Tag Archives: Shape

My Best Advice on Using Half-Square Triangles in Borders

I could call this a rule, but that would be silly, wouldn’t it? ūüôā

Here’s the advice: when using half-square triangles as your border blocks, try them multiple ways before choosing.

Why? Because setting them with different line and value orientation changes the appearance significantly. It’s worth taking the few minutes to audition variations.¬†This simple illustration gives 4 different ways to arrange them.

Here are some examples from a little quilt I made in 2014. They aren’t sewn together yet, hence the wonky look on some of the pictures.

There are still other ways to try these, too. Other than the first one, they all have the dark value close to the center. Try them with the light side against the center for a different look. Also, they aren’t shown with changing orientation, similar to the right side of the illustration at the top of the page. In other words, there are at least eight ways to use them, and that assumes that you pattern them the same on all four sides.

Here are some examples from my quilts. First, Marquetry. Note that two of the borders use HST, but with different arrangement.

Another one is Bird On Point. Closest to the center, the HST run around in one direction. In the middle blue-and-blue border, they’re positioned differently to create movement in the other direction.

And one more, Black Sheep Manor. This also has HST in two borders. In the one around the center block, the triangles “spray” outward symmetrically. In the middle border, they have changing orientation for value and line.

I could go on, but I’ll bet you get the point. ūüôā

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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.

 

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.

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

2016_0207Isaac_Front

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. 

Lessons: Rectangles Include Squares

I am a word nerd. When words have very specific meanings and are not used correctly, or are used ambiguously, I react.

For example, a rectangle¬†is a¬†four-sided shape¬†with all four interior angles measuring 90¬į. In other words,¬†with all four corners as right angles. Opposite sides are parallel and the same length.

A square is a special type of rectangle. The difference is that squares have all four sides the same length.

The problem occurs¬†in using the word “rectangle” to mean “non-square rectangle.” Rectangles include squares. So to be accurate, I would always need to amend it by saying “non-square rectangles” if I mean “non-square rectangles.” Correct, but awkward, huh?

So the solution is to be incorrect, at least a lot of the time. It will make my skin crawl, but when I use the term “rectangle,” generally I will mean “non-square rectangle.”

Questions? Comments? Do you have pet word peeves? (Please reassure me that I’m not alone in this!)¬†

A Gift for My Friend BJ

Recently¬†I mentioned I’ll be giving away a few quilts. I sent off two on Friday, and yesterday (Saturday) the first one arrived for its new owner!

In July and August I had a few quilts displayed in a local quilt shop. One day my friend BJ met me there to take a look, and to enjoy some time together. BJ and I met 18 years ago (MY GOODNESS!) at the bank where we both worked. We worked closely for several years prior to her retirement, and we’ve remained friends since then.

BJ is a sports fan, and while there were a couple of the quilts she especially liked, I thought this one suited her well. It is named¬†Play Ball! and is 46″ x 56″.

This¬†fun little quilt started from a pillow panel. Several years ago, on my first excursion into our local Mennonite thrift shop, I found two square pillow covers. With their vintage baseball theme and strong blues, reds, and greens, likely they were used in a boy’s bedroom. Besides the square(ish) panels on the front, the envelope closures on the back were lined with small baseballs on navy blue.

I used one panel to inspire a baby quilt for my youngest grandchild. (He is going on 5 now, so not a baby anymore.) It uses the Burgoyne Surrounded block on the front and the pillow panel to center the back.

But I still had one panel left. With a nice range of color and value, I continued the baseball and All-American theme.

The dark green tone-on-tone framed the panel to represent the grass of the infield, and then I mimicked the baseline and bases in the corners with cream and tan. Spark and movement comes from the simple border of 4-patches and half-square triangles.

The busy stars print frames all that, followed by borders only on top and bottom to elongate the quilt. This border uses the “economy” block, or square-in-a-square, described in this tutorial. I was able to use four of the fussy-cut baseballs for the corner blocks.¬†Finally I framed the whole thing with red. This gives a balance between the red, navy, and green in the center panel.

I enjoyed making this quilt. I have a feeling BJ will enjoy watching her baseball playoff games and quite a lot of football snuggled under this lap quilt.