Spring Quilt Market 2020
A first for everything, eh. It is my privilege to be presenting a spring collection for
Riley Blake Designs.
My very first fabric group ever and the one that literally launched my quilting industry career, in Pittsburgh, 18 years ago,
Hungry Animal Alphabet.
Once again, available!!
This is the best version yet, check out those patches! I am so pleased to see this printing (highest digital quality, art skus) that is the closest to my original watercolor art. I personally refreshed the colors and created some brand new layouts including the rare book panel! This will be a hot item I predict. The timeless images detail rich are still fun to see how many words beginning with each letter of the alphabet that one can discover. This one is dear to my heart.
If you’re a shop that enjoyed the original offering then I’m sure you will remember the sales strength and broad appeal of this classic. Hungry Animal Alphabet is by far my most requested fabric especially the coveted panels. You will not want to miss it.
The collection delivers in November 2020.
There are three free projects that will be posted at rileyblakedesigns.com once the line is available. Two are quick and easy projects using the patch panel. The third is a gorgeous pieced quilt using an eighteen inch sunflower block discovered and recreated from an antique quilt booklet. This is a nice one, right on trend and soft tones and colors for the modern nursery.
Pieced by Kerri Thompson and will be quilted by Annie Sloan. Stuffed animals made by Aunt Henri.
If you want to see MORE, please come to our LIVE on June 4th, 10 MDT and enjoy a rare look inside (mini tour) of the Joy Studio. And, it’s my birthday!!
SO – come and see the full booth and perhaps win a prize?!!!
To see all the RBD virtual tour join us on Facebook at rbdvirtualquiltmarket
Our HAA bunting made by Katie Frisch.
First collection, first virtual Quilt Market, first booth in our own Joy Studio and first LIVE!!!
Follow for the fun GIVEAWAYS on:
Facebook Joy Studio News
THANKS, for stopping by, would love to hear from you!
Hello to everyone at home. And sewing?
If you ever thought of making one of our large scale
She Who Sews
series for your studio, now would be a good time. Patterns are
in the shop through May!
And we have fabric kits (limited supply) for
as she originally appears on the pattern cover using our
and a few basics plus a Paris version using my
fabrics from Riley Blake Designs. Both collections are available in shops now.
I am making her up in the later currently and for the first time ever actually and, I’m liking!!
Fabric background back story below.
• Back story on the background text fabric is that the text was inspired by a little antique children’s book of prayers, in French! Sew sweet. Although I cannot interpret them, I was pleased to make this a part of the Couturiere Parisienne collection in lieu of my standard snippets of scripture. Parfait!
I’m sure we all agree that we are still in such a strange time but keep creating is my plan. And praying. It helps, right?!
Au revoir mon ami!
Freedoms taken away.
Freedom of speech. – My first (stronger, more specific) saved draft of this post suddenly and mysteriously disappeared, unretievable.
Freedom to worship. – I can no longer attend my local church.
Freedom from want. – I cannot purchase basic needs but rather in some cases decided for me.
Freedom from fear. – The daily news reports are terrorizing.
I am a licensed artist, not a strong politically minded person, not a conspiracy theorist. However, I am compelled to post this expression of my anger and a career decision. My (& yours) freedoms for the moment and foreseeable future have been taken away. In America!! Coincidence or intentional? What does your common sense tell you?
- Aside from numerous inconveniences, I am angry that I will not be spending this Easter holiday with my immediate family. I am angry that I cannot attend my local church. Two of the most important freedoms that were enjoyed my whole life, in America.
- Despite the costly personal loss, I will no longer license my art/Images and name to manufacturers whose product(s) are made in China. I should have addressed this several years earlier when my conscience was merely bothered. Now I take it personally, as though I have been attacked. My sincere apologies.
I have never expressed any political views and make it a point, but rather I stick to art and creativity only in my content up to now.
Please understand and again pardon me, I am deeply angered at WHO caused this attack on my country, and the world.
Would have never believed or conceived.
Wake up o sleeper? Eph. 5
National Quilting Month,
means it’s time for the #IGQuiltFest2020 hosted by Amy Ellis @amyscreativeside on Instagram!
Most likely you’re familiar with the event that works around a daily quilt related post prompt, plus opportunities to win a variety of giveaways!
Ours is Day 8, Reduce, Reuse and Recycle. Perfect, since I have been ‘upcycling’ for a very long time.
You can view my IG post on Sunday, March 8 @jweckerfrisch
One can quickly tell from looking at anything I create that I am crazy about antique and vintage EVERYTHING! This influence is apparent in my art, fabric and interior design. Not only a collector but as a maker I always see a potential use for anything typically discarded so, the studio is always full of possible medium for future creations. And, if it’s not being used to make something, an item may double for creative storage or organizing.
The shots below are some of the reuses of items picked up along the journey and my post focus.
1) Antique Pre-Hoosier cabinet, red bistro chair and locker room baskets make great sewing supply storage. Fabrics shown are Painters Palette, Couturiere Parisienne (in shops) and a sneak peek of Snow Sweet (delivers in June) both from Riley Blake Designs.
Maybe you will notice the three year old studio shift since I began learning to quilt. It’s true! The turn of the century pre-hoosier cabinet once housing all of my art and crafting supplies is beginning to fill up with the current fabric collections that can clutter during sample making for markets and event preps. Sew far Paperdoll, Costume Makers Ball, Painters Palette, Couturiere Parisienne, Goose Tales and Snow Sweet collections from our fabric partner, Riley Blake Designs, have passed across the tables, filled the cupboards and been stacked on every flat surface available in the Joy Studio at one time or another.
2.) Auto shop ‘Creeper’ rolling cart under the cabinet is the perfect size for fabric bolts.
3). Saved vintage canvas bags and select clothing items have found their way into our appliqué quilt project testing. The upcycled materials snowman below is included in our quilt pattern for this summer’s Snow-A-Long which features “Snow Sweet” fabrics from Riley Blake Designs.
Thank you for the visit!
Please leave me your thoughts in comments and . .
ENTER to WIN Painters Palette RBD Fabric Bundle GIVEAWAY @amyscreativeside on Instagram Sunday, Day 8!
Happy National Quilting Month and thank you Amy for hosting #IGQuiltFest.
G R A T E F U L,
to be living the abundant life. John 10:10
Hat Shop Sew-A-Long, last post.
Adding your borders is all that is left to do!
This can be done in a couple of different ways however, I will only be describing how I actually, chose to finish this quilt.
First up, the inner 1″ (finish size) black border. Make sure that your window blocks are squared up by trimming, measuring and placing your tracings over them before you add this border. Pay special attention to you last row of blocks so that all of the items will appear to be sitting on the bottom shelf of your window. It was necessary for me to trim mine about 1/2″. Then pin and sew with your 1/4″ seam.
Secondly sew on your gray borders to three sides. Top, right and left. I cut them 2″ for an inch and a half finish.
Because I did not want to stitch around the appliquéd bricks after the borders were added to the quilt top, I simply strip pieced both of the borders together to treat the entire unit as the bottom border. Then I arranged the bricks (omitting one) making up the window sill approximately 1/4″ or so apart, evenly to fit directly under the black inner border. When I was satisfied with the placement, I fused the bricks to the gray and black unit, overlapping the seam slightly. This made stitching down the bricks much easier to manage than turning the entire quilt. I did however, stray from the pattern a bit. As you can see, the brick window ledge was confined to the bottom border only. You can choose to add two more bricks, one on each end after you add your side borders. I plan to do this as I show in the last photo in the segment below.
If you made it through the Hat Shop SAL, be proud of yourself! I was, and also quite surprised. This was a very intimidating challenge for me but I pushed through and learned much by making this project. Now my top is off to the quilter and I will share the finished piece with you soon.
Facebook Joy Studio
From ART to APPLIQUÉ.
Thanks for following and hopefully, sewing-a-long.
So long, for now.
We are coming into the Hat Shop home stretch now!!
Hopefully all of your blocks are fused, sewn down to secure your appliqué and you have added any embellishments or fancy stitching details that you care to create. Assuming this is the case, lets assemble your blocks.
Trimming the windowpane blocks.
Using your tracings that we made in Week 2, lay over each block one at a time. I started in row one and worked my way down. Carefully match your line drawing to your appliqué beneath and trim two sides (only) on the solid lines previously marked using the pattern. This was a scary step however, if you followed the pattern closely, items will meet up fairly well. So, trim all of your block sides in row one, then two and finally row three.
Sew each row together.
Once all four blocks in any given row are trimmed on each side (only), stitch the blocks together using a 1/4″ seam allowance. Peek underneath each one in an attempt to meet your corresponding appliqué pieces and then pin.
Your sewn rows will look something like the photos below.
As you can see, mine are not perfect, not even sewn the same on each side however, two things I kept in mind as I pushed forward.
1) The window mullions will cover my seams and conceal any obvious errors.
2) I recently heard or read Jenny Doan remark, “finished is better than perfect.”
Next we trim again, top and bottom of each row. I wanted to see how my images lined up horizontally first so this is my suggestion. My rows ended up trimming to 16.5″ high, although the pattern cut line was at 17″. After you trim each row it’s time to attempt to match up the yellow hat appliqué and also the vertical background stripes. My primary focus was on the latter.
Making the window mullions.
We used Riley Blake Designs Confetti Cotton in black for the windowpane dividers. I did not have a half inch bias tape maker so I used the one just under. I cut six 7/8″ – 1″ strips selvage to selvage, not on the bias! We do not want these to stretch. Then I made my folded strips and pressed a double sided fusible tape on the back in which to cover my seams.
Next, press on your strips across the two horizontal seams. Then stitch the edges using a straight or decorative stitch.
Repeat the same for the three vertical dividers. I used the extra strip to piece the vertical strips as they were about 7- 9″ shy.
This sounds like a lot but really, it goes very quickly. In fact I’m sure that most of you will complete week 5 in a day! I did!!
Next week, the borders and bricks. It will also wind up our sew-a-long.
If any of you would still like the BONUS hat, spools and button pattern, SHOW us your progress using #hatshopsewalong on your social media and leave me a comment or email. We’ll send just let us know:
Week 4, already?!!!!
We have been sewing down all of our appliqué pieces in rows 1 and 2. How about you?! We are still trying to figure out how we can patch our derby form correction so we will keep you posted in case you have the same problem.
To help us get a better view of our progress, we purchased materials to construct a much needed design wall. Refining is still underway but for now, it works. If you have the room I recommend one although I’m sure that most of you are way ahead of me on this already. We purchased 2, two inch thick, 4′ x 8′ sheets of styrofoam from a local building materials supplier and then covered them with flannel.
So, this week we finish the last four window blocks. Hurray!
Fusing row 3
Be sure to begin as we did last week by lining up your vertical striped background with the row above as you place your pattern tracing over each of your blocks. Review the images using this link and scroll down to Lining up the vertical stripes.
Likewise as in the week two, use your pattern tracing paper door method to begin placing and fusing all of your appliqué pieces. Review using this link and scroll down to Making an appliqué placement door.
Applique fusing sequence.
Repeating, the best way to determine what is fused first is by laying out all of your appliqué pieces on their corresponding blocks, underneath your tracing paper rendering, carefully checking with your pattern cover and technical illustration. Much like the red hat described in week 2 and the derby in week 3, the majority of the hats are fused in a similar order. Hat stand parts and then hat parts, However, hat one (left to right) took a bit more concentration figuring out the stripes. We cut a few of these pieces to go under each other, e.g. the hat brim stripe, which we added last. Shown here in these photos, the hat brim stripe covers the other angled stripe ends.
Here is how the rest of our row three hats look like before stitching, except for gray. I confess, jumped ahead to sew all like colors to avoid so many thread changes. You can notice that we swapped out black fabric for the pin heads to show up better or you can stitch these if you like.
Also, I cut all the green trim on last hat (below) to include all of the round beading detail. You can eliminate this if you do not wish to do that much extreme cutting and replace with French knots or some other type of decorative stitching or trim.
Have I mentioned lately that we are using my two new collections, Painters Palette and Couturiere Parisienne for this project? And we are loving the rich colors and painterly textures of these gorgeous fabrics from
Riley Blake Designs.
I hope you have enjoyed seeing our Hat Shop (Atelier de Chapellerie) windows progress and now, we would LOVE to see yours! So, if you would . . .
post a photo of your progress and use #hatshopsewalong on your social media channels
so we can find them,
FOLLOW here, on the blog:
@jweckerfrisch on Instagram or Joy Studio on Facebook
We will be happy to send you these CUTE add on appliqué and bonus hat pattern GIVEAWAY! Vintage spools, buttons and button jar.
Drop me a line if you have any questions or comment here. email@example.com
Happy hatting this week!
Again welcome to the Hat Shop Sew-A-Long!
Picking up from last week,
Sewing the details.
As I shared in week two, if you want to add decorative stitching and other trims to enhance each block, you may want to do that before piecing all four blocks together for easier turning. Whether you already assembled your top row before placing the text or not, either way is OK. I still have only fused and stitched down the red hat pieces. We will be stitching the remaining eight applique blocks in their entirety before assembling each row.
Pattern correction, derby wooden hat form applique should be extended to the hat brim, as if to appear going up into the hat. I marked the pattern with red dashed lines in the photo below. Also, the bottom of the rose needs to move up to be even with the hat band also indicated with red dashed lines. See third photo:
This week, fusing row 2.
Lining up the vertical stripes.
If you have a pieced background the most important thing to check in starting row 2 is matching up your vertical stripes! So, before pinning or fusing, match your stripes using your traced block patterns described in week 2, Making an appliqué placement door. Most likely, your stripes will not match the patterns stripes exactly. Mine did not, but were close. As long as you keep the second and third row consistent with your blocks in the previous row, then placement should match up. See below that my blue stripes are slightly to the left of the traced sheet in all three rows/photos. Next we will be using our tracings and placement door, for each of the four blocks in row 2, repeating the same steps as we did in row 1.
Block 1, Row 1
Block 1, Row 2
Block 1, Row 3
Applique fusing sequence.
The best way to determine what is fused first is by laying out all of your appliqué pieces on their corresponding blocks, carefully checking with your pattern cover and technical illustration. Much like the red hat described in week 2, the majority of the hats are fused in a similar order.
For example the derby:
vertical stand post,
and then the rose.
Hat number 3
I chose to use Couturiere Parisenne from Riley Blake Designs, red bold text rather than attempting the red stripes on hat three with my limited sewing experience. Letting the fabric do the work for me while still offering a similar visual impact was a lot less intimidating for me, a novice.
Secondly, we used an interfacing in between the applique and the fusible web to help hide the background for all of the white hats. We used Pellon 911FFW1. As you can see, my stripes are still visible so you may want to choose something heavier for a total mask.
Appliqué Fabric Option
Once everything is fused in row two, you can begin the decorative stitching. Take your time, have fun. This part is where you can really get creative! Again it’s always a good idea with fusibles to at least secure your appliqué with some stitching.
We will plan to assemble all blocks after rows one, two and three are fused and sewn down.
Please forgive me, we did not forget last Saturday’s giveaway, only postponed. We’ll keep you posted.
Stay tuned to Instagram and Facebook for additional news and hat shots.
Welcome back to the Hat Shop Sew-A-Long!
Picking up from Week 1.
Tracing your appliqué pieces.
In addition to numbering by block and row we also used different colored Sharpies for each row. This offers another visual reminder to help identify similar pieces quickly. Hopefully this step is behind you however, if you are preparing your appliqué pieces each week, this may be helpful.
This week, fusing row 1.
Making an appliqué placement door.
This is a practical method that should help with accurate placement of detailed appliqué. Take one sheet of tracing paper, a black Sharpie and your mirror image pattern for each of your four blocks. Rough trace everything in teach block including the solid, block finish size outline. Also indicate the dark and light stripes. There is no need to take a lot of time with this. Since the tracing is mirror image, turn it over revealing the direction of items as they appear on your cover.
Note: Be certain that you are working with the correct blocks (if you chose to do stripes) that match the marked (on your pattern) dark and light stripes.
I chose to begin with block 2 because it had the focal red hat appliqué. Take your second pieced (or solid) block and place the tracing over it. Try to match up as best you can to your striped drawing using the vertical background pieced stripes as your guide. Be mindful of top to bottom placement as well. When you are satisfied, pin tracing paper pattern and fabric block together down one side. My piecing was a little bit off but block seams were fairly consistent at 1/4″. If yours are off also you will need to refer back to the blocks in each previous row as you continue vertically, keeping your stripes lined up.
Then you can either choose to tape your sandwiched piece down on one side or pin onto a pressing mat to eliminate shifting before pressing. My suggestion is to do this on the left side so you can open your pattern door as you would a book. Below are a few photos demonstrating this step. The order you will be fusing is:
white underneath parts of the hat,
gray hat stand base,
horizontal base bottom bar,
and then the black bow.
You can see how easy it is to position, coax and nudge your pieces accurately using this method and a pair of tweezers. Once it is where you like it, press! Hold hot iron on your appliqué as long as the fusible product manufacturer recommends.
I was unable to post our full length version but here is a short video demo that will add a bit more clarity to the above method for placement accuracy. I will also try to post partial footage on our Instagram story today @jweckerfrisch and add to my profile in Highlights to keep this available.
Adding the text.
It is up to each maker to decide when to add the Hat Shop or Chapeaux text. You may choose to fuse your letters by the block and assume they meet/seam together OK or to position after joining all four blocks in the top row. The latter I think is my comfort zone. Remember the window mullions will offer a little forgiveness and cover any parts that do not quite match up.
Sewing the details!
If you want to add decorative stitching and other trims to enhance each block, you may want to do that now, before piecing all four blocks together for easier turning. It’s always a good idea with fusibles to at least secure your appliqué with some stitching. Blanket stitch has become my preferred. Sewing is the intimidating part for me although I’m getting a lot of practice lately. All of you more experienced sewers could really have some fun with this part of the process! I can’t wait to see what you do.
Watch for the Show Us Your Progress Giveaway on Saturday!!
Below is a sample of some fancy stitching that our friends at Aunt Henri used. She will have a video tutorial on this soon.
Have some fun this week hatters!
Fabrics we used are,
from Riley Blake Designs and AVAILABLE in quilt shops now.
Hat Shop Sew-A-Long begins today!
What better way to start off than with a blog follower’s GIVEAWAY! We have a bonus hat plus some fun sewing related add on-s for this project that were included in the original art but are also cute stand alone-s. Oh, and did I mention, we are including some of my new fabric fat quarters to that!! Chances are if you are participating in this Sew-A-Long, you are already following here, on the Joy (blog) Journal. If not, simply click on the subscribe button above right if you would like to enter for a chance to win the bonus pattern. Follow us on Instagram too for another chance with a comment tagging a friend. @jweckerfrisch You can still enter by subscribing even if you are not participating in the SAL.
As you read in the previous announcement post, I am sharing my art that we have translated to appliqué design. Please know that I am not a qualified expert in sewing technique and/or quilt assembly. I wanted to remind everyone of this up front. This is my first time making the project also, together with you. It is the 5th quilt I have pieced! One of them was “doll” size too so, I’m not sure that one even counts. The encouraging news is, that even a beginner like me can make these charming appliqué blocks and have fun.
Raw edge fused appliqué is the method that works best for my very detailed images and one I am most comfortable executing. Our pattern was designed to work with this technique only, although you can certainly add an allowance to create turned appliqué if you choose. I am still learning so please feel free to comment any tips, questions, or critiques below or email to firstname.lastname@example.org. I’ll do my best to address them all.
OK, let’s get started!
We will be making the 12 blocks that make up the window background in the main body of the quilt this week. First decide if you want a striped or solid background. We chose to make a striped background using Couturiere Parisienne light blue text (#C8850-BLUE) and Confetti Cottons vintage white (#C120), both from our fabric partner, Riley Blake Designs. As indicated on the pattern, you will be cutting equal number of 2.5″ x 18″ (or longer) strips from both, for a 2″ x 17″ finished size, 1/4″ seam allowance. If you choose a directional fabric as we did, you will be cutting your strips parallel to the selvage.
Some of the blocks begin with a light strip and others begin with a blue and in several blocks, the stripes overlap! As you can see in the photos below, we flipped the pattern over and taped all four blocks in the top row together, matching the horizontal dashed seam lines, to our window in order to view the pattern lines as they will appear. Then we marked the darker stripes with a highlighter for an easier visual reference. The top row then will be your guide as you work vertically for the next two rows of blocks.
Strip Background Piecing Tip:
I learned the hard way that you will want to stitch each of the strips together from alternate ends of your block. As you can see, I started each strip at the top and my first 3 blocks had a distinct curve to them.
Once you have all of your blocks made, you you are ready to start on you appliqué pieces.
Pattern correction, not listed is yellow swirl (#C8945-Yellow). You will need a fat eight.
On the back of your pattern in fabric requirements is a list of Riley Black Designs fabrics used for each hat as they appear top to bottom, left to right. You can also reference the picture (worth a thousand words) on the front cover. Our Painter’s Palette Collection from Riley Blake Designs include a wide range of colors, values and artful textures to create from when you want to achieve an interesting watercolor look. I plan to keep plenty on hand to use with former and future projects.
Making Your Raw Edge Fusible Apliqué Pieces
Begin by tracing your appliqué pieces onto your choice of fusible web product. We used Pellon 800. The pattern is already in mirror image so trace each appliqué piece from the printed side of your pattern. With so many similar pieces, it is very important to mark each one with a system you will remember. We chose to use the row and block numbers. Once traced, rough cut your fusible pieces.
Organize them on the appropriate block. and you are now ready to fuse!
See you next Wednesday for further fusing instructions.