Quilters' Playcation Adventure Sewalong Update

It’s hard to believe that we are 28 weeks in to this sewalong. Mostly because that means we are more than halfway through the year already!

As a leader/instigator/quilt teacher I get such joy from seeing my students and followers enjoy the process of improv quilting. I never anticipated how much joy I would get joining in with you. It is a great comfort to me to show up each week and sew with people. On the occasions where I missed and had to reschedule I’ve been quite sad. I feel like I am letting everyone down, for sure, but I also just really miss it.

This year’s Quilters’ Playcation Adventure Sewalong is different for me. How many times have you heard me talk about NOT squaring things up until you are making layout decisions? (Hint, almost all the time.) This time, however, I started squaring up and sewing the blocks together right at the beginning. This means I am composing the quilt as I go. It’s a different thought process. It’s a good challenge for me.

So long story short, I love everything about the Quilters’ Playcation Adventure Sewalong this year.

Yes, You Can Change Your Mind While Making a Quilt

Did you know that you are absolutely allowed, even encouraged, to change your mind while making a quilt? Far too often folks think that because they started down a certain path in the quilt making process they are not allowed to veer from it. This isn’t school and standardized testing. Or, as my husband likes to say when the children complain about him changing his mind: I’m an adult and I can do whatever the eff I want!

Definitely applicable to quilting.

These blocks started as class samples. I use them in my Scraptastic class as one option for when you are playing with scrap strips. I make one in a class, put it with the others and move on with life. I had zero plans for the blocks, they served as a teaching tool.

Last month I was teaching a virtual workshop with the Thompkins County Quilters’ Guild out of New York. I had a pile of these blocks on my cutting table and starting arranging them to show possibilities. Quite quickly I was struck by a certain layout of 8 blocks. I don’t think I even had 8 blocks at the time, but I could see potential.

After the class, I finished up those 8 blocks and quickly sewed them together. Smitten, I decided to make more blocks. A lot more blocks. My initial plan was that top picture there. Every 8 blocks sewn together with them all assembled in an alternating layout. In my mind it was perfect.

Not so much on the design wall. My seemingly brilliant idea looked a hot mess.

When I am lecturing and teaching about using scraps one of my big messages is about finding order. When people complain that scrap quilts look messy it is often because they do, because they are lacking order. You can find that order with colour selection, playing with value, or through shape. My blocks are multicoloured, improvised, and made without regard to the value placement of the fabrics. That meant that shape matters the most.

Now my initial blocks - an improv variation on the Prairie Braid - are all trimmed to the same size. That helps. I thought the block layout made with 8 blocks would be totally fine in repeat. As you can see in that top photo, I was wrong. Even with the repetition of the original block shape/size and the repetition of making the larger square block, it still looks messy.

Here’s the thing, nothing was sewn together or set in stone. Even if it was, I would have taken it apart. If it’s not working, it’s not working. If you subbed salt for sugar in your cake would you still eat it? If you installed a bathtub too small for the space you framed, would you just live with it? No matter what, you aren’t tied to finish something that isn’t working.

So I tried something different. I played around and realized the second layout was much stronger, way less messy. Better yet, it used the exact same amount of blocks that I had planned to make!

That is, until I changed my mind again.

Much Needed Play with Ravel by e bond

Before there was such a thing as an influencer we had celebrity endorsements. When real people started to become more popular through blogs we simply called them bloggers. As a quilt blogger it was quite common to receive or at least be offered fabric. The catch being, of course, that you would make something to promote the fabric. Ideally, you would do that to coincide with either fabric purchasing for stores or the launch itself in stores.

Many times I was offered fabric. The first few times you get super excited and jump at the chance. Free fabric and exposure?! Sign me up. Then we realized that we were giving away free labour and not really getting paid by the fabric companies to use us as promotion. Not really a fair deal for the time invested. On top of that I was positively AWFUL at actually making something with all the shared fabric in a reasonable time frame. I was, frankly, a crappy promotional partner. So working with me to promote a fabric line was a bad deal for both parties.

On top of all that, I always found it very difficult to work with a single fabric collection. It felt stifling, creatively, and was always a challenge because of one common issue with fabric collections: the majority of the fabrics are the same value. This means it is hard to get contrast in your designs. As a result, many designs made with a single fabric collection, without the addition of other fabrics or neutrals, can fall flat.

So, no matter how much I’ve loved a collection, I rarely buy a single line of fabric. Instead, I pick favourites or the most interesting or simply what I need at the time.

I could not resist, however, when I saw e bond’s Ravel collection. I love everything about it! The colour, the text, the graphic nature, the graffiti... and while I've never met e, her online presence is inspiring and real. I've had it for a couple of months and just started playing with it. Not only did I buy the whole collection, I'm using it all together. Who am I?

Yes, a good chunk of the fabric falls in the same value family, but there are enough contrasts with the lights and the darks as well as the texture of the prints that things seem to be working so far. I couldn’t resist though, I did add in a few solids for fun and respite.

I have no real plan for the quilt. I’m just playing. Life has been quite heavy of late and none of my current projects were giving me the joy I needed from my quilting. I’d sat with the fabrics and obsessed over coming up with something just right. That was taking all fun out of it so I decided to just grab some fabric and cut. I defaulted to my comfort of improv curves, primarily, but other things come up here and there and I let them happen.

Normally, when I make an improv quilt that is block based, I make all the blocks and then figure out a layout. This time around I am enjoying adding and subtracting and playing with composition as I go. Not so much planning each block as an individual unit, but seeing how a few blocks might talk to each other. A conversation. As it grows I am really embracing the chaos it brings. It’s a wild thing. In a way, it reminds me of a spot under a bridge with layers of graffiti marking the lives of people who’ve been there.

Wildfire Quilt

It’s scary to think that wildfire season started here in February. February, when it is supposed to be cold and dark and snowy. February, when we are cocooning and only dreaming of summer days and the dappled light of the forest. Not this year. Wildfire season already started and, indeed, zombies fires from last year still burning.

This quilt started life as a fun experiment and sample for a Cut, Sew, Repeat Playcation. I used it as a sample in the class then had fun continuing the play. The entire time I played and sewed I saw it vertically and just about the interactions of the colours. Then, the night I was basting it, I saw it horizontal and only saw the wildfire influence. Then I couldn’t unsee it. So I ran with it, adding quilting to accentuate that design aspect.

For the quilting I used a coordinating thread for each band of colour. It was a mix of Wonderfil and Aurifil 50 weight cotton threads - whatever colour I had around that worked well. In each section I changed my free motion design. The orange, obviously, had flames. The green was a triangle meander that I’ve used once before. I don’t know what you would call the blue section, it’s some kind of hatch but not really. The purple was a wavy meander for the sky/smoke. Breaking it down like this not only made it manageable from a working perspective, but really accentuated the overall design.

Binding the quilt was straightforward. My usual high contrast binding was not going to work here so I went with a charcoal grey. I want to say it is symbolic because of soot and ashes, but really it is about picking a neutral to frame but not take away from the quilt. Black was too dark, too sharp. The grey was perfect.

Most of us here are worried about what the coming months will bring for fires. We did not nearly have enough snow cover and cold temperatures to give our forests and grasslands a proper break. We can hope for a wet spring, but that brings its own challenges. With a kid with asthma that definitely gets triggered by poor air quality, wildfire season takes on another meaning too.

In my previous career I worked on the climate change file. I started there over 25 years ago, working to convince a lot of people that we needed to act, acting in industry where we caused a part of the problem. I had to leave because it got so disheartening, if I am being honest. While I am glad that I no longer have to define or explain climate change, if that had happened 25 years ago we might be in a different place.