Monday, August 1, 2016

Maggie's First Dance BOM #3

We're back! And guess who is not only your blogger of the moment today, but also the prize sponsor this month? OMG......IT'S ME! And my Mod-ified Trees kit! 

 So crazy, right? And here you all thought I was just hanging out behind the scenes, putting together my blocks and blogging wittily about the process. But as with all of us, in reality I'm so much more. This post should prove that by the end!

Let's get started on Block #3!

As you can see, mine continues in that blue/yellow/purple/green scrappy theme, and this time adds a touch of whimsy in the form of "I threw this thing together the night before I left for 10 days in Vancouver and Alaska and I didn't even bother to trim it before snapping the photo." But you get the idea. It's (basically) done and awaits only some machine applique thread work and trimming.

I'm going to show you in a second how I went about using the Transdoodle by Mistyfuse with my applique pieces because it might just be my most favorite new notion, but first let's point one thing out....remember my fancy little tip last month about flipping your fabric over and using the "wrong" side if it is just a little "too"? Well, this month my grey fabric was just a little too dark and features that little trick..and if you compare the photo above of the pieced grey pieces with the photo below of the grey piece I used for applique, you can totally see it. It's like two fabrics in one! Who wouldn't love that?

But yeah, on to the Transdoodle! Mistyfuse Iris is one of my sponsors for my Teal Mini Swap (more below) and in addition to sponsoring a blog giveaway, she also was kind enough to throw a Transdoodle in for me because I said I was a little bit fascinated with the idea of it. And then I used it for this block and man, I'm even  more so! It's a packet of tracing papers of different colors and tones (dark to light) with a powdery substance (not anthrax) (I'm assuming) on one side which you use to trace your applique shapes onto your fabrics prepared with Mistyfuse. No more #2 pencils and parchment! 

So here's what you do. First, rough cut your applique pieces (NOT THE SHAPES!) and fit them together as best you can on a piece of Mistyfuse. I used one about 10" square(ish).

It works much better if you can place the Mistyfuse on parchment first, but it is hard to see the Mistyfuse in the photo when I did that. So here's what it really looks like. I promise the Mistyfuse is there.

Then you are going to want to put a second layer of parchment over the top of the whole thing and press well. The Mistyfuse just kind of melts right into the fabric.

You can either cut your pieces apart once they are all fused, or just leave them together. I opted to leave them together and just line up my shapes with the fabrics I was going to use for them, but either way will work. Do what works best for you.

 To transfer the markings, I layered the Transdoodle sheet (I'm using white here, since I started with the flower, which is a dark color) on top of the WRONG SIDE of the fabric (ie the Mistyfuse side)
 Then all you have to do is trace with some sort of sharpish/bluntish object that won't make a mark, like a hera tool, a dry ballpoint pen, or raid the "weird tools" slot of your notions box and grab the kabob stick you use for turning tubes. That's what I used.
 I of course forgot to take a photo of the flower, but here you can see how the leaf shape turned out when I used the Transdoodle. Pretty cool, huh? Then all you have to do is cut it out and place it!

 Thanks Jacquelynne for another lovely little flower block.

Along with Maggie's BOM, I'd like to take a moment to talk about my current project, one that Jacquelynne was kind enough to help me out with by being a blogger and giveaway spot herself last week - My annual Teal Mini Swap. It's a mini swap (natch) and fundraiser for Ovarian Cancer Research Fund, and I'm running it for the fifth year to coincide with September being Ovarian Cancer Awareness Month.

Each year, I've been blessed to have quilters come together from all over the USA to join me in this event. Participants pay $15 to register, $10 of which is donated to Ovarian Cancer Research Fund. The rest goes to my expenses, which thanks to the USPS are not insubstantial. Why OCRF? Simply put, they are leading the way in both research and awareness for this deadly horrible disease, and have been doing so ever since my mom was first in treatment 16 years ago. Even 14 years after her death I still receive their newsletters and am amazed by the advances, most of which might have kept her alive long enough to meet her first grandchildren in 2002 had they been available then....but it's still never enough. I don't want more women to be affected. I don't want quilters to have this disease happen to them. I can't prevent it, but I can use my  internet presence to make a difference each year. To date, my fundraiser has raised over 7000 dollars (including this year's registrations so far) for OCRF. Sure, it's not millions. But it's a start.

This year's fabric sponsor (I'm big enough for a fabric sponsor, anyway! Woo Hoo!) is Moda, and swappers all receive a piece of this fabric, modeled by me, to be used in the mini they will make for their partner.

 Registration began last week, and will continue until August 29. We've already got participants from 44 states and I'd love to turn the whole map teal!

Here's a few of the cool minis swappers received last year. You can see even more by scrolling through our Teal Mini Swap Facebook group. The talent in this group amazes me more every year.

Jacquelynne was lovely to help me out with the kickoff, so please check out her blog too! She just might inspire you. And if you want to register to join the swap, I certainly won't stop you! Let's kick ovarian cancer to the curb and run it over with the car for good measure.

But now back to this month's BOM giveaway, my cute little Mod-ified Trees kit. This silly little pattern is way fun to whip together and takes just an afternoon - FOR REAL! It's almost as much fun to pick out the fabrics, so I love putting together the kits!

It's even a really great pattern when done in country colors, like one customer made!
To enter to win the kit, please leave me a comment telling me if you like the color teal, or if you think teal is the color of gangrene. Or both. I suppose they don't necessarily have to be mutually exclusive options! If you don't like teal, do tell me a color or palette you prefer to use instead when you create. We all have our favorites!

Thanks for stopping by! I look forward to Block #4 with you!

Monday, July 18, 2016

Vinnie Loves Maude Quiltalong #5 - Dessert is Served and it Tastes Like Quilting Thread

We made it to the end, though not without more drama than should happen on a first date. Thank you all for your kind words and your patience as our time together was disrupted by the very unexpected death of my mother in law. I'm very hopeful that the rest of the summer will be full of only happy things. Happy things, like the finishing of a quilt!

Is there anything that can bring a quilter simple joy quicker than the last stitch of a binding? I can't think of anything right off the top of my head, actually. Maybe the smell of a new jellyroll in the morning? The sound a new blade makes on your fabric, hopefully not to be followed by the sound of a scream of pain coming from your own mouth as you run over a finger? I guess actually the simple joys are pretty endless.

 We've reached the final stage of our QAL, the one where in pattern booklets the directions often start and end with "Quilt as Desired." Often causing palpitations and stress sweat, am I right? If you check out page 7, #2 under "finishing" you'll see that even in my pattern booklets I try not to leave you completely hanging. It's here that I wrote "The cover quilt was machine quilted with loops in the prints and outlines in the low volume areas, and wavy lines in the borders."
Here's what that meant - loops big and small in the body of the quilt.
  Admittedly, that's still a pretty generic description. How big are the loops? Do I mean all the prints, both outer and inner circle thingies? What color or weight thread did I use? What cocktail did I prepare to celebrate when I was done quilting it all on my home machine? I mean really, the unanswered questions are still there. (The answers: Both big in the background and small in the prints; yes, all the prints; 40 wt coral thread, and red wine.)

Sometimes all that a quilter needs to stop "quilting paralysis" is to have a jumping off point. Maybe it helps. Maybe it doesn't. But I can sleep better at night knowing my own patterns contain a little quilting encouragement in the form of "WWBD" (What Would Beth Do) at the end.

Though it is hard to see, I did do very similar quilting on the famous runner.
Hopefully you can zoom in!

 If you are looking for a more modern looking option that is as simple as it comes but looks pretty darn amazing, I believe you can't go wrong with random wavy lines. I used them to finish this extra block I had from the swap and I personally think it is pretty darn cute.

The key with the wavy lines? Don't make them perfect! Don't make them parallel to each other. Wave some in while the line next to it waves out! The less they line up the better! How can that not appeal to my imperfectionist base?

Don't believe me that they need to be imperfect? Make some wavy lines all perfectly parallel to each other. I think you'll find the overall design turns boring. At least it sure does in my opinion. And if you hang out here enough, you know that I DO have opinions.

Wavy lines too free love-hippie-style for you? No worries. As much of a pain as straight line quilting is (sorry, not trying to discourage anyone from trying it, but make sure you clear your schedule for several days if you go this route), it always looks (and feels!) amazing. 
My lines are 3/4" apart. Because I know you were asking in your head.
This photo of my finished QAL quilt shows how I not only straight line quilted my top, but I divided it into sections on the diagonals to do so. Not only did this make me feel like I was accomplishing the quilting quicker, because who doesn't love being able to check off a section as DONE, but it also made the quilting stand out more and add more movement. Way fun.

A lot of people like to use painters tape or some other marking tool on their quilt when they straight line quilt, and it's definitely a great way to ensure your lines stay completely perfect. But you know me. Like I care about completely perfect. When I straight line quilt I'll mark the very first line along the diagonal so I know I'm off to the right start, then I just eyeball it. Having received plenty of compliments on my quilting over the years, a few of them even deserved, I know I don't feel the need to get all crazy with marking. But you might. If so, I say go for it.

Thanks so much for playing along with my little QAL. Having never done one before, I had no idea what to
expect or how to make sure people felt involved, and I am not sure I did all the right things. But for a first time it was fun and I think a good start. Hopefully you got a little more info about how these blocks came to be, how to create them, and what you can do with them once you do.

These lessons, and the FB group, will live on for as long as Blogger and FB allow, and I encourage you to share your photos and your experiences in the group!

Monday, July 4, 2016

Block #2 Maggie's First Dance BOM

The resounding message I received from my first block posting was heard loud and clear - "WE LOVE YOUR COLORS!" Well, thank you, hotties every one of you. You have impeccable taste when it comes to color sense.

I loved all of the blocks I saw from my fellow bloggers, so I know this is high praise indeed.

As you may recall, I had decided to go with "scrappy" as my theme for this BOM, but that's about as far as I had gotten in my planning. Your love of my colors made me cement my thought that I might keep the same color families (green, purple, blue, yellow, white, grey) for each block, but use different fabrics of those colors in each block. So that's exactly what I did.

Forgive the wrinkles. Not only is it still scrappy, but it flew 800 miles stuffed in a suitcase.
You may note that I tried a little something new with this block, and that something was thread painting the center part. In my mind, this was going to be quicker than tracing and cutting out and fusing and appliqueing all the little pieces down. This notion proved to be laughably inaccurate and proved yet again how very entertaining it must be to live in my mind. But whatever. It was an experience.

It's pretty clear that I used the time-honored motto of "If you can't do it well, do it with enthusiasm." In all honesty, it's frightening how many areas of my life this motto has been applied to, but that's a story for another day. In this case it was worth it to try something a bit new and see what happened. That's another of my mottoes (nod to Dan Quayle) and I'll never regret being adventuresome! I'm not sure if I'll attempt it on another block center or not, but I'm glad I gave it a go.

It was a pretty simple method - pin the block pattern to fabric and stabilizer, outline with thread of choice, and color it in with back and forth or loopy loops. When you get right down to it, all thread painting is is coloring in with thread.
One tip I can give about fabric choice that I use frequently: if your fabric is a little too "too" on the right side (a little too dark, a little too printy, a little too textured, a little too much in any way), flip it over and use the back. I did that for both white and grey in this block, and it really helped keep things from getting too "in your face" with the grey and too "why is the alphabet scattered all over the background" with the white. Check it out! You just doubled your fabric stash with that one tip! Feel free to buy me a drink sometime.

Since I brought this block all the way to Minnesota, I figured I'd better give it a little photo shoot for you.

Once you make your own block, give it a photo shoot of your own and share it in any of these ways so we can all see it!

So on to the giveaway. This month we have two sponsors, and if you are in the continental US, you can enter both!

The first, available for US addresses only as those pesky shipping regulations make sending aerosols across borders prohibitive, is a prize pack from Therm-o-Web. I love a good adhesive for applique or basting, and I'm sure you do as well!

For our international and HI and AK friends, Michele at the Quilting Gallery is offering up a prize pack of pattern and template for "Starlight."

To enter for the international prize, you will need to head on over to and enter directly on Michele's blog. She's a spunky Canadian who will be happy to help out our international friends! If she gets a winner from Juneau, though, I may offer to deliver it in person as I'm headed there soon!

To enter to win the Therm-o-Web prize, please comment where you live, and what you would have me do if I were to visit your town (a favorite restaurant, special park, tourist attraction, etc). You just never know...I might find myself there and need something to do!

See you next month!

Monday, June 27, 2016

Lesson #4 Vinnie and Maude Make a Love Connection - Let's Join Those Blocks!

I am loving the blocks I'm seeing in the QAL FB group! And not one complaint about those tiny squares we dealt with in the last lesson! Yay! Either you conquered them with some of the tips or maybe you just knew I didn't want to hear any whining. Either way, I'm happy.

No matter how many blocks you have whipped up since our last lesson, they won't do a whole lot of good just sitting around your studio, dining room table, guest room, living room, or wherever it is that you do your sewing. It's my experience that quilters tend to average about 15 UFOs at any given time and we don't need this project turning into number 16 for you. So let's get them sewn together!

The big two decisions you need to make are layout and spacer blocks (or no - because depending on your layout, maybe you don't need spacer bars!) We'll start with layout, because as many of you have pointed out already, the possibilities abound and I might as well get you all a-twitter with ideas right off the bat.

The two obvious layouts most of you are probably working with are the one shown on the cover

It's a little like bouncing balls.
or the baby sized version

 Both of these versions shown in the pattern use spacer blocks. I will never deny that I am not a fan of "blocks and sashing" style quilts, and therefore I'm always looking to set my designs in more interesting (to me) ways. Spacer bars come in handy for that kind of thing.

But that isn't to say you NEED them. In good news, I'm also a fan of blocks that form interesting (or at least some form of) secondary patterns when blocks are placed next to each other. I didn't love how my scrappy blocks looked side by side, but if your blocks are a little more planned with a more consistent background fabric, you just might love the look of them side by side in a grid:
Kind of looks like tiles to me.
Or on point - in this example I used the same blocks for the setting triangles. You'd have to slice some of your hard work to do it, but it could work. I'd probably sew it all together then square the sides off before adding the corner setting triangles. A little easier than doing more math!

It's like an explosion of Halloween
Isn't it pretty cool how on point the lines of the block almost look wavy? It amazes me that these are just turned a different way - both settings are using exactly the same blocks!

If you are doing the larger blocks, this all works the same way, and you probably got a taste for how the lines get a little wavy when you saw the layout for your quilt on page 7 of the Vinnie Loves Maude pattern. I'd love to see someone add lots more larger sized blocks and make a twin or larger! But yeah, I don't have time so why should you either right now? I'll just keep hoping!

Then of course there is the photo you've seen a million times, but I'll show it again anyway:

Deb Hartman's award winning version.
These blocks in my runner shown at right were set side by side, but because they were all so different, there is still plenty of interest in the design for me. But then there is Deb Hartman's award winning (for real! She won "Best Use of Color" in her guild's challenge!) runner, which uses all the same colors but that border fabric and added use of some appliques just ups the interest for me and makes the whole thing sing.

Don't you love talking quilt possibilities? It's almost as much fun as talking baby names.

But wait! There's more!

What if you DO want to add spacers? And why shouldn't you? Not only do they add some interest to a setting, but if you have extra fabric, why not use it up? PLUS, as you will see, there is at least one way that the spacer bars can act as a self border! 

There are two ways to look at the spacer bars - as solid bars, and as pieced bars. The pieced bars were what I chose for the cover quilt, because when I started designing this block and pattern, in my mind the background would blend well with the blocks. At first, I thought that this could likely be accomplished simply by using a single low volume fabric for all the spacer bars, and that in doing so it would totally blend right in with all the low volumes in the background of the blocks. I was oh so wrong. 

Every time I looked at my quilt on the design wall with the one-fabric spacer bars, it was like my eyes forgot how to keep moving. Dead stop at every bar. It literally killed the momentum of the quilt.

Luckily, this was easily fixed, if not quickly fixed. All it took was another dive into my low volume scrap bins, some cutting and piecing, and the background really started to enhance rather than forestall the full design. Just seeing how much more movement these spacers gave to the overall look kept me going, even as I had to piece 13 large spacer bars and 4 narrower ones. 

Page 4 of the pattern shows the basic pieced spacer bars in Diagrams 8a and 8b. In both cases, you can see I put the wider of the scraps in the middle of the pieced bars, but there is no reason you'd have to stick with that. As long as your spacer finishes at the right length, go crazy! Add more or less units! As I say in the cutting directions on page 2, you can even piece the individual units within the spacer bars if you think you can handle the excitement. Hopefully you can see in the above photo how I did that - look for the horizontal seams within those spacer bars and you've found them!

If you aren't in the mood for so much piecing, though, there really is nothing wrong with just using a single fabric for all of the spacer bars. I did it with a small version of the scrappy blocks, and while it is a different look, who is to say it isn't just as valid? There are no rules in my quilting world - there really shouldn't be too many in yours either!

As I was working on my own new version of the Vinnie Loves Maude for the QAL, I discovered that combining pieced and unpieced spacer bars is also a nice possibility and adds even more fun as the pieced bars, if done as I did, create a bit of a self bordering effect.

Granted this is only the top, so it doesn't look completely amazing yet, but I always like an unexpected and/or asymmetrical border. This border is sort of "incomplete," in that it doesn't border around the middle blocks in each row, but in my mind once the binding is on that will disappear a little as there will be blue all around. In my mind. We'll see how reality goes. In any case I personally really love the look of having combined some basic spacer bars in the middle of the quilt with some pieced ones on the outside. Just another option to blow your minds.

Spacer bars or not, the piecing of the top is really pretty straight forward. Combine your blocks into rows and your rows into blocks. If you aren't doing totally scrappy and you care a lot about where some of your fabrics end up in the rows, make sure to use a pin on the end of a row or the side of a block to remind you which end is up (or down, or right, or left....the key is to remember what you used that pin to tell yourself, which isn't always easy to do in my own studio, I'll be honest.)

 Now, what did that pin mean again?
One more piecing note, which applies not only to my blocks but also to the entire top construction. I'm coming out to you as an open presser. It's true. If you didn't know it, you do now. I've been pressing seams open for about three years. I started during a QAL run by Michele Foster called Aiming For Accuracy, and pressing seams open was her very first tip on being accurate.

To be honest, I thought she was slightly crazy. Seams are supposed to nest! They can't nest if they are all flatty and open on each other!

But then I gave it a try. And darned if it doesn't work.

For one thing, it's way easier to pin seams properly when you can actually see both seams and feel where they are flattened. Observe:

Obviously you wouldn't pull back the seam allowance with the pin. But see how the seams come together?

And then there is always the bit of slippage that can happen when butted seams come apart as they are being sewn. I honestly believe that is eliminated when the seams are nice and flat and don't contain ridges that can get pushed in the wrong direction, even slightly, by the presser foot.

While I don't care a ton about exacting points, I do have to say, pressing open has made a huge difference in my accuracy. It's something I recommend to just about every student to just try and see if you note a difference in your own accuracy. If not, go back to pressing to the side. Nothing ventured, nothing gained, right?

Monday, June 13, 2016

Lesson #3 - Piecing those blocks! Dinner has arrived!

Assuming you haven't decided to either drop out or hex me due to all that cutting, and in good news I haven't to my knowledge been burned by any laser beams shooting from your eyeballs directed at me nor have I woken up screaming in the night because my cutting hand felt like it was being severed, we are on to the fun part - getting Vinnie and Maude to make blocks together. It's a little risque, but we're going to do it anyway.

The first and loudest complaint suggestion testers had for me was regarding those pesky smallest squares of background fabric. Whether you've decided to go all scrappy on us like the cover quilt or your background is all the same fabric like the one I'm making along with this quiltalong, you're going to have to deal with those small squares. We are equal opportunity for frustration of small pieces around here.

If testers had had their way, I'd have rewritten the pattern to get rid of those squares. But sometimes it's amazing to be the boss, and be able to say no. As tiny as those squares are, to me they make a  difference in the look of the block, and I like it a lot better WITH them than without them.

Witness the subtle, but still there, difference in the photo below. The right side block is made as the pattern calls for, using the smaller squares. On the left, the block is made with only the larger squares. While I am only one opinion, I personally like the block on the right better. More of the print is showing, so it is more ABOUT the prints than making the background equal. And the center "star" type thing is way more pronounced and exact when the block is made as printed, rather than being somewhat cut off at the corners. But that's me. If you really really hate the little squares, try it without. Maybe you'll be okay with it.

 I will say this - once I told testers I was not budging, most agreed I was right to leave them in for interest of the block. I place the Vinnie Loves Maude block in the category of "Not Difficult, but Takes Some Time." Not all quilts can be whipped out in an afternoon. And much like the adage, of which I am a huge fan and believer, of "You Get What You Pay For," you also get in design interest of a finished quilt what you are willing to put into it. There's a time and place for quick quilts; I love that time and place and have made and designed lots of them and will continue to do so. There's also a time and place for quilts that might take a little longer; if we are honest, those are the quilts we are drawn to more frequently in show and tell and quilt shows and online. I want to design a few of those too, and this just happens to be one of them! (Insert "So there.")

So how do we mentally deal? We buckle down, we put on the fun music or a good audio book, and we chain piece our little heads off and get those suckers on there!

With small pieces, especially sewn at a diagonal, seems to come the risk of some machine entanglement, and let's be honest, "entanglement" may be kind of fun to say, but it is no fun to deal with. No one wants to be pulling fabric out of the bobbin case on a regular basis. One thing I have found to help when chain piecing these bits is to lift the presser foot between each piece in the chain and manually insert the needle into the next set to be sewn, as shown at left. The needle can be inserted right at the tip of the piece, but because it is indeed actually INSERTED rather than sewn onto at a rapid pace as chain piecing goes, the risk of pieces becoming messed up at the corner and/or all balled up in the machine is cut down significantly. Does lifting the presser foot and putting down the needle between each segment take a little more time? Sure. Would having to stop chain piecing to rip a seam that got entangled and messed up every three segments take longer? Trust me, it would, it does, and it has for me.

You may not find that chain piecing these small pieces is any problem at all for your machine to handle, and if so I say bully for you. I personally find the smallest squares can ball up, but the other squares, which are only a teeny bit bigger, never do. It's a mystery of the universe. And for those of you making the larger size block? You'll probably have no idea what I'm talking about, because yours will go together smooth as anything, being that much bigger.

Now, you may have noticed in these photos that I have not done the expected thing when sewing corner to corner - crazy as I am, I have NOT drawn a line on the background pieces. I haven't even made mention of doing so anywhere in the pattern. Is this because I am a rebel? Is this because I am lazy? Is this because I have discovered the best tool in the world that eliminates the need entirely? YES TO ALL, HOTTIES!

The tool in question is the Clearly Perfect Angles tool from New Leaf Stitches. It's basically a clingy plastic sheet that adheres to your machine and, as long as you follow the easy directions given on how to put in on your machine, your needle is lined up perfectly to sew either a perfect diagonal, as in the Vinnie Loves Maude blocks or any flying goose you'll ever make, or a perfect 1/4" seam, as you'll need in any block ever, or even piecing at a true diagonal, as you'll do if you ever make my Yankee Frugal quilt pattern and many others I did not invent.

As shown in the photo at right, just keep the tip of your background piece in line with the middle of the black and green lines on the CPA, and you will make a perfect diagonal every time. It really is that simple. Sometimes, if you listen very closely, you can even hear the angels singing.

As an added bonus, the plastic creates a smooth surface on the machine that seems to prevent some of the balling up and entanglement issues. Why? My theory is that it keeps the fabric moving smoothly, and therefore it doesn't have time to get tangled, even on those pointy little edges. But what do I know? I'm no scientist. All I can tell you is it seems to make a difference.

In the pattern and on the cover, the background pieces are all different low volume fabrics rather than one fabric for all of the background. I personally think that though it is more of a pain to cut all those pieces, the end result of the block is SO much more interesting with all those different fabrics, and it's really what gives the block the "vintage-y" look that lent it its name. But all that is really neither here nor there at this point since you have already done all your cutting. My point in bringing it up at all is that if you are using all different fabrics in the background, there's so much going on in this quilt that no one will notice if one or two of the same one touch, so put them on without spending a whole lot of time overthinking.

Okay, so moving've gotten all your little background squares sewn to your prints, which as you will see on page 3 we now call Unit A. Whether you do this in sets of 16 prints, so you do enough for one block at a time, or you do all the print squares for your entire quilt at once, is totally up to you. I like to do one block worth at a time to break it up. Either way, at this point, grab 16 of your Unit As. Admire how awesome they are.

Now, maybe you care and maybe you don't about this next process, which is to plan a little bit about where to place the fabrics within each block. I cared in the quilt I am currently making but I didn't in the cover quilt, and the reason was that in this current quilt my fabrics tend to be a little more similar, and I didn't want prints that look too much the same too close to each other in the block. Also, to be honest, I didn't make any of the cover quilt blocks, so I REALLY had no need to care about those. So here's how I rectified that. If your prints are more scrappy, you can probably just piece the blocks without worrying too much about placement.

1. Choose four fabrics for your corners, Units B and C on page 3. I choose two sets of fabrics that are quite similar to each other - a set of teal with yellow, and a set of teal with white

2. Make one Unit B and one Unit C from each of the fabric sets chosen. Alternatively, you can make your two Unit Bs from one fabric set and the two Unit Cs from the other fabric set. Either way you make sure you have these sets ready to be placed in opposite corners of the block.

NOTE: Did you read step 2 on page 3? That reminder to watch placement of corner triangles is worth tattooing to your hand. Or embroidering to hang above your machine. Or something. Without doing it right, your block will not look like mine and you will be sad. I don't want you sad.

3. For the rest of the block units, you will need four Unit As for the center, which I like to choose kind of the same way as for the corners, that is two sets of similar prints, and then the rest in pairs for the sides. This is a little different from the order I have in the pattern on pages 3 and 4. What did I say, I'm a rebel.
4. Once the final background pieces are added I always arrange my units and play with them a bit until I get it right. But having those Units B and C in opposite corners really helps me lay it out so that my fabrics aren't too blendy.
Then all that is left is the big old sew the rows together and make that block sing part. I don't pin anything as I sew unit to unit, but once I have three rows, I do pin at the intersections. The way the units come together it isn't crucial to line much up, but the rows do have some intersections you might care about. Or not. I'm not picky, as you know. If you are, pin more. If you aren't, don't.

Finally, another thing to consider, something I did when making my blocks, is changing up the construction of Unit E in some of your blocks. I am making the baby size quilt, and decided to do four Unit Es as shown on page 4, but then mix it up and do five with the larger triangles to the middle. Look how Unit E goes from roundy to squarey with just that simple change! But the block still looks cool, and the "starry" sort of center created with the background fabrics remains.

Slow and steady wins the race on the piecing for this one. I'm giving us all two weeks until the next tutorial comes out June 28, which will be all about the spacer bars. I know it's only like a third of a page in the pattern, but I've got some stuff to say about them you just might want to hear. 

Remember to post your progress on the Vinnie Loves Maude QAL group. I love seeing what you are all doing!

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