Zia Sun
SymbolNifty Fifty 3 Charity Quilt for Breast Cancer Research

New Mexico Blocks made by Betty Reynolds


In 1999 I used this web page to record design ideas and progress on making the 55 blocks representing New Mexico in the third group of Nifty Fifty Quilters. For more information on Nifty Fifty, visit the page for the original Nifty Fifty Quilters Across America, the Nifty Fifty charity quilt page, and the Nifty Fifty 3 Website. Also of interest is the page for Nifty Fifty 2 and Nifty Fifty 4, and a related international group, Twenty Plenty. For more links to subsequent Nifty Fifty group pages, visit Teresa Drummond's List of Nifty Fifty Hostesses.

Pattern ideas from Quilter's Newsletter Magazine


The January 1988 issue of Quilter's Newsletter Magazine has an article by Barbara Brackman on p. 16-17+ with ideas for New Mexico quilt blocks. The three that most interest me are called "Santa Fe" (in yellow and red with 65 pieces and 7 colors), "Santa Fe Trail" (in pink and blue with 49 pieces and 5 colors), and "Santa Fe block" (in red, blues and peach with 77 pieces and 6 colors). The colors pictured in the article are not set in stone for these blocks, but the pictured colors are very typical of New Mexico colors. The traditional New Mexico star block (the big red and yellow block on the right) has 75 pieces and being a 5 patch block is difficult to do as a 12" block.

New Mexico block


This is a my New Mexico block. The original name of the block as published in the 1930's was "Santa Fe Trail", but for the purpose of the Nifty Fifty three quilt project, I am renaming it "New Mexico" because it is rife with symbols of New Mexico's history and heritage.

New Mexico was conquered in the 16th century by Spanish Conquistadors, moving north out of Mexico, bringing priests with them, with a dual purpose of finding the Seven Golden Cities of Cibola and Christianizing the native peoples who had lived here for many centuries. They found the seven golden cities at Zuni and Acoma, but the golden buildings which had been reported to them turned out to be the golden sunlight reflecting off of the adobe walls of the pueblos--the same adobe building materials which they knew in Spain and Mexico. Therefore the center of the block represents the golden star superimposed on a cross and reflects our hispanic culture and heritage. Each arm of the cross has a patch of adobe.

New Mexico has been tri-cultural since the arrival of Anglos along the Santa Fe Trail. The four corners of the block reflect our Native American culture, and the Anglo culture is represented at the ends of each arm of the cross by that most Anglo of modern ladies--Debbie Mumm.

Fabrics


These are the fabrics I'm using in my New Mexico block. From left to right they are:

Adobe: Besides being the color of an adobe brick, this fabric has tiny flecks of straw (an ingredient in making the bricks), silver (for New Mexico's mineral industry, and blue which New Mexicans paint their door and window frames to ward off evil spirits. The print is by Peter Pan Fabrics and came from Karen's Creative Fabrics in Las Cruces.
Dark Red: This print has a small leaf pattern. I wish I could say the leaf was from the New Mexico state tree (pinon) or the New Mexico state flower (yucca) or even the New Mexico state vegetable (chile) but it's none of these. Actually it looks just like the parsley in my garden, so that's what it represents--me! This fabric is less bright than it appears in this photo. This fabric is by Kona Bay and it also came from Karen's.
Deep Gold: This fabric represents both the gold which the Spanish conquistadors sought when they conquered New Mexico and our modern mineral industry. The print is an Ozark Calico by Fabri-Quilt Inc. and came from Hobby Lobby.
Light Gold: A Debbie Mumm print which is also a little less bright than this photo shows. It represents the Anglos of New Mexico's tri-cultural heritage.
Corner squares: This fabric represents the Native Americans of New Mexico. The round red shapes reflect the roundness of Navaho hogans (dwellings) and kivas (ceremonial chambers) of both modern and ancient pueblo peoples. The straight lines represent modern and ancient pueblo dwellings. The color is similar to adobe clay and desert sand. This print is by Wave in the SL collection and also came from Karen's in Las Cruces.

Component parts

The Component Parts



Corner Squares: Need 220; have cut 220 as of May 14




Nine Patches: Need 55; finished 55 as of May 14




Square in square: Need 220; finished 220 as of June 3



Finished blocks: Need 55; finished 55 as of June 3

All New Mexico blocks set straight All New Mexico blocks on point


Here are 30 New Mexico blocks on the design wall set straight and on point. They'd make a pretty quilt on their own. An unexpected result of seeing these blocks together is the Zia Sun Symbol that becomes more obvious when the blocks are set straight next to one another.



Links to all 52 Nifty Fifty III Blocks as well as links to more of the Nifty Fifty groups are provided by Suzanne Pratt


I've made four additional blocks to bring the total up to 56 blocks for my quilt.

American Beauty Canadian 
Gardens

left: "American Beauty" representing the United States. This block is from Judy Martin's Ultimate Book of Quilt Block Patterns, 1988, p. 29
right: "Canadian Gardens" representing Canada. This block is from Maggie Malone's 500 Full-size Patchwork Patterns, 1985, p. 38



Mexican Star Island 
Music

left: "Mexican Star" representing Mexico. This block is from Judy Martin's Ultimate Book of Quilt Block Patterns, 1988, p. 25
right: "Island Music" representing the Virgin Islands of the United States. This block is from Judy Martin's The Block Book, 1998, p. 27




I set my quilt using 1" wide dark blue sashing with dark green setting squares and a 2" wide border. The blocks start in the upper left corner with United States, followed by the 50 states in alphabetical order, then Washington DC, Puerto Rico, Virgin Islands, Canada, and Mexico.

top
half of quilt bottom half of
quilt
Here are the top and bottom halves of the quilt before I sewed it all together.



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This page is maintained by Betty Blakslee Reynolds
Created May 6, 1999; last updated January 6, 2002
©2002 B.B. Reynolds