Wednesday, November 18, 2015

Photos of late in Oranges!

Thought I would share a few of my autumn photos from the iPhone that I carry everywhere and use liberally to collect oranges and things that catch my fancy. Quilting season and orange season are upon us! Happy Holidays. 

walking on the Highline elevated native plants park in NYC with John Kelly. 

free to view art installation at the Whitney in NYC October 2015

Posing with some of my friends from the 1980's nightclub Pyramid of the lower East Village  in front of my Log Cabin quilt exhibited in NYC as part of the 'what happened to those creative people from the good old days...

Now it's nearly time to go take a walk and see what new colors appear on the way. 

Sunday, November 1, 2015

Quilt finish for charity

New finish Blue & White Wedges quilt 
 Recently I finished this new blue and white quilt of wedges sewn in long strips which were left over from a Dresden Plate quilt called Blue Diamonds I made almost three years ago.
Blue Diamonds quilt 2012-2013 a Dresden Plate set on point and hand quilted.
 I made too many wedges for my Dresden plates because I wanted lots to choose from when I was building them. I cut and cut six inch wedges and then put them together as I needed them to mix and match my dark and light plates. When I was done making two large bed sized tops I set the remaining wedges aside. At some point these wedges got sewn together into long alternating blue/white strips that laid in a pile of left over blocks for quite a long time. Opportunity this year to make a quilt for the homeless arose at the guild as it always does in Sept. We have 100 quilts for Kids as a challenge and I had a pal to help me assemble these into a quilt at our all day guild sewing day. Virgil, I met him over the summer, quilts but doesn't have much experience he says. We joined forces at the guild meeting and with his help we put it together in a top that measures about 40 x 64 inches. A nap quilt for a toddler or a throw for some one feeling the season chill. Our quilts this year are going to the Washington DC homeless family shelter at the old DC General Hospital I believe. Once the top was all sewn together and nicely pressed I was lucky to find a nice piece of blue and white tartan in a box of donated fabric large enough to cover the back. I brought the blue tartan yardage and our top home to finish with batting quilting and all the usual parts.
Since this quilt is going to be a donation, I did the straight line quilting on my featherweight Singer sewing machine so it was faster than by hand. I did a diagonal design to echo the wedges. Then on a visit to Manassas I whipped up a personalized label for the back and added the solid blue to bind the edges. 
front, back and label 

Long walks are part of my aspiration every day. It is good to get away from the sewing and in Manassas while I was working on the blue and white wedge's label this image of a local lake surrounded by white asters and blue sky and white clouds becomes a photo equivalent to the blue and white quilt. Guess I didn't get that far away from the project on my long walk seeing the same colors by the lake. 

Friday, October 23, 2015

Tea Leaf Quartet Quilt finish

Last year I got the idea that I wanted to try a quilt top design with curved piecing after focusing on log cabin blocks made with all long strips. I found a pattern for free from Tim Latimer the quilter who blogs about hand quilting in Michigan. Tim is really good and really fast at hand quilting and is always an inspiration for me. I follow his blog Tim Quilts ( link to the post I used as my guide for this quilt) he does all sorts of quilting projects and on his blog tells how and is very generous Tim Quilts has new posts about once a week.
I had a collection of fabrics I bought earlier shopping in Manassas at Hancock Fabrics and Joann's with my mom in a matched color way and then I added a little more from my stash. I decided to adjust the block pattern a little for my first repeat pattern curved piecing project. Tim used fat quarters and I had lots more fabric than he did so I added a quarter inch to my  the edges of the curves to allow a 1/4 inch along the seam at the edges of the finished blocks. That was the only design change I made. I even used his pattern of quilting stitches for my quilt. but I wasn't as fast as his fast quilting goes. As a matter of fact, I realized once I was into the quilting it was way too much for me. I struggled to get the quilting done all year but finally have it completed it, bound and washed and dried.... Ready to share. It's a throw size 46 x 61 inches. I used black pearl cotton #8 to do the leaf pattern and echo the leaf shapes in the design. 
The blocks finished up at 8 inches square for each leaf and took me one hour and 17 minutes to quilt completely using Tim's intricate design. The quilting shows up best in the salmon and sage green blocks and on the back solid salmon.  

There is one block I left without black quilting veins that I tried to label on the reverse by embroidering my title block right on the finished quilt. I don't recommend labeling this way but maybe with practice I could do better...
The entire back shows the great leaf and circle in squares design of the intricate quilting pattern. label at the left near the center. 
This was a fun quilt and I loved the resulting quilting patterns but the labor made it something I would simplify for future hand quilting projects. I am grateful to Tim for giving us a good pattern to begin me down the curved piecing pathway. More to come! It's not as hard as you might think if you never did a curve look for help and give it a try once you get the hang of it you won't look back. 

Wednesday, October 7, 2015

a new journal

Today I want to tell you about and show a new patchwork piecing project this month. It is a cover for a coptic bound journal. I use them to write in and sketch ideas for new quilting projects. Last year I made a pair of patchwork improvisation blocks using some of the scraps from my big Orange Explains It quilt scraps. Compared to the regular book cloth covered coptic bound journal this was clearly fun and interesting to do but extra time intensive. That is because to make a cover with fabric one has to add a paper backing to the cloth patchwork before gluing to the book cover boards. Double the glue work but doubly unique in the final book covers.
Orange Explains It scrappy Coptic bound book 

After I completed this first book I gave it to Keith for Christmas and figured I would make myself another one in the winter. It never happened until now but recently I finished up a big quilt top using two tones of orange and had scraps that were long strips and by adding them together and cutting them I got a new type of scrappy quilt block for my next book. See images below of the new cover...

Inside this new journal I added some wrapping paper we bought last year at that great paper source store in Georgetown with various feathers printed for my end pages. I like to use a heavy Strathmore paper for my fly pages in this case darker orange. I also had orange beeswax coated linen binder's thread to finish up the orange theme. While sewing I decided not to add glass beads to the spine but to use a soft paper and insert a little yellow-green or chartreuse over the two center folios for some colorful interest on the spine. 

In the back ground there you can see the big copy press I have on my studio desk. That is how I get the paper and glued fabric to stay pressed flat before and after I apply it to the book cover boards. It's a very heavy tool but a great one to have. 

A friend on Instagram asked about the needle I use. It is a bend binder's needle in this case one that I bent myself a trick I learned at my first class in Coptic book making with Daniel Essig years ago at Pyramid Atlantic Art Center when it used to be in Riverdale, MD. We plan to have a fabric block printing workshop for quilters at the current Pyramid Atlantic home in Silver Spring, MD next January 2016 for DC Modern Quilt Guild members. So here are a few images of my process as I built the book. 
detail of the first 6 signatures sewn in place with orange thread and chartreuse paper over the spines of two signatures. 

look closely to see the bent binders needle is tucked under the thread which is all that holds the coptic journal together. 

book assembly is one signature at a time added using a single tread and needle.

Thursday, August 13, 2015

So many projects including a few Quilts

one inch sides on this tiny English paper pieced tumbling block 

I don't know about other quilters but I am finding I am starting many projects and having fun with each but not finishing them up as fast as I did a year or two ago when I first got started. The excitement of showing and telling about new projects at DC Modern Quilt Guild really drove my desire to finish up and get them ready for the show and tells. Now I am working on more complexity in my designs and taking longer to do the hand quilting and sometimes the piecing. Then there is that Instagram share thing. I find sharing a picture or two on Instagram has taken the place of writing blog posts to fore fill my desire to share as I go... Today I am stepping back from that because I know there are folks like the lady I met in Walmart this week who don't get on Instagram and would like to see some of the work in more detail that a slide show on my iPhone screen. Insert smiley face here. How the world keeps changing faster than I can keep pace with since the information age took off some 25 years ago.
This is my tumbling block improvisational nine patch hanging on the design wall as I was trying to sort out how to join them together and what order to place them in for the finished top. It's together now in a different order with a magenta sashing joining them all up. I really enjoyed working on the English paper piecing at the center of these blocks  from my own paper pieces. I decided to try some smaller ones for somewhere in the project. Now I have  bunch of those completed and ready to use once the quilting is closer to completed. 
English paper pieced tumbling blocks tiny one inch size and the three inch size used for the center of my medallion blocks for size reference as they hang on the felt with yellow pins holding them in place.
below is a shot of me sewing the big blocks 25 inch square together on my small Featherweight Singer sewing machine. Vintage Singer 1937 is a delight to use. 

Now that it is together and basted to the batting and backing a solid red! It's laid over my standing hoop to begin the large stitch hand quilting in the center medallion with contrasting colors to stand out. 

That tumbler is the big three inch sides one in the middle of this block. 
So this is just one report there is so many opportunities to write that slip by but keeping the story short helps make it more do-able for me considering I can't put down the iPhone and set Instagram aside as often as I would like. 
This project is on track and the earlier one I began back in January of this year is slowly coming closer to a finish. It's my tea leaf project with way too much detail in the quilting for my neck and hand problems to be done quickly. Still we are learning to slow down in this era of hurry hurry hurry and enjoy the simple pleasure of slowly putting the needle to fabric and working out some of our rush to a place of pride and centered calm. 
Next week off to Ipswich Mass. to hang at the river's edge and explore.

Monday, June 22, 2015

Quilter's mistake

This past weekend I packed up my quilting tools and two projects to attend the DC Modern Quilt Guild's meeting in Falls Church, VA for an all day sewing meeting.
The completed reconstructed triangles added Sunday
 I usually don't get much sewing done at the meetings because there are so many interesting people to meet and visit with that I often spend my time that way. This time I decided to take along two projects one to complete for show and tell and the other to catch some simple sewing time after that first project was done. I have been building these blocks row by row or border on border for a while now. I have the steps worked out in my head and I thought this would be easy to complete one at the meeting. Just cut  the square in two and add it to the center medallion for a finish, then there will be just one more row to add and the block should be finished. Well best laid plans didn't account for the simple self assured speed with which I screwed it up.
on the right the wrong cut I made at meeting. 
I built two blocks with the intention of cutting them on the 45º angle and making them triangles to frame the center diamond medallion in a block after careful planning this worked on the first side I cut at home and attached but at the meeting I got going to quickly and I didn't consider that there was a right and a wrong 45º direction. I found out just about as fast as I cut my block in half.  I did it the wrong way through my two HST that were meant to be the pinnacle of the triangle not the corners cut in two. Insert frowning face here.
The way I intended to cut the square to make my triangles 
Once I got over that surprise I was glad I brought my Denyse Schmidt improvisational blocks and fabric to work on and that was the work I did the rest of the day.
Stopped into a favorite grass fed beef restaurant "Elevation Burger"  down the street. Its just a few blocks down the street from our historic Church meeting rooms,
 Hope we get to use this Church in Falls Church again for our group is big and we need a lot of space and tables, chairs electric outlets and it doesn't hurt to have a kitchen and open room on floors for layouts... So many needs for so many quilters I am beginning to think that this organization needs paid staff but then the price would be so high the numbers would shrink. Well that is a round about way of saying thanks to our administrators who did a great job with this weeks meeting and the big Denyse Schmidt events two weeks ago! Thanks to each of you on the board.

This is the church that that gives Falls Church, VA. it's name. The original was built in 1764 during the colonial era of Virginia. The grave stone there by the enormous Oak tree was installed in 1808 and there were others further to the left under the shade of this great tree even older than this one. 
Now it's time to get back to work on my blocks for the Tumbling Block applique medallions quilt for this week I want to finish up the last block of nine and begin putting them together to quilt. 

Monday, June 8, 2015

Denyse Schmidt's Pure Improv Workshop: the experience.

Today I want to record a very exciting experience that deserves more than a passing flash of colorful pictures and hash-tag (#) labels. My Washington DC Modern Quilt Guild hired the renowned designer Denyse Schmidt to come give us an improvisational quilt piecing workshop class. It was months in the planning for the guild to pull this off and I have to thank all those board members who made it happen so flawlessly. There were no glitches and it really was a lot of fun as well as a really memorable experience. 20 quilters and one instructor in a big long room where we each had a table to ourselves, so luxurious for a guild gathering. Rented class room was at G Street Fabrics in Seven Corners.
The project we undertook after getting introductions done see in this image where we told Denyse a little about our quilting experience and what we hoped to get out of this class. Next we got instructions how to begin a quilt block called Shoeman's Puzzle a vintage block from her last book. We made templates and cut our two tones of fabric into  the triangles and then assembled them as a traditional quilt block is made. 
Anjeanette cutting her first blocks pieces using the templates we all made. 

Then we had to do the same block free hand cut and sewn. It was done with a slightly larger square of fabric to allow for a bit of less accurate seam sewing on our hand cut blocks. It was hard to tell the difference once we all made our 4 blocks two each from the two techniques. 

with the pattern

free hand cut beside pattern cut; can you see a difference?

For fabrics I used a nice orange and a red-orange as my two colors. They are close in value and intensity of hue as well as tone. These colors were not a surprise to anyone, given the reputation I have. The next step was to begin the improvisational block making. We were allowed to cut the triangles from a slightly bigger square to allow for shortened blocks in the end but we had to take care not to anticipate what the end result would be. Denyse told us not to try to save fabric she said just cut, sew and see what came out!  Working without trying to see the end before we began or during the process of making. That was very hard for an experienced quilter wants to get the most out of each cut of precious fabric and one wants to be "in control" start to finish. This is the challenge of the day: let go and don't try to be in control of the results until you get to the finishing process. It sounds like it is all in your head and it is. To let things happen without knowing what the result will be feels uncomfortable but as Denyse tried to explain that is when some of the most delightful things happen in improvisational quilting.
You can see everyone behind me was working hard and deep in the making process time just flew by when it was time for lunch we were well on our way towards beginning. After lunch together in the room out of Panera Boxes we set back to work with about two hours left to sew and a half hour for critique and discussion. Denyse was there all through the class ready to answer any questions and I had a few. Mostly worry about how the end result was going to fit together or something like that... my felt wall fell once and she kindly helped me rehang it and put the blocks back up. 

As we got a nice selection of blocks made and began looking a little at how to assemble them on the design wall the question of came up of adding a third fabric. It was suggested we try to stick with just the two for most of the day but when we felt we needed a change we should begin to try out a third fabric. For me the beautiful colors of red and purple Melinda was using just down the row were calling out to my oranges. I was dying to get a little bit of that purple into my composition and I was getting sick of red and oranges, sick to death and I felt blinded by the colors because they were so much the same. I decided it was time to cut a nice patterned hot pink-magenta fabric square and work it in with the red-orange first. I got two made and began the second pair and the bell went off and we had to Stop for our final discussion critique. I slipped in one more before the talking really got going. 
Melinda's purple red combo behind Denyse was near my station.
Before my design wall fell for the second time it looked like this... thanks to Cathy who's work station was beside mine and took a snap of this arrangement.  

Jamie's new born came with her to this must not be missed workshop. I never heard a peep out of her and I know her mom was really glad to be there in spite of the stress and dad came came along to help hold her while mom sewed! 

Willa used high contrasting colors and therefore her layout changed to reorganize the colors in a way that appears organized. 

Gray and white gauze was Jenny's combination and she began adding a little oxford shirt blue a subtle shift in hue but the value is the same! Very nice. 

 I got an autograph on my Denyse Schmidt book! The cover is orange by the way and I was drawn to it in a bookstore in Colonial Williamsburg year before last and asked for it as a gift! It's a great inspiration and meeting Denyse and hearing her story later at the slide lecture she gave made me realize we have a lot of similar interests in the arcane crafts of past, she learned stone letter carving and I went into hand book binding and letterpress printing. She was drawn to Appalachian quilting traditions, music and folk dances are some other areas of creativity I love like she told us she does too. She even participated in NYC East Village performance which I did back in the 1980's as well so if I ever get the chance it would be fun to see who she knows I know from that era as well. Whatever I learned late was great because I could tell when I read her book we liked history and the folk culture of American Appalachian people. It's funny that she is working in the same city in Connecticut where I first saw the Yo yo coverlet that inspired me to make my own when I was twelve years old... I would love to share that story with her but a day of quilt improv block making was a real treat.

In conclusion I wanted to say that this was a good class. I felt like I was back in college again because we had a lot of time to work with our materials and there was lots of professional attention and support from our instructor. Denyse gave us just the right amount of challenge and freedom, she added a dose of confidence: she would be there to answer any and all questions. She pushed us to use this time to try something admittedly uncomfortable but that could give us a lot of exciting new possibilities if we let go of control to allow accidents to show us new ways to use patterns. 
I realized when I got home and laid on my bed which is next to my current improvised quilt design that I was seeing all these finished tumbling blocks (see 5 below) in a whole new way! I realized I was perhaps being too tight and even though I am having a blast fussing over the colors, patterned prints and symmetry there are so many possibilities I had overlooked or not allowed to happen. So there are a few more tumbling blocks to build to make a complete quilt but now with my new education and renewed excitement about the process I have permission to let some of that tightness go and see where it takes me. I also have a great new Orange quilt to work with in the coming months.
Thank you Denyse Schmidt and DC Modern Quilt Guild for introducing me too.