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Dreaming in Color - Color Inspiration through Travel

There is something magical about seeing a place for the first time. I was fortunate to be able to attend Valori Wells and Kelly Sheets Morocco Creatives Retreat in November. Valori has been to Morocco several times and her photos taken there made me want to visit. First of all it is a desert, high blue skies, arid, and full of people in Marrakech. We stayed at Peacock Pavilion just outside the city at a retreat villa.

Being in an unfamiliar environment, I always find new color combinations whether they are cultural, or in the environment. On vacation you are not dealing with day-to-day chores, so you are more open to the “wonder” of the unfamiliar.

My first thought when I saw this door was that the blue and orange are complementary colors on a neutral background. As I looked closer the subtle nuances in the neutral are what really intrigued me. There was so much richness. The surrounding neutrals seem to neutralize the impact of the complimentary colors. I had to take a second look.

Pattern and color are everywhere. The beads alone are a fabulous palette, but they stand out so well draped over the mostly black and white vases. The palette reminds me of my dear friend, Freddy Moran, who is known for working in this palette. The more I look at this photo the more I am tempted to get out my cropping squares and find even more palettes

I cut L shapes from heavy paper to use for cropping ideas. 

The framed piece of the photo inspired this month's fat quarter bundle. Can you see the similarities? 

How many times have you seen a similar display of onions in the grocery store, but do not take the time to study the colors and take a picture. The salad presentation was a piece of art and gave me an idea to use at home. Garden colors have always been my favorite. I associate them with freshness.

This palette was familiar to me, but looking at the cactus up close, with it being against the terracotta wall, I saw more detail in the color as well as pattern and texture.

I was so taken by the simplicity of the desert and the complexity of the land shapes. There is something so calming about a neutral palette. The tent color on the hillside at this eco resort added an accent. You cannot forget the color of the sky, which makes the scene come alive. Not only was I interested in the colors, but the lines and shapes of the land were an inspiration too. When the camels arrived to take us for a ride they brought so much life to the scene.

The pond at the Marjorelle Gardens at the St. Laurent Museum was a feast of blues and greens with touches of terra cotta. I have been pulling together a palette of these colors without even knowing what I might create. They were so happy and summer feeling. Sometimes a season will be an inspiration.

Look at the intensity of color of these pod-like shapes. I use a term “pushing a color” when I want to pick several shades and tints of a color and this is definitely pushing orange.

And another version of blue, I would like to end this post with one last photo that depicts the pattern and colors of Morocco. What an inspiration travel can be when Dreaming in Color!

Curvy Tree Ornaments - 12 Projects of Christmas #4

These ornaments are so cute you'll want to make an entire forest of them! Anyone would love to receive one as a hostess gift or package topper, but you probably won't want to part with your trees once they're done. 

You can make your curvy trees like we did with Jean's gentle curve piecing technique, or cut your fabric with straight lines in varying widths. This is a very forgiving project to practice Jean's techniques, because the size of the trees makes it easy to cut around any mistakes or areas that aren't laying flat. Either method looks great! 

The project below is for Jean's Stuffed Trees class and is an example of trees with the fabric cut in straight lines.

If you do want try Jean's gentle curves method you can watch her demonstrate the technique in this video...

Tips for tree success:

• When selecting fabric be sure to choose a range of value and print size. It's nice to include a few holiday prints, but not all your fabrics need to be holiday themed. 
• Use a small or medium sized rotary cutter and put a new blade in your cutter. Really--put in a new blade--you'll be thankful later.
• Trace tree template on heavy paper or template plastic. It's much easier to cut around the template, instead of through it, if it is thicker. 
• If using a tree limb for the trunk, use dry wood. Fresh cut wood can leak sap on your project (yes, we found out the hard way).
• Make sure to leave your turning opening at the center bottom of your tree so you can add and center the trunk.  
• Glue your tree trunk to your stuffing with hot glue. It holds better than liquid craft glue and it won't leak through to your fabric (unless you go way overboard on the amount of glue).
• Add the glue to your trunk and then push the trunk into the stuffing. If you add the glue to the stuffing it's much harder to insert your trunk.
• Don't stress if things aren't "'perfect". These trees are meant to be charming and quirky. 

We created a kit with everything you need to make 10+ trees (you will have extra fabric), or use up your green and holiday scraps.  Our kit includes 12 - 3" x 21" fabric strips, 1 fat quarter (for backing), 10 tree trunks, and cording for hanging. You can purchase the pattern only, as a PDF online or a printed version in the store. 

If you discover you love this technique, try Jean's Colorwork table runner. It looks stunning in holiday colors. Jean used all solids in her Christmas runner shown below. 

Jean's book Intuitive Color & Design is another wonderful resource for learning more about gentle curve piecing and Jean's other methods. 

Thanks for stopping by!

Be sure to sign up for our newsletters to receive all the information about this project and all the other 12 Projects of Christmas. 

Stitchin' Post's The 12 Projects of Christmas is a newsletter event. Each week starting in October we've selected a fun and fast project, perfect for gifting or holiday decorating. Every project is designed and selected by our experts to make it easy for you to find and craft stylish useful items everyone will love.

Dreaming in Color - The Value of a Library with Jean Wells

In my monthly Adventures in Art Quilting class we were discussing how to build a palette of fabrics for future projects. One of my students is very new to quilting and was a bit overwhelmed because she does not have a “stash”. She suggested that I talk about how to build a “library of fabric”, her name for a collection of fabric.

With the cost of fabric rising, many people are more selective and do not buy for their stash as much as they used to. My advice is to really think about the type of work that you are interested in doing, and the colors that appeal to you, as a starting point. When I shop at stores other than my own and make purchases I think about how I might want to use it. If it is something that might play a big role in a project, I purchase a half to one yard. If it is a color new to me and I am attracted to it, but not sure how it will be used I purchase a quarter yard. In my work I have no problem using several smaller cuts of a color if I do not have a larger piece of fabric.  I feel it makes my work more interesting.

In the beginning working from an inspiration photo, or a printed fabric, will give you suggestions where to begin. Then as you see a color that is missing add it to your library.

So my advice is to purchase smaller cuts of fabric and to arrange them in your library by color first and by type of fabric (like cotton, linen, silk, etc.) as your collection grows. This allows you to go to your library during your planning process to pull anything that might work, and then purchase more if needed.

This is a section of my fabric collection. I have chosen to keep prints separate from solids and I separate my stacks into cottons, silks, linens and other textures. Once I have completed a project I sort my scraps into small pieces, strips, and larger cuts of fabric. I keep scraps in Ziploc bags that are put in a drawer and easily accessible. Many times these small pieces add that bit of personality that I need to enhance a palette. It is a lot easier to grab a fabric out of a small bag than to find it on a shelf and cut a small piece that is needed.

Here is an example of how I begin. I took several photos in Pacific Grove, CA at the beach right after a rain when the ground was wet. I was so amazed by the intensity of the wet colors. I started identifying the colors and collecting representative fat quarters and scraps of fabric. The photo below is the beginning of that process. I am still not sure where this will lead, but I love the combination of colors and it is not a palette of colors that I would have come up with on my own. To me that is part of the magic and it is not the standard color harmony off the color wheel.

Several years ago I parked my car near an abandoned warehouse in La Connor, WA. As I was walking to lunch, I passed by a window and took the close up picture below. I love the combination of the blue and the golden yellow-green lichen. When I got home I went to pull a palette of fabric referencing the colors. I found that I had very little blue fabric and not the right color of blue from the window sill. I noticed that I had hardly been using blue in any of my quilts. Well, that has now changed. This experience made me realize the power of a color I was unfamiliar with. I created a small mock up of snippets of the fabrics and glued them to the paper to see how they might work in a quilt. I find this exercise very helpful.

Pinterest is another great source of color ideas. I especially like looking at abstract paintings. Below is an example of one I found.

I made a photocopy of the painting and did some cropping, isolating different combinations of color. Next, I created some small studies using the strata and rulerless cutting techniques that are described in my book, Intuitive Color and Design.

Once I pull any fabric that might work for a project, I arrange them by color in a container where I can see all of my choices. I like to corral the fabrics so that when I am not working it is easy to put them away.

Back to my student conservation, she also suggested that I put together packets of small cuts of fabric to help customers build their own fabric libraries. Here is our first “Palette of the Month” bundle.

Happy Sewing,

Jean

Dreaming in Color - Palette Play

Back to school for me is more time for creative pursuits. I am putting the garden to bed, and this weekend I cleaned the studio. I found so many lost treasures, and color stories started presenting themselves right before my eyes. “Palette Play” is one of my favorite pastimes. Usually a printed piece of fabric, a snapshot, or a memory will spark an idea. At this point in the creative process, I just play and have the question, "What if?", in the back of my mind. I pull any color that seems to want to play with the rest of them.

This floral print from my stash caught my eye. I kind of like the true red with the raspberry, and the pinks set on the soft rust that just felt like fall. To balance out all of the red families there is a bit of forest green, gold, deep navy, light blue, and white.

The fabric palette got my creative juices rolling and I started pull friends that might work in the creative process. As you can see from the pieces below I “pushed the blue” to a warmer turquoise and it felt right so I kept it. I also stepped up the reds.

I always feel better during this time of discovery when I cut into the fabric and make a couple of samples to see what relationships I can create. As you all know a color will look different depending who it is next to. Take a look at the two pincushions below and you will see that in the first one the colors are richer and there is more depth (read the end of this post to see how you can win one of the pincushions). 

In the second one I added the soft pink and the light gold. I am not sure about the pink. It almost feels like it should have been narrower. As I look back if I had taken more clues from the fabric I would have realized that the light pink is like little brush strokes. I could have repeated that in the composition and it would have worked better.

With my explorer hat in place, I wanted to try to simplify the colors using solids for my next experiment.

Here are more experiments.

Here is an example of pushing a color lighter, darker, brighter, duller in one family. I use this technique to create variety in my compositions.

What I have learned from an afternoon of palette play with these fabrics is that I will make a larger quilt from these and develop the plan working intuitively. Referring back to the two pincushions, my favorite discovery is the raspberry color and how it created more interest in each composition.

I teach ongoing workshops at the store using my two books Journey to Inspired Art Quilting and The 2^nd Edition of Intuitive Color and Design as the foundation for gaining confidence to trust your instincts and dive into the creative process. I purposely put text in the books about the creative process, and encouraging words that will help students who cannot be in the classroom.

Do you want to win one of Jean's pincushions? All you need to do is leave a comment on this post by Oct. 6th. We'll draw two names from the commenters on Oct 7th and announce the winners on the blog. Be sure to check back to see if you've won, so we can get in touch to ship your prize. 

Congrats to Kathy Sperle and Carmen Che!! You've each won one of Jean's pincushions. Please get in touch with your address. 

Dreaming in Color – Garden Inspiration

Summer Colors seems like a timely topic to explore this month. Summers in Sisters are magical, even though this year it took longer to arrive. I can hardly wait to go to the nursery in town when it warms up and get plants for the patio pots and fill in my vegetable garden. What I love about gardening are the surprises. You never know if they will all bloom, or exactly how they will look together.

I want to start out with a tip that came from my daughter, Valori, when she was just 21 years old and I had hired her to take photos of some gardens for a book I was writing. She spent two years at art school as photography major and she saw me randomly shooting pictures in the gardens. She said, “Mom, stop for a moment.” As I looked through the lens she said, “it takes less than a minute to move the camera up and down, and back and forth until the image feels right.” It was wonderful advice and I now realize after teaching students about composition for years that we all have an innate sense of balance. We know when it feels right! In my last three books the inspiration photos all came from me.

I have chosen some photos with the summer color theme and I will comment on them and hopefully encourage you to look at color ideas in a new way.

Planting nasturtiums in the planter boxes at the store in mid June is one of my favorite activities. I have no idea where the different colors will appear because nothing has bloomed yet. To me green is nature’s neutral and some form of green will always play well with other colors. Look at the proportion of the golden color in comparison to the bit of red orange and the soft pastel orange. I probably would not of thought of that combination in a quilt, especially the pastel color but with the cool greens it just feels yummy.

The first evening of Quilter’s Affair, I invite all 32 of the teachers to my home for an outdoor picnic dinner. These are the flowers I arranged for the tables that sat on white tablecloths with river stones. I am a huge sunflower fan and have volunteers that come up year after year.  We often talk about temperature when it comes to color and here you can see a cooler yellow in the yarrow compared to the warmer one in the sunflower, and a yellow green in the centers of the little white flowers. Yellow in a variety of ways.

For those of you who live in the northwest, close to Seattle the Chihuly Glass Museum, its outdoor garden is a must see. The landscaping is beautiful and the glass shapes are partnered with plants creating magical scene after scene.

Dahlia’s showcase value and intensity of color so beautifully, like no other flowers. You can also see color combinations that you might never think up on your own.

I love finding new, interesting shaped and colored succulents for my pots. It is hard to even describe the colors but the combination of the sage like green with the rosy red orange and lavender is so sophisticated. To work with this combination for a quilt I would print out the photo on good photo paper and try and match colors to the photo. Then I would pay attention to the proportion of each color and how it relates to the whole. The magic is not just in the colors, but also the proportion of each one to the whole.

I just had to share my volunteer maverick sunflower from my 2018 garden. You can see where these two flowers are joined together. In terms of color the center of this flower really intrigues me as you can see layers of color up close, that from a distance will just look dark greenish brown. The same thing can happen in our quilts when we put two colors side by side in a quilt and you look at the quilt from a distance.

-Jean Wells

Dreaming in Color - Trusting Your Intuition with Jean Wells

I feel like I am “Dreaming in Color” with summer finally here, and my garden and pots all planted. I just love this time of year. Last February, on a ten day trip to Maui, John and I ended up with six days of torrential rain. It was warm and beautiful, but really wet. Thank goodness I put together a bag of linen squares, scrap fabric, and cotton pearl floss. So I was a happy camper cutting out simple stone shapes with my small embroidery scissors and stitching to my heart's content.

The challenge for me was to work with what I had and to design more randomly. I found myself referring to the color vocabulary words (February blog) during the process. I would ask myself “does this one need something darker, brighter, lighter, etc". The words came to me automatically. Sometimes we do not give ourselves enough credit in “trusting our intuition”. And all I had to work with was what was in the bag so I had to find solutions there.

I created small pieces of art from those vacation stones and had them framed, which brought on more color decisions when it comes to the fabric mat and frame. I will share images and comments with you below. They are all going into Valori’s and my gallery show at the store in July. (I always get nervous that nobody will want to purchase them.)

“Vacations Stones” is the name of the series.

Day I - blues and greys were easy, but the bit of magenta and gold added some spice. The deeper blue mat made the stones pop and the warmth of the reddish brown frame I felt it drew you back in.

Day II - This was the hardest group to put together as I had that one peach block so I pulled the green stone with a bit of orange for the other block. Once I felt the three blocks could work together then I choose thread for stitching to unit them. What to do about the mat color??? I finally settled on the deep violet as you can see in the bottom block.

Day III – These are my favorites to work with and very soothing. Texture became really important and fun. Adding all of the texture was fun. I auditioned several colored fabric for the mat and they just did not play well with the elegance of the blocks so I went with a cream colored linen and framed it in soft olive.

Day IV  - This is one of my favorite combinations with the indigo and teal. I was not sure about combining them but I like it. I had to put a bit of orange in as it is opposite on the color wheel from the blues. And I love the deep turquoise linen and indigo frame.

Day  V – This combination was another challenge for me and I was starting to run out of fabric. I had a tiny little scrap of a hand dye fabric that you see in the bottom right hand block and once I picked some friends to go with it then I was off and running. The gold block silk with the gold stitching was a left over piece from a quilt I made several years ago. I was so happy it found a home. For the mat I went with a warm avocado green and a green frame.

Day VI – I set aside the yellow green fabrics right when I started creating the stone and the little pile of fabric grew with the addition of the blacks and prints. This piece feels very playful to me. I searched through my linen pile of fabric and found this print design. It felt really good along with the black frame.

Dreaming in Color with Jean Wells - Dull vs Bright

Dull vs Bright --- A Form of Contrast

When I say the word “dull,” I find students kind of sit back, take a breath, and relax. The word itself is not very exciting and when you put a dull fabric next to a bright one, the bright one always says “Hey, look at me!” Use this to your advantage when you are choosing fabrics for a quilt, especially in scrap quilts. Dull fabrics create a foundation for the rest of the activity that goes on in the design.

Amafu is a New York Beauty style quilt that I created over fifteen years ago and is still one of my favorites.

 

I would call this a scrap quilt and as you can see, there are traditional fabrics as well as ethnic ones, batiks, hand dyes, and solids. This style of quilt takes a long time to make so there is plenty of opportunity to add fabrics along the way. I really enjoy the process of letting a quilt take on a life of it’s own. When you do, you will look for what the quilt needs and not get stuck on having to use your favorite one.

The blocks for this quilt came from an out of print Karen Stone New York Beauty Book. We do have Radiant New York Beauties by Valori Wells with 14 paper pieced quilt projects. 

Kaffe Fassett is a master when it comes to color usage and I have learned so much from him and his textiles. Many of his fabrics read as bright, intense, or colorful. When you look closely, you will see that there is usually a duller fabric that becomes a platform for the bright ones. Most of the time the color of the dull fabric falls into the category of what I call a “no name color,” because it is not a pure color like you see on the color wheel. It will get a name like stone or ash, because people want to describe it and end up naming it after something. 

Pine is one of my favorite contemporary quilts. When I went to choose the color for the darker image I did not want black, so I choose a variety of darker, duller shades (forest green, charcoal, deep purple, brown). To me, it made for a more interesting image. As a shop owner and teacher for 44 years, I can tell you that dull fabrics are the last to sell in the store. They get lost, but when I can show a customer or student how they make the other fabrics sing, the light goes on. Setting the darker, duller fabrics on the warmer gold tones seemed to create a warmer feeling in the quilt.

In March, we visited about opposite colors on the color wheel, and I recently came across these blocks which are opposites on the color wheel–orange and blue. But, the orange has been pushed into deeper orange tones and the blues into teal colors. I will be working on this in my Intuitive Color and Design workshop in May, and will give you a progress report then.

As you can see from my work, solids play a big role. I have found that solids allow me to explore color relationships without the interference of pattern, and I learn even more about color. Kona Cotton solids are my favorites. 

-Jean Wells

 

 

Dreaming in Color - Opposites Attract with Jean Wells

 

Putting on my explorer hat in this new calendar year I wanted to challenge myself to work in a color palette that was completely new to me. I chose blue and orange, which are opposite each other on a standard color wheel. I always begin by pulling as many fabrics as I can that “might work” in the composition. Log cabin style blocks are my very favorite and allow the use of a variety of fabrics with a mix of solids and prints.

My first block ended up more blue than orange, and you can certainly see the variety in the different oranges. As I worked it became evident that one of the colors needed to be dominant, there was a bit of a struggle for a time. Because of the strong contrast, each wants to dominate or be most important.

Once I had a few blocks made I wanted to start designing the quilt. Using a piece of foam core board, with the background fabric I had chosen pinned to it, helped me to see how the blocks might play together. I struggled with rearranging for a while, and realized that most of the blues were flat or dull. I looked for a brighter blue that was more intense and it certainly added interest. At the same time, I came across a red orange that I didn't use and added small bits of it, like little brush strokes. I think I am ready to sew it together.

This was a good exercise for me. Below you can see a small piece I made featuring yellow and purple, opposites once again. This was another experiment and I found out how very strong the yellows were that I choose to work with. This is a totem style composition and works well for putting smaller, experimental blocks together.

“Hidden Stone” began as a red quilt. I pushed the color red, to red violet and to red orange. An ancient rock wall was my inspiration for the shapes and once the quilt was finished it looked better on its side. While working on it, it was feeling a bit boring, so I snuck in some acid green and for me it felt more complete.

In "Landscape" you see a mostly green quilt with just a touch of red.

An idea for you is to audition a color palette by making a small log cabin block, or two, experimenting with the fabrics to see how they play together.

To construct the pincushion, I free-cut the strips to fit as I add them around the center unit. I do not use a ruler, but trim and angle shapes as I work. I do plan the end size for the block, and keep adding strips in a variety of widths until I reach that number. I find that I feel more and more creative as I go and start seeing some results.

I like to fill the pin cushions with crushed walnuts. They keep the pins sharp. 

-Jean

Dreaming In Color with Jean Wells

What a magical concept! This year my goal is to be more of an explorer when it comes to my life in art. I will be writing a monthly blog sharing ideas that I hope will inspire your confidence when it comes to working with color in your projects.

Right after Christmas my newly upholstered studio chair was delivered. The chair really needed a small rectangular pillow to be comfortable to sit in so I went to work. I determined that a four inch repeat of squares would work in the space I had. Then comes the fun part, choosing a color as well as fabrics. I started with indigo blues and wanted to find an accent color. 

This is where the “dreaming” starts. What to put with the rich indigo blues to make them sing? The color vocabulary that I work with in the classroom consists of descriptive words that are opposites...

Temperature = Warm – Cool

Intensity = Dull – Bright

Value = Light – Dark

Opposites on the color wheel (red and green, blue and orange, yellow and violet )

In looking at the vocabulary words, I knew that I needed to add something brighter and/or lighter, as the blues I chose are darker. During the composition process I always try to “audition” colors as well as styles of prints. You never know which one will feel right to you. It feels like any of the combinations below would work to me. I am a firm believer that we know when it feels right.

One of the walls in my studio is a lime type of green, so I selected green as the accent. Besides color, I looked for prints that might have an area where I could add some decorative running stitches.

To make a similar pillow, you will need a few supplies in addition to the fabric. The fabrics are backed with a light weight, woven, fusible interfacing (Pellon Shapeflex SF101) which gives the cotton fabrics some body. I like to use size 8 Perle Eleganza thread and the Clover Gold Eye Embroidery Needles (Art No. 235) for hand stitched details. These needles stay sharper, and really travel through the fabric well. The only other supply needed is polyfil stuffing.

Pillow Instructions:

1. Choose fabrics for squares. Cut squares 4 ½” or larger if your finished pillow size can handle a larger square. Cut interfacing squares the same size and follow manufacturer’s instructions and fuse to the wrong side of the fabric squares. If you choose you can add running stitches to accentuate some of the design features on the printed fabric.

 

 

2. Arrange the squares in a pleasing manner and using a ¼” seam allowance, stitch the squares together in row 1, then row 2, etc. until all of the rows are finished. Press the seam allowances open. Join row 1 to row 2 etc. Press.
   
   
3. Cut backing the same size as the pillow front. Place the right sides of the pillow and backing together. Pin around the edges. Using a ¼” seam allowance stitch around the edges leaving a 4” wide opening to turn the pillow to the right side. Back-stitch at the beginning and ends of the seams.

4. Trim the excess fabric off each corner. Turn inside out gently pushing the corners out with a medium size knitting needle or dull pencil. Lightly press the front and back of the pillow.

5. To stuff the pillow, pull small wads of stuffing out of the bag and insert into the pillow through the opening. Every so often push stuffing into the corners. As you stuff the pillow keep pushing to the edges as well for a tight finish.
   
   
6. When it is stuffed to your liking hand stitch the two sides of the opening together.

Happy Sewing,

Jean

 

Part 2 - Marmalade Dreams Quilt-a-Long

Hello!

Are you ready for month two of Marmalade Dreams Quilt Along!? This month we are going to do the center section of the quilt.

I love this section… so much I created a small quilt using the top and bottom triangles, Diamond Days. Before I show you that lets get started.

I have a quick update to the pattern that we found while creating the step-outs for this month. Page 8 of the pattern booklet, Section 2 – the cutting measurements for C1 & C2 are incorrect. The correct measurements are: cut 2 – 2 ½” x 32 ½” strips. If you have already cut the strips you can add on the amount needed to get 32 ½”, the seam will not be noticeable in the long run. I am so sorry for the mistake. We work very hard at proofing our patterns but alas we miss things.

Before we get to cutting and sewing you need to make the templates. Make a photocopy or trace the templates in the pattern booklet onto template plastic, A & B. If you make a photocopy you will then need to trace onto template plastic and cut out. I like to use template plastic because I can see through the template to the fabric for placement.

Now, you will need to make the strip pieced triangles. To do this you will sew 1” strips together then cut them out with the template. A trick that was taught to me years ago is to stitch the first two fabrics together, beginning on the left end.
 Stitch the third strip beginning on the right end. By alternating the direction of the stitching, there will be less chance of the strips pulling in one direction. Press all seam allowances in one direction. My favorite new notion is the wooly mat, I love how it holds the heat and pressing is actually quicker. 

Once you have all your pieces cut you will sew together in rows.

The center of this section is pieced together in rows, triangles first and the solid strips next.

Ollie thought he would help with photography today…

The final step to this section is sewing the top and bottom sets of triangles to the center. If you liked this section you can always make a companion quilt…Diamond Days. I was thinking after I finished this that you could easily make this bigger. I think lap size would be awesome!

Once that is done it is time for brownies. Not just any brownies but my mom’s yummy Chocolate Crunch Brownies!!! This is another family favorite…

Download JeansChocolatebrownies

Have a great month and please share what your up to! I love seeing the progress.

Xoxox

Valori