In the works: a new Junior Billie Bag, based on Billie Mahorney’s original design. I’ve had the pleasure of teaching this fabulous quilter’s tote for the last three years and will be heading to the Oregon coast next week to teach a two-day workshop for a quilt guild.
A new class necessitates a new Junior Billie Bag, and here’s a preview of the one I’m working on right now:
(My celadon green carpet isn’t the best backdrop to show off the front and back panels but it will have to do for now.)
My starting point was this gorgeous print from In the Beginning Fabrics that came out last spring. Designed by Jason Yenter, it’s called “Ajisai Hydrangea:”
For one of the front/back panels I made a windmill block, inserting a fussy cut blossom in the center with narrow trim around it:
For the other panel I made a kaleidoscope block of eight 45° degree triangles, converting it into a double inset circle:
I just happened to have the perfect button in my collection to put in the center of the circle. The button went on after the panel was quilted:
Now I’m preparing to make a plethora of pockets. Here’s my fabric pull, a pleasing mix of woven cottons and batiks — all from my stash:
Does anyone else love the combination of green and purple as much as I do?
Happy first day of fall! This year is flying by way too fast.
After our unusually hot summer in Portland with a record number of days in the mid to high 90s, many folks are relieved that fall has arrived. Me, not so much. As a native Oregonian I don’t mind the rain and cooler weather that fall brings but I do miss the long days of early summer when the evening light doesn’t fade till close to 10 pm.
The official change of seasons is my cue to change the wall hanging in the master bathroom. Off the wall goes Sun Flowers . . .
. . . and up goes Autumn Reflections:
Both quilts were made from my pattern Season to Taste. They measure 18″ x 55″.
I was out of town last week on June 21, the Summer Solstice. That was the day I was planning to switch out the wall hanging in our master bath. Back in April I hung Under Paris Skies, the spring version of my pattern Season to Taste, so named because I envisioned a table runner or wall hanging for each season of the year based on fabric choices. (You can see my spring version here.)
Up went the summer version today and it couldn’t be more, well, summery:
For a fun little touch I added a “flower” (two stacked buttons) in the center of each block:
I finished Sun Flowers in 2015 but it’s been hanging in a quilt shop. Now I get to gaze at it every day in my own home. I’ll enjoy it until it’s time to change to the fall version, made in 2014.
I never got around to making a winter version, though it’s been planned for years. If I’m going to have one ready by the time this winter rolls around, I’d better move it up on my project list!
It’s been a week since we flew back to the states from Portugal. Fortunately, I have many memories and lots of photos to remind me of the delightful time my husband and I spent cruising the Douro River and the many shore excursions we took to medieval hill towns and modern cities. Everywhere we went, images appeared that made me think of quilt blocks, appliqué designs, and even free motion quilting motifs.
When we got to Lisbon, our final destination in Portugal, the amount of gorgeous tile work I was seeing made my head spin. These three designs were on the walkway outside our hotel:
This one was on the floor of the main entrance to the hotel:
On the north bank of the Tagus River near the Monument to the Discoveries there’s a huge tile wind rose and map of the world charting Portuguese explorations. The map is embellished by wonderful designs that would look right at home on a quilt:
We visited the National Tile Museum dedicated to the azulejo, a glazed colored tile traditionally used in Spanish and Portuguese buildings. The museum houses examples dating from the 15th century to today. With the battery in my cell phone running low I took very few pictures but they’re enough to give you a sense of what I was seeing:
Tile work from the 21st century evoking a sampler quilt (a modern take on Dear Jane, perhaps?):
April is my favorite month of the year. It’s the month when the promise of spring in Portland is fully realized. Lawns are emerald green, and the profusion of colorful azaleas, tulips, and other blooming things makes my heart sing. Today is a gloriously sunny day, one of the first of the year warm enough for Portlanders to open all their windows and let the fresh air in. I can hear the sound of a lawnmower starting up and if I’m lucky it will be followed by the scent of new-mown grass.
In honor of spring I hung Under Paris Skies in the master bathroom:
This is the springtime version of my pattern Season to Taste, designed and made four years ago as part of a series based on the four seasons. The summer and fall versions are done but I must confess the one for winter hasn’t been made yet, though I do have the perfect fabric for it in my stash.
This is the first time Under Paris Skies has been on display in my house. All this time it’s been hanging in the Pine Needle, the quilt shop in Lake Oswego where I’ve been teaching the last eight years.
After 25 years running the Pine Needle, owner Geri retired and closed the shop at the end of March. Several of my quilts had been hanging in the shop, and all of them got to come home with me. (Happily, Geri is still involved in the quilt industry and the Pine Needle location is being taken over by a local family-owned sewing business. More on that in a future post after an official announcement has been made.)
Back to Under Paris Skies for a moment. First you have to imagine April in Paris. Think of Ella Fitzgerald singing “April in Paris, chestnuts in blossom, holiday tables under the trees . . .”
Those are real chestnuts in blossom, taken on my trip to Paris three years ago this month. If you look carefully you can see the Seine in the background. Now imagine clusters of people sitting outside at cafe tables, taking in the fresh air while sipping a citron presse or café crème, like the two below (apparently still waiting for their order to be taken):
All three blocks in this kaleidoscope quilt contain two different images of outdoor Parisian life, carefully fussy cut to fit in the confines of the triangles. Here’s another scene that always makes me smile:
When the rains return (which they will, because it wouldn’t be spring in Portland without them), I’ll look at these bright and cheerful scenes of Paris in anticipation of the next sunny day right here at home.
Simply this: I supersized Corey Yoder’s Idyllic block. As designed, her block finishes at 14″ square. I enlarged it to finish at 21″ square. Why? Curiosity more than anything else — plus the fact that I bought enough of these fabrics to play around a bit.
One of the things I love about this pattern is that it can look traditional or modern depending on fabric choices. Take a look at the pattern cover:
The scrappy version pictured above looks quite traditional to my eye whereas the two-color version has a modern vibe. I figured it would look even more modern if the blocks were larger.
That got me to thinking about a kaleidoscope quilt I made as an experiment a few years ago using three different size blocks:
(This quilt top eventually became a baby quilt for a darling great niece. You can see the finished quilt here.)
What, I wonder, would Idyllic look like as a quilt with three sizes of blocks? I know how to find out . . .
But here’s the thing. Each Idyllic block has three sets of Flying Geese units in it. Two are the same size and one is smaller. The proportions need to remain consistent. If I make a block halfway between the ones I’ve already made, it needs to finish at 17½” inches square. That would make the smaller Flying Geese unit finish at 1⅞” x 3¾”.
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?
I got a phone call last night from one of the organizers of Northwest Quilting Expo (coming up later this week in Portland, Oregon) that my quilt Where It’s @ won a second place ribbon. I am thrilled!
If I remember the rest of the phone call correctly (I was a bit dazed), winners will be announced Thursday at 1:30 pm at the quilt show. That was the day I was planning to visit the show with my quilt group, the Quisters, so the timing is perfect.
I started this quilt in July 2016 in a class with Karla Alexander of Saginaw Street Quilts and finished it late last year. The name of her quilt pattern is Rewind. Karlee Sandell of sewinspired2day.com quilted it for me.
Quilters who enter their creations at Northwest Quilting Expo can opt to have their quilts judged. I chose to have mine judged, as I’m always interested in what the experts have to say, hoping I can learn from their remarks.
In 2011 I won a ribbon in a non-juried show. Here’s a look at that quilt:
The venue was Quilts in Bloom, a small quilt show held at the Oregon Garden in Silverton, Oregon. Much to my surprise and delight, this quilt won the viewer’s choice award for Best Traditional Quilt. I’m sure that the beautiful custom quilting by Melissa Hoffman contributed to that award. (You can see other examples of Melissa’s beautiful work on her Instagram page, fiddlestitches.)
This quilt is very special to me. It was made from my own pattern 4-Patch Wonder, published in 2010. I originally called the quilt Carmen, after the name of the fabric line from Timeless Treasures, changing it later to Midnight in the Garden. I don’t have it anymore but it’s still in the family. I gave it as a gift to my twin sister Diane as a 60th birthday present. It’s on display in her home in Georgia and I get to enjoy it on my annual visits.
The Northwest Quilting Expo runs Thursday-Saturday, Sept. 28-30, at Portland Expo Center, 2060 N. Marine Drive. Maybe I will see you there!
Here’s my second Big Block Star, made using Victoria Findlay Wolfe’s pattern of the same name and her large diamond ruler:
Don’t you love that bold beautiful print? It’s from the “Black, White & Currant 5″ line by Color Principle for Henry Glass Fabrics. I bought a few pieces from the line a couple of years ago. I find it hard to resist Jacobean floral prints and I rarely see them printed on a true red background.
I don’t have enough of the Jacobean print to make three more Big Block Stars — each star finishes at 41″ square — but I do have enough to play around with 4-Patch Wonder blocks (my name for faux-kaleidoscope blocks made from four identical patches). Here’s a test block that measures 8” square:
Do I have a plan for this quilt? Not yet. I could keep it simple, surrounding my Big Block Star with one wide border, perhaps using 4-Patch Wonder blocks as cornerstones, or I could surround the entire Big Block Star with faux-kaleido blocks. No need to decide now. I’ll sleep on it.
And what of Big Block Star, Take One? After not looking at it for a few days, I have come to really like it. Comments from readers who saw my blog post about it or saw it on my Instagram have given me a fresh perspective.
Perhaps you think I meant to say “hit or miss.” Oh no. My latest foray in quiltmaking was both a hit and a miss.
Ever since buying Victoria Findlay Wolfe’s Large Diamond acrylic ruler and Big Block Star pattern a few months ago, I’ve been wanting to try them out.
I had the perfect fabric in mind: a Kaffe Fassett print featuring lily pads and lotus blossoms:
I love the kaleidoscopic effect created by using fabric repeats. Part of the fun of making kaleido blocks is that you don’t know what the design will look like until the block is fully assembled.
Victoria’s Big Block Star pattern is composed of four star blocks and finishes at 82″ square. I decided to make one star block finishing at 41″ square. From eight repeats of fabric I carefully cut out the diamonds that form the star and sewed the first two together with the center triangle:
Uh-oh. Do you see what I see? I don’t see lily pads and lotus blossoms. I see an animal face with two big . . . sad . . . bloodshot eyes.
I told myself it was just an illusion. I told myself it would look totally different with two more blocks added.
Well, here they are:
Now I see two faces . . . and now they look like owls. Very sad owls.
What to do??
I already had the remaining pieces cut out so I decided to finish the block, hoping that the completed big star would look fine:
Now if I try really hard, I can see that the lily pads form a circle inside the star and there’s even a pleasing starburst shape in the very center of the block. But I can’t escape the feeling that four very sad owls are looking back at me.
Am I in despair? Curiously, no. I consider this experience both a hit and a miss. The design and ruler are definitely on the “hit” side. The block went together quickly because the pieces are all large, and I actually enjoyed sewing all of those Y seams.
The “miss” part of the equation is related to where I placed the ruler when cutting my first diamond. Placing the ruler in a different part of the fabric repeat would have resulted in a completely different look, one I probably would have been happy with.
I’m going to try again. With a different piece of fabric. One with no lily pads.