I'm drawn to quilt fabrics with large designs.
Just when I think I'll include them in my next quilt
I shy away from cutting into them
fearful that I'll destroy the design.
Then I met today's guest, Tula Pink
who showcases her quilt designs with large prints.
Welcome back to Sewing with Nancy, Tula.
You've taken the fear out of cutting into those big prints.
Thanks so much for having me, Nancy.
I think everybody's afraid
of cutting into those large prints.
My quilt pattern, "Stacks"
will give you the confidence
to work with large scale prints.
Modeled after the things in life that get piled up:
books, parking tickets, and elusive socks.
This quilt design makes a little beauty out of the chaos
and turns the ordinary into the extraordinary.
"Quilts from the House of Tula Pink"
that's what's next on Sewing with Nancy.
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When I first met Tula, what stuck in my mind
was she said, "I create quilts that are organic
but they have intention."
Your stacks quilt is organic, free-flowing
but it has specific order.
Probably the epitome of that statement
is in this quilt, here.
We're dealing with a pretty standard block structure
but the way it's pieced together
it disappears within the quilt.
You have no idea that it's a big block.
A big block.
Here, this is one of the blocks
in a different fabric coloration.
It has five different rows.
All of these blocks have been made of these same five rows
different colorations, different order.
By changing up the order
you completely change the look of the block
but it still finishes to be an 18" block, every time.
You get somewhat of a column look.
You do, you do.
That's why the quilt is called Stacks.
It's like stacks of stuff.
We all have stuff.
We can certainly appreciate that.
You're going to be cutting out
many prints that coordinate.
All you need is a fat quarter.
Remember, they're 18" by 22" of those funny cuts
or a quarter of a yard.
Either will work.
That's what I like about this design.
What we have cut here are the sizes.
This is what you would cut from each quarter-yard.
We're going to start with a 3-1/2" square
and then there's a narrow strip 2-1/2" by 9-1/2"
one that's 2-1/2" by 18-1/2"
one that's 6-1/2" by 10-1/2"
and one that's 3-1/2" by 12-1/2".
If you didn't copy those down quickly
you'll find them in the book
that accompanies today's program.
By itself, that wouldn't be that interesting.
Right, so by cutting these
from every piece of fabric that makes up the quilt
you'll end up with a variety of fabrics
all in those pieces, which you can mix and match
into each block.
You'll need four of the squares
two of each color.
Then you just choose from the stacks
until you have the grouping.
So, one of each of the fabrics.
We kept this one, as you can see.
Now these two squares
turn into the pinwheel.
The pinwheel just adds
a little bit of that traditional flavor
to an otherwise really modern quilt.
Here we have--
I think some of you have done pinwheels before.
You meet the opposing colors together
meeting the right sides together.
We've marked down the center
then stitched a 1/4" from the center.
Then just by simply cutting that in half--
Half of your pinwheel is essentially already made.
We just open it up, do a little finger press
and here we have some pinwheels
that are starting to look like pinwheels.
Here we have three, four--
I think I have this wrong!
[both laugh]
I think I have it really wrong!
When I'm making pinwheels
that's always the hardest part
is to figure out the combination.
I visually turn them, just like a pinwheel.
Because I did it wrong, let's show the right one.
There you go.
I think that's the easiest way.
We have a very traditional quilt block.
Now you're going to make tubes.
This is very brilliant.
When I first read Tula's book
and I had a conversation with her
I thought, this is clever!
So now you cut a background fabric.
Right, the idea of these tubes
is that you want to create the stacks
and give them that organic quality.
You really want those prints to move back and forth.
If they were all in the exact same place every time
it would get monotonous.
You wouldn't have that really organic sort of feel.
We're going to work at the very bottom combination.
We'll meet the background
to the fun print, sew a side seam
and meet the other so you have a tube.
Here's your tube.
Now, Tula, I'm going to give this to you
and you're going to cut this arbitrarily.
Right, we want this print piece here
to move back and forth.
When I cut the tubes, I'm not measuring.
What I like to do is just fold it in half
and finger press it to give me a guideline to follow.
Then, using the scissors
just cut along that guideline.
Mm-hmm, here you go.
I'll give you some more
that have all five of these--
Actually, there are four
that have been stitched.
One is a complete unit.
Correct.
I'll lay that down here.
Here you go, some more.
This is where the magic happens.
By jogging these back and forth a little bit
I can get these pieces
to move back and forth.
If I find that they're leaning
a little too much this way
I take one of these and just flip it over
and move it that way.
I'm going to stick that one in there.
Again, finger press and cut along that line.
So really, you never measured
so that each block will have a different
amount of fabric on either side of the print.
Then this one long strip, the 18-1/2" by 2-1/2"
is just the full width.
The full width of the block.
That gives us the most variety of block sizes.
This is the same configuration of sizes.
They have been sewn together.
You can see that Tula
put these in a different location
or had a different arrangement.
Right.
Even within one block, you get a totally different look.
This is what I call the recipe of the block.
These are all the components that make up the block.
Then from here, just by moving the pieces around
we can create an infinite number of blocks
that all look different.
Yet, they're still stacked.
Right, and no matter how you arrange these
they will always be in 18" finished blocks.
It's very clever.
I think it's very unique.
Here you used 20 different fabrics
that weren't from the same collection.
You're a fabric designer.
but these aren't from one collection
but they had the same coloration.
You have heavily machine-quilted the layers together.
But you'll also notice from the full quilt
that Tula didn't put borders on.
Right, and this is something, or a device, if you will
that I use in a lot of my quilts
and patterns that I write.
I leave the border off
because I do like it aesthetically.
But I also leave the border off
so that I can easily expand the quilt to fit any size.
Any size bed. A clever design.
It may not look like it has order
but it has a lot of order.
It's a great way of using very large print
and letting those prints showcase.
Next, Tula's "Shattered Glass" quilt.
Use squares or rectangles as a base
and then effortlessly sew squares
to the corners.
It gives an illusion of a fractured mirror.
The look can be beautiful.
At times the look of shattered glass means bad luck
so make a quilt instead.
When you see this quilt undraped later
it has a unique abstract look to it.
Tula, your design is clever
you started just with two shapes.
Right, there's the 6-1/2" square
and the 12-1/2" by 6-1/2" rectangle.
So, 6-1/2" and 12-1/2" by 6-1/2".
Then, multiple fabrics cut into squares.
You're going to show the sizes and how to do the sewing.
Right, with our corner squares
we've cut a variety of sizes
so there's 2-1/2" squares, 3-1/2" squares
all the way up to 5-1/2" squares.
It's just for a variety of sizes.
You can see here
I already have one corner sewn on.
On this one, I'll sew another one on.
You're just sewing from corner to corner.
If you're willing
to just go ahead and start sewing
you can do that.
That's what I will usually do
is just go ahead and start sewing.
But you can also draw a line on the corner.
Each square can have as many as four corners
or you can do less and leave one corner open
which will create more open space
in the finished quilt.
Tula's going to work on
stitching a couple more on the rectangle.
Sometimes two corners, sometimes three.
The fewer you have, the more open spaces
there'll be in your shattered-glass look.
Right.
I like all the coordinates that Tula is using
a variety of fabrics
that have different prints, different sized prints
kind of the same basic principle
of working with quilting.
Yes.
Assume that you've done a lot of this basic sewing.
You're just arbitrarily adding squares
at the corners.
The next step is to press it.
We're going to cut.
Before cutting, we're going to press
to make sure it's square at the corner.
Tula taught me this.
You can kind of cover up some of your errors
if you would like
by making sure that all these edges meet.
If they don't
you can maybe press in a little tuck to this area.
Then lift back the fabric and trim.
Don't throw this away, "this" being the corner.
You can make little half-square triangles
at a later date.
If you trim accurately, you'll trim all of these pieces.
Next, you're going to stack them
the rectangles and the squares.
We're going to show you how you can lay the design out
so that it does very nicely resemble a shattered mirror.
We'll go to the table and do that right now.
Before looking at the layout of the shattered-glass quilt
I think it's important to point out
where these rectangular or square pieces fall.
They did disappear into the quilt
as it's being put together.
Here, approximately, is a rectangular piece.
Another square is somewhere in there.
You can find them by the corner area
where the shattered pieces come together.
It's abstract, but fun.
Yeah!
When you're laying this out
with your variety of rectangular and square pieces--
I'll let Tula do her magic.
It's like building a puzzle.
As I'm laying them out
I'm kind of looking for areas like this.
You don't want the same fabric or size.
I'm turning them around
and sort of reinterpreting where they might go.
Here's the other one.
They go like this.
I don't think there's a wrong way.
There really isn't.
The key is to just make sure
that you have the same rectangular block every time
so that when you're sewing your rows and columns together
they go together easily.
What was the foreground, or the predominant fabric
which is this brown olive color
really recedes, because of the shattered glass.
You can move them, if you wanted to.
I didn't mean to change your design!
That would be not such a good idea!
They can move.
There's an infinite amount of possibilities
Absolutely, it's just fun.
When we look at the finished quilt
you see the quilting has also attributed
to the look of shattered glass.
Absolutely.
What we did with this quilt in particular
is where it's all machine quilted
and where it's quilted more heavily
it causes the batting to essentially, mash down.
So, where it's quilted more closely together here
the fabric recedes.
Where there's less quilting here on these triangle parts
it causes it to puff out.
It gives it an almost three-dimensional effect.
So shattered glass is a unique quilt design
that again, has an organized way of being put together
but from first glance, it's very contemporary.
Exactly.
A great way of using a variety of fabrics
with great impact.
Fabric is art.
Way shouldn't we hang it and frame it
the way a gallery does, but in our own way?
"Grand Salon" is the perfect quilt
to showcase those little fabric gems we bought
but have never been able to cut.
Here's how.
When you look at Tula's finished quilt, it's not small.
It's impressive.
The "framed art" really pops out.
This is all about the fabric, a quilt like this.
It's all about zeroing in on that main motif
in a piece of fabric that you just love.
They can have, as you see with this masquerade print
definitely a portrait.
But even just fussy cutting an element of the design
helps balance the quilt.
Right.
Right, and it's just about color.
A piece like this is about really liking the fabric
or really liking that flower.
Fussy cutting is what we're going to talk about now
and marking your ruler.
Right, and when I mark my ruler
I need an 8-1/2" by 10-1/2" square
for the large frame
so I've marked my ruler here so that I know
exactly what my parameters are
when I'm placing it on the fabric.
This allows me to move it around
and get a really good idea of where I need to be.
Sure.
Once I zero in and I feel like that is nice and centered
and exactly where I need it--
I just start on one end
and then I can flip it around
and line my taped edges up
with that corner I just cut.
I'll cut my other two sides.
It's a really simple way
of knowing that you're going to get
your fabric in the right place every time.
You can see right through that ruler
which is very, very helpful.
Then there's the frame.
You choose fabrics that look like a frame.
They pop.
Yeah, you want something
that's really going to highlight the piece
because it is all about that center piece.
So you do want to choose something
that's going to make it look it's best.
Then we have some side fabrics.
All the dimensions are listed in the book
that accompanies today's program.
We have a large piece.
You designed a large piece at the top
and a smaller one at the bottom.
Right, and this large piece
is larger so that you have room to sew the ribbon down
without having to make the whole quilt
and sew all the ribbons at the end
which would be far more difficult
than doing it block by block.
We'll take a look at the big block.
We'll show you where this block is found in the quilt
in just a few minutes.
You can see Tula has angled the corners
just like you would
if you had a wire at the back of your quilt frame.
It's not a difficult quilt block to create.
No, it's a really simple block.
It isn't any harder than say, a Log Cabin.
Your basically putting strips around the sides.
Very good point.
Let's put this up on the quilt
so you can see where that block is.
It's right there, a big block.
Then there's one more size.
Right, there's two blocks.
There's the large frame and then two smaller frames.
I wanted there to be a variety
because it's not often that we have
a wall full of picture frames all exactly the same size.
So, just to give it a little bit of interest
I varied the sizes of the quilt frames.
You just straight stitched the ribbon down.
Then, of course, the finishing touch
instead of a nail head, there's a covered button.
I needed something that would make sense
to be holding that ribbon up
so I needed some sort of a "nail"
and the covered button just gave it dimension
and was nicely representative of a nail on a wall.
Very nice.
Some of the frames have the very fussy cut areas.
This just has a small print
which just kind of gives the eye a little relief.
Right, just a little color and texture
to tie them all together.
If you have some great prints that you'd like showcase
work with Tula's Grand Salon pattern
and you'll have a great design.
Reading to children is one of my very favorite pastimes.
When I was made aware of a program
that connects children with the love of reading and art
through a traveling collection of books and matching quilts
I knew I had to share this program with you.
Please welcome Julie Stephens
of the Quilt Guild from Alfreda, Georgia
who joins us via Skype.
Welcome to Sewing with Nancy, Julie.
Thank you, Nancy.
Welcome to Alfreda, Georgia.
It's a pleasure to see you and talk to you.
I'm anxious to share the program that you developed.
Please share with our viewers how it started.
In 2009, a member of our guild, Janie Stokes
and the guild is Chattahoochee Evening Stars.
She challenged us
because she had been collecting storybooks for children
connected with quilting or quilting stories.
She challenged our guild.
We made 37 quilts for 37 books
and presented them at our 2010 quilt show.
It became "Storybook Quilts: Janie's Dream."
The interesting thing is that you said
37 members took a book
and then using some of the images
from the illustrations in the books
decided to make the perfect quilt.
One of the quilts behind you is the Tamale quilt.
Yes, it's a very beautiful quilt
and tells the story with color and drama.
We let the children touch the quilts
as the story's being read.
There's another quilt
that's called Grandmother Winter.
Is that the one that's behind you?
No, that's Old Dane Counterpane.
You can see the book cover here.
The other quilt behind you is that quilt.
Part of the fun of that book and quilt
is that it has numbers that come off.
You can teach the children to count
while they're looking at the quilt.
You have many more examples of quilts and books
but what I want to have you explain to our viewers
is that it's the connection
of maybe kids who have never seen the quilt process
or understand how a quilt goes together.
They get to hear the story and see the quilt.
Exactly, and we've gone now into libraries
and to local schools.
The excitement and the enthusiasm
of the children seeing quilts
who maybe haven't grown up with a family member who quilts
is very exciting.
You were also given a grant to help you with this.
Yes, actually we received a grant
from our quilt guild
and we a grant from the National Quilting Association
to help with setting up websites.
All the books quilts are on the website.
We have lesson plans
to help with reading the quilts and books to students.
The teachers have enjoyed those immensely.
We're starting to determine
how to travel with the quilts
and get the quilts out even further
than just the local Georgia area.
You're not satisfied
with 37 quilt books and quilts, I've heard.
Oh, absolutely not.
We've challenged our guild yet again this year.
We've already been promised 35 to 40 more quilts
which we hope to again show to the community
at our quilt show in September.
It's an ambitious goal
and you have very dedicated members.
We have so much creativity in our members.
We have both men and women in our guild
and the artistry is just wonderful.
Well, how impressive.
Your quilts will also go on a traveling show?
Absolutely, in fact, they are scheduled this summer
to go to the National Quilting Association's quilt show
in Columbus, Ohio
you know, as a special, to show a grant recipient.
Julie, thank you so much
for being our guest on Sewing with Nancy.
Please tell all your members to keep up the good work.
I'm impressed.
These aren't little quilts.
These are substantial quilts to go with the stories
connecting children, quilting
and many generations together.
Thanks for joining us.
Thank you very much, Nancy.
If you would like more information
on these storybook quilts
you can go to our website: nancyzieman.com
Under Nancy's Corner
all our Nancy's Corner interviews are listed there.
You can go to the guild, the storybook quilt information
and you'll find a link to their website.
Perhaps you, too, can make a quilt
and share it with someone in your community.
Special thanks to Tula Pink
who was with us during this two-part series
on the "Quilts of Tula Pink."
What a wonderful, inspiring, modern look at quilting.
I had such great fun.
Thank you, Tula.
And thank you for joining us. Bye for now.
Tula Pink has written a fully-illustrated book
entitled "Quilts from the House of Tula Pink"
that serves as the reference for this two-part series.
It's $16.99 plus shipping and handling.
To order the book, call 1-800-336-8373
or visit our website at: sewingwithnancy.com/2610
Order item number W1582
"Quilts from the House of Tula Pink."
Credit card orders only.
To pay by check or money order
call on the screen for details.
Visit Nancy's website at nancyzieman.com
to see additional episodes, Nancy's blog, and more.
Sewing with Nancy, celebrating 30 years
of sewing and quilting with Nancy Zieman
has been brought to you by:
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