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Summerhouse progress

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Dry weather for most of the weekend meant we could get on with building the summerhouse frame.  We already had the doors (salvaged from two matching pairs of French windows from a double glazing company in Perth) but we ran out of framing timber the previous weekend.  B & Q didn't have any decent timber in stock - it was full of twists and splits - so we got some from MGM in Perth during the week.  We ran out because we added extra uprights to the design, to have more anchor points for the tongue and groove cladding we're going to use on the inside.

Constructing the front wall using the back wall as a guide template seemed the obvious way to go.


The apex block being screwed in place.

 

 The tie beam across the top of the doorway was jointed to the main uprights.



 

The finished front frame! As the glazed doors are heavy, there's an extra upright on either side of the door opening, which will become part of the door frame.


Painting extra timber preservative along the base plates and corners.  The plywood panels were added to the front wall.


Rain stopped play around 7.30 p.m. and the walls are all flat under a tarpaulin again.  I'm hoping for dry weather in the evenings this week - fingers crossed!

Yuza Sashiko Guild's exhibition at Shonai Airport

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My quilts 'Masu' (circle) and 'Time and Again' are in Japan at the moment, as part of Yuza Sashiko Guild's exhibition at Shonai Airport.  Reiko posted the photos on Facebook today.  The exhibition looks wonderful - not only the exhibits, but the display system and venue are stunning.  Hope I'll see some more photos soon!  You can click here to see the exhibition poster, with more photos of their work.


Summerhouse last weekend

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While I'm away this weekend teaching sashiko at the Traditional Quilt Group's annual retreat (one of the Quilters' Guild of the British Isles specialist groups), Glyn is continuing with the summerhouse - weather permitting!  This is as far as we got last Saturday, before the rain set in.  The panel above is the front wall, with the 10mm plywood skin nailed to the outside.  It is cut higher than the frame to allow for the roof - rafters, 10mm ply and insulation, which will be topped off with galvanised corrugated iron sheets.


Once the panels were on (8ft x 4ft), Glyn cut away the panels at the sides of the door opening.  He is using one of the Japanese pull saws I brought back from my November trip.  Because these cut on the pull rather than the push like most western saws, the blades are thinner and less wood is lost to the cut.



Adding the plywood to the tops of the side panels.  The side windows won't go right to the top of the frames - there will be an extra 45 x 70mm piece above them.  The frame depth is 70mm, to allow for a good thickness of insulation.  Although we thought about using wool as a natural choice, it worked out so expensive once we added in delivery to Scotland, so we will be using an 'eco' rockwool insulation, made from recycled glass bottles.  It is breathable and fire resistant.  The inside walls will be lined with tongue and groove panelling, and painted.  Outside, we will add a layer of Tyvek housewrap and then reclaimed cedar shingles from a chalet demolition in Coupar Angus.


When we're not building due to rain, we've kept the panels as dry as possible under a tarpaulin.


This weekend's plans (while I'm teaching) are to get the walls up and the roof timbers on.  I hope Glyn remembers to take some photos for me!  I'll take photos of our group's sashiko work over the next few days and post them here later (that's a hint that I'm expecting them to produce some lovely stitching).

Traditional Quilt Groups' sashiko retreat weekend

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Thanks to Lorchen for these photos from today's workshop at Daventry.  We've got a full weekend of sashiko, trying out different patterns including hitomezashi and furoshiki-inspired fans today.  I'll try to get more pics tomorrow!







Wrexham Quilting Circle and Gresford Craft Group's exhibition

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I will be at Gresford Memorial Hall tomorrow for the first day of Wrexham Quilting Circle's annual exhibition, which runs until Friday in tandem with Gresford Craft Group's exhibition at All Saints Church Gresford near Wrexham.  There are lots of lovely quilts and other textile pieces on show, including Maureen Poole's 'Cantata', her contemporary silk wallhanging made from some of the 1718 coverlet block designs for the 1718 book.  The exhibition opens at 10 a.m. and runs all day until 8p.m., Tuesday to Friday.

Wrexham Quilting Circle and Gresford Craft Group exhibitions - this week

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I spent yesterday with friends from Wrexham Quilting Circle and Gresford Craft Group at their annual exhibitions, which run in Gresford at the same time.  The quilting exhibition is in the Memorial Hall while the craft group exhibition is in All Saints Church. The hall was completed around 1999 while the church is over 500 years old, so as two venues there couldn't be a greater contrast.

 





I joined the craft group in 1996 - the quilt group didn't start until after the new hall was built.  We used to meet in this room in Church House, an eighteenth century school building opposite the church.  This has been renovated in recent years and the room where we used to meet has quite a different feeling, although the original wall panelling has been preserved.  It feels so much lighter and brighter than I remember it.  The room through the double doors used to be the kitchen, but there's a modern kitchen on the other side of the building.  During the exhibition, it is set up as a temporary cafe.

 

The church looked wonderful full of quilts and other crafts - many craft group members are quilters, as well as the members of Quilting Circle and there's some overlap between the two groups.  It is easier to display larger quilts in the church.



 

Every year, there are guest exhibitions too.  Here's beadwork by Broughton Beaders, a group set up by one of Gresford Craft Group's members Jill, who is totally hooked on beads.




Another guest exhibition features the beadwork and needlepoint made by Daphne Ashby.








One ticket gets you into both exhibitions for just £2.50 (under 15s are free) and there's ample parking at the Memorial Hall.  The exhibition runs daily from 10 till 8 and finishes at 6p.m. on Friday.  We usually suggest parking at the Memorial Hall and walking up to the church.  If you enter the church grounds near the fish and chip shop, you will see the most famous of Gresford's yew trees, 1600 years old.



It was the first time in several years that I've been at the exhibition, because it overlaps with the National Quilt Champsionships at Sandown Park.  I could only stay for one day as it is World Textile Day at Bridge of Allan, Stirling, on Saturday, so I'm going home for that.  But it was lovely to see all my crafting friends again.  I can't believe it is eighteen years since I joined the craft group - where does the time go?

World Textile Day Scotland is on Saturday...

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We are setting up for World Textile Day this afternoon and will be open from 10 a.m. tomorrow, at Bridge of Allan Parish Church of Scotland, 12 Keir St, Bridge of Allan, FK9 4NW.  All the info about World Textile Day is here and you can see some photos from last year on this page.

This year we have some really fantastic fabrics for you as I have been back to Japan twice since last Autumn. On our spring trip, we went to Nippori, Tokyo's textile wholesale district, to shop for Japanese patchwork fabrics so we have a lot of fat quarters for sale, and we have also got many 'new' bolts of vintage kimono silks, wools and cottons.  Here's Glyn mailing fabric back last month.


Some of our fabric haul from the last trip...


Summerhouse progress this week

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While I was away teaching the Quilters' Guild's Traditional Quilt Group last weekend, Glyn got the summerhouse walls up, plus the first of the rafters, all on his own.


Yesterday, he got the rest of the rafters in position.  The roof will overhang the back by six inches but overhang the front by nearly 18in, so the main rafters go beyond the walls.  There are secondary rafters in between that stop on top of the walls, so the main part of the roof will be strong enough to walk on, if we ever need to do any maintenance.


10mm plywood panels go on top of the rafters.




Glyn demonstrates how to pivot a plywood sheet onto the roof.



Done! The plywood will have a layer of Tyvek on top, then 2in polystyrene sheet, topped off with galvanized corrugated iron.  We thought about having a sedum roof, but they weigh so much, the summerhouse frame would have needed to be at least 4 x 5in rather than 2 x 3in to support the extra weight.  It isn't as if we have removed any plants to build the summerhouse in the first place, because the back yard is was just gravel before we started.  I also looked in to those faux tile effect roofing sheets used for caravans, but the cost was double that of the wriggly tin by the time shipping from the Midlands was added (it all seems to be made down there), so we shopped locally instead and got the roofing from Dundee.



We celebrated getting the roof paneling in place by having Sunday dinner in the summerhouse - roast lamb with roasted plum tomatoes, peppers, courgettes and red onion.  Yummy!  The last two photos were taken at about 9.30p.m., which gives you an idea just how long the evenings are here at the summer solstice.  The 'dining table' was a plywood offcut on top of the workmate benches.



The Tyvek arrives this afternoon, so we hope to get the building 'wrapped' next, then the rest of the roof installed.

Traditional Group Sashiko retreat weekend - more photos

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I didn't blog all the photos from the Traditional Group's sashiko weekend.  Here's a few more -




The groups came together for show and tell at the end of the weekend.




More lovely sashiko pieces made by my group!



World Textile Day last weekend - some of Bob's photos

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We had a very busy day at World Textile Day Scotland on Saturday - so busy, I didn't take any photos! So many thanks to Bob from the African Fabric Shop for these.


For the first time, I didn't take any kimono or quilts.  We have so much 'new' vintage fabric on the bolt, I wanted to show it off on the quilt stand.


We were between the African Fabric Shop and Gilly Thomson's Kekfesto Cotton this time, which meant the fabric yardage traders were on one side of the hall and the ethnic textiles traders were on other other.  We were busy all day.



Sue from the Loch Lomond Sashiko Guild with Martin Conlan of Slow Loris.


Martin and John Gillow were our two speakers this year - we take turns to do the lectures.  As usual, the talks were packed out.


I love doing the World Textile Days because we meet such a variety of textile enthusiasts, not just quilters.  There's also more chance for me to browse the other traders' fabrics - we brought home another piece of African tie dye, which goes exceptionally well with some of my Japanese fabrics.  I'm working on a new version of my Japanese Circles and Squares quilt at the moment, and this might be combined in that quilt.

Using Japanese fabrics creatively

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I try to choose plenty of vintage kimono and haori fabrics that aren't obviously 'Japanese' themed (with images of geisha, pagodas etc. and the like, or large scale classical Japanese motifs) so I buy a lot of prints and dyes that can be used very creatively, in a more abstract way.  It's great to see pieces where these fabrics have been used.

Pia Welch sent me these detail photos of her entry for "the first time at the EPM this year at Val d'Argent. It is part of the new exhibtion of the Network Quilters. It is about fabric and music and my quilts are kimono backs which are about the shakuhachi flute.."


My fabric is the hot orange print.  If you're going to Alsace in September, look out for this quilt!

If you have used my fabrics in your project, I'd love to see photos.

'Tsuyu no himawari' (rainy season sunflowers)

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I started this set of 'Japanese Circles and Squares' blocks in March but this is the first time I've set them out.  They need a bit more swapping around and tweaking but it is nearly there.  I am going to add the circles to this one via the quilting. I used one yukata kimono cotton (the sunflowers) as the starting point and added eight of the African Fabric Shop's hand dyed batiks.  Japanese fabrics and African hand dyed batiks often go together very well and I have a few more projects planned using yukata and batik together.

Sunflowers bloom around the time of the rainy season (about now) and I think the patchwork combines very warm and very cool colours suggesting the refreshing rain after high humidity.

UPDATE - I changed the block layout slightly and think I prefer this.  Most of the purple stripe is in the bottom two thirds and the large sunflower panel is looks better with the surrounding blocks rearranged - repeating the sunflower background on patches that touch the main panel, but with the fabric grain/tie dye effect at right angles.

Summerhouse details

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The Tyvek housewrap finally arrived last Thursday.  I thought we'd have the summerhouse wrapped by now, but of course there have been lots of little finishing off jobs that have to be done before we can put it on.  First - painting the base and lower walls with bitumen paint to weatherproof them. 

Second - 'anti mouse mesh'! All the gaps between the slate bearers have been filled in with mesh panels recycled from two old spark guards (fire guards).  I don't want nests of mice living underneath.


Third - extra screws holding the walls to the base.


Fourth - flashing tape all round the base, so there's no moisture gap between walls and base.



Burnishing the flashing tape in place.


While Glyn's been getting on with the bitumen paint etc., I've been working on the windows.  The Gothic window has been sanded and I got as much of the rust off the glazing bars as possible, before painting them with primer. They'll be finished in black Hammerite paint.


When I got the window in 2005, I planned to have it in the garden as an unusual plant trellis, so it was stripped, treated and painted pale blue.  After thoroughly sanding it down, it has has several coats of primer.



The outside of the window will be white, but the inside will be red, in a satin finish. I think it will look better with the 'stained glass' aka painted perspex glazing I've planned for it.  I'm painting all the window frames before they are installed and they'll just be touched up later.  It is a bit easier when they aren't so high up!


A six inch kimono block...

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I was asked if there was a 6in version of the kimono block in 'Japanese Quilt Blocks to Mix and Match' so I've resized it.  You'll have to draw your own version from this image, unless you are a real whizz at downloading and printing off .jpg files at the correct size.  Each gridline is 1in apart and shrinking the block like this results in some strange measurements (the top background bar is now 1/3in for example) so it might be better to draft it up for a set of templates, adding a quarter inch around every piece.  Or you could use it for mosaic patchwork/English paper piecing.

There's a 5in version of it in '130 Little Quilt Blocks' ('130 Mini Quilt Blocks') too, with the kimono front panels (the triangles in the side pieces) done as applique rather than piecing, which might be a better idea on a 6in version too, as those lower corner triangles are now rather small.  Have fun with it!

Hakone Yosegi Zaikan parquetry

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Hakone Yosegi Zaikan parquetry uses many traditional Japanese patterns and the natural colours of wood to create intricate all-over patterns.  I used some of these as block designs in 'Japanese Quilt Blocks to Mix and Match'.  In real life, the patterns are much smaller, like on the soles of my okobo (a kind of geta shoe) above (shown before the straps were added). Next time I go to Japan with Glyn, Hakone is on our visiting wishlist.


Via a Facebook link today, I found some video clips showing how it is made.  Enjoy!

 
 

You can see more finished items at Izumiya's online store.

My advance copy should be arriving soon...

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I heard yesterday that an advance copy had arrived at the museum and my editor tells me that mine should be arriving today or tomorrow.  I can't wait to see it!

Although the official publication date isn't until later in August, the book will be available at the Festival of Quilts (7th - 10th August) at the NEC, from The Quilters' Guild of the British Isles.  From all the buzz about it, I think there may be a big demand at the Festival! I hope they don't run out... You can guarantee getting your copy as early as possible by pre-ordering from The Guild, who are offering an early bird discount so the book costs just £17.99 (rrp £19.99).  It is a 144-page book too - I just couldn't fit everything into the usual 128 pages!  Their online shop at the Quilt Museum also has lots of lovely 1718 themed gifts and souvenirs, so why not treat yourself to a few other goodies? Everything sold there helps to support the Museum and the Guild.

One of the reasons I've written this book is to help raise funds for the Guild's charitable aims, which includes running the Quilt Museum and maintaining the biggest collection of British patchworks, quilts and coverlets in the British Isles - you can browse the collection here. So although I had a small advance for the book - quilt author's don't get BIG advances! - the royalties will be going to the Guild.  But if you order from the Museum, not only will you be one of the first to get your copy, but the Guild will also benefit from the bookseller's discount as well as the royalties (the bookseller's discount is worth at least 40% of the cover price whereas the royalties are usually 10% of publisher's receipts) so the Guild will benefit from your purchase even more.  I will have some copies for sale at other events, like the Scottish Quilt Championships in September, and of course you can buy online anytime, but I would like my readers to give the sales a big boost at the start by ordering their copy from the Guild.

Bring your book to my stand C43 at Festival of Quilts and I can sign it for you.

I'm really pleased with this book.  At 144 pages, it is the longest book I've written and is packed with everything you need to know to make your own version of the coverlet.  The photos are just amazing - we can see the coverlet in more detail than ever before, enabling me to draw the most accurate template set yet.  Now I'm waiting for our postman...

1718 is here!

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Right now I have my advance copy of 'The 1718 Coverlet' in my hands.  A copy arrived at the Museum yesterday and I knew mine was on the way....  Sorry that everyone else will have to wait a little while for their copies! As with nearly all quilt books today, they are printed in China and the bulk order will be arriving by sea and only a handful of advance copies are shipped by air.  The parcel should have arrived here on Saturday but we weren't home and the holiday postman didn't know that we have a special place (or several) where parcels can be left, so it was a redelivery, or I'd have had it even earlier.


First thoughts? Of course I've seen the book at all the design and editing stages but seeing it as pdf files is never as good as seeing it as a real book, and a hardback. Also, having viewed even the pdfs of the final proof stage on a 13in laptop screen, the size of the images makes me go 'wow!'  I love the book design - the 'antique' font used for the titles and the heritage tuquoise shade of the cover, plus smaller details like the little outlines of the block designs used to make patterned bands across each page header.

Many of the 41/2in blocks are almost life size in the pattern directory and the detail in them is wonderful.  Working with the new high resolution digital photos taken by Jeremy Philips has been fantastic for me but I did feel a little guilty that I have been able to view them on the computer while I've been working on the book, able to zoom in at will.  However, the amount of detail and the sharpness of the photos on the page is excellent.  The readers will be able to look very closely at the blocks. I am always impressed with the colour and print quality of D & C books.


Every block is included as a reference thumbnail at the start of the Block Directory, a feature I liked in my previous block books and wanted to include in this one.


Having such great photos meant we could illustrate some important technique points with the original blocks, rather than my remakes, which was thrilling.  Readers will be able to see details just as well as the original maker.  Click the photos to see them in more detail here.


My dual block numbering system throughout the book means you can keep track of both the unique block number assigned to each individual block when the replica coverlet was made and the pattern number.  This spread is the key to both.  So choosing the blocks you like and finding the patterns becomes easy.  Of course, you might want to make all of them...


A copy of the 2015 Quilters' Desk Diary was included, which has illustrations of projects from 'Japanese Quilt Inspirations' and 'Japanese Sashiko Inspirations'.  It was nice to see these getting another outing.




I want to read my new book!

New fabrics for Festival of Quilts

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There's a lot of new fabrics coming for Festival of Quilts - I hope they will arrive in time!  I've been building up my stock again since last year's house move.  As usual, the vintage and retro kimono fabrics fall into several main groups - abstract silks and wools ideal for art quilts, landscapes etc.; traditional motif silks, wools and cottons; retro modern fabrics; blue and white yukata small prints; blue and white yukata large prints; tsumugi in all fibres; cotton tsumugi stripe (I've got dozens to choose from); large scale yukata prints with 1 metre repeats in blue/white and multicolours; textured weaves in various fibres; fat quarters!


In order to fit as much as possible onto C43, which is a 2 x 2 metre corner stand, I won't have any kimono this year and I will be precutting as many fabrics as possible.  Apart from fat quarters of patchwork cottons, the main precuts will be 70cm, 140cm and 210 cm, unless the fabric has 1 metre (approx.) repeats, like the yukata cottons, which will be cut on the repeat.  Why those sizes? 70cm x the narrow 141/2in width is about the same area as a fat quarter, so estimating fabric for your project will be easier.  140cm is therefore about half a metre eqivalent and 210cm is three quarter metre - and these are also a very useful cut for a quilt border.




We will have the popular £2 treats again as well - 20cm cuts from the £10 silks - and perhaps 180cm cuts for scarves, although I haven't finally made my mind up about that.  Perhaps I should just sell 210 cms for scarves and let you cut them down? That way you get a bit for a quilt as well :-)





I will have 1 metre precuts of  very lightweight vilene, for £4.50 a pack.  This is the weight I recommend for ironing onto the back of the softer silks before using them for patchwork, both as a stabiliser and to give them a little more body.  One pack is enough for 3 metres of silk at 14 1/2in width.


The fabrics shown here are a mixture of silks, wools and cottons.  See you at the festival!   We will be on stand C43.





















Dancing Yamabushi and more...

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So cute! It is like a tour of Shonai - Mt Haguro's pagoda and Yamabushi (mountain priests), Dewasanzan's big torii gate, Sakata station, Shonai airport, Tsuroko station, the Sankyo warehouses, Chido museum, Yuza-machi and Mt Chokai - so many places. If you want to see places around where I used to live in Japan, and a crazy dance video, watch this!

Summerhouse - little bits and pieces

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There have been lots of small jobs to do before getting the Tyvek wrap around the building.  Painting the gothic window frame red wasn't a top priority, but the weather was so wet during the daytime last week, it was a job I could do while it was raining outside.  It has taken two coats of primer and one of white satinwood to knock back the blue paint, and three coats of red satinwood to build up to an even colour.


Getting the first row of shingles on had to wait until Saturday.  These overlap the flashing tape that went on last week and the Tyvek house wrap will go over the top of them.  The idea is to push the bottom rows of shingles out slightly, to help the walls shed any rainwater away from the base.  The bottom edge of the Tyvek will be about half an inch lower than this row of shingles, and the two overlapping bottom rows of shingles will 'step down' another half inch or so each, so they will hang over but not touching the concrete base.  That should be enough to protect the base of the walls.  The roof overhang will be about 16in at the front, 6in at the back and 14in at the sides, so that will help too.  It is surrounded by gravel, so rain won't splash up like it would from concrete pavers.  We're not adding guttering, just relying on the gravel to act as a soakaway - the runoff from the roof may as well go straight into the ground rather than a water butt and our trees and shrubs can use it direct.


Having the window sill for the back window at about the same height as the workmates has been quite useful as an extra ledge to balance long timbers...


There will be four double sockets around the walls, each one at a reasonable height next to a window, so it can be used as a workroom as well as a storage space.  No crawling around on the floor or trying to get behind furniture to plug things in.  A solid block made from two thicknesses of plywood scrap will give something to screw the electrical boxes into.




None of the recycled windows are opening windows, so we are building in a vent on either side of the gothic window.  The outer vent panel will have stainless steel anti midge mesh inside of it, plus we'll paint the inside of the vent openings with bitumen paint, to seal them.  The inner vents are sliding ones, so they can be closed in colder weather.



A well earned break.  Lots of cups of tea (plus a couple of beers) were shared this weekend.


Sealing between the outer panels.


We finished early last night, when the second drill battery was out of power.


Being so far north, we are getting long evenings and plenty of daylight at this time of year, which helps!  This was the sky at 10.30 on Saturday night.

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