Looking for a fun way to show off your best work? Enter photos of your items in The Craftys! The Craftys is an award program that celebrates the best in DIY and craft across the U.S. There are categories from quilting to craft blogging, and there’s even a Young Crafter category that nets the winner in the category and his or her school a cash prize! (See The Craftys 2014 Best in Show winner here.)
Makers enter photos of their best work online at test.thecraftys.com and fans can vote for their favorites. Each category will have an award, with one Best of Show award presented for the 2015 competition. A team of judges chooses the category and Best of Show winner.
Entry categories include:
- Craft Blogger
- Decorative Painting/Mixed Media
- DIY Pinterest Board or Instagram Account
- Edible Crafts
- Fashion Sewing
- Felt Crafts
- General Crafts
- Home Decor/DIY
- Online Store
- Paper Crafts/Scrapbooking
- Sticker Art
- Young Crafter
Whether you choose to enter or just want to see the projects, you can learn more by going to The Crafty’s site, signing up, and checking out this fun new online competition. But don’t delay. Entries must be posted online by October 25, 2015, and the winners will be announced at a livestreamed event hosted by on November 6, 2015, from Chronicle Books headquarters in San Francisco. For official rules, visit The Craftys rules page.
We’re so excited to help kick off the blog hop to celebrate the 85th anniversary of Jaftex! It’s an amazing accomplishment to be involved in the fabric world that long (we’re nearing our 25th anniversary, which we thought was impressive!), and we couldn’t be happier to celebrate a company that has been putting out quality fabrics, cultivating amazing designers, and producing beautiful patterns for 85 years! Congrats!
On our blog today, we’re hosting Henry Glass fabric designer and author (and a personal fave of American Patchwork & Quilting), Kim Diehl.
- Kim says: “I’ve been so blessed to be in the family of designers for both American Patchwork & Quilting magazine and Henry Glass Fabrics, so I’m beyond excited that we can come together today in celebration of Henry Glass’s 85th birthday. What a huge milestone! In honor of this event, I stitched up this sweet little “Color Me Happy” wall hanging using the beautiful jewel-toned prints in the Folio collection of quilting fabrics, and treated myself to some quality hand-quilting time. A step outside of my “normal” box when it came to choosing a color scheme, which made this project even more fun to make. I’m so proud to be a small part of two such amazing forces in the quilting world, and I’m looking forward to many more years of creativity together!”
- We say: Prepare for MAJOR Kim Diehl eye candy.
Follow along with the blog hop here! There will be fun giveaways along the way, so make sure you visit every day!
In the June 2015 issue of American Patchwork & Quilting, designer Jean Wells teaches us how to expand our piecing horizons with a new technique — skinny insert strips — and shows us how to play with color. The editors were so excited to learn this technique and create their own projects. See what they made below and share your own creations inspired by Piece & Play using the hashtag #apqlearnalong on Facebook and Instagam. And follow along with new projects and inspiration at www.allpeoplequilt.com/learnalong.
Elizabeth Tisinger Beese, editor of American Patchwork & Quilting
Elizabeth says: ”For my zippered bag, I started with pinks, corals, and browns from my palette box, then added in a tiny bit of orange for a little kick. I found out I LOVE this technique of skinny insert strips! I even used leftover pieces cut off my blocks from the first Piece & Play assignment and used those as skinny insert strips. This is my favorite technique yet!”
Jill Abeloe Mead, editor
Jill says: ”Nature inspired this little doodle cloth. It was constructed during one of those “what if…” moments, trying out color and proportion and various sewing techniques. The teal strip at center was the same width as the teal strip to its left. Random pintucks “shrunk” the width and added texture. Adding a skinny strip, such as the sliver of lime green, isn’t easy, but the zing it adds to the color scheme is well worth the effort.”
Lindsay Fullington, assistant multimedia editor
Lindsay says: ”I tried really hard to get skinny strips. But as I’ve said in past posts, I’m just not a fan of tiny pieces. I definitely need to practice this one a little more, because I love the look! Even in the teal strips (about as tiny as I could get on my first try), I think the little peek of color and the dramatic curve of the fabric adds so much interest with the patterns and colors of the fabric (fabrics from the Hadley collection from Dear Stella). The geometric flower print is once I haven’t used from my palette box yet and it really pulls all the colors together.”
While we didn’t know which fabrics would be used in which design when we chose the palettes, we did want to choose a background or sashing-type of fabric for each palette. For the White Plight palette, Weeks Ringle had several tips for making the choice. “You need contrast with your field color,” she says. “When you have a whole bunch of different colors, it’s going to be a challenge to find something else that’s going to work and not distract.” We auditioned batiks, small prints, and solids, and, in the end, we had a difficult time choosing just one. So we thought we’d share all three along with the reasons why each could work.
We started with an aqua that was a little too similar to the ground in some of the prints, so we would have needed to remove those prints and we didn’t want to change the selection. By trying an aqua that was just 10 percent darker, we could keep all of the prints while still providing contrast. So the darker aqua was in the running.
Next, we tried a print that contained more blue and compared it to the darker aqua. We preferred the darker blue, as some of the prints contained small amounts of blue, but not enough that the blues in the print would connect to or bridge out into the background, altering the appearance of pieced design. The blue would be our wild-card choice.
For a more traditional option, we auditioned a print and a solid that were nearly the same hue, value, and saturation–an oatmeal or linen hue. We felt the solid offered a little more contrast, while the print receded more, so, in the case of these two, personal preference would be the deciding factor and we opted to purchase the print.
We wondered what a darker neutral would offer, so we brought in a cocoa brown solid and found that it offered more contrast than the lighter linen hue while still supplying that neutral we wanted to try. Since it’s a muted hue, the piecing and prints will still be showcased.
Which would you choose? Or would you have chosen totally different options?