Like Nerida, Miriam collects small cuts of many different fabrics, and is not averse to quirky prints in some of her quilts. She also collects yardage for some backgrounds and borders. She has a very well honed eye for putting colour palettes together, and is conscious of achieving contrast through colour and tone.
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| Miriam's most recently finished top features a vintage linen as the centre background, an appliqued basket border and a seminole-style outer border - a lot of different fabrics working well together. |
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| Some features of the basket border are constant, others are more random. The vibrant background ties the quilt together. |
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| This scrappy log cabin reads as a two colour quilt, but on closer examination you can see there are flashes of many colours adding depth. Note that the scrappy low volume prints in the background are all white with red. |
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| The low volume background here is a delicate pink print, the feature fabrics are vibrant, but a controlled palette, and that border of squares is a serendipitous print. |
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| Miriam designed this quilt as a class sample, with a controlled palette on a contrasting fine cross hatch background ... |
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| ... and a second sample is in a completely different, muted palette of blues, with small pieces of a honey beige introducing warmth. |
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| This 'Trip Around the World' was made in a hand pieced Instagramsewalong with Brigitte Giblin. The red with white spot fabricwas the feature fabric, required by the design. Miriam recommends not choosing all the fabrics before starting, as the look of the whole design can change with each row, and dictate the next row. |
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| Miriam included this bright quilt of simple shapes to remind us how solid colours can add to the vibrancy of a quilt. |
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| And this one to remind us that contrast is actually not always necessary - similar tones and colours can provide calm and softness, and look absolutely beautiful. |
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