Another newbie to my Slow Sewing Studio group.
The design is inspired by a cast-iron gate on Park Avenue in my town.
Could also be a quilt.
In fact, this has also been my practice piece for the big stitch that I’ve been doing. I need to re-photo to update.
And I’ve also made a tote, which I’ll be sharing in a tutorial soon.
Named after a nearby town where my great-aunt (a.k.a. Granny) lived, this project is another newbie to the slow sewing studio. I thought of Granny often while making this project not only because she was a talented maker, but also because the blocks reminded me of retro tiles from her era as well as crocheted “granny” squares.
It’s a fun and small block that is pretty additive as you can tell by the ample supply of them all over my booth at Quilt Market. I also have stacks and stacks of them basted and ready-to-go in socials all over the house. They are so fun and easy to pick up and work on.
On the cover quilt, I wanted to play around with the idea of creating a continuous design by using only one piece of fabric with a large-scale motif. I wanted to see if the print could still be read after being cut up and appliquéd across the quilt. So in this sample, I used one piece of fabric and made sure that the blocks were laid out exactly as I cut them. (In the instructions, I fill you in on my marking system.) But that’s where the curve at the bottom of the quilt comes from, and you can see it in many other ways if you look closely.
And in the text.
This then gave me the courage and curiosity to cut up some Alexander Henry fabric that I’d been holding on to and see if it worked in this scenario as well.
Can you see the girls?
Part of my slow sewing studio.
Sometimes simple shapes and fun fabric is all you need. That’s pretty much the idea behind this one, plus the fact that it’s a great intro to needle-turn if you haven’t tried it before. There are no corners or sharp points here, so you can really get the rhythm down.
The blocks work best with fat quarters, which makes it way too easy to load up on some wild combos. I blinged my cover sample out with plenty of gold fabrics. It was fun.
And I’ve already got a few more blocks cut out and in progress. Tsuru and architextures make great buds. (All of which are hanging in a social.)
By the way, if you are in the Seattle area, some of my newest quilts (including this one) are on display at the Island Quilter in Vashon. Make sure to head over and check it out.
Tangelo is one of my recent newbies. She’s a paper-pieced triangle project with plenty of sizes to choose from. I’ve never been one for a lot of precise pre-cutting, which is one reason why this is such a good project to paper piece. You can basically just jump right in with some strips of your favorite fabrics and your perfect, precise points will appear in no time. In my cover quilt, I played with texture and a variety of substrates such as quilting cotton, linen, silk, and even a little bit of voile.
My totally unglamorous photo shoot.
The binding is silk radiance (from Robert Kaufman) and so incredibly soft.
I was patting myself on the back for thinking ahead to serge the binding edges…until I had to do some seam ripping at the end in order to join the strips continuously. Oh well. Still works. Plus the serger seam allowance is just about the same as the one I use to attach the binding. I had to keep double checking that my stitches were covering up the serged edge, which was not all that fun and fabulous. Duly noted for next time and will make adjustments accordingly. The silky-smooth-wonderfulness makes it all worth it.
And the samples are finally done.
There are two other colorways to this gang.
Meet Mr. Cool.
And Mr. Grayscale.
Together, they are a group of samples for my workshop (this Thursday!) at the Original Sewing Expo in Lakeland, Florida. (I’m not sure, but there might be a couple spots left.) We’re going to be putting together my Aerial pattern with some architextures.
Everything’s all kitted up and ready to go.
I found myself really enjoying getting these guys together. I’d designed the pattern long before I had my own fabric to sew with, and it was a fun treat to see how it all played out.
I’ve always wanted to do a background color gradation with my Sessoms design. Using my architextures and coordinating Kona charm packs made it super simple. If you’ve already got the pattern, here are the additional specs to make your own.
Fabric Reqs :
- 1 architextures + 1 coordinating Kona solids charm packs (80 squares total)
- 1 1/2 yards (Robert Kaufman Essex Denim) for strips and border
- 1 1/2 yards for backing
- 1/2 yard (architextures green trees) for binding
Make according to the pattern, adapting quantities for 80 blocks. Lay out project with 8 blocks across and 10 blocks down.
Finished top : 36 1/2″ x 47″
Next up, I really really really want to make a Sessoms with architextures + Konas as the strips and a green (Kona Fern) for the background. I’ve been obsessed with this one (watch for it in the slide show) for a loooong time.
I’m loving what you guys are making. It’s been such a thrill to see architextures projects popping up.
Kirsten at Gemini Stitches set off architextures and a beautiful quilt design with a dark coal solid. So pretty!
And Sarah in the UK put together this goodie.
(And my fun side note about this picture is the shout-out I’m gonna have to give to the Louisiana Museum and Arne Jacobsen. In my past college life, I studied abroad in Denmark and fell madly in love with all things Danish–especially the Louisiana and certainly Mr. Jacobsen. Denmark in the house!)
Phoebe sent this lovely detail shot of her hand quilted Sessoms. Wow.
I really like the effect of the colorful quilting, and so I made sure to get the details from her. She is using Presencia #8 Pearl Cotton (which I might actually have on hand) and then the big stitch method (I need to look that up) with big stitch needles from colonial. Personally noted. And I think I can get into that.
And then my good friend Amy put together this one with architextures and a pattern from Modern Quilt Relish.
Last, I’ve got a couple of bags that I recently spotted while walking the floor at QuiltCon. See if you can spot the architextures in this one by Krista.
Then this one.
All so lovely.
You guys are the best.
Who knew I’d get so obsessed with black fabric? Not me. At all.
But I’m a changed woman.
And here’s the proof.
I took my backbone into grayscale territory with my architextures. And it’s really sparked an interest in using more black fabric.
Rather than share another one of my quilts, I’m gonna post a smattering of some that I was able to spend some time with yesterday at the show.
And the detail
Alison Glass and Lucky Penny.
The colors and fabrics in this one were great. Linen!
The quilting is unbelievably tight.
Ok, that’s it for now. I’ve got to go get ready for a full day of lectures.
I LOVE getting totally lost in a project, and that is exactly what happened over the weekend.
It all started with these guys that I’d picked up the day before at a quilt show.
Ed Emberley from Cloud9. I’d already been obsessed, and then finding some and actually having them in my possession made it impossible to resist.
For a hot minute, I thought about using them in a future pattern, but no. That idea was quickly turned down when I realized that I kind of wanted to make a quilt for no real reason.
After the fabric, my next muse was a project in this beautiful book by Amanda Jean Nyberg and Cheryl Arkison. Such a lovely, lovely book, and it’s been calling my name for a while. Candy Coated, aka the cover quilt, is exactly what I was looking for.
The fabric pull was fun. Especially because this pattern buys me all sorts of scrap liberties. I happily helped myself to a load of stuff and will continue to do so as the project grows. Sweet, merciful fabric.
The warm ochres in the lion print are majorly enticing, and I’m coupling them with some grays, lush blues, and plenty of neutrals. I’ve got the first few rows together, and hope to find time to plug away on it again soon.