Mini Quilts – What’s the Purpose?

IMG_0734Hello Everybody,

What is a mini quilt for? Well, I want to say it’s to bring joy but perhaps that’s not very helpful. So, I have been giving some thought to the matter….

I belong to a local group of women who like to get together, now and then, to discuss where we are with our individual projects – both art and business related – share information, and ask and answer questions.  I love the company of the members and always learn a thing or two; though I often leave with more questions than I had when I arrived!

At the last meeting, I was sharing my new idea for a series of mini quilts with a Scottish theme, in tartans or plaids. I had also brought several earlier finished projects with me, to show the changes in the direction of my work since I joined the group. One of the members held up a quilt I had made using Liberty prints and said “It’s lovely but what are you meant to do with it?” (or words to that effect). It had not occurred to me that anyone would wonder what my little quilts were for or what they should do with one. I couldn’t believe I had overlooked something so important. That their purpose wasn’t, and should be, more clear.

I think the difficulty of knowing instinctively what  you might do with a mini quilt may be largely due to the fact that we no longer uphold and pass on our quilt-making heritage here. Quilts are not a common sight in households across the UK, as they are in the United States. There, I imagine that the mini quilt is seen used in different ways quite often in different households and this inspires new ideas and uses.

The most common uses seem to be as table toppers (round, square,  hexagonal or rectangular) to decorate the centre of tables, or as long runners on dining tables. Someone once told me that they wouldn’t want to use them for such a purpose because of food stains. There are of course quilted place mats and mug rugs and tray cloths intended to be used for serving food (often with insulated linings) but I don’t see the mini quilt falling into this category. They don’t need to be used in this way.

Their use, as I see it, is primarily decorative:  A splash of colour on a wooden table, a pretty centrepiece for a vase of flowers, a scratch-proof base for a row of candlesticks.  They can be removed when the table is laid, if required. I have one on a small side table for drinks but it is under glass. It shows through but is completely protected from stains.

 

 

Mini quilts bring colour to the top of a tiny chest or small leather suitcase, a sewing chest, the space under or beside a table lamp on an occasional table, and warmth to a deep window sill.

mini quilt on chest

Image borrowed from Norma Whaley at timelesstraditionsquilts.blogspot.co.uk

Other uses are as a lining for an attractive or antique basket, a lining for a drawer (does it matter that only you see it?), a mat to display a old and much loved doll or teddy, a soft place to drop your keys when you come in the door…

 

And then of course there is the wall. And even here there are so many choices: The larger mini quilts bring life to an empty wall,  narrow ones look fabulous behind a sofa or above a fireplace, or a bed.

Fall Quilts above Fireplace

This lovely image is borrowed from carriedawayquilting.blogspot.co.uk

The easiest and most inexpensive way to hang them up is probably the wire quilt hanger, quick to find online and available in a variety of sizes. There is a generally a small sleeve attached to the back of quilt intended for this purpose (see picture below), for the hanger to slip inside. However, there isn’t one and you don’t want to make one, you can buy hangers with small clips at each side to attach the quilts from the top. These tiny quilts lovely in porches and kitchens, and in tiny corners that won’t accommodate anything larger.

 

 

Mini quilts (sometimes called ‘Baby quilts’ which is a bit confusing as this refers to the size not the user) vary quite a lot in size from three or four inches square to three or four feet wide by four or five feet long. I assume the term really just means it is significantly smaller than the traditional, bed sized, quilt. The larger mini quilts look wonderful handing on a wall, especially in a nursery or child’s room, on poles or  wooden dowelling. Command Strips are used to fix them too, though I have never tried these.

 

Lately I have noticed two interesting ways of displaying a small quilt. Here is one, the image borrowed from http://carriedawayquilting.blogspot.co.uk. Do visit this site for her fabulous ideas on how to decorate with quilts.

wire display

Another lovely image borrowed from carriedawayquilting.blogspot.co.uk

And this one: A quilt inside a wall mounted basket. Lovely for primitive designs. What are your favourite ways of displaying quilts? Have you seen any unusual ways of displaying them?

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Borrowed from Pinterest. Unfortunately no link to the source.

Then there is framing behind glass: There are quilters that do not believe in hiding quilts behind glass and those that are happy with it as long as the fabric does not touch the glass. I have tried framing my latest quilt and discovered a few problems I hadn’t anticipated.

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‘The Wind in the West’ mini quilt

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‘The Wind in the West’ framed mini quilt

I haven’t hung the frame on the wall, so the picture is a bit distorted with the camera looking down on it, and the unavoidable reflections, but can you see the problem? It is an 8 inch quilt fitted into an 8 inch cut out area but I haven’t accounted for the binding showing. I am left with a small border inside the mount. This creates a frame inside a frame inside a frame. I really don’t like this, especially as hand made quilts may look square to the eye but are rarely perfectly square and a mount will show this up. To avoid this a little I have offset the quilt so that the cottage sits against the left hand edge and the binding only shows on three sides but it’s not much of an improvement.

The other problem with frames and binding is this:

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Quilt in progress; just need to add some embroidered grasses

Where you have radiating points, the tips can be cut off by the binding or a frame; something to avoid in the future with a bit of forward thinking.

So I am experimenting with framing but it seems to me that the best way is say goodbye to binding and to wrap and sew the fabric around a piece of card or thin board inside the frame. I will post more on this as I experiment and find better solutions.

I have already discovered that, as mini quilts are often square (made up of quilt blocks are traditionally square), they don’t led themselves to many off the peg frames. It would be better to custom frame a quilt but this can be expensive and unnecessary when good quality, inexpensive frames are available both in shops and online. I am beginning to think I have to make a quilt to suit a frame, instead of the other way around, and to buy the frame first to make sure I can fit the quilt perfectly to it.  There is also the option of a box frame which comes with its own set of advantages and disadvantages. I will be tackling that in another post as this one is already much longer than I meant it to be.

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I have a number of Scottish themed quilts in progress right now but I am going to be taking a short break from sewing, as Spring has finally arrived and my garden needs work. However,  I can post short pieces about them when it rains – which is likely to be often around here!

Until next time, I wish you all  l o n g  sunny days….

 

 

 

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This Tartan Seat is Taken

Spring seems to be springing this morning and, though the ground is a little frosty, the sun is shining, the daffodils and crocuses are out and look what I have just seen in my back garden!

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Over and over I have found that when I have finished piecing the surface of a quilt and I am ready to do some hand quilting or embroidering  I suddenly stop for a few days.  Part of that is about thinking how best to tackle it, letting my subconscious work on it for a while, but it’s also the fear of making a mistake and ruining what I’ve done so far. I have to gather courage and while this is all going on in the background, I make something else.

Recently I have made some more matchboxes. This one was for my husband for Valentines day:

 

Around the edge it says “There’s no Sunshine when you’re gone.” Those goggly eyes made him laugh!

And this was one for his birthday. The vegetables inside are edible cake toppers:

 

Each side has a different garden tool on it and around the inside it says, “Happy Birthday Special Gardener.”

I have also made some paper houses –  but more of those in a post coming soon.

Remember this first picture of an empty tartan chair? It was on one of these blog posts about three years ago:

 

How time flies! Eventually I added a hook and put a cat on it. Now I’m thinking I might stuff the arms to match the seat cushion and put it in  a box frame. I want it to look more soft and comfy and protrude towards you in the frame:

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I have just laid the chair in the frame, to get an idea of how it might look. I definitely need a solid fabric background behind it though. Off-white like the cat, or white like the frame? Or another colour, a very pale mint green perhaps? What do you think?

I had always intended to make a series of these chairs with cats and dogs lounging on them, so I’ve made a start on a few more. I thought it might be fun to make a chair with a box pleat on the base like this one in progress:

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This is how I began the one above; with a drawing:

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In this drawing I made the chair too wide, so I folded in a middle section until it looked about right. Then I usually play with ideas of adding a button back or fancy arms, little stumpy feet, or a fabric cover over the back. And then I like to add a cat, or maybe a dog. I want them to look as if you would never want to disturb them in the chair.

I photocopy the drawing of the chair and in true English Paper Piecing style, I cut out each paper shape, place them onto fabric and cut around them (leaving a seam allowance) until it all looks like this:

 

Then the fabric is tacked around the paper shapes and they are all sewn together until they resemble the chair in my initial drawing. The chair has a back too, and this will be sewn to the front with interfacing between, to stiffen the chair slightly.

 

Here is my initial drawing of this chair, so you can see what it will eventually look like:

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I think I might add a cushion, in that space between the cat and the left hand arm of the chair. The cat looks adrift.

I have begun a third, that I think will have fancy corded curls on the arms and little wooden-ball feet, and perhaps a dog on it….?  I haven’t quite decided, as it’s very unlikely that I will get more than one or two of these chairs finished before I am drawn back to the pile of quilting that is clamouring for urgent attention.

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So, until next time….

thanks for visiting.  Comments, suggestions, or experiences you’d like to share, are always welcome!

 

 

Update – Work in Progress

Hi Everybody,

This is just a short post to show where I have got to with my Scottish themed quilts in progress. I’ve added little bits to three of them and they are now ready to square up, surface quilt and embroider and then bind. Seems like a long way to go still but they are looking a little more promising than when I last posted. These will be the first to be finished and then there will be another two to follow.

First up is my black and white ‘Wind in the West’ mini quilted picture:

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All I have done to this is to add a window and door to the cottage, appliqué  a strip of fencing around the edge of it and pop in a running rabbit (bottom right). I think its’s about ready to quilt now. I’m not sure whether to add a touch of colour or keep it all black and white, or grey . What do you think?

The second one has had a lot more detail added now:

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The cottage has chimneys as well as a door and window and a series of conifers have sprung up around it which I hope gives the scene more depth. I haven’t  decided whether to outline some of the ‘hills’, and continue the quilting lines from one hilly square to another, or to quilt tree shapes here and there. That might mean the quilt ends up being called ‘Into the Woods’ instead of ‘The Glen’

Then there is my mystery quilt. Are you any the wiser? The clue is probably in the crown:

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I shall probably outline-quilt the surrounding squares and rectangles and add some surface embroidery, especially across the seam in the heart and around the edges of the crown. I have stuffed the heart, so that it sits proud of the rest of the quilt because, for me a meaningful heart has to be one that is full.

Ok, time for the big reveal. Ta-da! This mini quilt is a representation of a Luckenbooth, that very old, traditional form of jewellery, usually a brooch and usually wrought in silver, that originated in Edinburgh in the early 1500’s. The design is a heart, or a couple of entwined hearts, sometimes with added gems and almost always topped by a crown. The brooches got their name from the stalls that popped up along  The Royal Mile (Edinburgh’s High Street), a patch of which become known as the “luckenbuiths” or locking booths out of which merchants traded. Although the  Luckenbooth was originally a brooch, as time went on the same motif has been used in various traditional and stylised ways, to fashion rings, pendants, charms, earrings and bracelets.

Here is a simple, inexpensive one I found on Ebay, sold by the jewellers Alexander Castle in Glasgow:

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As you might expect, the Luckenbooth was a love token, given as an engagement ring might be today but also presented to new-born babies to bestow love and protection. They were also handed down through families from mother to daughter. I found one among my mother’s belongings after she died, a gift from my father almost half a century before.

I wanted to celebrate this lovely Scottish emblem and the sentiment it has carried with it for so long. Maybe my little quilt can be yet another means of sending love down through a family.

Till next time……

 

 

 

 

Tartan or Plaid? What’s the Difference?

Hello Everybody,

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I’m back on familiar ground now after a run of difficulties with recent experiments. I’m back to using English Paper Piecing, this time for a series of small quilts with a Scottish theme.

I only work with 100% cotton and finding cotton tartan is becoming increasingly difficult. The few online shops I have come across prefer to sell in metre lengths which  is crazy when I use less than a quarter of a metre of each fabric and need to buy a range of fabrics for each quilt. Moreover, cotton tartans are limited to about half a dozen different patterns for some reason, which is so disappointing. How many Dress Stuart or Blackwatch tartan quilts would you want to make?

What about plaids or faux tartans? What’s the difference between them? All tartans are in fact plaid, though not all plaids are tartan. Both are a mix of stripes woven in a criss crossing and overlapping pattern of stripes, meeting at 90 degree angles. However, tartans have an identical pattern of stripes running vertically and horizontally, resulting in overlapping square grids, while the stripes in plaids may vary in direction colour, size, and pattern.In Scotland, the word “plaid” comes from the Gaelic word for blanket, which refers to the long piece of fabric worn over the shoulder as part of the Highland costume, rather than to any pattern in the fabric.

So, using checkered plaid, or faux tartan fabric, isn’t authentic and therefore not quite right for Scotland but what if you don’t like tartan much? Not everyone does. The patterns are often obtrusive and rarely work well with each other. I wondered if using plaids with a Scottish theme could create a more modern look and appeal to people who feel traditional tartans have a limited use or are not for them.

So, as an experiment, I  have made a start on a series of mini quilts, one with a touch of tartan, two with faux tartan, two with plaid, two using true tartans and one that simply reflects the kind of landscape that surrounds me, using no tartan at all.  None of them are finished. They are all pinned, tacked and works in progress for now.

In addition to using plaids, I had the idea that it might also be fun to adapt a traditional American quilting block for my Scottish theme. To begin with I took the old quilting block ‘West Wind’ (shown on the right, here)

West Wind

Borrowed from Pinterest

and removed three of the triangles to make a quilted picture that I have called ‘The Wind in the West’.

In my new version, the three black/purple triangles represent the fierce winds, that we experience from time to time here in the west of Scotland, buffeting a small cottage on farmland. I have used black, white and grey patterned fabrics with Celtic crosses, raindrops and windblown plants.

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The Wind in the West

 

It is still to be quilted and I may add some surface embroidery and appliqué. It measures about 8 inches square.

The second block I have begun is a traditional ‘Sawtooth Star’ block but I have used it to represent the twilight time in Scotland that we call ‘The Gloaming.’ The quilt uses faux tartan and two different patterns featuring Celtic crosses, all in shades of blue, to suggest that bluish/mauve light that softens the landscape as the sun sinks in the west.  I remember my father singing,  “Roaming in the Gloaming, wi a lassie by my side”,  when we lived far away on the other side of the globe.

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‘In the Gloaming’

My third experiment has no tartan. It uses an adaptation of a traditional pinwheel block to suggest a remote glen (narrow valley) in Scotland. A cottage sits among the hills and windblown leaves, while hares run around untroubled by traffic.

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‘Down in the Glen’

 

I may add some appliquéd trees or quilt it with tree shapes. I’m still thinking about what might would be best.

What my fourth project represents, I am going to keep a secret for now, though if you know anything about old Scottish traditions, you may be able to guess. As I add to it, it will become clearer.

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Mystery Quilt – title to be revealed in due course!

In a future post I will describe the remaining projects in this series, two of which will use true tartans and the last a mix of plaid and embroidery. We’ll see how they go.

What do you think about using plaids and faux tartans? Does it feel completely wrong for a Scottish theme?

Until next time……

 

Disaster, Darling.

Version 2Hi everybody,

I don’t know about you but it seems to me that so many craft books are only part full of how-to’s and the rest are projects to try. What’s more, the projects are often very similar and rarely anything exciting or unusual; I mean how many drawstring bags, needle cases and pincushions do you need to make? I have never done any of the projects, always preferring to do my own thing, using the appliqué, patchwork or stitching techniques I have learned from the earlier part of the book. Maybe that’s because I’m a dreamer and not much interested in practical things. I can’t bear to spend time on a needle case when I could have a much less useful fabric house sitting on my book shelf.

IMG_0378However, recently, when I bought a book entitled ‘Stitch, Fabric and Thread’ by Elizabeth Healey, I discovered several interesting short projects were offered as ways of experimenting with a variety of stitches and textures. I had wanted to do some Kantha stitching for a while and thought I might give this project a try. Kantha is an Indian sewing technique which employs the humble running stitch in such creative ways to realise a huge variety of intricate decorative motifs and patterns.  This project, called ‘Kantha Fishes’ required only the basic running stitch to create a small picture. I mean how hard could that be? IMG_0251To begin, I needed two pieces of linen measuring 13 1/2 x 10 (34 x 25 cm). As I don’t much like working with linen, I used two pieces of cotton, in two shades of neutral, with a linen texture to them and tacked them together around the edge.

Then I had to cut out some fish shapes from organza. I didn’t have any organza so I bought some small organza party bags in two different shades (gold and green) and cut them into different sized shapes. Although this was not in the instructions, I cut the the shapes out in card first, to see how they would look. The idea was to suggest a shoal of swimming fish.

IMG_0255To make them look more realistic and pleasing to the eye,  I was told I should use an odd number of fish and that some should overlap others. Then I should sew around the edges of the each fish with a running stitch, using gold metallic thread (the metallic thread was almost impossible to thread through the needle, the fibres kept separating). After I had sewn the fishes onto the background fabric, I was unhappy with the shape of the whole piece. I wanted the background to be narrower to give the fish more sense of movement, so I folded the bottom section under to see if I like that better. I did.

IMG_0259 The next step was to “sew around the outer edge of the shoal of fish with tiny running stitches” using a matt cotton Perle thread, which is much thicker than the metal thread around the fish. I chose gold and green but later unpicked the gold and stuck with the green. It was suggested that it was best to “avoid making increasingly longer stitches as you work outward to the edge of the frame. ”

That was it. No further instructions were given. And the only picture of the finished piece was a not very helpful close up of a single section:

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I had seen running stitch used as echo stitching around a single image but that would only enclose each set of fish in a circular bubble. And if I was to use wavy lines, how could I “sew around the outer edge of the fishes” as instructed without stopping and starting or leaving uneven gaps which would not be characteristic of Kantha stitching?

I ended up with this (below) after some unpicking and restarting. The small blob of glue I used to hold the fishes down and stop them sliding around while I stitched them, showed through the organza in places. Not a good look. A red line appeared on the top of the green fish in the centre. I think I must have use the wrong pen when I drew around the shapes to remember where I wanted them placed. I didn’t want to pin them as instructed, in case the pins left holes in the thin organza. A spritz of water removed all the other lines (which were blue) but not that one. Also the puckering, which is one of the features of Kantha, is quite uneven. In some places it is too tight, in others it does not show at all. Yuk. Yuk. All in all, it was all a bit of a disaster.

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I can’t help thinking I would have had more success finding my own way with some invented Kantha project of my own, than following instructions that took me in a prescribed direction. Or maybe that’s just an excuse to make me feel better.

This early part of the year has not gone well from a sewing point of view. I made two hanging fabric ‘Paper Dolls’ from fabric panels, which I sold for much less than they were worth, because I was disappointed in them, too, and they were so very fiddly to make.

All those curves and sharp corners and the backs that didn’t match up perfectly with the fronts.. I won’t be making any of those again.

That said, I have some brand new (Scottish) English Paper Piecing ideas that I am very excited about. Is that an oxymoron? I have bought the fabric to realise three of them, so with a bit of luck they will turn out well and I will be able to share them with you soon.

Till next time…

 

 

 

 

 

A Matchbox Made in Heaven

Hello Everybody,

The Front: Made with permission from homemadecity.com

Am I the only one that finds there is as much to do right after Christmas as before it? Extra clothes to wash from days spent away, hunting for things stuffed hurriedly in the wrong places and all those Christmas decorations to pack and store. More often than not, when they are all back in their boxes in the cupboard under the stairs, I find a piece of plastic holly on a lampshade, or a Christmas coaster under the sofa.

It’s usually the middle of January before the house is back to normal and I can relax and think  about the year ahead and what I want to do with it.  And I have found there is nothing better to do when you are musing over this and that, than to create something easy and fun – like a decorated matchbox.

I got the matchbox bug a couple of Christmases ago when I made one for a friend. I made it using a template off the internet at first but, once I got the idea, it was easy to make other designs of my own. The finished matchbox is shown above, in coloured pencil, and here is the back of the same one:

The back: Made with permission from homemadecity.com

My friend lives alone and had made a comment about getting fewer hugs than she used to, so I made her this matchbox for Christmas and put a little person inside  to dispense hugs whenever she opened it.

It was such fun to make that some time later, when my daughter had had a bad year, I made one for her: This one shows her clinging to a mast in stormy seas. Around the inside walls it says ‘The Storms will Pass’.  When the matchbox closes the seas are calm again. The inside of this one is coloured using Sharpies.  I much prefer their vibrant colours but I didn’t have a pale blue one for the calm skies, so had to revert to using coloured pencil again on the outside. The clouds and the fish are made separately and added to the surface later. On the back there is a little boat in the far distance .

A week or two ago, a friend of my daughters had been admiring her matchbox and so I made one for her, too. I have just posted it to her, care of my daughter and she doesn’t know about it yet.  I can’t wait for her to see it. I hope she likes it. Here is the front:

The words around the inside walls say ‘Friends Make Everything Feel OK’.

Two of her ‘friends’ are her cats, a grey and a tortoiseshell, so I have tried to create them inside, dancing under the bunting:

Here is the back, and the sides:

The matchboxes can look quite rough close up but they are very small, just two inches x one and a half inches (or five and a half x three and a half centimetres), so you don’t really notice the flaws as you do in these photos.

They’ve turned out to be little comfort boxes, though that is not what I intended at first and of course they don’t need to be. They are a cross between a tiny gift and a card, suitable for occasions of all kinds: Christmas, birthdays, Valentine’s days, anniversaries,  or for sending luck or good wishes and can contain little gifts for children.

Blank white matchboxes (this size and larger) can be found for sale on Ebay. Free blank templates for inserts are available on Pinterest, or you can make your own. Then all you need is a simple idea, some sharpies or coloured pencils and some paper glue. Make a mock up of your idea first like mine (below), so you are clear about how you want it to turn out

The lid (left), insert (right), blank matchbox (top right)

You don’t have to do anything fancy. Decorate the box with a variety of patterns, add a folded note, a dried flower…. anything you like.

Go on…I know you want to…

 

 

Made With Love, for Christmas

Version 2Happy New Year Everyone! I had a great Christmas, one of the best ever,  with unusual food (Lebanese) and great company and as, for once in a long while, someone else was doing all the work (I think I dried some dishes), I had time to enjoy it.  Now I can reveal what I was making in the run up to Christmas. I couldn’t risk posting anything about it earlier, in case either of my children saw what I was making for them.

For my daughter I embroidered a Family Tree of sorts. It shows her as a little girl with her parents and brother at the bottom of the tree, while around the tree top are all the animals she has loved. It is deliberately primitive, so the ant is bigger than the turtle, arms and legs are a little stumpy and the tree is not very tree-like.

I chose a linen textured, neutral colour, cotton background to embroider onto and decided to stick to black and white thread, except for the figure of my daughter. She is in colour because this is her story. My husband didn’t agree that I should make this in black and white, and once I had started I thought he might be right. But I also worried that it might look garish in colour and would look uneven because several of the animals were black or black and white, others were brown, and then there would be a green turtle and a blue budgie among them. It didn’t feel right, so I persevered. Then a kind friend told me that black and white on linen was very on trend. In that case, I thought, maybe it will be OK. My confidence did falter from time to time but now I am glad I did it this way and my daughter loves it, so that ‘s all that matters.

When I finished the embroidery I backed it with a simple black and white print and added a label. Then I framed it for her, so she will never see the back or the label unless she takes it out of the frame. IMG_0270I always stitching on the label very hard as I rarely practise lettering and that is something I need to do. And with my eye sight these days, back stitch is a real chore. Just as well it’s not visible, eh?

I was fortunate in being able to find a grey frame with a distressed finish, that sets off the black, white and colour quite well. I finished the embroidery with only days to go before Christmas and worried I wouldn’t find a frame to fit, let alone match. I hadn’t done anything sensible like plan the size of the finished embroidery to fit an existing frame ahead of time, though I will certainly do this in future.

IMG_0289The idea for the embroidery is adapted from a drawing I saw online. I simplified the top of the tree, added more leaves, thickened the trunk and replaced most of the farm animals around it with beloved pets. I altered the horse though it remained in the same position and added a face to one of the cats. OLYMPUS DIGITAL CAMERAI altered  the hair of two of the figures, so they would look more like the family my daughter would remember, and my daughters dress “of many colours”. I would love to say it’s all my own design but much of it is borrowed and inspired by someone else. So thank you, Rebecca, whoever and wherever you are. I want to acknowledge your significant part in this Christmas gift for my daughter. I hope you won’t mind, as it is for personal use only. There will never be another.

My son is head arborist at the Royal Horticultural Society at Wisley in Surrey, so it seemed appropriate to embroider a Green Man for him. For those unfamiliar with The Green Man, he is a Pagan nature spirit that frequently appears carved, in wood or stone, in places of worship both in the UK and abroad. Again, this pattern was adapted from a drawing I came across. I very much wanted to stitch it with ‘Glow in the Dark’ thread, so it would glow in his room when the lights went off. However it was not to be. The green Glow in the Dark thread  (Gutermann) was too expensive and the slightly cheaper one (DMC), was white. I did buy this and began using it but realised my Green Man was going to end up looking more like Santa and that was NOT what I wanted. Also, the Glow in the Dark thread was extremely hard to sew with. The strands kept separating and bending away from the eye of the needle when I tried to thread it. So I gave up on that idea and began using variegated thread instead.

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You can see the Glow in the Dark thread used for the start of his moustache here, later removed.  

I wanted the top of his head to look as if it had been caught by sunlight, and for the colour to  merge slowly into olive green leaves around this face and then into a darker green for his beard. IMG_0272I planned to add some of the darker green to the top and more olive green to the bottom, so the whole thing would be more cohesive, but it didn’t work out that way. I also planned to stitch in a wood effect background, to suggest that he has emerged from a tree but lost confidence in the idea, feeling that  introducing another colour and pattern would produce an overly fussy result.  As Christmas grew nearer, I worried that any more decoration might be too much and I might ruin the whole thing. There was no time to start again.

At first the outer edges were turned in with quite a generous hem and tacked down. I am glad I did this, because it gave me the opportunity to enlarge or reduce the edge later to fit the frame, before I cut it to size and sewed the back and front pieces of fabric together and removed the tacking stitches.

I had chosen to add a thin, low loft, batting between the front and back of my daughter’s embroidery but for my son I simply added a green cotton backing without any batting. I felt this sat better in the frame, flatter and less prone to dimpling. I add a label (which I forgot to photograph) printed with ‘Especially for You’ and then stitched ‘Love from Mum 2017 x’ onto it, as before. It is an 8 x 5 inch image in a 12 x 14 ‘Rustic’ frame. I didn’t mean it to be so large but that’s how it turned out.

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He looks more like Herne the Hunter to me than a Green Man. Herne is associated with Windsor Forest and Great Park in the English county of Berkshire,  a ghost who is said to wear antlers upon his head. I hope my son likes it. It is not as personal as the one for my daughters, so something more personal would be a better idea for the future, I think.

Here we are at the start of a new year and I feel refreshed and full of new ideas. However, I have an EPP quilt and a Indian Kantha experiment part done, abandoned in December in order to get these embroideries done for my children in time for Christmas. There are to be no UFO’s (unfinished objects) languishing in boxes this year, so, onwards!

Until next time…..

 

 

 

A Garden Quilt, Like No Other

IMG_0165In my last post I talked about experimenting with Deborah Boschert’s Design Guides and trying out her “One Amazing Line.” I have now completed this project: Snakes and Ladders anyone? It was certainly a fun way of using up scraps. I might add some French Knots down the centre of the snake’s back though it’s probably unnecessary to spend any more time on a simple experiment.

Soon I will start on the second Design Guide which is “Third Plus” and I am excited about the idea I have in mind for it. But first, it’s time for me to start making Christmas gifts for my family. I would love to tell you about them but can’t risk them seeing this post and spoiling the surprise. So that will have to keep for now.

In the meantime I want to tell you about an adventure I had once and how it led to a desire for a quilt that would preserve it for ever. DSCF0249I once lived in a castle in central Scotland.  It had been inherited by a young family after the older inhabitants had passed on and they were working hard to refurbish it. My husband worked as gardener and handyman and I helped to sort, pack and store belongings that would make room for the changes the family had in mind. These were   temporary jobs for us while we waited for our house in England to sell, so that we could buy a place of our own in Scotland. It was a bad time to sell, so we lived in the castle for almost two years.

It was summer when we arrived and the extensive grounds were full of  flowers. IMG_0255I had a lot of free time to explore the  gardens and began to record the areas that were special to me. I am certain that this garden led us to choose the garden in which we live now. It has the same wild and sheltered feel to it; a world removed from the real one. We have a long drive leading to our house too, though not quite as long as theirs!DSCF0321

It wasn’t a very big castle as castles go but it had a medieval cobbled courtyard that was breathtaking when you saw it for the first time.

 

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a walled garden that trapped the sun,  DSCF0243and so many charming ornamental additions that I came across in unexpected places, like a sundial, or a dog statue or a little house in the woods, built for the children.

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There were animals too: Dogs, a horse, rabbits and a family of peacocks that filled the air with their exotic cries.  Best of all they came to our windows and tapped on the glass. Unfortunately, they also liked to sit on the roof of my car and it still bears the scratch marks to prove it.

I began my interest in patchwork and appliqué while I was living in the castle and bought this book by the much loved needle turn appliqué artist, Janet Bolton.

I saw that her Patchwork Garden also had a summerhouse, a fish pond, animals statues and topiary just like the one I walked in every day, and I began to think I could translate my castle memories into a quilt of my own. But I didn’t have the skills. I read the book, took notes, started to collect fabric and began to learn.  And this is how my adventure began. Now almost seven years later, I think I am ready to make this quilt.

Janet Bolton’s book encloses templates so that you can make her pattern, a wall quilt in a T-shape to suggest a Japanese kimono. However, the templates could also be used as a guide for your own garden quilt. I don’t think it would take much to adapt the drawings, though I would choose to arrange them in a more traditional  square or rectangle. And it’s perfect for English Paper Piecing and appliqué lovers.

So this is my project for next year, or the next few years of fitting it in among all the other projects I’m itching to try. Perhaps you have memories of a particular garden, or series of gardens you would like to  preserve in fabric?

Till next time……

Design, Composition and Play

IMG_0075Hi Everybody,

I have lots of English Paper Piecing works in progress but nothing finished as yet, probably because I am trying to do too many at once. Why can’t I just finish one thing and then move onto the next?

The main reason for this post is to begin a series of experiments inspired by a book I have, entitled Art Quilt Collage by Deborah Boschert. In her third chapter she talks about design and composition and offers eight Design Guides to use as templates and a checklist to help “strengthen your composition skills” once you have completed them. She also suggests combining some designs and offers variations on a  theme.

The first one I decided try is One Amazing Line.

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Deborah’s example of a possible line. Could it be a profile?

She convinces me that I can make a whole mini quilt by focusing on a single line. It can be placed anywhere in my piece of fabric, can be wiggly or not, can represent words, or suggest a profile.

I made my line using a variety of square and tumbler paper-wrapped shapes (to take me around corners) from fabric scraps, and joined them together to make a wriggly line.

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my little pieced sections of the snake – all numbered

I thought it looked rather snake like, so I gave it a head and the suggestion of a tail. The collection of browns and greens made me think of a grass snake. I didn’t have as much of the background fabric that I wanted to use, to allow it to move from one corner to the opposite corner as I had originally planned. However, that would have made the whole thing quite large. It was meant to be an experiment using scraps after all. It didn’t make sense to use more fabric than I needed, or to buy more. So I appliquéd my snake onto a long, narrow strip of olive green fabric that I liked. It’s much more olive than the picture below suggests.

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Snake in progress. Only one ladder so far but you can see another drawn on. 

The snake looked as if it needed more definition on this background so I added black embroidery (stem stitch) between the pieced sections that make up its body, around it’s head and all along the bottom of it’s body, to suggest shadow. I didn’t do it at the top because I didn’t want to outline the snake. It would look too heavy.

I began to think of the snake as a metaphor for life, how people start at one end and work their way to the other, moving on through each ‘stepping stone’. This reminded me of the ‘Snakes and Ladders’ board game I played so often as a child, so I decided to add some random ladders and the suggestion of a snake appearing and disappearing at the top corners. And to use a grid to quilt the whole composition, as in a board game.

I found some leafy fabric (where I felt my snake would feel right at home) to back my quilt, and I chose Vilene VLH630 fusible fleece to use as batting. This is a low loft fleece suitable for medium weight cottons and for top stitching  and it felt as if it would keep my project thin enough to frame as a mini art quilt if I liked it enough.

When it is complete, Deborah suggests rotating your composition because often it can look better another way round: So, what do you think? Will this turn out to be better?

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I never like my creations while I am making them. They look so ugly when they are tacked/basted, with lines drawn on and none of the colour and texture they will turn out to have. It’s amazing to witness their gradual transformation. We’ll see how this looks when it’s all done, in a later post.

 

Another project that is not far from completion is a soft-toned mini quilt of a bunny and a basket. Why I am putting bunnies and baskets on quilts in the run up to Christmas is anybody’s guess. I just wanted to use up some scraps of pastel fabrics.  I thought it would make a pretty nursery picture but maybe it is too suggestive of Easter.

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I have finished the piecing but it is still basted (tacked) and the appliqués are not sewn down. The bunny has no tail, but he will have, eventually (you can see it pinned on to the top right hand corner of the backing fabric. The backing fabric has stags on it. So pretty. I love it, even at this part-done stage, but then it’s not my design. It is closely based on one by Merumo from https://www.pinterest.co.uk/source/pleasentreeus.blogspot.com/ that I found on Pinterest, which is in turn based on a traditional quilt block.

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‘Antique Fair Basket’ by Merumo

I am working on another of Deborah’s Design Compositions called Third Plus (post coming at some point in the not too distant future) as well as a second long and narrow composition which will make use of organza fish, metallic thread and Kantha stitching, none of which I have used on a quilt before. But more of these two projects later.

So, till next time….

‘Over the Orchard’ & 5 Lessons Learned

The Glen

One of my saved projects, a small quilted wall hanging called ‘The Glen’ with Scottish themed fabrics from Lewis & Irene.

I bought stacks of fabric years ago for quilt patterns that I was longing to make but wasn’t brave enough to start immediately, as I didn’t have the knowledge, skills or even the tools that I have now. In a sense I’m glad I did buy the fabric then, because it costs twice as much now but, at the time, I couldn’t imagine a day when these patterns would not seem challenging enough, or that I might want to create my own designs.

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My plastic box of multiple saved ‘To Do’ projects  

Now I am playing catch-up, trying to make up to twenty quilts in traditional designs (Attic Windows, or Courthouse Steps blocks for example) when I really want to be experimenting with a whole range of new approaches and realising my own ideas .( Lesson 1 – Don’t plan (and buy) too far ahead).

I suppose I could disregard the patterns I bought and use the fabric for other projects but I am not drawn to the same types of fabric anymore, either. Now I might select more solids than prints;  choose more muted shades as backgrounds for appliqué and embroidery;  buy linen and linen blends, tone on tone or textured fabrics;  work with layers (perhaps of muslin or cheesecloth); try new approaches to quilting like Bengali Kantha and Japanese Sashiko; experiment with vegetable dyes, create my own prints and incorporate paints, coloured pencils, inks and crayons into my designs. And I find that I am moving away from mini quilts and table toppers to fabric pictures and wall hangings that tell my own stories. (Lesson 2 – Realise that your tastes will change as your knowledge base grows.)

I don’t want to waste any of those early projects and fabrics that I have set aside (I still like them and can learn from them) so I have decided the best way forward is to tackle  one traditional quilting project, followed by one new experiment, until all the saved fabrics and designs are gone but I have also reserved the time to try new things. I am certain that I will come across a quilt pattern that I am desperate to make from time to time but I will never buy for the future to the same extent again.

In my last post I was playing with embroidered faces. In this post I am re-creating most of a pattern from a book called ‘Quilts Baby!’ by Linda Kop. It’s called ‘Over the Orchard’.

I will incorporate more or less the same colours but I plan to add different appliqués and give it a different title. Maybe it will end up being called ‘Over the Hills’ or ‘Across the Fields’, though that doesn’t have the same ring to it, somehow.

I was so busy following the pattern that I didn’t look at the picture very closely and after I cut out all the pieces from my saved fabrics, I wish that I had. The pattern tells me to gather “1/2 yard of at least six light-coloured cottons: light orange  light teal or blue, and off -white. And then 1/2 yard of at least six dark-coloured cottons: grayish blue, orange and teal.”  These are to arrange a frame of squares of varying value around the quilt. So this is what I started to do:

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Beginning the outer frame of squares

However, when I looked at the picture again, there seemed to be many more off-white or creamy colours around the frame than suggested by the directions (Lesson 3 – Study the pattern and the accompanying picture together before you begin.) My frame of squares was much brighter, and though I had tried to put different values next to each other (dark light, dark light, all the way around), the end result was more vibrant than I wanted it to be, and with nothing like the same difference in value suggested by the picture in the book.

My squares were basted around paper pieces but not sewn together, so at this point I could have removed some of the colours and put in more off-whites, creams or pale yellows, but I didn’t really want to cut up more fabric when I couldn’t be sure if it mattered hugely, or not. I decided to run with what I had.

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The inner border is now sewn to the squares except at the lower right hand corner, and the horizontal strips are sewn together but not to the frame.

When I had sewn all my squares together, I started on the inner border. Some of the long brown rectangles should be 15″ pieces. I didn’t have any paper that long, so I had to split the measurement into two pieces. I think that works OK because there are other smaller sections in the same border.

When I started to put the horizontal strips in place, I decided to remove the darkest shades I had originally placed there, to soften the look. I am hoping this means I can add the odd dark colour to my appliqués without feeling I need sunglasses to look at whole thing. It is still going to be a bit over-bright though, don’t you think? (Lesson 4 – Think more carefully about differences in value when you begin to gather your range of fabrics and colours)

The next step is to sew in the solid inserts between the horizontal strips. The pattern suggests using linen but I imagine that will look far too heavy against the surrounding medium weight cottons, so I have gone for a similar weight of cotton with a linen texture. I think this will give a better result.

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My appliqués will all be different from the quilt in the book: a different design of house, a different range of trees and a different flock of birds (yes, they are supposed to be birds). It’s fun to be able to follow a pattern and to put your own spin on it. It helps you to maintain what you loved about it but it’s not an exact replica.

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Possible appliqué shapes from my stash of Tree templates

One idea might have been to use plaid fabrics and use the appliqués to suggest a Scottish landscape. (Lesson 5 – Give some thought to making possible and potentially more interesting variations on the same theme, instead of rushing to replicate the original.)

Anyway, we’ll see how it turns out. There are plenty more projects in that plastic box for future lesson learning.

Till next time….