Not your grandmother’s quilts. During the pandemic shutdown, I started climbing the walls — so I went back to something I hadn’t done since I was 12: quilting. Below are featured quilts, newest first, with notes on techniques and process.
This piece took just under 40 hours to create — a phenomenal record for me. It incorporates Dresden Plate, French Braid, and appliqué (turned edge and otherwise).
I also made the outfit in the photo: blouse and skirt in panne velour with silver-tone studs, plus Seminole patchwork piecing for the banding.
The sister quilt to “Desert Braid — Singular, with Feathers.” This one took 75 hours. Built on a French Braid construction technique with appliqué elements.
Ombre blocks are a log-cabin variation; the “stained glass” blocks are foundation paper pieced. Every black “line” in the stained glass panels is exactly 3/16" wide.
Constructed via Dresden Plate and appliqué. I noticed Maria Martinez designs blend beautifully with Art Deco, so I created my own interpretation.
Detail shots (left to right): faux rabbit fur center, turquoise stones, and white howlite stones at the compass points — affixed with fabric glue I trust.
Just wanted to see if I could pull off something like this that takes such precision at the seams.
Detail shots
This one is based on a Jinny Beyer table runner pattern. I loved it so much that I extrapolated the whole design into a large quilt. It's basically log cabin in design.
It was also a practice piece for me as far as disciplining myself to keep my seams narrow and consistent. Each strip of fabric in the center design is 1 inch wide, and was cut at 1 1/2 inches wide. I also hand-stitched this cover (something I hardly ever do,) before slurging and having someone else go ahead and do the actual quilting.
This was also my second time doing this design. The first time around I didn't trim the squares as I went, didn't watch the seams, and got something that I'm not proud of. This is the one that I actually feel I did a good job on. My thanks to a friend for insisting that I give him the original attempt at this pattern. It was definitely a learning curve, getting back into quilting, and this is one of the quilts where I forced myself to develop certain 'quasi-perfection' (or at least attempt at it,) skills.
A side effect of doing a precise job this time around, allowed for the emergence of secondary pattern that is shifted just 45 degrees from the main design. See if you don't see it.
This is a pineapple block quilt made from a quilt kit. The flying geese detail and the extra border are things that I added, but it's basically from a quilt kit. It's just something that I enjoyed doing along with learning a new technique.
This was actually my 4th quilt since picking up this hobby again, and the first one where I really started to feel comfortable with my top-stitching. I also discovered that I like straight line top-designs, and Art Deco motifs in my top-stitching. Unfortunately, a lot of that doesn't photograph too well or I'd definitely show you.
This one I gifted to a neighbor. I was trying to decide which ones to gifts where and gave him first choice. He chose this one immediately. Said he loved it since the first time he saw the partially sewn panels of fabric laid out on my living room floor. He definitely appreciates the details and notices how I fret over lining up my seams and points down to the millimeter... It's nice that he notices that.
A number of my quilts are not shown.
The very first one since starting this up again was an incredible learning curve. It came out functional, and in retrospect not too bad, but I'm not too proud of it. The second one was better, though I gifted it to a friend who insisted that he wanted it. Not pictured here, however.
The one after that? I cut corners and didn't get the right tool. I thought I could just wing it. Guess again. Do not cut corners on that! - no pun intended.
The last one not pictured was actually the 5th in construction, after Cocktail Hour, but it became a mess when it came to the top-stitching, with threads breaking and incredible mis-matches. It just go messy and I decided not to finish it.
After that they began to seriously improve. While the early ones are definitely functional, I don't think I'll be showcasing them.
I guess that makes 4 not pictured.
Quilting looks deceptively simple from the outside. Many people assume it’s “just sewing,” but the reality is far more technical — and far less forgiving.
A quilt is not a flat object. It is a three-dimensional structure composed of a top, batting, and backing — each with different stretch, resistance, and behavior. Every decision made at the cutting table affects how the quilt will behave hours (or days) later at the machine.
Precision matters. Seam allowances are often ¼ inch or less, and errors compound rapidly. Being off by even a millimeter per seam can distort an entire block or force corrective trimming that changes proportions.
Quilting is also physics. Fabric bias, grain direction, stitch density, thread tension, and batting loft all interact. Quilts can warp, ripple, or “grow” in unexpected directions if those forces aren’t anticipated.
There is also a strategic component. Some techniques are chosen not because they are faster, but because they allow later corrections. Others are irreversible — once committed, you’re solving forward with no undo.
Finally, there is endurance. Large quilts are handled repeatedly under weight and resistance. Managing fatigue — physical and cognitive — is part of finishing cleanly without mistakes.
I didn’t fully appreciate these layers until I returned to quilting as an adult. What looks decorative is often structural. What looks intuitive is often the result of planning several steps ahead.