100 Day Circle Quilt

Have you ever done a 100 day creative project?  I have heard about these so many times, and even participated in one of the sew-a-longs for the Tula Pink blocks, but I have never set out to do this type of project on my own.  As a confessed binge-quilter, it seems inspiring to work a little bit on a project everyday to end up with a major project.  Once I decided to do the project, there were two big questions: What to do? and When to do it?

Block 1

There were two quilts that I have been contemplating that would have worked well for a 100 day project.  The first is a form of structured improv quilting, and the second was a circle appliqué quilt.  The appliqué quilt ended up winning out since I am currently lacking a hand sewing project, and it is much easier to work on if I’m out of my sewing space.  Currently, I’m not scheduled to go out of town for the first 100 days of the year, but I do like a certain degree of flexibility.

Block 2

As I was deciding when to start the project, I was actually going to avoid starting on the first of the year so I won’t hear all of the statistics and news stories of how quickly people abandon their resolutions.  So why did I start this on January 1st?  I was looking at major days on the calendar, and realized that my birthday falls on the 100th day of the year.  I really don’t know how I had never realized this before, but that timing was too perfect to pass up.

Block 3

I am currently planning a quilt top that will have 100 blocks that each finish at 8″ square.  The first three blocks are shown in this post, and they have all been concentric circles centered on the background square.  I am not sure if I will continue this trend all the way through the project- there are so many other compositional options to consider, and I want to let the project evolve.  I am planning to use mostly solid fabrics, but there are going to be a few prints mixed in in the coming weeks.

I will be doing an occasional progress post here on the blog.  If you want to watch my progress daily, check out my Instagram feed or #100daycirclequilt

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

Light Show: December Block of the Month

The block of the month I have been doing with Dabble and Stitch in Columbus, Ohio has been humming along, and we are now at the final block.  This design is inspired by the holiday light shows that appear this time of year, and focuses on the displays at the Columbus Zoo.

Light Show Quilt Block

This block is based on a 12 sided polygon, which is a reflection of the shape of the building which houses the historic carousel located on the zoo grounds.  The green corners creating this shape also create the suggestion of the center of an evergreen wreath.

Columbus Zoo Carousel

At the center of the zoo grounds there is a lake that is center stage to a musical choreographed light show with trees of lights floating on the water.  The blue fabric represents both the water of the lake and the night sky.  Many of the light designs constructing the trees consist of vertical stripes which are shown in the orange and violet triangles.

Light Trees on the Lake

The red and white candy cane stripe placed diagonally across the block is inspired by the lights wrapping the posts of a bridge leading to one of the buildings.

Bridge with Lights

This block is fairly easy foundation paper piecing and is done in four sections.  I absolutely love how it looks when these blocks are put together.  They create an awesome secondary pattern with stars and diagonal stripes.

Wall Quilt Layout Color

I started experimenting with some different color schemes, and I love this one that adds an extra color to the star points!

Wall Quilt Layout Color Option 2

This pattern is available through Dabble and Stitch.

Botanical Wonders

The Columbus Museum of Art currently has an exhibit of lovely antique quilts with botanical themes on view through March 11, 2018.  I went to this gallery today, and thought you may enjoy seeing a few of these quilts from the 19th and early 20th century.

Botanical Wonders

  • Left:  Rosebud Wreath, 1865
  • Center:  Cockscomb Variation with Jester’s Plumes, about 1865-1885
  • Right:  Cactus Flower Variation, about 1860-1880

Cockscomb Variation

  • Cockscomb Variation, about 1860-1875

Hawaiian Quilt

  • Hawaiian Quilt, about 1925-1950

Tree of Life

  • Tree of Life, about 1945-1955

Album Quilt

  • Album Quilt, about 1850-1865

Princess Feather Medallion

  • Princess Feather Medallion with Urns of Flowers and Stuffed Work, about 1845-1855

Grapes and Vines

  • Left: Grapes and Vines, about 1925-1935
  • Right: Pink Dogwood with Butterflies, about 1925-1935