Sometime ago, now I don’t remember exactly when–maybe 2015 extending into 2016, Quiltmaker magazine published as series of tiny blocks all less than 6 inches. I started making them, making several of many of them–they were like eating popcorn.
Then I put what I had together and quilted it—a fun little piece–that isn’t big enough to keep anyone warm but is just fun to look at.
Last year the local quilt guild issued a challenge for their biannual show.
Put your hand in a paper bag filled with crayons, select a crayon–no peeking–and construct a quilt with that color or shades thereof with a modern look.
I drew yellow-green.
The gray and black plaid was my mother’s–I think she planned a dress from it.
The yellowgreen and the black swirly and the white were from my stash–which is not shrinking despite my best efforts.
As you can see this quilt is very long and too long for me to get it all in one frame. I am limited by the ceiling height AND the length the frames will extend. My photography setup includes one set of frames with a black drape and a second frame to hang the quilts on. I haven’t figured out how to do framed work yet–usually I photo it before it gets put on a frame.
I also have tried editing with photoshop–after a great course with the Pixeladies from California–an on-line class with great homework assignments. Wish I had a steadier hand to do the edits but if I keep practicing with things I don’t plan to enter into shows I’m sure my skills will increase.
One of my least favorite things to do is to photograph my work. I’ve discovered smaller pieces are much more manageable but then I have some pieces that are just larger because they want to be the size they become.
Sunday Dresses started out as a few pineapple blocks in a Quilt Festival workshop with Gyleen Fitzgerald. She is a real dynamo and the class was fun, her tool very helpful, and it didn’t hurt that I was there with a rowdy group of Holus Bolus. I came home with four or five pineapple blocks with three rounds each. I continued on with some black and white prints–all from my mother’s scrapbasket of leftovers from her Sunday Dresses. There were some everyday blouses and aprons and a few shirts for my brothers and so I sliced them all up with my handy dandy Accuquilt Studio cutter.
I set those blocks together and then decided to finish it off with several rounds of just straight strips set together end to end in a random pattern–just like my grandmother did with a special quilt she made just for me. That quilt was batted with a wool blanket–she lived through the Depression and World War II and was thrifty by necessity.
This quilt was quilted on my Gammill using a star motif in the centers of those pineapple blocks.
Every time I look at it I see my mother’s wardrobe made of plywood sitting in the corner of her bedroom, filled with those white-black print dresses, the bottom with a box of fabric scraps all carefully rolled up and pinned together either with a straight pin or tied with a piece of selvedge. That wardrobe was still there when we began remodeling the farmhouse–the dresses long gone but still so visible in my mind’s eye.
This is a small part of the completed piece. I tried to use her quilting stencils but quickly learned that hand quilting stencils do not work well with longarm machine quilting or probably any sort of machine quilting.
When I bought my first Gammill–and only–I learned that many quilters gave their machines names. I named mine Vivian after my grandmother who was a sewing machine repair lady during depression days, operated a canning machine during World War II and was always busy with assorted projects.
Vivian has been very nice to me–except the one time I forgot to oil her before starting and she just locked up and said I’m not doing anything at all until you oil me.
Since then I have oiled her liberally and every day that we play together.
Today though was a different story.
I had a black polyester batt left from my mother’s small quilt store twenty years ago, a rather stiff backing–even after washing, and a top that had a LOT of bias edges.
First the backing was so hard to piece with the needle it left big holes in the backing–no way to erase bad stitches. The polyester batt and the bias edges kept me chasing the top all over as though it were alive.
And then Vivian said–no way am I stitching straight lines without you stopping to rethread after shredding the thread. Her arms were crossed and she was not budging on this idea.
I double-checked the threading, checked the bobbin tension, changed threads, changed needles–and still NO!
THEN I tried going left to right—and it was perfect–still the holes in the backing–but that backing is going to a homeless quilt that is tied—ditto the batting.
So Lesson learned—Vivian sews straight lines from left to right but is okay with pantographs also left to right–but on the backside of the machine.
Slowly but surely I am learning how to use this machine.