I made a quilt a couple of weeks ago from a jelly roll — not a fabulous pastry, but a roll of 20 or so strips of fabric sold in a bundle. Today, I processed the other three rolls that I bought at the same time into squares to make three more quilts. By mixing and matching the individual pieces, I got three more quilt tops for three more baby quilts.
Two of the quilts are made of squares that are black, blue and white in various combinations — florals, polka dots, triangles, and other dot patterns. So the result is that two of these quilt-tops are going to be very similar to one another. They’ll both wind up looking like variations of the pattern in the first photograph.
The third quilt is much more different. It consists of colored strips with gold dots on them. Those golden dots don’t come through on the photograph, but they’re there nonetheless. The use of color in this quilt makes it a significant departure from the regularization of pattern that emerges on the earlier quilt.
There, the patterning of the fabric faded out in favor of the black-and-white pattern of H’s or I’s that is visible to everyone who sees the quilt. Here what emerges is the color-blocks of purple and pink and red; the fabric patterns are less obvious, less important.
All three quilts are dependent on three important tools working together — the self-healing green mat from Olfa; the rotary cutter; and the quilter’s ruler. The three tools work together to create the blocks of stripes that are visible in all three quilts.
I’m going to need at least one more jelly roll of strips to be able to finish these three quilts, of course: that jelly roll will go into making the borders around the edge of each quilt, and the edge binding that holds the batting, the underlayer, and the top together. That process of assembly is getting easier for me, but it’s still not intuitive. In another jelly roll, I’ll likely use all 20 pieces.