Custom Quilting Progress on the 1984 Sampler Quilt

Good morning and Happy Thursday!  I've been making progress with the custom quilting on my friend's circa 1984 sampler quilt.  There are certain editing tools and features in Q-Matic (the computer robotics package that enables me to quilt digitally with my Bernina Q24 long arm machine) that don't get used in edge-to-edge quilting, and I'm learning more about how to use them to size and skew digital quilting designs to fit inside the imperfect shapes of patchwork pieced by humans.  My friend Marybeth is being extremely patient; I think I've had this quilt in my possession for six months at least, and most of that time I've been procrastinating and agonizing and catastrophizing about all of the ways I might mess it up...  But I'm feeling better about it now and I think it's going to look pretty good when it comes off the frame and I can see it as a whole instead of zooming in on every little imperfection.

Digital Block Design with Digital Sashing Design

I'm trying to balance out the different types of quilting throughout the quilt.  I think I have maybe three blocks like the one above where I've stitched one digital design across the entire block.  That can be quite lovely when it's a good pairing between the quilting design and the patchwork.  I did stitch in the ditch quilting in the patchwork seams prior to stitching the block design but some quilters would choose to just do the block design to save time (and to save money, if someone was paying for the custom quilting).

P2P Triangle Design with Separate Digital Motif in Block Center

In the block above, I quilted a P2P (Point to Point) digital design one at a time in each of the red print triangles.  Then I quilted a separate digital design in the center of the block.  I'll go back later and quilt the red and blue solid patches, probably straight line quilting with rulers.  I'm learning (belatedly!) that it's more efficient to do all of one type of quilting throughout the quilt before moving on to a different type of quilting.  When I started working on this quilt I knew enough to do all of my basting and SID (Stitch In the Ditch quilting along all the seam lines) throughout the entire quilt before rolling back up to the top of the quilt to start on the fun quilting that actually shows, but then I tried to quilt one row completely (digital designs, ruler work, free motion quilting, multiple thread color changes etc) before moving on to the next row.  

Say My Name: "In War Time, 1863," by Jane A. Stickle

Good morning, Quilty Peeps!  Today's post is another in a series exploring and organizing my thoughts around the many quilts I hope to make "Someday," in order to deter myself from wasting time chasing the so-called Squirrel Projects that sometimes distract me.  The idea is that, before I purchase a new pattern or project materials, I'll consult my new Future Quilt Plans page at the top of my blog and decide whether I really want to invest the time in that new distraction project, or whether I really would be happier digging into one of my Bucket List quilts instead.  It has recently dawned on me that I probably won't live long enough to make every single quilt that strikes my fancy, so I want to be more intentional about which quilts I admire from a distance and which ones I choose to make for myself.

"In War Time, 1863" by Jane A. Stickle

"In War Time, 1863" 80.25 x 80.25 Original Antique Quilt by Jane A. Stickle

So much has been written about this iconic quilt.  You can see it in person at the Bennington Museum in Bennington, Vermont (check first before traveling as it's not always on display) and the best history of the quilt maker Jane A. Stickle can be found in the Summer 2013 issue of the Walloomsack Review on the museum's website here.  I know some of you have already made one or more versions of this quilt and others of you have it on your own Wanna-Make lists, but you're likely calling the original antique quilt by a different name.

Jane A. Stickle Named Her Quilt "In War Time, 1863."  NOT "Dear Jane"

One of the many remarkable things about Stickle's quilt is that, very unusually for the period, her quilt includes a label that names her quilt "In War Time, 1863" as well as the number of pieces in the quilt (5,602) and her name, Jane A. Stickle.  The "Dear Jane Quilt" moniker derives from a 1996 book by Brenda Manges Papadakis in which the author extols the virtues of the Stickle quilt and presents self-drafted line drawing reproductions of the blocks interspersed with extensive imaginary correspondence with the quilt maker.  Papadakis was so smitten with the Stickle quilt that she was inspired to learn everything she could about the quilt maker, the world she inhabited, and what was happening around her during the time she made the quilt.  However, Jane Stickle was an ordinary woman of declining fortunes living in times when ordinary women's lives tended to go undocumented.  We know she was childless, we know she was married but living apart from her husband at one point in their marriage when the census listed him as living with some other, much younger wife.  Later censuses show Jane living with her husband again, filing for bankruptcy, and ending her life as a ward of the state.  "In War Time, 1863" was a project she devised to pass time when she was bedridden.  

Papadakis' book Dear Jane: The Two Hundred Twenty-Five Patterns from the 1863 Jane A. Stickle Quilt  and the many classes she taught have been instrumental in sharing Stickle's exquisite masterpiece with hundreds of thousands of quilters worldwide, both challenging and encouraging readers to attempt reproductions and variations based on the original.  If Papadakis had not written about and popularized this quilt, I probably wouldn't even know it existed.  And, to her credit, Papadakis herself refers to Jane's quilt reverentially as "The Quilt" and only nicknames her students and their quilts as "Baby Janes."  The quilt only became known as "The Dear Jane Quilt" colloquially subsequent to the publication of the Papadakis book as quilters around the world fell in love with the quilt and began the journey of making “Dear Jane” quilts themselves.  

Which is all well and good, except what would that look like if Jane Sickle had been a male artist, working in a highly esteemed medium like oil painting rather than the oft-denigrated “women’s work” of needle craft?

The Dear Leonardo Portrait

The "Dear Leonardo" Portrait (instead of Mona Lisa or La Giaconda) by Leonardo Da Vinci?

My beloved Leonardo,

         I dreamed of you with longing today whilst working on my replica of The Portrait.  Who was this woman you painted, and what did she mean to you?  She must have sat in your presence for hours on end as you painted, close enough to breathe the same air, staring directly into your smoldering eyes and inhaling the intoxicating scent of your manhood.  Was she your mother, as some have supposed, the wife of your father's merchant friend Giaconda, or your own secret paramour, smirking at you playfully?  Perhaps she tried to keep a straight face as was customary in portraits of the time, but your ribald stories and dirty jokes broke down her maidenly reserve.  You lived through such an amazing time, what with the Renaissance and the Medici family's campaign to Make Florence Great Again...  Oh Leonardo, if only we were not separated by the centuries, I know you and I would be lovers as I am truly your soul mate now that I am copying your painting and thereby gaining access to your very soul!  I long to lick your paint brushes clean and will never stop searching for more of your precious paintings.

                                                     Your Playmate,

                                                      Rebecca Grace

Now seriously -- Isn't that WEIRD when it’s me writing letters to Leonardo Da Vinci instead of Brenda Papadakis writing letters to Jane Sickle?  Writing to "My beloved Jane" and signing off "your playmate Brenda" comes straight out of the Papadakis book.   (There are no sexual overtones in Papadakis’ letters to Jane, however.  I got carried away with my letter to Leonardo…)

Quick DIY Apple Pencil Holder + Progress on 1984 Sampler Custom Quilting

 Oh my gosh, you guys!  I completed a whole sewing project from start to finish last night in under an hour!  This is what it must feel like to own a sewing machine but NOT be a quilter!!  

A Sewing Project Completed Start to Finish in Under an Hour!

This is something I’ve been “fixing to do” for a couple of years now, just “waiting to get a round tuit” that never arrived…  No pattern; just eyeballed an old, stretched out elastic contraption that needed replacing and replicated it with some purple elastic from my garment supply stash and a little piece of jacquard ribbon to make it pretty.  This elastic strap slips on and off over my iPad case quickly and easily and has a channel stitched to securely hold my Apple Pencil.

I even used one of the high tech gizmos on the new B 990 sewing machine.  When top stitching my ribbon in place with Edgestitch Foot #10D, I turned on the laser that shows exactly where my needle is positioned to stitch on my project; see that red dot below on the black ribbon?

B 990 Laser Helps Position Edge Stitching

On previous machines, I would have tried out different out of center needle positions one click at a time, lowering the needle to see how far I was about to stitch from the edge, but it was faster (and more fun) to just turn on the red laser dot.  One, two clicks to the left, looks perfect, GO!  I only turned the laser on to select my needle position; did not leave it on for sewing.  I used two different utility stitches, the three step zigzag stitch to overcast the raw cut edges of my elastic to prevent fraying with use, and the triple straight stitch around my ribbon flower and along the edges of the long, skinny pocket for holding the Apple Pencil.  I used Mettler Metrosene all-purpose polyester thread and a Schmetz Stretch needle in size 90.  I wish I had a closer thread color match to the color of my elastic, but I wanted a strong poly thread for durability and I don’t have anywhere near the stash of colors in all purpose poly that I have for quilting, appliqué, embroidery etc.  This was an impulse project chosen primarily so I could procrastinate packing for my trip.  

Maybe I should do more projects that don’t take 6 years to finish?  

Speaking of projects that take years to finish…  I did get a bit more quilting done on Marybeth’s 1984 WIP sampler quilt this week.  I added some hand guided ruler work quilting to the three blocks that I quilted with computerized designs the last time I posted about this project:

Continuous Curves Ruler Quilting Added Around Digital Block Design

My hand guided quilting is nowhere near as nice as the computerized design but the block looked unfinished to me before.  I’m doing the best I can but it’s a learning process and if I keeping stopping to rip out quilting and redo it, I’ll never get the quilt back to Marybeth!  

Deco Quilt Top FINISHED!

Well, THAT took a bit longer than I thought it would.  😐.   Behold the idiocy of my own words, mocking me from my November 1, 2021 blog post when I started this quilt: 

"...So, yes -- my Weekly Goal is to cut and sew 54 Block One log cabin blocks for my Deco Bed Quilt, and my OMG (One Monthly Goal) for this quilt is to complete the entire quilt top!"

HAHAHAAHAHAHA!  Spoiler alert, to those just joining me -- it took me a lot longer than a week to cut and piece 54 log cabin blocks.  If my life depended on accurately predicting how long it would take me to make a quilt, I'd just be dead already with no quilts to show for myself at all.

102 x 102 Deco Quilt Top is Finished

Finishing this quilt top (FINALLY!) nearly three and a half years after starting it was my OMG (One Monthly Goal) Part I for March, as in THIS March, 2025, so I'm glad it's together and off my design wall.  I finished it late last night after Bernie had already gone to bed and I couldn't get it back up on my design wall without his help, so I just spread it out on this bed in a guest room instead.  Photos taken with morning light.  This is probably the room where this quilt will "live" once it's quilted and bound.

Deco Quilt Top Awaiting Quilting

I did the perimeter stay stitching 1/8" from the edge on all four sides of the quilt top, so it is ready for quilting.  I have backing fabric already; I bought it and prewashed it three years ago when I finalized the color palette for the quilt top.  

Deep Dive Tangent: Exploring the 1934 Cleopatra's Fan Block

Happy Tuesday, my Lovelies!  Today's post is a break from the Lo & Behold Deco quilt I've been working on (just four more rows to stitch together before that's a finished quilt top!), but we're not veering into totally unrelated territory.  Brittany of Lo & Behold Stitchery, who designed my Deco quilt pattern, says she was inspired by the Art Deco style of the 1920s-1940s in 2019, when she realized that we we were coming up on the centennial anniversary of this iconic design movement (and all of the dizzying cultural, social, and technological transformations that happened during its heyday).  

Despite the great number of surviving quilts dating to the 1920s-'40s, not many of these quilts reflect the Art Deco style that was dominant when these quilts were being made.  Perhaps that reflects who was (and who wasn't) making quilts during those years and what sewing and quilting symbolized at that time -- a traditional female domestic activity and not something the giddy modern flapper girls were excited about.  Were the "Modern Girls" of the 1920s and '30s too busy exploring new social and economic opportunities outside the home, working in shops or factories during the day and dancing their nights away in jazz clubs, challenging traditional Victorian gender ideals (and giving their mothers plenty to worry about as they stitched more traditionally styled quilt blocks by the fire)?  ;-). That's my theory, anyway.  Sometimes I just make things up as I go along.

In any case, we don't have a great many examples of the Art Deco style influencing quilters in the surviving vintage quilts from the period, but we do have some and the Cleopatra's Fan design is one of my favorites.  I'm taking you on a Deep Dive into the Cleopatra's Fan block today, because I own (but have not yet used) the AccuQuilt GO! 12" Cleopatra's Fan BOB (Block On Board) die (this post contains affiliate links) and I'm trying to decide whether to actually make a quilt with it -- or just rehome my die to someone else who will use it!

52 x 69 Cleopatra's Fan in Kaffe Fassett Collective Prints, 12 inch Blocks

Above is a Cleopatra's Fan quilt rendering that I created in my EQ8 Quilt Design software using Kaffe Fassett Collective print fabrics with coordinating solids.  I've said it before and I'll say it again -- my Electric Quilt software is the best value for the money of any quilting tool I own, including my Bernina sewing machine and my long arm!  With most of my quilts taking multiple years from the time I cut into fabric until I finish the binding, the ability to experiment with design ideas and see what a quilt would look like in the actual fabrics I'm considering ahead of time saves me from sinking time and money into quilts that disappoint me when they don't turn out looking as great as I imagined when I pulled those fabrics at the quilt shop.  So, in that rendering above, these are 12" finished Cleopatra's Fan blocks just like my 12" AccuQuilt die will cut out for me, and those Kaffe Fassett fabric prints are to scale as well, so the design rendering is actually giving me a pretty good idea of how those large scale botanical prints will look when they are cut into the actual size patches of these blocks.  Do I like this enough to make it?  I haven't decided yet; we'll circle back to that at the end of the blog post!  Next I want to explore the original Cleopatra's Fan pattern as it was published in 1934 in the Cincinnati Inquirer by Laura Wheeler Designs (note that "Laura Wheeler" was one of several fictitious byline used by a New York City pattern syndication company that also went by many different names; you can read more about the company on Barbara Brackman's blog here):

Cleopatra's Fan Pattern Attributed to Laura Wheeler Designs, First Published in 1934

Up until fairly recently, the vast majority of quilts were designed and made as bed coverings rather than as wall hangings or throws.  Just to give you some context, here's an example of "modern" Art Deco bedroom furniture from a 1934 advertisement.  (I was unable to find a source attribution for this image but will update in the future if possible):

1934 Ad for Art Deco Bedroom Furniture

Isn't that fun?  And now, can't you just imagine this vintage Cleopatra's Fan quilt (below) on the bed in the magazine ad, with the sleek radiating curves of the quilt block's piecing lines echoing the radial seams in the headboard's veneer?  You may need to zoom in to see that on the photo if you're reading this on your mobile phone.

Vintage Cleopatra's Fan Quilt circa 1940s, Augusta Auctions

This is actually the first Cleopatra's Fan quilt I ever saw, an image from Augusta Auctions that I stumbled across on Pinterest years ago.  I was intrigued because I'd never seen the block before and the auction house didn't identify the quilt pattern in their auction description.  They just dated it to circa 1940s based on the fabrics.  

Deco Blocks Finished, Custom Quilting Progress + Stonefields Pattern Has Arrived!

Drumroll, please...  Only 170 weeks or so behind schedule for the 2021 Deco Quilt Along hosted by pattern designer Lo & Behold Stitchery, I have finally caught up to Week 7 by finishing all of my blocks and moving on to assembling my quilt top!

Finally Finished Making All of My Deco Quilt Blocks!

Once again, if I had any idea how long this project was going to take, I probably would never have started it in the first place.  😬. Ignorance is bliss!  

Rebecca Does Not Follow Directions, As Usual

Including some "action shots" here of quilt top assembly in progress.  My poor B 990 machine must be so bummed; all her fancy high tech features but the only thing she gets to do so far in my studio is Piecing Straight Stitch #1313!  So, if any of you have made this quilt before you might be noticing that I've veered from the pattern instructions in a couple of key ways:

• I disregarded the instruction to press all of the seams open in this quilt and created my own pressing plan instead.  It is nearly impossible to get crisp and accurate seam intersections if you press all of your seams open -- and conversely, it is practically goof-proof to get perfect seam matches when the seam allowances have been pressed in opposite directions and you can just snug them together for a little seam hug, secure with a couple o pins and then sew
• The pattern instructs you to create additional full log cabin blocks and then slice them in half from corner to corner to create the side blocks.  I didn't want to do that for two reasons.  First, it would cause weird and unnecessary seams to land right on the outside of my quilt where they would interfere with binding in the last stages of the project.  (Note that, if you're making one of the smaller size versions of Deco rather than the bed size quilt I'm making, you have to slice different blocks in half diagonally, losing your points all along the outside of your quilt!).  Second reason for disobeying instructions was that I wanted to have control over the grain line along the outer edges of the quilt as much as possible, so I cut those blue triangles for my partial side blocks with the grainline on the hypotenuse (long side of the triangle).
• I used my AccuQuilt GO! Setting Triangles 8" Finished die (this post contains a few affiliate links) to cut my side and corner setting triangles to the exact size for my 8" finished blocks.  AccuQuilt makes their setting triangle dies in various sizes and it's definitely worth getting the coordinating size setting triangle die if you already own one of the AccuQuilt Qube sets and/or you frequently make blocks of a certain size.  Not only does this die "do the math" for you to cut the appropriately sized setting triangles -- with the points pretrimmed for easy alignment before stitching -- but the layout of the triangle shapes on the die itself ensures that all of these setting triangles will have straight, non-stretchy fabric grain on the edges that will form the very outer edges of your quilt top.  So, because I cut these setting triangles with my AccuQuilt die, I did not have to think about making sure I had straight fabric grain on the hypotenuse side of my side setting triangles but straight fabric grain on the short sides (NOT the hypotenuse) for the four smaller corner setting triangles.  The setting triangle die makes it a lot easier for novices to tackle diagonal set quilts successfully.  By the way, if you don't think you'll make enough diagonal set quilts in a particular block size to justify the cost of AccuQuilt or you're not already invested in that cutting system, there are specialty rulers available that will help you cut the correct size setting triangles for any block size.  I have the one Kaye England designed for Good Measure, but I've seen other brand versions in quilt shops and I'm sure they work just as well.  Kaye has a video showing how to use hers here.

March Madness (NOT Basketball!): New Tilda Fabric + Stonefields Quilts for Nanette (and for Rebecca)

Today I'm sharing Nanette's Stonefields quilt that I quilted for her in January of 2023.  This was one of fourteen quilt tops (out of a stack of many more!) that she had originally planned to quilt herself and had been feeling guilty about leaving unfinished -- you know, like quilters do!  With health challenges multiplying and the stack of quilts not getting any smaller, she decided to scale back some of that self-imposed pressure by having some of the quilts professionally long arm quilted by me.  

Nanette passed away suddenly a week ago, and that got me looking back through photos of her quilts again and thinking about how glad I am to have helped her achieve the satisfaction of seeing and enjoying her gorgeous quilts as finishes.

Nanette's 65 x 65 (Modified) Stonefields Quilt with Filigree E2E Quilting

First things first, let's credit the pattern designer.  Stonefields is an original pattern by Australian quilter Susan Smith, which she was commissioned to make by Paramount Studios for a film that was shot in Ireland.  I have no idea which film; what I've shared with you is all the info I was able to squeeze out of the World Wide Web!  Stonefields is a sampler quilt combining appliqué with EPP (English Paper Piecing) and machine piecing, and Nanette shared that this was the most expensive pattern she ever purchased and that made her feel even more pressure to have a finished quilt to show for what she'd invested in it.  

So, I know what some of you are thinking -- edge-to-edge quilting over hand stitched appliqué?!  I know, I know.  Nanette's original plan was to hand quilt this one, but she realized that she had more quilt tops that "deserved" hand quilting than she would ever be able to complete in her lifetime.  Custom machine quilting was outside of her own skill set and beyond her budget, especially considering the number of tops she wanted to finish all at once.  And so she sent Stonefields to me, and I recommended the simple loops of the Filigree allover quilting design.

That Bunny Rabbit Is My Favorite!

With this quilt, it was really important that the appliqué and patchwork should be the star of the show and the quilting should just be a supporting element.  

Deco Blocks 3A + Quilting Piano Key Border on the 1984 Sampler

I finished half of the 3A blocks (Kona Solids Thistle and Indigo) for my Deco quilt last week!  Just  nine more of these light purple/indigo blocks to go before I can begin assembling the blocks into a quilt top.  It's amazing how much more one can accomplish when one is NOT twiddling her thumbs in a court house all day waiting to get rejected from jury duty!

9 of 18 Deco 3A Blocks Added to the Design Wall

I love the way the dark Willow green and Indigo 3B blocks recede visually and the Thistle/Indigo 3 blocks seem to come forward.  That's intentional; I played with those effects when I was creating my color scheme for this quilt in EQ8 (back in November of 2021, cough cough, change subject...). Anyway, I'm looking forward to wrapping this quilt up soon and moving on to something new.

Last week, when I shared a photo of the new Slimline lamp I'm enjoying for night time sewing, Nancy asked what happened to the view of the pool outside my window.  The pool didn't go anywhere; it was just hidden behind the window shades!  This is my new morning sewing routine (note the latte off to the right on my IKEA cart):

First Things First: Caffeine + 30 Minutes of Sewing

In our house in North Carolina, our bedroom and my studio were both on the 2nd floor.  My routine was to come downstairs to make coffee, then sit down in front of my computer while I drank it.  Many times I'd get sidetracked by email or whatever and realize that a couple of hours had gone by before I knew it -- WHOOSH!  But with our current house so much smaller and all on one level, I actually have to walk past my sewing machine to get to my computer.  So I am trying a new routine.  Now I go from the coffee machine straight to the sewing machine, still in my pajamas, and get my 30 minutes of sewing in BEFORE I check my email.  Because honestly, what could possibly be in my in-box that can't wait 30 minutes anyway?

All 36 Deco 3B Blocks Completed! Woo Hoo!

Hello and happy Monday!  I am delighted to share that I finished all fourteen of the remaining 3B (in Kona Solid Indigo and Willow green) for my Deco quilt last night!  I am especially proud of how much I got done because I got called in for jury duty on Wednesday and didn't get any sewing done on Thursday, either.

Deco Bed Quilt Blocks 1, 2, and 3B Completed

Those two blank rows near the center of the quilt need eighteen of Block 3A, which is nearly identical to Block 3A except that there is one more 1" square patch and, in my version of the quilt, Block 3A will combine the Indigo (dark navy) background fabric with Kona Solid Thistle, the lighter of the two purple fabrics used in my log cabin blocks for this quilt.  Sensible quilters will have followed the faster strip piecing instructions in the Deco pattern instructions from Lo & Behold, but I have cut out individual patches for all of my blocks for reasons I've rehashed in previous blog posts.

Nine 3A Blocks Ready for Chain Piecing

My method for staying organized while chain piecing those last 14 3B blocks worked well for me, so that's how I'll be piecing the 3A blocks.  In the photo above, I've laid out the 3A block with nine  fabric patches in each stack.  Once I've completed the first nine blocks, I'll lay out the last nine blocks in the same way.

Custom Quilting Marybeth's circa 1984 UFO + Cranking Out Deco Blocks

Happy Monday, everyone!  Congratulations to the Eagles fans out there, and my condolences to the Chiefs fans.  Not that I watched even five minutes of the Superbowl -- I'd rather sit in my laundry room for four hours watching the clothes go round and round than sit in front of a television watching grown men run around and clobber each other over a weird-shaped, ugly ball.  So HAH!  My husband and sister-in-law are from Philly, however, so while they were up at the house cheering their team I snuck off to the quilting studio to start quilting the borders on my friend Marybeth's UFO sampler quilt that dates back to 1984.

Wasatch Bella Bella Feather Border and Corner Quilting Design

When Marybeth showed me these blocks and told me the story of the quilt, I promised her that if she finished the quilt top I would custom quilt it for her.  This was supposed to be a "big boy" quilt for her son Nathan, who is now a married father in his forties.  The blocks are hand pieced and hand appliqued in neat, even stitches and it would be an intolerable shame if the quilt never got finished at all.  

Challenges for Marybeth included finding suitable border fabric, because she didn't have enough left of the fabrics from the blocks and may have used the fabric for some other project over the years.  Although there is no purple in her quilt blocks, I think the solid purple border fabric she chose works really well because it's the right value and hue to coordinate with the other colors well.

Challenges for Rebecca included coming up with quilting designs that would complement the vintage 1980s style of the sampler blocks and fabric without overpowering them, and without skewing too modern or too formal.  Another challenge was remembering how to lay out and size a border design to fit the quilt border and to accommodate for the quilt drawing up during stitching...  Too bad I didn't revisit this Q-Matic border quilting tutorial on Bernina's We All Sew blog before I loaded this quilt.  I loaded, basted, and did all of the stitch in the ditch quilting with monofilament thread a couple of months ago, and I did not remember Bernina Educator Denise Jones' tips about marking the center and quarters of the long sides of the quilt to make placing the border designs easier.  Next time!  Here's a shot of Marybeth's quilt on my frame where it languished for weeks, waiting for me to pick a design and get up the courage to start quilting it already!

Post-SID, Pre-Border Quilting Paralysis Syndrome

New Cabinets, New Machines + Deco Returns to the Design Wall

Good Morning and Happy February, everyone!  My kitchen and bath remodeling that was supposed to be complete by January 20th is still not done, and we've moved into the home we're remodeling in that our furniture is here and we're sleeping here, but we're not really moved in because there is still so much unpacking and organizing and figuring out where things are going to go, in a house that is even smaller than the last one and also most likely temporary.  I took a break from all of that last night to get out my Deco quilt project (dating back to November of 2021) and arrange the blocks on my design wall.

Deco Quilt WIP, will finish at 102 x 102

My main motivation for getting Deco up on the design wall was so I could physically count how many more of these green and indigo checkerboard-like blocks I need to make.  The directions in the Deco Quilt pattern by Lo & Behold Stitchery involve faster strip piecing construction, but I wasn't able to follow those directions because I decided it would be fun to use 12 different colors instead of 6, and I also decided it would just be easier to to cut all the patches individually with AccuQuilt dies and then sew the blocks one by one rather than figuring out how to adapt the pattern instructions to my custom color scheme.  And now here I am, up to my armpits in the consequences of those decisions as the quilt top construction drags out across three and a half years, four different sewing machines, three different sewing rooms, and two household moves.

Let's Make Blocks That Are Too Small On Our New Sewing Machine!

I traded in my Bernina 790 Plus and my embroidery-only Bernina 700E sewing machines for the new TOL (top-of-the-line) model, the Bernina B 990.  (Two reasons: I wanted to reduce the number of sewing machines I own so I can work more efficiently in a smaller space, and I'm looking forward to playing with some of the new high tech features on this machine).  The first thing I sewed with the new machine were two of these Deco quilt blocks, and they both finished too small because I forgot that I need to sew with a SCANT quarter inch seam (vs a true quarter inch seam).  Well, guess what?  I'm using them anyway and I'll fudge them when I join the blocks together.  So there!

Happy New Year 2025! My Pity Party Has Concluded; Back to the Pretty Quilts...

 Alright you guys — wanna know how many personal quilts, or personal sewing projects of ANY kind, I finished in 2024?  ZERO.  But 2025 is a brand-new year full of fresh possibilities and lots of pent-up creative energy.  I quilted a quilt for myself yesterday!

42 x 45 Untitled, from Maria Shell Improv Workshop

It’s just a small baby quilt, a way to use up one of the improvisationally pieced striped units I made in my Zoom workshop with Maria Shell back in September, along with some smaller yardage pieces from my stash.  The irregularity of wonky improv piecing looks very child-friendly to me, and that inspired me to use an allover quilting design (Color B2B by Anne Bright) that I’ve owned for several years but was never able to talk a client into using on a quilt.  

Color B2B Quilting Design by Anne Bright with YLI 40 Tex Cotton Thread in Rio de Janeiro

I love how it turned out!  I chose YLI 40 Tex Cotton Thread in variegated Rio de Janeiro after carefully checking that every shade in this rainbow thread was a match to fabrics I used in my pieced stripe unit.  I wanted something with an equal amount of contrast against both the lime green and the cherry red fabrics and I’m very happy with how it turned out even though cotton thread is a linty beast to work with!  My lint brush got to see lots of action.