Tag: #ThisLilPigStudios

Dear Jane — Chapter 1

The first steps really are the hardest.

I’ve completed three blocks so far—most of them twice—just trying to get a feel for scale, assembly, and how all these tiny pieces are meant to fit together. And let me be honest: I have struggled.

The patterns for Dear Jane aren’t printed in the book; only the finished block graphics are. That means seam allowances, cutting dimensions, and stitching order are all left to interpretation. I’ve been relying heavily on my existing skills to reverse‑engineer each block: sketching layouts, mapping seams, deciding pressing direction, and eventually figuring out how the quilting lines should run.

Graph paper has been my best friend—drawing layout, cutting notes, and quilting direction gave me at least a starting point. Maybe I won’t need this level of detail for every block, but for this first set, it provided the confidence boost I needed.

I also committed to busting my scrap stash for this quilt and drastically underestimated just how much prep that involves: pre‑washing, ironing, and cutting small pieces with precision. Starch has become essential. These blocks are tiny, and even the slightest variation can throw the entire block off, which in turn affects the cumulative size of the quilt.

Block A1: Pinwheel Gone Awry

Original Block

Having a plan and a rough layout sketch helped me get started. Is it pretty? No. Is it complete enough for anyone else to follow? Definitely not. But is it enough to get me moving? Absolutely.

And honestly, that’s the whole point. Your work isn’t being graded. As long as your system works for you, it’s good enough.

This block is mostly half‑square triangles—and this is where grainline absolutely matters. Cutting them on the bias introduces stretch that can warp the block. Keeping pieces on‑grain wherever possible helps maintain accuracy as you stitch.

Even the width of your pencil marks matters. A 1/32″ variance seems trivial, but across 5,602 pieces it adds up to roughly 43 inches of potential difference over the entire quilt. That means cut‑off points, lost seam allowances, and a quilt that doesn’t square the way you intended.

I promised to be honest with myself—and with you—throughout this process. That means showing the “not quite right” block that came before the correct one. It won’t make it into the finished quilt, but it isn’t wasted. My imperfect blocks will become the foundation for a crazy quilt where the “mistakes” can hide in embellishment and creativity.

And finally, the first block! Not quite perfect, but definitely some of my best work and one I am proud to share with you.

Block A2: One‑Two Buckle My Shoe

(insert original block picture)

I followed the same approach with this block: layout sketch, notes, reminders of what to do (and what not to do).

This layout was more straightforward. Or maybe surviving the first block gave me just enough confidence to move ahead boldly.

Then came the flying geese. Why I struggled so much with keeping the points is beyond me, but they simply refused to cooperate. So—deep breath. Grace. Patience. A redo. And a reminder of everything I learned from the first mistake.

I took a break—a “step away from the sewing machine” moment—to think about my choices. Am I really going to have to make every block twice? How badly do I want this quilt? And why, exactly, did I decide to document this publicly? (A question for therapy, perhaps.)

But revisiting my why whenever frustration hits is what keeps me grounded and moving forward.

And just like that, the second attempt came together with ease and a level of skill I frequently underestimate in myself.

Block A3: Hunter’s Moon

For this block, my mix‑and‑match approach of machine piecing and hand piecing continues. Straight seams? Machine all the way. But Block A3’s curves and appliqué call for handwork. Blind appliqué has always been one of my shakier skills, but the only way to improve is to practice—so that’s exactly what I’m doing.

I kept the same habit of layout sketches and notes to guide me.

And here’s a delightful twist in the learning process:

The best explanation I’ve ever encountered for blind appliqué didn’t come from a tutorial or a class—it came from a fiction book. The Aloha Quilt by Jennifer Chiaverini includes a beautifully written description of Hawaiian appliqué techniques, from basting to needle‑turning. That passage alone added “learn Hawaiian‑style quilting” to my someday list.

And just like that, the first attempt at Block A3 is one I can truly be satisfied with.

And so, the journey begins.

Slow, challenging, humbling—and absolutely worth it.

Baby Jane

What Am I Thinking?

Well… here we go. The Mount Everest of quilting: the Dear Jane. Two hundred and twenty‑five blocks, each measuring just 4½ inches. It’s a test of traditional piecing, English paper piecing, and blind appliqué skills woven together in one iconic quilt. There are many variations on the original, and this one will be mine.

I’m setting out on this journey and inviting you to come along—not only for company, but to help keep me accountable and this project on track. My plan is to group blocks by technique and complete four each week. I’ll be referencing Brenda Manges Papadakis’ chronicle of the quilt and its history. The original was completed in 1863 during wartime and contains 5,602 individual pieces. In the bottom right corner, the maker left her mark, timeless.

 

My “Baby Jane”

These variations are often called Baby Janes: not quite the original and certainly not period‑correct in technique or materials. Mine will be pink (because PINK) and black. At first, I thought I’d stick to one pink and one black throughout the quilt, but I’ve pivoted. Instead, I’m leaning into my stash and embracing the true spirit of a stash‑buster—meaning no new fabric purchases.

 

The Fabric–Thread–Needle Trinity

Even while stash‑busting, the quality of your materials matters. Always keep in mind the quilting trinity: fabric, thread, and needle.

  • For 100% cotton fabric, I’m piecing with cotton quilting thread and using a universal needle.
  • For embroidery, I’m using silk thread with a silk needle, so the thread melts into the weave.

Grain line matters—these blocks are tiny, and accuracy is everything. While there isn’t much opportunity for fussy cutting, take time to consider how your print will land in each block.

And now, a hill I will happily die on: Pre‑wash your fabric.

Yes—again for the ones in the back—PRE‑WASH.

I don’t typically pre‑wash quilting cotton, but with blocks this small and this detailed, any bleeding or warping becomes an unnecessary challenge. I recommend pre‑washing in ORVUS (linked on the Shopping page) using cold water.

 

Precision Is Everything

Precision cutting will make or break this quilt. Being off by just 1/16 of an inch, repeated 225 times, can leave your quilt nearly 7 inches out of square. It adds up fast!

I personally prefer Fiskars scissors and rotary cutting tools (linked on the Shopping page). For templates, I use Reynolds freezer paper (also linked there).

Rulers are essential as well. Modern rulers are more accurate than vintage ones, but the key is consistency. Whatever ruler you begin with, use it throughout the entire project. I’ll be using my Fiskars 3″ × 18″ acrylic ruler—it’s my go‑to for smaller blocks.

 

Pins and Needles

Pinning is critical for accuracy. Clover straight pins are slim and sharp, making them ideal for precision work. I recommend:

  • #11 and #12 sharps for hand‑piecing and appliqué
  • Size 70 and 80 needles for machine piecing

If you’re comfortable with fabric adhesive, that works too. I struggle with blind appliqué, so I’ll be using a bit of adhesive to keep things under control.

 

Come Along on the Journey

If you’re curious to see this Baby Jane come to life block by block—or if you just enjoy cheering from the sidelines—I’d love for you to follow along.

✨ Follow the Blog: stay updated with weekly progress, tips, and mishaps

✨ Visit the Website: resources, tools, and the Shopping page with my favorite products

✨ Join me on Facebook: community chats, photos, and in‑the‑moment updates

✨ And wherever else you follow creators—whatnot, socials, you name it

Your encouragement keeps this project alive, square, and (mostly) un‑seam‑ripped.

Shall we climb this quilting mountain together? 🧵⛰️💗

We Really SHOULD Be Doing This

I don’t want to be making a face mask! I don’t want to be counting the people in my circle that are “high risk!” I am kicking the dirt! I’ve been in denial and procrastinating! But, I surrender, because we really SHOULD be doing this!

I pouted while cutting out the 8½ inch squares. I fussed while ironing the pleats. I complained to the wall while sewing straight seams. Finally, I examined the finished product with the hope they would all end up in the trash! Yes, the trash! (Never have I created with the deepest hope the outcome would end up discarded.) There was (and is) a deep hope these would become unnecessary and unneeded. These will NOT be repurposed. My hope is to never feel this again. Once in a hundred years is enough! 

So here we are, doing this; fighting is the wrong word, yet I can’t think of a better one. There is no tangible enemy, no particular group, person, or thing that can be labeled (even inaccurately) as evil to hold in contempt. This is in the very air we breathe, the surfaces we touch – and there is no known treatment, no cure, no nuke to make it stop.  

Oddly enough, our frontline defenses are people who are usually overlooked because they’ve always been deep in the trenches and far behind the scenes. They have been extraordinary heroes all along; now they’ve rightfully been brought into the light and given the respect they deserve. The CEO can’t save his business or get it phase-ready for re-opening – but his janitor can. The store shelves aren’t stocked by the boardroom, but by truck drivers delivering on schedule and essential retail staff. LPNs, CNAs, and RNs are keeping hospitals open and facilitating end-of-life communication in ways that no one foresaw.

So, who am I to kick the dirt? As I reflect while sewing, the words “ungrateful, entitled, AND little bitty” come to mind. I surrender to the current circumstances and release denial and procrastination. 

Whether we follow the WHO, the CDC, or some level of government, it’s now a COVID-19 world, and the new “normal” requires a face mask. We may not like it. It may be uncomfortable and inconvenient. It may be the current bane of our existence. So, why? Why wear a mask? 

Put on a mask out of love and respect. The older Veteran down the street you have your morning coffee with – he’s high-risk due to his age and exposure to Agent Orange. Your aunt who you pick up your favorite cookies from – she’s high-risk because of cancer she’s been battling for three years. The little girl down the street you take to dance class with your daughter – she’s high-risk because she’s survived a rare blood disease through eight years of fragile life thus far. You understand, I know you do. Put on a mask, if not for your health, for the safety of those folks who have a place in your heart.

With that being said, there are a lot of versions of the face mask; and a multitude of ways to get one. You can make your own with many options – sew/no-sew, tie back/elastic straps, over the ear/behind the head, with/without HEPA filter pocket, options beyond options. Makers of all sorts have brought out sewing machines, hot glue guns, scrap fabric, and elastic strips to contribute to the cause. The internet is filled with how-to/DIY videos and patterns.

If you’re not quite feeling crafty, there are also a plethora of ways to obtain one. There’s site upon site on the internet offering them in a wide assortment of colors and styles. You may find them in many price ranges, but there are also those people out there offering them for free – for the good of our communities and as an offering of “doing their part” in the world’s fight against this unseen enemy.

How to request your free one: comment on this post, Facebook, Instagram, or BlogLovin.

As always, Thank You for spending time with us at This Lil Pig Studios!

The Road to Oklahoma

Some projects bring great joy – they are celebrations of birth, graduation, wedding, anniversary – happy and hopeful times associated with every stitch. Some projects are memorials to loss, restoration in every stitch respecting the process of grief. Then there are projects of healing. These are not beautiful; they are not cherished until there is space to look back with reverence at the lessons learned. 

Everything had to be put on hold, and a project of healing was needed – one that is not promised to anyone. The mistakes and inconsistencies are completely acceptable because this quilt isn’t “for” anyone. This quilt is to put hurt, fear, and forgiveness somewhere that is tangible. These stitches are cathartic and healing. The starts and stops, the tear stains, and strains of not being careful show in the work. There is not a seam ripper in sight to re-do an errant run. No, the acceptance of imperfection, forgiveness for yourself, and forgiveness for others belongs there. There is a time for high-quality work – a time to strive for as close to perfect as possible; but not when you are healing. Acceptance, allowing yourself to break and heal, and then break and heal again is completely necessary. 

I suppose sharing this is being vulnerable. Some may not understand; but in such a fragile time maybe it is okay to say something is “too much,” and it has to go somewhere else. Find your quilt, your project, your art, and pour all that uncertainty into it without asking it to be anything but a reflection of the time of healing that you needed to get your feet under you for the next opportunity, challenge, chapter. Bless the journey and the Road to Oklahoma or anywhere else for that matter.

Thank you, as always, for spending some time with This Lil Pig Studios

September is Childhood Cancer Awareness Month

September is Childhood Cancer Awareness Month. Again this year, Cowboys for Kids held their annual fundraiser! This Lil Pig Studios donated a Heart Strings throw-size quilt. I have made several of this particular pattern, and I am pretty confident in it’s appeal. My furthest hope is that it sold well. 

This post is not about quilting, it is all about the kids and the devoted coordinators that make this event happen every year.

<Camp Quality Kentuckiana Link>

Welcome to Camp Quality Kentuckiana

Did you know more than 500 children in Kentucky and Indiana are diagnosed with cancer each year?  Camp Quality Kentuckiana is not in the business of finding a cure for cancer, but we are in the business of ensuring that every child who has been diagnosed with cancer can not only have a summer camp experience, year-round programs to enhance their quality of life and encourage quality family time.

Our Campers

When a cancer diagnosis comes to a child, in a lot of ways, childhood stops. Vacations, family time, crafts, and campfires are replaced with doctor visits, chemo, isolation and restrictions. With children’s safety and medical needs forefront, Camp Quality Kentuckiana breaks down those barriers for children and families and restores the childhood experience.  Surrounded by new friends that can relate, loving volunteers who care, and loads of fun experiences, Camp Quality campers find joy, courage and renewed hope for the future. They are free to be themselves . . . free to be kids again.

Complete remission is the only positive spin which could be put on such a daunting situation; however, it’s the little victories that are often celebrated – a day here and there with no tests or treatments, eating a tasty meal without it hurting the stomach, having enough energy to play with favorite toys. So, I can not begin to imagine the joy in these children’s hearts when they get to experience activities such as swimming, archery, a high ropes course, horseback riding, zip lining, and crafts.

I also have no words for the emotions parents must feel knowing their child is able to experience these things in an environment with specially trained staff and other children who understand. Another relief – this is made possible at no cost for the children and their families by volunteers, donors, and organizations like Cowboys for Kids. I have a bit of extra warmth in my heart knowing I was able to contribute something, however small, to this beautiful endeavor.

Thank you for spending some time with This Lil Pig Studios!

Gift of Hand Quilting

My Mom found a book of hand quilting patterns on one of the flea market outings, and she gifted it to me for my birthday. I have spent a week transferring the patterns to transparent plastic stencils. I have most of them ready for use and marked for border or block size. I think the best use of these would be a whole cloth quilt, but that will have to wait. There are open projects ahead of that.

I have hand quilted all but one of the quilts I have pieced. I think my stitches are even and relatively small, but that is only my rookie eye. Antebellum era quilts were expected to display 10 to 12 stitches per inch. Yes, 10 to 12 stitches per inch, and it recommends counting the weft and warp threads for even stitching. For perspective, weft and warp threads are the tightly woven threads that make cloth. Look closely, very closely – all natural cloth is made of threads woven. That is what they recommend counting. Small stitches are an understatement!

Why? you might ask. I am going to speculate, because firsthand accounts are not available at this point, and I have not found the documentation to prove my hypothesis. First, quilts were typically used extensively, and constantly reminding a child or loved one to be careful not to pull a thread was not practical. Such small stitches are not going to pull, break, or snag easily. Second, by adding thread the fabric is stabilized. More thread, more stable. Lots of quilts were made from worn garments, bedding, and feed sacks that were worn out from the previous uses. These are utilitarian reasons, and ones I think to be valid. Third, I think there was a personal pride in mastering the small, even stitches. It is not a stretch to imagine the ladies around a quilting bee comparing and coaching the younger ladies to master this level of hand quilting. 

My Grandmother could quilt that scale; in fact, I don’t think she even thought of it. If she was counting threads, it was so second nature that she probably was no longer conscious of it. I have made myself a scale, and with these “new” templates I am going to make a sampler. I have no doubt I will need my seam ripper and need to start again and again. I am determined to learn these skills to make quilts that are beautiful, loved, and useful.

In the book there are in-depth descriptions of where patterns came from – antique stores, auctions, museums, collections. Amish quilters seem to have providence on the meaning and source of the patterns used. Some are lost to history and appear to be the fancy of the quilter. Some are very symmetrical and some are artistically drawn with whimsy. The hidden stories of quilts are part of what draws me into each one. The patterns have meaning; the color selections add another level of meaning; and to complete the story, a quilting pattern is used to literally and figuratively tie it all together.

I will continue to update you on the treasures I am learning and skills I am developing.

Thank you, Mom, for knowing that I would love an old quilting book!

Thank you, as always, for spending some time with This Lil Pig Studios!

A Letter To My Kindred Spirit

My Aunt gave me a stack of “vintage” quilting magazines, most are dated in the eighties and early nineties.  I have read and made transfers of the patterns. Making note of the tips and tricks that were popular then. Occasionally, I run across something that speaks to my quilting journey.  This particular letter hits quite close to home because as I type this and wake tomorrow to work on yet another project, there is a stack of donated blocks that my Grandmother brought home from the donation center where she volunteers.  They are clearly from some other quilter’s old project put aside. The publication is now out of print and the publisher liquidated, but the letter lives on.

Country Quilts Winter 1995 “A Letter To An Unknown Quilter,” by Patricia Rueth

…..Dear Kindred Spirit,

I have your quilt blocks…your work in progress. I wanted you to know that I got them two years ago.  Until today, I’ve been content just to own them. I’ve gotten them out of their draw often to play with them. I’ve tried a great many different ways to arrange them. I’ve often wondered how you planned to put them together.

I decided months ago that it would be best to have three more of the blocks. A quilt with none blocks by five blocks just didn’t look right. Eight blocks by six blocks looked better. Each of your blocks were sewn to pages from old farm magazines. The three new ones I cut will be on used computer paper. The times have changed.

I’ve haunted fabric stores looking for the right antique-looking prints that will blend in and not stick out like a sore thumb. You would most likely get a good laugh about that. I’ve also learned a great deal about you from the blocks.

You were probably along in years when you made them… your fine stitches are rather long and the knots are rather large. You started this project in the early 1940’s… I know this because the magazine pages are dated 1941-42. I wasn’t even born yet when you made the quilt blocks.

My guess is that you were a farm wife in the mid-west. You and your husband enjoyed reading the Progressive Farmer. The pages tell a great deal about farming in Tennessee and Kentucky.  It is obvious that you lived through the Great Depression – “Waste Not, Want Not.” I can see that all through your quilt. I see old feed sacks where the stitches have been removed. You are a wife. In the middle of a block I see your husband’s tie. You are a mother. There is a kiddie print with little girls and wagons full of flowers. You had a daughter. Many of the pieces have been cut from worn garments. I imagine I see aprons, robes, baby clothes, dresses and the like.

A friend must have shared with you many scraps of that red material. It is used frequently throughout the blocks. It has never been used before. When a piece wasn’t long enough to go across the diagonal of the 10 inch square, you pieced it together on your sewing machine. I’ll bet it was a treadle machine like the one that decorates my hallway. 

I worked hard today trying to get those three extra blocks ready. They would not fit in no matter how I made them. At last, I decided they would all have to have some of your fabric to make it work. That meant I had to undo three of your blocks and add my material to your work and add your work to my blocks.

Now it is our work. I hope you don’t mind. I started out doing all my work by hand. I didn’t want to mar the integrity of your work. When I found your machine stitches on a couple of the patches, I switched to the sewing machine. Somehow I think you would approve.

When I began this, I thought I’d just rip off the paper and put the blocks together. I find that I can’t do that. Those pages have been on the blocks for fifty years. They are a part of this quilt’s history. I’m carefully peeling them off. As I work, I am learning a great deal about history. You were just using scrap paper as a foundation to keep the blocks square and the right size. In doing so, you shared your times with me. The price of a new Studebaker Champion car starts at $690. Patterns for all sorts of clothing are 10-cents each. Movies worth seeing include Walt Disney’s Fantasia. There is an ad for Poll Parrot shoes. Those 45 pages are treasures that will stay with the quilt.

I know the blocks were stored for awhile. I picture them in a box in your attic. One block is badly sun-bleached. It must have been on top. No matter, I’ve put it in a corner. I couldn’t leave it out. 

I often wondered why you never got around to putting it together. Perhaps you became ill and couldn’t finish it. Or maybe it was one of your works in progress that was put aside until something else got finished. I’m very self conscious about my work. I’m not sure I want anyone to view my work ass critically as I’m viewing yours. I did have five quilts in varying stages of progress, but before I started work on this, I made myself finish all but one. I hear you speak to my of procrastination.

I’m putting our quilt together by machine, but with great care. I want us both to be able to take a lot of pride in this. I plan on quilting it by hand. I usually quilt by machine. I am not very good at hand quilting. My mom keeps telling me that I won’t learn any younger. I wanted to let you know that you’ve inspired me to try. I’m anxious to see it in y antique quilting frame. I look forward to the time my mom and I will spend together as it becomes a real quilt at long last. 

I still have a long way to go, but they are no longer just quilt blocks. Our quilt is beginning to take shape. Through this quilt I feel I’ve gotten to know you. I think we are a lot alike. We are kindred spirits and I’m glad we found each other….

Thank you, as always for spending some time with This Lil Pig Studios!

To Mend or Not to Mend

Quilts are very personal and live in a very intimate place in our lives. They are handmade with great investments of time and energy and given in love. They are meant to comfort, warm,and wrap the recipient in a most personal way. That being said,we love them-sometimes ‘til threadbare. If I have gifted you a quilt, please wear it out, use it,wash it, love it to pieces. Nothing makes me happier than seeing one of my quilts in the background of the people I care about lives being lived.

I have a dear friend that received a quilt as a wedding gift 30+ years ago from the bride’s family. It has adorned the bed where they have slept, cared for each other through illness and health, cuddled their children, and probably created said children (wink). It is threadbare in places and needs a new binding. I trooped home with it, started the fabric selection process to as closely match the existing as possible, and designed a few new blocks to commemorate the love it represents and the journey the quilt and my friends have been on through the years. This is what she asked for and what I am executing; however, it occurred to me not all quilts should be mended.

I think about the museum quilts and that they were once loved personal belongings, too –what separates what to mend and what to leave in its original vintage? Okay,time for a hard and fast rule. I will not mend, alter, or otherwise change a quilt made prior to 1950. That is my rule and not applicable to anyone else. My thoughts on this are -they are antique. If you love a quilt which is that old, and it has survived to this point -put it on display, put it in a cedar chest, and preserve it. Fabrics milled from this point in time are not easily acquired and replications are not the same and would diminish the quilt. If you have the good fortune to have a quilt that you know its providence, make a note, have a label made, and have the foresight to understand 100 years from now someone will be interested.That little clue will aid in the investigation. Modern made quilts are to be considered on a case-by-case basis. The quilts made by my Grandmothers cannot be replaced and are cherished as much for the talents in quilting as the finished product itself. Finding one of Mamaw’s sharps (needles) in the quilt means she was distracted and approaching the end of her days when it was being completed. I cherish that little find! My dear friend wanting her wedding quilt mended is a personal decision for her to continue using this beloved item well into the next three decades of their journey. I try to utilize everything to its highest potential and that means mending, re-purposing, and up-cycling whenever possible. That being said,there are just somethings which need to be left alone in their original form.

So what do I mean? Think about your quilt and its place in history, what it means and to whom. Love them, use them,and live your journey with them in the background-silent witnesses to the lives we love. Thank you, as always for spending some time with This Lil Pig Studios!

Time to Chat

I have been single-mindedly focused on a king-size double wedding ring quilt which was commissioned and have dropped the ball on everything else while working on it. However, I am down to the short rows on having it completed after a relatively quick turnaround of only 6 months. Yes, it takes 6 months to cut, piece, baste, hand quilt, and bind a king-size quilt.

Let’s be really honest about what has to happen for a pieced and hand-quilted quilt to be created. After a design and size is chosen, the fabric has to be pulled from the stash and measurements made for what needs to be purchased to complete the project. Then there is the shopping – I know it seems like every color and print is available, but it is not. There are colors and scales to be taken into consideration. Does the quilt have a theme that needs to be followed?

When the supplies are all gathered, the cutting can commence. I utilize a rotary cutter and self-healing pad, rulers, and templates to standardize the cutting. To ensure a fresh start, I clean and maintenance my machine, replace the needle with a new one, and get my threading started. I try to chain piece as much as possible to conserve thread. Then I iron, sew, iron, and sew. I test the layout as I go to check the flow of pattern and colors. And finally there is a quilt top!

The quilt top gets sandwiched with batting and the quilt back. At this point there is basting. I typically put a stay stitch in each block to hold it all together while I hand quilt one hoop section at a time, starting at the center and moving toward the edges. Once it is quilted to the edges, the binding is applied, and I label the quilt.

If you are considering a handmade quilt, know that you are getting an investment. They do not happen overnight, and there is a lot of work and hours in every step of the process. A handmade quilt is a precious gift and an heirloom in the making.

Now back to the business of working on projects and sharing the happenings at This Lil Pig Studios!

Color Theory 101

Color Wheel Circa 1985

Let’s start with the most intimidating part of starting a new quilt project – color selection. If you are not working from a kit, where the fabric selections have been packaged for you, then you are faced with making these selections for yourself. This is both the beauty of creating and the most paralyzing if you are not bold in the fabric selection. Fabulous fabric selection and placement can create an optical illusion that can multiply the beauty of a quilt and poor fabric selection can make a well pieced and quilted project appear mediocre. So where to start?

The first quilts I made were completely scrap quilts out of hand-me-down fabrics and left overs from craft projects. Big plus side is there is no wrong way to scrap, there is little to no investment monetarily, and most importantly, experimenting to learn color selection. Yes, experiment! Put colors and patterns together and look at it. Complimentary, contrast, solid, stripe, floral, graphic print all play together differently. Look at it from 18″, through the sewing machine, look at it from 4′ standing over it, look at it from 10′ away. It is important to take into consideration the perspectives and decide what you like. Self awareness will help make the quilt reflect what you are wanting to express.

You either just found that completely liberating or recoiled and want there to be a formula for fabric selection. If you are repulsed by the thought of experimentation, there is great news! Very talented artist over the years have documented and studied how we perceive color, pattern and scale. Following a few rules (that are meant to be bent and occasionally broken) the guess work of color and fabric selections has been narrowed.

Over the next several posts we are going to discuss each of these rules at length. Disclaimer, I am not a trained artist, I have not professionally studied color theory, I am not the leading expert on all things fabric selection but I am learning and want to share this with you to hopefully make diving into that project less intimidating and that trip to the fabric store or stash more productive. Thank you for spending some time with us in the Pig Pen at This Lil Pig Studios!