I love this quilt.
I learned a lot of new skills and honed some others.
But what surprised me was how much this project changed the way I think about all of my projects. (I wrote some of my initial thoughts about this here.)
I wanted to understand why I love this quilt so much, and why I didn’t tire of it during the process. Certainly some of it has to do with the sampler nature of the quilt. Each week brought different challenges and experiences. And then there’s the fact that I used just under 100 different fabrics. That kept it interesting – always something new to look at and enjoy.
But I don’t think it’s just that. I think I enjoy challenging, complex quilts. Quilts that you don’t let anyone touch for a year after you finish it. True present-day heirlooms.
In 2014 I really want to choose my projects carefully. For me, I think a little extra planning and deliberation are worth it. I’d rather make fewer quilts, but really love them.
My color scheme developed quite a bit over the course of the project. It started here:
Various shades of teal and aqua and pool blue. A touch of purple.
I thought my accents would be the pink and orange fabrics on the right.
Over time my pinks and oranges softened to peach and I added more purple.
I didn’t realize it at the time but now I’m certain I was influenced by this post about peach and jade. So pretty together, especially against the white background with just a little black here and there. I didn’t set out to make this my color scheme, but I loved it so much that I started buying a lot of peach fabric… and then just started adding them to the quilt!
About 1/3 of the 100 fabrics I used are Anna Maria Horner. I think that helped to ground and focus the color scheme.
I challenged myself in this quilt to avoid solids almost entirely… unless absolutely necessary or beneficial. The reason being that many of the quilts that have made me gasp aloud with delight this year have been made without solids (off the top of my head: Sarah Fielke, Sarah @ No Hats and Jess @ Elven Garden).
The citron is the only true solid in the quilt. It caught my eye at a quilt shop and somehow ended up in my penny sampler stack. I used it to create a “lights on upstairs” effect in my little village. (By the way, how amazing would a little village tree skirt be?)
I kept the back of the quilt simple, but I used one of my favorite Anna Maria Horner prints to make it special.
I like to think of it as “the dark side;” a little surprise when you lift the corner and peak underneath. It’s hard to see in this photo, but the side panels are a thin black and white stripe.
I chose my quilting design and binding with complete disregard for the backing because I don’t consider this quilt to be necessarily reversible. I outline quilted all of the “picture” blocks and diamonds and put a cross or X in most of the others. It took a while! But I was concerned that anything else would take away from the beautiful block designs and fabrics. (Except maybe hand quilting, as Laura of Little and Lots plans to do with her gorgeous Christmas version. If I didn’t already have a big hand quilting project going I would definitely have done that).
I really wanted to use this stripe as the binding, but I was worried about how it would look with the backing fabrics. I decided not to let that stop me, but in the end I think it actually isn’t too bad even on the back. Perhaps even mismatched fabrics look like they belong together once they’ve been sewn?
This quilt will live in my guest room, but it’ll be a while before I let anyone sleep under it.