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We love the artist statement for the quilt Timelines by Stephanie Z. Ruyle. "11 life stories: 10 in fabric and one in thread, that intersect to tell our stories and become a single composition that spans both time and space. All different, yet connected by a shared passion for community and making."

Timelines by Stephanie Z. Ruyle of the Denver Metro Modern Quilt Guild and others won First Place, Group & Bee Quilts, sponsored by Modern Quilt Guild, at QuiltCon 2020.

Pieced With: Leanne Chahley, Karen Foster, Debbie Jeske, Marci Debetaz, Felicity Ronaghan, MR Charbonneau, Anne Sullivan, Silvia Sutters and Kari Vojetchovshy.

Quilted By: Christine Perrigo

Photos by Mary Kay Davis

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Minki Kim at WeAllSew.com is sharing how to make a quick zipper pouch. It is perfect for travel, storage at home, as a gift, or for any reason. Easy to follow sewing instructions will have you finish this little handy bag in one afternoon! Mother's Day anyone? They’re fun to make and handy to have around.

Click here to go to tutorial.

Materials to Sew Cosmetic Zipper Pouch

Finished size: 9 1/4” wide x 5 1/2” height

*Fabric used:  Moments collection for Riley Blake Designs

  • 1 Fat eighth linen for exterior
  • 1 Fat eighth cotton print for the exterior
  • Fabric scraps for embellishment and zipper tabs
  • 1 Fat quarter cotton print for the lining
  • 1 Fat quarter fusible interfacing
  • Scraps of fusible webbing such as Lite Steam A Seam 2
  • 1 zipper – 9”
  • 1 cotton ribbon – 1/2” x 2”

 

  1

America’s quilters have responded to the COVID-19 pandemic with incredible generosity, creativity and dedication. The Quilt Alliance has started an initiative to collect quilters' stories about how they're responding to COVID-19. Please hop over to the Come Tell Us: Quilters Share group to talk about what you've been doing--whether you're making masks for your community or quilting through the days, please share a photo, video or narrative. (Also, Instagram hashtag #quiltersshare)

Or cut and paste: https://www.facebook.com/groups/564246374224320/

 

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It's time to sew the fabric pieces together for the sawtooth quilt block. In this quilting tutorial, Alex shows how she makes a partial seam.

You can buy the Sequoia PDF pattern by clicking here.

  7

Today's TQS Vintage puzzle is Row Houses by Flavin Glover and it is a cover girl. It graces the cover of A New Look at Log Cabin Quilts from C&T Publishing. It is also one of the twentieth century's best american quilts.

This quilt, created in 1985, was inspired by the "painted ladies" row houses in San Francisco. The whole design was created entirely from log cabin blocks. Flavin was aided by a picture postcard and suggestions from a paint store brochure. It was created from cotton fabric, machine pieced, and hand quilted.

Flavin has long been drawn to the log cabin block, she says, "Log Cabin quilts truly keep one connected to the taproot of American patchwork."

You can visit Flavin and learn about her incredible career at her website, www.flavinglover.com. You can order a signed copy of her book by clicking here.

Click here to see the quilt.

Row Houses - 35 Pieces Non-Rotating

Row Houses - 99 Pieces Non-Rotating

Row Houses - 252 Pieces Non-Rotating

Row Houses - 99 Pieces Rotating

Row Houses - 252 Pieces Rotating

4502_jigsaw_planet_my_puzzles_album_1_row_houses_35_pieces_nonrotating_embed_puzzle.jpg

 

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Three Easy Steps To Save This Lesson As A Pdf:
-Make sure you are logged in.
-Click on the small triangle next to the tool wheel in the upper right hand corner of the page (you'll find it above the Like button).
-Select the pdf. option. Wait a few minutes. It's a large file due to the number of images.
-Your file should appear with the title of the lesson.

At The Heath Fair by Ruth McDowell
At The Heath Fair by Ruth McDowell

As we wrap up our topic of Space, in the words of Ann Harwell, (Show 1802: Fearless Quilting and Fabulous Results) "Creating depth with fabric can be a challenge," but, as you have learned over the last few lessons, there are a variety of key elements that can be incorporated in your work to engage and appeal to the viewer. Let's use Fine Art and Illustrator Jan Poynter's easy to understand illustrations and explanations to review how to create depth of space in our quilt work.


Create a relationship between the objects in your subject (i.e. cow, barn, grasses, trees, mountains) to create a sense of depth.


Objects should not float, but touch or overlap in still life or close-up subject matter.  Continue the story in the negative or background space.

Structural elements such as horizon lines, walls, surfaces, roads, buildings must appear to be consistently continued. In the example of the water scene, notice how the wave lines (in the illustration on the right) seem to continue behind and to the right of the tree. This creates more realism and depth versus the random lines (in the illustration on the left) that may or may not appear to connect.

 

Put what you have learned to the test by seeing how well you can spot the different types of space (Size, Placement, Overlapping, Detail, Color/Value, 1-point and 2-point perspective) in the nine quilts below. Pay attention, some quilts include more than one type of space concept. (To see the answers, scroll to the bottom of the page)

Kimberly Mystique by Gloria Loughman Reflections Of Cape Town by Cynthia England
1. Kimberly Mystique by Gloria Loughman          2. Reflections Of Cape Town by Cynthia England

American White Pelican by Velda Newman Tuscan Country by Lenore Crawford
3. American White Pelican by Velda Newman               4. Tuscan Country by Lenore Crawford

For The Love Of Irises by Andrea Brokenshire  Seams A Lot Like Dega by Lura Schwarz Smith
5. For The Love Of Irises by Andrea Brokenshire  6. Seams A Lot Like Degas by Lura Schwarz Smith

  Maddie Moo by Barbrar Yates Beasley
7. Hurry on Snowy Road, I am Late by Keiko Morita                8. Maddie Moo by Barbara Yates Beasley

9. Silent Farewell by Barbara Strobel


Depth of Space

by Denise Labadie
(All image by Denise Labadie unless otherwise noted)

Denise Labadie (Show 106: A Touch of Ireland) makes interpretive contemporary art quilts of Celtic megalithic (Bronze Age – think Stonehenge) stones and monoliths, their landscapes, and more recent (primarily Irish) monastic ruins. These stone portraits reverently portray ancient stonescapes of immense timelessness and physical presence while evoking sacred and emotional remembrances of human pasts largely forgotten.

Irish Stone Fort Ruin by Denise Labadie
Irish Stone Fort Ruin by Denise Labadie

I quilt perspective-intense “stone portraits”. Depth and dimensionality are central to my work. In general, objects tend to become lighter in color and less detailed as they get further away (or recede in the distance). Irish Stone Fort Ruin very much takes advantage of these general rules.

To maximize depth and dimensionality, also note the importance of using sharply defined “clean edges”. Well-defined edges establish whether objects (like stones) are in front of, or behind, other objects (again, like stones), or whether one object meets and intersects with another (like two adjoining stone walls meeting, or a stone wall going into the ground).

Irish Stone Fort Ruin, Detail by Denise Labadie

In contrast, “coloring book” outlines result in flatter, less dimensional results. In quilting, raw edge appliqué, in particular, can result in relatively thick outlines (edges) if overcast (or otherwise heavily stitched) with overly dark or visible color; this can be easily minimized, though, by using blending, invisible, or variegated thread. The use of fusible webbing underneath raw edge appliqué should also be minimized – if the objective is to maximize depth and dimensionality – as it hinders the build-up of any subsequent object-specific “volume creation” efforts.

Irish Stone Fort Ruin, Detail by Denise Labadie

Irish Stone Fort Ruin, Detail 1 by Denise Labadie

 

 

In contrast, turned edge appliqué – and insetting – have natively clean edges !!! I recently started increasingly using turned edge appliqué (once I finally found the right tools to make it quick and easy), and their clean edges dramatically and visually “pop” my stones in ways previously unachievable; I still use raw edge appliqué, however, for (smaller) stones located at some distance from the observer.

I also use reverse appliqué fairly extensively (see the entire front wall of Irish Stone Fort Ruin on the left). Reverse appliqué can be wonderful for “micro-shadowing” and creating rough and varying textures, such as dark crevices within stones. Recognize, however, that reverse appliqué also creates raw edges, so to keep textures as high as possible I make the cut seams extra thin and (as above) use thread that blends well with the background; any edge-based “flattening” is usually not a problem because of the compensating dimensionality generated by cutting through, and exposing, multiple embedded fabric layers.

Note that I also use my mortar to add even further dimensionality; heavy quilting within the mortar helps to both hide a percentage of exposed raw or overcast edges, and also helps to “pop” adjacent stones.

Irish Stone Fort Ruin, Detail 2 by Denise Labadie

 

 


I actually now commonly combine and mix both reverse and turned edge appliqué on the same stones; turned edge appliqué gives me both the crispness of edge, and dimensionality, that my compositions need, and reverse appliqué gives me the additional detailed textures that my stones demand.
 

 Sunset on Inishmore by Denise Labadie 
  Sunset on Inishmore by Denise Labadie


Sunset on Inishmore Detail, by Denise Labadie
Sunset on Inishmore, Detail, by Denise Labadie

My final choice of texturing and appliqué technique (or techniques) is thus based on stone size, light source location and intensity, distance or “nearness” of stones to a perspective-based “vanishing point” or the viewer, or whether I’m dealing with a section of the quilt that I want (or do not want) to visually highlight. Whatever techniques are chosen, though, the takeaway is that quilters have exciting and unique textural and structural tools (e.g., appliqué) beyond color, tone, tints, shades, highlighting, etc., which can and should be used for augmenting perceived depth and dimensionality.

 

 

 

Answers to Quiz:

1. Kimberly Mystique by Gloria Loughman (Show 612) - One-point perspective and Color/Value change
2. Reflections of Cape Town by Cynthia England (Show 610 / Show 1412) - Placement
3. American White Pelican by Velda Newman (Show 903) - Overlapping
4. Tuscan Country by Lenore Crawford - Placement
5. For The Love Of Irises by Andrea Brokenshire (Show 1706) - Size and Color/Value change
6. Seams A Lot Like Dega by Lura Schwarz Smith (Show 702) - Overlapping
7. Hurry on Snowy Road, I am Late by Keiko Morita - One-point perspective
8. Maddie Moo by Barbara Yates Beasley (Show 1905) - Color/Value change
9. Silent Farewell by Barbara Strobel - Detail

Click here for more topics related to The Art of Quilt Design program.

 

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I don't know about you, but when I am anxious I need some comfort stitching. Comfort stitching is on the same level as mom's chicken soup, a See's sucker, or the smell of bread baking. What does comfort stitching look like for you? For me it is either a wool or Sashiko project. I have a nice pile of projects that fit both categories! Currently I am working on a couple of BOMs that definitely fit the category of comfort...
 
Sylvia Pippen is a fabulous Washington state designer. She has both a brick and mortar and an online store, Sylvia Pippen Designs. The best part of Sashiko is it is basically a running stitch...which means while stitching you can enjoy a cup of tea and some HGTV while stitching! My latest Sashiko project is a combination of wool and Sashiko! Talk about my 2 favorites all rolled into one!!!
 
 
But truly what would my world be like without some Buttermilk Basin, and I have a nice pile of projects all of which I love! My current project is Autumn Harvest. I am getting real close to calling this one a finish!
 
 
It is a real adjustment to go from Roadie to Homie, and so I am dreaming of some new comfort stitching...and there are a couple on the Buttermilk Basin site that look promising :)
 
 
 
Enjoy searching for that which is your comfort stitching!
 
Stay tuned and travel along with us on Quilt Roadies.

Click here for Anna's blog.

 

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We love the process Irene Roderick used to make her quilt, She's Lost Control Again. She calls it "dancing with the wall" because she literally danced back and forth between her cutting mat, her machine, and her design wall while she created.

She's Lost Control Again was featured in the Improvisation category, sponsored by Gotham Quilts, at QuiltCon 2020.

Photos by Mary Kay Davis

  3

Quilt Maker and Pianist, Ricky Tims, and Leather Craftsman, Jonathon Long (keyboardist for Lady Antebellum), will be facing off with their original performances of a FOUR NOTES KEYBOARD CHALLENGE on Saturday, May 9, at 1PM Eastern, 10AM Pacific. They are each required to use the same four notes (Eb, G, Ab, and C), and compose an original composition. 

Prior to the competition, Ricky and Jonathon engaged in a bit of smack talk. Check below the video for more information on where you can watch.

 

Join us LIVE on Facebook and YouTube.

 

  4

Quilt Maker and Pianist, Ricky Tims, and Leather Maker, Jonathon Long (keyboardist for Lady Antebellum), will be facing off with their original performances of a FOUR NOTE KEYBOARD CHALLENGE on Saturday, May 9, at 1PM Eastern, 10AM Pacific. They are each required to use the same four notes (Eb, G, Ab, and C), and compose an original composition. Have Fun, Stay Safe! 

Join us LIVE on Facebook and YouTube. Don't worry. We will direct you to the correct place to watch in Friday's newsletter. You can always go to the homepage and scroll down to the LIVE Playlist and see it there.

(In the same spirit, next month Alex will arm wrestle "The Rock")


Top 10 Reasons to Join the Quilt Show!

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Learn about
Apliquick appliqué tools!

Watch Show 1912
with Rosa Rojas (free!)

Apliquick Rods

 

Apliquick - 3 Holes Microserrated Scissors

 

Apliquick Ergonomic Tweezers