Quilt Blocks for a Book Lover

I have a small stash of special Heather Ross prints. The hand drawn quality and quirky subject matter of her fabrics is perfect for fussy cutting and quilt blocks that need a focal image. As I was thinking about the stories such images tell, I was reminded of a cute paper pieced book block I'd seen around the web. It is the Tell Tale block pattern by Quilt with Kate. 

The Heather Ross prints make perfect book covers, and I enjoy imagining the titles and subject matter of each one. The frog cover is of course Wind in the Willows, and clearly we have an account of the  the Princess and pea. The unicorn has to be a book of fairytales. The girl and her cat cover is a recent YA novel full teen ennui. Maybe this book is memoir about Woodstock. 

Three Quarter Log Cabin Scrap Quilt

It is a relief to finish this quilt. Making the improv blocks from scraps was so relaxing last fall, but they sat another year on a shelf as I tried to figure out how to use them all together. The solution of sashing to separate the crazy prints and colors has worked fairly well.

The quilt is big by my standards (73 x 95), since I quilted it on my tiny home machine. I find small scale free motion designs well suited for a large quilt because the small shapes, like these loops, allow you to stop and adjust the quilt frequently without interrupting or marring a larger, flowing design. 

I used an extra wide yellow backing from my stash and an old Erin McMorris Summersault print that I love for the binding. I think largescale prints are so interesting as binding because you get quite a variation along the edge or the quilt.

Patting myself on the back for using these blocks rather than letting them languish, and I hope the quilt will be useful and a blessing to a local child in foster care. 

Breathing Room

Remember this scrap project from last fall? I made three quarter log cabin blocks with my print scraps, using every shade and pattern. It was fun and therapeutic, but once I completed the blocks, I was dismayed to find I hated how they looked together. I even wrote a post contemplating where I went wrong. After leaving them on the shelf and the mental break of working on other projects, I decided to see if I could rescue the blocks. I do not ordinarily use sashing, but I knew the blocks needed some breathing room.

The fabric I chose for the sashing is Homespun Essex in indigo (although it reads as grey to me), and I think it is just what the blocks needed. The neutral space between the crazy prints tones down the chaos just enough. I picked my favorite 45 blocks, which finish about 9 x 12, so this will be an extra long twin when I get it pieced.

Modern Strata Quilted Pillow

I used the leftover bits from my scrap solids quilt to create this cheerful, improv pillow (do scraps ever really get completely used up?). This random looking piecing is called strata, and I give detailed instructions on the technique  in a section of my book, Improvising Tradition. I never really noticed, but until now all my strata has been monochromatic. The riot of color from the multicolored scraps has a very different feel, but I think it works in small doses.
 

The quilting is an easy free motion swirl that creates such a fun, contrasting texture to the geometric piecing.

For a nice plump pillow, the cover finishes at 19 x 19 inches to be filled with a 20 inch pillow form. The pillow backing is fully interfaced and closed with my favorite finish for quilted pillows - the lapped zipper.

This happy little number is available in my etsy shop.

Solids Chevron Quilt

The colors in this throw-sized (54 x 65) quilt make me happy, and we all need some of that feeling right now. I also love how a quilt, made entirely of solids, turns into a quilt that reads like a print. To make the chevrons I used a paper template created by Molly of applecydermill for each block. Removing the papers was a pain, but the crisp neatness of the design is worth it, I think.

The Carolyn Friedlander black and white text backing is a nice contrast to the bold, colorful top. I chose my favorite turquoise solid for the binding. It is just the best color.

I used straight-line, horizontal quilting, spaced about every 1/2" in a pale aqua  50W Aurifil thread. It was a spool I happened to have on hand, and I was surprised at how nicely the color blended with the fabrics on the top. It even harmonizes with the back. Quilting this densely makes the quilt more durable, and I think the texture it adds is a huge pay off. This bright, modern quilt is in my etsy shop. 

Amazing to think this beauty started its life as a pile of scraps I just wanted to use up!

Solid Scraps - Chevron Blocks

I keep my scraps of solid colored fabrics in their own bin, and it is out of control. I pulled these to create a block I've had my eye on - a paper pieced chevron from Molly (applecydermill).

After my recent experience with indiscriminate scrap use, I limited my palette to a select number of colors which means that at 22 blocks in, I'm running out of scraps. But it is a good problem to have. I'll augment with stash fabrics to fill it out to throw size because the blocks look best in larger numbers.

Metro Link Quilt 2

Who braved the freezing temps and rushing wind to snap a few photos of her quilt? This girl. The phrase about suffering for the sake art came to mind.

I'm happy with the way the quilt came out, especially the choice of backing and binding. I'd been saving the Habitat print for just the right quilt, and I love it with the bright colors of the scraps on the front.  It was begging for a solid yellow binding.

In typical Kansas City fashion, yesterday was sunny and warm. Can you believe I hand stitched the binding outside on the deck, then this?

This is the Metro Link quilt, pattern by Michelle (@ilikeorangetoo on Instagram). I made another version of the quilt several years ago.

Metrolink Quilt Top

It's a quilt top! We're in the middle of a wet, gloomy stretch of cold weather here, so a couple of quick shots by an open door will have to do. I have to say it is so satisfying to see all those neat 90 degree corners matching, and I'm still loving the bright scraps against the black essex linen.

Now on to basting and quilting. I think I will use straight line quilting to emphasize the geometric piecing.

Metro Link Progress

I've been piecing the blocks of my Metro Link quilt this week, enjoying every minute. Each block is a new chance to make unique fabric pairings since I'm working with scraps. It's been like eating candy - I want to savor each one and not rush through, because then they will be finished.

The columns came together fairly quickly, so I'm ready to assemble the top next.

A New Link

I decided to get back in the scrappy saddle with the start of a new Metro Link quilt. Boy, I had forgotten how many tiny pieces (617!) are in this pattern by Michelle. The smallest ones finish at 1 x 2 inches. Cutting the background pieces from Essex linen yardage was quick, but cutting each individual piece from scraps took the better part of the past week. Whew!

I usually enjoy sewing from scraps improvisationally because it eliminates the need for precision in the initial phases, but I have to admit that there is something very satisfying about all those neat stacks cut to precisely the right size.

I've got the first step of the pattern all lined up for a night of chain piecing. Belying its precision, this type of sewing is actually quite relaxing. Unlike every step of an improv piece, there are no decisions to be made - just methodical, soothing stitches. Sometimes, it's just what you need.

Scrap It?

Here they are - all 54 scrappy, three quarter log cabin blocks. Now I just have to decide if I want to keep them. I have thoroughly enjoyed making them, and individually they are pretty. The best part of these blocks has been the process. I loved picking strips for each one, playing with colors, and finding old fabric friends in the bin (which is still crammed full somehow).

It's just that together they are ugly - like so ugly I can't bring myself to post a picture of all of them here. It seems odd because I love other people's versions. So what went wrong? I believe it comes down to three things. First, I didn't limit my color palette. Even with scraps, I usually stick to a select few colors to ensure a harmony, as with my Scrappy Trip Along Quilt.

The same calming effect might have been achieved by using more white and low volumes too, to give the colors room to breath. Each block tells a color story I enjoy, but it's just too loud for me when the blocks are together.

My second mistake was giving no thought to color placement for the quilt top as a whole. I don't mind using all the colors, if they are in some sort of color order, like the Therapist Quilt.

Lastly, there is nothing tempering the chaos, as with a background fabric in my Midwest Metro Link. 

So, while I enjoyed the process of this project, which is frankly all I really intended, I'm not sure if I want to put any more time into the blocks or pass them along to someone who might feel differently. Another idea is to reverse engineer a color scheme by selecting blocks that do go together and making a couple of smaller quilts from those. 

Scrappy Log Cabin Blocks

I saw Jacey's blocks on instagram and got an itch to sew with my scraps. My scrap bin of random width strips has been over flowing for a while now, so this project will be good for scrap management.

The blocks (maybe called 3/4 log cabin blocks since they are just missing one side) are sewn improvisationally and trimmed to 9  x 12.

I've got 15 so far. I think I have enough scraps strips to sew a few more, don't you think? The pile wouldn't even fit in the frame, and it doesn't seem to have diminished in the slightest. The magical procreation of scraps.

Streamliner Pouches

I was looking for a simple zippy bag to make as pencil pouches for Operation Christmas Child when I came across the streamline pouch by Elnora. She has a free downloadable pdf pattern which includes a a neat trick with the zipper installation that avoids the little indentations you can sometimes get at each end of the zipper. These pouches can open completely from end to end, so you can fit even the longest pencil in with room to spare.

I made mine with solid scraps. Because I sewed quilt-as-you-go style onto batting, there was no need to use interfacing - perfect when you don't have any at home.

Appliqué Landscape

Another appliqué experiment - this time inspired by pottery.

I made up the process as I went along, and began with a quick freehand drawing using smooth, simple shapes. I numbered and labeled each piece before cutting the paper along the draw lines.

I used each paper piece as a template, cutting the fabric about 1/8" larger on all sides. I did this because I wanted about an 1/8" of foundation fabric to show between my appliqué shapes, reminiscent of the dark ceramic base of my inspiration. I experimented a bit with different colors in the landscape, ultimately keeping the hills a single green and swapping the lightest coral for one closer to the darker coral.

After pinning in place, making sure each piece overlapped evenly with its neighbors, I basted all the pieces down.

I used needle-turn appliqué and 50 or 80 weight, whichever I had on hand, of Aurifil thread to stitch the pieces down. This was a bit fiddly because of the overlapping pieces. Here it is about half finished.

After appliquéing, I removed the basting stitches. I like how the landscape looks, simply framed, but now I wonder if it would be improved with quilting. There is a slight wave to the fabrics that is bugging me a little bit, even with a few layers of batting added behind it. If I quilted it, I could mount it on top of the mat, rather than behind it. What do you think?