fernweh quilt

A few months ago, I began teaching quilting and embroidery classes at Pintuck & Purl, an adorable fabric and yarn shop in Exeter, NH. For most of the classes, I've created class samples for potential students to see what we will be making. This month, I taught students how to piece the Fernweh Quilt top, from the gorgeous quilt pattern by Domestic Strata, and I recently finished my sample.

I used fabrics from the shop for my quilt---including Cloud9 Fabrics' Cirrus Solids---basing the color palette off of a beautiful black, peach, and apricot floral print by Carina Gardner, which I used for the backing.

I did simple straight-line quilting in light pink, and chose Cotton + Steel's Sprinkle print in black for the binding, since it complemented the front and back so nicely.

I love the graphic nature of this pattern, and would love to one day make a queen-size version for a bed.

I will next be teaching the two-part class on April 9 and 16, and you can call or email the shop to sign up.

exploring whole-cloth quilts

Each time I make a quilt, I spend a significant amount of time piecing the top. Depending on the size of the quilt, I spend anywhere from 2 to 13 hours rummaging through scrap bins looking for the right fabric, trimming blocks, ironing rows, and auditioning layouts on my design wall. While it takes quite a bit of time, I do love the process of creating a top. Piecing little bits of fabric together to create a larger design is so fulfilling.

I do realize, however, that not everyone is in a position to be able to afford the higher price tag that a time-intensive quilt requires. So I've been working on alternate ways to create quilts which cut down on production time, but still result in the high-quality product that my customers have come to expect from me. My gradual transition to machine-stitched bindings is part of this---hand-stitched bindings take anywhere from 3 to 4 hours, while machine-stitched ones can be done in 30 minutes to an hour and create a durable finish.

I've also started to experiment with creating modern whole-cloth quilts (sometimes also known as cheater quilts)---those with a quilt design already printed onto the fabric. By cutting out the need to piece blocks, the amount of time needed to make a quilt is significantly less, thereby reducing the price of the finished quilt. I find this idea so exciting, with limitless possibilities! So today, I'm excited to share with you the first quilt I've made using this process.

Of the whole-cloth quilt fabrics that I've come across (and there aren't many), most are rather dated in color and design, so I decided to design my own. I designed a simple yellow and white half-square triangle in Photoshop (Googling each step as I went!), which I ordered and had printed through Spoonflower on Kona cotton. I basted the quilt as usual, using an organic modern feather print for the back, and then quilted along each of the design's lines. Because of that quilting, the top actually appears as if it were pieced.

As I continue to explore the possibilities of whole-cloth quilts, I've asked a few other fabric designers and illustrators to design exclusive quilt tops for the shop. The initial sketches I've seen for the quilts so far are amazing, and I can't wait to share more with you in the coming months as we put the finishing touches on the designs.

In the meantime, this quilt is now in the shop. If you like it, but would prefer a different backing or binding, let me know! The beauty of digital fabric printing is that I can print the same quilt top an infinite number of times, and then add unique finishes to make it different each time. I'm very excited to see where this project takes me, and hope you are too!

Quilt Stats
Finished dimensions: 33" x 39"
Fabrics used include: Of a Feather (Ivory) by Rashida Coleman-Hale; digitally printed Kona cotton; Hearts in Cherry Blossom by Umbrella Prints.
Quilt design: Salty Oat

do. Good Stitches: Fieldcrossing Quilt

Way, way back in November, I tasked my fellow members of the Wish Circle of do. Good Stitches with making blocks for a Fieldcrossing Quilt. I asked everyone to use the colors of the Purl Bee's Felt Alphabet as their inspiration when selecting fabrics (they always use the best color palettes for their projects!): various shades of pink, yellow, rust and mustard.

Everyone did an excellent job of making blocks within the color palette, using prints and solids from their stashes. Once I received all of the blocks, I assembled the quilt top.

For the backing, I paired a coordinating Heather Ross mermaid print with a super-soft beige Japanese bunny print.

I did lots and lots of straight-line quilting, mostly with white thread, but I stitched a few lines in light pink as well. Two brown/pink/orange floral prints were perfect for the binding.

The resulting quilt turned out to be a nice size, perfect for a twin bed, and I really love how all of the disparate fabrics came together so beautifully! Like all of the quilts our group makes, this quilt will be donated to Project Linus.

Quilt Stats
Finished dimensions: 58" x 70" 
Fabrics used include: Mermaids by Heather Ross for Spoonflower (no longer available, but can be purchased in another colorway here); Brown Calico from Heather Ross's Briar Rose collection
Quilt pattern: Fieldcrossing by Elizabeth Olwen and Cloud9 Fabrics  

keeping it simple

Though I finished this quilt last year (and am only getting around to blogging about it now!), I actually started it back in 2010, not long after we moved to Maryland. I made the blocks as part of the Stitch DC Mystery Quilt Along, and stashed them away until last year.

I stuck with a lime green and periwinkle color palette, using prints from Amy Butler, Heather Bailey, and Cloud9 Fabrics. Though I played around with numerous layouts and considered incorporating borders and sashing, I wound up laying out the blocks in a simple grid pattern, which I think suits it perfectly!

I selected a fun, bright Amy Butler print from my stash for the back and love how it coordinates with the front. For the binding, I used a light blue and white seersucker stripe for a pop of texture. After quilting and washing, the quilt came out so soft and squishy---perfect for snuggling.

It's so nice to finally have this quilt done! It's now for sale in the Salty Oat Etsy shop.

UPDATE 11/21/14: This quilt is now available for purchase at Cary Quilting Company, in downtown Cary, North Carolina.

All photos by Caroline Okun. 

christmas in july

Before mailing off Christmas gifts last December, I snapped a few photos, which I'm finally getting around to posting, if you'd like to see...

For my twin nephews, I made two sets of bibs from this excellent pattern, using a crab print I picked up on a trip to Nashville last fall and prints from Denyse Schmidt's Chicopee line.

I also made some simple quilted placemats, using fabric from Cloud9 Fabrics' Monsterz collection and a kitchen print gifted from a friend.

I used my favorite tutorial and a Leah Duncan print from Grey's Fabric to make some pillowcases for my parents.

And finally, I made a pair of quilt-as-you-go potholders with rounded corners, using green scraps.

Have you started planning any handmade projects for next Christmas? Any favorite tutorials you'd recommend?

P.S. I'm posting more over on Instagram these days. Come follow along!

log cabin baby quilt

I first made the blocks for this quilt three (three?!) years ago, as part of a mystery quilt along that never finished. I finally pulled all of the blocks out this summer, and made a soft and crinkly baby quilt.

I paired the Heather Bailey, Amy Butler, and Cloud9 prints in the quilt top with another Amy Butler print on the back.

I quilted it in straight lines with green thread, and bound it with a blue and white seersucker for a bit of unexpected texture. 

You can find the quilt for sale in my Etsy shop here.