Recipe: Hamantaschen

Purim is upon us, or will be Saturday night. It's loud, brash, costumed, and carnivalesque. Merriment comes in many forms, including baking, so for those looking to make some traingle-filled-deliciousness, here you go:

Hamantaschen

Ingredients:
Dough
1/2 lb. butter (1 cup/2 sticks/16 tbsp*)
2 large eggs
1/2 c. sugar
2 c. flour + more to roll out dough
1 tsp. baking powder

Filling
{Be wild! The options are infinite.} Last night I used:
Raspberry Preserves
Blackberry-Pomegranate Jam
Apricot Jelly
Nutella
{Basically, you want the filling to be thick so it doesn't run. Mohn (poppyseed) is traditional though, truth be told, not my favorite, no matter what the Slate wizards claim.}

1. Combine butter, eggs, and sugar. Mix well.
2. Add flour and baking powder. Mix well. Add more flour as necessary. The dough should be just a slight touch sticky.
3. Place dough in refrigerator for 15-30 minutes.
4. Preheat oven to 350.
5. Roll out dough about 1/8" thick. Cut out circles. (I use a pint glass as a cookie cutter.)
6. Place about a teaspoon of filling in the center. Make triangles -- I find this pinwheel technique (as shown at the bottom of the link) the best for creating secure triangles.
7. Bake for about 13 minutes at 350.
8. Eat, share, enjoy!

*Last night, we decided to make a third batch with 1.75 sticks of butter remaining. They turned out fine, so you can reduce the butter if you so please with little, if any, consequence.

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Into the Emerald Woods

Way back when, in the fall, when there were still yellow leaves dancing in the trees and fluttering on the ground, I had this idea for a quilt series: monochromatic, two-tone, shape-focused quilts. I made one, pulled the fabric for a second, and got stymied for time. But perhaps it will be a series developed over many months, a yearly touchstone of Two Hippos designs. Or it will stay in my head. Which is fine too.

The front yard is currently brown with specks of old snow, maybe even a few remnant piles of white glory. But every fall it gets coated in brilliant yellow, providing the perfect backdrop for a very green quilt (pre-washing -- had to take advantage of the color). For the record, I made this before Pantone selected Emerald as the color of the year, but obviously they read my mind. The particular greens came from my unlabeled stash which means I cannot tell you where to find them. I sort of think one of them was from P&B textiles, but that's all I got. The binding was Moda Orange, I know that.

It started with the medium chevrons, pieced from 5" squares turned into HSTS sewn together into chevrons. At one point, it was all chevrons plus negative space. I liked it but didn't love it. Also, it was a touch small and I was out of the darker green fabric (a regular issue when one quilts from stash and does not plan ahead of time -- it's more fun this way, I promise).

In a quest for movement, I added the line (cue first week of 9th grade geometry and lessons on points and lines. I mostly remember the teacher talking about dots as points and points as lines, beyond that I much preferred algebra to geometry). I considered upping the green quotient with some bright lime, but I held tight to my two-toned vision.

Until the binding, when I auditioned several more greens and, on a lark, some orange. It needed orange. But before I bound, I quilted, in irregularly spaced curvy lines. It's one of my favorite quilting methods (imprecise, fast, crinkle-inducing, and echoed the Mendocino backing fabric -- super soft stuff, that Mendocino line). It was tempting to keep this one, but it was too small for me to use (at about 36"x45") and too large to hang. Instead, it made its way to Chicago and the hands of the young Judah Oliver, whose parents, I happen to know, also adore green.

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Winter Star

Sometimes the background color is the easiest choice to make. When a friend asked me to make a quilt for her friend's new baby, she suggested something "green or maybe purple, nothing too boyish." I loved this set of color instructions. I toyed with purple and gray (a combination that often pops into my head and maybe one day will make it into a quilt), but I knew green was the way to go, and Moda Dill just felt right (and, um, I had a bunch of it. Practicality plays a role too). The question was what other fabrics to use.

My fabric stash is not wanting for greens, but a lot of them fall more on the blue-green side of the color wheel. Chartreuse, despite its current fashion popularity, rarely made me press click when I viewed it online. But lovely as my aqua-trending stash is, it just didn't feel right. Which surprised me, because I had already decided to use a purple binding, and I thought blue-greens would fit. But then it made sense: green/blue-green/purple completes the rainbow, but walks, rather than sashays, down the runway. Yellow-greens it would have to be. Loosely interpreted (that wood grain is really more yellow, than yellow-green), I settled upon 8 star-worthy choices. I'm not even sure which one is my favorite, and I thought picking a favorite would be easier with a color scheme that I buy less frequently. Except that I think less commonly acquired means more carefully selected. Fabric stashing can be tricky like that.

I shrunk Jeni's Vintage Star Quilt, making it baby, rather than giant, sized. By baby-sized, I mean about 40" square. The 10" piece of Seedpod, with its perfectly matching dark green and wonderfully coordinating yellows, oranges, and light greens, determined the size of the star. That is, I made big HST blocks with 10" squares (9.5" trimmed), which yielded a 36" star. I wanted it to float, so I added 2.5" green borders on all sides.

If there's one animal that predominates in my fabric collection, it's birds. Which is a little funny since I know very little about said creatures. I might be able to identify a robin and a raven, but there my ornithological knowledge ends. When rendered in two-dimensions, however, Joel Dewberry's birds stand apart from Paula Prass' and Laurie Wisbrun's separate from Valorie Wells. Thus the backing brought together a yard of nesting birds with a wide strip of flying ones. Free-motion stippling--with variegated green thread on the front and white thread on the back--holds it all together. Finally, purple edged its way into the binding -- a beautiful Marimekko purple print I picked up over the summer at the Crate & Barrel outlet.

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Processing 2012

1. X2Y4–6Z8O20(OH,F)4: Front, 2. Organic Imperfection (front), 3. Love in a (Snowy) Mist: Front, 4. The Arty Zig: Front, 5. Rainbow Challah Cover, 6. Warm Spring: Front, 7. Spring Green, 8. Topo Map: A Quilt, 9. Curves, 10. Berry Lime Sublime (front), 11. Circle Up, 12. Sand & Sea, 13. New Pillows!, 14. Foxy (front), 15. Challah Cover, 16. Orbs Away, 17. A Zig and a Zag Table Runner, 18. The Accidental Living Room Quilt, 19. Triangulate: Complete, 20. Scattered Color Pop, 21. Good & Plenty, 22. A Little Spice, 23. Sebastian, Literally, 24. Washi Dress!

I think of 2012 in two halves: the traveling half and the quasi-settled half. Despite a lot of roving dissertation research, I still managed to squeeze in quite a bit of sewing time last year. Not in a diligent, disciplined sort of way, but in an unrestrained, furious sort of way.

And so it is true: I am a binge sewer. The latest example merely illustrates my habitual tendencies: I didn't touch my sewing machine for about a month this fall, from Thanksgiving to late December, and then I pieced and quilted like a madwoman for a few days in late December. I finished three quilts (all of which need to make their way to their new owners before debuting here), I started two quilt projects, and I migrated some design ideas from head to graph paper. Then I cleaned up, hosted friends for New Year's Eve dinner, and crossed back into dissertation-writing (and less sewing) land. That's my way, my pace, my pattern, my flow, and it's not going to change. It's imperfect, but it works.

Likewise,  I've settled into my quilting style; I adore minimalism, negative space, and saturated color. Shapes matter, graphic sensibilities predominate, and color preferences drift between warm and cool. I don't think this will radically change, but it will stew, evolve, and mature. I'm starting to concretize a sartorial style as well. Sewing a dress for myself helped me think more about how garments fit and, most importantly, how I want them to fit. I saw a dress I wanted to make, and when I asked a friend about possible patterns for something comparable, she exclaimed "that is So You!" At which point I realized I know what I like and I can identify what will look good on me (a revelation many have before age 32, but late blooming is blooming nonetheless).

But here's what I don't know: where this style will take me, the views it will show me, the people to whom it will introduce me, the ways it will change me, the ideas it will instill in me, or the possibilities it contains. So given this: to curiosity, discovery, and fresh ways of thinking, doing, working, and living in 2013.

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Sebastian, Literally

Barring some radical shifts in the US population's naming preferences, my name is never going to crack the top 1000 baby names, as measured by the Social Security Name Database (a fascinating dataset, for those statistically inclined or trend curious). Which I rather like. At least now -- there was the crushing childhood realization that I would never find my name plastered on magnets or keychains or the like (which my siblings could, in fact, purchase). But I've recovered from that discovery and rather enjoy possessing an unusual (in the US) name, even if it sometimes causes pronunciation consternation (in others; I know how to say my name, though some native Hebrew speakers might dispute my Americanized version) and gender confusion (theoretically this could be explained by the fact that my name in Hindi denotes a male, but somehow I don't think that's why I get emails sent to Mr...).

Sebastian, in contrast, has enjoyed a popularity curve worthy of a roller coast ride. One hundred years ago, it rested at 567, but by 1950, it fell out of the top 1000 names. A decade later, it poked its way back in, and then, for about a quarter century, toggled between the mid-700s and the mid-500s. By 1986, it started its upward climb and, at the turn of the 21st century, it jumped into the top 100. For the past 2 years, Sebastian has rested comfortably as the 68th most popular boy's name in the US. But when asked to make a quilt for a baby named Sebastian, I knew nothing of this history.

I simply knew that the baby was named for a family friend's deceased father and they wanted a quilt that reflected this meaningful name choice. I chose to be literal, and I made the name the visual centerpiece of the quilt. I paper-pieced the letters (3"x4") from templates I made (inspired by these). The "a" turned out to be my favorite, though whether that's because of the shape or the fabrics used, I'm not sure. I used blues and greens from my scrap bin and stash, and arrayed the letters on a dark-light-dark spectrum, all set against Kona Mustard.

To add some visual interest, I pieced some squares and rectangles together, and added them above Sebastian. As is my habit, I improvised as I pieced -- adding, trimming, debating, selecting, rejecting (aka seam-ripping), and adding some more. The crinkling derives from unevenly spaced straight-line quilting. The back of the quilt is Michael Miller flannel (Zoology in Sea), which is delightfully soft. Whether or not Sebastian has made its way on to magnets and keychains, but this Sebastian has at least one thing with his name labeled with his name.

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A Little Spice

Sometimes the closet provides the perfect upcycled wrapping. Because a warm, flannel-backed quilt might just save you 10 percent on your heating bills this winter. I finished this quilt right before I went home for Thanksgiving, and I wanted to make sure it stayed protected in transit. That, and I needed to deliver it to the person who commissioned it as a wedding gift, and I thought she'd enjoy the temporary wrapping.

I showed a few glimpses of the quilt in progress way back when I started it. As noted then, the design is based on Felicity's lovely Sea Glass on Sand, and based on her (and other feedback) I added in a couple of mulberry triangles to pop against the browns, greens, and creams. The colors, along with the seasonal scents they evoke and the occasion for the quilt, led me to dub it "A Little Spice" as I constructed it; the name stuck. The color scheme is a little different from my typical choices, but it was designed for the couple whose apartment is decorated in creams with green and brown accents. Working out of my color comfort zone pushed me to think about design, and how a quilt could sing in a more muted palette.

I love how the bright white draws the eye in as much as the greens and darker tans. The blocks were all 6" and I originally planned a 10x12 layout, I added an extra row to make it 10x13 (or 55"x71.5") as I pieced it together. The seam allowance ate up the 1/2" between rows and while I knew that would happen, I felt a need to compensate. Or at least make sure there would be room for the couple's toes. I borrowed the quilting plan from Felicity as well, using 2 interlocking curves on the diagonal -- a technique I'll certainly use again.

The quilt commission came with a request for a "soft back," and I opted for flannel. A flannel sheet from Target to be specific. The sheet is thicker than quilting flannel, so that plus a layer of batting makes for a substantial throw quilt. Using a sheet also eliminated the need to piece the back and, as it was bigger than the front, simplified basting as well. The binding is a Heather Ross print, Meadow Flowers, I picked up in the sale vault at Lake Street Mercantile about 4 years ago. Apparently I could have sold that yard for about $36 right now (admittedly, it's no goldfish), but I'm content to let aesthetic value trump financial gain. Plus, if someone had purchased it, I would have had to go to the post office between Thanksgiving and Christmas, and that surely represents a terrible use of time.

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Good & Plenty

Or Mike & Ikes, because, to be honest, I hate licorice and bubble-gum pink, which places Good & Plenty's pretty low on my candy consumption list. So low that I don't think I've tasted a Good & Plenty in decades, if not longer. But candy, delightful as it can be (when it's tasty and all), is not actually the point of this post. (Shocking, right?)

I'm really hoping that this quilt made it to its new home. I haven't heard and, as luck would have it, I sent it on its merry way to New York City two days before Sandy unleashed chaos on the region. Priority Mail, I'm guessing, did not operate quite as quickly as usual in the aftermath of a damaging storm. And I didn't put a tracking number on it because apparently I like to test fate. If nothing else, I'm recording its existence here.

I really like the quilts I make. But this one? This quilt I love. The idea popped into my head and, despite some unfortunate moments with the seam ripper, it came into being before exasperation set it. Each Good & Plenty orb uses a large rectangle plus 4 drunkard's block pieces, and I think it might be more efficient and precise to use half-circle blocks, but that's an experiment waiting in the wings. I can imagine all sorts of other color combinations and layouts with these blocks, but I do love them in solids. Some of my favorite solids to be precise -- Betty's Orange, Charcoal, a beguiling aqua whose name I don't know, Gray, and a charming yellow whose name likewise escapes me. They're either Moda Bella Solids or Kona, and the background cream is Moda Snow.

I got all fancy with the orb-quilting, using coordinating thread, a free-motion foot, and a different technique (most of which were new to me) in each color. There are pebbles. There are loops. There are squiggles. And there viney leaves. Viney leaves, people. Those were new and tricky and challenging, and I have no idea how people quilt more of the them in larger spaces on their home machines. I hear there's this thing called practice, but still, that's some hard quilting.

As has been my wont this fall, I pieced a backing from stash fabrics. A half-yard here, a whole yard there, and random pieces in between. I'm making a slight dent in the piles, and I love displaying some larger swaths. Cute as those elephants are, it's the repeat in the orange fabric that pleases me most.

As always, Good & Plenty is machine-bound. I got a little fancy here, using aqua thread on the charcoal binding for a little twist. It's only visible close-up, but it adds a little solid sparkle to the edges.

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SMS Giveaway Day!

Right before Labor Day, I began making clutches. There's nothing like a friend's request to jumpstart new projects, especially when the requests are doable in a short amount of time. For SMS Giveaway Day, I'm offering one (1) clutch to a random winner -- the choice of blue or pink is yours. It's also cool to enter to win it for a friend; the choice of color remains in your control, unless you'd prefer that I make a choice for a person I don't (think I) know.

Here's a little peek at the interiors, which showcase different fabrics, include a magnetic snap, and contain a divider (an invisible surprise!).

To enter the giveaway, please leave a comment on this post.

The fine print:
*One comment (entry) per person. Please make sure I can contact you by email.
*This giveaway is open to everyone, wherever you live in the world.
*The giveaway will remain open until Friday, December 7 at 8 pm EST (or thereabouts!).
*The winner will be selected randomly.

ETA: The giveaway is now closed, and random magic picked #145: CraftyGirl83.

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Tonight: A2MQG Show & Sale

For anyone in SE Michigan, NW Ohio, or the Windsor, ON area: the Ann Arbor Modern Quilt Guild Show & Sale is tonight at the Corner Brewery. Join us! In addition to quilts, there will be additional handmade items -- great for holiday, birthday, wedding, graduation, just-because gifts...

More on the quilt above soon!

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Scattered Color Pop (Mini Tutorial Included)

There's nothing like a quilt show & sale to make quilt tops jump off the shelf and get themselves backed, quilted, and bound. I might have played a little role in this process, but the importance of deadlines in my life cannot be overstated. I made this quilt top last winter, after which I dallied finishing it. Most of my sewing projects arise with a recipient in mind, whereas this one started with an idea and no recipient, which is where the no deadline issue arose. But finished it is. And love it I do.

A few people asked me about size, fabric requirements, and the like so I'm going to provide a mini-pattern-tutorial. As half-square triangles represent the entirety of the block-making, and the layout is random, I'm really only providing some numbers and measurements. This particular version finishes at about 54" x 58.5" (12 rows, 13 columns), but it's super easy to upsize or downsize: make more (or fewer) blocks. In other words, figure out the dimensions (rows/columns), multiply, and the product = necessary HST blocks.

Supplies
1 charm pack (42 5" squares)
25" of 3 coordinating solids, cross-cut in 5" WOF strips

Cut 5" strips into 38 5" squares (if you cut all the strips, you'll have 40 squares of each solid. You could use 40 each of 2 solids and 34 of another, thus only requiring 4.5 5" strips on one color (if, say, you have solid scraps and not quite 25" of one). I think I used 42 5" squares of the off-white and khaki, and 30 of the gold, but I can't recall and I'm too lazy to count HSTs in the quilt itself. The point is: this is a versatile, flexible design. Use what you have!

Divvy up each group of squares into thirds. You should have 12 piles. As 38 does not divide evenly into 3, the groups won't be the same size. Then pair up the piles as follows (substituting whatever colors you're using): (1) charms/off-white, (2) charms/khaki, (3) charms/gold, (4) off-white/khaki, (5) off-white/gold, and (6) gold/khaki. Make sure each pile consists of full pairs. The piles with the charms should have 14 charm/solid pairs, while the solid-solid piles will vary depending on how you divided 38.

Sew squares into half-square triangles, using your preferred method. I draw a diagonal line down the center, stitch a scant 1/4" on both sides, cut on the line, and voila, 2 HSTs ready to be pressed. Trim your blocks. With 5" starting squares, I usually trim down to 4 5/8" but you might be able to eek out 4.75" or prefer to play it safe with 4.5".

Lay it out -- I start by grabbing squares randomly and then rearranging to get a reasonable distribution of color. In the end, it is not random in the mathematical sense, but visually it feels random. Sew it up. Take a break, have a drink, eat a treat, and admire your lovely quilt top.

Since this quilt is now finished, it has a back too. I pretty much adore this quilt back. It's got bright colors, birds in cages, ugly ducklings, and a slight little angle that I'll pretend was completely intentional. Totally planned. Because that's how I do it. I pulled stash prints that coordinated with the charm pack (It's a Hoot), at which point I realized it needed a red binding.

So I made one. Bright red Riley Blake circles. Works with the front and the back.

Perhaps you'd like to see this quilt in person and possibly even buy it for yourself or a loved one? If you're in SE Michigan or NW Ohio or South-Central (???) Canada (what's the Windsor, ON region called?), it will be at the Ann Arbor Modern Quilt Guild Show & Sale this Thursday (November 15) at the Corner Brewery in Ypsi, 5-9 pm. You should come. If I don't know you, I'd love to meet you. And if it doesn't sell at the show, it might make its way to a little pop-up quilt, challah cover, and clutch sale here on the blog, in the near-ish future.

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