Community Quilt Along – Week 2

Good morning, National Quilt Circle family. It's week two of our quilt along. And my name is Colleen Tauke. If you joined us last week, welcome back. If you are new to our video, we are doing a little community quilt along since we're all kind of cooped up or asked to stay at home. We are going to be working on a quilt together or a project. It's time to go to that comfort zone. As quilters, this is where we feel comfortable, where we gather to create something of beauty while the outside world is full of worry. And by constituting that worry, we can't really do anything. We can't change anything. I'm guilty of it too just as much as you are. I worry about my kids, my grandkids, my military kid, who's overseas. My mom who's hours away. My in-laws, I can't do anything right now. So I need to come to a place in my life where I can do something, where I can be creative, where I can offer all those little things to create something of beauty. And also it's our journey. It's part of who we are, it records our history, just like the quilts you may study in a museum someplace that they made quilts out of what they had. So that's what we're doing in our community quilt along. We're going to the scraps. We're going to leftover pieces. We're going to those charm packs, maybe layer cakes, or even two and a half inch pre-cut strips that we purchased. We didn't know what we were gonna do with them. Guess what? It's time to dig those out. So if you joined me last week, we talked about color. And if you want to see that you can go to YouTube or to our website and you can see last week's episode so you understand what we're talking about, about where the color placement is, what to think about. Maybe you're going to be completely scrappy because you have a really great stash of fabrics that you can create a story with. And the pattern that we're going to be using is also available. You can see that in the lower third, it will, there'll be a link there so you can upload or download or print that pattern, follow along with us. So grab some quilt friends, share this, find a way to be involved, and do something positive with your time. We also have a gallery at our website that you can upload and post pictures and share what you're working on so your journey can be marked there too. Last week I wasn't really good at getting to the questions because I'm new to having to sew and watch for questions at the same time. So here we go. Jeanette asked about how to look for a quilt guild or club to be involved with and look into those groups and clubs. Some of them have kind of a theme. There are modern quilt guilds. There are ones that are very traditional. If you know another quilter in the area, join with them, because that's the community that will make you feel the most welcome. If you haven't met anyone in your area, just jump in. Just take that leap of faith. Sometimes we just have to have one foot in the air, a little queasy feeling in our stomach, a quote to a very wise woman, and just take that leap of faith. It'll be okay. You'll find your place. Don't worry about that. Quilt guilds are a great way to connect with other cultures in your area. Nancy asks, "How do you store quilts in progress? My house is too small." I've lived in that house and I still live in that house. And right now I'm in a townhouse, which is extremely small. So I was thinking about this last night, Where have I stuck away my quilts in progress, where have I stored them? Okay, guilty as charged. This is one that I have done multiple times. I have taken that design wall or a tablecloth that has that fuzzy backing. It was our camp one, in our camp bin. So I went to the basement, I pulled it out. I laid my quilt things out on the living room floor, and yes, I did have to move the furniture in order to lay it all out 'cause it's a small room. And what I did is I laid it all out. And then I was like, "Now what am I gonna do with it?" Well, as I was looking around the room, I'm like, "Hmm, the only space left is under the sofa." So I gently laid a piece of fabric over the top so that I could gently fold it and everything wouldn't get out of place. So if that's a possibility, then I just literally slid it underneath the sofa. You know, it's safe under there with the dust bunnies, it's okay. That way you can slide it back out and it's right in place and you haven't disturbed everything. Sometimes it's that spare bedroom if you have such a thing, but in my house, raising four kids, we didn't have a spare bed. So, or a spare bedroom. So that may not be an option. If it's pieces or kits that you're going to be working on eventually and you haven't broken into them yet, keeping them together. I never usually threw away shoe boxes. So a shoe box that can go up on a shelf in a closet. If there is a dresser in your house that maybe needs to be cleaned out, it can now become your quilt storage space. The last option that I thought of, and I have one of these and used them for numerous ways, are those plastic rolling bins that have two or three drawers in them. Now, you can't overstuff them because they are lightweight and the wheels will break, because it's happened to me. But you can pull that out to put your things in. You can even store supplies, your tools in there, as long as you don't have small children. If you do have small children, those items need to go on top of the refrigerator. If not, then that small bin, then, can either be wheeled into the area that your knees would go at in your sewing table, into a desk area if you have a desk in your home, or it could just slide underneath and reside underneath your ironing board. If it doesn't fit have any of those, it becomes your nightstand in your bedroom. So those are some options on how to store things when you have a small home and you still want to be creative and have those things nearby. Do I use a wool pressing mat? I have answered that in the past, I do not. I just haven't invested in one at this point. The shop that I work in has them and I have used them during classes and all of our students absolutely love them. We have a hard time keeping them in stock. So that answers the question do people like them? Roseanne asked if I could give a demonstration on measuring fabric to cut, and that's going to be part of my demo today. So hopefully, Roseanne, you're out there and watching. So we'll table that till we get to actually the demo here today. And the last one is Deb, "How come if you have all seams even sometimes your square still comes out uneven?" The only thing I can come up with is the possibility that you've distorted it somewhere in the pressing process. If your seams are all even, the only way that, and your cutting has been accurate, as accurate as possible, the only way that it can then become distorted is in the pressing, and you may have distorted it that way. Close counts, remember? The only one that sees the back of your quilt is you. So if it gets a little bit off, go in with a ruler and a pencil and just draw really small lines, very faint lines for you to follow to get that block pieced into your quilt top. So those are some of our questions that have been coming in. I've got another one, Vicky asks "I would like to make a quilt from old linens and ladies' hankies. I would appreciate any tips and do's and don'ts." I've seen quite a few of these kinds made. I've had customers come in the quilt shop where I work. The only thing with those is to be very aware of the portion you want to keep, because a lot of times that design that you want, it might come down to just taking a portion of it. You might not be able to use all of it. Fitting them together in puzzle piece form. A shout-out to Susan Canute. Susan's an art teacher in the school district where my kids went to school. She was working on one recently and she used large tables to lay everything out. She cut out the most precious portions of those linens and those embroidered pieces, things that had tatting or crocheted edges, and divided those up and laid them out in a pleasing arrangement. Remember your seam allowances so that you make sure you build that into what you're cutting. Think about which direction to press, because if it's bulky, if it has like a crocheted edge, you're gonna want to press the seam allowances so they stay flat and the other fabric presses out and away. So think of those things when you're designing, but those really become works of art because there's never going to be another one like it. So uniquely and wonderfully made. Okay, let's see if we can work on a little bit of our community quilt along project that we have going, the charming strips pattern. I hope that you've either gotten a chance to upload it to your computer or print out a copy for yourself. I did work just a little bit ahead because the original is with Ashley, the leader of this group, and she lives in Texas. So I don't really have access to her quilt. So I wanted you to see a little bit of what can be done. Now, over my shoulder, you can see along the side here it's not the most impressive quilt in the world, but the top is put together. As I was working on it I realized, yeah, I'm using scraps, and I'm using what I have. I don't have enough to make a quilt quite this large. So what do you do? You just make it smaller. I made it one row shorter on one side and one row at the bottom less. That's as far as my stashing fabric would take me. So I still have a good enough size quilt to make a nice lap quilt. As I was arranging blocks back and forth, I was taking pictures with my phone because, as you know, we get a little too close to our own projects and then we can't see what's really right in front of us. So I took photos back and forth and I played eye doctor. Photo one, photo two, A or B, B or C, until I found the arrangement I really liked. And I have to admit I'm kind of a symmetry person. So the arrangement came out to be turquoise blocks all around the outside, then a ring of coral-colored blocks in a rectangle and then two turquoise ones in the middle. And it's kind of my journey. I and my husband are cooped up here together. Yes, he's going out to work 'cause he's still an essential worker. So he's still working. But the two in the middle kind of symbolize us and that red or coral box around us means we're fenced in. So this is my quilt for the journey here, fenced in. So if you can't, you don't have enough blocks to go that large, make it the size that you can, what you enjoy, or maybe it's because you want to be able to quilt it on your domestic machine. So maybe you can only tackle a baby quilt. How great would that be to make a baby quilt out of all of your memories of projects from the past? So quilter's circle, let's get going on our project today. Now, I had given you two colorways last time when we met, and what I did was ended up creating the two quilts from the fabrics that I showed you. So the one on the wall and then the next one was from these really bright, cheery colors that I had left over from a previous project. So my nine patches are going to be made from those. And someone asked about cutting. So cutting is pretty vital to success in a quilt. So in order to cut all these pieces and everything in the nine patches the same size, which makes it really nice, I am going to do a little demo on cutting so that we can all get, even as seasoned quilters sometimes just need a little bit of review to remind us, hmm, what am I doing to make sure that my cutting is as accurate as possible? So I've crossed the piece of the gray here. This is gonna be my background fabric and possibly my sashing fabric in the second version, and what I'm going to do, you'll notice that my mat doesn't have any lines on it at all. And the best thing to do is use the lines on your ruler. They're more consistent. You usually have a better control of the size and shape of your blocks if you stick with the ruler. So the ruler on top of my fabric. I need to cut two and a half-inch strips. I'm gonna slide this over, and you would do the same thing with all your bright fabrics. If you're working out of your scraps, you would also do that same thing. You press your fabrics first, get them nice and flat. Then do the cutting, because if that ruler is riding on folds and crinkles, you're gonna have a problem making sure they're accurate. Okay, now I'm going to cut my first piece and it's gonna be a two and a half inch strip. And I literally, the measure twice cut once might be more vital right now, because we're maybe working with a limited amount of fabrics. So make sure you stay accurate, make sure you're cutting and using the ruler from the right end. I even have a piece of glow line tape on here from a previous project. If you need that reminder, put a piece of tape along so you know which line you're shooting for. Don't cover it up because you do need to be able to see that line to keep things straight. But if you need a reminder, that can be one of them. Now, what I usually do is lay my fabric with the selvage edge away from me, the fold right next to me. And then it's time to make that first cut. One, two and a half. I'm actually over-cutting that first one and making sure that I'm right angle here, lined up nicely. That will mean that I'm creating a perfect straight of grain cut here. Now, if you're working off of scraps, you may not know where your grain line is 'cause you may not have a selvage edge left. So you're going to have to pull a few threads to find where that straight of grain is on your fabric. Now, since I've over-cut that first piece, now I'm gonna take it. I'm going to transfer it very gently. And when I'm teaching, I usually say treat it like it's butterfly wings. Very gently move it around so that you can lay it perfectly straight. One, two and a half. This is my cleanup line. You can see that when I was moving my fabric around it got a little bit distorted. So I wasn't perfectly straight anymore. Work your hands along. Try to keep the angle as comfortable as possible to reach across your fabric. When you're making these cuts to use off a width of fabric, it's nice to have that 24-inch ruler. It can be made with a shorter one, but in the beginning, when you're first starting, if you have access to that wider ruler, that longer piece, less folds means more accuracy for you. So two and a half inch wide strip that way. Now I'm going to take this away because I'm going to show you how I would go about cutting and sub-cutting the pieces that I need for my two and a half inch squares. I could cut them two at a time working along simply by, let's see, I lay this out. When you're working in a smaller space in front of a camera it's a little bit harder, One, two and a half. And I would over-cut this and cut my two and a half inch square. I could cut, it's two layers. So two squares at a time, but there are ways to cut quicker. And without moving that strip around as many times and it's a little bit into math, but sometimes when I was first starting, I would make little notes or put arrows on my ruler so I could remember the divisions. So I think of two and a half like it's 25 cents. So 25 cents times two is 50. So five, then 7.50 and 10, all the way up to a dollar. So I can cut a lot of pieces kind of in a backup sliding method. I'm over-cutting here 'cause this is my selvage edge. I've got 10 inches' worth underneath my ruler. I'm looking for the straight edge here, right along the edge of my ruler, and the fabric lined up. And then I'm gonna make a cut here. Then I'm gonna transfer this. There's always that time when maybe it's time for a new blade in your rotary cutter. That seems like it's pulling one thread just a tiny bit. Okay, now I'm working on this piece again. Line up that 10-inch piece or 10-inch mark. Again, the bottom of my fabric. You want to make that clean up cut, take the selvages off. Some people take all the selvage off right away when they go to work on fabrics. Me, I tend to leave it on. And for the only reason, the only reason that I tend to leave it on is then if I need more fabric, I know the name of it. And probably the manufacturer. The numbers always aren't on there. Sometimes it just identifies a grouping of fabrics, but I can see usually the fabric name and the designer and the manufacturer. So then I can, when you've got more room, I've got a ironing space kind of lined up here but I'm sliding this back now to seven and a half, making a cut, sliding back to five, making a cut, and now it's gonna be in the way and we slide it over just a tiny bit and get to the two and a half. So I've created two, four, six, eight without much disturbing of the fabric. And you can do that, then, for any division. And if you have to take your handy calculator on your phone, figure out those numbers, and make maybe just a tiny dot or put a little post-it note flag so you know what your divisions are. Over-cutting, what do I mean by over-cutting? That over-cutting is that means I'm making the strip a little bit longer. I needed 10 inches of actual usable fabric. So I was going to take away that selvage so I was over-cutting. It was set at about 10 and a half. But double-check. Selvages are different widths of different companies. Sometimes that selvage is very narrow. Sometimes it's printed on. Sometimes the ink runs all the way to the outer edge and that selvage is thicker where the the fibers are turned around and woven back the other way. And you don't really want that in your quilt because it's thicker and it will be harder to press that edge. So by over-cutting, by cutting just a little tiny bit more, taking away just a little piece, your accuracy goes up. So cutting the two and a half inch strips, same thing will happen when I'm cutting those wider pieces in the pattern that calls for four and a half inch squares. And then the same kind of thing happens when the pattern calls for cutting of these rectangles. There's two ways to approach it. You can cut the one and a half inch strip with the fabric, which means taking it and cutting a one and a half inch width strip off and then sub-cutting it into the right length. Or you can cut the wider of the two, six and a half, and then come in and cut one and a half inch strips this direction off of it. No matter which way you approach it, it's going to, it's the same amount of yardage because you're still using the same amount of fabric. It's just, maybe you won't have to handle or make those really fine narrow cuts at one and a half that go all the way across. Especially if you have a hard time holding onto that ruler, working your hand along to make sure they stay straight, cutting one six and a half inch width strip, one cut like that, and then the shorter cuts may increase your accuracy. Something to think about, okay? So now that I'm talking about those pieces, I'm going to show you real quick. I've made a few nine patches already. So this is what I decided on is to take the color. And I told you I was kind of that matchy-matchy person. I had to take four of them that were the same print and put them in the same block like this so that the gray now becomes the background. What I'm hoping to have kind of happen is that when I go in, let's see, I can take a few of these away because I need the space. When I go in to put the cornerstone kind of shapes in and grab these bars, this is what we're going to be creating. Now, because we're working from the fabrics we have and we don't maybe have access to everything that we would love to have or dream up, because, you know, there's tons of fabric in the fabric shops but maybe they're not accessible to us right now. This is what I've gotten so far. Now on this, there's also going to be sashing here, here, which would go up to the next block. And I don't know for sure. You'll have to tune in next week and see, deciding if I'm going to put the gray here or am I going to use some of my scraps of the prints in this section? Let's see how scrappy I really can force myself to be. Otherwise, the pattern calls for the background fabric, this cornerstone, and this piece to all be the same fabric, but we'll see where that leads us next week. Now, putting these away for the time being, we're gonna work on how to get that nine patch to be as accurate as possible, because here's the thought. When this sashing goes alongside our blocks, there are two seams here now and there are two seams here, but this is one solid piece. So if my seams are off my bar isn't gonna match, and I'm gonna have a tougher time joining those pieces together. And remember when I talked about being as accurate and consistent as possible? Well, here's where the test comes in is whether or not that bar can fit on there and be the right length. Because if this shrinks too fast, if your seam allowances are too large, this is going to shrink and this piece is going to be longer when we try to join them together. And frustration is definitely not what we're trying to go for today or in the quilting world at all. Quilting is supposed to be fun. It's supposed to be enjoyable. And right now it's supposed to be our comfort spot. So let's look at the construction of a nine patch block and see if we can make it fun. Okay. I'm gonna sit down to my sewing machine here. Yes, I brought my favorite cup along. This was made by my daughter-in-law. It says "Monday again, nothing a little quilting can't fix." So maybe we should just put "Quarantine, nothing a little quilting can't fix" on here. If you've got a cup, usually I have a lid on my cup because you just never know when a spill is gonna happen. So in the quilt room it's probably best to have a cup that has at least a chance for you to snag it before, if it tips over, and not spill all over. Now, I was working on all the blocks on the quilt you can see over my shoulder and I literally would lay them out one at a time, right in front of me, like this. Let me get a few extra spares because there's kind of a fun rhythm that you can create while you're doing these. We'll work on the first one and then I'll show you the little technique, because right now I only have so many spools of thread to work on that or light-colored. And if I run out, I'm gonna be forced to use whatever's in that drawer back there. And the least amount of thread that I can throw into the wastebasket, the better. So here is my nine patch, laid out in the design that I want, making sure that I've got it in the four corners or the north, south, east, west spaces. So what I was doing was taking this and taking my print fabric. I've moved out of the camera angle here, let me move back a little bit. I'm going to lay the print fabric from row two on top of row one, the center square from my block on row one. And if you were working on fabric that is batik or solid there's no right or wrong side of your fabric. You're good to go. If you've got prints, make sure that you're putting right side to right side. Why do I tell you this? Because the challenge for my grandkids someday is to find the two blocks that are in that quilt over my shoulder that are wrong side up. I found the first one and I just, I had to take it out and fix it. And as I was putting rows together the other night I was like, "Oh no, here's another one." Okay, it's white on white. It's gonna be very hard to find. And then of course a third one pops up. You know, things always happen in threes for me. So there are two blocks that are upside down in that quilt. And that will be my grandkids' Where's Waldo. Let's see where Grandma made a mistake. So we're gonna take these and slide them close to the machine. We're gonna start with that very first one. Remember, I reminded you about making sure you have the most accurate quarter-inch seam you can using the trick of using the recipe card with the blue lines. So if you haven't done that, go to the kitchen and find a recipe card. Even if it's written on, the blue lines are still visible. Drop your needle into one line. See where the blue line to the right of it falls so that you know where your quarter-inch seam is. Do that little test if you're new to quilting. Also, if you're new to quilting, make sure that the seams, the stitch length is set fairly short on your machine. In garment sewing, we use a longer stitch length because in garments we do some backstitching. We do securing there, but in quilting, we set our stitch length to about a 2.0 on my machine. So do that test to make sure that what kind of stitch length you're using. 'Cause otherwise your seams really pop, which means it could come apart. Okay, we're gonna start this first block, stitch across, and without breaking thread I'm going to bring the second row pieces up, send those through the machine, and then piggyback the next one also. So all three rows, vertical row one and two are now joined together. So as I get to the edge of this one, my machine has a thread cut. If yours does not, take it out and trim. It's a really good habit to get into, trimming threads as you go. As a long-armer, I see a lot of people who leave a lot of long tails behind and it just adds weight and more, not mess, but more distraction to the back of your quilt. And if you can reduce that the most you can possible, do so. Okay. I'm just going to finger press at this point. That's why, I even putting the nail polish on for you guys today. Amazing. Now I'm going to take row three, that vertical column. I'm going to lay those right side down, join that one. And we're gonna do the exact same process. Joining from the first row. Slow down as you get to the next one, feed it in, because you've laid everything out nice together and joined it kind of like a family or a community. They are all tacked together and won't get loose from each other. You can break thread there and be done with a block. Maybe you're on a tight timeline and supper needs to be made and you've got one block portion put together. Good, stop there. You might not even have to break thread. Just leave it in the machine, come back, and set up block number two. So it's kind of like arranging cards. Here we go. Get them arranged and you can start working on the next block, feeding it right in behind. And then you'll have two blocks ready to go, or at least portions of them. So the technique here, one. Just use your fingernails kind of to gently move the pieces. Notice I'm not really manipulating the fabric under the needle. The machine's doing the work. It knows what it's supposed to do. I'm just guiding it through. Sew like that. Now break thread. And you'll notice when I move this everybody's tied together, because you know, we are tied together. We're a community. Then finger press these and do the exact same process by adding the next vertical row. And you will waste or use less thread as you work through the process. So then I would come in, and these are going to be stair-step fashion. They're always gonna be one row off each other, but I had them going all the way across my cutting or my sewing unit the other night making progress on a lot of blocks. So if you have a chunk of time and you want, then sew that row, and then go onto the next block, keep going. Now you say, "Hmm, but that block isn't finished yet." All I need to do is snip that little bitty thread that ties them together. And yes, I have this all attached like this. Then I'm gonna come in. I'm pressing my seams toward the darker fabric. So in this case it's the gray and yes, I'm just finger pressing at this point. What I'm going to do is then use that hinge to just lay the block together. Sometimes when we cut these apart and we take them to the iron, we can over-manipulate them and distort them before we joined the rows together. And we have issues trying to get points or join those intersections. And by doing it this way, I've kind of found that I don't over-manipulate the fabric and that way I have better points and my intersections come out better. So I would do the exact same thing on the next side and sew that. I'm gonna come in here and just finger press this so that, and you say "Which direction do I point?" Put the seam this way. There are two gray blocks. So I'm putting my seam allowances toward the gray. In this pattern, because this block doesn't actually match up against another block and need to nest together, the directions of the seams aren't as vital. So pick one, just be consistent. But once I would get that seam, I'm gonna show you real quick our pressing. Got my iron in here. 'Cause ironing questions or pressing questions come up all the time. And, okay. What do we got? A question here from Sandra. "How come my stitches are showing? I iron open my seams. I'm adding one-inch dashing between, or sashing between rows." If your stitching is showing when you open your seam here, if you're saying in here and you're seeing stitching, your tension probably, I am suspecting may be off a bit because when you open this, the top and bottom threads should lock and be very snug and not cause anything to show in what we call the ditch, in that line where your stitching is at. So, and I've seen that happen before. I've had it on my own machine, had that issue before. So when you tug on it, you can see thread down in there. Go back to your manual on your machine or go onto the computer and put in the brand of the machine you have and see if there's anything there, maybe in a video that can help you adjust your tension a bit because you shouldn't be able to see those threads. The integrity of your stitch isn't very good at that point. So maybe just a little work on that if you can. Cynthia asked about art quilts, variegated thread or invisible thread. Hm. Well, variegated thread is going to show a lot. If it's a variegated thread where the color changes quickly it will create one effect. If it's a variegated thread that has long sections of color it will create another effect. When you're working with invisible thread or a nylon thread or a monofilament thread, what we call it, it's going to disappear into the fabric. So you're not going to see it and all you're gonna get is texture. So are you looking for the thread to be visible, to be part of the story, or are you just looking for texture? So that's how you weigh out what kind of thread to use, especially in an art quilt. Are you just wanting to create texture or do you want something very visible? Are you trying to create a vein or a line or detail in a flower? So weigh out those things when you're looking at threads. Okay, we're coming up to 38 minutes. So we've been together for a half an hour already, people. One thing I did want to back up, because we had people, I had a different quilt on the wall when we started. In the first episode, I had started a quilt called Apple Core. And I was asking for questions or for names because I was going to call it my virus quilt, but that was an awful name for a quilt. So, to let you know, I received, let's see, eight different possibilities for names and the Apple Core quilt is almost completed. Not quite. Her seams are very tedious and so I can only do about 30 or 40 in a day and then I'm done. So this was going to be big enough to go on a queen-sized bed. And you can see the bright colors in it. I expanded my fabrics beyond the backorder bundle that I had and added some scraps of another grouping which was from the same Vian company line. I love your fabrics. So the names that I got for the Apple Core were, Dorothy sent in Coreantine, C-O-R-E, coreantine, because of the apple core, very ingenious. Crowned Corners was submitted by Melissa. An Apple a Day was actually submitted by two different people. One, I don't have the name for them. The other one was Karen. And that is a very cute idea. The Apple a Day keeps the virus away? One was called, Beatrice, or, hmm. I might be mispronouncing your name. Homebound was one of the ideas, which is a very catchy one. Summer Munchin'. That one's dear to my heart, from Karen. Both of my grandparents had apple trees in their yards when I was growing up, and we ate more green apples than you can ever imagine. So Summer Munchin' is pretty sweet. Spooling Around was submitted by Carol. Hour Times, as in an hourglass. 'Cause they thought it looked like an hourglass shape. So Hour Times. I don't have the name on who submitted that one. And then the last one was The Big Bite from Diane. And you know, this kind of does bite having to be home all the time, but I think it's very hard to decide. I have two rows left to join and then four rows to join together to finish the quilt. And it will be a queen-size quilt when it's done. And I do have to make the decision to either do bias binding on the outside edge or to cut away some of the apple core and make it a straight outside edge. Stay tuned, we'll see how this goes. But at this point I think Coreantine is my favorite of the titles for this quilt. So I think Dorothy, you're the winner with Coreantine. After I got done looking at it it also made me think of Easter that kind of isn't this year. When I was a kid when we dyed Easter eggs, we always took the Easter eggs out of the dye and set them on a piece of paper towel to dry and then the color would fizz out and it kind of looks like Easter egg dye just exploded everywhere because it's very bright, and very, very, very cheerful. It may end up being on a bed of two little girls named Cora and Daisy at some point. So don't worry, Oliver and Callahan, you'll get quilts too. Those are my grandkids. So join us next week for week three of community quilt along. We are going to be getting into more of that sashing and figuring out how to get those to stay accurate and some more on your questions dealing with any kind of quilting thing that you have come up. Equipment, tools, techniques. Let me know what you're thinking. So work on cutting out your pieces, work on creating, let's say 10 nine patches so that you make some progress. And my last request is reach out and talk to a quilter this week. Someone you know that is in the quilt community, even if it's a shout-out to the shop owner in your area, say "I can't wait to come shopping in your shop again" because they're all hurting the same as we are. They like to see our faces. We like to see all of their inventory. So imagine what kinds of things may have come in since we last got together. So have a really great week. Join me again for Community Quilt Along with National Quilt Circle. Goodbye.