I have a new idea for a quilt I really want to make, and it happened in a very roundabout way. First let me show you a mockup of the quilt that I designed in EQ8 quilt design software.
I think it would such a great quilt to practice machine quilting on! The blocks are easy and forgiving, and you can use any type of fabrics and it will look great.
I think I will do something special with the border. Stay tuned for that. So here is how this quilt was conceived.
I just finished a quilt top and now that it’s done I can say that I like it. But along the way, I hated this thing. Too much stitch-and-flip, too many ugly intersections and not nearly enough forgiveness for my style of sewing. None of this was the fault of the designer, Erika Bea, or the publisher of the pattern, American Patchwork & Quilting magazine. The blame lands squarely on me, and we’ll get to that in a minute.
It’s called Color Catcher, and it will look all right from the back of a galloping horse—which is a very old quilter’s mantra of unknown origin. I took a few lessons away from this project.
Hello and welcome to Stash Bandit! I’m Diane Harris and it’s nice to have you here.
I’ve been telling the story of some blocks I received in the late ’80s.
This takes us up to The Rest of the Story, in the words of Paul Harvey.
When the quilt top was finished, I still had the other half of the Nine Patches left over. It seemed a shame to throw them away.
All of those fabrics had been cut into patches for me. The stitches had been taken for me. The blocks had been gifted to me. I just couldn’t pitch them.
I brainstormed for what to do. Making another quilt wasn’t sensible, but using them in this quilt was. I toyed with creating a border but decided to sew the halves together into wonky Nine Patches.
Only one of these has a signature. It belongs to Lorena, my renegade friend who had to sign one name in each white patch, of course. Two of her names are on the quilt front and two landed here, on what will become the back. (If you knew Lorena, you’re laughing.)
For the quilt back, I set the new wonky Nine Patches into columns with scrappy pink setting triangles and sewed the columns together. Lengths of two more pink prints went down each side to make it big enough. And now we are ready to quilt.
While this is no masterpiece, I had so much fun making it! It brought back memories of so many people and our happy times together. There’s even a block from one person whom I didn’t really care for, but I’m glad she’s on the quilt. Funny how time softens the edges.
These blocks have stayed with me for around 32 years as a UFO of sorts and as soon as the quilting is done, they’ll be an FO instead! What a victory! I guess it’s never too late.
In case you’re wondering, these are the names found on the quilt.
Kathleen Ernesti, Donna Rector, Ellen Boyle, Gloria Nelsen, Penny White, Velesta Halbur, Sandra Renli, Wilma Amen, BJS, Doris Volk, Joyce Pick, Shirley Anderson, Maxine Kraemaer, Sue Sindelar, Sandy Eckert, Inger Hansen, Lavonne Hornik, Mattie Niewohner, Daytime Friendship Quilters, Mary Goetsch, Lila Brown, Marilynn Heller, Julie Deering, Carol Monk, Elsie Acklie, Joan Waldman, Lorena Edna Marie Kouba, Peggy Haas, Genelle Trowbridge, Shirley Hassler. There’s an unsigned block from Sherry Stuifbergen.
I can’t wait to reimagine another long-stored project, but right now I have my mind on Dresden Plate quilts. My next two programs will feature my Dresden collection and I want to have some new things to show. All of that upcoming. Until then, keep on scrappin’!
I’m a quilter who loves everything about the process and I enjoy sharing it with others. My energetic trunk shows are lively entertainment for your quilt guild. I’d love to come to your city so give me a call and Let’s Talk Quilts!
In case you missed Part 1, you’ll want to catch up by reading President’s Blocks, 32 Years Late. I have an idea for reinventing blocks I received from guild members more than 30 years ago.
The blocks are 9″ (give or take) Nine Patches in ’90s blues and muslin, with signatures in ink or embroidery. I have about 40. I’ve decided to create blocks like the one above by slicing the Nine Patches 1/4″ to the side of the diagonal center and joining them with a big red triangle.
Once every few months, I get to spend a day at International Quilt Study Center & Museum in Lincoln, Nebraska, about 140 miles from home. Next to the quilts, the best part of these visits is checking out the used books for sale in the museum gift shop.
I always leave with my arms full of books, and not just any books. They’re the kind of quilt books that hold all sorts of treasures, sometimes literally and sometimes in the form of inspiration for my own work.
I collect books from state quilt documentation projects, and Florida Quilts by Charlotte Allen Williams is one I do not have. A steal at $4.
Double Wedding Ring made by Edna Earle McKee in 1931 in Cottondale, Florida, 78″ x 78″, pieced by machine, hand quilted in a fan pattern, cotton batting.
And if this Double Wedding Ring quilt photo was the only one in the book, it would have been worth ten times what I paid. I mean, have you ever?!? Quilts like this give me courage! Edna Earle McKee made it in 1931 in Cottondale, Florida. Edna was a woman after my own heart. Edna wasn’t too worried about whether the fabrics matched.
Texas Quilts, Texas Treasures from Texas Heritage Quilt Society goes into my collection, too.
Pattern quilt c. 1900 by Nancy Fredonia Chapman Sears, Rusk County, Texas
The color photos in this one just never end, and the quilts are from all sorts of people. I can’t get enough of it. This sampler, called a “pattern quilt” in the book, inspires me to make a sampler from all the extra blocks filed away in my studio.
A slightly damaged America’s Quilts and Coverlets was just $1. It’s by Carleton L. Safford and Robert Bishop.
Inside the book were some interesting things: A triangular cardboard template, an advertising card for coffee, and some clippings with quilt patterns.
I wonder who clipped these out and tucked them inside the book. Did he or she use the Grandma’s Wedding Ring quilt pattern? What happened to that quilt? I hope it went to a good home.
Here’s an example of the quilts pictured inside.
Patchwork quilt, unnamed design, c. 1800.
No maker is listed in the book for this quilt, and isn’t that heartbreaking? I view this quilt as a permission slip to do whatever works in the moment. Notice that there are full blocks, half blocks, and even a quarter block up in the corner. How fun! We worry too much about everything. If your quilt isn’t quite long enough, then just add another border along the bottom and presto! Just right.
A woven coverlet
I’m also interested in weaving, so the coverlet section of the book intrigues me. I’d love to be able to weave something like this someday! I was given a floor loom a few months ago (for free!) but that’s a story for another day.
And if these vertical sashes aren’t the happiest, yellowest, staunchest pillars you’ve ever seen…! And consider this: There is hardly any other yellow in the quilt. I think we can all stop stressing over our sashing choices.
This black and white photo from the book is especially useful. You can see the values (lights and darks) without being distracted by the color. Isn’t it curious that this quilt maker used diamonds to create fan blocks instead of sewing the sections together to make a bursting star? I love this idea. It will probably show up in my own work.
Contemporary Quilts from The James Collection is from 1995, two years before the quilt treasure-store of Robert and Ardis James (New Yorkers with Nebraska roots) came “home” to establish International Quilt Study Center and Museum. Now boasting the largest publicly held quilt collection in the world, it has grown into an international phenomenon with quilts and related items dating from the early 1700s to the present and representing more than 50 countries.
The booklet is based on an exhibit at Museum of American Quilter’s Society curated by Penny McMorris, whose name you may recognize. She has worn many hats over the years, and today she is one of the owners of The Electric Quilt Company, where the quilt design software Electric Quilt originates. Quite a peek into the last 30 years of contemporary quiltmaking.
Whether your quilting library has new books or vintage titles like these, pull them out regularly. Browse for inspiration and soon you’ll have so many ideas, you won’t know where to begin.
I love teaching quilters. A day in the classroom with like-minded souls brings out the best in me. We learn, we laugh and we have fun.
I love teaching quilters. This was one of QM’s Block Party events.
But occasionally a student will say something that baffles me. It’s usually about combining quilt fabrics. Let me give you a little background.
Welcome to Stash Bandit, online home of Diane Harris. I was a Quiltmaker editor for 11 years (one of the best jobs ever); now I’m giving energetic trunk shows and inspiring classes to quilt groups. My ideas and how-tos live here on Stash Bandit. I’m glad you’ve chosen to visit during the 100 Blocks Blog Tour.
If you’re new to Stash Bandit, welcome! I’m happy you’re here. Today I’m sharing a bit about a new trunk show called “Jingle Bells” that I’ve prepared for quilt groups.
No matter the time of year, the Jingle Bells trunk show of Christmas quilts is sure to get you in the mood for holiday quilting. Large and small, pieced and appliquéd, modern and traditional—there’s a little something for everyone.
Nested Nicks by Diane Harris. Photo by Mellisa Karlin Mahoney. Used with permission.
I can’t begin to tell you how much fun I’ve had making these quilts. Even though it’s March, I’m humming Christmas carols.