by Sandra | January 4th, 2013
As you can see in the photo above, I have my beginning palette of fabrics ready to go for the Nuthatch Block. I have been spending DAYS searching for the right combination since I finished the preliminary Nuthatch pattern.
One of the hardest things for me to do is to find fabrics that not only are perfect for bringing the Naturalist’s Notebooks to life, but more importantly, I am able to successfully cut for kits and know each and every piece will create the same results for you.
You have no idea how big my grin is when I receive a picture of a completed block and yep, it looks just like mine! Awesome.
Like a painter mixes paints, I look primarily for batiks with a mix of colors and values. I may only see ONE spot in a full yard of fabric that will be for the area I am working on. Obviously this approach will not work for literally hundreds of kits! I would be penniless. More so than I am now that is.
The preliminary choices for the Nuthatch. Of course these things change as I work 
I think one of the great side benefits of these kits has been (especially in my workshops) is that they also teach you how I use color and fabric. This is something that really is very difficult to teach to a room full of students in a short amount of time along with the handwork techniques. It is basically a devoted art class in and of itself.
I used to think kits were not a good thing. Now I know differently. Kits have a very beneficial service of independently teaching how to use fabrics and color to obtain the result YOU want and gradually build your color and fabric choice confidence to eventually go it alone and succeed.
I realized after I had completed the pattern that I had almost the same bird colors as the Titmouse. Duh. I guess I like birds with that coloring? Anyway, I changed up the red breasted Nuthatch for the white breasted Nuthatch. What a dork.
I don’t know about you, but I like a bit of variety from block to block (or section to section). It keeps things interesting no?
I am really excited to do the Mountain Ash berries with the brighter red to orange colors. Yum.
With a few small areas of what I call “color carry over” I can relate each block in the design to create a cohesive design. For instance the orange in the Mountain Ash berries will relate back to the small spots of orange embroidery in the Goldfinch block on the other side of the layout. They will also relate back to the Wren block which is also across the “aisle” in the design.
When the center Poppy block is done, then the orange and red will really pop in the blocks along the sides.
The world did not end so I must hurry back to the stack of work that somehow keeps growing no matter how much of it I complete! I am buried right now and that, I remind myself, is a good thing because it means you like what I create.
My best wished to all of you and your families for 2013!
Wish I had your fabric stash! Looks Yummy : )
Can’t wait to see the entire quilt finished!
Best of New Year wishes to you!
Beautiful colors!!!
Happy New Year, Sandra! Those colors are positively luscious!
Happy New year. How is your son’s quilt coming along.
Nice. Recognize Kaufman’s beautiful fusion mist fabrics in there, and remember you coming home from somewhere with a tiny mountain of it. Speaking of kits – all that research I’ve been doing about Mary Simon put the question of “kits” in a whole new light for me. She was doing the exact same thing – designing blocks, cutting fabrics and helping to support her family by selling “kits.” She was doing that in Baltimore from 1845, and changed the world with applique. You’re doing the same thing for a new generation. She sold her with the pieces basted in place though – any chance???
Oh what yummy colors. Love the way you are relating colors to the other blocks.
The best of the new year to you, your family and to all the quilters who are working on the Naturalist Notebook blocks.
Sandra,
In looking @ your picks for the block, would you use many of the same type of fabric? The Kaufman fusion mist is the one I am referring to; or would you pick one or two and then augment with others?
Tracy, good question! I would if the colors are the best fit and if the print melts into the design. One of the side benefits of working with smaller applique is that the fabric print becomes less of an issue because you are working with “spots” of color within the print. For example, maybe the tonal background area between two large leaves is perfect and the size of the applique piece fits that area. Or a large rose print where the huge petals have a closer range of value change perfect for another applique piece.
Also, I know the colors is right in the “same print” fabric so if I do want to use a different fabric in its stead, then I use that fabric as a guide for finding a batik or other tonal in the same color/value/hue to replace it because the print is too intrusive.
Re-train your eyes to look at the colors and tones. Nine times out of ten, ignore the print.
I will say this though, It is a REAL struggle to find tonal fabric candidates anymore.
Karen, if you were any closer I would slap you with a fat quarter. LOL
Meredith, I did get a little bit more done. However, when I have to start working on the other projects and class prep, poor Jason’s quilt has to wait.