Tag: Book Review

Book Review: Craft Your Stash

Craft Your Stash
Craft Your Stash

This review is all about a book by my pal, Lisa Fulmer. I am reviewing her book as part of her blog tour. Take a look at her Craft Your Stash website while you are here!

Lisa and I met through her former workplace where I would hit her up for prizes and giveaways for my blog and guilds with which I am involved. I even got her to join CQFA for a year. No renewal, sadly, but I live in hope.

Craft Your Stash is Lisa’s first book, but she writes a column for her local paper and writes a blog, marketing copy for her clients and, generally, knows how to put her thoughts into words. I think this book reflects that.

The first 18 pages are intro and background for the projects. If you read the introduction, which is only half a page, you will get a feel for what you can expect from the book.

The first section is called Tools and Techniques. Guess what it is about?

In this section, Lisa has a note about the metric system. She accompanies all of the measurements with an equivalent metric measurement. I have never seen that in a quilt or craft book that I can remember and I think it is a great idea. Yes, our friends who are used to metric are probably smart enough to convert, but really, why should they have to do calculations before they start a project? Great job, Lisa!

The subsection on Stash Essentials is broken up into several sections, which are fully supplied with your must-haves in that category:

  • Surfaces
  • General tools
  • Adhesives
  • Embellishing,
  • etc.

Each subsection is then broken down and Lisa writes about differences in quality, amounts, fun points and gives examples of how things look. She has a photo of two different grades of acrylic paint and how they look on the same type of paper (pg.9). Nice touch, I think.

Next comes a section on organizing. The main image for this section is fantastic. It really makes me want to buy some little bowls and containers. The problem is then I would have to also buy the charms and shells to put in them. 😉

Lisa’s tone is very conversational, but written in a way that is still grammatical and not offputting. As I read, I thought “she is just like me” and, though I know Lisa and I know she is just like me (except way better at embellishing and painting!), I appreciated the tone and style of writing, because it wasn’t boring craft book prose. It made me want to read on.

In the section on organizing, Lisa shows pictures of different solutions from the pricier to those you can pick up at your favorite thrift store AND how to use them (pg.14-15). Each item has a brief description of what she uses it for and how the reader can use it. If none of these work for you, you will get ideas about how a slight variation could work for you. The other thing I noticed was that everything was labeled. First purchase: label maker!

Clearly I didn’t read the table of contents as carefully as I could have because I was surprised by the Design Basics section. On the first page (pg.18) is what Lisa terms “a crafter’s best friend”, the Color Wheel. this lovely surprise is followed up with the various color wheel combinations: primary colors, tertiary colors, warm and cool colors, analogous color schemes, etc.  This is a good reference to have if you don’t have these tools in another place. Refer to them!

This section also includes some of my pals, design principles and elements. Balance is first (pg.22-23), followed by Unity (pg. 25) and some others (I can’t give away all of Lisa’s secrets.

With all of this preparation under your belt, you are ready for the projects, which start on page 26. The projects all have variations, so the reader is encouraged to use the projects as a guide, though there are complete supply lists and tools required for each project. One of my favorites is the Mosaic Scrapbook Layout (pg.31), which looks like a game board. I might have to send Lisa a blank scrapbook page from my sadly neglected son’s scrapbook project and say pretty please. 😉 If she won’t make it, the directions are very clear for me to make on my own. Now you can stop laughing.

The projects flow into each other, but are unique. From personalized cards (like business cards) to the Mosaic Scrapbook Layout to Shaker Cards (pg. 34). The idea seems to be that if you have your paper out, let’s use a bunch of it while adding some skills and not boring the reader.

The photos are really fantastic. I find myself wanting to look closer and closer at the detail, which is very clear. I also love the colors and color coordination on each photo. Lisa has a lot of in progress photos and does some black and white layouts (pg.40-43) to show placement for the greeting card set (pg.37-39).

The projects have a lot of elements, pieces, parts, but there isn’t a sense of too much  nor of charms and beads added to move them through the stash. These projects are well designed and I wouldn’t be embarrassed to have any of them at my house. I would use the cards right away, hang up the suncatcher (pg.50-53) and gift the shadow box. No qualms.

For those of you with a lot of fabric around, there are three projects for you to try so you can make some space for new fabric.

The tips and techniques shown in the projects can be extrapolated out and used in your own ideas. I see this book as a skillbuilder as well.

And last, but certainly not least, there is an index. It is one page, but it is a full page and it is an INDEX. I love indexes and am so glad to see it. It makes things so easy to find, even in craft books.

Finally, Lisa is having a nice big giveaway on her blog as well. She will have a giveaway using Rafflecopter as part of the tour. The prize will be a copy of the book, plus a generous selection of crafty swag to add to YOUR stash – She is willing to ship internationally to the winner, so get busy adding your name. Check out the posts below:

If you don’t win, go buy a copy. Here’s how (as if you didn’t know):

Purchasing information
The formal release date is September 1st and it should be in stores by mid-to late September (list price $16.99). Amazon will start shipping orders on October 1. Want a signed copy? The are for sale on Lisa’s website now ($16 + tax/shipping). Shipping is going on now.

a Rafflecopter giveaway

Book Review: Big City Bags

Big-City Bags: Sew Handbags with Style, Sass, and SophisticationBig-City Bags: Sew Handbags with Style, Sass, and Sophistication by Sara Lawson

My rating: 4 of 5 stars

I love Sara’s Petrillo Bag pattern and have made two of my own. She also has a very sweet tone to her blog and I like reading it. I couldn’t resist this book in hopes that she would have more of the fun shapes and clever construction methods I found in the Petrillo Bag.

Several months ago, I picked the book up to read and review, made a bunch of notes and then put it down for a long time. Why? I don’t know. This is a great book and I should have reviewed it RIGHT away. If you only read through page 19 and never look at the projects, you will learn techniques that will be useful in other patterns and projects.

First, there is a whole section on interfacing. She explains the properties of and uses for various types of interfacing. This section also has a conversion chart from American brands to Vilene. This expands the usefulness of the book and patterns to our European friends. US readers can also use this chart when making European patterns that refer to Vilene in the materials list. I was considering making a needle case from a pattern where one of the supplies listed was Vilene. This chart would have been useful.

Throughout the book, Sara also gives hints. Such tidbits as what to use to reinforce magnetic snaps, along with other tips and tricks, are scattered in little boxes throughout the book.

After the chart, Ms. Lawson provides a narrative that includes more detail on each interfacing mentioned in the chart. She tells what she likes about each one and how she uses it. Sometimes a tip or trick on adhering the particular product to fabric is provided.

Next, there is a section called “Bag Making Techniques” (pg. 12). In this section, Sara gives detailed lessons on installing zippers. I have installed zippers, but, boy, am I glad I read the section of this book. In one part of this section she gives me the perfect way to deal with those stupid zipper ends. I don’t know why I didn’t think of  her method before. Lawson also goes over making the same kind of pocket included in the Petrillo Bag pattern. By showing it separately, she gives readers the skills and provides space for the imagination so we can include it in projects of our own.

Magnetic straps, purse feet, O rings, D rings and lots of other hardware are also discussed, evaluated and defined with the same completeness as the zippers.

Sara also discusses leather handles, a topic I have never seen before. These are included in some of the projects, so tackling their peculiar requirements is prudent. I think these are an interesting addition to the patterns. I also think the manufacturers have not come out with enough colors. Many of the projects in this book, which use leather handles, have black handles rather than a color matching the fabric. It could be that Sara likes the black against some of the modern fabrics.

After explanations and diagrams concerning the the leather handles, the projects start. This book includes 12 projects: all bags of different sizes and shapes. The projects have wonderful names and are made from fabulous (modern) fabric. This section has some excellent attributes: there are at least two colorways shown for each bag. Also, the patterns, while not full-sized, are right after the directions, thus easy to find. I also like it that the finished size of the bag is included at the top of the pattern.

I would have liked to have read more about the inspiration for the bag with the pattern, but, perhaps, I am the only one who cares about such a thing.

There is no question in my mind that Sara is a genius when it comes to bag patterns. Her patterns are practical and fun. This book is beautiful to look at as well as useful. The strength of this book lies in the information before the patterns including installing zippers and how to use interfacing. As I read those pages (pg.8-19), my creative juices really started to flow.

I think you would appreciate this book. Go out and buy a copy!

View all my reviews, including non-quilt book reviews

Book Review: Quilt Colour Workshop

Quilt Color WorkshopQuilt Color Workshop by Fat Quarterly

My rating: 3 of 5 stars

When I started this book I loved it. The color theory section is well illustrated and explains color theory well.

When I got past the academic part of the color theory I was disappointed.

Then I looked carefully at the color sections and liked the book again.

Thus, this is a solid ‘3’ in the 1-5 scale.

There are four pages of color theory in this book, which I thought was great as I went through those pages. Then, l I realized that four pages was all there was on color theory. A cursory look told me that there was only block and quilt patterns after the 4 pages of color theory and I was disappointed. The book was basically a pattern book. Still I soldiered on and found that the authors had cleverly tied the color theory pages to the patterns and that made the entire book into more of a workbook than a 4 page color theory pamphlet with block patterns.

In the color theory sections all of the types of color combinations are explained using quilt blocks and semi-real fabric designs. This technique makes color theory more relevant for quiltmakers, because most of the use involves patterned fabric, in different scales. To that end the authors write “Value is a measure of how light or dark a colour is. Saturation is the level of black, grey or white in a color, ranging for pastel to a full-intensity colour right with pigment. With a patterned fabric you can have the same colour, but the amount of white present will affect how light or dark the fabric ‘reads.’ ” This is relevant for quiltmakers, because many, many fabrics are made up from more than one color. Often white is included in the fabric to create a design.

The authors also say “One of the problems for quilters is that colour theory is mainly used for describing the relationship of solid colours, or the mixing of them. The huge variety of patterned fabrics with multiple colours creates some interesting problems.” The Fat Quarterly and the authors have hit the nail on the head with this statement. You can see from my Fabric of the Year quilts that creating gradation is not that easy with quilt fabrics. the first problem is that   you can’t physically mix them, but secondarily, because you cannot guarantee that they will be solid. Quiltmakers, notoriously, love brightly and colored fabric.

The book explains the color relationships in multicolored fabrics and how to create a quilt using one of the color schemes described in the color theory section and the color wheel. Examples of current fabrics (pg.11) are included.

The short section on color theory is followed by a Color Wheel Quilt pattern, then by various pattern sections organized by color. Each section has a series of blocks colored in different ways and labeled with the type of color scheme it is. Larger projects and home decor projects are also included.  I like this idea for a few reasons.
1. the reader can see what blocks look like when colored in different ways.
2. the coloration of the blocks supports the section on color theory (pg.7-11) in a very graphic and overt way.
3. the made up examples of blocks using different fabrics added to the support of the color theory and difference in how the blocks look.

After the blocks in each section are a few patterns, some of quilts, some of studio and home decor patterns. The format follows for all the of the colors: blocks first, then quilts or home decor projects. The projects and blocks are based on classical patterns, but venture off in their own direction. The blocks are interesting and the quilts are a bit off the beaten path. there are a wide variety of projects that would appeal to all different kinds of people.

The last section is a few pages on techniques. One or two paragraphs describe a multitude of different techniques used to make a quilt. Photos from the various projects illustrated the section providing continuity. There is a conversion chart from English and metric systems to inches in this section. I can imagine that this would come in handy in the future.

There is a pattern section in the back with full sized patterns. You will have to put pieces together that are too large for an 8 1/2 x 11 page.

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Book Review: 1000 Beads

Showcase 1000 BeadsShowcase 1000 Beads by Ray Hemachandra

This is another inspiration book by Lark Crafts, which they sent me to review. Thanks, Lark!

The cover grabbed my attention right away with the turquoise and silver bead sporting a beautiful spiral running in silver through the turquoise (Aqua Spiral Enameled bead by Lynne Glazzard, pg. 13). More eye candy and inspiration for all kinds of creative people.

This book starts off with an introduction by the juror, Kristina Logan, who is recognized internationally for her glass beads. It is clear from the introduction that Logan is as entranced with beads as I am with quilts and fabric as she says “Beads: They have a power that belies their size. They’ve been around for 40,000 years. They’ve been found on every piece of land occupied by man. Small objects of enormous impact, beads can teach us about past cultures–about religious beliefs, social system, and aesthetic trends–or be taken at face value and simply enjoyed as works of art.” She has clearly done her homework and doesn’t pull any punches when telling the reader about the importance of beads to her and hinting at the importance of beads in life, culture and history.

The photos in this Showcase edition depict surprising beads, at least surprising to me. Lily Liu shows beads that look like brightly colored post it notes (pg.7) flung down in a fit of pique. There is a dress made from beads as well as tubes, flat round beads and beads that look like they could never be worn. The book also shows beads displayed in a variety of ways, so they become part of artworks rather than just ‘a bead’.

Page 9 is the page where the photos of the beads begins and after that is a feast for the eyes. They are not arranged by artist, just page after page of eye candy. It is impossible to judge the size as the beads are photographed in extreme close-up, but extreme close-up is fabulous, because the details are amazing. Peeli Rohini’s Royal Collection has tiny 3D flowers covering the bead. It looks like each petal has been added individually. Barbara Simon’s Quote Beads (pg.10) have microscopic writing on each one.

Again, neutrals such as bronze, grey, black, gold, pearl and silver have a firm place in the range of colors in this book. Wiwat Kamolpornwijit’s Lantern Festival is a polymer clay piece that looks like nickel has been used to create lanterns that morph into jellyfish or octopi. The ceramic grey beads of Ana Gomez’s Dominoes (pg.44) make up a a dress that could easily blend in with a society gala where designer frocks are de rigour. Non-neutral color is also well represented. Harold Cooney’s Nevada Trade Beads (pg. 37) and Iris Mishly’s Brocade Collection Beads are a riot of fabulous color, as well as shape, and are inspiration worthy of any quilt.

It is very hard to pick a favorite from the 1000 beads in this collection. I do like the variety of turquoise (color not stone) beads on pages 130-131, especially Astrid Riedel’s Blue Moon. I am also a sucker for the polka dot beads Leslie Schenkel calls Loose Beads (pg.115). I also like the pink and yellow combination of Donna Millard’s Tango necklace made from soda-lime glass (pg.231). The detail work in Melanie Moertel’s Clear Lakes (pg.230) makes me want to take a second and third look. There are really too many fabulous works to chose a true favorite.

A lot of the beads are depicted singly, but many are in groups made into necklaces.

Look at the shapes, materials and colors and be inspired. any creative drought, no matter your medium of choice, will be rehydrated by this book.

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Book Review: Flip Dolls & Other Toys

Flip Dolls & Other Toys That Zip, Stack, Hide, Grab & GoFlip Dolls & Other Toys That Zip, Stack, Hide, Grab & Go by Laura Wilson

The toys in this book are really imaginative. Making some or all of them would really add some fun to the creative toy box of a child in your life. This is one of the books that I gave away in November’s Black Friday Sew-in, but didn’t really get a chance to look at. Shannon at Lark was able to send me a copy. Thanks to Lark Crafts for sending this book to me to review.

I can imagine an aunt or uncle making the characters in this book and sending them, one at a time, to a niece or nephew. The other wonderful thing about the creatures in this book is the opportunity for adding texture, as in fabric texture, to a child’s life.

If you have no children in your life that should not deter you from this book. Toys on your desk at work draw people in to talk, collaborate, shoot the breeze. Flip dolls, which seem to not really be readily available, are a twofer. Two toys in one and an additional spur to the imagination in children and adults.

Like many of Lark’s books, this one starts with a “Getting Started” (pg.10) section that includes tools, materials, basic techniques, special skills, and customizing. There are sidebars, two of which caught my attention, “The History of Flip Dolls (you know I love history!) and age appropriateness. I noticed, throughout the book, that the author discusses modifications to accommodate the ‘mouthiness’ of smaller children. All of the sections have a description for each entry. For example, there are three kinds of scissors listed in the tools section. Wilson writes a few lines about why you need each, e.g. no cutting paper with your fabric scissors! The section is illustrated by photographs and whimsical drawings. It also includes the basic shape and some examples of how to modify it to create different creatures.

Following the introductory section are three additional sections, which provide the projects in ever increasing difficulty. The sections are Zip & Stack, Hide, Seek & Go, and Flip & Turn.

All of the projects have a difficulty rating and it took me a minute to understand how they were coded. The arrows were a little confusing, but I got with the program quickly.

Some of the cleverness of the projects shows up in the section. The Cheshire Cat has a pocket in the back with additional mouth pieces (lips, mustache, etc) that add to the fun of this toy. My favorite project in the Zip & Stack section has to be the Smiling Crocodile. I LOVE the zipper for the mouth. There are brief instructions for shortening a zipper and also a good description of installing a zipper.

On many of the projects there is opportunity for your own creativity. The wings of the flying horse could have sparkly embroidery floss, the plates on the shell of the turtle could have embroidered outlines.

In the Hide, Seek & Go section, the Winged Horse could do double duty as a regular horse as the wings are removable. I also like the front panel of the Nuts & Bolts Robot, which provides additional opportunity for creativity.

Finally, the Flip & Turn section has the flip dolls. There is a caterpillar and butterfly combination, George & the Dragon (you might need two so some actual swordplay could happen!), and the Owl and the Pussycat. With the directions, I can see a lot of other flip dolls: Red Riding Hood, Cinderella and Snow White with the Wicked Queen under her skirt as a few examples.

The one small thing I didn’t like about the book was the materials used. This is a small thing and easily remedied. I wasn’t fond of the fabrics from which the projects were made. I thought they were too subtle and old fashioned looking. As I said, that is easily remedied by using your own fabrics. Also, I would have liked to have seen some tiny red beads standing in for blood drops on the vampire (pg.25). Looking at finished objects made from fabric in a book is much different than feeling the item in person.

Templates are at the back and have to be enlarged, so plan ahead. No late night runs to the copy store!

I like this book because it is different. The projects are not your usual run of hte mill projects. The toys are clever and inspire the imagination. I also see the spark that can lead to readers jumping off and taking the ideas to different levels. Take a look at the book and enjoy!

View all my reviews, especially the Stuffed Animals review as I think it and this review will work together very well.

Book Review: Marcia Decoster Presents

Marcia DeCoster Presents Beaded Jewelry by 30 International ArtistsMarcia DeCoster Presents Beaded Jewelry by 30 International Artists by Marcia DeCoster

The table of contents of this book includes an introduction and then the names of bead artists. It is amazing. “The interviews…, along with brief biographies and photos that showcase each artist’s work, are the results of this effort.” The book includes a wide variety of beading styles “from Nancy Dale’s elaborate fringe to Heather Collin’s cubic right angle weave creations and Susan Blessinger’s multimedia masterpieces. The author states that this book was, in part, made possible by the wonder of the Internet, which gave her the means to admire beadwork from around the world.

The shapes and colors are enough to inspire ideas for quilts and other crafts for a few years. The artists are from many different countries and backgrounds. Miriam Shimon shows a piece that would make a fantastic applique’, Aurora (pg.11). The necklace has some curves that look like mustaches in beautiful greens and reds tempered by burgundy and gold. Miriams designs are elegant and large.

Beki Haley includes natural elements such as a dragonfly (pg.30 on Enchanted) and a shell that looks like an ammonite (pg.31, Ancient Seas) as well as charms and beads that further the nature idea. The work is calming and has interesting textures.

I liked Sian Nolan’s rich, vibrant colors and thought her piece, Siany Bird (pg.43) was really innovative. It is a flamingo beaded scarf-like piece with feathers. I would look fabulous with a black dress that had a mock turtle collar. Her work includes a needlework case, which is different.

Each section includes photos of the artists’ work, also some biographical information and answers to a series of questions. Many of the artists make jewelry, but also beaded bags, the “scarf” mentioned above and cuffs.

This book is about texture and shape as well as lushness. If you need some inspiration along those lines, this book is one to look at.

Take a look!

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Book Review: Stuffed Animals

Stuffed Animals: From Concept to ConstructionStuffed Animals: From Concept to Construction by Abigail Patner Glassenberg

When I received this book from Lark, I didn’t realize it was by the same author who wrote The Artful Bird Feathered Friends to Make and Sew, a book Jennifer Ackerman-Haywood featured on a podcast, and a book that included a flamingo I adored.

This book has much more accessible looking and simpler looking projects (16 projects and 52 lessons) than her previous book. They also are more kid friendly rather than works of art.

The book starts with an introduction and I was glad to see the author bring up creating your own designs in the first paragraph. She also envisions big things for your future. She wants you to create patterns for soft toys.

The patterns are arranged by difficulty with the easiest coming first, preceded by the ubiquitous section on Tools and Materials (pg.11). there are a few different items required than many of the regular quilt books. An awl, a craft knife and a sliding gauge are listed, none of which are included in my basic sewing kit. The items that should be included in a basic sewing kit are listed separately. They include all the normal things, except for hemostats, which I would consider to be a specialty item. I can see where they would be required for projects that need stuffing. Everything required is pictured and well explained.

Abigail Patner Glassenberg has written an extensive section on Designing Stuffed Animals (pg.18- ). Considerations such as visual research and sketching, using tools, considering grainline, and drawing and editing a pattern.

The section called Making Stuffed Animals (pg.24- ) also includes different sections on skills and techniques for being successful in this endeavor. One caught my attention, Checking and Reinforcing Seams (pg. 25), because it occurred to me that I should do this on some of my quilts or bags. Glassenberg doesn’t leave anything to chance in this book and this section goes over every detail, including leaving an opening, clipping curves, turning and many others.

Finally the projects start on page 35, which tells me how important the techniques and skills are to the author. “The simplest softie pattern you can make is an outline toy (pg.35),” which is what the first and easiest project is – a fish. Though she includes a pattern for the fish, she tells you what an outline pattern is and assumes you will work on your own. The pattern goes on for some pages, covering every detail from start to finish.

There is something for everyone in this book, of course, in difficulty, but also in design. There are lions, camels, hippos, monsters and other animals. Each project includes a lesson, which would help with techniques in the author’s first book. The Crab project has a lesson in tab joints and turning and stuffing a long skinny part while the Kangaroo project has lessons in “putting in a pocket” and “cutting a hole to attach limbs”. Having the lessons will help the reader design their own projects later.

Many of the fabrics were fine, but the one thing I didn’t like about this book were many of the fabrics. I thought they were old and looked like they had been snipped from clothes in the closet of an elderly and solitary couple. The monsters would have been a lot cuter and more appealing in batiks. I didn’t like the 70s looking prints and found some of the fabrics to be musty looking. Still, fabrics are a personal choice and have no impact on all the good of this book.

There is an index, which I like 😉 as well as full sized templates in the back.

This is a book anyone who wants to learn a lot should look at.

View my reviews, including my non-quilt, non-craft book reviews

Book Review: Simple Soldered Jewelry & Accessories

Simple Soldered Jewelry & Accessories: A Crafter's Guide to Fashioning Necklaces, Earrings, Bracelets & MoreSimple Soldered Jewelry & Accessories: A Crafter’s Guide to Fashioning Necklaces, Earrings, Bracelets & More by Lisa Bluhm

I received two more jewelry books to review last week. Again, Lark was so great about supporting the Boxing Day Sew-in that I just can’t say no to reviewing this book.

This book has a very appealing necklace on the cover. I like the charm bracelet look of it. This book has an introduction that explains the reason behind the book, and that is followed by a section on essential tools and materials. This includes a part on setting up her workspace. I haven’t seen a section like this before and I think it is a good idea, especially for an art like metal working. Both are well illustrated. The illustrations are both of tools and of the final result of the details of the book. I particularly like the layout chosen in this section. Every paragraph or so has a heading and describing each type of tool.

Chapter 2 discusses creating soldered glass pieces. It is includes cutting and scoring glass, followed by breaking the glass and tidying the edges. My first job was in a stained and leaded glass shop and the section reminds me of learning how to make leaded glass windows as the author discusses the various parts of the process of working with glass.

This book includes sections on basics. In the glass section there is a ‘basics’ page called “techniques for working with wire.”

Finally, Chapter 3 is all projects.I was expecting the regular projects, but was pleasantly surprised by the wide variety and I have to admit being tempted by some of the lovely shapes. There wasn’t just jewelry, but also a Letter Pendant (pg.39), which is jewelry, but could be a bookmark with a charm on it. There is also a Holiday Ornament (pg.41). The next section is called New Life for Found Objects, which starts off with a broach (pg.45). I like the project called Snazzy Storage Labels (pg.47). I also like the Beautiful Bobby Pins (pg.85), which use store bought bobby pins. I also like the Scrapbook Frames (pg.119), which I think is a very different and interesting project. It includes some variations, which I thought was an excellent idea for a book with a lot of projects. The Decorative Tin Box (pg.121) would also be a good gift or stocking stuffer.

There are a wide variety of designs, shapes and different jewelry and projects in the book. I like the wide variety of projects.

Check it out! Thanks to Lark for sending me this book to review!

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Book Review: Quilty As Charged

Quilty as Charged: Undercover in a Material WorldQuilty as Charged: Undercover in a Material World by Spike Gillespie

This is a hard book to categorize. When I borrowed it from the Library, I thought it was a mystery. When I started to read it, I thought it was a memoir. As I read it, I realized it was full interviews. The only thing I can call this book is a memoir full of interviews. I am okay with it not being a mystery, but I wish there had been more memoir, influenced by the interviews.

I thought the interviews were, mostly, out of context, not to mention poorly edited. In some cases the interviews were repetitive and nearly incomprehensible. I know that the author was trying to give us a sense of the voice of the interviewees, but I would have rather had more editing.

People say what they think, often, but not always as clearly as they would if they had the opportunity for a second draft. I think Ms. Gillespie should have cleaned up the stream of consciousness. I don’t think it adds to the book and verges on distraction.

With that criticism out there, the interviews were interesting. It was nice to read about Ricky Tims’ background and how he got started. One quote from his interview, which sticks in my mind is “So whatever I was doing in my freeness as an ignoramus, I ended up leaving that behind so I could learn to do it right. I went into the box, I learned to do it right, and for years that’s the way I sewed. (pg.47)” Later, he follows up with “Once he mastered traditional quilting-the technique for which he wins awards-he revisited his original style and began teaching classes in which he encourage students to cut without the aid of rulers.” These two quotes warm my heart, because they show that knowing how to perform accurate work (I won’t say “piece the right way”) matters and had value as does styles like Tims’ Caveman style.

Later, the interview with Tims has him saying “I wanted to learn to do it right. There were two reasons why I wanted to do it right. Number one, I wanted to challenge myself to excel. Why do things halfway? Number two, I think, comes into the dynamic I really often want to play down-that I’m a guy in a woman-dominated field. Because of that, I thought there was a need in me to excel, because my work was going to scrutinized more.So I needed to do a better job so that if they looked at, I had a little more respect. Now that’s a blanket statement; that not everybody. (pg.51)”

Quotes like the above and gems about Gillespie’s life make the book worthwhile.

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Book Review: Metal Clay 101 for Beaders

Metal Clay 101 for Beaders: Create Custom Findings, Beads, Embellishments & CharmsMetal Clay 101 for Beaders: Create Custom Findings, Beads, Embellishments & Charms by Kristal Wick

The earrings at the beginning of the book have a design stamped, I assumed without reading any further, that could be a free motion quilting design. This book is about upcycling and eventhis purple earring projects sets that intention from the very beginning.

Again, Kristal Wick‘s book has an illustrated table of contents, which gives the reader an overview of what to expect. The thumbnails set out an ambitious and appealing agenda.

Ms. Wick has a 2 page introduction, which extolls the virtues of beads and metal clay. She gives a taste of what the book will include with a sense of competence and enthusiasm.

The ‘Basics’ section (pg.10-37), includes pictures of her favorite materials as well as a description of different things. Or so I thought. I leafed through the pages, looking for the end and found an unbelievably complete ‘Basics’ section. Kristal’s ‘Basic’ section includes the above as well as metal clay tools and materials, a Metal Clay Toolbox, metal clay fundamentals, firing the metal clay, how to create patinas, embellishments, jewelry components and tools, a section on bead strings and stitches and basic wire techniques.

After 30+ pages of detailed instructions, the projects start. I am pretty sure I wouldn’t wear most of these pieces, but I would pick them apart and put them on some of my art quilts! I really liked the textures and shapes of the different designs.

I have to say that an appealing part of these patterns is the variety of textures included int he same design. In the first project, the Birdhouse Necklace (pg.38), there is metal clay, charms, crystal and metal beads and everything works well as a cohesive whole.

Throughout the book, the author shows very clearly how to put the bits and beads together to make the various projects. Quiltmakers could easily apply components of these projects to a quilt project in the same manner and achieve a great look. This book can also be used as a good source of inspiration as it has detailed images of different textures used.

Each project has a good description of the supplies required along with the nice photos. Variations are mostly shown, though not always described. The reader can get a brief idea of what the project looks like in slightly different colors.

The end of the book has a gallery of projects, by different artists, as well as a short index.

Enjoy the colors and textures as inspiration from this book. Thanks to Lark Books for sending it to me.

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Book Review: Bead Embroidery Jewelry Projects

Bead Embroidery Jewelry Projects: Design and Construction, Ideas and InspirationBead Embroidery Jewelry Projects: Design and Construction, Ideas and Inspiration by Jamie Cloud Eakin

One of the first things I noticed was the extraordinary drama of the first piece in the book. It is large, paired with the right clothes and the model is looking straight at the reader daring him/her to object, or, perhaps, say anything. This led me to the table of contents, which is illustrated with thumbnails of the various projects. Many of the pieces, including the Panel Collar necklace (pg.52), the Waterfall Necklace(pg.97), the Royal Vines Necklace(pg.101), and others are all quite large. The first piece and these supporting ‘actors’ tell the reader that this is a designer with whom to be reckoned.

My first impression is supported by the first line of the Introduction, which reads “One of the premises I live by is ‘Life is too short to wear ordinary jewelry.’ and I am sure many of you agree.” I have always wanted a mantra like that! These two things set the stage for the book. The pictures of all the pieces throughout the book are dramatic and make the pieces look large, though some idea of actual side is implied in the pattern instructions.

This book has 29 projects, but these projects are further expanded by, in some cases, several variations. The nice thing is that the variations are included right in the table of contents. While the reader may not want to go straight to the variation after opening the book, their inclusion in the table of contents gives the variations some stature, prominence. With the variations, the total project count is 45.

The ‘Basics’ section in this book is called Basics of Design and Construction, which includes design as an important element. The design piece has a few exercises to get you started. Design tools are, then, combined, somewhat, with construction. Prominent in this section (pg.12-13) is the use of neck forms and collar forms. The contents of a Standard Necklace Kit is briefly discussed and then the Basic sections goes to The One.

The One (pg.16- ) is described as the star of the show, a single focal point that is described as “a beautiful simplicity to a single focal embraced by bead embroidery.” In this section, the reader is back on to design with some definitive examples. This section is filled with tips such as “use your closet and the colors inside to help with your design choices.”

I was slightly alarmed when I found that the above section was immediately followed by projects without very thorough directions. First, there is an instructional section at the back of the book (pg.149-154) and all of the patterns have a variety of types of instructions.

Throughout the book, the author tips on different aspects of the projects, including how to execute certain stitches and hiding thread when beading around corners. Most of the patterns are 2-3 pages. The supplies are clearly enumerated. The focal beads look quite special in these pieces and I think the reader might have some concerns about matching the quality of the imagery. The focal beads and color are integral to the success of the project. I am sure that readers will have fun seeking out the special beads!

Picking my favorite project was difficult. I don’t wear these types of pieces. I found aspects of various pieces drew my attention. With some, I was attracted by the colors. Others had appealing shapes.
as I started to look through them.

The end of the book has a small gallery of projects, by different artists. There is also a comprehensive index, which also warms my librarian heart.

Use the colors and shapes from this book for inspiration and thanks to Lark Books for sending it to me.

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Book Review: The Farmer’s Wife Sampler Quilt

This review has been on my To Do List for a long time. I know  the Farmer’s Wife project is no longer the rage in the quilt community, but I think it is an interesting book, and well worth your time.

The Farmer's Wife Sampler Quilt: 55 Letters and the 111 Blocks they InspiredThe Farmer’s Wife Sampler Quilt: 55 Letters and the 111 Blocks they Inspired by Laurie Aaron Hird

I like all block dictionaries. I like them because I can always find a new block and each new block starts me on a fun creative adventure. The Farmer’s Wife Sampler Quilt: 55 Letters and the 111 Blocks they Inspired is no exception and it includes letters! I love letters even reading other people’s letters!

The introduction is called The Changing American Culture of the 1920s and discusses “a time of political and technological changes.” It is an interesting and tantalizing way to begin a quilt book, especially for someone who enjoys quilt history. This page mentions the Farmer’s Wife magazine, a source of some of the quilt block patterns mentioned in Jinny Beyer’s The Quilter’s Album of Patchwork Patterns, which I reviewed a few weeks ago. I commend Krause Publications for allowing Laurie Aaron Hird to include it.

The Changing American Culture of the 1920s is followed by a page called 1922 Farmer’s Wife Contest. I have read quite a bit on quilt history, but don’t remember this contest being mentioned, probably because it was not a quilt contest. It was a contest asking for people’s opinions about being a farmer’s wife. The interesting part is that the organizers asked women to “talk it over with your husband, your children and your friends. Consider not only financial side of the question, but the moral and physical viewpoint and the things that make for real happiness.” The way I read this is that the organizers, and I am not looking at the complete list of directions and rules, assume that their readership is smart and their opinions worth knowing. I love that!

The responses are summarized VERY briefly on page 12 and then the author launches into “How to Use this Book” which is followed by the letters and the quilt blocks.

The first few sections are short, interesting and well worth taking a few minutes to read. The response letters are concentrated in the middle section of the book followed by some minimal piecing directions in the back.

This book includes a CD, but I don’t know what is included as mine is broken so I can’t look at it. (Nota bene: It broke after I got it; the book didn’t come with a broken CD).In the introduction the author says she includes “larger versions of the quilt assembly instructions” and “…you can print templates from the CD-ROM that accompanies” the book. (pg.13)

The author describes the respondents to the contest as “articulate, optimistic and visionary…” (pg.12). After reading a few of the letters, I have to agree, even though I know they were putting their best foot forward in order to win the not insubstantial prize money.

I do have a few problems with this book. The idea is that you make these blocks with templates. The author made her quilt by hand piecing all the blocks. I really have no problem with templates or hand piecing. You all know this is true after reading about my adventures with the Flowering Snowball. The problem is the crazy way I have heard of people using templates to cut pieces for this project (which has taken hold in the Modern Quilt community). I heard and seen quiltmakers make templates and then rotary cut around a thin piece of paper and a bit of template plastic. I am scared of my rotary cutter as it is. This sounds like a recipe for disaster to me.

The basic problem I see is that there are no rotary cutting instructions (though you can buy an EQ6 or EQ7 CD with all the patterns on it and print the rotary cutting instructions). I am not against templates or hand piecing. I understand the need to slow down, quilt more slowly, take your time. However, in this day and age, I think it is important to include rotary cutting instructions, because almost everyone cuts with a rotary cutter. Quiltmakers just do not use scissors to cut out pieces very often anymore.

There are also no line drawings of the blocks. I think this is a problem, especially for beginners. People need to be able to see the pieces without the colors or fabrics the author chooses. Fabrics can interfere with seeing the shape of the pieces or how the pieces fit together. While the maker may want that after a block is pieced, it is important to make that choice. Yes, the reader could look up the line drawings in Jinny Beyer‘s book, but why not just have a small line drawing available with the color pictures of the blocks? Cost probably.

I am not that fond of the fabrics used and would love to see an alternate color way included in the book. It can be done in EQ7 (with the add-on CD) pretty easily, but it would have been a nice bonus.

I like the idea of this book and think it is an easy and interesting way to dip your toe into quilt history. I would like to make this quilt, but with more Jaye-like colors – lots of pinks and turquoise, I think. 😉

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Book Review: Shaped Beadwork & Beyond: Dimensional Jewelry in Peyote Stitch

Shaped Beadwork & Beyond: Dimensional Jewelry in Peyote StitchShaped Beadwork & Beyond: Dimensional Jewelry in Peyote Stitch by Diane Fitzgerald

One of the first things I noticed was the feel of the book. It is a paperback, but it has a bit of a heft to the cover, making the book feel as if the cover wouldnt’ be damaged immediately.

Upon opening the book, I was enchanted by a photo of a group of bead starfish. they look like they are photographed on a piece of Styrofoam, but it isn’t obvious and it is the perfect background. I love these little starfish.

Both are, of course, irrelevant to the content. As with her previous books, Diane Fitzgerald makes a brief introduction and then gets on the with the projects. This book is STUFFED full of projects, 43 in all. If you want a peyote stitch project book, you won’t be disappointed.

Unlike Diane Fitzgerald’s Favorite Beading Projects Designs from Stringing to Beadweaving, which I reviewed before, there is a ‘Basics’ section, which includes the contents of a Basic Beadwork Kit, understanding the Peyote stitch, general techniques (including unpicking!), and recognizing patterns. Chapter 1 is brief, but seems to be fairly comprehensive.

After Chapter 1’s intructions, there is what I would call a practice/basic pattern. It is a basic triangle (as 60 degree triangle, if you want to translate the patterns to quiltmaking), which is a component of many of the projects in this book. I see immediately, in the Oh My Stars! necklace (pg.18), a pretty and delicate piece, that this triangle is used. It is clear from leafing through the book that mastering this first pattern will go a long way towards success with the other patterns.

Throughout the book, the author shows very clearly how to put the beads together into the larger units needs to make the various projects. In looking at these images, I am sure a clever quiltmaker could apply beads to a quilt project in the same manner and achieve a great, if flatter look. This book can also be used as a good source of inspiration as it has wonderful pictures of different beads used as well as different pieces.

The Temari Beads necklace (pg.23) gets the reader early into the dimensional aspect of the book

I was hard pressed to pick a favorite project as I started to look through them. I liked many of the projects as objects, but weren’t my style in terms of wearing. If forced, I would choose the Rivoli Bracelet (pg.104). I like the sparkle and flash and think it would go well with what I wear to black tie events. I also think the construction is interesting. The Navette Pendant (pg.132) is also something that I might wear. The construction makes it look like a very large gem and I can see people doing as double-take as they see from the middle distance. Aside from the eye bead, which I liked and was a bit repelling, the Eye of Providence (pg.142) is appealing. I can see wearing the Eye of Providence with Roses(pg.145) pendant.

Chapter 6 covers pointed ovals. While the shape can look a bit weird and eyelike, I did like the variety of options presented in the book, especially the Eye of Apollo necklace (pg.133). This shape and the projects shown really look like jewelry to me.

Each project has a good description of the supplies required along with the nice photos. Variations are mostly shown, though not always described. The reader can get a brief idea of what the project looks like in slightly different colors.

The end of the book has a gallery of projects, by different artists, but all, presumably made in the peyote stitch.

As I said, this book has a whopping 43 projects. At an MSRP of $27.95, that is about $.65 per pattern. If you want to try a lot of different techniques, this is a good buy.

Enjoy this inspirational book and thanks to Lark Books for sending it to me.

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Book Review: The Quilter’s Album of Patchwork Patterns

The Quilter's Album of Patchwork Patterns: 4044 Pieced Blocks for QuiltersThe Quilter’s Album of Patchwork Patterns: 4044 Pieced Blocks for Quilters by Jinny Beyer

My rating: 4 of 5 stars

After I started the book, which I did read from cover to cover, I knew I wanted to spend time on this review, which is why it took me so long to get it up. I didn’t want to rush, because I want you love this book as much as I do. The short version is that if you have even the slightest bit of interest in blocks, drafting blocks or quilt history, you need this book. It is a fabulous reference, full of inspiration, well written and well organized. Go buy it right now.

This is a follow-up to her 1980 book, The Quilter’s Album of Blocks & Borders. If you see the 1980 book for a decent price, it is useful as well. Make sure it has the plastic grid insert.

The Quilter’s Album of Patchwork Patterns is not a sequel necessarily, but Jinny Beyer built on the original idea to come up with this larger and more comprehensive book. The basic idea that I got out of the original book was that if you understand the structure of the block, you can make any quilt. I understand that all quilts aren’t made from blocks, but having a good foundation makes analyzing the structure of all types of quilts easier.

This book lists the all the names by which a block is known. The primary name is listed first and comes from the oldest source she could find. This means that you will see blocks you know by one name entered in the book by another. Have no fear! All the published block names are listed under the primary name and the comprehensive index makes finding your favorite blocks by almost any names easy. She has limited herself, primarily to blocks created before 1970. As she says “This book would be at least four times its size if I had attempted to catalog all designs that have been created since the 1970s. I purposefully limited myself to traditional quilt blocks created for the most part before 1970…”. The exception are blocks Ms. Beyer has designed. You may not find more modern variations or names listed here. I hope she or someone else will do follow-up or a volume two adding truly new blocks to this resource.

The beginning of the book is extensive and includes not only the Table of Contents, Acknowledgements and an Introduction, but also A Primer on Pieced Blocks. The last section includes some history of the block sources, a description of the way the blocks are organized and how to draft a variety of blocks, even the oddly shaped blocks.

I was amazed to see how many catalog offering there were prior to World War 2. People could buy pre-made blocks, quilt pieces and even quilts made up. Some may lament the advent of quilt kits now, but shop owners are following in the footsteps of the “good old days” of quiltmaking.

The blocks come next and are organized by shape: squares, hexagons, continuous pattern blocks, one-patch blocks and miscellaneous patterns. It was amazing to me how the bulk of patterns are based on a square grid.

Beyer talks about the grid and this is the piece that is important to understand that will allow you to analyze blocks in a quilt at a show, draw it and go home and make it. Read this section carefully and make sure you understand before you move on.

The drafting section is very useful. It explains geometry related to quiltmaking, so those of us who tried hard to stay awake in that 9th grade class have a reason to stay awake now. My favorite part was the magic that is drafting the perfect square. Beyer gives, at least, two methods. I also liked her method of making a perfect grid. As a bonus, understanding these drafting instructions really help when you are working with a program like EQ7. Understanding the grid and how a block is drafted makes using that program much more intuitive.

The section on blocks takes up the bulk of the book. Each group of blocks is broken down by the type of grid it uses. For example, the first section is called 2×2 Base Grid Category. The blocks in this category are what we would normally call four patches. Each block is shown in Jinny Beyer fabrics and colors and also as a line drawing. Included on the page is the block name and reference.

Another bonus is that Ms. Beyer has gathered like blocks together into a section called Quick Reference: (theme). This is a good and easy way to find all the blocks with a certain theme to use in a quilt. One Quick Reference is called Boats. There were also Quick Reference pages for leaves, baskets, Red Cross blocks and Feathered Stars. All the blocks on a Quick Reference page have the name of each block and where to find it in the book.

As I moved through the book I marked blocks I liked as well. Most were my standard favorite categories like Baskets all with a twist. In a way I was creating my own quick reference pages, which I, sometimes, found were redundant with Jinny’s quick reference pages. Still, I enjoy seeing my own notes and references.

One of the things that I loved was the names of the blocks. i always knew that quilt blocks had interesting and funny names. This book gathers all of those names. Crow’s Nest, Scroll Work, Night and Day, Open Sesame, and California Sunset are all wonderfully evocative and spur on the imagination, but have nothing to do with the piecing. Like modern paint color names, I guess.

Like the previous book, this one comes with Transparency Grid Sheets as well. These tools allow you to lay the transparency grid on top of the blocks to see why they are categorized as the grid indicated.

There is a comprehensive table of contents, a bibliography, a variety of cross references, footnotes, tables and a fabulous index. All of this warms my librarian heart. This is a well done book and well worth the money.

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Book Review: Contemporary Jewelry in Perspective

Contemporary Jewelry in PerspectiveContemporary Jewelry in Perspective by Art Jewelry Forum

Thanks to Lark for sending me this book to review.

This is more like a scholarly book than most of the books I have reviewed for Lark. This book sets out to distinguish why contemporary jewelry is not like the jewelry found in the local shopping mall (pg.7). It is clear that contemporary jewelry artists struggle with the same problem that art quiltmakers have: art v. craft. The book delves into detail about what craft is and how jewelry making fits into fine starts traditions.

This is a serious books that looks at contemporary jewelry from all angles. Discussion about the journals of contemporary jewelry have a place. Photography of contemporary jewelry is explored. the tools, spaces and materials are all discussed in a scholarly and serious way.

The book is lavishly illustrated with photographs, which are works of art on their own.Many, many contemporary pieces are shown throughout the book.

The title, Contemporary Jewelry in Perspective, really describes what this book is about. No stone related to contemporary jewelry goes unturned. If you want a thorough grounding in contemporary jewelery, this is your book.

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