Oh, Fransson!

Scrappy Paintbox Quilt Finished!

Want to make a quilt like this?  Join the Paintbox Quilt-Along!  See other people's Paintbox Quilts here.

 
I'm a woman on a mission this week.  Last week, one of my students asked me how many quilts I have going at any given time and I was embarrassed to admit that I'd lost count of my WIP quilts.  So, this week I'm trying to get as many as possible completed!

This quilt is approximately 62" x 72".  I should have known this since, you know, I wrote the pattern, but I was still surprised by how big this finished quilt seemed!

 
The finished quilt includes 40 different Kona solids and 200 different prints.  The sashing is Essex cotton/linen (White and, on the back, Putty). 

When I was dividing up the fabrics for the blocks, I accidentally used one of the prints in two different sets of blocks, meaning the total number of prints before binding was actually 199.  I added an extra print to the binding though, bringing the total to an even 200.

 
I made my scrappy binding from 28 different prints, each cut to 2.5" x 10.5".  I sewed them end-to-end and made double-fold binding.

If you want to make binding for your Paintbox Quilt from a single fabric, you'll need 1/2 yard fabric (at least 42" wide), cut into 7 strips 2.5" x WOF.

I love the back of this quilt!  I had debated putting words on it (like the original one) but I'm glad I didn't.  I love all the negative space.

 
And, of course, you can't go wrong with a swatch block like this!

As a reminder, all of the print fabrics that I used in this quilt are tagged on my Flickr Photos.

The 40 solids I used were: Black, Coal, Ash, Brown, Bright Pink, Berry, Copen, Mulberry, Jade Green, Caribbean, Lagoon, Pacific, Azure, Peacock, Pistachio, Candy Green, Lime, Grass Green, Clover, Kiwi, Chartreuse, Peridot, Olive, Cactus, Canary, Buttercup, Corn Yellow, Ochre, Tangerine, Orange, School Bus, Mango, Red, Rich Red, Coral, Tomato, Pomegranate, Candy Pink, Cerise, and Melon.

 
George-Michael has already adopted this quilt.  I'm not sure I'm ever going to get to use it!

Ideas for a Paintbox Variation Quilt

This post is about the Paintbox Quilt-Along, which you can join at any time.  Check out photos of other people's quilts here.

 
I had been planning to wait until I finished my Variation top and back before I posted about it, but I've noticed that some people are "stuck" on their fabric and backing decisions for variation quilts, so I thought I would do a quick post about how I'm finishing mine.

If you used white as the solid in all of your blocks, here are some suggestions for sashing colors:

1.  Use a slightly different white for a subtle look.  Here is a great example of that.

2.  Use a medium-value neutral like Stone or Medium Gray for a calm and orderly look.  This is basically the "everything looks good with jeans theory."  You generally can't go wrong with a medium neutral.

3.  Use a darker neutral like Charcoal or Coffee for a more dramatic, high-contrast look that will make bright colors pop.  As with hair or wall color, if you're going dark, I recommend choosing a color and then taking a step or two back from what you think you want.  Black may sound great in theory, but charcoal might actually look better in your home!

4.  Use a lighter or darker value of one of the colors used in your blocks for a bright, harmonious look.  The difference in value is important.  Matching the color of your blocks exactly can make your quilt look flat and overly busy.  Using a different value adds contrast and depth to the overall look.

5.  Use a color that's not represented in your blocks for a surprising look.  This will be most successful if all of your blocks are similarly-colored.  For instance, if all of your blocks are blues and aquas and you choose a light tangerine for sashing.

If you used a non-neutral color as the solid in all of your blocks, I recommend using white or a neutral for your sashing.  If you used a neutral other than white, you might consider white for your sashing.

 
I'm using Kona Aqua for my sashing.  (It's reading much brighter here than it is in person!)

The other challenge with the Variation Quilt is the back.  The Paintbox Back has two swatch blocks but, for the Variation version, we only have one set of print fabric swatches.  Here are a few ideas for piecing the back of a Variation Quilt and/or using the print fabric swatches:

1.  Make the bottom half of the quilt back according to the regular instructions, but use a 2 yard cut of a coordinating medium or large-scale print for the top half.  I suggest using the same solid you used in your blocks (rather than the solid you're using for sashing). 

2.  Do away with the swatch block arrangement entirely and substitute 2 different 2 yard cuts for the top and bottom of the quilt back.

3. Improvise your own back that uses the swatches in a unique way.

4. Use the 2.5" wide swatch blocks as part of a scrappy binding for your quilt.

I'm using this print as the top half of my back . . .

. . . and I'm piecing the bottom half of the quilt with a swatch block made from my little print swatches.  I had originally arranged the prints in a random order, but I wasn't crazy about the way they looked, so I lined them up according to print in the same back-and-forth snaking arrangement I used for the rainbow-colored swatches in my Scrappy Paintbox Quilt.

If you're having trouble making a decision about sashing color, I suggest posting a photo of your blocks in the Flickr Pool.  I'm sure that the other quilt-alongers will be happy to help you out!

Making the Paintbox Quilt Back

This post is part of the Paintbox Quilt-Along, which you can join at any time.  These directions for the quilt back assume that you are making a Classic or Scrappy version with 40 different solids and at least 40 different prints.  My next post will show how I altered the back design for my Variation quilt (which included the same solid fabric in each block).

 
The back of the Paintbox Quilt is basically two identically-pieced halves, with each half made from different fabric.  To make this quilt back, you'll need your 40 swatches (2.5" x 3.5") of solid fabrics, 40 swatches of print fabrics, and 2.5 yards each of 2 neutral solid fabrics at least 42" wide.  The back will be most effective when there is some obvious contrast between the two neutral solids. 

One half of the quilt back will include a "swatch block" pieced with solid swatches.  The other will include a swatch block pieced with the print swatches.  Before you go any further, decide which neutral solid you want to use with your prints and which neutral solid you want to use with your brighter solid swatches.

For my quilt, I chose Essex cotton/linen in White and Putty (similar to Kona Stone).  Because many of my prints had white backgrounds, I decided to use the prints with the Putty and the solids with the White. 

Place your solid swatches in order, by color, starting wherever you want to in the color wheel.  I started with brown and proceeded through yellow, orange, red, violet, blue, green and grays to black.  Repeat with your print swatches, putting both the solids and prints in the same color order.

 
Once you have your swatches in order, lay them out according the the chart above.  Again, you don't have to start and end with the same colors I did, but your swatch blocks will have more visual impact if you keep both sets of swatches in the same order and snake the order back and forth as indicated in the chart.

From each of your neutral solid fabrics, cut the following pieces:

• 7 strips 1.5" x width of fabric for swatch block sashing
• 2 side pieces 24" x width of fabric, trimmed of selvedges
• 1 top/bottom piece 5.5" x width of fabric, trimmed to 5.5" x 25"
• 1 top/bottom piece 23" x width of fabric, trimmed to 23" x 25"

Note: All piecing instructions assume a quarter inch seam allowance with all seams pressed open.

Start by making your swatch blocks.  Stack one row of 10 swatches, keeping them in order.  Chain piece the first 9 swatches to one of the 1.5" swatch block sashing strips, sewing along the right side of each swatch.  (Note: the pieces in the photo above are upside-down.)

Trim swatches and sashing apart, press seams open and trim the sashing the is now joined to each block to within .75" of the seam between swatch and sashing (so the finished sashing will be .5" wide).

 
Sew the nine swatches together, adding the tenth swatch to the end of the row.  The finished row should include 10 swatches, and should start and end with a swatch, with .5" sashing between each.

Use the same method to make the other 3 rows.  Join rows, using the 3 remaining pieces of swatch block sashing to sew .5" sashing between each row.  Remember that your sashing pieces are cut 1.5" wide, so you will need to trim each down to .75" after it has been sewn to a row of blocks.

This process of cutting the sashing too wide and then cutting it down may seem tedious, but I find that it's easier to accurately piece such tiny sashing this way! 

 
Repeat these steps to finish your second swatch block.  Square up the edges of each swatch block to 14" x 25".

You're now ready to put all these pieces together to make your quilt back!

 
The above diagram shows how to piece the top half, which is the half with the solid swatch block.  Sew the corresponding 23" x 25" piece to the top and the 5.5" x 25" piece to the bottom of your swatch block.  Finish the top half by sewing a 24" x WOF piece to each side.  Square up the bottom edge.

 
This diagram shows how to piece the bottom half, which is the half with the print swatch block.  Sew the corresponding 5.5" x 25" piece to the top and the 23" x 25" piece to the bottom of your swatch block.  Finish the bottom half by sewing a 24" x WOF piece to each side.  Square up the top edge.

Finish your quilt top by sewing the top and bottom halves together.

 
You might remember that the Original Paintbox Quilt had big letters on the back.  I decided against putting them on this one but, just in case anyone wants to add letters, here is a very basic outline of the process I used on the first quilt:

1. Print out or draw the letters you want to use on regular copier paper. (In Microsoft Word, you can manually enter a letter size, up to 400, to get really big letters.)
2. Tape your printouts or drawings to a window with the letters facing outward (as though someone were going to read them from the other side of the window) as shown in the above photo.
3. Use the window as a makeshift light table to trace the mirror image of each letter onto the paper side of lightweight fusible webbing and follow these instructions for making and sewing the letter appliques.
4. Finish your quilt as you normally would, quilting over the letters wherever you encounter them.

When you sandwich your quilt, check to make sure that the sashing between the fifth and sixth rows of blocks on your quilt top (the centermost piece of horizontal sashing) is centered over the seam between the top and bottom halves of the quilt back.  This should ensure that the finished quilt top and back are properly aligned. 

I can't wait to see everyone's finished quilts!  You can show them off in the Flickr Pool.

Making the Paintbox Quilt Top

This is a post about the Paintbox Quilt-Along.  Read more about it here.

To make the Paintbox Quilt Top, you'll need your 80 blocks, each squared up to 6.5" x 6.5" and 2 yards of a neutral solid fabric that is at least 42" wide.

If your blocks came out slightly smaller than 6.5", don't worry, but do trim them all to the same size and then trim your Vertical Sashing pieces to fit that size.

The sashing for this quilt is super-simple.  We do need to cut along the length (the 72" side) of the fabric though, so you'll need to unfold your yardage and then refold it in the opposite direction, along one of the selvedge edges.  

Unfold your yardage.  Standing up, hold the unfolded fabric with both hands on one selvedge edge (we'll call this the top selvedge), allowing the other selvedge edge (we'll call this the bottom selvedge) to hang to the floor.  Bring the cut ends of the top selvedge together, folding the entire piece of fabric in half.  Hold the fabric up as high as necessary to make sure that the bottom selvedge edge of the folded fabric is also matching up.  Fold the fabric in half a second time, continuing to hold the fabric by the top selvedge edge and making sure the bottom selvedge is lining up. 

Once the fabric is evenly folded, lay it on your cutting surface, as shown in the above photo, allowing the bottom selvedge to hang off the end of the table.  (Use weights, if necessary, to keep the fabric from falling off your cutting table.)  Trim away the top selvedge and cut the fabric into 20 strips 2" x approximately 72" (the length of the fabric).

11 of the long strips are your Horizontal Sashing.  From the Remaining 9 strips, cut 90 Vertical Sashing pieces 2" x 6.5".

Sew a piece of Vertical Sashing to the right side of each of your 80 blocks.  It may seem strange to do this now, before you've laid out the blocks, but it will save you time in the long run! 

Square up each piece of Vertical Sashing, making sure it's 1.75" wide after being sewn to the block.  Taking the time to do this will make for more accurately-pieced rows.

Lay out your blocks in an 8 x 10 arrangement, alternating blocks with print and solid outer borders. 

You can use any arrangement you like for this.  As I was experimenting with different layouts, I found that a) my brown and black blocks were distracting when placed amid other blocks, and b) I had a disproportionately large number of green and blue blocks.  

Here's what I did:

• I placed the brown blocks in the top left and bottom left corners and the black blocks in the top right and bottom right corners.
• I then started filling in blocks from each of the corners. I added reds, oranges and yellows to the corners on the left (with the brown blocks) and gray, pinks and violets to the right corners (with the black blocks).
• I then filled in the middle with the green and blue blocks, adding green from the left side and blue from the right.

The following piecing instructions assume a quarter inch seam allowance, with all seams pressed open.

Once you've decided on a layout, stack each row of blocks, keeping them in order from left to right and labeling them by row number if desired.

 
Sew each row of pre-sashed blocks together, adding one more piece of Vertical Sashing to the left side of the first block in each row. 

 
Sew the 10 rows together, placing a Horizontal Sashing piece between each and at the top and bottom of the quilt top.  Square up both sides of the quilt. 

 

The Horizontal Sashing strips are longer than the quilt is wide.  This is done on purpose to give you more wiggle room when piecing the quilt top.  Trim off excess length as you work, but wait until the quilt top is complete before you square up the edges precisely. 

I find it easier to line up sashing strips and pin rows together by laying them across the end of a table, as shown in the photo above.

I recommend beginning to line up rows in the center and working outward, rather than starting at one end.  If your rows are "off," doing this will spread the wonkiness across the quilt top, rather than making it progressively worse as you move from one side of the quilt top to the other. 

Use pins generously to ensure a straight seam, but don't pin blindly.  Peek under your work at the edge of each block to make sure that everything is lining up.  It's okay if you need to pull and prod a bit in spots to get things just right.

At all points during the piecing of this quilt top, you'll be sewing a pieced block or row to a solid sashing strip (meaning a single piece of fabric with no seams in it).  As you sew, always keep the solid piece on the bottom.  This will ensure that the seam allowances in your blocks and pieced rows aren't pulled askew by your machine's feed dogs.

 
  
And that's it!  I'll post about making the Quilt Back early next week.

Choosing Sashing Colors for the Paintbox Quilt

I decided that the best way to do this post would be to just walk through my process of choosing sashing colors for my two quilts.  Here goes! . . .

 
I already know that I want to use a white for the sashing on my Scrappy Paintbox Quilt.  I liked the way it looked on my first Paintbox Quilt and I think it's the best way to show off all the beautiful colors.

 
When choosing a white solid, remember that you don't have to be literal.  Many off-whites, creams and ivory solids are available.  Look at the prints you'll be using in your quilt.  Do they include white?  If so, is it mostly bright-white or cream?  Take scraps to the fabric store with you and hold them up to different white solids.  You might be surprised at how much better they look on a less-bleached white.

For my Scrappy Paintbox Quilt, I chose Essex cotton/linen in White.  The photo above shows some pieces from my quilt on fan favorite, Kona Snow.

 

Here are some of the fabrics from my Variation Quilt on Kona Ivory.  Hmmm . . . It's okay, but I'm a little bored.  I think I need to keep looking.

If you're following the Paintbox pattern exactly, you'll actually need two neutral solids.  One is for the front sashing and half of the back and the other is for the second half of the back.  (You can see a graphic of the quilt back here.) 

The background in the photo above is Kona Stone, which I like.  It's definitely a front-runner for the second half of the back!

When I'm choosing neutral solids, I generally try to stick with the more gray/tan and less greenish colors.  Kona Stone is a favorite and is similar to Essex Putty.

 
Here are the Variation fabrics on Stone.  It's better, but I'm still not sure.

 

What about Essex Moss?  (Similar to Kona Herb)  I like the contrast here, but I want to go with something a little lighter any more spring-y.

Oh, my!  I don't think Kona Black is the right choice.  Too bright.  Too dated.  Too much!

 
But let's take a trip a little bit further down the value scale.  Just as you don't have to be literal with white, you don't have to be too literal with black. 
 
 

Much better!  Kona Charcoal is much easier on the eye (and wouldn't be as much of a cat hair magnet).

 
And here's Kona Medium Gray.  I really like this, but the fact that I have a couple of gray blocks in the mix means that I'm going to stick with Stone for my second solid.

 
Of course, you don't have to go neutral!  Here are my variation blocks on Kona Aqua.  I think I'm going to go with this!  I like that it's soft and bright, but it's not as washed-out looking as the Ivory.

So, what do you think?  Should I have gone with something else?  What are you using?  Tell me about it!

Choosing Sashing Fabric

In preparation for posting the piecing directions for the Paintbox Quilt-Along top, I thought I would do a couple of quick posts about sashing fabric.  This one is about choosing different types of fabric.  The next will be about selecting colors for sashing.

 
Robert Kaufman Kona solid in Aqua

Mid-Weight Quilting Cotton

Regular cotton fabric made for quilting is probably the easiest and most economical choice for sashing.  It's sturdy, easy to work with, widely available, and it comes in hundreds of colors.  Quality quilting cottons include Robert Kaufman's Kona Solidsand Moda's Bella Solids. 

For a sturdy quilt that will wash and wear well, I recommend buying solids made by a reputable manufacturer of quilting fabric.  Chain stores offer cheaper solids and muslins, but they're not likely to wash and wear as well over time.  JoAnn does sell Kona cotton, but their selection (especially of neutrals and more subtle colors) is very limited.  I'm not going to pretend that I've never bought Kona from JoAnn in a pinch, but I do encourage you to check out the better variety and service available from independent shops.

(left to right) Kaffe Fassett Shot Cotton and Moda Cross-Weave 

Chambray Types

Most fabric is woven with the same color fibers throughout.  Chambray is made using different colors for the warp and weft, resulting in a richer, more interesting color.  Traditionally, chambray is made using a color for the warp and white for the weft.  You can find this kind of classic (usually light blue) shirting chambray in the apparel section of most fabric stores, but you can also buy beautiful chambray-like fabrics for quilting including Robert Kaufman Carolina Chambray, Kaffe Fassett Shot Cotton and Moda Cross-Weave.   

 
Robert Kaufman Carolina Chambray

In the photo above, you can see how a cyan and a chartreuse were woven together to create a rich sea-green chambray.  Chambray fabrics can look very different from one another, depending on how much contrast exists among the fibers used to weave the fabric. 

There's also a lot of variety in texture among the three chambray-types I named above.  In my experience, Carolina Chambray is more crisp and iridescent.  Shot Cottons are incredibly vibrant and surprisingly sturdy for their weight, and Cross-Weave is a little chunkier with more subtle color.  All are beautiful in person! 

When choosing a chambray for sashing, be aware that the weaving technique means that some (not all) chambray may look a slightly different color depending on your viewing angle.  This means that, if you use chambray for sashing, the vertical and horizontal pieces may, at certain angles, appear to have been cut from two slightly different fabrics.  Personally, I think this adds some depth and interest to a composition but, if you're concerned about keeping a very flat-looking surface, chambray types may not be for you. 

Robert Kaufman Aiden Linen in Natural

100% Linen

I think natural linen looks good with almost anything!  It's a lovely, casual fabric that can be made to look modern or kawaii, depending on your project.  Like anything else, paying for higher-quality linen will get you a better product.  My personal favorite is Robert Kaufman Aiden Linen. 

If you're not used to working with it, linen can be frustrating.  It's more loosely woven than quilting cottons, making it kind of floppy, especially when cut into strips.  The looser weave also means that it unravels pretty easily.  Using a starch alternative like Best Press can help to stabilize the linen, making it easier to piece. 

Robert Kaufman Essex Cotton/Linen in White

Cotton/Linen Blends

Those of you who read my blog regularly know how much I love cotton/linen blends for sashing.  I love that they have a slightly different texture than the blocks they're surrounding, and I find that the slightly heavier weight makes accurate piecing easier. 

I usually use Robert Kaufman's Essex.  Even if you haven't used a cotton/linen solid, you may be familiar with the weight and feel of the fabric since so many Japanese prints, notably much of Etsuko Furuya's Echino collection for Kokka, are cotton/linen blends. 

One thing to keep in mind about using both linen or cotton/linen in quilts is that they will add a bit of weight to your finished project.  If you want something warmer or sturdier (say a winter quilt or a picnic quilt) linen and cotton/linen make good choices.  For a summer-weight quilt, or a lightweight baby quilt, you may want to stick with straight cotton fabrics. 

Linen/Rayon Blends

Most shops that sell apparel fabric will have a selection of linen blends, especially linen/rayon.  I've used these for quilts before, but I worry about their lifespan.  I guess I think of them kind of like that rayon-blend cardigan that you might buy for the office.  It's inexpensive and perfectly serviceable, and it doesn't wrinkle too much but, after a few months of washings, it starts to look a little dull.  If I'm putting a lot of work into a quilt, I want to use something I know will hold up to years of washings!   

(left to right) Denim and Lightweight Shirting Cotton

Apparel Fabrics and Beyond

In my opinion, any stable woven fabric that can be ironed and washed can be suitable for a quilt.  Certain fabrics have certain limitations.  As long as you know and respect those limitations, I don't see any reason not to run wild in the fabric store and choose whatever you like best, even if it's not "supposed to" be used for quilting.  For instance, gray wool would make beautiful sashing for a winter quilt.  You'd just need to keep it out of the dryer!

The one thing I would caution you to look out for is stretch wovens.  Denim and other pant fabrics are sometimes sold with a little stretch, which is great for garment sewing, but can be horrible for quilting.  (This is also something to take into account if you're planning to recycle women's jeans.)    

Bed Sheets

Some quilters find bed sheets to be a cost-effective solid fabric alternative.  As you can see in the photo above, a higher-thread-count bed sheet is much smoother and has more sheen than a standard quilting cotton.  Personally, I've always found the juxtaposition of the shiny or slightly-sueded look of solid sheets and the look of quilting prints to be problematic, but many people don't mind it. 

If you're going to use sheets in your quilts, you will probably want to use a Microtex/Sharp needle to cause less disruption to the denser weave of the sheet.  If you send your quilts out to be quilted, keep in mind that many long-arm quilters do not accept quilts made with sheets, as the material is hard on their machines.

 
When in Doubt

If you decide to use a sashing fabric that you haven't used before, it can be a good idea to test it by making a small sample and running it through a wash cycle.  Build your sample using the same methods you'll use in your project -- including the same method of quilting and the same batting.  (You can skip the binding though -- just zigzag stitch around the edges to prevent fraying!) 

Wash your sample as you will the finished quilt.  Seeing how a sample like this responds in the wash can also help you to decide whether or not to prewash your sashing fabric.  Linen yardage in particular can get pretty unwieldy after going  through the wash, so testing to see if that prewash cycle is really necessary might save you a lot of headaches during the piecing process!

Online Sources for Solid Fabrics

Here are a few online resources for solid sashing fabric:

Sew, Mama, Sew! 

Pink Chalk Fabrics

Purlsoho

Week Ten Paintbox Blocks (Blocks are done!)

These are blocks that I made for the Paintbox Quilt-Along.  Read more about it here.

Whew!  It took longer than I wanted it to, but I've now finished all 160 blocks (80 per quilt).

While I may have been a bit ambivalent about the purple blocks from last week (aka yesterday) I just adore these! 

It really looks like I got two of my prints switched around.  I suspect that 1974 plaid should have been with the Coal block and that both Kei Honeycomb dots were supposed to go with the Ash block.  Whatever.  It adds some variety.  In the immortal words of Bob Ross, it was a "happy accident."

And here are the brown and black blocks.  The black is really, really bold compared to the others, but I think it's going to be fine.  I had a single black and white block in my original paintbox quilt and I don't think it looked weird.

As always, please reference Flickr for more about the fabrics.

Here are my last 8 variation blocks.  This week I have both Midwest Modern and Daisy Chain prints in the mix.

 

Is everybody ready to start piecing the top now?

Week Nine Paintbox Blocks

This post is about blocks that I made for the Paintbox Quilt-Along.  Read more about it here.

 

This week I got to my least favorite color, purple.

 

I have almost no purple scraps, so the purple blocks are a little scrappier than I would like!

As always, please reference my photos on Flickr for the fabric names.

 
Here are my variation blocks.  Just 8 more to go!

Because I'm behind with these blocks, the Week 10 Blocks are coming tomorrow, with the Quilt Top piecing directions coming later in the week. 

Week Eight Paintbox Blocks

These are blocks that I made for the Paintbox Quilt-Along.  Read more about it here.

 Better late than never, I suppose! 

I love this week's beautiful, intense blues and blue-greens.
 

If you look at the block on the top right, you can see where I had to piece two little scraps of the Flea Market Fancy barbell print to get a big enough piece.  Hopefully it won't show up too much -- I just really wanted to use what little I had left of that print!

And here are my variation blocks.  (They're really light this week!)

We're getting close to the end of the quilt-along!  Two more weeks of blocks, and then I'll start posting about how to cut the sashing and piece the top and back.
 
   

Week Seven Paintbox Blocks

These are blocks that I made for the Paintbox Quilt-Along.  Read more about the quilt-along here.

 

It's Week Seven already!

 

This week we're moving on to greenish blues . . .

 

. . . and bluish greens.

As usual, information about the fabrics is tagged on my Flickr photos.

My variations blocks this week are all made with Midwest Modern and Kona Snow.  Most of the prints in this quilt are from the Daisy Chain collection, but I needed to add some Midwest Modern to come up with 40 different prints.

 
This is probably going to be a quiet week around the blog, as I put the finishing touches on a new pattern that will be in the shop next week.  Check back on Sunday, February 28, for more about the pattern.  (I'm sure I'll post again between now and Sunday, but wanted to let you all know that a new pattern was coming!)