Putting It All Together

It was a long search for backing fabric for the log cabin quilt. I wanted a black fabric with subtle coloring and it had to be patterned. No solid fabrics in this quilt! Turns out that is not so easy to find. Finally I located just what wanted at Missouri Star. They had just enough for me to use for setting triangles, binding, and backing.

I plan to use the leftover bits from the FQs to insert a little colored row in the backing. Since the quilt is so large – queen size – I’ll have to piece the backing anyway. So why not make it a little interesting and link it to the front with some leftover fabric?!

So I cut some pieces and experimented with making a column of fabric to insert into one of the seams on the back. I laid out two columns, trying one that was laid out in a graduated design and another that was just randomly mixed. Though I like the graduated look, the random mix matches the quilt front better – I’ll go with that one.

It’s time to piece the backing snd the front together. Exciting!

3G

Log Cabins on the Design Wall

Drum roll, please…

Isn’t that fun?!

In case you’ve never used a design wall, I highly recommend it for laying out your quilt blocks. Many materials will work -batting, felt, drapery lining, etc. Mine is simply a king sized batting piece hung with thumb tacks.

Stepping back a bit, I can see that one pale purple square really stands out (4th row down, two in). It looks out of place and will need replacing before piecing the top together. This is exactly why arranging your finished blocks on a design wall is a good idea: you can see any changes you may want to make before you sew the top together.

It also allows you to play with the arrangement of blocks to find the most pleasing arrangement for your top. I like this arrangement so I doubt any changes will happen to the layout. But I have been known to change my mind…

Before beginning to sew this together, I need to trim each block to ensure they are all perfectly square; it makes assembling the quilt top much easier. I used a Creative Grids 15″ square ruler for this job.

By placing the ruler along one edge so that the 45 degree angle line cuts through the corner of each row, I can cut off any parts of the edges that aren’t square. This will take some time but it sure makes a big difference in sewing the top together.

I’ve assembled quilt tops without first squaring up the blocks and it was so frustrating. Seams didn’t line up, rows were too short or too long, and sometimes an entire side of my quilt was out of square. So I truly believe this is one step you just shouldn’t avoid doing. You’ll thank me later when all your blocks go together easily and your seams line up!

On to the trimming now. Ugh!

3G

Log Cabin Blocks All Done!

All the log cabin blocks are finally complete!

Stacked in sets by color, I can already tell it will be a wild quilt, but I’m loving all the great color and the pattern play.

I’m going to set up a design wall to lay this one out. It will be much easier that way to get the full effect of the interplay of patterns so I can place the blocks in the best arrangement.

Can’t wait to see it!

3G

Colorful Cabins – first few colorful blocks

The log cabin blocks are coming together very nicely!

I’m starching each FQ before I cut to give the fabric a little body for a better cut. Luckily, the cutting plan makes my cuts on the straight of grain so there’s very little stretch in the strips. As long as my quarter inch seam is good, the blocks should turn out the right size, or at least close to it.

I’m also starching each block when I complete all the piecing. I’ve noticed in prior quilts that this makes assembling the rows easier. It also prevents stretching if I have to trim the blocks slightly before assembling the top.


I’m really pleased how the six blocks from each set of three fabrics looks completely different except for the color palette. The placement of color is key and I’m paying special attention to slight nuances in the fabric.

I try to link each row with its neighbor using a color that the two rows share. At the same time I’m attempting to maintain contrast between the rows so there’s clear definition rather than blending. It’s more easily achieved in some blocks than in others.

As you can see, it’s going to be a busy quilt but I think the variety in colors will prevent it from looking ‘muddy.’

Twelve blocks done, 38 to go! Check back next week to see more.

3G

My first log cabin quilt

One of the students my spouse taught in high school has kept up with us since graduating. We received an invitation last week – he’s finally getting married. And what should we give as a wedding gift? A quilt, of course!

After paging through nearly all my pattern books and bunches of downloaded patterns I found a simple log cabin quilt in the Spring/Summer 2018 issue of BHG’s Quilt Sampler magazine. It’s called Colorful Cabins.

I’ve never made a log cabin quilt before. While I’m certainly aware of their popularity, a log cabin quilt never appealed to me before. Even after quilting for nearly 7 years, I tend to choose patterns that have more of a central medallion. But this one is different: its got nothing but patterned fabrics and THAT appeals to me.

The scrappy modified log cabin blocks are mostly medium to dark prints, with the blocks set on point, so it’s a lively, energetic pattern. The setting triangles are a black multi print as well, so it’s a visual feast of pattern on pattern with no solid fabric in sight. We both thought this was perfect for the gift. With a little over 7 weeks to the wedding, I had to start right away.

I have a large collection of Kaffe Fassett fat quarters (FQs), so I pulled them from my stash and began grouping them for a “planned scrappy” look. To make sure I got a balance of darks and lights, I photographed the fat quarters with my iPhone then used the edit function in the camera to change the photo to black and white. See image on the left? That’s over 65 different fabrics. I never knew I had so many Kaffe FQs – and there are even more that didn’t make the cut.

Using the black and white version it’s easier to see the value of each fabric. For the quilt to be exciting and visually pleasing it needs to contain high, medium, and low value prints. It also needs a variety of types of print to create contrast between the log cabin rows. Some need to be organic patterns (like florals), some geometrics (like stripes), and some need to act more like blenders.

I grouped fabrics with similar hues into sets of three, paying attention to value, pattern scale, and pattern type. Then my spouse and I took turns voting on the fabric sets that would go in the quilt. Here’s the final selection; it will be a spectacularly colorful quilt.

Tomorrow I begin pressing and cutting the FQs. I drew a cutting plan last night so I can maximize the use of each fat quarter. The pattern explains how to achieve planned scrappy look by grouping the fabric in sets of three to make six different blocks.

I can cut the FQ in strips parallel to the selvage on each piece, which means it’s on the straight of grain. Perfect! Less chance of stretching as I stitch. The cutting plan also helped determine how many FQs I need and how to make the most of each FQ. Using the plan, I’ve determined that I can create at least 6 different blocks from a set of three coordinated fat quarters.

Here’s the cutting plan. The selvage is on the short side of each FQ.

So check back later to see the progress after I make my first few blocks.

Later!

3G

2018 CVQG Quilt Show: Raffle Quilt

2018 CVQG Raffle Quilt and show layout.

It has been a busy year preparing for the Catawba Valley Quilter’s Guild 2018 quilt show. The show, offered every 3 years is a big deal for our guild. We expect to have over 300 quilts created by the guild members (only) on display at the Hickory Convention Center.

I’ve been proud to be part of the huge team working on this show. So many of our guild members have contributed time and energy to create this incredible show. For my part, I designed the raffle quilt that is a big fundraiser for the show. It was created by the team guild members on the raffle quilt committee and quilted in great detail by the very talented Rebecca Mullins. It is pictured here hanging in the entrance to the show to entice visitors to buy a raffle ticket – or 20. Isn’t the quilting phenomenal?!

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In addition to designing the raffle quilt, I volunteered to do the show’s floorplan and the ‘hang’ layout for all the quilts. It’s an interesting challenge to design a show when you don’t really know how many quilts or what sizes to expect. But using the information about the entries from the 2015 show, as well as a empty floorplan from the convention center, I was able to maximize the space for a little over 300 quilts, 20 vendors, the Lily Boutique (items made by guild members for sale), a QOV space, and a demo space.

2018 Quilt Show floorplan

It was a nice easy layout with lots of roomy aisles all the way around. And based on the data from the last show, we should have room for 325-350 quilts to display.

~3G

Large Applique

In the previous post, I showed how I built the large graduated background for the sun quilt. In this post, I’ll share how I created the sun and attached it to the background.

I attached the finished rays to the round body of the sun to create the full sun. With the sun fully together and the background fully pieced, I was ready to attach the sun to the quilt. I laid out the background and pinned the sun in place on it. Then I used a blind hemstitch with monofilament thread and attached the sun and rays to the background.

Now for the scary part: cutting away the background from behind the sun.

Turning the quilt top over, I was able to see the blind hemstitch line around the sun and its rays. I drew a 1/4″ line inside the stitching line on each ray. Using scissors and lifting the backing away from the sun rays I had just appliquéd onto the backing, I cut away the excess backing, being careful not to snip any portion the sun.

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Finally, quilt top was complete!

The next post describes how I planned and executed the quilting design, binding, and backing.