# Medallion Process — A New Center Block for Class

When I teach Medallion Improv!, I use a blueprint specifying the size of the center block and the widths of each border. This frees the student from concerns about those proportions, allowing them to focus on other aspects of design.

Even with a blueprint, each student’s quilt will be completely different from every other, including mine. Each begins by creating their own center block. In so doing, they begin to define the style or theme of their quilt, from traditional to modern/contemporary, from casual to quite formal, from couch throw to heirloom to large wall-hanging.

I’m starting to prep for classes this fall. I’ve redesigned the blueprint to hone in on a couple of specific lessons. For example, using a center block on point requires knowing how to do that, as well as which blocks are appropriate for turning and which are not. Designating a border of half-square triangles demonstrates how many different ways they can be arranged, and shows how very simple blocks can be used to create a big impact.

I like to have at least a couple of examples of the blueprint quilt made, to show students varying ways to approach problems. Because this blueprint is new, I have some prep to do! I’ve chosen two center block designs to create two new quilts for class. One quilt will have a “traditional” feel because of the fabrics used, while the other will be from brighter, more contemporary fabrics. Both center blocks will be foundation paper-pieced. (I love knowing how to paper-piece!)

The blueprint’s center block is 16″ square, finished. (It could be no less than 15″ and no more than 16″ and still work easily. Smaller sizes would require some amendment.) Here is my first of two center blocks, already turned on point.

As you can guess, this is for the quilt that will be less traditional!

When turned on point, a 16″ block creates a center that is 22 5/8″. Because I used oversized setting triangles, when I trim it, it will finish at 23″. With a finished quilt top at 60″ square, the center, including setting triangles, is a little more than a third the width of the total. This gives a good proportion and clearly defines the center as the focal point. (See my posts on proportion, here and here and here.)

The variety of design elements in the star block create interest. (Note varying shapes, sizes, colors, values, and patterns. All of these are “design elements,” or the characteristics that add together to create the overall look. ) The lines in the fabric patterns, as well as the spinning star in the middle, provide a sense of movement that is both outward and rotational.

The colors reinforce each other, with the red and black in the outward stripes repeating the red and black of the pinwheel patches. The various oranges and orangey-yellows give depth, and also invite any other orange or yellow to join in. The dark blue of the star background isn’t repeated yet, but it will be in the first border.

The prints used, while emphasizing stripes, also include squiggles, bars, circles, and even floral. Having such a range in the center opens the door widely for what might come next.

The setting triangles are pieced from two different stripes. In truth, I had a hard time figuring the math to cut the orange squiggled fabric efficiently. So I didn’t. I just cut rectangles I knew would be big enough, and after piecing with the red and black stripe, cut the big triangles to fit the edge correctly. See my post on setting a block on point.

I have LOTS of stuff going on right now, so I’m not sure if I’ll work on this again next, or switch gears to the other class quilt, or … could be something else altogether. Either way, it was fun to make this block and I think it will make a big impact as the center of a quilt.

# Around the Corner

I’m trying to finish my Branching Out challenge quilt before Monday’s guild meeting. Once I’m done with it, I won’t get to do much quilting for the rest of the month or into August. These are a couple of weird, fragmented months, and I have much to do besides sew.

In the meantime, I continue to look for inspiration and ideas. While rolling though some googled images the other day, I noticed a handful of medallion quilts that had something in common. For each, the first border wrapped blocks around the center’s corners, leaving the middle of the border unpieced. The effect was to strengthen and extend the center block.

I drew some examples in EQ7 to save as reminders, and possibly as designs. They have a western or southwestern feel, masculine and rugged, but the idea is valid regardless of style or format. It could work just as well for a block quilt’s borders as for a medallion.

The first two illustrations don’t use exactly the same effect as the googled images, since they both have a narrow first border, followed by the block-wrap. In addition, my drawings repeat the corner design, which wasn’t used in what I saw elsewhere. Drawing in EQ7 leaves some “piecing” lines where I wouldn’t actually piece. Also all of the sizing isn’t exactly how I would make it in real life.

This is the center block.

This kind of corner gives a couple of positives. First, I like the way the fancy corners connect the rings of the quilt differently than with a more typical border/corner design. Second, the length of the border isn’t dependent on the length of the blocks in it. For example, in the second quilt above, the grey-blue strip between pieced brown blocks acts as one long spacer strip, and its length doesn’t need to be a multiple of the pieced block length or width. That makes it easy to adjust for odd border lengths.

Though these corners are a little showy, they don’t call attention to themselves, but contribute to the unity of the whole quilt. The repetition of the corner treatment in each design adds to that effect.

I don’t know if I’ll ever make any of them, but they have design elements that are worth remembering.

# Self-Critique is Part of the Process

“You’re too hard on yourself.”

“Quilters are famous for pointing out the flaws.”

I’ve heard both of these many times. I heard both these ideas yesterday in comments, when I posted about a recent finish. If you don’t think about it, they sound like the same thing, that pointing out flaws is the same as being hard on myself. That pointing out flaws is an unnecessary burden on my self-esteem, reinforcing bad thoughts about myself.

It’s not.

While it’s possible that quilters are famous for pointing out flaws, there can be more than one reason we do so. Perhaps it happens when someone is uncomfortable with praise, and seeks to minimize it (and herself) by criticizing her work. Perhaps it happens when someone is seeking praise, hoping that by pointing out problems, a chorus will arise denying it.

But for me, pointing out flaws is neither of those. For me, self-critique isn’t about you (or what you think of me or my quilts.) And it isn’t about me (and how good or not good of a person I am.) It’s about the work. It’s part of the process of working. It’s how I improve in what I do and how I think.

I’m not a perfectionist. My piecing is pretty good, generally, but there are too many variables that aren’t controllable to think I can “perfect” it. Starch has its place, but I won’t soak my fabrics in starch, as some people do, trying to deny fabric one of its most important characteristics: plasticity. The ability of fabric to stretch and ease is part of what makes it pleasing as a medium. Otherwise I might as well cut and paste paper into designs. And often, once a piece is quilted, small errors fade into the texture of the quilt, becoming nearly invisible. Even so, there will always be ways to improve my piecing, and I try to move in that direction.

Quilting, stitching those three layers together? I can do a serviceable job. But I have no expertise and probably never will.

My focus is on design. For me, piecing and quilting are always in service of the design. And to improve at designing, as at anything else, I need to practice. “Practice” is not simply doing something over and over. After all, doing the same wrong something over and over simply entrenches bad habits.

To practice with improvement, I need evaluation of my designs. And to evaluate them, I need to understand the characteristics that can lead to a pleasing composition.

We call those characteristics “design elements and principles.” In quilting, the elements are the tools of design, such as color, value, shape, pattern, and line. The tools are used to create the viewer’s experience, such as unity, movement, repetition, balance, and proportion. These are the principles.

As I learned more about the principles and elements, my designs became stronger. Coincidence? Perhaps. But along with learning about those factors, I also started to assess how successfully I’d applied them. What do I see? Why does it seem static, or too chaotic? The balance seems wrong; what happened, and how could it have been better? That color seems out of place; the value contrast could have been stronger here. Ooh, I really like the way this element echoes that one…

Self-critique, assessment, evaluation. Whatever you want to call it, describing — for myself — my design successes and failures, taught me to apply those design components.

When I point out the same positives and negatives of my designs to you, it is not so you will either confirm or deny my view. (Of course if you have opinions to share, I welcome them.) My hope is that what I’m learning will be of service to you, too.

My goal is not perfection. There will always be varying levels of success and failure within any quilt I make. My goal is to learn and to become more powerful in my art.

Self-critique is part of my work process, and part of my learning process. As I learn to see more clearly, I don’t learn to succeed. I learn to fail better.