Modern Meets Modern Challenge Results

January 14, 2022: The Modern Meets Modern Challenge, held in conjunction with the International Quilt Museum exhibition Modern Meets Modern, closed on January 1 and attracted 116 entries. Each 16" x 16" quilt responded to a "catalyst quilt" – one of the antique pieces in the exhibition.

After careful deliberation, the judging panel of Weeks Ringle, David Owen Hastings, and Sarah Bond arrived at a group of 10 finalists, including a Top Finalist, which earns a purchase prize of $1000 (sponsored by Curated Quilts) and joins the IQM collection. Thanks to our sponsors, Curated Quilts, Modern Quilt Studio, Moda Fabrics, and the Modern Quilt Guild, all finalists receive a swag bag and a range of other prizes. In addition, all 10 finalists will be displayed in the Modern Meets Modern exhibition from February 1 until it closes on March 19.

A very big thank you to our sponsors and judges, and to everyone who submitted a mini quilt to our challenge!

Top Finalist

Covalence, by Steph Skardal (responding to Carpenter's Square)

Modern Meets Modern Challenge – Top Ten Finalists

Modern Meets Modern Challenge – Top Ten Finalists

TOP FINALIST

Covalence, by Steph Skardal (responding to Carpenter's Square)

Cotton fabric, glue (washable), 50wt cotton thread, Warm and Natural batting | Curved bias tape machine appliqué via bias tape maker

"The scale and spacing of the strips and the overlapping nature of the original piece was an inspiration for this piece. The simple two color original design was also an inspiration in that it was paired with more intricate hand piecing. I wanted to apply the inspiration in scale and overlap to a different shape (a circle), using a new technique (bias tape appliqué), aided with the help of technology (for design, bias tape making, and laser cutting acrylics for precision shape tracing), in attempt of producing a visually impacting design as strong as the original piece."

Detail: Covalence, by Steph Skardal

Phyllotactic Flower, by Claire Kerr (responding to Sunflower)

Fabric: Moda Bella Solids; Batting: 100% Cotton; Thread: Gutermann Polyester,  Superior Bottom Line | Raw Edge Fusible Applique

"I've always liked looking at flowers through a macro lens.  I think their structure is fascinating.  For this quilt I made the sunflower flowerhead before it opens my focus with it's criss-crossing spirals and color gradation from green to orange."

Detail: Phyllotactic Flower, by Claire Kerr

Today's Tale, by Tania Tanti (responding to Carpenter's Square and Ocean Waves variation)

100% cotton, polyester embroidery thread | Foundation paper piecing, piecing

"I'm always attracted to high contrast and bold geometric shapes, something that I think appeals to many modern quilters. What amazes me about quilts that can look complicated is how simple the actual design is, such as a sqaure being used over and over again. Modern quilting is can be glorious at making something basic appear so beautiful and complex. Choosing the Carpenter's Square and Ocean Waves variation quilts were the most obvious to me. I first thought the Carpenter's Square was blue, so I chose blue and white, the orange from Ocean Waves variation stood out to me. The complimentary colours dance together beautifully."

Detail: Today's Tale, by Tania Tanti

Paperclip Pastiche, by Joan Chao (responding to Carpenter's Square)

Cotton, polyester thread, polyester batting | Hand-sewn bias strip applique, machine quilting on a domestic machine

"The Carpenter’s Square quilt forms an interlaced design by using an everyday object – a carpenter’s square.   I was inspired to use a similar approach.  I chose a paperclip as my everyday object and proceeded to create a different interlocking design that attempted to capture the essence of the antique quilt. I photocopied a paperclip and enlarged it to the appropriate size.  After studying how actual paperclips would overlap, I drew the design.  Each paperclip was made with one long grey bias strip that was hand-sewn to red background fabric.  I machine quilted a minimalist motif that resembled the lines seen in the Carpenter’s Square quilt.  After I finished the quilt, I was pleasantly surprised to find that the double lines of the paperclips form prominent square shapes in the center!"

Detail: Paperclip Pastiche, by Joan Chao

Making Waves, by Audrey Esarey (responding to Ocean Waves variation)

Cotton fabric, cotton thread, polyester thread, cotton batting | Foundation paper piecing, quilt facing, straight line quilting

"Making Waves was inspired by a variation on the traditional Ocean Waves quilt block. The color placement in the quarter square triangle blocks is echoed in the background at a larger scale. The same color placement is used in the orange center intersection. The intricate piecing was done with FPP to avoid distortion in the tiny blocks. Peppered cottons were used throughout the design to add texture. The quilt is finished with diagonal straight line quilting and a facing."

Detail: Making Waves, by Audrey Esarey

Inspiration, by Karen Grover (responding to Carpenter's Square)

100% Cotton, Glide Quilting Thread | piecing, applique and machine quilting

"I liked the simplicity of the Carpenters Square quilt. When I began working on my quilt, I wanted to keep the simplicity plus add an unexpected element.  Two things occurred to me: circles and differences in sizes.  Although I kept the same general movement of the design, by adding these two things you get an updated flavor to the pattern. Varying the color makes the design seem to move in and out of the quilt.  Small quilts are not my forte so it was a challenge to work in this size, but challenges are good and keep us moving forward."

Detail: Inspiration, by Karen Grover

Making Waves, by Diana Vandeyar (responding to Ocean Waves variation)

Solid fabrics, batting, thread | Alternate grid work, patchwork piecing, Y-seams, domestic sewing machine match-stick quilting, facing

"The new “modern quilt” movement shifted my perception of quilting, enlivening concepts and ideas that were not mainstream at the time. It excited and inspired me to engage in alternate quilting aesthetics. Reimagining the ocean waves quilt block in a bold and graphic way, the composition uses large patchwork pieces that breach the edge of the quilt. The tilted, asymmetrical design almost makes the traditional layout and pattern elements indiscernible. Using high contrast colors and breaking with the standard color placements creates unexpected visual interest, obscuring the typical boundaries of the units within the block causing some of the elements to float or recede. The machine quilting runs parallel to the quilts' edge and is unrelated to the piecing, further challenging the idea that straight line quilting correlates to the seam lines."

Detail: Making Waves, by Diana Vandeyar

Floating, by Jean Larson (responding to Carpenter's Square)

Kona cotton, scraps from my stash, Quilters Dream batting, Aurafil thread | Cutting and piecing guided by my sketch on graph paper.  Extended strips on the sides of my basic design make 20x20 trimmed to 16x16 slanted

"The Carpenter Square quilt's parallel and crossed stripes sung to my geometric soul. I thought varying size, color, and placement of the stripes might create some intrest.  My attempt also created some visual planes, suggesting floating."

Detail: Floating, by Jean Larson

An Ocean of Xs, by Robin Gausebeck (responding to Ocean Waves variation)

Commercial cotton, George Siciliano stabilizer, wool batting, cotton and polyester thread | Machine piecing, raw-edge fused applique, domestic machine quilting

"This quilt was largely inspired by the fabric that I chose for the backing; I often use black, white and shades or gray in my quilts as they add drama to my designs. I used EQ8 to generate the asymmetrical layout of the blocks. Most of them were pieced using partial seams. The one red block and the quilting of the blank squares reflect what I saw in the “Ocean Waves” variation."

Detail: An Ocean of Xs, by Robin Gausebeck

Meet Me in Shibuya, by Anke B. Calzada (responding to Ocean Waves variation)

Various cotton fabrics, 100% cotton batting, polyester threads | Foundation Paper Piecing and classic piecing, straight-line machine piecing, Sashiko embroidery, traditional double binding, hand-sewn on the back

"As a modern interpretation of the traditional Ocean Waves block, I reduced the color scheme to black and white and chose a miniature version of the block pattern in the finished size of 4 inches, combined with an asymmetrical Two Patch Pattern featuring the same small triangles in black and white. This mini quilt was inspired by the famous intersection at Shibuya Station in Tokyo. Like waves in a storm-tossed ocean, countless people dressed in black and white uniforms simultaneously converge on each other from all sides, navigated by the green traffic light. They seem to plunge into the surf, mingle in the middle of the crosswalk, sink into the tidal current, and then float to the other side of the street with the onset of the ebb tide."

Detail: Meet Me in Shibuya, by Anke B. Calzada

Modern Meets Modern Challenge – Top Ten Finalists

MMM Challenge – All Entries (in Catalyst Quilt order)

MMM Challenge – All Entries (in Catalyst Quilt order)

Responding to Carpenter's Square:

Carpenter's Square Skewed, by Donna Blalock

Cotton, Silk/Bamboo, Polyester Threads | Machine Piecing and Quilting

Off Kilter, by Gay Bitter

Quilting Cotton, Batting, Cotton Thread | Raw edge appliqué, free motion quilting, walking foot quilting

Colors Outside the Lines, by Gay Bitter

Quilting Cotton, Batting, Cotton Thread, Inktense Pencils | Raw edge appliqué, free motion quilting, drawing

Wavelength, by Heather Akerberg

Shot cottons by Andover Fabrics, Japanese indigo dyed fabric from Sevenberry | Hand and machine piecing, walking foot and hand quilting, bias binding, alternative grid, partial seams

The Fortress and the Winds of Change, by Julia Fikse

Cotton fabric, cotton batting | Machine pieced, machine quilted

Squarish, by Diane L Murtha

Cotton, batik and silk dupioni fabrics | Improv piecing, machine piecing, free motion quilting

Square in Square, by Maria Jantkova

100 %cotton , batting 100%PES | machine piecing, walkingfoot quilting

Chenille Tessellation, by Valerija

Denim, cotton | Straight slash chenille, prairie points

Closing In, by Jennifer Rodriguez

Navy and light green cotton fabric | piecing and quilting

Puzzled Lines, by Allison James

Cotton, bamboo wadding and polyester thread | Fused fabric, machine applique

Angular, by Stephanie Bracelin

Cotton fabric and cotton/wool batting | traditional piecing

Diamond Interchange, by Betsy Vinegrad

Cotton fabrics and thread, wool and cotton battings | Foundation piecing, machine quilting

Convergence, by Jessica Plunkett

Kona cotton (Mediterranean & Bright Pink), Aurifil 50wt thread 4020 (Fuchsia), Hobbs 80/20 batting | Foundation paper piecing, domestic machine quilting, facing

Purple Maze, by Susan Garrity

cotton fabric front and back, wool batting, cotton thread | machine pieced and machine quilted

M Cubed, by Susan Garrity

cotton front and backing, wool batting, cotton thread | machine pieced and machine quilted

Transparency, Brenda Esslinger

Cotton fabric (Moda Grunge), cotton batting, cotton thread, monofilament thread | Machine pieced, free motion long arm quilting, computer guided long arm quilting

Spaghetti Junction, by Sylvia Schaefer

Commercial cotton solid and print fabrics; cotton/polyester batting, cotton and polyester threads | machine piecing, longarm quilting, facing

Carpenter’s Corner, Redux, by Kerin Ferrin

Hand dyed cotton fabric, batting, cotton thread | Machine piecing, free motion matchstick quilting in coordinating thread

Woven, by Lauren Mabry

Cotton fabric and thread, Cotton/Poly blend batting | Foundation paper piecing, Machine piecing, Hand quilting, Big stitch quilting

CS Variation #7, by Adrienne D. Hunter

all materials used were 100% cotton: Batiks, thread, and batting | This was the 7th of 8 hand drawn sketches. I hand pieced and hand quilted this quilt

Knotty Adventures in the Land of Make and Do, by Jenn George Burt

cotton fabric, cotton batting, cotton thread | paper piecing, traditional machine piecing, walking foot quilting, bound by hand

Whittle, by Sarah Lefebvre

Quilting cotton, 50 weight cotton thread, and batting | Paper piecing, machine piecing, domestic machine quilting

String Theory, by Susan Manson

Fabric, steam-a-seam,thread | Raw edge appliqué, bias tape appliqué, spiral matchstick quilting

Perspective, by Lissa LaGreca

Quilting cotton, Hobbs Thermore Batting and Hobbs Tuscany 100% Wool Batting | Traditional piecing.  Machine walking foot quilting.  Hand Quilting

Tilted Squares, by Randi M. Hindman

100% cotton fabrics; 100% cotton batting; 40 wt. & 50 wt. Aurifil threads | domestic machine pieced and quilted

Circles in Squares, by Elaine J. Hoffman

all cotton commercial quilting fabric, thread, wonder under, poly and cotton batting | applique

Responding to Ocean Waves variation:

New Wave, by Jan Frazer

Cotton fabrics by Reece Scannell. Cotton batting. Polyester Threads. Monopoly Thread | Machine piecing. Machine quilting.

Rip Current, by Darla Gallentine

Quilter’s cotton, variegated thread, cotton batting | Machine piecing, domestic machine quilting, hand binding

Botanical Vibes, by Kathryn Wright

Commercial cotton fabrics, Polyester batting, Wool batting, Cotton thread | Hand applique, Paper-piecing, Quilted using a walking foot on a domestic machine

Fractured Waves, by Mickey Mariash

100% cotton sheeting and flannel fabric; cotton batting | machine piecing and quilting; hand applique

Wayward, by dlmanowske

Cotton fabric, Aurifil 50 wt thread, Hobbs 80/20 batting, Elmers School glue & 505 spray for basting | Improv piecing, walking foot quilting

Obtuse Hypotenuse, by Carla A. Garcia

Batiks, Grunge and an Asian inspired fabric all from my stash. Wool and cotton 80/20 batting | Traditional piecing techniques, using half-square triangles (HSTs) sewn into 9-patches, then into rows, stitching in the ditch

Tumultuous Seas, by Thomas Meyer

Cotton Fabric | Machine pieced and longarm machine quilted

Great Pacific Garbage Patch, by Judith Duffield

Various fabrics and threads, paper, paint, plastic items, buttons, washers, twine | Foundation is pieced hand-dyed indigo “crackle” shibori in traditional Ocean Waves pattern. Raw-edge appliques created and applied with a variety of threads

Fable, by Casey Cline

100% quilting cotton, batting, wonderfil thread | machine piecing, domestic machine quilting with wonderfil thread, facing (vs. binding)

Ride the Waves, by Sheila Green

Commercial cotton fabrics, Aurifil thread | Improv cut curves, machine pieced, machine quilted

Geese Waving to the Ocean, by Tamara King

Cotton fabric; cotton batting; cotton thread | paper piecing and walking foot quilting

Skewed, by Cheryl Thomson

Quilting Cottons | Paper template piecing, HST's

Marsh Trails, by Donna Studniarz

Quilting cotton fabrics, cotton thread, batting | Domestic machine pieced and quilted

Pick Up Sticks #3, by Sarah Pavlik

100% cotton | Pieced and machine quilted

Stalemate, by Joy Banfield

All cotton fabric. Kona solids and spotted by Moda | Cut using the AccuQuilt GO! cutter and GO! Qube system

Modern X, by Don Wattam

Cotton, Cotton Batting | Pieced cotton, quilted on a longarm

Modern X 2, by Don Wattam

Cotton, Cotton Batting | Pieced cotton, quilted on a longarm

beginning the ocean with ends, by April Suzanne Benson

100% cotton fabric, batting, and thread | Machine piecing, hand quilting

Xes, by Marla Varner

commercial cottons, batting (cotton 80, polyester 20 blend),cotton/linen backing, perle cotton | freehand cutting and piecing, improvisational approach, hand quilting

Hatsunatsu (a wind that blows in early summer), by Rina Toshishige

Pieced with lecien fabrics, Sojitz Fashion fabrics, Robert Kaufman Fabrics and Ozeki S-55 thread | Designed in EQ8 and paper pieced

Seaside Voodoo, by Debra Milkovich

Cotton, synthetic metallic fabric, Aurifil 12wt and 50wt, wool batting | Traditional piecing, improv piecing, big stitch quilting, embroidery stitching

Connection, by Katherine H. Yerich

New and vintage cotton fabric | Machine pieced and quilted

Tension, by Mary Magneson

cotton batik, Kona cotton | machine quilting, paper piecing. machine piecing

Responding to Four Patch variation

Eclipse, by Darla Gallentine

Quilter’s cotton, Aurifil 50 wt thread, 80/20 black batting | Machine piecing, domestic machine quilting, hand binding

Four Patch Improv, by Gail Naughton

Commercial cotton | Improvisational piecing, machine piecing and quilting

Mine, by Marion Lisko

Tula Pink prints in cotton and Kona solids in black and orange | Piecing and machine sewing

Modern 4 Patch, by Robin Thomas

Solid quilting cottons | Paper and traditional machine piecing and machine quilting on a domestic machine

In Shallow Waters, by Anke B. Calzada

Various Grunge Basic Grey cotton fabrics, Essex yarn-dyed linen, cotton batting, polyester threads | Foundation Paper Piecing (FPP) and classic piecing, straight-line machine piecing, traditional double binding, hand-sewn on the back

Foursquare, by Casey Cline

100% quilting cotton, batting, 50 wt cotton thread | machine piecing, domestic machine quilting, binding

4 Patch and a 5th, by Margaret Black

100% Cotton Fabric, Thread, Batting | Freeform Cutting and Piecing, Machine piecing and quilting

4 Patch In a 4 Patch, by Margaret Black

100% Cotton Fabric, Thread, Batting | Freeform Cutting and Piecing, Machine piecing and quilting

Fusion, by Maya Sara Matthew

Cotton garment offcuts and old cotton bedsheets for the wadding | English paper piecing, kantha quilting, embroidery

Four Patch Extended Remix, by Rebecca Loren

Cotton | machine pieced; longarm quilted

Modern Four, by Nikki Woolsey

100% cotton quilt fabrics, batting and thread | Original pattern design, machine piecing, machine quilting

Outlier, by Jennifer Ciaccio

Cotton | Machine piecing and Quilting

Nice to Meet You, by Wanda Ann Dotson

Cotton fabric, Cotton batting, Cotton backing and Cotton thread | Alternative gridwork, walking foot

Sunburst, by Jan Frazer

Cotton fabrics & batting. Tulle. Wool braid. Texture Magic. Embroidery & Monopoly Threads | Machine applique. Machine quilting.Thread trapunto. Couching

Starflower, by Meredith Sewell

100% cotton solids from various manufacturers | Paper pieced using a freezer paper technique. 

 

Provence Up Close, by Kerin Ferrin

Hand dyed cotton, fusible web, thread, pearl cotton floss | Raw edge appliqué, machine piecing, free motion top stitching, hand embroidered embellishments (French knots)

Flowers in Abstract, by Nanci Villareale

Materials used in this mini-quilt include cotton fabrics, cotton thread and two layers of batting | Foundation paper piecing, bias bars, perfect circles, freezer paper and starch method were used to make the appliqué.  Quilted on a long arm.

Regrowth, by AnnMarie Cowley

I used solid cottons in the same color tones as the original.  Batting is cotton | Circle templates were used with a center strip inserted.  The leaves were pieced using a stitch and flip technique on one end.

Sunflower Elements, by Allison James

Cotton, bamboo wadding polyester thread, perle thread | Fused applique, hand embroidery, machine quilting

Sunflower 'Down Under', by Jeanne Treleaven

All cotton fabric, batting, adhesive interfacing, cotton thread | Rulerless strip piecing,machine piecing, machine applique,machine quilting.

Where Have all the Flowers Gone?, by Janine Boyce

Kona cotton Hibiscus, Kona cotton Artichoke, thread, cotton batting | Machine stitched, raw-edge applique, domestic machine quilting, hand-stitched facing

Helianthus Anna’s L. Solar Eclipse, by Nancy J. Goff

Cotton & cotton blend fabrics.  Cotton thread.  Wool batting | EQ8 design software, foundation paper piecing, domestic machine quilting

Sunflower 2.0, by Lois Strasberg

Kona Solid Cotton | 100% Hand-appliqued and hand-quilted

Resilience, by Melissa (Belle) Brunner

Cotton quilting fabric, batting and 30wt quilting thread | I appliqued partial dresden's to make three layers of blades. I then used my Baby Lock Sashiko machine to stitch the blades and the binding

Solar Sunflower, by Denise Havlan

Cotton fabric, cotton & polyester threads, batting | Fused & hand applique, free motion quilting

Sunflower Arrangement, by Denise Havlan

Cotton fabrics, rayon threads, batting | Improvisational piecing and walking foot assisted quilting

... patron saint of other Things ..., by Ronald J. Stockwell

cotton, wool batting, metallic thread, cotton thread | appliqué, free motion quilting, hand stitching

Resilience 2021, by Janet Sutton

Cotton fabric, ultra suede, embroidery floss | Hand appliqué, hand quilting

Stalks, by Rebecca Loren

Cotton| machine pieced; longarm quilted

Sunny, by Julie Wells

Cherrywood hand dyed cottons, Quilter's Dream Request cotton batting | Fused raw edge applique, home machine quilted

Ahead of the Curve, by Misty M. Cole

hand-dyed and commercial fabric, embroidery floss, cotton thread | hand applique, hand quilting, hand embroidery, machine piecing, machine binding

Atomic Sunflower, by Mary J. Puckett

Cotton fabric, polyester thread, cotton thread, cotton batting, nylon thread, glass beads | Scissors cutting without a ruler or template, piecing, applique, trapunto, domestic machine quilting, big stitch hand quilting, beading, facing

mod flower, by Ellen Meeker

fabric & thread | needle turn appliqué  hand and machine quilting

Components, by Cheryl Thomson

Quilting Cottons | Paper template piecing, machine quilting, hand quilting

Encapsulated, by Connie Kincius Griner

Commercial cotton fabrics.  Cotton thread.  Hand-dyed perle cotton.  80/20 cotton/polyester batting | Hand applique.  Surface embroidery.  Hand and machine quilting.

Sunflower, 2021, by Will Tople

Cotton Fabric, Cotton Thread, Batting | Machine Piece, Domestic Machine Quilt, Hand Binding

From the Left, by Robin Jaeger

Cotton: Front-Kona Solids Back from my personal collection 80/20 batting Cotton & poly thread Glue | Raw edge appliqué with fusible backing, Free motion quilting. Glue and water to stiffen the flower and leaves for 3-D effect

Sunflower Tropical Star, by Tiffany Taylor

Cotton fabric | Patchwork

Layers of Sunflower Inspiration, by Joyce Hammond

Cotton fabric (including fabric with a printed image of a painting), felt, buttons, and thread | I used fabric glue to attach cloth segments and felt flowers, created borders by folding over some backing fabric, and used blind stitch on borders

Sunflower Succession, by Sarah J. Lauzon

Quilting cotton, cotton/polyester/metallic foil thread, cotton batting | Hand applique, machine walking foot quilting, big stitch hand quilting

Wind Flowers, by Rita Raddatz

cotton fabric, polyester fabric and both polyester and cotton thread | Improv piecing, turned edge applique, free motion quilting

Rising Sun, by Emilie Trahan

Upcycled fabrics and scraps | Improvisation curve piecing and domestic machine quilting

Funflower, by Maureen Drudi

Jane Sassaman Handcrafted Cottons, Free Spirit Shot Cotton in plum, Variegated multi cotton thread | Improv straight and curved piecing, stack, cut and overcut ruler free straight and curved lines, domestic machine matchstick quilting

Jagged Little Flower, by Elizabeth K. Ray

Quilting Cotton Fabric, Cotton Threads, Wool and Cotton Battings | Piecing, Machine quilting with Frame, Edge Facing

Modern meets Modern meets Modern, by Emily Williams

cotton fabric and thread in three colors, polyester batting, wool batting | piecing and domestic machine quilting

Checkers, by Deb Schultz-Grimes

Cotton fabric and cotton batting | Machine pieced and domestic machine quilted

Sunflower Deconstructed, by Kathaline F. Cole

100% cotton fabric, batting, and thread, fusible interfacing, and Finca embroidery cotton | Fused fabrics to interfacing, composed and cut composition apart. Fused edited pieces to background fabric, bound, and Sashiko quilted

Responding to two or more Catalyst Quilts:

Directionally Challenged, by Marilyn Schmadeke Rembolt

Solid commercial cotton fabrics, cotton batting, cotton quilting thread | Improvisational paper piecing

Sunset Mystique, by Jane Hall Hinrichsen

Free spirit Tula Pink solids, Aurifil embroidery thread & 50 wt, Alison Glass fabric on binding | Piecing, cutting, machine piecing, applique, embroidery button hole, chain & running stitches

No X-it, by Kathleen Day

cotton fabric and batting, Pellon stabilizer, cotton floss | The entire piece is machine-pieced with French Knots near the bottom. I quilted by home machine, free-motion

Sunflower Leaves, by Helene Hein

commercial cotton solids, vliesofix, cotton batting, silk quilting thread | hand appliqué, domestic machine quilting

New into Old, by Charrye Olberding

cotton fabric, bias tape, button, metallic thread and polyester thread, and a thin layer of batting | Used creativity to represent the new into old quilting techniques;  cutting, measuring, quilting, and layering of bias tape.

Flying Geese Puzzle, by Julie Ryan Crom

Cotton fabric scraps | Each block is hand pieced. Rows assembled with both hand and machine piecing. Hand quilted. Applied binding.

Measure Twice, Cut Once, by Mary Elizabeth Kinch

100% cotton fabric, 100% cotton batting, 100% cotton thread | freehand cut, machine sewn, machine quilted, narrow single fold binding

Angled, by Cassandra Ireland Beaver

cotton fabric, wool batting, cotton thread | foundation paper piecing, traditional piecing, domestic machine walking foot quilting

Jesus Calms the Sea, by Sharon Tindall

Cotton, silk, wool felt and variegated threads | Quilting and sewing

Woven Sunflower, by Ann Marsh

Cherrywood Hand Dyed Fabrics, Isocord Thread and Superior thread | thread sketching, thread painting, multi layer applique, raw edge applique, ink tense pencils, decorative stitching

MMM Challenge – All Entries (in Catalyst Quilt order)