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“The Lady in the Garden” Art Quilt

The Lady in the Garden, an art quilt by Judy Gula using hand-dyed and vintage materials

If you’re like me, one of the things you admire with the arrival of spring are the beautiful shades of green as new growth emerges. I focused on green with this art quilt, which I titled “The Lady in the Garden” and featured four years ago on this blog. I wanted to revisit it and again share insights into my process for creating a fiber collage/art quilt.

Over the last few years I have worked a lot with batiks and batik panels, to the point where I think some of my newer customers don’t realize my first and true love: working with vintage items! Many times a vintage photo is all it takes to spark my imagination. The Lady in the Garden, currently on display in the shop, began with a vintage black and white photo that I found and instantly loved.

Beginning with a inspiration vintage photo and beginning to assemble materials

I scanned it and then modified in Photoshop (you could also use Photoshop Elements or any photo editing program), choosing to colorize the photo with a green hue. I could have left it as is, but since I had visualized wonderful spring green leaves, I wanted to work monochromatically. You can do the same using your own favorite color with any favorite black and white or sepia photo. Once I had colorized my image, I printed it onto Transfer Artist Paper (TAP, developed by fiber artist Lesley Riley — unfortunately due to manufacturing changes this product is no longer available) and then transferred it to 70 wt. Lutradur. You could also print directly onto the Lutradur, or use another of the many products available to print a photo onto fabric. My final colorized image, ready to sew, is shown above, as well as a hint of materials that I thought I would incorporate into this art quilt.

Continuing to refine  my stash of possible materials

I begin my design process by tossing the fabric and embellishments around. I knew I wanted to work with my hand dyed fabrics, and my vintage Trims and Laces. I just pull materials and lay them in a sorted pile. Then I walk away from it. Thus when I come back it after a break, I make my next choice with fresh eyes. Sometimes I have to do this several times each, adding and subtracting new fabrics and trims, until I finally see an arrangement that “clicks” and makes me smile.

Embellishment possibilities for my art quilt

My next step is to finalize my choices of embellishments. Some materials are selected very early in my process, while others are chosen after my main fabrics have been selected. Pictured above I have pulled materials including a mixture of green beads, pearls, vintage millinery trims, and hand dyed vintage trims pulled from one of my Inspiration Packs. Artistic Artifacts sells some great ribbon, including the popular Web Weave seen at the top of the above photo — a great way to add texture and color to any fiber or mixed media project. A substitute for the leaf trim shown above could be our leaf vine ribbon, available in regular or jumbo sizes.

Beading on fabric example and supplies

Another art quilt in progress that featured beading. Beads come in such a variety of shapes, sizes and colors and add the perfect touch to fiber &mixed media projects.

And whenever possible I love to add some form of beading to my art quilts (detail of another project shown here). Beautiful beads add the perfect touch of color, shine and texture. The bead soup mixtures sold at Artistic Artifacts are the same ones that I use in my artwork and are an easy, inexpensive way to guarantee yourself a variety of bead sizes, styles and shades to enhance your jewelry, fiber and mixed media projects. These are favorites of Liz Kettle of Textile Evolution, author of First-Time Beading on Fabric: Learning to Bead in Nine Easy Lessons, my first recommendation for those who want to learn to embellish their quilts, decor and garments with beading. (Don’t let the “First Time” in the title fool you; this is a great resources even for those who have beading experience!) My favorite Tulip needles also come in beading versions of various sizes, flexible and easy to thread, with a rounded tip that does not split thread.

Focal point of quilt mostly completed

At the stage pictured above, I had worked on the focal point of the art quilt. At this point everything was stitched down in the center. My original decision was to not stitch the background, and I came to believe that I goofed by not doing so. Lesson learned, and I now know stitch the backing before layering my photo. In this project I did add quilting… but it would have been easier to do it earlier.

Detail photograph of quilt elements that changed through the design and creation process

As I continued working, there ended up being differences from the materials I originally started with and thought I would use, which you can see in my completed art quilt photo at the beginning of this post. You can also view a larger image to see additional detail.

As pictured here, the vintage millinery used turned out to be beige, not peach. I used turquoise-colored beads, not green. The trims are darker than my original lighter choices. (Of course any unused materials aren’t discarded but go back into the stash, waiting for another project.)

I find that many times you can become paralyzed by the number of options possible when creating, and therefore end up completing nothing at all. There could have been a million options on how to create an art quilt with this —or any — photo as a a focal point. You just have to choose one and begin! As you see from my example, you may end up changing things along the way, but your end goal should simply be that you’re happy with your final product.

And I am! I like the essentially monochromatic color scheme, and The Lady in the Garden still makes me smile when I look at it. One of the key things I love about art quilts is that there are no rigid rules, except maybe just one: begin! Pick an inspiration point, take a look at your stash, and see where the creative process leads you.

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The “We Are Somebody” Quilting Program

Christine Vinh and Artistic Artifacts owner Judy Gula present Roy Mitchell's quilting students with three bolts of Indonesian-made material for their classroom.

Christine Vinh (left) and Artistic Artifacts owner Judy Gula present Roy Mitchell’s quilting students with three bolts of Batik Tambal Exclusive Batiks for their classroom.

We Are Somebody Quilting Program presents Just 4 U sign

The Mid-Atlantic Quilt Festival is always a good event for Artistic Artifacts. Because it takes place in Hampton, VA, we see lots of local friends who have made the trip. And we are always grateful for our many repeat customers who seek out the Artistic Artifacts booth to see what we brought along with us. We are inspired by the works many of our customers have in the show and pieces they bring along with them to show us.

This year a particular highlight was meeting up with Roy Mitchell, Jr. and three of his quilting students, young men incarcerated at The Virginia Department of Juvenile Justice’s Bon Air Juvenile Correctional Center. We have met Roy in the past when he brought the young men to the show for inspiration, but this year was special. Mitchell’s students had their own special exhibit in the show, We Are Somebody: Quilting Program presents Just 4 U. The use of color, design, and workmanship of the 19 quilts by these young men deserved their place in the show, and we’d like to share our photographs of some of these beautiful works.

Quilt from the We Are Somebody Quilting Program exhibit Just 4 U at the Mid-Atlantic Quilt Festival

From the Mid-Atlantic Quilt Festival’s description of its 2018 Virginia Quilt Guilds special exhibits: “The Virginia Department of Juvenile Justice’s (DJJ) quilting program, believed to be the only quilting class in the country in a male juvenile corrections setting, teaches not just the hard skills involved in this difficult craft — planning, design, measuring, geometry, sewing — but also critical life skills such as goal-setting, patience, frustration management, public speaking, and the value of precision. Instructor Roy Mitchell, Jr. instills the notion that ‘You Are Somebody’ to all his students. Hundreds of quilts made by DJJ residents have been given to hospitals and homeless encampments, and featured in art galleries in Virginia, Michigan and California.”

Quilt from the We Are Somebody Quilting Program exhibit Just 4 U at the Mid-Atlantic Quilt Festival

We took the opportunity to talk with Mr. Mitchell and his students — who learn his class mantra “I am somebody” when they enter his classroom — upon seeing them in the exhibit area near our booth. The pride and joy on their faces was enough to bring us to tears. When we asked who did the quilting of their pieces, one of the boys was quick to say he was the quilter.

DJJ Quilting Instructor Roy Mitchell lifts a quilt to reveal the intricate detail work on the back.

DJJ Quilting Instructor Roy Mitchell lifts a quilt to reveal the intricate detail work on the back. He has been teaching quilting since 2012.

We encouraged them to take full advantage of the skills they have learned in the quilt classes. We were so impressed that we presented several bolts of our Batik Tambal Exclusive Batik fabric (pictured at the top of this post) for use in their classroom to the group, with a promise to stay in touch and make future donations. By the end of our conversation Mitchell was planning a road trip to Artistic Artifacts with some of his students to spend a day with our local quilters.

Quilt from the We Are Somebody Quilting Program exhibit Just 4 U at the Mid-Atlantic Quilt Festival

The boys also give back to their community, and recently Mitchell, accompanied by Deana Williams, director of post-secondary programs at Yvonne B. Miller High School, took 35 of the students’ creations to the Third Street Bethel AME Church in Richmond to give to homeless people who were waiting outside the church for a meal. Participants in the program have created quilts that have been exhibited throughout the country and have also created a Virginia-themed quilt that now hangs in the lobby of the Patrick Henry Building in downtown Richmond.

Square in a Square, 46 in. x 80 in., by L.R --Quilt from the We Are Somebody Quilting Program exhibit Just 4 U at the Mid-Atlantic Quilt Festival

Square in a Square, 46 in. x 80 in., by L.R

Visit the Sewing With Nancy website to watch a video of Nancy Zieman’s January 2017 interview with Roy Mitchell, which includes a view of the Virginia-themed quilt — an impressive 10 feet by 12 feet — from the Patrick Henry building. You’ll also learn he has very stringent entrance requirements for this special program. (At least one Artistic Artifacts staffer is certain she would flunk the math exam!)

Fading, 78 in. x 88 in. by J.M. -- Quilt from the We Are Somebody Quilting Program exhibit Just 4 U at the Mid-Atlantic Quilt Festival

Fading, 78 in. x 88 in. by J.M.

We look forward to their future visit to Artistic Artifacts and hope to support them in their quilting endeavors. We also hope you are as inspired as we were by the creativity and workmanship shown by these young men, and by the dedication of their instructor, who has taught quilting to 200 participants with a 0% recidivism.

Something Out of Nothing, 43 in. x 61 in., by B.B. -- Quilt from the We Are Somebody Quilting Program exhibit Just 4 U at the Mid-Atlantic Quilt Festival

Something Out of Nothing, 43 in. x 61 in., by B.B.

Flower in a Garden, 55 in. x 55 in. by D.H. -- Quilt from the We Are Somebody Quilting Program exhibit Just 4 U at the Mid-Atlantic Quilt Festival

Flower in a Garden, 55 in. x 55 in. by D.H.

7 Comments to “The “We Are Somebody” Quilting Program”

  1. Sharon

    Loved learning more about this program and Nancy Zieman’s interview of Roy Mitchell. A heartwarming story… and the quilts are impressive!

  2. Karen S

    What a terrific program! I hope I can meet this teacher and his students when they visit Artistic Artifacts.

  3. Susan Cavanaugh

    Wow….I am so impressed with the quilts by these young men! I also have been teaching a quilting program in an adult detention facility in No Va. for the past four years. We are lucky to get in 2-3 hours a week so I can imagine what they would be able to accomplish in 8 hours a day. I would be interested in contacting Roy and learning more about his program.

  4. Kay

    The quilts made by the young men are so amazing. The quilts are all very unique and special. Thank you for sharing such a feel good story.

  5. Jennifer Emry

    Is there a way to donate to this DJJ program? I have books, tools (many scissors, rotary cutters, etc), fabrics.


    These young men were certainly inspiring and most likely know far more about quilting than most of us. Mr Mitchell is a god send at their time of need.


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Guest Post: SAQA Report from QuiltCon

SAQA member Sarah Bond won the eQuilter Quilting Excellence award at Quilt Con

SAQA member Sarah Bond won the eQuilter Quilting Excellence award at Quilt Con 2018 and is pictured here with her quilt.

          Guest Post by Lisa Ellis, President of Studio Art Quilt Associates
          Learn more about Lisa below.

I have returned from QuiltCon, held in Pasadena CA, from Feb 22-25. I was representing Studio Art Quilt Associates (SAQA), a non-profit membership organization that is passionate about the art quilt. So why was SAQA (an art quilt-focused organization) at QuiltCon, the Modern Quilt Guild show — which is all about the modern quilt?

SAQA defines the art quilt as a “a creative visual work that is layered and stitched or that references this form of stitched layered structure.” From SAQA’s perspective, this includes modern quilts! SAQA is trying to break down the barriers of categorizing art quilts as different than modern quilts. If they are original works, they are ART (and the quilt makers are ARTISTS).

Lisa Ellis poses with QuiltCon attendees in front of the SAQA Trunk Show exhibit

SAQA had a booth in the non-profit area to engage with the quilt show visitors. We had one of our trunk shows which are 50 little 6” x 8” artworks that show samples of our members’ work. The trunk show was eye candy that brought people into the booth. You can see a portion of the SAQA trunk show in the photo above as I pose with QuiltCon attendees Joyce, Jone and Bernice. From there we could talk about our mission and benefits to membership — like our stellar publications, education, and exhibition programs.

Modern Inspirations: Art Quilts from the 1970s Through Today

In addition, we had a Special Exhibit called “Modern Inspirations: Art Quilts from the 1970s Through Today.” This exhibit showed how quilt artists from the early days of the art quilt movement in the 1970s were working in the abstract and geometric style. The modern quilt movement that started in the mid-2000’s built on the successes and aesthetic of earlier artists. Pictured above, Maria Shell, author of Improv Patchwork, holds the exhibit catalog.

Daisy Aschehoug poses with her quilt in the SAQA booth

Daisy Aschehoug poses with her quilt in the SAQA booth. Daisy was a member of the QuiltCon 2018 faculty and has had a number of quilts published in magazines such as Modern Quilts Unlimited, Love Patchwork and Quilting, and Modern Patchwork.

Nancy Bavor, a former SAQA Board Member and currently the Director of the San Jose Quilts and Textiles Museum, gave a quilt history lecture about the art quilt movement which began in the 1960s. Nancy showed the influences of the modern art movement in the early days of the quilt revival, and how the trends continue today of current art influenceinh quilt making styles.

I was on the QuiltCon faculty and conducted three “before hours” gallery walks through all the special exhibits, to include the SAQA Modern Inspirations, and the AIDS Quilt, Carolyn Friedlander’s featured artist work, and MQG Quilts of the Month. It was a great experience to spend an hour with 35 visitors and to educate about curation, design, SAQA and the power of quilts in activism and healing.

QuiltCon is a fantastic show filled with amazing original works of art, exciting vendors, lectures and workshops: view a list of the 2018 winners.

About Lisa Ellis

Lisa Ellis

Lisa Ellis is a quilt artist, teacher and lecturer, passionate about quilting and using quilts to make the world a better place. She frequently lectures on healing quilts and inspire quilters to get involved in using their love of quilting to improve health care centers and hospitals.

Lisa is the director of the non-profit organization Sacred Threads. Sacred Threads is a biennial exhibition dedicated to sharing our most personal quilts with themes of spirituality, joy, inspiration, healing, grief and peace/brotherhood. (Artistic Artifacts is now a proud sponsor of Sacred Threads!) The 2019 exhibit opens July 11, 2019.

Desiring to give back to the non-profit world, Lisa serves on the board of directors for organizations that have missions she strongly believes in. She is the current President of SAQA and Treasurer of the Quilt Alliance, which brings together the creative, scholarly, and business worlds of quiltmaking to celebrate and preserve our shared quilt heritage and inspire today’s quilters.

Email Lisa »

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Stitching on Wool and Felt — Journal Covers and More

Hand Stitched Mixed Media Journal Cover

Several years ago during the holiday season I wrote about creating felt-covered journals (my turorial is expanded on below). I mentioned that I generally batch or make multiples of art, in that case making four journal covers at one time… a great process for making gifts! I’ve realized I hadn’t shared the cover (pictured above) of the journal I kept for myself, and so in celebration of February being National Embroidery Month, am sharing some of my stitching here.

Detail, Hand Stitched Mixed Media Journal Cover

Pictured above, and stitching detail photo right, is the finished hand-stitched felt/wool mixed media journal cover. Natural fiber felts are perfect for needlefelting (by hand or machine), or as a base for hand-stitching.

Plus, in addition to commercial felts, I enjoy using upcycled wool sweaters and fabrics that have been “fulled” (washed in hot water and dried to shrink and tighten the fibers) as a base for switching. You can see the fun striped sweater created a beautiful accent!

Commercial felt and fulled wool sweaters were used to create the journal cover design

Above, commercial felt and fulled wool sweaters were used to create my journal cover. I simply cut simple shapes to add, plus traced a more elaborate scroll design to appliqué to the base felt fabric. These shapes were accented with blanket stitching, simple straight stitches, running stitching and cross-stitching.

WonderFil Specialty Threads embellish wool hearts on an upcycled sweater piece

WonderFil Specialty Threads feature a large number of beautiful threads, such as Sue Spargo’s collection of Eleganza, perfect for hand-stitching. Here, WonderFil Specialty Threads embellish wool hearts on an upcycled sweater swatch. Above left features French knots; right are Bullion knots (use a Bullion Knot Needle for ease in creating these). Also pictured below, these stitched hearts are an example of a project demonstrated and completed during our monthly Hand Stitch Third Thursday sessions.

WonderFil Specialty Threads embellish wool hearts on an upcycled sweater piece

I am always touting Modern Hand Stitching by Ruth Chandler: it’s a wonderful resource, giving you well-illustrated instructions on creating basic embroidery stitches. The fun of the book is how she shows you many ways you can adjust and alter those stitches for a new look. Artistic Artifacts also carries a number of other beautiful embroidery books complete with instructions, patterns and projects.

Hand stitching with wool on wool

This blog post is giving you instructions to create a mixed media journal, but imagine the above pictured examples (more of my hand-stitching on wool) instead sewn into a zipper pouch… wouldn’t that make the perfect storage for your favorite thread spools? Or how about working larger, or stitching together different squares, to create a pillow? Your only limit is your imagination!

Creating Mixed Media Journals

Select your commercial felt base or fulled wool swatch. The bright light green pictured here is XoticFelt, which came as a large 20" x 22" swatch. I folded it in half, ironed the fold line, folded it in half again and ironed that fold.

Folding felt for cutting lines

Doing this created easy to follow cutting lines to cut my four book covers. Because I was “batching” my work to create multiple journals to use as gifts, I used the entire piece and these covers measured 10" x 11". This was a bit unusual in size, but I didn’t waste any felt! Of course you can choose to make your cover in any size you like.

Rotary cutting along fold lines

The next step is to cut a backing for the felt. This surface will serve as your inside front and back cover. My favorite to use is Roc-lon Multi-Purpose Cloth™. Comparable to canvas, this 70% Polyester/30% cotton material is flexible, soft, and prepared for painting and collaging. Using it makes your felt cover sturdier and more durable. Cut the Multi-Purpose Cloth (or your desired material) the same size, or a bit smaller than the size of the felt.

You will also want to cut your choice of found papers, and cards to go on the inside of the book. You can cut all your paper for your page signatures the same size, or you can, like in my example, incorporate different sizes for interest.

Pages for the journal interior

This is an ideal way to recycle junk mail, wrapping paper scraps, and more. You can also incorporate sheets of fabric into your pages as I did. If you do, you can stitch inside your book, or pin or fuse items to the fabric. The sky’s the limit!

You now have three elements working: embroidered felt or wool for the front cover, Multi-Purpose Cloth for the inside cover, and your pages.

Front Cover:

Cut small pieces of contrasting felt to create a design, and hand-stitch with floss using straight or embroidery stitches. I’ve included a photo here of a different stitched book cover I created for additional ideas — I love stitching on buttons! As noted above Artistic Artifacts carries a number of hand-stitching and embroidery books, plus there are a huge number of online and YouTube resources for learning embroidery stitches. You could also choose to machine stitch your cover — a great opportunity to practice free-motion quilting!

Inside Cover:

Next is the Multi-Purpose Cloth. You can leave this plain/white, or create some surface design with paint or inks. I’ve used stencils and spray inks to quickly pattern the inside cover of the Multi-Purpose Cloth.

Spray inks and stencils atop Multi-Purpose Cloth inside cover

When working with spray inks, make sure your work surface is well covered, or place your item in a box. In the photo examples here, I have used a red plastic tablecloth to protect the table surface, topping it with tissue paper.

Stencil removed, leaving ink design

I add the tissue paper because then it builds my stash — I can use any of the oversprayed tissue in other mixed media projects! Spray your first color of ink lightly through the stencil.

Adding additional colors of ink and layers of design

After I lifted the stencil off, I let it dry (spray inks dry quickly) and then continued the process, spraying all four of my Multi-Purpose Cloth at the same time, using different colors of ink. I also added a small stencil and used another color ink. Let dry.

Spray ink through stencils on Roc-lon Multi-Purpose Cloth

Mistyfuse layered onto Multi-Purpose cloth and covered with a non-stick craft sheet

To continue, the non-sprayed or plain side of your Multi-Purpose Cloth needs to have Mistyfuse applied to it. I’ve often mentioned using Mistyfuse in projects; you know I love it! But remember, it requires the use of a Goddess Sheet, the Bo-Nash Amazing Sheet or any brand of non-stick (Teflon) craft sheet (parchment paper will also work) to cover the surface while ironing. Pictured here, the plain side of my Multi-Purpose cover has a layer of white Mistyfuse (hard to see, I know, but you can pick up the webbing texture) that is being covered by the non-stick sheet. I iron on top of the sheet, which fuses the Mistyfuse to the interior covers.

Once the Mistyfuse has been applied, all the pieces are ready:

  1. Outside Cover: the felt has a pattern and color stitched to the front.
  2. Inside Cover: the Multi-Purpose Cloth has color on one side (or was left plain) and Mistyfuse on the other side.
  3. Pages: Paper and fabric is assembled for the interior of the book.

Stitching & Embellishing Pages:

Stitch the paper to your inside cover Multi-Purpose Cloth. I found the center by simply folding all the papers and fabrics. I also folded the Multi-Purpose Cloth and lined everything up according to that fold — remember, your color side faces up so it is visible — and straight stitched down the center.

Stitching your paper and cardstock signatures together using your sewing machine and a long, straight stitch

Set your sewing machine to sew a long, straight stitch — shorter stitches too close together can cause the paper to perforate and then fall out.

Washi tape covers stitching and creates foldout page

These mixed media journals are also a great place to use your favorite washi tape: apply the tape over the stitching (above) to hide it if you prefer. Washi tape is also a simple and decorative way to create fold out pages and pockets.

Washi tape creates a fold out pocket tab and embellishes a tag

Finishing Your Mixed Media Journal:

Your last step is to fuse your stitched felt cover to the plain side of your Multi-Purpose Cloth interior cover — which has already had the Mistyfuse applied. Trim your edges if it’s necessary.

You can add finishing touches like a button closure and an attached fabric tie, as in my example. Pictured below is my journal opened to show both the front and back stitching and how the fabric tie was stitched on.

View of both front and back hand stitched journal cover

Finally, enjoy your new journal… and if you have batched your construction, enjoy giving away these special gifts!

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Squared Elements Modern Strip Pieced Quilt

Christine Vinh of StitchesnQuilts created a beautiful modern quilt for display at Artistic Artifacts that features the Squared Elements line from Art Gallery fabrics — a quick and easy quilt to put together!

Featuring Squared Elements fabrics by Art Gallery, this modern quilt was strip pieced by Christine Vinh of StitchesnQuilts

Chris used methods similar to a Jelly Roll Race quilt (there are many Jelly Roll Race tutorials online), but instead of using a prepackaged Jelly Roll of strips, she rotary cut her strips, and also incorporated solid white into her design.

Some of the colors of the Squared Elements line by Art Gallery Fabrics

Chris began by choosing 13 colors of Squared Elements: Blueberry, Cyan, Fuchsia, Honeycomb, Lime, Mandarin, Navy, Noir, Pomegranate, Shadow, Turquoise, Wasabi and Watermelon.

Her first step was to cut the Squared Elements fabrics into 2.5 inch wide strips. She then cut those strips into different (and random) lengths. A solid white cotton fabric was cut into strips that were 2.5 inches wide (the same as the colored fabrics), but a consistent length, 5.5 inches.

To begin the quilt construction, Chris stitched together the randomly cut longer color strips on the short 2.5 inch end, alternating each color with the white 2.5 inch x 5.5 inch strip.

Chris notes that the length of the sewn strips you create will depend on what size quilt you desired. “I made mine approximately the size of my design wall,” she said, “but a bit longer to allow for some minor adjustment in vertical strip placement.”

She continued randomly stitching the colored strips to the white strips, placing them on her design wall when complete. Once you have enough strips completed to create the width of the quilt, fine-tune your strip placement if desired. Once your strip order is determined, square up the ends of your strips if you have staggered the vertical placement of the strip to achieve a more pleasing order. Stitch all strips together on the long sides to complete the quilt top.

Squared Elements modern quilt by Christine Vinh of StitchesnQuilts in progress

One aspect of the Jelly Roll Race quilts is that the strip placement is NOT planned and you’re encouraged not to fuss over it. Chris challenged herself to work in the same random way. If two like-colored strips end up next to one another, that’s okay!

The back of the Squared Elements modern quilt by Christine Vinh of StitchesnQuilts in progress

Chris is known for creating quilts that are just as pretty on the reverse by piecing her backings, and this quilt is no exception — see above. She used leftover Squared Elements fabrics and pieced them with Moonstone Pure Elements fabric, also from Art Gallery.

The finishing touch was machine quilting by Mandi Singer-Persell, a fellow member of the Arlington chapter of Quilter’s Unlimited. Mandi’s business SewcialStitch is passionate about fabric and quilting, and offers professional longarm services to help you finish your quilting projects. A detailed view of the gray solid back of the quilt so you can appreciate Mandi’s quilting design:

Detail of longarm machine quilting by Mandi Singer-Persell of SewcialStitch

Chris is also working on another quilt using the Squared Elements, a Log Cabin block variation set on point, seen below. We hope these modern style strip pieced quilts have inspired you!

Another Squared Elements quilt in progress by Chris Vinh of StitchesnQuilts

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