Art Studio – finding a sense of place

Rising Ground, a search for the meaning of place, Philip Marsden, with watercolour Devoran Creek (Looking for a sense of place) © of Stephanie Boon, 2015

Good reading

I’m reading a fascinating book by Philip Marsden Rising Ground: A Search for the Spirit of Place. Lately, as I’ve mentioned before, I feel I’m trying to find a sense of meaning and have been considering how that relates to my being in this place, the place I inhabit every day.  I ponder whether really knowing the landscape, defining a sense of place, will help me know and understand myself any better.

It wasn’t much of surprise, when I was browsing in my local bookshop, that this title caught my eye. I’d never heard of it before, but was delighted to find that I’d heard, and know, a lot of the places described in the book: Philip Marsden seems to be searching for his own sense of place – and he lives within a 40 minute drive from here.

Much of the book is set in Cornwall and Marsden travels from the east of the county to the far west by foot. He explores the landscape through its history from the Neolithic age to the present, describing the renovation and discoveries about his own ageing home alongside. I realised that many of the books I’ve recently read are about people looking for, or describing, a connection to landscape or sense of place (Kathleen Jamie, Helen Macdonald, Robert Macfarlane, Hugh Thomson…). And they search on foot. Walking, it seems, is the only way.

Painting of Devoran Creek (Looking for a sense of place) © Stephanie Boon, 2015

Watercolour, pencil and graphite

It’s interesting to discover how many of these authors, Marsden included, relate their explorations of place to explorers or settlers of the past. They delve into how others viewed or inhabited the same landscape, how it changes and what this means.  As well as all the walking, there are hours spent in libraries, heads buried deep in books and historical documents.  There are meetings with experts from archaeologists and historians, to falconers and fine artists (some finer than others!).

And it all leaves me with an aching feeling that I don’t walk enough. Something is stopping me and I can’t put my finger on what it is.  I take familiar routes. I sit and I stare at the same skyline, the same fields, the same creeks, questioning how my sense of place, this place, is reflected in who I am. Or whether I’m reflected in what I can see in front of me. This week I sat on the quayside at Devoran, took out my paints and looked hard. I was looking for two hours.

Painting of Devoran Creek (Looking for a sense of place) © Stephanie Boon, 2015

Watercolour, pencil and graphite

And listening. Curlews were crying in their mournful way, geese were honking. There were people playing with their dogs nearby. I just felt empty. Like all I could do was look and see and not feel any connection. Depressed mood. It has a lot to answer for.

I came home, stuck my head back in the book and tried to fight the feeling that at the moment I’m living through someone else’s glorious landscape, instead of my own.

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Create a Digital Colour Palette for your Quilt

Graphic: How to design a great colour scheme without colour theory! Stephanie Boon 2015, (original colour wheel graphic by Sakurambo via Wikimedia, altered by Stephanie Boon, 2015)


Going Digital

Welcome to the third article in our series on developing a practical and intuitive approach to designing a colour palette for your quilting projects. This week we’re taking a look at digital palettes and how they can help you.

If you feel a little timid about designing your own colour schemes digital palettes can be really useful. You can experiment with colour without costing you a fortune in fabric – always a bonus! They do have limitations, but we’ll talk about those later. First of all let’s look at one of the simplest, beautiful digital palettes there is:

Design Seeds

If you’ve seen a stunning photograph of nature with a colour palette underneath, it’s likely it was made by Design Seeds.  Jessica creates colour palettes that capture the atmosphere and emotion of the image, rather than simply the colours in the photo. It’s a perfect way of putting together a fabric scheme using an expert’s eye – even if you don’t have one yourself!

Colour Palette and image © Design Seeds.

With Design Seeds’ palettes all you need to do is find a picture you love and then match your fabrics to the band of colours underneath.  This will help you build the colour matching skills we practiced in the first article in the series: Design a Monochrome Colour Palette.

Design Seeds also create palettes from photos submitted their Instagram account, so there’s plenty of inspiration at your fingertips. Head on over to Design Seeds, dive in, fall in love with a palette and match start matching your fabrics. You can rest assured you’ll be working with a palette designed by a human, not a computer algorithm (which is how most digital palettes work).

Creating Your Own Palette

There’s a good number of palette builders online where you can experiment with colours to your heart’s content. They’re based on mathematical formulae (algorithms), so to get that ‘human touch’ be sure to play around and mix it up. Add in some unexpected colours, play about with proportion…have fun! Here are 5 palette builders for you to try:

My Top 5 Digital Colour Palettes

  1. Design Seeds
    See above for details. Search for palettes by colour or theme:

    Design seeds colour palettes - screen shot © Stephanie Boon, 2015

    Design Seeds

  2. Photocopa by Colorlovers
    Import your own photos and design a colour palette with this great tool. See the next section for an example of how to use this tool.

    Design a colour palette from your photos with Photocopa - screen shot © Stephanie Boon, 2015

    Photocopa by Colorlovers

  3. Colorlovers
    A great community where you can create a palette from ‘basic’ (shown below), ‘advanced’ or ‘photo’ (see Photocopa) tools. Give your palette a name, save it, download it, share it with others in the community – or simply use someone else’s palette for inspiration:

    Design a digital colour palette with Colorlovers


  4. Adobe Kuler
    When first you open this palette designer you’ll see a colour wheel. Open the Colour Rule menu on the left of the screen and click ‘custom’ to experiment with your own schemes.  Use the sliders to change the tones, tints and shades; drag and drop to change the colour order. Save your scheme and explore 1000’s more:

    Screen shot from Adobe Kuler colour palette maker © Stephanie Boon, 2015

    Adobe Kuler

  5. Palette Builder
    From Play Crafts. Simply upload your photo and let Palette Builder design you a palette and match your fabrics to it (but don’t do that bit – it defeats the object of learning to colour match and develop your own skills!!!)

    Palette Builder by Play Crafts - screen shot © Stephanie Boon, 2015

    Palette Builder


Photocopa – turn your photo into a colour palette!

Photocopa is an easy digital tool for creating colour palettes from your own photos (or any you find on Flickr).  First of all you need to open an account, which is free, so no worries there!  Next you find Photocopa under the ‘Tools’ menu. After the canvas opens you click ‘photos’ and type in the address of your image (or find one using the Flickr option).  I’ve imported a scan of one of my own drawings:

Hedge. Pastel on paper. 2015 © Stephanie Boon, 2015.

‘Hedge’ © Stephanie Boon 2015


Screenshot from Photocopa, designing a colour palette from a photo, © Stephanie Boon, 2015

The ‘dashboard’ showing my imported drawing

Once you’ve imported your photo a colour sample is automatically loaded with a range of suggested palettes below it (‘bright, ‘muted’, etc – see the panel on the right in the image above).  But it doesn’t stop there!  You can easily design your own palette from the automatically loaded colours. Click on one of the ‘colour not set’ blocks directly under your photo, then click on one of the colours from the colour palettes on the right.

Screenshot from Photocopa, designing a colour palette from a photo, © Stephanie Boon, 2015

Designing my own colour palette from the colours on the right.

Carry on filling in the blocks until you have all the colours you want. Another way to do this is simply to click into a block and then on to the photo itself to select an exact colour.  Next use the ‘slide’ above the blocks to change the width of the blocks. This will give you an idea of how your palette will look using different proportions of the colours you’ve chosen (remember last week’s article discusses proportion in more detail). Click on the tiny square icon below the colour blocks to see your palette at a much larger size.  Feeling happy? Click ‘save’!  And if you love your palette you can share it with the community too.  Once you’ve created a palette try adding other colours – experiment and add a bit of ‘you’ to the mix!

The drawing I’ve shown above above was the main colour inspiration for  Deepening, my latest improv quilt. I developed the colour palette intuitively to try and reflect the mood of the drawing, but it’s interesting to see how it relates to the digital palettes I played with afterwards. There’s a bit too much purple in the digital ones for my liking!

'Deepening' Finished improv string quilt top. © Stephanie Boon, 2015

Deepening 2015


Digital palettes are a great way to experiment with different colour combinations, but there are a couple of points to remember. If you print off your palette to take to the fabric store, your printing ink may not be a good representation of what you see on your computer screen.  You might get a better result by taking along a smart phone and matching your colours to your palette on that instead.

Don’t rely on digital palettes to help you develop an intuitive approach to colour – you really need to look up from your screen now and again and look at the colour combinations around you!


This week’s challenge is to take a photo of something you see that inspires you, import it into a digital palette and develop two or three different schemes from it.  Try and create different moods with the same palette of colours.  It’s important to use one of your own photos because this will help you relate what you see on the screen to what caught your eye. If you have time, continue to develop your colour matching skills by trying to match fabrics from your stash/scrap bag to your digital palette.

Share your Palette!

If you have a go at the challenge leave a comment below and let us know how you got on (feel free to share a link to your own blog post). You can also share a photo on one of my social media pages, which are linked at the top right of the page. Sharing your experiments is a great way to get ideas and see how other quilters approach the same task, so don’t be shy.  Let us know your recommendations for your favourite colour palette builder too!

Finally, if you’ve enjoyed this post I’d love it if you’d share it with your friends by clicking the links below the post, thank you!


Other Articles in the Series

Graphic: How to design a great colour scheme without colour theory! Stephanie Boon 2015, (original colour wheel graphic by Sakurambo via Wikimedia, altered by Stephanie Boon, 2015)

  1. A Colour Scheme Without Colour Theory? – introduction
  2. Design a Monochrome Colour Scheme – using a paint card for inspiration!
  3. Selvedge: Design a Colour Scheme – how to create a palette using the fabric selvedge


Linking up with Lorna for Let’s Bee Social and Kelly for Needle and Thread Thursday. Check out my favourite link parties here:

Favourite Link Parties graphic © Stephanie Boon, 2015

I hope you’ve enjoyed this article and that you’ll join me again next Thursday. Next week we’ll explore ‘value’ in relation to colour. Until then…

Happy colouring!
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The 9 Patch Dilemma

Hello, hello, how are you this Sunday?  I’m feeling a bit more lively than I have done all week. I’ve spent most of it asleep or curled up under a quilt nursing a throbbing head cold, boooo!  It finally seems to be on the wane and I’m hopeful I can manage a few hours concentration this afternoon: I’ve got my 9 patch Summer Blues quilt back in the hoop.

Hand quilting a 9 patch quilt © Stephanie Boon, 2015

Hand quilting today

Your Summer what?!  Hmm, I confess it’s been a long time heading towards a finish. Some 7 years or so for such a simple 9 patch quilt.  Ahem. Too many things have been more exciting!

'Summer Blues' (9 patch bed quilt in progress) ©Stephanie Boon 2014

Summer Blues

It’s not that I’ve fallen out of love with the old 9 patch (even if it is badly stitched), it has a lot of good memories. It was meant to mark the start of a new beginning after I separated from Kim’s dad after 23 years. It reminds me of sitting out in the garden hand piecing the 9 patch blocks and the excitement of choosing a few wonderful Kaffe Fassett fat quarters every week at my local store. It reminds me of summers, blue skies and the sea.


But… But I’ve been procrastinating about the quilting and that procrastination has ground me to a halt.  Should I just quilt in the ditch along the sashing and then across the 9 patch blocks and leave it at that?  Should I spend more time and try my hand at some feathers or scrolls in the sashing (something I’ve never done before)? Should I just do whatever’s quickest and get it finished?

Last year I finally bought some backing and got the quilt sandwich made (you can see the backing here). Then I made a start on quilting the ditches. And then I got sidetracked. And now it’s back in the hoop and I’m procrastinating again! What is wrong with me people?!?! I have this evil little voice in my head and it’s telling me to just get on with it until I can get over to the fabric store to buy more wadding and a backing for one of the improv tops I made recently. But would it be better to just concentrate on it and get it done? What would you do? I need help! (Obviously!!)

Hand quilting a 9 patch quilt © Stephanie Boon, 2015

Monochrome sample in the background


Other than procrastinating about my 9 patch I really haven’t accomplished much at all this week.  I took a few more stitches on my monochrome sampler (in the background of the picture above) and ripped lots of them out, convinced they were terrible. I chastised myself mightily for the variation in stitch size and the wonky curves and considered ripping the entire thing apart and setting fire to it.  On reflection I think the heavy cold may have been affecting both my work and my thoughts about it!  I’m still not convinced I shouldn’t rip the whole lot out though!  But then again, it is just a sample, so really, what does it matter?

Linking up with Kathy for Slow Sunday Stitching.  I hope you’ll head on over with me – and leave all the procrastination behind!

Happy stitching
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Selvedge: Design a Colour Scheme

Graphic: How to design a great colour scheme without colour theory! Stephanie Boon 2015, (original colour wheel graphic by Sakurambo via Wikimedia, altered by Stephanie Boon, 2015)

Welcome to the 2nd article in the series to help you build colour confidence without worrying about colour theory!  This series is intended to help you develop a more intuitive practical approach to putting together a colour palette for your quilting and sewing projects. Last week we kicked off with a challenge to design a monochrome colour scheme using paint cards and this week we’ll be building on your colour-matching skills by looking at the fabric selvedge.  We’ll also be considering another aspect of designing a palette: proportion.

Using the Selvedge

Selvedge (or selvage if you’re in the US) – we’ve all seen those lovely coloured dots, some of us even collect them and make quilts from them (this one’s the best one I’ve seen). They’re actually the printer’s registration marks: if the selvedge dots line up as they should, then the pattern will be correctly matched during the printing process.

How to design a great colour scheme without colour theory (using fabric selvedge): © Stephanie Boon, 2015

Registration marks on the selvedge

But what’s interesting to us is the range of colours it shows:

It represents the colour palette of the fabric.

The reason all those gorgeous fabric collections match is because they share the same or similar colour palettes and you can check this by comparing the dots on the selvedge.

If you want to branch out from the ‘mix and match’ collections and want to create a unique colour palette that expresses your preferences and personality all you need to do is choose a favourite fabric and match your other fabrics with the coloured dots along the selvedge edge.

You’re likely to find a lot more dots than you expected, which gives you great scope for developing your own scheme. It can be tricky because the dots are quite small, so make sure you’re in good light when you’re making your selection.

Matching a range of fabrics to the selvedge dots. © Stephanie Boon, 2015

Matching a range of fabrics to the selvedge dots

Try matching up a couple of different schemes with the selvedge dots of your fabric and put them aside for the moment while we consider proportion.

What is Proportion?

Proportion is simply the relationship of one thing to another in relation to it’s size, quantity, etc.  In this case we need to look at the quantity of one colour compared to one or more other colours in the palette.  By changing the proportion of a colour in your palette you can alter the mood quite drastically.

One thing the selvedge dots don’t tell you is the proportion of colours in the fabric scheme, but making a estimate is a skill we can develop.


Take a look at your focal fabric and estimate the proportions of the colours along the selvedge edge in the design.

How to design a great colour scheme without colour theory (using fabric selvedge): © Stephanie Boon, 2015

Selvedge registration marks

Print by Lewis and Irene © Stephanie Boon, 2015

Print by Lewis and Irene

In this example colour no. 8 (a greyish purple) makes up most of the background. I would say there are fairly equal amounts of the pinks (2 and 4) and greens (3 and 7) and a bit less of the blue. Much less prominent, but no less significant are colours 1 (dark grey) and 5 (a warm brown).  Last but not least is the unprinted background fabric: white. The design uses a fair amount of it (perhaps as much as the green and pinks) and it serves to highlight and intensify the colours in the sprigs of flowers.

If I was to put it into numbers (which quite honestly I don’t, I think very visually) I’d estimate something along the lines of:

  1. 65% purple (8)
  2. 15% white/background
  3. 15% pinks and greens (2, 4, 3 and 7)
  4. 4% blue (6)
  5. 1% grey and brown (1 and 6)

It’s a very rough estimate, but gives you something to work with.

Having selected a range of prints from the colours along the selvedge of your favourite fabric and estimated the proportions of each one in the design, you now have a number of possibilities when it comes to designing your own colour palette.

The simplest option is to keep the proportions similar to those in your focal fabric. This will harmonise the mood of your focal fabric across your patchwork palette, like the example on the left below, which used fabrics from my first colour match shown above. The version on the right shows a second set of fabrics that were matched to the selvedge

Matching a range of fabrics to the selvedge dots. © Stephanie Boon, 2015

Left: estimating colour proportions similar to the focal fabric. Right: reducing the proportion of plain white, allowing the white of the tree print to show through instead.

You should be able to create a pleasing effect without too much trouble.  But what else can you do?

The Selvedge Challenge!

This is the fun part:

your challenge is to see what happens when you make a change to the original colour proportions!

Try two or three versions and see what you think of them. The samples in the image above play with the proportion of white in the palette. The strip on the right also has the addition of a darkish grey matched to dot number 1 and I took out the fabric matched to dot 5 because I felt the branches of the tree were a similar colour but less obtrusive.

In the image below I’ve added some neutrals to the palette too:

Matching a range of fabrics to the selvedge dots. © Stephanie Boon, 2015

Adding black and white (left) and a light neutral grey (right).

Taking it Further


As you can see, you can change the feel of your palette by adding in some neutrals, like we did last week in the monochrome challenge: black, white and various tones of grey (remember to use a ‘neutral grey’ on an artists’ colour card to get the right shade).  In the Lewis and Irene example, we know white looks great because it’s in the main print, but what happens if we add more? How would it alter the mood?  What about grey, perhaps it would be softer than white? And what would happen if we added in black? Or even all three?!

Thread Don't just think in terms of your fabrics: remember that your quilt will feature thread too!  In the example of the Lewis and Irene print, what would it be like if brown (say) didn't feature as a fabric, but did feature as a quilting thread? The colour and line would echo the fine lines of the drawing on the print, whereas if it had been a 'block' of brown fabric it might have more dominance than you'd like.

Can you see how the colours and neutrals harmonise with the main print?


Don’t just think in terms of your fabrics: remember that your quilt will feature thread too!  In the example of the Lewis and Irene print, what would it be like if the brown or dark grey (say) didn’t feature as a fabric, but did feature as a quilting thread? The colour and line would echo the fine lines of the drawing on the print, whereas a ‘block’ of brown or grey fabric might have more dominance than you’d like.

I’ve used up my colour matched samples to make a small improv block and I’ve added in more strips of the focal fabric to give it more prominence. I’m really happy with the way all the colours harmonise and I’m thinking about what effect a black or dark grey thread would have… I think the lines would add definition.  In fact I think I might even be tempted to quilt black lines on the right hand side to balance the black/white fabric on the left and use a light neutral grey to quilt the left hand side! What would you do?

Matching a range of fabrics to the selvedge dots. © Stephanie Boon, 2015

A block created with my samples matched to the selvedge.

I really hope you’ve enjoyed this post and it would be awesome if you’re inspired to have a go at colour matching to a selvedge, and thinking about proportion too. If you’re proud of your results why not share them here with us? (Feel free to share even if you’re not proud and have some questions!) I’d love to see what you come up with. You can leave a link to a post on your own blog in the comments below, or share a photograph on one of the Dawn Chorus Studio social media pages (links on the right at the top of the page).


Other Posts in the Series

  1. Design a colour Scheme Without Colour Theory?: an introduction to the series
  2. Design a Monochrome Colour Scheme: take the challenge! It sounds simple, but is it?

I’d like to apologise for the late posting of this article – as I mentioned on Facebook I’ve had a stinking head cold all week and have spent most of it asleep or wrapped up under a quilt feeling sorry for myself (woe is me and all that!). Next week’s post is almost ready and will definitely be good to go on Thursday, so I hope you’ll join me then when we’ll have a look at ways of using digital colour palettes for inspiration!

Linking up with the lovely Lorna for Let’s Bee Social (if I’m quick!), AmandaJean for Finish it Up Friday (finishing up a tutorial counts, right?! Hope so, or I’m in trouble!) and with Kelly for Needle and Thread Thursday.

Have a great weekend lovely peeps and see you soon :)

Happy stitching
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Mini quilt mini stitches

What it week it’s been! No more hand quilting on Norfolk Bricks this weekend: I’m celebrating a finish! And my new series on colour seems to have got off to a good start too with some very positive comments (thank you!).

Last night I did something a bit unusual and helped a friend out at a wedding – he’s a DJ and his usual glamorous assistant was off celebrating her birthday!   After all the excitement I was definitely craving a slow stitch day…but what to sew?

My regular Sunday stitching has been hand piecing my Ocean Waves blocks for a while now, but I need to get some more white fabric before I can make any more headway. I could start hand quilting one of my latest improv quilts? ( ‘Deepening‘ is next on my list, I think…) Nope, need wadding and backing fabric for that too. I have another fairly traditional hand quilting project on the go still, but really didn’t feel like doing that one today (I’ve been looking at it way too long).

So today’s Slow Sunday Stitching was simply to finish up the monochrome mini quilt sample I made last week for my article on designing a monochrome colour scheme without a colour theory.

Hand quilting an improv monochrome mini quilt. © Stephanie Boon, 2015

Hand quilting an improv monochrome mini quilt

It would be pretty quick to get it stitched up in a perle cotton and big stitch, but I’ve had enough of that for a while! It’s only a mini quilt (about 12″ square) so mini stitches and quilting cotton it is.

Hand quilting a monochrome improv mini quilt. © Stephanie Boon, 2015

Mini stitches for a mini quilt

No hoop; no thread basting; simple plain black backing; wobbly stitches and a desire to ‘just get it done and enjoy it’. The perfect antidote to the end of a busy week.  Hope you’re weekend has been fun – can you believe it’s almost gone already?!

Linking up with the lovely Kathy for Slow Sunday Stitching.


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Norfolk Bricks Lap Quilt Finished!

Boy does it feel good to say that this lap quilt is finished!  And I love it! The colours and texture make my heart sing. It’s just so tactile and snuggly, let me show you!

Lap Quilt. Hand quilted 'Norfolk Bricks' © Stephanie Boon, 2015

Norfolk Bricks

I’ve been waiting for some decent weather to get some pictures that would do it justice, but the weather’s had other ideas! It’s been terrible: pouring or incredibly dull and grey. Today was the day: I spotted a few breaks in the cloud and headed out for a walk near home.

Grey skies over hay bales. © Stephanie Boon, 2015

A break in the clouds this afternoon

Norfolk Bricks. Lap quilt hanging on a farm gate. © Stephanie Boon, 2015

The front of the quilt

Norfolk Bricks. Lap quilt hanging over a farm gate. © Stephanie Boon, 2015

I love the pieced back too!

Wrapped in a lap quilt on a wooded track. © Stephanie Boon, 2015

Taking cover from the rain!

Looking at it now I think of this lap quilt like a colourful beacon that kept me occupied and lifted my spirits through some horrible times earlier this year. Colour and hand quilting really do nourish the soul.

Lap Quilt: Norfolk Bricks, hanging on a wooden gate. © Stephanie Boon, 2015

The colours glow under dark clouds

Lap Quilt binding ready to be hand sewn down. © Stephanie Boon, 2015

Detail of the hand quilting before the binding was stitched down.

Norfolk Bricks Lap Quilt: The Details

  • Size: 55.5″ x 60.5″ (141cm x 154cm)
  • 100% cotton (including fabrics, threads and wadding/batting)
  • Machine pieced
  • Hand quilted in ‘big stitch’ with Presencia Perle variegated thread no.8, colour 9100
  • Begun in February 2015, finished September 2015
  • Fabrics:
    Many from designers for Free Spirit including:

    • Denyse Schmidt
    • Tula Pink
    • Dena Fishbein
    • Anna Maria Horner
    • Valori Wells
    • Jenean Morrison
    • Nel Whatmore
    • Kaffe Fassett

Other Posts About the Making of this Quilt

Here is a selection of posts from the last few months to give you a flavour of what went in to making this lap quilt:

Hand embroidered label for lap quilt 'Norfolk Bricks' © Stephanie Boon, 2015

Hand Embroidered label

That just about wraps up this quilt I think and marks the second finish this year! (August Rain being the first.) I’m off for a celebratory snuggle and mug of coffee under my new lap quilt, woohoo!

Linking up with Crazy Mom Quilts for Finish it up Friday and Confessions of a Fabric Addict for Can I get a Whoop Whoop?!

Have a great weekend everyone!
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Design a monochrome colour scheme

Graphic: How to design a great colour scheme without colour theory! Stephanie Boon 2015, (original colour wheel graphic by Sakurambo via Wikimedia, altered by Stephanie Boon, 2015)

Welcome to the first in a new series:

How to Design a Great Colour Scheme Without Colour Theory!

This series (every Thursday) will help you develop an intuitive approach to putting together a colour scheme for your quilting projects. We’ll start off with some simple ideas that will help build your colour confidence and then build on those over the coming . . . → CONTINUE READING: Design a monochrome colour scheme

The quilt binding is on!

Lap Quilt binding ready to be hand sewn down. © Stephanie Boon, 2015

And you know what that means! Yes, Norfolk Bricks will be finished after just a few of hours hand stitching it down and I couldn’t be happier!

Ready to roll!

Hand sewing a quilt binding down is one of the last pleasures of making a quilt. It’s almost the exact opposite of hand quilting with ‘big stitch’ and thick . . . → CONTINUE READING: The quilt binding is on!

Hi, I'm Stephie!

I'm so glad you've alighted at my creative space! I'm an artist and pattern designer and if you're a quilter that loves colour I hope you'll love it here too.

Be inspired, find helpful things, join the conversation! x

New Series!

Graphic: How to design a great colour scheme without colour theory! Stephanie Boon 2015, (original colour wheel graphic by Sakurambo via Wikimedia, altered by Stephanie Boon, 2015)

DCS Favourite Posts!

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