Tag Archives: Borders

The Six-Pointed Star UFO Is Still a UFO

but it’s a lot farther along than it was!

Remember where I started with six star points and no real plan? Then I figured out how to set the points in their background fabric and made more borders.

I played with EQ7 to try some ideas for finishing. (Oh yes, in case you wonder, there were many more versions drawn!)

I started on the third of these, making 40 chain (double 4-patch) blocks and cutting the alternate blocks. The chain blocks didn’t have enough visual weight to balance with the center, so I switched gears.

This is the result so far, after a fair amount of unstitching and restitching.

As often, it is too big to take one decent picture of it on the floor. I simply don’t have enough head room above it to get the camera high enough.

Those are dark brown triangles in the corners. They look just right in real life, though in the photos they don’t thrill me. The triangles, along with the diagonal lines of 4-patches, provide the weight in the corners I was missing before. The diagonal lines there and throughout the chains give movement. And the value changes from light background through dark triangles provide the contrast I like.

The small 6-pointed stars centering the borders repeat the star shape in the quilt center. I wondered if they would look too small and fussy, but overall I’m happy with the effect. They were kind of a pain to make. I might post again about making them.

Right now it is about 70″ square. I’ll add another 1″ border, as well as a wider outer border to finish. I don’t have those fabrics in my stash, so will need to shop for the right thing. There are too many other things to do right now, so that will wait, and the UFO will stay a UFO for a while longer.

Finding Balance with Visual Weight

I’m working on that UFO. More accurately, I’ve stalled working on that UFO, because of balance problems.

Last time I showed you a couple of ideas for finishing the 6-pointed star with borders. Both were good ideas, and I kept playing in EQ7 to refine them. This was the winner:

Pretty, huh? I liked the airy way the chains of 4-patches wrapped around the center. After arriving home over the weekend, I set to work making 40 double-4-patches to construct the borders. They finished well, and I was excited to lay them out around the center. But I don’t like the look at all. They definitely look better in the drawing than they do in real life.

The balance is all wrong. The visual weight of the center (everything in the center so far, including the 4-patches on point and the 1″ dark pink border outside of them) is too heavy, relative to the weight of the chains. The difference is so stark, the border chain blocks seem completely disconnected from the center, as if they are from different quilts.

Unity: the design principle that all the elements and components of a design look like they belong, that they are unified, or one.

Balance: the design principle that elements and components of a design have equal distribution of visual weight.

My chains are not well balanced with the center, and in fact, are so badly balanced as to look like they don’t belong.


So it was back to the literal drawing board of EQ7. I have a tentative plan, but you might understand that I’m shy about showing it right now. First I’ll see if it works.

How is your week going? Are you making good progress, or are you in steps-forward and steps-back mode, like I am?

A New Plan for an Old UFO, Part 2

Where I left you last time was having solved the problem of setting the star points into background fabric without using Y-seams. I also showed you an idea for a quilt design using log cabin blocks. It’s pretty, but I really have no interest in making it.

This is where it is so far. At this point it finishes at 54″ square. 

The question is, what to do next? Often I begin a quilt with a center and two or three borders, designed in my mind and with scratch paper, and made directly. When it’s time to add more borders, I often switch to EQ7 for design help. It gives the advantage of trying out ideas without making them. With unlimited iterations possible at virtually no cost, there is not much downside. I did the same for this one.

Here are a couple of options, drawn in EQ7.

Original design in EQ7, 82″ square.

Original design in EQ7, 93″ square.

I like them both, but I have a pretty good idea which direction I’ll go with it.

Spinning Star

Some projects turn out roughly the way one expects, and others? Not so much. My Spinning Star is one of those.

Earlier this year I was invited to facilitate a three-day workshop at an art center. I was honored! And excited! And I started planning a quilt project that could convey many lessons of medallion quilts, while allowing the students to create designs unique to their own tastes.

When I teach my Medallion Improv! class, I offer a common blueprint so the students can focus on some design principles and elements, but not all of them. With given sizes for the center block and border widths, for example, they don’t need to worry much about proportion.

For the three-day workshop, I planned to use a 16″ center block. Each student would bring their own to the first class day, to set the foundation for their own design. The first order of business in class would be to demonstrate setting that block on point. The on-point setting expands the center block both physically and visually. The 16″ space, with exactly sized setting corners, suddenly becomes 22 5/8″. It’s an efficient and dramatic way to increase the size of the project. (To see how to set a block on point, check this out.)

In order to provide an example for promotional materials, I got to work and made a 16″ block of my own. The setting triangles are slightly oversized to take the new center to 23″. Using oversized corners helps with two aspects. One, it doesn’t require perfection in placing those corners, making it an easier task. Two, it allows the quilter to trim the center to a size that is simpler to use. Using 23″ finished means I can add 2.5″ (finished) borders on each side, taking the top to 28″. That is an easy size to use.

You can see more information about how I started this in my post Medallion Process — A New Center Block for Class.

And then … the invitation was rescinded because the art center decided they needed a bigger name. (Yes, I am a bit disappointed by how that all went, but you don’t need to worry or comment on that. There are challenges and opportunities in how we deal with disappointments, too.) Immediately it was apparent that this project would not go roughly as I imagined.

At about the same time, I was working on the slide show for my guild’s quilt festival. You can find the video of A Quilt Is More Than A Blanket in this post. Though I was deep in the midst of making my red and white quilts, I realized that to show the process of making a quilt, I needed to take pix of a quilt in process! For various reasons, I didn’t think the red and white ones were good candidates for that. So onward and upward! The spinning star became a priority again.

Spinning Star. 50″ x 50″. Finished June 2017. Photo by Jim Ruebush.

The center block is made with paper piecing. The first framing border (not setting triangles) is unpieced strips. The fabric of the border repeats the dark blue, red, and black that came earlier. It also adds some lighter chalky blue for value contrast and relief. The print is supposedly an Australian Aboriginal design. The border takes the center (everything in the center so far, including the border once added,) to 28″.

This really is an easy size to use, if one is making a pieced border of square blocks. You can divide 28″ a lot of different ways, including into 7 blocks at 4″, 8 blocks at 3.5″, 14 blocks at 2″, and so on.

My original plan for the workshop blueprint was to use 3.5″ half-square triangles. There are a lot of lessons to learn with HST, and there are fun ways to demonstrate them. (Here are a few ways to look at HST.) But once plans changed, and I wanted to increase the size more quickly in order to finish more quickly, I decided to use a wider border.

I looked for inspiration in a number of places and ultimately saw a round robin quilt in Instagram I liked. It had a middle border of light bars and darker bars, arranged in a staggered way. I think the proportions of the bars were different from mine, but the idea is the same. One advantage to this design is I could make it as wide as I wanted. (“Wide” means the dimension perpendicular to the edge of the center. The two lines in this symbol ⊥ are perpendicular to each other. “Length” is the dimension along the edge.) The width is 6″, taking the top to 40″.

Running the blue bars through the middle creates a stable line, and makes the V-pattern of the staggered darks a little more subtle.

I also knew I wanted the corner blocks to echo the center shapes. Using the same blue and red fabrics from the very center, as well as one of the orange fabrics, gives a direct repeat. And using the economy block gives a less direct repeat of the center with setting triangles. (For directions on making the economy block, see my most-viewed post ever.)

With the center then at 40″, I had another easy length to divide into square blocks. I chose a 5″ wide border, this time of the HST I didn’t use before. Well, sort of. My plan was to use HST, simply made from a solid orange and the same blue Aboriginal print from before. I made 8 of the 36 required blocks (8 on each side and 4 in the corners,) and they were awful. The orange was much too much, too orange, too much orange. (NOT articulate, huh? I wish I’d taken pictures to let you see exactly what I mean.)

I still liked the idea of using the HST to make Vs around the edge, but the orange wouldn’t work. I tried other ideas and other fabrics. I flipped the orange underneath to reveal less of it, and put that against another blue. Ah. Much better. However, the solid orange still didn’t work for me. Instead I cut strips of the squiggly orange stripe from the center setting triangles, and added pieces of the blue that looks like it has finger-painting smears on it. One benefit of this is I could still use all the blue Aboriginal print I’d already cut!

The completed top is 50″ square. I quilted it very simply with a large double meander in a marigold-colored thread. (The double meander is done with one very large stipple or meander across the surface of the quilt, followed by another pass back, winding and ribboning through the first pass. It’s simple and fast and looks great on a lot of quilts.)

The binding is made from the African fabric used for the red and black stripes of the setting triangles. Though the red and black were fussy cut from it, the design also includes dark blue, so it was suitable across its pattern.

This quilt did not go roughly how I expected. It didn’t go much as planned at all. But I was pleased to use it for the video, and I like how it turned out. I think it will have a special owner some day, but right now I don’t know who that will be.


Medallion Process — Final Borders


Unnamed top. About 71.5″ x 71.5″. January 2017.

Last weekend I finished this quilt top. I’ve shown you some of my process along the way, through the flying geese middle border. The geese border needed to be contained and balanced. Putting the orange and hot pink edge both inside and outside does that.

That decision was made before we traveled for the holidays. While gone I worked on designing the final border.

Remember the purposes of middle and outer borders are to

  1. build the story by repeating and varying earlier elements such as color, value, shape, line, and contrast; contributing to a motif or theme; and
  2. correct problems with balance and proportion; and complete and unify the composition.

I used EQ7 to try design options. If you ever think that designing with software is cheating somehow, let me assure you it is not. I spent many hours, trying literally dozens of designs, before choosing what you see above. One option that made the finals was a border of variable stars on point. Those variable stars, in fact, are what inspired me to begin this project, so it was hard to let them go. The star proportions are the same as the variable star in the middle of the Carpenter’s Wheel center block, so would echo it. (The EQ7 drawing below uses a different version of the center block than I used. See the photo above.) The on-point setting also repeats the 4-patches’ setting in the first border. Another benefit is the ability to use all the colors again in a natural way.


Pretty, yes? But I like the boldness of the components that come before, and the stars are small and the detail gets a bit lost. To me the design did not seem well balanced or fully unified.

Long ago I played with a number of quilt designs, which used a repetition of a center block motif in the corners of both an inner and an outer border. Here’s one example (and see more here and here.)

wraparound corners 4

I tried this idea in a variety of ways, and I liked the direction it was taking. I chose corners the same as the corners of the center block. They are the same size, and the pinks are the same fabrics. They made sense, continuing the floral motif and unifying the design in ways the variable stars did not.

However, with all the blank space between those corners, it didn’t balance well with the busyness and boldness of the flying geese. What it needed was more.

Next I tried more. I tried adding a flower variation in the centers of the border. Several iterations of that later, I stopped with my final choice. But still it looked too bare.

Once the chain blocks, made of double 4-patches, were added, I stopped. The 4-patches repeat the inner 4-patches. The chains’ stair-stepping shape also imitates the line of an on-point setting. Finally, they present the notion of floral stems or vines, or even swags, very traditional ways to border a medallion.

I have fabric for the back and will quilt it soon. I’ll show you final photos then.