Central Ohio Modern Quilt Guild Charity Quilt

Every year the Modern Quilt Guild issues a Charity Quilt Challenge and the results are displayed in the hallways of QuiltCon. The MQG gives a theme and color palette, and any guild or small group of members is invited to participate.  This is the second year the Central Ohio MQG has participated in this challenge.

Charity Quilt 2018 front

This year the theme was Modern Traditionalism and this is the palette.

QC18+Palette

When our guild does a group quilt, we gather design submissions and vote to determine which one we will make.  The design for this quilt was a collaboration between Lissa of Lovingly Lissa and me.  This project is a potholder style quilt, which was a popular method for charity quilts made in New England during the Civil War era.  Each contributor would piece, quilt and bind a block.  When the volunteers would gather, all they would have to do to finish the quilt is whip stitch the blocks together.  (If you would like to see some other potholder quilts, check out these posts:  Modern Log Cabin, Petals in the Wind, and In the Garden.)

Quilt Layout (2)

For our updated version of a potholder quilt, we used Ohio Star blocks.  This is the block that I contributed to the quilt.

Charity Quilt 2018 Individual Block front

Charity Quilt 2018 Individual Block back

Each block is constructed so that the pieced block is visible on either the front or the back of the quilt.  This also creates a fully reversible quilt.  The blocks are joined with a triple zigzag stitch done on my mechanical sewing machine.

Charity Quilt 2018 back

The first side of the quilt incorporates the entire color palette and has more of a “daytime” feel.

Charity Quilt 2018 detail 3

Charity Quilt 2018 detail 2

Charity Quilt 2018 detail 1

The reverse side of the quilt is intended to appear more like the nighttime sky.

Charity Quilt 2018 detail 4

 

Charity Quilt 2018 detail 5

 

Charity Quilt 2018 detail 6

My favorite part of this quilt is that we have so many different people contributing their personal quilting style to the project.  It has a mix of straight line and free motion quilting, several thread colors and weights, and various quilting densities.  It really became a beautiful representation of our guild.

The quilt gets shipped off to QuiltCon this week!  We are all very excited to have it displayed with all of the challenge quilts from around the world.  We don’t have any members who are able to attend this year, so we are hoping to have some photos come our way!

Quilt Stats:

Title:  Two Sides of the Same Star

Size: 71″ x 89″

Techniques:  Potholder style, machine pieced, block machine zigzagged together

Quilting:  Free motion and walking foot quilted

Fabric:  Kona Cottons

Batting:  Warm and White

Thread:  Pieced and quilted with a variety of thread brands, colors, and weights

Binding:  Blocks were individually bound with Kona cotton bias binding, cut 2″ wide, machine stitched to the front of each block, and hand stitched to the back.

Complementary Composition: A Michael Miller Challenge Quilt

Complementary Composition grew out of the 2017 Michael Miller/Modern Quilt Guild Challenge.  This is the third year I have participated in the challenge, and this is the first time that my challenge quilt has been selected for participation at QuiltCon.

Complementary Composition full

The fabric for the challenge is Our Yard, and it is super cute!  This actually proved to be a greater challenge to me, because I rarely make quilts that I can describe as cute or even pretty.  I love looking at quilts that are cute, pretty, darling, charming, etc., but I don’t tend to create work that I would use these terms to describe.  Now the question became- How do I incorporate these charming prints into my personal aesthetic?

Michael Miller Challenge Fabric 2017

When I am uncertain how to proceed with a design, I tend to turn to the elements and principles of design.  While the elements and principles of design never exist purely on their own, I find that sometimes narrowing my focus in the initial stages of a design helps to refine my overall vision for the project.  In this case, I initially focused on the element of color and the principle of scale.

There are so many bright colors in the challenge prints that it allows for interpretation in selecting a dominant color palette.  Blue and Orange has always been my favorite complementary color scheme (two colors opposite each other on the color wheel), and I thought that the vibrant combination would honor the energy evoked in the fabric prints.  To add visual dimension, I selected a lighter and darker version of solid color.  I was fortunate enough to make my initial fabric purchase for the quilt while in Paducah, KY at Hancock’s of Paducah.  They carry most of the Michael Miller solids, so I was able to make my color choices with the fabrics right in front of me.  When purchasing solids for a project, I try to photograph the ends of the bolts just in case I need to order more, which did happen during this project.

Michael Miller Solids

The official challenge only required that two of the prints in the line be incorporated into the finished quilt, but as a personal challenge, I wanted to use each one included in the bundle that was sent out.  In order to make this work with my aesthetic and the color scheme of the quilt, scale was going to be an extremely important aspect of the design.  The most graphic print in the bundle is the black, grey, and white print which is the most closely aligned to my aesthetic.  This would be the dominant print.  The black and white leaf print on the mustard and aqua backgrounds is closely associated with the striped print, and I liked that the spacing of the print give the eye a place to rest in the background and allows it to work with the solid fabrics surrounding it.  I knew that this print was a prime candidate for fussy cutting to highlight the leaf image.

Complementary Composition fussy cut detail

The busiest prints were going to be the most challenging to work in, so they were going to be used in the smallest pieces.  The 1/8″ slivers of these fabrics create energetic lines and break up large expanses of the solid fabrics.

Complementary Composition Piecing Detail

This quilt is constructed using a structured improv technique.  The pieces are measured and trimmed as they are sewn, but there is no predetermined design for the piece.  I started the process by constructing blocks loosely based on Log Cabin/Courthouse Steps style blocks.  Many of the blocks are built around a fussy cut square or a simply pieced block.  As the blocks were completed, I added them to the design wall.

Complementary Composition Design Wall

Once I decided the blocks were balancing within the design, I filled in the open areas with strips of fabric.

Complementary Composition Echo Quilting

For the quilting of the piece, I wanted to emphasize the linear qualities of the piecing by using a mix of vertical, horizontal, and diagonal straight line quilting as well as echo quilting.  The echo quilting highlights a visually contained shape while the vertical lines give a sense of strength that is balanced by the calming force of the horizontal lines.  Mixing in strong diagonal lines gives a greater energy and a sense of the unexpected to the overall design.

Complementary Composition Use of Challenge Fabric

The binding is a mix of solids with just a small section of striped fabric to draw the eye back toward the center of the quilt.

Quilt Stats:

Title:  Complementary Composition

Size: 63″ x 69″

Techniques:  Machine Piecing, Structured Improvisational Piecing, Fussy Cutting

Quilting:  Linear Quilting using an A-1 Longarm equipped with digital channel locks that can be set to any angle

Fabric:  Michael Miller Our Yard Prints and Cotton Couture Solids

Batting:  Hobbs 80/20

Thread:  Pieced using Gutermann Mara 100, Quilted with 50wt Aurifil

Binding:  Bias binding in a mix of solids and striped print cut at 2″ wide, machine stitched to the front, hand finished on the back

Overlay: A Riley Blake Challenge Quilt

Overlay is the quilt I created using the Rockstar line from Riley Blake fabrics for the Modern Quilt Guild challenge last Spring.

Overlay front view

I focused on the red and white prints because I liked the idea of using such a classic color combination (such as the popular red & white quilt exhibition!) in contemporary prints.  The design of the quilt also embraced the juxtaposition of classic and contemporary.  The first step for this project was to make a traditional quilt top using a Flock of Geese block.

Assembled Blocks for Overlay

Once the top was complete, I started deciding which areas would be obstructed by the circular overlays.  To assist with this process, I made circles from printer and craft paper so I could experiment with scale.

Overlay Placement 1

Overlay Placement 2

Once the right scale was achieved, I used the paper pieces as templates to cut the fabric pieces.

Overlay Placement 3

After determining the final layout, I cut corresponding circles from quilt top that had a radius 1/2″ smaller.  Then I machine pieced in the circles- thats right- there is NO APPLIQUÉ in this quilt!

For me, the quilting is where my vision really comes to life.  I wanted the texture to tell the story of the quilt even in the sections where the overall pattern is obscured by the circles.  For example- if you were to paint a mural on a brick wall, the color changes with the design, but the underlying texture remains the same.  In this quilt, the Flock of Geese design is carried through the entire quilt top using the quilting.

Overlay front detail

Where the white portions of the Flock of Geese block would fall, vertical matchstick quilting is used. In the red areas, organic mixed motif quilting is used.  The thread color matches each fabric used on the front of the quilt.

Overlay Back

The back of the quilt is a mix of red, white, and aqua Riley Blake fabrics.  A facing finishes the edges of the quilt so there is no visual border trying to contain the circles that appear to float off the edge.

Overlay Back Detail

On the back of the quilt, you can really see some of the thread color changes that blend in on the front of the quilt.

I was able to enter this quilt into the county fair, and it received a first place and a best of division award!

Overlay County Fair

Quilt Stats:

Title:  Overlay

Size: 47″ x 63″

Techniques:  Machine Piecing

Quilting:  Matchstick and Mixed Motif Free-motion Quilting using an A-1 Longarm

Fabric:  Riley Blake Rockstar Prints and solids on the front, assorted Riley Blake fabrics on the back

Batting:  Hobbs 80/20

Thread:  Pieced using Gutermann Mara 100, Quilted with 50wt Aurifil in three colors to match the fabrics used

Binding:  Facing in coordinating Riley Blake prints

This quilt was entered into QuiltCon 2018

Entries for QuiltCon 2018

QuiltCon 2018 is coming up in February, and Thursday was the last day for entries.  I always end up having one quilt that I either:

1) Have to make by the deadline – or

2) Allow to grow from a small project to a big one.

My Michael Miller Challenge quilt was definitely the second.  It was going to be a small-ish wall quilt, but it ended up being a generous lap quilt at 63″x69″.

Complementary Composition full

“Overlay” is my second entry and is entered in the Modern Traditionalism category.  This was also my entry in the Riley Blake Challenge earlier this year.  I really hope this one gets in- it is a personal favorite!

Overlay full

For my negative space entry, I continued exploring the idea of highlighting the use of thread to tell the story of the design.

Pivoted Plaid full

“Lateral Ascension” is entered in the Minimalism category.  The design is inspired by the drafted front elevation of a spiral staircase.

Lateral Ascension full

Franklin Park/Greenery in the Garden” is the only quilt I have actually written a more in depth post about.  It is entered into the Improvisational category.

Franklin Park full

Even though there is now a maximum number of five quilts accepted per entrant, I couldn’t resist adding a sixth entry.  I would love to share it with you, but it is a piece of secret sewing, so I will have to wait (and so will you!)

I have been away from the blog for awhile, and I am really missing it.  In the hopes of encouraging myself to make it more of a habit to blog, I am going to try participating in the 31 Day Blog Challenge hosted by Cheryl Sleboda at muppin.com.

BlogChallengeYr3-1

 

Hills and Valleys: 2016 Riley Blake Challenge Quilt

This year’s Modern Quilt Guild / Riley Blake fabric challenge was one of the best challenges I have ever participated in, and I am very excited about the resulting quilt!

Hills and Valleys full view

The print that was selected for the challenge fabric has almost endless possibilities since it contains so many different designs.  I had the fabric draped around the studio for a long time before I decided what direction I wanted to go with it.  I still wasn’t entirely certain what I was doing when I ordered the solids to coordinate.  Emerald green has been very appealing to me lately, and I decided to draw my color scheme from it.

Challenge Fabric

I enjoy taking linear prints and cutting / reassembling them into a star formation, and I started out thinking that was where this project would lead.  In an effort to step out of my star-shaped box, I decided to consider other options that could produce a similar effect with the pattern of the print.  I drew the fabric print to scale in AutoCad and started to experiment.  Ultimately I landed on this design based on a traditional clamshell configuration.  I thought that the greens I had selected would create the illusion of abstract rolling hills, and the black and white print would look like giant flowers bursting forth from the landscape.

Hills and Valleys detail c

I developed and printed templates for each shape using AutoCad.  Since I had already planned the design with the fabric in mind, I was able to print the templates with guidelines that matched the print.  Cutting was super easy this way!

The clamshells are machine pieced to one another.  I used the templates to mark the start, center, and end of each seam which helped me to accurately position and pin each seam.  The top row of clamshells is hand appliquéd to the light blue background fabric.

Hills and Valleys detail b

The quilting was the most fun part of the process.  Solid fabrics give so much room for play, and I loved the idea of creating movement in this piece.  Each “hill” has a different texture from those directly around it, and the quilting thread matches each section.  This is also my first project to incorporate hand sashiko stitch quilting.  The large stitches in contrasting thread helps to draw your eye around the quilt.

Hills and Valleys detail a

I was excited to submit this quilt to the challenge, and I was absolutely ecstatic to find out that it received second place!  If you would like to see the other fantastic quilts that placed in this year’s challenge, you can find them on this Modern Quilt Guild blog post.

Quilt Stats

Title:  Hills and Valleys

Size:  41″x43″

Techniques:  Machine piecing, Hand Applique

Quilting:  Freemotion and Ruler work on an A-1 Longarm machine, hand sashiko accent stitching

Fabric:  Riley Blake black and white sashing print and Riley Blake solids

Batting:  Hobbs 80/20 cotton blend

Thread:  Pieced and appliquéd with coordinating Gutermann Mara 100 thread.  Quilted with five colors of 50wt Aurifil cotton thread.  Sashiko stitching done with dark grey Aurifil Floss.

Binding:  Faced with Riley Blake fabric

Goal #3 is Finished!

Goal #3 is Finished!