My “Funky Rail” quilt is all done. This pattern is from Sajata Shah’s CULTURAL FUSION QUILTS book, which I love. I will be doing more patterns from this book and will likely make this one again in different fabrics
Sajata Shah’s method for forming these blocks is different and amazing. I could never visualize a concept like this one on my own. The block is so lively and fun.
I pieced this backing from leftovers from the front and from my stash.
The line of rectangles is made from the trimming off-cuts from the block pieces. I couldn’t just thrown them away.
I quilted with an antique gold thread, which worked well I think. And the pantograph is “Check and Chase” from Lorien quilting.
I’m using this same pantograph for my wild geese quilt, which is now on the longarm.
More rain is coming in, so I’ll probably get this quilt longarm quilted soon now.
I have FOUR quilts to longarm now—each is all set up with all their parts organized, including their labels and bindings.
And while my quilt room is feeling MUCH less tangled with projects now, the bed in the adjacent bedroom is piled high with these projects.
First up to quilt will be the Wild Goose quilt, seen here on the design wall a while back:
Next will be the funky rail fence quilt designed by Sajata Shah and which can be seen in her book CULTURAL FUSION QUILTS.
The TWO Sugaridoo QAL quilt tops are finished as of yesterday. These two quilts have been a year-long journey. Here’s the rainbow solid one. You can see a piece of the backing fabric on the cutting board. I wanted something quiet, though I was tempted by the very bright choices others are making. I am going to bind in the darker grey accent fabric.
Here’s a close up pic of the LAST row, row 11.
Row 11 is so graphic. It was so fun to make. And in general, I have learned a lot during this project and have now 12 new patterns and several quilty methods new to me.
Here is the Cotton+Steel version:
And a close up of those bottom rows:
I have absolutely no idea how I should quilt these quilts. At 70 by 90, they are just way too big to be done on the domestic machine with a grid. And I don’t do intensive longarm quilting with rulers. I just don’t. And I don’t like intensive quilting on a functional quilt as it makes them too stiff. So I will do something overall—either freehand or with a pantograph.
I have TWO leader/ender projects on the design wall; each is endlessly fun and are using up the solid scraps. The tree block is inspired by a quilt by Crazy Mom Quilts, and the striped quilt is inspired by a quilt by Tara Faughnan.
AND, in the relatively clean quilt room, I will now wade into the first Color Collective project as the white background fabric I ordered arrived this week.
People taking the class are showing their completed blocks now in the online social media groups (FB and Instagram), and their different color choices are so fun and so inspiring to see.
I have been having so much fun playing with these two projects on my design wall. They have been wonderful ways to cope with all the political chaos of an election in the middle of a pandemic.
Both of these projects are meant to use up solid scraps acquired with two years of The Color Collective online class on Sewtopia, with Tara Faughnan as the teacher and curator of fabrics.
On the left, the “trees” quilt was inspired by Crazy Mom Quilts. And on the right is a quilt inspired by Tara Faughnan’s quilt made with this kind of method.
I pulled out the bin of solid scraps and sorted it—I have piles where the fabrics need to be cut into useable sizes—like, at the very least, different sizes of square blocks. The strips are going into the developing quilt on the right. Occasionally I dive into the bigger bins of bigger pieces of solid fabrics to get a color I want to go with what is here, or to cut new squares for the trees quilt.
I’ve washed and ironed all the fabrics for the first project of season 3 of The Color Collective. The block is “Marrakesh.” The first set of fabrics is a luscious combination.
The funky rail quilt top from Sajata Shah’s CULTURAL FUSION QUILTS book and all the needed parts for the longarm joins the Flying Geese quilt with all its needed parts. I’ll start to longarm quilt these quilts pretty soon now.
The funky rail fence block is super fun to make. I used a suite of fabrics I’ve never used—and added fabrics from my stash. I pieced the back with the remnants, so that’s a lot of fabrics out of the stash. And does it count as an almost-created Unfinished project since I did have a suite of fabrics kept together? I think so. I do NOT want to be one of those people who dies and leaves a huge amount of fabric for my family to manage.
I LOVE this flying geese quilt and can’t wait to see it finished.
I worked on the last row of the solid Sugaridoo QAL quilt yesterday. Along the way I added sashing that is a bit too wide, and the quilt is way, way too long. Sugaridoo planned it at 70-90, which is not a ratio I like. I spent the evening ripping out some of the sashing, and I have at least gotten the quilt back to 70-90. I’ll likely finish these two quilts in the next few days, and I have enjoyed the learning curves involved and all the new block patterns. I have backings for both quilts, but need to organize bindings. Completing these two tops will make FOUR quilts ready for the longarm and binding.
The third row of the EPP project “36 Ring Circus” is going faster than the first two. I’m making all the center blocks in a row at one time now. And I pretty much have all the parts that surround the center glued and ready to go.
I also have two knit garments cut out and some patterns I really want to make. That’s a bit harder since I’m not really seeing anyone with the pandemic situation and so have no place to wear new garments.
My sewing life is rich and satisfying during the winter season here in Maine, and it feels good to get unfinished projects completed and to take on some new challenges.
The blocks are done, but not sewn together. Sajata Shah designed this “funky rail fence” block, and it is in her book CULTURAL FUSION QUILTS.
Yesterday I started piecing a back and pulled out leftover batting strips to sew together. The binding is cut, but not sewn together. It’s one of the reds in this fabric suite. I was able to add some greens from my stash to this mix, so a lot of fabric has gone flying out of my stash.
My pile of longarm projects is growing…
I think I would love this quilt in shades of grey and black. AND in modern bright fabrics with, maybe, some neutrals. But, maybe no neutrals. And of course it would look great with solids as well.
So, someone please tell me how—in spite of my vow to NOT start anything new—that this happened? It comes from playing with a new block, of course. And the excitement of getting a new book with LOTS of fun projects. Can I count having a suite of unused fabrics an “unfinished” project?
AND, I just bought this book by Sajata Shah, which I am also really enjoying. Sajata is an improv, modern quilter who has been influenced by the Gee’s Bend quilters, fiber work in her native India, and fiber work in Africa. Like many of the modern quilters, she is carving out a place that blends traditional quilts with modern quilting. Much of her work, like the quilt on the cover, uses controlled free-form methods that are exciting and lively.
Apparently Sajata holds a workshop where some of the modern quilters that I like (see on Instagram #beesewcial) gather. Capitola quilter (see her work on Instagram) attended a gathering where participants worked on Sajata’s version of a Kaladiscope quilt called “Organized Chaos” (Instagram hashtag #organizedchaosquilt).
I’ve fallen in love with Capitola’s version—as I do with most, if not all, of her work.
I’ll probably be looking for kaladiscope quilt block patterns down the road. Ummmm….when I finish current projects.