What a concept, I actually got some quilting done!

Chair, Improved with color and cloth!

I do seem to be in procrastination mode, though.  I need to start a quilt for a juried invitational.  I did sketch out the idea and pull some fabrics.  I decided I need to dye some fabric, so I have washed the silk and hung it to dry, and plan on dyeing that cloth on Monday.  But did I do anything else on that quilt?  Nope.  Instead I had a tidy attack in the studio, then decided that after a year-plus of fabric hanging over the back of this chair (and falling off again, and again, and again), I needed to actually QUILT the fabric and turn it into the cover I wanted.

Mom’s desk chair. Well made. Seriously dated. And just blech.

The chair came from Mom, after she died.  It didn’t sell in the consignment store and is a well-made chair, albeit one that looks exactly like what it is:  a chair an old lady bought in 1972.  Ugh.   I really don’t like chairs with cane backs.  The fruitwood finish is pretty dated and icky, too, but I’ll deal with that later.

And, Janome America (thank you!) upgraded me to an 8900 on their artist/teacher program, so of course I needed to take it for a test quilt-drive, right?   Turns out I am in love yet again with these Janome machines.  I have lots of playing to do with this one, but really like the cleaner view around the presser foot, the quiet operation, ease of use, fabulous tension… sigh!   Love these machines!  And so thankful that Janome-America has supported me these many years.

Perfect excuse for not working on that quilt.  So I took a length of this wonderful, cheery floral and quilted it.  I grabbed some teal fabric I’ve had for about 15+ years (bought to be a backing and then not used) since it would be on the inside and not seen.  As it turns out, the teal looked really good and I ended up using it for the binding!  I hadn’t planned on doing a binding; I was just going to turn the quilted fabric like a pillowcase and slip it over the back.  But the teal blue really added to it, so I added bindings.

And from the front. Next: re-cover the seat with something that goes better than plain old cream.

Also, about a month or so ago, someone on a list I’m on recommended a Martelli’s quilting ring and had a discount code to use if one ordered during a short window of opportunity.  The discount took the price from “are you KIDDING?” to”expensive but I want to try it and at least it is a business expense for me.”   So I ordered it.  About 2/3 of the way through quilting yesterday, I remembered I had the quilting ring (I bought the 11″/large version which you can see/order here) and should actually TRY IT.  I like it!   Some folks on the Yahoo Janome group I’m on (for 6500-8900 machines) had mentioned using two of Sharon Shamber’s red hoops, stacked, but said this was easier.  I agree!  Here’s the hoop just tucked under the foot (there is a cut-out that permits slipping under the presser foot).

The Martelli hoop on the chair cover as I was quilting it.  On the left of the hoop you can see the cut-out for slipping it under the presser foot.

And here it is moved all the way over to the harp, a large space, on the Janome 8900.

And moved as far right as it can go. This is the large, 11″ hoop on the Janome 8900. Both knobs are visible, useful and don’t get in the way.  You can also gently grasp the hoop itself to maneuver it.

Even though I am VERY experienced at free-motion quilting, I can see that using this hoop will help me on some sorts of movements…longer smoother lines especially.  For small detailed work, like intricate quilting on a face or small space with lots of direction changes,  I think using my Machingers gloves may still be the best, but this hoop worked very well and was easy to adjust to using.  In particular, the knobs and the thickness of the hoop are friendly to arthritic hands.  Unlike the red hoops from Sharon Shamber and other hoop-type devices, the bulk of this one means you don’t have to use that pinching motion that hurts the thumbs.  I can rest my fingers outside the hoop, hooking my thumbs around the knob and move the quilt underneath easily.

When you get to the edge, the grippy stuff on the bottom of the hoop has a propensity to grip the machine/table surface when a segment of the hoop is off the quilt.  There are a couple of options:  pin some fabric/hand towel to the edge to give the hoop something on which to rest.  OR, as I discovered (photo below) the size of the hoop is so large that you can swing it up and let it hang over the center section of the machine until you are around the corner! You don’t have to break your thread and remove the hoop…just swing it up out of the way. Also useful if you need to change the thread and/or bobbin.

You can (at least on my machine with this large hoop) temporarily get the hoop out of the way just by swinging it up and hanging it on the center of the machine. Useful for corners where too much of the grippy on the bottom is on the table surface instead of the quilt.

Cool beans!  That’s it for today.  In less than two hours (I’m writing this a day ahead of it going live on the site, so it is Friday morning as I type) I head out for the next Wrestling Tournament, the second and last of the overnight trips for this season.  I’ll post to FaceBook if I can!

Eggs on White…an exercise in learning to SEE.

A few years ago, one of our younger son’s karate teachers told me about a drawing exercise he learned from Jaime Wyeth (!!!!).  Place a white egg on a piece of white paper and then draw it.  By eliminating all color, the exercise helps you REALLY focus on where the shadows are, reflected light, shape.  So last year about this time, I tried it in my sketchbook.  First I used pencil, but then wondered what it would be like in watercolors (over which I do not have expert control, ahem), pen, and so on.  I tried the pen because before the advent of photography, pictures in newspapers and books were often engravings, rendered by using lines, dots, cross-hatching to create light, dark, shading and shape.  Finally (duh, Sarah) it occurred to me that the same exercise would be well applied to thread and cloth.

• And a note:  by the time you get to the end of this post (which is long…sorry!), I can just hear many of you saying “I could NEVER draw like that.”  Well, neither could I when I began.  I’ve learned, and so can you, you just need to try.  I’ve learned to teach myself drawing, learned to SEE.  I recommend Betty Edwards’ The New Drawing on the Right Side of the Brain very highly.

A whole lot of our thread-coloring, quilting with thread, thread-sketching–whatever you want to call it, is achieved the same way artists used pen and ink in the days of yore. You use the direction of the stitching to create a contour, like on a hiker’s contour map of the terrain.  And you can use different colors or use the same color applied more densely to create variations in value–the range of color from light to dark.

One of my first efforts at eggs, using a water-soluble gray ink pen.

When I started playing around, of course I didn’t want to muck up the expensive watercolor paper, so I did a few test-sketches on copy paper:

Practicing directions and types of line to create shading for the eggs. The S and XS are reminders about the size tip on the pen I used, a Pitt permanent black ink similar to the Pigma Microns.  I have found that my Pigma pens just dry out too quickly, and that the Pitt pens work as well on cloth and seem to last longer for me.

Then I tried by drawing in pencil first.  In this photo, I’ve included the eggs on white paper in the background and my ink sketch in the foreground:

The eggs and the ink drawing, which I did to simulate on paper what I might do in cloth.  This sketch was done relatively quickly, so I’m pleased that it gives a decent rendition without taking eons to do it.  If you look carefully at the egg on the right, look at the  left side.  There is a triangular wedge of shadow BUT at the bottom, *under* the edge of the egg, it actually becomes a brighter / lighter gray from light being reflected and bounced up off the white paper!  Whooda thunk it?  And just in front of the tip of that egg…notice that glow of white *under* the egg?   It’s amazing what you can see when you really start LOOKING at something!

Next, a comparison using three different media:

From top to bottom, the eggs done in pencil, watercolor and ink.

Then this year I signed up to teach at Friday Sampler in Houston; think of this as speed dating for quilters!  About 20 teachers are in a ginormous room at the Houston convention center, each with their own Station (one or two tables).  The teacher does brief (5-10 minute) presentations…same one over and over.  The students/participants can come into the room and move from station to station at will to see what each teacher has to offer.  I’ll be talking about Thread-Coloring, so I thought it would be the ideal time to do up some new samples to teach how to see light and dark, light and shade.

This sample shows the lines I drew in blue pen (quilted in a similar blue since over time those blue pens can fade out with humidity!), followed by three variations in quilting them.  The top two quilted ones are stitched with ONE color of gray thread (the new Magnifico poly from Superior Threads, and it is magnifico!).  The bottom set of eggs is quilted with white and three shades of gray (light, medium, dark). You’ll notice two sets of cast shadows…that is because there was light coming from two directions:  the electric light and the window.

All four versions in thread: the blue is to represent the markings I put on the quilt. The second set of eggs is quilted with cross-hatching of sorts using one color of gray thread. The third set of eggs is quilted with a scribble using one color of gray thread, and the bottom/fourth set of eggs is quilted with the same scribble but using three shades of gray. For all three of the quilted sets I kept the way I stitched the shadows consistent to make comparisons easier.

Just as I did with my paper sketches, I did some practice runs on an old warm-up quilting sandwich:

It’s good to try out various options on a scrap quilt sandwich before working on the real thing.

I’m not thrilled with the cross-hatch stitching I did on the final sample…those ovals on the top just don’t do it for me.  I would not use this quilting on an actual art quilt…that’s the benefit of test-driving quilt designs on scraps and samples.  I really liked the way the scribble versions turned out, though!  Here are some close-up photos so you can see better:

The “marked” (blue) design and the first of the quilted eggs.

The bottom two quilted sets of eggs.

Edelbert (detail). Full photo below. (c) SarahAnnSmith.com

What a concept… I actually made a small quilt!  And of course prepped more new samples for demos in my classes, starting with Quilt Festival in Houston this fall, so thought I’d share with you.  I’m in a small online fabric postcard swap group, Postmark’d Art.  One of the themes I signed up to do this round was Birds.  Of course I was stumped…way too many choices!  At first I was going to do birds from the trip to Florida.  Then our local wild turkeys.  Then I hit on it:  the saw-whet owl!  There was this adorable ad in the Nature Conservancy magazine with an owl in a little straw hat.  Presto!

Owls ready to wing their way to their new homes with members of Postmark’d Art.  (c) SarahAnnSmith.com

Then I wanted to donate one of these cards to Pokey Bolton’s fundraising effort to benefit the Houston area animal shelters… she’s only lived in Houton since the start of this year and has already rescued three critters (permanently adopting one of them).  She had a great idea to sell fabric postcards at Festival for $20 each, all proceeds to go to the local shelters.  So of course I wanted to help… she’s even (what a thrill!) included both of my cards on her blogposts including here.  Read more about it and see some of the fun cards that have arrived here.  I hope I’m not so buy in class that I miss the chance to swing by the postcard zone when Festival opens!  But my cards were too close to the ad, so I wanted to change it up a bit.  Since I live in Maine, what else would do but an Elmer Fudd hat??? Here are my two donations:

Donated to the Pet Postcard / Animal Shelter Fundraiser…visit Pokey Bolton’s blog for more information!

HE was so cute, I had to make a small quilt.  My local quilt chapter, the Coastal Quilters, is part of Maine’s Pine Tree Quilt Guild.  As part of our 2013 challenge, we are making somewhere between one and nine 13×13 inch square quilts using one of nine themes announced between fall of 2011 and April 2013.  We’ll display our challenge quilts at the 2013 Maine Quilts Show.  Well, I am SERIOUSLY behind.  I did the first one, then got sidetracked by life.  So, here is my “Eyes” challenge quilt, because after all what are owls all about if n ot their eyes?

Edelbert in a bit of a snowy wind

I LOVE this guy!  His name is Edelbert.  You can call him Eddie or Bert, but I think we prefer Bert.  Clearly he has a sense of humor and is a fun soul to have around.  I’ll share the class samples once I’ve debuted them in Houston…stay tuned!  Think white eggs on white background!

I’m thrilled to share with you (again, but in more detail) Conversations I, which has been juried in to a World of Beauty, the competition exhibit at International Quilt Festival 2012 in Houston, Texas.  As usual, the jurors utterly mystified me with their selection:  I entered both my portrait of Joshua (which I personally think is the best piece I’ve ever made, seen here) and this quilt, and this is the one that got in!  I am thrilled to have a quilt in Houston which is–let’s be honest here–just about the biggest, most important show there is in the quilt world!

Conversations I, juried in to International Quilt Festival-Houston 2012

A couple Aprils ago, I had the great good fortune to be invited to teach by the Arizona Quilt Guild–it was a fabulous visit.  I discovered that it would cost the same to fly via Los Angeles (I’m in Maine, on the other side of the US for those reading from other countries) as to fly direct.  If I stopped en route in L.A., I could visit my beloved Sister-in-Law (sister of my heart!), so that’s what I did!  When she asked what I wanted to do, I promptly replied: go to the Getty!  I had seen photos of the Getty Museum before, including my friend Deborah Boschert’s trip there.  The lines, angles and shadows from the tables absolutely enchanted me, so I took a TON of photos.  You can see the FOUR (!!!) blogposts from that trip here-1, here-2, here-3 and here-4 if you really want an armchair visit!

I combined two of my photos of the tables and chairs to come up with this composite image…. I also really wanted that stark contrast between stone and sky, but since the chairs were in a courtyard surrounded by buildings, I took artistic license to put my table and chairs somewhere they weren’t in real life!

The shadows were one of my favorite things, but it took a few attempts to get them right.  For the quilt, I began with white fabric which I dyed to match the colors in my photos (Thank you, Carol Soderlund…. using my color swatches and formulas and learning from your class did EXACTLY what I wanted with the cloth!).  I had intended to use a sheer for the shadows, fused to the beige “stone” paving.  But it looked like I stuck something on….and one of the things I liked in the shadows was the seamless transition from beige to dark.  So I decided I would use ONLY thread, stitched very closely, to create the shadows, as seen in this photo:

I had thought I was done with this quilt when I took this photo, but decided there just wasn’t the stark contrast that I wanted in the shadows from the table and chairs–if you look at the photo at the top of this post and this photo, you can see the difference in the shadows.

So, on to Plan “C”!  Yes, I did test, but it was pretty nerve-wracking to take out the Derwent Inktense pencils and darken the shadows:

You can see what a difference there is in this photo. I darkened the shadows under the foreground chair first.  Notice that there are two pencils to the right of the chair, and just off the edge of the quilt a paintbrush.

VERY carefully, so that the pencil-ink didn’t bleed into the stripes of sunlight, I pencilled in with the Inktense pencils (see the pencils and sharpener) in the shadow stripes. Then VERY carefully I held a paintbrush wet with water in my right hand and my hair dryer (turned on) in my left. I would brush a small section of the penciled area, then zap it with the hair dryer to allow the paint to intensify by wetting, the dry before it spread into the sunlight stripes. I only had one small bleed!  This photo shows that about the top half of the shadows have been wet-then-dried, while the lower part of the table’s shadows are still just pencilled on–not yet wet-and-dried.  I sure was glad when that was done, because I could have wrecked the whole thing!

I also needed to think about how to create the shaded side of the wood slats on the chairs and table.  There is only so think one can cut strips of cloth to fuse.  And I didn’t really want to totally mash the quilt by darkening the sides of the slats with thread stitching (as I did in the shadows under the table and chairs).  So I used a brown (or was it red?)  Pigma pen and wrote words relating to the visit:

Detail, Conversations I

So that’s the story….the conversation between me and the cloth and thread and pencils and quilt, but it is just one of the conversations from that wonderful day.

Cardinal in the Pine by Sarah Ann Smith

Cardinal in the Pine is my contribution to this year’s Coastal Quilters Chapter Challenge (see this post for all the quilts).  Once again, I–the art quilter–went traditional!  Since the Ohio Star of course reminded me of Christmas, I thought I’d make a holiday quilt with mine.  Online I found a couple free Tree of Life blocks.  I wanted my tree to be vertical.  Since the vertical axis of the tree is usually on the diagonal of the block, I figured out what size I needed the block to be so that it would fit vertically within the 20 1/2″ square format.   (PS–sorry about the double watermarks on the bottom of the photos…I’ll fix that on the next batch.)

First, there were a LOT of half-square triangles to make, both green-and-white and then red-and-white for the sawtooth border. The red pile on the bottom left is what I had after I “un-stitched” the original block (seen in last photo in this post).

For the reds, I used the red in the original red-green Ohio Start block plus a range of red batiks, all tone-on-tone.  Here I’m trimming, finger pressing, squaring up.

Hooray! I LIKE IT! I’ve got the components of the block pieced and ready to sew together. I used all the green and most of the red in the original block. For the Tree of Life I opted to use just one red square for my favorite East Coast bird: the cardinal; alas, we don’t have any our yard, but they are here in mid-coast Maine. I set the pieced bits out on my 20 1/2″ square ruler to gauge size.

Then on to the really FUN part:  quilting!  I knew I wanted to use a feathered vine as the wind swirling the snow around the tree, and I knew I wanted it to stand out and sparkle, so I used Superior Threads Glitter (a holographic thread–basically ya know the stuff they use to make mylar balloons?  sorta like that except cut into looooonnnngggggg flat strips) in Pearl / Crystal #111 (here).  This thread is amazing, as it looks clear/white/opalescent here, but when used on dark fabric, it looks like an irridescent green (the black quilt on the cover of my book uses the same thread!).  It’s important when using holographic and metallic threads to use a SLIPPERY thread in the bobbin;  I use The Bottom Line, a smooooooth, fine poly from Superior.  Once could also use clear (ugh), rayon (not my fave at all) or silk.  You do *not* want to use cotton, as the slubs on the cotton will grab the glitter or metallic threads and play not-so-nice.

Close-up of quilting on Cardinal in the Pine. Feathered vine stitched in Superior Threads Glitter (Pearl #111). Other background quilting uses Superior’s 40-wt trilobal poly thread in white.

An angled view of the quilting in Cardinal in the Pine shows the relief and (to borrow Pamela Allen’s word) puffosity of the quilting.

And the quilt with the block which inspired this challenge:

Cardinal in the Pine, 20 1/2″ square, with another of the original Ohio Star blocks. I used one of these blocks, a white-on-white (the back side so it wasn’t so garish), and red and green batiks.