Contemplating an Upcycling Project

One of SAQA's upcoming calls for entry is "Upcycle!"  Since I have gotten my start in the fabric and art quilt business by upcycling vintage textiles, this is a must-do opportunity for me.  I am also planning an entry in their 3D Expression show, that entry deadline is earlier that Upcycle, but I am pressuring myself to have solid ideas for both by the end of November in order to complete them in time to submit my entries.

Here is my first thought for Upcycle:

This is a vintage quilt, about 70 x 80,'" in very rough shape.  It would be a base, a jumping off point for a fabric collage.  I am envisioning lots of hand stitching, overlays of images on sheer fabrics, some painting on fabric too.

The rips and tears indicate that it sure has seen a lot of use in its life.  Hopefully, it was loved in its early life, but is has likely been through some rough handing.  The quality of the hand stitching holding it together hasn't helped it much, but I commend this quilt's maker for sticking with it and finishing it.  We all have to start somewhere.

Here is something that will horrify vintage quilt collectors - I admit, I ran this quilt through the washing machine a few days ago!  Yes, I know I am not supposed to do that to an old quilt, but I had to in this case.  I had a mouse problem on Saturday, and the little bugger holed up in this quilt.  Being terrified by hot pursuit of my cat, the uninvited mouse left copious... deposits.  I had to wash it.  There is no way I am going be wrapped up in a quilt this large, hand stitching it with mouse turds all over it.  I am pleased to report that in its already fragile state, the washing machine really didn't do any more damage.   A little bit of the batting came out from the larger holes, but that's it.  I don't think that any of the tears were made worse.  I'd rather risk the damage than have the risk of who knows what the mouse could have been carrying.

Next time, a few more Upcycle candidates.

Give Up or Keep Going?

I had a set of four small (8 x 10") art quilts resurface in my mass of unfinished projects.  I started them over a year ago in an attempt to have some small impulse-buy type pieces to sell at art fairs.  They were cast aside as I wasn't happy with the way that I had assembled them. 

Image and designs copyright RPS

I had pillowcase bound these two after doing some, but not all of the intended embellishing.  I keep running into problems with embellishing before quilting through all three layers.  I don't always like putting a heavy quilting design on my work, as I want the fabric itself to be the focus.  I will quilt some pieces of fabric in these collages, and I'll add hand stitching in others, but I want some pieces of fabric left unadorned.  I'll sew along the seams to quilt, but here I've put thick trims in many places where I didn't want to quilt inside the fabric pieces.  It won't be a good idea to sew over the trims again in the quilting process.

Image and designs copyright RPS

The piece on the left in the above image has some hand stitching on it, and then I pillowcase bound it.  I should have added some trims along the seams before binding, so that the trims along the outer edged would have been neatly tucked in the binding seams.  The one on the right is just a pieced top with no quilting or embellishing yet.  I still have a chance to get it right on that one.

I am stuck on these small pieces, should I pitch the ones that I have embellished but could have assembled better?  How much time should I give to fixing them before giving up?  Finally, I 'm still uncertain as to how to combine all the different techniques that I want to use in a sequence that results in good craftsmanship.  I am going to think about this for another week, then I must decide to fix them or move on.

Postcard from Mutton Hill

The third Mutton Hill Quilt Show is now history.  Sales were moderate for me and I was quite successful with three of my show entries.  Most importantly, I met more people who are or want to be more creative and who appreciate my unusual hand dyed textiles and art work.  Thank you.  I am energized and inspired by all of you whom I spoke to over the weekend, and by all of the lovely quilts at the show. 

                                     

I want this show to continue, for the Summit County Historical Society, for the vendors, for the quilt crafters and artists, for the supporters of textile arts.  The show dates for next year are October 19 & 20, 2018.  Please consider entering a quilt next year, and come out to the show.  This is a show worth supporting, all of us involved with it want it to continue.  Consider making a challenge entry, the theme for next year is the World War I Centennial.

Of course, I must brag a little.  I won a second place in the Challenge class, the theme being “What’s Your Story?” 

Image and design copyright 2017 RPS

One of my boxes that are a specialty of mine won an honorable mention in the Fiber Arts category.

Image and design copyright 2017 RPS

This was the first time that a Fiber Arts category was offered at Mutton Hill, so I am very honored (and a bit surprised) to have won first place Fiber Art this year! 

Image and design copyright 2017 RPS

My statement for this little piece reads; “In July, the meadows around my rural home are filled with bright orange Butterfly Weed.  This is one in a series of felted and stitched pieces that captures the seasonal changes of the meadows.” 

I enjoy sharing my creative expressions with others, and I hope that I occasionally inspire others to try something new.

Auction Finds

I had a good day at the local junk auction this week.  I came home with three sewing machines, though not anything greatly desirable.  These machines are robust but lower end models, not the machines that I look for as a collector who uses her collection.  This bunch will be serviced and donated to a group that works with abused and homeless girls.  The girls are taught sewing as a part of a therapy course, and each girl gets to keep the machine that she learns on.  I’m all for any program that gets any youngsters into making something.

I also bought this:

An unfinished hand sewn quilt top made with lots of different strips of 1930s printed feed sack cloth.  As much as I rant against looking at the backs of contemporary quilts, I must say, this one warrants study of the back.

The underside is a collection of more print scraps, and plain feed sacks.  This quilt top begs so many questions.  The obvious, who made it, and where?  Why was so much time spent on what is here, to leave it unfinished?  It also came with several loose stars, and two quarter stars.  Those little pieces will go into a collage.  I want to do something with the part top that preserves its integrity, but I have no desire to attempt to continue the pattern.

Backsides (of quilts!)

I finally started quilting the purple collage that has been featured here periodically.  It was good to sit down at my little Elna "Grasshopper" again, but the long hiatus in sewing has resulted in a regression of my already meager free-motion quilting skills.  I'm not concerned about my skills on this one, as so far I am only outlining the major pieces of fabric.  The quilting isn't readily apparent, something that I like.  There are quilters out there who make some amazing designs with thread, but for my style of art quilting,that doesn't work.  I want my quilting to be structural, and not a feature of the overall design.

I'm not a fan of scrutinizing the backside of art quilts.  I understand the importance of having even stitches with balanced top and bottom thread tension, and the concept of good craftsmanship throughout a piece, but in art quilting, the maker often has different qualities that she wants to emphasize.  All the interest in my art quilts is on the front, the back is my place to anchor everything.  There is nothing great to see back there.

I suppose my feelings about the backsides of quilts comes from my very early days in acrylic painting.  Paintings of any type are usually framed, and the back of the piece is often covered in the framing process.  No one wants to see the backside of a painting.  This is a portion of the flip side of one of my high school efforts:

Nothing at all of interest to a viewer!  There is a reason why one side perpetually faces the wall, and so it goes with art quilts in my world.

Return to the Purple Collage

No, I have not forgotten about the purple collage!

Image and design copyright RPS.  Please do not copy or repost

This is just another example of how art simply doesn't happen suddenly.  I had to set this piece aside for awhile to figure out how to proceed with it.  Since I'm not following a pattern or even conventional quilting techniques, I encounter frequent problems, especially many "what-do-I-do next" moments.  I still do not know if this piece will turn out OK in the end.  It is going through an "awkward teenager" phase now and  hope that it will look better with some more embellishing.

I think that I now need to attach the top, still unfinished, to a three layer quilt base that I have made, slightly smaller than the collage top, so that the edges of the collage extend beyond the base.  The base (below) is a lightly quilted and pillowcase bound piece made from plain Kona cotton and a piece of ice dyed flannel that didn't turn out well.  The flannel will be hidden once the collage is attached.

Image copyright RPS.  Please do not copy or repost

I am going to free motion quilt random loopy shapes in the negative spaces of the collage.  I am still pondering how to stitch the edges, since I cannot see where the base edges are if I am quilting the whole thing face up.  What have I gotten myself into?

In between this purple monster and a challenge project, I am working on some free motion quilting examples influenced by two more of my favorite children's book illustrators.  Check back in a couple of days for the results!

Learning from Mini Quilts

Yikes, last week just slipped away from me.  I have a good excuse, I was excited about the first session of an art journaling class at a nearby small art museum.  More about that on Thursday.

I was also frantically working on an idea that I have since let up on.  My idea was to make an 8" by 10" art quilt each week for a year.  I thought of this halfway through January, and since I have four pieced tops from last fall, I thought that I could get four of the minis done by February 1.  Here are the first two, still not quite finished:

Image and design copyright RPS

And the second pair, still nothing done other than the piecing:

Image and design copyright RPS

The first two are a bit of a disaster in the way of quality.  I did not sew all of the trims to the top before I pillowcase bound it, leaving some floppy ends, and they are a bit lumpy, as I did not quilt them enough before binding.  I am still struggling with how to put the three layers of an art quilt together and embellish it without having the back look like a knotted mess, or not have any stitching through all three layers.

While  I am not going to attempt one mini quilt a week anymore, I will keep working on a long series of minis.  I'm giving two evenings a week to this adventure, and I am not going to fret if I don't finish a quilt in two sessions.  Maybe I will finish some in that time allotment.  What is most important to me in this project is getting better with technique and process.  In order to improve any skill, you have to work at it.

Pillowcase binding

Not a very exciting topic, but I've had several requests to post instructions for pillowcase binding.  I'm not a fan of the traditional bias strip edge bindings for quilts.  The pillowcase technique suits my style now.  Here's what you do:

1. Cut batting and backing fabric same size as quilt top.  Partially quilt the top and batting together, just enough to hold the two layers together.
2. Place backing fabric onto the top/batting layer, right sides together.  Sew 1/4" around the edges, leaving 1/3 of one side open.
3. Trim corners and excess batting from edges.  Turn right side out, iron.
4. Stitch or fuse the opening, quilt as desired.

There, that is the quick version!  For this collage, I am creating a three layer quilt base that the actual collage will be attached to at some point.  Here is the base in progress, with the collage to the right of the sewing machine, showing that it is clearly not being included yet in the construction.

I have to quilt the base layer again, and then decide if I want to attach the collage now, or do some more work on it.  I need to think about this for a bit.

Yes, that is a vintage Singer 201.  I LOVE that machine, a sturdy workhorse!  I am one of those people who names their sewing machines, this is Grace.  I found her at an estate auction, and I can prove that I am the second owner of this machine.  Grace was the first name of the machine's first owner.  I never knew Grace, but she took great care of her sewing machine, and I am honored to be the next owner of her treasured Singer.

Backsides

Progress on the collage has not been made yet, I do not have backing fabric yet!  I have found the lost quilt that I mentioned last time.  The search for that one has taken much of my time that was supposed to be spent sewing.  Now I can move forward.

I'm still debating how to put together the purple collage.  I continue to be somewhat mystified at quilt shows by the multitudes of viewers who have to see the backs of many of the quilts.  Yes, I get it that even stitches and so forth are an important part of good craftsmanship.  However, for an art quilt that is hung on a wall, should the back matter so much?  No one, no one, at an art gallery or museum asks to see the back of a watercolor or oil painting.  If anyone did, they'd be escorted out of the place.

It is important for my hand stitching not to come undone - I always end up with lots of knots on the backs of my quilts.  

I don't want the embellishing to fall off!  There is only so much I can add before I have to quilt, and some of my embellishing cannot not sewn over.  I have to add things after quilting.  

This (above) is the back of a small quilt collage that was completely embellished before I pillowcase bound it and quilted it with just four lines of decorative machine stitching (horizontal and vertical axis), and added a scant few decorative stitch flowers here and there.  The thread ends are hidden,  it is still technically a quilt, but not likely to be acceptable in quilt show judging.  The machine didn't like having to deco stitch over some of my embellishing, more points off for uneven stitches!

On this one, I did all my stitching through all three layers.  Since there is so much happening, the awkward knots and undersides of the hand stitching do not seem all that bad... the batik print helps to distract from the ends as well.  However, would this pass muster in a quilt show?  I wonder how much the back matters to the average non-quilter (potential) buyer of my work.

I am leaning towards options of finishing my collages that would disqualify them as quilts, but would result in a better looking back.  I'm not much for entering quilt shows anyway. 

Getting Sidetracked

Despite what it appears, I have added a few pieces to the collage.  I had intentions to add more in time for this post, but I realized that I have to quilt this thing at some point.  Right now, it is only a top layer, with no batting or backing.

image copyright RPS, please do not repost

The stitching of the three layers to make my collages (technically) into quilts is a struggle for me.  I don't want the quilting to dominate the design and I tend to neglect this crucial step until I have embellished to the point were there is very little chance of me stuffing the mess under the presser foot of the sewing machine.  Not to mention at that point, adding quilting would flatten the fabrics, ribbons, etc. that I attach to come up off of the collage surface.  This piece will be be an experiment in minimal quilting in the currently open areas of purple base fabric, then back to the embellishing.

So, my next plan for this post was to dive into instructions for pillowcase binding, as requested from several customers of mine.  I have not found a piece of backing fabric to suit me, despite tearing through the fabric storage room not only in search of backing, but also on a quest to locate another half finished collage quilt that I want to finish soon.  It has been one of those weeks.  Time for a trip to the local quilt shop...

Quilting ideas

The actual process of quilting my textile art pieces always gives me trouble.  I'm bored with the usual quilting motifs; most of them just don't work well with my ragged edge collage technique.  I must quilt these creations, the stitching holds the layers together and it is mandatory to enter them in shows, the stitching through layers of fabric is the total identity of "quilt."  The quilt stitching is also a vital design element in the whole piece.

I'm not proposing any solid answers here to my own dilemma; I guess I am just ranting today.  I have some ideas that I am soon to attempt.  Recently, I found these line drawings while doing research on something else:

This page is from the October, 1887 Criterion magazine, located at the Marietta College Library.  I believe that it was part of an order form for embroidery patterns, but I am wondering if I could use the idea of line drawing and turn that into quilting designs.  The concept probably still won't work with most of my collages, but I could easily come up with another overall design concept to feature the line drawing-quilting.  Maybe I'll just use much bigger collage pieces.  Creativity is all about rethinking what you have done and figuring out how to do what you want to do.

A Not-So Successful Experiment

Not every idea turns out quite right.  Back in April, I went to have my taxes done, and while there, I got a bit of inspiration.  On the fabric that covered the cubicle walls, there was an interesting undulating pattern created by dashed lines.  The dashes varied in length, and I though that the overall pattern would make a great quilting motif.  So, today I attempted it, by machine.  I simply kept moving the stitch length lever as I sewed.  I used a vintage Singer 201 for the quilting.

Image copyright RPS.  Please do not post elsewhere.

I am pleased with the end result, however I don't think I will use it again.  It is too much trouble to keep moving the quilt as it goes through the machine (creating the wavy lines) and moving the stitch length at the same time!  It isn't so bad on a little 8 X 10" sample, but trying this on a bigger quilt, even a small wall hanging, is just a bit much for me.  Yes, I am one of those people who would have difficulty walking and chewing bubblegum at the same time.

The colors in the above sample also came from a surprising source: Neapolitan ice cream.  Working on the quilt has given me a terrific ice cream craving.  I will have to find something else to indulge in; the closest ice cream is ten miles away, and it is cheap, tasteless soft serve.  I can go without for now.