After making the original quilt samples and releasing the pattern, I wanted to make a Ziggy Star quilt for myself using what has come to be known as the Berry Biscuit colour combo. And as I got many requests for details of which fabric I was using I jumped ahead to complete a colour guide for you.
Building Confidence as an Artist:
As an artist, confidence is key to success in your craft. However, building confidence can be a struggle for many. It's a common experience that can hold you back from achieving your full potential. But don't worry, there are actionable steps you can take to build your confidence and overcome those doubts. So, let's dive in and discover how to build your confidence as an artist.
The first step to gaining a foundation of confidence is knowing what you like and where the work you want to make sits within the wider art world. The best way to begin is to consume media that inspires you. Whether it's reading books or articles about other artists, visiting galleries and museums, or watching documentaries about creative processes, exposing yourself to art can help you feel excited and motivated about your own work. And allows an understanding of where your influences come from and which direction you want to take your own practice.
Recognise Your Talents
To become a more confident artist, it's important to recognise your strengths. We all have unique abilities that make our work stand out. Take some time to reflect on what you excel at. Maybe you have a great eye for colour or you excel at creating intricate patterns. Write down what you are good at and use post it notes if you are a visual person. That way you can place the notes where you will see them and are reminded of your strengths often. Because it is easy to forget!
Identify Your Weaknesses
Now that you have identified your talents and strengths, it's time to identify your weaknesses. Understanding and accepting your weaknesses as an artist is crucial for growth and development. While it may be difficult to admit, acknowledging your weaknesses will allow you to address them and make improvements to your skills. Take some time to reflect on areas where you struggle or feel less confident, whether it's a specific medium, technique, or style and make a plan to improve. Remember, no one is perfect, and all artists have areas they can improve upon. And don't be too hard on yourself if progress seems slow at first. Improvement takes patience and hard work.
Surround Yourself with Positive Influences
I mentioned this in my previous blog post, but surrounding yourself with people who support and encourage you is priceless. Seek out friends, family members, or mentors who appreciate your art and can provide constructive feedback. Joining a community of like-minded artists can also be incredibly beneficial. I know I use artist and business communities in this way. Not only can you learn from each other, but you'll also have a network of support when you're feeling discouraged or are unsure.
On the flip side there are negative influences that you need to be mindful of. It's easy to fall into the trap of comparing yourself to others, especially in the age of social media. However, constantly measuring yourself against someone else's success can leave you feeling inadequate and unmotivated. Instead, focus on your own progress and celebrate your accomplishments, no matter how small they may seem.
Practice Visualisation
Visualisation is one of my favourite tools. I use it all the time. This is a technique used by successful athletes, business leaders, and artists to envision themselves achieving their goals. By creating a mental picture of what you want to achieve, you can begin to believe in your ability to make it happen.
Visualisation can be done in multiple ways. One approach may be to create a vision board, a collection of images that represent your artistic goals. You can also use guided imagery, which involves imagining yourself in a specific situation, such as successfully completing a painting or receiving recognition for your work. With repetition and focus, visualisation can help you stay motivated, overcome self-doubt, and see yourself as a successful artist.
Enjoy the process of making
One of the most important things to remember is to enjoy the process of making. Whether you're sewing, painting, sculpting, drawing, or creating in any other medium, the act of creating is what's most important. Don't get too caught up in the end result; instead, focus on the journey and the experience of bringing your ideas to life.
Building confidence as an artist is a gradual process that requires dedication and patience. Recognise your strengths, identifying your weaknesses, focus on improvement and surround yourself with positive influences. Visualise where you want to be and what you want to be making. And last but not least enjoy the process!
]]>Many artists view rejection as a crushing blow to their confidence and self-esteem. However, learning to embrace rejection can actually be a positive experience that leads to growth and success in the long run. In this post, we'll explore the benefits of rejection for artists and provide tips on how to use rejection as a tool for growth.
Rejection can feel like the end of the world, but it doesn't have to be. By changing your perspective and using rejection as a learning experience, you can turn failure into success. Or at least progress.
So the next time you get rejected, take a deep breath, reflect on what you've learned, and keep pushing forward. Your next achievement may be just around the corner.
Rejection is not personal.
I think this is one of the most important things to remember when dealing with rejection. It is not personal. It can be tempting to take rejection as a personal attack on our abilities or character, but the truth is rejection is often about external factors that are beyond our control. Whatever the reason, it's important to remember that rejection is not a reflection of our worth as people or as artists. Once we can detach ourselves from the emotional weight of rejection, we can begin to see it as an opportunity for growth and learning.
Use rejection as a learning opportunity
When faced with rejection, it's important to remember that it's not the end of the road. In fact, rejection can often present us with valuable learning opportunities that we might not have otherwise considered. By being open to feedback and seeking out ways to improve, we can use rejection as a chance to expand our skill set and enhance our understanding of what it takes to be a successful artist.
Through rejection, we are forced to reevaluate our approach and consider how we can better communicate the what and why of our art work. Perhaps we need to refine the way we talk about our art. You may have noticed I have begun an art vlog on YouTube. This is to help me talk more about my art and serve as a recorded 'sketchbook' of my art process. My what and why. I talk about getting rejected HERE.
Maybe we need to gain new skills or improve our existing ones. Just do the work and get better! By embracing rejection as an opportunity for growth rather than a failure, we can turn these setbacks into positive steps forward.
Rejection can be disheartening, but it's important to remember that success requires persistence and resilience. By continuing to put ourselves out there, we can increase our chances of success over time.
Surround yourself with a support system
Surround yourself with a support system. It's crucial to have a group of people to turn to when facing rejection. These people provide vital encouragement and motivation to keep going. They can offer advice, share experiences, and help you see failure as a natural part of the process.
A supportive network can come in many forms, including friends, family, colleagues, or mentors, online groups, fellow quilters and artists. Having people to talk to, bounce ideas off of, and offer constructive criticism can be the difference between giving up and pushing through. By surrounding yourself with a support system, you can cultivate a positive mindset that will enable you to learn and grow from rejection.
What door to door sales teaches you
If you know anything about me you should know I love a good process. And processing rejection is one that is valuable to recognise. Embracing failure reframes your mindset. And if my very temporary role in door to door sales in 2002 taught me anything, it is that every no actually does bring you closer to a yes.
If only it were that easy, right?
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Let me start at the beginning as you will probably be wondering how this is all linked to my free Humbug quilt pattern. Which if you haven’t got your hands on it already, you can download the free quilt pattern HERE. You’re welcome!
So, the Humbug. There were a couple of options when it came to naming this quilt. ‘Bah Humbug’ or just plain ‘Humbug’.
Originally I wanted to call the quilt, ‘Bah Humbug’. The term uttered by the miserly Ebeneezer Scrooge in the Dickens classic, A Christmas Carol.
The origins of the word meaning to trick, a deception. Which I felt suited this quilt design. The Humbug Quilt is deceptive in that it looks like it is more work than it actually is. This quilt is fast! I would go as far as to say it is the fastest quilt top I have ever designed. Depending on how quickly you quilt and bind I reckon it could be considered a quilt in a day. Certainly for the smaller sizes. A bold claim indeed, I know!
And if it were not for some bright spark trademarking the phrase ‘bah humbug’ in 2019… that is what it would be called.
From there I went down a rabbit hole looking at the history of the humbug sweet which uncovered a surprising and unfortunate past.
Firstly the obvious link between the quilt top and the hard boiled sweet (candy for my US audience) is the stripes. Traditionally black and white striped, and mint in flavour. The boiled Humbug sweetie was a favourite amongst us Scots and the UK as a whole. Personally I found the way they always seemed to be warm and produced from a pocket or handbag enough to conjure up the dry boke. They all stuck together in one big congealed mass. And lets not forget the choking risk they posed. (I was a risk averse child..) But that is not the only risk the humbug has ever posed to the unsuspecting consumer.
Let me tell you about the Bradford Humbug poisoning of 1858. When unsuspecting sweet eaters were poisoned after “Humbug Billy’ accidentally made and sold sweets containing arsenic.
At the time the price of sugar was high. And it was common place to substitute ingredients to bulk up the sweets. These substitute ingredients were commonly called ‘draft’. Which could actually be plaster of Paris. These inferior sweets were apparently sold at a cheaper rate.
Now, Humbug Billy, who was a maker of sweets, took delivery of some ‘draft’ to bulk up his humbugs. Unknown to him there had been a mix up and he had been supplied with arsenic trioxide instead. Unfortunately he went on to make and sell tainted sweets.
Word has it that each sweet contained enough arsenic to kill two people. Needless to say several lives were lost and around 200 people were affected by the poisoning. ‘Billy’ was a contender for the name of the quilt for a while.
From there I was led to the sugar trade in Scotland. Scotland is famous for its’ sweet tooth and became a power house during the 18th century sugar trade. It is home to many old fashioned sweets such as the humbug, sour plooms, couters candy to name a few.
This is where things got very murky. Many Scottish merchants became extremely rich off the back of sugar. Which really is not something to be proud of given that this wealth was directly related to slavery. I feel I haven’t done enough research to comment on what went on and with who concerning the sugar trade in Scotland and UK. But it has to be noted and recognised. I can guarantee it was not good. Another sordid dishonest history of the rich getting richer due to the exploitation of other people. Which continues today...
Humbug indeed.
So, for quite different reasons than when I started I settled on simply naming my quilt Humbug.
For further reading see below. Down the rabbit hole you go!
Lucy
dishonest talk, writing, or behaviour that is intended to deceive people: the usual political humbug. I know humbug when I see it.
TRENDING IN LUCY'S SHOP
Further reading:
https://www.jstor.org/stable/27917631 Early Glasgow Sugar Plantations in the Caribbean, STUART M. NISBET, Scottish Archaeological Journal, Vol. 31, No. 1/2 (2009), pp. 115-136 (22 pages), Published By: Edinburgh University Press
The Glasgow Sugar Aristocracy: Scotland and Caribbean Slavery, 1775–1838- Stephen Mullen https://www.scotsman.com/heritage-and-retro/heritage/the-eerie-abandoned-sugar-plantation-and-its-maniacal-scots-slave-owner-2073572
Firstly, quilt batting is used in-between the quilt top and quilt back. Like a sandwich. It is the squishy soft bit in the middle that gives your quilt it’s weight and makes it all warm and cuddly. Batting comes in white, natural and black. Depending on the colour of the fabric you are using in the quilt you may want to choose a corresponding tone. It also impacts on how you will quilt your quilt so its worth having a think about that while you choose which is right for you.
Poly Blend
Polyester blend batting is usually the most cost effective option. It comes in different ratios of cotton to poly which impact on the feel of the batting. 80/20 keeps the nice drape you get with cotton while giving you the added bonus of being easier to look after and nice and warm. 60/40 is stiffer and gives a more flumpy feel after being quilted. It’s also light in weight. And Poly blends don’t tend to shrink as much as other battings.
100% Cotton Batting
Cotton is a great option for pretty much all your quilting projects. You do however have to quilt cotton batting closer than other types of batting as cotton can bunch up during washing. In order to keep it smooth there will be a maximum space between quilting lines that should be adhered to. It will tell you this information on the batting packaging. 100% Cotton batting can take a while to soften up and also shrinks which will produce the wrinkled quilt effect which is desired by many.
Wool
Is an expensive option but it has it’s benefits. It’s warm, obviously. And it doesn’t crease! So if you are going to be storing you quilt tops folded this is a good option.
Wool does tend to beard however. Because it is fluffy the ‘fluff’ can travel through your quilt while quilting or in the wash create a layer of tiny wool clouds all over your quilt top. If you choose to use wool batting a tighter woven fabric would be advisable rather than say, linen. Also use a brand dew needle to quilt your quilt with which will reduce the chance of bearding as well.
Bamboo Batting
This is lush! It’s soft and silky and feels amazing and is easy to work with and I love it. It can also be a more costly option. But if you re going to spend hundreds of hours making a quilt that will be an heirloom you might just want to invest.
Out of all these options I use an 80/20 or if I’m feeling fancy I will use a bamboo batting.
Loft is another thing to think about when choosing batting. The higher the loft the puffier your quilt will be. If you are hand quilting you will always want to choose a lower loft batting as it is easier to manage.
Quilter’s Dream has been my go to brand for batting for many years. They do a great variety of battings so whatever your preference or choice they will be able to deliver. If you are hand quilting or you will want to choose their request. Their Deluxe batting is a higher loft, heavier and more suited to regular machine or longarm quilting.
Hobbs is another brand that I use from time to time. Usually for an 80/20. I like the weight of this and it drapes and quilts well. Hobbs also do a variety of options including wool which is a popular option.
One last thing, you may notice when you are looking at all the different batting options is that some of them contain skrim (stabiliser). I have never used batting with skrim so can’t comment on how that effects your quilt. But it is good to be aware and to check if the batting has or doesn’t have skrim.
And that’s it. Batting (or wadding) demystified. Experiment with different types and find out which you prefer.
Read more in the Quilting - A Beginners Guide
Tools you actually need to make a quilt.
What fabric can I use for quilting?
TRENDING PATTERNS
Now Quilt Digital Pattern - £11
Naive Melody Digital Pattern - £12
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When I started quilting I spent as much time choosing my fabric for the quilt as I did making the thing. And there is a lot of fabric out there to choose from. So many choices!
In this post as part of the Quilting - A Beginners Guide I chat fabric. Which to use and why.
]]>When I started quilting I spent as much time choosing my fabric for the quilt as I did making the thing. And there is a lot of fabric out there to choose from. So many choices!
In this post as part of the Quilting - A Beginners Guide I chat fabric. Which to use and why.
The more you quilt the more you get a feel for which type of fabric you enjoy using. Which brands you like. Which colour palette you prefer. But to get to that point you need to experiment.
The way I did this was by making mini quilts. Over time I experimented with different fabric to find which I liked.
But where is the best place to start?
Quilting weight cotton.
Quilting cotton is a high quality fabric which is the best and easiest choice for quilting. As with all fabric it is prone to shrinkage so some choose to pre wash before use. I have never had an issue with shrinkage using good quality quilting cotton. Quilts naturally wrinkle after washing and become soft. So a touch of shrinkage is usually not very noticeable.
Companies that make large ranges of quilting cotton which I regularly use are Robert Kaufman, Moda, Art Gallery Fabrics, Ruby Star Society, Dashwood, amongst others. These fabrics are easy to use. Some are lighter in weight than others but all work very well when making a quilt.
Cool Kona Bundle - £16.50
Linen:
Linen looks fantastic in quilts. It has a beautiful texture and feel. However it is a bit more of a challenge to work with. As it is more openly woven than quilters cottons it can fray easily so trying to handle it less is advised. Just a bit of extra care needs to be taken when constructing your quilt so it doesn’t unravel when washed. Robert Kaufman does a range of gorgeous linens Essex Linen which is high quality and I have found to be great to work with.
Flannel:
This is not something I use often. But I know many do. I have seen many people use flannel for smaller quilts, usually as backing. It is very soft and relatively easy to work with. Be aware that a flannel quilt can get quite heavy as it is thicker than quilting cotton. If you do choose to try flannel you might need to check the pressure on your presser foot and use a lower pressure to allow the fabric to move through the machine evenly.
All that being said you can make quilts with any fabric. Bedsheets, pillow cases, denim, old clothes… The key to making your life easy when making your quilt is choosing cotton fabrics with the same weight. Using the right needle for the weight of the fabric and also a good quality cotton thread.
*Links below are online shops in the UK that stock a variety of fabric that I use on a regular basis.
Read more in the Quilting - A Beginners Guide
Tools you actually need to make a quilt
Which batting do I need for my quilt?
Speckled Bundle - £28
Warm Kona Bundle - £22
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It can be overwhelming when you begin to look at all the different tools, equipment and notions that you could use when making a quilt. But what do you actually need? In this guide I will pair it down to just that.
My top tip for anyone who makes and creates is to use the best tools available to you. Particularly with quilting as you are making an item that will be used, loved and potentially passed down from one generation to the next. You will also spend quite a bit of time making your quilt so you want it to be an enjoyable experience.
No.1 - Self Healing Cutting Mat
A good cutting mat is worth its weight in gold. Every piece of fabric is cut on this thing. A self healing mat is the best for this job. Cutting mats are available in various sizes with an A2 - 24” x 18” being a good middle size that will accommodate most projects. I’ve used this size since I began quilting nine years ago.
No.2 - Rotary Cutter
Another essential tool for all quilters. This super sharp blade allows you to cut fabric easily, accurately and many layers at once. They work like a pizza cutter for fabric. 45mm is a good size to start with.
No. 3 - Quilting Rulers
Quilting rulers are important. They help you cut accurately and efficiently. 6” x 24” is a good size to start with along with a smaller square of 6” x 6”. Invest a good quality ruler and it should last you a long time.
No.4 - Scissors
A small pair of scissors or snips to cut loose threads and a larger pair of scissors solely for fabric are both useful.
You may need to cut paper if using paper templates so another pair of scissors will be needed for this.
No.5 - Pins
Pins hold fabric together which is pretty handy when it comes to quilting. Long straight quilting pins are the best for this job. Most often you will use pins to hold where seams join so the pins need to be a bit more substantial that regular pins.
No.6 - Seam ripper
Believe me you will need this. A good sharp seam ripper is an essential part of your tool kit.
No.7 - Iron
You will use your iron more than you have before. Every seam is pressed. Any iron will do the job. But a heavy iron with steam function is what to look for if you are purchasing a new one.
*Obviously you will also need an ironing board to press your quilt. There are pressing mats out there but so far I have never needed one.
No.8 - Sewing needles
You will need sewing needles of your machine and to sew by hand. Basic sharps are a good place to start for hand sewing. The sewing machine needles will depend on the weight of your thread. I like 75/11 needles for piecing and 80/12 is a good all rounder. Sewing machine needles are available to buy is assorted packs. This is a good option for you to try out different sizes and find the needle that works with your machine/ thread. Remember to change your needle every 10 hours or so. Or at least every quilt. If your stitches are beginning to go off a bit while you are sewing chances are you just need to change your needle.
No.9 - Thread
Use 100% cotton thread for quilting. I use Aurifil thread for all my projects. It is available in various weights and ALL the colours. Cotton thread works with the fabric in your quilt rather that cutting into it like polyester thread can do. My go to Aurifil thread is 50wt 2026, Chalk. You can use a 50wt thread for hand sewing, machine sewing and quilting.
No.10 - Sewing Machine
This is very much a personal preference and budget decision. You can pick up a decent sewing machine for under £100. A straight stitch is all you need. For baby quilts or lap quilts it is perfectly workable on a smaller machine. For years I used a middle range Janome Decor 3050 and upgraded after five years of quilting to a Janome MC 6700P. Lots of people have a sewing machine lying about their house that they never use. Borrow a machine or check local selling pages for a machine if you are short on cash or if you just want to try out quilt making.
After you have acquired all the tools you will want to get on with making the quilt. I have written about that next step looking at which type of fabric you should look for and batting / wadding options for your quilt.
Read more in the Quilting - A Beginners Guide
What fabric can I use for quilting?
Which batting do I need for my quilt?
TRENDING PATTERNS
Now Quilt Digital Pattern - £11
Go Quilt Digital Pattern - £11
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'Now' is the ninth Lucy Engels quilt pattern and the second in the Woven series. I was inspired to create this quilt as a follow on from my Go Quilt Pattern . Now, as well as taking influence from vintage woven textiles includes a nod to knitwear, Fair Isle to be exact. As someone who is Scottish and was in the past very into knitting I wanted to add in an element that reflected this. And so the chevron was worked into the design.
Now is designed to utilise small individual pieces of fabric rather than big strips. This not only makes the quilt an excellent scrap busting pattern but goes some way to retain a woven aesthetic. This quilt is not about being a fast finish and racing to get it done. Quilt making in my eyes is about slowing down and taking time to think, process and enjoy the act of making. I am going to take the time to hand quilt the ten colour Now Quilt top to add an extra layer of texture. It will take a while but it will be worth it.
Now is designed in two different colour layouts, five and ten colour. Step by step instructions are provided in the pattern for both options. With the five colour you will create a bold quilt with a more prominent background colour. This option allows for a paired back colour palette with pops of interest and is closer to the original Go Quilt. The ten colour option pushes the use of colour. Colour is used more equally over the quilt top and creates a busier quilt reminiscent of a busy knitwear design. For the ten colour Now Quilt option I was influenced by the colour palette I used for Go Quilt that I made during the Go Quilt sew along in 2019.
Like the Go Quilt, Now is built from a series of rows made up of blocks. This means that the rows can be sewn together in any order you like. Also as an added bonus you can mix and match both the Go and Now rows together to create a whole new quilt layout, a GoNow quilt.
It is important to me that you create a quilt that is something you love and is unique to you. I believe that everyone is capable of thinking for themselves and making design decisions. My quilt patterns are a jumping off point for your creativity. Switch up the colour palette, repeat and change the order of the rows, create something just for you.
On that note the Now Quilt sew along begins on 1st September and will run until the 23rd October. Each week we will sew a row together. I will send out a weekly email and will be posting videos in my new private Facebook group where I will also be available to answer any of your questions.
As an added optional challenge in this sew along you will be able to make a GoNow Quilt instead of sticking strictly to the Now pattern. I will be making a Now Quilt and a GoNow quilt combining both the Go and Now quilt pattern rows throughout the sew along. So if that tickles your fancy jump on board. You can sign up for the Now Quilt Sew Along HERE.
The Now Quilt pattern is available in my online shop as is kits for the cover quilt ten colour version using Dashwood Pop Solids. This is the first time I have used Pop Solids and so far so good. They have a decent range of solid colours which are vibrant and easy to sew with.
Now quilt has been labelled as advanced beginner. This is due to the chevrons within the pattern. It requires accurate piecing skills and being able to sew with a consistent scant 1\4” seam. Overall the pattern is not difficult as it repeats blocks. It just requires a bit of focus. And without the chevron rows it would have been a beginner pattern like the Go. So if you have a few quilts under your belt it is a nice skill builder and a progression from the Go Quilt.
All PDF digital and paper patterns are 20% off through until 31st August.
Links below:
Now Quilt Pattern - PDF Download
Now Quilt Pattern - Paper Pattern
Now Quilt - 10 Colour Quilt Kit
]]>As an example I will tell you how the Big Summer 21 fabric bundle fits in with my colour kickstart fabric bundles which were developed for the purpose of giving you a 'kickstart' on your own colour journey.
As I have already said this just takes some practice and being able to identify which colours you like is a great start.
So, let's continue the chat about how to use the Big Summer 21 fabric bundle.
I use a lot of solid fabrics in my work and tend to work in colour themes that stick around for a while. At the moment I am enjoying primary colours and gradients either side of these. Blues, Reds, Yellow, Orange, Pinks and the like.
This is the Big Summer 21 Bundle which uses shades of blue, muted yellow, deep orange prints with a neutral white. As a summer bundle it was chosen and influenced by sun, sea and sand. Warm and cool tones. This means that it will pair will both a warm colour bundle and a cool colour bundle.
The warm bundle.
In the warm colour kickstart bundle you can see that I chose the same yellow to appear in that and the Summer 21 bundles. Moving along the bundle you will notice that the orange print is the same colour as the orange fabric (third from the right). This anchors the two bundles together as cross over colours appear in both.
The deeper reds create contrast and adds the third primary colour into the bundle. Pinks are used as a gradient between the reds and yellow. And are at the same value as the lighter blues which allows the reds and deep blues to provide depth. The white prints on the mid blue fabric ties to the white fabric with the orange print which are the lightest in tone.
If I was to make a quilt top with these fabrics I would choose a white for the background. There are enough deep and mid tones colours already. Additionally the white background would pick up the white print on the mid blue fabric panels.
The cool bundle.
Let's have a look at the cool colour kickstart bundle. Similarly the bundles are anchored by sharing the blues and the white. The light blue prints on the dark blue fabric in the Summer 21 bundle is the same colour as the mid blue in the colour kickstart bundle also. The orange is used as a contrast pop. I would be reluctant to add any more orange to this bundle and instead keep it as points of interest throughout the quilt top. Perhaps adding a slice of orange to the binding at the end.
With these bundles I think a dark background would work well. Using more of the navy or an even deeper inky blue. And rather than every colour popping against the background the blues would be dappled throughout the quilt top. With the white and yellows being the highlights.
Adding fabric from your stash.
To add fabric from your own stash to either of these bundles you would be looking for a colour match somewhere. A balanced bundle will have dark , mid tone and light tones. The quantities of which can vary depending on the outcome you desire. If you wanted a darker quilt you would colour match and add deep blues and possibly reds. If you wanted an overall lighter quilt you would match with the whites, pinks, maybe a paler yellow or blue.
Getting your colour palette right just takes practice. And of course is down to personal taste. If you like it, that is all that matters. Begin with your core colours and play about with them. The more you use your favourite colour palette the more you will understand how those colours work and contrast with each other.
I do hope that goes some way to explaining my use of colour. As I print more fabric collections I will add to this series.
My limited edition fabric collections are printed four or five times a year. To see the handprinted fabric I have in stock click HERE.
To check out which Colour Kickstart Bundles I have in stock click HERE.
I also wrote about how to use the Big Summer 21 fabric bundle with english paper piecing. If you missed it you can check it out HERE.
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The Big Summer 21 Fabric Bundle has landed! My second handprinted, limited edition fabric bundle of this year. And this time I kept a scrap pack for myself to play with!
A delve into how these fabric designs can be used for english paper piecing.
]]>I have been asked often for ideas on how to use my fabric. And usually there is not much left of it for me to use. So in a bid to help you out and give you some ideas of what you can do with each collection I will be printing a bit extra for myself from now on. That way you can get some inspiration and I get a nice record of each of my fabric collections.
A bit about the collection:
The Big Summer 21 Bundle drew inspiration from the sun, sea and sand. Colours of the warmth of the sun and cool breeze of the ocean. Printed in three designs. Rectangle Grid 002 is an elongated version of the 2020 Rectangle Grid using a fine line. Sticks is an old favourite which again uses fine lines in a haphazard way giving pops of colour which breaks up the solid fabric. Windows is a new design using a block of four rectangles repeated in such a way that creates movement and rhythm in the design.
So, how can it be used?
It's no secret that I love english paper piecing. And as I was using a scrap pack it was an obvious choice to do some EPP. The Rectangle Grid worked particularly well with these 1" hexies. You can see in the photo above on the white, navy and yellow (just peeking out from under the pile of hexies) and in the white hexagon in the photo below where the grid has been used. I placed the hexie paper so a grid line runs from point to point. Creating a secondary hexagon within the hexie flower.
Windows can be used in two ways. Either cut randomly which I think works well with the hexagon flowers. Or cut intentionally like the pale blue hexagon below. Each hexagon was cut with the print running in the same direction. When stitched together in the hexie flower it gives a more uniform look. I prefer the 'messy' cutting with the Windows print. I think it is more interesting contrasted with the other more uniform designs and flat red joining hexagons.
With the Sticks print I used it to break up the busy prints. It adds a bit of quiet without being a flat colour. Having different intensities of print design creates a more balanced overall look. And this along with the contrasting dark to light colour tones is all together pleasing.
What about the red hexagons?
This is a personal preference. I love a pop of red. The hexagons all together without something to break them up were beginning to blend together. If that is the look you are going for thats great. But, I like to break it up somehow. I auditioned several reds for this job. Orange reds, dark reds, pink reds and settled on what could be described as a pure red. Flame for those that use RK Kona.
Don't decide on your layout straight away.
I would suggest making a few hexie flowers before deciding your final layout. You can play about with your layout and get a feel for what is required before committing and sewing them all together.
Have fun with it and experiment!
If you are wondering about pairing the Big Summer Fabric Bundle with a solids bundle check out my other blog post HERE.
I use Aurifil 80wt thread for piecing and I like John James Needles. Both can be found in my webshop, HERE.
My handprinted fabric is printed in small runs for short period of time. I try to print four or five collections a year. Each is different and fabric wont be repeated in the same design and colour twice. this means that the fabric you buy is truly limited edition. To see which handprinted fabric I have in stock check, HERE.
RETRO HEXIE EPP KIT
NAIVE MELODY APPLIQUE QUILT PATTERN
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Open:
To the side:
How you press is up to you but if you want to experiment with both techniques this is a nice easy block to test each out on.
I have added to the Broken Stones Quilt SAL Instagram Highlight if you would like a visual of the different seams, click HERE.
If you would like to join the sew along and still need your Broken Stones PDF pattern you can get it HERE.
Share your progress on Instagram using the hashtag #brokenstonessal
A reminder of the Prizes:
In week 4, 26th April, I will pick one winner at random. The prize is as follows:
To be eligible to win: post your completed Broken Stones Quilt top on Instagram using the hashtag #brokenstonessal before the 25th April. The prize winner will be drawn and announced on the 26th April.
Links to previous sew along Blog Posts can be found here:
Distraction and inspiration: Broken Stones Quilt & Colour Inspo
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And read on for the prize announcement. Oooh! I have teamed up with three wonderfully talented creatives to put together a virtual prize package for the prize giving in Week 4.
Flying Geese:
For the first part of this weeks sewing we are making the middle side blocks which consist of flying geese and an additional cut piece.
I have saved a video to the Broken Stones Instagram story highlight about making the flying geese using the no waste method. View it HERE. You can skip forward to Week 2 (Part I).
Prizes:
Ok, the prize package. In week 4, 26th April, I will pick one winner at random. The prize is:
To be eligible to win: post your completed Broken Stones Quilt top on Instagram using the hashtag #brokenstonessal before the 25th April. The prize winner will be drawn and announced on the 26th April.
If you would like to join the sew along and still need your Broken Stones PDF pattern you can get it HERE.
Got to be in it to win it!
Links to previous sew along Blog Posts can be found here:
Distraction and inspiration: Broken Stones Quilt & Colour Inspo
Week 1 (Part I) Broken Stones Sew Along
Week 1 (Part II) Broken Stones SAL
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I posted a short video on Instagram stories which is saved to the highlight showing you how I arrange my fabric pieces when sewing the corners so I don't get mixed up. You can see that in the Broken Stones highlight on my Instagram profile HERE.
Tips for cutting and sewing blocks:
I have had a few messages from sew along participants concerned that their work schedule/ commitments won't allow them to post to Instagram twice a week. Don't worry! I have structured the sew along to be dipped in and out of as time allows with no strict deadlines. The only posting requirement will be to post your quilt top at the end of week 4 for the prize giving. However in this time of isolation it would be lovely to connect with others. So if you can post your progress under the hashtag #brokenstonessal please do, if not that's totally ok. Just enjoy the process!
]]>Welcome aboard week 1 of the Broken Stones Sew Along! This sew along is going to run at a faster pace than usual as many of us are at home over the next few weeks. I will post here on a Monday (Part I) and Thursday (Part II) for the next three weeks. We will have a catch up week on week 4 and prize giving on the 26th April.
If you are signed up to my newsletter you will receive a round up email on Fridays.
This sew along is designed for everyone to choose the pace they work at. Choose a small block and larger quilt if you have the time and check in on the blog posts on Mondays and Thursdays. Or if you are short on time choose a larger block and a smaller quilt receiving the weekly emails so it is one less thing to think about. The choice is yours!
To take part in the sew along you will need the Broken Stones Pattern which is available as an PDF instant download. Get you pattern HERE.
Kicking off the first week we are going to get our fabric pulls out and post them on Instagram using the hashtag #brokenstonessal. Be sure to be following me @_lucyengels where I will be posting to Instagram stories over the course of the sew along.
If you need a bit of colour inspiration or not sure which version to make check out my previous blog post HERE.
I am going to be making Version 2, 24" Baby Quilt using this palette:
To achieve this look I switched up the A colour on the bottom right corner of the block which you can see here is the orange. You would make eight flying geese (Step 2. x 2) using C and A (orange) which would be enough for four blocks. And cut 1 x A1 size fabric (orange) piece sub cut and pieced according to this block layout. For the centre you would cut A2 & A3 in pale pink. I'm looking forward to seeing all your colour combos!
If you have any questions or need help with any part of your quilt making process please email me at info@lucyengels.com.
Happy Quilting!
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How will the sew along work?
Get your Broken Stones PDF Quilt Pattern to take part.
The Broken Stones SAL will begin on Monday 30th March.
Schedule?
Week 1: Fabric pull | Corner blocks
Week 2: Middle Side Blocks | Centre Blocks
Week 3: Block Assembly | Final Assembly
Week 4: Catch up | Prize Giving (26th April)
This sew along has been condensed and will run through bi weekly blog posts and Instagram updates which I will save in my highlights. As our schedules may change from day to day I wanted you to have the SAL information available when you need it. There is no need to sign up to a list. The SAL information will be available as we progress. Connect through Instagram using the hashtag #brokenstonesSAL and tag me @_lucyengels so I don't miss it.
If you do want the information straight to your inbox you can sign up to my main newsletter. I will be sending weekly emails with prompts and links to all the blog posts and useful material for the Broken Stones SAL.
There will be one main prize of quilty goodies (TBC) at the end of the four weeks. Winner will be picked at random on the 26th April.
SIGN UP TO MAIN NEWSLETTER HERE
To begin, this is the colour way that appears on the front cover of the pattern. In the second image I have switched the navy rectangles with the neutral background colour changing the overall look of the quilt.
Broken Stones has the ability to completely change its look by experimenting with the tonal values in the fabric you choose.
Version 2
In Version 2 the Broken Stones block is rotated creating a strong secondary pattern. You can recreate the above quilt tops by making a 24" block baby quilt (48" x 48").
During the sew along I will be making a top similar to those below which adds an additional colour and walking you through this process.
I hope you will join us!
Lucy
20% off Broken Stones PDF Quilt Pattern
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I love EPP, the precision, slow stitching, all of it! And If you have been following my Instagram account for a few years you will know I was heavily into EPP for some time. Creating a series of Quilt Prints using this method. Scroll way back in my feed to find them all.
Back to this project. Time was very tight on this thanks to customs holding onto my paper templates... And I was never going to achieve a full Quilt Print in the time I had. Which had been my original plan.
Full disclosure, I chose 3" clamshells, 3" clam points and 3" clam leaves which I had never used before. Its not a challenge if you don't challenge yourself, right? There was a bit of a getting used to with basting and hand stitching curves. It ain't fast!
Paper Pieces included a really useful instruction leaflet and I tested out their techniques and settled on lightly glue basting while snipping the seam allowance. Holding the pieces together using clips and using a flat whip stitch with Aurifil 80wt.
So, I had been sitting at home for two days happily hand sewing away. Getting to grips with the technique and prepping my shapes. Using the same process as I had in the past. And the thought occurred to me, could I be doing something different here?
I couldn't shake the niggling feeling that I wanted to just experiment and allow this challenge to be an opportunity to let you in to my development / critique process. It is something I get asked about a lot. How do you come up with these ideas? How do you know your idea will work? I design by doing, testing, self critiquing, adapting and testing again until I am happy with the process and final piece.
So often we give the impression of every piece being perfect, finished, whipped up in a flash. It doesn't happen like that at all. It takes time! There are lots of behind the scenes work and processes. Lots of failed and successful experiments. The image below is what I came up with. Experiment stage 1, if you will.
The result I wanted is not a functional finished piece but one that will inform future work. It takes elements of my previous Quilt Prints and pushes them in a different direction.
I hit the machine and used a small zig zag stitch (I think I could have gone smaller) to secure the pieces together using Aurifil 50wt. At this point I have to say that with Quilt Prints I leave the papers in to keep it rigid. If I was making, say a cushion top or quilt top, I would absolutely hand stitch to be able to remove the papers. But this is an experiment so anything goes!
The plan:
Use a limited palette. Play with layout. It's deliberately loose at this point.
The Critique:
What was successful in this piece? The thread highlighted the edges of the shapes and changing the thread colour could add an extra dimension to the piece. The irregular edges please me and I really enjoy the missing clam point piece. This is something that could be expanded.
What would I change in the next test? The rotation works in places but I think it needs to be more uniform and create a clear secondary pattern. I like the simplified palette of neutral and blue however in my next piece I would use a wider blue gradient. The machine stitching could be tighter and a mix of hand stitching and machine could enhance the piece. I could also use a different stitch to secure the shapes by machine and try 80wt instead of 50wt.
As you can see there are lots of things I can work on in my next test. By identifying what is working and what could be done differently, or better, it narrows the focus from the original plan.
And thats where I'm at with this. I want to continue to experiment with these shapes. What can I say? I'm a sucker for curves and EPP.
If you are a keen EPPer go check out Paper Pieces. They have ALL the shapes in ALL the sizes.
Happy Quilting!
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This month we were asked to use at least five different coloured threads in one piece. And of course I got carried away and decided a new quilt was in order....
Taa dah! Meet 'Paradise Circus'
This design has been in the planning for a good six months with several design changes along the way. Today we are going to chat thread and quilting!
Since its first draft I have felt this quilt needed a bit of the hand quilted touch. I wanted to combine hand quilted sections along with simple machine quilting. I chose 28wt Aurifil Thread to enhance the structure of the shapes found within the quilt without being too heavy. And 28wt is also beautiful machine quilted.
The threads I chose to use were 28wt 4150, 2130, 2240, 2560, 3320, 1147 and 12wt 1125 (the blue one). My hand quilting echoed the pieced shapes with a near matching thread colour. In the navy sections I used a heavier thread and slightly lighter tone of blue so the stitching didn't disappear into the dark background. 4150 is a variegated gold which I used on the majority of the paler green sections. This added just the right amount of interest with the subtle shift between colours.
You will have noticed that Paradise Circus boasts a row of spots. I went back and forth about how to apply the spots. Inset circle? Pieced? And settled on appliqué sewn on with a neutral 80wt thread. Which I think looks glorious on top of the machine quilted lines. Each spot pops!
So, all in all I used seven different colours of Aurifil thread with an additional neutral 50wt for piecing and neutral 80wt appliqué. I hope you have enjoyed a little insight into the quilting of Paradise Circus. I really enjoyed slowing it down and taking my time with the quilting process.
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I love this quilt. Not only does it tick all my bold geometric boxes but it is super satisfying to make. Beginner friendly, the Go Quilt is perfect for chain piecing and getting into some rhythmic sewing. Whether you stick to a minimal palette or go full on scrappy you will love the finished quilt.
I wanted to share with you some tips and ideas for choosing your fabric palette. The possibilities are endless to be honest as you could have every row a different colour for every block! But if you want to emulate the look of my original Go Quilt here is a formula of sorts that can assist. Its all about grouping contrasting colour families.
The original version of Go is made using a light tone background, a mid tone main colour, a dark tone and two accent colours. The light I chose was a neutral with a mid blue main colour and dark blue. Then I used red and orange as the accent colours to contrast. So, neutral, mid and dark of one colour and two mid tone contrasting colours of the same colour family. You can stick to this formula using different colour pairings and will achieve a satisfactory result.
In the two red / peach versions below I used a warm gradient and switched up what would be the dark tone fabric in the pattern. I used a bright pink on the left and a royal blue on the right. Even though the royal blue is a mid tone it pops because it contrasts with the reds and peach. The bright pink on the left gives a softer flow to the quilt top as pink and red are close to each other in colour. The pink is different enough to notice but does not give the pop of the blue. So using a gradient of colours with one contrasting or different enough colour to create interest.
It is also possible to create this quilt using four colours if you want to limit your palette further. The blue and monochrome version of the Go Quilt uses only four fabric colours. Additional dark tone has been used to replace an accent colour. Four would be the minimum amount of colours I would use in this quilt to be able to separate each row and contrast successfully.
Of course when it comes to adding colour you can go wild! There are lots of pieces in this quilt that you could add a contrasting pop here or there or by extending your colour gradient.
Each row could be a different colour, you could go from light to dark tones, you could go monochrome with pops of primary colours. The possibilities are endless if you take a scrappy-ish approach.
My testers Katie, Christine and Isabel did a fabulous job of making this quilt their own. (Photos are linked to their Instagram accounts)
How will you make yours?
The Go Quilt pattern is available in my shop now.
Fabric requirements for Go are outlined below. If you want a hand with fabric selection just drop me an email at info@lucyengels.com and I will be happy to help. I'm always up for a chat about colour!
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In honour of the Aurifil Artisan challenges I have dusted off my blog writing skills and delved back into long form posts. There is just too much to say for one Insta post!
For the September challenge we were asked to use our cross stitch or embroidery skills to create something using 12wt threads. Now 12wt is a thread I wouldn't use often. And seeing that part of the reason I wanted to become an Aurifil Artisan was to extend my knowledge of threads, I was diving right in!
And then we come to the cross stitch and embroidery, well I have never embroidered and I can't remember the last time I cross stitched anything! Challenge accepted!
To reduce my apprehension about using a completely different approach and materials I chose to follow a pattern. Which for the most most part I did, well the first bit any way... I chose a pattern by an Italian designer Futska which would allow me to experiment with using single and double threads to create depth and texture.
The thread colours I chose were similar to the original design: Aurifil 12 wt - 1125, 2325, 5022, 2132 on a 14 count fabric. The 14 count allowed me to comfortably use a double thread for the grid outlines and in fill in sections.
I began stitching the design from the middle outwards and quickly realised my measurements were a bit off when I attached the 10" hoop. I had stitched too close to one edge of the fabric.. Undeterred I had the bright idea of filling the entire hoop thus making the off centre slightly less obvious. That and I was really enjoying the process of some slow stitching.
I stitched without using the hoop as I found this more manageable but was careful not to stretch out the fabric as I progressed.
I love the texture and depth that was created using the single and double strands whilst leaving sections of the fabric bare. 12wt was the perfect choice for this project and it was easy to keep a regular tension whilst stitching. The subtle shift between the Tarnished Gold 2132 and Mustard 5022 was exactly what I was after. Whilst having pops of Medium Teal 1125 on a the regular stitched frame of Linen 2325.
This certainly won't be my last cross stitch project as I really enjoyed the change of stitching pace. I still have a few little sections around the edge to fill in. But not too much. I quite like the irregular edges. For all intents and purposes this piece is done!
Do let me know your thoughts, if any, in the comments and if you have any questions ask away!
* I have added the hoops and the cross stitch fabric I used in this project to my supply store *
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