My progress on my La Passacaglia continues slowly. In the meantime, I finished some Christmas projects (in March!) and generally enjoyed a break from most sewing.
Since my last Passacaglia post, I’ve added two new rosettes, one large and one small. My original plan was to work on all the large rosettes first to have the best idea of what my finished quilt would look like. I have revised the heck out of that plan! The smaller rosettes are infinitely faster to finish, so I’m trying to pepper those in so I feel like I’ve at least made some progress! Here’s what I have so far:
My 3rd rosette was especially fun because it doubles as a quilt label. My new husband’s last name is Bayer, which he pronounces as “bear.” (I use two syllables.) I incorporated both Bayer and bears into the rosette. And a few hearts. ❤
Here’s a closer view from a progress shot:
And this last rosette is the one I made after starting rosette #3 but before finishing it because it took FOREVER. (I mean every single one of those capital letters!)
As you can see, my blue-and-orange color scheme also incorporates some reds and yellows.
Early on, I made a coloring template for my Passacaglia in MS Word. I didn’t share it because I was concerned about copyright laws and didn’t want to steal the work of a designer. That said, the Passacaglia is everywhere, and others have made their coloring sheets publicly available. Theirs are also better than mine because all the shapes actually line up, haha. If you’re interested in a free La Passacaglia coloring sheet, I used the one I found here.
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 know I always underestimate how long it will take me to complete a project, but we’re talking whole new levels with the La Passacaglia quilt. (If you don’t know what quilt I’m talking about, check out my earlier post here.) I worked on it with all my free time last week and only made it through three rings on the first rosette. Now I am finally FINISHED… with the first rosette of many, haha. Here’s my first blue & orange rosette:
It’s big! It takes up an entire café table. The photo below was taken earlier in the afternoon, when I thought I was finished. Then I noticed my error and had to re-sew a section. Can you spot the issue? The lighting was much better for the mix-up than the final version. Bummer!
In case you’re curious, here’s the back side of my La Passacaglia.
I also came up with another fun technique for fussy cutting. In my last post, I described using a wet erase pen on acrylic templates to ensure multiple cuts of fabric have an identical pattern. It worked pretty well. But I thought to myself, If I could just copy the fabric pattern and somehow see through it, I could line things up, and there wouldn’t be the user error of my not marking perfectly or accidentally lifting half the marker off the acrylic with my fingers. That’s when I came up with what might be an even BETTER idea than the wet erase/acrylic method!
Did you have a math class in the 1990s? If so, you might remember your teacher standing at the overhead projector, using his/her wet erase marker to complete math problems that were photocopied onto a transparency sheet. Those transparency sheets are still available for sale, believe it or not. (I got mine here; no affiliation.) I just put my fabric in a copy machine, inserted a transparency sheet, and hit copy at 100%. Do make sure the scale of your copier is correct by lining up the transparency over the fabric after copying the first print.
Fabric and transparency side-by-side, but one is backward (also, reflective surfaces are difficult to photograph)
I photocopied onto paper before using the paper copies to make transparency sheets. I wanted to be sure I got all the important elements on a single sheet first. The paper copy made it easy to try multiple configurations and to test the repeat pattern before cutting into the transparency sheet. For this part, I skipped the seam allowance to see what the finished pieces would look like. When you’re happy with the selection, you can use an acrylic template to cut around the transparency version, then double-stick tape the transparency to the acrylic. From there, just line it up over the fabric to make multiple, identical cuts. What could be easier?! (Reminder: Be sure to include the seam allowance here, even if you skipped it for the step above.)
Of course, this doesn’t work if you don’t have access to a copier, but if you do… BAM! You’re welcome. This method (photocopying fabric onto either paper or transparency) also makes it easy to see whether two images on the fabric are too close together to get separate cuts. (Be sure to include seam allowances.)
You could also use washi tape on the bottom of an acrylic template to hide seam allowances and really see what portion of the fabric will show on the final piece. (You don’t need to see that the outer edges line up with the fabric because you can already see through the transparency!) My first passacaglia rosette was made before I thought of the photocopy/transparency method. I am confident my next few rosettes will be even better! I’ve already started on my second.