I regularly get questions about my enamel pins, so it seems a educational post is in order.

Note: This guide only covers hard enamel pins. I don't do soft enamel and have no experience with making them. Every manufacturer is different, so your mileage may vary for info in this post. This is no gospel.

Step 1: Designing your pins

File Type

Different manufacturers (manu for short) have different requirements, but generally speaking, a vector file created in Adobe Illustrator is the way to go. Some manus will accept JPGs or other non-vector artwork, but this means they will have to go through the extra step of converting your artwork to a vector. Not only can this incur additional costs and processing time, you will be at the mercy of their artist who does the conversion. I've known people who were deeply unhappy with how their pins turned out due to the artwork conversion. Creating your artwork as a vector gives you the best chance of getting a final product you will be happy with.

Note, if you have questions about Adobe Illustrator or other software related stuff...please Google it. I get these kinds of inquiries a lot too and I'm usually like, "type that question into Google. It will explain better than I can." Also I don't have time to be tech support for free.

Line Thickness
The line work of your illustration is translated into the metal "walls" of the pin that separate enamel sections, and there are limits to how thin these lines can be. It varies by manu, but I like to keep my lines above 0.2mm thickness (Set your stroke measurement to mm under the "Units" section of the Preferences dialog box by clicking CTRL/CMD + K).

Color Selection
For best results, use Pantone swatches when coloring your artwork. Make sure your fan deck is current and hasn't faded. However, be prepared for the fact that color matching is probably not going to be perfect. Just because your fan deck is in good condition, doesn't mean your manu isn't working from a faded, outdated one. Or that they'll even try terribly hard to match your colors. I think it's best to be flexible. Close enough is good enough in my book. If you insist on being anal about color matching, talk to your manu about getting prototype samples before doing the full production. This will add time and money, but it's up to you. Regardless, include a color key in your file for your manufacturer identifying your swatches. Also, more colors = higher cost.

Size 
To make sure you're happy with the size of your pin, print out the artwork at 100% scale. You might change your mind when you see it in person and not on a screen. Your production artwork should be 100% scale, but to be safe, include some text in your file stating the size of your pin (width x height) in mm.

Metal Finishes
The usual metal options are gold, silver, black nickel, and copper/rose gold, or bronze in either polished or vintage (more matte) finish. Not all manus offer every option so be sure to ask. Include some text specifying your metal choice in your file.

Clutch Options
I like to use rubber clutches because I think they are more reliable than the metal butterfly option. Plus, you can also request them in different colors. Premium locking pin backs are also a thing, but I find them to be a pain in the ass. Plus, they tend to confuse people who aren't used to them.

Fancy Options & Packaging
Additional fun things some manufacturers offer is glitter, dangling elements, backstamping or lasering (if you want your logo or name on the back of your pin), etc. Ask for sample images from your manu if you're considering these things. For packaging, I get my backing cards printed at Vista Print, but some manus can do it for you and mount your pins as well. If you go this route, I'd suggest converting all text to outlines because they might not have your desired font.

Step 2: Finding a Manufacturer 

Middle Man or Factory Direct
If you google "enamel pin manufacturer" or some variation of that, and you find a website based in the US, there's a good chance it's a middle man. That means you give them your artwork, and they farm it out to a third-party factory in China. They may never even lay eyes on your pins, having the factory ship directly to you. I feel that having a middle man doesn't add any value, only additional cost, time, and potential for communication issues. I worked with a middle man at first, so I can speak from experience.

How to Find a Manufacturer
You research. Google is your friend. Search terms like factory, enamel/lapel/cloisonne pin, China, manufacturer, direct, etc. You may feel like the easy answer is to just ask existing pin designer who their manu is, but most are not going to tell you that info. Why? A lot of reasons. We don't want our manu to take on so many orders that they're quality, turnaround time, and customer service declines (something I've seen happen). We networked and researched ourselves to find our manus and we don't owe the fruits of that labor to anyone who sends a DM without even as much as friendly greeting. Or maybe you're straight up competition. Either way, don't be surprised if your request for info goes ignored.

If you do want to go this route, here's my suggestion. Purchase a pin from the artist and evaluate the quality in person first. Then send them a DM or email letting them know you have purchased a pin, liked the quality, and ask if they'd be willing to share their manu source, but state that you understand if they don't want to disclose this. Even better would be to share the names of manus you've researched (just to show you have made an effort on your own), and ask if they have any experience with them. 

Don't Forget About Seconds

If you order 100 pins, it's unlikely you will will receive 100 pins of perfect quality. There will be seconds, or pins that have defects like scratches, dirt in the enamel, missing enamel, chipped enamel, etc. You shouldn't expect 100% perfect pins. Seconds rates can very from manu to manu and even order to order. In my experience it's been at or less than 10% for the most part, but I've heard of people getting bad batches with a much higher percentage. It's up to you when it's a big enough problem that you need to haggle with your manu about refunds, replacements, and that sort of thing. But as a general rule, order more than you need. If you took preorders for 50 pins, don't just order 50 unless you want to send defective merchandise and have unhappy customers.

10 Tips for Stepping Up Your FMQ Game

1. Make a Pinterest board of quilting that inspires you.
Having something to aspire to motivates us to improve. Collect images of quilting that makes you say "WOW!" Don't worry if it looks too hard. I browse my quilting board frequently to get ideas and psych myself up.

2. Commit to investing more time on each project.
Good quilting takes time. I used to be dead set on getting quilting done in a day because I'm impatient. Now I take at least three or four days for FMQ. A few have taken nearly a week.

3. Experiment on a coloring sheet.
I like making a few photocopies of my quilt as a simple line drawing and start doodling on it with pencil. When I'm not being distracted by the colors and fabrics, it's easier to see the shapes I want to create with my quilting.

4. Test designs with template plastic and a dry erase marker.
I place a piece of clear template plastic over my quilt and draw on it with a fine point dry erase marker to get a rough idea of what a design will look like at 100% scale. Sometimes things look good on a small printout, but become impractical at actual size. Additionally, I practice drawing quilting motifs on a dry erase board. Practice makes perfect. If you draw a design over and over, the movements become instinctive.

5. Break it down.
Custom quilting isn't as hard as it looks. Everything can be broken down into easy, manageable steps. For my Orbital quilt, I approached the negative space with this process: Stitch the curved cross shape about 3/8" from the seams. Mark the second curve using a plastic template and chalk (see tip 8) and stitch it. Next, stitch 1/4" inside of that shape. Fill in the wide section with ribbon candy, curve by curve. Stitch the "ribs" in each quadrant of the center. Probably the hardest part of it all was keeping my ribbon candy even.

6. Don't baste until you have a plan.
I try to form at least a general idea of my quilting plan before I pin baste my quilt. Nothing is more annoying than pins sitting right in the middle of your path. If I have a plan, I can pin in places that I know will pose fewer interruptions.

7. For straight lines, look at your destination, not the needle.
Magic trick time. Get a piece of paper and try to draw a 6"-ish straight line without picking up your pen. It's probably not too straight. Now mark two dots about 6" apart. Starting with your pen on the first dot, look only at the second dot. Don't look anywhere but that dot. Now draw a line connecting the dots, never looking away from the destination dot. It's a lot straighter right?! Our brains are cool that way. If you look at the destination, your body is really good at getting you there. The same works for quilting.

8. Using marking helpers.
When starting out on a quilt, I usually need to mark some things until I get the hang of the quilting. I use a ruler and a hera to mark straight lines and tailor's chalk for curved lines. For dots, I use a Frixion pen. If there is a particular curve I'm going to have to quilt over and over, I'll make a template from cardstock or template plastic as a guide when marking with chalk. If I get comfortable after a while, I can set the training wheels aside, but there's nothing wrong with using them for the whole project.

9. Find your favorites.
Finding your favorite notions makes starting a project less intimidating. For me, I love Aurifil Monofilament, so I rarely have to worry about thread choices. I recently feel in love with Superior Threads topstitch needles (size 12) for FMQ at a friend's recommendation. My go-to batting is Quilter's Dream 80/20 blend or Dream Wool. I've also changed my mind on the Supreme Slider and come to appreciate the extra help it provides on large quilts.

10. Know when it's time for a break.
Classic "me" advice. When I get tired/bored/impatient, I make dumb choices. My work gets sloppy. Being able to tell myself, "just walk away NOW" has made the single biggest improvement in my FMQ work. Maybe the break will be an hour, or a few days. Either way, being impatient and frustrated will do nothing positive for your quilting.

Why I Love Aurifil Monofilament Thread

In the current age of social media "brand influencers," there's always some blogger talking about how much they "LoOoOoVeEe this amazing new product from Brand X" in their sponsored blog post filled with affiliate links to what is probably a not-so-life-changing product. Well, at the risk of sounding just as obnoxious, I REALLY HAVE TO TELL YOU ABOUT THIS PRODUCT I'VE BEEN USING THE CRAP OUT OF: Aurifil's monofilament thread.

Disclaimer: Aurifil did send me two free spools of the thread for this tutorial, but this was at my request after I months of using it, having purchased a cone with my own money. I mainly wanted to make sure that the spools didn't suffer from the issues I experienced with a different brand I'll mention later.

You may remember "Quilt Purgatory" from my Instagram late last summer. I had a stack of like...seven or eight quilt tops that I felt obligated to finish before I could move onto new projects. Faced with the task of rapid fire quilting so many quilts, I turned to invisible thread as an alternative to buying a ton of new thread colors to match all these quilt tops. I ended up falling in love with Aurifil's monofilament thread and I've used for every single quilt I've made since I discovered it.

What it is and how to use it:

It's a nylon "invisible" thread available in two colors: clear (for use on light fabrics) and smoke (for use on dark fabrics). Thread your machine with the monofilament, loosening the top tension slightly. For the bobbin, use a 50 weight cotton thread in a color that matches (or is close-ish to) your quilt top. You match the bobbin to the quilt top because sometimes the bobbin thread pulls up and becomes visible from the top as little dots, which you'll see below. But guess what this means? Wherever you'd normally be changing thread colors and rethreading your entire machine, all you have to do is switch out a bobbin color. Huge time saver!

The time saving aspect isn't the only benefit. Monofilament means I can get away with having a smaller selection of thread colors for applique and quilting. Example time!

Let's say I want to applique these Kona Gumdrop shapes onto a white background. I need a color to match my applique, but these are the only two pink thread colors I have. Poop, both are terrible matches. If you put a gun to my head, I guess I'd pick the lighter color, so let's give that a go with my preferred stitch, the blanket stitch.

No surprise here. It doesn't look great. BUT, what if I switch the top thread to the monofilament and leave that light pink in the bobbin? It looks way better! The bobbin thread still pokes up slightly, but becomes less obvious as I reduce the thread tension (on the top half of the circle) a little from my normal setting. Having the perfect thread match may be the best option, but I'd say this is pretty good without having to buy any more colors.

The other reason I like this thread for applique is that it hides your mistakes for you. Even if you're using a pretty close color for your applique, if you get off course, it will be painfully obvious. Not the case with monofilament!

As I said earlier there are two colors to choose from, clear and smoke. Smoke looks black on the spool, but it's a tricky chameleon. Personally, I have zero problem the way the clear shade looks on dark fabrics, but I will concede that smoke blends better. Unless you're a lot of super dark fabrics, I think you can get away using just the clear. If you want proof, look at this album of my Overwatch quilt, which I appliqued and quilted with only the clear monofilament and handful of bobbin colors.

Here's two test quilt sandwiches I made to show what the two colors look like on a dark charcoal fabric and white fabric. I think the clear thread on dark fabric looks worse in photos than it does in person.

So now that I've shown you that monofilament is awesome, why Aurifil specifically? Well, I actually started off trying the Coats & Clark monofilament. It looks almost exactly the same as Aurifil, but sewing with it makes me want to tear my hair out. It's unruly and tangles if you even look at it funny. It constantly would unspool prematurely and get tangled in my machine. It was seriously nightmare. Plus, it feels much stiffer, almost like a thin fishing line. Any untrimmed threads feel horribly pokey and scratchy. Ick. Coats & Clark is like a nasty feral cat to Aurifil's sweet and gentle lap cat.

So yeah, if you hate having to buy matching thread, this stuff is magic.

Observations from FMQ Purgatory

For the past few weeks I've been in FMQ Purgatory, which is just a dramatic way to say that I'm trying to quilt my way through an out of control pile of quilt tops. Quilting 9 tops in 6 weeks (plus a few minis) has given me plenty of opportunities to make some helpful observations. Here are some of my findings:

1. Snipping some fingers off a pair of quilting gloves makes my life easier. I used to take my gloves off every time I had to change a bobbin, scratch my itchy eyes, or look up something on my iPad. I was watching the preview for Christina Cameli's "Wild Quilting" class on Craftsy when I noticed how she had modified her gloves. I decided to give it a try by cutting off the thumbs and index fingers on my gloves and I have no regrets! No more taking my gloves off and on.

2. Monofilament/invisible thread is super convenient. I purchased a cone of Aurifil's monofilament thread after successfully using the Coats and Clark invisible thread on my Heather Ross Scatterbrain Quilt. I highly recommend the Aurifil! I've used it on 4 quilts so far with awesome results. I still try to use a bobbin thread that matches the section of quilt top I'm working on, but I have less pressure to find the perfect matching thread this way. Normally I have no qualms about ordering matching thread, but when you have a stack of quilts to get through, it's nice to have one less thing to worry about. For tips on quilting with invisible thread, I suggest reading this article.

3. The Supreme Slider isn't a game changer for me. The Supreme Slider is supposed to reduce drag and help you move your quilt more easily as you quilt. I guess the extension table for my Juki is already pretty slick because I have not felt much difference while using it to merit the $34 retail price. In fact, the other day, I lifted up my quilt to change a bobbin only to realize I had forgotten to put the back Slider on my machine. I had been FMQing for 30 minutes and hadn't even noticed! I think the reason is simple: the drag isn't because of the machine surface only...it's because you're trying to move several pounds of giant quilt with your fingertips. Obviously there will be some drag no matter what.

4. Testing quilt designs using clear template plastic and dry erase marker is brilliant. I used to audition quilt designs by doodling on a sketch of my quilt, but placing the template plastic on your quilt allows you to get a feel for the true scale and execution.

5. Worry about how to quilt one section at a time. Trying to map out every detail gets overwhelming and makes me more likely to procrastinate. Instead, I just focus on the task at hand, be it one block, a border, or the center of a medallion. When that part is done, I can choose how to proceed based on what designs compliment the work I just finished. It helps reduce the pressure to find the absolute perfect combination of designs.

4 Things Quilters Need to Do More Often

Clean the lint out of your machine

People don't realize how much the build up of lint can affect their stitch quality. Hint: it's a lot. My bobbin will actually start to make a distinct rattling noise once it's passed a lint threshold, so I'm always mindful. If you have a drop in bobbin, it's important to lift out the entire bobbin case and dust under there as well. Just remember not to use a can of air unless you have an open path for that dust to exit the machine. Otherwise you're just blowing the mess further inside.

Give your cutting mat a spa day

Cutting mats take a lot of abuse and don't get nearly enough love. You can extend the life of your cutting mat by keeping it hydrated. Yes, hydrated. Once a week (or sooner if it seems dusty), I spray my mat with a water from a squirt bottle and wipe it down. Every couple months or so, I'll put it in my bathtub and fill it with enough warm water to cover it. I soak it for 10 minutes before rubbing it down with a washcloth to work out any fiber bits that have gotten stuck in the cuts on the mat.

Stretch those muscles

I always feel silly when I tell people how I'm experiencing muscle pain in my upper back and shoulders from binding a quilt or doing EPP. At a recent checkup, my doctor made me feel a little better about it. She told me that any kind of repetitive movement, even small movements like hand stitching, are likely to cause pain over time. She showed me some upper back stretches to do every half hour or so when doing handwork and it's helped immensely! Doing stretches for quilting may sound dorky, but it's better than an aching body.

Wear sunscreen

Just because you're sitting inside doesn't mean you're immune to sun damage. Chances are you have some kind of natural light in your sewing area, and that means you're being exposed to UV rays. Even compact fluorescent light bulbs can emit UV radiation (which is one of the reasons I use LED bulbs). Sun damage is the number one cause of skin aging. If you don't believe me, just look at this photo of a professional truck driver. I wear sunscreen on my face every single day. And no, the SPF in your makeup is not enough. You should be applying 1/4 teaspoon of sunscreen to your face. As a personal note, I've found that Korean and Japanese sunscreens both feel and perform better than heavy, greasy American brands that leave you looking like Casper. I personally love Tonymoly's Mango SPF50+ PA+++.

Tips for Aspiring Fabric Designers: Pitching to Manufacturers

There are tons of great resources out there for aspiring fabric designers when it comes to the actual design process. Creativebug's video course series and Kim Kight's book, A Field Guide to Fabric Design, are two of my favorite resources I suggest to newbies. But over the past several months, as I was helping a friend on her fabric design journey (she just signed to her top choice! Yay!), I realized there aren't as many resources out there for the process of pitching your collections to a manufacturer. Let's try to change that. I'm going to share some tips with you based on my experiences when hunting for a licensing deal.

1. Look for manufacturers where you stand out, not "fit in"

For starters, don't put your eggs in one basket. Unlike with magazines and book publishers, it's acceptable to submit your work to multiple manufacturers for consideration simultaneously. So which ones are you going to try first? Well, almost every aspiring designer (myself included) seems concerned finding a company where their style "fits in well" with the other designers in that company's catalog...wrong move!

While pitching to one manufacturer, the art director commented that my work would likely end up competing against a designer they represented because we're both into colorful, playful, modern prints featuring animals. She explained that shop owners would probably choose to buy my collection or the other designer's due to the similar themes and colors. They generally look for things they don't already have because manufacturers are looking to reach new audiences rather than have their designers compete for existing ones. Of course their are exceptions. Companies like Cloud 9, Art Gallery, and Blend have a more narrow brand image and may be less likely to consider collections that don't assimilate with their style.

Visit the websites of manufacturers look through their roster of designers. Ask yourself, "Does this company represent a broad range of designers?" If so, ask yourself if you can fill a gap in their portfolio.

2. Pitch in person

Manufacturers get dozens, sometimes hundreds, of emails every week with submissions from artists. Some review them as they get them. Others have regularly scheduled meetings where they flip through submissions as a team. Either way, your work can easily get passed over. I believe pitching in person has a stronger impact and creates a more memorable impression. Furthermore, modern quilters tend to be interested interested in the designers themselves, which means personality and presence sometimes plays a role in marketing. As the designer, you're part of the "product," so showing up in person will help convey how serious you are about your aspirations.

3. Don't fuss over a pretty package

When I was in the pitch phase, another aspiring designer I met eagerly looked through each other's portfolios. Mine was just an album of designs on my iPad while she had a beautifully crafted scrapbook. Each page featured a print along with photos of her inspiration for that print (plants, architectural elements, etc) and a paragraph about the design. It was kinda like one of those "nailed it" Pinterest fail memes where my iPad portfolio seemed like the fail in comparison. I tried to regain my confidence by telling myself my work didn't need a fancy book to earn a licensing deal; the quality of my designs would speak for themselves. And they did! In talking to various art directors, they confirmed that they don't pay much attention to the "fluff". It's the fabric they're concerned with. Instead of slaving over the perfect presentation, focus on creating more content.

4. Make some digital project mock ups

Have you ever been "meh" about a certain fabric collection that later won your heart when presented as a finished quilt? Why not do the same thing with your fabric designs? Make a digital mock up of quilt patterns using your fabrics to show how great it performs as a collection. This tip has the added bonus of helping me work through issues I might not have noticed with my designs, like a lack of color contrast or scale. Manufacturers like to see that you have an eye for quilt design as well as fabric design because it'll make the collection easier to market. Make your talents easy to see.

5. Be bloody persistent

Early on, if I didn't get a timely response to an email, I took it as a flat out rejection. We women are conditioned not be "nags" so we sometimes feel bad about being persistent. Well, in this industry you need to be persistent as hell. It's nothing personal, these are just busy people and it seems very common to have to pester people for a response. As a general rule, I follow up on emails 1-2 times a week until I get a response. I've only ever gotten a snarky reply once, and it was pretty tame, so don't worry about being annoying. As long as you are polite and professional, no one will hold it against you.

Why I Switched Back to Thread Basting for EPP

In the past, I've been a big proponent of glue basting for English Paper Piecing (EPP). But, surprise! I've switched to team thread basting. Scandalous, I know.

At Quilt Market, I had the pleasure of meeting Jill Shaulis and Vicki Olsen of Yellow Creek Quilt Designs, my neighbors in the Windham Fabrics booth. They were stitching up their own pattern, Stars in the Garden, I was drawn in by the tiny 1/2" hexies. After some chatting, she converted me. I'm happily thread basting my current EPP project and here's why I now prefer it to glue basting:

1. Glue basting doesn't really save time. 
The main I and most people who were/are glue basters ditched the thread is because glue basting is supposedly faster. Just a few swipes with a glue stick will do the job faster than threading a needle, knotting your thread and basting, right? If you're slow on the draw with your needle, maybe so. However, even if glue basting saves you time on the prep work, you will end up paying it back when it comes time to remove your papers. Having done a number of glue basted EPP projects, I can attest that peeling the paper away from the fabric takes some time. With thread basting, a seam ripper or pair of thread snips will make quick work of your basting and release your papers without a struggle.

2. Glue basting gets sticky.
The Elmer's glue sticks I formerly used for basting have a fairly wide diameter (about 3/4"), meaning a flat swipe covers applies more glue than I need for a 1/4" - 3/8" seam allowance. The result is exposed, sticky paper. I would sometimes compensate by applying the glue at an angle, similar to a lipstick bullet, but this would cause my glue stick to start getting deformed. Either way, I had sticky fingers within a few minutes. I imagine this is what a child's hands feel like. I swear, tiny children are always sticky. I think they secrete grape jelly from their skin like amphibians. Anyway, I hate being sticky. Thread is not sticky. Problem solved.

3. Glue basting shortens the life of your EPP papers.
Even with the baby-strength purple Elmer's glue sticks, a glue stick is still a glue stick. When the time comes to remove my papers, I count myself lucky if I can remove my glue basted papers without outright ripping them. At best I can reuse them 2 or 3 times before they become a sticky mess or fall apart. With thread basting, I can get many more uses out of the papers as the needle holes take a lot longer to accumulate to a point where the papers stop being useful. Less paper waste is better in my book.

4. Thread trash is better than plastic trash.
I like to do what I can to be environmentally friendly when possible, and I've started feeling really guilty about generating unnecessary plastic trash. While the Elmer's glue sticks are cheap and last longer than the F&P refillable glue "pen", they get used up surprisingly fast. I was going through 6 packs of glue sticks on a regular basis, and each empty plastic tube made me feel bad. Tossing a small handful of cotton thread snippets in the trash is obviously a greener option.

5. No more hunting for hiding papers.
Once your project is all stitched up, a glue basted piece looks the same a piece that's had the paper removed when viewed from the right side. I used to find myself hunting for (and finding) hiding papers after I thought I had removed them all. With thread basting, there is no doubt where those papers are still hanging out.

6. Thread basting is easier for travel.
I like taking EPP to guild meetings or appointments that require me to sit in a waiting room. The problem is that glue basting requires a work surface unless you want some extra sticky fingers. Meanwhile, I can thread baste easily without a table, so I don't have to worry about prepping pieces in advance.

3 Things I Wish I Knew When I Started Sewing Garments

1. Selecting a size isn't always a no-brainer

We know that garment patterns provide the appropriate bust, waist, and hip measurements for you to select your size, but you may be overlooking some key measurements listed further down: finished garment measurements. I consider these measurements just as important when selecting my size.

For example, lets look at the Cambie Dress. My measurements are 35" bust, 29" waist, 39" hips. According to those measurements, I would fall between an 8 and 10 for bust and waist measurements. (Since I made View B with full skirt, hip measurements don't really matter here.) But look at the finished measurements. A finished size 8  has a 37.5" bust and 30.25" waist. I'm a super petite 5' tall, so even a little too much pattern ease (that extra room in a garment that allows for movement) can ruin a garment's fit for me. I usually aim for a 36" bust and 30" waist for a fitted bodice, so I ended up tracing a size 6 for the bust and blending it into a size 8 at the waist on the bodice pieces. I cut size 6 sleeves and a size 8 skirt.

If I had gone with my initial measurements, my finished garment would have been much too big!

2. It will take you a few garments before you understand your body.

Sewing clothing for myself has opening my eyes to my body's quirks. Nowadays, when I trace a pattern, I know I will automatically need to shorten the bodice by about 1", blend in a larger waist and hip size to fit my pear shape, and maybe even take off some extra length at the hem. But I didn't learn these things overnight. It was only after making muslins for several different garments that I noticed I was making similar alterations each time. Now that I'm aware of my quirks, I can usually alter my pattern in the tracing stages and get a pretty great fit without a muslin.

3. Save your pretty Aurifil, and use polyester thread.

I usually have 50wt Aurifil Mako Cotton in my machine for quilt piecing, so early on, I just used it for sewing my clothes. The problem is that cotton thread does not provide any stretch in the way that polyester thread does. That means when I quickly pulled my Fancy Sailor Top over my head, I got a quick rip in the sleeve seam. After 3+ armpit seam rips in various garments, I made the effort to rethread my machine with some all purpose polyester thread for garment seams. If I have the perfect Aurifil shade, I might use it on hems since those don't get as much abuse. But for seams, save yourself the mending time and use poly thread.

Time Saving Cheats for Impatient Quilters

No one has ever described me as a patient person. If I can find a shortcut, I'm going to take it. Quilting is no exception. While doing things the tried and true (the slow way) will likely give you the highest quality results, I don't have a problem cutting corners when I'm pressed for time. Here are some of my favorite tricks for quicker sewing.

1. Bind mini quilts with fusible tape

Most of us think there are two binding options: 1) Machine sew binding to the front of the quilt and hand stitch on the back, or 2) Machine sew binding to the back of the quilt and machine sew the front. Option #1 looks nicer, but is slow, so I used to resort to #2 despite hating the way it looked. One day I discovered .25" wide fusible tape and I realized I could use it instead of hand sewing the back of my binding. It works like a charm, although I reserve this cheat for mini quilts that wont be handled much.

2. Stripology Ruler from Creative Grids
I sat through a 5 minute demo for this ruler in order to get a free mini ruler at Quilt Con and was unintentionally indoctrinated. If you're going to be cutting lots of strips or similar sized squares, the Stripology Ruler is an undeniable time-saver. It felt a little unwieldy at first (It's about 22" x 16"), but once I got used to it, it became an essential.

3. Stack multiple layers of fabric when cutting
This one may seem obvious, but I didn't start doing this until last spring. It just didn't even occur to me that a sharp rotary cutter would cut through 4 layers of fabric without issue. Now I stack multiple layers of fabric whenever possible.

4. Keep your rotary blades sharp
This goes hand in hand with the previous tip. Nothing slows me down like a dull blade. I used to resist changing my blades because they're not cheap! ...Unless you buy them on Ebay. This seller is my sole source for blades. They're great quality and unbranded, which means you can get 10 blades for $12.95 and free shipping. (For comparison, a 10 pack of Olfa blades costs $65.99 at Jo-Ann's.) I don't hesitate to change blades now.

5. Use Frixion Pens for quick marking and removal
I used to use the traditional blue water-soluble markers for marking fabric, but they slowed me down. The ink frequently reappeared if I ironed my fabric after removing it with water, leaving me to wait for it to air dry. Frixion Pens, which I can buy at my grocery store, disappear instantly with heat from an iron. I love using them to mark out complex quilting patterns, like the center and outermost border of my Rainbow Medallion.

Letting Go of UFOs

The longer you quilt, the more likely you are to accumulate a few UFOs (unfinished objects). I used to think of myself as a dedicated finisher, but I've learned that no one is immune to the dreaded UFO. As my WIP pile grew, older projects got buried and my interest in them waned. For a while, I'd nag myself that I needed to finish those projects for good all the while longing to work on something else. I gradually accepted that UFOs are inevitable and it's okay to let some of them go for good.

We set aside projects for a variety of reasons. Maybe you made a mistake that you're not sure how to remedy. Or maybe your fabric choices aren't playing out the way you hoped. Sometimes our moods and tastes just change. I know I'm not the only one who has thought, "I can't believe I used to like this."

What's the point of forcing yourself to work on a UFO that no longer excites you? Many of us quilt for the joy it brings, and when something feels like a chore, the joy drains, and you risk burnout. Give yourself permission to throw in the towel and pursue other projects.

But what is one to do with abandoned UFOs? There are several options.

Donate it. Ask a guild if they'd like to adopt your UFO as a charity project. Making scrappy quilts out of orphaned blocks is a common practice I've heard of.

Pass it on. Let a friend breathe new life into your project and make it their own.

Sell it. Set a price and post your UFO on Instagram with the hasthtags #thegreathandmadedestash and #thegreatfabricdestash. "One persons's trash", you know? I recently sold my bungled La Passacaglia to someone who adored it and is taking the time to fix my mistakes.

Recycle it. If the fabric is stash-worthy, rip out the seams and add the fabric back to your scrap bins. Otherwise, donate it to an animal shelter. Some shelters use scrap fabric to stuff dog beds and the like.

Store it. If you're not quite ready to make a final decision, neatly pack your UFO in a plastic bag or container and store it out of sight. It'll take the pressure off, but still be available if you choose to return to it.

How to get your projects into Quilt Market

In the weeks before and after the past two Quilt Markets, I've received questions about how I've gotten my projects into exhibitors' booths. Since it's a multi-faceted question, a blog post seemed like the best way to respond.

I made my first project for Quilt Market when I was a total newbie. I had less than 5 months of quilting experience, but I wanted to help my friend and fellow designer Patty Sloniger fill up her booth at Spring 2014 Quilt Market with lovely goodies. My Wing It baby quilt and a cathedral window pillow were featured in her booth and marked my first foray into market sewing.

When quilt market looms near and the #quiltmarketprep hashtag comes to life on Instagram, I see lots of enthusiastic sewists asking how they can get in on the action. I want to answer some of the questions I see pop up with market sewing.

Q: How do I get my projects into Quilt Market booths?
A: Contact the manufacturer or designer you want to sew for and offer your help! Market happens twice a year in May and October, so email the manufacturer 2-3 months prior to the show to introduce yourself, offer your help, and outline a few projects (which we call samples) you'd like to make. Include a link to your blog, Flickr, or Instagram account so they can see examples of your work.

Q: Do manufacturers / designers tell you what to sew or can you pick your own projects and fabric choices?
A: It depends. I've done both. I've had exhibitors who say, "I need X made with these fabrics" and I've also had samples where I was given free reign. If you have a specific pattern and fabric selection in mind, let them know.

Q: Do you get paid for your projects? Who keeps them when the show is over?
A: Once again, it depends on the exhibitor. In my experience, when I get to choose the fabrics and the project, I end up keeping the sample after the show and I do not get paid for it. I'm okay with this because I get the fabric for free (and they always send more fabric than I need for a project) and I get some exposure for my patterns and designs. When I'm being told what to make, I've gotten paid for my time and the exhibitor keeps the samples. There is no "normal" arrangement, so ask the exhibitor up front if you will be compensated and who will retain ownership of the samples.

Q: Do I have to design original patterns to make samples for market?
A: Not necessarily. Exhibitors definitely like having original, unique samples to show, but using an existing pattern is perfectly fine too.

Q: Can I attend Quilt Market if I sew samples?
A: Maybe. I attended my first Quilt Market on behalf of Michael Miller Fabrics after making samples for Patty. If you make a lot of samples for a manufacturer, you can try asking them if they will obtain a badge for you to attend. The worst thing they can say is no. Alternatively, you can get submit your credentials to obtain an Industry Professional badge.

Being Picky When Picking Fabrics

Over the past year, I’ve watch my fabric stash grow. What used to be contained into two small baskets now occupies an entire metro rack. I became acutely aware of my fabric situation this past Spring Quilt Market when my entire suitcase was stuffed with fabric from Sample Spree.

During one of my regular cleanup/destash sessions, I found myself facing a lot of “limbo” fabric. Fabric with beautiful prints and colors, but just isn’t quite me. I’m a visual glutton. I see something cute or pretty and I have to have it for my collection. It certainly explains my childhood predilections for Pokemon cards.

The problem arises when my collector’s instincts beget impulse purchases of fabric bundles. Last winter, I bought a fat eighth bundle of Anna Maria Horner’s entire 24 print collection, Honor Roll. It sat on my shelf. And sat. And sat. I frequently took it off the shelf, thumbing through the prints, but I always returned it to the shelf afterwards. It never felt right for the projects I wanted to make. Sometimes I flipped through the stack and considered selling it on destash, but I would reshelf it again because I did enjoy the prints. I kept telling myself I would use it. And why wouldn’t I? It was beautiful fabric.

After a few other limbo moments, I started to understand why the fabric sat unused for months and months. I liked the prints, but they just weren’t my style. AMH’s grown-up fabrics don’t fit into my environment, which revolves more around cuteness and novelty. Sure, I like animals, but I also don’t bring the zoo into my house because that wouldn’t fit into my lifestyle either. I realized that liking something is enough to make it part of my life. It needs to be a good fit too.

That realization didn’t magically cure my collector’s impulses though. Wouldn’t that have been nice. I did however, find an acceptable system to help placate it. When I got home from Market, I dumped out the tote bag full of pamphlets, catalogs, postcards, and look books I amassed. I went through them, putting all the ads for fabric collections I liked into a pile. Then, I carefully went through that pile and asked myself, “Does this fabric collection fit my style? Would it blend into the decor of my home? Would I feel comfortable wearing it on a regular basis? Does is speak to my personality and the image I want to present?” If the I could answer those questions affirmatively, I decided those would be the collections I would be happiest purchasing.

The fabrics that didn’t pass the test would probably end up sitting regardless of how pretty they are. I was surprised by how many collections I ended up saying no to. Instead of purchasing those lines and regretting it, I opted to let the promotional handouts serve as a collection themselves. I’ve hung some on my walls. Some stay in a box that I flip through from time to time. It’s nice to feel like those pieces of art are part of my collection in a way that didn’t hurt my budget or take up much space.

If you don’t have access to promotional materials, try printing out photos of collections you like and projects made with those fabrics. Make a bulletin board or scrapbook with them. They can be a part of a new kind of collection.

For the limbo fabrics currently in my stash, I've decided to sew them up into projects to list in my newly revived Etsy shop, like the AMH quilt below. That way I can have the joy of sewing with the prints I admire without the responsibility of housing it all.

How to Make a Visual Project Wishlist

If my blog's title hasn't tipped you off already, I'll just go ahead a say that I usually have at least three sewing projects going at any given time. Between swaps, developing my own patterns, and selfish sewing with my favorite fabrics, it's pretty common to find piles of WIPs in my sewing area. Sometimes it's hard to remember what projects I have simmering, let alone the ones I want to tackle next.

I used to make lists, but scribbled words just don't have the motivation factor that images possess. I started making collage images to keep things visually organized as well as motivate me to finish those malingering WIPs. It's been working surprisingly well!

For each collage image, I use a few different kinds of images. I may include a photo of the pattern cover or book cover, which helps remind me where to look for the instructions in my my piles of books. My Circle Lattice Quilt is a project from Carolyn Friendlander's book, Savor Each Stitch.

 For WIPs, I use pictures from my own Instagram feed or quick iPhone snaps to help remind me of what prints I'm using. My Storm at Sea quilt currently has only two completed blocks, but seeing the the pictures is a good reminder of what shades of blue I should be looking for when I work on it. It's also such a cool block to look at that it helps motivate me to work on it. I've actually gone forward to do all the cutting for this quilt and bag the pieces to take to my guild's retreat.

My Little Dots quilt (pattern by Green Bee) is going to heavily feature Heather Ross and Munki Munki scraps with each dot having a monochromatic palette on a low volume background. Fussy cutting each piece is time consuming, so seeing a photo of a finished block I made along with the pattern cover shows how promising this project will be.

Sometimes I include photos of the fabric collection I intend to use to serve as a quick visual reminder of the color palette and scale. I recently purchased a layer cake of Carolyn Friendlander's Botanics to make the Union Square quilt by Crazy Old Ladies. Seeing the pattern cover and fabric swatches side by side convinces me that this is going to be an awesome, but easy quilt that will fun to tackle at retreat.

For projects where I'm drafting my own pattern, I include one or two inspiration photos. When I was in the planning stages of my travel tote for Podrick, I made this collage to help consolidate all the ideas I had floating around. I knew I wanted to use Denyse Schmidt's Hadley collection, so I included a photo of that. Jeni Baker has a travel tote pattern for the Singer Featherweight, so that that served as one source of inspiration along with the Pack N Go tote. Lastly I included a photo of Podrick himself, just to serve as a sweet reminder who (or what) I'm making this project for.
On every collage, I add a title for clarity.

I make all my collages in Adobe Photoshop, but there are free web-based alternatives like PicMonkey and Pixlr that can accomplish the same thing for free.

How do you keep track of all your WIPs and wishlists? 

How to be a Quilty Magical Girl Super Hero

I began to notice a strange phenomenon during fall Quilt Market. Then I became more aware of it at my guild meetings. At Quilt Con, it was undeniable: I am a magical girl super hero.

Okay, maybe that's a little over the top. Let's backtrack a bit.

I'm an introvert at heart. During college, my friends practically had to pry me out of my room with a crowbar or bribe me with tasty treats to get me to get me to go do something social. I feel awkward meeting new people. I've even introduced myself by saying, "I'm Felice. *long silence* I'm awkward." The person usually nods slowly before voicing the sudden urge to use the bathroom.

If you're a quilty person and we've met, you may be scoffing right now and calling me a liar. I can understand why. When it comes to social settings involving the quilting community, something amazing happens. I transform like Sailor Moon from normal, everyday introvert into magical quilty social butterfly!

Prior to Quilt Con, one of my friends commented on how I seemed to have such an easy time talking to people at Market, including the designers that we tend to idolize. She knew she'd have the chance to talk to her personal fabric idol, Lizzy House, at Quilt Con, but was fretting over what to say and how to approach her. Or anyone new people for that matter.

I assured her that I was no natural extrovert, this was a skill I started learning and refining the same way I learned to quilt. It takes practice for us introverts.

This funny scene in Girls has some truth to it.

If you haven't read Susan Cain's book, Quiet: The Power of Introverts in a World that Can't Stop Talking, I highly recommend it. In one chapter, she talks about the whole "fake it 'til you make it" idea where introverts behave like extroverts to achieve a goal. The idea is that you tell yourself, "I'm doing this to advance work I care about deeply, and when the work is done, I'll settle back into my true self." It's not about pretending to be someone you are not, it's about pushing yourself outside of your usual comfort zone. I would never go out of my way to chat up people at the grocery store, but at Quilt Con, I know I'm around people who share my passion. My goal is to further that passion and grow in this community, so I force myself to behave in a way that diverges from my everyday persona.

I think I started the magical girl transformation early on when I joined the Houston Modern Quilt Guild. I wanted people to recognize my intense love for quilting, but more importantly, I wanted to make friends. I knew those things would be difficult to achieve if I continued to be so socially withdrawn, so I behaved accordingly by becoming more gregarious. Quilt Market stepped things up a few notches because I had to manage my feelings of intimidation and nervousness when approaching the designers, but within a few hours (and a beer) it was all coming naturally.

I know there are plenty of other people who are in the same boat aboard the HMS Introvert, drifting in a sea of awkwardness when it comes to events, but they don't have to stay there. Here are some tips and advice that I hope will help you come out of your shell for the sake of this awesome hobby!

1. Talk to strangers! The rallying cry for my group of friends at Quilt Con was "Let's talk to strangers!" Grab a friend, literally walk up to a stranger, and introduce yourselves. It doesn't have to be smooth and suave. As kids, we did in on the playground without hesitation. What's the worst that can happen? Start by paying them a compliment. If they're browsing for materials, ask them what projects they're working on. Make a goal to talk to a certain number of new people every day.

2. Have some canned small talk or anecdotes at your disposal. Getting a conversation started (or keeping it going) will be a lot less nerve-racking if you have some go-to material. So many people at Quilt Market were taking selfies with their favorite designers, so I started falling back on the story of why I like to make ridiculous faces in photos. Find something brief and relatable that will make people laugh. Laughter will always win you points.

3. Ask open-ended questions. People are usually able to talk about themselves easily, so asking them open-ended questions can give you some time to find your social footing. By open-ended, I mean questions that can't be answered with just a "yes" or "no" or a single word. For example, instead of asking them if they had fun at Quilt Con, ask them what the most memorable part of Quilt Con was. If they enjoy paper piecing, ask what they like best about the process. Ask for advice on something they're knowledgeable about. It's one of the greatest forms of flattery and they'll probably be happy to share some wisdom.

4. Share a sincere compliment. I try to refrain from making general compliments ("I love your work" or "I like your shirt.") because it doesn't fuel the conversation much. Expand upon the compliment by sharing why you enjoy something. It will make the experience more memorable. For example, following his lecture at Quilt Con I told Bill Kerr, "I really enjoyed your lecture. I graduated from college a year and half ago with my degree in art, so I've really missed having a place to listen to educators talk about design in a serious way. Your presentation really made me think deeply about how I'm going to approach my quilts in the future." This is a good tip for social media as well. A comment of well-worded praise will easily stand out from a sea of "Cute!" and "Love it!"

6. Wear/carry something handmade. This goes along with #4. I've found that wearing/carrying handmade items gives people more reasons to approach YOU and pay a compliment, which makes it even easier to strike up a conversation. Be able to let them know what pattern you used and any advice you'd have for making it, as it will keep the conversation going.

5. Remember that everyone is just a person. Approaching someone "famous" within our community can be overwhelming. We idolize these people. But the truth is, they're just normal people like us. Lizzy House and Tula Pink probably don't get recognized and mobbed like Tom Cruise when they go grocery shopping. The average person has no clue who they are even if they are Titans to us. Approach them like any other person. I promise, they're normal.

6. Follow up! It's normal for introverts to need some time to recharge in solitude after a lot of social activity, but we also need to keep our new connections aflame. Within a the first few days of a meeting a new quilty friend, take some time to re-engage them. Send them a short email thanking them for a nice conversation. Follow them on Instagram and leave some comments on their posts. Read their blog and engage with them there. I think of these connections like plants that need watering. You don't need to drown the poor thing, but you should give it a little sprinkle periodically if you want it to live on.

So what are your thoughts? Do you have a hard time coming out of your shell or are you a magical girl super hero? What advice do you have for other introverts?

Gift Ideas for Scatterbrained Sewists

First of all, what makes someone a Scatterbrained Sewist? A passion for making! I want to MAKE ALL THE THINGS, all the time. I have more ideas (many of them half-baked) than time. Even with a project wish list a mile long, I'm always looking for more ideas. Since I try to crank projects out in rapid fire, finding shortcut techniques and tools is key, but having fun is always #1 on my list!

Here are nine gift ideas that are sure to help your Scatterbrained Sewist get inspired and create!


1. Clover Wonder Clips (Available in 10 pack or 50 pack). These guys are great for a variety of tasks when pinning isn't ideal, like binding a quilt or bag making when lots of layers are involved. I had been using mini clothespins, but they fall apart too easily and are bulkier then I'd like, so I'm hoping for some of these. Wonder clips would make the perfect stocking stuffer.

2. MicroFine Glue Tips. My friend Julia pointed these out to me at Quilt Festival, and I am so grateful that she did. Glue basting is the easiest way I've encountered to get accurate, precise seams...which I'm not naturally good at. I highly suggest them to anyone who hates pinning or wants to get some lovely seams.

3. Cotton + Steel Basics Bundles. I've already purchased the green/yellow, red/purple and blue fat quarter bundles to round out of my rainbow of blenders. There is also a bundle with white, gray, and black prints. You can also get the entire rainbow in a jelly roll! Part of being a Scatterbrained Sewist means it's hard to get excited about non-focal/hero prints, which isn't good for building a well-rounded stash. Seriously, blenders make the best fabric gifts for Scatterbrained people like me because we get easily distracted by all the shiny focal prints.



4. Wonky Tee from Patchwork Threads. Wonky and Scatterbrained-ness go together like PB&J, so this tee would make a fun addition to your closet.

5. Modern quilt magazine subscriptions. Quilt Now subscriptions are available to us Americans through Pink Castle Fabrics as either a 6 issue or 13 issue plan. Love Patchwork and Quilting is available as a print subscription through their website, but if you live outside of the UK, you'll be about an issue behind due to delivery times. It's also available as a digital subscription the Apple Newstand for $5.99 per issue, which is released at the same time as it is in the UK, so no waiting! Any cover-mounted goodies that can be digitized (like patterns or mini booklets) will be included in the digital issue too.

6. Soak Wash, Flatter, and Handmaid. Part of being Scatterbrained means that when I hand wash things, I usually walk away and forget about them. With Soak Wash, a gentle, no-rinse detergent that's not a problem. Flatter is great for getting extra smoothing power when ironing, without the added stiffness of starch. It comes in handy for me because I have a bad habit of leaving fabric lying around in a wrinkled wad. Bonus, it comes in a variety of amazing scents! Handmaid is a hand cream, which I can never get enough of, especially after lots of hand sewing.

7. Craftsy Classes. Normally I'm too impatient for video courses, but I can't deny how helpful it is to get a clear visual when learning new techniques. Craftsy's video courses are easy to reference time and time again with multi-lesson classes that let you take notes and ask the instructor (and fellow students) for help.

8. Patchwork City by Elizabeth Hartman. I get bored easily when sewing, which is why I never make the same thing twice. Sampler quilts are another easy remedy to quilt-block boredom, and Elizabeth's new book is super duper exciting. The book contains 75 blocks in three different sizes, and only one is a square! Her freezer-paper template approach is perfect for people who have a phobia of FPP (and glue basting works wonders here). There are five quilt patterns as well, but these blocks have so much potential beyond those patterns. I've already started working through the book, page by page.

9. Shape by Shape by Angela Walters. I got an autographed copy of this book at Quilt Market, and it's already saved my butt on a quilt where I felt stumped. Custom quilting isn't something that comes naturally to everyone, so having a visual guide to get you started on tackling a project is a big relief. I can't wait to put this to work on some QAYG projects.

Quilt Market: How to Survive Sample Spree

This post is a little overdue, but it's here at last. I had a great time at Sample Spree at Quilt Market last month and I wanted to share some tips for anyone who is considering taking on the madness.

Prior to attending, I was under the impression that Sample Spree was like Walmart on Black Friday x100. I know I'm not the only one who that that either. While I was there I overhead a security guard say to his coworker, "Man...they sure picked one hell of an event for my first day of work."

I stopped, backtracked to them, and asked if it was seriously his first night on the job. His reply slayed me: "Yeah, the other guys just told me 'When they open the doors, grab a piece of wall and hold on for dear life. The crowd is mostly harmless but you still don't want to get between them and their fabric.'" So yeah. Even the security team has clocked our fabric obsession.

In all honesty though, it was not that bad. Sample Spree vets I talked to said this year was noticeably calmer than in previous years. This is probably a result of the stricter credential requirements to get into Quilt Market. Regardless, Sample Spree is totally doable with a little bit of preparation.

1. Dump any other stuff you have in your car or room first. The less stuff you have to carry, the better. That means limit the contents of your purse to your wallet, phone, vendor list & map, and maybe a bottle of water.

Bring a roomy, durable tote or shopping bag that is easy to toss stuff in and lug around. Wheeled bags are not allowed, so you’re limited to what you can carry. Some vendors may have plastic or paper bags, it isn’t a sure thing.

2. Bring cash in several denominations. My awesome guildie, Tammy, advised me that “cash is king” and she wasn’t lying. Vendors take cards, but that means you may have to wait for a device to free up before they can swipe your card, plus the added waiting time of processing/signing.

I brought $300 in cash (A $100 bill, $100 in $20s, $50 in $10s, and $25 each in $5s and $1s). Being able to have exact cash on hand ready to pay meant that I was able to complete some purchases ahead of people who were waiting to pay with a card. For example, at the Cotton + Steel booth, I got my bundles and paid in less than 5 minutes, while some people waited more than 15 to pay with plastic.

An added bonus is that it was easy to stay within my spending limit. No more cash, no more shopping. I actually didn’t even spend all I brought.

3. Know the terrain! A list of vendors and map of the tables is posted in advance on the Quilts Inc. website. Print out a copy, highlight the booths you want to hit, and map them out. Make a rough plan of the order you want to hit each table so you don’t waste time.

4. Skip the afternoon camp out. People start lining up for sample spree hours in advance. Unless you have your heart set on a single booth that you are quite certain will sell out of your desired products within the first few minutes, there is not much to be gained from camping out. I got in line about 5-10 minutes before the start time. Once the doors open, the line move very quickly. I had no trouble getting what I wanted.

5. Don’t rely on the divide-and-conquer approach with a friend. Booths may limit popular items to one per person, so if you guys are trying to buy the same bundles, you may be out of luck. I didn't actually see this enforced, but I did hear people saying it. One solution to this may be to buy a larger bundle (like a half-yard bundle instead of 2 FQ bundles) and cut the pieces in half later. 

6. Don’t be discouraged by a crowded table. The Cotton + Steel booth was completely surrounded, three people deep when I approached, assuming all the bundles had been claimed. In reality, there were loads of bundles left! The crowds of people were just waiting to pay with their credit cards. Ask someone to hand you what you want, then try to pay. Be sure to shout that you have cash!

7. Grab first, then worry about paying. This isn’t like a cafeteria where you ask for a bundle, then proceed to checkout. You grab what you want, then see if you can get a someone to take your money once you have your goodies in your hands. There isn’t a neat little line for checkout either, so don’t worry about “cutting” the line to pay. It's like going a bar. Pay when you find an opening, and if someone tells you that they were there first, defer to them if you’re not a jerk. However, cash does seem to trump plastic. 

8. Stick around till the end. There were a few products I wanted, but were not at the top of my list. After the crowds cleared a little, I was able to grab those items with less trouble. Some vendors may even get generous with extras towards the end if they’re trying to clear out their table. You might even get to talk to someone special! I had a nice one-on-one chat with Melody Miller, which was not as easy at Market.