Here’s the block I made for the July Gridster Bee, for Carol. It was a fun make, made easy by this tutorial from Sara Noda. (She also has a blog post on her completed flag quilt.)
I also dragged out my hexagon quilt, and got started again. Here is Rosette #7, isolated (above), and below as it looks sewn into the quilt. I took the blocks and quilt rosettes with me on our recent family trip — since we had a lot of driving time — and was able to get the rosettes sewn together and one more completed.I’ve totally revamped Rosette #8, because frankly, everyone on the Facebook page was having real troubles with it, so I thought I would have a go at creating my own hexie arrangement. I’m choosing fabrics for it now.
I also picked my classes for Road to California 2018 (above)…
…and my classes for QuiltCon 2018, too. Anyone else going? Are we in the same classes?
And in case you think you only need fabric to create quilt patters, Sabrina Gschwandertner acquired a collection of old instructional films on the textile arts and has been creating quilt works of art. I will spare you the mumbo-jumbo about quilting from the LA Times, but here’s the article if you want to read it.
(PS Ignore the random “A” up on the right side)
I actually wanted to see the movies, after reading about her and seeing images of her work. Now it is lost forever. Will we feel that way about the millions of YouTube videos? I doubt it. There is something about the tangible presence of film being cut up, the scarcity of that resource being destroyed to begin again. But I do like looking at her works. If you are in LA, the article has info about how to see this in the gallery, but the show closes soon.
And today is six months since my shoulder surgery. I’ve seen the surgeon for the last time, finished my formal PT. Now just the challenge of walking, getting back into some semblance of shape after sitting around, and doing the PT exercises on my own.
LASTLY, thanks to all who entered the OPQuilt Summer Book Giveaway (snazzy title, don’t you think?).
Here’s another:
Amy Friend’s Intentional Piecing, a look at using fussy-cutting to make spectacular quilts. She has a range of stellar projects, plus some fun paper-piecing designs to sew into various quilts and hand-mades. It’s signed by the author.
Again–leave a comment letting me know if you are interested in receiving this book in the giveaway. I’ll notify the winner by email.
Update: Roxanne was our winner from the last giveaway. Thanks again for all who entered!
Thanks to all who entered the Paintbrush Studios giveaway for the Painter’s Palette Solids. I used the Husband Random Number Generator, and he picked Lisa J. for the scraps and Susan H. for the Paint Chips. It was fun reading all your comments!
I’m sure you’ve seen piggies flying across my screen on Instagram…piggies and more piggies. It’s because I was Queen Bee for this month’s Gridster Bee, and all my beemates were quick and sent them right out. So I honored them by sewing them all up into rows and getting the quilt top done. (Don’t you hate it when you make blocks for bees and they all seem to go into someone’s bottom drawer, never to be seen again? That happens, even to the best of us.)
I made a few more piggies, but imitated the heart in this curlicue pigtail from Carol.
I started to run into troubles because some piggies were facing left and some were facing right, and some were going uphill and some were going down, so my advice is have fun making them go left and right, but keep count, so you know how many you need of each. My husband made the suggestion to have the half-rows facing each other, so I did that in the middle of the quilt.
Another suggestion, from Mary, is to sew the grass on last, instead of first (like I wrote it in the tutorial). She’s right. I thought it wouldn’t matter much after the trimming, but it does. So that’s why I added the scrappy strips of green underneath the rows of pigs.
And last, arrange your piglets up on the wall, decide on the balance/color,etc. THEN start tilting them uphill or down. I also alternated the uphill/downhill at the start of the rows. It wasn’t that hard, if I just worked sequentially.
I started sewing the back together, then realized I was missing a beemate’s signature block. It’s come to a halt while I wait for it to arrive, but it will be great to have them all.
These white flowers (smallish, about 1 1/2″ across) are all over my bushes out front, and the whole yard is blooming. We’ve had a lovely rainy winter, so everything in the yard is very happy. So am I, to see these!
And I did a little spring shopping at our local brick and mortar quilt shop, finding some backing for the En Provence mystery quilt (still in process) on the sale shelves.
For April’s Gridster Bee block, Nancy of Patchwork Breeze drew up her own design, and asked us to make it up in some bold large-scale prints. This was a paper-pieced block in some places, and just plain pieced, in other places, and I think they turned out great.
This book will open your eyes up to color and piecing possibilities for New York Beauties, coupled with Flying Geese. I love it. You can find the author, Carl Hentsch on Instagram. I’m in love with another one of his quilts:
It’s slightly fuzzy because I screen-shotted it from Instagram. What talent!
I am the Queen Bee this month for the Gridsters Bee, and thought and thought and thought of what I could do. I happened on this design while surfing the blogs, and something about it just made me smile. Since I am one month post-op on my interminable rotator cuff repair recovery, I realize that it’s probably because I just needed some happy-cheery-goofy-fun in my life.
Yes, I made the tutorial and wrote it all up before I went in to surgery, perhaps anticipating the need for something happy-cheery-goofy-fun. To start us off, here’s something to get you in the mood for making my block this month (stop it about 3:00):
For those of you who can’t see the link, it’s from the movie Babe, The Gallant Pig, completing his “sheep” trials. (Go to the blog if you want to see it.)
Yep. Somehow little piggies have gotten in my heart and under my skin and I want a whole quilt of them, although I may add a barn or tree to break things up. I first found them on Gayle’s blog, Mangofeet, where it says she is a bonafide farmer. She found them on Sally’s blog, The Object of Design, which is where I found a tutorial for littler guys. And I found Gayle, by following a link from Bonnie Hunter’s Quiltville’s Linky Party for her En Provence mystery quilt. Connections everywhere!
Before I leave all the attributions, please visit Sally’s tutorial page, where she has other tutorials for bunnies and fish and all sorts of creatures.
But mine are slightly different, both in size and in style, so I wrote up atutorial for what I want. Since they are small, I’d like you to make me two, if you wouldn’t mind. I used Gayle’s post for inspiration (also look *here.*). To make it easier on yourself, make them both the same, but if you get adventurous, it’s okay to flip the orientation of the piglets, or make one going up and one coming down. But really, keep it simple so you aren’t calling me names in the middle of this process.
Again, while Sally has a tutorial (linked above) and she is the designer of this block, I changed up a few things (like the dimensions), so please follow along and make my piglet according to my tutorial. The piggies are all scrappy, but I do need:
sky–a consistent low-volume or “background–no need to make them the same fabric, but the do need to be the same lightness: pale blue, cream, white, tan, low-volume with grey/tan/etc. prints. Avoid prints with too dark of text or design so that it throws it to a muddy tonality. Some background prints are fun and will make the quilt more sparkly. It’s okay to mix up the borders, but I’d probably stick to the same fabric around the piglet.
body–a medium value fabric: small print or geometric, floral, Kaffe, but avoid fabrics that look “splotchy” when cut this small (such as cutting a giant polka dot in half)–generally anything in your stash. Have fun. Make me some colorful piglets.
ears, feet, snout–a darker-toned fabric that stands out from the body fabric
tail–embroidery floss/Perle cotton to match your piglet, to embroider the tail. Pattern is not given for this, but below are some piglet tail ideas. Please use a back stitch. More info in the tutorial.
Gayle showed hers on a tilting grassy hill, which I like quite well, so that’s what I’m asking you to make for me. Copious amounts of photography and images and text follow, but really it isn’t too hard. The following directions yield one piggie, so cut everything out double, out of two different piles of scrappiness.
Lastly, I follow standard print journalism standards: the caption in UNDERNEATH the image (MQG had theirs backwards on their award-winners page and I was so confused!)
Cut the background (sky).
Cut the body fabric.
Cut the accent pieces of snout, ear and feet.
Step one is to snowball body fabric onto the background fabric, using the 2- 1/2″ square pieces of background and the 1 -1/2″ square pieces of body fabric. Then the last snowball is a double: use one 2- 1/2″ square of accent fabric and snowball on one 1 -1/2″ square of background and one 1- 1/2″ square of body fabric. Press the snowball corners to the dark side, and trim after pressing. With the double-snowball, you’ll press one square’s seam allowance toward the accent fabric and the other toward the body fabric.
Step two is to gather the other pieces together: Line up the 1 -1/2″ x 4″ pieces in body and background, AND the 1- 1/2″ x 3″ pieces in body and accent. Place on the front accent piece (snout) and the back background piece on the large body piece (lowest piece).
Step three: sew the strips together and then press to the dark side on the top one. I don’t care which way you press the bottom one, but I went towards the dark as well.
Now cut those strips in half. Exactly. The top strip set (A) will yield two with body and background fabric that will measure 2″ across. The bottom set (B) will yield body and accent fabric that will measure 1 1/2″ across.
Step Five is to lay them all out. If you were going to make a reverse-direction pig, you’d need to fiddle with that ear (double-snowball) piece to sew that up differently, otherwise, everything else is the same/can be moved around. (See second pig at the end.)
Sew the top row together, then the middle and yes…sew the bottom row of pieces together. Pressing instructions are in a minute, but generally press towards the dark. PLEASE DO NOT PRESS THE SEAMS OPEN.
Babe!!! Babe!!
This is how I pressed the seams. I just realized I pressed the legs the wrong way. Oh well. Either way is fine, but just not open. [NOTE: I show it correctly in the second pig, at the end.]
Time to tilt this little guy. Start by sewing on a 2- 1/2″ strip of ground–can be green for grass, or flowery for a meadow, or brown for forest floor or purple for Outer Space. It just has to have contrast to the background and side strips.
Sew on three side strips, by FIRST sewing on the top, then the two sides, all 2 -1/2″ wide strips.
UPDATE FOR MY BEE MEMBERS:
Please do not trim. After sewing on borders, just send untrimmed, untilted.
Now back to our regular programming.
Now to cut. Please check the areas in those red circles to make sure you are leaving 1/4″ seam allowances (one above the line, one below the line). Lay your ruler with the edge along the black line, above. Cut.
Now lay a square ruler at the bottom (newly cut) edge. Now play with the adjacent side it a bit, making sure to leave that 1/4″ in the circled area. Cut.
Now think about it as a beginning rectangle. Turn the piglet 1/4 turn clockwise so that the newly cut green line is at the bottom of the mat and the black line is to your left. Measure over 7 3/4″ from the black line; cut.
Measure 9 1/4″ up from the green line; cut.
Tilt the pig back to a proper vertical and it should look like this:
The piglet’s rectangle will measure as shown above: 7-3/4″ high by 9-1/4″ wide..
Again, this is the most important corner when you cut for the tilt. It’s so the ground will look merged together when seamed.
I made you an overlay, if you are nervous. Download the PDF file: piglet-tilt-overlay1 and print it out on vellum paper, or make a template out of this (too much trouble, I think). It will help you get the right angles.
Please print it at 100% or you will again find yourself cursing.
If you are really truly too nervous to cut this pig, send it back to me untrimmed and when I get better, I’ll be happy to trim it up.
Now let’s add the pigtail. Draw on a squiggle, originating from the pig’s backside edge. My drawn line is really faint, above because I don’t want to have to figure out how to get the pencil off. Sometimes I’ve just eyeballed it. Sometimes I’ve just scratched it in. See the picture at the top of the post for pigtail ideas.
Tie a knot in your perle cotton (I used size 8, but 5 or 12 is fine, too) and bring it out at the fold, at the beginning of your drawn line, hiding the knot in the seam.
Take one stitch (#1) and then skip a stitch, coming out as shown in the photo on the left. Now put your needle in the same hole as where you came out on your starting stitch (#2) and backtrack and stitch that empty place, which will put you on the road to backstitching the piglet’s tail on.
Insert the needle in the last stitch and pull it to the wrong side.
On the wrong side, weave your thread down from the top , then make a knot (below) by making a loop and drawing your needle through it. Continue weaving your thread for one or two more stitches, then cut it off.
Okay, let’s do it again, but with the pig flipped to the other side.
You can see how the ear needs the double-snowballed corners switched.
And the back, showing the pressing, this time with the correct pressing for the legs.
You have to think on this step: do you want your piggie going uphill? Or downhill?
I voted for downhill since I already have an uphill.
Here’s how I laid my ruler, keeping an eye on those 1/4-inch seam allowances.
Now you can see how I use my square ruler to find the next edge.
It’s really straight, even though the photo doesn’t look like it.
I put the ruler on as I described above, and worked it until I had the correct measurements of 7-3/4″ by 9-1/4.” I ended up trimming off a slice of a previous cut to get those dimensions. Then I do the tail.
Here they are together, but not sewn together.
That’ll do, Pig.
Thank you everyone! I look forward to a whole farmyard of little piggies, running around my design wall. While I attribute all these ideas to two very fine quilters: Gayle, of Mangofeet (she is hilarious to read) and Sally of The Objects of Design (who has made a stunner of an En Provence Mystery Quilt), all the photographs and instructions above are my own. Please do visit their blogs to see all the fun piglets that are running around there.
This month, Sherri, of A Quilting Life, is our Queen Bee and she’s asked us to make her pineapple blocks.
First step: make a mess of the sewing room pulling out greens to get the best ones. (It also helps with re-organizing my messy shelves.)
I downloaded the free pattern, and also pulled up the post from Sherri where she makes her block, so I could glean any tips she had when she made it.
She suggested we scroll through Jackie’s IG feed until we found the tutorial, which really helped me understand how we put these together (that’s a screen shot of her image above), as the pattern is a bit sketchy on details. Click on the tutorial link to head over there.
What confused me was that the pattern calls for cutting all the blocks the same size, different than what I would do if making half-square trianges (HST). After reading the IG tutorial, I see that Jackie sort of “snowballs” on the white corners, instead of making HSTs. She marks the line, and sews just inside of it–to the seam allowance side. She then cuts off the excess. One advantage of this method: there are no dog ears to trim!
Yellows sewn: check. Green pineapple crown sewn: check.
One other difference in the construction of this block is that the low-volume white is added to the corners of the yellow block after it’s all sewn together, then sliced off and pressed.
Ta-Done!
And here it is with its signature block–with yellow on one corner and green on the other–albeit a bit blurry.
If you want to make a bunch and exchange them, Elaine’s Quilt Block Quilt Shop in Salt Lake City is having a swap of pineapple blocks–both in the yellow and in a range of colors. Click here to go their IG page where they announced it.
Susan of PatchworknPlay starts off our new year of our Gridsters Bee with having us make her some New York Beauty blocks.
She sent us to a webpage (Ulas Quiltseite–it’s German) that had ten different New York Beauty blocks on it, and we could pick two different ones (if we were making two).
There was even a block for beginners. I chose Block #1 and Block #6.
Helpful tip: These words mean that she split them to get them printed. You may want to join the outer pieces together so there is no seam. You’ll see what I mean.
I always remember Leann’s tips for sewing curved edges together (her quick video *here*): it’s best to put the concave piece on top, and the convex piece on the bottom. But since I had a curved shape with gazillions of pieces, I reversed it. Don’t know if that made it harder or easier.
The second block had another challenge. If you go and look at it, you can see I was using striped material, and I didn’t want that stripe to tilt. First piece on (above), and I don’t glue my foundation paper piecing, I pin.
I marked the center of the lower edge of the piece (opposite its point). I folded my fabric scrap in half lengthwise and line it up with both centers.
Keeping it in place, I fold back one side, mimicking the slanted edge that needs to be sewn. I finger-press it.
Then using all my skills, I move this carefully to the other side of the unit, holding it up to the light to line up that folded edge where it needs to go. Sometimes it’s easiest to note where the edges are and adjust from there.
Unfold it, being careful not to move it.
Stitch on that line, trim seam allowances and continue on. They all line up nice and vertical.
We make each other signature blocks, using a white 3 1/2″ square and snowball on two 2-1/2″ squares on either corner, using fabric from the blocks we made. (Click on the link to see a how-to, as well as how we’ve used our signature blocks: sometimes on the back and sometimes on the front of the quilt!)
The key to success: IRON ON A SCRAP OF FREEZER PAPER to the back before writing, as it stabilizes the fabric. I use a Pigma 08 to write.
We always write our name, but other things to write could be:
IG/blog name
month/year
hometown
name of the bee or why you made the quilt
Looking forward to the rest of year with my Gridster Beemates!
I’ve totally revamped Rosette #8, because frankly, everyone on the Facebook page was having real troubles with it, so I thought I would have a go at creating my own hexie arrangement. I’m choosing fabrics for it now.
And in case you think you only need fabric to create quilt patters, Sabrina Gschwandertner acquired a collection of old instructional films on the textile arts and has been creating quilt works of art. I will spare you the mumbo-jumbo about quilting from the LA Times, but here’s the article if you want to read it.
