These quilts are all samplers. Samplers may not always have the
continuity of style that other piecing schemes have, but they do have
advantage for the quilter: the pattern isn't boring, since it changes
This is not really white on white; it's white and off-white. This was
my first quilt, and I made the blocks from patterns and techniques in a
Georgia Bonesteel book. The sampler consists of twelve 12"
and hand-quilted blocks, each with a 3" sashing hand quilted with
making it 54" x 72". At one point, my scissors slipped, so my initials
are machine embroidered in one corner to cover the slip. I lap quilted
each block and then put them all together, finishing in 1985, when the
quilt won a blue ribbon at our county fair.
this project at the end of December, 1999. This is the first larger (51
1/2" x 65 1/2") one that I've designed and laid out using QuiltPro.
a difference in ease of drafting and figuring! The blue and white color
scheme is a cool, refreshing look. I used blocks from the QP library,
I designed the border myself, basing it on one in an Eleanor Burns
It's machine pieced and hand quilted. There's a sort of visual trick in
this sampler, as it appears that there is a sashing between the blocks.
However, the dark blue "sashing" is really a cross in the center of
block! If you'd like the QuiltPro project file, it's here.
I belong to an email group called Quilt en France, which is for
francophone quilters -- a truly nice group of people from all over. Our
list mom came up with the idea of having a challenge, in which we would
make a prescribed block each month and post the results online for the
group to see. The blocks could be in our own choice of fabrics, which
made for some wonderful differences in what had started out as the same
block for each of us. When I made my blocks, I didn't bother to redraft
the downloaded patterns, so almost all of them turned out to be
different sizes -- a nightmare when it came time to set them together
into a top. Luckily, I took a class from Sharyn Craig at Quilt Camp in
the Pines in July, 2004, and she came up with some really imaginative
ways to standardize the sizes of the blocks I'd decided to use.
Success! (And the source of the quilt's name.) I set
the nine blocks on point and then
floated Lemoyne Stars between them. The setting triangles are a Sharyn
Craig idea, too, and they give the impression of an inner border. After
finishing the top, I machine quilted it in variegated soft blues. The
quilt, finished in January, 2005, measures approximately 56" square.
And here's a detail of the
which is mainly in free-motion feathered motifs:
The strange thing about this quilt is that I couldn't ever figure out
why I was making it -- in other words, I had no plan for the finished
project, which is very unusual for me. However, the reason for that
became clear as I quilted it. The quilt itself began "telling" me that
it was destined to go to my terrific step-sister! So that's where it
lives now, and I hope she's getting lots of warm use out of it. :)