New project to share! I hadn’t made a new Spools quilt since the first one, and with new fabrics coming out, it was the perfect excuse to do it. Here’s a look at my Spools quilt made up in the CF Grid Group fabrics.
Photo by Alexis Wharem
The Fabric and Color Strategy
In the first version, I used 5″ squares, and with this one I worked from a fat quarter bundle of the newest fabrics plus yardage for the background. I’m really excited about the background–it’s Kona Sheen in Mossy Gold. It is mostly a neutral, but when paired with the greyscale fabrics it brings in some color and warmth. Plus, the shine on the fabric is so much fun to play with.
If you aren’t familiar with Kona Sheen, it’s a solid color base with a metallic layer printed across the top. The reverse side has no shine, and so I intentionally flipped some of my pieces over as little bits of accent. I think that it’s a fun detail!
Making Spools
If you haven’t made the Spools pattern yet, it comes together quickly and is really satisfying in terms of the way the prints and pieces come together. After each Spools block emerges, I couldn’t help but let out a little–it’s so cute!
This project is conventionally pieced, and great for any beginner.
Quilting Spools
Like in the previous version, I did some straight-line, machine quilting, but a little less of it than in my first version. Any time I’m quilting a grid, I do large, even lines across the entire project first before dividing sections any further. After my first broad strokes with this one, I really liked the loose-ness of it and decided then that it was where I wanted it to be.
CF Grid Group is my newest fabric collection and part of my Collection CF basics line. It should start shipping to stores in September, but you can ask your local quilt shop to get it on order now.
I’m excited (and honored!) to be included in the latest issue of Quiltfolk magazine that is out today–Quiltfolk 19.
Photo by Quiltfolk
If you are unfamiliar with Quiltfolk, it’s a really well done, ad-free publication profiling quilts and makers around the country. Each issue focuses on one state–or half a state, as is the case with the latest issue devoted to “Northern Florida.” (As someone born and raised in the state, we say “North,” “South” and “Central Florida” but small details…) I’m super honored to be included and representing Central Florida in this issue.
Photo by Quiltfolk
There are many wonderful things about Quiltfolk, but one that makes it so special is how they send a team of writers and photographers on site to get the best feeling for whatever they are covering. They had to make a few adjustments during Covid, but it was really fun to host a small Quiltfolk team a couple of months ago. They graciously captured images from my home and studio (above) as well as some of my favorite local spots like the clay roads and my parents’ ranch (below).
Photo by Quiltfolk
The people at Quiltfolk have generously let me share images from the shoot, which I’m delighted to share with you here and in the future. A couple of the projects above (from the top) are a collage in my studio, a mini Everglade quilt, me in my studio with my Spools quilt, and my latest Aerial project under a Live Oak at my parents’ ranch.
If you’d like to pick up a copy of the magazine (or anything else in their shop) they’ve given me a coupon code to share with you for 20% off your purchase. Use “CarolynQF19” at checkout between July 1 – 31, 2021.
About Quiltfolk
Photo by Quiltfolk
Quiltfolk is a community-supported, print-only, quarterly magazine focused on quilt history and quilt culture in America. We aim to celebrate the people and stories behind the stitches. Our 164-page publication is 100% advertisement free. Each issue features a different state and showcase quilters, shop owners, historians, designers, and crafters who shape quilt culture in their area. With striking photography and detailed storied, our magazine invites you to travel with us from the comfort of your own space–wherever you like to read (or sew)!
It’s finished! My Rory Jumpsuit–and my first jumpsuit ever–is finished! I learned some new things about making jumpsuits and about my own physical proportions that aren’t as obvious when just sewing separates. It was fun!
Making My First Jumpsuit
As I mentioned last month, the Rory Jumpsuit by True Bias looked like fun. It seemed like the kind of project that could give me some new things to think about. Naturally, I started by browsing around the internet to see what others had done with their own versions. There are loads of them on IG just looking at the Rory and Yari hashtags. (The pattern name changed at some point.) That gave me a great place to start.
When it came to cutting and sewing, working with full-body-length pieces was a new feeling. The pieces are just so long!
Modifications (to start)
I made some modifications off the bat as well as a few more after the first try-on. If I were to make this jumpsuit again, I’d make some further changes too.
Off the bat, I shortened the torso 1″. The pattern is written for someone who is 5’5″, and I’m maybe 5’4″ on a good day. Normally you might decide to take the excess out of the bodice and leg more evenly, but I already knew that I’m high waisted. Plus I wanted to be able to cuff the pant.
For any future versions, I’d definitely take a bit more length out of the bodice. The waist of the garment still falls a bit low on me, which restricts movement a bit and means the pockets are lower than I’d like for them to be. The Brussels Washer fabric that I used might also be exaggerating some of this as it’s drapey and has a good weight to it. This all makes it pull down a bit more than a different fabric choice. It’s still very comfortable and wearable.
I also adjusted the neckline a smidge by rounding it and cutting it higher. This was a personal preference, but in the end I’m really glad that I did because of how low the neckline falls on me even having done that. Making it again, I’d raise the neckline just a bit more–I’m realizing that this part of my torso is short too. Although I’m very pleased with where it ended up!
When cutting the garment, I also cut the leg a bit wider than the original pattern. (Here’s a tutorial if you are interested.) I knew I’d be able to take width out, and so I wanted to have some room to work with.
Modifications (after a try on)
After the first try-on, I decided to take a significant amount out from the width in the bodice. Although this style can look great belted, I wasn’t wanting to do that, so I worked for a closer fit. I ended up taking at least 5″ total from the width. This design has princess seams, and therefore many places to take things in–a great bonus of this particular style. Since I’d already topstitched the front and back princess seams, I took this out of the sides and center back.
The final modification had to do with the closure. After asking around and doing a smidge of research, I opted for a sewn-in snap closure. I like the clean look of this–although buttons can look great too. I’m also eager to see how this choice affects the ease of wearing it, and mainly–ahem–going to the bathroom.
The Fabric
The fabric is Brussels Washer Yarn Dyed by Robert Kaufman, a linen/rayon blend in the Chestnut color. This fabric is SO dreamy for a project like this. It’s comfortable, super drapey, and resists and embraces wrinkles in the right amount. As I already mentioned, the weight and drape can make it fall quite a bit differently from other fabrics, so I’m curious to see how this would fit with a different fabric choice.
Next Jumpsuit?
This was really fun, and I’m enjoying wearing my new jumpsuit. The fabric is very comfortable, and I love the effortlessness of a single-piece outfit. Plus, sewing a jumpsuit is still new territory to me, so I am eager to make more. I can’t wait to dial in on my proportions better with the next version and try out different fabrics and styles.
I’d be more than happy to make another Rory, but instead I think I’ll try the jumpsuit suggested in Sonya Philip’s new book The Act of Sewing*. It’s not a super-formal pattern, but instead she walks you through using basic pieces provided in the book (pants + top) to make a jumpsuit. I’m think I’m ready for that adventure.
There are many great things about the pattern and this type of project in general. First, the pattern is easy to follow and features 3 different size options.
Second, this is a great project for showcasing a print that you are excited about. Using the clear vinyl means you have a literal window into that fabric of your choosing as well as whatever you are storing in the pouch. I like to plan out the fabric that will be seen through the vinyl first, and then I build my other choices around it.
When I travel I like using little pouches to store and organize different things within a larger bag. A great example is thread–it’s nice to have it all together and in something that you can see it.
The largest pouch is also great for storing a few blocks, pattern and/or a project that you are working on. I find that I not only travel with my projects organized in pouches like this, but I also keep them organized in my studio this way too. It’s a great way to keep everything all together.
If you are new to working with vinyl and/or attaching zippers this is a great project to start with. Everything is flat and has squared edges, which makes it very approachable. Just take it one step at a time.
These Kept pouches were a great way to mix and match the new fabrics from the collection. They also make excellent gifts! (But I’m very tempted to keep all of these for myself..ha!)
For the coat, Brittney used the Nova Coat from Papercut Patterns and the Fat Quarter bundles of both Kept and the coordinates. It’s such a great shape, and I LOVE that it has pockets.
Brittney created a patchwork of color and print from the various fabrics. I love how they are grouped together and transition across the coat!
The Tote
For the tote, she used the Sylvie Tote (Everyday Size) by Sotak Handmade and the leftover fabrics from the coat. This bag is an excellent size for everyday carrying, for sure.
Brittney patchworked the fabrics in the same way and at the same scale for the tote as she did for the tote. It makes a great pair, don’t you think?
The Details and Construction
Not to put too fine a point on this, but this coat and tote are BEAUTIFULLY made. Brittney did such an incredible job. The lining on the coat is finished out with an invisible zipper enclosing all of the layers, the patchwork matches up perfectly in the pocket construction, there’s a label(!), and the tote is finely detailed too with a zippered section, rivets and leather handles. As soon as I received the shipment from Brittney I so enjoyed taking in all of these thoughtful and skilled decisions.
Patterns: Nova Coat by Papercut Patterns and Sylvie Tote (Everyday Size) by Sotak Handmade
Me Made May 2021 is here! (General info about Me Made May and Me Made May 2021.) Each year the challenge can feel a bit different, especially with it going on for so many years now. Last year the pandemic was so new that for me it was a nice way to connect with others while also showing how I was finding comfort in my wardrobe.
The Challenge This Year
This year, I want to use Me Made May to get my head into some new projects. Over the last year I’ve re-discovered how much my handmade wardrobe gives me strength and comfort in challenging times not just in terms of wearing but making too! My plan is to share some of what I’m wearing, but also make a couple of items that I’m in the mood for.
To be honest, there hasn’t been much of a need or desire to make clothes in the last year until recently. I made a Linden sweatshirt, and I also got around to making a matching pair of sweatpants. Fun, huh?!
I also added a label after buying some KATM labels from The Craft Table. They’ve always called out to me, and I’m happy to have them to add to my projects. I’m especially liking the 2021 labels, because I never know when I’ve made which garments. This is a great way to change that.
The main thing I’m wanting to make is a jumpsuit. I have no idea why this is speaking to me, but it is. A single-piece outfit with pockets sounds pretty good. I haven’t made (or worn) a jumpsuit before, and the challenge of sewing something new is exciting. I love that in addition to being new to me, it’s also somewhat involved. Simple sews can be great, but there’s also a time and place to get deep in a project with many steps and different things to consider. I’m ready for that! The pattern I’m going to try is the Rory Jumpsuit by True Bias (formerly called Yari). As for fabric, I’m not totally sure what I’ll use. I’ll pop into my stash first, and see what I have available. Without looking, I’m thinking a linen or denim could work well.
(photo by True Bias)
Step 1: I’ve already bought the pattern. Now I need to print out my pattern pieces and take a look at my fabric options.
Other Garment-Related Things On My Mind
The jumpsuit is the main plan for the month, but I’m marking these leather house shoes (from Seamwork) for the future. Neat, huh?!
(photo by Seamwork Magazine)
I’m also pretty excited about the Casual Summer Tee Knit Along with Fancy Tiger. Their newsletter came out, and I jumped right on board. I’ve been knitting a bit here and there, and I’m nearing the finish line on a sweater (inspired by @elisabew). I’ll finish up my Sew Faded sweater (pattern by Drea Renee), and then I have a summery (or more like Spring/Fall/Winter for us in FL) knit on deck to follow.
Speaking of, here’s the sweater I’m working on! It’s been my go-to project in the evenings when I’m ready to unwind. The plan was to use up some yarn that I have in my stash, but of course I couldn’t help but add in a couple new colors as I’ve gone along. (All yarn is from my LYS, Four Purls.) It’s been really fun! I have the left sleeve to go, and then I need to pick up and knit the neck.
I’ll also plan to share more garment-related projects and resources on the blog and in my newsletter (sign up here), so stay tuned.
I’ve been wanting to make a new Aerial quilt for quite some time. It was one of my early patterns, and one I’ve been eager to get back to. Here is my Aerial update.
photo by Alexis Wharem
The Design
The design is inspired by an imaginary view from above. It’s a fairly simple idea with loads of horizontal sections divided by diagonal slices and blocks of differing sizes.
Technique and Fabric
The project is made using foundation paper piecing, which makes everything super easy and clean. You can work from 2 1/2″ strips. Bring on the scraps, yardage or whatever you have! I worked from the roll up of my newest CF Grid Group and a special Kona Cotton roll up that I put together to coordinate with it. To me this is a great example of how grayscale doesn’t necessarily mean lacking in color. Don’t you think?
Working With Other Substrates
Aerial works really well with solids and textural prints. It’s also great for working in other substrates, which was a big focus for me in my first version. Sewing onto the paper foundation stabilizes a variety of fabrics, making it easy by limiting stretch, drape or any other imbalance between the fabrics you are using. If you are new to foundation paper piecing and/or working with a variety of substrates, this is a great way to go.
Tip: Pre-wash and dry all fabrics when doing this to equalize any differences that might occur when laundering in the future.
The Aerial Update
I’ve updated the pattern to include the new sample. I made some tweaks to the blocks, and I changed out some of the project sizes so that the pattern includes four different size options; Throw, Runner, Wall and Baby. The pattern has six different blocks and coloring pages to map out your own version.
Planning
In planning this project, I don’t tend to make an overall plan, instead I start with the fabrics and then I think about groupings of three fabrics for each block. I find that this helps break down many choices into something more manageable. Plus, it gives cohesion to each block and the quilt as a whole, while also making the sewing experience entertaining as I tried coming up with new three-fabric combinations for each block.
There’s an optional “Block Yardage” listing in the fabric requirements that you can use to add cohesion or to provide extra wiggle room if you are new to paper piecing.
Have you sewn a hat yet? They are really satisfying to make! Hats are one of those projects that might seem out of reach, but when you actually do it they aren’t too bad at all. Just take it one step at a time. Plus I always love making something that I can actually use! Here’s a look at two sun hats in Kept.
Serpentine Hat
The Serpentine Hat (pattern by Elbe Textiles) has a wider-brim, and I used two blue prints from my Kept collection. I like that the the more-patterned print peeks out from the inside, but it’s definitely reversible and you can wear it either way.
Both fabrics are quilting-cotton weight. I used woven fusible interfacing on the darker blue fabric to give it a bit more body. I think the flop factor is just right.
It’s fun to think of wearing this with other things I’ve made in ways not too different than putting fabrics together in a quilt. Blue is an easy color for me to mix into my wardrobe.
Sorrento Hat
The Sorrento Hat (pattern by Elbe Textiles) is more the classic bucket style hat. I hope to get some wear out of this one this summer.
The black and charcoal print from Kept makes a statement that still feels put together and easy to pair with an outfit. On the other side is Essex yarn-dyed linen in Graphite. Incorporating the Essex gives it a bit more texture and body. In addition, I used woven, fusible interfacing on the Kept fabric.
Both of these sun hats in Kept go together more easily than you’d think. Again, take it one step at a time. I really enjoyed sewing them, and I can’t wait to put them to use this summer.
With my Kept fabrics now hitting stores, I’m excited to share more about my Clay Kept quilt.
Deciding on a Technique
I’ve made a couple of Clay quilts already–the throw-sized version that is on the pattern cover, and the mini wall hanging that is the project that started it all. I made both quilts using needle-turn appliqué by hand, one of my favorite techniques. It’s relaxing and you get to feel and enjoy each fabric and color as you go, which can be magical.
With this new version I wanted to do something a little different. Instead of doing a by-hand approach, I decided to go with raw-edge, fusible appliqué. There is no one way that you have to do appliqué just like there’s no one way that you have to make a quilt. You can do what you want and how you want it.
With raw-edge, fusible appliqué there are different things to consider. For me, I’d need to make sure to have a fusible product on hand that I felt comfortable using. (I used Lite Steam-A-Seam 2, which in general is fine.) I’m not always happy with the stiff-ness or bulk that using a fusible can add to the final project, but that isn’t necessarily a bad thing when what I’m making is a wall hanging–my project plan here. For this reason and others, it’s a really good idea to do a few tests with all of the materials you plan to use.
The other thing I wanted to think about is how I would finish it. While some of the fusible products say you don’t have to stitch down your fused pieces, I do like the idea of securing my work so everything stays in place over time. I’m making a wall hanging, and I don’t anticipate washing it often (or ever), but I want it to look polished.
The quilting is a great place to think about this. Since it needs to be quilted anyway, why not use quilting to further secure and enhance all of the pieces? For these reasons I knew I’d want to do some matchstick (or close-together and dense) quilting.
Picking a Palette
After deciding on technique, I needed to pick my palette. I LOVE picking a palette! It is especially exciting on a project like this where you’re arranging the pieces in place and it can feel like a painting or an exciting adventure in composition.
What I usually do is to go with my gut. I knew I wanted this blue print from the new collection for the background. It looks like a bathroom tile or a wallpaper to me. I like that it gives the background a little bit of texture, but it can also be a great support for whatever colors and prints I want to add on top.
Sometimes it is helpful to get your background fabric nailed down first. Then you have something to audition the appliqué choices. Or the reverse could also be true if you had a great selection of fabrics for the appliqués. Then it’s just a matter of swapping out background options until you find the one that works best.
I really enjoyed laying everything out. After preparing my background, I laid it on the floor. (A design wall would be great too!) Next I cut out my pieces and arranged them onto the background, moving things around as I wished and as I added more pieces. If there is something I like, like certain shapes or colors grouped together, I might do more of it, and if there is something I don’t like, I try to do less of it. This constant back and forth of asking myself what I’m liking and not liking is not just helpful, but it makes the project more engaging and fun.
After I’m happy with the layout, I fused the pieces to the background, basted the quilt and got to quilting.
Here’s a great tip from Jacquie Gering when you are using a fusible product. In one of her lectures, I learned to use eyeglass cleaner to clean your needle frequently when quilting a project with fusible. A big drawback of using any fusible is how it can gum up your needle. I’ve found that this trick really helps! I’d clean my needle after a couple of passes on the quilt, which took extra time, but saved in frustration in the end.
The binding is this bright Orangeade Kona solid. When making a wall hanging, sometimes I love how a good, contrasting binding can act as a frame. This one is bright and cheerful.
(photo by Alexis Wharem of Greenprint Photography)
I haven’t made a Linden sweatshirt in years. To be fair I’ve made TONS of them, so the need hasn’t really been there. I have so many in all different fabrics and weights, so my bases are mostly covered. But recently I noticed that Robert Kaufman has some new knits. One is a french terry and the other is a french terry fleece–so the fabric you’d expect in a sweatshirt, and the colors are pretty good!
The Spruce and Sienna colors called out to me first, so I got some of each. Both colors are stunning in real life, and I’m excited to put the Spruce to use in something else. But first, the Sienna.
(photo by Alexis Wharem of Greenprint Photography)
If you are new to garment sewing and/or new to sewing with knits, the Grainline Linden Sweatshirt is such a perfect place to start. The construction is fairly straight forward, and you don’t have to worry too much about the fit as sweatshirts are on the more forgiving side.
(photo by Alexis Wharem of Greenprint Photography)
I have the Linden dialed in pretty well for me since I’ve made so many. The only modification I make is to shorten the sleeves just an inch or so, which is a consistent modification for me.
To cap it all off, I finally got around to making a pair of sweatpants to match. I used the True Bias Hudson Pant, which I also have squared away after having made a few pairs of them as well. Mainly I adjust the pockets to be more inseam and discrete, which is just a personal preference. Yay for comfy clothes!
I have some fun news that I can finally share. Meet my new CF Grid Group fabric collection!
On Grids
It shouldn’t be a surprise, but I LOVE grids. There’s something wonderful about clean lines and repetition, and grids epitomize that. Plus, once you get a good grid on some fabric, it’s really fun to cut it up and sew it into a project!
Grids can add a nice structure to piecing as well as some delightful contrast to curvy shapes and appliqué.
CF Grid Group Fabrics
This is my Grid Group, which is part of my basics line–Collection CF. What I’ve done is take some of my favorite grid-like motifs from past collections and reimagined them in a new way and with a specific color theme–in grayscale.
On Grayscale and Color
When I’m teaching a color class, one of my favorite points to make is how you can exaggerate the variety and nuance in a fabric pull when you reduce your palette down to a very narrow range. Doing this has a magical way of emphasizing variation in a beautiful way. It makes it fun to see more color in whatever you are working with.
This is exactly what I was thinking when I put this collection together. Even though this is a grayscale palette, together these 12 pieces feel really colorful to me, and they come to life in projects.
Project Peek
And, I have some new projects, including a new appliqué project that I am just over-the-moon excited about. It’s called Bow, and it’s (maybe obviously) based on a Rainbow. I know I’ve dropped the ball a bit on my pattern releases recently, but I promise, this (and others I’ve been working on) will be real, and we’ll be able to sew together with them soon.
As for the new fabrics, you can ask your local quilt shop to get their order in now. The collection starts shipping in September.
Watch This
I put together a little video introducing you to the new group…along with more of a look at the projects on my YouTube channel here, and I’ll be sharing more about it all in posts to come.
Hey, it’s a bonus! Now that the quilt is done, don’t forget to put a label on it!
Labels can be simple or fancy–that’s up to you. It’s always a good idea to mark your accomplishment with your name, when you made it and anything else worth noting.
For me, it’s a pretty simple process. In addition to my name and date, I like to add the quilt name, batting used (since I tend to change this up from time to time) and bonus of where it was made. If it’s a gift or if there is more of a story, that can be good information to include as well.
As for how to include it, you can go simple or more involved. Even though I got fancy on this one, I usually go super simple and just use a permanent marker to note the details. On this one, I got a bit more fancy and marked it all via embroidery.
And while I’m here, I’ll share a few more snippets of the back. I love how the back turned out. I used some favorites from my stash.
As well as this leftover block from my Spools quilt (pattern here).
The quilting goes in the same direction, and I love how the lines go in different directions when it’s all folded up. It’s a small detail, but I love it when there are new ways to look at a project depending on how you are using it or not.
Don’t forget your label!
To catch up on all of the Ray Quilt Along posts, head over here.
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