The first quarter template…
There’s no point attempting to draft the template for this piece all in one go; it’s 48 inches square and I simply don’t have a flat surface that size (apart from the floor, and I’m not up to grovelling around down there any more). So I’ve divided it into 24 inch square quarters, which still fit on my cutting table. Luckily the design divides neatly into equal quarters, so I just need to make each one and then piece them together. “Just…”, she says airily, as though it were the work of moments.
I decided to start with the most difficult section first. With that out of the way, the rest of the sections will seem much easier. So it’s the bottom left hand corner, a series of concentric rings with inset triangles. I have a set of good compasses, from small to large, with an extension arm. Just as well, really – do you have any idea how tricky it is to draw an accurate 20 inch circle, even with an extension arm on the compass? The thing just wobbles, spreads, dislodges and generally misbehaves. But the template’s done. The next thing will be to make a tracing or duplicate of each ring, which I’ll then mount on cartridge paper and cut out to make the papers for EPP (English Paper Piecing*) the triangles.
At least, that’s the plan for now. I’m still wondering if I can do it with FPP (Foundation Paper Piecing†), but just now I’m tending against it, because of the trickiness of matching up all the pieced segments. You can adjust a little with EPP, but over a piece this size, FPP errors tend to magnify.
Explanation of terms for non-quilters, including the quilt’s new owner:
*EPP: fabric is wrapped around a card template and basted/tacked on. The covered templates are then joined edge to edge with tiny hand stitching through the fabric only, and once fully assembled, the basting/tacking is pulled out and the templates removed. This is the process used for traditional hexagon quilts.
†FPP: fabric is stitched directly onto a paper foundation, along drawn or printed lines. This ensures a lot of accuracy of individual pieces, but this shape has to be made up of many sections, and joining these sections can be a little inaccurate (when I do it, anyway!), so that points do not meet and things slip a little. The paper is torn away from the back of the piece once it is fully assembled, which is a laborious job in itself.
I need to start auditioning fabrics now, as very soon I’ll be able to make a start on assembly. I need a good tone-on-tone white. Flat, solid white will not look right, it needs a texture. If I could get a marbled white that would be ideal, but I’ve never seen such a thing (if anyone out there has, let me know asap, please?), and a tone-on-tone print will be the next best thing. I also need a warm deep red, a dark cobalt blue, a granite grey and a limestone beige, all marbled or textured batiks. And if anything else catches my eye, I’ll grab a bit of that too. This quilt won’t need large quantities of anything except the background white, I just need to be careful I don’t run out of any of the fabrics with one triangle to go!
Time to put away the ruler and compasses for a bit, and fetch out the scissors, needle and thread.