This is the fourth in a series of sew/quilt-along posts about making a bargello quilt.
Two sets of fabric, each sewn into a tube, seam allowances pressed in opposite directions.
Once you have your fabric sewn into tubes, it’s time to cut the bargello segments.
There is a cutting chart for each project in Colorwash Bargello Quilts. I’m following the chart for Cascade here and am cutting my segments 1 1/4″ – 2 3/4″ wide, but you can design your own pattern if you’d prefer.
Either way, the most important thing to remember is to cut all of the odd numbered segments from one tube and all of the even numbered segments from the second tube.
I begin by sliver-trimming first, to give myself a clean edge to work from.
I also number the loops (bargello segments) as soon as I cut them, so that I don’t get the order of the loops mixed up. (Don’t ask me how I know how easily this can happen….) Continue Reading…
This is the third in a series of sew/quilt-along posts about making a bargello quilt.
Once you have your strips cut (each pattern in Colorwash Bargello Quilts tells you how many strips to cut – Cascade requires 2 strips of each fabric, each strip 2″ x 20-21″), it’s time to sew them together.
Note: the original Cascade pattern calls for 19 fabrics. I am using 20 for this new quilt.
Use 2 different colors for your top thread and bobbin thread. You’ll see why later!
First of all, I highly suggest using a noticeably different color thread in the top of your machine than what you are using in the bobbin. This makes no difference when you sew the strip sets, but it will make a LOT of difference later…
I also have a few tricks I’d like to share that might help you avoid uneven strip sets, seam allowances that curl, or puckers or pleats in the seams:
- A consistent seam allowance is a MUST. Quilters generally stick with 1/4″ seams. For this kind of project, an exact 1/4″ isn’t as important as a consistent seam allowance that measures the same width at any point along the seam.
Two styles of quarter-inch presser feet. I prefer the one with the blade, but either one can help keep seams consistent.
- I also recommend a straight stitch throat plate, if you have one.
A zigzag throat plate (left) vs. a straight stitch throat plate (right)
This is the second in a series of sew/quilt-along posts about making a bargello quilt.
I spend two entire chapters discussing selecting a palette of fabrics and using color, value, and visual texture to help arrange them to maximum effect in my book Colorwash Bargello Quilts. I won’t try to repeat all of that here, but I’ll boil it down to essentials.
Note: Since batik fabrics are generally more tightly woven (and therefore have a little less stretch) than other quilting-weight cottons, I highly recommend that you stick with either ALL batik fabrics or NO batik fabrics for your first bargello quilt. The slight differential in stretch can make matching intersections more of a pain than a pleasure when assembling the quilt. However, if you have lots of strip-piecing experience, press very carefully, and are accustomed to mixing these fabrics, than feel free to go ahead – I do it myself! I just want to warn you that it has the potential to make life a little more challenging…
- I generally use 18 or more different fabrics in a Colorwash Bargello quilt. Don’t worry – it’s a lot easier to pick out that many fabrics than it sounds! It helps if you don’t overthink it at the beginning of the process. I recommend starting with either a focus fabric, a mental picture, or a theme.
- The easiest type of focus fabric to work from is a medium-to-large scale, asymmetrical, multicolored print containing a range of values from dark to light. But don’t fall into the trap of overmatching the exact colors in your focus fabric! Variations in color, value, and/or intensity only add to the richness of your palette.
- Once you have your focus fabric, mental image, or theme in mind, start gathering fabrics that share the same or similar colors, making sure to also grab fabrics that are lighter, darker, brighter or duller. It’s best to have lots to choose from!
- I narrow down my choices by grouping fabrics into “runs” – 2 or more fabrics arranged from light to dark and “blenders” – fabrics that have 2 or more colors and/or values that can be used as transitions between runs.
Grouping my fabric into “runs” and identifying potential “blenders”
This is the first in a series of sew/quilt-along posts about making a bargello quilt.
For a little more background information, you can check out my previous post, Colorwash Bargello.
For this series, I’ll be referring to the Cascade pattern from my book Colorwash Bargello Quilts. If you don’t have the book or would rather design your own bargello quilt, you can still follow along and find a lot of (hopefully!) helpful information.
This has been one of my most popular bargello classes, as it can easily be completed in a day (or two days, if you are having lots of fun with your friends).
To help you start brainstorming a color palette for your own bargello quilt, I’d like to share some of the ways my students and friends have interpreted this pattern:
What makes a quilt a bargello quilt?
And what does colorwash mean?
In the introduction to my second book, Colorwash Bargello Quilts, I credited 3 main influences:
- Centuries-old bargello needlepoint, also known as Hungarian point, flame stitch, or Florentine work.
Two examples of Bargello needlepoint patterns or Florentine work. (Left) typical curved Bargello motif, (Right) “flame stitch” motif. Image from Velvet-Glove (Transferred from en.wikipedia to Commons.) Public domain, via Wikimedia
- Modern strip-piecing methods pioneered in the 1970s by quilt artists such as Barbara Johannah
- Colorwash/watercolor quilting designers in the early 1990s such as Deirdre Amsden, Pat Maixner Magaret, and Donna Slusser.
I also recognize the influence of traditional quilt patterns such as Trip Around the World and Star of Bethlehem or Lone Star when the makers have used gradations of color and/or value in their fabric layout.
In my bargello-style quilts, I emphasize blending the colors and visual textures of the fabrics to create smooth gradations and transitions or “washes” of color across the face of the quilt, punctuated at intervals with areas of higher contrast.
Close-up of Aurora pattern from Colorwash Bargello Quilts showing gradations from light to dark and back again, as well as areas of higher contrast.
Do you ever struggle with something you are creating, just knowing that something is off or missing, but not sure what it is? Both from personal experience and from that as a long-time instructor, I find that quite often this has to do with color and value choices.
Color theory to the rescue! But sometimes color theory on its own isn’t enough help…
Color Theory Infographic from paper-leaf.com – a great overview!