Category: Quilting in Maine

Quilting, mine and others

Turkey Tracks: Half-Square Triangle Patterns

Turkey Tracks:  February 3, 2012

Half-Square Triangle Patterns

After I posted about using scraps to make my BLUE TANGO quilt, made from half-square triangle blocks, it occurred to me that I could have highlighted a terrific book that titilates the imagination about half-square triangle possibilities.  It’s SPECTACULAR SCRAPS by Judy Hooworth and Margaret Rolfe.  BLUE TANGO is a simple light/dark arrangement.  You can see from this book cover that you can take half-square triangles to much more complicated places.  And, below, see an idea for a “rainy day” design project for children.

Here’s a page from the book that shows some of the many, many ways to arrange light/dark half-square triangles.  BLUE TANGO was the first pattern under No 5.

Rainy-day design project for children:

For a rainy-day project with children that helps them “see” design possibilities, have them cut out 3 to 4-inch squares, draw a diagonal line, color in one side, and make some of these designs.  Perhaps they will want to paste their design to a poster board as an art piece?

Turkey Tracks: “Two Bits” quilt

Turkey Tracks:  January 29, 2012

“Two Bits” Quilt

As I’ve been writing since early January, for over 10 years, when I finish a quilt I make myself cut up any leftover fabric pieces that are too small to fold and put into my stash.  I start with the largest square–up to 5 inches–and work down.  The smallest square I cut is two inches.  And, at the start of January, I had two and a-half bags of two-inch squares.

I had been seeing large blocks made from these small squares for some time–say a block of 25 (or 5 rows by 5 rows).   But, what color setting fabric to use?  I didn’t want to use a cream or white muslin.  That would be pretty, but too tame for me.  Then I saw a quilt in the December 2011 “American Patchwork and Quilting” by Miriam Kujac that used a soft black setting fabric and used, even, grey borders.  The small patches glowed with the soft black to set them off.  This quilt was a reproduction of an antique quilt that used a type of grey/black fabric called “Mourning” that was made from the 1800s on.  Kujac named her quilt “Mourning Glory” after that antique fabric.

Also, I liked the alternating rows of two different sized blocks Kujac used.

Here’s “Two Bits” at its beginning.  You can see some–but by no means all–of the other sacks of cut fabric.  There’s a huge bucket full of them off the end of my ironing board!  And, there are MANY more of the two-inch squares.  I think what’s in the pic is the contents of one bag.

Here’s the finished quilt.  The picture does not begin to do justice to this fabulous quilt!

I had a large piece of red (cranberries) fabric in my stash that was perfect for the backing:

I used a soft grey thread to quilt “Two Bits,” and a pantograph of feathers that were full of curves–to offset the straight lines of the quilt blocks.

Finally, here’s a picture of the grey borders and binding–all from my stash:

One of the fun–and sweet–things about using these squares is that I was–and am again now looking at these pictures–of all the other quilts I have worked on.  I deliberately placed blocks with faces–and there were a lot of faces of all sorts–directionally–so that they were all going the same way.  For those of you who have one of my quilts, look closely as you’re liable to see some fabric  you recognize.

“Two Bits” is now living at my sister’s house–Jamie  Philpott Howser–in Atlanta, Georgia.  She likes it too.

The leftover two-inch squares are mostly warm colors.   Hmmmmm.   Maybe a rich russet brown setting fabric???

Turkey Tracks: Blue Tango Quilt

Turkey Tracks:  January 18, 2012

Blue Tango Quilt

To continue my scrappy quilting saga and the using up of cut scraps…

At least four years ago, for a Coastal Quilters’ program, I made a set of blocks to illustrate “how to make” and the versatility of half-square triangle blocks.  On the “how to make” side, I can tell you I learned early on from my Virginia quilting buddies to cut the light/dark squares you’re going to layer a bit bigger–as much as a half-inch bigger–layer the blocks, draw a line down the center diagonal, sew a quarter-inch from the center line on each side, and cut apart your blocks on the center line, press, and trim them to exact size.

At the meeting, people could place the blocks into a design on the portable design wall we had set up.  There are, literally, dozens of beautiful combinations.  I took those blocks, added to them, and made one of my favorite designs:

I called this quilt Blue Tango.

I had a large piece of fabric that has been in the stash for years and years that worked perfectly for both the border and the backing.  I really like the very lively movement it brings to the quilt.  And, here’s another light binding–something different for me as I tend toward dark bindings.

I quilted Blue Tango with the “Chocolate Feather” pantograph.  I’m getting slightly better, but learning to have complete control with the machine while using a pantograph is still hard, and it’s been nice to have all these quilts to practice on.

I’m going out today to get backings for four quilt tops that are finished or nearly finished.  How fun is that?

Turkey Tracks: Happy New Year! Happy Quilting!

Turkey Tracks:  January 16, 2012

Happy New Year!

Happy Quilting!

Happy New Year!

This post is the first post of 2012.

The first two weeks of 2012 have been a period of intense creativity which has taken the form of quilting madness.  Thus, no computer work, no columns written, no blog posts, no fancy cooking.  Just quilting and maintenance tasks like laundry and feeding us and the animals.

I’ve noticed that I have a habit of reorganizing in the quilt room in January.  Two years ago I sorted books, moved the room around, and went through bins of supplies.  Last year I reorganized my stash–recoloring, refolding, pulling out small pieces, and so forth.  This year I went to scrappy heaven–after days of cutting up the unruly pile of fabrics that were not big enough to “file” in the stash.

Since I first started quilting in earnest in 1999, I have been cutting up leftover scraps into what I thought might be useable future pieces–starting with the biggest square I could get–6 inches.  The sizes went down from there to 2-inch squares, to 3 1/2 by 2-inch rectangles, to  1 1/2 inch strips.  I now have BAGS of cut scraps, and this year, I pulled them out and started piecing, sorting, and piecing some more.  I’ve completely finished and quilted two quilts, have 2 other tops ready for backings that I need to purchase since I don’t have anything quite right in the stash, have a quilt pieced on the design wall, and can see 3 or 4 quilts still in the scraps which have now been sorted by color.

Along the way I’ve realized that from now on I’ll probably just cut 5-inch squares, 3 1/2-inch squares, 2-inch squares,  2 by 3 1/2-inch rectangles, and the 1 1/2-inch strips.  The 3 1/2-inch squares, 2-inch squares, and the rectangles can be combined in all sorts of ways to make interesting blocks.

For instance, here’s a block made from this combo–set inside a striped fabric that helps control the wild blocks:

And I really love this one where the center is made with leftover 3 1/2-inch blocks from an earlier quilt:

I first chose a different surrounding stripe, but it didn’t play nicely with all the blocks.  But, not to worry, I’ve got LOTS of purple, blue, and green fabrics in my stash–so here’s another quilt from the scraps that will be really pretty.

I particularly loved this block and started seeing them all set on-point:

Here’s how this wild, colorful quilt is shaping up–the outer blocks will be trimmed just beyond their centers to square the whole thing up:

The rectangles alone can be used in all sorts of ways.  Here’s one example with blue rectangles and an alternating light and dark center/edge:

The center of this block can be either 2 rectangles or one 3 1/2-inch square.  The  pink and black blocks on the right are the Broken Dishes pattern made from 5-inch light and dark squares.  The 5-inch square finished to 4 inches trimmed.  (I always cut slightly larger for ANY half-square type block and trim to size since I have never in my life sewed perfectly enough to make the measurements come out correctly.)

One of the completed quilts is made from the BAGS of 2-inch squares.  I’ll show it and one made from 5-inch half-square triangle blocks separately in another post.  And another top is a La La Log Cabin version made from the 1 1/2-inch strips–also to be shown separately.  And there is a rather nice blue and white quilt made from leftover blue and white blocks from earlier projects–I have yet to take a picture of it.

And so, 2012 begins!!

Turkey Tracks: Sun, Sea, Sand Quilt

Turkey Tracks:  November 15, 2011

Sun, Sea, Sand Quilt

Well, here it is all finished–a La La Log Cabin method, as designed by Rhea Butler of Alewives Quilting in Damariscotta Mills, Maine.

Basically, you start with a funky center, build out, and trim up your blocks to a set size.  I trimmed these at 12 inches.

This kind of quilt is a fabulous way to knock back your stash–and I’m on a mission to do that these days.  For every quilt I plan and BUY, I’m trying to make–at least the tops–out of my stash–where many beautiful, beautiful fabrics reside.

This quilt is made entirely out of batiks.  I did buy the backing, which I loved at first sight.  But I got the fabric 20% off–thanks to a sale at Alewives!

Note, too, the light binding.  I almost always finish with a dark binding, but this quilt seemed to want to just keep going and not be bound by a dark line…   It’s certainly full of good, good energy, isn’t it?

Here’s a close up of the binding effect:

Here’s a close-up detail:

And, here’s what the long-arm looks like with a quilt loaded and being quilted:

One can quilt from the front of the machine–which one does if one is working with templates or one’s own designs.  If one is working from a paper pattern–called a pantograph–the quilting is done from the back of the machine.  One follows the pattern with a laser light beam.

I wanted a quilting pattern that was curvy, since there are so many straight lines in the quilt.

Lucy is a Handi-Quilter, Avante.  She has an 18-inch throat, which gives me lots of room for big patterns.  And, it means one doesn’t have to roll up the quilt so often.

I love this machine.  The learning curve has been awesome–and I’m only now feeling like I’m getting some bit of competency.  Working with a long-arm is very different from working with a domestic machine.  I still struggle with getting the tension to behave–but that’s a learning curve, too.  The bobbin adjustments are opposite a domestic machine, for one thing.  But, I learn nothing more than learning all about something new–so I’m quite happy.  And, of course, my ability to make LOTS of quilt tops–I LOVE TO PIECE–is getting fed every day.

 

Turkey Tracks: Road Trip to Fiddlehead Artisan Supply, Belfast, Maine

Turkey Tracks:  October 29, 2011

Road Trip to Fiddlehead Artisan Supply

Belfast, Maine

A few weeks back, a quilting friend and I decided to go see the new quilting/artisan supply store in Belfast, Maine.  It was the perfect day–pouring rain.  We looked forward to seeing the store, having a warm and cozy lunch at Chase’s Daily, and shopping in the Belfast Coop.  As predicted, we had a wonderful time.

Fiddlehead Artisan Supply is a terrific addition to our local quilting scene.  How many people have access,within 45 minutes, to so many good quilting stores:  Fiddlehead in Belfast, Nancy’s just outside Belfast, Quilt Divas in Rockland, Mainely Sewing in Nobleboro, and Alewives in Damariscotta  Mills.  Each of these stores is very different from each other.  We have nearly as many really fabulous yarn stores as well.  Truly, I live in an area rich with fiber arts materials.

Fiddlehead carries a unique variety of items.  Yes, there’s fabric–both quilting and decorator–but also other, electic goods, like fabric paints and unique ribbons.  There’s a nice book and pattern section as well.  And, they are selling consigned quilts.

When my sister visited this past summer, she thought our little towns were very European in nature.  I agree with her, and I think that’s part of why I like New England so much.  Here’s what the street scene looks like where Fiddlehead is located:

Here’s what you see when you go inside the door:

Here are some of the unique ribbons:

And, Fiddlehead has ALL 500 embroidery colors:

Makes you want to start a new project, doesn’t it?

Turkey Tracks: Sweet Pea Quilt

Turkey Tracks:  October 13, 2011

Sweet Pea Quilt

I’ve just finished one of the happiest quilts I’ve ever done.  I adore this quilt.

I find I’m increasingly drawn to bright contemporary fabrics these days.  They are so full of life and energy.

This quilt was a kit from Mainely Sewing in Nobleboro, Maine.  The kit was called “Layer Cake,” I think, and it’s made from Kaffe Fasset prints.   Marge has a strong internet business, so you can get this quilt or any of her other quilts online:  www.mainelysewing.com .  You buy the different “layers” until you make the size quilt you want.  One package makes a small quilt, and so on.

The pattern starts with 10″ squares.  One cuts off two long strips and two short ones–what remains is the inner square.  Then, you just start mixing and matching strips to inner squares.  I think this method would be a really fun way to diminish a large stash and I’ll try that soon.  Probably the way to control mixed fabrics from a stash would be to choose one color–or only a few colors.

Here’s the back–I got this fabric on sale at Quilt Divas in Rockland, Maine.  The fabric is a rich lime color, and it’s perfect for this quilt.  The “stem” of the leaves is a strong pink:

Here’s a close-up of the front.  I quilted it with lime green thread–on the long-arm–with a pantograph called “Sweet Pea Scramble”–  Iahttp://www.lovetoquilt.com/quilting-pantographs-and-roll-patterns/golden-threads/roll-patterns-8-inch.htm.  I’m really loving learning to use the long-arm, and I really like using a pantograph for a quilt like this one where there are no borders and one doesn’t want the quilting to get in the way of the fabrics.  I’m getting much better with the tension on the long-arm–it’s just so different from a domestic machine.

Here you can see how a lively, colorful quilt like this one can perk up a bedroom, even when just folded across the end of a bed:

Here’s one more view of some of the fabrics in the quilt:

Turkey Tracks: Let There Be Light

Turkey Tracks:  October 12, 2011

Let There Be Light

I keep forgetting that I’ve never put a picture of one of my favorite quilts on this blog.  I think it was among the most challenging quilts I’ve ever made, and I think it turned out well.  I designed it myself and drew some of the patterns, including the border, on Electric Quilt.  The quilt is made from a New York Beauty block, and I was inspired by any number of published quilters who have worked with this traditional block.  I remember the first time I saw a New York Beauty quilt years ago and how excited I was about making one myself.

The quilt is heavily quilted, with many different threads.  And, heavily beaded around the borders, as if the center is throwing light out to the edges.  Sarah Ann Smith took a picture of it–she’s got really good lights, etc.  But I can’t get the picture any bigger than this one without distortions.

Here’s the best I can do in my studio–and my camera distorts from top to bottom anda the colors aren’t right.  The splashes of bright green are lost, for instance.

Here’s a piece of the quilt–I used it to make my “business” card.  I put business into quotes as I don’t have any business to advertise.  We don’t really call these cards “calling cards” anymore, but I do give mine out to everyone I meet who seems as if they might be interested in some facet of this blog.  By the way, Vista Print makes beautiful cards for practically free.  I put this image on the front of the card, chose a coordinating color for the back, and put my information on the back.  Quilters could make different cards from details from different quilts pretty inexpensively.  When I reprinted my cards last month, I opted for GLOSSY on the front, and I really like it.

Here’s a close-up of the little version of the New York Beauty block:

 You can just see some of the beading, but even through it’s heavy, it’s also quite subtle.

I love this quilt.  I kept it, and it hangs in my quilt room!

I hung it in the judged section of the Pine Tree Quilt Show three years ago, and it only garnered a third.  I was terribly disappointed because I thought it was a first for sure, especially since Pine Tree judging is supposed to be about the merits of a quilt on its own, not in comparison to any other quilt in a curved judging event where percentages are considered for firsts, seconds, etc.  That’s judged quilting for you, though.  As much as people have tried to make quilt judging fair, it is terribly subjective, and the colors in this quilt are…different.  This quilt was a watershed for me.  I decided that I make quilts because I love to make quilts–good ones that are exciting and fun.  I don’t need someone else to tell me they’re wonderful because I know each one is, even when something has gone wrong along the way.

Turkey Tracks: Quilt in Progress, September 2011

Turkey Tracks:  September 18, 2011

Quilt in Progress

September 2011

Here’s a peek at the quilt I’m working on these days:

And, here it is coming together on the design wall:

This quilt is such a happy quilt.  I’m so enjoying working with it–which hasn’t been often enough since I’ve been so busy processing harvest food.

The fabrics are all Kaffe Fasset prints, which I love.  And though it can seem jumbled a bit at this stage, I’ve seen it made up, and I really like it.  I bought the kit from Marge at Maine-ly Sewing in Nobleboro, Maine.  She sells online too:  http://mainelysewing.com/

It’s on Lucy the long-arm now, being quilted with lime green thread, which is looking quite pretty, and with a “sweet pea” pantograph.  The backing is a lime green print I got on sale at Quilt Diva’s in Rockland.  It has a linear print of leaves whose panels were QUITE hard to line up properly in order to get the right width.

I haven’t decided what to name it yet.  Happy Quilt isn’t quite right.  Layer cake isn’t either.  It will come to me…

Turkey Tracks: “A Thousand Flowers” Comes Home

Turkey Tracks:  August 20, 2011

“A Thousand Flowers” Comes Home

Here’s what our Coastal Quilters’ Grocery Store Challenge looked like hanging at the Pine Tree Quilters’ Guild show in Augusta, Maine, this past July.   You can see  my entry, “A Thousand Flowers”–it’s the third from the left, top row.  I wrote a blog entry on this quilt earlier, so you can take a look at that if you want to see a close-up.  On the right sidebar, search on quilts.  I used Green Hive Honey Farm as my food product–local UNHEATED honey which is made by bees from “A Thousand Flowers.”

Sarah Ann Smith staged this presentation with her usual flair.  Viewers were asked to try to identify which quilt represented what product from the grocery store.  Answers lay beneath the strips of fabric on the cards below.  Sarah is a nationally recognized quilt teacher and has a fabulous web site, which you can visit to see her amazing and exciting work:  http://www.sarahannsmith.com/index.php.  Sarah’s quilt is to the right of mine.

And, here’s “A Thousand Flowers” in the entryway to my quilt room.  Home at last.