- Coming soon
- Threads & Notions
Its been a busy few weeks with so many new fabrics arriving and kicking off not one but two block of the month programs. I've managed to sneak a little time at the machine though and I've made a start on the new Cotton and Steel Quicker by the Dozen quilt.
The designer Lynette Jensen is one of the most experienced quilt designers, pattern and BOM writers in the business. Put your hand up if you were sewing her Thimbleberries patterns in the late nineties and early noughties? I sure was! The Quicker by the Dozen booklet is really well laid out, with step by step instructions and handy tips and diagrams.
Despite I all this, I had a problem.
I dived straight in and, to be honest, didn't read the instructions properly before I started making those half square triangles (HSTs). I was half way through making them when I noticed that the instructions advised making them a different way.
At that point I decided to experiment a little: do some both ways and see which I liked best.
On the left you can see my normal method of making HST units. I cut the squares to the required size, mark a diagonal line and then sew a scant 1/4 inch seam either side. On the right I you can see where I started to follow the pattern. (I was rolling my eyes at myself at this stage for not following the instructions)
The pattern's method involved ironing the aqua and grey strips together. After pressing you then cut the strip set into squares and then cross cut the squares diagonally giving free triangles that were already paired up and ready to sew. There were a couple of things I liked about this method:
Those triangles are fairly small. It may have been in part due to air movement from the ceiling fan (its still pretty hot here in Qld), but I found by the time I got them to the machine the triangles wouldn't stick together all that well. Also, as I ran those points under the foot I found it hard to maintain the correct angle.
This is a very long winded way of saying that my accuracy, and ability to produce nice square units had gone right out the window. I binned the few I had made and went back to sewing either side of that line. The technique described in the pattern is worth giving a go, but I will probably save it for when I am making larger units - say 3.5 or 4".
I hate trimming and would definitely prefer to cut once and sew accurately, but I know that a lot of you out there prefer to square up and trim your blocks after stitching. I also know a lot of quilters who hate cutting units that require 3/8ths or 7/8ths of an inch measurements.
If you freak out at the thought of either of these things, just cut them bigger and trim after sewing. There is plenty of fabric supplied, so I think you should just go for it and make these babies using the method you're most comfortable with.
I wrote about this a few months back, but I think it is worth mentioning here again. A couple of years ago, after more than 20 years of quilt making, I started to press my seams open. The pattern \says to press them closed with the bulk of the seams to the dark side.but why not give open seams a go?
I'm not going to sugar coat it. Pressing seams open on small units like these little HSTs is a bugger of a job. I started by opening the seams up with the Clover finger presser first (that little white gadget). It is fantastic and makes it so much easier once I get to the ironing board. No more burnt fingers - yay.
Seams pressed open is totally worth the little bit of extra effort. Without fail your blocks will be flat and super smooth. Most importantly you wont get those ridges in your quilt top. I have plenty of quilty pals who shudder at the thought, as the closed seams are supposedly more secure and prevent wadding fibres from working their way through.
That may have been true even 20 years ago but the quality of waddings available these days is vastly superior. Also - how many antique quilts are there that have been made using English paper piecing? All of those seams are open!
Once again, if you've not tried it - why not give it a go?
Last of all, here's a sneak peak of what's in store for months 1-4 Don't forget to show off your progress. Cotton + Steel have kicked things off using the #blockonawall hashtag so get cracking people and start snapping. Don't forget to also use #nextstitchfabrics so I can find you .
I will be photographing my blocks on the wall of the shop. Its clad in corrugated iron and I think its such an iconic building material here in Australia.
If you are interested , we still have places available in the program. The first month is $65 to cover the cost of the pattern booklet, and then decreases to just $45 a month for the rest of the program.
Not in Australia? No problem! Just email us and we will work with you to find the most economical shipping option.
I have been itching to start this project since l first saw the patterns at Australian Quilt Market late last year. The Collection Quilt block of the month is an applique skill builder project, designed by Carolyn Friedlander.
We've included a lot of fabrics from Carolyn Friedlander's more recent collections, including Carkai, Friedlander and Euclid.Whilethe fabrics we will be using aren't identical, the completed quilt will have a similar look and feel. This week our first shipment of the brand spanking new Freidlander lawns and quilting cottons arrived so we have now kicked off the program. Patterns and fabrics for Month 1 are now on their way to members.
The project is divided up into 9 installments, and each month there are new colours and fabrics to explore and a new needle turn applique technique to explore.
This month we are working with low volume prints from Carolyn's Euclid and new Freidlander fabric collection. We have supplied larger cuts, and an additional choice of fabric than actually required to complete this section of the quilt. We did this deliberately so that our program members can mix it up a bit and personalise their fabric choices. Hang onto those scraps - as you might want to weave some of them in later too.
I will be stitching along with everyone each month and sharing my Collection Quilt journey here. For my low volume block I opted to use all three fabrics, and made sure that some of that gorgeous pickle from that aerial print was in the centre panel. I'm hoping that using part of the silver grove motif from the same fabric in the top section will create the illusion of continuity and perhaps even prompt the viewer to stop for a second look at this quieter section of the quilt.
I was so keen to start that I took it along and completed my basting while waiting with Mum in a hospital waiting room this morning. Good thing hand sewing is so portable.
I made good progress in a short period of time, and even made a start on the applique. There's a bit of a bump in my first straight line attempt, but I can live with it. After all it is a skill builder isn't it ;-)
Next month we will be diving into some colour with more Euclid linens and peachy Kona cottons. Here's a sneak peek.
We are waiting to take delivery of more patterns, so we've opened up some more spots in the program for $35 per month, for 9 months. Join now and come stitch with us.Continue reading
I've been making quilts for over 20 years now, but have had a love hate relationship with a couple of common techniques for what feels like forever.
Late last year I grabbed the opportunity to attend a workshop with Carolyn Friedlander while she was teaching in Australia with both hands. If it meant I had to suck it up and do some foundation paper piecing, then so be it. I decided to work on her Shirts Quilt
I've always been deeply impressed by the sharp points and intricate blocks able to be achieved with foundation piecing, but have always battled with those tricky angles. Invariably I would flip that fabric only to find that I hadn't fully covered the segment, or I hadn't left enough seam allowance to be able to continue. I would get there in the end, but not without a lot of frustration and unpicking. Lets face it - ripping those tight stitches out through paper is NOT soothing.
I'm not going to sugar coat it - my quick-un-pick came out to play, but Carolyn managed to untangle a lot of unproductive habits I had gotten into. One of them was to stop skimping on fabric. I mean to say - I own a fabric store after all! With a bit of patience my first block came together OK
Another great tip I found most useful was to make sure that I started each section off with fabric that had been trimmed to have a straight edge. All of a sudden my I could begin to judge those pesky angles.. That being said - none of the above stopped me from making the same mistake over and over while I 'merrily' pieced three left hand sleeves for one block!
Happily, this project wasn't destined to languish in a neglected state for years on end and I finished it about a month after the class. With its repeated blocks, the shirts quilt pattern allowed me to cement the tips I'd learnt in class and really begin to nail the technique. It also provided lots of scope to play with a multitude of Kona cotton solids and Carkai fabric combos.
After seeing student's projects in further workshops with Carolyn in Sydney and Melbourne I was inspired to dive in and have a go at the Hesperides pattern.
I love to hand sew. My first quilt was an entirely hand pieced and hand quilted sampler. To me it is akin to meditation and each stitch carries away the busy-ness of the work day. That being said, other than a couple of abandoned baltimore blocks from the 1990s, applique has never given me the itch to stitch. I've stood at quilt shows and admired the work and technique of others, but I've always been firmly in the 'piecer' camp.
Carolyn Friedlander's applique technique involves basting the applique pieces to the background using an accurate 1/4 inch running stitch
This was revolutionary to me. One of the barriers for me with applique was having shapes move, or distort during the stitching process, as well as the thread tangling around the plethora of pins. All of a sudden it was fun and with the first shape stitched down I was hooked!
Another dis-satisfaction with previous applique attempts was what felt like a mountain of preparation in marking the design onto the background and then again onto each and every shape. With its free-form style, this is eliminated with the Hesperides pattern and Carolyns technique.
It felt like I rocketed through the two cushion covers I set out to make and I'm really chuffed with how they turned out.
I'm already thinking about my next applique project ( I can't believe I just typed that BTW).
I'm sorely tempted by the Everglade and Ebb quilt patterns that we have in stock, but I think I will try to hold out until the new Friedlander and Friedlander lawn collections arrive in store and stitch along with all of the Collection Quilt block of the month members.
The BOM will be $35 / month plus shipping and all of the other details for the program are over on our 'Coming soon' tab
Carolyn Friedlander has designed the Collection Quilt as a needle-turn applique skill builder and I'm looking forward to consolidating my new applique skills and adding in some new techniques such as concave curves and reverse applique.
Do you have a subscription to Make Modern Magazine? If you don't then you should!
I think they punch above their weight in the quilt publication world and with each new digital issue they continue to deliver a range of inspiring new projects from modern quilters around the world. Even if making an entire quilt seems a bit daunting, there's always smaller achievable projects included such as minis and cushions.
We are delighted to be partnering with the team at Make Modern Magazine in January and sponsoring their competition over on Instagram
To enter is as easy as one two three.
1. Follow @makemodernmagazine
2. Follow us here @thenextstitch
3. Hashtag #makemodern on photos of your projects you'd like to enter in the competition. These can be WIPs, finished projects, or whatever you're working on this month. The more photos you tag, the better your chances of winning.
At the end of the month, the Make Modern judging panel will choose their favourite photo/s to win.
Even if you don't get around to entering, you should make sure you check out some of the fabulous work that is popping up on the hashtag already.
The prize we are offering is this bundle of fabric from Heather Jones' Color Dash collection for Robert Kauffman fabrics. I think these fresh bright colours are just perfect for our hot summer here in Australia I had a fun morning folding a few strips into these cute Scandinavian Stars back in December ready to grace the Christmas tree
There is a great tutorial to make these at
The competition is open internationally, so this fun bundle mioght even end up being a bright spot for someone who is shivering through a northern hemisphere winter.
Good luck everyone. I'll be checking that hashtag frequentlyContinue reading
Elizabeth Hartman released four new patterns at Fall Quilt Market and we have hard copies of each in store:
As with all of Elizabeth Hartman's patterns, they are printed in full colour and there are oodles of really helpful diagrams. All of the new patterns come with instructions to make up quilts in at least a couple of sizes, and some, like Pineapple Farm have a cushion option as well.
Hands down the Pineapple Farm pattern is my favourite. I fell for it almost as soon as I saw it in my Instagram feed when launched at Market, so of course the pillow was going to be the first shop sample I made up. Actually, who am I kidding ? I think this pillow will be going home and be put to use on the sofa pretty smartly.
I started by making the leaves sections first, and to be honest, there was a bit of head scratching involved. I was expecting to make reverse angles, similar to making the Hazel Hedgehog blocks, but after a couple of reads through I the penny dropped that there was no need to reverse any of the units. Once I had my head around this simple fact the tops were easy to construct.
The leaves for all three pineapple blocks are able to be made out of one Fat 1/8th, however I chose to use scraps of Kona cotton solids in cyan, bluegrass and ultramarine.
When all of the units are pieced together you end up with a odd shaped section which needs to be trimmed back to size. (Please note everyone - I took this photo before I had stitched the final rectangle of background fabric to the sides of these units)
Trimming was pretty simple thanks to the clear images in the pattern leaflet, but its worth taking your time nonetheless. I think the key here is to give it a really good press before you cut.
The body of the pineapple was super quick and easy to piece. While it looks tricky with lots of angles, the body of the fruit is constructed from simple squares and rectangles. Once again you construct an odd shaped pieced section which, as for the leaves, gets turned on a 45 degree angle and cut back to the block dimensions. From here you are only a couple of seams away from you first completed pineapple.
There are no real pinch points as Elizabeth Hartman has created what appears to be a complex block using simple construction techniques. Clever, BUT, you do end up with bias edges on every side of your block. When combined with multiple seams, you need to be careful so that they don't stretch and distort out of shape.
A couple of tips for dealing with bias edges:
And finally a couple of tips for selecting your fabrics.
While also a larger scale print, I think the cicada fabric from the Cotton + Steel Raindrop collection worked quite well. The difference is that they are tone on tone prints and don't have as much negative space between motifs.
While I am pleased with my fabric choices now that I swapped out that first awful pink block, I think these pineapples made in solids would be fabulous. The criss-crossing, woven effect of the different fabrics would be much more dramatic
For those who would like to re-create any of Elizabeth's projects as pictured in the patterns, we will have her new Pond fabric collection in-store in January.