It used to be that I took forever to quilt my tops. I’ve gotten better at that, but now I face the hurdle of finishing the edges. Case in point, my Big Red quilt.
It began as an offshoot of Rayna Gillman’s casual suggestion in her latest book to alternate background fabrics slightly for an accordion fold effect. That appealed to me, so I sorted numerous red fabric strips into lighter and darker piles and sewed them on a diagonal to lighter and darker pieces of gray fabric. I spiced up the red with bits of blue and metallic gray fabric.
Originally each vertical strip was the same width, but I found that too static and cut off different sized bits from the left and right sides.
I’m glad I used a leftover piece of wool batting as it makes the straight line quilting stand out so well. The heavier red line at the top of the red quilting sections was done with a jeans stitch. I had planned to couch cording there, but decided I could get straighter lines with a heavy stitch line.
Two decisions remain. Should I do more quilting in the long diamond shapes and what edge finish should I use? I have two gray fabrics as possible bindings. One is the metallic gray I used in the red sections. I could also face the edges.
Let me know your thoughts. I’ve had it up on the design wall too long to be objective about it.
The recent QuiltCon show had the fingerprints of Gee’s Bend quilters all over it. One of the more prominent of those quilters – Mary Lee Bendolph – is featured in a current (through May 27, 2018) exhibit at the Mount Holyoke College Art Museum. She was born in 1935, freely used whatever fabrics were at hand (jeans, suits, etc.) and is now involved in printmaking.
To quote from the exhibit website, “This exhibition, which is the first to examine works from five decades of Bendolph’s life, considers her quilts as objects with many meanings. At once functional necessities and aesthetic wonders, many of the quilts on view are also family documents and symbolic memorials.”
Here are a few of her quilts.
Husband Suit Clothes (Housetop Variation), 1990
mixed fabrics, including corduroy, cotton, denim, velveteen, and synthetic brocade
Mixed fabrics including denim, cotton, polyester, and synthetic wool
Overall: 72 in. x 85 in.
“In Ghost Pockets, Bendolph incorporates pieces of her husband’s jeans, complete with their faded patches, still-saturated seams, and the deep indigo “ghosts” of pockets that once held Rubin Sr.’s hands, his tools, and other personal items. She also uses strips of turquoise, pink, and creamy yellow cotton, taken from his pants and shirts.
Created more than a decade after Rubin Sr.’s death, this quilt represents Bendolph’s resistance to a Gee’s Bend tradition: that of burning the clothing of the deceased. Instead, Bendolph saved articles of Rubin Sr.’s clothing to make quilts. “That way,” she said, “you always be with me…you’re always covering me.” The back side of Ghost Pockets has a large strip of red flannel overlaying a multicolored, patterned piece, intentionally giving the illusion of a quilt on top of a quilt.”
Swarthmore College’s List Gallery is the exhibit’s next stop.
Just for comparison’s sake, you can check out the winners at the 2018 QuiltCon here.
One of the good (and bad) aspects of art quilt groups is their love of challenges. It’s good to have a starting point for a piece, but I find it can distract me from more long term work. If I have a choice between analyzing and fixing what went wrong on an existing piece and plunging into a new piece, guess which I pick.
At first I wasn’t going to join a recent challenge to use denim and/or old shirts in a piece. I had already used my husband’s shirts (with his permission) to make Shirtsleeves, and I didn’t have any all cotton old jeans.
Then, my husband asked if I could use a pair of his old jeans and a shirt. It was kismet, so I began my challenge piece under the influence of Rayna Gillman’s latest book, Create Your Own Improv Quilts.
I saw that I didn’t have enough denim, but did have damask tablecloths and napkins I had dyed shades of blue. More kismet. I decided on 6 inch squares as my background, and fused lightweight interfacing to the damask before I cut it. If you don’t stabilize it, the damask will stretch out of shape.
I loved how the denim look changed depending on which side I put up.
Next, I began to slash the squares diagonally and sew strips onto the larger piece. At this point I decided to finish each square with the smaller piece I had cut off. I liked how it made the center small diamonds see-through.
Rayna’s version fills the centers with color, but I thought more color might be too distracting for mine as the background was already different colors. I think my version looks quite different, which shows how versatile some loose guidelines can be for improv work.
The top is done, named (Damask and Denim,) and just needs quilting inspiration.
And why is that so earth shattering, you may ask? Because for 7, going on 8, years I have made my quilts up or altered the original source so thoroughly it was unrecognizable. However, when I came across Victoria Findlay Wolfe’s Cascade quilt in her newest book, “Modern Quilt Magic,” I knew I’d have to follow the directions to have my version work.
Here’s her version.
I cut out the templates from plastic, hauled out my purple and its buddies scrap bin, traced the templates, and started cutting. There is lots of bias in each piece, so gentle handling is the key. As Victoria says, you need only pin in three places before sewing the units together. It also helps to match the registration marks piece to piece, and to mark them to begin with, of course.
When I got to the light fabrics area I had to break into stash, which of course generates more scraps, and explains why scrap bins never get emptied.
My version of Cascade, which I’m calling Church Windows per my husband’s comment, is smaller than Victoria’s. There is a limit to my purple fabrics. I don’t know if I’ll quilt this one myself or send it out. It’s quite bias-y though I’ve stay stitched all the edges.
“Modern Quilt Magic” focuses on partial and set in seams projects, and gives thorough explanations of the processes. You can see a video of some of the techniques here. I appreciated the line drawings of the quilts that you can try out colors on before cutting up your fabric.
I wonder what this pattern would look like in horizontal stripes or diagonal colors? I’d better break out my colored pencils.
Frigid temperatures have discouraged me from gadding about, so I’ve been busy in my work room and have two finishes to show for it. You’ve seen them before in their unfinished states, but I trust they are now done, or done enough to suit me.
“Not Quite Nancy” is the last of my Nancy series. It took a lot of time to quilt as I decided to do crossed curving lines a half inch apart. Never again.
I decided I like it best with a horizontal orientation. It’s not my favorite of the series even though its boldness is in my wheelhouse.
Another series carryover from 2017 is “Bloodshot Bullseyes,” one of my three responses to an Ohio SAQA challenge. I created eight curved piecing quarter squares with scraps and sewed them to felt.
The ribbon on the sides has been lurking in my trims box for a few years, so I was delighted to put it to work. I also did a bit of beading in the bullseye centers. Beading is right up there with dainty embroidery in my most disliked embellishments list. That is, I dislike doing them. When other people do them well they’re lovely.
I have at least two more tops to quilt (more of the bullseye series) before I can really dig into new work. In the meantime I’ll be working to improve my photography skills or at least my equipment. I’m waiting on the lights now.
So Not Nancy got quilted this month with few headaches. Yay! I dyed the large mottled solid fabrics and pieced the busy squares using some of Nancy Crow’s methods. Nancy just doesn’t use large blocks of solids, ergo the title.
I even drew out a quilting plan. (Imagine a picture of me patting myself on the back.) Well, it wasn’t rocket science, but consisted of following the piecing and keeping the diagonal line pattern straight.
I used a hera marker to draw those long quilting lines in the solid areas. You can see the “line” drawn on the right side, below. I found that worked well with the solid fabric and saved me the fuss of masking tape. I don’t think the line would show well on a busy fabric.
As usual, the FMQ in the two pieced areas didn’t go smoothly, but I expected that. I feel naked doing FMQ on solids; prints hide so much.
The quilting in the solid areas was done with a walking foot. The larger spaces between lines are 3/4 inch wide, while the smaller ones are 3/8 of an inch.
I used a heavily discounted dark blue Judy Niemeyer fabric for the binding. I don’t think the barbed wire fence in the print appealed to many quilters, but it doesn’t show when it’s 3/8 inch wide. While I’m fond of facings, I decided I wanted the STOP of a contrasting binding on this one.
Only one more to quilt in this series. Now if I only knew how I should quilt it.
Technical details: 34 x 36 inches; Quilters Dream cotton batting, Aurifil thread.
… ugly fabric won’t look so ugly. At least that’s what Bonnie Hunter told us at a long ago workshop. She was dealing with millenium fabric, which was truly godawful. I tried to find an example to show you, but it seems to have been banned from the internet.
Because I had less than wonderful results in some pieces from my Sue Benner paint/print dye workshop. I wanted to cut those up. I thought a pattern called Flux, designed for Art Gallery Fabrics, would work to punch up my fabrics with bold solids and impose a grid order on them. While I used the same dye colors in my fabrics, the patterns were all over the place.
My plan worked, kind of. The pattern calls for increasing the size of the center blocks with each row from the center. It turned out more of each fabric was needed than I had. I decided to use the same fabric on the diagonals rather than in rows to eke out my supplies. I still didn’t have enough fabric, so I threw in a commercial fabric from Joann’s clearance bin.
Here’s my original sketch. Nothing like good old graph paper. The interior squares are crooked because I cut them out, colored them separately to give myself more flexibility and set them down on my foundation grid. At this point I still hadn’t decided on the center of the design. I ended up trying at least two different schemes for that area.
In fabric that translated to this.
I’ve called it “Trip Around Columbus” as a tribute to the trip around the world effect. Because it’s 56 inches square, I may have it quilted on a longarm.
I remade some of the squares because the first fabrics I chose just didn’t work. Those rejects gave me enough material to make a go-with wall hanging, called “Fractured Trip Around Columbus.”
I bet you thought I never used patterns. If someone else has done the work, why should I reinvent the wheel.