I Love Lucy

Lisa was another band mom at the high school. Unlike me, she’d been through band-mom years before, and she taught me the ropes. We saw each other at concerts and volunteering with marching band. We roomed together on the band trip, taking 200 teenagers to Orlando. We co-chaired the sectional jazz band festival for two years. We called each other “Lucy” and “Ethel,” famous for getting each other in over our heads.

After our sons graduated high school, we didn’t spend as much time together, and we weren’t as close. But she is still very dear to me.

In 2011 I made a quilt for her using some “I Love Lucy” quilting fabric I found. She’s used it a lot over the last few years, and even more since the middle of 2017. In June that year she was diagnosed with Stage 4 colon cancer.

She’s spent a lot of time in treatment and in recovery. She went back to work, and last Friday she was able to retire.

Monday she was admitted to the hospital. In late fall she was told the cancer had reappeared. Of course it was never fully gone. Treatment options are limited at this point, but they’ll investigate the possibilities.

This is the quilt I made for her. It suits her now better than ever. She is irrepressible, my Lucy/Lisa.

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Wind River Beauty, Math Part 2

Wind River Beauty is the  name I’ve given to my current project. I’m using the New York Beauty center (shown below) along with 45° diamond star arms. The overall look is of a Lone Star or Star of Bethlehem variation.

In Math Part 1 I noted that my Wind River Beauty quilt center is 17″. In fact, the block as designed by Toby Lischko finishes at 16″, which is a more typical, or perhaps more useful, size for a quilt block or medallion center. I first built it as a 16″ block according to her instructions, and then I rebuilt the orange surround to finish at the larger size. The 17″ block allowed two things. First, it made the proportions of the block better, once the corner treatment was added. And second, it made the math easier for the next stage.

Proportion

I previously wrote about proportion in three posts (here, here, and here.) In the first post, I covered the proportions of the center block design. In the first picture, the circle is tangent to the sides of the square. The size seems to crowd the square, and may seem “too big.” In the second picture, the circle floats in the square and seems “too little” within a sea of background. The one on the right, to my eyes, seems “just right.” It is still related to the edges of the square while not touching them.

For the Wind River Beauty (my name for the quilt,) once I decided to create an octagon of the background orange fabric, I knew it would need to be larger. A slightly bigger block makes more room for the corners, without crowding the inner circle. As shown below, the width of orange is approximately the same as the width of the teal circle. If the block were 1″ smaller, the orange width would be skimpy. Overall, the proportions are better with it bigger.  

More Math

Another reason the make the block bigger is some more quilt math. The diagonal of the square is 1.414 times the length of the side. (See the Pythagorean theorem review in the prior post for details.) The diagonal measure of a 17″ block is 17″ x 1.414 = 24.04″, or just over 24″. Half of the diagonal, or just to the very center of the block, is 12″, which is much easier to work with than the result from a 16″ block.

Look at the illustration below of an 8-pointed star. The very fine line draws a square, representing the center block of the quilt. The square is 17″ on each side. The diagonal all the way from corner to corner is 24″. Half of the diagonal, represented by the dotted segment B, is 12″. Each of the star points in orange and turquoise is a 45° diamond. All four sides of a diamond are the same length. A is the distance along the right edge of the turquoise point. A and B are the same length, 12″. With the 12″ length I could build out the star with relatively easy piecing.

As mentioned before, the design of the quilt is a variation of a Lone Star or Star of Bethlehem quilt. The sketch from EQ8 below gives a glimmer of how this will work. On this picture I drew two squares the same size. One is rotated 45° from the other, around the center point. You might be able to see that the octagon formed by the overlap is marked with a heavier line.

If you compare the illustration with my center block above, you can see that the corners of my center block, in purple, are like the corners beyond the octagon.

In the next post on this quilt, and past most of the math, I’ll show you next steps for construction.

Wind River Beauty, Math Part 1

In 2017 Jim and I drove thousands of miles in a number of different trips. When you’re in the car together that much, literally a few inches apart, it helps to have entertainment. Fortunately, we like to talk with one another, so the types of things one might muse about silently instead become topics for conversation. For example, after noticing a stop sign and considering how it looks like a snowball block, I asked, “If you start with a square and want to make a regular octagon from it, how do you calculate the length so each of the 8 sides is the same?” Huh?

Okay, look at the two illustrations below. The one on the left is a stop sign. It’s a regular octagon, meaning that all of the angles are equal and all of the lengths are equal. The diagonal segments of the octagon are the same lengths as the horizontal and vertical segments. I noted the dimensions as a for the vertical and horizontal segments, and c for the diagonal segments. As you can see, a = c. (Click the image to open the gallery and see larger.) The segment lengths are all the same. The dotted segment noted as b is not part of the octagon. If you extend the vertical and horizontal lines to create a square, b is the extension.

On the right is an illustration of a square, red & white snowball block. (This specific snowball block is designed to pair with something like a 9-patch block.) For the octagon (white, 8-sided shape,) the angles are all the same. However, the lengths of the octagon line segments are not the same. The diagonal segments of the octagon c are longer than the horizontal and vertical segments a. Why? For this particular block, each side of the square is cut in thirds; a = b. Going down the left side of the square, the top red segment b is equal in length to the center white segment a, which is equal to the lower red segment. The equal lengths make it easy to pair this block with a 9-patch. But the equal lengths of a and b mean the diagonals c are longer by a factor of 1.414. The general idea is the same for all snowball blocks, with the length of c the diagonal dependent on the length of the two triangle legs. See the primer on the Pythagorean theorem at the bottom of the post if you want to know more. 

So how do you take a square and make a regular octagon from it? I’m not bad at math but will be the first to admit I didn’t learn my geometry. Jim worked it out for me. What he found is

b = .707a
2b = 1.414a
==> side of the square = 2b + a = 2.414a

Why does it matter? At the time it was just curiosity, but I quickly found a project to apply it. In spring of 2018 I took a workshop with Toby Lischko on making New York Beauty blocks. She taught a simple way to use curved rulers and paper piecing to create these lovely, complex blocks. This was mine.

After I made it, I thought about how to use it to center a quilt. My design idea would work best if the center was a regular octagon.

With Jim’s formula in hand, knowing the size of the square, I solved for a and b, which let me know how big to cut the stitch-and-flip squares to make the corners.

I wanted a center block finishing at 17″. (Why 17″? That comes later, more math!) That means
side of the square = 2b + a = 2.414a
17 = 2.414a
a = 17/2.414 (just dividing both sides by the same number to solve for a)
a = 7.04, or just barely over 7″.

Since the finished side of the square is 17″ and a (the center segment) is 7″, the other two segments b are 5″ each. I cut my stitch and flip corners 5.5″ each. This is the result. The finished length of the diagonals (along the purple/orange seam) is the same as the finished length of the orange segment along the horizontal and vertical sides of the square. 

Pythagorean Theorem

Here’s the concept. The picture below shows a triangle that is 1″ on the vertical and horizontal sides. The diagonal measures 1.414″, which is the square root of 2″. (Check with your calculator if you don’t believe me.)

Sq_rt_of_2
For a right triangle, the square of the length of the diagonal (hypotenuse) is equal to the sum of the squares of the other two sides. We often see this expressed as a² + b² = c². To find c, take the square root of c².

In the case to the left, a = 1; a² = 1; b = 1; b² = 1; a² + b² = c² = 2; c is the square root of 2, or 1.414.

In fact, the diagonal of every square is 1.414 times the length of the side. So
length x 1.414 = diagonal.

1″ x 1.414 = 1.414″
2″ x 1.414 = 2.828″ or close to 2 7/8″
3″ x 1.414 = 4.242″ or close to 4 1/4″
4″ x 1.414 = 5.656″ or close to 5 5/8″
and so on.

That also means that if I know the diagonal of a square, I can find the length using
diagonal/1.414 = length. For example
6″/1.414 = 4.243″, or very close to 4 1/4″.
This is also useful in the next step of the Wind River Beauty.

Agreed, you gotta be something of a math nerd to work through all this. I’m glad all my quilts don’t require this process, but it’s a wonderful tool to use for a few.

A Liberated Baby Quilt

In my last post, I wrote about the difference between a liberated or improv process and an improv style. If you’ve followed my blog for very long or taken a look through my gallery, you haven’t seen much in an improv style. But I have done a couple of things in that mode.

About ten years ago, I decided to make a “baby” quilt for my son. He was already an adult by then. Influenced by Gwen Marston’s Liberated Quiltmaking, I did this:

I used print jungle fabric purchased at Walmart because of the cheetahs in the design. Cheetahs were one of Son’s favorite animals. The outside border was also used on a large, tied comforter I made for him a few years before. Some of the solids were cotton-polyester blend broadcloth. The stars in the sashing intersections were directly influenced by Marston’s style. I even did some hand-quilting!

Apparently I wasn’t entranced by deliberately making my stars and blocks look irregular, because other than one more project, I haven’t done other quilts completely in this “liberated” but torturous style.

Even so, when I walk in the room where this hangs, it always makes me smile.

Those cheetahs will show up again in the next baby quilt I make, which is for Son’s expected baby. Here is the fabric I’ll use:

 

Inspired by Gwen

One of the books I bought early in my quilting life, which I still own, is Gwen Marston’s Liberated Quiltmaking (1996.) I tried the “improv” style of wonky stars and house blocks and found it wasn’t for me. However, her improv process helped develop my own design methods.

What’s the difference between an improvisational style and an improv process? My thinking on this crystalized the other day when reading Audrey’s post on one of her projects. She has long worked in an improv method — in her words, “working in an unscripted manner and working successfully to resolve any/all issues that come up, etc. etc.” — only recently has she begun working in a more improvisational style, with less concern for precision and measurement. Again in her words with her emphasis, “My best inspiration overall, is in the vintage and antique style of quilts, preferably the softer, less perfect looking utility style of quilts.”  

I wrote a lot about improv a year ago, including this: “You don’t have to give up rulers and measurement and high-quality construction to make improv quilts. Your points can all be perfect, or not. To me, the real process of improvisation in quilting is that of making one decision at a time, and being open to the notion that any decision you make might be wrong, and call for a change. It is not a style, it is a process… ”

I’ve opened my thinking to agree that we can call “improv” a style, too. But you can create the style from patterns, or you can work the process and still end up with something most people would call very traditional. Improv style and improv process are two different things. They both have their place but they are not the same. What quadrant is most of your quilting in? Most of mine is upper left, in improv method but not improv style.

What Does This Have to Do with Gwen Marston?

Gwen Marston is often thought of as the founder of improvisational style. (I would argue she is not.) Marston has worked with both traditional and liberated styling for decades. I have five of her many books and two focus on historical styling from the 1800s. If you understand that this is the underpinnings of her work, you can see it in what has developed since then.

In the book Freddy & Gwen Collaborate Again (with Freddy Moran, 2009,) Marston includes a quilt that reflects both her traditional roots and her improv styling.

Freddy & Gwen Collaborate Again. Gwen Marston and Freddy Moran, 2009, p. 23.

I was especially taken by the purple background. Three years ago when I began a project using an urn with flowers, the photo above was my strongest inspiration. I started by drawing this:20160126_124416_resized

Three years is a long time for development of one of my quilts. The drawing gave me a starting point, as did the purple background. I chose fabrics for flowers and leaves, most of which were too wimpy against the strong purple and didn’t end up on the quilt. My intention was to needle-turn appliqué the piece. After a couple of leaves, I knew that wouldn’t happen. And so the project got relegated to a bin of works-in-process, or more accurately, works-in-waiting.

Last year as I experimented more with appliqué, I brought it out, chose new fabrics for the center, and began again.

Skipping to the punchline, here is the finished quilt.

Inspired by Gwen. 45″ x 55″. Photo by Jim Ruebush. January 2019.

And a few notes on my improvisational process:
1. After auditioning a variety of colors for the leaves, flowers, and urn, I chose strongly saturated ones that held up to the purple and determined the rest of the color scheme.
2. I adjusted the size of the center with red strips at the top and bottom. This allowed the hourglass blocks on the inner border standard sizing. The hourglasses are scrappy of reds, pinks, oranges and golds, greens, and purples.
3. Visually there is A LOT going on in the hourglasses, which led to the calmer choices in the next border. 🙂 I wanted to extend the purple from the center but had very little of it left. I auditioned several purples and wasn’t happy with any of them. They didn’t “go” with the center. The best way to fix that is to use more than one. The more you add, the more they all go together. So the side borders with appliquéd vines got one purple, while the upper and lower borders with semi-circles on chartreuse green got a different one. While there are lots of greens in the leaves on the sides, and the vines are hand-cut squiggles, the upper and lower borders are fairly regimented, retaining some order.
4. The outer border again reflects the influence of Marston’s quilt, though I didn’t realize it until the top was almost done. Yes, I actually had the red zigzag pieced when I looked at the inspiration photo again and saw that I mimicked it without intending to. The other colors in the outer border repeat those in the hourglass border, and they are the same shape and similar size. The repetition helps hold off the chaos that could have erupted here.
5. I “custom” quilted it using different motifs and threads by section. There is red thread on the red triangles of the outer border, to strengthen them rather than diminish the color. Purple thread is on the purple background of the center for same reason. Most of the rest has a neutral, very fine thread to provide texture but allow the color blast of the surface to dominate.
6. I finished with a green binding.

The technique here is as improvisational as the design method. I used several different methods of appliqué in this project, choosing whatever seemed to work most simply. A few shapes are applied by hand; some are fused and finished with a zigzag; some are stuck down with glue stick; the semi-circles use a completely different method.

Gwen Marston has been an inspiration in my quilting life since nearly the beginning. I’m pleased to finish this quilt that shows that influence more directly.