Building the Cabin: Adding More Rows


10 Ways to Love Improvisational Quilting


Lesson Info

Building the Cabin: Adding More Rows

I'm going to show you all about adding more than one road what you do when you have two rows okay, I think what we all really needed someone to just kind of run behind us and clean up all this stuff constantly so years ago I read this biography of louise nevelson she's this ah twentieth century sculptor and she had somebody who came to her studio every morning and he would lay out all the things she was going to work on that day and then he'd show up at the end of the day and he'd clean up all the mess she made you know and that that would be a dream come true having kids doesn't really solve that problem but okay more more more stuff to throw away okay so um I've got here yeah so let's say I did so I've got a row I've got these two already sewn together let's say I decided I want them to meet right there I want these two seems to come together okay well then I'm going to need to add something here or cut it off and add something here so here's where I can show you all something so I w...

ant to stick I want to maintain my integrity of this being warm and this being cool I want to add a strip but I don't want to add just one strip of one color I want to add part warm and part cool well, how am I going to do that? Well, here's my and I want him to meet I mean, I'm just saying this I you may not feel that for this way I want them tio my strips to in my strips that I'm going to go together to intersect at the same point that my blocks change over from being warmed to cool so what I'm going to do is I'm going to so my two strips together and this time I am going to use this beautiful fabric, you know? Um go ahead and iron it and I'm going to sew them together and when I piece it, I'm going to make sure that the only the only point that I really care about is that it meets at this intersection that the strips come together, go warm to cool at the same place that the blocks go warm too cool so first thing I'm going to do is just so my strips together and yes, this strip is way too long this strip is way too long that's not going to concern me right now. All right? I'm also going to know before I press it that this, uh at this intersection the strip faces towards the edge of the table, so just to make it easier to get that perfect fit, I'm going to make my strip face the other direction, my my scene. Pardon me, my seem on my strip to face the other direction, and then I'm going to move this guy out of my way because he's not really useful right now, since this is where I want them to intersect gonna lay that down and lay my block over that. And then just like I've been showing you all with the curves, I'm going to use that as my guide. Okay, I do want to point out like a safe tip. So this is something I tell my classes every time I teach a class when you're not using your cutter, you gotta close your cutter on dh sometimes at the beginning of class, I'll walk around and tell students closer cutter closer cutter because, like I said earlier, this is a razor blade it's really, really sharp, and so you don't want to lay it on the table because you might reach for something, and, uh, and you're dealing with something that's very sharp, so I do make a point of closing my cutter after every cut, even if I know hey, I'm going to go back to it in just a few seconds, so I'm going to hold together that point where they intersect and bring it over to my machine. So those trips together and again I'm going to stop to kind of make sure to ease things in to make sure that that points that I you know, so I worked so hard to achieve that kind of, uh, intersection point is gonna happen for me e think they're called they're called shot cotton strike st francis was so salt there just wonderful to touch like great fabrics and great colors he's got a amazing color sense, so there we go. I love when things like that work out and here to trim that to fit, okay, so I've got to do it on the other side as well, because I decided that this was going to be the point that my block's inertia I mean, I could make it over here too, but then I have to I have to repeat that, which would be ok um, so this is not quite big enough to tell you the truth. I should have made this trip lighter if I wanted to preserve all this blue, but I think what I'm going to do is actually so the monuments and then trim it down so that again, this is what I'm talking about in terms of you're constantly making your constantly the designer constant, making those design decisions and dealing with what happens in responding to it and and that's what's fun about it so I'm going to add some more over here again we haven't used any of this kind of future color um and um um again I'm going to piece them so that they meet in that one spot that that's that particular intersection is preserved and it's real important from the right sides together all right, who has more than one block celia I have you put two blocks together yeah. No okay, soon soon collagen eases getting table place met okay all right, so you're not gonna put two blocks together and you could make a second block yeah, yeah good. Okay, you're just gonna make your blocks much bigger in that time goes okay? What about you? Holly how's it going? Yeah, I'm going to use and I went from my first one as my hot one in my this one as my second born it's to come together okay, so you're working on block number two. Yeah, great. What about you? Sarah? Um yeah, I'm just working them together and I'll see which ones they want to. Okay? Yeah place next to each other. All right, I'm trying to see healthy three for three. All right, there we go. No problem. So, um, the thing about for instance what jenny's doing is that you can make these blocks any size you want you can you can make them I mean, she could literally she wanted to make each of her blocks that big then she could, um she could probably make making big enough to probably make a baby called just out of those out of four blocks or rather the nine blocks so you can kind of very, um very the size of your blocks depending on what you're kind of final purposes for your for your quilt. All right? I'm almost done with putting the nine blocks together, and then we'll talk about some other kind of options in terms of what to do with this whole idea of log cabin variations and, uh, okay, so here to got the intercessions happening at the same point along this edge trim it so it's workable and even okay, like I said, I really wanted them to meet at that point um actually this is worth noting so this isn't a kind of an angled edge and this is not if I don't. If it was mohr angled, I would need to account for for where they meet ah in the aa in in terms of the quarter. And so if this was for instance, I'm going to use a piece of fabric if might seem fell here across this way, the quarter inch meet up would be over here and probably have to move this over to make them to make them meet so that they kind of created one long continuous line. This is not enough to have to adjust it there's not enough of an angle on this blue strip, but, um, it is something to consider. I wonder if this one no, if there's neither one of them is enough, you can see that if I line these guys up and then I just kind of hold it and flip it over, they're still going to meet up so there's no need to adjust for the fact that they're not meeting up at the same, that that that the angle on the top row is more is more angled and on the bottom or lose the smaller the other section of the nine patch. All right, so to tell you the truth, I can just trim these even and then put them together, and I've got my block done, and I could pin this mostly, I just want to make sure that I get that point that I wanted tohave meet at that intersection meet up and then I'm ready to go again. I want to go ahead and stop and collect my fabrics, my my block parts, make sure they're getting together where I want them to fit together, ok, there we go, um, I just have to press it, and I've got if I wanted to make for these and make it into a quote just like that night quote I would have one fourth of my quilt done which is pretty darn quick and I guess I came in here with some of these blocks already done but they don't take very long way alright so there we go teo nine patch of improv log cabin blocks um ok alison house here's going along show me what you've got two thirds of a row, huh? That's about to square this up and then join it. I love that orange next to that on the one that you're holding in in the other hand, yeah, I love that warrants next to that kind of sharp truc apples. I don't know what they call it a list this on the bottom of my pile and I made a block, huh? That was going to go here and I didn't like it. So so there's your answer? I mean another one for, uh, what happens the if you don't like something you just said it's I'd never throw it away, though got a quick look at this one here because I've lost it now, actually, but it looked to me like you had like a tuck yeah, I took it out if you have a tuck here when I saw this that was my joke is that I had accidentally sewn tuck in when I pinned it when I did it without the pinning I was fine, but once I started dependent things you know so I used my sin we're seeing ripper teo open up that part of the seam and re so it's to get real about too quickly for me I'm afraid yes there you go so you again you make mistakes you can easily go yeah yeah absolutely nothing casino is ever for, you know gone forever forever and even so allison says she has a block that she doesn't really care for maybe doesn't work in this situation that's okay? God forbid you should throw it away because you could either use it in this ah peace or it becomes the beginning of something else, you know? So yeah hold on to it, you know and that's how you get things like piles on your table so um now have you got you got to box there? Yeah, I I don't want it. I lost count of the nine business I was just playing I get chillers, you know, I use the old one and the new one, so I think it'll look more something like, you know what I really that love about yours and I love that little tiny, tiny thin orange strip that you've got yeah, so this is this is one talking about me I guess I called it size disparity but it's just it's you know any kind of size disparity whether it's with or is its actual you know, block size it just gives it a lot more interest to have that little it all bit of something yeah that's great that's great. All right, sara, show us what you got I when you have with this foreman cold and so I went yeah that's great works enough I'll have no, you're going to make all nine first before you start putting them together and two rows. Okay, okay that's I don't know that that works fine too I get impatient is why I started put them into rose you know, so if you have paid, you know, celebrate that, um but so that's basically how we're going to put this ah, how we would put this particular project together how it went together in the first place and then you'd make another another hour. I would make another serious of nine um and that's where? Especially if you feel like you want to square off, I could see it, you know, so let's say you've got another big block over here and you want to figure out how to put two big ones squaring off, so they're similar sizes you don't have to and that's, not how the original was made. But I could see that being a something you might want to explore doing.

Class Description

Custom quilts are the kind of heirloom craft everyone longs to create, but stitching together a unique pattern can be seriously overwhelming. In 10 Ways to Love Improvisational Quilting, Malka Dubrawsky will introduce you to new forms of quilting — with fresh color combinations, techniques, and patterns.

Malka will get you started by showing you how to cut and create a simple log cabin nine-patch block. You’ll learn how to incorporate triangles, pinwheels, and curves into your designs to make them more versatile. You’ll build the skills needed to take any quilt block (and even other patterns, like wallpaper or a painting) and deconstruct it so you can create something similar.

If you want to create bold and memorable quilts and learn new ways to express your creative style through quilting, this course is for you.


Me F

Another great class. I love the approach that encourages spontaneity and decision-making throughout the process! I was not at all put off by Malka's speaking style -- I found her informative, articulate, thoughtful and funny. I would, however, have appreciated much less time watching her sew, although I realize she likely did that in this class to allow her in-person students to have time as well. A bit tedious, however, when it's not live or you're not sewing along. I loved the idea from another reviewer to have samples of Malka's quilts hanging in the studio throughout all the sessions so we could refer to a finished piece that demonstrated the skill she was teaching. I would recommend this course to anyone who loves quilting or wants to learn.