Charming Nine

Charming Nine

Charming Nine quilt designed by Maureen Cracknell and stitched by Sharon Holland

Scrap quilts and Nine Patch blocks hold a special place in my heart. Collecting fabrics and making quilts from a stash is the core reason for me making quilts in the first place and what started my love affair with prints, calicos, and becoming a surface pattern designer.

The Nine Patch quilt block is especially meaningful to me because it was the second quilt I’d ever made and the first quilt I hand quilted. The first ‘quilt’ was actually a Nine Patch variation with sashing and tied, so technically it doesn’t count as a quilt because of the way it was finished.

To see my first quilt of a red and white Single Irish Chain quilt on my @sharonhollanddesigns Instagram post swipe through to the second slide to see a fun stop motion video.

Last week Maureen Cracknell posted images on her Instagram account of a Nine Patch quilt she was making that used 34 different fabrics from combining her 16 piece Art Gallery Fabrics Homebody collection with my 16 piece Kismet collection and 2 prints from Bonnie Christine’s Lambkin collection.

AGF Nine Patch bundle and photo courtesy of Lady Belle Fabric

I instantly fell in love with Maureen’s quilt and had to make one, too! Because I had written the free pattern for my Charming One quilt last fall, I thought it would be fun to continue the beginner-friendly series of easy quilts and dubbed this quilt pattern Charming Nine because of it’s inherent scrappy nature. Find both the patterns on my Free Projects page.

This fabric pull is a partial look at the fabrics that went into my Nine Patch version. I had just a few scraps of my upcoming Lilliput collection left and because they were light prints I decided to keep the lights and darks of the Nine Patches in the same place on each block, opposed to Maureen’s quilt that she mixed up the light and dark positions in the blocks.

By my using the light prints in the 4-patch positions on the Nine patch I could conserve my little bit of fabric and use the 5-patch darker fabrics in solids and blenders that I had more materials of. I ended up supplementing this pull with Homebody, Kismet, Spirited, Pure Solids, Decostitch, and AGF denim to get enough for my scrap quilt. I also kept the background squares of my quilt light to create a Single Irish Chain affect with the diagonal dark squares as a nod to my first quilt make.

I’m calling my quilt a Controlled Scrappy quilt because even though I used 16 different fabrics there’s an order to the light and dark placement to create an obvious pattern to the quilt design.

You will want visit Maureen’s blog to read about her quilt and see her beautiful photos. I like to think of our two versions as sister quilts, Town and Country quilts, or Controlled Scrappy and Super Scrappy quilts but however you name them they’re uniquely beautiful and so much fun to make!

Like I mentioned earlier, this scrap quilt pattern is fat quarter friendly and written using Strip Sets rather than cutting a bunch of squares. You can use as many or few of prints as you like and in whatever way to reach the total yardage required (see PDF pattern). I used a mix of scraps, fat quarters and width of fabric cuts to get the number of blocks needed. Jelly Roll strips will also be great to use on this project.

I could’ve evenly distributed the Nine Patch blocks across my top like Maureen had done but to accentuate the difference between our versions and keep more control over the look of my quilt I placed the Nine Patch blocks in diagonal lines by color or close enough color if I ran out of fabric for an exact match.

With the low volume spring-inspired palette and playful nature-based prints I was smitten by the cottage-style of my quilt and wanted to play off the vintage feeling to it’s fullest. So, to give some added texture and comfort to the quilt I used two layers of Hobbs Tuscany Silk batting! Doubling up the batting makes the quilt heavier and stiffer but has an incredible, vintage heft and feel! The machine quilt has lovely definition and the binding edge is thick and wonderful.

This quilt needed to be made and finished quickly because there was also a pattern to be written and photographs to be taken before posting a week later. I started cutting pieces on a Thursday and by following Tuesday morning put the last hand stitches in to the binding. I didn’t have time to send this quilt out to be professionally long arm quilted so I did the free motion quilting myself. Yes, it’s irregular and very organic (a pleasant word for wonky) but I’m very happy with the results and it fits the true utility scrap quilt tradition.

At first I was tempted to do diagonal straight line quilting but thought that would be pretty boring and maybe I could do something just a little better than that. I ended up with this not-so-perfect Orange Peel design that I will share with you just how easy it is to do—without even marking your quilt or using templates or rulers!

Orange Peel Quilting

1. Working on the diagonal, and eye-balling down the center of the blocks, start needle at the corner of a block and stitch an arching half circle or shallow curve that returns to the center of the block. Repeat that same arching curve, ending at the opposite corner of the block. Continue repeating the two arching curves on each block until you reach the end of the diagonal block row.

2. Turn the quilt around and repeat Step 1, arching the curves to reflect the curves made on the first pass down the quilt.

3. Repeat Steps 1 and 2 creating parallel diagonal arching stitches down and back up each Nine Patch and Square diagonal rows creating loops as show in illustration 3.

4. Repeat Steps 1 through 3 in the diagonally opposite direction to create Orange Peel quilting. Note that the quilting on my quilt has shallow loops compared to the nice computer generated example. If you’d like your quilting design to be more regular and closer to perfect, you may want to mark the top first or use a curved ruler when stitching.

For the backing of my quilt I used Ikat Diamond Posh from my Art Gallery Fabrics Kismet collection. My labels are made by the Dutch Label Shop and I hand stitched the binding with a running stitch for a little extra special touch.

I hope you make yourself a Charming Nine quilt and get your quilt friend involved too. You could have a Nine Patch block exchange or a virtual Sew In—a good excuse to play with fabrics and sew!

Fabric carrots by Sharon Holland

While we’re talking about scraps, I wanted to share a fast and fun project I had posted on my Instagram account—Fabric Carrots. This was inspired by burlap carrots I saw at Target and thought, “Heck, I could make those and there’s some prints in my Lilliput collection that would make the cutest carrots!”

The project is so easy I felt it didn’t need any more than a silent stop motion video to explain how to make them. You can use scraps, make them any size or length you’d like, and there’s only two seams to sew! I took my carrots and made a door decoration from hanging them with raffia. Use the link and slide through the photo like the one shown above to see the tutorial video HERE. See the door decoration post HERE.

If you’ve been wondering about this Lilliput collection I’ve been talking about in this post and the few prints you’ve seen used in my Charming Nine quilt, I’m talking about the next fabric line I designed. Lilliput is my first ever children’s collection but it’s not just for kids and has prints the whole family will love. Take a look at the collection on the AGF website, HERE.

Lilliput is my 10th collection for Art Gallery Fabrics and is slightly delayed because of all the shipping hassles happening world wide but due in any day and it wont be long before this collection starts showing up in your local quilt shop and favorite on line shops!

I’ve started a stock list for online shops carrying Lilliput and you’ll find link on my Fabrics page. Some of these shops are taking pre-orders for the collection to if you’re one who likes to have collections as they first come out and before shops sell out you’ll want to get your name on the list!

Trust me, there’ll be much more to share about Lilliput and new quilt patterns in the weeks ahead. Until then, happy sewing!

I am an Amazon Associate site and earn from qualifying purchases on the products I’ve linked below. The helpful products selected are the same or similar to materials used to make the project(s) in this blog post or related items I think you may enjoy.

Hold Tight Quilt Pattern Update

Hold Tight Quilt Pattern Update

Hold Tight Petite by Sharon Holland

I’ve an important update for those who’ve purchased my Hold Tight quilt pattern and an apology for any frustrations the B template may have given you.

The original version of this pattern included an 8-1/4” square B template that proved troublesome to print out because one side would get cut off in the printing margin. On the second version I trimmed down the tips (just the tips, not the entire shape) to make the template 8” square and easier for printing. Neither one of these were acceptable and I am sorry for my dropping the ball on this one.

Well, third times a charm because this updated template that you can download for free from the Sew Along page prints out fully and is back to the original 8-1/4” square size. Please note, you’ll need to tape it together before creating your plastic template. It’s a happy medium compromise between the two problems.

The new B template page looks like the image above and you can download a print out HERE. Do not drag, screen shot, or use the image above as it is not a PDF quality for use. Instead, download the PDF from my Sew Along page.

Once you have the new B template PDF, you’ll need to print it to scale and carefully cut out the B1 and B2 shapes. Use the arrows to tape the two shapes together to create an 8-1/4” square B template. Transfer this full (whole) shape to your template plastic and follow the cutting instructions as given in any version of the Hold Tight quilt pattern.

Having this larger size B shape doesn’t change the curve of the template or how it’s pieced, it only gives you more wiggle room for sewing the curved pieces together and for trimming the block up to size using your Trimming template that’s included in the pattern—and who doesn’t love more wiggle room!?!?!

My sincere apologizes to anyone that’s had struggles with the cutoff print version or the smaller B template version of this pattern. I’ve uploaded an amended Week #2 video to YouTube explaining this update, so if you follow my YouTube channel and this blog then this blog post will cover the same information that the “new” video covers.

Any new pattern purchases of the Hold Tight quilt will reflect this B template change. You do not need to repurchase the pattern to get the updated B template page. Simply download a free page 11 B Template PDF from the Sew Along page.

I am an Amazon Associate site and earn from qualifying purchases on the products I’ve linked below. The helpful products selected are the same or similar to materials used to make the project(s) in this blog post or related items I think you may enjoy.

Hold Tight Sew Along Week #4

Hold Tight Sew Along Week #4

It’s the fourth and final week of the Hold Tight Sew Along where I’ve been sharing tips and tutorials to bring your quilting skills to a new level. No longer will curved piecing hold you back from stitching a quilt with curves! 

If you don't have the pattern already, you'll want to purchase the Hold Tight PDF pattern from my Shop page or from our friends at Fat Quarter Shop who now carries this pattern along with the Hold Tight quilt kit. If you’ve just discovered this blog or only just heard about this sew along, there’s still plenty of time to join in on the fun as the blog post for the sew along will remain up to access any time. To get up to speed, take a look at the Week #1 posting dedicated to color selection and working with colors like a designer.

The Hold Tight Sew Along tutorials are useful to anyone working with fabric and patchwork regardless what quilt is being made. In addition to my written posts, I’ve adding skill-building demonstration videos to further your learning experience. I’ve added a new video dedicated to hand quilting and adding the “strings” embellishment to this quilted quilt before binding. View video support Weeks #1 through #4 on my Sew Along page. All the videos will stay a permanent feature to resource in the future.

These blog posts serve to supplement the instructions but don't provide the detailed pattern information that you'll find in the PDF available for purchase. The Hold Tight pattern will have your material list, cutting requirements, full-size templates, and be fully illustrated. My supplementary blog posts are just that, supplementary and meant to guide you along as you sew and give general patchwork sewing information for anyone sewing curves.

Quilting

If you’re a beginner or just in need of a refresher on how to baste your quilt top, machine quilt, and add the binding, check out the Finishing blog post I had written for the Sewcial Bee Sampler quilt. Since I cover the way I put together my quilt sandwich and how I go about machine quilting in the Sewcial Bee Sampler post I won’t go over that identical information here but instead add information specific to the Hold Tight quilt such as batting selection, the machine quilting design I used on both of my Hold Tight quilts, and hand quilting the string embellishment.

To help illustrate how different batting lofts look in a finished quilt I decided to use the exact same quilting design on both of my Hold Tight quilts.

The white background quilt on the left has a Hobb’s Tuscany Silk batting inside and the ombré quilt on the right has Hobb’s Tuscany 100% Polyester batting inside. I love both of these battings but they have completely different properties.

Here’s what I love about both of these products:

Both preform beautifully with quilting stitched up to 4” apart.

Both have a beautiful drape, light weight (no heavy quilt to wrestle with when stitching), and easy to handle.

Both are excellent for hand stitching and machine quilting.

There’s no shrinkage with Tuscany Polyester and only 3%-5% with Tuscany Silk (but I’ve noticed very little after laundering).

I’ve had no issues with laundering these battings and set my machine to Delicate Cycle, Cold Water wash and rinse, and low heat (delicate) drying.

The Tuscany Silk is similar to a cotton batting for stitch definition and feel but without the weight. The Tuscany Polyester is a high loft for a puffier look and is light as a feather (great for kids and extra snuggly quilts).

You can read further direct from the source at Hobb’s Batting plus take a look at their handing Quilting Products Batting chart to know what’s the best batting for your needs.

I decided to do a very simple quilting stitch on these two quilts. The original Hold Tight quilt is filled with Tuscany 100% Polyester batting but has a dense, overall quilt design (see quilt below) so the quilt doesn’t puff as much as with the simple, looser machine quilting (see quilt on the right, above). It just depends on the look and feel you want to achieve.

To stitch the loose Looping Scallop design you will need to do a little prep work of marking a horizontal line across the middle of the block rows.

By dividing the block rows in half horizontally you’re making guides for two Looping Scallop quilting lines per block row. Stagger the two Looping Scallops in alternating rows as seen in the illustration above. I freeform stitched my Looping Scallops and they look in real life about as wonky as they do on my illustrated drawing.

For one horizontal row of Looping Scallops I used the block seam lines as my guide where I would make the loop. On the next row, that seam line was my midway point between loops that I eye-balled to land in the middle of the block.

I worked from the bottom of the quilt up, as I wanted the scallops to give a bit of a cloud illusion and this felt the most natural for me in creating the loops. You can work from the top down if that feels more comfortable to you. If you’re not sure about eye-balling where the loops and scallops are to be stitched, then draw out the machine quilting design or make a little mark at the midpoints for reference so you have more of a guide to follow.

Once your quilt has been quilted and before you add the binding, you’ll want to add the hand stitching to create strings on the ends of the balloons. I’ve put together a helpful video all about Hand Quilting and you can find it on the Sew Along page with the other Hold Tight Sew Along videos.

I used all 6 strands of 6-ply Aurifil floss for my hand quilting thread.

All of my Hold Tight quilt use Art Gallery Fabrics Pure Solids for the top. The white background quilt I’m calling the Art Class color way and you can see the full list of fabrics used on week #1 of the Sew Along. For the backing I had to sneak in a print and used Sporangia Plaid print from my Art Gallery Fabrics Signature collection as the perfect compliment to the colorful front.

For the Ombré Desert color way I mixed it up a bit and made a gradient background to simulate the sky. Read about the colors that went into making this top along with the color inspiration for the quilt on week #2 of the Sew Along.

The backing for the Ombré Desert color way is Destination Aerial from my Tapestry collection for AGF. It was the perfect shades of blues and peaches!

I lucked out with the perfect (although a bit windy) day for photography and love how the blue of the sky looks with these quilts. The balloons look as if they will fly away!!!

I can’t wait to see your finished Hold Tight quilts, there’s so many possibilities for coloring and even the finishing options make this quilt look completely unique. Be sure to tag me @sharonhollanddesigns when posting to social media and don’t forget to use the hashtag #holdtightsewalong to be entered into our final giveaway that will be drawn from the Instagram hashtag pool on Monday, April 15 (see below for more details).

Let’s give a huge shout out of thanks to our fine sponsors and their generous giveaway prizes. I personally love the people behind these companies, their quality products, and their dedication to serving makers like you.

Thank you to our friends at Dritz Sewing, the Fat Quarter Shop, Hobbs Batting, and Omnigrid have generously sponsored the Hold Tight Sew Along.

This Friday, April 12th will be our last Hold Tight Sew Along giveaway on Instagram. By using the hashtag #HoldTightSewAlong on Instagram every time you post sew along photos to a public account (private account posts don’t show up in hashtag pools) your IG account is automatically entered into the weekly sew along drawings! Ideas for what to share include your sew along progress, the “I’m a maker” sew along badge found HERE, your fabric pull, blocks, and finished quilt.

Be sure to follow me on Instagram @sharonhollanddesigns so you never miss a thing!

THIS WEEK'S GIVEAWAY SPONSOR IS FROM The Fat Quarter Shop

You may need to be restocking your solids stash after this sew along so what better way add some color to your fabric cabinet than with a chance to win this giveaway! One lucky IG winner will be sewing with this beautiful 15-piece Art Gallery Fabrics Summer Sun Pure Elements fat quarter bundle generously offered by the Fat Quarter Shop.

Don't forget the giveaways for this sew along are held on Instagram (not on the blog) and winning names are randomly drawn from the posts in the hashtag pool. By posting images of your Hold Tight color inspiration, fabric pull, blocks, or quilt. Use the official #holdtightsewalong hashtag every time you post your makes (to a public account) and you're automatically entered into the weekly IG drawings! See my Instagram Friday giveaway posts @sharonhollanddesigns for full details. 

Hold Tight Sew Along Week #1

Hold Tight Sew Along Week #1

Welcome to Week #1 of the Hold Tight Sew Along! For this blog post, and the following three posts, I'll be share tips and tutorials to bring your quilting skills to a new level. No longer will curved piecing hold you back from stitching a quilt with curves! 

If you don't have the pattern already, you'll want to purchase the Hold Tight PDF pattern from my Shop page or from our friends at Fat Quarter Shop who now carries this pattern as well as Hold Tight quilt kits. Please note that the kits from FQS will be ready to ship at or around March 23rd. Use the “Notify Me” function on the kit page to get updates on your order’s shipping date. These blog posts serve to supplement the instructions but don't provide the detailed pattern information that you'll find in the PDF available for purchase. The Hold Tight pattern will have your material list, cutting requirements, full-size templates, and be fully illustrated. My supplementary blog posts are just that, supplementary and meant to guide you along as you sew.

From now until April 10, 2019 I'll be breaking down the key components of the Hold Tight baby quilt pattern into four manageable tutorial blog posts. These tutorials will be useful to anyone working with fabric and patchwork regardless what quilt is being made. In addition to my written posts, I’ve adding skill-building demonstration videos to further your learning experience. The videos support Weeks #1 through #3 and you’ll find these helpful videos on my Sew Along page. All the videos will be available on Week #1 of the sew along for those wanting to work ahead and will stay a permanent feature to resource in the future.

Color and Transparency Effects

As outlined in last weeks blog post, Hold Tight Sew Along, I'll be covering a new topic each week. This week's lesson is all about selecting colors and working with transparency effects. 

Color is a big subject, but I'll attempt to give you a practical and applicable approach to color as it pertains to selecting fabrics for this quilt. 

Since color is the first thing anyone notices in a quilt—even before the design, we need an entire post just on this subject. The Hold Tight baby quilt offers plenty of opportunity to play with color through the graphic shape of a balloon. But where do you begin when you must decide on a maximum of 20 different solids!!!???

This quilt is marketed as a baby quilt but its large size also makes it suitable as a throw-size quilt for any age. Maybe there's already a nursery color scheme selected, favorite colors, or some sort of predetermined color inspiration (like from printed fabric or artwork). That's really helpful and gets you halfway to a fabric pull. If you'd like to create a color palette from creating a mood board, take a look back at the Community Sampler Week #1 post on this blog. If you remember, I made my Community Sampler quilt using Art Gallery Fabrics Pure Solids and my color inspiration came from creating a mood board from images I found on Pinterest. But, if selecting a color palette still seems daunting, read on.

As a textile designer, artist, and newbie to embroidery coming up with color palettes and selecting just the right color for a given project is an ongoing challenge. Rather than focusing just on color relationships and schemes like you'd find on a color wheel (e.g. Complementary, Split Complementary, Diad, Triad, and Tetrad), I'll walk you through color composition instead and how to select hues that work in unity together because of their shade, tint, and/or tone. Once you've discovered how to view a color by what colors it's made from you can always go back and incorporate traditional color wheel schemes into your fabric selection process.

When you start seeing beyond the colors within a given color (hue) you'll be able to successfully mix colors physically like with paint for example or visually, like with fabric transparency effects.

In this tutorial I'll be using the following technical terms:

Shade: Amount of black added to the hue

Tint: Amount of white added to the hue

Tone: Amount of gray added to the hue

Value: Lightness or darkness

Intensity: Brightness or dullness

Before I tackle mixing colors, let's first discuss the easiest way to select colors that achieve the effect of unity and transparency by using a Monochromatic color scheme. For both the Hold Tight pattern sample and the quilt you'll see featured in the sew along tutorials I'm using a combination of monochromatic color trans effects and mixed color transparency effects and sewing with Art Gallery Fabrics Pure Solids fabrics.

A Monochromatic color scheme uses one color and the shades and tints of that color. Art Gallery Fabrics has an array of shades and tints available for their Pure Solids and makes it easy to achieve beautiful gradation steps of colors—creating a transparency effect where the balloons overlap.

The four monochromatic color schemes above illustrate color steps arranged from tints (lightest) to shades (darkest) of a hue.

To illustrate mixing colors I'm going to refer back to the color wheel and start with the Primary Colors which are blue, red, and yellow. These three colors cannot be created by mixing other colors. 

If you mix equal parts blue and red you'll get violet (or also referred to as purple). Mixing red and yellow will create orange and mixing yellow and blue will result in green. These resulting colors are called Secondary Colors because they were made from mixing two different Primary Colors. 

Tertiary Colors are the result of mixing a Primary Color with a Secondary Color. The resulting color name always has the primary color first followed by the secondary color. For example: blue-green, red-violet, red-orange, yellow-orange, and yellow-green.

Crayola Color Wheel

As a kid I was fascinated by color and as soon as I could read I was memorizing the names of the crayons. From early on I saw the pattern of this primary color name first followed by secondary color name as a way to distinguish one color from another.

Anyone who's gone to the hardware store to buy a can of white paint knows about the zillions of options there are for “white” paint. Do you want a yellow-white, a pink-white (which has a whisper of red paint added to the can), a cool, blue-white, a white with a warm, green cast...??? You get the idea. Once you understand about Primary, Secondary, and Tertiary Colors you can start to see what makes up a particular hue.

I'm remaking a Hold Tight quilt for this sew along to put myself in your shoes of where to start for selecting colors. I had no color scheme in mind, so I got out my watercolor paints. If you don't have watercolors then attempt the same exercise with colored pencils, acrylics, pastels, crayons, markers, colored tissue paper that can be overlapped, or anything that can be mixed, blended, or overlaid and put onto paper for this lesson.

Begin with mixing Primary Colors to make violet, green, and yellow. Try to get as close of a match to a true Secondary hue as possible just to give yourself a clean and bright color sample (see Intensity definition). Next, create your Tertiary Colors. This is your starting point.

Start mixing colors and see what you end up with. I guarantee you'll create a lot of stuff you're pretty meh about but what's happening is you're learning about color and what colors go into to making a new color.

Now it's time to add black to your colors to create shades and darken a hue. A fun outcome of adding black to yellow is you'll create a drab olive green. True story: I never use a pre-mixed black paint when painting. I always create some sort of near-black from the colors already used in the art.

Next, add white to make tints and lighten a hue.

For some real fun try mixing colors that are directly across from each other on the color wheel (e.g. Complementary Colors). The results can vary from creating different brown hues to different gray tones depending on what colors make up the resulting hue.

After this exercise about shades, tints, and tones you'll start to notice how adding black, white, or a Complimentary Color has changed the original color's intensity and value. Intensity and value play a big part in relative contrast and why some colors appear dull and other bright. Using fabrics of the same relative intensity but of varying values is a good rule of thumb to give the overall effect of unity. All bright colors look less bright when placed in the same quilt or piece of art. Likewise if the palette is all muted or duller those colors make sense together because of the relative sameness. Now that's not a hard and fast rule, just an example. Many times in art, mixing intensities of colors can create a focal point where the bright, pure color stands out above the more muted tones. Artists often use colors of different intensities, temperatures (cool or warm), and values to make objects advance or recede in a painting.

Contrast is very similar to Intensity and describes the amount of difference between two or more colors. We know as quilters that contrast plays a big part in how a block reads or a quilt pops. If there’s little or no contrast between touching colors (or prints) then the overall effect is very flat and at a distance may read as one solid mass.

A great way to make a transparency areas successful is to utilize dark, medium, and light contrasting colors. Dark, medium, and light contrasts can be positioned in any order but I’ve found when a dark color is used on a balloon and a light colored balloon is overlapping it, using a medium (mixed result) color in the transparency area will be most affective for creating a transparency illusion. See the photo below at the transparency overlapping blocks.

Take a look at the colors you mixed and hopefully, there's some colors and blending that really speaks to you! For my quilt(s) I'm using Art Gallery Fabrics Pure Solids. Pull out all your solid fabrics or take your paper swatches to your fabric store for reference when purchasing fabrics. You may want to cut out the paint or mixed samples you want to work with. Assign the colors and color combinations you love a fabric that matches as close as possible. Don't feel you need to follow your mixed samples exactly and depending upon your available fabric colors you may need to make adjustments. Implement what you've learned in this mixing exercise and soon you'll be able to confidently make judgements about color mixing in your minds eye. Remember to look closely at the underlying colors that make up the color of the fabrics and select the transparency fabric color that would simulate as closely as possible the “mixed” result if you could mix the fabrics on either side of the transparency shape. Notice in the Monochromatic color scheme examples I’d grouped the colors by yellow-greens, greens, blue-greens, and aquas.

I’m calling my second Hold Tight quilt the Art Class Color Story because the above photo was the AGF color palette I came up with after my paint mixing exercise. Because I still need some print in my life I like adding a fun printed backing to an all solid quilt top. The Sporangia Plaid print from my Art Gallery Fabrics Signature collection was perfect!

The Art Class Color Story quilt uses PE-408 as the background and PE-402, PE-405, PE-410, PE-414, PE-427, PE-450, and PE-466 as the transparency fabrics.

If you have a design wall, pin up some swatches and take a step back. Squint your eyes and see if the colors make sense together. Likewise, taking a photograph of the fabric pull and viewing the photo on a screen can sometimes allow you to see color relationships you didn't notice in person.

If you’d like a fun read about fascinating and unknown histories of color, add The Secret Lives of Color to your library. Awarded NPR Best Books of 2017. (Amazon Affiliate link).

My fellow Art Gallery Fabrics Designers, Dana Willard, Mathew Boudreaux, and Alexandra Bordallo along with AGF Sewcialite Carolina Moore will also be sewing along with us and making a Hold Tight quilt. I’m excited to see the beautiful colors and looks all of you will make so don’t forget to snap some pretty pictures of your color lesson homework, fabric selection, or color palette process to share with the other Hold Tight Sew Along makers. If posting to Instagram or other social platforms be sure to use the hashtag #holdtightsewalong and tag me @sharonhollanddesigns so I see your beautiful work.

A sew along is a lot more fun with sponsors and giveaways, right!? Our friends at Dritz Sewing, the Fat Quarter Shop, Hobbs Batting, and Omnigrid have generously provided the Hold Tight Sew Along with products I know you’ll love! Every Friday, beginning on March 22nd through April 12th, 2019 I’ll be posting weekly a giveaway on Instagram. By using the hashtag #HoldTightSewAlong on Instagram every time you post sew along photos to a public account (private account posts don’t show up in hashtag pools) your IG account is automatically entered into the weekly sew along drawings! Ideas for what to share include your sew along progress, the “I’m a maker” sew along badge found HERE, your fabric pull, blocks, and finished quilt. Be sure to follow me on Instagram @sharonhollanddesigns so you never miss a thing!

Fat Quarter Shop - Woodlands Pure Elements Fat Quarter Bundle

Fat Quarter Shop - Woodlands Pure Elements Fat Quarter Bundle

This Friday, March 22, 2019 the giveaway prize will be the beautiful 15-piece Art Gallery Fabrics Woodland Pure Elements fat quarter bundle generously offered by the Fat Quarter Shop.

Don't forget the giveaways for this sew along are held on Instagram (not on the blog) and winning names are randomly drawn from the posts in the hashtag pool. By posting images of your Hold Tight color inspiration, fabric pull, blocks, or quilt. Use the official #holdtightsewalong hashtag every time you post your makes (to a public account) and you're automatically entered into the weekly IG drawings! See my Instagram Friday giveaway posts @sharonhollanddesigns for full details.