Stripes Win!

And here's why:

Sue Garman just posted this photo (among many other excellent photos) of a French quilt from the exhibit Legendary Quilts at the recent International Quilting Association show. This quilt, Le Nid (The Nest), by Anne-Marie Schmitt, is an original design based on several historic appliqued quilts. When I contacted Sue about using the photo, she very kindly sent me this one as well:

In her post Sue calls the striped background "an interesting and unusual choice." It seems to me that the stripe differentiates this quilt from all the other applique quilts that are out there. Let's face it, there are a lot of similar quilts in the world. It seems to me that something that will make the viewer look twice, and maybe think about the quilt or discuss the quilt a little more, is a good thing.

So as far as my little hexagon quilt goes, the stripes may not be the safe choice, but maybe they will be a more interesting one! Thanks again to Sue for the great photos.

Tipsy Tree Brooch

It was like opening Pandora's box when I pulled out the Allegheny Santa the other day! Those Mill Hill kits are addictive!  Here's another quick finish to show:

Cute, eh? This one is almost all beads, with some satin stitches and Smyrna crosses to give variety.  Less than four hours, all in.  My mom wants one too, so I have kept the pattern this time. I think I can dredge up enough supplies from my stash to make one more.

I'm getting in that holiday mood!

Viceroy Butterfly Progress

Here is my progress on the Viceroy butterfly for my Meadow quilt:

I was worried that these were going to take forever, but actually it is not as slow as I thought. I have done the split stitch outline, and made a good start on the long and short stitch filling.

I am trying to get a satiny effect from the long and short stitch, with no obvious lines or bumps. It takes practice! I intend to get serious use from this quilt, so I am keeping the stitches a little shorter, at about 1/4" to 3/8". It is challenging to the keep the stitch length about the same, yet place them randomly enough that no lines or bumps appear. I think my success is only moderate, especially compared to the photo of the original further down, but it is a quilt, not an art piece, so I think I can get away with it. A good opportunity to practice!

I have read some debate online about whether you should come up through the previous stitching, or go down through it. I believe the theory is that coming up through the stitching makes smaller holes and a smoother effect. I have tried it both ways, and what is best for me, now at least, is to go down through the previous stitches, splitting the previous threads.

For the colours, I am using DMC 742, 740, and 720, light to dark:

They are all more orange than they appear in this photo. 740 especially is quite fluorescent! In the original design Susan O'Connor used Madeira stranded silk thread in a range of mahogany:

Switching to DMC cotton gives me the opportunity to punch up the colours. I have been using this photo as my colour inspiration instead. In this case, I think the brighter colours are also more realistic, although realism is less important to me than pretty! Based on the photo, most of the shading will be in the upper wings rather than the lower. I am just about to start that, I think it will be fun!

Auditioning Backgrounds for the Hexagons

The new design for my hexagons has wider borders, so it is not going to fit onto a fat quarter any more. Yesterday I was auditioning backgrounds. My original plan was to use this fabric from my stash:

When I was redesigning it, though, I kept thinking of a wood grain fabric that Connecting Threads used to have. I liked the idea of the flower vine "climbing up" a wooden wall. But, it's all sold out now, so I found this striped fabric that I hoped would give a similar effect:

And then, lo and behold, after I ordered the stripe, I found a yard of the wood grain fabric in my washing pile! I forgot that I bought it. Here it is:

It is interesting what a great design tool this blog is. When I started to write, I was sure that the stripe would be the winner. I thought the wood grain was too dark and it didn't really "read" as wood. But now I am not so sure! The first one is definitely out, now I am seeing a greenish undertone in that one that leans too far in the dreaded "baby poop" direction. But I think I'm on the fence between the wood grain and the stripe.

What do you all think?

New Plan for the Hexagons

Remember this?

We all had a debate back in June about the half hexagons along the sides. I finally decided to take out the ones in the corners, but leave the rest. They were not easy to remove, which reassures me that the whole thing will be very sturdy!

My plan at the time was to put this panel in the centre of an appliqued border from Lori Smith's book, Fat Quarter Quilting. This is the quilt I had in mind:

Part of the delay, though, has been that while I really like the idea of the vines and birds, I don't love the flowers themselves. This month I started to play around with something that I might like better, and this is what I came up with:

This is just a little sketch on a 4" x 6" notepad. I have found that it is much easier to make a small sketch, and then enlarge it all later. Also, with these notepads the paper is thin enough that you can put a previous sketch underneath and trace the parts you like and revise the rest. I went through three iterations on this with very little fuss. I did the same thing when I made the template for the flowers.

I thought quite a bit about making the flowers in the borders from hexagons too. I figured that using hexagons that were half the size of the ones in the centre panel would be the right scale. Those hexagons are 3/4", so the flower hexagons would be 3/8". I actually like the challenge of using the small pieces, but when I auditioned some hexagons beside the centre panel, it all felt too stiff. It's just too much, and I like the contrast between the symmetrical hexagon centre and the looser, "fluffier" round-petaled flowers better. I don't have a photo of that, unfortunately. You will have to take my word for it!

Tomorrow I'll show you my debate about the background fabric.

Allegheny Santa

Just a quick finish to show you today.  I've been working on this while waiting for my replacement bulb for my sewing lamp.  It's one of the many Santa ornaments that Mill Hill has produced over the years.  This is one of the three Appalachian Santas.

Usually I work on these while on the road.  They are great take-along projects, and can be done in a small space and with any reasonable light.  I've done quite a few over the years!

In any case, my new bulb arrived yesterday, so now I am spoiled for choice while I consider what's next!

You Know it was Cheap...

These were sold side by side at the store, but you can see they are probably not both licenced by Maywood Studio!  I am pretty sure, though, that they were both less than $5/yd.  Rite Aid stopped carrying fabric shortly after I bought these - maybe this dodgy supplier was the reason! The fabric quality is ok, with no obvious flaws, so I am happy to have them.

I have been working out the yardage I will need to complete the RVQG BOM.  I bought one yard of the stars, and only half a yard of the moons, and both have already been cut into for another project.  The blocks will all finish at 12" square, and many are applique so I will need the whole square.  But I have worked out that if I piece some of the backgrounds in quarters, there will be enough.  And actually, that will probably be more interesting too!

In any case, I intend to do the whole thing from my stash.  I have plenty of batiks that I've bought over the years "just because," so this is my chance to use them!