Tag Archives: finished quilt

Bookshelf Mini Quilt

My friend Cathy, mother of Rachel and Louise, turned fifty recently and I had to commemorate the occasion. Cathy is an incredible writer, so I decided to make her a bookshelf mini, which hopefully she can hang in her writing shed.

Rainbow Bookshelf

Rainbow Bookshelf

I loosely followed the tutorial by Don’t Call Me Betsy and was fortunate to have lots of selvages, sent to me completely gratis by the lovely Alison of Little Island Quilting. (Speaking of Alison, go buy her book, it’s hilarious!)

Book titles

Book titles

The titles are fused on using double-sided fusible and then top-stitched.

I then took this baby to the longarm (which I have used embarrassingly little since forking over all of my savings) and went to town.

Quilting Detail 1

Quilting Detail above the shelf

Quilting Detail below the shelf

Quilting Detail below the shelf

AND! For the first time in nearly five years of quilting, I made a quilt label! My sources tells me it’ll fade because all I did was laser print directly on the fabric without any kind of fixative, but I left it to soak in water for a full day and there was no running or fading, so I’m hoping it’ll stay put. Names unskillfully removed via photo editing to protect the innocent.

Quilt label

Quilt! Label!

Tula Pink Saltwater Quilt

Saltwater quilt

Back in 2012, in the early days of my (decidedly one-sided) love affair with Tula Pink, I bought a fat-quarter set of the Saltwater fabric collection, which I promptly left to marinate for three years because it was too stressful to cut into. But when I got a half-square triangle die for my Accuquilt a few months ago I went to town with it.

Although I have issues with the accuracy of the Accuquilt, for which many helpful people on Instagram provided useful tips (which I appreciate but will not be following because (a) I am lazy and (b) I didn’t buy the stupid thing to generate more work for me), I’ve become a confident enough quilter to know how to fix those kinds of problems when piecing.

Inspired by this gorgeous quilt by Sarah at coopcrafts* I combined the saltwater triangles with a variety of white-on-white fabrics, so even though the overall effect from afar is plain white, up close you can see the different patterns. Cutting the entire quilt top took maybe an hour or two, and piecing it was a complete breeze, since the die eliminates dog ears and there’s no need to mark anything.

Chain piecing action shot

Chain piecing action shot

Schnitzel helped.

Schnitzel helped.

You don’t really need these right now, do you?

After I started cutting into the set I realized that I had an unequal number of FQs in each of the three colourways, which meant I had to be creative when laying out the quilt and which I think I managed.

Layout

For the back, I loosely followed Elizabeth Hartman’s Mod Mosaic tutorial to create a long strip made from the leftover scraps.

I love this fabric line unreasonably much.

I love this fabric line unreasonably much.

After I made a strip the width of the quilt I edged it with some Saltwater strips from yardage I had purchased on other occasions (truth: this is the only Tula Pink fabric line that I actually like. I find the others super-intricate, but equally creepy. Elizabeth? EEP), and then finished off the back with some more white-on-white fabric pieces.

That's a very subtle light-blue thread.

It took longer to make the scrappy strip than it did the entire quilt top.

Saltwater quilt back

I used straight-line quilting to outline each square with matching thread and used a new-to-me thread, Mettler, which I was really pleased with. Unfortunately, this kind of quilting leaves ton of threads to bury, which normally I would bury as I go, except that I’m a dumbass and cut a super-hot chili with bare fingers the morning I started quilting, and my hands were ON FIRE for well over twelve hours, making it impossible to do anything more precise than shoving the quilt in and out of my machine. You’ll be pleased to know that dipping my hands in a vat of after sun and aloe vera made the pain go away a few minutes before midnight. Anyway.

P1040280

That’s very light blue thread on the right.

For the binding I used a method I came across on Instagram and had tried on a baby quilt a couple of weeks before, and you guys, I am NEVER going back to old-school binding. I’m not joking—the no-tails method is much easier, much more conducive to scrappy bindings because you don’t need to make a super-long continuous binding strip, and gives PERFECT corners. Recently, while flipping through Sunday Morning Quilts, I saw that this method is actually in the book and I think I must have dismissed it on my first read because it seemed too complicated (it so isn’t). I also decided to go a bit thinner on my binding for this quilt, cutting it 2.25″ wide instead of 2.5″, and the quality and fullness of the binding is spectacular by comparison. I may even go down to 2″ for my next quilt.

Can I help you bind, mom? I'm sure licking your hand for an hour will help get this done in no time.

Can I help you bind, mom? I’m sure licking your hand for an hour will help get this done in no time.

I used the blue/white octopus fabric as my main binding fabric, and each side of the quilt got a small scrap of one of the other colours to punch it up a bit.

Pop of colour in the binding

Although I finished the quilt top about a year ago, I didn’t get back to it until the end of the summer, when I decided to try to enter it into the Erding Patchwork Messe, where I exhibited a couple of quilts last March, too. I worked like a fiend for only to find out that they wouldn’t accept a late submission, so it’ll have to wait for the next one.

* If you aren’t following Sarah, do yourself a favour and do. Her HST quilts are a thing of beauty.

Tula Pink City Sampler Quilt – FIN.

Reading through my previous posts about the Tula Pink City Sampler I can see that I was just brimming with optimism about the whole process. It’s like I knew right from the start that I would absolutely hate making this quilt. But the thing is, even though I often wanted to stab myself in the eye with an ice pick rather than work on it, this quilt was an incredible learning experience. For starters, I learned–oh, who am I kidding? Like I didn’t already know–that I hate fiddly. These tiny, tiny pieces did not get any less annoying as I made my way through the quilt.

sneak peek 1

But the fiddly aside, I realised through the making of this quilt that I’m a pretty confident quilter and that I’ve seen and read enough about quilting to be willing to take some risks and to rely on my own intuition. I took a lot of chances with this quilt that could have ended badly, but didn’t.

sneak peek 2

The City Sampler book is laid out in sections. The introductory section gives basic instructions regarding how to read the cutting and piecing instructions. The piecing section, which is split into shape-based subsections, is arranged in two-page spreads and shows a photo of the finished block on the left side, and cutting instructions and a piecing illustration on the right side. The final section shows various layouts for the finished quilt.

Here’s how this quilt came together. I made about twenty five blocks in 2013, another twenty or so in mid-2014, and then over fifty blocks in a single weekend this past January (I really just wanted to get it over and done with already). I did not buy any fabric specifically for this quilt, and used mostly my scrap bins and some of my stash. As for the colour scheme, I knew I wanted to make the gridlock layout and that I wanted it in the same rainbow arrangement, so when I made my blocks I loosely kept to the colour scheme of the blocks in the book.

While I was sewing the blocks, I put them up on the design wall in the order they appeared in the book (pardon the iPhone photography, as usual. I tend to sew in the evening and the light in my sewing room is appalling).

From 1 to 100

From 1 to 100. At this point, I was still wholly unimpressed with the whole thing.

When all the blocks were done, I rearranged them in the same order as the gridlock layout in the book, and then I started playing around with them, since the colours and values of my blocks weren’t an exact match to the book, so some of the blocks just didn’t look right. After my first layout attempt, I brought the Germ in to consult.

Bringing in the consultants.

He had thoughts.

Schnitzel said she was no expert, but agreed to take a look.

Schnitzel said she was no expert, but agreed to take a look.

Eventually I settled on a final layout and even remade one block that was really bothering me.

I’m not a particularly skilled free-motion quilter and didn’t want my quilting to detract from the quilt. I was also pretty sure that I didn’t want to piece the entire top and then quilt it, because the quilting I had in mind would require me to turn the quilt around constantly, and I knew it would be too heavy for me to manage that easily. I decided to try the quilt-as-you-go method that Maureen Cracknell demonstrates in this tutorial.

I split the blocks into six segments and added the sashing to each segment. The segments were each five blocks across, with four segments made up of three rows, and the last two made up of four rows. Once the six segments were sashed and basted, I quilted each block, mostly echoing the shape of the pieces in each block.

A quilted segment

A quilted segment. Guest appearance by tracked kitty litter.

Next, I sewed together each pair of segments into three rows across, and quilted the horizontal sashing with straight lines about half an inch apart. After that I sewed together the three segments, and then quilted the vertical sashing with the same half-inch apart lines. At this point the quilt was already fairly large, but still manageable through my large machine.

Rub my belly mom! The only thing that'll make this quilt better is drops of your blood!

Rub my belly mom! The only thing that’ll make this quilt better is drops of your blood! At this point the sashing was quilted and I was working on the borders.

Last, I added the wider borders and extended the quilting lines from the sashing to the edges of the quilt, and once all the borders were on, I circled the entire quilt with four half-inch apart lines.

And everything fit! I was able to line things up really well (using lots of pins), and the QAYG just worked! It was magical! The next picture shows how the segments were sewn together. I gave it all a good press before I started quilting, though the quilt is a little bumpy in the back where the segments are connected, but please, reader, ask me if I care. Go on, ask!  This picture also shows how I quilted each block. Lots of extra threads that I didn’t trim, but it doesn’t really matter since they’re hidden behind the quilt back.

Merging the segments

Merging the segments

For the back, I made a diagonal rainbow to more or less align with the rainbow on the front, and to attach the back to the front I simply stitched in the ditch along the sashing borders. Again, it was a fair bit of quilt to fit in my machine, but it was such quick and simple stitching that it didn’t seem at all unmanageable.

Echoing the front with a rainbow in the back.

Echoing the front with a rainbow in the back. You can see the bumps where the segments were connected.

The binding was also a rainbow, mostly lining up with the rainbow on the front.

And here it is in all it’s glory. And you know? I love this quilt so much. It was worth all of the annoyance and all of the itty-bitty pieces and all of the risk-taking.

All done! LOVE!

Here are some details of the quilting.

Quilting details 2

Quilting detail

And last but not least, I entered this quilt into a show! I finished it on Thursday and dropped it off the same day, and today it was on display for the day at the Patchwork Messe in Erding.

The woman on the left with the striped bag looked at it, turned to her friend, and said: "Now this is art." I squeed.

The woman on the left with the striped bag looked at it, turned to her friend, and said: “Now this is art.” I squeed.