I've had requests to show my sewing space and I've shown it in bits and pieces before but thought it was time for a better tour! My daughter was home this past weekend and she spent a day helping me clean it up so it was presentable to share. We made a video and posted it to youtube and I'm sharing that here. I'm also giving a little more info on some specifics of my setup and things I use.
This space has gone through a lot of changes and rearranging. When we first moved into this house this room was carpeted and had wood paneling on the walls that had been painted a peachy color and turquoise formica cupboards and counter built into the end wall. Those came out. We put in drywall and wood floors, but after water damage downstairs, years later, we moved everything out and the room was tiled. I've rearranged this room many times and at one point it had 5 large desks in it, along with numerous bookcases, chairs, boxes of samples, etc. My husband has commented that I couldn't possibly get more furniture into the room. Of course that is when I decided to add a longarm. I was determined. I can make it fit. That whole plan and journey is really deserving of it's own blog post, so I'll just say here that this is the new and improved layout with more things moved to the walls (and my daughter's room since she is at college), leaving space in the center for the longarm. Welcome!
I spend a lot of time at this desk. It is actually a dining table from Ikea. It is the "TORSBY" table and I see they have it now with a high gloss white top. My table has a glass top which is painted white on the underside. I like having a larger desk surface by using a dining table, plus I like the clean modern look of this. This table measures 53" x 33 1/2" so I can spread out. I like the fact that the top surface is glass because sometimes I do watercolor painting here (or in the kitchen) and when I do, I can clean off the surface of the glass easily. I tucked a Ikea Alex drawer unit under the table/desk. This holds my pens, envelopes for orders, postage, packing tape, plastic bags for kits, office supplies, etc. It fits really nicely. I also have some holders on the desk top for my notebooks, calculators, business cards and clip boards. The magnet boards are also from Ikea. Just so you know now- I have a LOT from Ikea. I love their creative solutions with furniture and all the options they have.
In the corner I have an antique chest that was my Aunt Doris'. She was the only relative living out here when I moved to California so it seems appropriate that I use it to house things that feel like sentimental treasures to me. I've got the fat quarter bundles and jelly rolls for each of my collections with Moda. I also keep some Christmas giftware little critter figurines I did for One Hundred 80 degrees and lovely pincushions. I like to hunt for vintage sewing things so old thimbles, spools, rulers, sewing machine oil and parts, along with buttons and some vintage cameras live here. When you close the glass door it makes a creaking noise, like the chest is talking to you. I covered the shelves with some removable peel and stick wall covering in white with gold metallic animal spots because it felt fun and fresh (by Valspar and found at Target). I also rotate the vintage sewing machines I display on the chest. The brown one is my newest and I got that from Aspire Sewing in Anaheim at the Road to California show. I love the two-tone tan. Under the sewing machine cover I have a beautiful hand crank Singer that my husband gave me as a gift. How great that I can machine sew even if the power goes out!! Add in some artwork on the wall from Crafted Moon and a sewing notions clock from Moda and I'd have to say this is a really happy corner of the room for me! By the way, the quilt on the wall is STARLET in the medium size, made in Dear Mum fabrics. And the sewing machine cover is a pattern in Jenelle Kent's FARMHOUSE FRESH book using her toweling fabric.
When planning out the rearranging to fit the longarm, I knew a priority to me was to have a longer cutting space. I used two desk tops from previous desks with a cupboard that was left over from our kitchen renovation (I mentioned water damage...well, it started in the kitchen and we had to redo that too) and a Kallax shelf unit from Ikea as an end support. This gives me storage and cutting table support and is a good height. I can measure out over 2 1/2 yards at once from a bolt on this surface and that is a great help when I am making kits or doing backings for quilts. Having a longer cutting table is a great thing to have in a quilting work space! Since my longarm is right behind me when I am working at this cutting table, I can always turn and use it as a counter space for compiling kits too. This area has become a very efficient work space.
On my cutting matts, I have acrylic stands that hold my numerous rulers. They are from A. T. Enterprises and I found them at Road to California. The grooves make the rulers stand up straight. I have a lot of Creative Grids Rulers. No matter what others I try, these seem to be my favorites that I use the most. I use Bloc Loc for trimming my half square triangles and flying geese units, but Creative Grids has become my GO-TO rulers for cutting. When I have blocks that need eighth measures, I use the Primitive Gatherings Creative Grids Itty Bitty Eighths Square and for most of my general cutting, I use the Creative Grids stripology ruler (designed by Gudrun Erla) and 3 1/2" x 12 1/2" ruler, 4 1/2" x 8 1/2" ruler and the big 8 1/2" x 24" ruler for cutting width-of-fabric cuts. So I keep these handy and at the cutting table, vs the other specialty ones that I keep on the wall shelf. I have the perfect 10 ruler too and use that for layer cake projects, but the ones I just mentioned are my normal daily rulers ( the 3 1/2", 4, 1/2" and 8 1/2" long one). For rotary cutters, I usually use Olfa Splash or Martelli Ergonomic (Ergo 2000 which is kinder to my wrist) rotary cutter.
I try to utilize space under my furniture as much as possible. A little further down, under the cutting surface, I keep plastic bins of my fabric stash that I have collected through the years. I keep the stacked bins with fabrics by color and genre, so mid-century fabrics are together, batiks are together, woven plaids together, etc. I can pull out the tubs as I need them.
I also keep my scraps for projects in some tubs and containers I can easily access as I'm doing sewalongs and other scrappy projects. These Variera containers from Ikea provide a nice space to fold up and store my Thatched Basics fabrics in scraps as I work on numerous projects. I keep some of these on shelves or on rolling carts, where they are easily accessed. I put the colors in according to the rainbow ramp of colors I have used. It is easy to pull out a bin, use scraps, put the remaining back, and keep some order to the studio.
This Raskog cart holds the bins of fabric scraps well and I like how it can roll over to the table or cutting surface easily. I have another cart for other sewing notions but I keep this one for fabrics near the cutting table. I can take the tubs of fabric out and replace them as needed and roll it to where I am working. This is where I pull most of my fabrics for my Moda Blockheads3 blocks each week. Since I am doing a quilt with rainbow bands of color for this sew-along, keeping the scraps in color groupings makes this very easy to assemble and play with the options. One of my quilts will be made in all Thatched basics and the other in Thatched plus prints so I like to keep that Thatched bin very handy.
Speaking of Moda Blockheads, I am making 8" blocks (with occasional smaller blocks for other projects) and I found these great project boxes at Target to store my blocks. I love them because they are 11.8" x 11.8" so if you are making any blocks that are 10" or smaller, the pieces and finished blocks fit really well! These boxes are only about $2 or $3 a piece so they are very affordable and I stack them on top of bookcases with other projects in progress. I've got about 9 or 10 of these boxes for my different WIP. The box to the left of the Blockheads blocks above has my Moda Village #modavillage blocks for Christmas and Abby Rose versions. This pattern is from Miss Rosie's Quilt Company by Carrie Nelson and is lots of fun! Want to read more about that? Check out my blog post on my Christmas village.
I think as the Moda Blockheads progresses, I'll need to get the taller versions of this box. There is also a 10" high one and I just might have to go for that taller size to hold my growing blocks!
In the corner I have a lovely corner for sewing and piecing. Some nights, when things are dark in the rest of the house, this little corner is glowing and humming with the activities of late night sewing. The cupboards along the wall hold various cans of spray basting, paint brushes, stationery, and color swatches. The shelf below holds containers for strip piecing, extra rulers, magazines and works in progress. My sewing corner is lit up by a light from Costco with multiple brightness settings and a little fan to blow cool air on me on hot summer days. The corner desk is from (again) Ikea with a curved side that gives me extra space for a desktop ironing board, my Oliso iron, a bulletin board, and my peg board with notions is on the wall in front of me as I sew. I love sewing at my trusty sewing machine, my Juki TL2200. This straight-stitch machine is my daily helper and workhorse. I also have a Bernina 125 for classes and a Juki HZL-F600 for other fancy stitches. But this Juki TL2200 is my bestie in the sewing room.
I got this machine at the Quiltcon in Savanah from SewingMachinesPlus.com and it has run like a dream. I recently ordered more bobbins and needles from them and have had excellent customer service from Sewingmachinesplus.com. I've also faced this machine perpendicular to me and put an extended table on the desk and done free motion quilting on this machine with great results. I love my Juki!
This is the Skadis pegboard system from Ikea that holds a lot of my sewing notions. I have pegs for embroidery hoops, rulers and things I want to hang. The little slide-in containers hold my push pins, safety pins, measuring tapes, bias tape makers, pins, thimbles, needles, clips and marking chalks. I find it is so easy to have these things get lost and mixed in with other things that having this wall system really puts some order and structure to my organization. The shelves hold large threads, bobbin buddies, pins, starches and other notions. The cups hold pens, markers, needles, rulers, pliers, and snips. I've got two boards stacked one on top of the other and there is a little extra room. I think if I had one it would have not been enough so I'm happy to have some higher space that I don't use as much to have that extra storage.
The shelf on the wall holds some of my scraps as well as the cart. I use the smaller Samla bins from Ikea for strips that measure 1/2", 1", 1 1/2", 2", 2 1/2" and so on so I can easily pull down containers and access leftover strips for projects. I print out the size labels on my computer and slide a printout into the front side to easily identify my organization bins.
When I'm at the longarm, this is my view. I can see my sewing space and my window. I've got a Daylight Company floor light that also helps to light up my longarm space as well as can lights in the ceiling. Good lighting is important. I'm still learning the Bernina Q24 but it's coming along!
To the side and behind the longarm I have Billy Bookcases that work really well for bolts of fabric. I have overflow of fabric bolts upstairs (as well as bagged and unbagged patterns and other supplies). Most of the fabrics I use for daily sewing and cutting kits are down here in this space. The Billy Bookcases work well in the tall size for two shelves of standing bolts with some middle sections of sample fabric yardage placed horizontally. I store totes and project boxes on the tops of the shelves. My husband also converted a tv nook in the wall into shelving storage for my art supplies and extra quilts. We close it off with curtains to keep the room looking a little neater. When we added the shelving for bolts to the perimeter of the two walls of the room I lost my design wall for quilt blocks. Something has to give, right? I now use the floor of the foyer as a "design wall" and I walk up the stairs and look over at the blocks in their arrangements from above. It works.
This is my space and I love it. It is a work in progress. It continues to evolve and change. If you have questions, let me know. I'm including link below to some of the items here in case you are interested in them. They don't pay me, although sometimes a company will give me something to try. I'm sharing what I use on a regular basis. If you want a walk through of the space, watch my youtube video below and check out more videos on my youtube channel. If you want to be notified when new videos come out, select the "subscribe" button on youtube.
I hope you have a space that brings you as much joy as my space brings me! Keep creating and sewing!
Torsby Dining Table
Ikea Alex Drawer Unit
Kallax shelving cubes
Variera storage box
Skadis pegboard for wall organization
Samla plastic storage boxes with lids for scraps
Raskog rolling cart
Sewing Machine Cover in book Farmhouse Fresh by Jenelle Kent of Pieces to Treasure
Acrylic Ruler Stands
Target project boxes (11.8 x 11.8" square) with lids
Juki TL2200 QVP Mini
Bernina Q24 Longarm
Starlet quilt pattern
Robin Pickens youtube channel
Jenelle Kent has a charming new book out with Martingale, Farmhouse Fresh. The projects are absolutely lovely! They use 16" wide toweling, which Jenelle has with Moda Fabrics.
This Rock Pool Toweling in the seafoam color is such a fun combination with Abby Rose! The modern farmhouse look of the toweling works so well with the cabbage roses and pink, green, orange and seafoam colors in Abby Rose.
The ends are made with patchwork squares that add such a nice mixture of colors. My friend Susan, the Felted Pear (@thefeltedpear on IG), had the lovely idea to add some applique and a label and I think it is such a nice touch! Jenelle has numerous applique projects in the book and her needle-turn work looks so good on the toweling. I usually do fusible raw edge applique and I think that works well on this fabric as well.
This cover ends up being a perfect size for my Juki TL2200 sewing machine! Its my main piecing machine so its always out and definitely deserves a pretty cover.
I also like the way this side patchwork looks from the end of my work space.
If you are interested in winning a digital copy of Farmhouse Fresh by Jenelle Kent, head over to my instagram feed and enter! I'll be drawing a winner from people who follow me @robinpickens, Jenelle @piecestotreasure and Martingale @martingaletpp on Instagram and enter on my IG sweepstakes post in my feed. Jenelle will notify winners on February 25th of the IG book tour!
Other IG posting peeps to check out for the IG book tour:
Today I put the last border on my Bird Talk quilt and I was so happy since I've been doing it in little bits and pieces, here and there. One night I will think "okay, I can get all the bird legs done" and another night I assemble the cardinal. Chip away at some leaves...little by little. I had help too with Olivia, who came and calmly cut and pieced leaves and leaf stalks while I filled pattern orders and dealt with computer things.
This has been a happy quilt to make. I don't know why, but birds are just so cheery. Maybe it is because I am named after the first bird of spring- Robins hopping along on the lawn with bits of snow still sticking but signaling that spring is indeed coming. Or maybe it is that I love to see the birds jump around and play with each other in a teasing way on the branches of the trees outside my studio window. Whatever the reason, birds just seem free, colorful, light and full of chatter.
I did start by making birds first. Then leaves. Then border. Then joining it all. The pattern itself is not overly difficult. It is made from patchwork simple piecing, half square triangles and some flying geese. You just have to pay attention to cutting a variety of sizes. I suggest labeling them with some post-it notes as you cut them out. If you want o make scrappier pieced sections of border, combine more smaller pieces into the larger size of block or rectangle for backgrounds.
Wouldn't this be fun with all Blue Jays, or black birds with fall colored leaves? I think this will be really fun to play with pattern and color on other versions. This version was made with Thatched Basics by Moda Fabrics. Some of the differences in colors are subtle- for example, there is a light red, medium red and dark red. You could use all one red, but the differences in value help to define wings from underbelly from top of bird. This could be a great place to experiment with ombres too- Hmmmmmm, I'm wondering the effect I could get with those!
This quilt is a lap size, or a twin with the border. This is the first time I have done a decorative, pieced border and I am really liking how it works with this particular quilt. I wondered if the border would be too much, but now that it's done, I am quite smitten with the border and am looking forward to doing other versions with it.
This quilt is easy to make with a combination of fat quarters, fat eighths and some yardage. I will be sizing it down to half scale for a wall quilt, hopefully by the start of quilt market. I had to make a decision on pattern sizes and the pattern itself is a 5 1/2" x 8 1/2" booklet (the size of my other patterns) but its 14 pages of instructions to include what you need for cutting, piecing and borders. I could either make a larger pattern at twice the price and include two sizes, or do two patterns at specific sizes at my normal price (its too much info to put both sizes into the small format booklet). I figured most people would know the size they want to make and appreciate not spending more on the pattern, so two patterns it is. I appreciate knowing if this works for you or if you'd rather spend more and have both sizes together.
This bird family is off to the longarmer tomorrow. Stay tuned for the smaller one!!
Happy quilting! And for more Thatched fabric patterns, check out my shopify store!
The Moda designers had a fun project for the Spring Quilt Market this year. A group of us designed 18" block patterns to give to local quilt shops to use during this National Sewing Month. 18 inches is a substantial size for a single block and leaves room to play with fabric and combine several shapes and sizes into a layered composition.
At the time of designing my block I was working on my Picket quilt with it's stitch and flip sides that make up the picket fence border around the quilt perimeter. I liked playing with this shape and how it also suggested flower petals, especially when grouped around a central square.
I call my block "Full Bloom" because it reminds me of the petals in a fully open flower in a grand display. The petals are separated by sashings to give more definition and color play in your piecing while dividing the space in an interesting way.
For a schoolhouse session at Market we showed our blocks. I made up two blocks using my new collection (shipping in October 2019) of Painted Meadow. Coneflowers in paisley shapes, textures, little sprigs, all make up the blocks in this composition. And I could not resist doing a little fussy cutting and making one of my fat bumble bees the center of a bloom. Perhaps this bee is looking for pollen in the center? These blocks are not quilted yet and I'm still deciding if I'm going to make pillows or work these into a quilt top.
I like to experiment on the computer with the blocks and what it looks like made up different ways. With this block, the corners could be more valentine-like with hearts (like the top left image) and a hashtag center. Or maybe the center is surrounded by darker colors to set it off in contrast. Multi-colored blocks (lower left) have a different feel from monochromatic blocks that play with values of light and dark.
Studying what happens with light and dark values is interesting when you have all these rectangles that continue across the block. You can have mid-range tones that suggest overlap and transparency, or sashing lines that stay solid and strong. Some look like woven plaid. Others are radiating light or dark from the centers. I love the different look and feel you can get from one block with this play of light and dark. Wouldn't it be fun do do a monochromatic quilt just exploring these light and dark relationships?
If you want to make a block with a big fuzzy bumble bee, like the one above, look for the Painted Meadow collection in October. Painted Meadow has corals, red, greens, teals and pinks. Or use solids with a range of light and dark values. Or go completely scrappy with enough room in those squares for some good fussy cutting. Whatever you make, I hope it is fully blooming and glorious! Check out this link for the FREE pattern and please visit your local quilt shop to see if they have projects with these 18" blocks!
Robin Pickens 18" Block
Visit the previous designer's blog posts and the future posts to see more 18" block fun! Here is the schedule and links to their blogs:
9.23 - Lella Boutique and Sherri & Chelsi
9.24 - Kansas Troubles and Corey Yoder
9.25 - Crystal Manning and Me & My Sister
9.26 - Jan Patek
9.27 - Robin Pickens (me and here is the pattern!)
9.30 - BasicGrey
10.1 - Betsy Chutchian and Lisa Bongean
10.2 - American Jane
10.3 - Kathy Schmitz
10.4 - Zen Chic and Deb Strain
I'd love to see images of things you make with your blocks! Do you make a sampler with all the designer blocks? A table runner with a set of three or four? A pillow or mini wall quilt? Have fun sewing and share with us!
Sometimes I just like to sew. You know, the hum of the machine. The forward motion and progress. Adding piece after piece in a rythmic order and just getting into my zen place of calm at seeing rows of color and pattern coming together. KYOTO STEPS takes me to this zen place.
This quilt is easy to make- a logical cutting scheme and straight sewing- but still has a richness of activity and proportions. It is designed to allow some large prints to have a bigger block (yes, my common theme to show off my large florals) that are more centrally located. Then think of the other blocks as steps that skip and hop away from the center in light and dark.
I just love the quilting on this one. I want to rub my hands over it and feel the texture of those fans! Marion Bott (@bottmarion on IG) did a fantastic job with adding the perfect layer of textural dimension to this quilt. The fabric here is from my Painted Meadow collection (shipping October 2019) and I made sure some of my fat bumble bees made it into the large blocks. I also put the large pink print with big Coneflowers on the back of the quilt so there would be lots of drama and excitement when you turned it over.
I must admit I really don't like making quilt backs. And I REALLY don't like trying to match a print on a seam when making a back. I'd much rather add a panel down the middle so I don't have to see an unmatched print and use some extra pieces of fabric I have. In this case I made another row of rectangles from leftovers from the quilt top and ran it down the center. I think its stays in the style and spirit of the quilt front and gives a fun interest to the back.
Kyoto Steps looks serene in these teal and green colors. This is a scaled down version of the quilt with slightly smaller rectangles. This lap version still gives plenty of room for a big print to shine while playing with those rhythmic rectangles. Sally Corona (@coronaquiltworks on IG) quilted this one in fabulous hexies. Quite a perfect shape with this chair!
For this quilt I chose a Moda Bella Solid for the backing- I believe it is Pistachio. I wanted to keep it serene and calm but with a pop of color! I like the way the painted lines coordinate print in the Painted Meadow collection make a good binding with subtle stripes of teal, green, deep red or saturated pink color families.
KYOTO STEPS is written for three sizes- Lap 58" x 67", Twin 74" x 89", and Full/Queen 97" x 93". The placement of the rectangles is diagrammed out to make it easy to replicate this spacing of blocks. The quilt is made with 6 half-yard cuts plus background if you are making the Twin, mostly 1/3 yard cuts for the Lap (but get 1/2 yard if your main print is directional like mine is) and a mix of 2/3 and 3/4 cuts for the Full/Queen (also adding background yardage to the Lap and Full/Queen).
If you want to make this in a scrappier way, you can use mixes of Fat Quarters for your pieces. If you are using a Layer Cake, the scaled down size of the Lap will work for those 10" pieces. This quilt is suitable for more beginning quilters.
You can find KYOTO STEPS along with other patterns from the Painted Meadow release at my shop and the patterns are shipping to local quilt shops with the fabric collections!
The original inspiration for this quilt was a caned back to a chair I saw at a yard sale. I thought it would be fun to replicate that woven look with center octagons in fabric. As I was laying it out, the design was becoming a bit too busy and challenging. It needed simplification so the lines did not compete with the prints on the fabrics and so I wouldn't tear my hair out! My happy ending place was this center part of Picket, with white triangle corners meeting each other, suggesting the continuation of line and an almost mosaic-like feel.
As I was playing with the shapes, I loved how the triangles played together and with some of my diagrams, the flying geese ends started to make their own statement. By lengthening the strips, they suggested picket fence posts (but not too long to be overly literal). The pop of white against a colorful border gave that additional chance to set the mood with color.
Picket is designed to be made with either a layer cake (or any mix of fun scrappy 10" blocks of fabric) OR with fat quarters. I like using the fat quarters to get a good mix of fabrics but still have repeating prints and to select my fabrics to tell a color story. The two lap quilts here have color themes of pink/coral/red and blue/green/teal. They have such a different feeling based on the warmth or coolness of the fabric colors.
For the layer cake version of Picket, I auditioned quite a few colors for the border and centers of the X blocks but I kept coming back to this Moda Bella Solids Spray color. There is something so fresh about it and I loved how it popped with the teals and greens and reds.
The quilt is made up of Snowball and X blocks, set on point. It's really pretty fast to make once you get in the groove of the blocks. I make up all the Xs, all the snowballs, then play with arranging them. Then at the end, I get to enjoy my colorful garden all surrounded by my picket fence.
I'm so happy to have had a lot of helpers on these! The large quilt was pieced by Susan Vaughan @thefeltedpear and was longarmed by Marion Bott @bottmarion. The lap quilts were pieced by Danica Willig @danicawilligdesigns and longarmed by Sally Corona @coronaquiltworks.
Check out more patterns made with Painted Meadow (and yes, Painted Meadow is shipping to shops in October 2019 from MODA FABRICS!) at my shop!
Chunky leaves in curved friendly shapes with graphic triangular blooms. Say hi to Beanstalk! This is a leaf/vine quilt made with Painted Meadow fabrics. The selection of fabrics and instructions use fat quarters for the leaf and bloom prints. The green stems and background are indicated as yardage.
I wanted some growing, garden themed quilts. Beanstalk and my Picket quilts were a direct reflection of the desire to marry plants and quilts.
Beanstalk has chunky, curved leaves made with 4" radius quarter circles (8" full circle size) that make the gentle sides of the leaf shapes, meeting half square triangles to finish off the leaves. You can play with the leaves by putting all dark colors to the bottom for a more shaded look or doing scrappy piecing with color and light/dark values.
The Beanstalk pattern comes with a paper template to make the curved blocks. However, I made the blocks for this sample using the Creative Grids Circle Savvy Ruler and I recommend it! Cutting circles with a ruler like this makes them so accurate and easy to sew together. I also have a number of Drunkards Path and quarter circle rulers in different sizes and one of the reasons I like this Creative Grids one is that it has ALL the sizes I use in one ruler! I can design with it, try different sizes with it, and translate a pattern for applique vs piecing with it too (different sizes minus the seam allowance).
When I started the plans for this quilt, I thought I would make it in only green shades for the leaves. But then I mocked it up with the teal and red shades and loved the graduation amongst the color families. It reminds me of fall and changing leaf colors. I think the reds add a lively touch!
Because I try different blocks to figure out my sizing, I usually make a variety of sample blocks. It seems like such a shame to waste these so I try to incorporate them into the backs of my quilts when I can. For this Beanstalk quilt, I used leaves that were too big and too small and a larger bloom as a pieced block in the center of my backing.
This quilt was longarm quilted by Marion Bott and the pantograph is a Sand dollar design. I love the pretty flower shape and the orange peel structure of this design. It makes such a lovely texture on the quilt!
I'm trying to decide what Beanstalk quilt will be next- one from Thatched basics? One with grays and muted colors? I'm not sure but I'm looking forward to planting a new Beanstalk! Visit my shop for this pattern and more that are made with the Painted Meadow collection from Moda Fabrics (shipping October 2019 to quilt shops). Happy sewing!
When I saw the Kinship Fusion Sampler created by Gnome Angel and Skyberries I knew I wanted to try it in Thatched fabric, my new basics line coming out with Moda Fabrics (shipping in November 2019). I was wanting a color-play exercise that used a limited palette and a select group of the fabrics. I like this line for fillers and backgrounds, but they deserve to hold their own in a quilt sew-along!
I love the modern feel of many of the blocks, playing with geometry in often asymmetrical layouts. I thought the woven illustration of Thatched would work well to add just a little depth to the blocks.
I actually jumped in about a week into the sew-along, which is typical for me. I WANTED to do the sew-along but I get distracted and think I don't have time to add ANOTHER project. But then I see people posting on instagram and I can't stand it anymore and jump in late.
My original plan was to make the quilt in mostly grays and white with a tiny pop of color. Maybe just the heart block in orange? I selected three grays from Thatched to use- the Gray 85, Pebble 24 and Shadow 117, giving me a light to dark range of grays. There are actually 5 grays in this first release of Thatched but I wanted to keep it simple. I've never made a black and white quilt before or a black, white and gray one, so this was a new exercise in restraint.
fBut I guess at heart I am really a COLOR GIRL and I needed more than just one pop of color! I loved the idea of just orange with the quilt, but the addition of greens to the mix felt so much more appealing and fun. I really like how the combination of Chartreuse 75, Sprig 14, Peacock 77 and Turquoise 101 play together. It was a tough call to decide if I should add the dark green Pine 44 to the mix but I left it at the original four greens.
For the oranges I used Tangerine 82 and Apricot 103. Again, tempted to add more with Maize gold but I pared it back. Every time I use the oranges it feels like a jolt of orange juice waking me up!
Usually I keep the color story of greens or oranges within a block but once in awhile, one escapes and jumps in another color block! Quilt block 29 is an example of that with it's little orange square. And block 82 with one orange corner to liven up the group! (And yes, sometimes I go out of order and make some of the later squares in advance if I have the right pieces cut)
When I got to day 25, I layed out what I had on the floor to get a feeling for them all together. For the planning of this sampler, I used the coloring sheet that Gnome Angel has on her blog at https://www.gnomeangel.com/100days100blocks2019-colouring-sheet/. It was tremendously helpful in planning and playing around with the colors. You need to purchase the pattern to get the coloring sheets and I am not posting my colored in one since that would be a violation of the pattern copyright.
Yes, my helper was involved and let me know she was bored of this whole thing.
There is one thing I wanted to mention about this particular pattern for a sampler. I really appreciate that the sizes of the blocks you cut are very consistent so it is efficient with fabric and makes it easy to precut pieces. For example, a lot of pieces might be 2 1/2" wide so you knew that by cutting that size strip, it would be utilized for a lot of smaller pieces. I could go through and count out how many pieces I would need at certain sizes or how many flying geese were needed at the same size and then make them in bulk. This really cuts down on time and makes it enjoyable to move through the blocks faster and with more efficiency and economy. I thought it was a very smartly planned out sampler that way!
I have been loving the blocks I've been seeing on instagram from other people sewing along. I particularly love seeing some of the fussy cutting and cute fabrics. It is a different feeling to do a sampler with a limited palette and limited fabrics and I like the new muscle that is flexing in my mind to explore the contrast and color relationships. I like how clean and modern this feels to me. But I can't lie, a part of me wants to just throw one of my big flowers into one of these blocks!
I'm guessing the next time I share these blocks on the blog I'll be done or at least close to done. Follow me on instagram to see more progress with the Thatched blocks at @robinpickens. Follow along to see all the great blocks on instagram with the hashtag #kinshipfusionsampler or #100blocks100days2019 and thank you Angie @gnomeangel and Bec @skyberries for a great sewalong! (Also, I am dying over Bec's blocks made with Heather Ross fabrics- fantastic!!)
I like to pair bigger prints with some solids for balance. But does that mean all solids are flat? Calm and rest for the eye can still have subtleties of design and texture. There is something so enjoyable in a little tonal and linear variation that brings interest and depth, like the character of a hand drawn line. It is in this drawn texture that I think of threads coming together to create "Thatched."
Thatched was hatched (ha, ha!) a number of collections ago, as a coordinate for Dear Mum. The little woven drawn lines became a texture print in gray, warm red, green and the Robin's egg blue. It blended so well it wove its way into the next collection, and the next.
Now Thatched is ready to claim its place as a basics line and make its OWN color statement. Colors have been added to round out the palette to include browns, blues, oranges, burgundy and Berry. 30 prints of luscious colors.
Perhaps you keep Thatched as a subtle texture print to balance out your larger prints and be a background fabric or blender. Or you may decide to play with the combinations and relationships of color families and groupings in color studies with saturated splendor.
Let your world of color mix with the texture of drawn line, the feeling of linear weaving. We are, after all, makers. We have interwoven lives and notice the small textures and details that make life richer.
Lean in and notice the detail. Rejoice in the imperfections. Drink in the saturated colors.
At my conference table (the kitchen table!) the ring of color commands presence in the space, singing out a rainbow of song.
Enjoy the blues of Navy, Marine, Sky and Royal. Dark to go with denim. Light to brighten like the sky. Blues blend into greens and teal shades. Moody, pretty blues. Grays that are warm and cool, speckled and subtle. Reds that are deep and dramatic or bright and cheery (and yes, the Crimson and Pine of Splendid are in the basics).
Drawn line in color tones with the character and heart of handmade texture.
The ring of color is almost luminous under the light as night time falls. I will clear it tomorrow. For tonight I will sleep with rainbow dreams...
A quick catch-up on some Moda Blockheads2 blocks. I have learned so much while doing these blocks! I tried triangle paper for the first time (and liked it!) and I stretched myself with smaller piecing on some of these than I normally do. With every sewalong I do I feel my skills become better. I start to think more efficiently when I look at instructions and question if I can make more of the blocks in a different way (like making Half Square Triangles in the 8-at-a-time method).
This first one is Sherri McConnell's block "Vintage" and I used a bunch of scraps I had from earlier blocks from my Dear Mum collection. I am pretty pleased with how this one came out. I don't have that much experience doing Quarter Square Triangles so this was good practice!
This was the alternative block designed by Corey Yoder called Rainbow Vine. Mine is not a rainbow but does have a variety of green leaves. I liked how quickly this fun block came together. Now I think I need to make sure the block above in my arrangement has a design that suggests a flower bloom!
The next block is a larger 18" one and is designed by Betsy Chutchian. Feels good to get this one completed and I really like this pattern! I used #poppymaefabric and #blushingpeonies . After making a big 18” block like this I needed to do a small one next!
And last one to share today is this block designed by Corey Yoder. Its called Dainty Blossom and is an alternate for the Block 48 which was originally designed in applique. This is so cheery! 12 inch block with a big blooming presence!
I just may be seeing my blockheads blocks wrapping up here! Time for arranging and joining!
Designer of colorful florals for Moda fabrics. Modern to transitional quilt designer. Illustrator, sewist, crafter.
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