Tuesday, October 22, 2019

Kaffe Fassett Mediterranean Hexagons Colour Workshop Recap

I took a workshop with Kaffe Fassett and Brandon Mably last week!  The project was the Mediterranean Hexagons quilt from the book Kaffe Fassett's Quilts in Morocco, available on Amazon here (affiliate link).


Brandon Mably and Rebecca the Rebellious Workshop Student
I'm going to start with a quick synopsis so those of you who are crunched for time can just skim through the pictures and be done with it: 


Everyone loved this workshop except me.  

Seriously -- no fault of Kaffe and Brandon whatsoever; they were delightful.  I was miserable.  I couldn't follow directions.  I wasted a lot of money and -- worse! -- I wasted a lot of FABRIC.  But Brandon was nice to me, and I learned to read the workshop description first before stampeding to the front of the line to sign up for a class next time.  By the way, just because I didn't enjoy the class doesn't mean I wouldn't recommend it to others.  If you have a small hoard of fabulous Kaffe Fassett prints in your stash that you just don't know how to use in a quilt, or if you tend to stay in your comfort zone when it comes to color and you want to learn how Kaffe puts his fabulous combinations together, you would LOVE this workshop.  Kaffe and Brandon are delightfully entertaining and I swear I was the only person in the room who was feeling stifled.


Original Mediterranean Hexagons Quilt from the book, made by Judy Baldwin
I shouldn't have signed up for this class in the first place, since it was all about learning how to imitate Kaffe Fassett's color and design style.  I love his fabric designs, but I'm not really interested in making quilts that look like they were designed by someone else.  Also, having worked as an interior designer for 20+ years, I'm used to having to work within a client's parameters as far as how much color and pattern they can live with and which colors they prefer or dislike, but I am NOT used to having anyone walk up while I'm creating a color palette and snatch fabrics right out of my hands or off my design wall...  Honestly, what first attracted me to quilting is that I can put whatever crazy prints and colors together that my little heart desires, without needing anyone else's approval before the project can move forward.  Quilting for me is about total design freedom -- and yet here I was, in a very restrictive class where I had to design a quilt using the same two shapes as everyone else.  Students were instructed to fussy-cut large scale prints from the same color family for their hexagons, and then Kaffe and Brandon helped each student select a wildly different color for their triangle star points that would make their hexagons "glow."  The workshop is ideally suited to anyone who admires the glorious mixes of colors and prints in Kaffe's work, but who doesn't feel confident putting those combinations together on their own.  Although we all brought lots of fabrics to class, the quilt shop sponsoring the event had also stocked the classroom with bolts of fabric from their store that students could shop from to supplement what they'd brought with them, and those were the fabrics available for Kaffe and Brandon to suggest to students whose fabrics from home weren't wowing them once they were cut up and positioned on the design wall.


Kaffe Fassett Explaining to the Class Why He Hates My Project
Okay, so Kaffe didn't REALLY tell the whole class that he hated my project, but he was definitely frustrated with me for Willfully Failing to Follow Directions.  He said my hexagon fabrics were not all the same color family as instructed; rather they were all the same MOOD.  And I knew that; every fiber of my being was resisting the conformity of using the same fabrics/colors/design concept as everyone else in the class.  When I rooted through my stash to decide which fabrics to bring, I was mostly drawn to some Anna Maria Horner prints that meshed with the Melancholy Autumn vibe I was feeling that day.  And whereas most of the students in the Kaffe Fassett workshop were using Kaffe Fassett Collectives fabrics, I deliberately chose different fabrics so my project wouldn't look like everyone else's.  However, the fabrics I'd selected for my star points were all VETOED by Kaffe.  And then I ran into the dilemma of being halfway through an all-day workshop, with no fabrics that I liked for the star points among what I'd brought from home, yet none of the fabrics lined up in bolts in the classroom was doing it for me, either.  

Students Working With Kaffe Fabric Prints Had the Most Options for Coordinating Fabrics
There was nothing in that conference room that looked amazing with my "moody" hexagons -- all of the fabrics that were brought in for the class were too bright and cheerful.  So I ended up settling for these ugly dark teal batiks that you see in the photo above...  And since they are about the same value as my hexagons, those fabrics (which I had to purchase in class in order to avoid sitting there doing nothing all afternoon) just make the whole think look like a muddy mess.  Blech!  I agree, Kaffe; my project is hideous -- and the whole exercise of cutting up my favorite fabrics just so I can put them up and the wall and THEN decide if I like how it looks?  That feels like the DARK AGES to me!!!  Never again!!  You guys, I butchered so many fabrics in this workshop that are not even going into a quilt now.  What a horrendous waste, especially since some of them are treasured discontinued skus!  I wish I'd had a computer in the class loaded with EQ8 quilt design software (affiliate link) so I could audition fabrics like a sensible 21st century quilter, and only start cutting into fabric (or purchasing additional fabric!) once I was 100% certain I was going to love how everything looked together.


The Digital Workshop Do-Over in EQ8


So today, with a little help from fabulous Matt at EQ Tech Support (he walked me through setting up the quilt layout for the hexagons with star points, which only took about 5 minutes), I decided to give myself a Digital Do-Over for the workshop.  This is what I came up with:

This is the Vibe I Was Going For in Class
This first version is what I was originally aiming for in class.  Kaffe wanted everyone to pick out fabrics for their star points that would "make their hexagons glow," but I wanted to explore what it would look like for my stars to glow and my hexagons to recede instead.  And of course, unlike designing a quilt by chopping up actual fabric to audition it on a wall, once I've set up the quilt layout in EQ8 software I can recolor it over and over again as many times as I want, without wasting any fabric in the process.  It's a LOT easier to change your mind about a fabric that isn't working with the others when you haven't already chopped your yardage up into Swiss cheese.

So here's my second version, which did use mostly Kaffe Fassett Collective prints:


See, I CAN Follow Directions.  I Just Choose Not To!

By the way, these computer renderings are totally to scale, and the fabrics are all to scale as well.  I can rotate them and slide them around to simulate "fussy cutting" a particular flower so it's right in the center of my hexagon, as well.


Version Three, Also Following Directions
See?  I was able to design two quilts that look like they came right out of a Kaffe Fassett book.  But I still like my version with the gold stars better, even if no one else does!


Still My Favorite
If I was actually going to make any of these quilts, I'd have to jazz up some of those hexagons, maybe with some appliqué in some of them or some pieced hexagons made from stripes.  I can actually plop any pieced block design inside my hexagon with EQ8, so I could put stars within stars...  The possibilities are limitless.



Anyway, I'm done with classes and workshops for awhile.  I've got too much of a backlog of unfinished projects, too many ideas swirling around in my own mind, and too many techniques that need to be practiced until they are developed and solidified into skills. 

I'll probably write up an EQ8 tutorial within the next two days, showing how to draw this quilt layout in the software, just for my own future reference so I don't forget, but I've got some other work to get caught up with first.

Meanwhile, I'm linking up with:

MONDAY

·       Design Wall Monday at Small Quilts and Doll Quilts  
·       Monday Making at Love Laugh Quilt
·       Moving it Forward at Em's Scrap Bag
·       BOMs Away Katie Mae Quilts  

TUESDAY

·       Colour and Inspiration Tuesday at Clever Chameleon

WEDNESDAY

·       Midweek Makers at Quilt Fabrication
·       “WOW” WIPs on Wednesday at Esther's Blog

THURSDAY

·       Needle and Thread Thursday at My Quilt Infatuation  


Monday, October 14, 2019

The One About the Vintage Double Wedding Ring UFO

Good morning and Happy Monday!  I've had a great weekend with my Lars-of-Ours home from college on a four-day weekend.  It has been so nice to hear him playing my piano, talking and laughing with his brother, and just having my family "intact" again.

Meanwhile, I've been working on a project for a client:

Vintage Double Wedding Ring UFO, On My Design Wall
As you may recall, I met with a woman at the end of August who had discovered an in-progress (or "UFO" -- "UnFinished Object") Double Wedding Ring quilt among her late grandmother's possessions.  I thoroughly enjoyed talking with the granddaughter about her childhood memories associated with grandma's quilts -- sleepovers in grandma's living room with her cousins, each child snuggled up in a different handmade quilt.  :-). Those older, completed quilts were greatly loved and used over the years, so much so that none of them survived in good enough condition to be handed down.  Once these blocks are joined into a finished quilt that can be displayed and used in the granddaughter's home, it will be the ONLY quilt she has from her grandmother.  That is why I agreed to accept the commission, despite the challenges.

Initially, my client had hoped to have the blocks assembled and finished as a Queen bed quilt, but we decided to do one (or possibly two) Queen bed runners instead for the following reasons:


  • Affordability for the client, since I'm charging hourly for the project
  • A bed runner that is removed for sleeping can be displayed and enjoyed without needing repeated laundering, extending its life
  • A smaller finished size allows me to pick and choose the best pieced blocks and avoid the ones that have more serious problems
  • We have enough good blocks to make TWO runners -- one for the client to keep, and one for the favorite cousin who snuggled under grandma's quilts with her when they were little
  • Minimizing how much of the piecing is done by me means the finished quilts will be more authentically "made by Grandma" 



What Are the Challenges? 


As many of you know, the Double Wedding Ring pattern is an advanced pattern involving curved piecing that was traditionally pieced by hand.  If I was making one of these from scratch today, I would probably be die cutting the fabric pieces with the Accuquilt Double Wedding Ring dies, or at least rotary cutting them with one of the many acrylic template sets that are available today.  Grandma made these blocks before these tools were available (I'm guessing late 1980s-early 1990s from the fabrics), tracing around paper patterns and cutting out each patch with scissors, so there are size discrepancies and uneven seam allowances that make accurate curved piecing even more challenging.  

Grandma's UFO Box with Half Paper Pattern Marked with Fold Line
There are no markings on the paper pattern or on any of the already-cut white center pieces indicating where the seam intersections are supposed to fall, and when I folded them to check for symmetry I found that each one is slightly unique.  :-).   

Grandma's Completed Circle Blocks
Also, Grandma was piecing her DWR blocks as complete circles, connecting the circles into rows by joining them at the white four-patch unit, and then attempting to join the rows together with those white curved diamond shapes that have long, skinny arms.  That is extremely difficult to do successfully, which is why every single one of the DWR tutorials I was able to locate today instruct you to sew partial circle blocks to create rows with "S curves," a method that I believe was pioneered in the early 1980s by the engineer-turned-quilter John Flynn.  The photo below is from an excellent (and FREE) Double Wedding Ring tutorial by Jo's Country Junction, showing the easiest way to assemble a DWR quilt top from partial blocks and an S curve seamline:


Photo Courtesy Jo's Country Junction, her free tutorial available here
This is also the assembly method recommended by the American Quilter's Society (AQS) in their 2019 AQS Paducah Sewalong (see photo below).  The AQS Double Wedding Ring tutorials are available here:


Assembly Diagram from 2019 AQS Double Wedding Ring Sewalong


But, like I said, these blocks of Grandma's are already complete circles, and I am not about to rip out and remove a melon from each and every circle just so I can sew it back together again! 

Another interesting thing about Grandma's UFO DWR is that, in the section of blocks that she assembled, she seemed to have been setting her blocks on point:


Assembled Section of UFO Indicates an On Point Layout
See how the corners of her white diamond block centers point straight up and to the sides rather than diagonally?  That is a much less common setting for a Double Wedding Ring quilt, and it was Grandma's deliberate choice to do it that way so I'm going to honor that with the bed runners.

Grandma's Completed Section, Laid Out on My Queen Guest Bed
The first runner is coming from the section that Grandma had already completed, which you see laid out on my Queen guest bed in the photo above.  Ten circles laid out in a 2 x 5 arrangement are just the right size for a Queen bed runner, so I only had to remove two circles and a couple of the white diamond connectors from this section and close the seams that were left open in the white four-patches.

Then I selected ten of the loose circle blocks based on how well they were pieced as well as the client's color preferences (she likes the blocks with the bright red and yellow fabrics in them the best) and laid them out on my design wall.

Layout and Piecing Plan for Second Runner
As you see in the photo above, I'm creating four diagonal rows that each consist of two circles connected by a curved white diamond, and then joining those rows with S-curved seams.  
Where I Left Off Today: Three Curved Seams to Go
You might think that assembling the runners from already pieced blocks would be a piece of cake, but it's been tedious and slow, with some ripping and restitching necessary at those skinny white points where I have no way of knowing where the stitching intersection is supposed to be.  There's also a lot of fudging going on, easing and coaxing things to fit together against their will, and those little white melon points would be so much easier if the seam allowances were pressed towards the darker fabrics, but Grandma pressed all the seams toward the white and then secured them that way with subsequent stitching, so I'm stuck with that.  There are also seam allowances that flip in the middle that are secured that way by subsequent stitching, a few pleats and puckers here and there, and uneven raw edges that need to be matched up somehow.  But the end -- of the piecing, anyway -- is in sight!

My To-Do for Tuesday is definitely to finish piecing the second runner and prepare some quilting options for the client to choose from.  She has been exceedingly patient with me!
I'm going to a lecture and an all-day workshop with Kaffe Fassett (yes, Kaffe Fasett HIMSELF!) on Thursday and Friday, so that can be my "time off for good behavior."  

I'm linking up today's post with:

MONDAY

·       Design Wall Monday at Small Quilts and Doll Quilts  
·       Main Crush Monday at Cooking Up Quilts
·       Monday Making at Love Laugh Quilt
·       Moving it Forward at Em's Scrap Bag
·       BOMs Away Katie Mae Quilts  

TUESDAY

·       Colour and Inspiration Tuesday at Clever Chameleon
·       To-Do Tuesday at Home Sewn By Us

WEDNESDAY

·       Midweek Makers at Quilt Fabrication
·       “WOW” WIPs on Wednesday at Esther's Blog

THURSDAY

·       Needle and Thread Thursday at My Quilt Infatuation  

Tuesday, October 1, 2019

How I Achieved Machine Binding Without Shame: Victory at Last!

I am SO excited about the most boring quilt that I finished last night -- because I completed the binding entirely by machine and, for the first time ever, it doesn't look hideous.  OH RAPTURE AND JOY!!


I'm Not Ashamed of My Machine Sewn Binding Anymore!
I pieced this top myself during the Charlotte Quilters Guild's Christmas In July Sit-and-Sew.  The idea was for us to get a head start on some holiday themed outreach quilts for patients who are hospitalized over Christmas, Hanukkah, and Kwanzaa.  I didn't choose the fabrics or the the simple alternating squares layout, and wasn't able to be as adventurous with the quilting as I'd hoped since my longarm machine was misbehaving (I think she's fixed now, though!).  So I went with a simple 1" grid with rulers in the red blocks and a large amoeba stipple in the white squares.  I have to say, I was a lot happier with the quilting after washing it than I was when I first took it off the frame.  It's simple but so soft and snuggly, with the bumpy quilt texture that I love!  I used a variegated red and green King Tut cotton thread in the needle (Industrial size 4.5) with a Forest Freen So Fine thread in the bobbin, and the batting that was provided to me by our guild's Outreach Committee.


40 x 40 Charity Baby Quilt in Christmas Fabrics
There are tons of binding tutorials on the Internet, and I've tried (and failed) with a few of them before.  What finally worked for me this time was a method shared with me by Vivian, who blogs over at Bronx Quilter.  I'm writing this up while it's fresh in my mind and storing it on the Internet so I can find my notes when I need it again.


How Closely Must You Look To Tell The Binding Was Not Hand Stitched?
My criteria for an acceptable machine binding may be different from yours.  I prefer the look and the process of hand stitched bindings for most of my quilts, but after timing how long it takes me to hand stitch all the way around the perimeter of a large quilt (?!!) I realized that not every quilt needs or warrants that level of handwork.  The quilts I'll be binding by machine will be charity outreach quilts for my guild and baby quilts that need to get done and out the door before the baby in question heads off to college.  


It's Easier to See Threads in the Fabric Weave Than It Is to See the Machine Stitches From the Back
What I wanted from a machine stitched binding was a fast(er) process that would look as much like my usual hand stitched binding as possible, and that's what I got with Vivian's method.  THANK YOU, VIVIAN!


So I remember for next time, here are the steps I took to bind this quilt:



  • I trimmed my binding strips to 2 1/4" wide.  The Outreach Committee precuts binding strips in kits at 2 1/2" wide. I have no idea what I'm supposed to do with binding that wide, as I normally cut my binding anywhere from 1 7/8" to 2" wide for hand stitched binding, but never wider than that!  2 1/4" was plenty wide enough for me, for this method.
  • I joined the binding strips together as usual with diagonal seams, pressed open, and pressed the entire length of the binding in half.
  • With my walking foot, using black 50/3 cotton thread and a 2.5 stitch length, I sewed the binding to the BACK side of the quilt instead of to the front of the quilt as I normally would, mitering the corners as I went along.  
  • THIS IS CRUCIAL -- sew a few inches with a quarter inch seam allowance, and then take the quilt out from under the machine, wrap the binding around to the front of the quilt, and see whether it's covering the stitching line adequately without too much excess.  Now is the time to adjust that seam allowance a smidge wider or narrower, to get it just right!
Stitching the Binding to the Back of the Quilt First, Mitering Corners As I Reached Them



Note that, even with the binding trimmed to 2 1/4" wide, I still felt that it looked lopsided when I stitched it down with a quarter inch seam allowance and wrapped it around to the front of the quilt.  The folded edge of the binding went WAY past the stitching line it was meant to cover, which would have made the binding noticeably wider on the front of the quilt than on the back.  It also would have moved the final machine stitching line farther away from the binding on the back of the quilt, making it more noticeable.  So I moved my needle one position to the LEFT of center, enabling me to continue using the quarter inch mark engraved on my walking foot as a guide, but evening out the amount of binding on both sides of the quilt.  This was a fairly thin batting this time, however.  If I was doing this on a puffier quilt, say with wool batting or a double batting, I'd probably be safer with the 2 1/4" width.  But I would want to test this first on a scrap quilt sandwich using my actual battings in the event that my quilt had piecing lines that met a quarter inch away from the raw edge of the quilt top.  I'd hate to have my generous-quarter-inch binding chop off any of my precious triangle points!




  • I left a 12" gap between where I started sewing my binding to my quilt and where I stopped stitching, with 10" tails of loose binding at both ends.  Then I used my trusty Binding Tool to mark, trim, and stitch those loose ends together with a perfect diagonal seam.  When I use that little acrylic guide tool, the joined bit of binding always  fits the 12" gap perfectly so I can sew the opening shut without any stretching or easing required and no one can tell where I stopped or started the binding.
  • Next, I pressed the binding away from the seam line with a hot iron so the folded edge stuck out beyond the edges of the quilt.  I folded the miters of all four corners by hand and pressed them firmly with steam, and then pressed the binding around the edge of the quilt, ensuring that it just barely covered the black line of stitches on the front of my quilt.  I used those nifty Wonder Clips to hold the binding in place after pressing.  (I'm aware that some quilters glue baste their binding before machine stitching it down, but I went with the clips because I'm interested in a fast-and-dirty method for utility quilts, not a guaranteed-perfection-at-a-price method for show quilts).
  • Time to change the needle and rethread the machine!  I put Smoke invisible monofilament thread in the bobbin due to my black backing fabric (YES you can wind on your bobbin -- just only fill the bobbin halfway and slow your bobbin winding speed down if possible) and Clear monofilament thread in my size 60/8 needle.  In retrospect, I probably should have used Smoke in the needle as well, since my stitches were landing on the binding fabric rather than on the fabrics of my quilt top.  I used YLI monofilament thread on this project, but I also like Superior's MonoPoly and Aurifil's invisible monofilament as well.

And now, for a BAD decision: I thought it would be helpful to switch the sole of my Bernina walking foot for the next step to the sole with the center guide, but that was a bad decision.  Next time I'll stick with the open view sole that I was using initially, since that would give me a better view of where my stitches are landing.  Also, the guide blade in the center of the other sole wanted to pull my mitered corners apart as I was trying to stitch them down.  Aaargh!!  No more center guide sole for this technique!  That sole is designed for stitch-in-the-ditch quilting, and that's what I'll reserve it for from now on.


Machine Stitching Binding to Quilt Front With Monofilament (Do NOT Use This Guide Sole Next Time!)
As you can see in the photo above, my binding wrapped around to just comfortably cover my black stitching line without too much struggling or too much excess, just as I'd hoped.  Again, this wasn't some magical happy accident -- it's because I tested the seam allowance and adjusted it to get it just right for this particular quilt before I continued sewing the binding all the way around the quilt!


Stitch Settings for Sewing Binding with Monofilament on My Bernina 750QE


  • Per Vivian's suggestions, I sewed the binding to the front of my quilt with a narrow zigzag stitch.  I started out with Vivian's preferred stitch length of 3.0 but, since this quilt is destined for a hospitalized baby, I decided I wanted to have the binding more securely attached with the zigzag "bites" closer together.  I ended up with a stitch length of 2.25 and a stitch width of 1.5, but I could make the stitch width smaller next time if I use the open toe sole on my walking foot so I can see what I'm doing!  As you see in the photo above, I've got my needle position moved two clicks to the right of center, but again, that's because of the center guide on my presser foot sole.  I had to do that to ensure that my zigzag was actually on my binding.  The only other setting change I made was to reduce my tension to 2.25, which I honestly don't remember doing (this was late at night) but it was a good "autopilot" decision for the monofilament thread.  Too-tight tension is what makes invisible thread look objectionably shiny and not-so-invisible.




Not Bad, Right?!
And that's it, folks!  The Smoke monofilament thread would have disappeared even more against my dark binding fabric than the Clear, and if I reduced the zigzag width to 1.0 or went with a blind hem or invisible appliqué stitch instead, I bet I could make the binding look even more like it had been hand stitched, with the same speed and ease of application.  I can experiment with other stitches next time.  For now, I'm celebrating that I have a finished Christmas outreach quilt ready to turn in at our guild meeting on Wednesday.  I'm really pleased.  YAY!


Back View of Machine Stitched Binding, PRIOR to Laundering
Interesting side note: in the photo above, my quilting tension looks pretty wretched, but it really is not.  Those white dots you're seeing are the off-white quilt batting showing through the giant needle holes of the larger needle I used for quilting in order to accommodate the King Tut cotton thread, which is a slightly heavier weight.  After laundering the finished quilt, those holes closed almost completely and I can only see specks of batting here and there, where it was actually pushed out on the backing side where the thread passed through.  When I use dark fabric for my personal quilts, I like to use Hobbs Heirloom 80/20 BLACK batting to prevent that problem.  With this quilt's combination of black backing fabric and white squares on the quilt top, though, if I was hell-bent on making my life difficult that way, I would probably have put the black 80/20 on the bottom with a thin layer of white batting on the top to ensure that the black batting didn't shadow through the white fabric and make it look dingy gray.


After Laundering
See what I mean? I wash all my quilts as soon as I finish binding them as a personal preference, but this one DEFINITELY needed to be washed, since it's headed to a hospital NICU.  

Updated October 4th, 9 AM: WOW -- when I shared this binding technique, I didn't expect to stir up a huge controversy about the "safety" of invisible monofilament threads.  In addition to the comments here on my blog post, I've received numerous direct emails, direct messages through my Facebook page and from the Yahoo groups that I belong to or manage, etc.  Keep them coming, but please be specific.  If you're telling me that you have personal experience with quilt guilds, hospitals, or other charitable organizations that do not accept donation quilts that have any monofilament thread in them, I would like to know WHICH guild, WHICH hospital, or the NAME of the charity to which you're referring.  I would also like to know of any other restrictions that organization may have (do they require all cotton batting, for instance?  Or do they require fire-retardant batting?), and the reasons behind those restrictions.  Please know that I am never offended by someone who disagrees with me and I know that people are voicing concerns about this with the best of intentions, and I thank you for that.  However, I strongly suspect that 1) these restrictions are coming from quilt guild members and officers rather than from the charities and hospitals themselves and 2) the restrictions reflect concerns about the much thicker, much stronger nylon threads that have been used by commercial workrooms serving the hospitality industry (think quilted bedspreads and drapery panels in hotel rooms) or for mass-produced bedding that you might find at a big box store.  

I've started researching the tensile strength and melting points for a variety of threads so I can compare them to the monofilament threads that I use and recommend.  I'll be looking at 100% cotton 50 weight thread, the "all-purpose" polyester sewing threads, the lighter weight polyester quilting threads that are used almost universally by longarm quilters, as well as the heavier 40 weight cotton threads that designed for quilting by machine and the glazed cotton threads used for hand quilting.  From my personal experience, I can tell you that I can snap off a piece of .004 monofilament invisible thread MUCH more easily than I can snap off a piece of glazed 100% cotton hand quilting thread.  When I've compiled my research, I will share my findings here.  


40 x 40 Baby Quilt, Off My To-Do List and Ready to Donate!
That's all for today, folks!  I'm linking this post up with:

WEDNESDAY

·       Midweek Makers at Quilt Fabrication

THURSDAY

·       Needle and Thread Thursday at My Quilt Infatuation  

FRIDAY

·       Whoop Whoop Fridays at Confessions of a Fabric Addict
·       Beauty Pageant at From Bolt to Beauty
·       Finished Or Not Friday at Busy Hands Quilts
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·       TGIFF Thank Goodness It’s Finished Friday, rotates, schedule found here: http://tgiffriday.blogspot.ca  
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