Stop the presses! Believe it or not, I have finished a second quilt this month! Spring Garden is now bound and ready to be enjoyed. I'm fond of this one for so many reasons. It's my original design and I couldn't be happier with how it turned out. It all started on a whim to make some of the block-in-a-block blocks (that's a lot of 'blocks'!). Then I had to figure out what I was going to do with them. Add in a lot of scrappy nine-patches and then a ring of four-patches, and suddenly it was looking like something. I think that my favourite part of the design is the row of negative space blocks between the centre of the quilt and the blue border. It turned out better than I ever imagined and gives it a very lace eyelet look, don't you think? And it's so beautifully quilted. Roberta used my favourite feathered swirl pattern on it and it is perfect. I could look at that pattern all day. Actually, Roberta is thinking that she might need to make one, which I am both flattered and excited about - I'll be interested to see her interpretation of it. You'll remember that Anne made one too. I was so excited to have it finished that I didn't waste any time pressing it into service - it is now happily dressing the bed in our guest room. LUV!....M p.s. Joining the gang at Finished or Not Friday.
A luminary in the world of textiles and quilting, Kaffe Fassett has inspired quiltmakers all over the world to work with color in an insti...
Since I last posted I reorganized my sewing area, opening it up to the family room, which also required resetting and decluttering the family room. That took over about a week of my life but it feels great to have a renewed and uncluttered space. I am in the mood to design and sew again, so the time investment was definitely worth it. The first project from the renewed studio is Mostly Clear. I think this quilt holds the record for shortest turnaround time from design to finished top in the history of Canuck Quilter. I played with the design in late July, settling on final layout two weeks ago, and started writing the pattern. This is backwards for me. I usually do the required math, sketch some rough notes, then make the quilt to make sure the quilt looks good in real size as opposed to small picture on a page. I have all the bugs and any required design changes worked out before investing time in writing a polished pattern. This time I wrote the entire pattern, working out all the details on paper first, then sewed following my pattern. My husband and I took a day off to roam that Friday. We stopped at Mended Hearts Quilting and he was very patient while I pulled bolt after bolt trying to choose 4 fabrics that went together just so. I found several sets of three, but the fourth one was never quite right. I finally found a fourth that was good enough, bought the set, then happily found a fourth that was better when we stopped at It's Sew Tempting after a picnic lunch. By Sunday night I had all my fabric cut and strip sets sewn. Monday I sewed all the blocks. Lots of chain piecing... ...and corner trimming.... ...and seam matching. There are a lot of seams to match, but I planned all the pressing directions ahead of time and every.single.seam nested. Happiness is a nicely nested, matched seam intersection! Tuesday I sewed the blocks into rows. Wednesday evening I sewed the rows into sections and the sections into a quilt top. It was just past midnight when I finished the top. Rosie did try hinting about bedtime sometime around 11 pm, but I only had 4 more seams to sew so I decided it wasn't my bedtime yet. Check out the cheater pieced border. Instead of making pieced border strips to add the start points into the border and adding that to the sides, I added the segments to the rows/sections and the border just happened as I sewed my rows together. Happiness is also fewer border strips! I'm going to send the pattern to testers this week and try to quilt the quilt while they test so I will have a pattern cover ready when testing and editing is finished. I will try not to get side tracked with the next new starry quilt spinning around in my head. That one has a more modern vibe and...wait, that's another quilt and another post!
I say “mostly” because this was an exercise in combining both new and old pieces into a single quilt. When I speak to groups one of the most common comments I hear is something like: Bu…
A blog about two modern cousins who quilt, sew, knit, stitch and craft everyday.
Reproduction star in double pink prints by Becky Brown Block from a quilt dated 1837-1838 from the collection of the Concord Museum in Massachusetts. Vintage quilt about 1870-1900 by Alwilda Stevens Hurd from the Massachusetts project. Picture from the Quilt Index. Double pinks in tops from my collection. Pink printed cottons were popular throughout 19th century. Vintage child's dress from Augusta Auctions Vintage quilt about 1870-1900 Vintage quilt about 1840-1900 Vintage quilt about 1840-1900 Dyers often referred to the pink prints as Double Pink because two shades of madder red were printed on a white ground. I found an ad for Double Pink Prints (5 c. a yard) in a 1911 issue of a Hendersonville, North Carolina newspaper called The French Broad Hustler. (Meanings change over time!) The image is from the Library of Congress's excellent site Chronicling America. You can see the white background in the center of the star flowers, one pink is the background, the second pink is the figures. Technical writer Jean-Francois Persoz showed this swatch in his 1846 book on dyeing and printing, labeling it Rose Double in French [Double Pink]. The printed plaid is two shades of pink with none of the white showing through, making for a bright print. Reproduction star by Bettina Havig Vintage block 1836 Lydia Maria Child's star crib quilt looks like a single pink. The more white ground that shows, the paler the pink. Paler pinks One observation is that earlier pinks (before 1860) tended to be paler than later pinks (after 1880) but that's an observation. No data. Reproduction: Hartfield---When I did this Jane Austen line years ago I wanted a pale double pink to reflect early 19th-century taste. Reproduction: It's easy to see the two pinks in this reproduction: Moda's Collection for a Cause Legacy Reproduction: Becky Brown used a pink from Terry Thompson's Merchant's Wife to offset the Prussian blue fabrics from the same line. Reproduction star by me atop vintage stars I love this double pink print in the center block but it's too pale to match the blocks I was intending to copy. Reproduction star by me The lighter pinks are easy to find. The more vivid shades are scarcer. You should probably buy a yard when you see one that looks accurate. If your shop carries quite a few buy 3 or 4 fat quarters instead. The look is often scrappy rather than one print carried throughout the quilt. Vintage quilt about 1880-1910 Pale or vivid, the pinks were printed with the same chemistry and process: Two shades of red on white. (Why pale red is always called pink in English is a linguistic mystery to me.) Vintage quilt about 1880-1900 The less white remaining in the final print, the more vivid the color. Today people call that bright pink by many names. Cinnamon Pink is one. Quilt dated 1905 Pinks were popular for setting squares Fabric mills continued producing vivid pinks into the 20th century. Pennsylvanians were loyal customers. The Little Jane Chintz above, what I'd call a calico, doesn't seem too colorfast, having bled into the label. Vintage top about 1900 Pennsylvania Germans used double pinks without a neutral. Or maybe pink was their neutral? Reproductions Inspiration vintage block (top left) and reproduction by me. The 2 pink repros on the bottom are by Judie Rothermel, the top Collections for a Cause: Legacy. Look for two shades of pink with or without some white showing through. Collections for a Cause: Community should be in shops soon. Floral Gatherings has accurate double pinks and chrome yellows. Reproduction quilt by Betsy Chutchian, who does a great job of interpreting this end-of-the-century aesthetic. A very pink quilt. Barb Garrett has captured the Pennsylvania German style in her small reproduction star quilt. Rerpoduction by Nancy Near Philadelphia. Scrappy pinks and browns. If the true double pink is too much---remember you don't have to go vivid. More subtle pinks work too. A few of my pinks from Moda and one of Mark Dunn's. We often add a little brown to offer toned-down pinks. Solid pinks won't do for 19th-century copies,although these Bella Solids would make good interpretations. You just don't see many pink solids until the 1930s. My guess is they weren't colorfast and everybody knew it. Double pink prints gave you the same effect with much more durability. \ Reproduction star by Bettina Havig Read more about Double pinks in pages 33-35 of my book Making History: Quilts and Fabric from 1890-1970. What to do with your stack of stars? Use them in a border. Piece them together side-by-side for a 6" finished border in a medallion-style quilt. Enduring Love by Carol Hopkins Frame an applique or pieced center or a printed panel. Pride and Glory by Annemarie S. Yohnk www.QuiltsRemembered.com Bobbi Finley, Jane Austen panel Eva Severance Bettina Havig, Wedgewood One More Thing About Double Pink One reason double pinks were so popular in quilts is that they were the staple fabric in girl's dresses. In 1871, Luna Warner at 15 was considered young enough for pink prints. Her mother brought home "four kinds of pink calico" for her dresses. Read more about Double Pink in my book Making History: Quilts & Fabric from 1890-1970, pages 33-35.
A luminary in the world of textiles and quilting, Kaffe Fassett has inspired quiltmakers all over the world to work with color in an insti...
Finishing this quilt was number 1 on my crafting to-do list for 2019, and I had a lot of fun making it. The blocks from my hivemates were all beautiful, and I made a few more to make this quilt the size I wanted. I'm participating in Stashbee again this year, and I'm having fun working on my bee blocks. I'm not Queen until November, so I have time to think up another block for my 2019 Stashbee quilt. I quilted it in straight lines about 1/2" apart, and bound it with a bright teal. I'm very happy with how my "Improv Spinners and Hourglasses" (I couldn't think of a better name) quilt turned out. I'm smiling behind the quilt. :)
Week 1 of the 2019 American Patchwork & Quilting Quilt-Along starts on 2/18. The assignment is: Gather Fabrics. Below you'll find some helpful tips for choosing and preparing your fabrics for this quilt, and some answers to questions we've been getting. See more about the Quilt-Along here.
Nantucket Summer Happy Stripes quilt by Quilty Love. Sew up this fast and easy stash buster quilt pattern using jelly roll strips.
I've been plugging away at my RSC18 projects. I guess I'm a slow learner, since I'm just now realizing I have ALOT of projects started, and I'm not too good at getting them finished.... the soothing and mindless sewing is a good thing, but then at some point I need to buckle down and get some of those blocks sewn together! this week I did 12 of my kona indigo 9 patches. 11 colors, 12 blocks. I think I might have done papaya twice.... canary, curry, yarrow, school bus 🚌, buttercup, daffodil, banana 🍌, papaya, butter, maize, corn yellow between watching the 3 littles 3X a week (our family babysits 3 little girls- ages 5,3 and 1) and grandchildren who visit very regularly, I was realizing that we didn't really have enough small quilts for naps, snuggling, floor time, ect... "didn't really have enough small quilts" can you even believe I just typed that?! I have a HUGE stack of the crumb blocks- a RSC project from 2016 and 2017. ( I did crumb blocks other years, too, but used them all. or most.) the above 2 rainbow quilts were based on patterns/photos I found here and here. I've had them pinned for awhile; glad to finally get something up on my design wall! I chose a 7X7 layout for these quilts so I could choose a backing without having to piece it. they're nice and small for the littles to use, and not too heavy or bulky. (the crumb blocks will finish at 6") the purple and yellow quilt above is for my granddaughter to use. she and her family live across the country, but it will be here for her whenever she comes. I did rearrange the color columns, and they look much tidier now. although the pictures show the quilts just laid out on the wall, as of this typing, they are all sewn together, pressed and have backings picked out. 2 are even quilted! I'm anxious to get them done and washed so we can start using them! plus, with the changing weather (although we DID have snow 3 TIMES this week!!!) it's time for me to be making some spring dresses for my little (or really, medium sized) girls! they've also requested some nightgowns. believe it or not, the above photo is AFTER I used nearly 200 crumb blocks for the 4 quilts! and the black/brown/grey/cream crumb blocks aren't even pictured! I'm thinking of making another crumb quilt, similar to what's pictured here. anyway, if I want to get these quilts done, I guess I'd better get off the computer, and up to the sewing room! thanks for stopping by, and I hope to have the quilts done and ready to show off next week. meanwhile, click on over to Angela, the hostess (with the mostest!) of RSC18 and see what every one else is working on.
I had a GREAT mail weekend this last weekend. An advance copy of my book, Fabulously Fast Quilts arrived and I got to hold it in my hands for the very first time. It still feels so surreal. Also arriving in the mail were 8 of the 12 quilts I sent off last May. (The...Read More
This building held the second collection of quilts. Sit back and enjoy these. Etoile de Bethlehem Nathalie Ferri. Compas du marinier Christine Imbaud. Baby Jane Marie-Claude Gansel. Galaxie Nicole Trollux Le Chapman Marie-Francoise Gregoire. Whig Rose Colette Goix. Shenandoah Aline Joulin. ( My personal favourite) Les Etoiles rouges Marie Baraer. Rouge et blanc Marie Baraer. Log Cabin Chevrons Marie-Josephe Veteau. Four x Star Maud Trocque. Houses France Aubert. Petits carres Louise-Marie Stipon. Ombre et Lumiere Sophie Brochot. Billings Coverlet Marie-Francoise Gregoire. Just to show there were other people there besides us at the exhibit!! These miniatues were hanging in the foyer, and l have no information on who made them. l hope you enjoyed seeing the second collection of quilts. Tell me which was your favourite and why? l will be back soon with some close ups of the fabrics and stitching. Thanks for visiting. Linda.
Antique Four Patch Economy Block Tutorial Some time ago, I shared with you a post about making Four Patches. Here is the link to that post. Four Patch Favourite Four Patches are a basic quilt block unit, that anyone can make. They are fabulous for using up scraps. I have made a stack of really … Continue reading Antique Four Patch Economy Block Tutorial →
A fun, scrappy sampler quilt layout idea and tutorial using traditional 6" and 12" quilt blocks by Amy Smart featuring fabric from Riley Blake Designs.
Reproduction star in double pink prints by Becky Brown Block from a quilt dated 1837-1838 from the collection of the Concord Museum in Massachusetts. Vintage quilt about 1870-1900 by Alwilda Stevens Hurd from the Massachusetts project. Picture from the Quilt Index. Double pinks in tops from my collection. Pink printed cottons were popular throughout 19th century. Vintage child's dress from Augusta Auctions Vintage quilt about 1870-1900 Vintage quilt about 1840-1900 Vintage quilt about 1840-1900 Dyers often referred to the pink prints as Double Pink because two shades of madder red were printed on a white ground. I found an ad for Double Pink Prints (5 c. a yard) in a 1911 issue of a Hendersonville, North Carolina newspaper called The French Broad Hustler. (Meanings change over time!) The image is from the Library of Congress's excellent site Chronicling America. You can see the white background in the center of the star flowers, one pink is the background, the second pink is the figures. Technical writer Jean-Francois Persoz showed this swatch in his 1846 book on dyeing and printing, labeling it Rose Double in French [Double Pink]. The printed plaid is two shades of pink with none of the white showing through, making for a bright print. Reproduction star by Bettina Havig Vintage block 1836 Lydia Maria Child's star crib quilt looks like a single pink. The more white ground that shows, the paler the pink. Paler pinks One observation is that earlier pinks (before 1860) tended to be paler than later pinks (after 1880) but that's an observation. No data. Reproduction: Hartfield---When I did this Jane Austen line years ago I wanted a pale double pink to reflect early 19th-century taste. Reproduction: It's easy to see the two pinks in this reproduction: Moda's Collection for a Cause Legacy Reproduction: Becky Brown used a pink from Terry Thompson's Merchant's Wife to offset the Prussian blue fabrics from the same line. Reproduction star by me atop vintage stars I love this double pink print in the center block but it's too pale to match the blocks I was intending to copy. Reproduction star by me The lighter pinks are easy to find. The more vivid shades are scarcer. You should probably buy a yard when you see one that looks accurate. If your shop carries quite a few buy 3 or 4 fat quarters instead. The look is often scrappy rather than one print carried throughout the quilt. Vintage quilt about 1880-1910 Pale or vivid, the pinks were printed with the same chemistry and process: Two shades of red on white. (Why pale red is always called pink in English is a linguistic mystery to me.) Vintage quilt about 1880-1900 The less white remaining in the final print, the more vivid the color. Today people call that bright pink by many names. Cinnamon Pink is one. Quilt dated 1905 Pinks were popular for setting squares Fabric mills continued producing vivid pinks into the 20th century. Pennsylvanians were loyal customers. The Little Jane Chintz above, what I'd call a calico, doesn't seem too colorfast, having bled into the label. Vintage top about 1900 Pennsylvania Germans used double pinks without a neutral. Or maybe pink was their neutral? Reproductions Inspiration vintage block (top left) and reproduction by me. The 2 pink repros on the bottom are by Judie Rothermel, the top Collections for a Cause: Legacy. Look for two shades of pink with or without some white showing through. Collections for a Cause: Community should be in shops soon. Floral Gatherings has accurate double pinks and chrome yellows. Reproduction quilt by Betsy Chutchian, who does a great job of interpreting this end-of-the-century aesthetic. A very pink quilt. Barb Garrett has captured the Pennsylvania German style in her small reproduction star quilt. Rerpoduction by Nancy Near Philadelphia. Scrappy pinks and browns. If the true double pink is too much---remember you don't have to go vivid. More subtle pinks work too. A few of my pinks from Moda and one of Mark Dunn's. We often add a little brown to offer toned-down pinks. Solid pinks won't do for 19th-century copies,although these Bella Solids would make good interpretations. You just don't see many pink solids until the 1930s. My guess is they weren't colorfast and everybody knew it. Double pink prints gave you the same effect with much more durability. \ Reproduction star by Bettina Havig Read more about Double pinks in pages 33-35 of my book Making History: Quilts and Fabric from 1890-1970. What to do with your stack of stars? Use them in a border. Piece them together side-by-side for a 6" finished border in a medallion-style quilt. Enduring Love by Carol Hopkins Frame an applique or pieced center or a printed panel. Pride and Glory by Annemarie S. Yohnk www.QuiltsRemembered.com Bobbi Finley, Jane Austen panel Eva Severance Bettina Havig, Wedgewood One More Thing About Double Pink One reason double pinks were so popular in quilts is that they were the staple fabric in girl's dresses. In 1871, Luna Warner at 15 was considered young enough for pink prints. Her mother brought home "four kinds of pink calico" for her dresses. Read more about Double Pink in my book Making History: Quilts & Fabric from 1890-1970, pages 33-35.
Double Arrow Quilt Pattern by Material Girlfriends This beautiful square is called Blackford’s Beauty, first recorded in 1941. It is also known as Arrow Point, Arrowhead, Black Beauty, or Stepping Stones. PDF download. This 7-page pattern is in full color with step-by-step instruction and multiple, colorful diagrams. A confident beginner can master this beautiful quilt. The Cutting Instructions are for the Twin Size Double Arrow Quilt, (shown on cover), however, wall/crib and a queen/king sizes are also included. Fabrics used in the quilt sample are from Marcus Fabric Primo Batiks Finished Wall/Crib size 40 1/2" x 40 1/2" Fabric Requirements 1/4 yard Navy 1/4 yard Tan 1/4 yard Pewter 1/2 yard Cream for Blocks 3/8 yard Cream for Sashing 1 yard Cream for Setting Triangles 1/3 yard Tan for binding 1 1/4 yards backing Finished Throw/Twin size 60" x 79" Fabric Requirements Cover sample was made in a variety of the colors below. 1 yard Navy totals 1 yard Tan totals 1 yard Pewter totals 2 yards Cream totals for Blocks 1 1/4 yards Cream totals for Sashing 1 1/2 yards Cream totals for Setting Triangles 1/2 yard Tan for binding 5 yards backing Finished Queen/King Size 98" x 98" Fabric Requirements 2 1/2 yards Navy totals 2 1/2 yards Tan totals 2 1/2 yards Pewter totals 4 1/4 yards Cream totals for Blocks 1 3/4 yards Cream totals for Sashing 1 2/3 yards Cream totals for Setting Triangles 3/4 yard Tan for binding 9 yards backing Optional Supplies Nice to have but not necessary OmniGrid Marking Ruler Trio OmniGrip 20.5" Square Ruler for Setting Triangles Material Girlfriend Patterns are easy to read and follow with detailed cutting and sewing instructions. Enjoy step-by-step instructions with plenty of graphics for the visual learner. Visit their youtube channel for many free sewing videos. ABOUT THE PDF PATTERN: This listing is for the digital PDF copy of this pattern. You will receive a PDF file to download to your computer. Can be printed as 8.5x11 or viewed on your device. The pattern is in color with clear instructions and diagrams. The pattern is one-person use. Do not copy, sell, or distribute without written consent. License to sell: You may sell the items you have made using this pattern as a small independent seller. Please credit the pattern design as Material Girlfriends Patterns. I don't accept returns, exchanges, or cancellations. But please contact me if you have any problems with your order.
A luminary in the world of textiles and quilting, Kaffe Fassett has inspired quiltmakers all over the world to work with color in an insti...
A finished quilt always feels great, and the Tipsy Triangles quilt is no different! I had fun quilting this with a bright pink thread - How fun!
A modern spin on a classic quilt block. This is a simple pattern that goes together really quickly. It can be made scrappy and it can also be made with a charm pack or jelly roll! This quilt finishes at 32" x 35". Do not copy or sell pattern with kit without permission.
Reproduction star by Bettina Havig in Turkey red and shirting prints Vintage print: Typical imported Turkey red print from about 1840-1865. We'll begin this Time Warp QuiltAlong with stars of Turkey reds. Turkey red is one of the most recognizable cottons in 19th-century quilts. We see it often, either as a solid color or print. Vintage Turkey red print star. Note how many different red prints she combined to make the star. Our first stars will focus on the multi-color Turkey red print popular before the Civil War years. My stars Turkey red repros by Becky Brown, above and below. Reproduction print from Moda's Collection for a Cause: Friendship Vintage print from 1840-1860 The background for Turkey red prints was always red. The sophisticated printer could discharge (bleach out) white and add yellow, blue, green and dark brownish-black figures. Rubia Tinctorum, the vegetable dye for madder colors The dyestuff is madder root, which rather easily produces a brownish-red. Vivid reds were hard to obtain in cotton. The vintage windowpane check is madder red, a brownish, orangey-red. Turkey red gets its name from the old Turkish or Ottoman Empire where dyers used processes they'd learned from India to obtain a bright cherry red in cotton. Turkey red came to Western Europe in the 18th century after French and British dyers sent spies east to learn the process. Turkey red plain in a 19th-century block. Look for a blueish-red rather than an orangey-red. Early European efforts focused on plain reds obtained by dyeing the cotton in the yarn, then weaving it into solids. Vintage two-color Turkey red print The simplest Turkey red prints were discharged white figures. In 1810 Daniel Koechlin-Schouch of Mulhouse in Alsace, France, developed techniques to add yellow figures in the discharge process. . Most of the Turkey red prints we see in mid-19th-century American quilts have some yellow figures, as in these blocks. Adding the yellow often gave an orange cast to the red. In the early 19th century, printers developed increasingly complex processes to add blue, green and black figures to the Turkey red background. Mills specialized in Turkey reds. Towns in England, Scotland, France and the German and Swiss states were home to Turkey red workshops and factories, but the process apparently was not done in the United States until after the Civil War. The vintage multi-colored Turkey red print is a good clue to a date of about 1840-1865. European dyers offered a variety of backgrounds for these multi-colored prints but American quilters were crazy about the red-ground prints, which became quite the fashion here about 1840. Vintage print Reproductions When looking for Turkey red prints to reproduce a pre-1865 look keep an eye out for bluish-red backgrounds and figures in yellow, green, blue, white and dark brownish black. Reproduction print Reproduction print from AlaCarte by American Jane. Sandi Klop designs many American Jane prints in French Provincial style for Moda. She often has two or three good Turkey red reproductions in a line--- the right reds with multi-colored figures. They still print Turkey-red-style prints in France. Pierre Deux is known for their provincial-style reds... lots of which are figures set in a regular diagonal grid, a foulard design. Because they use modern dyes the figures are a bit brighter than the 19th-century prints but the style is good. Cornucopia from Simply Baltimore by Sue Garman Sue Garman specializes in red and green quilts. The red reproductions in her stash always work well. See her blog here: http://suegarman.blogspot.com/ Cactus Rose Reproduction Quilt Pieced, Appliqued by Pam Mayfield and Jean Stanclift, hand quilted by Ann Thomas. Designed by Barbara Brackman. For this reproduction quilt we used several red prints sold for clothing rather than quilts. The pattern begins on page 66 of America's Printed Fabrics. Stars and Squares from Annette Plog's PetiteQuilts on Etsy https://www.etsy.com/shop/PetiteQuilts \ I found this repro block at the Trkingmomoe blog. She has captured that very scrappy look. http://trkingmomoe.wordpress.com/ Lori's reproduction of the Beyond the Cherry Trees applique quilt uses a red paisley I did for Moda a few years ago. http://humblequilts.blogspot.com/ Vintage star from an 1836 cradle quilt in the collection of Historic New England. (Scroll down to see the whole quilt.) My interpretation of that star. I cut up a French Provincial dinner napkin. Moda includes two good Turkey red plain reproductions in the Bella Solids collection. The lighter shade is Christmas Red (9900-16) and the darker Country Red (9900-17) Setting idea for your stack of star blocks: Set them side-by-side as in the 1836 crib quilt from Historic New England. (Sixty-three 6" stars) Several years ago Terry Thompson and I interpreted that quilt with an abolitionist poem in the center star See closeups of the original here: http://www.historicnewengland.org/collections-archives-exhibitions/collections-access/collection-object/capobject?gusn=GUSN-10459 . One More Thing about Turkey Red Turkey red is colorfast. It doesn't bleed onto other fabrics or fade with light. But damage is common. One of the biggest problems with antique prints is the way the dark brown figures start to rot from the iron in the brown dye process. Sometimes the brown completely disappears leaving holes with the batting peeking through. Mills use different dyes today so don't worry about your reproduction browns tendering (textile jargon for rotting.) You can see here how the brown is printed atop the Turkey red and the yellow is bleached out or discharged. That tendering won't happen with today's Turkey red repros---we use completely different dye processes today. Turkey red stripe as the star's background in a vintage quilt I'm going to try to capture the look of old star blocks (mostly by trial and error.) I need a pinker pink here and a stripe rather than a plaid. Read more about Turkey red in America's Printed Fabrics, pages 62-67. And in these blog posts: http://barbarabrackman.blogspot.com/2012/02/turkey-red-friendship.html http://barbarabrackman.blogspot.com/2010/09/more-on-turkey-red.html
Quilts and Quilting - Susie's Garden Lap Quilt - Free Pattern
Right after fall quilt market, I introduced the first pattern in my new Tokens of the Past series, called Gathering In Red. I'm so happy to say that this pattern has been very well received. You may remember that I made all of the units and blocks for all three quilts from just one of the brand new Prairie Gathering 10" precut squares! Add the borders and binding and your done! How's that for easy, breezy?? Gotta love simple patchwork like the Checkerboard blocks that make up the center of this quilt. Had to add the star block border....who doesn't love stars anyway? They're always a welcome addition to any quilt, and I named it Checkerboard Stars. Why call it anything else? This quilt measures 24" x 24". I wanted to feature that pretty medium red fabric, and put is smack dab in the center of the star block for this quilt, and it seems to radiate in a burst of color from the center star. And, so I named this quilt, Starburst. This quilt measures 24" x 24". I wanted a simple table runner that had a lot of movement to it, and this quilt, simply called, Friendship Stars, certainly has that. The full range of creams and reds are perfectly set off by the deepest red border for a stunning presentation. This quilt measures 22" x 16". The Prairie Gathering precut features forty 10" x 10" squares, two each of twenty prints I selected myself. Look for the Prairie Gathering precut at your local shop in February, 2015! As we are about to give thanks for the blessings in our lives, I'd like to extend a special offer to you....a little something to show my gratitude, and thank you for your business, for reading my blog, for your comments, and friendship. I'm offering FREE SHIPPING for Gathering In Red kits!! The Prairie Gathering 10" precuts are available for a very limited time, in limited quantities. Because of this, it's best to pre-order yours to be certain you'll have one. You can order just the Prairie Gathering precut, OR order the Gathering In Red pattern and the precut, OR order the complete set of the Gathering in Red pattern, the precut and all of the borders and bindings to make all three quilts....and you'll get FREE SHIPPING for your order!! Obviously, red and white quilts are still all the rage as seen in this stunning exhibit at Fall Quilt Market in Houston. Be still my heart! Prairie Dresden Pincushion by Pam Buda of Heartspun Quilts And...as an additional bonus, with each order, I'll also include the pattern for my Prairie Dresden Pincushion! Another FREEBIE!! You can use the scraps from making your quilts to make the pincushion, or two, or three! So, visit my website to place your order. Order by December 22nd and you'll get free shipping within the U.S. International orders will receive a $9 credit toward shipping. All orders will ship as soon as the precuts arrive, sometime in February, 2015, when a wonderful package will arrive at your doorstep. Wishing you and your family a blessed and Happy Thanksgiving!!
Quilt Info: Maker: Nancy of Grace and Peace Quilting Pattern: Plaidish by Erica of Kitchen Table Quilting Size: 64" X 82" Batting: Franken Batting Thread: Glide--Apricot Blush Quilting: Heatwave Fun Fact: This is an awesome free pattern! It is charm square or scrap friendly. Erica recently announced she's writing a variation on this pattern--Plaidish 2!! There are three groups of blocks--darks, mediums and lights:⬇️ No pressing instructions are included with the pattern, so I'm sharing what worked for me. I pressed my blocks as follows, which made all the seams nest throughout the quilt.⬇️ Below left represents the dark blocks--press the seam allowances in; and below right represents light blocks--also, press the seam allowances in: Below is the medium blocks--press the seam allowances out: I made franken batting out of more than a dozen scraps of various batting. I love it when I can put some of those leftovers to good use! Here's a photo of it all pieced together--I used 1 1/4" strips of fusible interfacing on both sides to hold it together. It worked beautifully. (Don't give something like this to your longarm quilter--this is only for a personal project!) I quilted it using my new computer program. The quilting is "Heatwave": "If all else fails, pet the dog."⬇️ Here's a close-up of the backing.⬇️ I matched two panels of this fabric, using my friend, Missy's technique. You'll find a how-to tutorial here--How To Match a Pieced Quilt Back. The seam goes down the center of this photo, if you can find it!⬇️ After trimming the quilt, I had enough backing fabric to use as binding!⬇️ We recently noticed this mural in a nearby town. Doesn't this quilt coordinate great with it! Credit to the mural artist:⬇️ Grace and peace!!! ~Nancy Linking up with Favorite Monthly Finish, Whoop Whoop, UFO Busting, Oh Scrap, Monday Making, Design Wall Monday, Main Crush Monday, What I Made Monday, Clever Chameleon, Midweek Makers, Wednesday Wait Loss, N&TT, Put Your Foot Down.
She also hosted a 365 art challenge during 2018 which is fun to explore!
Antebellum Album 1840-1860 We tend to picture all 19th-century Americans facing off across the Mason-Dixon line in a deeply d...
It’s been a busy last few weeks, so I hardly know where to begin. That’s what happens when I get behind. I don’t know where to start blogging, so I just don’t. There is a…
Annika (Nicola Walker) banters easily with her teenaged daughter Morgan while taking her to school—in a boat. #AnnikaPBS
The quilting is done and the binding is on. I can call Dipped a finished quilt. I wanted the quilting to mimic paint dripping down the quilt, from light to dark, so sewed organic lines with my walking foot and turquoise Aurifil 50 thread. The solid fabrics are various aqua blues that I had purchased on close-out from Connecting Threads. Both the backing and grey background print on the front are Mod-century by Moda. Orange dots by Amy Butler were perfect for the binding. Measuring 30 inches square, the little quilt will be a good table topper. For some reason the backing fabric looks like shish-kabobs to me and makes me want to heat up the grill! You can find the pattern for this quilt, along with lots of other beauties, in Andie Johnson's great book, Modern Designs for Classic Quilts.
Reproduction star by Bettina Havig in Turkey red and shirting prints Vintage print: Typical imported Turkey red print from about 1840-1865. We'll begin this Time Warp QuiltAlong with stars of Turkey reds. Turkey red is one of the most recognizable cottons in 19th-century quilts. We see it often, either as a solid color or print. Vintage Turkey red print star. Note how many different red prints she combined to make the star. Our first stars will focus on the multi-color Turkey red print popular before the Civil War years. My stars Turkey red repros by Becky Brown, above and below. Reproduction print from Moda's Collection for a Cause: Friendship Vintage print from 1840-1860 The background for Turkey red prints was always red. The sophisticated printer could discharge (bleach out) white and add yellow, blue, green and dark brownish-black figures. Rubia Tinctorum, the vegetable dye for madder colors The dyestuff is madder root, which rather easily produces a brownish-red. Vivid reds were hard to obtain in cotton. The vintage windowpane check is madder red, a brownish, orangey-red. Turkey red gets its name from the old Turkish or Ottoman Empire where dyers used processes they'd learned from India to obtain a bright cherry red in cotton. Turkey red came to Western Europe in the 18th century after French and British dyers sent spies east to learn the process. Turkey red plain in a 19th-century block. Look for a blueish-red rather than an orangey-red. Early European efforts focused on plain reds obtained by dyeing the cotton in the yarn, then weaving it into solids. Vintage two-color Turkey red print The simplest Turkey red prints were discharged white figures. In 1810 Daniel Koechlin-Schouch of Mulhouse in Alsace, France, developed techniques to add yellow figures in the discharge process. . Most of the Turkey red prints we see in mid-19th-century American quilts have some yellow figures, as in these blocks. Adding the yellow often gave an orange cast to the red. In the early 19th century, printers developed increasingly complex processes to add blue, green and black figures to the Turkey red background. Mills specialized in Turkey reds. Towns in England, Scotland, France and the German and Swiss states were home to Turkey red workshops and factories, but the process apparently was not done in the United States until after the Civil War. The vintage multi-colored Turkey red print is a good clue to a date of about 1840-1865. European dyers offered a variety of backgrounds for these multi-colored prints but American quilters were crazy about the red-ground prints, which became quite the fashion here about 1840. Vintage print Reproductions When looking for Turkey red prints to reproduce a pre-1865 look keep an eye out for bluish-red backgrounds and figures in yellow, green, blue, white and dark brownish black. Reproduction print Reproduction print from AlaCarte by American Jane. Sandi Klop designs many American Jane prints in French Provincial style for Moda. She often has two or three good Turkey red reproductions in a line--- the right reds with multi-colored figures. They still print Turkey-red-style prints in France. Pierre Deux is known for their provincial-style reds... lots of which are figures set in a regular diagonal grid, a foulard design. Because they use modern dyes the figures are a bit brighter than the 19th-century prints but the style is good. Cornucopia from Simply Baltimore by Sue Garman Sue Garman specializes in red and green quilts. The red reproductions in her stash always work well. See her blog here: http://suegarman.blogspot.com/ Cactus Rose Reproduction Quilt Pieced, Appliqued by Pam Mayfield and Jean Stanclift, hand quilted by Ann Thomas. Designed by Barbara Brackman. For this reproduction quilt we used several red prints sold for clothing rather than quilts. The pattern begins on page 66 of America's Printed Fabrics. Stars and Squares from Annette Plog's PetiteQuilts on Etsy https://www.etsy.com/shop/PetiteQuilts \ I found this repro block at the Trkingmomoe blog. She has captured that very scrappy look. http://trkingmomoe.wordpress.com/ Lori's reproduction of the Beyond the Cherry Trees applique quilt uses a red paisley I did for Moda a few years ago. http://humblequilts.blogspot.com/ Vintage star from an 1836 cradle quilt in the collection of Historic New England. (Scroll down to see the whole quilt.) My interpretation of that star. I cut up a French Provincial dinner napkin. Moda includes two good Turkey red plain reproductions in the Bella Solids collection. The lighter shade is Christmas Red (9900-16) and the darker Country Red (9900-17) Setting idea for your stack of star blocks: Set them side-by-side as in the 1836 crib quilt from Historic New England. (Sixty-three 6" stars) Several years ago Terry Thompson and I interpreted that quilt with an abolitionist poem in the center star See closeups of the original here: http://www.historicnewengland.org/collections-archives-exhibitions/collections-access/collection-object/capobject?gusn=GUSN-10459 . One More Thing about Turkey Red Turkey red is colorfast. It doesn't bleed onto other fabrics or fade with light. But damage is common. One of the biggest problems with antique prints is the way the dark brown figures start to rot from the iron in the brown dye process. Sometimes the brown completely disappears leaving holes with the batting peeking through. Mills use different dyes today so don't worry about your reproduction browns tendering (textile jargon for rotting.) You can see here how the brown is printed atop the Turkey red and the yellow is bleached out or discharged. That tendering won't happen with today's Turkey red repros---we use completely different dye processes today. Turkey red stripe as the star's background in a vintage quilt I'm going to try to capture the look of old star blocks (mostly by trial and error.) I need a pinker pink here and a stripe rather than a plaid. Read more about Turkey red in America's Printed Fabrics, pages 62-67. And in these blog posts: http://barbarabrackman.blogspot.com/2012/02/turkey-red-friendship.html http://barbarabrackman.blogspot.com/2010/09/more-on-turkey-red.html
Antique Four Patch Economy Block Tutorial Some time ago, I shared with you a post about making Four Patches. Here is the link to that post. Four Patch Favourite Four Patches are a basic quilt block unit, that anyone can make. They are fabulous for using up scraps. I have made a stack of really … Continue reading Antique Four Patch Economy Block Tutorial →
Reproduction star by Bettina Havig in Turkey red and shirting prints Vintage print: Typical imported Turkey red print from about 1840-1865. We'll begin this Time Warp QuiltAlong with stars of Turkey reds. Turkey red is one of the most recognizable cottons in 19th-century quilts. We see it often, either as a solid color or print. Vintage Turkey red print star. Note how many different red prints she combined to make the star. Our first stars will focus on the multi-color Turkey red print popular before the Civil War years. My stars Turkey red repros by Becky Brown, above and below. Reproduction print from Moda's Collection for a Cause: Friendship Vintage print from 1840-1860 The background for Turkey red prints was always red. The sophisticated printer could discharge (bleach out) white and add yellow, blue, green and dark brownish-black figures. Rubia Tinctorum, the vegetable dye for madder colors The dyestuff is madder root, which rather easily produces a brownish-red. Vivid reds were hard to obtain in cotton. The vintage windowpane check is madder red, a brownish, orangey-red. Turkey red gets its name from the old Turkish or Ottoman Empire where dyers used processes they'd learned from India to obtain a bright cherry red in cotton. Turkey red came to Western Europe in the 18th century after French and British dyers sent spies east to learn the process. Turkey red plain in a 19th-century block. Look for a blueish-red rather than an orangey-red. Early European efforts focused on plain reds obtained by dyeing the cotton in the yarn, then weaving it into solids. Vintage two-color Turkey red print The simplest Turkey red prints were discharged white figures. In 1810 Daniel Koechlin-Schouch of Mulhouse in Alsace, France, developed techniques to add yellow figures in the discharge process. . Most of the Turkey red prints we see in mid-19th-century American quilts have some yellow figures, as in these blocks. Adding the yellow often gave an orange cast to the red. In the early 19th century, printers developed increasingly complex processes to add blue, green and black figures to the Turkey red background. Mills specialized in Turkey reds. Towns in England, Scotland, France and the German and Swiss states were home to Turkey red workshops and factories, but the process apparently was not done in the United States until after the Civil War. The vintage multi-colored Turkey red print is a good clue to a date of about 1840-1865. European dyers offered a variety of backgrounds for these multi-colored prints but American quilters were crazy about the red-ground prints, which became quite the fashion here about 1840. Vintage print Reproductions When looking for Turkey red prints to reproduce a pre-1865 look keep an eye out for bluish-red backgrounds and figures in yellow, green, blue, white and dark brownish black. Reproduction print Reproduction print from AlaCarte by American Jane. Sandi Klop designs many American Jane prints in French Provincial style for Moda. She often has two or three good Turkey red reproductions in a line--- the right reds with multi-colored figures. They still print Turkey-red-style prints in France. Pierre Deux is known for their provincial-style reds... lots of which are figures set in a regular diagonal grid, a foulard design. Because they use modern dyes the figures are a bit brighter than the 19th-century prints but the style is good. Cornucopia from Simply Baltimore by Sue Garman Sue Garman specializes in red and green quilts. The red reproductions in her stash always work well. See her blog here: http://suegarman.blogspot.com/ Cactus Rose Reproduction Quilt Pieced, Appliqued by Pam Mayfield and Jean Stanclift, hand quilted by Ann Thomas. Designed by Barbara Brackman. For this reproduction quilt we used several red prints sold for clothing rather than quilts. The pattern begins on page 66 of America's Printed Fabrics. Stars and Squares from Annette Plog's PetiteQuilts on Etsy https://www.etsy.com/shop/PetiteQuilts \ I found this repro block at the Trkingmomoe blog. She has captured that very scrappy look. http://trkingmomoe.wordpress.com/ Lori's reproduction of the Beyond the Cherry Trees applique quilt uses a red paisley I did for Moda a few years ago. http://humblequilts.blogspot.com/ Vintage star from an 1836 cradle quilt in the collection of Historic New England. (Scroll down to see the whole quilt.) My interpretation of that star. I cut up a French Provincial dinner napkin. Moda includes two good Turkey red plain reproductions in the Bella Solids collection. The lighter shade is Christmas Red (9900-16) and the darker Country Red (9900-17) Setting idea for your stack of star blocks: Set them side-by-side as in the 1836 crib quilt from Historic New England. (Sixty-three 6" stars) Several years ago Terry Thompson and I interpreted that quilt with an abolitionist poem in the center star See closeups of the original here: http://www.historicnewengland.org/collections-archives-exhibitions/collections-access/collection-object/capobject?gusn=GUSN-10459 . One More Thing about Turkey Red Turkey red is colorfast. It doesn't bleed onto other fabrics or fade with light. But damage is common. One of the biggest problems with antique prints is the way the dark brown figures start to rot from the iron in the brown dye process. Sometimes the brown completely disappears leaving holes with the batting peeking through. Mills use different dyes today so don't worry about your reproduction browns tendering (textile jargon for rotting.) You can see here how the brown is printed atop the Turkey red and the yellow is bleached out or discharged. That tendering won't happen with today's Turkey red repros---we use completely different dye processes today. Turkey red stripe as the star's background in a vintage quilt I'm going to try to capture the look of old star blocks (mostly by trial and error.) I need a pinker pink here and a stripe rather than a plaid. Read more about Turkey red in America's Printed Fabrics, pages 62-67. And in these blog posts: http://barbarabrackman.blogspot.com/2012/02/turkey-red-friendship.html http://barbarabrackman.blogspot.com/2010/09/more-on-turkey-red.html
