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Posts Tagged ‘MODERN QUILT MAGIC

Turkey Tracks: Lending Some Quilts

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Turkey Tracks:  August 4, 2019

Lending Some Quilts

Karen Martin and I loaned Fiddlehead Artisan Supply (Belfast, Maine) some quilts for their booth at the recent state quilt show (Pine Tree Quilt Guild).  That’s my Katja Marek Millifiori to the left of the Fiddlehead sign.  Below it is a Katja Marek 54-hexigon quilt—all based on Marek’s book THE NEW HEXAGON.  The blocks are all Cotton+Steel.

Karen’s wonderful Tula Pink (greys, blacks, whites, and yellow) is to the right of the Fiddlehead sign.  This quilt is from Tula Pink’s 100 MODERN QUILT BLOCKS.

The quilt behind the service desk is my Victoria Findlay Wolfe’s herringbone method from her MODERN QUILT MAGIC book.  This quilt is all Cotton+Steel low volume fabrics.  I’m assuming that most of you know that C+S has moved to Moda, taking their designs with them, and are now known as Ruby Star Society.  Their first fabrics from Moda are shipping this month.

Here are close-ups of these quilts.

 

 

 

Turkey Tracks: Sunday Morning Quilt

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Turkey Tracks:  March 10, 2019

Sunday Morning Quilt

I love this yummy quilt.

The pattern came from SUNDAY MORNING QUILTS (Amanda Jean Nyberg, Cheryl Arkison) and was designed by Cheryl Arkison.  I used all Cotton+Steel fabrics, except for the solid binding.  And I made it as a “cool” companion to the “warm” quilt (see below) using the herringbone pattern Victoria Findlay Wolfe designed (MODERN QUILT MAGIC).

I quilted with the “Simple Feathers” pantograph designed by Anne Bright.  And I used a soft smoky seafoam green thread that disappeared into the backing, from Signature threads.

 

Here’s the “warm” quilt, to remind:  “Bee Warm.”

 

Both of these quilts have lived in my mind for some years now.  It’s so good to have them be really here.

The Cotton+Steel designers have left their original home and are now “Ruby Star Society.”  Their first collection from their new home arrives this summer.  I just signed up for the Pink Castle “Ruby Star Society” fat quarter club which will start in July.  Yeah!!!

Turkey Tracks: How Many Ongoing Project Are There?

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Turkey Tracks:  March 4, 2019

How Many Ongoing Projects Are There?

Some of stopped sewing long enough to count up ongoing projects we’ve started.

1.

I was in pretty good shape until I got involved in Sewtopia’s Color Collective project with blocks and solids designed by Tara Faughnan.  (Amy Newbold owns and runs Sewtopia.)  For heaven’s sake, google “Tara Faughnan quilts” and you will be blown away, as I was.  She works in saturated color and solids.  (Tarafaughnan.com)

The first month’s block was the circle; the second, the cross.  I combined them as clearly I got obsessed and couldn’t stop making them.  Note the two projects at the top of the design wall.

This top is done now, and I absolutely love it.  I’ve found, in my stash, a backing I like a lot, and I will buy a binding.  I’m thinking of doing some hand qulting with size 8 pearl cotton.  Here is the top all together.  It glows.

2.

Above the big project on the right is a row of 14-inch blocks, made using scraps from the solid projects and from my solid stash. I saw this block used in a quilt made by Then Came June called “Checkered Garden Quilt” and using Alison Glass bright fabrics in the Road Trip line.  I fell in love with it.  (Here is a picture: https://thencamejune.com/products/road-trip-checkered-garden-quilt.)  This block has been called “part Trip Around the World,” part “Granny” block.

Here’s the next block cut out and ready to go and waiting in the adjacent bedroom—sitting atop my Traveling Quilt.

3.

Above left is the start of the “Slopes” quilt by Amanda Jean Nybery of Crazy Mom Quilts.  The book is NO SCRAP LEFT BEHIND.  I am cutting the dark Cotton+Steel fabrics—a few a day—for this quilt.  I’m using leftover 1 1/2-inch blocks combined with leftover solid pieces for the row of “little” pieces near the top of the quilt.  I might do more than one of these rows.  Who knows?  Not me.

4.

I have a bird quilt project going and have made three of the big blocks and one of Jen Kingwell’s “The Avenue” of trees blocks.  I’ve been saving bird fabric for several years, but I’m choosing only the artist-types for this quilt.   I want to use in an improv style.

The 9-inch tree block is bigger visually than I thought for some reason.  Inspired by Tori Manzi’s recent tree blocks on our Mt Battie “Bee Inspired” project, I’ll probably group these in lines and make them in seasonal colors.  This one would be “spring.”

The I’m thinking this will look like a MUCH BIGGER version of this little quilt I made in a Timna Tarr workshop.

5.

My Sunday Morning Quilt is done and getting its binding.  Cheryl Arkison is the designer, and it’s in the book she did with Amanda Jean Nyberg called SUNDAY MORNING QUILTS.  The thread color I ordered arrived.  My go-to grey just didn’t work well on the backing.  This quilt is the “cool” to the “warm” herringbone quilt I finished not long ago, designed by Victoria Findlay Wolf and in her delicious book MODERN QUILT MAGIC.  See previous blog posts for that quilt.  Both of these quilts are LUCIOUS!  And both are totally Cotton+Steel low volume fabrics.

 

6.  My “Wild and Goosey” quilt is once again on the back burner.  Bonnie Hunter designed the block.  I have all the sashing cut, and the design I want to do for it all planned.  I’m sure I’ll need more of the little blocks though.

7.

Right now I am working on the “parts department” improv quilt.  See the earlier post on this quilt project.

8.

There is the EPP “36-Ring Circus” project.  This one is slow as there is a big learning curve.  That’s ok.

9.  There are more pillows from a method shown by Anna Graham of Noodlehead projects (HANDMADE STYLE) in the works.  This project is one of two from Mt. Battie Modern Quilt Guild.

10 and 11.

There are TWO blocks to make as part of the Color Collective class.  The fabric for the first one is all washed and ready to go.

12.

Here are the FIRST blocks for the Mt Battie Modern Quilt Guild’s challenge “Bee Inspired.”  These blocks were made for Donna Strawser, whose prompt was “Mid-Coast Maine.”  You can see the individual blocks better on the Mt. Battie Facebook page or on Instagram.  Thirteen quilters each made one of these blocks for Donna, and she made one for herself, so 14 blocks.  Mine is the white winter birch trees at dawn.  Tori Manzi made the four trees at the bottom, by season.  They really need to be seen lined up together, a you can on FB or IG.  Donna will now set these blocks into a quilt and will bring it back to show us at some point.  I will need to make a block for our next Bee Inspired event in April:  “Dark and Light” for Vicki Fletcher.

I really, really loved this block I made and might do another version for one of the pillows:

13.  I am gathering bits for a Rice Bowl bag or two.  See earlier post, but the designer is kzstevens and the pattern is in her Etsy store.

14.  I want to make a little sewing folder like friend Megan Bruns showed me the other day.

So…

That list is not actually too bad.  In any case, I’m having so much fun, even though I’m not getting as much time as usual, due to the needs of my boyfriend, AC Slater, who will be 1 year next month.  He’s a crazy man and has me visiting the dog park daily, as the snow and ice are pretty risky on the wood paths.

Turkey Tracks: Recent Projects

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Turkey Tracks:  January 30, 2019

Recent Projects

Good morning!

We had snow in the night and now…rain.  It’s also very warm for Maine in late January.

Here are some pics on my current projects.

This EPP project is HARD!  There is a real learning curve involved here, but I’m getting faster now.  This is “36-Ring Circus,” designed by JoAnne Lewis and available at Paper Pieces.  I did NOT buy the whole templates offered, just the ring kit, which includes the center “pointy” temlplate—shown in red on the first ring.

I am currently using Cotton+Steel fabrics for the centers and solids (pastels for the ring and darks for the ring centers and diamond shapes) for the rest.

 

Here’s the status of THE COLOR COLLECTIVES first project:  circles.  So far I’ve broken TWO of my machines with the invisible thread.  Probably, I did not release the needle tension enough.  I did release the foot pressure instead, which was clearly a mistake.  I don’t think anybody but ME is having these issues.  One machine is back—along with two spools of thread that the marvelous Marge Hallowell of Maine-ly Sewing donated to the cause and for me to experiment with and about which to get back to her.  I would love to make this quilt a bit bigger, to a lap size, but I may also use the second months’s block—a foundation pieced cross—to create a border.  I’m still movng around blocks on the design wall—which is kind of crazy as I need to fill in the holes first.  I could, also, use a matching thread for the circles if I have matching thread.  I do love these circles.

Recent intense weekend sewing produced this “Cool Sunday Morning Quilt” from SUNDAY MORNING QUILTS (Amanda Jean Nyberg and Cheryl Arkison).  It’s all in blue/green/grey Cotton+Steel low volume fabrics.  And it’s meant to be a companion to the recently finished “warm” quilt below, also made from C+S warm low volume fabrics—using Victoria Findlay Wolfe’s herringbone method.

 

Of course I also have three or four other projects developing or simmering, especially when I get to “playing” with some ideas and fabrics.  More on those later.

Turkey Tracks: “Bee Warm” Quilt

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Turkey Tracks:  December 2, 2018

“Bee Warm” Quilt

It’s done!

This quilt is done with Victoria Findlay Wolfe’s herringbone braid method found in her book MODERN QUILT MAGIC. And the fabrics are all Cotton+Steel low volume.

This quilt has been what seems to me a long time in the making—mostly because I had other projects with higher priorities.  So, this one became a kind of leader/ender project, which I started back in May 2018 at the Coastal Quilter’s retreat.  It took some time to get in the rhythm of this method—it’s not hard, just different.   And I had a little trouble figuring out how wide and long the braids would be.  I went back and added more length to the braids when I realized the quilt was too wide for the length.  Next time…I will know.  And I suspect there will be a next time, for I really like the texture of this quilt.

I started by going through all my Cotton+Steel low volume warm fabrics and ironing each one enough to cut the 2 by 8 strips.  (I prewash all fabrics when they first come into the house as the chemicals in them bother me.)  So I had a big bag of strips and had a great lot of fun choosing which ones to use when as I sewed.  I had this kind of selection because I had a monthly C+S club order from Pink Castle Fabrics for about 2 years.

I’m assuming you know by now that C+S will no longer have the 5 original designers who have now moved to Moda and are named the Ruby Star Society.  Their first fabric offerings with Moda will be in the spring of 2019.  I will also say that some of the new designers under the C+S name are interesting, especially Emi Oka, who is from Tokiname-shi, Aichi-ken, Japan.

Anyway, here is a close up.  I used the “Grande Hyancith” pantograph by Patricia Ritter.  I’ve been wanting to use thisl pattern again.  It’s curvy and dense, and it is adding more lovely texture to this quilt.

I love the bee fabric on the back.  Its from the Sarah Watts collection, Magic Forest.  Bees are beloved in m;y family.  My DIL Tami Enright runs the Bee Cause project that originated in South Carolina and that seeks to save the bees by placing them in places where they can thrive or where people can observe them and learn about them.  She now has hives in all 50 states.  See thebeecause.org for more information.

The binding and label are done in this lovely pinkish fabric, which is as soft as the quilt and which is giving more texture around the outside of the quilt—as the white slashes play against the pink.

I love this quilt!

I am making a “cool” version, but with a different pattern, with the C+S low volume fabrics in blues, greens, and greys.  I’m ironing and cutting fabric now, but have made some trial blocks.  I can already see that I will love the “cool” quilt that emerges.

Written by louisaenright

December 2, 2018 at 9:07 am

Turkey Tracks: On the Longarm Today

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Turkey Tracks:  November 22, 2018

On The Longarm Today

I fell in love with Victoria Finlay Wolfe’s herringbone quilt pattern.  She takes the notion of a braid quilt and gives it a whole new twist and then moves on again to take the pattern into all sorts of formations, including curves.  This pattern can be found in her book MODERN QUILT MAGIC.

I’ve been working on this quilt for some time—I found I need to make what I started longer to fit the wider size after I added additional strips.  The connection piecing is tedious, but once you get into the groove of how to “see” what goes with what, you can zip along.  Figuring length and width also was a learning curve for me.

But, boy do I like this quilt—it’s all low-volume Cotton+Steel.  (If you didn’t know it, C+S has disembarked from its current home.  The five designers have stayed together, have gone to Moda, and are now Ruby Star Society.  Their first collection for Moda will come at the spring market.)

 

Written by louisaenright

November 22, 2018 at 11:54 am

Turkey Tracks: Coastal Quilters’ 2018 Mothers’ Day Retreat: My Retreat

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Turkey Tracks:  May 21, 2018

My Retreat

I prepped these 2 by 8-inch strips before the retreat:  all low volume Cotton+Steel in the warmer colors.

Here are two rows of Victoria Findlay Wolfe’s herringbone braids, from her book MODERN QUILT MAGIC.

I am really liking what is happening here.

I figured out how long I wanted the quilt and decided I’d done enough work on this project.

Next I put together about ten blocks with my Wild and Goosey quilt block (Bonnie Hunter)

I took papers out of the quadrants I had completed one night while listening to a book on tape in my room.  I have rather a lot of these done now and brought home more to do.

I made two pineapple blocks to learn how–with Heidi August as a teacher.

I learned how to use the Creative Grids 60 degree ruler–a block I use a lot and one we will do for Jen Kingwell’s “Long Time Gone” quilt.  I’ve always used the Tri Rec ruler and like it.  The Creative Grids Ruler leaves more space between the end of the star points and the edge of the block.  It is fun, but you can see that it does not make a perfect star.  One could probably figure out how to make that happen, but for the Kingwell project, I’m going to use the Trip Rec ruler.  However, I do like the funky nature of the stars in the blocks below.  They’ll go into my “parts department” bin for an improv quilt maybe in the fall.

I

What I really wanted to do this retreat was to play with my scraps.  I brought them ALL with me, so I got them all out.  Along the way I culled out scraps that were too small or that no longer attracted me.

Here I started playing around with Maria Shell methods from her book IMPROV PATCHWORK–where she makes her own plaids and stripes.

 

Next I sewed a lot of 4 1/2 inch squares–for a quilt in progress.

Here’s that quilt-which is at home on my design wall:

I had some black and white strip sets, so I cut them up and made a checkerboard.  Maybe it will go into “Long Time Gone.”  Or, maybe into the “parts department” bin.

I had a lot of dark charcoal pieces left over from my “Big Star” quilt.  Which block do you like best, big or little?  I am drawn to little every time.

So…

I saw on Bonnie Hunter’s blog that she was making some light/dark squares with strips.  Boy are they versatile.  These are 4 1/2 inches.  (I use newsprint as a backing, cut to size.)

 

These are 3 inches–made because I had some leftover 3-inch paper strips while cutting.

At night I worked on 6-inch hexes, all Cotton+Steel and a solid or two, from Katja Marek’s THE NEW HEXAGON book.  I’ve almost worn this book out.  I’m going to make these blocks like the cover, where they are linked together with triangles, which can make stars on the outside of the blocs too.

I came home with so much energy.  Inspired by Betsy Maislen, I got my “On Ringo Lake” on the long arm.