Quantcast
Channel: sashiko and other stitching
Viewing all 631 articles
Browse latest View live

1718 - Amazon....

$
0
0

Amazon's customer profiling always makes me laugh when the manage to send me a link to one of my own books...!!!  Please note that this will be for the paperback edition. In fact, it looks like Amazon won't be getting the hardback at all, as I can't find it listed there. The special pre-order discount offer running on the Quilt Museum's website is for the hardback, which is a more limited edition, so if you want a hardback, order now.  There will only be hardbacks available from the first edition, which is coming out simultaneously in hardback as well as paperback, and the hardbacks are usually never reprinted.

I read the following article in the Guardian yesterday - Author's incomes collapse to abject levels

I left a comment -

"I'm a non fiction author. One of the problems with income from royalties is that the retail price of books, and therefore publisher's receipts of which royalties are typically a 10% share, have scarcely risen in twelve years. The cover price of my first book was £17.99 in 2003 and the cover price of my next one, scheduled for August 2014, is £19.99. You hardly need to bother with the maths to see how the cost of living has risen during the last eleven years and the spending power of the £ decreased, making royalties from a sale today worth significantly less than a decade ago. Factor in the bulk discounts available to the big retailers compared with the smaller discounts traditionally available to smaller bookshops (25 - 40% typically, depending on wholesaler) and when the likes of Amazon are dominating online sales, it is easy to see how authors are receiving less and less. In proportion to income, the cost of a full colour hardback book has fallen dramatically in the last thirty years and the public expect books to be cheaper than ever.

"To make £50 - 70k writing commercial fiction at a 10% of publisher's receipts royalty rate, as mentioned by another commentator, your publisher's receipts must be at least half a million a year from your titles, which means the retail value of your books is around a million GBP. If the average price of a paperback novel is £10, that's 100,000 books sold a year, which is very good going for fiction."

The first paragraph also explains why authors make much more if you buy a book from them personally, say at a quilt show - they get the bookseller's discount, which is worth far more per copy than royalties.

The 1718 was written to help raise funds for the Quilters' Guild and the Quilt Museum, so if you buy your copy from the Museum or the Guild, you'll help fund raise even more, because they will get the bookseller's discount as well as the royalties on the book.

My first full-time job was in a bookshop in the 1980s, which is one reason I have a good overview of book pricing from then to now!  I worked in Galloways, Aberystwyth's university bookshop - a big independent bookshop, with three floors of books and stationery and a second hand/antiquarian department next door.  The kind of bookshop that is rarely seen nowadays.  It closed several years ago.

Summerhouse wrapping

$
0
0

Yesterday evening we had the combination of enough time and good weather to get the first of the Tyvek house wrap onto the summerhouse. I chose Tyvek because it is microporus and will let the timber frame and pywood breathe - it lets out microscopic vapour molecules (small enough to pass through the meshed fibers but doesn't let water droplets through (too big). Yes, I know quilters are more likely to use Tyvek for painted and bubbled effects on art quilts!


We studied a few clips on youtube before starting, although it turned out not to be easiest to go straight over the window openings in this instance.  Glyn did a tuck on each corner of the lower wrap, to allow for the extra bulk of the first row of shingles underneath, which were added to push out the angle at the bottom of the wall and throw rainwater away from the foundation slab.


The ventillation grille openings were covered with fine flyscreen mesh (stainless steel) the previous day and the openings painted with bitumen paint.


The wrap was definitely a two person job, although Glyn did the finishing off on the roof, with me holding the sheet up.



This is just before the tarp went back on last night.  We could have worked longer because it was still light, but this was about 9p.m. and the staple gun is quite noisy.  The Tyvek went on quite quickly and we'll finish it off on Saturday.  The roof insulation and roof panels will be next.  The metal primer arrived yesterday but we haven't measured for the roof just yet, so I don't know how much of the edge of each to prime for the copper hammerite paint I'm putting onto the underside of the roof overhang.  There's a bit more carpentry to do before that point as well.
 

We're aiming to have the roof on sometime next week.  There was heavy rain a couple of days ago and a large damp patch appeared in the middle of the floor, right under the workmates.  The water had run down the underside of the plank we were using to hold the tarp away from the side window openings.  We're not going to install the side windows until we have almost finished the shingles, although the gothic window frame will go in soon, because they are already glazed and I think the vibration from hammering all the shingles could crack the glass.  The window architraves can be temporarily pinned in place, so we know what we are working up to with the shingles.

Summerhouse roofing

$
0
0

We didn't get a lot done yesterday because it rained from late morning onwards, but today was ideal working weather.  So Glyn got the polystyrene insulation onto the roof while I painted some of the eaves rafter timbers.




Expanding foam filler was used to fill and seal the gaps around the gable ends.


It looked like lots of mint ice cream...



We painted the underside of the corrugated iron roofing sheets with mordant solution to strip off the galvanized finish, so the Hammerite copper paint would stick to the metal.


If I'd known how far the mordant solution would go, I'd have bought a smaller bottle, but it will come in useful when we do the Land Rover rebuild.


The underside of the eaves have been painted with copper Hammerite paint.  This would be a difficult job to do once the roofing sheets are in place, so we worked out which areas of sheeting will show, and just painted those, with the panels flat.



After that, Glyn trimmed off the excess foam.  It took a few hours to harden off properly.


Back to work now!

Fanoe quilt revisited

$
0
0

I made the original Fanoe quilt four years ago and it was raffled to raise funds for The Quilt Museum at York - you can read about the original on my blog here.  It included some pretty Dutch red and white prints, checks and polka dots. I thought I'd make a blue and white version for myself using Japanese yukata cottons, but when I saw a new selection of Scandi Christmas fabrics from Makower on the New Theads website, I changed my mind. The remake will be red and cream, so I can include some of my favourite French General fabrics too and reproduction cream and red mini prints from my stash.  I have a large scale Moda check in red and cream, plus some cream polkadots on red.  Like the original, there will be slightly different shades of red across the patchwork.  Pam Ablett at Quilters' Trading Post longarm quilted it using a shaded red thread that brought all these different reds together beautifully.  I think I will have to get the new one done there with the same pattern.


Furoshiki quilt

$
0
0

Christine Linton sent me the photo of her version of the Furoshiki quilt from 'Japanese Quilt Inspirations'.  It is very similar to my original quilt, but I like the lighter blues she included in the border - it gives the quilt a lighter feeling than the original, which is much darker with lots of reproduction traditional Japanese fabrics around the edge.  Her photo also reminds me that I must make a smaller version of this, using 1/2in finished strips, as I have a 20in version of the same furoshiki - when I can find where I put it!  Christine writes -

I thought you might like to see this, shamelessly copied from you! I've made it for our local scout group to give as a parting gift to our student scout leader, who graduated from St Andrews today and is off to pastures new. Tonight is her last scout meeting with us, and about 60 scouts have signed big labels in the back of the quilt. I hope she will remember us when she uses it, and that the rabbits will bring her luck! Thanks for such a lovely design.

Here's the original, when it was on tour with the rest of the quilts from my book, at the Great Northern Quilt Show at Harrogate in 2011.  It looks much better where it lives now, on a friend's bedroom wall.  I got the furoshiki from Gary Bloom's shop - he's got some rabbit designs in his eBay store, but the large size of this design is discontinued now.



Sandra's Oriental Sampler variations

$
0
0

Sandra Smith sent me these photos today, both versions of my 'Oriental Sampler' that appeared in Popular Patchwork (quite a long time ago!)   It looks lovely in these very different fabric combinations.  I especially like the one at the top.  Sandra writes -

I made both quilts, feel free to put them on your website, glad you liked them. The fabric postcards hanging either side are family photos and some. postcards which were sent from China to Birmingham by my Granda, my Gran was doing her nursing training there before they married. The top 'photo' on the right hand side is of my Great Uncle, George Jefferson Gaskin, who was the second person in the world to make a record. I can listen to him on YouTube which is slightly bizarre!!

So of course I just had to look up George Jefferson Gaskin on Youtube - here he is.

This quilt, originally designed as a teaching project for my beginners' group near Wrexham about 10 years ago, still seems popular.  Should I reissue the pattern?


Summerhouse - first of the roof sheets

$
0
0

Yesterday afternoon, Glyn started putting the corrugated iron sheets on the summerhouse roof.  First job - adding supports to the gable at the back, on top of the rafter ends.

It was in the mid thirties outside at least, but the thermometer read much higher once the sun moved round.



The corrugated iron sheets were painted under the eaves sections a week ago, with 'copper' Hammerite paint - more bronze coloured than copper.  They are lightweight but big.  This is how Glyn gets them on the roof -













He holds each sheet in place with gaffer tape before screwing them down.  We used a string tied between the back and front rafters so he could line up the roofing screws with the rafters below.










A couple of glasses of wine in the evening sunshine.


The remaining sheets will go on tonight.

Marion Werner's Japanese Quilt Blocks sampler

$
0
0
 

Marion sent me some photos of her Japanese sampler, which combines blocks from 'Japanese Quilt Blocks to Mix and Match' and 'Japanese Taupe Quilt Blocks'. She writes -

Tomorrow I will finish the borders and then comes the fun part - quiltingthis baby on my Juki.
But it starts looking like a quilt.


Model - Elsie, Marion's bassett hound, who obviously has good taste in quilts!

The taupe, blue and russet colour scheme is a winner.  I wonder what colours will be in the border?  It is going to be a big quilt - it must be over 80in square already.  Ganbatte kudasai! ('Work hard' in Japanese)


UPDATE - Marion sent me another e mail, with a photo showing the borders -


Here the progress - as promised.
Quiltsize: 2.6 m x 2.32 m
sashing - finished - 1.5"
inner border - finished - 2.5"
outer border - finished - 6"
Sorry, that I cannot deliver a better photo - the table is not high enough!

Quick machine sewn hanging sleeve method

$
0
0

Felisa Nakazawa posted the video above on Facebook today, giving a completely machine sewn hanging sleeve method. Very easy to follow - you don't need to read Japanese.  I would start with a 9 1/2in wide strip for quilts intended for shows, otherwise there's a risk the end result would be too narrow.  The machine stitching will make a more permanent finish than a hand sewn hanging sleeve too, so perhaps not the method to use if you might want to take the sleeve off later, say for a bed quilt.  But you could use the sleeve construction and machine basting and simply do the final stitching by hand - use the same method she shows for sewing down the sleeve ends.

Welcome to Japan - Nihon e youkoso!

$
0
0

When I saw Bobunny's 'Detour' range for Riley Blake Designs, I loved the travel-themed fabrics, so I wanted to make something using their fat quarter bundle. Another variation on Japanese Circles and Squares seemed the way to go, with eighteen fat quarters to play with.  I added some fabrics with kamon crests, traditional umbrellas and another monochrome Japanese print.  The arrow print has been a lot of fun to use.  I used plain fabrics for the compass star - they just look a bit mottled because I've got the patchwork pinned to the curtains and it is rather bright outside today.

The design uses the same layout and method I used for Masu a couple of years ago and I'm making the blocks starting from the centre once again - the only way to really get the shading right.  Masu used the same large print Kona Bay fabric throughout the centre, but 'Yokoso' (as I'm calling it for short) uses the paler colours from the 'Detour' bundle mixed up.

I cut the fat quarters the same way as we do in the 'Japanese Circles and Squares' workshop and graded the fabrics according to how dark or light they were.  The map prints in particular have a lot of contrast, so pieces with a large 'landmass' (in dark grey) weren't used in the centre - they will go towards the outer edges.  Like Masu, the centre circle area will float on the darker background, but I'm making this one a lot larger, so I'll shade out through the pieces left over from the centre fabrics to the red spots on white (in two sizes) I'm adding towards the outer edges.  It could go as large as 14 x 12 blocks (84 x 72in).  If it does, I might have to think about longarming it, either sending it away for custom quilting or booking a session up at Seattle Quilt Company at Aberdeen.  We had a training day on their Gammill for Glyn's birthday last October - I couldn't write a blog post about it because it was while we were without broadband, so here are some photos now, with Lisa at the shop.  I would want to warm up on something else first! Glyn is a much more intuitive longarm quilter than I am.




With the travel theme, I thought it would be appropriate to add a Mariners Compass style star to the centre.  So after the first four blocks were sewn together for each quarter of the quilt, I sliced through on the diagonal and added points by stitching, flipping and trimming.  I made the two sides of the point different lengths, with the cherry red segments a bit shorter, to give it a slight sense of movement.  Glyn had suggested I should make it like a propeller, but that would be a bit too tricky for me.  Perhaps I should have just done one half of the point each time to give it more movement - I might try mini versions of that on another piece.


I had not planned for the reduction in block size when I stitched the two pieces back together along the diagonal, where 3/8in was lost into the seam, in exactly the same way as making a triangle square.  The size reduction affects the square underneath the point in each corner and would continue along the rows and columns towards the outside of the patchwork.  After thinking through possible ways to fix this, it seemed the best way would be to have the blocks in the affected rows trimmed down to fit, rather than adding extra fabric to each quarter of the centre.  The affected blocks could be resized by trimming off on the wide sides only.  Rather than 'waste' 3/8in x 61/2in strips from the widest long pieces, I thought it would be a better idea to cut them that bit smaller when cutting the pieces out.  After ending up with rectangular blocks where I didn't want them and finding it is just too easy to mix up a 2 1/2in strip with a 2 1/8in one, I've gone for trimming the finished blocks! So long as 'Japanese Circles and Squares' blocks are trimmed on the wide sides only, it isn't too obvious that a bit has been taken off. A couple of days ago, I seemed to be doing as much unpicking as sewing, but hopefully I've got beyond that now.  I'm blaming the hot weather.  It was 28 degrees C in the shade yesterday afternoon and today is hotter (officially 24C on the weather forecast).  I have finally caved in and switched the fan on!

Summerhouse main roof complete

$
0
0

Last night and today, we got the rest of the roof on the summerhouse.  I've been priming more trim, so it was mostly Glyn getting the roofing sheets on!  First, a strip of bitumen tape on top of the gable support beams.


The final roof sheet.  There are five on each side.











 The storm clouds were gathering as Glyn screwed down the last sheet.




He was just in time!  Starting with a flash of lightning and a huge roll of thunder, we had a proper summer storm.  The roof worked perfectly, with the wide eaves overhangs throwing the rainwater well away from the side walls.


A celebratory glass of wine while it was raining.


Festival of Quilts tickets giveaway

$
0
0

I've got three complimentary one-day tickets for Festival of Quilts to giveaway!!

Tickets for the Festival cost £16 on the door at full price, so they're worth having.  They can be used on any single day of the Festival too.

I'll keep this offer open until 31st July, when I'll draw names out of a hat (probably Glyn's morris hat!)  To let me know you're interested, please do one of the following -
  • leave a comment on this blog (with some means of contacting you - anonymous comments won't be much use)
  • give my Facebook post a 'like'
  • send me an e mail via my website

Good luck!

1718 Oakshott fabric packs

$
0
0
To go with the book of the coverlet, the Quilt Museum and Gallery at York will have some exclusive packs of Oakshott shot (two tone) cotton fabrics for sale, in colours selected to reflect the original coverlet.  These packs won't be available anywhere else, as the museum staff are cutting and packing them specially for their shop.  I think they'll be fat eighths, but I'll let you know.  Oakshott have only just brought out these new colours and they won't be ready in time for Festival of Quilts but they should be in the Museum shop to coincide with the start of the exhibition in September.

Of course, it isn't possible to put every modern equivalent fabric into the pack, so you'll still have the fun of shopping around for others.  I've acquired some wonderful batiks recently in very similar patterns and colours to many of the worn damask fabrics.  My best find so far has been a vintage Japanese yukata cotton stripe which is a good substitute for the silk stripe in the two top corner blocks - I will have some of that on sale at Festival of Quilts, stand no. C43.


Also on the fabric front, the Museum shop has got the excellent Sidmouth quilt centre panel in stock again.  I had heard they temporarily ran out (??) but it is back on the website. More than 100 years younger than the 1718 coverlet, the Sidmouth quilt is all print cottons - my Sidmouth tribute patchwork is shown below, with similar prints to the original.  Although all prints, the colours are not unlike the shot cottons I think and the panel could coordinate with the 1718 fabric pack rather well for a different project.


This lovely quilt design by Petra Prins also uses the panel, which they have in their shop too, and shows you don't only have to make a replica with it.  It was posted last week on Facebook and I'm guessing they'll have a pattern or kit soon - maybe at Festival of Quilts?  Petra Prins will be on stand E19.


I hope that quilt will be on display!

Festival of Quilts ticket giveaway - winners!

$
0
0
We drew the names last night and the tickets will be going to Jane MacDonald, Di Abram and Liz Smith.  Congratulations all!  I'll send the tickets out as soon as possible.

Festival of Quilts preparations

$
0
0

I have been cutting and packing fabrics ready for Festival of Quilts, which opens on Thursday, mainly the Japanese cottons - stencilled yukata, striped cotton tsumugi and various woven and printed vintage cottons, including tanzen cotton (for padded winter kimono).  There are two large parcels of fabric still on their way!  It looks like I might be unpacking these at the show on Thursday, if we can get them redirected, as it is almost certain they won't arrive up here before I leave.  The lovely book pattern yukata fabric above is in one of those parcels...


..... so is this one, with fan papers against willow branches....



.... and this fantastic design of noshi ribbon bundles.  All three of these are yukata cottons, with approx. 1 metre repeats.  These large scale designs make wonderful wallhanging panels - just add a border and start quilting/embellishing!



These are some of the new fabrics that HAVE already arrived, so they will be in the van later.  All silks, apart from the blue yukata cotton with the chain pattern (these are fantastic for fussy cut sashing) and the retro wool green geometric design.  See us on stand C43 at Festival of Quilts for much, much more! We have fat quarters this year too...










The 1718 Coverlet book launches on Thursday!

$
0
0

I'm so busy cutting and packing fabric, I nearly forgot to post this reminder - the book launches on Thursday at Festival of Quilts.  You can buy your copy from the Guild at the show - I won't have any for sale on my stand - and bring it to me for signing.

We have received the stock of the new book today so it is really exciting! You can find the book on the Quilt Museum Shop stand O9 in Hall 7. Don't forget to take your membership card to receive your Guild member discount.

It is still available from their website.

Festival of Quilts - photos

$
0
0

We had four very good days at Festival of Quilts. Visitors certainly liked a lot of the 'new' vintage fabrics.  The quilt on the front of the table is a vintage Japanese piece, in similar fabrics to those I sell, and for once I didn't take any of my own quilts. The big book launch this year was the 1718 coverlet book, sold on the Guild's sales stand - dozens of quilters brought them back to me for signing.  We couldn't have fitted the books AND the fabrics onto a 2m x 2m space.

This was the stand on setting up day -

 

Fully loaded up with fabrics!

 

 The main Guild stand was opposite the entrance, as usual.


10 a.m. on Thursday - visitors waiting for the show to open.


A glimpse of the 'Mosaic Patchwork' exhibition from the Quilt Museum.  I love the historical quilt exhibitions at Festival of Quilts.

 

The 'Unfini-sheds' Guild fundraiser stand run by Jan Allston for Region 2.  There were over seventy pieces made for this project and many were sold via the website before the show started.  I'll do a separate post about some of those I bought.  No idea how much this has raised for the Guild, but at £25 a piece, it should be quite impressive.  I suggested the idea to Jan when we were having a bit of a brainstorming session while shopping at Letham Crafts last year, and she has done an amazing job promoting them.  Her husband Keith also came up with a rather neat reusable framing system for display as well.


I had two Unfini-shed's in the pipeline, made from a couple of tote bag panels I made for 'The Ultimate Sashiko Sourcebook' but didn't use (there wasn't enough room for the patchwork instructions).  Both were unfinished when I set out for the show, but I got the first one completed on  Friday - this shows it on Thursday morning -


And here it is finished, with the happy new owner.  I gave her a bundle of sashiko threads, as my idea is that these little boromono-inspired pieces can be added to by their new owners.  The second one was bought by my friend Lorchen and she is going to add to it while travelling around Europe over the next few weeks - I'll post photos of progress as I get them.


There was a bit of a boromono theme going at the show this year.  I love this version of the zip over rucksack from my '21 Terrific Patchwork Bags' book - I think it is better than the original.  Glyn loved it too.






Among the quilts, I spotted a version of my 'Time and Again' pattern called 'Autumn Bounty' by Jane Whittles, in the Contemporary Quilt section.


I love the textured stitching and couched threads.



Here are some other quilts that I particularly liked this year.  First is 'Calabrian Courtyard' by Jo Coombes.  The irregular block shapes and sizes and the batik fabrics work so well together.


'The View From Here' by Karen Farmer was selected for the Art Quilt Masters category.



'Holkham Beach' by Cherry Vernon-Harcourt, from the same category.


'Mass!' by Jane Ayres, same category.



Linda Turner's 'Casting the Ironbridge', Contemporary Quilts.


Ann Johnston's exhibition, 'The Contact', was beautifully displayed, with a mixture of pieces shown as banners and wallhangings.



I've managed to totally burn out the label on this one - it was #817 - does anyone know the quilter?  It got 3rd prize but I can't remember the category - probably Contemporary Quilts.



Ethelda Ellis, 'Forest', Contemporary Quilts -



Liz Heywood's 'Southampton Strippy' got Highly Commended in Contemporary Quilts.



'Forest' by Barbara Bragg, Contemporary Quilts.  There seem to have been quite a few quilts inspired by forests/woodlands this year.




Abeer Al-Khammash was awarded a Judge's Choice by Verena Lenzlinger for 'Snowing', Pictorial Quilts.




'Best in Show' was awarded to Ruth Parker for "Eloquence and Integrity'.  It is a two sided piece and it was a shame I didn't see it before it was moved to the winner's section, because only one side could be seen there.






Mags Ramsay received a Judge's Choice award from Sandra Meech for her pictorial quilt "Weymouth Waves'.  I love the way Mags interprets seascapes in stitch.  She had another piece on show but I didn't manage to find it - we only had a little time each morning to look at the quilts and I know we didn't see everything.


Finally, I liked the idea of this piece very much - like a collection of slides! Kjersti Thoen's 'My Garden (box) of memories' was entered in the Guild's theme category.


There will be lots of other photos shown around on the internet I'm sure - already Fiona Garth has blogged quite a lot of pics - so have a search for 'Festival of Quilts 2014'.

Unfini-sheds

$
0
0

This is the Unfini-sheds fundraising stand at Festival of Quilts last weekend.  You can read about the project here.  I don't think there was enough wall space to hang all of them at the same time.

Since the whole idea had morphed out of a suggestion I threw into the mix (for having the pieces not quite finished or at least not bound edges), I felt I needed to make a contribution.  I had two genuinely unfinished boromono-style patchwork panels that were supposed to be made into a tote bag for my first sashiko book, but we didn't use them because I already had another two bags finished... I backed and tacked both panels, in case I could get them done while at the show. Here's a photo of my 'Last Minute Boromono II', which was sold to one of my quilting friends Lorchen, in a slightly less finished state than the first one I made - there's a photo of that in my previous post.  I suggested that each piece could be used to enhance the qualities of the boro (which should look more worn and ragged really).  Before handing this one over, I used the Babylock embellisher on our neighbour's stand to soften the appearance of the plaid appliques!


Jan Allston, the Region 2 Area Rep for the Guild, organised the website and all the administration for this project. Some of the little pieces were available to buy before Festival of Quilts but she kept them all for the show, so there would be a good display. After quite a lot of gorgeous unfini-sheds had been listed and sold, I thought I might as well treat myself to some as well, and buy some as presents! I bought a few pieces before the show, as Jan was listing them almost every day on the website - I started checking for new arrivals a few times a day, as they were getting snapped up quickly. This piece is by Annabel Rainbow.  It is very similar to the large Chinese jar I use to store rice.  I love blue and white ceramics, so this will have to be displayed somewhere near my dresser."A favourite vase which has appeard in Life 6 - Still Life (With Orange) and Life 7 - On The Shelf.  Applique on white cotton, free machining, acrylic paint."



This piece by Deborah O'Hare is called 'Moon Gazing Hare' and will be my mum's birthday present, once I've got it framed.  It is the first piece I bought from the website. I love it - quite a magical little scene where you can loose yourself in a daydream.


This is garden gate by Dilys Fronks is a close relative of her bigger 'gate' quilts, but with the gate delicately embroidered over the scene this time.  It is also going to be a present. "A garden was designed and constructed using overlapping-strips of ready bonded fabrics cut with a fluted rotary cutter.  Machine quilting and texturing helps to hold the bonded fabrics in place and adds visual interest.  The gate was sewn on top using a machine satin stitch."


Hilary Beattie made 'Spring Jug'- "One in a long running series of ‘Jug’ pieces – this one is a sample made for a trio of silhouettes, but never bound and finished. Made using a mixture of commercial and hand painted fabrics and papers." I will frame this one later.  Originally I was going to have all the Unfini-sheds in the same room (guest bedroom) but I'd like to hang this one in the living room I think.  Hilary's work is usually very pictorial and a collage of fabrics, papers and trims - the spots in the background combined with the lace give this piece a very retro feeling.


I liked the vibrant colours of the "Majorelle' series by Pauline Barnes - it was hard to settle for just one! Her 'Kitchen Garden' quilt was my Judge's Choice several years ago at Quilts UK and the detail in her work is wonderful.

"These are genuine UFOs cut from a large quilt which I was making a few years ago after a visit to Morocco.  Inspiration was the Marjorelle gardens in Marrakech, once owned by Yves St Laurent.  The Quilt was named after the vivid blue colour which the original owner, artist Jacques Marjorelle, painted his villa-studio.  



I worked on the quilt for weeks but couldn't quite get it to 'gel' so decided to cut it up and rearrange it, which didn't work either!  It has been in a drawer ever since and I thought if I cut it up again someone might see potential in it.  There are lots of exotic plants in the gardens and white painted stucco on the villa.  I have used hand dyed cotton fabric, polyester sheers with free machine stitching for the greenery, and Evolon Soft, hand cut into Islamic patterns and appliquéd by machine."                        



The final piece by Terry Donaldson is a present for Glyn - I knew he would like this very much!

"Inspired by the view from a Cornish cliff top after an open air theatre event.  This is a copy of one of my CQ Journal quilts from 2012.  Hand dyed and printed fabrics with machine quilting."



Now to frame them all!

Modern quilts - am I a Modern quilter??

$
0
0

The Quilters' Guild launched a Modern Quilt Group at Festival of Quilts last week.  I haven't joined - I didn't get a chance to go round and see what it was all about - but would I qualify as a 'Modern' quilter? This Pinterest link shows some 'Modern' quilts.  I've done various quilt and block designs inspired by mid century modern design or just pure abstraction, although I'm not a huge fan of plain fabrics (unless they have a beautiful colour or surface texture).  The quilt above was made in 2009 - 'Jelly Roll Crumbs' while the top of the one below was started in 2001 - 'Lulea Blockhus' (I have just spotted that the tacking threads are still in the quilt in that pic!)


The following photos are just images I had to hand - I have several works in progress which might be considered 'Modern Quilts' but I don't have photos of them yet.  "Maru' was made in 2012. It is a variation on my Japanese Circles and Squares workshop design.


A 'Japanese art quilt boromono' workshop sample made earlier this year. Quite a lot of plains in there, but they are Japanese sashiko cottons, so they have a bit of texture.


'Shimacho' from 'Japanese Quilt Inspirations', made in 2010 - this would almost certainly be considered a 'Modern Quilt' if it wasn't all prints...


'Time and Again', made in 2001.


 "Tsuyu no himawari' - work in progress - Japanese circles and squares again.


Another random batik version of my Japanese Circles and squares workshop design in progress, c.2005.

 

'Nihon e youkoso!' - work in progress.  The Mariners Compass star in the centre has the points split, for rotational symmetry.


'Last minute boromono 1' - started in 2003, finished last week...


'Sakiori' from 'Japanese Quilt Inspirations', 2011.

 

'Irori' from 'Japanese Quilt Inspirations', designed 1998.


'Masu' from 'Japanese Quilt Inspirations, 2011.


'Golden Fifties', 2004 - 2005.


'Ishi' (stone quilt), another variation on the Japanese Circles and squares workshop design, 2012, work in progress.


Blocks from '130 Little Quilt Blocks", 2010, first two inspired by retro designs from the fifties.  Block designs from my other books have often been given the 'Modern' fabric treatment by quilters too - here's a Modern sampler quilt from 'Japanese Quilt Blocks to Mix and Match' on Flickr - there's a whole Flickr/Yahoo group about these - here's another version of my blocks in Modern fabrics. 



And, until Val just mentioned it on the QGBI Yahoo! group, I'd almost forgotten to include 'Pink Paradise Birdsong' from 2005! Here's a link to my earlier post about it... Although it is inspired by 1950s designs, I think it might be too pictorial for a 'Modern Quilt'.

 

I love many 'Modern Quilt' pieces, but I don't go for the large areas of white in many quilts - it just isn't practical enough for me.  So, am I a 'Modern Quilter' or not?

Festival of Quilts - more blog links

$
0
0

Here's a few more blog links with more photos from Festival of Quilts.  First, Mags Ramsay's blog - the quilt above is her award winning 'Weymouth Waves' is shown above. 

Maggie Birchenough has a slideshow of quilts on her blog - just relax and enjoy!

Looking through their photos, I realise just how little of the show, especially the individual galleries, we actually got to see.  Another time, we have decided we both need a notional 'day off' to explore!


Viewing all 631 articles
Browse latest View live