Overlapping Octagons with red centres

As I haven't posted here for some time I thought an update on my Overlapping Octagons was due.  This is a lap quilt inspired by a photo in the book "Unconventional and Unexpected, quilts below the radar" by Roderick Kirakofe The original quilt was made around 1950 in New York by someone associated with the garment trade who used off-cuts of shirt fabric. It was pieced by hand. In line with the invitation to use "red as the new neutral" I used red for the block centres, and neutral, as any other colour in the frames to the red squares.

This is the last photo of my Overlapping Octagons before the final Y-seams to bring it all together.

This has certainly been a challenge reproducing a historic quilt but using a sewing machine. The challenge is not yet over! Because a photo is flat it's difficult to show how the triangle sections between four red squares are refusing to lie flat.

bubbly triangles!

I have re-sewn some of the seams in the bubbly triangles; the rest I'll try to tame by hand when I finish joining all the columns. I think I probably have more control over the fabric when hand sewing, like the original sewer.

Much as I like the effect of the vertical white fissures in the first photo, they are not a design feature; my next task is to join columns 1 and 2, and then to join that section to columns 3 and 4. Lastly I'll be joining the seams between columns 4 and 5. Somewhere along the line I see I need to add a couple of small triangles in the edges, and to add triangles to three of the four corners. I haven't yet decided whether or not this quilt is calling for a border. What do you think?

Happy sewing

Marly.

Red is Neutral in Octagons with Y-seams

For the UandUQAL organised by Sujata Shah I am reproducing the Overlapping Octagons quilt from Roderick Kirakofe's book, "Unconventional and Unexpected". I haven't done much to it over the last few months; this is the present state of this lap quilt.

I have made octagons with red centres, corresponding to the AHIQ red is neutral challenge, and surrounded them by predominantly dark blue strings.  With this choice I aimed to use up most of my blue and red Civil War reproduction fabrics, and with the red I succeeded and have added more modern reds, but the blue were all so dark I soon started introducing flashes of other colours.

At present they're not overlapping, but I have more red squares cut, and here I've positioned them where red squares will go in the final design.

I am pleased that the overlapping octagons have now emerged.

The octagon blocks have Y-seams at each corner, and inserting the second set of red centre blocks will involve more Y-seams. I wasn't happy about this at the beginning, and so tried making hourglass blocks in the corners, as shown here:

This is one of two hourglass blocks I retained, before I gave up on them. At each of  the corners of this hourglass block five fabrics come together making very bulky seams which I couldn't get to lie flat.

Doing Y-seams, however, means joining only three, which will lie much more easily, especially if the last string in the side panel continues into the corner triangle, as here below.

Sorry about the fuzziness!

In this corner above, one of the four string sets ends in a separate triangle; this is one of the string sets I originally joined to an hourglass block. I rejected that method because of the lack of continuity between the string set and its triangular ending as well as the bulkiness of the join.

There was only one thing for it: Y-seams. I dreaded the thought! Now I'm becoming an expert! Practice makes perfect, they say, and I've had a lot of practice! The secret lies in:

1. starting sewing the seam at the opposite end to the Y-join,
2. stopping two stitches before the point of the join and backtracking a couple of stitches. That unsewn space gives you some room to manoeuvre.
3. starting each seam four stitch lengths further than the join, stitching back two stitches to fix the seam and then stitching the seam further until two stitch lengths before the point and backtracking two to fix the seam.

The mistake I made when I first tried Y-seams was to start at the point where everything came together. It's very crowded there! Much easier to keep your distance from everyone else at the party. Approach slowly and stand still when you're close enough. After following a tutorial from Mary Huey on sewing tumbling blocks, it was plain sailing for me! Mary illustrates the process with lots of excellent, clear photos.

I'm not really sure any more if this really fits the challenge "improv", as I'm working from a photo of an early 20th Century quilt; not exactly a pattern, but an example. I am, however, working it out as I go along, which is a characteristic of improv.

If you think I shouldn't post this here, I apologise.

Happy sewing

Marly.