Watercolour measures 77 inches wide and 78 inches long and is a kaleidoscope/star quilt and has over 900 pieces of raw edge appliqué that have been individually basted and quilted and was constructed using the hover-quilting technique. Hover-quilting is a fresh new approach to raw edge appliqué, absent of fusible web. This innovative technique allows for a beautiful controlled frayed edge and creates the illusion of piecing hovering above the quilt top and turns fabric into watercolour.
Baby quilt for our only granddaughter. The color choice was left overs from parents wedding quilt. As i was putting it together and was doing the outside corners, the quilt said that it needed something a bit different. So I went along with it's suggestion.... hence the spheres in the corners. I was trying to use up the "reminants" from the other quilt. I found a feather pattern online and traced the outline for design. I also traced my hand and sized it to fit. I also used some templates on the border. She was born in AZ and tried to keep to her birth place.
Made as a Leader/Ender project per Bonnie Hunter. Decided it’d be just right for my five year old grandson, so I put a cute barnyard print on the back. I’d been wanting to try straight line quilting for awhile, and chose a colorful variegated thread. Worked on the tumbler rows throughout 2018 and into 2019.
When I moved to Colorado from Kingwood, Texas, friends gifted me with quilt squares made from two bright triangles and a white strip connecting them diagonally. Each person made two identical blocks and signed one in the white strip. I decided how to set them and added two narrow borders and a wide batik one. Nine friends in Colorado helped me hand quilt it on a frame. It has a wool batt and muslin backing. The border was not marked; we just quilted around the motifs in the print. For the first time, I rounded off the corners, so I used a bias binding.
Started at a quilt retreat at a Montana dude ranch in 2004, finished on New Years 2019. Each time I went to the Nine Quarter Circle Ranch near Yellowstone, I started two projects, each taught in classes with Georgia Bonesteel and Charlotte Warr Andersen. A few I never finished, and some I finished independently. Then I got the idea to put several into one quilt...it turned out queen sized. Techniques included needle turned appliqué, fused and machine stitched appliqué, layered appliqué with wash-away thread, strip piecing, strip piecing with Grid Grip, hand piecing, paper piecing, etc. The hand-pieced eagle took years to finish, as I got frustrated working on the talons. One photo shows the stitching on the backside of the eagle. In early 2018, I put it all together and had it custom long armed by a talented friend. I finished the last stitches in the binding at the beginning of 2019.
Truly a labor of love. I bought this fabulous kit from Ricky and changed out the background fabric for a very different look. So much stitching! I scheduled a couple of “at home” retreats over the summer and had my friends keep me company. Brandy Rayburn did her magic quilting and the result is pretty amazing. Finishing this project got me motivated to finish my first Rhapsody that I started 10 years ago in La Veta with Ricky’s guidance. And off I go again!
My mum and I saw a quilt like this in a Victoria show.
After ten minutes of trying to figure out how it was sewn together, we asked the maker, Pat Watson. She told us she’d studied an antique quilt and figured out how it was done.
I had to know, too! When I took her class (“Antique Braid”), I was gobsmacked at how slick the technique was. I still am. It’s just like doing up a zipper!
I made this quilt for my mother, Margaret Montague Geldart, in 2012.
Her parents were commercial carnation growers in Victoria and Penticton from 1930s through the 1960s. They also had a flower shop called Monty’s Flowers in Penticton from the 1940s to the 1970s.
Carnations were Mum’s favourite flower.
I hoarded the Turkish-style carnation border fabric for several years before I found the stylized carnation appliqué design in an issue of Quilts from Quiltmaker’s 100 Blocks. I modified the pieced part of the design and made this wall hanging for Mum’s birthday.
Quilting was central to our mother/daughter bond, taking us from international quilt festivals to guild retreats together. Yet our tastes in fabrics and techniques were so different that we’d never collaborated on a quilt before.
When we saw this pattern (“And to All a Good Night” by Sue Garman), we knew we had to make it together, because Margaret loved hand appliqué and Anne loved machine piecing.
Margaret passed away with Anne by her side while the quilt was hanging in a show.
I really liked the pattern "Moon Over Mountain" by Jean Wells. Once I started making them, I decided to improvise. It would have been so much easier if I had made all the little mountain blocks, but no, I have to make 4 of the large ones. Making a double row of small block for the borders was also too easy. This sat for a couple of years while i pondered how to put it together. I tried a few new things, pulled out a few seams, and finally came up with an appropritate name for hthis quilt: Climb Every Mountain.
This quilt is a combination of Sue Garman's Bed of Roses and my layout. After watching the 2020 BOM show, I realized I had never posted it at TQS. I wanted to do something a bit different, so I did the applique out of Kaffe Faucett fabrics and combined it with a Civil War Reproduction red background and some lime green. I enterd it in Houston and won an Honorable Mention. I was fortunate to communicate with Sue prior to her death. She and I had a nice conversation about how I chose to quilt it and why I chose the colors I did. How I wish I could have met her.
Growing up on a ranch, it always stirs emotions when I come across an image as this. Once a treasure now 'put to pasture' begins the thoughts of the stories this relic could tell. My heart ponders as I create my art piece and finally conclude that life has a way of moving on.
This was TQS BOM for 2014 designed by Janet Stone. I used an olive green polka dot fabric for the background instead of cream or some other light neutral. I machine quilted the quilt on my long arm quilting machine with blue, green, and black Bottom Line thread as well as accents in gold metallic thread all by Superior. Although barely visible, I quilted the entire alphabet in the outer black border. I added heat set crystals as accents to all the blocks. Each letter of the alphbet has a crystal, too. You can see more details on my blog at https://quiltsbyjoyce.blog/2016/08/31/a-to-z-for-ewe-and-me-completed/ .