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Turkey Tracks: The Mt. Battie Modern Traveling Quilts in November

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November 21, 2017

The Mt. Battie Modern Traveling Quilts in November

We had POURING cold rain the night of our meeting last Thursday.  Some of those from away elected, wisely, to stay home.

For those who made it to the meeting, these traveling quilts continue to excite us!

On the right  is Vicki Fletcher’s addition to Lynn Vermeulen’s quilt.  The pinks and blues are playing nicely with existing bright colors.  And this addition is opening up room for the quilt to grow, as four or five members have yet to work on it.  Vicki stretched herself by making these curved blocks as she tried making blocks she had never made.

Tori Manzi made a Timna Tarr map of Linda Satkowski’s neighborhood.  (We attended Timna Tarr’s map  workshop at our last Coastal Quilters’ meeting.  See Timna’s map quilts in the gallery at timnatarr.com)

Here’s how the map fits into this quilt.

Here’s G. Bruns’ quilt.  This quilt is in pieces, so we spent some time trying to see where we might begin to connect the blocks.  Linda Satkowski connected the top right pieces by adding the red trees between them.  And she added the hexie flower and the bright green/blue blocks.  I have this quilt now, so who knows what will happen to it next.  My mind is turning over ideas as I work on other projects right now.

I did not get a good picture of Vicki’s quilt.  It’s getting large now.  Lynn Vermeulen added the stars over the forest and cabin

Aren’t these great stars!!!

Becca Babb-Brott added the “never stop looking up” to Nancy Wright’s “star” quilt.  And, the selvage star on the right.  Joann more added the “made fabric” star in blues–a la Victoria Findlay Wolfe.  I hope some of you have iPads and will look at these stars close up.  I promise to get close ups next go round.  This quilt is certain to get more celestial blocks.

My quilt arrived at the Mt. Battie Sit and Sew the next day.  It was so fun to see it as I have not seen it for some time now.  Nancy Wright added the big moon, and G. Bruns added the big feather.

Love this feather and the way the Carolyn Friedlander background fabric works.  And the teacups that Margaret Elaine Jinno made for me–one each for my sons and daughter-in-laws.

Nancy used a collection of fabrics she had to make this moon–Blue Park designed by Karen Lewis Textiles.  I love the curved pieces in this circle.

JoAnn Moore made this star for someone’s quilt–and I have lost track of whose.  It will be put in the right box, and I’ll point it out next time we see the quilts.

JoAnn Moore worked on Margaret Elaine’s “village” quilt.  We placed some of the buildings around Vicki’s square for fun.  JoAnn finished the school’s and flagpole at the Sit and Sew on Friday.  You can see them below.

So, we are having fun.  And now we all have projects to work on for the next two months.  We will see the quilts again in January.

Written by louisaenright

November 21, 2017 at 11:30 am

Turkey Tracks: Scratching a Log Cabin Itch

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November 2017

Scratching a Log Cabin Itch

This one began as a 10-inch (finished) leader/ender project, using 1 1/2-inch brights and neutrals from that strip bin.

Then, suddenly I had 16 of them.

I really wanted to see LOTS of the neutrals together, so the quilt got bigger in order to see this pattern in a symetrical way that pleases me.  It’s now 60 by 60.  So I did have to make more blocks as a dedicated quilt, not as a leader/ender.  And that was fun.  I only had to cut a few black/white neutrals to add to what I had in this strip bin.

It’s on the longarm now, and I’ll likely finish it today.

It is a joy to work on a quilt that is squared up properly–and that is what happens when one is anal about making sure every strip sewn on to a block is “true.”  If not, fix it at that spot.  It’s really easy to get “off” with log cabin blocks.  I keep a square ruler on my ironing board and measure as I iron each strip.  That practice saves me time in the long-run and a lot of anxiety as I quilt the quilt on the longarm, which is so not forgiving of our-of-true quilts.

More pics to follow when I finish it.

Written by louisaenright

November 20, 2017 at 2:42 pm

Turkey Tracks: Change of Fabrics for Bonnie Hunter Mystery

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November 17, 2017

Change of Fabrics for Bonnie Hunter Mystery

As I posted earlier, I started with these fabrics—which replicate Bonnie Hunter’s color scheme.

They’re pretty.  No doubt.  (The deep dark is a midnight teal.)

 

But,, but—I have been thinking all winter that I want to work with lots of low-volume fabrics this winter.  And I have several projects picked out to start.  And I’ve been clearing the decks to get to them.

I had not intended to make this year’s mystery when it starts, but to print out the pattern for sure.  Bonnie’s mystery patterns are the best.   But a friend asked me to accompany her on this year’s mystery journey.  And several more have joined us.  This friend was over the other day with fabrics to audition.  Along the way, she looked at me and said, “You know, I really want to work with neutrals and not these colors we’ve picked out.”

Oh my!

”Me too,” I said, and I’m going to pull out a different combo from my stash and see what it looks like.”

”Let’s do it RIGHT NOW,” said my friend.  And off we went.

Here’s what we pulled:

 

Now I’m happy!

And, yes, these are colors I used in “Butterscotch Fall,” so clearly I have not scratched this itch enough yet.  I can’t wait to see how these colors come together.

Written by louisaenright

November 17, 2017 at 6:16 pm

Turkey Tracks: My Milli is FINISHED: “Butterscotch Fall”

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Turkey Tracks:  November 15, 2017

My Milli is FINISHED:  “Butterscotch Fall”

I love this quilt.

I love everything about it.

I have loved every minute spent making it.

This quilt stretched me.  It let me go off into all sorts of new quilty directions.

Here is “Butterscotch Fall.”

One year ago, in early fall, I got inspired for the milli fabric by a range of fall fabrics I saw in local quilting stores–and that inspiration set me off.  I had been trying to come up with focus fabrics for this quilt project over the summer.  As I worked on the quilt, the butterscotch color kept coming on stronger and stronger–some times lighter, sometimes as dark as honey.  When the top was finished and I was hunting for backing, I knew when I saw this 108-inch wide Carolyn Friedlander cross-hatch fabric , called Butterscotch, that I had both my quilt’s backing and its name.  (This fabric is from Friedlander’s Architextural line.)

I wanted this quilt to have an organic feel of fall:  colorful leaves, trees going bare, bees, hives, the idea of harvesting fall honey, blue water under a vibrant autumn blue sky, vivid green moss, the ghosts of Halloween, the grey and blacks of the darkening days and longer nights, and so on.

I was paralyzed about how to quilt the top when I remembered that Jo Diggs once told Coastal Quilters members that you can’t go wrong with using a Bishop’s Fan pattern to quilt.  I liked the idea of this old-fashioned pattern on this modern quilt, which in turn used ancient millefiori rosettes as its design.  And I have the Bishop’s Fan groovy boards for the long arm.  (If you don’t know Jo Diggs, take a minute and look at her web site gallery.)

You will see a Japanese text fabric used in all its color ways in this quilt.  For instance, it’s in the grey star above and in the star below in gold.  These fabrics were designed by Suzuko Koseki.

 

 

 

 

 

Here’s the first rosette, which began to set the tone for the quilt:

 

I am so proud of this quilt.

It is PERFECT!!!

Thanks you so much Katja Marek!

Turkey Tracks: Valse Brilliante Project

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Turkey Tracks:  November 9, 2017

Valse Brillante Quilt Project

The block pile for the English Paper Piecing “Valse Brilliant” is growing.  This quilt is from Willyene Hammerstein’s book MILLEFIORE QUILTS.  And this work was one of the many Coastal Quilters (Maine) challenges proposed and started last winter.

There are close to 40 now.  I need just under 100 blocks I think.

My rules are brights and text fabrics, every block must have both.  Two forms of blocks emerge, one with darker color on the wide pieces and one with darker color on the narrow pieces.  When I glued block pieces, I often made both versions from the two chosen fabrics.  You can see both versions below:

 

I had fun with this block, which uses one of the Cotton+Steel whimsical fabrics with a desert motif and one of the C+S basic fabrics:

I have also used a lot of the “pearl bracelet” fabrics, both large and mini, from Lizzy House from Andover because they have such clear, bright colors.

I found an old computer laptop lap support tucked away in John’s technical supplies.  It works perfectly as a platform for English Paper Piecing blocks.

It is thicker on one side, and I put that side next to my body so my hands and arms have support.  This laptop platform saves a lot of wear and tear on arm, wrist, and neck muscles.  When I am putting on binding, I use a fat couch pillow for support.  Otherwise, I am always bending my neck over too far.

My as yet unnamed millefiori quilt (Katja Marek) is done but for one side of binding.  Pics to follow soon.  It may be my most favorite quilt ever.

Turkey Tracks: Recap: The Modern Quilt Showcase 2017 – whole circle studio

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November 6, 2017

Recap:  The Modern Quilt Showcase 2017–Whole Circle Studio

Here’s a wonderful post from Whole Circle Studio about the Modern Quilt Showcase at Houston:

via recap: The Modern Quilt Showcase 2017 – whole circle studio

Written by louisaenright

November 6, 2017 at 4:46 pm

Turkey Tracks: Fabrics for Bonnie Hunter’s 2017 Mystery Quilt “On Ringo Lake”

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November 6, 2017

Fabrics for Bonnie Hunter’s 2017 Mystery Quilt “On Ringo Lake”

I wasn’t going to do this year’s mystery quilt.

I have done four of them now, each a gem.  But, I have some other projects I wanted to finish before starting the mystery quilt.  I was just going to print the clues and make the quilt later.  Maybe.

But then, several people I know wanted to do it.

And the next thing I knew, I was pulling fabric.

For the first time, I’m substituting a fabric:  for Bonnie’s rich dark brown I am using two rich, midnight dark teals that have been hanging out in my stash for way too long.  If I buy any other fabric, it might be a third dark teal.  This dark teal does not show it’s dark richness when I try to take a picture of it.

Here you can see it provides plenty of contrast.

And here’s a pic I manipulated considerably to show the textures.

Below are pics of my aquas, corals, and neutrals:

 

I may add more neutrals.  These were pulled from my Cotton+Steel and “text fabric” bins.  On “En Provence,” I really liked the inclusion of some busier neutrals.  See?

Bring on the clues.

I’m ready!

 

Written by louisaenright

November 6, 2017 at 4:19 pm