Tag: Book Review

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. 😉

Related Links

• Flickr Search for Farmer’s Wife
• Flickr Farmer’s Wife Quilt-a-Long Group
• Flickr Farmer’s Wife Quilt-a-Long Toronto Group
• Camille Roskelley’s Farmer’s Wife set
• Farmer’s Wife Blog
• Craftsy blog entry
• Author’s site
• Super cheerful Birds in the Air block by Monica Solario-Snow

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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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Simply Retro with Camille Roskelley: Fresh Quilts from Classic Blocks by Camille Roskelley

I pre-ordered this book because I really enjoy Ms. Roskelley’s blog and color palette. I also think she does a good job of subtle marketing. She includes her life along with her patterns and fabric. She is part of the community. I like to encourage and support that type of attitude.

Right away, I was inspired. I love her dedication. Dedications are often really sappy and short, but the in Simply Retro is a bit longer and seems so heartfelt.

The introduction is relatively short, but brings up her pioneer ancestors’ quiltmaking. When the reader turns the page, part of the introduction is illustrated with quilts made from, for the most part, Camille’s wonderful fabrics. The introduction mentions simplifying blocks. She writes “…Instead of Y-seams and foundation piecing, I’ll show you how to use simple half-square triangles (HSTs), Flying Geese units, and chain piecing…” there is absolutely nothing wrong with simplifying, but don’t be scared off by her words. Y-seams take a bit longer, but are not scary. You can see a tutorial I wrote for my sampler class. If you sew slowly, you can do Y-seams with no problem. Don’t let that one line scare you away from the addition of Y-seams and foundation piecing to your quiltmaking toolkit.

Ms. Roskelley says in the introduction, which I think is true is “The piecing, combined with clever placement of light and dark fabrics, creates interesting secondary designs in many of these quilts.” I think that line describes what makes blocks interesting and filled with infinite possibilities. Additionally, the author mentions enlarging the original inspiration, so that it turns into a piece like the very large Swoon blocks. I am really glad that she pointed out that this is another way to add interest to traditional blocks.

This book is FQ, charm pack, and pre-cut (she calls them cut-goods) friendly. Camille says she uses yardage as well. In the second section, Ms. Roskelley talks specifically about pre-cuts. I agree and disagree. Make your quilt your own. Use a charm pack, Jelly Roll or turnover, but remove some of the fabrics and replace them with different fabrics, from other lines, from other years, of your own choice. Throw some of your own personality into the quilt. Don’t get hung up on having the exact fabric Ms. Roskelley used and making an exact replica of her quilts. She does not mention this at all, but I think it can be an issue when using pre-cuts.

There are 11 projects in this book, but a few have multiple sizes and/or variations. You can see some of the quilts in her blog post about Quilt Market. Swell, the first project (pg.17) is a great scrap project. Retro (pg.23) reminds me of my Stepping Stones quilt. I love the squares and triangles set on the diagonal look. The bonus of this pattern is that it is simply made from a bunch of 4 patches and half square triangles. Easy as well as leaders & enders friendly! Dapper Canon‘s (pg.45) attraction is the “cut off corners” of the blocks which make them look octagonal or slightly round. You can do this with many, many blocks by using the background for part of the blocks. Dwell (pg.59) is a nice twist on the house or schoolhouse quilts. I love the idea of putting another block inside the basic house structure. There is, as the main character in [book:Anne of Green Gables|8127] would say, a lot of scope for imagination in this piece. Sweet Life (pg.75) uses large prints very well and is not boring, a some quilts with this goal can be. The little 9 patches used as cornerstones are a nice touch.

I have to say I like the names she has chosen for her quilts. I don’t know if I would use them, but I think they work well for a book. The names also fit the quilts.

One FABULOUS thing about this book? She includes the finished size of the block in the pattern! Hooray! While you may be thinking “who cares?” It can be a really helpful piece of information if you want to resize the quilt, mix in other blocks or use one block to make a pillow cover. Thanks, Camille!

I would have liked to see alternate colorways of the patterns in this book. I realize that deadlines are tight, especially for working moms, but it would have been nice to see some of the patterns in batiks or solids as well as Camille’s fabulous palette.

The book has the requisite Quiltmaking Basics section (pg. 96-). As I have said before, I wish someone would just write another, more up to date, big book of quiltmaking basics and allow everyone else to refer to it. I suppose that would mean that people would have to buy two books. Fortunately, there are some gems in this section, which makes it more than the same-old, same-old. She pins (pg.98-hooray!) and talks about she does it. Camille explains chain piecing (pg.100), including a reminder to snip the threads in between. Ms. Roskelley has good instructions on adding borders.

No index, but the book is definitely worth a look anyway.

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Scrap-Basket Sensations: More Great Quilts from 2 1/2″ Strips by Kim Brackett

I had seen this book, but when I heard about it from Frances, I decided to buy it. I like this book, in general. I like the examples at the beginning of how to gather scraps. I know that one of the Twilters, Torie, goes to Strip Club and exchanges strips. This program has interested me ever since she mentioned it. As an aside, I think it would be an interesting for a quilt shop to cut 2.5″ strips in a “Club” format for their customers and the customers could subscribe and get a set of strips each month. The strips sets could be new fabrics the shop received or fabrics according to a theme.

The author also talks about gathering strips from your stash, which includes cutting from scraps. Ms. Brackett also talks about sorting and storing strips. I was pleased to see the sections on themes and color schemes.” In the Color Schemes section Ms. Brackett writes “Be alert for color combinations that catch your eye in clothing, magazines, nature, and the quilts of others (pg.10).” This is a great way to learn about color. I keep an idea book where bits and pieces are pasted. Some are shapes I want to remember and others are color combinations that would make great quilts. Once you identify color groups you like, check the color wheel and try to identify the type of color scheme it is (primary, secondary, split complimentary, monochromatic, etc). This exercise will help you to become familiar with the different ways to use the color wheel to make successful quilts.

While this book does have the obligatory basic quiltmaking instructions, there is some very good, useful and interesting information in the front of the book-before the patterns start. The author talks about adding borders and includes the different types of borders (butted-corner, mitered, etc) as well as how to add borders. There is also a section on preparing the backing and batting as well as binding. I don’t think a person can learn to make a quilt using the basics on a few pages, but these instructions can get you started and shows more experienced quiltmakers different techniques.

There is a section called “Special Piecing Techniques” (pg.17), which goes over folded-corner units and split units. The section on split units has some interesting design possibilities! I haven’t every seen these techniques explained in a book before. It could be that I am reading the wrong books.

Then the patterns start. There are 18 patterns in this book. of those, there are three I would seriously consider making: Over and Under, Sparkler and Flower Boxes. Each book is very personal to the author and it is clear what type of fabric this author likes. Her fabric choices are fine, but not as bright and cheerful as I like. Despite that most of the patterns have very interesting lines and shapes. There are a few where the blocks make up an overall pattern.

There are also some great details. I like the sashing on the quilt called “Flowers for Nana Girl.” The pieces appear to form a mini Friendship Star. I really like it when sashing adds a little viewer’s reward to the overall design of the quilt.

If this was the only book, I had, I think I could be very happy with the wide variety of patterns provided. My one criticism (aside from not having an index) is that the borders on many of the quilts were not well thought out. Some of them were just slapped on. I realize the time pressure that authors are under to make a gazillion quilts AND write the text AND test the patterns, but poor border choices can ruin a quilt. I don’t think that any of the quilts were ruined, but I do think different border choices would have enhanced several of the quilts.

All in all, I would urge you to take a look at this book.

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