To be a bit cliché, this shoemaker is a professional Web Developer and her child is this blog, but it was past time to launch what I have of a new design. All the content is still here, everything else is a work in progress (kind of like most of my sewing projects)!
I’m out of order on updating about finishes this year, but wanted to deliver this quilt before publishing. Then, of course, another month or two flew by before I remembered to post. I finished this about a week before Welcome, having completed the top in May, then finally quilting it once I’d moved to GA.
I’ve admired all of the Swoon quilts I’ve seen around the ‘net for some time, but it was never a pattern I wanted to make for myself. However, a blown up Swoon star seemed just the thing for my friend’s newborn daughter.
I wanted to use fabrics from stash—mostly so that I could get started right away when motivation came back after a few months of no sewing. A fat quarter bundle of Hello Bear for Art Gallery Fabrics seemed perfect for a sweet baby girl named Wilder. Once I planned out the color placement, I realized I didn’t have quite enough dark fabric to carry off the design, so I added in a chambray to round it out.
I wasn’t a fan of how the color layout worked if I used a single light print in blocks, so I pieced the background fabrics into four patches. However, I made the choice to not have show-perfect half-square triangles—I didn’t have enough of the darks and mediums to pull it off. Turning four patch blocks into HSTs means that the center point gets lost in the HST seam, and the pieces don’t match up perfectly when set side-by-side. To make that look a little more intentional, the outer background blocks use slightly different sized pieces in the four patches so seams don’t match up everywhere (accomplished by making them a bit oversized, then cutting chunks off one side or the other).
The back is pieced from chambray, a fat quarter from the stack that was too cute to chop up, and with scrap pieces and spare blocks left after constructing the front. There’s a low-loft cotton batting in between (a scrap, so I’m not positive about brand). Because I was quilting on my new travel machine, I had to stick with quilting motifs I could do with a walking foot. I kept it somewhat simple, choosing what to do as I got to each new section. It’s mostly straight lines and slight curves going point-to-point.
As with the Welcome quilt, I had a little puckering due to a new basting setup and new machine. But, it washed up nicely and I’m sure Miss Wilder won’t care too much if her siblings and their attachments to quilts are any indication.
A few years ago, two sewing kit bag patterns were making the rounds online—the Bionic Gear Bag and the Sew Together Bag. While I wanted to make one (either one), I never managed to prioritize it amongst other projects. Events this year have sparked that desire again, and when I found myself tossing all of my tools and notions into a cardboard box to tote down to GA, making one quickly jumped toward the top of my project list.
First, a confession: I hate buying patterns for quilts and bags. If I’m going to pay for something, I want to learn something, and so many patterns don’t introduce any new ideas or skills. In other words, I can do addition and geometry; teach me the out-of-the-box, or simpler, or more couture, or more resilient way of making the thing. If not for the fact that I’ve never made a bag with interior divider pocket/zips like this, I would never have used this pattern. It was so chatty, unpolished, poorly photographed, and needlessly long. So, caveat emptor if, like me, you’re a bit behind the bandwagon on this.
I chose the Bionic Gear Bag over the other for two reasons. First, I was able to see the product in person; three fellow guild members brought theirs to our spring retreat. Second, I like that the front becomes a tray when open, which gave me a place to modify the pattern with d-rings to hook a thread catcher bag onto (another long-term non-prioritized want). I don’t have any criticisms of the final product the pattern produces, just the pattern itself.
I did very little in the way of modifications. I chose to leave off the snaps and not make the fabric dish (another 36 pages of instructions!). I added a needle minder to the front pocket (made from a couple of batting scraps and fabric). And I added the aforementioned d-rings to the binding that becomes the front of the tray, so that I can attach a small Open Wide Pouch (modified with swivel hooks attached and a cutting error that makes it deeper than it should be) that acts as a thread/scrap catcher.
I also went pretty basic with fabric on this; there is no fussy cutting, printed patterns, or decoration to be found. All of the fabrics are Essex Linen Blends, mostly yarn dyed. The interior is made of shades of gray; the zippered pouch interiors are the only pops of (solid) color. I did order a slightly fancy metal zipper for the exterior with an interesting zipper pull. I love the overall minimalism of the bag and am looking forward to making a machine cover in the same fabrics.
I can’t wait to travel with this. I’m signed up for a couple of classes locally and am heading back to VT for a few days later this month, conveniently at the same time as one of my guilds’ fall retreats, so I have ample occasions to use it. And it certainly fits a ton of stuff. Almost everything I stuffed into this box when traveling to GA fit into the bag (or, in the case of zippers, became part of the bag)!
At each of the VTMQG’s retreats, we have optional “Sip and Stitch” projects in the evenings. They’re meant to be quick-ish projects that people can do as a break from what they brought to the retreat, preferably while chatting and sipping on their beverage of choice. They often involve learning how to use a new notion or component that many haven’t seen before. Last spring, one of the projects was making vinyl flex-frame pouches, an experience new to most of us.
I purchased a few extra flex frames at the retreat, so after finishing a Bionic Gear Bag, I decided to make more pouches that match the bag, as they’re the perfect size to slip into the bag for even more organized storage. Due to having a limited amount of vinyl on hand, I decided to construct these new ones with only one vinyl side. While I could have used the same instructions as before, I thought I’d try something new and cut the back flex frame channel as one with the back fabric piece. In case you’re interested in the same, here’s how I modified Bonjour Quilt’s tutorial.
* if you want to make your pouches deeper, cut your vinyl longer than 4″ and add the same amount of extra length to the 5.75×6″ fabric piece.
Tip for sewing with vinyl: sew with the vinyl side facing up (have the fabric touching your machine); use a teflon foot if you have one, or a walking foot. If things are getting sticky, use foundation paper or copy paper over the vinyl to keep your foot from sticking. You may also want to increase your stitch length slightly to keep from perforating the vinyl too much.
First, you’ll need to make two cuts in your back piece in order to prep it for a flex frame channel. Measure 2.25″ down from the top and mark a line all the way across on the wrong side of the fabric. Then, measure in 1/2″ from each side and place a dot on the line. Cut from the edge in to each dot—this will give you two little flaps to fold in on either side.
Fold each short flap in by 1/4″ and press. Fold down the top of your piece by 1/4″ and press. Then, fold the flap sides in another 1/4″ and topstitch on each side to hold, backstitching on either end for security.
Prep your front channel piece by folding and pressing the short ends in by 1/4″, doing the same for one long end, then folding and pressing the short ends in one more time. Topstitch the short ends. Sew the unfolded long edge to your vinyl with a 1/4” seam allowance, then fold over to the right side and topstitch the other long end down just below the seam. The Bonjour Quilt tutorial shows a different method that is arguably stronger due to sewing only a single line of stitching through the vinyl, but I’m not too worried about mine, and I prefer the finish.
Using a hera maker, mark a stitching line down each side of the pouch where the channel pieces end. Sew down the sides and across the bottom (1/4″ seam allowance), backstitching to secure your stitches at the top side of the pouch.
Trim the seam allowance down to 1/4″ on all sides of the pouch body, then finish the edges by sewing an overcast stitch or zigzag within the seam allowance to keep your fabric from raveling. You could also use pinking shears instead (alas, mine are in VT).
Turn your pouch right-side out, and finger press the edges.
Insert your flex-frame hardware into the channels, add the closing pin, and admire your work!
For more detailed instructions with photos for the later steps, check out the tutorial from Bonjour Quilts.
When I dropped off my welcome blanket donation at MODA, I stopped in to see the current exhibit, “Making Change: The Art and Craft of Activism”. I’d heard about the exhibit in a post by Chawne Kimber, as her quilt “The One for Eric G” is in the show—in fact, it’s one of the first artworks you see. It was great to see her work up close (those incredibly consistent hand stitches! that precision piecing! the subtle movement and inclusion of color that just isn’t apparent in an online photo of the full quilt!), but my attention was grabbed by two other quilts in the show, and I kept walking back to them to study in depth.
From afar, the two quilts look incredibly different, but it was their commonalities that captured my attention, and have kept my mind coming back to them even now, a week later. The main commonality between the two is their use of antique quilts as a base for appliqué. And while they both had a message about war, destruction, and death, it wasn’t their political message that caused a visceral reaction for me. That reaction was caused by the potential destruction to the original quilts.
First was “Treaty With the Cherokee 1794” by Gina Adams, which is double-sided. I saw the front of the piece first, which is the back of the original quilt, so it wasn’t immediately obvious what the base medium was. In this artwork, the artist has appliquéd the words of a treaty onto an Irish Chain quilt with a solid backing fabric. On the spectrum of destroying the original quilt, this one is somewhat minimal. I don’t know whether Adams used an adhesive on her letters, but in theory, the stitching and appliqué pieces could be removed and the quilt would be returned to its unaltered format. If anything, the stitching might even have stabilized the quilt, as you can see a few places where there are holes through all the layers. My mind plays more with the “what ifs” on this on. What if Adams had used a quilt that was actually contemporary to the treaty instead of one that likely dates to the 1860s at the earliest (there are far fewer extant quilts from the 18th century)? What if she had used a quilt that was a less common pattern than an Irish Chain, used a pattern without as much representation in various antique collections? Would those cause more of a reaction on my part, making me mourn the loss of the original quilt? On the flip side, I think the piece would be even more impactful if Adams had used a quilt that was more befitting the style and tastes of 18th century than a design so timeless that it could have been made any time from the early-mid 19th century to now. What if she was able to use something more closely resembling a blanket that could have been traded between the parties involved in the treaty negotiations?
So I think that’s the core of it—I don’t mourn the loss of an antique quilt, in this case, but the opportunities left unaddressed.
“Dresden” by Maggy Rozycki Hiltner is my favorite piece in the exhibit from a graphic standpoint. But, it’s also the one that leaves me most torn based on the execution. The artist took a gifted Dresden Plate quilt (likely circa 1920-30), overdyed it with black dye, then appliquéd skeletal figures over the top. From afar, you don’t see the textures of the underlying dresden plate blocks. It’s only once you are close that you begin to see the variations in blacks as piecing, coupled with wear and tear on the antique quilt. I wondered if the woman who gifted Hiltner with the quilt knew its eventual fate, and if not, would she have done so with that knowledge? There’s no going back from the overdying process—the quilt as it once was can never again exist.
In contrast, I saw some of Kara Walker’s lithographs a few weeks ago at the High Museum of Art. Her works are also palimpsest-type pieces: reproduction lithographs from the American Civil War era coupled with cut paper silhouettes simultaneously enhancing, obscuring, and contextualizing a broader story to the original work. These works didn’t invoke the same visceral reaction as the two quilts, especially “Dresden”. Although it wasn’t 100% clear to me at the time, the lithographs are reproductions, not originals (although I made assumptions based on lack of discoloring and print quality). Perhaps it’s that paper prints are easily reproducible—even if you destroy one, there are surely other copies floating around. Perhaps it’s my lack of personal connection to the craft. Perhaps it was my subconscious making the call that the lithographs were clearly reproductions before my research verified it.
Collectors and curators can’t save every piece of art or craft. Part of collecting is making decisions on what to purge from a collection if you’ve procured a similar piece that is a better representation of the collection’s aim. In that mindset, not every antique quilt is worth saving, and given the prolific creation of both Irish Chain and Dresden Plate quilts, it’s unlikely that either of these originals was collection-worthy as is. Yet, could the same message have been achieved with a reproduction created specifically for the project, like with Walker’s lithographs?
In the end, this is why quilts are art. We ask these questions. We search for meaning. We may read more meaning into a piece than the artist intended. And to answer my own question, maybe it’s okay that both of these pieces used antique quilts. In “Treaty,” an otherwise non-special quilt is elevated in a way that neither fully obscures the original workmanship, and potentially preserves the stability of it. In “Dresden,” the dye obscures the one attribute of the quilt that might have set it apart from others—the printed fabric—but that destruction in itself echoes the destruction of countless other quilts buried by the rubble of Dresden’s bombing.
And maybe you’ll answer that question differently, or have never asked it at all.
In some ways, it feels like I blinked and it’s suddenly August. In others, I’m not sure how so much has managed to be crammed into the eight months since I last posted. Then again, very little of it has been sewing-related. In fact, I spent most of the late winter and early spring without touching any sewing projects.
Part of all of the happenings was a temporary move to Atlanta, GA through the end of 2018. So, it seemed fitting that while exploring and learning about my momentary home, I stumbled upon the Welcome Blanket project. There are plenty of jokes that can be made about the vastly different cultures of Vermont and Georgia, but that’s all privilege talking. The challenges and cultural change for future new Americans are far more vast, and providing comfort with quilts is one of my all time favorite ways to give back to the community.
I’d already been mentally playing with the idea of quilts and alphabets and something other than the techniques I’ve used in previous words-on-quilts projects. This quilt evolved from some sketching I did, inspired loosely by a very triangular alphabet graphic somewhere on the web (I can’t find the source). When translating it into fabric, my M/W unit didn’t come out quite as hoped—I should have shifted the diagonal piece to sit along the center bias line rather than spanning it. But, I love the graphic look that doesn’t immediately scream words at you.
I pulled the fabric from my very minimal stash that traveled with me from VT. I was going for something modern and bright, although the darker gray background tones things down quite a bit. The fabrics are Kona Highlighter, Michael Miller Lime, Michael Miller Coral, and Paintbrush Studio Pewter. The blocks all finished at 14″, resulting in a quilt that shrunk down to almost exactly the requested 40″ square after washing.
I pieced the back together with leftovers from the front, trying to use up as many of the scraps as I could. The rest went into the binding, leaving me with very little leftover from the 3.5 yards of fabric I started with. In between is Quilter’s Dream Green batting. I swung by a local store (Intown Quilters), and decided to pick up a package of the batting when I saw it there (I’ve heard a bit about it online). It’s made from recycled bottles, so is 100% polyester, but this seemed like a good size quilt to experiment with. Only after purchase did I remember that I should have bought cotton batting since I’d sized the quilt intentionally expecting around 5% shrinkage after washing. I needn’t have worried, as it shrunk as expected even with the poly batting.
The quilting is pretty basic on this, just echoing the seam lines with a dark gray Aurifil 50wt. I have a new travel machine, a Pfaff Passport 2.0, and I’m still getting a feel for it. I like the integrated dual feed pretty well, although I’m not sure it’s quite as effective as my Viking’s walking foot. I ran into tension issues a couple of times while quilting this, and did end up with some minor puckering and shifting (mostly hidden after washing). Of course, I’m also dealing with a different setup for basting, as well as a batting I hadn’t used before, so it could be that I just didn’t baste as well as usual.
I have plenty of other things to work on before the project deadline, so I doubt I’ll finish it for that, but I really hope to iterate on this design and try it in a two-color form that is closer to my sketch. I think there’s a lot more to play with when it comes to these shapes and how color interacts.
I’ve found that a common thread in my quilting journey is how it connects me with a community wherever I travel. I attended a meeting of the Atlanta Modern Quilt Guild, which turned into lunch and an outing at MODA (Museum of Design Atlanta), the collection point for Welcome Blankets. The guild had quite a few to donate. So, it all comes full circle that a quilt made to welcome someone to the US also allowed me welcome into a community of quilters here in my temporary home. Quilting: it’s not just about the fabric and making.
If you want to create your own Welcome Blanket (quilt, crochet, knit, etc), the deadline for submissions that will be included in the MODA display is August 25, 2018. They may continue taking submissions after that; check out the project website for more information.
This is the last quilt I finished in 2017. Although I didn’t make most of the blocks, I’m counting it as one of “my” quilts for record-keeping purposes, since I came up with the project, managed the block collection, and put it all together. I also quilted it and bound it by hand (the first in a long time). Of course, I couldn’t have done it without all the work my guild members put into the blocks—I’m so thankful for what they gave me to work with!
My local MQG is continuing to grow and evolve, and this year we had our first changeover in presidents. We wanted to honor our founding president, and decided to make—what else?—a quilt.
We asked members to provide a signature block of their choosing in one of three block sizes. Additional requests were to use a light gray background and only solid fabrics. Beyond that, they were welcome to do any style of block they wanted.
I volunteered to head up the project, including the task of piecing everything together. One member spied some modern letter blocks on a Pinterest board curated by the recipient and chose to make those up instead of a single block. Inspired by them and one block that came in with a darker background than all the others, I ended up making two ‘tops’ for a double-sided quilt. The Thank You side has a few other blocks submitted by members that fit especially well on that side, and the other collects the remaining blocks.
The result was a quilt that channels both the guild and our president emeritus. We gifted her the quilt at our December meeting. I never did take any good photos, esp. since I finished hand-sewing the binding about 10 hours before our meeting (and slept most of the rest).
Adherence to the block rules was mixed, but it all worked out in the end. If I were to run a similar collection in the future, I would change the requests based on what I learned. Here are a few guidelines that worked well or that I wish I’d implemented (hindsight and all that).
Tips for block collection:
Decide how exacting you need to be. If they don’t follow the rules, will you still use the blocks or will you refuse them? Provide a disclaimer about using/not using a block, cutting blocks apart, restructuring them, etc.
Be very, very clear about block size. Give unfinished size for best results.
If it matters to you, specify an ink color to use for signing.
Be prepared to adjust your vision if you design the quilt before receiving all of the blocks.
Set a deadline and be firm. Make sure to publicize the deadline clearly.
If people donate materials to finish the quilt and you intend to return anything that is unused, keep track of who sends what. Or, consider passing on the rest to the quilt recipient if she is also a quilter.
Provide a visual guide when specifying something like “light gray” or “channel Jane’s style”.
Somehow, almost 50 members were able to keep this completely secret from the recipient, and she was completely surprised when we presented it at our December meeting. I call that a success!
I finished this in late May 2017, but just got around to taking all the photos!
In the fall of 2016, I shared progress on a long term project—a meta quilt, if you will—containing a block for each quilt I’ve finished. At the time, I still had a few blocks to make for older quilts, and have finished another four quilts in the months since.
At my guild’s spring retreat in May, I took along scraps I’d pulled out for a few more blocks, and came home with the energy to finish up the final four. That energy extended to putting rows together (quilt-as-you-go style), then finishing the edges with a facing. It ran out right around the time I needed to take photos and blog about it, as seems the norm of late.
Each quilt has a nine patch dedicated to it. Each block has at least one square of Cloud9 Cirrus Ash as a cornerstone, and as many 2″ finished squares of the original fabric as I could scrounge up. Some quilts only had a few fabrics in them, and some I only had a few fabric scraps leftover, so extra space is filled in with the grey solid. I had no scraps for a few quilts, so those are represented by a solid block of the right color (or, in one case, an approximation of a logo for my alma mater).
Each block is rotated 90° along the row, which means my fussy cutting is sideways or upside down, but that’s okay. I found additional scraps after I’d already finished a few blocks and set them into the quilt, but decided to leave them be. They still capture the spirit of the quilts.
I put the rows together in a quilt-as-you-go method, so there’s no true quilting, except for a stitch in the ditch 2″ in from the edge that secured the facing to the back.
Here it is, row-by-row, with links to posts about each quilt. All told, there are 48 blocks representing that many quilts from my very first in 2010 to a few baby quilts finished in early 2017.
I completed my 49th quilt at the same retreat and completed another three throughout the rest of 2017, so there’s no slowing down yet! Maybe in another seven years or so, I’ll have another 48 blocks to finish a second panel. My goal is to keep making panels, then sew the panels together to form an ever-larger quilt.
I may also eventually embroider years in the corner gray patch of the first quilt of the year, and add more info to a label on the back side. For now, I think this is going to hang in my studio if I can ever clean it up enough to have space for it.
This is quilt three of four that I’m behind in blogging about from 2017, and was the 5th baby quilt of the year (of seven total quilts)! I threw it together quickly in October, trying to beat his birth. Then it sat around in my house waiting for me to remember to ship it, so was a few months late, just like this post.
This has been the year of baby quilts, it seems. Or the year where only baby quilts were prioritized, perhaps. A baby boy is joining a family of three girls who have already received quilts marking their births (Impressions Baby Quilt, Noble Blooms, Jewelry Box), so after finding out, I quickly set out to make one for him, too.
I dug into my stash for inspiration, and found a charm pack from the line Apple Hill Farm. It was a small pack though, containing only 23 charms. After wracking my brain for a good, quick design that goes well with 5-inch precut squares, I settled on a disappearing nine-patch layout that needed 36 patterned charms. I dug through my scrap bin and cannibalized a few coordinating charms from other packs, and ended up with enough. I paired the printed charms with two greens from stash (Kona Cactus and Limelight), and one last print—Cotton+Steel blue confetti dots—to tie everything together.
I posted about disappearing nine-patch blocks a long while ago. They make a great pattern that is simple to piece, since you start with large pieces and slice the nine-patch blocks apart to create the look of complex, smaller piecing. For this design, the four corners were patterned fabrics, the centers were blue dots, and the solid green filled out the middles. I mixed the greens on a couple of the nine-patch blocks to let me shift between the two colors within the quilt. I didn’t have quite enough of either green to do the whole quilt, so I wanted to get a little creative with using the two.
I quilted it with an all-over angular meander using a light blue 40wt Aurifil thread. I don’t know if it was the thread, the unknown high-poly-content, low-loft batting (from the scrap drawer), or my machine, but this was a nightmare to quilt. I started out trying to free-motion quilt it, but after 4 broken needles, skipped stitches, and a few thread breaks, I switched to my walking foot. Jacquie Gering’s Walk (thanks for the b-day present, Mom!) talked about using reverse on sections of designs like this, and that was a brilliant tip.
It’s backed with a navy dimple dot cuddle fabric and bound with a red print from a Sock Monkey collection that I’ve been hoarding since the early days of my quilting hobby. It comes in a bit smaller than the three quilts for his sisters, but it’s still a nice play mat size. Alas, the poor guy won’t be getting a hand-made stuffy any time soon like his sisters did. Maybe I’ll get my act together by his first birthday!
As well as I can remember, 2017 is the first year that I am incredibly relieved to see in my metaphorical rearview mirror. So long, 2017, and keep your fish next time.
My time and motivation for sewing got pushed aside in favor of dealing with life. There were certainly some highs to go along with the lows, don’t get me wrong—we traveled to Alaska for our 10th anniversary, for starters! But overall, the theme of 2017 sewing seemed to be “whip up this gift before a deadline,” and had very little “me time, addicted to this project” sewing.
2017 was all about babies. So many baby quilts. And, a lack of blogging. I still owe you all some words about numbers six, seven, and eight.
I also finished a mini, “All the Ys”, that took up a third of my Instagram #2017bestnine slots (of course, then I decided to be lame and not even post the collage to Instagram after it generated). I never quite know how to categorize minis—part of my list of quilts (currently 52 finishes, not including minis)—or part of my list of random small projects every year? Something to think about in the future if I start making more than one or two a year, I suppose.
* This isn’t exactly a finished quilt, but is a completed iteration. Semantics.
Human hung at the Vermont Quilt Fest and won a second place ribbon on its own merits. Cyclist was also present at VQF, in the “Lobby Lights” exhibit along with many others by my guildmates.
Samplers, Meetups, Exchanges
With my crafting mojo as limited as it was, I didn’t get involved in much this year. I started participating in my guild’s block of the month, but only finished the first two months. I’m about six behind at this point (we started mid-year). I helped my guild piece #quiltsforqc quilt tops during a sew-in, but that was it for various collaborative projects.
I barely touched my existing project backlog this year. I did finish one old project, Sampler On Point, which officially finishes off my old sampler projects from Utica. And, I made the first full panel of my history quilt (48 blocks). But, I started two projects in May that I didn’t touch again after August or so, which means I’m technically net negative on backlog progress.
Progress in 2017:
Meta history quilt
Farmer’s wife / EPP Crosses
Witches Bubble Brew
Self-portrait of an American Woman
Giant Pixelated Churn Dash
2017-8 VTMQG BOM
Looking back at my 2016 review, I didn’t do a great job of being on the same playing field as my goals for 2017, let alone accomplishing them. Which, of course, makes me hesitant to make any goals for 2018.
That said, I’d like to finish a quilt to enter into VQF this year. I’ve found the feedback from judges very interesting for the previous two years. At the time of writing, I hope to finish up Organic Spins once and for all, and enter it. I started it in September 2011, which makes it my oldest work in progress that I’m still trying to finish as originally envisioned.
I’d also like to catch up on posting about my final finishes of 2017 before too late in the year and keep up in 2018. Thanks for sticking around!
I hope you’re all having wonderful holidays. I was hoping to get 100% caught up on blogging my 2017 finishes… we’ll see. So far, I’ve done a lot of nothing productive on my days off work.
This is another quilt that I finished months ago—September to be precise. I finished everything but the binding at my guild’s fall retreat with the deadline of a baby shower looming the following weekend. Life had other plans, and we had to fly back to MO that weekend due to the funeral of my step-mother. I finished the binding a couple weeks later and still gifted it well before my friend’s baby girl came into the world. My friend seemed a little unwilling to share the quilt with her baby though (at least, when I gifted the quilt)—a true compliment!
I really love it when I stumble upon my motivation trifecta: a spark of design inspiration, a stack of fabric that calls to me, and a (somewhat loose, but looming) deadline. That happened here, and sparked off the creation of one of my favorite finishes yet.
The design inspiration came from a rug I found online. Something about the triangle designs and arrangement really caught my eye. The fabric inspiration came from a stack of fat quarters of the full range of colors in Cloud9’s Cirrus Solids collection. I think I’ve talked about their solids before, but I love, love, love them. They are yarn dyed (but with the same color weft and warp), and have much more depth than your typical solid. The rainbow of colors kept drawing my eye as it sat on my shelf, and seemed perfect for this project.
Finally, the reason to make the quilt: the upcoming birth of a good friend’s first baby, gender unknown. This friend is a constant source of inspiration to me in our quest to get more women involved in tech, and is artistic herself, so I was happy to have everything click in place to come up with a design and finished quilt that I’m proud of and that I think she’ll really dig (and hopefully her small new human will too).
At first, I had triangles that were drawn a little more free-form, with varying sizes of stripes, and planned to paper piece them. I was inspired by a trunk show that Amy Friend gave my guild, along with her book Improv Paper Piecing: A Modern Approach to Quilt Design. But, paper piecing—especially at the scale of these triangles—just doesn’t seem to click for me, so I fell back on basic piecing and simplified my triangles into pieces that were straight-forward to calculate (or, in the case of the angles, to put a strip of tape on a ruler for consistency).
I paired the Cloud9 solids with about two yards of Essex Yarn Dyed (Indigo, if I remember correctly). For her registry, my friend focused on greens and grays, so paired with the rainbow of solids, this read as a good neutral gray. On the back is a solid swath of green Minky that has a tile texture. I used Quilter’s Dream low-loft cotton batting, and bound it in a rainbow of scraps from the front, plus a little bit of a black and white print to get enough length.
I ended up with a spare triangle that I miscut, which inspired me to whip up a gift bag to go along with the quilt (or, as something for mom to carry around?). The lining is pieced of strips of a few of the colored solids, and the straps are also scrappy, making use of the fabric I had left of the fat quarters. I didn’t work from a pattern from the bag, just memory of making similar ones—it finished at around 14x16x2″, and I used Pellon 101 to interface the outer fabric.
From a technical standpoint, this isn’t my best quilt—some points are missing due to in-progress design decisions and bad math, and the binding just didn’t want to go on all that well, in part because the Minky had different pile lengths. But, it still ranks high on my list of favorite designs.