Recently Hillary from Entropy Always Wins and I had the opportunity to meet in person after following each other’s work online for years. Both loving embroidery, repurposing textiles, creativity and the sewing community in general we plotted a tutorial that would allow us to play off each other’s creative personality and engage the greater sewing community as a whole.
A year ago Hillary made an Easter Egg shaped pincushion out of velvet and repurposed leather. We expanded on this idea and invite anyone who wants to participate to make a similar pincushion and, if interested, incorporate repurposed leather (Earth Day is coming up after all, and repurposed leather is typically thin enough to easily sew on a domestic sewing machine.) Be bold. Be brave. Let’s sew leather!
In this tutorial we give everyone some guidelines but the emphasis is on PLAY and MAKING THIS PROJECT YOUR OWN. Don’t celebrate Easter? No biggie, make a similar pincushion in another shape. We will be following on Instagram so please tag your makes #eastereggpincushion (as well as tagging @nightquilter and @entropyalwayswins) so we can all enjoy. To celebrate this group project we will both randomly be giving participants some of our own pincushions as well as supplies to make them. All you need to do to be eligible is to play along, tag us, and tag #eastereggpincushion so that we can find you!
Thin leather (~6×12 inches)
Wool felt, velvet, jeans or any other material for the inner portion of the pincushion (~6×6 inches)
Embroidery hoop (a 4” hoop will *just* fit the inner egg)
Crushed Walnut shell or other favored pincushion fill
Step 1: Templates and Leather
Print the Embroidery Egg Template and cut along both inner and outer egg outlines.
Trace the template onto the wrong side of the leather, marking out two eggs–one with only the outline and one with both the inner and outer lines drawn.
Carefully cut along the marked lines, remembering to cut one piece along only the outer egg outline and cut the other piece along both the inner and outer egg outlines.
Set your leather pieces aside.
Step 2: Embroidery
Using chalk or water soluble marker, trace the inner egg outline onto your embroidery surface (felt, velvet, jeans, etc) so you will know the limitations of your embroidery design.
Adorn at your heart’s desire with embroidery, applique, etc. You are welcome to copy our experiments but please feel free to try your own ideas.
Step 3: Attach the Embroidery to the Leather Upper
Align your embroidered material so that the embellishments fit within the window of your leather upper (the egg with the hole cut out of the middle).
Secure the right side of your embroidery to the wrong side of your leather upper with double sided tape, glue, clips, or other method.
Then, using a ¼ or ⅛ inch seam allowance, top stitch the two together along the inner egg as shown.
Thread the top threads to the back of the piece, tie all loose ends together and trim.
Finally, if possible, trim the seam allowance of your embroidered material carefully about ½” away from the stitched line so that it remains easily inside the outer margins of the egg.
Step 4: Make an inner pincushion
Using only the outer margin of your Egg Template, trace and cut two pieces of muslin. Sew the two pieces together using a ¼ inch seam allowance, leaving a small opening to use for filling.
Fill with crushed walnut shell (a funnel can be helpful for this). One half cup of crushed walnut shell for this project seems to be the right amount. Use a little more if you want a more rounded pincushion. Sew the opening of the inner pincushion completely closed.
Step 5: Finishing your pincushion
Place the two leather egg pieces wrong sides together and secure with clips. (Note that pinning will create visible holes in the leather–use clips!) Sew around the outer margin of the egg using a ¼ seam allowance, leaving an opening at least 3 inches long unsewn.
Stuff your filled and fully closed inner pincushion through this opening. Ensuring the inner pincushion remains entirely inside, top stitch the remaining way around the outer edge of the egg.
Thread the top threads to the back of the piece, tie all loose ends together and trim or bury.
Right before the mad-dash to get packed for our trek to QuiltCon, I finished a mini quilt and excitedly mailed it to a hotel in Savannah, where it patiently waited for Giuseppe to arrive. Here’s a closer look at my mini quilt that hung in the Andover Fabrics booth at QuiltCon.
This quilt got its name after it was nearly completed, as I sat hand stitching the binding to the back. A mini quilt made at the request of Andover Fabrics, out of entirely Alison Glass fabrics, to be displayed in the Andover booth at QuiltCon–can you imagine how thrilled I was to make it? I had selected my pattern Constant Flux since I have been wanting to play with different arrangements and color schemes for it, and simply rearranged the blocks to create a central focal square (I rotated each block 180 degrees).
With freestyle embroidery fresh on my mind and Nichole Vogelsinger’s book Boho Embroidery freshly on my bookshelf, I was inspired to add an embroidered, appliquéd bee from Alison’s Seventy-Six line in the center.
So when a local friend of mine sent a message connecting me with a textile designer friend of hers who needed product photography, and calling me “the bee’s knees”, the name just felt right. I think the entire world pretty much knows that I think nearly all of Alison Glass’s fabrics are the bee’s knees, so it felt like the perfect name: The Bee’s Knees (aka all of my favorite things–Alison Glass fabrics, plus meticulous cutting, plus embroidered applique, plus detailed machine and hand quilting) in Constant Flux (the pattern name). More figuratively, it’s a nod to the fact that the fabrics and styles that we consider the bee’s knees are constantly changing.
I had a lot of fun with the meticulously cut (yeah, yeah, fussy cut) sections, including bees and flowers as framing for the color flow. I love pairing meticulous cutting with foundation paper piecing. The fussy cutting templates I include in my pattern came in handy, too.
I knew I wanted to incorporate both hand and machine quilting, and I knew that I wanted the machine quilting to be dense. It took me a while to decide between using 50wt Aurifil 2600-Dove or 5015-Gold Yellow for the quilting, and finally I opted for the Gold Yellow to pull out the gold of the centrally stitched bee. I quilted a diagonal grid approx 1/2″ apart on all of the colored sections of the quilt and I love the texture it created. I wanted the white star and central diamond to pop, so I let them be, patiently awaiting hand quilting.
I used a rainbow of 12wt Aurifil thread to help pull the rainbow from the gorgeous fabrics into the white sections, and I love the outcome! I decided to switch to 12wt 2600-Dove for the center so that the bee would stand out.
The back shows that my hand quilting still has plenty of room for improvement (especially when trying to maneuver around the bee), but it’s still fun to see the back, too!
I used Seventy Six fabrics Rising in Graphite and Numbered in Duck Egg for the back, with an Insignia in Chartreuse label.
Labeling is one of my favorite parts–maybe because it helps me know that my name is on my work, or maybe because it means I’m finished with a project!!
This quilt is currently in Andover headquarters in NYC for photography and other fun fabric adventuring before it returns to me, but it was super fun to see it hanging in the booth at QuiltCon (see it, top right??). You can see a photo of me proudly standing next to it in my QuiltCon post here.
I’m linking up with Crazy Mom Quilts Finish it up Friday, since this finished mini hopped right into the mail upon its completion and hasn’t been shared in detail here yet. Finishes do feel good, don’t they!?
I’m still working on a post about my experiences at QuiltCon last week, but as March continues to skip on, I thought I should share February’s stitches for my 1 year of stitches project in the meantime. QuiltCon post coming soon!
My 1 year of stitches project is a personal challenge to stitch at least one stitch every single day. I am working with no set plan, I don’t mark the fabric before stitching; I simply stitch whatever wherever whenever. It’s quite fun!! You can follow along with my daily stitches at @NQ1yearofstitches on Instagram.
Even after a short month, it grows! As a reminder, here’s the hoop after the month of January:
and here it is showing the progress from February:
I guess 28 days can make a big difference!
The highlight of the month was getting the chance to chat with Erin from Aurifil on Facebook live while attending QuiltCon in Savannah. You can see my low key chat HERE on the Aurifil Facebook page. I talk about my process, how the project came to be, why I use Aurifil 12wt thread, and I show a quick demo on how to stitch a French knot. It was a really fun opportunity, and while a bit nerve-wracking knowing I would be live, Erin made it easy by being totally awesome and relaxed. Plus, she’s from Maine. Perfect! The whole experience inspires me to try a bit harder to figure out a way to video my stitches live each day, or at least some days each week. I’ll get right on that and will let you know if I figure it out!
Back to my embroidery progress! Here are some close up shots of the various sections of this freestyle hoop.
I am still stitching without a plan, deciding each day’s stitches the morning–or sometimes night!–of the current day. I have tried a handful of new stitches and look forward to trying even more as the year progresses!
Those little white three-petalled trillium flowers are the most recent addition. Time will tell where this will go from here!
This month, I had a photography helper, so of course I can’t end the post without a few Finn cameos. I often use the photos on my phone as a reference, so I pulled up January’s photo to make sure I arranged the thread in a consistent way. Finn was please as punch that they matched.
He also helped me put the thread back into the box, then arranged around the hoop, back into the box, then arranged around the hoop. What a helper!
As a full time mom of three little ones, but one with a strong innate need to create every day in order to maintain sanity, I feel like I do a fairly good job of creating opportunities for creativity and stitching, sprinkled throughout even the busiest of days. First, it was knitting–something I could carry with me and leave next to the couch to pick up while nursing or holding a sleeping baby in my lap. But as my children grew, their desire to turn yarn into spider webs, spy laser obstacles, leashes for stuffed pets, etc. also grew and knitting became quilt a risky endeavor. English paper piecing helped and I dove into basting hexies and honeycombs. Then I felt like I needed something new. Enter: embroidery. It’s small, I can store it up on the counter out of reach, it’s clearly mommy’s–not simply a ball of yarn begging to be unravelled or little fabric bits to be tossed around–, and it’s something I can pick up and put down quickly.
Late last year, I kind of got hooked on the quick mental fix that comes with freestyle embroidery while I was creating this Alison Glass hoop. In late December, when some friends brought my attention to the 1 year of stitches project initiated by Hannah Claire Somerville, I was intrigued. After a bit of googling, I found this invitation by Sara Barnes of Brown Paper Bag, who helped spread Hannah’s open invitation for others to join, and I knew that I had to join in. Hannah’s specific personal rules and stipulations are here, but I chose to take a looser approach. The goal is to stitch at least 1 stitch every single day for a full year, 365 days.
I went into the year with a 10″ hoop of Robert Kaufman Essex linen in light blue, my stash of Aurifil 12wt threads, and no plan at all.
Here is my hoop after 1 month of daily stitch-whereever-the-wind-blows stitching. Fun, right!? I created a separate account on Instagram @NQ1yearofstitches to document my daily stitches, and I am trying my hardest not to make any kind of formal plan at all.
My basic strategy began as a daily google of “embroidery stitches” as an image search. I would scroll through, find a stitch that looked cool, and then find a tutorial on how to make the stitch.
I began by learning bullion knots, so this whole project began with that little mass of turquoise squiggles and has grown organically from there.
I love the texture that results when you stack embroidery stitches together. Those white floppy things are my first attempts at braided picot stitch, another fun one!
This has been really fun so far, and as of the writing of this post, I’m already over halfway through February, too! (You’ll have to wait until March, or check the IG account, to see those additions, though!) I’ll plan to share an update each month, so that you can see how this grows.
My personal guidelines include stitching at least one stitch each day, trying to plan as little as possible and simply stitch whatever feels right each day, and not remove any stitches no matter how much I dislike the final outcome (cough, cough, that octopus family, cough). I figure this way, the stress of getting everything *just* right disappears, and instead the thought that it will all work out somehow in the end dominates. No stress!
This is a really fun, exhilarating project since it is pure spur of the moment random creativity. If you have any cool, unusual embroidery stitches to recommend, I’d love to add some more to my arsenal. There’s something about learning something new that makes my day.
If you are itching to learn embroidery, this is also a really fun way to do it. In the end, you end up with a hoop of many different stitches, as well as a visual story of your progress! Happy stitching!
While this is not the first time one of my patterns has been on the cover of a magazine (this was the fun first), it is the first time it’s on the cover of a printed magazine that my friends and family (and me, I suppose!) will be able to see on the newsstands in Joann Fabric and Barnes and Noble and the like. The issue came out Feb 1st in the UK, and will be showing up in stores in the US in 3-5 weeks. Please do let me know when you see it! If you’re techy, you could also get this issue instantly to your phone or tablet with the digital issues on Apple Newsstand, Zinio or Google Play.
Inspired by a tile pattern I saw a couple of years ago, this quilt is a great one to use for color play (or colour play!). It looks great in any colorway, and the fun accent block helps feature your focal or accent fabric.
I love the styling done by Love Patchwork & Quilting for the photos! I made this quilt using Kona cottons from Robert Kaufman and pieced and quilted it with Aurifil thread. I used 40wt thread in coordinating colors for quilting to make it a bit more substantial and echoed the geometric angles of the quilt, and I really like the aesthetic of the straight lines and the ease of quilting with my walking foot. This is a fun pattern and I do hope you’ll check it out!
Also, in the same color theme, I’m having a pattern sale through February 14th with all of my heart-themed patterns 20% off.
I made a BIG Love Struck block to help spread the world, and I think it eventually will become a festive pillow. Each heart-tipped arrow finishes at 6″ x 18″ and was a really quick sew, so if you’re looking for a fast and fun Valentine’s project, the BIG Love Struck pattern might be the perfect one! (or Hello, Love… or Love Struck… or Love is the Key… or…<3)
It’s a snow day here, so back to the kiddos–enjoy your day!
Sometimes you just need a quick finish. Something small and beautiful that you made with your own hands, but that takes only hours (instead of days) to create. When Yvonne announced her Quilting Jetgirl Alison Glass Challenge as an incentive for the rest of us to get one of our Alison Glass fabric makes into the finished pile, I had a few different ideas of which of my many Alison Glass-influenced projects I should finish first. At first I thought I’d focus on the table runner I started late last year using the Insignia and Seventy-Six fabric lines, but then thought it might be the perfect boost to finally finish Max’s Eye Spy quilt that has a dominance of bright Alison Glass prints from across the years. Then I gave myself a reality check and decided to select something small. I have two big deadline projects to finish within the next month, so to be real I decided to pull a diaper pouch project off of my WIPs shelves and finish it up. I’m so glad I did!!
I used my all time favorite Alison Glass Print, the Art Theory Panel from her Ex Libris line as the outer panel, and lined it with Artifact in Charcoal from her Abacus line (Andover Fabrics). I was lucky enough to buy all of these fabrics, AND the cotton webbing strap from my local quilt shop Fiddlehead Artisan Supply.
I used my go-to 50wt Aurifil thread 2600-Dove for all the piecing and 50wt 2692-Black for sewing on the velcro so that the stitches would not stand out. I love that Fiddlehead also carries a good selection of Aurifil threads! One stop shopping for the win!
Of course I had to plan it so that the rainbow star from Artifact was visible right on the top. I should have given myself a tiny bit more space in that seam, but I’m not losing sleep over it. It’s gorgeous anyway!
Now instead of having a purse filled with diapers and wipes floating every which way, I can have a beautiful and function space to store them compactly, not only making the inside of my purse a bit more organized, but also making it easy for me to visually check that I have a diaper for my little one before I head out!
Since pens are another item I’m often digging for in the chaos within my gorgeous bag, I decided to store two of my favorite micron pens tucked in the corner of the diaper pouch, so that they are easily found when I think of something to add to my Quilter’s Planner Mini–my traveling to-do list, grocery list, and inspiration keeper. Pst… you can now order the Quilter’s Planner Minis individually, here. Just a PSA for the day!
This pouch also perfectly coordinates with the amazing Alison Glass fabric bag my husband bought me for my birthday last year, made by the ever talented Kristy at Rock Baby Scissors. There’s no such thing as too much Alison Glass fabric, right?! No way!! What next?…. I’m thinking a few zip pouches to help organize the other contents of my purse. What’s your favorite simple zip pouch pattern? (Noodlehead’s Open-Wide Zippered Pouch is a fab one, but should I know about others?)
I’m so happy I obliged, because I just love this little hoop!
When the Stitched fabric arrived, I had just completed my Ocean Path quilt for our big Quilt Theory debut, and I was in the final push stage of finishing a quilt that will be in the February issue of Love, Patchwork and Quilting magazine, so picking up a small, no pressure, no purpose, no pattern hoop of Stitched and my 12wt Aurifil thread stash was the perfect brain palate cleanser.
This was back in September, according to my good ole’ Instagram feed, and since that time, ending just a couple of days ago, I’ve picked this little hoop up for 1-20 minute intervals (and 20 minutes might be leaning on the long end) every here and there: a quiet moment when the kids were all playing nicely together, a few seconds here while having a minute lax time while cooking dinner, or just because I needed to MAKE and had not yet had a chance that particular day.
I stitched whatever I wanted, wherever I wanted, and tried many different stitches.
I used Aurifil 12wt thread from my stash, in colors (left to right from photo above): 2530-Blossom Pink, 2435-Peachy Pink, mystery orange–the only Aurifil tag that has ever fallen off a spool!, 2120-Canary, 1147-Light Leaf Green, 2884-Green Yellow, 5005-Medium Turquoise, 2540-Medium Lavender, and 2515-Light Orchid. I used a single strand for all except the turquoise x’s, for which I use two strands. If I were to do it again, I would probably stick with a single strand since I love the crisp aesthetic that results.
Toward the end, I went a little crazy with french knots, but I do love them so and they make a great “filler” around the edges.
Since the pattern is printed on the fabric, there was no actual end, so it was up to me to decide how close to the edges to stitch. At first I thought I’d leave a bit open, but I just couldn’t stop stitching. As it is, most stitches extend to the absolute edge of the hoop. I kind of love it.
I finished it using the methods (minus the plan-ahead phase, since I didn’t plan ahead lol) shared in this tutorial on Sew Mama Sew. I stitched the running stitch around the excess fabric, pulled it tight, knotted and tied it, then trimmed off the extra fabric. Next I cut a 4″ wool felt circle using my Sizzix machine and stitched it onto the back with coordinating 12wt Aurifil thread and a blanket stitch. I’m quite happy with the finish, and definitely plan to make more. In fact, I very well might aim to always have a free-form brain palate cleanser embroidery hoop laying around, since it really worked wonders for helping me get back into a better mental place during especially hectic, crazy kid, too many (mostly self-imposed) expectations-filled days. Making works magic, doesn’t it?
My favorite colors! Flying geese! Curves! Precision delicately dancing with improv! Yessssss, this block has all of those things and I’m excited to share a detailed tutorial with you today. This new block was designed for the New Block Blog Hop sponsored by Cloud9 Fabrics and hosted by Yvonne at Quilting Jetgirl, Cheryl at Meadowmist Designs, and Stephanie at Late Night Quilter. Today is day three of the hop, which means that 46 new block tutorials have already been shared, and 23 more are being shared today. Amazing!
I’m calling my block Steady On, which just seemed fitting for such a classic made-by-me block. Those of you who know me know that I cannot keep anything simple, and this is a perfect case in point. This block has double improv curves, twenty (20) tiny flying geese, an hourglass block, and quite a few points that should match *just* so, all in the 12 1/2″ unfinished square block. But fear not, this tutorial has detailed photos and instructions on how to make each component of the block, and breaking it down into manageable chunks makes this block come together quite smoothly (Spoiler: we can make some of the flying geese 4 at a time!). There’s something about the determined light colored geese headed bravely into the dark and improvy unknown that urges me to encourage them… Steady on, now! That same encouragement goes for you, since I would LOVE to see you tackle this block and come out victorious (tag @nightquilter and #steadyonquilt when you do!). This is going to be fun, so let’s get started!
Gather your materials:
Fat quarter (FQ) of each of the five (5) fabrics generously provided by Cloud9: Amazon, Sky, Shadow, Lilac, and Iris. (There will be fabric left over–enough for a second block or more depending on how frugally you cut your scraps!).
Clover hera marker and/or other fabric marking tool
washable school glue (I use Elmers)
Fine glue tip (optional but helpful)
rotary cutter & mat
quilting ruler with 1/4″ and 1/8″ markings (I use Omnigrid rulers)
sewing machine (I have a Bernina 560)
thread (I use Aurifil 50wt 2600-Dove for nearly all of my piecing)
Press your fabrics and use spray starch or Flatter by Soak to help stabilize them before cutting.
Then cut the following pieces from each fabric:
– (8) 1 7/8″ squares (for geese 4 at a time)
– (4) 1 1/2″ squares (for single geese)
– (4) 5 1/2″ squares (for curved quadrants)
– (1) 3 1/4″ square (for geese 4 at a time)
– (6) 1 1/2″ x 2 1/2″ rectangles (for single geese)
– (1) 3 1/4″ square (for hourglass block)
Now, we will break down the block into manageable pieces, and make a component at a time. Let’s start with the curved quadrants!
Making Double-Curved Quadrants
For this step, you will need your 5 1/2″ squares of Iris, Amazon, and Sky, washable school glue and tip, a marking pen or pencil, scissors, and an iron and pressing surface. To make the double-curved quadrants for this block, follow my tutorial on easy curved piecing using a visual layering approach and glue basting HERE. Go ahead and read it now, I’ll wait for you. When you’ve read through it once and have a grasp on the general technique, grab three of your 5 1/2″ squares, one each of Iris, Amazon, and Sky. For this block, the Iris is the bottom layer, the Sky is the middle layer and the Shadow is the top layer.
Since this method begins from the bottom up, start with Iris and Amazon. Mark the Amazon square 2 1/4″ up along both sides from the bottom right corner. Make sure your mark extends 1/4″ in from the edges before beginning the curve. This will be your sew line, not your cut line, so by measuring the 2 1/4″ we are ensuring our seams will match up, even though the flying geese are exact and the curves can be improv. (Note here that if you are using fabric with a right and wrong side, you want to be marking the wrong side of the fabric. With the Cloud9 Cirrus Solids that’s not important).
Draw an improv curve from marked point to point, or trace a perfect curve using the edge of a small plate or glass. Make sure your curve begins and ends at your marked points 2 1/4″ up from the corner.
Next, grab your Shadow 5 1/2″ square and mark 3 1/4″ up both sides from the bottom right corner. Again, draw your curve as desired, connecting from marked point to marked point, and using that line as the sew line.
Make four quadrants, measuring 2 1/4″ up on the Amazon square and 3 1/4″ up on the Shadow square for two of them, and measuring 3 1/4″ up on the Amazon and 4 1/4″ up on the Shadow square for the other two. Admire your smooth curves, and set those blocks aside for later!
Making Flying Geese 4 at a Time
Next we will crank out as many flying geese as we can, using the technique of making 4 at a time found in the Reference Section of the Quilter’s Planner. I use my Quilter’s Planner daily, and it sure did save some time with this block! Here’s how:
Place two 1 7/8″ Iris squares in the top right and bottom left corners of a 3 1/4″ Sky square as shown. Using your fabric marking tool of choice, draw a diagonal line from the top right corner to the bottom left corner. I love my Hera marker since it doesn’t actually mark the fabric, but makes a clear guide line.
Sew 1/4″ from either side of the drawn line. Press with a hot iron to set the seam (notice that I didn’t do this step? tsk tsk).
Cut along the drawn line.
Press the small Iris triangles outward, with seams pressed toward the dark fabric. Then place another 1 7/8″ Iris square in the corner of each unit, and mark a diagonal line as shown above.
Again, carefully sew 1/4″ from either side of the drawn line. Cut along drawn line.
Press open, with seams toward darker fabric.
Trim to 1 1/2″ x 2 1/2″ and set aside.
Repeat instructions above using the remaining 1 7/8″ Iris squares and a 3 1/4″ Lilac square to make four Lilac geese with Iris corners.
Making Single Flying Geese
The remaining flying geese must be made one at a time since the corner colors are mixed up to flow into your improv curved quadrants.
Grab your 1 1/2″ squares and 1 1/2″ x 2 1/2″ rectangles and lay them out to help plan which corners should be positioned on each rectangle. Use the finished flying geese above to help plan before you start sewing.
To make a flying geese block (or would it be flying goose?), position a 1 1/2″ square right sides facing the right top corner of a 1 1/2″ x 2 1/2″ rectangle. Draw a diagonal line as shown above.
Sew along the line and then trim a 1/4″ seam allowance.
I like to get mine all paired and drawn so that I can chain piece each side.
Repeat with the other 1 1/2″ square on the top left side of the block. Press seams open or up toward the corner.
Time saving tip: I cut my 1/4″ seam allowances with scissors while pressing. As long as you are accurate with a pair of scissors, it takes much less time than rotary cutting, at least for me.
Square your flying geese to 1 1/2″ x 2 1/2″ rectangles, making sure that your goose point is a perfect 1/4″ (or slightly further) from the top edge. Set aside.
Making Center Hourglass Block
Finally, let’s make that center hourglass block. Grab your 3 1/4″ Lilac and Sky squares.
Place right sides together and mark a diagonal line. I like to pin my pieces together since we are working with such a small scale. If you’d prefer some wiggle room, you can begin with 3 1/2″ squares and trim to size when you’re finished!
Sew 1/4″ from either side of the drawn line. Cut along the drawn line.
Press toward darker fabric. You will have two half square triangles (HST).
Place HSTs right sides together, with the Lilac half of one facing the Sky half of the other, and nesting the seams.
Draw a diagonal line perpendicular to the existing seam line, again pinning to keep the pieces in place while you sew.
Sew 1/4″ on either side of the drawn line. Then, cut along drawn line.
Press seams open. You will have two hourglass blocks, but will only need one for this block. Save the other one for your next Steady On block!
Trim to 2 1/2″ square. Set aside.
Assembling the Block
Now that you’ve made all of the components, it’s time to sew the block together! Arrange all of your pieces as shown above, paying careful attention the positioning of the flying geese in relation to the large and small curves on your curved quadrants. There should be two Iris flying geese corners next to small curves and three Iris flying geese corners next to large curves.
Sew the top five and bottom five groupings of geese together, and sew the center horizontal strip of geese and center hourglass block together.
Perfect points tip:When sewing the flying geese together, keep the piece with the goose point on top. As you’re sewing, make sure your sewing machine needle sews exactly through the “x” that marks the point of the goose, or if anything, slightly to the right (above) the point. This way you won’t lose any points!
Next, sew the top left and top right curved quadrants to the top grouping of geese, pinning just after each seam that needs to match.
Press seams toward the less bulky side (toward the curved quadrants).
When aligned properly, the geese corners should flow into the curved piece perfectly–that’s why we so carefully marked our curve starting distances with our improv curves!
Finally, sew the top and bottom panels to the center horizontal strip, again pinning just after each important seam match. Press toward the less bulky sides (the curved quadrants), and viola! Steady on…
I am really excited about how this block turned out, and I’m eager to play around with different color placements and curve arrangements. I’d love to see if you sew up this block, too, so please tag me @nightquilter#steadyonquilt when you do!
Thank you for visiting and I hope you found this tutorial helpful! Check out all of the other new block tutorials shared today, all of which will be combined to make one big gorgeous charity quilt:
Today’s color inspiration brings us into my vegetable garden. From afar it looks like a fenced in plot of weeds and wildflowers. Pass through the gate, wade through the grasses and clover, though, and you will see three little somewhat tended garden beds, gleefully holding a bunch of delicious veggies. Get a little bit closer, and you have the photos shared here today. Want to sing “oh, how beautiful!” while we sit in the shade and enjoy today’s color inspiration? Let’s! This year my garden is severely neglected, but has been weeded just enough for it to do its job: produce food for our family. Balance and nurture, right? Color palettes are made using Play Crafts’ Palette Builder 2.1 and my photographs, craftily taken at such a scale so as to crop out the weeds!
Corresponding solids from left to right: Kona Limestone, Bella Clover, Bella Terrain Cactus, Kona Basil, Kona Grass Green, Kona Black
Corresponding Aurifil thread from left to right: 2324 – Stone
5010 – Beige
5024 – Dark Brown
5021 – Light Grey
5018 – Grass Green
2692 – Black
Our first stop is with the hardy, delicious, and dare I say–GIANT–kale. We eat kale in egg scrambles, as kale chips, in soups and stews, stir-fries, and more. Kale does amazingly well in our garden and climate, so each plant grows about 3 1/2 feet tall and 2 feet across. Each leaf is as big as my son’s head. One of these years, I’ll realize that even with our family of five, we only need two kale plants, not eight. In the meantime, kale abounds! I love how intricately frilly each leaf is! The range of greens is amazing, too, including everything from earthy subdued to vibrant and fresh. Mmm!
Corresponding solids from left to right: Kona Forest, Bella Dill, Bella Thistle, Kona Smoke, Bella Parfait Pink, Kona Pearl Pink
Corresponding Aurifil thread from left to right: 2892 – Pine
2890 – Dk Grass Green
1140 – Bark 2606 – Mist
2515 – Lt Orchid
2405 – Oyster
Next up we have Yarrow. Honestly, when I ordered these seeds from our local organic seed company Johnny’s Seeds, I thought the yarrow would be white or yellow. To my pleasant surprise, it bloomed this beautiful pink! Yarrow is a great companion plant to many vegetables and is one of those plants you should feel free to plant all over your garden. It repels soil nematodes, aphids, bean beetles, and many more. I planted mine near my brussel sprouts, kohrabi, and kale and it is doing its job well so far!
Corresponding solids from left to right: Kona Hunter Green, Bella Betty’s Teal, Bella Green Tea, Bella Fig Tree Cream, Bella Paper Bag, Bella Etchings Charcoal
Corresponding Aurifil thread from left to right: 4026 – Forest Green
2850 – Med Juniper
5014 – Marine Water
5020 – Light Military Green
2375 – Antique Blush
1140 – Bark
Finally, onions. Onions are my garden pride and joy (very quickly followed by carrots!). After experimenting with a few different varieties of onions, trying seeds vs. sets, I finally discovered the type of onion that thrives well in our area: Copra onions. These are storage onions that I will soon pull, cure in the dry, sunny garden bed, then braid to hang in my kitchen. I learned all of this from a local friend, since I saw a braid of huge gorgeous onions hanging in her kitchen a few years ago and asked if she would teach me everything she knew. She did, and I’m so grateful. I grew less onions this year than last, but they should still last me far into the frigid snowy days of winter. And that earthy color palette that results just embraces the richness of a garden, doesn’t it!?
*Note that this was mostly written before last week’s Slow Stitching Retreat. It still holds true, just add a week of slow stitching to the list of adventures that have been keeping me busy!*
I feel like I’ve been overly absent from this space these past few weeks. I have been wrapping up SO many projects and making things happen behind the scenes, but I promise I will return to more regularly posting here soon. Most of my time lately has been spent going on grand adventures to the coast of Maine with my trusted and ever-able assistant (also known as my husband) and a giant chest full of quilts to photograph for the Quilter’s Planner.
I’m excited, relieved, happy, and have I mentioned excited?… that I have officially finished the photography for this year’s planner and I couldn’t be happier with it and the fantastic planner Stephanie and her graphic designer Lindsie are putting together this year. I will definitely be sharing much more about the Quilter’s Planner 2017, so I will hold back the excitement just a little bit for now. However, this week’s color inspiration comes from photographs taken along the coast of Maine, during our photo shoot adventures. As always, color palettes were created using Play Crafts’ Palette Builder 2.1 and my photographs. Maybe you find even a fraction of the inspiration these natural details bring me!
Corresponding solids from left to right: Kona Pearl Pink, Bella Platinum, Kona Medium Grey, Kona Coal, Kona Pepper, Kona Black
Corresponding Aurifil thread from left to right: 2405 – Oyster
2606 – Mist
2625 – Arctic Ice
1158 – Med Grey
2785 – V Dk Navy
2692 – Black
This first one fills that final gap in “colors that don’t often star in color palettes” in getting ALL the greys. Barnacles are such gorgeous tiny creatures, both dainty and tough as nails all at once. They also provide a gorgeous aesthetic randomly arranged on a tide-swept stone. These beauties were underfoot as I photographed Rita from Red Pepper Quilts‘ contribution to the planner (recently revealed on IG), so before hustling off to the next photo location, I had to give them a private photo shoot. Gorgeous greys!
Corresponding solids from left to right: Bella Lead, Bella Etchings Stone, Kona Cobblestone, Bella Rust, Bella Burgundy, Bella Kansas Green
Corresponding Aurifil thread from left to right: 1246 – Grey
5011 – Rope Beige 2375 – Antique Blush 2335 – Lt Cinnamon 4012 – Copper Brown 2370 – Sandstone
This vibrant rusty chain was sitting right next to the barnacles on the beach in Bar Harbor! Again, a tiny detail that when seen closer simply jumps out at you, begging to be captured in photo. I love the subtle neutrals on the stony beach, with just a few tinges of green from seaweed, boldly divided by a lone rusty chain. I’m holding onto summertime as long as I can, but this palette has an air of autumn to it. Shhh, let’s not talk about that.
Back to berry-picking, lake splashing, sun-kissed summer bliss! Enjoy your day!
I grab a needle and thread once the kids are in bed