I happened across one of my posts the other day that was written in October 2012, a little over five years ago when my blog was in its first year. I was writing about three fabric groupings in my stash that I was wild about even though I hadn’t yet decided yet what to make with them. What a pleasant surprise to discover that I have, in fact, used all three groupings!
The first was this one, a mix from several lines anchored by the red and aqua floral print in the center from Denyse Schmidt’s line, “Flea Market Fancy,” reissued earlier in 2012:
Several of the fabrics wound up in this sewing machine dust cover . . .
. . . and this set of king-size pillowcases, both made in 2013:
The second group was this one, primarily from the “Ainsley” line by Northcott Fabrics:
From this group came a small project, a kaleidoscopic table topper made in 2014 . . .
. . . and a large project, my queen-size sampler quilt Catch a Falling Star, completed in 2015:
The third group was from the “Scarlet” line by Pamela Mostek for Clothworks:
These fabrics remained in my stash until 2017, when I used them to make my current Junior Billie Bag . . .
. . . and matching accessories:
Now when I see a new group of fabrics I just can’t live without, I’ll remind myself that the fabric in my stash is indeed getting used. I’ll just need three additional lifetimes to sew my way through all of it. Can you relate?
Cheryl at Meadow Mist Designs is hosting a Best of 2017 Linky Party, inviting bloggers to highlight their top five posts of the year. It’s a fun way to look back over the last 12 months and identify some of the high points.
My top five are below, in reverse order. Clicking on the links will take you to the original posts.
5. Dutch Treat. Although I didn’t finish this quilt till June, I started it in January during an epic snowstorm that kept me and many Portlanders indoors for several days.
4. NYC and VFW. A trip to New York City with my twin sister in March combined many of the things I love in life: family, travel, theater, museums, and quilting. The quilting part? A visit to the Manhattan shop of Victoria Findlay Wolfe:
Victoria didn’t happen to be there that day but I had the pleasure of meeting her the following month in Paducah, Kentucky during AQS Quilt Week:
Designed over 20 years ago by Billie Mahorney, it’s a fabulous quilter’s tote personalized by each maker, starting with the design on the front and back panels and ending with the pockets inside and out. Two years ago Billie turned the teaching of her design over to me, and I make a bag every time I teach a class. This may be my favorite of the eight I have made so far.
Without consciously planning to, I wound up making a suite of accessories to go with my Junior Billie Bag:
(See the rotary cutter coat in the lower left corner? I wrote directions for it in 2014 and it remains my most popular tutorial. Every now and then when I see a huge spike in the number of views on my website/blog, I know it’s because someone provided a link to the tutorial.)
1 . Where It’s @. Much to my surprise and delight, this quilt won a second place ribbon at the Northwest Quilting Expo in Portland, Oregon in September:
The design is Rewind by Karla Alexander of Saginaw Street Quilts. I started the quilt in a class with Karla in Sisters, Oregon in July 2016. Getting a ribbon was honor enough but the award came with a check for $500. My first reaction? “Think how many yards of fabric I can buy with that!”
Well, this has been a nice little trip down memory lane. Do you want to join Cheryl’s party, too? The link is open until January 2. Be sure to check out the top five posts of the other quilting/blogging partygoers. And thank you for checking out mine!
. . . (see my last post), I have another finished one to show you, the one I made alongside my students fall term at the Pine Needle. The class ended a few weeks ago but I didn’t put the last touches on the bag until today. It’s for my friend Vickie, who has a late November birthday, but she won’t get it for several more weeks because she’s traveling. You get to see it before she does.
Here are the front and back panels:
I decided early on to cut the binding fabric on the bias because I figured the striped fabric would provide a dramatic frame for the panels. Good call, don’t you think?
These pictures don’t give a sense of the depth of the bag — 7½” — so here’s a partial side view that also shows you the pockets I put on the outside:
That side has two pockets and the other side has one taller pocket cut from the same wavy stripe I used for the binding:
Coco is busy investigating the interior pockets, of which there are many.
A look inside:
It’s really hard to get a good shot of the interior of a finished Junior Billie Bag. This earlier photo should give you a notion of how many pockets there can be (totally up to the whim of the maker):
You can also see there’s a shorter set of handles. Those are tucked out of sight in the photos at the top of this post.
To sum up:
The Billie Bag was designed by Billie Mahorney, who taught for many years at the Pine Needle. The junior version measures 14″ wide, 17″ tall, and 7½” deep.
The panel with Friendship Star blocks was based on a design by Thelma Childers of Cupcakes’n’Daisies. Read here how I modified it for this project. The windmill block is a variation of one designed by Deb Eggers of the Cottage Rose for her pattern A Mid-Winter’s Night.
I started with fabrics from the “Dance of the Dragonfly” line by Benartex and Kanvas Fabrics, adding several batiks from my stash and one blender from P&B Textiles. There can be no doubt what the birthday girl’s favorite color is!
Here are two more accessories I just made to tuck into my Junior Billie Bag when I’m heading out for a class: a case for my 5″ Gingher scissors and a 4″ x 4″ fabric box used primarily as a thread catcher:
The Junior Billie Bag I am currently working on is slowly taking shape. I’m pacing myself on the construction so I can show my current group of students at the Pine Needle how this quilter’s tote goes together step by step. The bag is a gift for a friend with a November birthday so the timing is perfect.
In the photo below you see most of the individual elements — front and back panels, handles, side panels, inner and outer pockets:
This particular bag is going to have plenty of pockets — 21 to be exact. The pockets have been carefully sized to hold everything a quilter might need, from file folders to acrylic rulers to rotary cutters. The Junior Billie Bag was designed by Billie Mahorney to be customized — makers of the bag decide how many pockets they want and what size they will be.
Now that the second panel on this bag has been quilted and the handles attached, you can see what the bag is going to look like from front and back:
Which is the front and which is the back? It doesn’t matter! The front/back panels are totally interchangeable. The front of the bag is whichever side the owner turns to the outside on any given day.
And you can quilt the panels very simply or be very creative with free motion quilting. I’ve done both on previous bags. On this one I opted to stitch in the ditch in the central part of the panels and to use a serpentine stitch on the strips around the center blocks. I used the same decorative stitch on the handles:
The next step is sewing the front/back panels to the side panels and bottom unit. I’ll demonstrate this in Friday’s class. My students are almost ready for the third dimension!
The first week of October already! September came and went in a flash. It was a very busy month, just not one devoted to much sewing. I’m finally back at work on that wonderful quilter’s tote designed by Billie Mahorney known as the Junior Billie Bag. I’m teaching an upcoming class at the Pine Needle so I need to get a move on.
Here’s the second of two panels in my JBB-in-progress:
The block you see above was inspired by a block in a quilt called Christmas in July designed by Thelma Childers of Cupcakes’n’Daisies:
Click here to read Thelma’s post about the making of this quilt. In July Carrie Nelson of Moda wrote about Thelma’s quilt on the Moda Cutting Table blog and created a pattern for it called Hometown Stars, available as a free download.
Thelma’s quilt is very scrappy. Working with far fewer fabrics, I simplified the block somewhat and made one change that made a big difference in the outcome. Here is my block as it was first laid out . . .
. . . and here it is ready to be sewn:
Do you see the difference? Turning that center square on point reinforced the angles in the Friendship Star blocks in the four corners. Had I made an entire quilt, I would have followed Thelma’s design to a T because the square in the center of the block is central to her overall design:
To minimize the seam lines I opted to construct the center section like a classic bow-tie block using Y-seams:
Thelma’s original finished block size is 17½” square. Carrie resized it to finish at 14″ square, although she included directions for both sizes in the pattern. I had to resize the block to 12¾” square to get it to fit my panel size. That means the half-square triangles finish at 1¾” square and the center bow-tie block finishes at 5¼” square. Good thing I like the challenge of quilt math!
Here are the front and back panels side by side:
Since this Junior Billie Bag is being made for a friend, incorporating the Friendship Star block is a meaningful addition. Thank you, Thelma and Carrie, for the inspiration!
I finished binding and labeling Dutch Treat yesterday. The rain held off just long enough for a few shots taken in the back yard:
Red and green look so good together, don’t they?
Here you can see the entire quilt:
The windmill blocks measure 12″ square and the pinwheels in the center of each block measure 4″ square. The block is a variation of the classic Winding Ways quilt block usually made with curved seams. These seams are straight but the overall design of the quilt gives the illusion of overlapping circles.
On the back of the quilt I used leftover blocks:
I know what you’re thinking: “Wow, that’s a lot of leftover blocks.” You’re right — and I didn’t even use all of them. I confess: those extras resulted from a miscalculation on my part. At least I was able to put most of them to good use.
Here’s a close-up of the label:
I made the label round using a compact disc for a pattern (described in my tutorial) and then set the label inside a larger circle of red fabric so it would stand out against the backing fabric.
I’m so pleased with the quilting of longarmer Debbie Scroggy. You can see close-ups of Debbie’s quilting in this earlier post.
Dutch Treat (named for the windmill-shaped block)
48″ x 60″
Adapted from the pattern A Mid-Winter’s Night by Cottage Rose
Fabrics: a mix of reds and two light background prints, all from my stash
Quilted by Debbie Scroggy of All Quilted LLC
To read older posts about the making of Dutch Treat, click on the category “windmill block” at the bottom of this post.
Thanks for stopping by. It’s always fun to share a finish!
My quilt Dutch Treat is back from the longarm quilter and trimmed, ready to be bound and labeled. I was going to wait till the quilt was completely done before posting pictures but then I decided I couldn’t wait to show it off. Debbie Scroggy of All Quilted LLC did a beautiful job.
I was considering custom quilting when I first met with Debbie but after some consultation we decided on this edge-to-edge design that made me think of crop circles. The swirling circular motion of the quilting motif achieves two things: it softens the angles of the quilt blocks and reinforces the illusion of overlapping circles.
Do you see the circles? Let your eyes travel around the outer edges of the photos below. You should be able to see a dark circle . . .
. . . and a light one:
Now go back to the very first photo of the entire quilt and see how they overlap.
Here’s a look across the surface of the quilt:
I used leftovers on the back: the leftover “V” blocks and the remainder of the two red-on-white prints from the front. You can really see the “crop circles” on the left side of the quilt back:
Measuring 48″ x 60″ after quilting, Dutch Treat will be bound in one of the reds, chosen because it was the only piece left among the ones I used that was large enough to cut the number of binding strips needed. I think it will frame the quilt nicely.
I’ll post more photos when I can officially declare Dutch Treat a “finish.”
Ladies and gents, I have another finish to report: Here is my latest version of the quintessential quilter’s tote known as the Junior Billie Bag:
I just finished teaching a class at the Pine Needle on making a JBB. I started the class (and this bag) in January; you can read about my fabric choices here.
In the photo above, you see the longer of two sets of handles; these are worn over the shoulder. In the photo below you see the shorter set of handles, allowing the bag to be carried like a satchel:
Notice the custom outside pockets in both photos.
Now look inside the Junior Billie Bag, where you’ll find many more pockets, all sized with specific items in mind:
After those pockets are filled, there’s still room to tuck in bundles of fabric or batting — or even a sack lunch. Now you know why I call the Junior Billie Bag “the quintessential quilter’s tote.”
The original Billie Bag was designed by Billie Mahorney and measured 21″ x 21″ x 7½”. This version is smaller, measuring 14″ x 17″ x 7½”. Billie never wanted to write a pattern, preferring to teach her design in a classroom setting. Now that she has retired from teaching, I have the pleasure of teaching the class. How glad I am! It’s been so much fun sharing her design with other quilters, and in the process I have made myself a JBB or two and given others as gifts.
When Coco saw me taking photos of the JBB this morning, she trotted right over to investigate. Before I knew it, she had crawled inside and made herself very much at home:
It seems the Junior Billie Bag is perfectly sized for a cat. Who knew?!
I’m talking about the places on my red and white windmill quilt where the points of the windmills meet. Matching my points turned out to be much more challenging than I had anticipated.
Here’s why. Take a look at a complete block:
The seams in the Half Square Triangle (HST) corner blocks and in the center pinwheel are sewn at 45° angles . . .
. . . whereas the seams in the V blocks are sewn at sewn at 60° angles:
When a V block is sewn to an HST or pinwheel block, the seams don’t naturally “nest,” even when the seams are pressed in opposite directions. Accuracy in pinning and sewing is essential.
My individual blocks went together nicely. Joining the blocks to form rows and then sewing the rows together was where I ran into problems. I’m a pretty precise piecer but I found that getting my points to line up properly was not just a matter of careful pinning and stitching.
Eight seams come together where the outer points of the windmills meet in adjacent blocks. It’s very difficult to sew them together without some of the seams shifting ever so slightly. With the amount of contrast between light and dark fabrics, points and seams that are even a stitch or two out of alignment are going to stick out like sore thumbs.
The seam between Rows 1 and 2 gave me absolute fits. There was much ripping out and resewing of small sections, accompanied by much gnashing of teeth (and some unpardonable language). I finally resorted to pinning and basting two rows together, then going back to do corrective sewing on the problem points (ripping out, repinning, rebasting . . . multiple times) before sewing the entire seam with a shorter stitch length.
The horizontal seam in the center of the picture below shows two properly joined blocks:
On the back where the eight seams come together, the row seams were popped open to distribute the bulk, forming ½” square pinwheels:
I can now happily report that all of the frustration was worth it. Take a look at my finished quilt top:
Now that all of the blocks are joined, can you see the overlapping circles? You should be able to see both light and dark circles. They are illusions, as there are no curved seams in this quilt top. The quilt block is a variation of the classic Winding Ways block, which employs curved seams to form overlapping circles.
The pattern (A Midwinter’s Night by Cottage Rose) calls for borders with pieced cornerstones but I like the look of this without any borders at all. It measures 48½” x 60½”, a nice sized throw.
And I have a name for it. Because I think of the blocks as windmills, I’m going to call this quilt Dutch Treat. Some of my readers suggested I call it Coco’s Valentine, since my calico kitty seems to like it so much. Truth be told, Coco likes every quilt I make, never missing an opportunity to lounge on a quilt under construction or a finished one.