This quilt was made in a workshop. Unfortunately, I can't remember the name of the instructor. This was given to baby Audrey Johnson who is 6 months old and already standing. I was able to use some Kaffe Fassett polka dot fat quarters and strips of 2.5 inch fabrics.
The setting has a black and white thread fabric. The outer border is leftover strips of fabric sewn together.
After I made the Lonestar sampler, I decided to use some of my silk tie fabric to see how it would look in a lonestar pattern. I added splashes of leftover kimono fabric here and there for color.
I did not foundation piece it. I did not back the silk with interfacing. I wanted to see how piecing the silk would look like. Okay but not okay. The silk was flimsy and after sewing it, I would have to check and recheck the pattern. Lonestar is not a forgiving pattern.
The points don't match, the lines are not straight.
Visually it looks striking. The feel of the silk is also very nice. This quilt was given to Lily.
Tara Faughnan is a modern quilter who lives in the local Bay Area. She taught a Color workshop at the end of august at Sue Fox's Dream Studio in Berkeley. She asked us to bring 20-30 five inch strips of solid fabrics. I should know by now that to get the best results, you need to follow the instructions on the supply list. I did not want to buy more fabric and decided to use my collection of fossil fern fat quarters. They read as a solid from a distance.
She started off the class by asking us to choose fabrics that make us feel happy, icky and unhappy. A lot of this was using your intuition. How you liked the way two fabrics looked together. My first choice was a happy fuschia pink and bright yellow, because to me they represent happy fabrics. They are happy separately, but not so happy together. too bright. Then we went on to choosing, complementary, analogous, monochromatic, high contrast, low contrast... Starting from the top left trough the first 3 rows, are the fabric choices I used for this study.
This is a detail of the quilting. I used a Hawaiian print of heliconia flowers on the back fabric. I outlined stitched the flowers and used metallic thread in the bobbin, so it would show on the front. Tara had a great idea on her class quilt. She machine quilted straight lines from the top to the bottom and interspersed it with hand quilting. It looked wonderful.
Sherri Lynn Wood taught Improvisational Curves on her Monday workshop. The fabrics come from 1 package of Grab Bag Cherrywood fabrics and 1 sampler pack of plaids from the C and T annual sale. I started by sorting the dark medium and lights from the Grab Bag. From the darks, I chose a range of 5 to 7 fabrics and made sure there was 1 zinger fabric that highlighted the darks. These were cut into wedges and sewn together.
Sherri discouraged the use of the rotary cutter and said to freehand cut the wedges with a scissors. To create interest, some scraps were pieced together to form a wedge.
The hardest part of the process was piecing the curves together. I laid a dark and a light wedge with the right sides up and cut them together with a scissors. Using a tailors chalk, I marked the edges where the light and dark met like dressmakers notches. Then I pinned the right sides together and sewed.
All of the scraps were used to fill in the borders and the puka (hole) created in the circle. Bobbi suggested I use the plaid fabrics in the puka instead of a solid color. Good eyes Bobbi. Thanks for the suggestion.
Helen Frost Young taught a workshop on the Lone Star pattern. She asked us to pick out a dark medium and light fabric for the lone-star and complementary background and border fabrics. Some students picked the border fabric first and then chose complementary fabrics from those.
I chose Japanese dragonfly fabrics in yellow pink and orange. Usually those colors don't match, but because the fabrics were like Japanese chirimen, almost a seersucker like fabric, they were complimentary in feel. The background pale pink is also a Japanese fabric with a subtle woven feel.
The skinny border is an old Japanese print and the orange border is the orange middle fabric used in the lone-star. I used free motion quilting to highlight the dragonfly motifs in the border fabric.
The backing fabric and border are the same. I don't remember where I got this. Helen asked me where I found the dragonfly fabrics. I think I bought the fabrics at Kaimuki Dry goods. Probably a long time ago. Whenever I visit my Mom in Hawaii, I always look for fabric, especially Japanese fabric. I could have used regular quilting fabric especially since this was a sampler workshop, but I decided that the dragonflies had waited long enough. I used wool batting which gave it a puffy lightness to the quilt.
Sherri Lynn Wood taught an EBHQ workshop on her Improvisational techniques. This is from the Saturday workshop on Score 1 or Improvisational Squares. I started with 3 fabrics, a white on white, a Japanese printed kasuri and a Hawaiian palaka or checkerboard print. Following her instructions we cut the 3 fabrics into squares and just started sewing them together. I loved it.
From 10 feet away you don't notice the quilting. Up close you can see the white thread on the dark blue fabrics. I used both the front and back of the blue kasuri and the white fabrics. The backs of both of these fabrics showed the base fabric without the printing and gave another dimension to the fabrics.
I introduced a 4th fabric to help bind the assorted pieces together. I think this fabric is Korean. I would have liked to have fabrics printed in Japanese or Hawaiian to use, but this is the closest one I could find in blue and white. I wanted to show the language barrier that results when different cultures come together.
This orange and white Hawaiian print is the backing fabric. What a shock of color after the blue and white. I used a white gutterman thread to quilt around the flower and leaf motifs.