In my last post I talked about how the design elements for Starstruck, our 2014 Block of the Month quilt, changed along the way to completion. Today I thought I would share how I arrived at the rich color ways upon which the quilt was produced.
I started with my Renaissance Garden fabric collection, selecting the rich, warm tones of black, cinnabar and cream, which feel right at home next to a fireplace on a chilly evening. Although the effect is quite different, the quilt’s individual blocks look equally at home nestled against the dark or light background.
Last year we saw that our customers really enjoy being able to choose from several different color ways, so decided that this year we would give you that option again in our Block of the Month quilt. If you’re looking for a more vibrant color scheme, I reworked the Starstruck design using cool blues and vivid yellows with teal accents, with either a blue border and light background, blue border and dark background, yellow border with light background or yellow border with dark background.
Cool blues add new vibrancy to the pattern
Brilliant yellows give a whole new feel.
Each of these color variations really brings the quilt an energetic feel that will have you ready for Spring!
One thing you’ll notice about the design for this quilt is the fussy cut border. All 13 blocks have a fussy cut border print that really takes advantage of the convergence of the design elements to create a kaleidoscope effect.
My pattern includes helpful tips on how to work with fussy cuts. For example, if you’re working with your own fabric, make sure your fabric has a stripe that is 1 and 3/8 wide to use in your alternate blocks.
The inspiration for the paisley fabric and border print came from artwork of a paisley shawl design from the late 1800’s that I found in a design house. My border print came from manipulating that shawl pattern in new ways.
My border print was inspired by this drawing of a shawl.
I’m really excited to introduce our 2014 Block of the Month quilt, called Starstruck, and thought I’d share how this particular quilt came to be.
Designing my quilts is an iterative process. Often, what I envision at the start takes on a life of its own, and by the time my design is completed it looks very different from how I thought it would look. I enjoy the journey, and when the design is finished I have learned along the way.
When I first created the blocks for Starstruck, I wanted 12 star blocks alternated with a “setting” block. The setting blocks were completed filled in. The blocks looked lovely by themselves but when I put them together with the stars in a repeated pattern, they looked choppy.
Original setting block
Original setting block with star blocks
Wanting more flow to my design, I changed the alternate block. I experimented with different options and finally took some of the small squares away from the setting block so that more background showed. That improved the design tremendously.
Final setting block
Final Setting Block with Dark Quilt
Next I changed the dark background to a cream to give you variety. But when I added the light background I lost the design continuity I had with the deeper color, and the blocks again looked too “individual” and static.
Quilt with light background loses continuity
This time I consulted with my staff, and together we added small dark corner triangles to each of the stars.
Adding corner points to the stars is a subtle but effective change.
What a difference! Now the squares harmonize and look great together and the overall effect is just what I had hoped for.
Light quilt with revised corners has continuity
What makes this quilt so enjoyable to make is that each alternating block is different to give you added variety and a new challenge each month!
In my next post I’ll talk about how the Starstruck quilt’s color ways came to be.
Jinny Beyer has designed a brand-new BOM quilt for 2014.
The patterns for the quilt, dubbed Starstruck, are free for subscribers to her monthly email newsletter. The first pattern was released on February 1 and patterns for new blocks will follow each month during 2014.
The quilt features twelve different original star blocks, set off with a beautifully shaded alternating block. Jinny shows the quilt with both a light and dark background, and in an alterative colorway (while supplies last). Quilt kits are available exclusively from Jinny Beyer Studio.
To receive the free patterns, subscribe to Jinny’s free monthly email newsletter at the link below.
I recently returned from a fabulous trip to Indonesia. The trip was in two parts. First I visited the company in Solo that is printing my batik collections. I was able to see the entire process from start to finish. Everything is done by hand and it is amazing to watch the process. I came away in awe that we pay so little per yard for the amount of labor that goes into each pattern.
The second part of my journey was spent in Bali. Jim West the founder of the tour company “Sew Many Places” asked me to be the guest quilter on his Bali tour. It was spectacular. Jim certainly knows how to run a tour. We stayed in a first class resort and took day trips from there. We did lots of sight seeing, sewing and eating the delicious Indonesian food! Here are a few photos I’d like to share from my trip.
Did you know?
Indonesia is made up of a series of islands. Each Island has it own language and many sub languages and dialects. In fact there are more than 700 living languages spoken in the country. Other than Indonesian (the official language) the next most used is Javanese and then Sudanese.
The art of batik making in Indonesia was developed on the island of Java. When selecting the name for my batik collection, I chose the word malam, the Javanese word for wax. This was confusing to some people because malam is also a word in the Indonesian language that means night.
In the process of batik making:
The cloth is dyed one or more colors.
Next the cap (pronounced chop) is dipped into melted wax and then pressed onto the fabric. The cap is made from copper and it takes anywhere from 10 days to a month to create the cap.
After the wax is stamped onto the fabric, the cloth is bleached. The places where there is wax will not bleach and will retain the color of the original dye.
Then the cloth is again dyed the desired color for the background to the cap design.
The fabric is then boiled to melt and remove the wax.
Finally it will be sent to the “finishing” facility to go through the process of setting the dyes.