Knot Thread Stitch
by Lisa Solomon
$22.99; Quarry Books
Review by Jill Abeloe Mead, editor
Warning: I am an inveterate maker-of-stuff and this book is dangerous. I want to make every single one of the 17 projects included in this little book (except I will substitute my wanna-have Golden Retriever for the shown Chihuahua and Corgi-esque pooches in project: Pet Portraits).
This book is inspiring. It’s charming. Author Lisa Solomon, a fearless mixed-media artist, presents all the usual (but informative and stunningly photographed) getting started information…fabric, thread, tools, transferring designs, etc., in the opening pages. Then, she jumps straight into the really good stuff…the inspiring projects… but not before she gives you permission to use her ideas as a jumping-off point to do your own thing. Wait, wait there’s more. She shows her project and then hands each concept over to an artist or crafting friend to create their own take on her idea. And, she shows both projects and gives ideas, inspiration, and instruction for achieving great results with each.
With a tiny investment in needle and thread and something to stitch on, you can follow along and make what Lisa and other designers, bloggers, artists, and crafters have made. Or, you can create own take on each concept. You’ll learn not only 19 basic embroidery stitches, but also how to embellish stitches with mixed media. See-and-make a hand-carved stamp design (a delightful steam iron on a purchased apron), stitches on Shrinky-Dink zipper pulls and key chains, painted-and-stitched T-shirt (an irresistible, yellow Mini Cooper), robot finger puppets, cloud- embroidered pillowcases (for a heavenly night’s sleep), and more.
Rather than being a stitch-by-the-numbers book, this 144-page paperback is an idea book. Though instructions and patterns are presented for making each of the projects as shown, you are encouraged and invited to take your own creative wanderings from the path given to make small, fun, quirky and clever things. Take the challenge.
Bargello Quilts In Motion: A New Look for Strip-Pieced Quilts
by Ruth Ann Berry
$19.95; C&T Publishing
Review by Linda Augsburg, executive editor
The bargello pattern, also referred to as flame stitch, emerged in needlepoint in the 17th century. It emerged on the quilting scene in the ’90s, yet another technique made easier by the innovative rotary cutting and strip-piecing quilting methods. Those early bargello quilts mirrored their needlework counterparts with their zigzagging or swag-like designs. Today, the look of bargello quilts has changed dramatically, thanks to books like Bargello Quilts in Motion and the techniques explained by author Ruth Ann Berry.
You don’t need to be an artist or a technical genius to make a stunning bargello quilts like the ones in Bargello Quilts in Motion. In fact, the instructions and color information provided in this book makes it easy for you to make one of the quilt projects similar in colors to the ones shown, plus the helpful tips about fabric selection give you the confidence to choose your personal favorite color scheme. Projects mix unlikely prints (from florals and batiks to novelties) with tonal prints, hand-dyeds and solids for visual impact. But it’s the twisting and turning of what Berry calls the scribbles that has me wanting to put rotary cutter to fabric. Her design skills make the ribbons of gradations seem to entwine as they move across the quilt, and that’s what’s most intriguing about Bargello Quilts in Motion. Thankfully, as a finale to the clearly explained and illustrated projects, Berry shares details on how to design a bargello quilt with turns and twists with specifics on how to determine the width of the strip sets to achieve the look you desire. Her helpful hints will empower you to design your own motion-filled bargello quilt.
In all, the eight project quilts included in this 64-page book are accompanied by information on selecting fabric, basic bargello construction, borders, layering and binding, and an inspirational design gallery. The final chapter that covers designing your own has very clear illustrations and information about how to make the strip sets twist and turn as shown in the projects. So let yourself go and try something new — pick up Bargello Quilts in Motion.
On my “to-make” list: It wasn’t easy to choose just one, but I’m choosing Moody Blues (page 20). For the background fabrics, Berry used eight floral prints with a black foundation — you’d expect that to be pretty low-contrast, but you’d be wrong. In her words “The floral prints in this quilt all have a black background, but it seems like the value changes depending on the number of colored motifs on each background. The ‘lightest’ black floral is packed with bright flowers, while the ‘darkest’ black floral has only a few scattered flowers.” And then, after the cover quilt, Batikiello (page 12) and Asleep at the Beach (page 40) to give me a better understanding of the colorplay, I might try my hand at designing one of my own!
Accentuate the Negative: Making the Most of Negative Space in Modern Quilts
by Trisch Price
$22.95; Kansas City Star Quilts
Review by Linda Augsburg, executive editor
An inspiration for both traditional and modern quilters, Accentuate the Negative: Making the Most of Negative Space in Modern Quilts covers different approaches to the backgrounds or negative space in quilt projects. Trisch Price starts with an overall lesson on negative space, but dives deeper into the topic in each chapter. I was inspired as I read along, with Price sharing her hard-learned knowledge with me and coaching me through the color selection and placement process rather than just telling me which fabrics to put where. After all, once you understand the reasons behind the choices, you’re better able to apply the learnings. Each chapter covers one method of working successfully with negative space and each is accompanied by three projects to illustrate the concepts.
She shares how to select fabrics for Gradations without having to dye your own. She even includes fabric brands and color names so you’d be able to recreate the quilt as shown or compare the colors used to recreate the project in a different colorway. The Reversal chapter focused on how the perceived positive space was where the patterns and colors played, while the negative space was reserved for a soothing solid that ended up packing the punch. Interruption — carrying the negative space forward into the design — added an unexpected secondary design on some already striking quilts. Modern design aesthetics abound in the Negative Form chapter with bold shapes driving the quilt designs. The Ghosting technique intrigued me — high contrast and low contrast blocks let you shift the viewer’s attention. In the Piecing chapter, subtle piecing in the negative space forms a secondary image, grounds a design, and adds subtleties to the quilt. Throughout the book, images of the quilting designs are crisp and clear, so you can see how negative space can also be transformed by the quilting you add — that’s a huge help for me and I bet it is for many of you as well. Moreover, as I read each chapter, ideas for incorporating the concepts into my own quilt designs, both traditional and modern, started to take form. I could see how the tips and lessons provided in Accentuate the Negative: Making the Most of Negative Space in Modern Quilts could help me make all types of quilts much more interesting.
On my “to-make” list (which feels more like a “to experiment with” list): Confetti Drop (page 28), String of Pearls (page 50), Phantom Square Dance (page 80), and Mod Roses (page 108).
Lizzie’s Legacy: More Quilts from a Pioneer Woman’s Journal
27.95; Kansas City Star Quilts
Review by Jody Sanders, editor
Lizzie’s Legacy is the second book by Betsy Chutchian based on the journals of her great great grandmother Lizzie Carpenter. In her book, Gone to Texas: Quilts from a Pioneer Woman’s Journal (2009) Betsy started the very personal journey of re-creating quilts inspired by 25 years of journal entries by Lizzie from 1857-1882. In this follow-up book, patterns are provided for 13 quilts and a pincushion are made with Civil War-era reproduction fabrics.
Projects include classic patterns such as Courthouse Steps, Churn Dash, and Single Wedding Ring. Family photos, easy-to-read instructions and diagrams, and detailed photographs of the quilts showcase scrappy projects that promote the make-do and use-it-up mentality popular during the 19th century. As a co-founder of the 19th Century Patchwork Divas, Betsy is passionate about recreating quilts that have the authentic look of vintage quilts, but can be made using 21st century tools and techniques.
It’s so hard to decide what project I will make first from the book. As a fan of little quilts, maybe it will be the 40×48” Broken Dishes quilt called Milla’s Babe. However, the foundation square, quilt-as-you-go technique used to make the Bird Trap Courthouse Steps quilt is intriguing. The myriad prints used in A Quilt for the Help, with its pinwheel blocks has me heading for my scrap basket to see how many fabrics I can include in one quilt! Maybe I’ll just start at the beginning and work my way through the whole book!
Fabrics: Mixed Bag collection by Studio M for Moda Fabrics
Here’s a place mat that’s so easy you’ll be eager to sew a set of four! This quilt-as-you-go project means that when the top is done, so is the quilting! Add binding and you’ve completed a pretty place mat! This project is courtesy of our sewing blog, howtosew.com. Visit daily for new sewing projects and easy home decor.
Want to see it? Watch the video for our quilt-as-you-go place mat here.
Materials for one place mat:
- 18×21″ piece (fat quarter) print for place mat backing
- 9 assorted print 2-1/2×14″ strips for place mat top
- 1/4 yard dot or print for place mat binding
- 14×20″ piece thin quilt batting
- Quilt basting spray (optional)
- Water-soluble marking pen
Finished place mat: 18×12″
Sew this project with 1/4″ seams. Sew with right sides together unless otherwise stated.
Yardages and cutting instructions are based on 42″ of usable fabric width.
Cut the Fabrics:
From backing fabric, cut:
- 1—14×20″ rectangle
From binding fabric, cut:
- 2—2-1/2×42″ strips
Assemble (and Quilt) the Place Mat:
1. Lay backing fabric rectangle on work surface with right side down.
2. Place thin quilt batting piece on top. (If desired, use quilt-basting spray to secure the layers together.)
3. Using a water-soluble marking pen, mark a line 2-1/2″ from left short edge.
4. Align a print 2-1/2×14″ strip, right side up, between the left short edge and the drawn line.
5. Place a second print 2-1/2×14″ strip, right side down, atop the first strip.
6. Sew together along one edge through all layers.
TIP: Use a walking foot attachment on your machine during the construction to avoid puckers on the placemat front and back. With a walking foot, all layers of fabric move through machine at the same speed.
7. Finger-press the top strip open.
8. Continue adding assorted print strips in same manner, one at a time, finger pressing each open, until all nine strips have been added.
9. Finger-press ninth strip open. Press unit flat.
10. Centering strips, trim unit to make an 18×12″ place mat top.
11. Machine baste around outer edges of place mat top about 1/8″ from cut edges.
12. To bind and finish the edges of place mat use 2-1/2×42″ binding strips.