Friday, 23 March 2018

Bunting bonanza

Hello!  Here is a fabulous Friday finish from my students, Miriam and Sophie.  They have worked so hard over the past few months transforming a big bag of fabric squares which were no longer wanted and giving them new life as rainbow bunting.

The technique we used was the same as for my Vintage Bunting (tutorial in this post, there are a few unrelated quilt pics first so scroll down).

We worked out the best size for the pennants based on the amount of fabric available in each piece and the dimensions of the roll of Bondaweb (now called Vliesolinefix, I believe, but it will always be Bondaweb to me).  Even though the fabric pieces were free, I wanted to maximise the amount we were able to use.

The squares varied a little in size but most could be folded in half to give four double sided pennants, each measuring 7" across the base (top) of the triangle by 11" long.  We found that four pennants set 'head to tail' fitted perfectly across the folded fabric square and across the 18" width of a roll of Bondaweb.

(We made our pennant template from a sheet of A4 paper and just fiddled about until it fitted the fabric and looked a nice shape - you can make your pennant any shape or size you wish.  Once you are happy with it, though, it is worth making a plastic template as this is much more robust to draw round than paper or cardboard).

So decisions made, the girls set to work and we set up a production line for all the processes.  First task, to slice the roll of Bondaweb into 11" pieces (the roll is 18" wide) and for this we used a rotary cutter and ruler for speed and accuracy.

Then the fabric squares were pressed in half and the iron applied until the Bondaweb adhered to one half.  When the paper had cooled and the glue set, the backing paper was peeled off and the top half of the fabric square flipped down and pressed to stick.  Hey presto, a bonded double sided sheet of fabric, which could then be marked with the shape of the pennants and cut out.

We found that the easiest way to cut out the pennants was to mark the four triangle shapes on the fabric (arranged head to tail again) using the plastic template and either a pencil or chalk marker, and then to cut out with rotary cutter and ruler.  This meant we had really accurate sharp edges to our pennants.  I would not recommend you to use the template to cut against as it is not a safe method.

So each piece of fabric yielded four double sided pennants which then had to be zigzagged round the two long edges (not the base/top of the triangle as this will be covered by the tape).  I think this was the task the girls liked least, but they became very good at it, including navigating round the narrow tip!  I turned out my threads box to find colours which more or less matched the various shades across the rainbow.

Finally the preparation was done and the fun part could begin: Miriam and Sophie had glued, cut and stitched 288 pennants in total, four each of 72 different fabrics.  They were keen to use a rainbow layout so they first arranged the pennants in bundles of four in graduating colour order.

Next the question of how many pennants to put in each string?  After much deliberation and a bit of maths, it was decided to divide the pennants in to three different colour sets which would give 24 pennants per string, and there would be four strings of each colour set.

Once the decisions had been made, the pennants were sorted into their sets and the girls stitched them to the heading tape.  Finally the task was complete!  We didn't keep a note of how much time it took, and we have made other small projects in between, over the past three or four months, to keep from getting bored.  Definitely worth it, though, I hope you will agree.

So twelve strings in all, each one a rainbow but subtle differences known only to the makers.  Each string with 24 pennants measures about 4 1/2 metres in length.  We used a total of 20.3 metres of bondaweb and 56.4 metres of tape.  And we have about 54 metres of bunting in total - sufficient for most parties and the village fete!

All ready for the summer's events.  There's nothing like a string of bunting to make us feel like we're having fun.  And whilst this isn't exactly a free project (the Bondaweb and tape had to be purchased) the bunting is durable and should give many years of service.

Well done to the bunting makers: another skill to add to the CV.  Linking to Finish it up Friday at Crazy Mom Quilts.  Hope you have a happy and productive weekend, whatever you are working on.

Monday, 19 March 2018

Thimbleberries Jewel Box II - a February finish

Too late for Finish it up Friday, my usual linkup, but I did have a finish in February which I thought I should show you now, before I get distracted by something else!

I mentioned that I was very good in January about focusing exclusively on quilting: this virtuous resolution carried over into February in that I layered several more tops in readiness, but I only actually managed to quilt one of them.  My excuse is that we had the plumber in, refurbishing our bathroom, which is a different sort of finish for which I cannot take credit.

Yes, it may look familiar to readers of this blog: I made another Jewel Box quilt from old Thimbleberries collections - probably 15-20 years old - and blogged about that one here.  Amazed to see it is almost exactly a year ago.  How serendipitous: I couldn't have told you if you had asked me when it was, so it's great to have this blog as a record.

As I said in the previous post, I had quite a few blocks left over, as one inevitably does, and once again I trawled through all my tucked away stash fabrics, chopping up anything which looked as though it might fit in with the country palette into 5" or 2 1/2" squares.  

This is a great scrapbuster quilt and there are lots of favourite old fabrics so for me it's something of a walk down memory lane.  It's also a great one for clearing out odds and ends of neutrals from other projects as variation in the neutrals adds interest.  As ever with a scrap quilt, the more different fabrics the better, as it is surprisingly hard to get a layout which doesn't repeat the same fabric in too close proximity.  Laying out the blocks satisfactorily always seems to take longer than actually stitching them together!

Don't you think the old patterns are sometimes the best?  Quilts like this one are really easy to live with; undemanding and comfortable, they just fit in with family life.  No-one minds if something gets spilled on them or they drag on the floor.  I guess that's why I keep coming back to this palette of colour and traditional blocks, even though I love the bright fabrics and modern aesthetic too.

At some point during 2017 I must have put the blocks together, and then had a pause till I found a suitable backing fabric in the Cowslip Workshops sale last summer.  I love this backing: it is from Moda's Collection for a Cause 'Nurture' line, and it has just the right country look.  Also the colour was perfect as it gives the quilt a warm and cosy  feeling.  So good to get the perfect fabric at a discount - who doesn't love a bargain without the need to compromise on artistic standards?!

I found enough of an old red Thimbleberries fabric (a useful favourite, also used in other quilts) for the binding.  Job done!  I do love shopping my stash and feeling thrifty: the fact that at some time I had to buy all of the fabric to be able to have a stash to shop is beside the point....

The quilting I did the same as for the first version: crosshatching through the diagonals and then a curving quatrefoil shape in the diamonds.  Easy to do with a walking foot and not too many ends to tie in, especially as this large quilt didn't need a border.

Quilt stats: 80" x 88".  One hundred and ten 8" blocks set 10 x 11.  The blocks are each made up of two 4" HSTs and two 4" four-patches (all measurements are for finished sizes).  I think I have now used up all my made blocks with this quilt, though the few fabric leftovers have gone into the makings of another scrappy quilt which still has some way to go...  Carry on quilting!

Sunday, 11 March 2018

Update on January - before March is over!

Warning: picture heavy post!

Hi there!  I have been a bit preoccupied with various things recently and realise that I haven't posted about a couple of quilts I finished in January.  As February March races away (thank goodness: we have just had snow and very cold temperatures, for the UK), I thought I should record the rest of January's work.

I went a bit mad in January to be honest, as the weather was mostly miserable, and I know that there will be a ton of stuff to do in the garden which will take priority in March/April.  I didn't let myself do any piecing at all but layered several quilts and concentrated just on the quilting.

As it is such a major effort to clear the dining room table to lay out quilt tops, I have found that layering  several quilts at a time works well.  It is not my favourite part of quiltmaking as it always seems as though one is spending a lot of time not actually sewing, after allowing for all the measuring, joining the backing, pressing, de-threading, and finally, layering, plus I often mark any straight quilting lines at this stage with a Hera marker.

End result was that I managed to complete four quilts in January, two already blogged and the two I am showing you now.  I also did most of the quilting on another quilt but have got stuck on how to quilt a couple of areas - till inspiration strikes that one is still a UFO.

It may sound good but I am ashamed at how long these quilt tops have been lying around in the UFO pile.  I did manage to buy the backing fabric in the summer when I was at Cowslip Workshops.  The gray taupe cost an arm and a leg as woven taupes always do, but it is gorgeous and I did want it.  However I offset the cost by managing to get the backing for the Disappearing Hourglass in their sale!

So first up is the Gray Taupe:

I made most of the blocks for this quilt when I did a class several years ago with the lovely Jo Colwill at Cowslip, my favourite place to visit in the South West. In the past I always managed to wangle a visit if we were holidaying in Cornwall when the kids were small; this year we will be holidaying in Cornwall (without the kids) just so I can do a couple more workshops there!

Anyway, as so often happens the blocks lay there while I tried to decide on a layout (and got distracted by other projects and life in general). I put them together eventually and then didn't get any further for want of a backing fabric. Turning out cupboards caused the top to reappear and I took it with me to Cornwall in the summer and bought the backing. A few more months on and it is finally finished - hooray!

The quilting didn't take all that long once I got down to it. I knew I wanted to do concentric parallel lines with the walking foot and it's not too big a quilt to wrestle through the machine.

This quilt measures 64"x 82" and came about because I had accumulated an awful lot of taupe fat quarters over the years when I worked in a quilt shop.  I have used many of the medium tones in other projects, and was left with the lights and with darks in the blue/grey palette. I therefore chose a block pattern and setting which would make the most of the contrast in value.

The individual blocks measure 4" finished and there 320 blocks (gosh, that sounds a lot!) which are set 16 x 20. The block is made up of a dark large triangle, a dark square and two small light triangles. The block is called 'Review' in Marsha McCloskey's book Block Party, but I think it may also go by the name of Grandmother's Choice or something similar.  As so often in quilting, old blocks accumulate many names.

Yes, thanks to the power of the internet, I have just done a quick search and found lots of images for Grandmother's Choice.  Like Log Cabin, it is a half and half block in design terms - half dark, half light, so can be arranged in many different ways.

Now for something which I thought was completely different but actually I see definite similarities: here is another quilt which relies on good contrast for its design to read clearly, and although scrappy it is essentially a monochrome quilt.  Well, they make quite good partners for this post, don't they?

This is my version of the Disappearing Hourglass quilt for which you can get a tutorial from Missouri Star Quilts online.  I made a floral version back in 2015: you can see those posts here and here (second half of post contains my tips for making the blocks).

As I said in the earlier post, I don't like the method for making half square triangles which that tutorial uses as it results in bias edges on the outside of all the HSTs.  With a technique which involves cutting and restitching as this does, it seems to me to be asking for trouble, and I would recommend that you make your HSTs by conventional methods which keep the bias seam on the diagonal and safely stitched into the block.

It seems I was making the blocks for this little quilt back in October 2016 (here) so not quite as old a WIP as many of my projects...

This quilt measures 49" x 57" and there are 56 seven inch blocks set 7 x 8.  As with the floral version, I first of all ditch quilted the blocks with a walking foot, but as much as possible I wanted to avoid the seam allowances and bumpy intersections.  Using the points of the stars as a guide, the additional straight lines frame the stars and create an irregular grid across the surface.

The backing fabric I absolutely love: I have lost the selvage but I think it was part of a Di Ford collection, and it has that quirky 19th century look about it.  The colours were a perfect match for the FQ collection I used for the blocks, bought quite a while ago from Patchwork Cabin, my LQS which specialises in reproduction fabrics.  It was by Barbara Brackman for Moda but I can't remember what the fabric line was called.  The only selvage I have is for a blue equivalent to the red fabric in the photo above; it's labelled 'Cornshuck Hat 1850-1874' which I include for curiosity value!

The binding was made from the offcuts of a backing for another quilt (shown here): so satisfying when that happens.  I had almost enough, and used a scrap of one of the FQs left to fill the gap.

Right, enough photos - time for more sewing: there are still plenty of UFOs requiring attention!  Linking today (very belatedly) to Finish it up Friday at Crazy Mom Quilts (go and look at the beautiful Log Cabin top), though I did write this post on Friday: I just forgot to post it!  Hope you have had a productive and enjoyable weekend.

Tuesday, 13 February 2018

Tula Pink-tastic!

Such a miserable day today - it has rained non-stop and is cold too - so it is a pleasure to be writing about a much more colourful world than the one outside my window: the world of Tula Pink

I am sure lots of you will know all about Tula already, after all she has been designing fabric for twelve years and has just brought out her 25th fabric collection.  Ask me how I know this, and I will tell you that ten days ago I attended a lecture by Tula at Denbies Wine Estate which was organised by The Quilt Room in Dorking.

I didn't know at all what to expect as I knew something of Tula's fabrics but wouldn't have classed myself as a fan particularly.  However I was completely won over by Tula's warm personality and sense of humour, and the generous way in which she shared some of her history, process and approach to designing fabric and making quilts.  

Actually that's what won me over right from the start - the fact that she told us she sews every day, often for 6-8 hours, and that she makes all her own quilts, partly because she loves to sew, but also because she then knows how the fabric works when it is cut up.  The whole room responded to this - we were clearly all quilting addicts and recognised a kindred spirit!

It is this information feedback loop wh Tula gets through sewing which she feels makes her a better designer, so we get even better fabric to use ourselves as a result of her dedication to her craft.  She also knows that, although she makes quilts which use a single fabric collection, we make our quilts from older stashed fabrics as well as new, so she takes care to ensure that fabrics from all her collections work together.

Another other useful design tip, which I shall be passing on to my perfectionist students, is that you are allowed to have bad ideas when you are trying to create.  Allow yourself time to get all the bad ideas out of the way (scribble all over the first page of your brand new sketchbook, so you don't have designer's block) and then the good ideas can come to the surface.

We learned so much about many aspects of the quilting industry as well as Tula's unique style.  If you ever get the chance to hear Tula speak or to take a class with her, I would urge you to sign up immediately.  It was a privilege to have been there and I would definitely call myself a fan now!

I am looking forward to buying Tula's new book which is a collaboration with Angela Walters: the piecing and the machine quilting look sublime!  So I have laid in a supply of Tula's new line called All Stars which includes 22 fabulous solids, and some glorious spots and stripes as well as some of the detailed prints for which she is famous.

Many thanks to Pam and Nicky at The Quilt Room for organising a great morning which had me buzzing with inspiring ideas all weekend.  And if you want to get your All Stars fabric in advance of everyone else, have a look on the Quilt Room's website or pop into the shop.  You won't be disappointed!

Wednesday 14 Feb: So sad, and rather shocked, to learn today (see this announcement) that Free Spirit Fabrics is ceasing to exist with pretty much immediate effect.  

I really hope that the talented designers including Tula Pink, but also Amy Butler and Kaffe Fassett, Anna Maria Horner and Denyse Schmidt, who have been with the company for a long time and who have produced such interesting, innovative and unusual fabrics over the years, find a new home so that they can continue to create and make their marvellous designs available to us.

Meanwhile, The Quilt Room does have bolts of All Stars and other Tula fabrics, buy now while stocks last!

Saturday, 10 February 2018

Friday finish - Sampler Block Shuffle

Hi everyone - well into February already: how did that happen?

I managed to quilt and finish quite a few quilts in January (four, including the Giant Four-patch Star blogged here) but we have had such poor weather I have only just been able to photograph some of them for you.

As I am so far behind with things to show, there will be lots of photos in this post.  I hope it won't be too indigestible... here goes:

First of all, my Sampler Block Shuffle quilt from 6" block patterns supplied by Moda via the Fat Quarter Shop on a weekly basis back in 2015/16: here is the link to the patterns.  

Looking back through old posts I find that I last blogged about this project back in February 2016 (two whole years ago).  Here is the link if you are interested.  By that date I had made all the blocks except the two applique patterns (which I chose not to do), and as I had made extra blocks to try out  colour and value variations, I had 60 blocks altogether.

I am a little bit surprised to find that I didn't blog about putting the blocks together. The last few months of last year are a bit of a blur if I am honest, but I think that at some point last summer I must have decided it was high time I finished this project, as the blocks had spent the intervening 18 months 'resting' quietly!

What took time, as usual, was deciding how to set and finish the top.  I was pretty sure I wanted a straight set and narrow sashing, and that I wanted to make the flying geese border using scraps of all the fabrics to help visually tie the blocks together.  Sixty blocks weren't quite enough for a satisfying layout, so I made an extra four blocks (of the simpler designs, I wanted a finish before too much more time had elapsed, after all).  That gave me a nice square set, eight blocks by eight.

Eventually I decided on a 'barely there' sashing which wouldn't take attention away from the blocks or impose too grid-like a structure.  And I had the perfect neutral fabric in my stash, a narrow cream stripe, and also a good backing fabric, both earmarked for other projects, needless to say!  [Backing is Prairie Paisley II by Polly Minick and Lauri Simpson for Moda].  Binding was scrap, a very old soft green with random pink and blue speckles, but just right, I felt - hooray for being able to 'shop' one's scrap and stash!

I thought you might like to see how I made the flying geese: I used a paper foundation by the same company as makes Triangles on a Roll, as it was important that the geese didn't stretch since the borders would help to keep the quilt top straight and true.

The technique is basically stitch and flip but because you cut the pieces the right size first it is not wasteful.  Once you get the hang of where to stitch and where to fold, the length of perfect geese emerges quite quickly from under your sewing machine needle.  The slow part (joking!) is removing the paper foundation afterwards - tweezers really help with this task!

I made square in square corners from two pieces of flying geese foundation paper overlapped.  Not rocket science but I got a buzz from working that out.

The payoff came when I attached the geese borders to the top and they fitted perfectly.  So satisfying.  I got particular pleasure from this as I am famous for usually having to fudge or even bodge to get a good fit....

The quilt finished at 62" square.  You can see the quilting in the two closeup photos here: I did it all on my home sewing machine, putting the ditch lines in first and then the flowing design alternating in the blocks.  As the quilt isn't huge it wasn't too bad turning it and I got into a rhythm.

OK I think that's probably a long enough post.  Alfie certainly looks as though he has suffered enough.  Hope you have a good weekend and I am linking to Crazy Mom Quilts for Finish it up Friday (even though it's now Saturday!).

The rest of the finishes and my current WIPS will have to follow, plus my recent Tula Pink experience - tantalising!