handwork

13 Reasons to Hand Baste With Needle Turn Appliqué


You might see an ugly mess of threads here. Frankly, that is what it is. But this mess of threads represents hours of work. Not work that I tore out in disgust or because of a mistake. Work that I intentionally put in then pulled out at the end of the process.

These are basting threads.

When I started sewing of any kind I, like many others, eschewed basting as a waste of time. Why baste if I can just pin and sew it? I thought basting was just an extra step that slowed down the entire process. And basting while quilting? Now that was just getting downright ridiculous.

Then I was proven wrong.

Basting is an absolutely integral part of hard appliqué. Taking the time to baste and baste properly makes a huge difference to your project - from process to finished project. A few months ago I was teaching a hand appliqué class and I had a student there for a refresher and simply because she loved the pattern. She was not inclined to want to baste like I was suggested but I encouraged her to at least try it for the class. If she hated it then she never had to do to again. By the end of the class, like me, she was a complete convert to a more detailed and time consuming baste. Neither of us are going back to the old way and here's why:

1. Basting holds everything in place so you don't have to worry about anything moving as you stitch. Your appliqué gets moved, manipulated, scrunched up, folded, and otherwise manhandled as you sew. If you aren't properly basted to start the appliqué won't stay where you want it to.

2. Because of the above, pins won't cut it. You can buy pretty little appliqué pins. They are usually shorter in length and with a small head. Super cute, but best used for holding your appliqué in place while you baste. All that handling of the block means a lot of pin pricks if you only use pins.

3. A few stitches to simply hold the appliqué in place doesn't cut it. That's because the appliqué will move along the edges ever so slightly as you sew. If you've only basted in the centre of the appliqué that means the appliqué rotates. In other words, it isn't staying where you want it to stay.


(Lesson learned on my Alturas blocks, they were always a little askew. Don't chintz out on basting.)

4. Baste on a flat surface, like a table, not in your hands or on your lap. This keeps the pin pricks to a minimum. It also makes it much easier to hold your basting threads in order.

5. Use old thread or bobbins that need to be emptied but you don't want to waste the thread. As long as it is not heavier than a 40W thread (the smaller the number, the thicker the thread, the bigger the holes left behind.)

6. Use a regular sewing needle, but not a huge one. I don't think it is necessary to use the tiny appliqué needles, but you could. But this is not the time to use a big embroidery needle just because that is what you can find. A Universal hand sewing needle is just fine. Again, the bigger the needle, the bigger the hole it leaves behind.

7. Double up your thread. I know, this makes it thicker. When you double up the thread you don't have to worry about constantly pulling your thread through the eye of the needle. If you are comfortable with a single strand, then go for it. I prefer to have it doubled up because that is easier for me.

8. Do not knot your basting thread. Just hold on to the first couple of stitches you make then they will be fine. Start from the back and do not pull all the way through, leave a tail about 1/2'' long to hold on to.

9. Use a running stitch to baste. Not a small stitch, but not huge either. So a simple up and down with your needle through both the background and the appliqué. If you are listening and doing this on a table top you can even turn that into a bit of a rocking stitch, taking 2-4 stitches at a time before pulling your thread.



Run your stitches 1/4'' from the edge of the appliqué. Every single edge of the applique. If you aren't comfortable eyeballing the 1/4'' and have a marking pen you trust (that is, it comes out), mark the line first. I don't think this is necessary. And if you stray from the 1/4'' here are there, do not worry about it. This is a guide as much as it is a basting stitch, not a seam line.

This is the part that no one likes. It totally seems like overkill. Trust me, it isn't.

10. Machine basting seems like good idea. It does go quicker and you can easily get that 1/4'' line. But the stitches are way more difficult to remove. It might save you time up front but it more than doubles the time at the end. Plus, you still have pins while basting and they poke you even more. Unless you use glue, but that is another issue.

11. Glue. It seems like a good idea, but I hated it. You have to be very, very careful not to get any of it on the edges or else your fabric will not fold over. It also makes things stiffer. That isn't a big deal, but it reduces the tactile enjoyment of hand appliqué. Yes, that is a thing.

12. Remove your basting stitches. All those hand stitches add a really interesting element to your appliqué and it might be tempting to leave them in. Remember, however, that they are not knotted and therefore not permanent in the fabric. If you love them so much replace them with hand quilting. Hand stitching basting comes out so, so easily too.

13. Embrace the process. It takes time, no doubt. So does cutting out fabric, sewing it together, quilting, and binding. If hand basting feels like such a waste of time then maybe hand appliqué isn't for you either. This is slow stitching, it isn't meant for a quick turn around. So accept what it is, put on a movie, pour a cup of tea (or open a beer), and stretch your fingers.

As I said at the beginning, it is totally worth it to baste your appliqué this way.

First, your appliqué stays where you want it.

Second, and more importantly, the basting stitch acts as a guide for your appliqué stitches. The fabric folds under at the edge, to meet the stitches. This gives you a consistent seam allowance. That means your curves and corners go where they are supposed to in a smooth line. It is pretty much impossible to end up with points on the edge this way.

Taking the time to baste properly means your appliqué goes smoothly. And you can actually relax as you do it. Frankly, that's kind of the point, right?

I must give full credit to Carolyn Friedlander for converting me to this form of basting. She is an appliqué whiz and designs her appliqué patterns so well. If not for her I wouldn't be doing this hand work at all.


Circle Lattice Quilt Top Complete


It seems that big appliqué projects take me about a year to complete. My Circle Lattice quilt is no different. 

I looked back and realized that I started my first block in late September last year. When I cut that first block I only had the intention of making that single block. It finishes large at 34'' (if you cut it properly) so there is a lot of appliqué involved. But I completely fell in love with the fabric and the block. Quite early on I made the commitment to make four blocks.

Now the quilt top is done. These blocks have been to Alabama, Montreal, Las Vegas, Jasper, Arizona, Utah, Idaho, Minneapolis, Austin, Drumheller, and many more places. Seriously, that's the best part about appliqué, the portability. I would spend weekend mornings stitching and drinking tea while the rest of the family caught up on TV. It was my respite, even though I find the process of the block coming together quite exciting.





One of the most entertaining things - to me - is that this quilt top only has 5 fabrics in it. I don't think I've ever made a quilt top with so few fabrics!

There is a mistake in my blocks. Somehow I cut the first block wrong, starting with a 33'' piece of fabric instead of 34''. It only meant that the straight bits on the side were cut off. So I ended up making the rest of them that size as well.



There was some definite lessons learned with basting these blocks as well. Look for a post coming on that.

Now to quilt it...

Park Blocks



File this one under a class sample that will most definitely become a proper quilt. That will happen in that magical land called Someday. In the meantime, I'm quite enjoying building a collection of blocks.

The fabrics first came from a bundle of fabrics I sent to Lysa to paint. That was 2 years ago and once she returned them they sat there in a stack. She'd asked for my favourite fabrics from my stash and that is what I sent. I thought it would be appropriate to make something with them all together. When I put together the first few blocks for teaching hand appliqué I immediately turned to this bundle.

Unfortunately, only about half of the fabrics in the bundle were big enough to be used for the pattern at hand. So let's just say that the collection of blocks is inspired by that original bundle.





The pattern itself is Park from Carolyn Friedlander. She really does knock 'em dead when it comes to appliqué patterns. I'm sure, in time, I will make them all! In consultation with Carolyn I picked this pattern when I was asked to teach hand appliqué. It covers all the basics of prepping blocks, basting, and all the shapes, corners, and turns to master when learning appliqué. Bonus, Carolyn includes directions for turning a single block into a pillow sham, making it an easily finished project.

These blocks make a regular rotation in my appliqué tote (A Nest Egg Tote from Carolyn, of course). In the midst of the giant Circle Lattice it is nice to start and finish one of these in a relatively short time frame.

Circle Lattice Update


Wow, three blocks done. I'm pretty wowed myself. Even more amazing, I'm not bored with this block yet. Not at all. Considering the intensity of my time with it I find that surprising.

When I started with this particular block - from Carolyn Friedlander's amazing book Savor Each Stitch - I thought I would make one block. It was the one pattern from the book I was desperate to make right away. It was like Carolyn saw into my brain for the exact appliqué pattern I'd always wanted to make. One block was great, but I knew I couldn't stop there, the finished quilt would be far too small.

...
I should clarify that one of the reasons I always make larger quilts is that my husband really doesn't like quilts on a wall. I would rather have the opportunity to cuddle with a quilt then make a small one that languishes in a pile.
...



So now I am on to the 4th block. The fabrics for all the other blocks were easy decisions. I loved the contrast of the NYC print with the colours and patterns of the others. But I really hemmed and hawed on what to do here. Yellow seemed like a good choice, but I didn't have enough of any one print that I loved to use. Then I remembered some Stendig calendar fabric I picked up at QuiltCon. Just a little pop of yellow and much more subtle contrast. It is perfect. The calendar fabric, by Kokka, is a slightly heavier weight so it had to be the background, but that's totally fine.

Summer evenings, the rest of Le Tour, and car rides ahead of me. I will definitely be savouring each stitch as this last block comes together.

The Third Circle Lattice block


And another Circle Lattice block. Just can't get enough. Once you make two, you might as well make four, right? That is my plan, at least.

It took me longer than I would have liked to finish up the second one, only because there were a lot of quilts to bind. That took up a lot of hand work time and nearly killed my wrist. The longer time, however, doesn't bother me. That is indeed the point - to slow down (and savour each stitch).

This time I switched up the fabric. I still totally love the New York City fabric from Samarra Khaja. Even with all that face time spent with it, I am not at all bored. Lucky for me, I was also able to get more of it. So I have enough for the 4 planned blocks, and then some. This time the great fabric is making the circle lattice instead of being relegated to the background. Instead of unicorns in New York, the city is taking over the forest. Hmm, there is a political message in that...

For those of you new here, the block comes from Carolyn Friedlander's book, Savor Each Stitch. And it has taken me 6 months of hand appliqué here and there to make the 2 blocks so far.

Upcoming Hand Applique Classes


With two heavy weeks of travel behind me I am so happy I have hand appliqué to keep me company. Long plane rides, lonely nights in a hotel room, and an overwhelming need to sew something. Applique keeps my company through all that.

If you've not embraced the power of hand appliqué (and you live in or near Calgary) you can learn the basics from me at My Sewing Room.

I chose the Park pattern from Carolyn Friedlander for the class. It allows us to get a block prepped and basted and get to the appliqué. When we are learning the appliqué we cover the basics of needle turn as well the tricks for sharp corners, smooth curves, and finishing. This block has them all. (And it looks really cool.)


Last month I was basting this block in an open house at the store. So many people commented that they liked the block but would default to a zig zag stitch to get it done. Nothing wrong with that, but I think it misses the point. Hand appliqué isn't about getting it done fast. It is about the process for sure. But it is more about slowing down to sew and, frankly, the portability. Having an on the go project with no end in sight gets us sewing anytime, anywhere. And forces the deep breathes we all need more of as we move through the day.

To register for the class call My Sewing Room at 403-252-3711 and check it out in March, April, or May.

A Year in a Quilt - Alturas is Done


Alturas Quilt
60'' x 75''

A true labour of love and joy is finished! Almost a year to the date of starting my first major hand appliqué project the last stitches went in the binding and the last threads were buried. This is the Alturas pattern from Carolyn Friedlander. And when I started it I thought I would only make 9 blocks in an attempt to simply say that I tried hand appliqué!

I never got bored making these blocks. They were the perfect on the go project for me. Small, very portable, and easy to both prep and finish. Once I realized I was going to go beyond my original intention of a pillow it was easy to get caught up in the process. From picking fabrics to prepping the appliqué, from receiving fabric donations to round out the combinations to all the places they went with me. They always kept my attention. I must admit, I was a little bit sad when I finished them.

I'm not sad that I've finished the quilt, though. It makes me smile. There are so many memories in this quilt. Really, I should just call it 2014. And so many more will come in its enjoyment.


Initially, I thought the binding would be a coral print to bring out the colours of the appliqué. But when I put it up against the quilt I found that my eye was drawn out to the binding, not in to the appliqué. So I picked a pretty, but much more subtle fabric from my stash for the binding. This is a great print from Violet Craft's Brambleberry Ridge line with Michael Miller.

The binding does tie together the few bits of yellow I decided to add to the quilt. Just enough.


The quilting was super simple. While I'm not opposed to quilting over my hand stitching on all that appliqué, I wanted to go easy on the quilting with this one. It would be soft no matter what because of the Quilter's Dream batting, but I really wanted to emphasize the appliqué with minimal quilting. So I went in the ditch on all the patchwork. Around the borders I added additional lines. And each Alturas appliqué has a bar tack in the centre. Nothing fancy.

Let me tell you this though - that was a lot of threads to bury from 72 bar tacks!


Well now I think I will give this quilt away to a friend. This quilt was entirely about the making of it. Almost all of my joy and pleasure in this quilt is already there. Sometimes you get so excited to finish a quilt, the excitement builds and builds to a giddy little dance when you are done. This was different. I enjoyed all the appliqué, all the making so much that the finished quilt is not as exciting. Don't get me wrong, I love it! But my heart is already IN the quilt, I don't need to be under it to feel the love.

It's funny. I always talk about how Improv is about the process. Starting without much more than an inkling of where it might end up. While I started this quilt with little intention of a finished product, I never would have figured that appliqué, for me, would be ALL about the process. Seems silly, in retrospect, because slowing down in order to appliqué inherently makes it about the process. I just never clued into that before.

I sure am happy I've got that now.


Worn Out Binding


It's a good thing that your quilt gift is so well loved that this is what the binding looks like.

This is from the wedding quilt I made my Brother and Sister-in-Law. They didn't quite get it in time for their wedding, but it is still 14 years old. It lays on their bed and gets used every single night. My SIL is from New Orleans and even in the summer in Alberta she likes to have the weight and warmth of the quilt on her.

When I was visiting them a few weeks ago my brother pointed out to me that the binding is quite worn out. Yes, yes it is. That means I need to replace it. The original was a double fold binding, hand stitched to the back. One layer of the binding is worn through, as you can see.

Would you remove the original binding first or put a new one over it?

Friday Favourites - Silk Thread


Okay, so it isn't exactly breaking news. But silk thread for appliqué? Oh my word, this stuff is awesome.

We know that I have the full on appliqué addiction. I started another new project for appliqué this week (In my defence, it is a class sample for a hand appliqué class I'll be teaching.) So I pulled out the thread Carolyn sent me for Christmas. I figured that if she recommended it and I was addicted to her patterns as much as I am that I should try it.

Life changing. I was using Aurifil 60W before, so not exactly bad thread. But that's like comparing a glass of clear, filtered water to drinking water as it drips from a glacier. Or a fantastic bar of Ghiradelli chocolate, then a chocolate piece right from a swiss chocolatier's hand. Both wonderful, both without any reason to complain. But one is clearly better than the other for the task at hand, whether that be refreshment, pleasure, or hand appliqué.

If you are interested in learning appliqué yourself and are local or close to Calgary, check out the schedule at My Sewing Room. And make sure you are all subscribed to the newsletter for all sorts of events, announcements, and extra bits.

Finish All the Quilts


Well, I know how I'm spending my Christmas vacation. Lots and lots of binding. Oh wait, does having the kids and Hubby home for two weeks with me qualify as vacation?

That is four quilts there waiting for binding. Two of them are king sized. Those ones I got back from Andrea at Urban Quiltworks. Beyond excited for what she did on those. Wait until you see them. Alas, those have to wait for presents and magazine projects to be finished first.

Did I mention I finished two other quilts last week? And I'm hoping to get my Alturas quilt quilted and bound before Christmas as well? I'm on fire! If I get all these done that knocks of 6-7 quilts from my massive Under Construction list. Woohoo!

Honestly, I am on a finishing kick. And I'm already anticipating a very, very busy January and February. There won't be a lot of quilt finishes or sewing for fun for the rest of the winter. But there will be some very exciting things to come. No complaints here. In the meantime, I'm happy to snuggle with my hand stitching and Downton Abbey and Mad Men reruns.


And Again - Another Circle Lattice block


I couldn't help myself. One just wasn't enough. Firstly, hand appliqué is wildly addictive for me. Second, this pattern is pretty awesome - it makes appliqué so attractive to a quilter like me with modern design sensibilities. And third, I am incapable of making small quilts unless a real, tiny human is going to be involved.

So now there is another Circle Lattice block under way.

This time I made my life a little bit easier. Mostly because I was anxious to get to the appliqué part. I machine basted, instead of hand basting. I was nervous about this; worried that the appliqué would shift as I pivoted here and there to get it all down. That meant I pinned a lot. It also meant I got pricked a lot. Next time I will glue, then machine baste. From 6 hours down to 1 for basting.

And then on to the appliqué, the best part.

A Canadian Quilter Visits Gee's Bend

As a Canadian of a certain age (39) I must admit to a pretty good life. I grew up with a pride in multiculturalism, with a side of Eastern European bigotry. Most of my friends growing up were first generation Canadians, so when we asked what you were we didn't mean if you played hockey or  soccer or worked at the convenience store, we meant what country is your family from? Mine was a suburban life, an educated one.

It was not a sheltered life. I was able to ask questions, explore, and investigate. I switched to a different high school for a richer experience. I went away to University - all the way across the country to see more, do more. But it was a Canadian experience.

I know the basics of US history, globalization has taught me just a little, and I rely on the stories of friends and the media to teach me more. I consider myself engaged, but I've recently realized that it is a sheltered intelligence.

Last week I had the experience of 4 days in Alabama. I went there with all the preconceived notions of a visit to the Deep South - there would be grits and good ol' boys and racism and hospitality and narrow minds and nice people. I expected little in the way of enlightenment, a lot in the way of a break from my real life. I got more, so much more.



We spent one day exploring downtown Birmingham. Our day took an unexpected turn when the Monday museum closures thwarted our plans for the Civil Rights Institute. As we stood outside the doors and regrouped for our plans we were enthralled by the sculptures in the park across the street. A short walk through the park and its powerful art led us across the street to the 16th Street Baptist Church. The neon sign competing with the stained glass. Then we embarked on the Birmingham Civil Rights Heritage Trail. Hours later we stopped, drained, and feeling a little awed.

My experience with the history of the Civil Rights Movement is fixed on Martin Luther King Jr. speeches, photos of students going into desegregated schools, and a vague recollection of bus bombings. We simply aren't taught it growing up in Canada (well, I wasn't). And not because of a racism at home (although that is there) but because it wasn't our history.


Here we were, honestly blown away by the stories, by the bloodshed on the streets we were standing on, the relatively recent history of this, and the fact that we simply didn't have a clue about any of it. It was humbling, enlightening, powerful.

Yet while we walked the colour of our skin became an issue for others. We were called "you people" by one man. Another accused us of not giving him money as he begged on the street because he was black (not true, sir). I'll be the first to concede to a white privilege, but no one should make assumptions based on the colour of skin (and more). Those moments were equally powerful.


The next day my SIL and I set out on an Alabama Road Trip to Gee's Bend. We took the scenic route, made even more scenic when we took a wrong turn or two. We found catfish farms, main streets, community gathering spots, and saw as many taxidermists as baptist churches. We eventually found our way South, through Alberta to Gee's Bend.

It was a pilgrimage of sorts. THE famous Gee's Bend. Home to the quilters that have inspired a new generation. There we were, two white women in the most ridiculous rental car to have in Alabama, and we couldn't have been more welcome. Quilters are quilters and that was the common factor.


Upon arrival in Gee's Bend we went to the Ferry Terminal. As the only the only public building it seemed like the place to go. Two gorgeous women sat outside, working on one's hair weave. We started chatting to them, but before we got very far or even stated our goal for the visit another woman came out and asked if we wanted to meet the quilters. Why yes, we did. So she asked us us to follow her.



When we arrived at the Gee's Bend Quilters Collective the welcome was so warm, and not just because of the southern heat! Mary Ann and China Pettway sat inside, one quilting, the other working on a brand new quilt. Immediately we started chatting and sharing work. It was late in the day for them - they were close to packing up so they could catch the afternoon ferry across the river to Camden. China had a block that looked a lot like my scrappy round and round blocks, but much, much smaller. Mary Ann was repairing some hand quilting on someone else's quilt. My intention was sit and sew with them, but our timing was poor. So they looked at my work as closely as I looked at theirs.

After the fact my SIL said that I was showing off, as I brought my Circle Lattice appliqué. Yes, most definitely this project is of a very different style than the Gee's Bend work, but I disagreed with her. We looked at each other's work intently and with admiration for different styles. I was blown away by their hand stitching and tiny piecing, and they were impressed with my basting stitches and circle work. It was mutual respect.




My respect for them increased four fold when we were given the chance to pull quilts off the tables and shelves to admire and hear more stories. Wow. It is always one thing to see a picture, another thing entirely to feel the quilts.

There was all denim, all corduroy, all cotton, and a good dose of polyester quilts. Some were very recent - completed within the last month - and some so old they were threadbare and stained. All were made by Gee's Bend Collective Quilters.

The Collective now contains about 70 or more quilters. Women who came back to quilting because of the profile and success of Gee's Bend quilts, some that have been quilting for decades. They sell their quilts, as well as potholders, mini quilts, videos, postcards, and placemats. The quilter receives a percentage and the rest of the proceeds goes to the Collective. It is a financial model that helps all the quilters and the community.



Gee's Bend is a community founded on the backs of slaves. And most of the people who live there now are descendants of slaves. During the Civil Rights movement residents were punished for their involvement in protests, bus trips, and demonstrations. The ferry service was cut off, isolating the community even more. That their quilt tradition did not die is a testament to need, but to the craft even more.

As we examined the quilts we spoke with Nancy Pettway (no relation to Mary Ann and China) about the Civil Rights Movement - she wasn't able to participate in bus trips and demonstrations because she had to work the night shift at a sewing factory - the quilts, life in Gee's Bend. I wish we had hours to talk. I'm home now and I have so many more questions, more stories I want to hear, more quilting to be done. We spoke about the Collective and the response to their fame.

When you walk into the room where the quilts are stored you can sense the history. But you can also sense the future. The influence on so many current and modern quilters is evident. The quilts may be machine pieced, but they are hand quilted. In fact, they had the frame for a long arm machine in the room, but they've been advised against using it in order to maintain their brand reputation.





The quilts are evident of the time and place and history. They aren't squared up like I might do it. Binding techniques vary. The hand quilting is lovely and provides another improvised flair to most of the quilts. There is a lot of polyester batting used. Are they the quilts I make? Nope, not at all.

My SIL and I purchased some quilts. I've only ever purchased a quilt once before, as a charity fundraiser. I will totally admit to feeling odd at buying a quilt. I mean, I have dozens floating around the house and tonnes waiting to be made. But I couldn't help but be a part of this history.

Another confession is that I felt that white privilege again in purchasing a quilt. Because I can afford to bring these quilts home there was a little bit of guilt. I'm not over it yet either.

That being said, to know my one tiny piece of this story now, my single day experience, is profound to me. Art has its many purposes, and someone does buy the art at some point. So I can look at my small quilts and have the memory of the day, the reminder that there is so much history I've yet to learn, and the beauty of my conversations with some wonderfully kind women.

As we left that day Mary Ann, China, and Nancy gave us big, deep hugs. The hugs you give people you love, the hugs that make you feel like the other person's arms are 10 feet wide and filled with warmth. When I look at my quilts that is what I will most remember. That I met some women, that we shared only a few hours, and that we are all quilters. And for us, all of us, the colour of our skin did not matter one bit.

Savor Each Stitch (Weekend Reads)


It's been a while since I posted about a book. I've been reading, that's for sure, but so busy that I haven't had a chance to stop and post about any of them! But I HAVE to tell you about this book. 

Savor Each Stitch is the recent publication by Carolyn Friedlander. It is a beautiful book and full of so much information. The book is a glimpse into Carolyn's life and the way her brain works as she makes quilts. That doesn't mean it is only a book about Carolyn though. At its core it is a quilting book, a resource.

When we write quilt books one of the first questions asked during the proposal process is who the audience is for your book. Of course we want to say that the book is for everyone! I wonder what Carolyn said when it came to her book? My read is that her fans will love it, the new or beginner quilter will be inspired, and the established quilter will look at the design and process with new eyes. I can say that the latter happened to me.

Instead of running through techniques or colour theory in a standard way, Carolyn talks about different aspects of design. She explains the concepts, then uses quilts to demonstrate what she is saying. All the projects have multiple iterations to further illustrate the concepts. 

While the book is clearly a reflection of Carolyn, her aesthetic, her process, and the quilts reflect that, it is more than that. I found it tremendously inspiring and informative. It got me thinking about fabric in some new ways, about combinations I never would have thought of. It also has me looking at my older quilts and the ones I'm working on for my intentions. Have I articulated what I wanted to with my choices, my seams, my process? This is precisely why Carolyn speaks of Mindful Design.

It isn't about tearing into a new project like a bag of potato chips - hands in, crumbs everywhere, and pure enjoyment without consequence. If we take a moment to evaluate, internally, our selections and intentions we can savour the process as much as the result, maybe even more so.

You know already that I love Carolyn's work and find it inspiring enough to work with both her patterns and fabric frequently. So it should be no surprise that I jumped at a project from Savor Each Stitch.


Having finished my Alturas top I was searching for another appliqué project. I was going to try and design my own little graphic block, but I couldn't ignore how completely awesome Circle Lattice is. This project is from Savor Each Stitch and Carolyn uses it to demonstrate the concept of Scale in the book.

It happens to come together quite neatly, like a paper snowflake. This makes it even cooler.



I chose two completely disparate fabrics. My background is a drawn illustration by Samarra Khaja, made by Timeless Treasures. There are so many little details in the fabric that it is rather fun to discover things as I stitch. I did nothing to prepare the fabric in terms of fussy cutting, so little treasures like Lady Liberty shining through here are a treat.

For my appliqué I chose one of the Charley Harper fabrics from Birch Organics. I've been hoarding it, frankly, so it was good to pull it out. As much as I love the fabric and its birds, I love that elements come and go in the empty spaces. And sometimes the birds are exactly where they need to be.



This one block will be a labour of love. It took me about 6 hours just to hand baste the thing. I thought about glueing and/or machine basting. But it seemed more cumbersome. Something about the hand stitching called to me. So I loaded up Anne of Green Gables, and the sequel, and basted away. I'm on to the needle turn and it seems faster than the basting. It's certainly more enjoyable. I'm glad I followed Carolyn's directions for basting too. It seemed redundant to go on both sides of the appliqué as opposed to down the middle, but it is making the appliqué a breeze. See, even an old pro like me has a lot to learn. And I'm glad I've let Carolyn be my teacher in Savor Each Stitch.

Now, about that missing U...

Friday Favourites - Alturas Portability

So, making the Alturas blocks was a lot of fun. I completely fell in love with both the portability of the project and the uniqueness of each block. Here and there I would take photos as I was sewing. It was a good reflection of the places Alturas and I went together. And the daily bits of my life. Often, I would Instagram the photos, some I did not.

Follow me, see where we've been.



Sitting on our balcony in Ixtapa, Mexico. One of the first blocks. Little did I know what I was getting into when I started.
(I also took Alturas with me to Turks and Caicos the following month, but due to that camera going swimming in the pool thing I have no proof.)


Snowy afternoons sometimes call for drop-in gymnastics on Fridays. I think I got approximately two stitches and this picture in before I was called to watch yet another bounce on the trampoline.


Sewing while watching The Great British Sewing Bee. Very meta. Very awesome.



Our Telus Spark Science Centre is a pretty great place to spend a day. In the Creative Kids Museum the kidlets are so wholly entertained by all the games, gizmos, water stations, stages, climbing structures, and more that I am completely forgotten. That means Alturas and I play together.



You wouldn't know it from this photo, but during the spring the girls took rhythmic gymnastics. But the old Russian ladies who ran the club wouldn't let parents watch, so I would sit watching the swimmers, remembering my competitive days. That is, on the rare days there was no toddler to entertain too.


I clearly remember that this was a bright, clear, spring day. The girls were at the park and I sewed. Until I was called to monkey bar duty. Seeing the trend? I think I'm going to get to sew, then I have to be a Mama again. That's okay, Alturas always knew I would come back. 


Road trip! The best drive in the world - The Icefield's Parkway. It was actually rather difficult to sew while on this road. First, there is the view. Then there are all the twists and turns and ups and downs. Don't be fooled by this picture.


Sometimes, we parked, and then I could sew more. While moving all of this had to stay contained in my handy pouch.


A truly loverly weekend in Jasper with all of my immediate family. All of us in one luxurious cabin. It did have this deck, with a view of marmots, elk, pika, chipmunks, and golfers.



My birthday weekend. A quiet affair and was treated to a quiet morning with leftover birthday cake for breakfast and time to sew one whole block from start to finish.


On our way to a wedding here. We were in Ontario and I sewed up quite a few blocks during the endless Toronto area driving. Alturas got dressed up too. I made that belt AND a block from that yellow fabric.



Had said goodbye to my family and The Workroom after a day of teaching. Then I was headed down to the Niagara region for what turned out to be a transformative teaching experience for me at Quilt Canada. This was on the shuttle. Then I stopped sewing to watch the sunset.



So we went to Jasper again for the Canada Day long weekend. Part of my packing included another handful of prepped Alturas blocks. We got there and the kids started to explore and play and make new friends. We saw a mama bear and her cub walk through the campsite. As we adults settled into conversation and an early campfire I got frantic. I couldn't find my little sewing pouch. NO!!!! I forgot Alturas. I was totally distraught. I felt like a part of me was missing. You mean I would have to just sit, and do nothing with my hands? Felt so strange. Then I found the pouch, buried in the car and I started to breathe again.


It was Jasper in the mountains at the end of June. So when the rest of our group went on a hike and a boat ride, we and another family stayed at the campsite to veg, paint rocks, and chill out. As it was rather chilly the men obsessed with a fire in the wood stove of the cook shelter. And I snuck in a little sewing between bear lookouts.


Le Tour!!! I think I made at least a dozen blocks during the 2014 Le Tour. Every night we sat together, chatting, watching, and me sewing. And life was good. 


A weekend in Revelstoke to hit the Skytrek Adventure Park. I spent the first few hours in the car with a little guy napping. More Alturas for me!



On the way home with Alturas and my bruises. Worth every second and every bruise


Ah, summer. Kids in bathing suits on the front lawn. Alturas put aside for water fights and lemonade refills. (And I would be remiss in pointing out the primary colours here, The Monster would totally catch that.)


The day I tried to sew at the beach. Bad idea. At least the little guy wouldn't go in the water, but the girls did and so Alturas had to take a backseat to safety.


My brother is a doctor, so here Alturas waited with me while he took The Monster on a little behind the scenes tour at his hospital. I drank tea and chatted with this lady a little bit.



 Another glorious weekend morning with all the things I love. Okay, not all of them. How about the inanimate objects that I love? Alturas and Peaches and Magazines!


 That time I sewed my finger to Alturas.


True story: I finished this block while recording a podcast with Carolyn Friedlander. Pretty cool. And you can check out the podcast on Modern Sewciety. It's all about the QuiltCon experience. 



The very last Alturas being done, in the wild. If you count a meeting of our community playground committee the wild. I think I was distracted because I signed up for the sponsorship sub-committee. Oh, the power of Alturas.

Alturas Quilt Top Done!


My Alturas quilt top is done! That means I am also done with hand appliqué for 72 of these blocks. I won't lie, I'm a bit sad about that. Don't get me wrong, I LOVE this quilt top and am thrilled with the way it turned out. The thing is, I really enjoyed making these blocks and I'm not sure what to do with myself now that is done. (More on that aspect tomorrow.)



You will notice that there is something you could call a border on this quilt. For long time followers and fans this must be tremendously shocking. I understand, I'm pretty shocked myself. These blocks absolutely needed something to set them apart though. Once sewn together the appliqué is more or less only 1/4'' apart. I wanted the appliqué to really stand out, so a border was needed.

Instead of following the original Alturas pattern I added more width (and another row of blocks from the pattern) to the border by using additional charm squares as the border. This was another way to showcase the fabrics I used as the background for the appliqué, quite a nice treat considering you don't see much of it under the appliqué.

And, shock of all shocks, I made the quilt rectangular. I adore square quilts but something about this begged to be a rectangle to me. That's why I added that extra row of appliqué. And a third row to the border on the bottom. That last part is totally inspired by Carolyn Friedlander (she who wrote the pattern) because she often has one side wider than another on her borders.


(This grey fabric is from my very first quilt. Can you believe that?! This is officially the last scrap of it that can be used.)


In the end I'm quite happy with my decision to add a few bits of yellow to the quilt. I'm not sure what it adds, other than a shot of sunshine, but it feels right. The grey/coral/navy/teal combo is pretty awesome all on its own. Yellow just amps it up a bit more. With winter just around the corner (thank goodness last week's snow is gone) this highlight will be well received.

I'm also happy that I made a few blocks with quite low contrast. I realize that, from a distance, they kind of disappear. That's okay. I think that this fact, along with the yellow, keeps your eye moving. Instead of just seeing all the appliqué, all the time.


There are so many old and new fabrics in here. Some I bought just for the project. Some that awesome readers sent in or local friends shared. Some, like I mentioned above, that are 16 years old! There are civil war prints, organic fabrics, modern prints, shirting, and even solids. Just missing batiks and novelty prints. Each block is unique and no appliqué fabric is repeated.

I've already got the backing fabric (more Botanics from Carolyn Friedlander), plus some Cotton and Steel for the binding. I even know how I'm going to quilt it. Now, who is going to baste it for me?

52 Alturas Blocks


Up to 52 blocks now. In six months.

It doesn't seem like six months. But I know that I started these while the girls were out of school for Christmas break. And I took them with me to Mexico in early January. And here it is summer vacation.

Not once have I been bored with these. I may not touch a block for weeks, but there are always a few ready to go when the mood hits. And then I might make three in a weekend. Or two at night while I watch the Tour de France.

I said at the very beginning that I was only committed to making 9. Then I said that I would go until I was bored. Now I think I might go until I make 72. With a border  - yes, I am actually planning a border - that will give me a finished quilt of 60'' by 75''. At least that is how it is coming together in my head.


Of course, I have to say thank you to everyone who sent me squares and scraps of fabric when I asked for help. Every time I go to prep another set of blocks I have so much to choose from. It has definitely helped in expanding the range of fabrics in the blocks. All the appliqué pieces will be unique, but the backgrounds to have a bit of repeats. 

So, thank-you to:

Carolyn Forster
Erin Harris
Barb Robson
Anna Passafiume
Penny Gold
Latifah Saafir
Katrina Hertzer
Liz Zok

If I missed someone, I'm sorry! Some of the envelopes may have been recycled by eager little girls after the mail was opened.

Another Alturas Update and a Request


26 Alturas blocks!

And I just can't stop making these. I now prep them in groups of five. Some weeks all five get done, some times I go weeks before I get any done. Either way is fine by me. Quite a bit of progress from those first nine!

Last week I decided to throw some yellow into the mix. I felt like the blocks needed a bit of pop. I wasn't sure at first, but now I really like it. In truth, it now reflects one of my favourite fabrics ever, Motif Madness from Tsuru by Rashida Coleman Hale for Cloud 9. Hmm, I wonder if I could get my hands on more for the backing?

I'm at the point now where I am almost out of the options I've got in my stash for blocks. I am trying to make no two blocks alike. Not a perfect charm quilt, as some backgrounds may get used more than once, but as close as I can get. So now I am putting out a call for help.

Would any of you be willing to send me pairings of fabric for a block? Just a 5 1/2'' square for the background and a 5'' square for the appliqué. You could pick any combo you like, so long as we stick with the colours I've chosen:

- coral (not pink, not orange)
- blue
- teal (not turquoise or aqua or mint)
- grey.

I've got enough yellows to tackle those blocks.

I'm not picky about modern vs traditional fabrics, loving them all. But I do know that batiks are no good for the needle turn appliqué that I am doing.

If you are keen on sharing a bit of your fabrics with me, let me know and I will send you my mailing address. I would appreciate it so much! So would this quilt. It wants more variety, it keeps telling me that.

Friday Favourites - Inuvik Thimble



With the smell of campfire wafting through each stitch I sit and bind this vintage quilt. My thimble is made of moose hide tanned by the Inuvialuit near Inuvik. And beaded so preciously. It is my new favourite thing.

 - It is pretty and dainty and tough at the same time.

- It reminds me of the people in Inuvik, namely my students, who were awesome and listened to my enthusiasm.

- It works really, really well.

Let's bind all the quilts.

Alturas Update


So, I may have mentioned my new addiction before. At the time I said I would make at least nine blocks. Well, I've made nine and I'm already on to the next round. Maybe seven more? Maybe seventy?

It's slow going project, there is no doubt about that. It takes me about an hour and a half to make a block, sometimes 2 hours. It depends on how many interruptions I get from small children asking for food or cuddles, or how engrossing the conversation or movie is on TV. At that rate it is going to take me a very long time to make this a big quilt.

Just like improv quilting, appliqué seems to be so much more about the process than the finished project. Of course it will be gorgeous when it is done. Right now, however, I am just enjoying the process, with no real goal in mind. One block at a time.


Embroidery - Properly


It took four years. Four years to get from this to that there.

Their first efforts have hung on their art wall, surviving every single purge of art at their request, for the past four years. Then one night a few weeks ago The Monster asked if we could do it again.

"Mama, can we do more of that up down sewing with thick thread? Except, can we do it properly?"



Of course sweetie. And I panic. Because I have no clue how to actually do it properly. Thankfully I have a rather extensive book library for sewing. A few resources to the rescue and we teach ourselves a running stitch and a back stitch. We stock up on a few bits of floss (all in pinks and purples except for one lonely skein of yellow. We buy hoops. And we put their little brother down for a long winter's nap so he stays out of our way.



They each drew a picture on a piece of scrap osnaburg, lightly and with a pencil, selected their floss, tightened it up in the hoop and we sat down to stitch. And we stayed there for two hours! This activity kept my 7 and 5 year old girls still for two hours. I'm still in shock about that. I was on cutting, floss separating, and knot tying duty.



We've got some skills to learn - sometimes they don't always pull the thread all the way through and we get tangles, and their back stitch and running stitch look kind of the same. But this first effort is not any better than I probably could have done.

And the best part? They want to do more.