when you have scraps, you can
simply just plunk them down on top of a scrap, no matter
what the shape of the scrap, and just cut around it
like a cookie cutter. So if this were an
odd-shaped scrap, which for this video purpose
is not an odd-shaped scrap, but if you had an
odd-shaped scrap, you could certainly plunk it
down anywhere on that scrap and cut around it with
a sharp rotary cutter. And these are primarily
the three sizes that I use. These cutting techniques
that I'm gonna show you are used throughout
all three of the books, and it will make your
cutting such a snap and easy to do. Now, the scraps that I use tend to be slightly
larger scraps. There are tons of quilt
books on the market that use teeny tiny
little scraps, mine are slightly larger. Most of mine are large
enough to accommodate a 5 1/2 inch square template. Okay, so the first
technique I'm gonna show you is called the Treasure
Box technique. And this is used
throughout all three books, and it is very
fast and very easy. So you're gonna plunk that 5 1/2 inch template
down on top of two lights and two darks. I have two layers
of a light fabric, and I have two layers of a
dark fabric underneath here. And you're gonna
iron those scraps out and you're going
to layer them up, two lights and two darks. So I'm cutting around
this acrylic template with a nice sharp rotary
cutter blade, okay? All right. And then we're gonna
remove the scraps and we are going to take
our 3 1/2 inch template, and we're going to put this in
the lower right-hand corner, and then we're
going to snug it up against the 5 1/2 inch template. This eliminates any
need for measurement. So now we're gonna remove that
3 1/2 inch template, and we are going to cut along
the edge of the 5 1/2. We're gonna put the
3 1/2 inch one back exactly where we took it off of, and we're going to
cut across the top of the 3 1/2 inch template. All right. Now all you're cutting for
that block is completely done. Now what we're going to do, we're not gonna
sew anything yet, what we're going to do is we're going to lay
this out, all right? We're going to
lay out the lights and the darks so that
they are alternated. We're gonna alternate
our lights and our darks, and we're going to put the dark
alternating with the light. We still aren't sewing anything. We are going to layer
the white rectangles or the light-colored rectangles
with the dark squares, and we're making a
1/4 inch seam here so that we're gonna
shorten this up by just a 1/4 of
an inch, all right? 1/4 inch seam, 1/4 inch seam
over here, and then the dark rectangles
will go along the white or the light-colored squares. Now, it takes nine months
gestation to have a baby, and yet we always wait
till that last two weeks before the baby's born to
get started on a quilt. This is a quilt that you
could make very, very quickly if you had to have a
quilt done quickly, right? Okay, so then once we've
got those sewn together with 1/4 inch seams,
we're going to stitch these long rectangles
along the edge, and then we're gonna trim that
tiny little piece off the bottom because you shorten this
unit up a little bit by using a 1/4 inch seam, okay. So you're going to
put the dark ones along the dark rectangle
units here and here, okay? And then last but not
least is this one here. And then you sew it
together like a four patch. This is a fun,
simple, fast block, and you will use
up a ton of scraps, and I will show you
some of the examples from the book that
are these quilts, and this is called the
Treasure Box technique. Now we're going to look at
the Blended Hexagon technique. Okay, for the Blended
Hexagon technique, we are using three pairs
of 5 1/2 inch squares. So from my scraps,
I have cut total of six 5 1/2 inch squares. They can be three of one color and three of
another color, okay? Or they can be three of a
dark and three of a light, or they can be six completely
different pieces of fabric. When you cut them, they have to be mirror
image of each other. So you either have to
have wrong sides together or right sides together. And if you are using
two different prints, then the same print has to
be on the top at all times. Then you make a measurement
up on the upper left and on the lower right. And you make a mark where
that measurement comes, and you do that for
each one of these pairs. Then you are going to
take your quilting ruler, and you're going to
connect those points, and you are going to cut across. You're going to do that
for all three pairs so that you will have a
total of 12 of these shapes. 2, 4, 6, 8, 10, 12, yes, 12. And then you're going to
go to your sewing machine and you're going to chain piece. You don't even have
to take these apart, don't separate them. Just pick them up in their pairs
and chain piece a 1/4 inch seam down the straight
long edge, okay? Put them right sides together and chain all, yeah, so you
would have to take them apart if you had them like I did. So you're going to have to
put them right sides together and then do a 1/4 inch seam. Now, when you do this,
you're going to get a shape that looks like this, all right? This is the shape
you're going to get. Now, if you go to
your sewing machine and you stitch on
the long bias edge, a 1/4 inch seam, okay,
right sides together, you're going to get a piece or
a shape that looks like this. Now, multiple quilts
throughout the books or throughout Rainbow
Quilts for Scrap Lovers and Sensational Quilts
for Scrap Lovers use both of these
shapes in varying ways. And we're gonna show
you those in the quilts. Okay, so now they're
all sewn together and I've pressed my seam open,
and look at the fun shape I get. This is my one piece
that I showed you, and just from that
simple cutting technique, when you put six of them
together, this is what you get, and then you appliqué
either a boiled wool or a felted wool
piece into the center, or with some other appliqué
that you wanna do in the center. And this is how fast this fun
block can get put together. And this is called
Blended Hexagons, and I will show you
some examples of that. Okay, so let's talk about
the organization of scraps. There are lots of different
ways to organize your scraps. I personally find that
organizing them by size and by color works the best. I do have a scrap
organization tree that I will put on the screen
in a bit for you to see, but let's talk about organizing
them according to color. So what I do is
I have clear bins and anything that I have
determined to be a scrap, mine are slightly larger than
some of the tinier scraps, one of the ways that I find
is the best way to do that is by having clear plastic tubs and dividing them
according to color. Now, initially, you're
not going to split hairs when you're dividing
according to color. You're just going to
use your basic colors. My scraps are
organized into bins that are green, red, yellow,
pink, orange, blue, and purple. I have a bin for brown, I have
a separate bin for gray, I also have a bin where
I keep black and whites. Now, the black and whites are
not used very often by myself. I tend not to use
them very much. Not that there's
anything wrong with them, but there are some scraps
you're gonna have more of, and some that
you'll have less of. And so I don't need to keep
black separate from white, I put the black and whites
all together in one bin. Then I have a separate
tub for fabrics that would make
great backgrounds. So tans, beiges, whites
with small prints on them, those all go separately
into one whole tub. So then according to my
scrap organization tree, you will also see that I
do it according to size. It's important to separate these and get these organized
before you get sewing. Okay, so here's my
scrap organization tree. Now as you can see, I've
organized by scrap color, and to some extent by size. So in the rectangle
is the colors that I have divided them into. This doesn't have to be
something that you would do, you could choose however
you want to divide things. You could put the pinks in
with the reds if you wanted to, since pink is a shade of red, or I'm sorry,
it's a tint of red. But it's gotta be something
that makes sense in your head, some way to organize them. Now, if they're anything
smaller than a fat 1/4, they go into the scrap bin. That seems kind of
large to be a scrap, but that's how I
do it in my mind. So if I've cut something or a chunk out of a fat 1/4,
it goes in the scrap bin. Anything that's a full fat 1/4 goes into a separate
wire container where you can pull
out the drawers and then anything that is
greater than a 1/2 yard, or maybe even 1/3 of a yard up would go onto my shelf
according to color as well. So this has to make
sense in your head. You could do something like
this, use this exact tree, but fill it in however
you want to fill it in. It's just there for an aid. So how do we determine
what color a scrap is? Well, we're going to look at the predominant background color
of the piece of fabric. So if the predominant
background color is blue, obviously it's going to
go into the blue bin. If it's leaning blue
or maybe leaning green and you're not too
sure which one it is, I've got a good idea, ask a man. Because a man is gonna look
at it for about one second and they're gonna
make a quick decision and they're not gonna
agonize over it, they're gonna say,
"Oh, that's blue" or, "Oh, that's green," and then you just put it in
the appropriate bin, right? Okay. So we are gonna tend
more as quilters to agonize over what
color something is. Just try to make it
as simple as possible and put it in the bin that
you think is the most correct. So look at that predominant
background color. What if a scrap doesn't have a
predominant background color? What if you have a scrap
that looks like this? This is a hard to place piece. This is a very hard
to place piece. When I refer in the
rest of the video as scraps that
are hard to place, this is kind of what
I'm talking about. There's no real predominant
background color. You wouldn't put this in
with the blacks, right? Even though the
background color is black. So what I have in addition
to all my colored tubs is I have a husband bin, okay? What's a husband bin? Well, a husband bin is
for scraps where you say, "I bought this because it
was love at first sight. "I loved this scrap
and I still love it, "and I have had many
interactions with it. "I may have used it in this
project or that project, "I've had a lot of go rounds
with this scrap, right? "But I still love it and
I still wanna save it, "but after all these years, "I don't quite know what it is." Does that sound like
the husband bin? Yeah, so that's the husband bin. So then I'm going to
put that in there. And there are many
uses for scraps that are in the husband bin. So let's talk about
color theory, all right? So there are lots
of color theories, but these are the ones
that I primarily use. Number one, I like
to use monochromatic. Monochromatic is simply using
one color on the color wheel and its shades and tints and making an entire quilt
using just that one color and its shades and tints. Okay, so if you have yellow and you add black,
that's a shade. If you have yellow and you add white,
that's a tint. And so if you're doing
a monochromatic quilt, it's okay to use those
colors in, that color and its shades and tints, and
it will work out very well. The science has already
been done for us with the color wheel. Someone else has already
decided these color theories, I didn't come up with these. These have been done years and
years and years in the past, where they will say,
you know, complementary, a complimentaries color scheme. That is one color on one
side of the color wheel and its opposite, okay? So that work has been
done for us already. We know that those
colors go well together. So complementary color scheme is the color on the color
wheel with the exact opposite. There's split complementary, which is the color on the color
wheel, its exact opposite, and then the ones that are
neighboring the exact opposite. We are guaranteed that those are going to look very
good together, okay? Then we have an
adjacent color scheme. Adjacent color scheme is
where you take the color wheel and you pull out a bunch of ones that are next
to each other, and you put those
together in a quilt. So how do we relate
that to scrap quilting? Well, you go and
you find those tubs. Remember, we just talked
about dividing up your scraps according to color
in these tubs. So you're gonna
go grab those tubs that have those colors
in that color scheme, and then you're going
to pull those out, you're gonna ignore the print, don't pay any attention
to what print is on it, just the colors. So take those colors out and use just these colors. That's like an
adjacent color scheme. Then there is a
triadic color scheme. Triadic simply takes an
equilateral triangle, you put it on the color wheel and whatever colors
the points touch, it's guaranteed to look
good together, okay? So like I said, this
has been tried and true, this is not something
we need to rehash, science has already determined that those colors
look good together, so go and get those bins and
pull out those scraps according to those color
theories. Okay, so here's my decision tree that I use when I'm
trying to decide what color am I actually
going to work with on a quilt. Always use something that
makes you extremely happy. Start out with a piece of fabric
that you absolutely adore, something in your
favorite color, 'cause it'll keep
your excitement going through the entire quilt. Don't start with something
that you're less than anything but very enthusiastic about. Pick up your color wheel and consider your tints
and shades in those colors, and then on the
bottom of this tree, there's the four color
schemes that I usually use when I'm trying to decide
what I'm going to do. A lot of times it
might be something as simple as the adjacent
colors or monochromatic. It keeps it simple and
it keeps it moving. Here's a monochromatic quilt. I love using this color scheme,
I absolutely love it because it is so easy. It's so easy to do
when you can disguise so many difficult prints
using this scheme. So the first thing you're
going to see is the color and then the pattern, and then you're gonna zero in
and look at the prints. There are some harder
to use pieces in here, but because they're
all the same color, they go really well together. Now, why is it monochromatic
when you see brown in there? Because brown is
a shade of orange. It's simply a shade,
it's just orange with black added to it,
and that makes it brown. So some browns do lean more red, and so you have to kinda
keep an eye on that, but this is just a wonderful
way to combine your scraps and this is using the
Treasure Box technique. Not only can
monochromatic quilts take away a lot of
anxiety over matching, but they can be very
bold and very fun, and I've also included in
this monochromatic quilt, which uses all three templates, the 3 1/2, the 4 1/2,
and the 5 1/2. I've used background pieces that are multiple
different colors. So I've used off
whites and whites, and I wanna emphasize that you should not
be afraid to do this. It gives your quilt
a lot of depth and a lot of movement
when you do this. So I've used scrappy
background in addition. This is a houndstooth pattern, and I'm using just brown, it's
a monochromatic color scheme. And when you use that
monochromatic color scheme, you just go to that box, you
just pull out those scraps and it doesn't matter if they're a more
formal print like this, or a more whimsical print,
like the Hershey's Kisses. So they're very fun and it's a great way
to use up scraps. First, you're gonna
see the pattern. This is a very pronounced,
vivid, stark, dramatic pattern, and then you're
going to see color and then you're going to
zero in on the scraps. Now let's talk about the
adjacent color scheme. I love this color scheme and I use this a ton
because it's so easy to do. I'm just gonna go
over to my scrap bins and I'm gonna pull
out a bunch of scraps that are next to each other
like this on the color wheel. Now let's not forget about
shades and tints, okay? A shade is simply a color
with black added to it, so you're making it darker. A tint is just a color
with white added to it. So shades and tints
along with their color can be used successfully in
these adjacent color schemes. So I went to my bin and I started pulling
out everything along this part of
the color wheel, and this is the
quilt that I made. And this uses the Hexagon
cutting technique. And you can see
that there are lots and lots of different fabrics
from all different genres. Now, when people make
Kaffe Fassett quilts or Tula Pink quilts,
they tend to make just Kaffe or just Tula. And then they've got all
these scraps left over that they're not
sure what to do with, and they look like
hard to place pieces. Well, this is a
wonderful technique to use an adjacent color
scheme to pull these together, and then you can
put them together with all kinds of
oddball pieces. Don't look at the print,
just look at the colors. Just pull them out of your bins
and look at the colors and pull out those
shades and tints as well. Now, we even got
a little bit over into the yellowy
orange color over here, but for the most part, we stayed
in the pinks and the reds and the oranges on
the color wheel. So we were able to combine
a lot of different prints that you normally would think
were hard to place pieces. So what do you see when
you see this quilt? You see color and
you see pattern, and then after that, you zoom in and you narrow in on what
prints were actually used, and that's the goal. Here's another great example
of an adjacent color scheme, although looking at it, you would not necessarily
think that it would be. I used adjacent
colors with a neutral and the gray being a neutral. The colors on the color wheel that I used are
actually very similar to the last quilt
that I showed you, and I started up in the golden
yellow and orange yellow, and went down as far as the
purple for more of a fuchsia. I didn't get into
the blue purples, the purples that were
leaning more blue, I definitely used the
purples leaning more red. So here is a hard
to place piece, this funny-looking stripey
one, and it kinda does go into the purpley
area of the color wheel. And here are the yellow golds. Now, when you put
this all together, this looks very nice together, and it is using the Treasure
Box cutting technique. Do you see that? That is the Treasure Box
cutting technique right in here. So in this quilt,
there are so many different types of pieces. There are hard to place
pieces from plums all the way to tomatoes. Now, if I had shown
you these scraps and said, "Put these
together in a quilt," you would think that they weren't going to
go very well together. But because of the
adjacent color scheme and the pattern, you're first
seeing pattern in color, and then you're going to zoom in and narrow in on the types
of prints that are in there. So there are definitely some harder to place
pieces in this quilt, and this is called
House Divided, and can be found in Rainbow
Quilts for Scrap Lovers . Now I wanna talk to
you about this quilt. This is the cover quilt from
Quilts For Scrap Lovers . And we have grouped the
colors in these blocks. So all the red colors
are grouped together, the greens, the turquoises,
the blues, and the oranges. They're grouped together
according to color. It's a good trick for
disguising some of those odd, bizarre prints
that you really think aren't going to
go well together. For example, in this
blue block, you can see that I have put
in hockey helmets and sea life next to
butterflies and pears. Up here, we have a green
block with salad, right? And you would not ever
think that you could put that salad piece
into the same quilt with these hockey helmets. But by grouping them
according to color, this works out very, very well. This is not any
particular color scheme or color theme, according
to the color wheel, we've just chosen to
group these together. This is a great way to
disguise some prints. Now I wanna about
another concept with this particular quilt,
and I use the word blanks. So I have incorporated blanks. Now, this is the basic unit
of this quilt right here. This block right here, and this block can be
laid out in dozens of ways to make dozens of designs, which is a really
fun block to make, because when you turn them
all different directions, you get a different
quilt every single time. Now, those blocks
are pieced, right? This uses half of the 5 1/2,
these are quarters of the 4 1/2, and this one is laid on
the other half of this using the 3 1/2 inch square. It's complicated initially, but once you see how it's done,
it's very simple and very fast. Now, this was pieced, and instead of putting my
builder blocks in between as unpieced blocks using
4 1/2 inch squares 'cause this one is squared
down to 4 1/2 inches. What I did was I pieced this out of multiple
background pieces. Each one of these
blocks is 4 1/2 inches. I could have put a
solid coat of snow or coat of white, but instead of doing that,
I pieced these identical to these blocks. They're pieced identically. And when you do that and you use off whites
in combination with lighter off whites
and darker off whites and even whites, it puts a lot
of dimension into your quilts and gives your eye
a place to rest. That's the use of blanks. Here is a quilt where I promised I would talk about
the husband box, okay? So here is a quilt
that you can use lots and lots of wild fabrics,
hard to place pieces in because there's a lot of
negative space in between, and this uses that
Hexagon cutting technique. So remember I said that if
you sewed the pieces together on the bias edge, which
would be right here, if you sewed them
together on the bias edge, you get this shape. So if you put three of
these shapes together, this is the unit that you get,
triangular block. I guess that doesn't
make much sense, does it, a triangular block? But that's what
we're gonna call it. So here's a hard to
place piece right here. This clearly would
go in the blue box, this clearly would
go in the yellow box, but this one right here
would be hard to place and would most likely have
ended up in the husband bucket. So when you put those together, you put them together with
neutral-colored triangles, which easily could
have been done with a solid piece
of neutral fabric. It could have just been done
with a coat of snow or a white, but I've included lots of
different neutral pieces, and I've pieced them together. So it's a technique
that you can use for things other than
just blocks in my books. But say you were going
to do Lady of the Lake or Corn and Beans or Shoofly
and you had 12 1/2 inch box, and you made them up with
lots of different colors. And you could do an identical
block right next to it, piecing it out of neutrals, or you could just
put an identical or not identical, a 12 1/2 inch
unpieced square in between the blocks. So what would be way more fun? It would be certainly more fun
to piece those second blocks out or the in between
blocks out of neutrals, and it would give your
quilts a lot more movement and a lot more dimension. Now, another thing
I wanna mention is a primary design is
a good thing, right? Triangles, they're a good thing. A secondary design in a
quilt is a great thing. Now look at this. You can see the primary
designer triangles look at, you can see the
diamond shape in here, right? You can also see the
hexagons in this quilt. You can also see a kite
shape in this quilt. So there's a lot of
different designs going on and that's always emphasized when you use different
shadings, like in your neutrals, that's gonna bring that out,
that's gonna pull that out certainly make three d or four quilts using this
Hexagon cutting technique and have them all look
completely different. And in Sensational
Quilts for Scrap Lovers , the cover quilt does just that. And this quilt is identical
to the Blended Hexagons one that was the adjacent
color scheme. Okay, so think about that
when you're quilting. Throw your colors around
in different places and see how they land and see how that
changes the design. And now I would like to show you an important color
stratification technique. I have my green bin here. This is my clear bin, full of
greens of every type of green. Now, you could do this
as a great exercise with your own quilt guild,
or even amongst friends. You could divide up into teams. One team is going
to be a team of a certain number
of people, team A and team A is going to all
bring their green scraps. Team B will be a certain
number of people, and they're all gonna
bring their red scraps. Team C is all going
to bring orange scraps and so on and so forth. So they'll come to the meeting
with all of their scraps and we're gonna
stratify these scraps. This is where we're going
to start splitting hairs. So I've got my color wheel here and I'm not gonna pay any
attention to the prints that are in these
pieces of fabric. I'm gonna find my
plain old green. This is just green, green,
green, nothing else. And we're going to do what
would be like a number line, instead it's gonna
be a color line. So here is the green, I'm going
to find my greenest scrap, and I've pulled this one out. So the one that looks the
most like just plain green, and that's this one. Now I'm going to go
over to the greens that are yellow green
but not yellow. So that would be chartreuse. I'm going to find a chartreuse
scrap amongst my scraps or the very closest one
that you can find chartreuse and that would be
this one right here. It's definitely green,
it's not yellow, but it sure has a lot of
yellow added to the green. Then over here, I'm not
gonna go so far as aqua blue, I'm gonna stop at aqua green. So something that is aqua green, so a green that is
leaning more blue. So I'm gonna go
through my scrap bin and I'm going to find a green that is definitely
leaning more blue. Okay, so that's this one here. So I'm going to put
them in a line, okay? So now I'm going to fill in and we're going to find
friends for these. So now I've got
another scrap here. This, no, it does not
have enough yellow in it. That's pretty green, green, and it certainly
doesn't have blue in it. Make sure you put a light
colored background, a white or an off-white background
when you're doing this so that not to
confuse your colors. Okay, so I'm gonna put
that in the green pile. Now I'm gonna take
another scrap here. This is really
leaning very yellow, but it's certainly not as
yellow as the chartreuse, and it isn't going to
go with those blues or the blue greens. So I'm gonna put it right
there kind of in the middle. And then this scrap right
here, I remember this one, this was a fun one. I used this to make an umbrella. So this is gonna definitely,
does it go with the chartreuse? Yeah, it's closer to that. It certainly doesn't
go with this, certainly doesn't
go with that, okay? So we're gonna put it over here in this pile with those
friends, all right. So now I'm gonna
continue to do this. I'm going to grab another green,
maybe this one right here. This one is not yellow
green, not blue green, but it's pretty green green. So we're gonna do
that one right there. Then we have this one here. This one, well, it's
not very green green, it certainly isn't yellow green, it is definitely
more blue green. I'm gonna put it with those
blue greens over there. Now, we're gonna continue
to do this with our scraps in our green scrap bin, and we're gonna continue
to stratify these colors. Here's one that's a
hard to place piece. This one here has a lot
of different greens in it. It's a harder to place one. It doesn't look bad
with the green greens, I could leave it there. I don't like it with
the yellow greens. It's actually not too
bad with the blue greens, but you know what? I'm gonna leave it right there. This one right
here, it's a green, with some pretty music notes, we're not paying any
attention to the print. We're going to put it with
the yellow greens, no, green greens, no, it definitely belongs with
the blue greens, okay. So we're gonna continue to do
this with our green bucket. And then we're going to
grab up the different piles. Now, this pile is going to be
a block with just green greens and it doesn't matter
what we do in this block, if we put these together, it doesn't matter what
kinda prints we have. We have something
that's gonna look really, really good together because they're all in the
same colorway of green. And then if we
put these together and made a block, they would
be very pretty together. The block would be very
pretty, pleasing to the eye. We would draw attention
away from the actual print, we could do a block with that. We could also do a block
with the blue greens, but of course we'd
have much bigger piles, if we continued to
stratify them in this way. You can do this with your reds, you can do this
with your yellows, you can also do this with
your, even your browns. Even those kinds of
things and your oranges, it's a great way
to disguise prints so that you can put
multiple prints into a quilt where you're paying more
attention to the color and the pattern and then
you zero in on the print. Here's one, wow,
this must've been from a garment or something. This is very much
leaning yellow green, and I would probably put it in, but now this knocks
this outta here. So make sure you have
enough pieces in your pile so that you can be discriminate. So this would go in
with the yellow greens, but then this one
doesn't look so good, so you can remove that and put
it in its own spot and find more friends for it. Point that I wanted to make
about that last exercise we did is that then you can make a
quilt that looks like this. You can start up in the
upper left-hand corner with your red reds, and you move down toward orange,
but you do it gradually. So you find all your
reds that lean orange. Then you find your
oranges that lean red. Now, this is the
Treasure Box technique. This is the Treasure Box
cutting technique right here. And it uses all three
sizes of templates when you're making this quilt. So you're gonna find your
oranges that lean red, and reds that lean orange. You've got orange,
then you're gonna find your oranges that lean yellow and your yellows that
lean more orange. And in doing this, you're
gonna go all the way over and down to green. You're going to find your
yellows that lean green and your greens
that lean yellow. And you're gonna continue
to make this quilt like this and you can disguise a
lot of different prints because what's the first thing
your eye is going to see? With this quilt, it's the color. And then you're gonna
look at the pattern, and this goes all the way
down to purple in the corner. So all the blues
that lean purple and the blues that
lean green, right? There's some blues
that lean green and you're gonna
go all the way down to the blues that lean purple, and you can even do this with
a section of the color wheel, it does not have to
be the whole thing. You could do it with a section, and that's kind of what we do
with adjacent color schemes. But this is a great
quilt to do, fun, easy, actually pretty fast, and it
disguises a lot of prints because the first thing
you're seeing is the color, and it's a great way
to disguise prints. Even if it's not this quilt,
even if it's any other quilt using just different blocks, it's a great way to
disguise those prints because you are moving
along a color transition, just like I showed you when we were dividing up
those greens in that box. You're transitioning the color, and that's what your
eye is going to see. And it's gonna disguise
a lot of different prints and allow you to marry a lot of different
prints within that quilt. In conclusion, owl's
well that ends well. This quilt is in Rainbow
Quilts for Scrap Lovers and it's a perfect example
of that transitioning, color transitioning; that
is a green green owl. That owl is purples
that lean more red, this is yellows that
lean more orange, purples that lean more blue, and blues that lean
more purple also. Great way to combine
a lot of scraps that you might not think
would normally go together. So, owl's well that ends well. I hope you've enjoyed this
video about using up odd scraps and I hope you
have renewed energy and excitement about
using them up. [bright music] >> THANK YOU FOR JOINING US FOR SENSATIONAL SENSATIONAL QUILTS FOR SCRAP LOVERS. WE'RE GLAD TO HAVE JUDY HERE FROM HER BUNGALOW QUILTING AND YARN SHOP IN RIPON, WISCONSIN. WELCOME, JUDY. >> HI. VERY DELIGHTED TO BE HERE. >> THANK YOU. WE DO HAVE QUESTIONS ROLLING IN. LOTS OF PEOPLE ASKING ABOUT YOUR COLOR WHEEL YOU SHOWED IN YOUR PRESENTATION AND WHERE COULD THEY PURCHASE THAT COLOR WHEEL. >> YOU CAN GO ONLINE AND PURCHASE THAT AT CNTPUBLISHING.COM. >> THAT'S THE SAME PUBLISHER WITH YOUR BOOKS, CORRECT? >> CORRECT. I DO BELIEVE IT MIGHT BE ABLE TO AMAZON, TOO. >> FABULOUS. IT'S A NICE SIZE AND A NICE REFERENCE TO HAVE, ES ESPECIALLY WITH YOUR TECHNIQUES YOU'RE SHARING TODAY. ELIZABETH IS ASKING THANKS SO MUCH FOR THE COLOR SORTING. DO YOUR BOOKS INDICATE YARDAGE FOR QUILTS IF WE DON'T HAVE SO MANY SCRAPS? >>MY FIRST BOOK DOES HAVE SOME INDICATION FOR YARDAGE. THE OTHER ONES, YEAH, THEY GIVE SOME GENERAL RULE OF THUMB IN TERMS OF APPROXIMATE YARDAGE FOR SCRAPS, YES. >> VERY GOOD. OUR NEXT QUESTION IS FROM PAM. IT'S ABOUT ORGANIZING. HOW DO YOU ORGANIZE YOUR HOLIDAY-THEMED FABRICS? >> THOSE ARE COMPLETELY ON A SHELF ACCORDING TO HOLIDAY. SO THAT'S A GOOD OBSERVATION THAT SHE MADE, THAT I DON'T PUT HOLIDAYS IN WITH GENERAL SCRAP QUILTS. SO YES. THE HOLIDAY ONES HAVE THEIR OWN SEPARATE BIN AND SHELF. CHRISTMAS IS ON ONE. HALLOWEEN IS ON ANOTHER. YEAH. AND VALENTINES IS ON ANOTHER. >> WE'LL KEEP THOSE SEPARATE. GERRY FROM COLORADO IS ASKING WHEN YOU PULL YOUR SCRAPS, DO YOU MAKE SURE YOU HAVE A GOOD MIX OF VALUES? >> YES. I DO. THAT -- WHEN I'M PULLING THEM, I'M PRIMARILY PULLING BY COLOR AND THEN I THINK -- I DON'T KNOW IF I HAD MENTIONED IN THE VIDEO THAT YOU DEFINITELY WANT TO LEAVE YOUR QUILT SITTING OUT FOR A NUMBER OF DAYS, BECAUSE TO ME VALUE IS NOT SOMETHING SIMPLE THAT YOU CAN LOOK AT AND DECIDE YES RIGHT AWAY, THAT IT'S LIGHT OR DARK. THAT CHANGES WITH THE TIME OF DAY. IT CHANGES WITH -- SO THAT IS SOMETHING YOU HAVE TO ACTUALLY STARE AT FOR A LONG TIME. THAT'S NOT A QUICK DECISION. SO WHEN I ACTUALLY PULL, NO, I'M NOT REALLY LOOKING FOR VALUE AT THAT TIME. I'M LOOKING FOR PRINT AND COLOR. AND THEN AS IT'S SITTING OUT, KIND OF LIKE WINE, LETTING IT SIT, THEN I LOOK FOR VALUE. >> GOOD ADVICE. AND BETTY IS ASKING IS THERE A SPECIFIC COLOR FAMILY THAT IS EASY FOR A BEGINNING QUILTER TO USE WHEN CHOOSING COLORS FOR THEIR FIRST QUILT? >> ALWAYS GO TO THE ONE YOU LOVE, YOUR FAVORITE COLOR, ESPECIALLY FOR NEWCOMERS. YOU DON'T WANT TO GET DISCOURAGED. ALWAYS GO WITH WHAT COLOR MAKES YOUR HEART SING. THAT IS MY BEST ADVICE FOR THAT. >> WE GRAVITATE TO THOSE COLORS WE LOVE. PAT FROM PORT AGE PORTAGE IS ASO YOU INCLUDE YOUR SORTING METHODS IN YOUR BOOKS AS WELL AS THE COLOR WHEEL EXPLANATION? >> YES. THERE'S THE DESCRIPTION, YES. ABSOLUTELY. >> THANKS FOR INCLUDING THAT FOR REFERENCE. LOU IS ASKING ARE SHADES AND TIPS THE SAME AS VALUE AND INTENSITY? >> NO. IT'S NOT ALL THE SAME. SHADES ARE JUST SIMPLY A COLOR WITH BLACK ADDED. TINT IS SIMPLY A COLOR WITH WHITE ADDED. IT DOESN'T NECESSARILY MEAN THAT WHEN YOU'RE PUTTING IT TOGETHER IN A QUILT IT'S GOING TO DEFINITELY BE A LIGHT OR A DARK, OKAY? SO, AGAIN, LIKE I JUST MENTIONED BEFORE, THAT IS SOMETHING THAT IS GOING TO TAKE TIME TO LOOK AT. THAT IS SOMETHING THAT YOU HAVE TO LOOK AT FOR A LONG PERIOD OF TIME AFTER YOU'VE ADDED THAT PIECE WHERE YOU THINK YOU MIGHT WANT IT TO GO. LET IT SIMMER FOR A LITTLE BIT AND STARE AT IT FOR A WHILE IN COMPARISON WITH THE OTHER PIECES, BECAUSE VALUE IS ALWAYS RELATIVE. >> OKAY. AND MARY FROM ILLINOIS IS ASKING WHEN YOU SHOP FOR FABRIC, DO YOU HAVE AN EYE FOR COLOR ONLY? SO NOW THAT YOU'RE THE EXPERT, DO YOU ONLY SEE COLOR WHEN YOU'RE SHOPPING FOR YOUR FABRICS? >> NO. NO. NO. I VERY MUCH -- I DON'T KNOW IF YOU WANT TO USE THE WORD ROMANTIC, BUT I ALWAYS GO FOR WHAT MAKES MY HEART SING. ALWAYS. WHEN I GO INTA A INTO A SHOP, IR LOOKING FOR A PARTICULAR COLOR. I'M LOOKING FOR WHAT DO I LOVE, WHAT DO I SEE AND HEAR THAT MAKES ME SAY I LOVE YOU AND I NEED TO HAVE YOU IN MY COLLECTION. WHEN I BUY FABRICS FOR THE SHOP, THAT'S HOW I DO IT TOO. SOMEHOW OR ANOTHER IT ALL SORTS ITSELF OUT. WE HAVE PROBABLY THE SAME EQUAL NUMBER OF COLORS ON MY SHELVES IN THE SHOP. IT JUST SORTS ITSELF OUT. >> YES. GRAVITATE SORTS WHAT YOU LOVE. AND YOUR QUILTS ARE SPECTACULAR. I DON'T TIRE OF LOOKING AT THEM. YOU WERE NANCY'S GUEST FOR "RAINBOW QUILTS FOR SCRAP LOVERS" AND I RECOGNIZE A COUPLE FROM THAT. I'LL BE REWATCHING YOUR VIDEO AT quiltshow.com AND YOU CAN ALSO WATCH JUDY AND NANCY AT nancyzieman.com. WE'LL GO BACK TO QUESTIONS, JUDY. SHERRY IS ASKING DO YOU USE A STABILIZER WHEN YOU'RE PIECING YOUR SMALLER SCRAPS? >> ONLY IF THE SCRAP FEELS LIKE IT'S GOING TO STRETCH. SO IF IT FEELS LIKE IT'S GOING TO GIVE ME TROUBLE, THEN I DO. AND MOST OF THE TIME WHEN I DO THAT, IT'S NOT SPRAY STARCH. MOST OF THE TIME I'LL THROW A LITTLE SCRAP OF INTERFACING, IRON-ON INTERFACING. THAT'S WHAT I WOULD USE. BUT ONLY IF IT'S GOING TO GIVE ME TROUBLE. >> OKAY. GWEN IS ASKING HOW DO YOU MATCH WITH GRAY? >> THAT'S A VERY, VERY GOOD QUESTION, BECAUSE GRAYS VERY MUCH LEAN ONE WAY OR ANOTHER. SO A LOT OF GRAYS LEAN BROWN. MICHAEL MILLER, A LOT OF THEIR GRAYS TEND TO LEAN MORE BLUE. AGAIN, THAT'S A MATTER OF LOOKING AT IT AT DIFFERENT TIMES OF THE DAY. SO THAT'S A MATTER OF HAVING IT LAYING OUT SOMEPLACE THAT YOU'RE WALKING PAST IT ALL THE TIME AND DON'T GET IN A RUSH TO PUT THESE THINGS TOGETHER. LOOK AT THEM OVER AND OVER AND OVER AGAIN. MOVE THEM AROUND AND COMPARE THEM TO OTHER PIECES, BECAUSE THEY CHANGE. THEY REALLY DO. >> GOOD ADVICE. AND HEATHER IS ASKING DO YOU HAVE ANY TIPS ON WHEN TO USE OFF WHITE NEUTRAL BACKGROUND RATHER THAN PURE WHITE BACKGROUNDS FOR A SCRAP QUILT? >> OKAY. SO THAT'S ANOTHER EXCELLENT QUESTION THAT I USUALLY ADDRESS WHEN I'M DOING MY LECTURES. PEOPLE HAVE BEEN KIND OF ROPED INTO THINKING THAT YOU CAN ONLY USE A WHITE -- SAY IF A PIECE OF FABRIC HAS A WHITE PET ALTO A FLOWER, THEY ARE ALWAYS LOOKING FOR A FILLER THAT'S WHITE. I TEND TO USE BOTH OFF WHITE AND WHITE. IT IS A QUESTION OF WHAT LOOKS GOOD. BECAUSE SOMETIMES I'LL PULL A PIECE OF FABRIC AND IT WILL LOOK REALLY GOOD EVEN THOUGH THAT PIECE OF FABRIC HAS WHITE IN IT. THAT OFF WHITE PIECE LOOKS REALLY GOOD IN IT. SO DON'T BE CONSTRAINED BY SAYING I CAN'T USE IT BECAUSE IT'S PURE WHITE. ALWAYS TAKE A LOOK AT HOW IT LOOKS WITH THE OTHER PIECES THAT ARE IN THE QUILT. >> THANKS FOR THAT PERMISSION TO MARRY FABRICS TOGETHER THAT WE WOULDN'T THINK WERE GOING TO GO TOGETHER. >> RIGHT. RIGHT. >> ANOTHER QUESTION FROM A VIEWER, HOW DO YOU DECIDE WHICH COLOR FOR THE BACKGROUND OF THE QUILT BLOCKS, FOR THE BACKGROUND BACKGROUND? >> FOR THE BACKGROUND OF THE QUILT BLOCKS? HOW I DECIDE WHICH COLOR? >> YOU CHOOSE YOUR SCRAPS, AND THEN HOW DO YOU DECIDE IF YOU WANT A WHITE OR AN OFF WHITE OR YOUR BACKGROUND COLOR, YOUR OPPOSITE BLOCK COLORS? >> I USUALLY LAY THEM OUT AGAIN, ONCE AGAIN, WITH PIECES. I AUDITION THEM. I AUDITION THEM, TRY TO KEEP THE LIGHTING SOURCE PURE, WHETHER IT'S BY A WINDOW OR WHATEVER. BUT JUST AUDITION THEM TO SEE WHICH ONE LOOKS GOOD AND THEN GO WITH THAT. >> DO YOU FIND YOURSELF USING A LOT OF WHITES AND OFF WHITES FOR THAT, OR DO YOU TEND TO TRY DEEPER COLORS, TOO, DARKER COLORS? >> I DO. THAT'S JUST MY PREFERENCE. BUT DEEPER AND DARKER COLORS ARE REALLY DRAMATIC WHEN PEOPLE USE THOSE. BUT THAT JUST -- EVERYBODY HAS KIND OF THEIR SIGNATURE STYLE AND THE SIGNATURE LOOK THAT THEY DO AND THAT HAPPENS TO BE WHAT I USE. I TEND TO GO WITH THE LIGHT. >> A VIEWER IS ASKING, JUDY, HOW DID YOU GET STARTED IN QUILTING? >> OH, I'VE BEEN SEWING SINCE I WAS NINE YEARS OLD, AND I STARTED WHEN MY KIDS DECIDED THAT THEY WEREN'T GOING TO WEAR THE CLOTHES THAT I WAS MAKING FOR THEM. SO SINCE I LOVED GARMENT SEWING, I THOUGHT IF I CAN'T SEW MAKING GARMENTS, I'LL MAKE QUILTS. THAT'S WHAT STARTED THE WHOLE SCRAP THING. I DIDN'T FEEL I COULD BUY NEW FABRIC FOR QUILTING BECAUSE I HAD ALL THESE SCRAPS FROM GARMENTS. >> JUDY, YOU HAVE A QUILT AND YARN SHOP NOW. WHAT WAS YOUR CAREER BEFORE YOU GOT INTO SHOP OWNER? >> I AM A REGISTERED NURSE AND I WORK IN CRITICAL CARE. AND I JUST RETIRED FROM THAT. I DON'T WANT TO SAY RETIRED BECAUSE YOU NEVER KNOW WHEN YOU'RE GOING TO END UP GOING BACK, BUT ABOUT A YEAR AND A HALF AGO I STOPPED WORKING BECAUSE THE BUSINESS WAS TOO MUCH TO TAKE CARE OF WHILE STILL PRACTICING AS A NURSE. >> WELL, WE'RE SO GLAD YOU'RE QUILTING AND SHARING YOUR TECHNIQUES AND GIVING US PERMISSION TO COMBINE CAB BRICKS THAT WE WOULDN'T THINK OF AND TO USE UP OUR SCRAPS. I ESPECIALLY LIKE USING THE TONEAL PIECES, PIECES THEM TOGETHER AS BACKGROUND BLOCKS TO USE UP OUR SCRAPS. NICE JOB, JUDY. ALWAYS GREAT TALKING WITH YOU. THANK YOU FOR BEING HERE TODAY. >> THANK YOU FOR HAVING ME. I'M TOTALLY DELIGHTED. >> THANKS, JUDY. WE'RE GLAD THAT AWFUL YOU ARE JOINING US, TOO. BE SURE TO HEAD OVER TO OUR WEBSITE AND TAKE IN THE VIRTUAL QUILT EXHIBITS AT quiltshow.com AND CLICK ON THE VENDOR MALL AND YOU'LL FIND JUDY AND BUNGALOW QUILTING AND YARN IN THE VENDOR MALL. ENJOY.
