No. 21

No. 21

32" x 23"

What is it about a simple repeating pattern that is just so intrinsically appealing? I also love the organic nature of the little arches. I wanted them to look like individuals and not carbon copies of each other. I think it does that.

I started with making some blocks. Although this is a photo of the blocks for the background, I started with smaller ones to make the pieced HST arches. I wanted to see if I could make them into an arch shape by varying the width of the seam when joining them. It worked! Which meant that I could proceed with the rest of the quilt. I love looking at the blocks when they are chain stitched together!

I worked simultaneously on creating the background.....and....

Making all the arches: The black ones were hand drawn onto freezer paper, cut out (with a seam allowance), and then edges turned under and hand basted. The black ones were significantly easier to make than the orange and pink ones! All those seams of the HST blocks had to be turned under to prepare for appliqueing. 

Once I had all the arches ready for applique, I finished piecing the background, and prepared it for quilting. I remembered some old fabric I had that I thought would be perfect for the backing! It is from my brief stint as a fabric designer.

I love the simplicity of the straight line quilting. Here is my first arch after it has been hand appliqued in place, and the basting stitches have been removed. Ahhh! Satisfying! Now repeat 15 more times!

A view from the side of the finished quilt. 

Great texture! I love how the arch shapes sit on top of the fabric. I did not want to quilt them because that would flatten them. 

The last part was choosing to use a facing instead of a binding. This allowed the design to flow to the edge of the work. It was a good choice for this piece. 

Thanks for stopping by!

No. 20

No. 20

36.5" x 36.5"

This one started from a small watercolor sketch in my notebook. I was surprised when I finished the quilt at how closely it resembled the sketch. 

It is difficult pulling a color palette when using solids. They never seem to look like what I think they are going to look like. For this one I used only fabrics I had in my stash. This meant I had to do some planning and some math. As you will note, each additional row outward gets bigger, which means that for the outer rows, I needed to make sure I had enough fabric. This quilt is small enough that it did not ultimately make much of a difference.  However, when I started it, I loved it so much, I thought about going really big! And, I probably can still do that on another quilt, it just takes more planning to ensure I have enough fabric.  

I really enjoyed working with all the blue combinations for the blocks.

I also enjoyed adding the pops of thin color strips on the design wall, and then slowly filling in with the blue blocks. The process of working with the colors was enjoyable!

Also of note: the building of this type of quilt, starting from a small point and building outward, tends to distort the shape after a few rows.  To adjust for that, I carefully trimmed each row after adding it to the whole using a large cutting mat with a grid on it. The unintended consequence is that while adding each row and handling the quilt top a lot, previous rows will come unstitched. It is really important, right after trimming, to add a small stay stitch across the seam (at the edge). This prevents the unwanted unraveling of my work.

After completing the top, the basting is next.

Then the quilting. I opted to work from the middle outward to machine stitch the pink and orange strips. Then I tucked the thread ends inside the quilt sandwich. This allowed me to remove all the safety pins before doing the hand quilting. 

I really love the combination of machine quilting and hand quilting. Although this example is not the most innovative of artistic choices for this quilt. Quilting adds texture to a quilt, and I like to balance that texture in a way that does not interfere with the design choices of the quilt top. 

Last up with the binding, hanging tube and the quilt label.

I had fun with the hand quilting for this project even though it takes longer. It is nice to add balance to my work by slowing down.

No. 19

No. 19

27" x 33"

It is easy to get caught up in the small details, but it is increasingly vital to look at the whole field. A somewhat vague statement, but applicable to a number of scenarios. It surprises me how much the national political situation infiltrates my work subconsciously.

Design Process and 'Issues':

This one started as a sketch: (Note the orientation is different from the photo above. This one started with a vertical set of blocks).

I wanted to create depth by using different sized HSTs. Then I thought it might be interesting if they were separated by solid colors, one side darker than the other to imply shadows. And then I would quilt in the lines of perspective. 

1. I was unsure of what color values to use. So, I opted to try 4 different blocks in 4 different sets of values to see which combinations looked the best. This one was the winner! The darkest center seemed to create the most depth.

2. After finishing the quilting, the design looked very flat. The quilting lines for perspective did not show up enough. They needed to be bigger, bolder, and wider. So, I got out my handy Pfaff, and started satin stitching. It used up so much thread that I was scared I would run out before I finished. Luckily, I had enough! Yeasss!!

After finishing the black lines, it looked like this. I loved the depth that I could now see.

The individual blocks look great, but combined with each other, it created an unexpected secondary design, and a problem (for me).

 

3. Unfortunately, now I could only see the concentric diamonds in the center. They jumped out so voraciously, it was ALL that I could see. Like big EYES!!

Sorry, that is probably all you can see now too. I decided that it was a worthy experiment. It failed because of my lack of imagination and foresight. And it was okay that it failed miserably. It was worth the journey. It is how you learn, by trying something new, and then doing it, and learning along the way. And then my son walked by the studio and suggested rotating the quilt.

So, I did...

I could see the depth now in a horizontal orientation, and the 2 concentric diamonds that were now stacked vertically....well, they no longer looked like eyeballs staring back at me. 

It is still not my favorite quilt. It does not bother me that it is not my favorite quilt. I have had a number of comments on my FB post that suggest I would like it better if I turned the quilt horizontally...um, I have actually already tried that. Ha ha! And, I have already stitched the hanging tube on the back in this orientation. 

 

I guess if someone wants to purchase it, and turn it back to it's original orientation, I would be happy to change the hanging tube for them. I hope the big eyeballs won't bother them too much! Ha ha!

Here's a few closeups for you.

and another one...

No. 18

No. 18

53" x 40"

I love this one so much! The saturation of color, the shapes, the theme. It all rocks!

Making it, I encountered a lot of delays. 

1. The color palette drove me crazy. The first thought was to make the background out of the orange and pink on the left, but I didn't have enough fabric. Wanting to get started as soon as possible, I drove to a local quilt shop to search for something else I could use, or possibly they might have more of what I already had? They did not. I opted to make the background out of the 'so pink it's almost red' and another saturated but lighter pink--the two colors on the right side. However when I got home, I didn't like them as much as I thought I would. 

Then I realized it might be really good with both color sets! Yeah, let's do that!!

Then I ran out of the orange and pink on the left, got out my color swatches, and ordered some more of the same fabric. Then I had to wait for it to be shipped. Agonizing wait!! 

So, I started making the blocks, and ........eventually the new fabric arrived! And, the colors were different! Nuts!! 

Ultimately, I realized that the new colors were lighter, just barely, and would be PERFECT as the background under the light rays, right in the middle. Standing back, and looking at the journey of sourcing fabrics I wanted, the universe had other plans, and this assemblage landed in my lap. And, I believe it is so much better than what I thought I wanted.  

And, this theme played out 2 more times before I finished.

2. I thought the light rays had to be white. White in that spot looked so bad and I couldn't resolve what my head thought and what my eyes saw. My next thought was yellow. Wrong again. Then I tried something less conventional than what my brain wanted, and the light aqua blue looked amazing!!

The last one...

3. I wanted a specific shade of red for the binding. I only had a small scrap of it. The only other red I had enough of was the wrong color--too orangey. So I dug out my samples again, and ordered the red. And, I did not get the memo.  That Missouri Star sends crap damaged fabric. Which after significant effort I managed to get a refund for the fabric, but not for the shipping. I emailed 2 times, no response to either email. Then I gave them a bad review. After a week they reached out, and told me to email them for help. Um...nope, not falling for that again. I guess they wanted me to believe that if they were going to ignore me for the first 2 emails, I should trust them to do what is right for the 3rd email? Suffice to say, I will not be doing business with them again. 

The fabric they sent was faded in a grid pattern, so by definition, not a SOLID color. Very irritating.

I was so frustrated, I decided to just use the red I had, the one that was too orangey, and you guessed it, it was PERFECT. 

Lessons learned: Stop making drama for myself. Expect the unexpected. And, sometimes the wrong color is the right one!

Stitching the HST blocks.

Trimming them to size.

Repeat many many times, and stitch the blocks together. 

Then play with them before committing...because why not? oooh, fun!!

Then quilt the whole quilt. (You can see the minimal stitching below)

Then it is ready for applique!! Yeass!

I typically cut freezer paper in the shape of the finished piece to iron to the back side. With scissors, I cut out the fabric 1/4 " larger for the turned under seam. Next, fold the the seams under, using the paper as a guide, and press in place. Pull off the paper and hand baste the turned under edges. Pin to the quilt, and hand applique. 

This piece uses the last 2 humps cut out from No. 9. They were re-sized and re-shaped for this quilt. 

Next up, quilting the appliqued pieces, and marking the quilting lines. The big lamp humps were marked with 1/4" masking tape. The marking for the necks of the lamps was different. It probably would have been easier to just use a marking pencil, but I have had experiences that were difficult to get the marking pencil out...so.

I pressed freezer paper on top of the neck. And, then traced the shape with a blue pencil. Next was to draw the lines I wanted to stitch. 

I pulled the freezer paper off, and cut it to shape, and then pressed it back on. 

Then I added the 1/4" masking tape to the edges and marked the points to where the stitching would come. 

Then I removed the freezer paper again, left the masking tape in place, and started stitching straight lines to each point. Again, overly complicated...

Finishing up with the orange thread directly on the neck.  You can also see the quilting lines on the lamp shape in this photo! It looks so good!! I am happy!

The last part to show you is the overly complicated hanging sleeve. I don't know why. I cut out a bunch of different pinks and stitched them together. 

I think maybe I wasn't ready to be finished with this one yet? And now that it is finished, I am happy to have it hanging on a wall, and enjoying looking at it every day!

No. 16

No. 16

50.5" x 40"

This one is another quilt addressing the issue of privacy. Literally, this quilt is about windows, specifically, the extensive use of floor to ceiling glass windows in many new modern houses. If you can see out, then others can see in. I love the idea of being able to see out, and bringing nature into a building (which was the original intent of this style of architecture). But I also really value my privacy. This would not be an ideal house for me. Also, because guns, when I see a house like this, all I can think of is, where do you hide from the bullets? I will leave you to imagine the metaphorical meaning of this work, because it is not obvious. (HINT: Think of the word 'windows' and privacy, and you'll be there!). 

I have been dreaming of this one for a long time, like YEARS, but I couldn't see the whole picture. I wanted fish swimming in a house of floor to ceiling glass windows. Then about 9 months ago, I found a commercially printed paper with koi fish. I KNEW that these would be the fish for the quilt. Except that, they were paper, and I wasn't sure how this was going to work??

I got the courage to go ahead and try moving forward on the project by trying to sketch the house. None of my efforts were working. I drove around Austin looking for the perfect 'model' house to sketch. I did not find it, though I suspect it is out there somewhere. Then I decided to look online for some ideas. I found these 3. 

None were perfect, or had the right angles, so I just jumped in and tried making a perspective drawing of a house in my sketchbook. I have never done a perspective drawing before, though I had seen one on social media. I was surprised how easily it all came together. Then I had to upscale the drawings for each room to make a pattern. 

Here is the sketch of the kitchen:

After sketching, I had to decide how to cut this apart and make it into a pattern, and which pieces would be sewn together first? I wanted to minimize the Y seams because those are more challenging. I used colored pencils to outline the shapes that would be sewn together as a group. Then I cut the sketch apart...labeled the pieces, and selected the fabrics for each piece.

This part feels a little daunting. However, a friend reminded me that I have done projects with more pieces, and that helped!

The next step is to trace each piece onto the back of the fabric and then cut them out with a seam allowance. And, it is a little challenging because some of the pieces are small and hard to hold still while tracing around them onto the fabric. One by one, they are stitched together. It would probably have been easier to paper piece this and definitely more accurate, but I find this method to be mentally easier.

After getting the house pieced, and the background, it was time to consider the fish. So, I cut them out and freed them from their backgrounds.

I wasn't sure how many I would need, so I just keep cutting and placing them on the design wall. Ultimately, I decided that this was too many fish!

You can see from this photo that the fish are swimming in FRONT of the house. However, I wanted them placed IN the house, which means they would need to be swimming behind some of the house walls. So, I cut open the seam allowances in the house, where the fish would be, and inserted them in through the new slots. Then I hand stitched the seams to match the size needed for the fish opening. I also needed the fish to stay in place before I got to the quilting part, so I used Mistyfuse on the back side of the fish. Did you know it works great on paper too? Cool! Note: This was a sequence error. It is easier to put Mistyfuse on the fish before cutting them out than afterwards, so trimming the Mistyfuse to the fish body was a bit tedious.

If you look closely, you can see the fish behind the just barely transparent fabric of the door!

Then I started the machine quilting. I was very concerned that the needle holes from the quilting would rip the paper the fish were on. Fortunately it was such a heavy weight of paper that I had no problems! Whew! I did have a very clear vision of how I wanted the quilting lines to look, and it required a lot of stops and starts, which in turn meant a lot of thread tucking.

The other minor parts of the project included some hand applique for the lights in the kitchen, and a bit of satin stitch to define some of the shapes better. This put me on hold for a couple of weeks because I thought I needed some shiny black thread. I did get the thread, but the delivery was SO slow, and my patience for finishing the project was wearing thin. And then the new thread did not perform well in my sample testing, and I ended up using something I already had (which I can not remember now what it was...). That is the way it goes sometimes!

The last little part was the scariest! The fish took a bit of a beating with all the machine quilting from pushing the quilt through the machine so much. I decided to 'fortify' them with a couple of coats of high gloss medium, applied by hand with a small paint brush. I thought about doing it first, but the fish were ironed in place with the Mistyfuse, and I didn't want to try to iron a fish that had medium on the surface. So maybe it all worked out okay? 

I am overall very happy with the way this turned out! It is so satisfying to see an idea become actualized! I entered this quilt into Quilts=Art=Quilts, but it did not get accepted. As happy as it would have been to have my little quilt go out into the world, I am comforted when they get rejected because then I get to look at them a bit longer, and I don't have a lot of shipping expenses. Possibly a warped perspective here, but I am okay with that. I hope you like this one! Thanks for stopping by!