I put the finishing touches on my latest Junior Billie Bag yesterday. Take a look at #10:
I can’t decide which view I like better! The block on the left is a Sawtooth Star with a Churn Dash in the center. The block on the right features an inset circle set off by a narrow flange. It’s hard to see from the photo that I used a variegated thread of blues and greens to quilt lines radiating from the circle.
I’ve used both block designs before in other projects (including other Junior Billie Bags) because I really like to make them.
Coco the Cat Inspector approves:
She found it so comfortable that she actually took a little catnap, which is why I don’t have a picture of the inside pockets to show you just now.
This JBB is one that I’m keeping for myself. It’s already loaded with my favorite rulers and other essential tools, as is the coordinating tool caddy I made from the Travel Case pattern from p3designs.com:
I made a few modifications, including the addition of a fourth pocket.
This is what it looks like closed:
I keep it in a plastic brochure rack so that it is always upright, with my smaller tools right at hand.
Still to come: the other accessories I like to make with each Junior Billie Bag, including a rotary cutter coat, a scissors case, and a 4″ square fabric used as a thread catcher.
A rather cryptic title for a blog post, I know, but regular readers know what it means. My latest Junior Billie Bag in-the-making has gone three-dimensional:
As I’ve mentioned before, this is my favorite part of the process, when a series of flat panels like this . . .
. . . and this . . .
. . . and this . . .
. . . are transformed into the quintessential quilter’s tote known as the Junior Billie Bag.
Junior Billie Bags (JBBs for short) have been a frequent topic on my blog since I started teaching Billie Mahorney’s design three years ago. I have been asked many times about a pattern for this tote but Billie, who owns the copyright on the design, never wanted to create a pattern.
Teaching her design in a hands-on class is by far the best way to go because I can share tips and techniques that have come to me through experience and also troubleshoot problems my students may encounter, just as Billie did when she was teaching. I’m so sorry that quilters across the country and beyond who have seen pictures of various JBBs on my blog don’t have the opportunity to create one of their own.
As I was snapping photos for this post, a little white paw made its way into the frame:
When I spotted this whimsical travel-themed fabric at a quilt shop in central Oregon last year, the first person I thought of was my friend Anna. Anna loves animals (especially dogs), France, and world travel — probably in that order.
Several years ago Anna sold her home in Portland and moved to Paris to live. Imagine that! It was a dream she had had for many years. I knew her through a mutual friend but had not seen her for some time when we ran into each other on the street just weeks before her departure. We stayed in touch after this chance meeting and a few years later, when Anna proposed a short-term house swap, my husband and I jumped at the chance.
In 2015 Charlie and I spent three weeks at Anna’s apartment in Paris taking care of her sweet cat Buddy . . .
. . . while Anna stayed at our home in Portland taking care of Empress Theodora:
The arrangement worked out splendidly. And I was lucky enough to go back to Paris in the fall of the same year with my twin sister, petsitting for Anna while she went to the United Kingdom to visit her beau, an American who had spent his professional life working in Europe.
Anna subsequently married her beau and they bought a house in France’s Loire Valley which they share with Buddy and two rescue dogs. So you can see how this fabric seems to have Anna’s name written all over it. (In fact, the travel documents on the fabric are in the name of Jane S. Doe but we can use our imaginations.)
I decided to make a pair of pillowcases with the fabric and send them to Anna in France. Months came and went while the fabric stayed in my stash. Then I learned Anna was coming to Oregon this summer for her 50th high school reunion. In no time at all I had made a pair of pillowcases, which were waiting for Anna when she arrived last week:
I tried to tone down the cuteness factor by choosing a rather masculine batik for the cuffs of the cases. After all, husband Joe has to sleep on them too!
(For those who might be interested, the fabric is from the line “Jetset Europe” by Anne Bollman for Clothworks Fabrics. I used my own tutorial to make the pillowcases.)
Last week was a big one for the Portland White House kitchen remodel.
First, the walls got painted a soft gray and the ceiling and trim around the windows and sliding glass door got painted white:
I was originally planning to have the walls painted with Benjamin Moore’s “Metro Gray,” which happens to be the same shade I chose for the master bath remodel in 2013. At the last minute I went one shade lighter (1458) with “Silver Bells.” Gray might seem an odd choice for Portland, which gets its share — and then some — of overcast days, but I knew the bright white of the upper cabinets and the vivid blue (Valspar 4006-8C “Bluer than Blue”) of the lower cabinets would be a good foil for this elegant shade of gray:
Can’t you imagine a quilt in these colors?
With the cabinets installed, the empty shell of a room was transformed into a kitchen! Here’s the view looking southeast:
Notice the custom cover for the range hood. (Thank you, sister Diane, for guiding me to this design decision.) The tabs of blue painter’s tape on the upper and lower cabinets allow the cupboard doors and drawers to be opened. The doors are inset — that is, flush with the cabinet frames — so until the knobs and pulls are installed, the best way to open the cupboards and drawers is to pull on those tabs of blue tape.
Here’s the view looking southwest:
The narrow cabinet to the left of the refrigerator cabinet is missing as it got damaged somehow at the shop. The installer wants to wait until the cabinet is in place before attaching the crown molding as he thinks the molding should be cut from the same strip.
The upper cabinet on the north wall will have glass doors and shelves, to be delivered later:
That upper cabinet makes the wall look pretty top heavy. I’m hoping the glass doors will make it feel lighter.
I must say, Coco has remained remarkably mellow as the remodel progresses. As long as her meals arrive on schedule, she is one happy cat:
Fancy Farm Girl is Block 9 of Hazel’s Diary Quilt, the sampler quilt project I embarked on a year ago. Here’s that Fancy Farm Girl on point, as she will be in the finished quilt, sporting her red scalloped frame:
She joins four other blocks that have been pieced and framed:
Progress has been slow on the appliquéd frames. I discovered I can’t work on my needleturn appliqué in the evening while watching television because the light isn’t great. (How on earth did previous generations of quilters do such beautiful work by candlelight?) I’m also hampered by a certain calico cat demanding lap time (and who am I to deny her?).
Four additional pieced blocks are awaiting their frames. One of the nine blocks will go in the center of the quilt as part of a medallion. I’ll pick the block for the center after all of them have been framed. Of the five so far, Fancy Farm Girl is the leading candidate. Do you have a favorite?
Fancy Farm Girl, Block 9 of Hazel’s Diary Quilt, is complete with the addition of the appliqué in the center:
I’m happy to report the appliqué process went well today. A good thing, as a couple of weeks have passed with no appliqué at all. Maybe I just needed a little break.
I departed from designer Shelly Pagliai’s design by rotating the leaves a quarter turn and enlarging the motif by 20%. When the block is set on point, as it will be in the finished quilt, the leaves form an X rather than a +:
Back in July I was playing around with the pattern Dancing Churndash, using positive and negative prints in black and white:
I liked the checkerboard effect immensely but only had enough of the prints to make these four blocks, having used most of the fabric years before in a couple of other projects.
Not to worry. I just (ahem) happen to have several other sets of positive/negative black and white prints in my stash. I pulled out one of those sets to make a quilt I’ve already named Checkerboard Curves. It’s easy to see why:
Dancing Churndash was designed for Cut Loose Press by Jenny Pedigo and Helen Robinson of Sew Kind of Wonderful. The traditional Churn Dash block is one of my favorites, and I love Jenny and Helen’s contemporary curvy take on it. (In fact, this is my second version of Dancing Churndash. You can see the first one here.)
The top above measures 44″ square. I generally make quilts that are at least lap size and thought about adding borders to this one to make it larger. In the end I decided to keep it simple and will finish it with lime green binding after it’s been quilted.
For the backing I did a little more stash diving and came up with this Timeless Treasures print from a few years ago featuring stylish young women walking their dogs in New York City and picnicking in Central Park:
I had just enough length for the backing but needed to add to the width to make it work:
Isn’t that cute?
The photo above was taken yesterday just as the light was beginning to wane. Coco the Cat was keeping my husband company while he was weeding in the backyard but she came over immediately to investigate:
Take a look at my latest quilt, finished late this afternoon:
When you look at the octagonal blocks, do you see bicycle wheels and spokes? I do. That’s why I named this quilt Spokesong, after the play by Irish playright Stewart Parker. Set in a bicycle shop in Belfast, the play is about the troubles in Northern Ireland and the progress of civilization using the history of the bicycle as a framing device. I saw a delightful production of this “play with music” in the early 1980s and it came to mind when I was trying to think of a name.
My quilt is based on the pattern Idyllic by Corey Yoder of Coriander Quilts. (It’s the pattern I taught at last month’s Pine Needle quilt retreats on Hood Canal in Washington.) I changed the pattern a bit by simplifying three blocks.
The floral prints are from a line of fabric called “Paradise” designed by Alisse Courter for Camelot Fabrics. I ran off in high spirits one day three years ago and bought a lot of fabric from this line. It has made its way into several projects since then, and I used up more of it on the back of this one:
Karlee Sandell of SewInspired2Day did a beautiful job quilting Spokesong for me on her longarm. I love how the wavy lines of the edge-to-edge design called Serpentine almost make the quilt shimmer:
Did you notice the shape of the label?
Here’s a closer look:
Coco made herself right at home during the photo session:
If she wasn’t on top of the quilt, she was under it: