I'll even admit to finding it slightly addicting. Stitching one color and shape to the next is satisfying, relaxing and enjoyable. I chuckle when I recall how I used to think sewing by hand must take ages! Having done a bit of hand sewing before embarking on this quilt, I knew that with an efficient set up (tools, posture, support, etc.), hand work actually moves right along. Feeling the need for a little bit of visual texture, I brought in just a few batiks, and a stripe by Moda and stars by Andover. I laid them out to create a transition from light to dark and noticed darker greens were needed, but because they aren't in my standard dye palette, I turned to Nancy Rink's New Aged Muslins by Marcus Fabrics. I also pulled a stack of my naturally dyed silks and cottons in colors that I see around me every day during summer months.

Lesson: make more time to play.įirst things first, I began the process of making Resplendent by cutting piles and piles of 1' paper hexagons. We had discussed paper cutting being a large part of the class, and then with a little more play time and sample making, I bridged paper cutting to fabric by way of fused applique - more on that a little later in this post - but it's important to note this time of play was a key moment in the planning of the workshop, as well as the evolution of this quilt. Just at the early stages of designing this quilt, Elizabeth Duvivier invited me to teach at the June '18 session of Squam Art Workshops.

At the same time, I had been anxious to start an English Paper Piecing (EPP) project using my naturally dyed fabrics. In the beginning, this quilt was intended as an attempt to satisfy my curiosity about medallion quilts (their history, variety of quilt components and assembly methods).

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