Book Review – Page 4 – Artquiltmaker Blog

Book Review: 1000 Beads

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 & 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 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 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 & 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 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 & 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 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 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. 😉

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

Shaped 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.

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 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 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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Book Review: Stitched Blooms

Stitched Blooms: 300 Floral, Leaf & Border Motifs to Embroider by Carina Envoldsen-Harris. Published by Lark Crafts (ISBN: 978-1-4547-0425-6)

Thanks to Lark Crafts for sending me this book to review. It isn’t on Goodreads yet, but I am sure it will be there soon.

This is a beautifully designed book. I love the colors and details such as the scalloped edging on some of the pages. I also like the photography. The pictures fit the sections in which they are placed and in some cases are cleverly used to illustrate a point.

The book comes with a CD that purports to have all of the pattern pieces full sized. I didn’t look at the CD, but imagine Lark would not lie to us. 😉 The author writes in the introduction (pg.7) “You can use the motifs straight out of the book pages or take advantage of the enclosed CD, which has al of the motifs in black and white. Adjust and combine them however you like, by changing the size of the motifs or by adding or removing elements. Step-by-step instructions are included for downloading and sizing…so you can stitch them to nearly anything…”

The above makes me like this book. I like the fact that the author is encouraging readers to use the book as a jumping off point. She implies that you can re-size the motifs to make them fit your garment or item and she encourages reader-makers to manipulate her designs to create new motifs. This is such a refreshing point of view. I love it that she does not think (imply?) that her designs or projects are the end of the story. Yay! An author (and a publisher who let her) who realizes that her readers have brains and creativity of their own.

The tone of this book is very informal. It seems to match the tone of the author’s blog.

Ms. Envolsen-Harris gives a bit of a color theory lesson (pg.9). In the first part she talks about mixing colors, which doesn’t seem that relevant to a book about embroidery, but I kept an open mind and was rewarded when the author talked about the impossibility of mixing embroidery floss. She brings up an excellent point when she says “No matter how tightly you twist them together, red floss and yellow floss will not turn orange-they will always remain red or yellow. But they may look orange from some distance and that is very important to keep in mind.”

Yes, it is important to keep in mind. Colors next to each other look different than they would next to other colors. For example if a kelly green is a next to blue, it will look different when placed next to a sunshine yellow. Try it. It is good for quiltmakers to keep in mind. there are color wheels included in this section, so you can use them if you don’t have another one.

Carina talks about the different words and concepts related to color such as value, warm and cool, complementary, etc (pg.10-11). This is a nice section, because she uses embroidery floss to illustrate the examples. At the end of the section, the author says something that is very important “Being ‘good’ at putting colors together can be practiced. The more you work with colors, the better you will get at combining them. You can train yourself by challenging the color choices you make. ” (pg.12). This is so important. If you think you are not good at color, read that part in this book (link above to purchase!) and remember it. If you won’t listen to me, perhaps you will listen to some who got published. Color is a process and you have to practice.

She talks about Fabric & Thread (pg.14-16), Embroidery Tools (pg.17-21), Working with Motifs (pg.22-27), and there is a Stitch Glossary (pg.28-33). The layout and colors used in the Stitch Glossary make me want to get out a needle and try out the motifs. The Embroidery Tools section includes advice on stabilizers and several paragraphs on needles.

There are 20 projects in this book. The projects include clothing, embellishing store-bought clothing, home decor, personal items, accessories, a sewing case, linens, toys, and a quilt! One of my favorites is a frame. The projects in here are different and interesting. I didn’t see the word easy or simple once, but the positive tone of the book implies that everyone can pick up a needle and embroider. I am going to try making the needle case.

I looked through the book from back to front and saw the motif library (pg.102-125) first. My first thought was that many of the motifs would make fabulous applique’ designs or free motion quilting designs.

I would recommend this book for a a source of inspiration even if embroidery is not something you plan on taking up.

You can find Carina’s blog at http://carinascraftblog.wardi.dk/. There are additional embroidery designs to buy, which are accessible via the blog. (N/A)

Book Review: Modern Quilts from the Blogging Universe

I am not 100% happy with this review, but at some point, I just felt I had to post it.

Modern Quilts from the Blogging Universe by Martingale

My rating: 2 of 5 stars

I received this book as a gift earlier this year. I have been carrying it around with me and never seemed to get to reading it until a few weeks ago. I was laying on the couch exhausted and picked it up to leaf through while watching TV.

The book is essentially a pattern book with some thoughts by the popular bloggers. The title is a misnomer. The quilts aren’t from the blogging universe, they are from the popular or well known blogging universe. I don’t think it is possible to include all of the quilts from the blogging universe in one book, but the title does suggest that there could be a v.2, v.3, etc.

The introduction is a page long and tries to categorize this book into the modern quilt milieu by defining “modern quilts.” The author writes “In the context of quilts, “modern” doesn’t necessarily mean contemporary. Although the quilts in this book could certainly be categorized as such, this compilation focuses on a specific aesthetic. Designs touch on ideas such as purposeful imperfections; improvisational piecing; exploring negative space and approaching classic quilt blocks in new ways. That said, one rule of modern quiltmaking reigns: there are no rules.”

Sigh.

I really have nothing against modern quilting except that the above implies that this type of quiltmaking has never gone on before. I blame Marketing departments. Everything has to be new and fresh or it is uninteresting, apparently. In the early 1990s there was a dedicated group of art quiltmakers rethinking blocks, doing improvisational piecing and making their own rules. The joy at that time was the same: rebelling against the Quilt Police. The problem at that time was the same: the “no rules mantra” gave people an excuse to do sloppy work. I refuse to even comment on “purposeful imperfections.”

The quilts in this book are not sloppy and, from what I can see, technique is good. I also think it is good to encourage people, regardless of skill level, to make quilts. More quilts are always better. Still, I think there are rules. Not rules about personal aesthetic, but more about quilts shown in books should be at a very high level of technique. What people make for themselves is entirely up to them and NOT what I am talking about.

I also have to say that there is a value in knowing what good design is and is not. It occurs to me that I do not know what the editor means when she says “…one rule of modern quiltmaking reigns: there are no rules.” I think that there are always design rules. Does she mean that a quiltmaker can make one giant block and make that a quilt? If so, I agree and say more power to the quiltmaker.

The introduction mentions social media. I agree that social media is one of the phenomena that helps to define modern quiltmaking (pg.7). Social media, however, is not the exclusive domain of the modern quilters.

Sadly, the editor or compiler, allows incorrect information to be perpetuated. It is particularly bad in this book. For example, “purposeful imperfections” (pg.7) were thought to be something the Amish included in their quilts. The concept was proved to be wrong, because they actually thought that nobody could be perfect except God and they did not need to add an imperfection into a quilt. There would already be imperfections without trying. [Nota bene: Barbara Brackman talks about this: http://barbarabrackman.blogspot.com/2… or http://www.womenfolk.com/historyofqui…. No references, though, I am pretty sure this was discussed in BB’s book Clues in the Calico. There is a detailed commentary here: http://hartcottagequilts.com/his9.htm, which has icons of the quilt history world named as doing research on this topic].

While not everyone believes in God or goes to church regularly, I think it is fair to say that none of us are perfect. I strive to make the best quilt I can. Despite my best efforts, I have blocks that are a hair too small or points that don’t quite match. I have no problem with design choices where points are cut off or Sawtooth Star legs are wonky. Some wonky-improvisational quilts are gorgeous. I don’t think we should blame design choices on the need to make our quilts imperfect. Be inspired by the imperfections of antique and vintage quilts and incorporate them into your design decisions.

The editor/compiler allows some of the essayists to further perpetuate questionable stereotypes. While many quilts were made using leftovers from sewing for the family, many, many quilts were made using especially purchased fabric or kits. Marie Webster, an icon of quiltmaking in the 1910s and 1920s sold these kinds of kits. It is not a good assumption that all quilts were scrap quilts.

As I said, this is essentially a pattern book. I think the book would have been improved with some information about what inspired the bloggers to come up with the designs. I see a lot of questions and comments about how a person thought of a design and not enough of the answers, though I may not be looking in the right places. Giving the answers to the question of what inspires people to make quilts would go far to give others the confidence to make their own designs as well.

The format of the patterns includes a photo, 2-3 pages for the pattern and an essay by the designer. A lot of the designs are derivative, but freshened up with current, fun fabrics.

The first pattern/quilt that caught my attention was Indian Summer (pg. 27), a pointy Dresden Plate. The designer has included some small appliqued circles around the outside of each plate, adding a bit of interest. She also has clear instructions on making those pointy petals by machine.

Knots (pg.33) is a design of interlocking and layered lines. I like the layering of this design, though I would rather see it in brighter colors.

There are two similar quilts in the book, Juicy (pg.15) and Diamond Crosses (pg.50). There are enough differences to make it worth separate patterns, but enough similarities that you may not want to make both.

I really like the movement in Everything’s Coming Up Rainbows (pg.54) and think she gives good directions for easily creating the wonkiness of the blocks. The designer says to use assorted prints in various colors. I think that the success of this quilt’s color palette is that values of the prints she chose are very similar. That is hard to communicate in a book and, perhaps, the designer’s blog gives more information. If not, be sure to chose prints with all clear color OR all prints that have a slightly greyed color to them.

The Rainbow Stashbuster quilt (pg.60) would probably not need as much attention to whether prints were clear or greyed, etc, though some attention to that detail would make this successful.

One of the things I like about this book is the way some of the designers think outside of the box when making the blocks just a little different. Jessica Kovach does this with her Petal Pod (pg.64) quilt. I love the way she added a simple rectangle to a Drunkard’s Path unit (quarter circle and accompanying background) to make a unit that looks like a flower.

Across the Quad (pg.84) is a quilt I might make. I like the balance. While the cross in the bottom part of the quilt is heavier, the small four patch somehow balances it out.

My favorite quilt in this whole book is Candy Necklace (pg.88). Again, there is a suggestion of interlocking piecing. I also like the controlled scrapiness of the fabric selection. The choice of background fabric is key to the success of this piece. I don’t like that some of the necklaces are cut off and would finish them off at the edges and use some background fabric to even up the edge. That is my little quirk, however.

Martingale has done a good thing by including more on topic and putting the basic quiltmaking information on their website. The editor writes “we wanted to offer you as many step by step patterns as we could fit into 96 pages, so we removed our usual section on basic quiltmaking techniques….you can find the info on our website in downloadable form…” (pg.7) Brilliant.

This book is a good start to what I hope is a series that expands beyond the famous ‘modern’ quiltmakers.

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Book Review: Aimee Ray’s Sweet & Simple Jewelry

Aimee Ray’s Sweet & Simple Jewelry: 17 Designers, 10 Techniques & 32 Projects to Make by Aimee Ray

When I received this book from Ken at Lark Crafts, I saw the cover and was really excited. The cover looks like the designer got his/her colors from a candy shop. ‘Sweet’, but not sickly sweet, is definitely how I would describe it. I have to say that I was a little disappointed that this wasn’t a quilt book, but was glad to see that fabric is used in a number of the projects.

I have noticed a trend (can I call it that?) of including a visual table of contents in some recent books I have read and/or reviewed. Purses Bags Totes had one which really helped my navigation of the book as well as writing the review. I notice that this book has one as well.

Not only does this visual ToC, as we, in the Library biz call it, help with navigation, but it gives a potential buyer a little more information. I hope that Amazon and other online booksellers will include such information in their ‘inside look’ pages.

From the ToC, I can see that this book has more colorful projects than some of the other jewelry books I have read recently. This one uses felt, embroidery thread and fabric scraps in many of the projects, which adds to the color choices.

Like many other Lark Jewelry & Beading books, this has a comprehensive Basics, pg.10, section. I love the ‘cover photo’ that begins the section depicting a variety of supplies and embellishments. Many of the supplies can already be found in your quiltmaking cupboard. Each subsection includes a couple of sentences about why you would use each material. Tools are listed separately, starting on pg.17, again, with definitions of what they are and why you would use them.

Following Tools is a section on Techniques, pg.20-, which discusses embroidery, transferring templates and patterns, hooping, to knot or not to knot (HA!), stitches, working with polymer clay type materials and a whole host of other techniques that may add to your creative jewelry designs.

After a very comprehensive 28 pages of Tools, Tips and Techniques, Aimee Ray launches into the projects. The first page of the section includes larger photos of a selection of the projects.

One of my favorite projects is the Felted Terrarium Necklace, pg.45. I wouldn’t make it, but I like the look. It would also be great as a gift for a charm bracelet.

The projects consist of a large photo of the finished piece9s) and 1-2 pages of directions, which includes tips, a materials and tool list. Not being a jewelry maker, I cannot judge whether this is enough information to finish the project.

I also like the Cabochon Hairpins, pg.57. This is a really unique idea, perhaps because I have hatpins on the mind after reading Jacqueline Winspear‘s book, Maisie Dobbs again. I have not seen anything like this before and give kudos to the designer, Kathy Sheldon for thinking outside the box.

This is also a very well designed book. I like the colors of the layout as well as the graphic embellishments and photography on the inner pages. Take a look at this book and be inspired.

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