How to Draw a Liberated House

We're making liberated houses this month for the Block Lotto.  I know that even if you like the look of liberated or wonky houses, you might not be in love with the technique.  An alternative is to draw your house and use the drawing as a foundation for paper piecing.  Here's how.

Sophie's DON'T FORGETS:

• When drawing a PFP pattern, remember that ALL lines must be STRAIGHT and that all lines must begin and end with a "T-intersection" with a previously drawn line.
• Remember that a paper piecing template looks like the MIRROR IMAGE of the finished block.  If, for example, you draw a house with a door on the left and window on the right, your house block will have a door on the right and a window on the left.

Begin with a sheet of paper (or other foundation material) that is at least 1/2 inch larger than the finished size of the block you want to make.

1. Draw a square that represents the FINISHED size of your block–for the September Block Lotto, that would be an 8 inch square. Remember when you are making the block, you will add 1/4 inch on each side of this square for the seam allowance, making a 8 1/2 " square.
   
   
   
   
   
2. Draw the horizontal-ish line that will represent the top of the main body of the house and the bottom edge of the triangle which forms the roof.
   
   
   
3. On the bottom half of your drawing, add two vertical-ish lines that will define the left and right sides of your house.
   
   
   
4. Draw a line between the two lines in step three which will define the top edge of your door and window.
   
   
   
5. On one side of your house, create the door by drawing two lines that begin at the line in Step 4 and end at the bottom of the square.
   
   
   
6. On the other side of your house, create a window by drawing two more lines that begin at the line in Step 4 and end at the bottom of the square.  Then add the horizontal line between them to define the bottom of your window.
   
   
   
7. Define the roof by drawing two, intersecting slanted lines.
   
   
   
   
   
   
   

   NOTE: IF YOUR ROOF DOES NOT EXTEND TO THE SIDE EDGES OF YOUR SQUARE, YOU WILL HAVE TO CREATE TWO SECTIONS FOR YOUR PATTERN.  CUT THE DRAWING APART ALONG LINE DRAWN IN STEP 2. BEFORE YOU BEGIN TO PIECE THE BLOCK.
   
8. Now, number your template with the paper piecing order:
   
   1 - window
   2 - space beneath window
   3 - house section beside window
   4 - house section on the other side of window
   5 - door
   6 - house section beside door
   7 - house section above door and window
   8 - sky on one side of house
   9 - sky on the other side of house
   10 - roof
   11 - sky on the side of roof which does NOT extend to the top of block (MISNUMBERED as 12 in the drawing below)
   12 - sky on the other side (MISNUMBERED 11 in the drawing below).
   
   
   
   

Remember that the block you piece will actually EXTEND beyond the square 1/4 inch for the seam allowance. I usually cut out the paper pattern adding the 1/4 inch on each side of the square to make sure I DON'T FORGET.

Let's Grow Roses

You may know this as block as a Liberated Rose, a Log Cabin Rose or just a Wonky Rose . . . any and all those adjectives apply. Here are my notes for how I construct this free-pieced block.

When choosing fabrics for this block,  more is more.  For the August Block Lotto, the guidelines specify that you must use at least 3 different fabrics for the rose, but no one need stop at three.  This is a great opportunity to use small or odd-shaped scraps.  I started with a piles of scraps, sorted by color to make rose blocks for a border of a quilt in progress.

In this block, we are creating an abstraction of a living, growing flower.  Although there are exceptions, most real roses grow in colors of closely related shades and my recommendation (a requirement for the Lotto) is that all the fabrics in the flower should be variations of the same color.

Another characteristic of this block is that we're creating the illusion of curved petals around a center, using only straight lines and straight seams.  As you make the block, you'll need to play with angles and colors to create a block that says, "rose" when you look at it . . . and not "log cabin."

Making the Block

Begin at the center with a non-square. I like triangles and pentagons, though the angles and sides do NOT need to be the same. Four-sided squares and rectangles may exist in nature but rarely in the center of flowers.

If you begin with a 5-sided pentagon-like center, avoid any square cornered "house" shapes.



Add strips in log cabin fashion, by starting on any side, then adding to the next adjacent side, working your way around (which direction doesn't matter–just keep moving around the block in the same direction).

A good reason for add the strips in a consistent way around the block is that it gives you an opportunity to create the illusion of curved petals by using the same fabric on 2-3 adjacent sides ONLY. Few roses look like bullseyes, so avoid using the same fabric all the way around the center. 
Whatever the shape of your center, after you have added all but the last log on the first round, you can always tell where the next log goes by looking for the side that has 2 seams intersecting it.  In the two blocks in progress here, the one on the left was made correctly and you can see that the next log will be added to the lower left side.  I lost my way on the block on the right, as evidences by the bottom edge which as three seams intersecting it.  Ooops.  If you goof, it's not fatal, just pick a direction and carefully add the next round of strips.

The strips (or logs or petals) that you add do not need to be carefully cut . . . and in fact will look more organic if they are not a consistent width.

Use up your odd-shaped scraps, off cuts. If you add straight (even width) strips, consider trim them at angles after they've been sewn to the block so that your rose block grows in an irregular, organic way.

Also feel free to trim the block-in-progress if the shape starts to look wrong to you.  I thought the block below was looking too oblong, so I chopped it.



As my blocks grew, I found it useful to have a reference for the target size. These blocks are 9 1/2-inches (to finish at 9 inches). If you have a square ruler that's the size you need, great ... otherwise, a paper template will do. I repurposed the cover of a magazine, trimmed to size.



When you decide your rose is finished, lay it on the template to decide on it's orientation and add green fabrics to make the block square. Trim to size and you're done!



Always keep in mind that you can, at any point in the process, re-shape your rose. After I finished the block on the left, I thought it looked too blocky and so I added some more angles at the bottom and filled the space with green.



Here's 20 of the rose blocks made by Andi, Caroline, Ginny, Kate, Kathie, Kim and Pat. 

Vines & Handles: A Closer Look at Bias Strip Appliqué

Did you follow the link from freepatterns.info here?  Please jump to the new blog at SophieJunction for this info and more free tutorials and quilt block patterns.

I put these tips together for the Block Lotto, to help everyone produce nice flat curved handles for their Liberated Basket blocks.  This technique works for any bias appliqué strips: stems, vines, branches etc.

When it comes to quilting, we are usually taught to avoid working with bias edges, using STEAM when pressing and pulling/contorting our fabrics.  But sometimes, all of these things can work for you to achieve the desired effect.

Here's a closer look at the steps for making the basket handle.  Click any of the photos for a larger image and add your own tips in the comments.

1. Be sure to cut your strips ON THE TRUE BIAS.  Do NOT fudge on this step. Align the 45 degree line on your ruler with the selvedge or cut edge of your fabric to find the bias line across your fabric. 
2. Sew the bias strip into a tube by sewing the two long edges together, WRONG SIDES together.   Don't even finger press the fold and you won't have to worry about getting rid the crease you create.  Thread color doesn't matter (notice my not so "neutral" light gray.) After you've sewn the seam, trim away the seam allowance as close as you can to the seam–after the bias is in place, there will be no stress on that seam.
   
    
   
   
3. Now, carefully prepare the sewn bias strip.  Roll the seam and it's tiny seam allowance between your fingers so that the seam is in the middle of the strip. Take the strip to the iron and press it firmly so that it is VERY flat.
   
    
   
   
4. Next, using the STEAM in your iron, "swirl" the strip.  This technique I learned when making hats.  It's how you create the shape of the grosgrain ribbon that rests against the head inside the hat.  Since your head isn't a cylinder, the ribbon needs to wider at the bottom than the top, by swirling the ribbon into a slight curve, you create a ribbon that measures longer on one side than the other and fits beautifully inside a hat and against the head.
   
   It works like this: using a STEAM iron in one hand to anchor one end of the strip to the ironing board and holding the other end of the strip in your other hand to manipulate the strip.  As you press along the length of the bias strip, you'll be stretching one edge slightly to create a curved shape. 
   
   
   
   Depending on the angle at which you pull the strip around, you coulcome very close to creating the shape you want for your handle at the ironing board. I was able to completely form my handle at the ironing board.
   
   
   
   
5. Pin the handle in place, focusing on the OUTSIDE of the handle first.  Use as many or few pins as you need. If you are stitching your handle down on the machine, be sure to remove the pins as you come upon them. 
6. When machine stitching the handle, be sure to use a thread color that matches or invisible thread. Use an open sewing machine foot that will allow an open view of the needle/seam and the edge of the handle.  If you can change the needle position on your machine, take advantage of that feature to sew as close to the edge of the handle as you can.  On my little Bernina (153 QE), I used a #10 appliqué foot and moved my need to the far right.
   
   If you are using a straight stitch, as I did here, you want to be close to the edge while staying on the bias strip  If you are using a blind stitch, blanket stitch or zigzag, you'll also want to be close to the edge, but stitching along the background (and zigging into the handle).
   
    
   
   
7. After you have stitched down the outside, you may notice that the background has pulled in a little.   You also now have an opportunity to work on the inside curve with the STEAM iron.  so, press the strip again, with STEAM, starting with the curviest part of the handle works the excess fabric into the straighter/more gently curved areas so it doesn't get tucks in it. Pulling the edge down/pressing towards the bottom of the block rather than perpendicular to the stitching on the outer edge shortens the fabric in the inside curve to help it lay smoothly as well.
   
    
   
8. When you have pressed and manipulated the handle so that it lies flat, you're ready to stitch down the inside curve.  Once again, you want to sew as close to the edge as you can. Upon close examination, your stitching will highlight the beautiful, smooth curve (with all edges appearing to be turned under– something I learned to think about in a  Jane Sassaman workshop from some years ago.
   
   Once your handle is completed, attach it to the bottom of the basket block, trimming the excess length of handle even with the fabric edge. I generally sew first and trim later to ensure that the ends of the strips don't have any possibility of folding up and getting in the way in the seam and . . . not lying flat when I'm done.
   
    
   

Here's the rest of the block that goes with my example handle, after it was pressed and trimmed to size.