Tag Archives: Movement

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.

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.


Medallion Process — Middle Borders

While you might have forgotten my current medallion project by now, I have not. I’ve been making placemats and a Christmas stocking, attending various meetings, working out, cooking and eating, having a bad cold … And I’ve worked on my medallion.

When you last saw it, it needed a narrow border to define an edge and correct for sizing. I asked for advice on color. The most frequent call was for a strong pink, though my brain was stuck on orange. In the end, I combined the two and pieced a border of both. I love the way it sparkles and adds interest more than a single color would. And a big bonus was that I used a lot of small scraps in my piecing!

Since then, I decided the next frame would be flying geese. [See the tutorial here.] I’m not sure I’ve ever used a border of all geese, beak to tail, but that seemed the right answer this time. The photo below shows all those geese edging the center on my design wall floor. They are not sewn together yet, nor attached to the center. (And it might be a couple of weeks before they are. Other adventures await!)


I really like it, but it clearly needs more pink next, probably some of that Pepto pink from the center block. (I don’t have much of it. It might call for a shopping trip.) The strong orange and dark pink belong, too. I’ll have to think about how to do this… (Since I have time to ponder, it’s possible I’ll decide to insert some pink and orange geese into the flock.)

In the last post on this project, I noted that inner borders and outer borders play somewhat different roles.

Inner borders

  1. either expand or enclose the center, (or can be neutral,) and
  2. introduce new elements such as colors and shapes.

Middle and outer borders

  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.

In my view, the pieced pink and orange strip is an inner border. It reinforces both the pink and orange colors from the center. It adds a new shape, a non-square rectangle. It stops the eye from outward movement, while encouraging some “circular” movement to notice the different orange and pink scraps.

The geese, however, are a middle border. Here are a couple of things to notice about it. First, geese in formation create a sense of movement. Movement is “interesting,” in that it keeps the eyes engaged. Too much movement is disturbing, though. The next border will need to be calmer. Another thing to see is the colors. I used two of the four blues from the 4-patches on point. The other two were completely gone, and I don’t have anything else close to sub in. I also used two new greens. Did you notice that? Probably not, as there already were three other greens of similar nature. At this point, I could add almost any bright green I want and it will fit in. Finally, there are two purples, repeating the purples used in the corner tulip blocks. Because they show up again, the earlier use is not a one-off, but seems like a natural part of the color palette. This is true even though there is no purple in the center block.

Another element of the geese border is size. It is visually wider than the 4-patch border, even though the measures are similar. The 4-patches on point is 5.6″ wide (measured from the center outward,) while the geese are 6″ wide. However, the tail or base end of each flying geese block creates a strong perpendicular line, while the 4-patch border has no similar emphasis to make an impression of width. In fact, because the blue patches run parallel to the edge, they provide an illusion of a narrower border. Varying the width of borders also contributes to interest.

The other important aspect of the geese’s size is proportion. Remember, proportion is not only a matter of size. It also is affected by visual weight. [See my posts here, here, and here.] Because the center block is large, borders need visual weight to balance it. The geese’s width and the strong direction created by their position and value contrast give that balance.

What do later borders need to do? They must continue the unity of the composition in terms of color, value, and basic style. They need to repeat the bright yellow and vibrant pinks and oranges from the center and first borders. They need to calm the center a bit after the strength of the flying geese. How will I achieve that? I don’t know yet! But it will be fun to find out.

Lessons: Medallion Center Block Considerations

If you’re just beginning a medallion, you may already have a center block in mind. Perhaps there is an old traditional block you’ve always wanted to try, like a feathered star. Or maybe a modern log cabin setting has you excited. Did you receive a beautiful block in a swap but not figured out how to use it? If you’d like some other ideas, see my post A Center Block for a Medallion Quilt.

Here are a few considerations as you begin. First, the center is the focal point of the quilt. It does not need to be spectacular to serve that purpose, but it does need to be eye-catching. Many of my centers are fairly ordinary blocks such as variable stars, Ohio stars, or churndash variations. Bold is more important than fancy.

Second, the block should be sized appropriately for your goal. In general, you may want the center to be a quarter to half the width of the finished quilt. If it isn’t, there are ways to enlarge it while retaining the flavor of the block. I discussed size in Lessons: Starting a Medallion Quilt and in Proportion, Part 1.

Third, it’s very helpful if the block has good variations in color and/or value. I once made a block that had three main colors, teal, salmon, and red. All three had small prints with colors that were hard to pick out. All three were similar value. It was very difficult to find ways to expand the range and make it interesting.

Oh my! All the same value, and hard to pick out more colors…

As you look at the block above, you might note a fourth factor: shape. All the discernible shapes are squares, though in truth the red patches are non-square rectangles. Even the shapes aren’t interesting here. The diagonal lines created by the salmon squares is the only thing that saves this from being completely weird/ugly/disastrous. Well, it is those, but I rescued it…

Sparkle. 48″ square. Finished January 2014.

The shapes are important not just for how interesting the center is. The shapes also play into the fifth factor. Is the center block enclosed or expansive? Lines that direct the eye outward tend to make the block expansive. Diagonal lines tend to do this but aren’t the only way. Triangles and star shapes often create natural movement outward. In the block above, other than the salmon squares, there is no line that directs the eye beyond the block itself, and they don’t do a very good job of it. I would call that block enclosed.

Here are a couple more examples.


I Found the Housework Fairy But She’s Not Coming Back. 35″ square. June 2015. Photo by Jim Ruebush.


The Big Block Quilt. 84″ square. February 2016. Photo by Jim Ruebush.

In the Fairy, the center block is enclosed. Though we can imagine the scene extends beyond the frame, we really are called to look inward to the fairy herself, not outward. In the Big Block Quilt, the center is expansive. The outward-pointing flying geese, set in slightly paler gold for emphasis, literally radiate from the center.

Neither one is better ultimately. It is just a design aspect to understand for how it fits into your whole quilt. If your center is expansive, at some point you may need to contain it, as the first broad strip border does for the Big Block. If your center is enclosed, you might want to find a way to direct attention outward and provide some sense of movement. In Sparkle, above, the borders including the large red triangles serve that purpose.

Blocks set on point are expansive naturally, because of the long diagonal lines created. Look at the difference between this

and this.

The top one is more neutral than either expansive or enclosed. Though the brown triangles of this churndash block provide some visual movement, it is largely stopped by the blue and gold print at the center edges. Once it is turned on point, the strong blue diagonal lines push the eye to the outer edges of the block, where the brown unpieced border stops it again. This example has fancy corners added, but there’s no need to do extra piecing in the setting corners. See my post on when to set your block on point.

Finally, the examples here all show square centers. While they are easier, perhaps, there is no reason not to use a non-square rectangle. Some of my favorite quilts have non-square centers.

All of this makes it sound like choosing a center block is very complex. In fact it’s not. How should you choose a center block? Just pick something fun, or beautiful, or the right colors, or sentimental. As you saw with my weird/ugly/disastrous block above, there is no wrong block. They all can work.

Next comes borders. They all support the center and each other, but first borders have a little different role than last borders. And look for more Medallion Lessons here

Stained Glass Too WIP

More borders to follow. Current size is 44" x 48". Final size should be about  58" x 62".

More borders to follow. Current size is 44″ x 48″. Final size should be about 58″ x 62″.

This one is fun. I started it with 12 4″ hourglass blocks, left from another project. They didn’t quite work there, but they were so pretty together. It made sense to use them right away, rather than waiting for some other project to miraculously need them in the future.

The first border set around the center hourglasses also were discarded from the other project. The rest of the quilt comes from stash. I love the colors, which seem lit like stained glass. They don’t show their brilliance in the photo.

I chose the long triangles (what are they called??) to break the 90 degree angles used to that point. I think they add a sense of movement. They gave me an opportunity to repeat some colors, as well as to introduce a few new ones. Since the new colors are of the same feel, they don’t look out of place, providing unity.

The last borders will ring what you already see without more elaborate piecing. My brother and I agreed it will give the sense of looking over balcony railings in an old, ornate building.