At a rate of about one rosette every two months, I’ve finally finished my second!
With saturated red-oranges, prints resembling snowflakes (at least if you squint), and wintery novelty prints (polar bears and Heather Ross/munki munki ice skaters), I call this my “fire and ice” rosette. I mentioned in earlier posts (here and here) that I plan to make my entire quilt in blues and oranges.
I know I also said this before, but the rosettes are HUGE! I took a photo with my feet for perspective.
Here’s a progress shot to show how I work. I got the hour basket as a swap gift for my birthday (#birthdayclubhandmade) and keep pretty much everything I need inside it so I can take it with me to the coffee shop on weekends.
Probably my rosettes would go a lot faster if I worked only on one at a time from start to finish. Instead, I usually finish the center of one, start basting (hand sewing), get bored, and sew another center or two in the meantime. I am currently started on three other rosettes.
One of my new rosettes will feature a single image in the center. Some quilters have done an incredible job of lining up individual pieces. I plan to shortcut the process and combine a few pieces at once. Here’s the process I’m using:
First, I made a template of the rosette center. I think this is no major feat since anyone can line up a few diamond shapes, and it’s pretty obvious how they fit together if you’ve seen a photo of even a single rosette. The trick to La Passacaglia is how all the rosettes fit together. Definitely get the book if you want to make the quilt! After printing a template, I cut out the center of one of the images.
I lined up my fabric underneath the cut template.
Then I cut around the outer edge of the template to add 3/8″ seam allowance. Since the lines are traced by hand around the paper pieces, I used an acrylic ruler with my rotary cutter (for the outer edge) and Xacto knife (for the center piece). When you’re done cutting, you should have two pieces (one fabric, one template) like this:
You could start basting your fabric to the center template at this point, but I wanted to glue mine in place for precision.
Place your fabric wrong side up. Line up the seam allowance piece around the outer edges of your fabric.
Place the center piece (with diamonds meeting in the middle) wrong side up. Glue the back of the center piece using either a fabric glue pen or a washable glue stick. Glue the center piece to the fabric (obviously glue side down), lining it up with the seam allowance piece. Then remove the seam allowance template and press.
Note on laser printers: Since laser printers use heat to bond ink to paper, running your iron over laser ink is like getting paper wet when it’s been written on with washable marker: the ink will smear. If you’re using a laser printer, I suggest placing a piece of scrap fabric over the template before pressing. Also, it’s best to press without steam since the humidity from steam will curl your paper.
Here’s the final piece held up to the light so you can see the seam allowance through the fabric:
One final note: I traced around each piece separately when making my template so I could use it as a single piece or remove any portion (e.g. removing one diamond to use a different fabric). However, it is much easier to baste convex corners (corners pointing outward) than concave corners (corners pointing inward), so keep that in mind if you remove a portion of the center template.
I mentioned in my QuiltCon blog post that I intend to begin a La Passacaglia quilt. I thought I’d summarize some things for anyone else who wants to do this project because it is blowing up all over the interwebs!
THE BOOK THAT STARTED THE CRAZE
First, we’re talking about the La Passacaglia Quilt pattern from the book Millefiori Quilts, which features 19 of Willyne Hammerstein’s quilts.
The Italian does a great job of describing the style: millefiori is a combination of the words “mille” (thousand) and “fiori” (flowers). Passacaglia comes from the Spanish “pasar” (to walk) and “calle” (street). Think walking or dancing down the street—perfectly appropriate if you imagine winding, cobbled lanes and compare that against the many curves in the quilt.
Instructions in Millefiori Quilts are for machine piecing the quilts. However, if you’ve ever done a Y-seam, you can understand why a majority of people are choosing the English Paper Piecing (EPP) method instead.
I bought pretty much every item available on the market to start this project. I got them from paperpieces.com.
Items include the book, acrylic templates, and all the paper pieces necessary to make the quilt. I would buy a smaller set of papers if I had it to do over again since you can just reuse them, but it’s nice not to have to. Between these items and the fabric, it’s probably going to be the most expensive quilt I’ll make… but have you seen how awesome it looks?! I’ve also seen acrylics on Etsy that have holes at the intersection of each seam allowance in case you want to machine piece and mark your Y-seams.
LA PASSACAGLIA INFORMATION
The La Passacaglia Quilt includes approximately 2900 pieces in five different shapes/sizes as follows:
Piece A (1¼” diamonds for 5-pointed stars): 468 Pieces
Piece B (1¼” diamonds for 10-pointed stars): 206 Pieces
Piece C (1¼” pentagons): 640 Pieces
Piece D (¾” pentagons): 272 Pieces
Piece E (1¼” isosceles triangles): 1368 Pieces
This info comes from the number of pieces in paper piecing packs, rather than the pattern itself. I was surprised not to see any hexagons and also that there were only five shapes for the entire, very busy quilt top.
EPP GENERAL INFORMATION
Cutting the Fabric
Standard EPP protocol is to add 3/8” of fabric around each side. Common alternatives are ¼” or ½”. Acrylic templates are available in each of these size preferences.
Measuring the Pieces
In EPP, most pieces are the same measurement along all sides. (An exception from the pieces above is the isoscolese triangle, which is equal on the two long sides but has a shorter “bottom” that matches the length of the pentagon sides.) EPP pieces are measured along one of the equal sides.
Basting Each Piece
There are several methods of basting EPP pieces.
One method is to sew around the shape. Even this has several different versions. In one version, you just tack the fabric along each corner of the piece. In another, you weave your thread along the length of fabric between each corner. I plan to do the first of these since that’s the method I learned in my EPP workshop with Katy Jones of imagingermonkey. And it’s faster and doesn’t mean ripping any paper at the end of the project.
Another method is to glue baste. Some glue pens are specifically made for gluing fabric; I have the Fons & Porter version. I’ve also read that a plain, washable glue stick works well. (It worked great when I glue basted a zipper on this bag.) I have been gluing some of the fussy cut fabric pieces lightly to the papers to keep them from shifting while I hand baste around the edges. It’s been working pretty great. So far, I’ve only used the glue pen, but I’ll likely switch to the Elmer’s when that runs out.
Creating Patterns from Fabric (and being consistent)
Solids are a great choice for EPP. However, one reason I’m excited about this project is a chance to make repeatable patterns from fabrics. I’ve mentioned BEFORE that while I like the look of a repeatable pattern across an entire quilt, I deplore the monotony of chain piecing. Now is my chance to let precision shine! By “fussy cutting” fabrics, you can highlight a portion of the design. It works great with florals/swirls. I’m also thinking about including a few Heather Ross novelty prints. If you don’t know where to start, Google Amy Butler, Tula Pink, and Anna Maria Horner prints to see fabrics with repeatable patterns.
The tricky part about fussy cutting is ensuring all the pieces are consistent. Florence of Flossie Teacakes had the genius idea to make her own plastic templates and draw with pencil the outline of her repeating fabric pieces. Modifying this concept, I have been using erasable marker on the acrylic templates I purchased. It is working great and wiping off cleanly.
For the back of your EPP, you can use any thread you want. I still use Aurifil brand thread for this because it doesn’t break or tangle as easily as other threads, but since you aren’t relying on it to hold long-term, you can use anything that will last until you stitch your pieces together.
For stitching pieces together, some threads are less visible than others, so you can decide how “handmade” you want your EPP to look. A woman in my EPP workshop said she swears by silk thread for connecting pieces. Florence blogged about a polyester thread (Superior Threads brand, Bottom Line type – bought mine here) that piqued my interest.
I can’t tell whether I like it. I admit the end result is much prettier/less visible stitching, but the thread is kind of “bouncy” to sew with. When I pull the thread tight at the end of each stitch, it’s kind of like a bungee cord; it stretches longer than it seems it should, then bounces back to a resting position. So it feels weird to sew with but looks fantastic! I think I will continue to use it. I hope it’s durable when I’m putting so much time into one project! I’ll post photos of my first Passacaglia rosette when it’s finished so you can compare.
UPDATE: I decided I prefer plain old cotton thread and have switched back to Aurifil’s standard weight – both for sewing around the EPP cardboard pieces and for connecting the finished pieces.
RESOURCES
Other bloggers who have written about the La Passacaglia quilt that I found inspirational (obviously not an exhaustive list) include:
You can see about a million more great passacaglia photos on Instagram. Check out:
tulapink (especially the behind the scenes in Artists & Makers magazine; you can see her Passacaglia in the background), lilabellelane, carriestraka, alexouq, kamiemurdock or hashtags #lapassacaglia and #passacagliaquilt
A few more on Flickr:
Michal Peter-Anderson (via Rossana Ramani), Melissa (@honeythorpe)
Lorena Uriarte of ikwilt doesn’t feature a Passacaglia but does great fussy cutting.
If you are interested in EPP but don’t know where to begin, here are some resources:
I plan to make my La Passacaglia in blue and orange. It’s my favorite combination, and I found a crazy amount of inspiration from @elisabew’s Farmer’s Wife and blue & orange Marcelle Medallion quilts. I’m concerned the cogs might flow together a little bit, but Pinterest user Quilt Passion (Åsa Holmér) did a good job of distinguishing hers using only a blue and white palette. My quilt will have blue and orange AND white, so with a whole extra color, I should be fine… right?!
Well, I think that about covers EPP generally and La Passacaglia more specifically. There’s nothing left but to dive in. Which is exciting… but also a little unfortunate since the planning/research is my favorite part, aside from having a finished quilt to show off. Since it’s going to take me forever, I have a WIPs page (tab at the top of the blog) available so it is easy to track my progress on this and a few other long-term projects.
My grandma’s death last year was difficult. She’d had Alzheimer’s for many years, so in a way, our loss was more about the years we lost during her life than about her death. Alzheimer’s also meant there were no attics to search for treasures, no inspiring little finds; those things had been done long ago. All that was left with her really were the pajamas she wore in the nursing home and a favorite print she’d received as a gift from her brother. I decided to use the pajamas to make a memory quilt.
I decided to incorporate small pieces of the pajamas with larger 1930s reproduction prints. It wasn’t until I started researching 1930s repros that I realized where my grandma got her style. All those cartoon kittens and ducks? Straight from the 1930s!
I decided on a layout that would showcase both the repro prints and the pajama pieces.
At first, I thought I would use a white background. Then I realized some of the pajamas were a little dingy from multiple washings. A quilt store employee in my home state suggested I use a darker color to make the smaller pieces pop. Although pinks and purples aren’t my style, they were my grandma’s. I decided to use a purple (Robert Kaufman’s Quilter’s Linen).
With a color scheme my grandma would have liked, I decided to include a few details that would also make it more “me.” I wanted this to be a quilt that linked us through the generations.
In particular, I wanted a pop photograph of my grandma on the quilt. I think on one hand she would have hated it and thought it was too ostentatious. On the other hand, I think she would have been flattered and would have thought I was being goofy. It makes me smile to think that she would have teased me for my selection. I turned a photo of hers into a Spoonflower design and had it printed.
My grandma was BIG on sending birthday cards, sympathy cards, letters, etc. She kept every card she ever received. Ever. I wanted to somehow incorporate that part of her into the quilt. I used her birthday calendar to get samples of her handwriting, then embroidered her name and dates onto one of the quilt squares. I was lucky she had several friends with the same first name, and obviously family with the same last name, so it was easy to cobble together her name!
When it came time to bind the quilt, only one color would do. Fuscia was her favorite.
(Don’t you love my washi tape “design wall”?)
For the quilt back, I used up the remaining portrait fabric. (I bought a yard so I would be sure to have at least one full portrait, plus a few extras in case I messed up.) I also used smaller pieces of 1930s feed sacks that I bought on Etsy, along with 1930s repro prints.
I kept the quilting simple, using straight lines along the outsides of the bigger/repro squares with painter’s tape to mark the lines. The finished quilt is lap size.
This is a quilt I think my family will appreciate for a long time. My mom (whose mother is memorialized in this quilt) has first dibs, and if she decides the colors are too bright, my sister has expressed interest. My sister said the sweetest thing, “There aren’t many things left from Grandma. If I have kids someday, I would love to show them this quilt and tell them what I remember about her. It would be my way of passing along her memory.” How could a quilt be more appreciated?! I am so glad to have created a piece of family history.
Another great thing about this quilt is it was finished in February, which means my current finish rate is one quilt per month! I don’t know that I can keep it up, but I feel such a sense of accomplishment in 2014 so far.
I have noted in past blogs how slow I am to finish projects. I am therefore incredibly excited that I finished my first project of the year in the first month of the year. I made a baby quilt for a dear friend who is expecting:
The fabric is Violet Craft’s Waterfront Park line.
This is the first non-mini quilt that I quilted myself, so I’m kind of proud of that–especially with the high loft polyester batting I used to make this beast fluffy!
My mitered corners have also vastly improved compared with past projects, and it’s the first time I’ve actually enjoyed sewing on the binding.
And the colors are so cheerful!
Finally, I embroidered a label in the form of an owl since my friend’s late mother collected owls. (The free embroidery pattern is available here.)
My friend’s daughter was so funny when she said her prayers the day I gave them the quilt. She said, “Dear God, thank you for Tiffany so now we will have a blanket for the baby.” I’m sure the baby would have made do without me. 😉
Here’s hoping I am able to finish many more projects this year!
