Whole Circle Whole Cloth

I love a challenge, and this month Aurifil challenged it’s artisans to create a whole cloth mini quilt using a Paintbrush Studios Painter’s Palette Solid and a coordinating thread in our choice of weight.  I was sent Midnight blue fabric and a matching thread.  This first photo has the most accurate color so imagine that color when you see all of the indoor photos! 🤣

Whole cloth quilting isn’t something I do very often, so I decided to start the process with a little research.  Quilting tends to rely on pattern and repetition, so the books I pulled out had lots of art that embraces those principles.  I was also leaning toward 20th century art for inspiration, but I include some inspiration from earlier eras, just in case something caught my eye.

Ultimately I landed on these two Art Nouveau tile images to use for design inspiration.  I liked the circular quality of both designs, and thought that they would combine well.

I drafted the design on AutoCad, then printed it across two sheets of tabloid size paper and glued them together to form the entire image.  Then it was time to pull out my perk wheel to use an old scenic painting technique to create a stencil.  I placed the image on top of my wool pressing mat and ran the wheel along the lines.  For the tightest curves, I used a large safety pin to poke through the paper.

Once the holes were poked through, I flipped the paper over and used a fine tooth sandpaper to remove the bumps on the back of the template and make sure the holes were completely open.

Then came the moment of truth — would it work?  I taped the fabric to the table and the stencil over it, then pulled out my chalk pounce pad.  I ran it over the stencil in small circles to keep the dust down, then carefully removed the stencil.

It worked like a charm!  The lines were clear and easy to follow.

This project was the perfect time to give trapunto a try, so I started the quilting process by using batting and the top fabric with no backing.  Since I was using such a dark fabric, I selected a black batting by Hobbs.  Since the black batting doesn’t have a huge amount of loft, I used two layers for the trapunto.

Using a walking foot on my domestic machine, I quilted all of marked lines through the top fabric and two layers of batting.  At this point I was using a 50wt Aurifil so it would be easy to quilt over using the final 12wt thread, but I’m getting ahead of myself. Here is what it looked like from the front:

And most of the back (thanks Monty— I think he knows how hard it is to lint roll batting!):

The next step was to trim away the batting around the areas of trapunto.  I used scissors with a rounded tip for most of the trimming, and only pulled out scissors with a pointed tip for the tightest corners.

Trapunto has the best effect when the areas around it are densely quilted, so most of the quilt has dense free motion quilting.  For this part of the quilting I used 50wt thread on the longarm.  At this point in the process, there is backing fabric, one full layer of black batting, two layers of batting in the trapunto areas only (three layers total in those areas), and the quilt top.  The final quilting step was to use 12wt thread to outline each area and help that trapunto really pop!

After a lot of knotting and burying of thread tails, I trimmed the mini quilt so the edge of the quilt extended 1/4″ past the outer ring of trapunto.  The edges are finished with bias binding to hug the circular edge of the quilt.  If it was more practical, I would curve all my quilt edges.  I love binding a curve!

The image above shows the front of the quilt with the 12wt thread defining the areas around the trapunto.  Since I used 50wt thread in the bobbin, you can see the difference in the image below.  I think the heavier thread makes a huge difference in trapunto effect.  What do you think?

Quilt Stats

Title:  Whole Circle Whole Cloth

Size: 16″ diameter

Techniques:  Whole Cloth

Quilting:  Free Motion quilting on an A-1 longarm and walking foot quilting on a Bernina 1008

Fabric:  Painter’s Palette Solid by Paintbrush Studios in Midnight

Batting:  Black Hobbs Heirloom batting

Thread: Quilted with coordinating 12wt and 50wt Aurifil

Binding:  Bias binding, machine stitched to the front, hand finished on the back

Anna Maria Horner & Aurifil Showcase Project

If you have followed me long, you may have noticed that I love a good challenge, so when Aurifil offered their Artisans an opportunity to make a project using Anna Maria Horner’s fabric and Aurifil thread, I was excited to sign up!  It is hard to commit to a particular project without knowing what exact materials you will be given, but based on Anna Maria Horner’s  overall design aesthetic, I thought that a pillow would be a fun project.

Three fat quarters and a spool of Aurifil were provided for the challenge.  I had requested 12wt thread because I intended to incorporate some large stitch hand quilting into the cushion.  I didn’t even think about the design of the pillow until the fabrics arrived because I knew I wanted the fabric to be the key inspiration for this project.  As soon as I saw the large floral inspired print, I was sure that it needed to be the focus of the design.

I had just enough large floral motifs to use one for the center of the pillow and a half motif for each corner.  To start, I marked where the center circle would eventually be cut out and placed the  corner motifs based on that mark.  I then used 80wt Aurifil to hand appliqué the motifs.  Once this was complete, I cut out the center circle and machine pieced the center circle into place using 50wt Aurifil.  To finish the construction of the top, I placed the central motif and used needle turn appliqué to secure it.

With the piecing and appliqué complete, it was time to begin the quilting process.  I selected a wool batting so the pillow top would have a bit of poof to it and really show off the hand stitching.  The quilting on this project really embraced decorative stitching, and I used it as an opportunity to try out several different techniques since the back of the quilting would be enclosed in the pillow.

I started by machine quilting around the circle and each floral motif.  I had 12wt thread on top and 50wt thread in the bobbin, and I loosened the tension slightly so I could have enough give to the stitching to wrap each stitch by hand with a strand of 50wt thread.  This resulted in a stitch that looks like a whipped backstitch, but it took a lot less time!

The rest of the pillow top is quilted using a total of seven colors of 12wt Aurifil that I selected to accent the colors in the fabric.  The bronze color was sent for this project, the light green came in this year’s Aurifil Artisan box, and the remaining colors had been used in previous projects.

I used a standard running stitch and several embroidery stitches to quilt the pillow including the closed fly stitch, French Knots, seed stitches, and variations of cross stitches.

The back of the quilted panel shows off how much stitching went into this project.

A yo-yo in the center of the floral motif completed the pillow top.  I thought that it would be fun to finish the center of the motif with the background print the motif was cut from!

To make the pillow cover easy to remove for cleaning, I inserted a lapped zipper into the backing fabric.

The final touch that I wanted to add was a piped edging covered with the remaining striped challenge fabric.  I love how the bias cut fabric looked with all of the angle changes within the fabric design.  This would make amazing quilt binding!

I selected a feather filled pillow form, and combined with the wool batting it creates a delightful feel for a throw pillow.

Back to the Bionic Bag

Most of my go-to sewing supplies and notions live in a Bionic Bag that I made several years ago.  It travels around the house from sewing machine to sofa or patio for hand stitching, and it goes with me to guild, sew-ins, and shops when I teach.  This bag is frequently admired, and following several recent requests, I will be teaching this pattern next January at Dabble and Stitch in Columbus, Ohio.

It was so much fun to choose new fabrics for the shop sample!  I love to mix and match fabrics from different designers and lines, and this project was no exception.  The main outer fabric is from Carrie Bloomston’s new Wonder line, and the other fabrics are a mix of designers including Alison Glass and Tula Pink.  I used a walking foot to do some linear quilting on the bag exterior.  I like the look and texture of the quilted bag, but you can also choose to use an iron on interfacing and skip the quilting step.

One of the things I love about the design of this bag is the way the front folds creates a tray when the bag is open.  In this section, I like to add magnetic snaps to hold the dumpling pouch and a small pin cushion.  I use the dumpling pouch for wonder clips, and the pin cushion is stuffed with scraps of wool batting and keeps pins and needles within easy reach.

Between the four zippered pockets and the pouches formed between them, you can fit almost every supply you need for a day or more of sewing.  Once you have made one of these bags, they go together very quickly and make great gifts for sewists and non-sewists  alike.  I have made several over the years, and you can check one out in this Bionic Bag post from a couple years ago.  The Bionic Gear Bag pattern is available for download on Craftsy.

If you would like to join me for the class, it will be held at Dabble and Stitch on Saturday, January 12, 2019 from 10am-4pm. During the day, you will construct most of your Bionic Bag, and you may or may not have time to to work on the optional dumpling pouch.  I hope to see you there!

Synthesized Slivers

A few weeks ago, I came across a call for entries for the Modern Mini Quilt Challenge hosted by Quilt Expo.  It has been awhile since I have done a mini quilt, and I was feeling the need for a relatively quick finish, so I jumped in.  One of my friends has been giving me a hard time about my extreme dislike of brown fabric, so I decided this would be a good challenge to incorporate my least favorite color.

Synthesized Slivers front

My initial fabric pull centered around a stack of quilter’s denim made by Art Gallery Fabrics.  I had received the fat quarter bundle during QuiltCon 2017, and I had been waiting for the perfect project to come up.  I love the utilitarian texture the fabric has and the value shifts between fabrics were seamless.  I did add a few other fabrics in to serve as accent pieces.  These included a bright green solid, metallic linen, and a silk/cotton blend.

Synthesized Slivers Fabric Pull

I started the quilt by constructing small blocks in a variety of sizes using background fabrics in a range of colors and values.  The slivers of accent fabrics finish at 1/8″ wide.  I used a ruler to cut the slits in straight lines, but only actually measured to square up each block after the slivers were added.

Synthesized Slivers process

At this point, my friend saw the progress and informed me that tan is most definitely NOT Brown, even though I still insist that it is ;).  In keeping with the challenge, I went out and purchased a small cut of chocolate brown Kona.  There wasn’t a speck of true brown in any of my stash!

Synthesized Slivers quilt top

After constructing a few more blocks, I started putting everything together.  I think this is the most challenging part of the process, but this top came together, and only required a couple partial seams.

Synthesized Slivers with Monty

Monty is my cat that demands likes to be held constantly.  I was taking photos right after he had woken up from his first afternoon nap, and he really wanted my attention!  If you manage to look past the cat, you can see the back of the quilt top.  I made sure to press all of the sliver seam allowances toward the background to make the slivers recede a bit.

Synthesized Slivers back of quilt top with monty

This is a small quilt so I quickly pin basted it and selected six colors of Aurifil to match the background fabrics.

Synthesized Slivers thread choices

I wanted to accentuate the angles that are incorporated into the design, so I used echo quilting to highlight the design of each block.

Synthesized Slivers quilting detail

The back is the same bright green accent color used on the front of the quilt.  I like how the different thread colors add value shifts to the back of the quilt.  I didn’t want to frame the quilt in with a binding, so the edges are finished with facings to match the backing fabric.

Synthesized Slivers back

I am so glad that I made this quilt, and even I think the brown actually works in it!

Synthesized Slivers angled quilting detail

 

Quilt Stats

Title:  Synthesized Slivers

Size: 22″ x 19″

Techniques:  Machine Piecing, Improvisational Piecing

Quilting:  Echo quilting using a walking foot on a Bernina 1008 domestic

Fabric:  Art Gallery Quilter’s Denim, Kona Cotton, Metallic Blend, Silk/Cotton Blend

Batting:  Hobbs Tuscany Wool

Thread: Quilted with 50wt cotton Aurifil in six colors

Binding:  Faced with Kona Cotton matching the quilt backing

Vinyl Front Tula Pouch

For the second year, one of the sewing groups I belong to did a swap.  This swap has a twist:  Each person brings a fat quarter of a favorite fabric from their stash to put in a bag.  Then, we all take turns pulling out a piece of fabric and guess who it belongs to.  We are a small group, so we are typically pretty successful in guessing the owner of the fabric.  We each take the fabric away and come back a couple meetings later with an item made from the fabric we pulled from the bag to give back to the original person.

Tula Vinyl Pouch front

I pulled this cute Tula Pink cat print from the bag of fat quarters.  It happened to be a fabric that I love enough to own, too!  The person who brought the fabric enjoys hand applique and embroidery, so I thought she may like a bag that will keep all of her pieces flat and visible until it is their turn to be secured to the block.

I used a fairly heavy, clear vinyl for the front of the pouch. The primary fabric is the cat print, and for the back of the pouch, I chose to make a nine patch from a charm pack from the same Tula Pink fabric line.  I sandwiched and quilted the fabric layers with a piece of soft and stable to make sure the pouch would lay flat while maintaining flexibility.

Tula Vinyl Pouch back

The binding is also from that same line of prints.  I machine stitched it to the front and folded it around to the back for hand stitching.  This allowed for hand finishing on the fabric portion of the pouch.  The bag finishes a bit over 13″ square, so a lot of quilt blocks could actually lay flat in the pouch.  I wish I had made one for myself when I was in a couple of bees- it would have been perfect to transport blocks!