Commentary about works in progress, design & creativity
I have been thinking and talking about visual journaling for several months. I have finally put my money where my mouth is and done it. I don’t know why this view, but something about the 24th Street sign and the fact that I had time called to me. Some things I will consider for next time:
I think I am past the hump and hope that I will do more.
I know that quilt blocks are not in vogue at the moment, but I love quilt blocks and the possibilities that they provide for creativity. I am particularly enamored of older blocks that have oddly shaped pieces and provide interesting opportunities for coloration and settings.
To that end, Rose Lea Alboum has created a variety of indexes to older quilt blocks. She now has created a website, which means that you can see her offerings at: http://americanlegacyquiltindexes.com/index.htm. The website shows the cover of each book and along with a few pages. They are organized by designer or publication and have a small picture of each block along with some basic information such as name and number. Not only do these books provide an organized method of accessing old blocks, but they also provide a look at how quiltmaking fits in with history. The names of the blocks provide ties to history, which show how women connected their art to current events. A great addition would be to add dates to the blocks.
I bought the Index to Laura Wheeler Quilt Blocks, which I mentioned in a post last year. It is a slim, self published volume with a spiral binding. I bought this one because I was interested, at the time, in a block called Snowball Wreath, which I discussed in a post in June of this year.
There is a brief introduction to the book. The blocks are listed in alphabetical order. Each block has a hand drawn picture along with the name and number. The pictures of the blocks are approximately 3×3″. There are no templates. This is a reference tool and not a pattern book (though it is possible to redraft the patterns). The work also contains an index of names and a list by number (e.g. Laura Wheeler Number Sequence).
Now to get the Electric Quilt Company interested enough in these materials to create the blocks they have not already created! Although quite comprehensive, not all of the information that Ms. Alboum has is in EQ6 or Blockbase, but it is easy enough to add. This series is a great addition to anyone’s library who enjoys quilt blocks.
Some time ago, I talked about organizing my quilt photos on Flickr. For a number of photos, where I saw themes emerging, I used sets. This means that a variety of quilts from different shows might end up in the same set because they have a similar theme. I meant to talk about each set and highlight them for you and haven’t yet gotten to it.
Since I haven’t been sewing much (though I do have a few things to show you and talk about), I thought I would show you the trees. Trees have been on my mind lately, because they, IRL, are all nearly naked, though there are a few that still have some straggling red leaves on them.
When I was organizing the photos, I didn’t set out to have a set of trees. As I was looking through the photos, I saw a number of trees and thought there were enough to create a set. Mostly there are quilts, but there is one inspiration for a quilt photo as well. I thought it was really interesting to see the different interpretations of trees. Some of you are probably remembering that I pointed you to these photos already. You are correct. I am really not being lame. I just have trees on the mind. If you have a quilt photo depicting a tree that you would like to include, let me know.
While I was stumbling around my other life, I read ResearchBuzz. At ResearchBuzz, Tara reviews a variety of different sites, tools and features that the Internet throws at us. In today’s newsletter, she reviews a historic wallpaper site called Wallpaper in New England. Ever on the hunt for design sources, I took a look.
There are lots of flowers and border prints. The thumbnails are small. Many are muted colors, but design and layout inspiration abound. I took a look at Accession Number: 1985.26.685, which would be a good layout for a quilt. Take a look and get inspiration from a new place.
Today was the CQFA meeting. There are six meetings per year and they are held in Santa Clara, which is about an hour from my house. It is always a big effort (I usually stay up too late the previous night and am tired from the week of racing around) for me to get the to the meetings and I have missed a number of them this year. I was richly rewarded by attending today as the show and tell was fantastic. Also, nobody was being an attention hog or annoying me. Everyone was wonderfully supportive of one woman who is experiencing a series of losses in her life. Not only was the work wonderful, but inspirational as well. Check the website for the meeting and I am sure the photos will be posted soon.
The workshop was put on by Virginia Schnalle, who is a wonderfully creative quiltmaker. I admire her work, her fearlessness in art and her quiet manner. She has taught a couple of workshops for the group and they always yield wonderful results for me. It was in her class that I made the Eye of God. That quilt is now in the collection of another quiltmaker, but I consider it to be one of my most successful quilts.
Today we worked on getting started when your muse has gone on vacation or your well has run dry. First VS gave out a basket of words, from which we each chose three. We weren’t able to tell what the words were before we chose them. From these words we had to draw simple drawings that came to mind when we saw the words. My words were:
wisdom
release
freedom
I thought the words were good choices for me at this point in time and space. The drawings I made were not very satisfactory, but I think if I were stuck, I would be able to use them to get the muse.
The good thing about this exercise (and my lack of organization) is that, in looking for supplies on the supply list, I found two wonderful pencils. They are very smooth and easy to use. They are called Berol Karismacolor. I have no memory of buying them, but must have sometime in the distant past of my art days. I am putting them in the pile of possible supplies for my visual journal.
After discussing different kinds of balance: symmetrical/formal, assymetrical/informal, horizontal, circular or radial balance and crystallographic balance and the Rule of Thirds, we went to work on our own pieces. My first one is above. It is made out of cut up magazine pictures. I didn’t pay attention to the subject of the pictures…much, but concentrated mostly on the color and the pattern. The first one wasn’t terribly successful IMO.
I didn’t pay attention to the Rule of Thirds direction and just made the one above because I was inspired to do so. Very symmetrical.
Same as above. I didn’t have any red to start out with, but scrounged some from the garbage pile and made this piece. Again, very symmetrical. I can see working with this design to make other pieces.
And TA DA! Here is the piece d’resistance. I think this one came out the best. I added the words (see first exercise) at the end on a whim as well as the #1. I like to mix characters and imagery. I am not sure what I would do with this, but I can see tracing the main lines and going on from there with it.
During show and tell and the announcements, I also worked on this piece from the Laura Wasilowski class. I worked on the handwork using Laura’s hand-dyed thread. Adding the thread is similar to Pamela’s techniques. I like the process, but I also like making progress. I have a few too many handwork projects in the pipeline right at the moment and would like to move a couple of them out. Goals are good!
Quiltings Arts recent e-mail newsletter had some great ideas for quilting when it is too hot to actually put needle to fabric. I am reproducing them here, but the ideas belong to Quilting Arts.
Too hot to quilt? Design!
I don’t see a link to back issues of t he eNewsletter, but you can subscribe to future issues on their site.
Happy Designing
I happened upon this quilt and thought the design was really great. It It is definitely about showcasing the fabric.
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You can see the post at: http://bayouquilts.blogspot.com/2007/05/circles-and-squares.html
Julie has written an article about taking Pamela’s class with a lot more photos, so you can get a different perspective here.
I know I overloaded myself with photos posted to Artquiltmaker blog on Saturday after the class with Pamela, so I must have overloaded you all as well. This post is about focus and reflection on the class.
Here is my first draft, so to speak. I had looked at my previous effort, from the first class with Pamela, before this class and had an idea that doing a related quilt would be a good idea. I was also looking at Collaborative Quilting by Freddy Moran and Gwen Marston last week, which made me think about houses. The sun and the flowers are in common, I think.
One thing I realized is that I have not been working with scale much lately. The Pineapple, the various square pieces including Thoughts on Dots did not require me to work with scale in any meaningful way. I did pay attention to dots were in the various prints I used for Thoughts on Dots. I didn’t have to worry about scale overall in terms of the elements of the quilt. So, this piece made me stretch. When Pamela came around to help me the first time, scale was what we focused on. I needed larger flowers and larger rays of the sun.
Final piece (sans quilting)
It wasn’t quite so easy as making some elements a little bigger, though, because I had the previous garden quilt (below) on my mind as well. Some of the intermediate “drafts” of this piece had many more flowers. You can see the various drafts in Saturday’s post.
I brought scraps per the directions, so I didn’t have a lot of choice of background. I had a lot of variety in fabrics, but not a lot of variety in size. My scraps are relatively small in general, so I put some darks in (per Pamela’s instructions) and really had trouble working with them, as I also mentioned. I have not been working with black and the checkerboard is interesting, but it doesn’t read as a cheerful fabric to me. I have gotten some feedback that it isn’t too dark, so I am considering it stretching and moving on.
Pamela’s technique of cutting directly into the fabric is a very freeing way to quilt, however, and I think it is good for me. Now that I have two of these garden type quilts, I might try to make two more and have a quartet. We’ll see.
I enjoyed her handstitching techniques with Perl Cotton as well. One of the things about this is that it doesn’t have to be perfect. The stitching adds to the charm, but I don’t think it looks like the fake folk art kind of look. I could be wrong, of course!
My 2006 Pamela piece. I am more excited about getting back to it now. I machine stitched some of it down, but plan to go back and work some more with the Perl Cotton on the flowers, especially.
I highly recommend Pamela’s classes. She is a quilt teacher, but she has been trained in art and knows about design principles. That is the focus of her class with fabric as the medium. She seems to truly want people to do good work. I am glad she directed me, in her gentle but firm way, to scale, because that is what I needed to work on.
I made it to the Pamela Allen class at EBHQ.
This is all the stuff I took to class, except my sewing machine is not in the picture. (above). The pieces you see are pieces that I made in a previous class with her at Quilting Adventures.
Pamela’s work (below)
Tooth Fairy
Tooth Fairy (detail)
more Tooth Fairy detail
This is what it looks like when I work in a class. (above) What a mess!
My background for the House & Garden quilt. I really can’t help starting new projects in her class.
First draft
Pamela working on my piece
Lots of flowers and flying dots.
Not so many flowers and flying dots.
Not so many flowers and no flying dots.
Final composition. I like it, but I have to admit that I had a very hard time working with the darker colors (the black around the flowers and the blue/black checkerboard. All I could think of was that I wasn’t used to it. I haven’t been using much black lately and, as you know, have been trying to make cheerful quilts. This quilt-let seems a little dark to me.
Pamela working with Julie
Julie’s piece. I love the line up the left hand side.
Group Sampler project. We had 15 minutes to make our part of this piece.
Julie’s two fish. Can you find the second one?
My fish – with dots, of course!
I am tired and about to sign off, but I thought I would put up some photos for all of you to drool over while I go recover from a FAB day. More tomorrow.
We were discussing design books on a list in which I participate. I reviewed, sort of, Johannes Itten’s book, Elements of Color, some time ago. I wanted to mention Sarah Ann Smith’s posts about Steven Aimone’s book Design!: A Lively Guide to Design Basics for Artists & Craftspeople.
After writing the post about the Coffee quilt, it occurred to me that a row quilt might be the way to go.
When my computer is idle, it scrolls through various quilt show photos I have taken. While it was scrolling through the PIQF 2005 photos, I saw a row quilt that might work for the coffee quilt.
This one is done with 4Patches, which wouldn’t really work, but I could fussy cut the squares with motifs in them instead of making a four patch. I could also make the squares different sizes to accomodate the motifs. Sue Nickels has a row quilt that I liked. I am pretty sure I took a picture of it when I was in her class and will have to dig that out.
I am not starting this quilt, just mulling.
Luana has some new coffee fabrics, which got me to thinking about the coffee fabrics I have been collecting.
I have quite a lot of coffee fabrics, which I was collecting about 4 years ago for some unnamed/undesigned/unstarted project. At some point I realized that many of them were brown and I didn’t like brown. Now that turquoise and brown are popular and look good together, I think I can use turquoise with them to make the brown more cheerful.
Still, I do like the fabrics and would like to think of something nice to do with them. St. JCN and I did “She Had to Have Her Latte.” The Tarts Come to Tea is supposed to be a coffee quilt. However, the name is much better than the Crabs Come to Coffee or something, so I guess it will secretly be about coffee.
I don’t want to do something like attic windows just to showcase the fabrics. I want to do something creative and original. Perhaps a “She Had to Have Her Second Latte”?
I also have some great Dutch coffee fabrics that I bought at Black Cat Quilts. They are pretty special and I would like to do something special with them. Some kind of breakfast quilt? I am not sure. I suppose they have to go to the cogitation pile.
I know I said that I finished the back of Thoughts on Dots last weekend (weekend before???), but something kept bothering the back of my mind. I keept looking at the back and finally decided that the beige pieces on the inside needed to be on the outside, so I would not have to cut through the piecing that I did on the label when I trimmed the quilt after quilting.
Initially I thought I would unpick the beige piece next to the label (above) and sew it on the outside, but St. JCN suggested that I just cut it and then sew it back on as it would take less time. She, of course, was correct. It was easier, but I had to fill in the edge of one side as it was uneven. That took a bit of time, but eventually I got it done. After a brief worry about the back being way too big for the top and which meant facing cutting the piecing after quilting anyway, I finished the back both IRL and in my mind. This means that that mentally I can move on to the back for the Nosegay.
Bottom right (but photo is oriented sideways)
Bottom left (but, again, photo is oriented sideways)
Top left
Top right
The quilt is too big for the room, so I couldn’t lay the whole thing out, but, hopefully, you get the idea.
By the time this quilt is finished, I will probably have named 137 posts Cross Block Redux n.1…..n.137. We’ll see how interesting this quilt stays.
In response to the post Quiltmaking is a Journey Not a Destination, fellow quiltmaker and blogger, Laume wrote:
“There is a third option – make each block scrappy, but not planned so that the colors in each secondary “stretched out square” is matched. You would get rid of the matched “X’s” in the second option you think look unfinished. Whether the background circles would still come to the fore like the second option, or whether they secondary pattern of dark stretched out squares would come to the fore like the first option, I don’t know. You’d have to try it on paper and see.”
I had no idea what Laume was talking about. I knew it couldn’t be terribly complicated, but I am visual person and the words just didn’t translate. I sent Laume a line drawing of the quilt and she was kind enough to color it in.
Basically, she was saying to make the Xes totally scrappy and just match the curved background pieces. I was leaning in the direction as I had just realized that I used a piece of fabric for the back of Serendipity Puzzle that I really wanted to use in this quilt.
Laume’s idea is an excellent one, because the parts of the Xes really do take up quite a bit of fabric, which means I can’t use as many scraps as I would like. However, I will still have to cut into yardage, regardless, so perhaps it doesn’t matter?
Stay tuned!
