First things first: Happy New Year, friends! May 2021 exceed your expectations in every way.
Now on to the next good thing: ‘Tis the Season, my quilt made with the Missouri Star Quilt Company’s Quatrefoil pattern, is a wrap! Take a look:
The quilt was officially completed on New Year’s Day but it was dark by the time I’d stitched the label on so I had to wait till today to take photos. Indoor shots only, I’m afraid; it’s January in Portland (need I say more?).
There was never a doubt in my mind what fabric I would use to bind this quilt: it absolutely had to be the green diagonal stripe in Corey Yoder’s “Holliberry” line. I tried a new-to-me way of applying the binding: it’s single-fold rather than the traditional double-fold. I’ve been wanting to try this method since hearing my friend Pam Raby of Loved to Pieces sing its praises when she was on the Quilt Show with Ricky Tims and Alex Anderson last July.
Oh my. Mitering the corners was a breeze! There’s much less bulk, and the corners lie nice and flat. Feel free to inspect mine:
For the label I made an inset circle and then enclosed it in another circle:
Here’s a look at the back of the quilt:
Since I love the crinkly look and feel of a laundered quilt, ‘Tis the Season went into the washer and dryer after these pictures were taken. Now here it is, still warm from the dryer, on the back of the couch, where it will take up residence for the time being:
My Quatrefoil quilt is back from the quilter already! Take a look:
Because of all the straight lines and angles in this quilt, I had already decided on “something with loops and swirls” for a quilting motif. After consulting with longarmer Sherry Wadley, we went with “Retro Heart,” an edge-to-edge pattern by Anne Bright Designs. I just love how it turned out!
Of course Coco decided to make an impromptu inspection, as she is wont to do:
Here’s a look at the whole quilt:
After trimming, it now measures 57″ x 71″ — a good size for a throw.
I made a simple pieced back using some of the leftovers from Corey Yoder’s “Holliberry” layer cake (10″ squares) and a larger piece of the grey floral:
That light fabric at the top is something I pulled from my stash, and it just happens to have loops and swirls on it, too:
I’ve decided to name this quilt ‘Tis the Season. That pretty much covers Christmas, the holidays, and winter, doesn’t it?
If I don’t dilly-dally, I can get it bound and labeled before the end of the year.
On the other hand . . . wouldn’t it be great to start 2021 with a finish?
The borders are on my Christmas Quatrefoil quilt and I couldn’t be more pleased:
The inner border is a 2″ finished strip of background fabric to float the blocks. For the outer border I auditioned this red focus fabric and the same print in the light grey background. The grey print is lovely but it just wasn’t bold enough. I was initially concerned that the red focus fabric would overpower the interior of the quilt but happily the individual blocks hold their own.
I think of this as my Christmas Quatrefoil quilt but this line of “Holliberry” prints by Moda is not overtly Christmas-y. The holly leaves and the pointsettia blossoms give it a Christmas vibe to be sure but the prints speak more to me of winter than holiday. What that means is that when it’s quilted and bound, this quilt can take up rotation on the back of my sofa all winter long. I leave my outdoor icicle lights up until Valentine’s Day, after all! I love the way they light up the porch and are reflected in the glass door and windows:
And you can also see my little tree on the sideboard by the front door. Here’s a close-up:
Princess Cordelia aka Coco is on her best behavior.
Tomorrow I’ll make a pieced backing for my quilt top using some of the yardage I bought along with a set of precut 10″ squares. Wouldn’t it be wonderful if I could get this quilted and bound before Christmas? I might reach out to a couple of my favorite local longarmers to see if they are working their magic this coming week. . .
I didn’t just decide on a final layout for my 12 Quatrefoil Christmas blocks; I sewed them together with the sashing strips. Oh my, I am loving this quilt top!
Right now it measures 40½” x 52½”; the next step is to add a strip of background fabric all around to float the top and then add a border (or maybe two). I have yardage in the large red and the large light grey floral prints. I’ll audition both fabrics before deciding.
As for binding, I could go with the green diagonal stripe or the small red print used in the corners of each block. It really depends on the outer border. Decisions, decisions!
These join the six blocks, shown below, that I wrote about in my last post:
All the fabrics except the background are from Corey Yoder’s “Holliberry” line for Moda Fabrics. The background is from Lori Holt’s “Seasonal Basics” line for Riley Blake Fabrics.
Now that the second set is done, I’m playing with all 12 blocks on my design wall to get just the right distribution of color and value. Each time I think “This is it,” I take another look and start moving blocks around again. Am I obsessing? Yes, but it’s what I do.
Well, tomorrow is another day. With any luck, I’ll arrive at a final setting and post it right here for all the world to see.
These blocks finish at 12″ square. I’ve decided to make a throw-size quilt with 12 blocks. With sashing strips and borders added, my quilt will finish somewhere around 56″ x 68″ — a good size to display on the back of a couch or over one’s lap.
Here are the first six blocks stuck up on my design wall with some sashing strips:
You can see how the sashing srips and the four-patches in the corner of each block combine to create an Irish chain effect. That’s one of the reasons I like this Quatrefoil quilt pattern so much.
I need to pay careful attention to how I put the fabric combinations together in the final six blocks so that the over-all effect is balanced. Isn’t it funny how hard we quilters work to make a scrappy quilt look effortlessly planned?
Have you ever made a block that didn’t turn out quite like you expected? Perhaps you were surprised by one of the elements but kept on making the block, not realizing you had made an error. That’s what happened to me a few days ago when I made a test block of Star Drops, designed by Margot Languedoc of the Pattern Basket.
Before I bought the pattern I had studied the design, guessing (correctly) that the outer star points were made from hourglass units that were trimmed on one long side. When I made my test block I resized it from 6″ to 12″ finished, adding an additional design element at the last minute. I wrote about that in my last post.
When I trimmed the hourglass units using the calculations I had made for a block that was double in size, I was surprised that the small triangle in the center wasn’t larger. And when I converted the center square into a snowball block by adding a triangle at each corner, I was surprised that the triangles were larger than the ones in the hourglass blocks. I concluded it was because the center square is larger than the other blocks.
I was wrong.
I had cut a quarter-inch too much off the hourglass units. That’s why the blue triangles were smaller than I expected. Oops! And then I cut the four corner squares a quarter of an inch too small. Oops again. My block was supposed to measure 12½” unfinished but it’s a half-inch shy of that.
To illustrate the difference, I drew the blocks in the software program EQ7:
The one on the left is a mock-up of the block I made. You can see that four of the triangles are larger than the other four. This block measures 12″ unfinished, 11½” finished.
The block on the right is a mock-up of what my block would have looked like had I trimmed the hourglass blocks properly and made the corner squares the correct size. It measures 12½” unfinished, 12″ finished. (I’m sure this star block has been made many times before and has a name but I haven’t actively searched for it yet. If you happen to know, kindly leave a comment.)
What to do about my oddly sized block? Well, if it were destined for a quilt of 12″ finished blocks, I’d have a real problem. Happily, I am planning to incorporate this block into a Junior Billie Bag panel that finishes at 14″ x 17″ so I’ll simply cut the sashing strips a bit wider to compensate.
So my block is actually a mistake. But you know what? I love it anyway!
I’m teaching a Junior Billie Bag workshop next month so I had the perfect excuse to make a 12″ test block for one of the front/back panels. I’ve been wanting to try Margot Languedoc’s Star Drops pattern since first seeing her charming design on Instagram last year. She has several patterns I want to make, all of which are pictured on her website, the Pattern Basket.
I bought the pattern and studied the construction. Her block finishes at 6″ so I resized it to finish at 12″. Here are the components of my block ready to sew together:
Just as I was getting ready to pin the rows, a thought occurred to me. What would the block look like with eight blue points instead of four? I made a snowball block from the center square using the stitch-and-flip method and wound up with this:
I have double Star Drops! The blue triangles are larger around the center square because the center block is larger than all the other blocks.
As good as the block looks as a square, look at it on point:
Is that not sensational??
It appears my next Junior Billie Bag will be black and blue and white. The floral print in the center of the block is one of several pieces I bought last April in a fit of fabric lust and wrote about here. I think I will make a kaleidoscope block out of that floral for the other front/back panel of my Junior Billie Bag.
Last August I posted a tutorial about using template plastic as a sewing guide when making snowball blocks (you can see the post here). I noted that the template could be used with just about any block that calls for a triangle to be made from a square or rectangle.
Using a template eliminates the need to draw lines marking the diagonal — for snowball or square-in-a-square blocks, for example — or ¼” inch on either side of the diagonal, as you might for Half-Square Triangles made from two squares of fabric. Drawing lines on fabric may not seem like a big deal but it takes a surprising amount of time, especially if you are working on a big project.
The template I made back in August measured 2½” x 4½”, the perfect size for the 6″ snowball blocks I was working on at the time. When I started working earlier this year on my version of Reach for the Stars, a medallion sampler quilt with triangles of all sizes in every single block, I made a larger plastic template with a couple of modifications.
I’ll show you how I used it in Block 7 of my Reach for the Stars project:
See the five square-in-a-square components in the center of the block? They’re the blue and green ones and the one in the very middle of the block.
For each square-in-a-square, I first sewed two squares on opposite corners, trimmed the seam, and pressed the seam toward the corners. Now I’m getting ready to sew the third square on:
I lay the template on top of the fabric with the right edge of the template lined up with the diagonal of the square:
Because I can see through the plastic, I can easily see that my template is positioned correctly. Did you notice that the right edge of the template is marked with black ink? That helps me see the edge of the tool on light fabric. When I’m sewing on dark fabric, I used the other edge.
Now I’m ready to sew. With the needle down I position the fabric right next to the edge of the template . . .
. . . and start sewing. As I stitch I can see that the edge of my template is in position along the diagonal of the square. My left hand on the template keeps it firmly in place:
On bigger pieces I use both hands to keep the fabric and template in place.
Here is my square-in-a-square, with the two edges ready to be trimmed and pressed:
(Every now and then as I am sewing next to the template I let the needle get too close to the template and it takes tiny bites out of it. That’s why you see what looks like perforation marks on the edge. I can still use the template for quite a while but eventually I will need to make a new one. And change my needle.)
Now what about those lines on the inside of the template, you ask? They are exactly ¼” and ½” in from the edge on both sides. When I am sewing Half-Square Triangles (HSTs) made from two squares, the ¼” line is on the diagonal and the edge of the template is right where it needs to be. To illustrate, I have two 5″ squares, right sides together, ready for the first line of stitching:
See how the ¼” line is on the diagonal of the squares?
Stitching the first line:
When I flip the block around to sew the second line, that ½” line on the template is directly on top of my first stitching line. I am lifting up a corner to show you what I mean:
Strictly speaking, that ½” marking isn’t necessary but I like it because it gives me one more way to test the accuracy of my stitching.
Would you like to make your own template? Here’s what you need:
— a strip of template plastic (frosted or clear) about 2¼” x 10″
— a piece of scratch paper (8 1/2″ x 11″ is perfect)
— a clear acrylic ruler (my favorite size for this purpose is 4″ x 14″)
— an Ultra Fine-Point Sharpie (or other fine point permanent marking pen) in black
1. Lay the strip of plastic on the scratch paper and, using a ruler and Ultra Fine-Point Sharpie, draw a scant ¼” line from one long edge:
The measurement needs to be scant because 1) the line you draw with the pen will add to the measurement and 2) when using the template you will be stitching right next to the edge of it.
2. Draw a line exactly 1/4″ away from the first one:
3. Repeat for the other side:
4. Lay the ruler very close to one edge and draw a solid line. You shouldn’t be able to see the edge of the plastic at all:
The reason for working on top of scratch paper:
Wasn’t that easy?
If you decide to make this template tool, please leave a comment to let me know how it’s working for you. Happy sewing!
I’m working on a quilt (another Work-in-Progress, begun over a year ago) that contains several snowball blocks — you know, the ones that have a triangle sewn to each corner, like this:
I’ve seen these edges referred to as foldover corners and stitch-and-flip corners. Whatever they’re called, the usual method of making them is to place a small square in each corner of the larger square, sew diagonal lines from corner to corner, trim the seams, and press the resulting triangles to complete the square.
Pretty basic, pretty fast. Except that it’s usually necessary to draw a stitching line on the small squares and sometimes to pin them to the larger square. It can get pretty tedious drawing all those lines on fabric, and it’s surprisingly difficult to stitch a perfectly straight diagonal line, especially when you are starting out at a corner.
Well! I recently learned a new way to sew these squares that doesn’t involve either pins or drawing lines. It’s faster than the old method and has resulted in improved accuracy in my stitching. I experimented a bit with the method and the materials, and this is what I came up with that works best for me:
It’s a piece of template plastic, about 4½” wide and 2½” long, the perfect size for a block that finishes at 6″. I placed the plastic on a piece of scratch paper and, using an acrylic ruler and black Fine Point Sharpie pen, drew a thin line along one long edge. You’ll see what the dark edge is for in a moment.
Here is my large square and the four smaller squares I need to make the corner triangles:
(The only reason I have pins in the smaller squares is to make sure they are in the correct position for the quilt I am making. If I were using the same fabric in all four corners, I wouldn’t need pins at all.)
I start by positioning one of the smaller squares right side down in one corner of the larger square. Then I lay the template plastic right along the stitching line, from corner to corner, with the edges of the template plastic extending beyond the beginning and ending points of the stitching line. The inked side of the template plastic helps me see the edge of the plastic better on light fabric:
Next I position the fabric with my needle (in the down position) right next to the template at the exact corner of the small square. Holding my left hand (not shown in the photo below) firmly on the template plastic, I start stitching right at the corner:
You can see the needle is right next to the edge of the template plastic, eliminating the possibility of straying off the stitching line:
It feels a little bit like stitching in the ditch, with the edge of the template plastic serving as the ditch. Being able to see the fabric through the plastic helps me make sure the fabric isn’t shifting.
I use the uninked long edge of the template on dark fabrics, as it is easier to see the needle as it goes in and out right next to the edge of the template plastic:
I sew all four corners in this manner, rotating the large square as I go and not cutting the thread between corners:
Now all I have to do is cut the threads, trim the seams, and press. Voila! My snowball block is done:
This method works for flying geese blocks, sawtooth edges, just about any block that calls for a triangle to be made from a square or rectangle. The templates can be made with cardboard or other stiff materials, but I’m sticking with template plastic because I like being able to see through it as I sew along next to it. I’ll make larger templates for larger blocks.
My thanks to Kelly at BlueBird Sews for introducing me to this new method. I love learning from fellow quilters!