The Forest Abstractions Quilt Along: Final Suprise Block!

It's here! The final installment of the companion blocks to the Forest Abstractions quilt. Thank you for your patience and commitment to the Forest Abstractions Quilt along.

Introducing the Snail!

The Snail joins the worthy ranks of the Field Mouse, Trillium, Wild Carrot, Hummingbird, and Pine Cone.

The color palette used for the Snail (shown above) in order from the top:

  • Michael Miller Cotton Couture Lagoon
  • Michael Miller Cotton Couture  Stone
  • Brambleberry Ridge Knots & Loops in Coral
  • Michael Miller Cotton Couture Luna
  • Michael Miller Cotton Couture Blossom
  • Brambleberry Ridge Shimmer Reflection in Mint
  • Brambleberry Ridge Rosemilk in Sorbet

The color palette used for the Pinecone (shown above) in order from the top:

  • Michael Miller Cotton Couture Taupe
  • Michael Miller Cotton Couture  Shell
  • Brambleberry Ridge Knots & Loops in Fog
  • Michael Miller Cotton Couture Blossom

Each of these free companion blocks make up an entire column that can be added onto your Forest Abstractions Quilt.

The final suggested layout for the expanded Forest Abstractions Quilt. Finished size 56" x 60". 

The final suggested layout for the expanded Forest Abstractions Quilt. Finished size 56" x 60". 

This block is FREE in my shop. Download The Snail here.



Foundation Paper Piecing - Tricky Angle Tutorial

Perhaps this isn't your first dip in the foundation paper piecing pond, you're more than a beginner, but sometimes a tough angle looms up and you put it off because it's a little intimidating. Or maybe you're using scraps of some precious hoarded fabric and you need to make each little piece fit. This technique utilizes smaller pieces of fabric, so the angles will need to be just so. This method will also come in handy when fussy cutting small designs and pieces for your foundation paper piecing. If you're unsure about foundation paper piecing you can check out a beginner course here, using my Forest Abstractions - The Bunny pattern.

You can see piece A4 has an interesting angled shape and I have the perfect fabric to fit there.

Pieces A1, A2, and A3 are already pieced into place.

I want the Catelope to fit right in the center of the A4 diamond shape with the Catelope antlers positioned into the wider section of A4.

To prepare my templates for piecing this angle perfectly, I first trim the seam allowances of the previously sewn fabric from along the seam I want to sew next. In this case that seam is the line between the A4 section and the previously pieced A1 & A3.

With RIGHT SIDES DOWN against the cutting mat, use any thin cardboard along the seam line to fold a crease in the paper. I use a paint swatch.

Fold the paper back along the line to get a good crease.

Trim 1/4" past the fold in the paper, creating your seam allowance.

I use an Add-A-Quarter ruler to quickly get a perfect 1/4" every time, but any quilting ruler with 1/4" markings will do.

Take a minute to think about this. Trimming the seam allowance in advance shows you exactly where your next piece will need to line up and prepares you to get that A4 piece perfectly fit for sewing. 

I have moved the desired A4 fabric under the paper. The fabric is RIGHT SIDE DOWN towards the cutting mat. This will be the fabric's final home. It fits here and the right side is facing down like all its neighbors. If you are worried about the fabric shifting, this is a good time to pin your A4 fabric to the paper. You will be removing the pin prior to sewing.

Hold the A4 fabric and foundation paper firmly in place and fold the rest of the foundation back again along the seam line.

Repeat the process of trimming 1/4" past the fold in the paper.

The seam allowance you created in the previous section of steps now perfectly matches the seam allowance you just cut.

Let's stop to take a quick minute to think about this again. You have now cut both of your seam allowances and your angle is perfect and ready to seam in. There is one more step in making sure the angle lands exactly where you want it to when you bring the fabric to the correct side of the paper to sew it. 

Use a fabric marking tool or a pin to mark the exact spot the two fabrics meet up at the top and bottom. In this case, the bottom points are coincidentally matched up. 

Bring the A4 fabric back to the top, still RIGHT SIDE DOWN (unpin from the paper, if you did in a prior step). Match the position of the pin or marks to ensure the fabric is still in the desired position.

Holding everything carefully in place (this is a good time to put a pin back into these fabrics through the paper to hold them in place), unfold your paper back out. 

Carefully turn the whole piece over and sew along the seam line. 

Fold the fabric out and roll or press the seam on your perfectly placed piece! 

Hello, kitty! 

Did it work for you? Let us know in the comments!

Happy Sewing!


Picking a Palette using Forest Abstractions: The Stag

My Abstractions patterns originate from creating 3D models of real animals I have photographed. I create the patterns in such a way that the shapes of the pattern pieces combined with the placement of the fabrics distinguish skeletal and muscular structure in the animals. 

In the Forest Abstractions Stag notice the curvature in his back and haunches. Where the lines break out the individual shapes and combine with the fabrics to create the movement and curvature in these places. Now look to the facial structure and the long snout area and the contrast created by the area for set back eyes. In his legs the lighter fabrics and long lines of the pieces highlight the long sinewy shape of the legs. Each fabric was chosen to highlight or lowlight the appropriate places to capture this movement and curvature while still retaining the abstract sharpness of the design. 

To retain the same look in your blocks you can use the exact or similar prints as I used or you can select your own and follow a few simple guidelines.

Let's take a closer look at the fabric chart included in all of my foundation paper pieced patterns and how it can help. The example below left is for the original Stag block from the cover quilt.

The fabrics are listed on the chart with the background fabric first and then all other fabrics follow from dark to light.  

To retain a similar look select fabrics and arrange them in the same order with background fabric first and then from dark to light. An alternate "Bright Palette" chart is shown below right using this method.

Original: Michael Miller Cotton Couture (CC) Eggplant, CC Toffee, Brambleberry Ridge (BR) Timber Valley in Fog, BR Knots & Loops in Coral, BR Shimmer Reflection in Peach, BR Bow Tie Plaid in Mist, BR Rosemilk in Opal, CC Bright White

Bright: Unknown linen blend, Waterfront Park (WP) Domino Dots in Navy, WP Domino Dots in Jewel, Madrona Road Haystack in Fuschia, Peacock Lane Falling Flowers in Turquoise, WP Reflection in Coral, WP Domino Dots in Starfruit, WP Domino Dots in White

When I was placing the fabrics on the chart, I wasn't exactly sure which order they should go in. To make sure I had them in the correct positions I took a photo of them and then also used a filter to make the photo gray scale and then it became more obvious.

It is very important that the background fabric you choose contrasts well from all other fabrics that will touch it. In the example of the Forest Abstractions Stag, all other fabrics will touch the background fabric so I chose the Cotton Couture deep Eggplant in the original quilt which contrasts well with all of the other prints. In the Bright Palette I used all very saturated prints, so the lighter linen-blend background contrasts well with all other prints.

In this version I created a rustic Christmas Stag. I reversed the lights and darks which still highlight the appropriate places and results in the chart shown below. For the background I chose a deep red to contrast with all of my other choices. 

I also created this Forest Abstractions Stag head pillow in lighter prints where the lights and darks are reversed from the original. I chose the very light Rosemilk in White as the background. 

Christmas: CC Red, CC Toffee, BR Bow Tie Plaid in Fog, BR Brambleberry in Fog, BR Knots & Loops in Fog, BR Shimmer Reflection in Fog, BR Knots & Loops in Bark, BR Timber Valley in Bark

Pillow: BR Rosemilk in White, BR Rosemilk in Opal, BR Knots & Loops in Coral, BR Brambleberry in Fog, BR Timber Valley in Teal, BR Timber Valley in Bark

So, let's say you want to do a completely scrappy version, but still maintain the same contrast in these areas. Gather your scraps and then organize them into piles from high saturation to low saturation. When the pattern calls for one of the darker fabrics, select from your high saturation pile and so on and so forth through to the lightest fabrics. Again, choose a background that will contrast well with all of the scraps you have chosen to use.

So, you want to know more... let's get picky. When looking at any of the blocks, look to the original cover quilt and think about which pieces are important to you. For the Stag, my starting point would be his face. That long, strong snout is a standout piece in the pattern. The face really sets the attitude of your entire Stag. This is the fabric I would choose first. Once you have determined this piece, you can really choose which of the above routes you want to go down for the rest of your selections. 

In the original Stag I chose Timber Valley in Fog. Although my other fabrics are all a little sweeter than this fabric, the moodiness of the Fog print really sets the attitude of the Stag. The sweet peach and coral prints don't take on the softness they would if his face weren't set as such a strong focal point. Looking to the chart, I found that the face was second to top position under the background and the hoof fabric making it almost the darkest print on the chart. This coincides with the fabric I chose, so I went down the chart from darkest to lightest from there. 

Now, let's look at the Stag Pillow. I chose the sweet Rosemilk print to create a more romantic attitude for the pillow. Because this print is the lightest I wanted to use, I reversed the order of prints so that they fell lightest to darkest on my chart. 

Once you start to look at positioning you can really customize your look and see if it makes sense before you even begin. You can see that the chart shows where the hooves are and that the hoof fabric is not used anywhere else and choose accordingly. You can see the lightest fabric on the chart is the setback for the eye position. Does the fabric you chose for this position on your chart make sense in this part of your Stag? If not, you can change it up before you start.  

I hope all these tips are helpful. Show me those blocks on Instagram and remember to hashtag #forestabstractionsqal.



FAQAL Surprise Block #3: Wild Carrot

Our third addition to the Forest Abstractions Quilt is the Wild Carrot block!

Wild Carrot is also commonly known as Queen Anne's Lace which was introduced from Europe. The carrots we eat today originated from this plant and the root at the bottom of the Queen Anne's Lace is actually an edible carrot although the leaves are toxic.

Wild Carrot is a print in my Madrona Road collection and is the inspiration for this block. 



wild Carrot: Pink

wild Carrot: Blue

wild Carrot: Straw

wild Carrot: Tangerine

In this example I have reused my modern watercolor technique from this previous project: Watercolor Heart Block

Brambleberry in Quartz

To achieve this look, use a loose print on a solid ground and choose a background fabric that matches as closely as possible to the ground from your print.

I have used the Brambleberry print from Brambleberry Ridge in Quartz paired with Michael Miller Cotton Couture in Iris.

For the center flower, a distinguishing characteristic of wild carrot plants, I have used MM Cotton Couture in Eggplant and Toffee for the stem. 

The white leaves in the Brambleberry print serve as the individual flowers in the wild carrot bloom. 


Fabric guide in original color palette. 

In your Fabric Selection Guide you will see the Wild Carrot Block is designed to be used in a more straight forward way with two prints alternating to achieve a more abstract look. These prints are distinguished with light stripes and light dots in the guide and templates. 

As shown in the photo of my example guide, I have used the same Brambleberry print in both sections. 

Next week I will show an additional sample block, not in the watercolor style, with two prints used. 








This block is FREE in my shop. You do not have to enter payment information. As long as your cart is $0 just proceed to checkout and the cart will email the link to the file. Download the Templates, Piecing Order, Fabric Palettes and Diagram here. 

Happy Sewing!


Forest Abstractions Quilt Along - Fixing A Block Tutorial

Last week when I posted the Falcon with it's little broken wing problem, Katie posted a great question that I thought would benefit many readers:

"How are you going to fix the wing? Will you have to re sew all the seams in sequence that follow the wing fix? Is there a good way to go back in and fix one segment in the middle of the block if you don't see the error until all the pieces numbered after the error are sewn? I finished the doe and then saw that I left a hole in one of the hoofs where the fabric wasn't big enough to fully cover the section. All the seams around it are sewn and look fine. Thank you."

 Let's start with my wing fix and then I'll specifically point out what my plan would be to fix Katie's little problem with her Doe. 

Here's our broken wing. You can see where piece D4 was just completely missed, which left the brown fabric from D1 left there making the wing look like it's sticking out below where it should be. I gathered my tools: seam ripper, small scissors and the replacement piece of fabric. 

Looking at the pieces, I found the path of least resistance to get to the piece that needed to go in. I seam ripped the G section on the right away from the CDEF group on the left, only about 1/2" past the next seam I need to take out. 

I then ripped the seam that connects the CD group from the EF group, again only about 1/2" past the seam I need to fix. 

The final seam ripping separated C and D, again just about 1/2" from where I need to sew the missed piece on, fully exposing the area we need to sew on the new piece. Fold back any pieces that are in your way and secure them with pins. 

Place the new piece of fabric in the same way you would if you were just getting to this step for the first time. Sew the seam and trim the allowance, then press forward as normal.

Trim the outside edge seam allowances. 

Now re-sew the groups back together, starting with re-sewing section C to section D. Next, re-sew the section connecting CD to EF. Finally, re-sew CDEF to G. 

Complete! Total time was about 30 minutes to fix and well worth it. 

Below we can see Katie's litte doe hoof is missing a tiny corner. 

From another photo I found I know that this is the farthest right hoof. I would begin by ripping the horizontal seam from the right side of the block to at least 1/2" past the last seam we need to work with as pointed out by the white arrow below. 

Next, I would rip the seams on the right and left side of the leg to at least 1/2" above the hoof seam. 

Third, remove the small background piece under the hoof. 

Finally, remove the hoof fabric that doesn't fit. 

The final steps would be to replace the hoof fabric with a piece that fits, re-sew the background piece on, re-sew the seams on the right and left of the leg and finally re-sew the horizontal piece under the hoof. 


I hope this is helpful information. Good luck and happy sewing!

Forest Abstractions Quilt Along - The Falcon

Yay, it's Falcon time!  

Falcon, with one background piece missing and in the wrong background color. Mistakes happen! 

If you are looking closely you might notice a couple of issues with this Falcon. I had someone help me out and make the block. Without a color chart, a couple things went awry. I am traveling for the next week so since I don't have time to fix it right now, I had planned to Photoshop them out and make it all perfect-like for you... then I realized that's just plain silly. I make mistakes. We all make mistakes. I always say that your seam ripper is as important of a tool as your sewing machine when paper-piecing and here is a perfect example. Also - if this happened here, it could most certainly happen to you too, so let's figure this out!

First of all, there is a background piece missing in the left wing. See that brown part that is sticking out, it's not supposed to be there. I'll be pulling that wing apart to fix that. 

Second, the background color is the wrong one and so is the brown used in the wings. If you are using a kit or the fabrics used in the original quilt, you might run into this same problem. 

Below is the chart for the Falcon in the original layout with the Cotton Couture color card. There are three light purple/pink colors of Cotton Couture in the quilt and one dark. If your solids are not marked with the color name, you should be able to use the chart below to figure out which one is which. Iris is the lightest and is used as the background in the Falcon block. Primrose is the middle shade and is what was accidentally used in the block below. Mauve is the darker of the three fabrics. Eggplant is also a purple in the quilt and is the deep background for the stag block. 

Iris, Primrose, Mauve and Eggplant, oh my!

The browns contained in the original quilt are Taupe and Toffee. Taupe is shown below and is a rich, but lighter muddy brown. Taupe is the correct color used in the original quilt. Toffee has a golden hue and is used in the block above, but is NOT the correct color. That said, I won't be "fixing" these colors. I think they look great together and I also think I will still have enough left of the solid fabrics to complete the rest of the quilt as expected. It's possible I even like them more as it softens the look of the Falcon a bit. I'm undecided how I will feel about the overall color change with the rest of the blocks. We shall see! 

I find the Falcon to be a fun block to put together. Each of the sections are pretty quick and it pops together pretty fast. I'm in the middle of the mint/yellow version and will post it next week. 

Keep showing us all those blocks on Instagram! #forestabstractionsqal

Happy sewing! 


P.S. Individual block PDFs coming next week! 

Forest Abstractions Quilt Along - Questions Answered!

Hello, friends of the Forest!

I have had a couple of questions in comments and on Instagram that I thought might be helpful to everyone. Please find those below. Also - NEW SURPRISE BLOCK COMING WEDNESDAY!!! It will be posted as a guest post at Sew, Mama, Sew!  as well as here. Falcon will be right here on Monday the 22nd, then we are back on schedule with Mr. Squirrel on October 1st! 

The final layout.

Although I'm not going to ruin the surprise of the "surprise blocks" yet, or even tell you which space we are going to fill each month, this is the proposed final quilt layout if you plan to make all six additional surprise blocks and use them on the front of your quilt. I'm so excited to unveil them all! We are going to need some extra background solids and I will keep you updated on those supplies as we go. You can see that the surprise blocks will repeat backgrounds to give the final quilt a more cohesive look. 

Suggested layout using the six additional free SURPRISE BLOCKS. Final top size with additional blocks:  56" wide x 60" tall. 

Paper pattern templates: press those creases! 

The paper patterns come with the pattern templates printed front and back on 11" x 17" paper. These are the patterns, not the pieces to be used for creating your blocks. The very first step in foundation paper piecing is to trace or photo copy your templates into a set to be destroyed in the making of your block. Some people prefer to trace or copy onto newsprint or special paper and others are fine with standard copy paper. The choice is yours! 

The pattern pages are not unlike a commercial dress or other apparel pattern and come folded inside the pattern envelope. The pattern pieces must be smoothed flat before tracing or copying to ensure accuracy. For the easiest and smoothest finish, press the pages on a low setting with an iron with NO STEAM. 

Individual blocks?

So, you only want to make the bunny. I get it. I will be breaking out the pattern into individual blocks for sale in the coming month. The PDFs will be priced individually and available in my shop. 


As always, keep those questions coming and I will try to answer them! If you have a question, chances are that someone else does too!

Happy sewing!    


The Forest Abstractions Quilt Along - The Bunny - Mint & Yellow

Basement lighting setup = weird :)

Welcome to my workspace. On the left I have a 14" rotating cutting mat, an Add-A-Quarter ruler and rotary cutter. Right behind the mat is a large glass jar that I use for my trimming scraps. My sewing machine, the Janome 1600P, is set with a short stitch length to help notch the paper and strengthen the seams for easier paper pulling.  

Please notice my seam ripper front and center on the sewing machine. For me, the seam ripper is a main tool in foundation paper piecing. Fabric placement changes WILL happen. The seam ripper shouldn't be viewed as something you get out for mistakes - it's a part of the process and I use mine frequently to change the placement of fabrics while I work.


Mint & Yellow Palette

On my left is my handy lightbox sitting on a small table. My husband made this giant beauty for me as a gift several years ago using an Instructables tutorial. My Fabric Palette is taped up above my lightbox and I have each fabric lined up in front of the Palette & Piecing Guide. 

Not pictured: My iron and pressing board are at my right also on a tray table, a paper bag is at my feet ready for paper scraps and my templates are all cut and lying in order with A on top of the stack. 


My first piece of fabric for A1 selected and ready to go.

Here is my filled Fabric Palette for this block. I have chosen a fresh, light and bright palette of mint and yellow. I am using a more scrappy look and have picked more than one fabric for a few of the slots.

Background: solid white

Black: In place of black for Bunny's eye and nose, I have used the gray from the background of Waterfront Park Flight in charcoal.

White dot on gray ground: I have two fabrics on my palette. These two prints, Brambleberry in Aqua and Shimmer Reflection in Mint read as a very similar color and saturation and I want to use them interchangeably as I go along. 

White triangles on gray space: I have a lighter mint fabric than the earlier prints, Flight in Mint.

Gray lines on white: Memoir in White

Gray dot on white: I have placed three different fabrics. These three yellows, Wild Carrot in Straw, solid straw and Reflection in Starfruit, I planned to use interchangeable throughout the block. You will see that as I went, I ended up removing Reflection in Starfruit from the block.

White: In the final slot I have two solids as I wasn't sure which one I wanted to use until I got going. I chose the fog gray.  


First piece is always right side down, away from the template. 

I have taken my first piece of fabric and placed it underneath the template, under the A1 position. The template is right side up and the fabric placed under the template is right side down. Notice that the fabric piece extends at least 1/4" beyond all of the A1 edges. Since the A1 position is along the edge of the A template piece, the fabric also extends all the way out to cover the 1/4" seam allowance dotted line. 


This fabric piece was fitting almost perfectly... almost too perfectly. I was worried it would slip as I was sewing on the second piece, so I carefully lifted up the paper and used a small piece of double stick tape to hold it in place. I love this tape (Duck brand Easy Stick Double Stick Adhesive Roller) and I've never had any problems with it. The main reason it works so well for foundation paper piecing is that it barely sticks to the fabric. It loves to stick to the paper. It holds well enough to keep my fabric from shifting, but when it comes time to pull paper, in my experience the tape has always stayed with the paper. 


Take a good look at the space you are about to fill, A2. Notice the line between A1 and A2, this is your stitching line. The piece of fabric you use to fill the space needs to be large enough to cover A2 and at least a 1/4" seam allowance on all sides. Place a piece of fabric under A2 with the right side down and ensure it covers these seam allowances.

Holding all the layers in place, carefully flip everything over so that the fabric is lying right side up.


Focus on where the line between A1 and A2 lies. You should not be able to actually see it right now, because it is covered by the fabric. The fabrics should both be lying right sides up covering the places they will be once they are sewn down.

Flip the A2 fabric back across the line between A1 and A2 so that right sides are together and there is at least 1/4" of fabric crossing the stitch line on the A2 side of the line. 


Again, holding all the layers in place, carefully flip everything back over so that the template is right side up and transfer the layers to your sewing machine.

Place the layers under your presser foot. Put your needle in about 1/8" before the A1/A2 line. Sew along the line and beyond the 1/4" dotted seam allowance line. 


From here, you can see that the fabrics both extend at least 1/4" across the A1/A2 line and the seam extends through the dotted seam allowance line. 

With the template face up, fold back the template paper along the A1/A2 seam line. 


Trim off the excess fabric from the seam allowance. I use an Add-A-Quarter ruler as it makes this step quicker, but any ruler with 1/4" line will do. 


Smooth out the fold you made in your template. Place your template on your work surface so that the fabrics are facing up and the template is facing down and examine your work. Make sure the fabric covers the A2 space as well as extends 1/4" into all adjoining areas and extends across the 1/4" dotted seam allowance line. 

Using a dry iron or a seam roller, press the seam in place!

Yay! You did it! 


Seam Allowance "Shadows"

So, what happens when you run into a light fabric that goes on after a dark fabric and creates a "shadow" in your seam allowance? Most people will probably not even notice this. I'm not convinced that I would notice it after the project was completed, but while it's right up in my face, it bugs the heck out of me. My solution is ever-so-slightly trim back the dark seam allowance. 

Shadow in my seam allowance.

Trim it away. 

Pretty, crisp seam allowance.

With the template lying on the work surface, fold back the light seam allowance and the template and hold it back under your ruler so that it will not be trimmed. Place your ruler so that about 1/16" of an inch of the dark seam allowance is sticking out and trim it away. 


Odd Angle Seams

This pattern has a LOT of them... okay, mostly ALL of them. Let's take a look at one.  In this example I have pieced D1 through D4 and am trying to fit the white fabric D5 triangle shaped piece. The D5 triangle does not have a 90 degree corner angle, which is going to make your fabric shift in an odd direction when you sew it on and press it in place. Here is how to get a perfect flip in the expected direction. 

With the template face up on your work surface, place the fabric piece on top of your template where you want it to be positioned after it is sewn, ensuring all seam allowances are covered. You can see that my fabric fits well on the top of the D5 triangle space, but has some weird jagged edges on the bottom edge by the seam. 

Place your ruler so that the flat edge extends 1/4" across the seam line with a little extra room. Using a chalk pencil or other marking tool, mark the seam allowance line where you will trim away the excess fabric. 

Place the fabric on your cutting mat and trim. Now you have the correct angle on your fabric and it should align when sewn on. 


Sewing Together Template Pieces & Aligning Points

With all of the angles in this pattern, it is sometimes difficult to see exactly where the end points should match to get perfect alignment. As you complete each template use the piecing guide to lay them out on your work surface with fabric right side up. 

When you are ready to sew two template pieces together, align them along the seam with fabric right sides together. Take a pin and put it through the top seam end point. Poke the pin through until it goes perfectly through the bottom template seam end point. 

Transfer to your sewing machine and secure the pieces under your presser foot. Remove the pin and sew the seam. 


The Bunny!

More posts coming with the original and alternate pallets for the bunny. Please let me know in the comments if you have any questions or where you would like to see more information or detail. 




Where to Buy

Hello! I have had a lot of questions regarding where to buy Violet Craft paper patterns and kits for The Forest Abstractions Quilt. I created a new page with all known shops carrying the paper patterns found here:

Where to Buy

At this time the only confirmed sighting of Forest Abstractions kits are at:

If you know of another store carrying kits, please let us know in the comments below!


To build your own kit:

To download or print these lists, PDF kit lists can be found here:

Forest Abstractions Quilt Kit List, Complete Quilt Kit List

Forest Abstractions Quilt Kit List, Individual Blocks List

We are getting so close to BUNNY TIME! See you very soon, right here!


The Forest Abstractions Quilt - Quilt Along - Introduction


I am so pleased to introduce you to my little foundation paper-pieced friends. The Forest Abstractions Quilt pattern consists of a full color booklet with fabric selection guide, fabric palette and piecing order for six different blocks as well as a hefty set of 20 ledger sized pages of templates for The Falcon Block, The Bunny Block, The Squirrel Block, The Coyote Block, The Doe & Bird Block, and The Stag Block.

July 15 - Quilt Along - Getting Started
August 1 - Quilt Along - The Bunny 
September 1 - Quilt Along - The Falcon 
October 1 - Quilt Along - The Squirrel 
November 1 - Quilt Along - The Coyote 
December 1 - Quilt Along - The Doe & Bird 
January 1 - Quilt Along - The Stag
February 1 - Quilt Along - Quilting and Binding

Beginning August 1, I will host a Quilt-Along right here on my blog with tips and tricks for each block and step by step instructions on how to foundation paper-piece. There are also six little surprise blocks that I will be giving away to add to your quilt if you choose to. These will be hosted here and at a few fun, surprise places to be announced along our Quilt-Along journey. 

The Forest Abstractions Quilt has her very own page where you can find links to all of the Quilt Along posts as they come out, , Instagram photos, kit guides and more, found here:

The paper pattern and Brambleberry Ridge fabric and kits are available from many of your favorite online and local quilt shops. The PDF is now available in my PDF shop

So gather up your supplies and I'll meet you right back here very soon! 

My precut Brambleberry Ridge kit available at several online shops and my supplies, all ready to go!

Suggested Supplies:

  • The Forest Abstractions pattern
  • Fabric
  • Scissors for cutting paper 
  • Pencil
  • Tape 
  • Double Sided Tape - I use Duck brand Easy Stick Double Stick Adhesive Roller
  • Cutting Mat - I have a 13" spinning mat directly to the left of my machine
  • Rotary Cutter
  • Ruler - I use a 12" Add-A-Quarter ruler
  • Seam Ripper - this is a MUST, not a maybe :)
  • Water Soluble Fabric Marker or Chaco Liner
  • Sewing Machine with stitch length adjustment
  • Iron 
  • Hard Pressing Board
  • Light Box


A little note about light boxes... they are great. I have it on my suggested list as they make paper piecing so much easier, but they aren't entirely necessary. Any bright light source will do the same thing, just not quite as easily, including holding the pieces up in the air in front of any light. My awesome husband made my large lightbox for me as a gift a few years ago using a tutorial he found online. When I travel however, I use a little light box that came in a $20 fashion drawing set my daughter received as a gift when she was about 6. It is smaller, but just as effective. I have also seen some ingenious ways to lay rope lighting inside of a plastic tub for a similar effect.