Artquiltmaker Blog

Scrap Patchwork: Traditionally Modern Quilts – Organize Your Stash to Tell Your Color Story by Sandra Clemons

I bought this book at The Cotton Patch in Lafayette on a whim. I look at it periodically and have even marked some quilts I want to make, though I still have not taken the time to make any of them.

The table of contents is pretty normal. It includes a list of projects grouped together and also has a section called ‘Special Techniques.’ These are fairly basic, such as cutting strips (pg.103) and Flying Geese (pg.105), but I find it is always good to see if I can learn something new from an author.

The introduction starts out talking about fabric and how much we love it. The book is described as “the 13 fabulous quilts in this book are designed to make use of scraps” (pg.4).

The introduction also discusses the various sections of the book including organization of your scraps, color, instructions and the ‘traditionally modern’ idea of the book. I have never liked the word ‘traditional’ in relation to quiltmaking as I have never really used those small calicoes typically associated with ‘traditional quilting’. I do love blocks, too. 

‘Color Basics’ follows the introduction (pg.5). Clemons acknowledges that choosing fabrics can …”sometimes be overwhelming and intimidating, especially when working with scraps” (pg.5).

This book includes a more complex color wheel. There are 4 tones in each section. For example, orange goes from pumpkin to coral to baby poop brown to a light chocolate brown. I like the Johannes Itten Color Wheel better but I also like that this one is more complex so it reminds readers s/he can use magenta or scarlet with emerald or sea foam green, that the classic combinations can be changed up. Sandra points out that “there are also colors that you don’t see on the basic color wheel – tints, tones and shades” (pg.5), which expands the way readers can look at color combinations.

Ms Clemons also has some information about the meanings of colors. She notes that these are common associations. Different cultures and traditions may expand this section for readers.

The color section continues with value and contrast. She provides a definition, which I urge you to stop and think about before reading on in the book. Really try to take the meaning on board (pg.6).

The author says “contrast and value are relative. A fabric may look dark when it is next to a light fabric and look light when it is next to a dark fabric” (pg.6). This is really true. This is why I don’t use the ‘paper bag’ method for creating scrap quilts. I select my scraps carefully so that even a scrap quilt looks cohesive.

I am not sure I agree with her definition of contrast. The definition I always use in my classes is the difference in light and dark.

The section on colors is useful. I like the short paragraph on color relationships (pg.7). The section on types of colors is also a good reminder.

The book has ‘tips’ on many pages. One suggests the Ultimate 3-in-1 Color Tool** (pg.6) and another talks about yellow (pg.7). They are scattered throughout the first part of the book and add to the usefulness of the book.

Ms. Clemons continues the color instruction by talking about different types of color stories, such as calming (pg.8) and harmonious (pg.9) color schemes. Within these sections she also mentions triadic, quadratic and tetradic color options.

Sandra discusses keeping color inspiration binder (pg.12), which is a great way to keep track of color combinations you like. A folder on your phone or tablet’s gallery, or a Pinterest Board can also work.

The second major section is called ‘Organizing Scraps and Stash Fabrics’ (pg.13). The author explains the system she describes in this book as “…it’s simple to maintain” (pg.13). Whatever system you use to organize your fabric must be easy to maintain. If it isn’t easy to maintain, you won’t keep it up. I know this because I struggle with maintenance.

Ms. Clemons shows you how to fold a fat quarter (pg.13). Mine usually have bites cut out, so this doesn’t exactly work for me, but this tutorial is helpful. The tutorial is followed by tutorials on how to fold half yards, 2 yards and more than 2 yards (pg.14-15).

Following the folding tutorials are tips on storing fabrics as well as determining an overall color of a fabric so it is easy to store (pg.16). There is a short discussion of fabric storage (pg.17) followed by a pattern for fabric storage boxes (pg.18-19). You really have to take all of the ideas on board and find what works for you. We all have different sized workrooms and storage areas available to us, so don’t give up just because you don’t have the exact space the author enjoys. Sandra has definitions of different types of color arrangements, such as large scale and multi-colored to help categorize your fabric.

Scrap fabric storage has its own section. She has some good tips (pg.19), but I want to remind you to really think about how you use your scraps and organize them in a way that would facilitate their usage. I have described my system in a previous post. I want to note that it is constantly evolving. Bonnie Hunter has a system called The Scrap User System.

The ‘Stash Building’ section (pg.21-22) is a good idea and good to keep in mind, but I never do it. I buy what I like and can’t seem to stop or change strategy.

Be sure to check the ‘Sewing Notes’ (pg.23) as the information applies to the projects which being on pg.14.

The project pages start with a flat picture of the quilt, design thoughts, fabric requirements and cutting instructions. There is also a section on block construction, which is followed by assembling and finishing the quilt. Some of the projects include an alternative color scheme. There is also a lifestyle shot of a finished version of the quilt. Very little about the inspiration for the quilt is included which is normal, but also makes me sad.

The design thoughts goes over color scheme, accent colors, design and a section on hitting your stash and scraps. I like this idea because I get some idea of what the author was thinking. It also gives the reader the tools to create their own color story.

My favorite quilts in this book are Playful (pg.40-44), Fiddlestars (pg.45-49) and Magic (pg.86-90). It should be possible for me to make one of these soon!

The ‘Special Techniques’ section, as mentioned, discusses various techniques used in the various projects. Learn to cut strips properly (pg.103), make HSTs (pg.103), QSTs (pg.104, use templates (pg.104), locking seams (pg.105) and many others. You may have a favorite method for all of these pieces, however it is always good to review the author’s ideas in order to perfect your technique or try something new.

One example is the Square-in-a-Square section (pg.106). The author talks about folding the pieces in order to match them up. This is genius!

As per usual, there is a short section on finishing your quilt (pg.109-110). One thing I noticed is a reference to quiltmaking basics on the C&T site.

This book looks like a standard project book book, but I think it brings much more to the party. Definitely worth a look.

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Crumb Quilts: Scrap Quilting the Zero Waste Way by Emily Bailey

I saw this book referenced, or reviewed, in a quilt magazine. I thought about buying a used copy, which I have been doing a lot lately. Getting a book for $5 is pretty great. Ultimately, I decided to get it out of the library and I am glad I did. It was my first opportunity to use Link+ in awhile. What a great service!

This is essentially a project book. It starts out with a short introduction saying “Quilters are thrifty, resourceful and creative. ” (pg.4) I think ‘thrifty’ is aspirational, but quiltmakers are definitely resourceful and creative. I do agree that using scraps “…produces gorgeous original quilts full of interest and memories.” (pg.4). As an example, I really enjoy looking at my Scrapitude quilt as I move in and out of my bedroom. Different fabrics I used in that quilt remind me of other projects and make me smile.

The introduction is followed by the normal ‘Tools and Materials ” section(pg.6-9). Page 8 and 9 include extras that aren’t always in quilt books. I do think that the information about scrap fabrics (pg.9) is a guideline. 

The author alludes to curating fabrics but doesn’t come out and say it, so I will. Choosing your scraps carefully will make your quilts look more successful. Also, DO NOT include ugly (based on your opinion or sensibilities) fabrics.

Don’t let Bailey’s size guidance limit your use of favorite fabrics. You can use any size that works for you. You may want to insert a super skinny strip. Go for it. If you have made quilts, you know this stuff. When I make my improv quilts I use whatever size piece of fabric works for me. Occasionally, I use very skinny strips so only an eighth or sixteenth of an inch of fabric shows. 

The Crumb Quilting Method (pg. 10-15) provides good instructions if you have never made ‘made’, or crumb, fabric before. I particularly liked her technique for appliqué (pg.13-14) because it makes a lot of sense. She also has instructions for reverse appliqué (pg.15), which I haven’t seen in this context before.

The ubiquitous ‘how to quilt’ section is at the end (pg.116-121) and is called ‘General Techniques’. Emily points out that using a specialty ruler (pg.116) to cut certain shapes can be really helpful. I agree. There is a lot going on with ‘made’ fabrics, and not having to focus on figuring out where to cut can be helpful. Quilting and making a label are also covered in this section.

The rest of the book is all projects. Emily’s quilts are cheerful and happy, in general. The shapes she uses are simple but interesting as well. I like the curved strip piecing of Zoodles (pg.26-29). The curve is fun, and it reminds me of learning curved strip piecing back in the dark ages. Friend Julie pointed out that the grey in Zoodles was a little too dark. It didn’t provide enough contrast to show off the ‘made’ fabric really well. If that is the look you like, then GREAT! However, ‘made’ fabric takes a lot of time and energy, so I like to make sure that my individual blocks or pieces stand out or are shown off to their best advantage.

I think the Flying Geese Runner (pg. 38-41) is my favorite project in the book. I like the simplicity of the overall design. I also like the squares combined with the Flying Geese.I would, again, pay careful attention to the contrast with the background. There is a fine line between creating movement using different colors and losing parts of the design because fabrics used in the Geese are too close to the background color.

Some of the appliqué projects look a little forced. In general, I think it is the fabric choices and not the quilt design. However, there is one project that seems to have too much going on. ‘Made’ fabric has a lot going on to start with, so simpler overall quilt designs work better. Choose your fabrics carefully to achieve the look you want. The author may not mind parts of the design disappearing. I prefer to be able to see the whole motif.

Loose Change (pg.50-55) is an appealing pattern. The circles could be pieced into the quilt using the Clammy** or techniques by Ruth McDowell instead of appliqué, which could be more precise.

Remembering Ida (98-113) is a cool sampler quilt using ‘made’ fabric. Again, when making this project, be sure to pay attention to contrast so your hard work stands out.

All in all, this is a cheerful book with some good ideas.

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