Showing posts with label thoughts on quilting. Show all posts
Showing posts with label thoughts on quilting. Show all posts

Processing 2012

>> Wednesday, January 2, 2013



I think of 2012 in two halves: the traveling half and the quasi-settled half. Despite a lot of roving dissertation research, I still managed to squeeze in quite a bit of sewing time last year. Not in a diligent, disciplined sort of way, but in an unrestrained, furious sort of way.

And so it is true: I am a binge sewer. The latest example merely illustrates my habitual tendencies: I didn't touch my sewing machine for about a month this fall, from Thanksgiving to late December, and then I pieced and quilted like a madwoman for a few days in late December. I finished three quilts (all of which need to make their way to their new owners before debuting here), I started two quilt projects, and I migrated some design ideas from head to graph paper. Then I cleaned up, hosted friends for New Year's Eve dinner, and crossed back into dissertation-writing (and less sewing) land. That's my way, my pace, my pattern, my flow, and it's not going to change. It's imperfect, but it works.

Likewise,  I've settled into my quilting style; I adore minimalism, negative space, and saturated color. Shapes matter, graphic sensibilities predominate, and color preferences drift between warm and cool. I don't think this will radically change, but it will stew, evolve, and mature. I'm starting to concretize a sartorial style as well. Sewing a dress for myself helped me think more about how garments fit and, most importantly, how I want them to fit. I saw a dress I wanted to make, and when I asked a friend about possible patterns for something comparable, she exclaimed "that is So You!" At which point I realized I know what I like and I can identify what will look good on me (a revelation many have before age 32, but late blooming is blooming nonetheless).

But here's what I don't know: where this style will take me, the views it will show me, the people to whom it will introduce me, the ways it will change me, the ideas it will instill in me, or the possibilities it contains. So given this: to curiosity, discovery, and fresh ways of thinking, doing, working, and living in 2013.

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On Timing

>> Wednesday, April 18, 2012


In January, I joked with some of my fellow Ann Arbor Modern Quilt Guild friends about designing a Moda Bake Shop (MBS) Quilt. I had a charm pack I wanted to use, I didn't want the quilt to scream "charm pack" (40 precut 5" squares for those wondering), I wanted to find a way to use one charm pack in a big quilt, and I had an idea for just such a quilt. I confess that there might have been some cackling and goading about what exactly "counts" as a MBS "recipe" (for more on that, keep reading...).

When I got home, I looked up the guidelines for submitting a pattern. I knew I would need an image and for some reason decided I should make the quilt top rather than just draw a mock-up. Making the quilt was easy and let me write notes about yardage and steps and helpful hints. About a week later, I returned to the form, ready to fill it out. At which point I was stymied by how to link my quilt top picture to the submission. I decided to post it on flickr, not add it to groups, and hope that was ok. After I did this, I realized that I should have added it to picasa, made it available only with a link, and sent the link. Oh well, lesson learned.

And then I waited. And waited. And waited some more.* Now I can't pretend that my design was revolutionary. It was not. In fact, it was very much inspired by many of the half-square triangle quilts I had seen pop up over the past year, especially those made with solids. This one (which I love) popped up in my Google Reader the day after I finished piecing my version. My twist, as it were, was using 1 charm pack along with several solids, to allow for pops of different colors scattered through the quilt.

My idea very much built on the work of others -- as, I think, most of the MBS quilts do. It's a useful collection of quilt patterns that often spin relatively traditional patterns or ideas floating around the internet in a slightly new way, or use a slightly new method, or simply showcase Moda precuts instead of cutting from yardage. There's nothing wrong with this -- heck, I was interested in playing too. It seems to be an advertising boon for Moda that simultaneously gives crafty folk free patterns, creates a buzz around bloggers who have a chance to reach a larger audience, and hosts a vault of ideas that anyone with an internet connection can tap into. It is, of course, limited -- its focus is Moda precuts, there is a rather opaque selection process, and its designs are not going to appeal to everyone.

Three months later, I feel pretty confident that Moda isn't interested in my idea. And, frankly, that's fine. Maybe I was cocky in thinking they'd like what I could offer or maybe they didn't like my suggested gender-neutral/"masculine" charm pack option (Salt Air + a bunch of different grays/silvers) or maybe they just had a lot of other applications in line they liked better. If there's interest, I may write up the basics (which is to say size/yardage/cuts, since the rest of the instructions could be summed up as: make half-square triangles, arrange them randomly, sew squares together). Or maybe I won't since this morning Sew Mama Sew posted a pattern that's a riff on what I came up with which is a riff on what others, especially Katie, have done.

Timing, as they say, is everything. I waited, perhaps a bit too long. I waited, perhaps, on the wrong venue. But, I realized this morning, it just doesn't matter. Because lots of people can come up with the same plan. Inspiration can co-exist. Patterns need not be the domain of monopolies (see Rossie on being a copy-leftist.) Credit isn't the point. For me -- a small-time blogger who sews when I have the time (make the time?) because I like to play with fabric and make things -- a free-flowing exchange of ideas is more valuable. However that plays out, as long as it does play out, is fine by me.

Edited to add: talk about timing -- Design*Sponge just posted a tutorial for geometric triangle wall art.

November 2012 addition: tutorial/mini-pattern here.


*To clarify: I received a confirmation of my submission but never heard from Moda again. Apparently others have received rejections but that wasn't my experience. If anyone from MBS stumbles upon this, I would offer the unsolicited advice that some form of clear communication is preferable to none, even if it's simply "if you don't hear from us within 3 weeks of submission, you can assume we're not interested."

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That's a Wrap

>> Sunday, January 1, 2012



2011 in Quilts: 26 quilts.
Some simple, some complex.
Some small, some big.
Most you've seen, a few you haven't.
Most for others, one for me.

Three standouts from 2011 Quilting:
Pops of color
Negative space
New techniques (pojagi, paper piecing, applique, big circles)

Three goals for 2012:
Curved piecing
Make a quilt for my living room
Sew an item of clothing

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A Giant Hug

>> Monday, September 12, 2011

Sometimes words aren't enough. Jenny is one of those friends who always knows and finds the right thing to do in any given situation. When we first met, she had ginormous bruises all over from a bike accident, but still convinced me that getting a road bike and riding a metric century the next day was obviously the best possible thing to do (she was right). She's exactly who you want motivating you on a bike ride or a run or even floating down a river. She combines outrageous, serious, and sentimental in the best possible way. She's an expert card-sender, for example, and made sure to leave and mail me several cards when I left Madison and was adjusting to a new life in Michigan. We were lucky enough to overlap in New York for part of the early summer and share a few glasses of wine and some meals.

Yesterday, Jenny flew to Geneva. She'll be there for the academic year, working on her dissertation. As exciting as this opportunity is, it also meant uprooting her life, leaving her partner, her friends, her family, her bikes, her daily routines, her apartment, and so on. And this is hard. Last weekend I realized I needed to make her a quilt. Something to take with her as a visceral, daily reminder of friends and her life here. And something to remind her of her promise to name an Alp after me. That's the real reason I made this quilt.

Given that this would need to be mailed by Tuesday to ensure it reached her before she got on a plane, this had to come together quickly. Luckily, I had just seen (a different) Jeni's Giant Vintage Star Quilt, for which she had handily posted a tutorial. Inspired by barn quilts--so appropriate for a quilt for someone who lives biking through rural Wisconsin--this quilt is one giant block, which makes it come together quite easily. At 67" x 67", it's a great size--perfect for reading under or covering a full bed--but a little challenging to photograph well.

Although Jeni's vintage version uses a rainbow of fabric, I've been fascinated by the diamond windmill shapes that form with two colors (actually I've been thinking of just making some single diamond windmill blocks -- as in, the shape the orange or the blue makes on its own), so two colors it would be. It also made the math really simple: this quilt used 4 yards of fabric on the front, 2 yards of gray, one each of blue and orange. Only after I picked the fabrics did I realize how apt they were: the orange comes from Paula Pass' Flights of Fancy line and the blue from Kate Spain's Central Park line, and Jenny would be flying to Switzerland from New York, where she spent the summer.

I pieced the back with darker versions of orange (a fun pindot fabric I had) and blue (from Denyse Schmidt's line for JoAnn's) as well as the gray bicycle print (from Erin McMorris' Weekends collection). Originally I planned to run into the store to buy some more gray for the back, but I saw the DS Quilts bolts and realized the blue acorn print would be perfect (I also ran into Emily who nabbed the bolt after I was done with it). I thought about straight-line or echo quilting, but give the time constraints, I opted for free-motion squiggles.Which went quickly once I got my machine re-accustomed to free-motion quilting. And had it not been 11 pm, I might have gone out and purchased quilting gloves since the nice smooth fabric meant my hands were slipping a lot. Instead I worked on being patient and quilting calmly, or something like that.

As soon as I picked the orange and blue fabrics, I knew I wanted to use this green Dena Designs print for the binding. I love this print and love it even more as binding. I'd stock up on more of it if I could find it. I shipped the quilt to Jenny on Tuesday and it arrived on Friday, just in time to get packed.

In the process of making this quilt, I realized that there is something magical about quick, big quilts. I transformed a few cuts of fabric into a quilt that I know will be used and loved in a matter of days. In contrast, I've spent almost a year trying to figure out what quilt to make another friend of mine. It's long overdue at this point, and the primary reason is that I could never settle on the perfect design or the ideal fabric. I worried that some ideas were too simple, some not special enough, and others just not right. And then I made this quilt and realized none of those concerns matter (real perceptive, I know). In the vein of this confessional post, I just need to plunge in and make things and worry less about whether something will be special enough. So thank you, Jenny, for giving me the chance to realize this, obvious as it may be.

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Tutorial: How to Machine-Bind Your Quilt

>> Friday, June 10, 2011

I fully machine-bind my quilts. Back and front. No hand-stitching to finish. Call me a heretic, but I highly recommend it. It's fast, it's easy, it's even enjoyable. Sure, the stitches show on the binding, but if you blend your thread carefully, they only show if you look carefully. Or you can make them purposefully visible, as a design element. It's up to you.

Now, I admit that when I first started making quilts, binding was my least favorite part of the process. It may not have become my favorite, but I don't mind it. In a couple of episodes of Bones or Law & Order or NCIS or Criminal Minds (notice a pattern here), I can attached and complete the binding for a pretty big lap quilt. So when anyone asks me about how to get better at binding, my recurrent theme is practice, practice, practice. It's cliche, but I found that making challah covers really helped me figure it out. They're small and manageable and allow for a lot of binding practice in a short amount of time.

I've made a tutorial for my method of machine-binding your quilt (using double-fold binding). I asked a couple sewer friends, including Michelle, to read it over, but any errors are mine alone. I wrote it for a beginner audience, so that it's accessible to a new quilter. But a more experienced quilter can skip the first few steps about how to cut, sew, and press binding and move on to the method. The link below will take you to a downloadable pdf file, which allows you to print it and keep it near your sewing machine for reference. If you're unsure about a step or are confused or want more information, please leave a comment or email me.


This tutorial is for personal use only. 
If you want to teach it in a class, contact me before using and distributing it.

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That Disapproving Glance

>> Monday, April 25, 2011

I buy most of my fabric online. I don't live close to an amazing local quilt shop and, as a grad student on a budget, I have to watch my pennies. I therefore shop online and never buy anything not on sale. But my sister found and bought me a Living Social deal for G Street Fabrics, and I had $50 to spend which was handy since I'm participating in the DC Modern Quilt Guild's Kona charm pack challenge and needed a base solid. (Of course, as I write this, I remember that the DCMQG card gets a 10% discount at G Street and I forgot to use it. Darn.) In any event, I went to purchase multiple yards of Kona (I ended up deciding on mustard) and while I would never spend $7/yard on it, the deal made it effectively $3.50/yd (at least in my head) and it was a gift anyways. While there I spied some Central Park Trefoil in Reservoir, and since I needed to spend $50, I decided to buy some of that as well.

I brought the bolts up to the counter to get the yardage cut, and the woman helping me asked what I was making. I replied, "a quilt." At which point she put the 2 bolts next to one another and smirked, disapprovingly. Now they don't coordinate exactly, but they look fine together. Moreover, I never said I was using them together (although I might use the Trefoil on the back of the quilt I'm making), but she assumed I was incapable of making decent fabric choices. Mind you, the quilting cotton selection at this G Street (there are 3 locations) is not, in my opinion, incredible if you like modern fabrics. There are some nice prints amidst the ones I dislike, but it wouldn't be my first-choice shop. And now, deal aside, I'm even less interested in supporting them: the prices are high (standard for a local shop), the selection is, for me, middling at best, and the service is less than impressive.

As it happens, when I got home, I saw this wonderful confessional post about things we don't often say aloud, or put in print/on screen in blogs. I liked that Rachel wasn't afraid to acknowledge she doesn't like every "hip" thing out there. And the waterfall of comments were engaging, honest, fun, and thought-provoking to read. For the record, I'm also not a Pips fan (too cutesy), only found a few Innocent Crush fabrics interesting (but haven't bought any), wasn't enthralled by Tufted Tweets, hate Denyse Schmidt's Greenfield Hill line, and ignore all giveaways that require anything other than simply leaving a comment. I like blogs whose full posts show up in my reader and rarely click over if they don't. I spend too much time reading blogs and not enough time sewing, but I can read blogs from anywhere and can only sew where my machine and material are. I really should name all of my quilts after crime shows since I watch all sorts of shows while piecing and quilting (Criminal Minds is my current show-of-choice; aside from the whole sleuth thing, I really like the random literary name drops in each episode.) And finally, I respect local quilt shop loyalty, but I refuse to fetishize it: as noted above, local loyalty isn't always deserved.

I also appreciated Deborah's response which is, as usual, thoughtful as she asked the flip side of Rachel's question: what makes you feel empowered as a sewer? I love a good online tutorial, and right now I'm really excited about figuring out how to sew circles. I first encountered Lynne through DQS10 (she's my awesome, on-top-of-it swap mama), and I decided to plunge in with her Quilt Along. Because I never follow directions completely, I'm sticking with 2 big circles and I'm not going to use the quilt-as-you-go method. However, I've pieced the dresden circles (I suppose I should take some pictures) and am now approaching the actual circle sewing. Lynne is tremendously generous and her blog is full of all sorts of fantastic tutorials. I certainly find that empowering. In addition, I just won a copy of Rebecca's Curlicue Crush pattern from Lesly at Pickle Dish. It's the first stand-alone quilt pattern I'll own, and I hope I finally figure out the whole curved piecing thing. Lesly's doing it as a quilt-along as well, which will be nice for support in my inevitable seam-ripping.

And that picture up top? I'll be showing the whole quilt as soon as I know it arrived at its destination.

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Disconnected Threads, Part II

>> Wednesday, March 30, 2011

Note: This is the second part of my thinking aloud about simplicity and modern quilting.
 
Part II: Commerce and Quilting

As I noted in my first post, several bloggers have lamented and critiqued the noticeable increase in the sale of simple quilt patterns. There are certainly a slew of quilt patterns on the market that are relatively uncomplicated and possibly over-priced. I chose my words carefully: relatively, because the degree of complication certainly depends on the individual's experience and comfort level, and possibly, because cost is similarly dependent on perception of value.

Now a little background and a couple caveats. My mother taught me the basics of sewing; she showed me how to reattach buttons, operate a sewing machine, and piece together fabric. (Theoretically she also demonstrated how to hem pants, but I still prefer to ask her to hem my pants because I find it tricky to do by myself, or perhaps I am a touch lazy when it comes to certain matters. Anyhow...) After acquiring these skills, I became fascinated with quilting and, over the past (baker's) dozen of years, I've taught myself everything I can currently do through reading books, asking questions, perusing blogs, and ripping out a lot of seams. I've never taken a formal class and I've never purchased a stand-alone quilt pattern. I have, however, bought bag patterns and would consider buying clothing patterns if I ever figure out how to read garment patterns.

That said, I don't think there is one single way to learn how to sew or quilt. I recognize that different learning styles apply to sewing as much as they apply to school. In my early days of quilting, graph paper and colored pencils were my best tools. I used it to mock-up and reverse-engineer quilts on graph paper. Then I cut out fabric and sewed the pieces together. Sometimes it worked and sometimes it didn't. But as a math professor insisted in college, failure teaches as much as success. Indeed, failure is generally a pre-requisite to success.

In this sense, I would suggest that anyone learning how to quilt ought to plunge in and try, imperfections be damned. That said, some direction is necessary, and I would therefore suggest that, given the wealth of information on the internet, to start by trying some free tutorials. In particular, I'd send someone to Oh Fransson (for basics and patterns) and Crazy Mom Quilts (basics and patterns on her sidebar). For someone interested in traditional quilt blocks, the Modify Tradition blog would be a great resource. For some more modern options, Moda Bake Shop offers a plethora of tutorials, many of which demonstrate new techniques for conventional and improvisational quilts. (While this is sponsored by Moda, there is no requirement to use their fabrics and pre-cuts. Any fabric can be cut into 5" squares (charms) or 2.5" strips (jelly rolls) or any other staple "ingredient.")

These are just a few links that I would offer because I think they're especially clear. But there are plenty of other options out there as well, as the number of starred posts in my Google Reader attests. I would also advocate a trip to one's local public library to check out books on quilting. Some of the books may be old, but my local library stocks newer books as well. After borrowing a book, one might realize it's worth owning, at which point, buy it! Likewise, a trip to a used bookstore, a thrift store, or a yard sale might yield books to use as resources for very little money.

All of these suggestions assume that one has limited, rather than unlimited, funds and these will provide the best value. I think books are more worthwhile than stand-alone patterns because they usually include more than one pattern and they show a variety of techniques. But I also think books are most useful for learning how to reverse-engineer a quilt: being able to move back and forth between the final product and the individual stages ideally assists a new quilter in understanding the connections between steps and thus how to envision a larger quilt from smaller blocks (or how to break down a larger quilt into smaller blocks). Multiple examples only makes this more likely to happen. Thus even if money is no issue (and, please, if that's the case I know a graduate student who would happily avail herself of your sponsorship), these steps build and develop designing, sewing, and quilting skills.

Having said all this, why should I care if someone is selling a pattern to a strip quilt or a pinwheel quilt or rail-fence quilt or any number of straightforward (to me) patterns? First, I think it's ethically dubious to market and sell a pattern that is available elsewhere for free. No one can or will stop this sale, but this sort of commercial enterprise takes advantage of people who may not be aware that they could find a free tutorial in blogland. Of course, no one is forced to buy the pattern but selling something that can be easily attained for free remains problematic to me -- as Michelle has pointed it, it smells of a swindle. Second, I think it's intellectually questionable if not completely dishonest to sell a pattern that -- if easily available online for free -- hardly "belongs" to the pattern writer. It may not be copyrighted and thus it may be legal to sell it, but that doesn't make it right.

I've developed some tutorials (and have some in the works....that machine-binding tutorial will be posted one day), and I recognize it takes time to produce them. Nevertheless, I have posted free tutorials -- much to the chagrin of my far-more-entrepreneurial brother -- because I think it contributes to the larger crafting community. I know that sounds idealistic, but I truly believe that there is and should be give-and-take. As a result, I'm far more likely to buy a pattern (well, a bag pattern anyways) from someone like Rae who posts tutorials for free as often as she sells them.

In my mind, encouraging learning and encouraging other people to enhance their skill-set serves a communal good, and I want to contribute to and support that. There is much to be said about valuing an individual's time, and pattern/tutorial-writing absolutely times time and effort, thought and thoroughness. But given the choice, I will prioritize community over the individual, especially when the individual (person or pattern) is merely recreating something already available. I can't make anyone follow my personal ethic, but I can question the need -- by some, though certainly not all -- to commercialize the basics.

Quilting is part of the larger web of global commerce. This has positive dimensions, such as the availability of beautiful fabric world-wide and the ability of new designs and ideas to traverse oceans. But it also has negative, even pernicious elements, in which craving financial opportunities outweighs participation in fertile, free exchange of knowledge. As I see it, the latter represents a better option, a means of contributing to the larger common good. It's not curing cancer or eliminating world hunger, but it is a chance to, in the words of one of my favorite children's books, make the world a more beautiful place (Miss Rumphius).

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Disconnected Threads, Part I

>> Monday, March 28, 2011

image from here

Note: I had every intention of finishing and posting these thoughts last week, but life (in the form of wonderful friend coming to visit) intervened, so I'm late to the party, and not fashionably so. Nevertheless I'm posting this as a record of my thoughts and welcome your thoughts and feedback as well. I'm also going to separate this into two posts, given the length.

There have been a number of posts this (last) week grappling with the role of simplicity in modern quilting/design and in the commercial quilting economy.  Sandi led off with a provocatively titled, but quite fair and reasonable, post, "The Dumbing Down of Quilting," which she followed up with several more posts surveying what her readers do and want to do as well as a plan of action via a forthcoming skill-building series on her blog. I give her a lot of credit for publicly raising issues that I've heard others whisper and silently grumble about (can one really grumble silently? perhaps "softly" is more accurate). Michelle noted her own frustration about the sale of simple patterns, many of which are available through free tutorials or could be worked out with a little arithmetic; she's added some important questions here. Michelle also pointed me Ali, who expressed frustration about the sale of patterns that one could reverse-engineer and to Carrie, who has an important post that links the issue of "dumbing-down" to business matters.

I think these posts all raise important questions about modern quilting and the modern quilter. But I think they sometimes conflate issues that are not necessarily linked: a simple/challenging spectrum (and the correlated matter of simple for whom and simple according to what) and the relationship among quilters, blogs, and the commercial sewing industry.


Part I: Simple/Complicated 

I enjoy making simple quilts, and I enjoy challenging myself to learn new techniques. I also think looks are deceiving, and what appears simple may be complicated -- if not in execution, then in design. For example, this quilt is one of the most interesting ones I've seen pop up in my google reader of late:

 Image from here.

Let's take a look at it more closely. On the surface, the design is pretty simple: a column of paired half-square triangles surrounded by a solid (as I write this, I realize my non-sewing blog-reading friends might be smirking at this "quilty-babble"). I can figure out how to make this, and in fact I plan to make a version of it later this spring (emphasis on plan). But what makes the quilt work is a combination of wise decisions about color (in this case, decisions that started with a photograph), about layout, and about quilting. In fact, Lynn is an experienced quilter who has shown skilled precision piecing, curvesquilting, and applique in addition to "simpler" and improv-style quilts. I think her stunning Zinnias quilt is only possible because of her skill and experience in other areas. In this sense, I think we need to separate "adequate-simple" from "stunning-simple." I think I'm pretty good at the former and have a long way to go in terms of the latter.

Likewise, I think it's important to disaggregate simple-looking from simple technique, simple skills, simple color choices, etc.


A charm-square quilt is simple in a number of ways: it uses pre-cut squares (no cutting or fabric choosing necessary) and it relies on straight-stitching and chain-piecing (only requires knowing how to sew a 1/4" seam). The quilting could be complicated, but the one I made and linked to is rather straightforward: vertical and horizontal lines on either side of all seams. It's simple but it's a great exercise in layout because it does matter how the squares are arranged: the distribution of color and print size can -- and will - make or break this quilt.

Similarly, a strip quilt isn't too complicated to put together: cut a bunch of strips of coordinating fabrics, sew, and voila, a quilt. It's especially easy if it's no wider than 40" as you don't even need to piece strips together. But again, it does require aesthetic decision-making about fabrics that work together, about how wide to cut each strip, about how to place colors relative to one another, and about sewing a consistent 1/4" seam. The quilting can be really straightforward or, as in the first strip quilt I linked to, it can provide an opportunity to test out a new design, in that case stars.

To be clear, both of these types of quilts are simple in design and technique. They offer wonderful opportunities for beginners to piece their first quilt, and they're fantastic go-to quilts for more experienced quilters who want to make a quick quilt or showcase a fabric line (I plan to make a charm-square quilt for myself out of Kate Spain's Central Park line because I really like it). They're not complicated and they're not technically advanced. I think pinwheels -- the block labeled "intermediate" in the Sew Mama Sew post that rankled Sandi -- are similarly basic, part of the building blocks of more advanced -- in technique and design -- quilting. But any of these can be done well or poorly, using weak or strong technique, and drawing on bland or striking fabrics, and that distinction is, to me, quite important.

Part II: Commerce and Quilting...Coming Soon

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