Spiral Quilts - Sew it Together

You have finished all the paper piecing and are admiring the completed shapes on your design wall.  Now you get to sew those shapes together, which is exactly like sewing the pieces of any quilt together. First, you sew the shapes (pentagon and triangle here) of the wedge together until you have all your wedges complete, then sew the wedges together.  With only two shapes this is a relatively simple matter.

You will have points to watch along the seam lines.  Be sure they look the way you want them to before you go on.  Some of my points refused to behave at the seam line so I cut out little flowers from one of the fabrics and appliquéd them over the offending areas (see right side of photo).  This was a better solution than redoing seams until the fabric died.

TIP:  Covering up faults is not cheating.  It is called artistic innovation.

Another problem area may be the very center where all the wedges come together.  This design has a lot of seams jammed up tight at the center point and it was impossible to put them together nicely.  My solution was to make a 4 inch kaleidoscope of six small wedges from my feature fabric, and appliqué it over the bulky center.  From the back I cut away the bulk.

TIP:  One way to avoid problems in the center is to use a single fabric at the point of the wedge and choose a hexagon or octagon for your design (6 or 8 wedges).  That chosen fabric could be fussy-cut to yield an interesting design.  This solution would have to be included as part of the original design.

I have not tried it yet on a spiral quilt, but on my next one I am going to glue baste the seams together instead of pinning.  See Christy Fincher's tutorial on this process.  I tried it on a recalcitrant border on my current work in progress and it was fabulous.  When you think about it, no matter how careful you are with pins, they distort the fabric.  I have spent way too much time redoing seam junctions, and with spirals there are often more than two seams coming together.  RaNae Merrill likes to keep the paper in until the seams are sewn.  I prefer working with the fabric without paper so I tear off at least the seam allowance.  You'll have to find what works best for you.

TIP:  Take your time, work slowly and carefully, and it will be beautiful.

Pressing is a major issue as the bulky seams have a mind of their own.  I just let them play their own game as long as the piece looks nice on the front.  The only time I try to control them is when I have three or more seams at a junction.  Then I like to have all the seams flat in the same direction so I end up with a nice little rosette at the center.  That often means that a seam will have to twist somewhere along its length.  To tell you the truth, I have never noticed those twists when the quilt is done and they don't interfere with the quilting.  They are less bulky than the seam junctions.

Finishing requires placing the circular design onto a background, and I leave it to you to figure out how your special design will be displayed.  I put mine onto a square or rectangular background by sewing large pieces of fabric onto the edges of the spiral however they will work and be easiest to sew.  You can face the mandala, cut away excess fabric after it is turned, and appliqué it to a background.  If you do this, you will have a circular border around the finished spiral.  The heavy seams of the spiral will not turn under neatly so they have to be sewn in a way that allows them to lay flat.

This is the finished quilt that I have been describing.  In my next post I will talk about quilting this type of quilt.

Reverie

Bella Bella Blue

I saw a fascinating quilt hanging in a local quilt store and loved the color and design.  I asked about it and quickly bought "Bella Bella Quilts" by Norah McKeeting, which I read through carefully.  I had to make one of those quilts and I settled on the one she calls "Venice Rose."  I call mine "Bella Bella Blue."

Bella Bella Blue 72" x 72"

It is made in an interesting way with excellent instructions in the book.  No sense going through the whole process here.  The design is constructed with two spokes, one the reverse of the other, and they are quite long.

The two spokes of the wheel.

The pattern comes with the book with paper piecing directions.  Instead of using the usual foundation material I used freezer paper.  I did it the usual way, but instead of sewing through the paper I ironed it down, folded it back, added the next piece of fabric, and sewed alongside the fold, catching only fabric.  I found I needed to put a pin in the last piece sewed just to be sure the pattern didn't slip.  This thing gets to be a snake by the time it is finished.  The freezer paper foundation can be used over and over and there is no paper to pull out later.  Putting the spokes together requires great care in matching the angled seams.  I did and redid many of these intersections.

TIP:  Matching seams is critical for a top notch result and a good method is shown on this website.  She talks about getting points right, but the same method works for matching seams.

TIP:  You have tried twice and still the seams don't come together with precision?  Carefully pin again as directed in that website, then turn your quilt over and sew it together from the other direction.  This almost always solves the problem

As to adding the circular border, I direct you to the book.  I designed my own appliqué, but I didn't want to needle turn the edges, and I am not crazy about satin stitch (probably because I don't do it well).  I discovered Ricky Tims' "Rhapsody Quilts" and was interested in his method of using machine blanket stitch for appliqué.  I used it on my motifs and was very happy even with this first attempt.

The quilting is all feathers with one in every piece of every spoke.  In the diagonal joins I did a wiggly grid.  It is hard to see on the front in these photos, but here is what the back looks like.

Backside shows the quilting.

My problem #1:  I ran out of the dark blue.  I had that fabric in my stash for years and loved it, but it never quite went with anything else.  Finally, here is the place for it.  Then I ran out!  Fortunately, I had a piece of selvedge, which showed that it was a Jinny Beyer fabric and I was able to buy an expensive one yard online.  I finished the quilt with a small handful of very small scraps.  Too close for comfort.

TIP:  Figure your fabric before you sew!  You might not be as lucky as I was to still be able to find an almost outdated fabric.

My problem #2:  I carefully marked the quilting design with blue marker on the white and a Clover iron-away white marker on the dark.  By the time I finished quilting the first two spokes the white marker rubbed off all the rest of the quilt.  The blue marker stayed the duration.

TIP:  Test your marker by rubbing it with your hands and scrap fabric.  If it doesn't stay you may have to mark as you go along, which is what I did.  Remember, practicing the quilting design with a marker will help you do a better job with the quilting.  I love the "SewLine" ceramic marker, and it has different color refills.  It rubs off and if there is any residue, it washes out.