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:
New York City? Yes. My husband and I got back last night from a quick five-day trip to Manhattan to celebrate our wedding anniversary. While packing for the trip I had tossed a couple of quilt magazines in my carry-on bag. One happened to be the July/August 2014 issue of McCall’s Quilting.
Flipping through the pages of the magazine, which I probably hadn’t opened in years, my eyes landed on this advertisement for a new line of fabric, “Midnight” by Studio 3 for Quilting Treasures, to be released in the summer of 2014:
“Hmm,” I said to myself, “I don’t remember seeing this ad before. I really like these fabrics!” I do love the drama of black and white prints, especially with the addition of a bright accent color. “I wonder if they’re even available anymore, four years after their release,” I mused.
So . . . after getting settled into our hotel room in Midtown, I picked up my iPad and did a search for the fabric. Lo and behold, I was able to find almost every fabric in the line! You know what happened next, friends: I had a little shopping accident.
Look what was waiting for me when I got home:
And that’s not all.
While I was in New York, I paid a visit to VWF Quilts, the shop of quilt artist Victoria Findlay Wolfe. I got to say hello to Victoria and chat with her about one of my Works-in-Progress based on her Cascade pattern. She designs for Studio 37 Fabrics, a division of Marcus Fabrics, and has an amazing array of fabrics packed into her shop. I added these four to my stash:
The three on the right are from her “Futurum” line and I am already regretting putting back another bolt from the line without purchasing any. (Thank goodness for mail order!)
Speaking of mail order, there was one more package waiting for me when I got home, a purchase I had made a few days before departing for New York. This purchase I can attribute to Anne W., a fellow cat lover and member of the Portland Modern Quilt Guild. (If you are on Instagram you can find her at @pdxannie.) She posted a picture of some adorable Paris-themed fabric featuring cats and I impulsively ordered a couple of yards.
No buyer’s remorse here, though. I love this fabric! And look at all the goodies from the new-to-me shop called Sunny Day Supply that came with it:
That’s a postcard in the upper right hand of the photo (with a handwritten message on the other side from the owners, Mary and Shawn, thanking me for my purchase) along with charm squares and buttons and a postage stamp, all wrapped so sweetly. What a charming shop, with amazing customer service.
And the trip to NYC? Braving unseasonably cold weather, my husband and I managed to pack in four plays . . .
. . . and several museum visits, including the Museum at FIT (Fashion Institute of Technology), always a source of great exhibits:
It’s one of our regular stops, along with the Museum of the City of New York and the New York Public Library. Had the weather been warmer, we would have taken in a New York Yankees or Mets game as well. Next time!
By the way, our wedding anniversary is #37 and it actually falls today. On the agenda: a leisurely dinner out, where we will celebrate — with champagne, of course! — the fact that we have spent nearly four decades together.
. . . (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!
My third Junior Billie Bag of the year is in progress. I’m teaching a class at the Pine Needle next month and need to have the individual components of this quilter’s tote on hand to show my students how the bag is constructed.
Here is the first component, one of the front/back panels:
This JBB is a birthday present for one of the friends in my small quilt group known as the Quisters (a mashup of Quilt Sisters). She knows I’m making her a quilter’s tote and she doesn’t read my blog so I think I’m safe in posting progress pictures.
You can guess what her favorite color is. I don’t have a huge stash of purple fabrics but I do have an ample array. These are the ones pulled for consideration:
My friend’s Junior Billie Bag will have somewhere in the neighborhood of 20 pockets so an abundance of fabric choices is a good thing. One thing I knew right away: that striped fabric, cut on the bias, would be perfect for the binding.
Guess what happened right after I took that photo. Coco jumped up on the ironing board to see what I was up to. It seems she approves of my selection:
Ah, how satisfying it is to see about 300 pieces of neatly cut fabric transformed into a quilt top in just a few days. Here we are at the outset . . .
. . . and here we are with a finished quilt top:
This is my “supersized” version of Sew Kind of Wonderful‘s free quilt pattern Mini Mod Tiles. The original MMT block finishes at 10½” square whereas my supersized block finishes at 17½” square. Once my curves were sewn and trimmed, I was surprised at how quickly this quilt top went together.
After the blocks were joined I took the top outside to photograph it:
The cornflower blue in the focus fabric is so much more vivid in natural light, isn’t it?
Looking at the quilt from above (I was standing on a chair), I decided I wanted to add a border to make those blocks float. I was back a few minutes later for another shot:
Yes, that’s much better. And there’s Coco, the feline photobomber, doing her thing:
Coco hung out in my sewing room while this quilt top was under construction . . .
. . . so it’s only fitting that she be around at the end.
I am going to call this quilt Terrazzo Tiles for its resemblance to Italian floor tile. Terrazzo is a composite material made by exposing marble chips on the surface of concrete and then polishing until smooth. I like to think that my focus fabric, from the Eclectic Garden line designed by Jason Yenter for In the Beginning Fabrics, gives that same impression. Besides, doesn’t everything sound better in Italian?
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.