I don’t always start a quilt and finish it right away. Often, I start a quilt in order to work through an idea and then I get stuck on one part. Putting it away is a good way to let the project and idea percolate. Such is the case with the Original Bullseye.
Original Bullseye
The Original Bullseye is back in my crosshairs, mostly because of the Dale Fleming class. If found some directions for the border I want to make in QNM (I think), but the directions were a little arduous, so I didn’t start right in. However, since taking the Dale Fleming class her wave directions have been rattling round in my mind. I think I am going to use them to make the border for this quilt.
Original Bullseye Border Idea
I haven’t done it yet, because I still mulling over colors and whether to put more circles in the border.
One silly thing that is keeping me from doing this is whether I have enough freezer paper. That is not the main hinderance. I have some other quilts higher on the top of the list. I do feel like I am getting close to moving forward on this project.
I have been cutting patches for Julie‘s Tumbler quilt for awhile. It seems only fair since she cut a boatload of hexagons for my Eye Spy quilt. Periodically, I get a bunch together and give them to her when I see her. They fit very nicely into a Recchiuti caramel box, so she gets a nice smell of chocolate along with her Tumblers. It occurred to me that I should surprise her sometime and give her a box of the actual chocolates!
I kind of like having a list of patches to cut as I work through new fabric or fabric I am using. There is something nice about collecting a bunch of blocks and then putting them all together at the end of the year or the end of some other timeframe.
The other day, Julie wrote about getting close to the end in a recent post. She is struggling with the same issue I had and that is the edge. When I was finishing up the Eye Spy, I didn’t want to slice off several hexagons to make a straight edge. That is the suggestion that many resources had for the edge of an Eye Spy.
Eye Spy, Full
I also didn’t really want to sew a binding around all of those weird angles. I did that once and once was enough. The one weird angle in the Chocolate Box was enough for me. As you may remember, I did some triangle gymnastics on the Eye Spy to finish the edge in order to end up with a straight edge.
I think this is a case of thinking about what design would be best for the quilt. Chopping off hexagons that were fussy cut to include an image would be jarring, I think. If I had thought ahead, I might have made the edge hexagons a solid or tone-on-tone fabric and not worried about chopping them off. Solid fabrics might have provided a kind of border effect.
I am happy with my solution. It wasn’t the easiest solution, but I think it looks good. I am sure Julie will come up with a good solution as well.
Last week I discussed the Knitting Box. I thought it was a hopeless failure and I would have to go back to the drawing board.
My fabulous readers came up with some solutions, including a list of comments about “portable knitting sacs” (thanks, Jessica!) and using a pattern for a take out box (as in Chinese take out). On Jessica’s list, I found the Port-a-Pocket and the Knit Knack Sack. One lady also described how to make something similar from a CD. I couldn’t exactly follow her directions, but my go back to them if the failure cannot be repaired. Knituition also had directions for a knitted wrist yarn holder. Sarah on Ravelry shows a slight variation of Knituition’s wrist yarn holder. Halcyon Yarn also has a wrist yarn holder, which, not being much of a knitter, looks like a torture device to me. I will only subject my SIL to that as a last resort. Finally, there was something called a waisthook. I have no idea how this works and am also thinking torture device!
One of these hints led me to the portable knitting pouch, which is made from fabric and up my alley. I also found a Yarn Traveler bag, which is interesting, but doesn’t quite fit the belt criteria. The portable knitting set was also a source of inspiration.
Potential Amount to Sew
I decided to bring it with me on the trip to Mother’s Day brunch and show it to the intended recipient. My SIL agreed with me that the Mirkwood Designs pattern has style and I should try and salvage it if I could. My SIL and niece played around with it in the car and we all brainstormed on how it could be salvaged. First, they found a different way to fold it (above). This way of folding it keeps the box together pretty well. It is actually probably the intended way to fold it. The bad part is that the parts still aren’t strong enough to hold a ball of yarn. An idea they had was to sew up the side about an inch, so that the box will already be partially shut.
Beaded and Sewed
I think sewing it up a bit is a good idea. I used some Perl cotton so that it doesn’t matter if the stitching shows. If I put some beads on the end of the Perl Cotton I won’t I have to try and hide the knot. My only concern is that they would get stuck on stuff as my SIL moves around with the box on her belt.
I will probably put something on the top to keep it together. I talked about buttons. My niece suggested snaps and SIL suggested velcro. I’ll see what I have around and try them.
I always say that more brains are better and this is a perfect example of more brains getting involved helps a lot. Thanks, all!
As you probably remember, I tried out the Jelly Roll last week and got pretty far along making the blocks. I had a lot of events this weekend, but was still able to put the quilt together. It provided a bit of a quiet haven for me.
One thing I found was that some of the strips, such as the sashing strips were too long. I cut them all the same size, so I am not sure why that happened. As I sewed the blocks together, I was diligent about trimming the excess as well as pinning carefully. The quilt went together really well. I am happy about the matching of seams (most matched!).
I forgot to mention that I tried the Mary Ellen’s Best Press on this quilt. TFQ warned me that the strips were stretchy upfront, so I pressed all the strips with Mary Ellen’s Best Press (MEBP) before I did any cutting. I think it helped. The feel of the fabric strips after I pressed with the MEBP was firm, but not stiff or tacky feeling. I didn’t have any noticeable problems with stretching or bias. I bought my own bottle of it and will probably use it for half and quarter square triangles.
It's a Merry & Bright Wrap!
It is about the size of a large lap quilt. I went to sleep the other night thinking about borders. I found some half yards of some of the Merry & Bright prints that I might use for the border, but I am not sure about what configuration. I don’t have enough just to slap a couple of borders on it. The borders will have to be pieced in some way.
As I mentioned the other day, I enjoyed the Jelly Roll, because I was able to work with a wide variety of coordinating fabrics. I think my favorite in this set, though I do like them all, are the pieces with holly and ornaments. I also liked the diagonal striped fabrics as well.
Aside from the grain problems, the Jelly Rolls provide a quick start for a quilt. I am not saying that this quilt is quick since you haven’t seen the finished piece yet! I don’t really believe in the concept of quick quilts/Quilt in a Day for myself. I think process is important and I think that quilts take longer than a day. Why do you think I make receiving blankets as baby gifts?
Strip Organization
I have worked with my child a lot on learning styles, and strategies for successful learning. I have learned a lot from his teachers and the other professionals that work with him about learning styles, which has made me examine my own style of learning. I know that I learn best by someone showing me what to do and then doing it myself. I also learn okay from looking at pictures/diagrams. I don’t learn well by reading instructions. This is probably one reason why I don’t use a lot of patterns. It takes me too long to decipher them.
First, I sorted the strips into sets of two. I decided which strips I wanted to be in the same block as package and bow.
I cut pieces, as designated by the pattern, from the Jelly Roll strips and then I needed a way to keep them together. I don’t have the clips that Fons & Porter use, so I used my machine quilting safety pins. They are pretty sharp so they went through 4 squares, 3 rectangles and two strips pretty well.
Strip Organization – detail
I had large pieces of leftover strips and I couldn’t figure out what I was doing wrong. I went back to the directions and, finally, figured out that I needed to cut more bow and package pieces. From each strip needed to be cut enough pieces for a bow and a package.
TV Cutting Kit
I did that extra cutting (more TV watching!) and then rearranged the new strips so that they had different mates for the second round of strips.
Fabric Combinations
One step in the process is to put the bow together. This step involves triangles, but uses the square-into-triangle method to create the triangles at the top of the package.
The directions show the following:
Adding Corner Pieces – directions
I think it is pretty hard to show this step in directions, especially for someone, like me, who doesn’t use a lot of patterns. I don’t know all the conventions that have been established.
Marking Squares
First, I marked all the squares so I would know where to sew. This was part of the meditation of this quilt that I alluded to in the previous Jelly Roll post. This kind of step can really get on my nerves. I didn’t let it; I just sat there with my pencil and ruler and drew lines. I didn’t mark all of the squares at once, but did them in little batches as I needed them.
Marked Corner Before Sewing
One thing the directions do not show is that the square will overlap the middle rectangle when you lay it out to make the bow. The directions above show that the square fits exactly over the outside package rectangle. I worry about this kind of thing, because I expect directions to be accurate. Now, I don’t know the limitations of creating drawings in a pattern (on my list to find out about!), but words can certainly be included to explain that layout information. This is not a criticism, just an observation based on my style of working with patterns.
Adding Corner Pieces
In real life, above is how the directions say to add the triangles to the corners of the package part of the block to make the bottom of the bow. TFQ and I talked about this strategy when I first bought the pattern. I think this technique makes it less intimidating for those afraid of bias. I was a little lazy and just did it this way.
Omnigrid Triangle Ruler
One problem I found with working with THIS pattern using a Jelly Roll is that I only had a certain amount of fabric. When I cut something wrong, I was short. This happened twice. Once with these triangle and I was able to use the Omnigrid triangle ruler to cut some triangles instead of squares, which gave me enough fabric to finish. The other time I just had to add a piece to another piece to make the strip long enough. Working through the process.
Same fabrics, different combination
There is a lot going on in the photo above. First, even though I tried to mix up the fabrics for the second round of block making, I did keep some the same. The two above are an example of how the blocks looks when you just switch where you put the fabrics.
Blocks Laid Out
Second, I had to pick the quilt up off the floor earlier in the week where it was laid out while I pieced various bits. Since it is a scrappy quilt, I wanted to make sure that all the pieces stayed in their place. I drew a quick sketch of the block layout and then made numbers to pin to each block.
Third, not all of the sashing parts were sewed together so I sewed all the sashing squares (cornerstones) to the sashing strips and then pinned the larger pieces to the quilt blocks in such a way that I will know how to sew them when I get to that step.
Blocks Laid Out
Why, you ask, were these on the floor and NOT on the design wall? Because the Tarts are still on the design wall! Why didn’t I set up the portable design wall? I don’t know; I didn’t think of it. Yes, those are my toes in my orange wool slippers and, yes, I am standing precariously (joke!) on an IKEA stool (highly recommended for their stability) to not succeed in taking a photo of the whole quilt for you.
I have had a Sandy Gervais Merry and Bright Jelly Roll for a long time. This past weekend, I decided it was time to take the fabric strips and make the It’s a Wrap quilt. I had some other things to do, but I spent a lot of time just sewing and learning.
It was a somewhat strange experience. First, someone said they couldn’t believe I was using a Jelly Roll. I was hesitant to tell them about the pattern. I did tell her for shock value and I thought she would keel over. Sometimes, I think, by limiting choices, a quiltmaker can focus on other elements of the process. That is what I was doing, even though I didn’t start out with that intent.
Merry & Bright Jelly Roll
One thing I learned is that there is value in trying things out: different fiber content, different construction techniques, different tools, etc. Having a pattern and the fabric choices taken care of gave me fewer decisions and I could focus on learning the pros and cons of the Jelly Roll.
There is no doubt in my mind that the Moda Bakeshop offerings are a brilliant marketing scheme. My biggest confusion with the one Jelly Roll I had was that many of the pieces were cut off grain. Nadine Ruggles mentioned this in one of her blog posts, but I got to experience it first hand. This means that my strips weren’t straight, but bowed – tending towards Cs and Ls rather than Is. This phenomenon was frustrating, but I also learned a lot about strip cutting and grain. I know that I need to line up the selvedges and trim the sides to make a straight cut. Seeing the bow in the the Jelly Roll strips made me understand (in an embedded in my mind sort of way) what cutting off grain does to strips.
I don’t have a Jelly Roll book, but I would like to know if they address that problem in the directions of the various projects. Nothing was said on my pattern.
Unrolled Jelly Roll
The things I liked about the Jelly Roll:
I got a little taste of a number of different fabrics. I could do this by cutting a strip off of fabrics that I buy (on grain, of course) and saving them for a future project.
I like working with full lines of fabric just to see how the designers patterns work together. A whole line of fabric is like a complete painting to me. I get a lot of joy out of working with a designer’s creation.
The strips were already cut, so I could take my small cutting mat down to the coffee table and cut and watch TV. If I cut a bunch of strips on ‘spec, I could do this as well.
I didn’t have to decide how many yards of each to buy.
I had a limited palette to work with.
I like the fabric and a Jelly Roll was just enough to satisfy me, especially since the only reason I buy Christmas fabrics is to make gift bags.
I saw this quilt on a blog called Sister’s Choice Quilts. She also used the Merry and Bright fabric line. I have always loved the Chinese Coins pattern and the combination of Chinese coins and 4patches make this a winner. I love seeing the same fabrics in different patterns and similar patterns in different fabrics. That concept is one of the things I really like about quiltmaking.
I mentioned a week or so ago that I had spent some time doing rote sewing. Part of that day of roteness (is that a word?) was making backs.
Tarts Back
Above is the back for the Tarts. As I said previously, it went together really quickly. I am showing it again so you can see the contrast. Making the Tarts back made me think that I could get the back for FOTY 2009 done really quickly.
HAHAHAHA!
FOTY 2009 back
I gave myself the rule of using only fabrics I bought or received in 2009 for the back. That meant a lot of rummaging through fabric. That meant a lot of FQs and piecing fabrics together to make them fit. When I finally finished at 9pm on Sunday, I felt like I had accomplished something.
It is a strange looking back and I hope all the seams won’t be a problem on the longarm.
FOTY 2009 detail
One thing I found when I came back from the CQFA Retreat was a bunch of other FOTY 2009 blocks! Nooooo! I can’t believe they weren’t with all the others. I could have added another row of blocks if I had found them BEFORE the retreat. I decided to get over it and put them on the back.
Most of you have probably heard about oilcloth recently. Anna Maria Horner has some as does Michael Miller and many other designers. While on my week away, I bought some dotted oilcloth designed/produced by Michael Miller from the Quilting Loft.
I don’t have a very strong garment sewing background and part of my tote bag adventure is learning to construct 3D objects. As a result, I have never used anything like oilcloth before, except for the tablecloth vinyl. Some issues I ran into were:
What scissors to use: if used my good sewing scissors, would the oilcloth dull the blades?
What foot do I use? Will I need the roller foot?
The directions I found said press on low heat. What is low heat? Testing required, I suppose.
What thread should I use?
Will the oilcloth play nicely with the regular cotton?
As I may have mentioned I have wanted to try the oilcloth after carrying the Julie Bag around in the rain and trying to keep my stuff from getting soaked. The bag is complete, as you can see and here is what I found.
I used my medium scissors – not my good Ginghers, but not paper scissors either. They still seem sharp.
Using a regular foot was fine. The machine had no problems feeding the oilcloth.
Pressing the oilcloth was not an option. I used the very lowest setting on my iron and the oilcloth just curled up. After I found that out, I just finger pressed. Not as good as a nice crisp seam, but it worked. When I put the floor into the bag, I pressed from the lining side.
I used regular Aurifil thread and had no issues
The cotton and the oilcloth were nice to each other. The oilcloth was not too slippery. I think I sewed mostly with the flannel-ish side against the bed of the machine, which probably helped.
If I didn’t think Anna Maria Horner was a goddess already, I do now. I spent the day on Sunday, minus a short chauffeuring task, with the Multi-tasker Tote (AMH MTT), a recent pattern from Ms. Horner. As I suspected, I did have trouble understanding the directions. It is the way I learn and not completely about the directions. I do think there were a few tiny parts that could have been clarified just a little bit more. I know they have a certain number of pages they can use to create a pattern and have to worry about font, enough photos, etc, so I really am not going to complain too much.
In all fairness, I think making 20 or 30 of the Eco Market Totes gave me a feel for what should be going on in the tote making process. Doing a multitude of those totes and making little changes in the pattern made me understand the bones of tote-making. The AMH MTT is much different than the EMT, but in the end they are totes and their goal is to carry things.
Multi Tasker Tote Pattern
In general, however, this is an amazing pattern. The way it goes together looks completely mysterious one minute and the next minute it is gorgeous and elegant. I was completely blown away, because it made me think about tote bags in a new way. I don’t think it is a beginner pattern, however I would say that any intermediate sewist who has a few tote bags under her belt could use this pattern to make a bag.
AMH MTT in progress, detail
In the above photo, you can see the bit that is folded over to accommodate the straps, including my lovely top stitching. 😉 I haven’t finished the straps yet, so there is another photo of this project to which you can look forward!
AMH MTT, Step #8
One of the steps I had trouble with was step #8. I really couldn’t figure out what the directions were trying to accomplish. Finally, I realized that she wanted me to sew the bottom of the pocket together! To accomplish that I had to pop the pocket (pattern piece is called pocket panel) out a certain way. When you do orient the section correctly, the whole thing looks like the section above.
Box corners
Remember I mentioned the gusset tutorial in the Bag Bazaar book? I didn’t have a chance to try it out. I found AMH’s directions to be stellar. You press a crease into the side of your bag, then you line up the bottom seam with that crease and you have a perfect triangle. I drew a line (not part of the directions), because of my A type personality. Perfect box bottom. I did it before I realized what was happening and was amazed at the results.
I love the fabrics that I chose for the current tote, individually. I am not happy with the two of them in combination in this project. Too many flowers, I think, which means that none of them stand out. Yes, I will be making another! As I mentioned in a previous post and as you can see from the photos, I used the Denyse Schmidt fabrics as a trial run.
MTT #2 Bag Fabric
My biggest challenge with this project is the requirement of Pellon Peltex Double-Sided Fusible Ultra Firm Stabilizer #72. I didn’t have any in my fabric closet, which didn’t worry me. I sewed and fused two pieces of Timtex together and the put Steam-a-Seam 2 on the outside and fused it to the bag. Having a stiff bottom is GREAT! It makes the thing stand up and much less floopy. Using my jerry-rigged method, I could easily see where something already stiff and fusible would be a lot easier. I searched the web and found it by the yard for $10+. I also found a bolt of it for $99+. Huh! I can’t make another of these using my jerry-rigged method, because I am out of SAS2. I have to decide whether to get a bolt (seems like overkill) or pay, what seems like, and exorbitant price for a yard. Anyone of you have any perspective on the price of Pellon Peltex Double-Sided Fusible Ultra Firm Stabilizer #72?
Kristin LaFlamme reviewed this pattern on her blog as well. It is a very complete review. She mentions a couple of the inconsequential typos I also saw and does some interesting things using recycled materials. Her rendition of the pattern makes me think about adding additional pockets to the outside. Adding a pocket to the outside would be especially successful when I don’t have a focus fabric (as shown on the pattern above) or fabric suitable for broderie perse.
I was exhausted today when I arrived home from work. Fortunately dinner was ready, which gave me some energy. after plowing through a few chores. I sat down to look at some blogs. Be*Mused has this great photo of her applique’ work. What I like about it are the patterns in white on black in the background.
I want this to be a year of creativity. I can’t say that this is on my to do list, but it is in the back of my mind. One way to do that is to sew as much as possible.
To that end, I took the longarm certification course at Always Quilting on January 9, 2009. As a result, I am now a certified longarmer at Always Quilting. Don’t be too impressed as this certification only gives me the privilege of renting their longarm to quilt my quilts. Still: YAY!
After seeing the demo in November with the CQFA team, I signed up for the class. I was curious about the whole longarm process and because I wanted to see how I could incorporate the longarm as a tool into my repertoire.
That being said, I learned a few things about longarming:
Using the machine takes practice and people who machine quilt well should be admired greatly
There is much more to learn
I will never be Colleen. I also don’t want to be her and will still use her fabulous services for some of my quilts
I am not going to quilt all of my quilts myself
Using a pantograph is hard
Taking the class will improve the quilts I prepare for someone else to quilt
I really enjoyed the class. It was an expanded version of what we learned at the demo. It was great to hear some of the same information again as it helps to cement it into my mind. Some of the information she gave about preparing quilts, especially, applies to the computerized machine they use to quilt quilts for customers. It is a large computerized machine.
One thing I learned was that the longarm professionals vary, but if you understand some of the background and the way the process works, you can work with your longarm professional of choice much more effectively.
Always Quilting wants you to have square corners. No lopped off edges or strangely shaped corners, because you use the corners to pin the quilt to the machine. Oh! Now I get it. Better fix that I Spy quilt.
Kit also suggested practicing good pressing habits in order to reduce bulk where seams meet. The centers of pinwheels and 8 pointed stars can be a challenge for the machine. I was surprised to learn that the machines have a hard time going through selvedges! I’ll have to look at some of the quilts that Colleen has quilted for me to see what she does in this circumstance.
The Always Quilting staff wants the backs 6″ wider than the quilt and had several suggestions for the back. The back needs to be longer than the top, but they don’t care how long.
It is ok to piece the back, but they don’t encourage it and the same rules about bulk and bulky seams apply.
Kit suggested using large pieces of fabric rather than piecing a second top for the back.
She also said to consider pressing seams open on the back and using a larger seam allowance to help reduce bulk.
Both top and back should be square and FLAT. Kit reiterated that quilting does not cure all evils. She gave some tips about measuring the top before one cuts and attaches borders that were really interesting, especially to make sure that there isn’t more fabric in your border than in the quilt top.
Always Quilting prefers batting such as Hobbs Natural and Warm & Natural, both of which they carry. A quiltmaker can bring her own batting but they reserve the right to not allow you to use it. Apparently, batting with scrim works best. As you know, Colleen has quilted my quilts using Hobbs Organic for awhile with no problem, so I am not sure what I am going to do about that.
Kit said that they want a quiltmaker to use the shop thread, because of the way it interacts with the machine. Again, you can bring your own, but they reserve the right to not let you use it. They use Signature, King Tut by Superior and Permacore, which is their preference. The Permacore is polyester wrapped in cotton. Bad thread can incapacitate the machine, which is why they encourage quiltmakers to use the shop thread. They have hundreds of colors.
To put the quilt on the machine:
Put the back on first, right side DOWN. You could put a quilt on the machine sideways. This orientation works well for row quilts because it is easier to quilt different things in rows.
Find the center of the back by folding it in half.
Pin the back to the leader about 1/4″ down from the edge of the leader. There are notes in Sharpie on what attaches to what leader. There is a black mark in the center. Pin from the center out.
Ask your helper if the machine has been oiled
Brush the lint out of the bobbin area. There is a very important disk in the bobbin. Hold on to it when changing or cleaning the bobbin.
Line up batting on backing right below the pins on the leader.
Use a single stitch to baste the batting to the backing.
Baste top to batting, lining it up just under the batting.
I have found it important to doodle a bit before going to class. It seems to train your brain to sew a continuous line. It helps with practicing for achieving a smooth, continuous line. I assume this would be rule for going to quilt as well. It gears up your muscles for the quilting motion. Above are doodles I made during class. They are my own variations inspired by designs from the various books the shop had. I wasn’t able to try them all out on the machine.
One of the books we were able to look at was one by Trillium House Designs. They have a set of three books called Pocket Guides to Freehanding containing a multitude of quilting designs. Kit said Always Quilting didn’t carry them, because books 2&3 were too advanced and the company did not sell book 1 separately. The price for the set is also $55, which is a bit steep.
I think that there are a lot of continuous quilting designs out there you can use as a guide for your own quilting. It would pay off to start collecting some of those designs and practicing them with pencil and paper before renting the longarm.
My section of free motion quilting loops. This is the pattern they encourage their students to use for most quilting project. They also encourage people to use this size of pattern when quilting.
My attempts at using the pantograph (above). It was very hard to get the shapes smooth and I thought I would have an easier time posting the design on the wall and following it with my eyes, rather than trying to trace it using the laser.
I am scheduled to quilt one of my own quilts on February 6. I am planning to quilt the Crazy Test. I was planning to quilt the hexagon/I Spy quilt, but decided to do something I didn’t care about much before quilting something I did care about. I do have to make the back before I can quilt it. The longarm doesn’t work very well without a back!
I was really pleased with this class. I thought it was well run and thorough.
I decided to work on the Hop Skip and Jump pattern by Denyse Schmidt (Denyse Schmidt Quilts book) as my next project right now. I rarely sew from patterns, but this one seemed like a good one to use with the blues that I had weeded out from my new fabrics. I had thought of modifying the pattern so that there were no curved pieces, but I didn’t. I am not afraid of curved piecing (note Flowering Snowballs/Cross Blocks), but each of the 16 pieces required for each block must be cut out separately. It is an arduous task, but I am into it now and will just continue on.
One problem I already had was with the copy place. The pattern directs the maker to enlarge the pattern by 400%. I have terrible problems with office equipment, copiers in particular, so I went to an office shop and they offered to do it for me. The girl couldn’t get the entire pattern on an 11″x17″ sheet of paper. She asked me at one point if it would be a problem to have the top of the pieces cut off. Finally, I told her she could reduce the size slightly and that seemed to work. It doesn’t bother me to have slightly smaller blocks. I can make a few more with no problem.
For once I have cut all the blue pieces for 6 blocks before I have sewed any of them together. I haven’t decided on the background yet, so I haven’t cut background pieces. I thought I had just bought a white on white that I would use, but I can’t find it so either it was my imagination, it is hiding from me or it isn’t washed yet.
This is my favorite. The background is a very cheerful dot print where the dots are irregular and a variety of different colors. I am all about cheerful, you know. 😉
The above is my second favorite. I don’t have enough of this particular black on white print, so I would have to use a variety of different black on white prints with the same weight/ratio of black to white. I wouldn’t want it to be too overly black.
I really wanted a very calm looking quilt, thus all the blues. This background is one of the P&B New Basics from 2000. I recently bought a yard of it and have at least a fat quarter somewhere else. The problem is that it is very close to some of the value of the other fabrics so the pieces blend together. I think they blend together a little too much.
There are a couple of factors for the background: one is that it has to have the look that I want. Another is that I have to have enough of the chosen fabric to use as a background. The bottom line is that I want this to be a quick quilt. I don’t want to spend weeks on picking the background. I also, however, don’t want to hate it when I am halfway through the sewing. I am happy to hear what you think.
It is entirely possible, though kind of unbelievable to me, that I haven’t breathed a word of the Cross Blocks (Flowering Snowball) since September.
This is the block that I finished this week. it is the first one where I took the Child’s advice and used some calmer fabrics.
The two above were taken on 9/29, but I didn’t see them posted. There are some calmer fabrics in them and I like the layout of the block on the right better than the the layout of the block above. It looks more balanced to me. How do you like that handbag black and white fabric I found?
And on another topic….
Following up on the longarm demo CQFA had earlier this month, my mom came over and showed me what she had done. She went to a friend’s house. The friend has a Handiquilter and they worked on the HandiQuilter.
This is the quilt top Mom quilted. She has no idea where she got it, but it has a wide variety of fabrics. Some of them are not 100% cotton. There is a lot of interesting texture. I ended up sewing part of hte binding on for her on Pie Day.
Here is some of the quilting she did. Mom said that she spent all week, while on public transportation, doodling and that really helped her feel comfortable with the motions of the machine.
Flower motif. Little house. She had some issues with the tension here, but was able to figure out what the problem was. Mom said that she is not going to take the longarm class at Always Quilting; that she is just going to use her friend’s machine. I am still taking the class on Jan 9.
This week was kind of crazy week work-wise for us. As I result, last night was the first time I got back to the Eye Spy. I spent the time with a bit of sewing, a bit of cutting and lot of puzzling. I am puzzling through the best way to put it together. As you may know, I like to jump right in and start sewing. This gets me into trouble sometimes, but I do enjoy just sewing. Puzzling through problems isn’t so bad as I can’t always visualize the whole process. Of course, if the problems become too problematic then the quilt pieces usually go back into the closet.
I started working on the sewing on that Sunday where I introduced the piece but I didn’t take the edges into account. I am very much into my self bordering technique and would like to use it here. I used it on the Interlocking Triangles quilts and some others. Essentially it means that I don’t like to hack off bits of a border block to end the quilt.
I attempted to work on this yesterday while I was sewing triangles to hexagons. My dilemma, defined, is that I really don’t want to just randomly hack off the edges to make a straight side. Nor do I want to apply a binding to an edge that needs a miter every two inches.
First, I broke the hexagons I have sewed into two groups. Left, the pieces are arranged in a way where the triangles are pointing up. In this orientation, there are no straight edges. The side edges could be okay with a slightly irregular edge made by putting the piece together in chunks using diamonds (see far left).
The top and bottom edges would be a piecing nightmare, however, because I would have to inset triangles somehow. I can imagine that this would be a top that ended up becoming a permanent member of the UFO/ WIP list.
Right, the hexagons are arranged in a way where the triangles are pointed to the left. This is the way that Simply Quilts suggested putting this top together and what the directions on the package of templates suggest. Still, hacking off the edges to make this work makes me cringe. I was considering putting fabrics that were allover prints on the edges so the mutilation wouldn’t be as brutal. I don’t know.
Options:
Hack off the top & bottom or the sides, depending on layout.
Choose to piece the quilt in chunks using diamonds and do inset piecing to make a straight edge along the top and bottom.
Deal with very uneven edge in the binding process.
Add some other shaped pieces to the edge in a uniform color (more red?) to make the edge square.
Left is a detail of the corner of the piece with the section I have sewn together and arranged with the triangles placed pointing left.
I’ll have to troll the web and look at what others have done.
While driving around Virginia checking out quilt shops, I worked on some Flowering Snowball blocks in the car. I was amazed at how much I was able to get done. I know two blocks doesn’t seem like a lot, but since these are handpieced, this represents quite a bit of work.
I also began thinking about the border blocks. Nothing definite yet, but I think I am nearing the end of this project. Stay tuned.
