This blog displays my fine handiwork.
I love to make quilts. Large and small; for beds and walls. I especially like bright colors and geometrics. Please look through my showcase. Tell me what you think; you can leave a comment below a particular quilt, send an email (email@example.com),and/or sign my Guestbook (on the right side as you scroll down). And if you are interested in having a quilt made for you, drop me a line and we'll see what we can work out.
I made it for a friend who has a friend whose children (and the granddaughter recipient) are temporarily stationed in Australia. So they wanted something with an Australian theme, in pinks and pastels.
Do you know the names of all the animals?
The pattern is from "A Quilter's Ark", one of my favorite pattern books. I have made a number of quilts from here, including two Noah's Arks (here and here).
This one has pink stiples around the animals to make them pop, and then gray and lavender ditch stitching around the inner and outer borders and binding respectively.
And 15 years ago, I made this same quilt for the husband of a co-worker, using North American Animals!
Same pattern (quilt #17!), different animals; completely different feel. That's one of the joys of quilting: the unlimited range of fabric patterns and colors.
Here is still another commission from a traveling companion from our Morocco trip last December. This one is for Kaylee, her 6 year old granddaughter, who was described to me as "half Caucasian, half Chinese. Her middle name (Gi-Mei) means rose season in Mandarin". So my friend wanted something with pinks and flowers to fit a twin bed.
I presented her some options and we settled on a wonky pinwheel pattern that I found in a book called "Cut-Loose Quilts", by Jan Mullen. I have made several patterns from this book, but when I started to scope out this one, the directions did not make sense. So I sent an email to Jan (who lives in Australia), and, believe it or not, she responded to me the same day. She said that "...this is arguably the most difficult [pattern] in the book", so that made me feel a little better. She then explained in detail just how to do it. The main idea of her book is to just cut and piece without making exact measurements. Thus, the pinwheels are asymmetric! But, out of many disparate pieces comes harmony.
Next, the fabric. After deciding that the "spokes" of each pinwheel would be the flowers, and the "background" would be the pinks, I figured that I would be able to use a lot of fabrics from my stash. Well....I was able to use some, but, with 135 blocks to make, not nearly enough. My goal was to make sure that no flower or pink in one block was touching another block with either of the same fabrics. Since most blocks are surrounded by 8 others, this became quite a challenge! However, I am 99 and 44/100% sure that I achieved this goal. (For those of you of a certain age who get that reference, kudos! For everyone else, click here). If anyone can find a place where this isn't true, please comment with details. And, for all you eagle eyes out there, look for one block with a flower fabric used in no other block!
So we went to Quilter's Heaven and was able to get a nice variety of pinks and flowers. But, it was still not enough to satisfy the "no repeats" requirement I had imposed. As we were looking through all the choices, we came upon a cute fabric with just the right sized butterflies. Of course! Makes perfect sense!! With all of those flowers, there have to be some butterflies in the area! So there are several butterfly spokes scattered throughout the top. We also got a lovely pastel dots fabric for the back. And one of the fabrics we found, yellow with small roses, was perfect for the outer border as well!
Our next stop was to Second City Quilts, where, with the help of co-owner Gabi, we were able to get enough different flowers and pinks to finally make it work. All told, there are probably at least 30 different fabrics in the quilt.
Yes...it is large (but still twin bed size); it took two of my assistants to hold it up for the picture! If you zoom in you can see that the spokes and backgrounds on each block are different sizes, so there is no matching to do when assembling the rows. Since it is a large quilt, and I do my own machine quilting, I decided to make it in sections. Notice that the body is 9 blocks by 15. So I choose to do three sections of 9 x 5 blocks each. So I first pieced each section (block by block and joining into rows), including both the inner and outer borders. Then each section was sandwiched (with extra batting and backing on the edges to be joined), and quilted. Then the 3 sections were stitched together. For a full explanation of how to do this, click here .
How to quilt it? Since the blocks are wonky, some options were naturally eliminated. I first thought I would do stipling in the background sections, but since they are so small (each block is only 6" x 6"), it seemed like there was not enough area to work with. So I finally decided to just ditch an "X" on the two main axes of each block using a bright pink thread. This makes a wonky pattern on the back.
Here is a close-up showing the wonky blocks, the borders (note the roses!), and the monogram:
My neighbor commissioned me to make a wall hanging for his downtown Chicago office. He wanted something "colorful but not wild, and not 3D". I did some web surfing and found a dozen or so patterns for his review. He picked one called "Through the Lattice". I have made over 140 quilts, and would you believe that this one and my previous one (Mandeville Kaleidoscope) are the only two that have used charm packs!?!?!?! What are the odds?
So, like the previous one, the basis of this quilt is a pack of pre-cut fabrics. But whereas Mandeville's were shades of all solids, this one features a really unique and fascinating set of fabs.
There are 7 rows of 9 columns each, a total of 63 blocks. Overall, they make a beautiful spectrum, going from dark on the left to light on the right. But wait! There's more!!!
If you zoom in and look closely, you will see that the 7 fabrics in each column are all the same pattern! That is, while the colors change, the pattern of the fabric is the same. Moving across, you can see that each row has the same hue; only the value changes as you go left to right. And the final, really amazing thing, is that each and every square has highlights of gold! That's where the "shimmer" comes from!!
So it was really a godsend that they all came pre-selected.....can you imagine trying to find and organize something like this on your own? (ALERT: that was a rhetorical question. It would obviously be extremely hard to do!).
The actual block piecing process was also quite similar to the one used in Mandeville. In this one, I had to take each charm piece and cut it diagonally. For half the blocks I then sewed the pieces back together with a black strip in between. Then (gulp!), I cut that sewn set on the other diagonal, and re-sewed it together with a white strip. The other half of the blocks was done in the same way, but reversing when the black and white strips were used. So when arranged, the black strips go seamlessly (quilting humor!) from right to left, and the white ones do the same from left to right.
So with all these colors, how to quilt it? Initially I thought I would do stipling in the colored parts of the blocks with gold thread. This would highlight / reinforce the gold speckles throughout. But doing so would mean that the colored parts were sewed "down" and the diagonals would be "puffed up". I definitely did not want to add any emphasis to those diagonals. So, like many times before, I decided to use clear monofilament thread. I ditched along the diagonal seams. Strictly functional (and basically invisible) on the front.
My daughter Emily just moved into a new house on Mandeville Street (in New Orleans), a few blocks from where she was sharing a rental for the last several years. Here is a photo of the outside:
A mixture of bright colors is a common feature of many NOLA houses, and hers is no different (FYI: the door color is Bermuda Onion!). And it's hard to see, but that is a Cubs welcome mat!
So naturally she asked me to make her a quilt with lots of colors!
She wanted a comforter for her full-sized bed. As usual, we went back and forth looking at a lot of patterns, and finally settled on one called "Percolate". It features 26 different colors of Kona cottons (some in the layer cake package come with one square of each, others with two), made into half-square triangles, and then sliced and diced with silver strips.
Here is how each block is made:
First, the pre-cut colored square is sewed RST to the Snow background square.
Then, it is cut on the diagonal, opened, and pressed:
So each color square makes two blocks.
Next, 3 cuts are made. Each block then has a 1", a 1.5" and a 2.5" strip of silver inserted. So even though there is a "pattern", each block (and each quilt) is unique, since the placement of these strips is entirely up to the person making the quilt! Some of the blocks are cut parallel to the diagonally-sewn seam; others are perpendicular. Sometimes the strips are all on one half of the block; others are on both sides.
Here is how this one looks before the strips are sewn in....
...and then trimmed to 9.25" x 9.25":
In all, there are 90 blocks (9 across by 10 down). The arrangement of the strips in the blocks forms a large off-centered multi-colored fractured diamond, looking just like a kaleidoscope!
As I mentioned above, the colored squares come pre-cut in a charm pack. That means that there are precisely the pieces of fabric needed for the blocks. Anyone who has ever made a quilt knows that mistakes are made. Whether you measure wrong, or cut a piece too short, or the straight-edge or rotary cutter slips, something always goes wrong. That's one reason why we buy extra fabric! But with this one, there was no margin for error. One wrong move would have meant disaster; there was no Plan B. So I had to go to another level of concentration and diligence. Luckily, I made all 312 cuts cleanly and correctly.
Since it is a comforter, and we all know how hot NOLA can get, my BQF Donna suggested that I use wool batting instead of the usual poly-cotton. This makes it fluffier and lighter. The only downside is that it makes it a little harder to quilt. I wanted to do minimal quilting to not counteract this fluffiness, so I ditch stitched on each side of the silver strips. Thus the quilting reinforces the overall diamond shape.
Here is the finished product, held on the front porch by Emily and her mom:
See the diamond? The center is on the left, below the mid-point.
This is the second quilt I've made for our friends Pam and Steve....for their second grandchild. The first was a boy, Will. This time it was a girl: Anna!
So we wanted to make something sweet and girlie...and guess what?! We found a darling collection called "Sweet Baby Girl" from Riley Blake. Dots and flowers and frogs and monkeys and....an alphabet!
Then we found a pattern called "Rumble In The Jungle". We modified it to give more space to the alphabet fabric and to use the set of fabrics we had selected.
Here it is:
I did stiple quilting in white, since most of the background color is white. Did not quilt on the green monkey and frog fabrics, nor on the sashing, so they all pop out.
Then my design consultant said that "it must have a lace trim". So we hunted for just the right one and finally found one that had the exact same color orange woven in!!! Serendipity. So that was machine-sewn right over the binding.
A monogram patch in the corner and it's ready to go.
The pattern had an error that, luckily, I found early in construction. It did not require the purchase of any additional fabric and was easily corrected. I also made some other mods to the pattern.
For the quilting, I wanted to make the trees and animals pop, so I did shadow stiple quilting to reinforce the tree edges, and then just random stipling around each animal. All was done in white thread. Then I did a gray ditch around the inner border.
The daughter (and sister) of our Morocco travel mates is expecting twins, so they asked me to make TWO quilts! The specifications were minimal: some pastels and animal prints. So I looked for a pattern that would allow me to feature both. Found this one from Riley Blake, which features large on-point blocks. Then I found a great theme fabric: Mini Monkeys in Primary. That was paired with four colors (plus white-on-white) from the Small Spots collection.
I used the same color of one of the small squares in One quilt as the setting triangles in the Too quilt (and vice versa).
While the pattern is the same in both, I chose to quilt them differently. The first was sort of shadow-quilted on the white-dotted fabric, going through the 8 small squares in the pieced blocks. The same pattern was repeated in the monkey squares. It was replicated in the green setting triangles. All were done with matching thread colors.
The second was quilted by completely avoiding the white fabric and just quilting horizontal and vertical lines through the small squares (and small monkey squares), and right through the large monkey squares. Again, this pattern was continued into the setting triangles on all four sides.
I hope the twin "monkeys" love these quilts for many years!
This one is for Henry, who is the brother of Sebastian (see Sebastian's Ark).
This time the request was for a sports-themed quilt, specifically one with the Chicago teams. So I hunted around on-line and found that Jo-Anns had fabrics featuring the Cubs, Sox, Bulls, Bears, and Blackhawks. I also found a cute navy-blue sports-equipment pattern for the back.
I then created a design which consisted of 9 blocks, 3 x 3. Five of the blocks were just 9" x 9" squares, one for each team. The other 4 blocks were log cabins, made up of a fussy-cut center square from a team, and "logs" of the other teams surrounding it. Then, there was a border of 3" x 3" squares of the 5 teams.
First, I cut out the 5 big squares, then I cut the 3x3's for the border. Next, I made the first log cabin block. Pin it to the wall....take a good look....UGH! It was horrible! The colors of the various teams (white and black Sox, blue and red Cubs, black and orange Bears, black and red Hawks, red and white Bulls) were so strong and so incompatible, that the whole thing was a disaster.
OK....maybe if I put some sashing in between the blocks it would break up the in-your-face colors and soften it a bit. But what color to use that I didn't already have? Either green or yellow! I found a nice yellow with tiny white dots in my stash. Cut a few strips....pinned them up.....no improvement.
Time to reassess. I sought counsel from a good quilting buddy and also from my live-in advisor. The end result is that I went back to square one. Since I needed to use the team fabrics, and their colors are so robust, it was obvious that a different approach was required. So I did a complete 180! I decided to put horizontal strips of the fabrics on the back, and integrate the sports-equipment fabric on the front! I found the same fabric in a lighter shade, and reused the pattern from "Play Time", but stuck with the 3x3 arrangement. I needed a third fabric for the border and sashing, and found the perfect multi-colored dots at Quilter's Heaven.
All ready to start over and.....wait! It suddenly dawned on me that there is a sixth pro Chicago team: The Fire (yes....soccer!). Since I had to go back to JoAnn's to get more fabs from the original teams (not enough left over to do what I wanted), it was no extra effort to get the Fire fabric (which they of course had!). I adjusted the dimensions of the front a little bit to allow for the 6th fabric on the back, and it worked perfectly! I was able to get a full repeat (or more) of each team. And by arranging it this way, the colors actually balance and work! I think the front came out very nice too. Add the "Henry" monogram and, finally, here it is!
Another quilt in the "Mari's Family" series! This one is for Mateo, brother of previous quilt recipients Lucy and Max.
Mari asked for "cars and trucks"....I've done several with that theme before. So: design the pattern first, or pick the fabs first? Hmmmm.......
This time I went with "fabs first". Found a great line called "Ready, Set, Go 2". So many cute patterns....which to get? Based on the choices (colors and patterns), I put together a 9-patch design using 3 of the fabrics, and purchased a fourth one for the back.
Because the 9-patches from the first two fabrics were a little on the dark side, I used yellow fabric (from my stash) for the sashing. From the third, I had to fussy cut the horizontal strips and the borders. So the maximum height (about 2 1/4") of those was dictated by the pattern. That is why I made the yellow sashes so thin; I didn't want them to over power the main fabric.
The back uses many of the same cars and trucks, plus bicycles; that's how the quilt got its name!
You know how excited I get about op-art and 3D images, and turning them into quilts. So this one was very intriguing. After much digging, I determined that it was the work of Victor Vasarely, a major force in 20th century op-art. You can read more about him and see other of his pieces by clicking here or here. However, I could not find anything specifically about this piece! It is not on any of the Vasarely sites...I do not even know its title. I tried contacting the Museo Vasarely en Hungría, but they never replied to my email.
Looking at this piece, you can see that it is a variation on the standard tumbling blocks pattern. The main differences are a) some of the blocks are rectangles rather than squares (actually, the tumbling block "squares" are really hexagons!), and b) there are black filler pieces in between each "block". These fillers separate the blocks and add extra depth.
So...how to turn this into a quilt? Actually, the design was rather easy! I printed it, drew horizontal and vertical lines through all the vertices, and got a very well-defined grid. It was easy to transpose this grid, including the diagonals, into Excel and then use its tools to shade appropriately. To get the dimensions, I started with 1/2" x 1/2" as the size of the center square. That meant the intersecting middle row and column were also 1/2" wide. From there I worked the dimensions until I got to the last row and column which are both 3" in size. This resulted in 37 columns and 31 rows, and a finished size of 43" x 58"! Certainly a large work (no idea how big the original is), but I felt this size was necessary to create the depth required for the best effect.
Here is my finished piece:
I chose to use 4 shades of purple (plus black) rather than the blue of the original (although some of the shades look similar).
So the pattern, plus the judicious use of light, medium, and dark colors seems to pull the viewer into the center of a distant pit. You feel like you are falling inward.
On the other hand, if you look at the outer edges, they almost appear as a street view of apartment balconies and buildings. Or are they prisms fracturing the light into various shades? (Hence the name: Purple Prisms.) But perhaps you see something else altogether.
Construction proved to be much more of a challenge than the design phase. This involved cutting and piecing many half-square triangle and half-rectangle triangle pieces. Half-squares are easy; it was the half-rectangles that gave me fits! For certain of the smaller finished dimensions you can not follow the standard tutorial instructions. Why? Because the seam allowance is such a large part of the actual piece that you have to account for it when putting the two halves of the rectangle together. I am not exactly sure at what point this happens. If anyone is interested in solving this mystery I have a full write-up available and would love to hear from you! Unfortunately, I did not realize this issue existed until I had finished several columns! Hey! The points aren't meeting up correctly! Rip...rip....rip...rip!!
One good aspect of the construction is this: when you make the half-square and half-rectangle pieces, you get 2-for-1! That is, cutting, 2 black pieces and 2 purple pieces, then slicing, dicing, and sewing back together, results in 4 finished pieces! So, as I cut and pieced one column, the corresponding column on the other side of the center was simultaneously being built! Made it seem like a faster process.
The other nice feature of this pattern is that every other column is made up of simple square or rectangular pieces. That is, the "halfsies" are in the even numbered columns and took a lot of time to do, while the even numbered columns are simple fabric pieces that went up quickly.
To quilt it, I used clear monofilament thread, and ditched it on both sides of the even numbered rows. You can see that the seams on these rows go uninterrupted from edge to edge, while the seams in the odd rows are broken up by some of the vertical solid blocks. The "wow" is in the pattern....why distract with any kind of noticeable quilting?
When the body was done, it was time for the border. Like many of my op-art pieces I wanted that extra POP!, so I figured a black border would be best. As I played with the fabric to see what size to make it, I was not satisfied. Since there are black pieces on all four edges, it looked like they were bleeding into the border. Hmmmm..... I consulted with a quilting friend and she suggested no border at all! She felt that anything would present too much of a frame that would detract from the illusion. Perhaps Vasarely felt the same way as his op-art pieces all appear to be unframed!
As with some of my more recent pieces, I knew I wanted to mount this on stretcher bars. Having it just hang loosely from a sleeve would lessen the impact; it needs to be taut. So I still had to add fabric to allow the piece to be mounted. I sewed on 2" of black fabric to facilitate the wrapping around the frame. However, it is only seen from the sides, not on the front, so it is completely functional and not part of the finished work.
Note: The piece is mounted on the rectangular frame; the apparent curve in the photo above is just camera distortion.
And there you go.
One more treat: to demonstrate how the piece actually came together, I created a slide show of photos after each two columns were added. It's a pretty cool thing! If you have two more minutes, click on the link to see how it went: Construction Slideshow
Made for the new great-grandchild of my mother-in-law's friend, this colorful and adorable quilt is sure to be a long-time treasured companion.
...and the back:
It is from a free pattern! The large figures are fussy cut from a panel. The rest of the setting pieces, sashes and borders, and binding are all from the associated coordinated fabrics.
The quilting is free-form stiple. I used matching threads in most of the areas, and transparent monofilament in the rest.
Hard to believe I've made over 130 quilts and this is the first time the Sesame Street characters have made an appearance. So I would like to dedicate this quilt to Sonia Manzano, who played Maria, and just retired after 44 years of being a positive role model for our nation's children.
I like playing with black and white patterns, especially when they can be considered Op Art. Two of my better examples of this are Labyrinth and Stand Back!! This quilt does not quite have the same "pop" factor, but it still makes the eye travel back and forth across the canvas.
To reinforce the flow of this original piece, I scoured the internet for just the right fabrics. If you look very closely, you will see that the pattern on the black fabric is actually made up of very tiny black and white lines (click here to see a close-up swatch) that are angled at 45°. The white fabric has very subtle white-on-white lines (click to see), which I arranged so that the stripes are all vertical. Thus, the fabrics themselves reinforce the movement from bottom left to top right (or is it top right to bottom left?).
All of the vertical sections are solid (i.e., one-piece) strips.
I pressed all the seams open because I did not want to create ditches, so I had to be extra precise when matching up the seams. This resulted in some seams being resewed two or three times to get them to line up perfectly. Even so, the seam gnomes came during the night and offset some of them just a wee bit. So it is better to view the quilt from several feet away.
The quilt measures 42 x 37 and is mounted on stretcher bars.
This is the lucky 13th baby quilt I have made for my friend Mari, and the third time I have used butterflies as the theme. See Butterflies and Butterflies For Hannah for the others.
For this quilt, I started with a panel which had 2 butterflies that were surrounded by the flower pattern seen on the border. The panel itself (24" x 44") didn't work for the design I had in mind, so I bought two of them and fussy-cut the butterflies to 12" x 12". Then I flipped the butterflies on the right side so that they were symmetrical.
The green and white mini-butterfly border fabrics are the same ones I used in a previous quilt for Mari, Dominique's Garden.
What to do for the quilting? The butterflies are already so colorful that I didn't want to detract from them. I thought about using variegated thread, but just couldn't find a way to make it work. Then I noticed the thin white border surrounding each butterfly and their distinctive wing patterns. Yes!!! So I used white thread to free-motion outline each of these. Invisible and gives dimensionality to the butterflies. I then did use rainbow variegated thread to ditch around the 4 central squares and then in each border ditch.
The final touch was the label for baby Sofia, new sister to Jaxson .
About a year ago I posted my Bulging Checkerboard quilt (Stand Back!), and got a lovely email about it from a quilter in Portland, Oregon named Margaret Ellis. She also wanted to make that pattern, but in the same size as I did (51 x 51) vs the original 102 x 102 size of the pattern.
Since that time we have corresponded regularly and shared photos and ideas about a number of projects. And, yes....she did make the Checkerboard quilt too.
I have had a pattern in my queue for a long time, "Labyrinth Walk", by The Guilty Quilters. This pattern also makes a huge quilt: 84 x 84! Maybe it's just me, but this is waaaayyyy to big to put on a wall (unless you had a specific large,
prominent space in mind), and I think the whole effect / impact would be
lost if it was used as a bedspread. Why do these creators make these quilts so big?
I had been able to scale down the Checkerboard to one-fourth size, but for some reason was having trouble doing this one. Margaret reminded me of a fun math fact: halve the dimension and you get 1/4 the size! So she was kind enough to put together a complete set of cutting instructions at the new size of 45 x 45 and sent them to me in December (along with a picture of her version of Labyrinth). The reason it is not exactly a one-quarter scale is that the white strips in the original are cut to 1.25" wide. There is no way to scale those in half and still have room left for a 1/4" seam allowance on both sides. So she just made those 1", which still worked out fine.
I put these new instructions in my "stack of things to be done" because a) we were going away for a week at the end of the month, and b) I was working on another quilt. Then, just after the first of the year, I saw a Facebook posting for an Art Auction at Homer Plessy School in New Orleans. Loyal readers know that my daughter lives in Nola, and one of her good friends is on the board of this school. YES! I will make Labyrinth as it is a perfect candidate for an auction. But the art piece submission deadline was March 15th! Suddenly, I had to get very busy working on this. Luckily, we have had a string of single-digit and below-zero temp days, and my wife had an out-of-town weekend conference, so I had plenty of time to work on making this quilt.
Here is my finished piece:
As in some other 3D quilts, the farther back you stand, the better the dimensionality.
And, like a lot of quilts, this looks so much harder to make than it actually is! The fabrics are white, light gray, dark gray, and black batiks. There are really just two different blocks and they are arranged in 3 x 3 rows: the "2 concentric squares" block (5 of those), and the "maze" block (4 of those). Each block is about 12" square. It's all in the design, cutting and piecing. The former block is made up of 30 pieces for each, while the latter needs 64!
The two gray borders on the right side and bottom, plus the diagonal black corners, reinforce the apparent depth of the body.
As usual, I did minimal quilting: white thread in the ditch of all the white strips, plus grays and black ditching along the border edges as necessary.
Let me know if you can find your way out of the maze!
One of my mother-in-law's dear friends has just become a great-grandmother for the first time! She has been a long-time admirer of my quilts (at my MIL's apartment), so when she learned of the coming event she jumped at the chance to have one made for the new baby. She looked at my blog posts for some inspiration and decided that she wanted a Noah's Ark quilt. I have already made two of these (Sebastian's Ark and the original Noah's Ark), both of which used / were based on patterns found in "A
Quilter's Ark", by Margaret Rolfe. I don't like to do the same pattern more than once, so each of these is a little different: different arrangement of the blocks, the size of the blocks, and the animals, etc.
Once I agreed to do this pattern, she informed me that her grand-daughter (the mom-to-be) has always liked armadillos (!) and could I include one in the quilt!!! Hmmmm..... If you take the Noah story literally (and who doesn't?), then here had to be armadillos on the boat. Guess they just don't have as good p.r. as the elephants, zebras, giraffes, and doves. Well, even so, my pattern book does not include a paper-pieced pattern for an armadillo. But a search of the interwebs turned one up! In previous Ark quilts the blocks were 5x5 or 6x6. This pattern was 5x8. I figured that reducing it would be problematic (lots of little pieces), so instead, I picked the other animals and reconfigured the blocks to varying sizes so that the 5x8 would work. Of course, this meant that I had to actually enlarge the other 11 animal blocks! The animals are not to scale, but what the heck. I also had to slightly adjust the size of the Ark block.
Since I was adding this "odd" animal, I also decided to include a panda because it was so much fun and so cute in the Best Friends quilt (yes!, there were pandas on the Ark as well!). And, I put in a sheep; hadn't done one before and it just seemed to fit in well. The other 10 animals have made previous appearances (and, yes, I am running out of the zebra and tiger fabs!).
The back fabric and binding is a really cute Noah's Ark pattern. Click here to see the back (and more pix of all my Baby quilts).