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Posts Tagged ‘quilting’

There are so many quilts that haven’t made it into this blog! I’ll post a few photos now to try and make up for some lost time.

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I blogged about this one here. It was a wedding gift for one of my nephews, and title I gave it in the end is “heart and soul mates”. The way I arranged the HSTs (half-square triangles) symbolizes two people coming together and creating something new.

img_3301This one is called “Line and Texture”. The pattern can be found in a book titled “In Love with Squares and Rectangles” by Amy Walsh and Janine Burke. My colour palette was inspired by the Jinny Beyer fabric that I used for the binding. My mother had bought a tremendous amount of this discarded 2″ trim when she visited Suttles & Seawinds in Mahone Bay, Nova Scotia years ago. It’s going to take me a long time to use it all up!

img_3663Here’s another wedding quilt (couch quilt size) that I made for a niece who is a jazz musician. I had only bought a fat quarter of the feature fabric – with her in mind – but I was able to create a modern quilt, using coordinating fabrics from my stash and focusing on lots of negative space. I got the idea for this quilt by googling modern quilt ideas. Here’s the page I found, and I just made up my own measurements based on the optimum block size for the “jazz cats” imagery (actually called “Cool Cats” by Amy Boyajian/Lilla Rogers Studio for P & B Textiles).

fullsizeoutput_44My Marvellous Mythical Moth was started in a workshop with the talented Susan Carlson. I love her fabric collage technique! It is a small piece (20.5″ w x 16″ h) that was a lot of fun to put together.

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red and white cotton fabrics

Ever since June, when I learned about the 2017 Challenge for next summer’s Quilts at the Creek, I’ve been pondering what to make. The theme for the show is Canada’s 150th birthday, and Northcott has generously donated a whack of red and white fabric to get things started off.

There’s no question – I want to create a special quilt, but making a decision on the design approach is holding me back!

My head is swimming with ideas! How will I be able to settle on just one … the right one? It has to be a design that I will a) enjoy working on for many months, b) allow me to use coordinating fabrics from my stash, and c) be symbolic in its own way to represent my Canadian experience (having lived in Canada all my life).

Shall I go modern or traditional? Or somewhere in between?

Lots of ideas here:

http://quiltinspiration.blogspot.ca/2011/10/free-pattern-day-red-and-white-quilts.html

And of course on Pinterest (e.g., https://www.pinterest.com/cjshanny/red-and-white-quilts/).

logo for Canada's 150th birthday

And check out the winning sesquicentennial logo design. Could be adapted to quilt piecing, don’t you think?

Stay tuned …

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About six years ago, I was fortunate to discover a small group of women in my community whose interest and obsession with making textile art equals my own. Each year since then we’ve managed to find a place in the neighbourhood to mount a display of our creations.

A few times it was a room in a church, several times a funny little vacant space on the side of a building (called “Side Space Gallery”), once in a café, and this year, in a yoga studio. The expansive white wall that spans the length of the studio was just begging to be lit up with our colourful creations.

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Grounded

We negotiated with the studio owner to have specific hours (around her classes) where people could come and see the exhibit, each weekend throughout the month of November.

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A Patch of Stillness

This Saturday, we’ll be holding the opening reception for our show at the Studio for Movement.

A week ago, we met to “hang” the show. None of us knew what each other had created, so it was a bit like Christmas morning when we spread everything out on the floor to get an idea of what the collection looked like. Amazingly, it all came together beautifully. It’s astonishing how some of us, working independently, used similar colour palettes and themes in our work. This made it fairly easy to create groupings that complemented each other.

I worked pretty hard to get two new pieces finished (each participating artist is invited to submit two pieces) and was still stitching on the labels the day we hung the show!

A third piece I had brought along (Open Arms, aka Driven to Abstraction) turned out to be just the right size for one of the walls, so that means I have three pieces in the show!

Getting together with my artist friends to plan and execute these exhibits, on a shoestring, has proven to be a great catalyst for all of us to learn, laugh, experiment and share our art with the community.E_invite_2013

If you’re in the Toronto area, I invite you to come by and be inspired!

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The impetus for this project was a small photo of a quilt on a bed that caught my eye in something I was reading (a newspaper, perhaps?). I cut it out and ruminated for sometime on the concept of a quilt make from large blocks. The quilt in the photo comprised a random arrangement of squares and rectangles that appeared to be about 20” across.

I started pulling out small-print florals from my stash and putting them aside for this quilt. The more I thought about it, it occurred to me that I could do something more interesting than simple squares and rectangles.

While leafing through Mary Ellen Hopkins’ The It’s Okay if You Sit on My Quilt Book (1989), which is brimming with block ideas made from different arrangements of strips, squares and triangles, I zeroed in on a block she calls “Amish Pinwheel”.

There are so many things you can do with half-square triangles, and this block is just one example. It’s made from 8 half-square triangle blocks, with a rectangle of the background colour added to each corner. Each finished block is 18” square. Image

The traditional Amish quilt always features solid fabrics, not florals. So I am hesitant to call these blocks Amish pinwheels. Yet it is not your typical pinwheel block.

I checked on Flickr and only found one example similar to this block, and the maker called it “Dancing Pinwheel”.

Because it is intended as a summer quilt, I opted to use flannelette for the batting to keep it light.

The quilt measures 67” x 90” and I did simple machine quilting in neutral colours. My intention was to have the quilting disappear, and just do its job (holding the layers together). The binding is made from an assortment of leftover fabric.

The result is a “vintage” look quilt. That sounds so much more sophisticated than “old-fashioned”, don’t you think?

Numerous people have asked me “Who it is for?”  It’s for me!

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Isn’t it fun, once in a while, not to have everything planned out before you start a new project? That’s the way it was with the 3-part workshop I signed up for with Dwayne Wanner. He has developed a loosely structured set of guidelines to shepherd you through his “Abstract Expressionist Quilt Project”.

I was fortunate to be able to find a weekend course being held at the Etobicoke Quilters Guild, where my sister is a member. I am endlessly frustrated by my own guild’s insistence on scheduling workshops during the workweek.

Part one of the workshop consisted of exploring the styles of abstract expressionist painters such as Jackson Pollock, Jean-Paul Riopelle, Paul Klee and the Painters Eleven. Dwayne encouraged us to look at these paintings and visualize them made with fabric. Using both the Internet and library books, I studied the technique in the weeks leading up to the first session.

Then it was time to make our colour choices. Dwayne encouraged us to experiment the split-complementary scheme, which includes strong contrast that is toned down by using the colours that are adjacent the colour that is complementary to the main colour. Have I lost you yet?

For someone who usually relies on instinct for her colour choices, it was a challenge for me to consult the colour wheel and make selections based on that, but I went to my stash and tried my best. For this project, fabrics that read as solid are best – no large prints.

Our second task was to construct what Dwayne calls an “inventory” of blocks. What fun combining the fabrics into blocks and strips, knowing in advance that they would be sliced, diced and put together later, but not being able to envision the end result.

Floating squares, skinny strips, wonky strips, etc. all came together, as Dwayne exhorted us to imagine the artist splashing paint randomly on a large canvas.

Slicing a curved line in advance of sewing two sections together

Slicing a curved line in advance of sewing two sections together

One interesting trick I learned was how to match up two sections, by laying them on top of each other (both face up), just overlapping enough to cut through with the rotary cutter, in a slightly curved line. [photo]

Then, after discarding the cut pieces, you flip one piece over so that right sides are together, and sew them together. Sounds simple but I don’t think I would have thought of that myself.

Dwayne’s approach is best described, I think, as freestyle. “Pins are for sissies,” he says. I must say things move faster when you aren’t concerned with measuring and matching things precisely. And the resulting creation is truly one-of-a-kind.

Most of the quilts produced in this class, therefore, resulted in an irregular shape, and so the question was asked – how are we going to finish the edges? Dwayne explained various methods, one being the “pillow-case” method. But I chose the option to make “facing”. You make binding as per usual, but turn all of it to the back, rather than just half of it. Pretty simple and effective, when the edge of your piece is uneven.

While our sewing machines hummed, Dwayne supplied an eclectic assortment of background music, ranging from opera to the Gypsy Kings, to keep our creative juices flowing. And, I suspect, to cut down on the chitchat. He had us on a schedule, which contributed to the appeal of this workshop. All the students were confident that they would actually finish something at the end of the three sessions.

Driven to Abstraction -

Driven to Abstraction

A few months later, I am still processing some of the ideas and techniques that I practiced in Dwayne’s class. My piece, “Driven to Abstraction”, is certainly one of the most adventurous and unusual wall hangings I have made. And quite a contrast to the next quilt I will be writing about!

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It’s been awhile since I last posted. Life’s been extra busy, it seems. I’ve been working away at the wall hanging that I created at Dwayne Wanner’s 3-part workshop, and I don’t want to blog about it until I get a good photo of the finished product! It’s quite a departure from my “usual” style (if there is such a thing) but you’ll have to be patient.

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Hiking near Skinners Bluff on the Bruce Trail on the long weekend in May.

I have been enjoying the change of seasons, to some extent. I did some camping with my sons, hiking with my sister, joined some nature walks with the Toronto Field Naturalists and have been up to the family cottage a couple of times this spring.

Right now it is beastly hot and humid.

I’ve  recently added this blog to Bloglovin, so feel free to add me to your favourites there!

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I just finished two small quilts that were distracting me from some more extensive projects that I have on the go. Pleasant distractions, I must say!

In Transit II

In Transit II
32″ x 14″

The first is a commission that resulted from my donation to the United Way fundraiser (silent auction) at my workplace last December. My colleague Jennifer told me that she missed out at the last minute when someone else out-bid her for my “In Transit” quilt.

She asked whether I would make one for her. I hesitated a bit, because this was during the lead-up to Christmas, and I wasn’t ready to take on anything with a deadline attached to it. But she said I could have all the time I wanted, so I agreed. I zeroed in on the theme for “In Transit”, city transportation, because I work for Metrolinx, the regional transportation agency for Ontario.

Most of the fabrics depict the different transportation modes and city scenes. I let those fabrics dictate the colour choices, pulling complimentary colours from my stash.

Closeup of In Transit II

Closeup of In Transit II

I went out looking specifically for one additional fabric, because Jennifer is an avid cyclist. I walked into one of my local quilt stores and found this fabric – Cruzin by Barbara Jones of QuiltSoup for Henry Glass. It didn’t really matter that it was the ONLY bicycle-themed fabric they had, because the colours fit perfectly into my scheme!

My  quilt label

My quilt label

Jennifer was thrilled with In Transit II, and she was even impressed with my choice of backing fabric, which we both think evokes a cityscape at night.

My second finish is a “cobblestones” quilt, which I attribute to my discovery of Wanda Hanson’s Exuberant Color website. It’s made entirely from batik scraps (except for the backing). There are even two fabrics that are clothing scraps (one from a pair of pants I shortened, and some leftovers from a blouse I made a about two decades ago). I have titled it “Undertones”.

Undertones

Undertones
26.5″ x 21.5″

For this one, I was able to piece together scraps of batting too, further evidence that I am a frugal quilter.

I puzzled for a while over how I wanted to quilt it, and ended up tapping into my “organic process” – that is, just listening to my intuition and using circles and unwinding spirals to compliment the nature-themed batiks.

With these pieces finished and labeled, I have returned to my Amish Pinwheel summer coverlet project. I have six blocks done (it takes me about an hour for each one, including cutting the fabrics).

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