I hereby declare this is drunkards path week. First, I featured the paintings of Luiz Zerbini. Now, I want to show you two small quilts, let’s call them quiltlets, I’ve been working on. They use the modern drunkards path block.
What makes this block modern? As the photo below shows, the larger, traditional orange and yellow blocks have at least a half inch between the outer edge and the pie piece, while in the smaller modern blocks the distance between the pie and the curved piece is just 1/4 inch. When the modern blocks are sewn together, the pies touch each other. At least that’s the theory.
The 20.5 by 24.5 inch quiltlet reverses the light and dark colors from the pillow cover.
I’m still working up a quilting design for “Flower Power” but have managed to start two new projects, so I’ve shoved all the boring (to me) finishing chores to the bottom of the heap. I have a month and a half until the close of 2018, plenty of time for all the facings/bindings/quilting/hanging sleeves needed.
That’s my assessment of the quilting I’m doing on Curves Ahead, my modern drunkards path project you all helped me with. I did go with the random layout.
I decided to sew a serpentine stitch with my walking foot, as I felt the curves of the stitch echoed the curves in the quilt’s design. When I get this done I think the result will be effective. The catch is getting it done.
For some, sewing is meditative. For me, unless I pay attention my mind and my stitching drift off course. My mental game is to tally the number of rows of stitching I still need to sew. The quilt is 10 blocks wide. I’m sewing about nine rows of stitching per block. That means I need to sew about 90 rows of stitching. So far I’ve done 18 rows, which leaves 72 rows to go. I also count down as I sew. Each line of stitching is 13 blocks long. Four blocks is about one third done, six and a half blocks is one half, etc.
As an aside, I don’t like the serpentine stitch on my Janome 6500. It takes very small stitches at the top of the curve, and I can’t elongate it. I hope I don’t have to rip it out. But it’s what I have, so it will have to do.
Are there tricks you use to help keep you focused while you quilt? I need all the tricks I can get. This baby is barely one fifth quilted.
My slow quilting pledge has gotten me into trouble already as I ponder the block arrangement for my modern drunkards path quilt.
So far, I’ve developed six (!) possible combinations of the background blocks and am struggling to make a choice. And I haven’t yet exhausted all the possibilities.
Here are my layouts (so far:)
I tried doing the shape centers in random light blocks but thought it lacked oomph, though I may end up using that approach. The middle left and bottom right arrangements are minor variations of a dark/light center block. Same with the left top and bottom. Both remind me of electric sockets. The top right (checkerboard) and middle right (one side light/one side dark) are different from the others. I don’t think the former will work.
It would be nice to create a series and make a few versions, but I’m out of these fabrics so that’s not on.
One aspect of this project that’s gone well is sewing the curved blocks. I used Angela Pingel’s how-to video and her one pin method worked a treat.
My 2015 “must make” list includes a modern drunkards path. I was entranced with this mockup of such a quilt I found on Pinterest, so I resolved to develop my own version.
The design is from Anne Sullivan at play-crafts.com. She may have created it for the Quilt Design A Day challenge. Her Flickr page is fun to look at.
To show how serious I am about this, I’ve drafted a pattern that should finish at 50 inches by 70 inches, and possibly larger depending on border choices.
The x’s will be dark fabric, while the o’s will be light. I plan to have the blocks finish at 5 inches, and have used templates I made from Angela Pingel’s A Quilter’s Mixology book.
I had considered making the ground out of my dark fabric but realized I wouldn’t have enough of the Kaffe Fassett fabric I planned to use. I bought a selection of 6 inch assorted strips, and cut them up into squares.
Oh my, it must have been sunny the day I took this picture.
Next, I traced the Ls and fat pieces using my templates and cut them out.
I cut the squares on the right from the fabric leftover from the Ls.
Right now all the pieces reside in a plastic shoebox to await marking of the curve centers. I think that will be a good use of TV commercial time.