My Latest Material Mavens Quilt--Raggedy Ann in the Box!

Our theme for this current quilt in my online art quilting group was Spring.  I wanted to avoid blue bonnets or any spring flowers, despite having some lovely photos that would work wonderfully well to portray Spring in Texas!  I happened to see some jack-in-the boxes at a toy store, however, while pondering the theme.  Aha, a toy that uses a spring to make it work!

I sketched a box and then decided to have a Raggedy Ann doll be what sprung out of the box. ( I have never liked clowns, which normally spring from the box, finding them even now rather scary and disturbing.)  I've always loved Raggedy Ann and Andy, though, and so Ann seemed a perfect choice to pop out.  It did help me decide what to use to see that in the boxes I saw, one was a princess and the other a teddy bear!

After getting my sketch as I wanted it to look, I chose commercial fabrics for the box, for Ann, and for the background.  I found directions online on how to make yarn hair.  I made freezer paper templates from my sketch to cut out the various elements in the design.  I embroidered Ann's features after cutting her out like a paper doll, used buttons for her eyes, and fused the clothes onto the doll.  I then fused the doll onto the box, once the box was fused onto the background fabric.  I love this harlequin green fabric!  I first used it for a great nephew's baby quilt, so it seemed a good choice for this playful little quilt.  I machine quilted following the diagonal lines on the background, after zig zagging around the box and the doll to further secure them.

I used a marker and a bit of red fabric to make the handle, which one of my fellow Mavens said was her favorite part of the quilt!

Below is the backing on the quilt.  I printed two photos onto the sheets of fabric you can run through an ink jet printer.  These are photos of two sets of Ann and Andy dolls.  Mother made me the small dolls sometime during the 1940s, when I was a huge fan of the Raggedy Ann books.  Then in the 1970s, I made daughter Susan the large dolls which are still in great condition.  Sadly, my own old dolls are quite tattered and torn and are missing their lower legs!  I used these dolls as models for my Raggedy Ann in the Box!

My Latest Material Mavens Quilt--Kransen

The theme this time for the Material Mavens quilt was "translate." Literalist that I am, I fear, my mind went immediately to literary works I've read in translation.  My very favorite of these is the trilogy written by Sigrid Undset in the 1920s, for which she was awarded a Nobel Prize.  The trilogy is called KRISTEN LAVRANSDATTER.  The first book in the trilogy is translated in English as THE WREATH or, sometimes, THE BRIDAL WREATH.  In Norwegian the title is simply KRANSEN.

My 12"x12" quilt depicts the protagonist of the trilogy, Kristen, daughter of Lavrans.  I show her on her wedding day, wearing the bridal wreath, looking pensively over her shoulder.  The entire first volume deals with Kristen's love affair with an unsuitable man--unsuitable in her parents' eyes, that is.  They had chosen another suitor for her, but she persisted in refusing to marry this man and clung to the wild and handsome Erlend.  The conflict with her parents, especially her beloved father, was exceedingly painful for both father and daughter.  When she ultimately prevailed and "won" the battle, it was with extremely mixed feelings that she wore the bridal wreath.  As it turns out, though she remains passionately in love with Erlend, their marriage is a rocky one and she is never able fully to forgive herself for hurting her father so grievously.

I used a photograph of a real person, a real bride, and copied it by hand onto flesh-colored fabric with colored pencils.  I used the pencils for the shading of her face and for her features.  The "real" bride wore a happy smile, so I had to change the smile to this more pensive expression.  I changed the colors of the "real" bride's hair and eyes, too, to reflect the Norwegian bride Kristen.  Her hair was constructed with many different fabrics in shades of yellow and gold.  The wreath is fashioned artificial flowers and a vine with tiny leaves; these I attached to the quilt both with hand stitching and with fabric glue.

I used two batiks for the background--a green leafy one and then one depicting birch or aspen trees, both of which grow in Norway.  I machine quilted the background and Kristen's hair.  I fused the face on with Wonder Under and then used a tiny zig zag stitch to applique it.

I've read this beloved trilogy every decade of my life, since I was a teenager.  That is how much I love these books, and it pleased me to depict a dearly-loved book in a quilt.

PS  Loving these books as I do has also led me to take two different trips to Norway!

Colorado FROM My Mind

Colorado From My Mind

In the fall of 2012 friend Carolyn and I took a Quilting Adventures workshop with quilt artist Sue Benner.  We had a wonderful time, enjoyed the other art quilters, and loved being in a class with such an accomplished artist.  She was teaching a class called "Sewing the Land:  Fused, Collaged, and Quilted Landscapes."  Sue's quilts were spectacular, assembled from a myriad of strips of all sorts of fabrics--cottons, silks, even polyesters.  She encouraged recycling fabrics by buying clothes from thrift stores and cutting them up to use in quilts.  (Shades of our grandmothers!)

For some reason I had a very difficult time "pulling off" this method.  In my quilt above, the SKY is the only section of the quilt that employs the true "Sue Benner" technique that she was teaching in that class.  After that, I confess I abandoned the strips and assembled my quilt as I have done in the past with other scenic quilts, cutting larger pieces of fabric that corresponded roughly to the elements in a photo.

When I came home over a year ago, I was not happy with my quilt, so I rolled it up, stashed it in a closet, and really forgot about it.  Recently, however, I ran across this quilt.  When I pinned it up on my design wall, I saw it with different eyes.  I could see that it had real potential!  So I kept three-quarters of the quilt, substituting, however, the four fabric shapes that you can see at the bottom for other fabrics that seemed out of place to me.

Today, having just finished my March 15th Material Mavens quilt, I was ready to start a new project, so I got back to work on this one.  I completed the fusing, squared it up, and then began free motion quilting.  Now, I am not comfortable free-motioning, not at all, but I am determined to get better at this technique.

One of my many quilting books suggested using a Superior Threads monofilament thread called Mono.Poly, which I had recently purchased.  Too, it suggested the size needle to use (#10), leaving feed dogs up, and putting the length and width of the stitch at 0.  I did all of this.  I have to admit that leaving those "dogs" up gave me a sense of more control and seemed to work for me as well or better than lowering them.  I followed the contours of the land forms--the mountains, the foreground, etc.--and then followed the contours of the myriad of shapes used in the sky.

I am calling this quilt "Colorado from my Mind" because though this quilt began as one based on a photo taken in Colorado, the new additions were not based on that photo and came totally from my imagination.

This quilt is not yet bound. I am contemplating using Benner's method of multiple zig-zag stitching along the edges, or I might bind it conventionally.  For now, I am happy looking at it pinned to my wall, almost but not quite complete!

Close-up of the free motion quilting.  Not perfect, but I am proud of myself for quilting an entire quilt in this manner for the first time--except for the small 12"x12" quilts I make for the Material Mavens group.  Now if only I can make myself practice this stitching daily!

My Latest Material Mavens Quilt--Strong Women

Strong Women
In Memory of Kathy--In Honor of Susan

As soon as I learned what the latest theme word was in my online quilting group, the Material Mavens, the phrase "strong women" came to mind.  At first I considered focusing my quilt on either or both of my grandmothers, remarkably strong and truly powerful women.  But then it occurred to me that I could focus on Kathy.  But why not Susan, too?  But how?  It occurred to me that with both of them being runners and Susan's being an avid tennis player, that could be the focus.

I found coloring book images that are copy-right free online.  I took my favorites and used them as patterns to cut out the silhouettes from black felt.  After I had quilted the background batik in a grid pattern, I adhered the silhouettes to the background with Wonder Under and then stitched around their edges.

In the narrative I wrote for the MM I discussed the multiple strengths of both my amazing daughters.  I won't repeat that narrative here--it can easily be accessed at 

http://thematerialmavens.blogspot.com/2014/01/alices-strong-quilt-strong-women.html

I'd love for readers of this blog to visit the MM one and see ALL the wonderful quilts, based on the theme word of "strong."

I chose a commercial fabric of young women swimming for an inside joke.  Again,
see the narrative on the MM blog!

Susan on the left, and Kathy on the right.  Photo taken in 2009 when the family and close friends gathered
for our wonderful 50th anniversary celebration.  Kathy, at that time, showed no signs of the depression that would eventually devastate her and take her from us.

My Latest Material Mavens Quilt--Comfort in a Yellow Chair

Our theme of "comfort" this time was intriguing, and the resulting quilts have been, so far, amazing!  This design was my first idea, but before executing it I spent an entire day trying to capture the comfort of family.  That quilt was a disaster, frankly!  So then I returned to my first inspiration.

I sit in this yellow easy chair every day in the late afternoon when I am too tired to do anything else but sit and read.  In the winter, a fire is in the fireplace and I have a mug of hot tea beside me, and a throw in case I get chilly.  Books have afforded me a great deal of comfort and diversion and distraction, ever since the sad days of February, 2011.

To make the central image in the quilt, the yellow chair, I first took a photo of the chair, and then I posterized the image on Photoshop, a technique that makes the shadows and the outline of the chair stand out.  I printed this image, traced it onto yellow batik fabric, and then added in the details of the chair and its shadows with a product called Pentel Fabric Fun, Pastel Dye sticks.  Ironing the shadowing with a hot iron, protected by a sheet of paper, made this coloring permanent.

For the captions under each photo below I'll give some other construction details.

The little mini quilt is a print that most mimics a pieced quilt.  I "quilted" it simply and tacked it
onto the arm of the chair, as I wanted to achieve dimensionality.  The chair is stuffed lightly--a technique called
"trapunto".  I cut a slash in the batting and inserted small pieces of fiber fill, and then I
closed up the slash by hand.

The stack of books was achieved by my photographing a little ceramic box that sits beside my reading chair.
I printed the image onto fabric and then appliqued it to the quilt.

I love all the blue and white Spode china that I have collected!  I drink
coffee every morning and tea most afternoons from one of my Spode mugs.
I have a vast collection of blue and white fabrics; I chose one that
most looked like one of my mugs.  I scanned the fabric, then reduced the image
on Photoshop, and then I printed the image onto white fabric, to make
some new fabric.  Then I cut the mug out from it and added the inside of the mug's lip and the
handle from plain white fabric.

This is the back of the quilt.  I was sorely tempted to use this
beautiful commercial print for my stack of books, but
I was determined to do something from scratch.  Another
idea I had was to use my Aunt Martha's book SPUN BY AN ANGEL
for the book beside my chair, but somehow this image didn't have
the impact I wanted.

If interested, you can read about this book and my aunt on Wikipedia,
at this location:  http://en.wikipedia.org/wiki/Martha_Cheavens
My father is the little boy in the book, set in Mexico, where the family lived
before the Mexican Revolution; my Cheavens grandparents
were missionaries to Mexico.

This distorted image is an attempt to portray in 2-D the 3-D quality
of this quilt, with the stuffed chair and the little quilt that
is simply tacked onto the front.

Two Geckos--My Latest 12"x12" Quilt for the Material Mavens Blog

Today is the Reveal Day for the Material Mavens internet art quilting blog that is so dear to my heart!  the theme this time was "Green."  As soon as I learned what the theme was, I knew that at long last I could make a lizard quilt.  Lizards of all kinds fascinate me, but dearest to my heart are the little green geckos that so often appear on either our door or window screens.  So I planned to base my quilt on these little lizards.

I found coloring book images of geckos and I traced them onto freezer paper and then cut them out to be patterns.  These I ironed to two different green batiks and cut them out, fusing them to the background.  The background fabric is another batik, black with jungle-like foliage in green and blue.

I decided to quilt this quilt by hand with embroidery stitches, and so I followed the designs in the background.  I beaded both geckos with tiny green beads and used orange ones for their eyes.

The backing for my quilt is a commercial print of lizards in many colors--a fabric I love and will use someday in a large quilt.  Below is a close-up of the quilt and then a view of the back of the quilt.
For the edges, I zig-zag stitched four times around the quilt--twice in black thread, once each in blue and green, using rayon thread for all.

A Painted and Stitched Canvas Quilt

This quilt is probably the most unusual quilt I've ever made!  In March I attended a wonderful at Quilting Adventures, under the superlative teacher, Katie Pasquini-Masopust.  The class was relaxing and freeing, as we painted treated canvases, embellished them with cut-out snippets of fabric, and then painted, stamped, and splattered acrylics over the surface of the canvas.

Next we used a "view finder" made from a cut-apart framing mat to find "interesting" areas all across the surface of all of our canvases.  We marked these and then cut them out in squares and rectangles which were a multiple of two.

Once we had all of these little pieces cut out, we reassembled them, using pieces from all of the canvases we had painted, into a design that was pleasing to our eyes, much like putting together a jigsaw puzzle.

When we were happy with how these looked, we sewed the squares and rectangles together using black thread and a zigzag stitch.  A Teflon foot was particularly helpful at this step, as it allowed the machine to move more easily over the rather uneven and occasionally sticky and even rough sections of the quilt.

I came home with three quilts stitched together, and then I used up all the left-over pieces to assemble yet another quilt.  Finally, five months later, I have finished one of the quilts.  It is the last one I made--the one using leftovers.  After sandwiching it with cotton batting and a piece of untreated canvas, I free-motion quilted with black thread, primarily outlining the painted brush strokes.  Then I squared up the quilt.  Finally, I satin-stitched three or four times around the edges of the quilt.

Lastly, I deviated from Katie's method of assembly, in that I decided to use for the frame a pre-stretched artist canvas that measured 12" by 24" instead of assembling a frame by hand. I satin stitched once again around the quilt, attaching it this time to a rectangle of black fabric that measured 6" larger all the way around.  I pulled this backing fabric around on all four sides, tucking it between the frame and the artist's canvas on the back.  Eventually I will staple the fabric securely, but I was eager to photograph it and write this!

A close-up view of the machine quilting

A side view, showing the right edge of the fabric-covered frame