Sashiko Mug Rug: Mini Quilt #30

Hand quilting is something I haven’t done in many years, and I have never given Sashiko a try, so I thought that this would be a fun thing to experiment with for this mini.Sashiko Mini Quilt

The central hexagon was the first thing I have cut using my Hex N More ruler.  I have much bigger plans for this ruler, but I was still excited to take it for a spin with this project!  Sashiko Mini back view

The quilting is the real star of this mini.  I chose simple prints with the hope that the stitching would be visible, but any uneven stitches wouldn’t be glaringly obvious.  When I first learned to quilt it was OK to machine piece a quilt top, but actual quilting stitches were done by hand.  You were supposed to aim for 10-12 perfectly spaced stitches per inch.  For me, part of the challenge in Sashiko is allowing myself to take larger stitches.  To help accomplish this, I chose 12wt thread and a slightly longer needle than I would normally quilt with.  Sashiko Mini detail

There is blue variegated thread in the outer portion of the quilt and orange thread throughout this mini.  The orange binding of this quilt helps the orange quilting thread to “POP!”

Quilt Stats

Title:  Sashiko Mini

Size:  7-1/4″ x 8-1/4″

Techniques:  Machine Piecing, Sashiko

Quilting:  Sashiko style hand quilting

Fabric:  Prints from Carolyn Friedlander’s Doe and Botanics lines

Batting:  Warm and White cotton batting

Thread:  Pieced with 100wt InvisaFil by WonderFil in light grey; Quilted with 12wt Cotton WonderFil in orange and variegated blue

Binding:  Orange “Botanics” print cut on the bias in a 2″ wide strip, machine stitched to the front, hand stitched to the back

What was new?

Sashiko stitching

First hexagon cut with a Hex N More ruler

Quilt 30 / 50

Quilt 30 / 50

Goal #7 is finished!

Goal #7 is finished!

 

Summer Starburst: A Fabri-Quilt New Block Blog Hop Quilt Block

Summer Starburst Quilt Block is created using foundation paper piecing.  This technique gives you lovely, precise points, resulting in a block with a clean, professional appearance.  If you have never tried this process before, it may sound complex, but I encourage you to give it a try.  Once you have done it a few times, you will develop a rhythm and may even come to love this technique as much as I do!

Summer Starburst Block

 

I designed this block in conjunction with the Fabri-Quilt New Block Blog Hop which is a continuation of this Summer’s New Blogger’s Blog Hop.
2015 Fabri-Quilt New Block Blog Hop

There are going to be tutorials for more than 60 different brand new blocks over the next four days!  Not only do you get the directions for all of these lovely designs, but there are also several chances to win a bundle of Fabri-Quilt Prairie Cloth Cotton Solids in the Watermelon Summer color palette we have used to make these blocks.  For a chance to win, check out the daily host’s blog.  Links to all of today’s blocks and all of the host’s websites can be found at the end of this post.  I’m excited to see everyone’s creations, and I hope you are too!

Fabri-Quilt generously supplied each blogger involved in this hop a fat eighth of each of the six colors in the Watermelon Summer palette.  The blocks that have been made from the Fabri-Quilt solids are being turned into charity quilts by our generous hosts.  There will be at least three quilts created and donated to children facing challenging circumstances.

Summer Starburst

Finished Size: 12’’ x 12’’ (This block consists of four 6-1/2” square sections and the finished block will be 12-1/2’’ x 12- 1/2’’ before being joined to other blocks or borders)

Preparing the Foundation Paper

Download the PDF foundation paper piecing template to your desktop or folder of your choice.

Quilt Block Designs-Summer Starburst Paper Piecing

The Summer Starburst pattern along with PDF Instructions are also available on Craftsy.

Print one PDF at 100% scale.  There is a one inch square next to the pattern.  Please take a moment to measure all sides of this square to make sure that there are no scale or distortion issues that occurred in the printing process.  After this check, print three more (4 total) foundation papers.  Double check the 1” square on each print to ensure accuracy.

Note: You may print this pattern on standard printer paper or a specialty foundation paper of your choice.

/Users/cassandra_ireland/Desktop/Quilting/My Quilts/Quilt Drafti

Using a ruler to check template scale

Using a ruler to check template scale

Cutting

To prepare for foundation paper piecing, cut the following size rectangles from the indicated fabrics.  Italicized Colors in parenthesis indicate the color used for block construction in the following tutorial.  Please Note:  By nature, foundation paper piecing involves a certain amount of fabric waste. The rectangle sizes below allow for the easiest construction of this block. It may be possible to save some additional fabric by rough cutting triangle shapes rather than rectangles.  I only suggest this option for experienced foundation paper piecers.

Fabric A (Turquoise):

  • Section 1:  Four pieces 3-1/2’’ x 5’’

Fabric B (Aqua):

  • Section 2:  Four pieces 3’’ x 7’’

Fabric C (Lapis Blue):

  • Section 3:  Four Pieces 2’’ x 7’’
  • Section 7:  Four Pieces 3-1/4’’ x 7’’

Fabric D (White):

  • Section 4:  Four Pieces 3’’ x 5’’
  • Section 6:  Four Pieces  3-1/2’’ x 4’’

Fabric E (Chartreuse):

  • Section 5:  Four Pieces 2-1/4’’ x 6’’

Fabric F (Coral):

  • Section 8:  Four Pieces  2-1/2’’ x 7-1/4’’

Block Fabrics and Color Key

Piecing

This block is foundation paper pieced in four sections which are joined in the final step of block construction.

Step 1:  Rough cut the foundation paper to be approximately 1/4’’ larger on all sides than the outermost printed lines.

Four templates that have been rough cut for stitching

Four templates that have been rough cut for stitching

Note:  The fabric construction of the paper pieced block occurs on the non-printed side of the pattern.

Step 2:  With the printed side of the pattern facing down, place a piece of fabric A right side up directly over section 1.  (See Figure A)  If desired, you may pin this to the paper.  Hold the paper up to a light source to ensure all of section 1 is covered by the fabric and there is at least 1/4” of extra fabric extending over the section 1 boundary lines into all adjoining areas.

Please Note:  Fabric is placed on the non-printed side of your paper piecing template.  For clarity, the diagrams in this pattern include grey lines that indicate what you would see if the template was held up to a light source.

Figure A

Note:  When foundation paper piecing, section 1 is the only section that the fabric is placed right side up.

Step 3:  Position the fabric for section 2 wrong side up over the section 1 fabric with a small amount crossing the line between the two sections and the main body of the fabric over section 1. (See Figure B)  Pin both fabrics along the stitching line between sections 1 & 2.  Flip the section 2 fabric along the pin line.  Hold the block up to a light source to see if the fabric will cover all of section two.  Adjust the fabric placement as needed.Figure B

Step 4:  When you are happy with the fabric placement, turn the block so the paper is on top.  With the printed side of the paper facing up, carefully machine straight stitch along the line between sections one and two.  I suggest using a small stitch and backstitching at the beginning and end of the stitching line.  You may extend the stitching beyond the line on either end, but it is not required.

Stitching Segment 3

So, I forgot to take a photo of the stitching the line for segments 1 & 2. This is the photo adding segment 3, but you can still see how the paper is printed side up, fabric down, and you are stitching directly on the line.

Step 5:  Flip the section two fabric toward its finished position to double check that all of section two is covered.  Turn the section two fabric back over section one and fold the paper foundation back along the stitching line.  Trim the excess fabric away from the stitching line leaving about a quarter inch to act as seam allowance.

Folding back the template to trim the excess fabric

Folding back the template to trim the excess fabric

Measuring a 1/4" seam allowance

Measuring a 1/4″ seam allowance

Trimming the seam allowance

Trimming the seam allowance

Trimmed seam allowance

Trimmed seam allowance

Step 6:  Carefully press the section two fabric into place over area two.  (See Figure C)Figure C

Segments 1 and 2 pressed

 

Note:  Now you will work around the foundation template in numerical order following steps 2-6 for each section.

Section 3:  Position the section three fabric wrong side up with the main body of the fabric over section two.  (See Figure D)  Use a light source to check the fabric positioning. Figure D

With the printed side of the paper facing up, stitch along the line between sections two and three, trim the seam allowance, and press the section three fabric into place.  (See Figure E)Figure E

Section 4:  Position the section four fabric wrong side up with the main body of the fabric over section three.  (See Figure F)  Use a light source to check the fabric positioning. Figure F

Stitch along the line between sections three and four, trim the seam allowance, and press the section four fabric into place.  (See Figure G)Figure G

Section 5:  Position the section five fabric wrong side up with the main body of the fabric over sections three and  four.  (See Figure H)  Use a light source to check the fabric positioning. Figure H

Stitch along the line between sections three/four and five, trim the seam allowance, and press the section five fabric into place.  (See Figure I)Figure I

Section 6:  Position the section six fabric wrong side up with the main body of the fabric over section five.  (See Figure J)  Use a light source to check the fabric positioning. Figure J

Stitch along the line between sections five and six, trim the seam allowance, and press the section six fabric into place.  (See Figure K)Figure K

Section 7:  Position the section seven fabric wrong side up with the main body of the fabric over sections five and six.  (See Figure L)  Use a light source to check the fabric positioning. Figure L

Stitch along the line between sections five/six and seven, trim the seam allowance, and press the section seven fabric into place.  (See Figure M)Figure M

Section 8:  Position the section eight fabric wrong side up with the main body of the fabric over sections 1-7.  (See Figure N)  Use a light source to check the fabric positioning. Figure N

Stitch along the line between section 8 and the previous sections, trim the seam allowance, and press the section eight fabric into place.  (See Figure O)Figure O

Completely Stitched Block Section that is ready to be trimmed

Completely Stitched Block Section that is ready to be trimmed

Step 7:  Finish the block segment by pressing it well and using a rotary cutter and ruler to trim the excess paper and fabric along the outermost printed line of the block.  (See Figure P)

Figure P

Partially trimmed block segment

Partially trimmed block segment

Note:  Each block segment will measure 6-1/2’’ x 6-1/2’’ at this stage

Step 8:  This is where you lather, rinse, and repeat steps 1-7 three more times to make a total of four block segments.

Step 9:  Arrange these segments into the block configuration.  (See Figure Q)Figure Q

Step 10:  Use Wonder Clips or pins to hold two segments together while you sew along the stitching line.  (See Figure R)  Press the seam allowances open.Figure R

Step 11:  Sew the two larger sections together and press the seam allowance open to complete the block.  (See Figure S)Figure S

Step 12:  If you are creating a quilt consisting entirely of this or other foundation paper pieced blocks you may leave the papers in place until construction is complete.  If you are combining this block with traditionally pieced or appliquéd block or if this block will be used on its own, carefully tear out the foundation papers now.

Here are just a few of the possible layouts that you could achieve with this block:

This Layout alternates Summer Starburst blocks with Mirrored Summer Starburst Blocks

This Layout alternates Summer Starburst blocks with Mirrored Summer Starburst Blocks

I really like the effect of this layout.  If you like it too, here is the template for the Mirrored Summer Starburst Block:

Quilt Block Designs-Mirrored Summer Starburst Paper Piecing

Summer Starburst Blocks

Summer Starburst Blocks

Summer Starburst Blocks with sashing

Summer Starburst Blocks with sashing

Summer Starburst Mini Quilt with Checkerboard Border

Summer Starburst Mini Quilt or Pillow with Checkerboard Border

Hmm . . . This mini quilt may be in my Mini Quilt Mania future!

Below are links to the rest of today’s original blocks.  I hope you take a moment to discover some lovely new designs!

Today’s wonderful host is Yvonne of Quilting Jetgirl.  Remember- she’s hosting a fabric giveaway today!

The rest of today’s blocks can be found on the following blogs:

Kelly @Quilting it Out
Martha @Once a Wingnut
Irene @Patchwork and Pastry
Andrea @The Sewing Fools
Bernie @Needle and Foot
Silvia @A Stranger View
Wanda @Wanda’s Life Sampler
Sandra @Musings of a Menopausal Melon
Vicki @Orchid Owl Quilts
Jess @Quilty Habit
Diana @Red Delicious Life
Chelsea @Patch the Giraffe
Margo @Shadow Lane Quilts
Renee @Quilts of a Feather

Tuesday’s Host is Cheryl at Meadow Mist Designs

Wednesday will be brought to you by Stephanie of Late Night Quilter

Terri Ann at Childlike Fascination will host the final group on Thursday

Running Hot and Cold: Mini Quilt #29

Fabric Modification is something that I really enjoy doing, but I haven’t been experimenting much lately.  So once I started having fun with the fabric for Fading Florals, I decided to keep going and give Suminagashi a try.Running Hot and Cold

This marbling technique uses a nontoxic ink that floats on the surface of water.  Using a paintbrush, I touched the surface of a shallow tray of water in several areas with one color of ink.  When the next color of ink is applied, it causes the first color to move away.  Once the surface of the water was mostly covered, I gently blew across the water and ink to increase the movement of the swirls.  When I liked the design, I carefully laid a piece of white Kona cotton over the inked surface.  The dye takes to the fabric instantly so you can pull it up immediately.  Once the fabric is dried, heat set, and hand washed and dried, it is ready for use.Running Hot and Cold hot detail

I wanted to have the fabric design be the main feature of the quilt, so I decided on a simple block design.  White Kona is used to define the blocks and is the only area of the piece that is quilted.  The bands of white are stitched in the ditch and then filled with pebbles.Running Hot and Cold cold detail

For the backing of the quilt, I went with a solid peach cotton to reflect the warm colored marbled fabric.  The binding draws its color from the cool colored marbling.Running Hot and Cold back view

Quilt Stats

Title:  Running Hot and Cold

Size:  16-3/4″ x 16-3/4″

Techniques:  Suminagashi, machine piecing

Quilting:  Stitching in the ditch with a walking foot, free motion pebble stitching, both on a Bernina 1008

Fabric:  White Kona Cotton, most portions treated with Suminagashi, peach cotton backing, cotton print binding

Batting:  Warm and White Cotton Batting

Thread:  pieced with 100wt polyester InvisaFil by WonderFil in light grey, quilted with 50wt Wonderfil cotton thread in white

Binding:  Bias cut in 2″ widths, machine stitched to the front, hand stitched to the back

What was new?

Suminagashi

Quilt 29 / 50

Quilt 29 / 50

Goal #6 is finished!

Goal #6 is finished!

Fading Florals: Mini Quilt #28

This week I am taking a slightly different approach to a whole cloth quilt.Fading Floral

When I came across this fabric, it seemed to call out for some sort of fun fabric modification.Floral fabric

I have done some different fabric painting and dying techniques over the years, but I hadn’t had the right project to try this one on before.  In this process color is added to fabric using Sharpie markers.  Using a paintbrush dipped in rubbing alcohol, you paint over the colored areas to create a watercolor effect.Fading Floral detail

The quilting is a free motion design that follows the printed design on the fabric.  The design blends into the front, but stands out nicely against the solid white backing fabric.Fading Floral back view

Quilt Stats

Title:  Fading Florals

Size: 14-1/2″ x  14-1/2″

Techniques:  Wholecloth quilt, Rubbing Alcohol/Sharpie fabric modification

Quilting:  Freemotion quilting following the printed pattern of the fabric

Fabric:  “Bellisimo” designed for Benartex by Michele D’Amore Designs, white Kona Cotton backing, black American Brand Solid binding

Batting:  Warm and White Cotton Batting

Thread:  Quilted with Black cotton machine quilting thread

Binding:  Black cotton, cut in 2″ wide strips on the bias, machine stitched to the front, hand stitched to the back

What was new?

Sharpie/Rubbing Alcohol fabric modification

Using a pre-printed fabric to determine the free motion quilting design

Quilt 28 / 50

Quilt 28 / 50

Goal #5 is finished!

Goal #5 is finished!

Orange Segment: Mini Quilt #27

This mini is a continuation of my series within a series focusing on a single color in each mini.  Green was entirely free motion quilting, and Yellow and Violet were quilted exclusively with straight lines.  For Orange I decided to combine techniques and use both straight-line and free-motion stitching.Orange Segments

The piecing of the quilt top uses straight white lines to divide the small sections of orange.  Curved lines break up the overall composition of the piece and the expanse of white in the center of the composition left ample room to bring in a strong texture with the quilting.Orange Segments front detail

Quilting this piece started by using a walking foot to define the graphic areas of the quilt.  I extended the straight lines of the white fabric dividing the smaller orange segments to give an architectural element to the project.  The straight line designs continue through three of these segments.  Free motion quilting pulls together the rest of the quilt.  Two Types of orange variegated thread add dimension and texture to the quilt.Orange Segments back view

Binding for this project is scrappy, drawing on several fabrics included in the quilt top design.Orange Segments back detail

Quilt Stats

Title:  Orange Segments

Size: 20″ x 20″

Techniques:  Machine piecing, Improvisational piecing

Quilting:  A combination of straight line quilting done with a walking foot and free motion quilting, both done on a Bernina 1008

Fabric:  White Kona cotton and assorted orange cotton prints

Batting:  Warm and White Cotton Batting

Thread:  Pieced with white Gutermann Mara 100, Quilted with two different colors of WonderFil 50wt variegated cotton thread

Binding:  Scrappy orange binding, cut 2″ in width, machine sewn to the front, hand stitched to the back

What was new?

Orange and White color scheme

Combining straight line and free motion quilting

Quilt 27 / 50

Quilt 27 / 50

Goal #4 is finished!

Goal #4 is finished!

 I have linked this post up with Sew Cute Tuesday at Blossom Heart Quilts.  Please drop by to see all of the fantastic projects being shared!