And why is that so earth shattering, you may ask? Because for 7, going on 8, years I have made my quilts up or altered the original source so thoroughly it was unrecognizable. However, when I came across Victoria Findlay Wolfe’s Cascade quilt in her newest book, “Modern Quilt Magic,” I knew I’d have to follow the directions to have my version work.
Here’s her version.
I cut out the templates from plastic, hauled out my purple and its buddies scrap bin, traced the templates, and started cutting. There is lots of bias in each piece, so gentle handling is the key. As Victoria says, you need only pin in three places before sewing the units together. It also helps to match the registration marks piece to piece, and to mark them to begin with, of course.
When I got to the light fabrics area I had to break into stash, which of course generates more scraps, and explains why scrap bins never get emptied.
My version of Cascade, which I’m calling Church Windows per my husband’s comment, is smaller than Victoria’s. There is a limit to my purple fabrics. I don’t know if I’ll quilt this one myself or send it out. It’s quite bias-y though I’ve stay stitched all the edges.
“Modern Quilt Magic” focuses on partial and set in seams projects, and gives thorough explanations of the processes. You can see a video of some of the techniques here. I appreciated the line drawings of the quilts that you can try out colors on before cutting up your fabric.
I wonder what this pattern would look like in horizontal stripes or diagonal colors? I’d better break out my colored pencils.
Frigid temperatures have discouraged me from gadding about, so I’ve been busy in my work room and have two finishes to show for it. You’ve seen them before in their unfinished states, but I trust they are now done, or done enough to suit me.
“Not Quite Nancy” is the last of my Nancy series. It took a lot of time to quilt as I decided to do crossed curving lines a half inch apart. Never again.
I decided I like it best with a horizontal orientation. It’s not my favorite of the series even though its boldness is in my wheelhouse.
Another series carryover from 2017 is “Bloodshot Bullseyes,” one of my three responses to an Ohio SAQA challenge. I created eight curved piecing quarter squares with scraps and sewed them to felt.
The ribbon on the sides has been lurking in my trims box for a few years, so I was delighted to put it to work. I also did a bit of beading in the bullseye centers. Beading is right up there with dainty embroidery in my most disliked embellishments list. That is, I dislike doing them. When other people do them well they’re lovely.
I have at least two more tops to quilt (more of the bullseye series) before I can really dig into new work. In the meantime I’ll be working to improve my photography skills or at least my equipment. I’m waiting on the lights now.
So Not Nancy got quilted this month with few headaches. Yay! I dyed the large mottled solid fabrics and pieced the busy squares using some of Nancy Crow’s methods. Nancy just doesn’t use large blocks of solids, ergo the title.
I even drew out a quilting plan. (Imagine a picture of me patting myself on the back.) Well, it wasn’t rocket science, but consisted of following the piecing and keeping the diagonal line pattern straight.
I used a hera marker to draw those long quilting lines in the solid areas. You can see the “line” drawn on the right side, below. I found that worked well with the solid fabric and saved me the fuss of masking tape. I don’t think the line would show well on a busy fabric.
As usual, the FMQ in the two pieced areas didn’t go smoothly, but I expected that. I feel naked doing FMQ on solids; prints hide so much.
The quilting in the solid areas was done with a walking foot. The larger spaces between lines are 3/4 inch wide, while the smaller ones are 3/8 of an inch.
I used a heavily discounted dark blue Judy Niemeyer fabric for the binding. I don’t think the barbed wire fence in the print appealed to many quilters, but it doesn’t show when it’s 3/8 inch wide. While I’m fond of facings, I decided I wanted the STOP of a contrasting binding on this one.
Only one more to quilt in this series. Now if I only knew how I should quilt it.
Technical details: 34 x 36 inches; Quilters Dream cotton batting, Aurifil thread.
… ugly fabric won’t look so ugly. At least that’s what Bonnie Hunter told us at a long ago workshop. She was dealing with millenium fabric, which was truly godawful. I tried to find an example to show you, but it seems to have been banned from the internet.
Because I had less than wonderful results in some pieces from my Sue Benner paint/print dye workshop. I wanted to cut those up. I thought a pattern called Flux, designed for Art Gallery Fabrics, would work to punch up my fabrics with bold solids and impose a grid order on them. While I used the same dye colors in my fabrics, the patterns were all over the place.
My plan worked, kind of. The pattern calls for increasing the size of the center blocks with each row from the center. It turned out more of each fabric was needed than I had. I decided to use the same fabric on the diagonals rather than in rows to eke out my supplies. I still didn’t have enough fabric, so I threw in a commercial fabric from Joann’s clearance bin.
Here’s my original sketch. Nothing like good old graph paper. The interior squares are crooked because I cut them out, colored them separately to give myself more flexibility and set them down on my foundation grid. At this point I still hadn’t decided on the center of the design. I ended up trying at least two different schemes for that area.
In fabric that translated to this.
I’ve called it “Trip Around Columbus” as a tribute to the trip around the world effect. Because it’s 56 inches square, I may have it quilted on a longarm.
I remade some of the squares because the first fabrics I chose just didn’t work. Those rejects gave me enough material to make a go-with wall hanging, called “Fractured Trip Around Columbus.”
I bet you thought I never used patterns. If someone else has done the work, why should I reinvent the wheel.
I’m winding down my work on all the strip improv pieces I’ve shown you before. Most are in a drawer awaiting future inspiration. One is kind of done, though it needs more…something.
Only one has made it to the finish line. I call it Stripe 3. I’m still fiddling with the width of the vertical outer yellow stripes. The crookedness on the left side is caused by the felt strips I use to try out different widths.
It was inspired by this $5000 dress advertised in a glossy magazine. How can anyone look so bored while wearing such a pricey outfit?
I tried some variations, such as four circles, but decided that overwhelmed the rest.
The circles are left over from a failed drunkards path quilt from about four years ago. Since I refuse to throw out bits I’ve spent some time making, they were waiting for me in my parts department.
As you can see, I got tired of all solids and added prints to the mix, partly because I had run out of solids that played well with the colors I had already used. As I look at it now, I wonder if I should either make this even larger, or reduce the size by eliminating all of part the top and bottom print strips. Your thoughts?
The double whammy of the recent Circular Abstractions bulls eye quilt exhibit and a quilt group program on Nancy Crow’s design methods led me to pull out all my saved solid fabric strips and sew them together. I hope this link to Pinterest gives you an idea of the exercises students do in Nancy’s workshops. She offers several multi-day classes that range from beginner to expert.
My design wall became colonized by stripey units in various stages – just stripes, units cut from stripes, units with added cross stripes… As always, it’s fascinating to see which colors enhance each other and which just stick out their tongues at each other. So far I’ve worked only from scraps, though some of the scraps are about fat quarter size. If I want to make larger units I may have to break into stash.
For now I’ll set these assemblages aside to mellow a bit and wait for further inspiration. My fellow group members had fun playing with strips. Here are some of their efforts.
You begin Nancy’s workshop with lots of strip piecing, which you then build into units, and finally you do an overall composition. Since I made my units above before our group program I didn’t exactly follow Nancy’s dictates.
I learned that Nancy takes away everyone’s ruler after a few days; that she wants you to cut towards, rather than away, from you (I find that scary); and that she wants you to backstitch at the start and finish of seams.The ruler thing is amusing as Nancy once lent her name to an acrylic ruler.
I also learned she uses the same rotary cutter blade for a long time, even up to a year. Apparently she doesn’t sharpen it. We all wondered how that was possible, given the amount of cutting involved with her method.
All that cutting is the reason I won’t be adopting Nancy’s methods in a big way. Pressing down to get through multiple fabric layers and seams doesn’t do my shoulder any good. I plan to develop some of my starts further, but after that, who knows.
My paper pieced birds project has moved right along. I’ve completed the quilting, and only binding it remains. I got tired of paper piecing the birds, so I stopped at 23. I placed 22 of them on stylized branches and reserved one for a label.
My original inspiration was this quilt which introduced me to the McCall’s Quilting bird pattern.
My quilt doesn’t have quite the same modern feel, but I was going with scraps and some Fossil Fern fabric in blue. I tried a layout with just straight branches but felt my birds needed to be a bit more grounded (or treed.)
You can see I’m trying to branch out from the birds’ perches.
Ultimately I ended up with this. The quilting is a chevron pattern done with a walking foot.
Right after I quilted my birds I saw the wall below on a trip to my local grocery store. Maybe the image wormed its way into my subconscious, but I could swear I never noticed the pattern before.