The Splendid Sampler II, Block 8: My Flock

Today, we started Week 8 of the Splendid Sampler 2 Block-of-the-Week quilt along.

Last week, we introduced you to the block, called: For the Love by Sharon Burgess. You can see my version of Sharon's block, here.

This week, meet American designer and shop owner, Brenda Ratliff of Just a Bit Frayed and Pink Castle Fabrics. Although I've never met Brenda, I have heard great things about her Glamp Stitchalot weekend sewing retreat AND I love the fabrics she sells in her shop!

Brenda's block is called My Flock. She says in her blog post how she loves flying geese. What I love most about this block design is how the row of flying geese are off-center. I feel this adds interest to her block and there are lots of things you can do to make this block interesting. Although I stuck with the 3-fabric version Brenda used, I could easily see this block using scrappy same-color prints for the small flying geese triangles and 4 different-color coordinating fabrics for the large triangles, then trim out the row of flying geese with a larger print that includes all the colors of the large triangles, therefore, lending a sense of cohesiveness.

Here is my version of My Flock:

I haven't yet used a lot of yellow in my Splendid Sampler II blocks, so I thought I would use my yellow dot print for my large flying geese triangles. If you haven't yet noticed, I love dots, so this space in the design allowed me to show off those dots well!

I wanted to keep the corner triangles interesting without having to use a solid or mottled fabric, so I decided upon the gray and cream "X" print. Finally, I decided to go with the all-over large print to bring in all the fabric colors into this block so that it will still coordinate well with some of the other blocks I've made, thus far.

Because I'm using two different, older Moda collections (that I've been hoarding for a special project, such as this!), and because I'm limited, due to the amount of fabric I'm working with (I'm using fat quarter bundles), I'm beginning to shop for coordinating fill-in fabrics.

I'm fortunate in that my local quilt shops are hosting a shop hop that started today, so I hit 3 shops who are participating in the hop, just this afternoon. My husband is going to join my on the hop one of the days, so that should make the traveling fun! This is what I picked up, today:

Because I started with Moda bundles, and because Moda is one of the sponsors of the Splendid Sampler II block-of-the-week, I've decided to stick with using strictly Moda prints (not a requirement, but something I want to do). Besides, I've found that many of Moda's fabric collections coordinate, so rest-assured, I know I have the best luck of finding coordinates if I stick with this plan. One of my favorites out of the above purchases is the multi-print fat quarter along the bottom by Jen Kingwell . . . I love every one of her fabrics! Her quilts are mighty amazing, too! 

The Splendid Sampler 2 book will be available October 2018. It is currently available for pre-sale so order your copy, now!

The Splendid Sampler II, Block 7: For the Love

Today, we started Week 7 of the Splendid Sampler 2 Block-of-the-Week quilt along.

Last week, we introduced you to Rose and Dot by Lori Kennedy. You can see my version of Lori's block, here.

This week, we travel back to Australia to meet England-born designer Sharon Burgess of Lilabelle Lane Creations. Although I've never met Sharon, I feel a kindred spirit in her because of her love of English Paper Piecing. I also relate well to what she says on her website: "You will not find a colour wheel in my studio. I threw that out when I started my La Passacaglia and I am so pleased that I did." La Passacaglia comes from the book, Millefiore Quilts by Willyne Hammerstein.

As mentioned on page 7 of my book, All About Strips: Colorful Quilts from Strips of Many Sizes (Martingale 2015), I talk about how using the color wheel tends overwhelm me. What I mean by this is that it feels overwhelming to use a tool when it's much more freeing to rely upon my instincts because I feel that combining pattern and color come naturally to me. I believe that once I start messing with that natural ability, I start second-guessing myself.

Sharon's block is called For the Love. As she says in her blog post, she gleaned inspiration from the beautiful tulips that grace the public gardens of her home town.

One of my very favorite things to do is to English Paper Piece. Although it's become a project that I've set aside temporarily, I'm making a quilt using large hexagons sewn into oversized diamonds that I will be sashing and making into a quilt (you can see a few images of them on my Instagram page: @suzguzdesigns).

Here is my version of For the Love:

I began selecting my fabrics by choosing the red dot fabric. Next, I decided I definitely wanted to use the ivory type-print for the background; I love how it contrasts with the dot print and how some of the words are outlined with red. Next, I decided how I wanted to use different prints for the outside petals of the flowers and decided upon the variety of robin's egg blue prints of one of the collections I'm using. Lastly, I chose to use the dark honeycomb-like print (by Moda) I picked up at my local quilt shop for the center square to ground the design. Besides, who doesn't want a honeycomb nearby for the bees to pollinate the flowers, right?

I made my block in the same manner that Sharon made hers; English Paper Pieced the template pieces together and hand appliqued the finished cluster of flowers to the base fabric.

You'll see that I carefully placed my diamond templates on the dot fabric so that they would appear the same. I also chose to lay the blue stripe in the manner I did for the one set of outside petals. One other thing I did that I've never done in the past is that I placed a dab of glue in the middle of each template piece to avoid the template from shifting as I basted-down my seam allowances. That was a great help, especially because of the small size of the pieces you'll work with while making this block.

Here is the back of my block. I used my red Aurifil thread to hand applique the red dot tulip centers and my light blue to tack down the outside petals so that the stitching blended in with the fabrics I used.

After finishing my block, I pulled the fabric away at the front (to avoid cutting into it) and then trimmed out the cream type-print base fabric to alleviate the bulk at the back. Besides, I might need that scrap piece of fabric for a future block!

The Splendid Sampler 2 book will be available October 2018. It is currently available for pre-sale so order your copy, now!

The Splendid Sampler II, Block 6: Rose and Dot

Yesterday, we started Week 6 of the Splendid Sampler 2 Block-of-the-Week quilt along.

Last week, we introduced you to the Week 5 block designed by Susan Ache, called Point Taken. Here's my version of Susan's block.

This week, we meet designer Lori Kennedy of The Inbox Jaunt. Lori's block is called: Rose and Dot. It's such a sweet block and I love its simplicity because it allows you to show off prints using larger pieces of fabric.

This block was so much fun to plan and make. Here is my version of Rose and Dot:

As I did with Clamshells and Balance, I used Helen Stubbings' wonderfully easy technique using her Hugs 'n Kisses Applique Paper to make the leaves and 2-piece flower head.

The Splendid Sampler 2 book will be available October 2018. It is currently available for pre-sale so order your copy, now!

The Splendid Sampler II, Block 5: Point Taken

Yesterday, we started Week 5 of the Splendid Sampler 2 Block-of-the-Week quilt along.

Last week, we introduced you to the Week 4 block designed by Wenche Wolff Hatling of Northern Quilts, called Balance. Here is my version of Wenche's block!

This week, we meet designer Susan Ache of Instagram account: @yardgrl60. Susan's block is called Point Taken. I love how cleverly the name of Susan's block correlates to the design!

I had trouble figuring out what version of the block I wanted to end up with because I couldn't decide on what fabric combination I wanted to use. I did know that I wanted to use my red type print for the main body of my star. So, I started with this version for my block:

However, something was bothering me about this. I'm going to share something with you: I don't typically mix solids with prints if I can help it. Why? Well, if I have an option to use a print in place of a solid, I prefer using a print because I feel it gives my designs added visual interest. And, I'm okay with a "busy" look.

So with that said, I went through the fabrics I'm using and thought I would re-make the block using a different background in place of the cream solid, and I thought I would like the addition of the green dot fabric. After I re-made the block, I stuck it on my design wall to let it simmer.

I left it alone for a few days and kept thinking about it and realized that something was bothering me. I ended up tacking up the pieced center of the first version I made and realized that I preferred the lightness of the cream mini flower print over the visual heaviness of the green dot fabric. And although the "X" print I used in place of the solid cream doesn't perfectly meet up along the center edges of my block, I'm okay with that, so I remade my block for the last time, and here it is:

I think I'm really going to like the boldness of the red star once I sew it into my quilt top; this star will become a bold spot for the eye to land once it's finally placed!

The Splendid Sampler 2 book will be available October 2018. It is currently available for pre-sale so order your copy, now!

The Splendid Sampler II, Block 4: Balance

Today we start Week 4 of the Splendid Sampler 2 Block-of-the-Week quilt along.

Last week, we introduced you to the Week 3 block designed by Helen Stubbings of Hugs 'n Kisses, called Clamshells. 

This week, we travel to Norway to meet designer and shop owner Wenche Wolff Hatling of Northern Quilts. Wenche's adorable, I-want-to-make-more block is called Balance.

Here is my version of Wenche's block:

Before beginning, I knew I wanted to make my elephant from polka dot fabrics. I decided upon my yellow and cream polka-dot print to make my sweet polka-dot elephant, reminiscent of the spotted elephant from Misfit Island in the Rudolph the Red Nosed Reindeer Rankin/Bass film from my childhood. I so wanted to adopt her when I was a young girl.

After choosing my sweet elephant's print, I then choose the blue ticking background fabric and decided how the wobbly stand needed to have visual strength (for my girl to stand upon). Therefore, I chose a dark gray and red mottled solid from the fabric collections I'm using. Then, with just the right hue, I chose An Auriful dark gray cotton embroidery thread for the outline of her head and ear, her eye, and her tail. I contemplated adding an upshoot of water coming from her trunk and, for the time being, will keep her as Wenche designed her: Oh-so-sweet upon her circus platform!

I once again used Helen Stubbings' Hugs 'n Kisses Applique Paper. Many years ago, I taught myself how to do turned-edge applique using freezer paper and I am now hooked on Helen's paper and technique. She has easy-to-follow instructions on how to use it through her YouTube videos.

Please let me know if you have any questions! I hope you enjoy making this block as much as I did!

The Splendid Sampler 2 book will be available October 2018. It is currently available for pre-sale so order your copy, now!

The Splendid Sampler II, Block 3: Clamshells

Today we start Week 3 of the Splendid Sampler 2 Block-of-the-Week quilt along.

Last week, we introduced you to the Week 2 block designed by Rebecca Bryan of Bryan House Quilts, called Milk and Cookies. 

This week, we go all the way to Australia to meet the talented Helen Stubbings of Hugs 'n Kisses. Helen's adorable and fun-to-make block is called Clamshells. Here is her version:

Splendid Sampler 2, Block 3: Clamshells by Helen Stubbings

I've never made clamshells before and really enjoyed making this block. In fact, I'm planning on making an entire quilt using clamshells!

Here is my version of Helen's block:

Before beginning, I laid out my fabrics for the clamshells. I wanted to space out the colors so that a particular color didn't touch another clamshell of the same hue.

Next, applied a thin, iron-on stabilizer to the back of my background fabric, covering the entire 7" square, and then I prepared my appliqué.

I created my clamshells using the pattern instructions and Helen's Hug 'n Kisses appliqué paper, which made the process enjoyable for me. What I especially like about Helen's appliqué paper is that it works as a stabilizer and then washes out. The sheets come in a package of 20 and each sheet measures 8.5" x 11". The leftover scraps of the appliqué paper can be saved and used in a future project.

Helen has helpful videos that explain how to use her appliqué paper, so before you know it, you'll be able to make perfect arcs for your clamshells.

After appliquéing the clamshells to the base fabric, I taped the pattern to the window of my sewing room, then taped my block on top of it. I then traced the flowers onto the face of my base fabric, and then outlined the flowers using a double strand of Aurifil Red #8260 Lana Wool thread. I like how the thread gave the outline of the flowers a nice measure of thickness and a bit of a fuzzy look. When I do redwork embroidery, I stitch my stitches tiny and close together so that there aren't any stitches sticking out around curved edges; the stitching looks smooth and rounded.

Although my block is 6 1/2" square, my vertical right seam allowance is narrow. I'll be sure to pay attention to that when I'm piecing my quilt top together so that I achieve the look of a 1/4" seam.

Please let me know if you have any questions! I hope you enjoy making this block as much as I did!

The Splendid Sampler 2 book will be available October 2018. It is currently available for pre-sale so order your copy, now!

The Splendid Sampler II: The Fabrics For My Blocks

Whether you're a novice or seasoned quilter, choosing fabrics for your quilting projects can sometimes become a daunting task.

Should I use solids, prints, or both?

What theme or style of fabrics should I use?

What colors should I choose?

How many prints do I want to work with?

I love working with prints over solids.

I love designing scrappy quilts.

I prefer not to use solids if I can help it: I'd rather find a small or subtle print to use in place of them.

I believe the number 1 reason why I prefer working with prints over solids is because they invoke visual interest.

I'm using dry cleaner hangers to hang my fabrics on so that I can work with them easier and so that they don't wrinkle.

For the Splendid Sampler 2 Block-of-the-Week, I've chosen to use an older fabric collection by Sweetwater for Moda called Hometown. I've had a fat quarter bundle of this collection in my stash for several years and was waiting for the perfect project to use it with.

As I'm cutting into the fabrics, I'm realizing that I'd like to incorporate some additional prints to add a bit more depth. So I've chosen to integrate some prints from another, older collection from my stash called Circa 1934 by Cosmo Cricket for Moda.

I've also decided to check out a few of my local quilt shops, soon, for a few extra additions. Adding in more prints by other fabric designers will help diversify the look of my quilt, adding even more interest for a unique, scrappy finish.