 3: Use a straight ruler and a marking tool/pen to mark a diagonal line through the border to the corner. I started marking mine with a hera marker but then realized the markings don't show up in photos well, so I added the purple line so you could see what I meant. Step 4: From step 2, I've determined that my scallops will be 8" long. So I find the 8" marking on the scallop ruler and place that on the diagonal line. Be sure to have the solid line of the ruler placed on the edge of the quilt. Place a pin to mark the 8" spot on the other end of the ruler (see the circle in the photo below). Step 5: Mark two more scallops in the same manner - placing the 8" ruler mark on the previous pin and adding a new pin where the next 8" ruler mark is. Step 6: After marking three scallops, move all the way down to the next corner and start marking scallops heading to the left. Any size adjustments to the scallops will need to be made on the center scallops so we're starting on the corners and working our way in to the center. Place the 8" mark of the ruler on the diagonal line as we did previously. Place a pin in the 8" mark on the left end of the ruler. Then move the ruler to the left and mark the next scallop in the same manner (see photo above). Step 7: Keep marking scallops on each end a couple at a time until you meet in the middle. The photo below is where I met in the middle of my quilt - see how that center scallop will be larger than 8"? It looks like my measurements are way off, but no worries! This is where the adjusting comes in. Because my center scallop is too large, I can go back through the center 3 or 4 scallops and adjust each one to be just a bit larger than 8". It is important that you only adjust the center scallops and not the ones on the corners. For my quilt, the center few scallops ended up being more like 8.25" long but that difference is not noticeable in the finished quilt. Step 8: Repeat steps 4-7 for the opposite side of the quilt, and then for the top and bottom of the quilt. On the top and bottom of my quilt my center scallop was too small. So I needed to adjust the center few scallops just a bit shorter than 8". They were more like 7.75" long, but again that wasn't noticeable in the finished quilt. Step 9: Once all scallops are marked with pins, you're ready to draw the scallops. I used a Fine Point Disappearing Ink pen (air and water soluble) to mark my scallops. But you can use any non-permanent marking pen. Fat Quarter Shop has a Sewline Air Erasable Fabric Pen here that would work great. Be sure to line up the solid line on the ruler with the edge of your quilt! (see photo below) Draw the scallop then move the ruler down, using the pins and the edge of the quilt to line up the ruler. TIP: Leave the pins in your quilt until you begin cutting! I had to step away from my quilt and by the time I got back, some of my scallops had faded and I needed to re-draw them. I was so glad the pins were still there! Continue marking the scallops around the edge of the quilt until you come back around to where you began. You can see in the photo below how the arc of the scallop matches up with the other one at the corner. Once the scallops are drawn, use a pair of sharp scissors to cut along the drawn lines. Remove pins as you go. Honestly, this was the nerve wracking part for me! Double check your scallops if you need to, then just take a deep breath and start cutting. My corners had a bit of a point to them, which is not unusual (see photo below)... ...so I just used my scissors to smooth out that curve. Much better! You did it! Well done. See....not that bad, right? Now you're ready to add the binding. You'll need bias binding for this quilt which will help it to lay beautifully flat around all of those curved edges. I cut my bias binding strips at 2.25 for this project. Binding this quilt works just like binding a regular quilt but at each scallop "valley" you'll stop at the bottom point, leave your needle in the fabric and pivot the quilt to line up the edge of the next scallop. Then keep going. The first few scallop "valleys" may feel strange to you but you'll quickly get the hang of it. I do recommend machine stitching the binding to the front of the quilt, and then hand stitching it to the back of the quilt. Everyone has their preferred way of doing quilt binding so it's hard to say what will work best for you. Some tips: One thing I learned is that it's a lot less exact than I thought it needed to be. Small adjustments in the middle few scallops are not noticeable in the finished quilt. The first time you make scalloped edges on a quilt will be the slowest. Then you'll get the hang of it and it will be quicker next time - and more fun. If you prefer more of a wavy edge instead of a true scallop, the same ruler will help you with that - another reason to have this ruler in your toolbox. There are separate instructions inside the booklet for doing a wavy edge, plus another section for adding applique vines to a quilt. It really is such a useful tool! If you have any additional questions that I didn't answer just add them to the comments at the bottom of the post! And for more details about the quilt shown in these photos, visit this blog post. Want to figure out the math on your own? Here's how: Measure the width and length of the quilt top. Subtract 4" from each. For example: width: 68" - 4" = 64" length: 77" - 4" = 73" Next, we want to find a number that we can divide them both by (or close enough). This will help us determine the size of the scallop and how many will be on each side. In this case, I can divide 64 and 73 both by 8 64 / 8 = 8 73 / 8 = 9.125 (which is really close to 9 so we'll be rounding that down) So now I know that across the top of my quilt I can make 8 scallops that are 8" long and down each side I can make 9 scallops that are 8" long. Want to see another example? Let's say you've made a baby quilt that is 45" x 45" width: 45" - 4" = 41" length: 45" - 4" = 41" If I divide by 7, I get 5.85 So I can make 6 scallops per side that are about 7" long If I divide by 8, I get 5.125 Which means I could make 5 scallops per side that are about 8" long If I divide by 4, I get 10.25 Which means I could make 10 scallops per side that are about 4" long See how many options you have when you do the math yourself? I love that! There is a bit of wiggle room and you really can play around with what size of scallop you want to have. With a smaller quilt like a baby or crib size, I'd probably go for a shorter length of scallop. But for a queen or king I'd use a longer scallop. When doing the math, there's no one right answer. Play around with the numbers and you can even go ahead and mark a few scallops on the quilt to see if you like the scale of the scallop in comparison to the quilt design! Be sure to pin one of these images so you can find this tutorial again later!

Handy video from quilt designer Patrick Lose gives you an easy way to make perfect corners when you bind a quilt. #quiltbinding, #quiltingforbeginners

While the designs in the center of your quilt often take center stage, your quilt borders deserve some love, too! Here are five of our most popular border design tutorials for you to try.

Hello all, Today i am going to continue my investigation into the Provençal Costume by talking about something which may be surprising in such a warm climate, namely, quilted clothing. Quilted clothing is extremely widespread, as far as China, being a practical way to produce warm clothing. There are three garments worn as part of this costume which are sometimes quilted, the corset or bodice, the petticoat, and the skirt. Obviously these are more commonly worn in winter, but the skirt especially is sometimes worn even in warm weather for special occasions, such as weddings. There are two types of 'corset' or bodice worn in Provençe, with a lace up front, or an overlapping front which is pinned shut. The peasant class, the Paisanne, often wears a laced bodice as the sole outer garment, made of a double layer of colored or striped cloth. The Artisanne and the Bastidanne most commonly wear the bodice or corset which is pinned shut across the front. The back has a fold with lacing to adjust the corset to the body and provide support for the torso. This type of bodice/corset is worn over the chemise and under the dress or jacket 'caraco'. The corset is usually white or off-white, made of a double layer of cloth, and often finely quilted. Here is a photo of such a corset. Another similar garment is the petticoat, which in cooler weather is quilted the same way. These garments are made with minimal wadding or none at all, and often show very elaborate geometric and/or floral designs quilted into them. Here are some examples. More surprisingly, perhaps is a skirt worn by the upper class, the 'Bastidanne', which is sewn and quilted just like a comforter, and is considered to be a very formal garment. The normal skirt averages about 4.5 m around, but the quilted skirt runs about 2.6 m. The regular skirt is called 'jupe', but the quilted skirt goes by the special name of 'Cotillon'. Here is a drawing by Lucille Armstrong showing this version of the Provençal Costume. This is more or less the upper class, Bastidanne Costume, except that the sleeves on the jacket are usually longer, and the fichu is normally of whitework. Here is another photograph of a Provençal wedding, with both the bride and groom in the Bastidanne Costume. It is very refreshing to see people maintain their own traditions instead of submitting to the cookie cutter white elephant wedding gown of standard western culture. The woman standing at the left and the man kneeling at the right are both in Paisanne Costume, while the two women standing and kneeling behind the groom are both in Artisanne Costume. If you look closely, you can see that the bride is wearing a quilted 'cotillon'. If the cotillon is made of a printed material, then usually the quilting is made up of a grid of diamonds over the body of the garment, with parallel lines of quilting on the bottom edge. Here are some examples. These skirts are made in a wide variety of colors and print designs. These skirts are made by putting the lining cloth on a stretcher, then placing the wadding on top, and the outer cloth is then quilted by hand on top. The bulk of the texture of the quilting shows on the outside, and the inside is relatively flat. There is a second type of cotillon which is made, in which the surface cloth is of a solid color, often a rich silk. A band of design is inserted between the diamond grid of the body of the cotillon and the parallel pipes of the hem. Here is a photo of the Bastidanne costume including such a cotillon. The solid color of the top cloth enables the quilted design to be seen and appreciated. Those who wish to make more ambitious quilted designs choose to do this. The inserted design varies significantly in width. Here are a couple more examples. Here are some examples of the types of designs which are inserted. Each horizontal band is a separate design. There is yet one more type of cotillon which is sometimes found. Occasionally a girl makes one specifically for her wedding. While the dress for the wedding may be of any color, this particular type is often white. The added design makes a very wide band, but instead of being arranged in bands, the design consists of various images symbolic of a wedding, fruit, flowers, arches, baskets, hearts etc. scattered around the band. Usually this includes the bride-to-be's initials, and can also include inscriptions such as short prayers or 'this skirt belongs to demoiselle X'. These are obviously a lot of work and are often handed down as heirlooms within the family. Here are a couple of examples. I found this tradition of handiwork surprising, and I hope that you find it interesting and inspiring. Let us make and wear things that are not the same as everyone elses. Let us look to the traditions of the past when everyone contributed to the development of traditions. Thank you for reading. Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals Roman K. :[email protected]. Source Material: Mary Gostelow, 'The Complete International Book of Embroidery', New York, 1977 Rode de Basso Prouvenço, 'Le Costume Populaire Provençal', Aix-en Provençe, 1990 Andre Sainsard, 'Costumes Folkloriques Provinces Françaises', Paris, 1972 Royere, Gardilanne, Moffat et al, 'Les Costumes Regionaux de la France', New York, 1929 Charles-Brun, 'Costumes des Provinces Françaises', Paris, 1937 P. Leroux, 'Costumes Regionaux', Paris, 1940 Nicolette Tennevin & Marie Texier, 'Dances of France II. Provence and Alsace' from the series 'Handbooks of European National Dances', London, 1951

This is my favorite quick tip for sewing borders onto a quilt. It’s important that the borders are measured to keep the quilt ‘square’ but this trick for measuring will save you so much time! It’s important to have borders that help keep your quilt square – otherwise your pieced top will be more difficult...Read More

Not all quilting borders are outdated! Get inspired by these modern quilt order ideas and use the quilt border designs for your next project!

Using a walking foot is the easiest and quickest way to quilt borders. Continue reading for 7 easy border quilting ideas using a walking foot.

Adorable Rag Quilt Secrets! Make an easy flannel filled rag quilt with ruffled borders and no batting. Ruffled Rag Quilt Borders are fun & easy!

I am delighted to have Patsy Thompson as our December FMQ Expert, for the 2012 Free Motion Quilting Challenge. Whe...

Using a walking foot is the easiest and quickest way to quilt borders. Continue reading for 7 easy border quilting ideas using a walking foot.

Quilt bindings are the most magical, and sometime confusing part of quilt making, especially for a new quilter! I shared a tutorial a few years back, but have adapted and made a few changes as I’ve grown as a quilter, and thought it was enough to update the post. Any tips or suggestions you might […]

I'm curious about this knotted quilt binding! I found this photo on 10Marifet , but it didn't tell how-to. Guzellestirin means "beau...

I am thrilled to have Sarah Vedeler as our November FMQ Expert, for the 2012 Free Motion Quilting Challenge, and deli...

Learn the simple steps for making French Fold quilt binding.

Hello all, Today i am going to continue my investigation into the Provençal Costume by talking about something which may be surprising in such a warm climate, namely, quilted clothing. Quilted clothing is extremely widespread, as far as China, being a practical way to produce warm clothing. There are three garments worn as part of this costume which are sometimes quilted, the corset or bodice, the petticoat, and the skirt. Obviously these are more commonly worn in winter, but the skirt especially is sometimes worn even in warm weather for special occasions, such as weddings. There are two types of 'corset' or bodice worn in Provençe, with a lace up front, or an overlapping front which is pinned shut. The peasant class, the Paisanne, often wears a laced bodice as the sole outer garment, made of a double layer of colored or striped cloth. The Artisanne and the Bastidanne most commonly wear the bodice or corset which is pinned shut across the front. The back has a fold with lacing to adjust the corset to the body and provide support for the torso. This type of bodice/corset is worn over the chemise and under the dress or jacket 'caraco'. The corset is usually white or off-white, made of a double layer of cloth, and often finely quilted. Here is a photo of such a corset. Another similar garment is the petticoat, which in cooler weather is quilted the same way. These garments are made with minimal wadding or none at all, and often show very elaborate geometric and/or floral designs quilted into them. Here are some examples. More surprisingly, perhaps is a skirt worn by the upper class, the 'Bastidanne', which is sewn and quilted just like a comforter, and is considered to be a very formal garment. The normal skirt averages about 4.5 m around, but the quilted skirt runs about 2.6 m. The regular skirt is called 'jupe', but the quilted skirt goes by the special name of 'Cotillon'. Here is a drawing by Lucille Armstrong showing this version of the Provençal Costume. This is more or less the upper class, Bastidanne Costume, except that the sleeves on the jacket are usually longer, and the fichu is normally of whitework. Here is another photograph of a Provençal wedding, with both the bride and groom in the Bastidanne Costume. It is very refreshing to see people maintain their own traditions instead of submitting to the cookie cutter white elephant wedding gown of standard western culture. The woman standing at the left and the man kneeling at the right are both in Paisanne Costume, while the two women standing and kneeling behind the groom are both in Artisanne Costume. If you look closely, you can see that the bride is wearing a quilted 'cotillon'. If the cotillon is made of a printed material, then usually the quilting is made up of a grid of diamonds over the body of the garment, with parallel lines of quilting on the bottom edge. Here are some examples. These skirts are made in a wide variety of colors and print designs. These skirts are made by putting the lining cloth on a stretcher, then placing the wadding on top, and the outer cloth is then quilted by hand on top. The bulk of the texture of the quilting shows on the outside, and the inside is relatively flat. There is a second type of cotillon which is made, in which the surface cloth is of a solid color, often a rich silk. A band of design is inserted between the diamond grid of the body of the cotillon and the parallel pipes of the hem. Here is a photo of the Bastidanne costume including such a cotillon. The solid color of the top cloth enables the quilted design to be seen and appreciated. Those who wish to make more ambitious quilted designs choose to do this. The inserted design varies significantly in width. Here are a couple more examples. Here are some examples of the types of designs which are inserted. Each horizontal band is a separate design. There is yet one more type of cotillon which is sometimes found. Occasionally a girl makes one specifically for her wedding. While the dress for the wedding may be of any color, this particular type is often white. The added design makes a very wide band, but instead of being arranged in bands, the design consists of various images symbolic of a wedding, fruit, flowers, arches, baskets, hearts etc. scattered around the band. Usually this includes the bride-to-be's initials, and can also include inscriptions such as short prayers or 'this skirt belongs to demoiselle X'. These are obviously a lot of work and are often handed down as heirlooms within the family. Here are a couple of examples. I found this tradition of handiwork surprising, and I hope that you find it interesting and inspiring. Let us make and wear things that are not the same as everyone elses. Let us look to the traditions of the past when everyone contributed to the development of traditions. Thank you for reading. Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals Roman K. :[email protected]. Source Material: Mary Gostelow, 'The Complete International Book of Embroidery', New York, 1977 Rode de Basso Prouvenço, 'Le Costume Populaire Provençal', Aix-en Provençe, 1990 Andre Sainsard, 'Costumes Folkloriques Provinces Françaises', Paris, 1972 Royere, Gardilanne, Moffat et al, 'Les Costumes Regionaux de la France', New York, 1929 Charles-Brun, 'Costumes des Provinces Françaises', Paris, 1937 P. Leroux, 'Costumes Regionaux', Paris, 1940 Nicolette Tennevin & Marie Texier, 'Dances of France II. Provence and Alsace' from the series 'Handbooks of European National Dances', London, 1951

Quilt borders do not need to be boring. After the simple steps of adding a quilt border, we'll explore quilt border ideas beyond the simple corner blocks, or simple border. Next time you finish the center of your quilt, try a new border with great designs. The quilt's border is a great place to add new blocks, your favorite quilting designs and more.

Learn how to quilt the sweet flower flip flop border in this video tutorial from Angela Huffman and APQS longarm quilting machines.

Hi fellow quilters... thanks for stopping by! Before we announce the winner of the Aurifil thread (so exciting) I wanted to share a neat new Free Motion Feather sampler that I quilted on my domestic machine this week. (Of course I used Aurifil thread ;) The center motif was inspired by an Instagram post from Mary of Addicted to Fabric a few weeks ago. After a little doodling on paper and fabric we unearthed the appropriately named "Feather Galaxy" motif. It's sew fun to stitch. ...Below is the back of one of my first attempts to actually stitch it out... Have I mentioned how much I love using Aurifil 50Wt Mako Cotton Thread for lint free - break free dense machine quilting ? NO ? You've gotta Love that thread!! Happily, this sweet motif will be included in upcoming FMQ Feather Workshops being held at Quilter's Corner Ithaca, NY later this summer. You can keep up on my class, lecture and workshop dates on my Facebook events page by clicking here. A Workshop Sampler was in order. I started with a selection of the beautiful Grunge Fabric by BASICGREY for Moda. Oh how I LOVE Grunge - Those Colors!! Just fabulous... If you haven't checked out Grunge you really should... I know you can find some online here. Be careful - it's addicting! Oh! Don't forget to add the 12Wt and 50Wt Aurifil threads (Insert Happy Dance Here !) I pieced a little 23" x 25" sample, starting with a 10" x 12" center, adding a 2.5" sashing and a 5" border. Very quick and simple (you know me and piecing - I would rather NOT ;) Add two layers of Quilter's Dream 100% Dream Wool and pin baste to prepare to quilt on a Janome Horizon. To start I used a walking foot and Aurifil 50Wt #2805 thread to Stitch in the Ditch - it stabilizes for quilting. After Stitching in Ditch, I used a 90/14 Needle, 12Wt Aurifil #5005 to top stitch a 1/4" around the seams. Oh you've got to LOVE the texture and sheen the 12Wt thread adds to the piece... I used 50Wt in the bobbin when top stitching with the 12Wt thread. It's important to use that 90/14 needle though. Next, the center panel was quilted using the "Feather Galaxy" motif (diagram below) and adding a neat swirl/feather vine in the sashing. I kinda made it up -- but I love the way it stitched out. Here's a finish / close-up of the feather vine and the lovely top stitching... Swoon! After I finished quilting I decided to add that extra line of top stitching with 12Wt Aurifil in Color #1147 I really liked the way it framed the center. On the outer border I did a gentle wave bump-back feather - it's always good to practice those feathers!! They come out differently each time. Next time I think a little Amish Swirl is in order! If you're interested in quilting the "Feather Galaxy" motif, here is the step by step diagram I prepared to walk you through it: Personally, I love to practice with pencil and paper before putting it on fabric. When I do quilt, I create small table runners or place-mats with my practice pieces. If you need a good laugh - checkout the quick YouTube video recorded right after the Facebook Free Motion Quilting Frenzy group started stitching this motif. My friend Doreen from TreadleMusic Blog was the first to stitch it once the diagram was out -- and me next. Click the image below to watch on YouTube - don't laugh!! Because I finished the binding while sitting in my car, I don't have an actual finished image (oops) -- but do have these two I took before leaving home: In the image below the binding is only pinned - still love the way it came out. I hope you enjoyed the FMQ Feathers Sampler and Feather Galaxy Motif. If you're in the area I'll be sharing Feathers I and II at Quilters Corner in August -- do get signed up! We'll have some fun! Now onto our Aurifil Thread winner from the Sew We Stitch Blog Hop This beautiful designer Thread Collection is being provided by Aurifil and includes 12 large spools of 12Wt Mako Cotton thread. This weight works perfectly for machine top stitching (above) and for all sorts of hand work -- from wool applique, to cross stitch, to beautiful embellishments. There were 258 entries on the Sew We Stitch - Meet and Greet post and Mr. Random.Org selected comment number 55!! Lucky 55! Congratulations go out to Kathryn -- what a coincidence that Kathryn went to college in Ithaca years back!! Kathryn, I've sent you an email - I look forward to hearing from you! Many thanks again to Aurifil thread for their generosity. What a wonderful bunch of individuals and a fantastic team at Aurifil. On my bucket list at Spring Market is to finally meet the folks that create this awesome thread! I leave you with an image of our granddaughter Angelina - just after finishing the piecing on her very first quilt. She choose grunge for her main blocks and setting triangles - is that cool or what ? This quilt will be showing locally next month at the Common Threads Guild Show in Endicott, NY. Do stop by if you're in the area! So proud of Angelina. Oh, and if you're interested there is one open Giveaway on my blog through end of day April 4th -- you can see it here. Have a blessed weekend all, Karen

Not sure why quilt backs have been on my mind lately, especially considering the fact that by the time I finish a quilt top, I really don'...

Such a delicate touch and so easy to do. Choose your contrasting fabric and learn how to add a flange to your binding, giving just the right pop to your quilt!

Today I'm excited to share a Mitered & Flanged Machine Binding Tutorial. *** It's fun, saves time and looks awesome!! *** Don't be overwhelmed by the number of steps -- after you do it once or twice it will become old hat... I know you'll love it. *** It works nicely for samples, baby blankets, and quilts that will be washed and worn!! (or if you're in a plain old hurry ;) It's the whopper of machine binding tutorials because I decided to include steps for a Mitered Finish as inspired by a YouTube video by Lisa Bongean (Primitive Gatherings) with Kimberly at The Fat Quarter Shop. ** I followed Lisa's steps to prepare the mitered finish -- AND included a link to their (most helpful) video in this tutorial. After watching the video be sure to leave a comment or give it a "thumbs up" -- it's an awesome learning tool! ** Note, the YouTube video does not include instructions for the Flange OR the Machine Finish - it explains nicely though, how to prepare mitered corners and a mitered finish -- it's a great tool and video and helped me tremendously with the mitered finish. Thanks so much ladies !! OK - Let's get started: We're going to make this sweet little flanged binding by machine with mitered corners, a mitered finish and with beautiful top-stitching to show off your pretty Aurifil threads! Begin by choosing a primary and an accent (flange) fabric. * Add in a complementary 50Wt thread for piecing and a 12Wt thread for top stitching. I chose from my #AuriStash -- #Aurifil thread is always my first choice {love}. Determine Length of Binding Needed: Calculate the total length of binding needed by adding the length of each of the 4 sides and adding an extra 10" to the number. * The sampler was 18" square. 18 + 18 + 18 + 18 + 10. = 82 inches. I assumed I could squeeze 41 usable inches per WOF strip, so I cut 2 strips of each the primary and the accent fabric. Cut the Primary and Accent fabric strips: Cut the primary fabric 1&7/16" wide. I did not have 16 of an inch marks on my ruler, so I split the width between 3/8 and 1/2 to achieve 7/16th of an inch. Now cut the accent fabric 1&3/4" wide (by the number of strips you need). Showing: Strips after cutting the correct number of Primary and Accent NOTE: When using solid colors, I sometimes place a pin in the right side of the fabric so I can tell the right side from the wrong side of the fabric. Piece Binding Strips to Achieve Necessary Length: Now you want to prepare the total length of binding. The sample required 82" so I pieced two WOF strips together at an angle (mitered seams). Be sure that your diagonal line is marked correctly before sewing and cutting. After testing the positioning of the fabric and diagonal line, stitch along the marked line with a straight stitch. (Excuse my wonky straight line - it was Free Motion Stitched ;). After stitching, remove the pins and check to ensure you have a continuous length before trimming. Now fold right sides together and trim the seam allowance to 1/4", trimming the tabs too and pressing open to reduce bulk. Repeat the above steps for the primary fabric. Now you've prepared the correct (total) length of each the primary and accent fabrics. Sew Primary and Accent Fabrics Together Lengthwise & Press: Next you'll layer the primary and accent strips right sides together, aligning one raw edge. Sew along the edge with a 1/4" seam allowance Showing the sewn raw edge Position binding on an ironing surface with the Primary fabric on top. Press flat to set the seam Next open the fabric and press the seam toward the Primary fabric. Showing after binding is pressed open toward the Primary fabric Showing back after pressing toward the Primary Fabric Next you'll fold the wrong sides together, aligning the raw edges and gently press the length of binding. I press gently so the fold IS NOT Crisp or Flattened. *** Attach prepared binding to Quilt Back: This section of the tutorial was inspired by a YouTube tutorial prepared by Lisa Bongean (Primitive Gatherings) with Kimberly of the Fat Quarter Shop. You can view that YouTube tutorial here: "How to Add a Double Fold Binding to Quilts" The section applicable to this tutorial starts around the 2:00 minute mark and continues to the 3:40 minute mark. *** Keep in mind Lisa is attaching to the front of her quilt and finishing by hand (on back) -- we will attach to the back of the quilt and finish with machine on the front. *** Continuing... attach binding quilt back: Working on the BACK of the quilt, position the binding right side down with the Primary fabric to the right (aligning raw edge of Primary fabric with raw edge of quilt back). Next fold the top right corner to the left, wrong sides together, to make a 45 degree angle and press. Now fold the binding wrong sides together so both of the binding raw edges are aligned with the raw edges of the quilt back. *** Position the binding about 1/2 way down the side of the quilt. *** You'll need space above the binding to complete the mitered finish. *** You will begin stitching the binding about 6" from the point shown below. Leave at least 5" of the binding un-stitched (pin but don't stitch) and begin stitching with a 1/4" seam allowance. *** Stop a 1/4" from the quilt corner (I marked my 1/4" with a pin - see below). *** When you stop at the 1/4" mark, be sure your needle is in the down position. Showing, stop stitching 1/4" from the quilt corner. Now lift the presser foot and pivot the quilt layers so you can stitch off the edge of the quilt at a 45 degree angle. Showing: After stitching up to corner and with a 45 degree angle to the corner of the quilt Next, trim threads and rotate the quilt counter-clockwise and prepare for the mitered fold. The fold (below) is required to make a mitered corner. *** After trimming threads and rotating the quilt so the stitched binding is running perpendicular to the foot, fold the binding strip straight up. *** When you do this you'll see a 45 degree angle from the corner of the quilt to the folded corner of the binding. Keeping the top fold steady, lay the binding down over itself, so the 45 degree angle is preserved under the top layer and the straight fold is along the top edge of the quilt. Begin stitching a 1/4" seam allowance at the top fold. Stitch to within 1/4" of the next quilt corner and repeat the process. Repeat the folding and stitching process at the next corner. After you've mitered all 4 corners you'll be headed down the last side of the quilt (The side where you started the binding). *** Stop stitching at least 6" (longer if you can) from the Beginning Tail of the quilt. *** You'll now have a beginning tail that is un-stitched and an end tail that is un-stitched. Remove quilt from the machine bed and trim threads. *** Lift the beginning tail up and fold it out of the way. *** Smooth the "End tail" down along the raw edge. Be sure there are no puckers or folds and that it rests flat against the quilt. Now unfold the "Beginning Tail" and position it over top of the "End Tail" -- making sure that both tails are smooth and are without puckers and are flat against the quilt back. Now you'll place a pin in the "End Tail" just a couple of threads away from the Point of the "Beginning Tail". *** Mark this position with a Pin through the top layer of fabric only (only through the accent fabric on the End Tail, do not pin the primary). Another image after putting a pin through the top layer only of the "End Tail" right at the point (pointed fold) of the "Beginning Tail". Now, I use my left hand to unfold the End Tail. Keep the right side of the fabric facing up The Pin should remain on your right and the primary fabric will unfold to the left. Next you'll unfold the Beginning Tail so that the right side is facing DOWN and wrong side is facing you. 2nd image of the Beginning Tail unfolded with wrong side of fabric facing up. The tricky part is positioning the Beginning Tail so it is perpendicular to the End Tail *** Align the Beginning Tail "Point" at the End Tail "Pin" and secure with pins (Thanks Lisa!) Here is where the crease from the fold comes into play -- you're going to stitch on the fold making the finished mitered seam. (Be sure NOT to stitch through the quilt -- only stitch the binding) After Stitching on the Fold Before cutting excess fabric, fold the binding closed again (wrong sides together) and check to ensure that the binding is right sized and not twisted. *** This is a very important step -- do NOT Skip ;) *** Once you've double checked the length and positioning (no twists) of the binding you can trim the mitered finish to a 1/4" seam allowance. Finger Press or Iron Press the seam open Lay the binding along the raw edge and finish sewing it to the back of the quilt with a 1/4" seam allowance being sure to pickup a few stitches into where you stopped and started. You're almost to the FUN PART!!! Roll the Binding from Back to Front of Quilt & Prepare to Machine Stitch: Yippee!! Once you've finished securing the mitered finish on the back of the quilt, you get to roll the binding around to the front of the quilt and admire the beautiful flange... *** I just LOVE the look of the flange added to this binding... Prepare the front of the quilt for machine stitching Prepare each corner by tucking the bottom of the binding fabric into the corner and folding the top of the binding to make a 45 degree angle (or mitered corner). *** Secure with Wonder Clips (love those little clips). After the tuck and fold you should see a perfectly mitered corner -- ready for stitching Secure that corner with another Wonder Clip Next... Top stitch the Flange Binding Use a 90/14 top stitch needle in your machine Choose thread colors that complement your fabric. *** Both the Top and Bobbin thread will be completely visible when you're done stitching. *** Use Aurifil 50Wt or 40Wt thread in your Bobbin Use Aurifil 12Wt thread on Top (my favorite) Set a straight stitch length to 3.0 or higher (a nice "top stitch" length). You may have to adjust your top tension down a bit (try it on a test swatch first). *** Start stitching near a corner, taking smaller stitches to secure the start. *** Note: No need to stitch in the ditch. Show off that awesome Aurifil 12Wt thread by stitching well on the flange You may have to fuss when you get into a corner so there is a stitch just before the miter and one just after you turn the quilt top Slowly stitch all the way around the quilt top to secure the binding and finish with smaller stitches to secure your threads. Doesn't it look just beautiful ? Here is an image of the front (left) and the back (right)... Love, love, love! I hope you found this tutorial helpful. Thanks again to Lisa Bongean (Primitive Gatherings) and Kimberly from the Fat Quarter Shop for sharing the steps for the mitered finish. See links above. *** This binding and the awesome Auriful thread adds great dimension to a quilt top and is admired by all who see it! *** I especially love it because I can do the work by machine and save a little time preparing samples. It's also great if your gifting the quilt to a little person, where a hand-sewn binding might not hold up under wear and tear and tugs... * Thanks for stopping by today -- leave me a comment and let me know what you think Also -- I would love if you share this tutorial on social media AND if you send me pictures of any work you create with it. *** Be sure to follow me on social media (below) for fun and inspiring posts!. See My Tutorials (tab on top of blog) for more detailed and free tutorials and patterns. Is your Shop, Group or Guild preparing for upcoming Programs? I'm offering In-Person and ZOOM based programs. Click HERE to learn more about my featured programs. You can write me anytime: [email protected] or [email protected] Upcoming Retreats!! Did you know? I've teamed up with Wendy Sheppard to share the CraZy Quilting Girls Free Motion Quilting Retreats. Join us June 2023 for the Piecing and Quilting Retreat Click here for more information on the 2023 Piecing and Quilting Retreat. *** Follow Me *** Did you know you can visit me on Facebook at Redbird Quilt Co and/or Follow Redbird Quilt Co on Instagram I post all sorts of fun things there!! ** If you love to Free Motion Quilt consider joining my Facebook Community Group Free Motion Quilting Frenzy group * Plus I share quilting related videos on my YouTube Channel * I'm also on Pinterest and I share other tutorials and patterns on My Tutorials on my blog Thanks for stopping by today... ~ Blessings ~ Karen Note: This post may contain Affiliate Links. If you purchase anything through these links I may be compensated for the purchase. I promise to only recommend those products I know and love -- especially those with fantastic prices!

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