The Lancaster Quilt & Textile Museum

Within the past few weeks, news of two noteworthy (and very different) quilt exhibits has crossed my radar, one on each side of the country. I originally intended to tell you about both of them in one post, but Christie suggested that a single post couldn’t possibly do them justice. So this time around, I’ll share the news that next month, for one week only, the Lancaster Quilt & Textile Museum (Lancaster, PA) will mount a special exhibit: “The Art of the Quilt: 82 Quilts from the Former Esprit Collection.”  This landmark display of vintage Amish quilts kicks off on Tuesday evening, March 13, with a by-reservation preview reception and dinner with former curator of the Esprit collection, Julie Silber. The exhibit opens to the public on Wednesday, March 14 and runs through Sunday, March 18. For a complete schedule of exhibit hours, curator tours, and other related special events, click here.

Diamond in a Square, Lancaster County, PA, c. 1925. Gift of Irene L. Walsh. One of the 82 quilts that will be on exhibit at the Lancaster Quilt & Textile Museum.

The architecture of the Lancaster Quilt & Textile Museum is a work of art in itself!

This is the first time the entire collection of 82 quilts will be seen together since they appeared at the deYoung Museum (San Francisco) in 1990 and, as Julie says, “Who knows when they will ever come together again?” The Lancaster venue, a circa-1912 Beaux-Arts bank building, is a work of art in itself. The quilts will be shown in the Grand Hall, utilizing both ground and fly space for a multidimensional visual experience. The show is timed to coordinate with the AQS Quilt Show and Contest, set for March 14 – 17 at the Lancaster County (PA) Convention Center, within walking distance of the museum site.

Lone Star, Lancaster County, PA, c. 1920. Gift of Irene N. Walsh. Does this quilt look familiar?

Lone Star was one of four Amish quilts commemorated on first-class US postage stamps in August, 2001.

The journey of these amazing quilts, from rural Lancaster County to the West Coast and back again, makes a wonderful story. When Doug Tompkins, founder of the Esprit Corporation in San Francisco, saw the groundbreaking “Abstract Design in American Quilts” at the Whitney Museum of Art (NY) in 1971, he was so inspired–particularly by the Amish quilts–that he began collecting in the Lancaster area. For many years, various quilts from the collection were on display at the Esprit corporate headquarters, and the public was welcome to stop by and see them. In 1983, Julie Silber was hired to curate the collection.

Bars, Lancaster County, PA, c.1920. Gift of the Great Women of Lancaster.

In 2000, when Doug made plans to sell the quilts, he enlisted Julie’s help. Hoping to keep the collection intact and to see it returned “home,” Julie arranged the sale of all 82 pieces to the Heritage Center of Lancaster County, who purchased the quilts through a highly successful fundraising effort. Since 2002, various quilts have been shown, but never the entire collection.

Diamond in a Square, Lancaster County, PA, c.1920 - 1925. Gift of Irene N. Walsh. Another quilt chosen for postage-stamp honors.

Bottom line: if you’re able to visit the Lancaster area in mid-March, don’t miss this potentially once-in-a-lifetime opportunity to see 82 amazing quilts. (For advance tickets, click here.) After March 18, the majority will be returned to storage, with a select 18 on exhibit until December 31. If you’d like to help ensure the future of this renowned collection, the Lancaster County Heritage Quilt Fund has been established to create an endowment for the preservation, curatorial care, exhibition, and storage of the quilts.

Bars (Segmented Variation), Lancaster County, PA, c.1910. This is one of my personal favorites.

Finally, if you’re a “bookie,” you might enjoy the museum’s catalog, “Amish Quilts of Lancaster County” by Patricia T. Herr, and the 1990 classic ”Amish: The Art of the Quilt” by Robert Hughes and Julie Silber, now available in a softcover version.

"Amish Quilts of Lancaster County" by Patricia Herr

“Amish: The Art of the Quilt” by Robert Hughes and Julie Silber

Many thanks to Wendy Nagle, Executive Director of the Heritage Center of Lancaster County, for her generous assistance and for providing the photographs for this post.

In my March 9 post, we’ll visit another “don’t miss” show, this time in California. ‘Til then, happy sewing!

 P.S. I was so inspired by writing this post that the inspiration spilled over into my creative time today! Here’s my little collage for February 24, 2012.

"Amish Inspiration" 3" x 5", made by Darra Williamson, 2/24/12.

After fabric designer Kathy Davis read Christie’s post singing the praises of her (Kathy’s) new fabric line, Happiness by Free Spirit, Kathy generously sent us four pieces of these beautiful prints in laminated cottons. She could not have sent us a more lovely gift.

Apparently, I am the one who loves working with laminates (at least according to my blogging sisters), so they offered me the task of designing a project to put these wonderful fabrics to good use. I immediately jumped at the opportunity.  As with any new piece of fabric, the decision is always what to make with it.

By now you probably know that I love baking almost as much as I love sewing. I can always use another apron, and the idea of having one made from one of these easy-to-care-for fabrics sounded like the perfect choice. I took the pieces to my local Cost Plus World Market to hunt for some interesting, coordinating dishtowels. My plan was to attach a dishtowel to the band of the apron. Perhaps having a dishtowel handy would stop me from wiping my hands on the back of my pants. Yes, a bad habit that often embarrasses me when I take the time to look in the mirror! I was delighted to find exactly what I was looking for. Aren’t these just perfect?

These dishtowels were the perfect find to complement my fabrics.

Here’s what I used to make the apron:

Two pieces of laminated cotton fabrics, each 18” x 28” (technically fat quarters since many laminated prints are 56” wide).

One “D” ring – make sure it is big enough for your dishtowel to fit through.

Thread to match fabric

Painter’s removable tape

Walking foot for sewing machine

Dishtowel to coordinate with the apron fabrics

The dishtowel simply slips through the ring for easy removal and washing.

Here’s how I made it:

Fabric One (Main fabric): Cut one piece, 15″ wide x 18″ long

Fabric Two (Trim):

Cut three pieces, 2-1/2″ wide x 28″ long (for waistband and “D” ring strap)

Cut three pieces, 3″ wide x 28″ long (for ruffle)

To make the waistband: Sew the three 2-1/2″-wide Fabric Two pieces together along the short sides. Topstitch the seam allowance down flat. With the right side facing out, finger press the strip in half lengthwise and sew three stitching lines, one down the center of the strip and the other two approximately 1/8″ from the edges (one folded edge and one raw edge). Cut a 4″ strip from one end of the band. This will be used to fasten the “D” ring to the waistband.

To make the ruffle: On the wrong side of each 3″-wide Fabric Two strip, mark a line 1″ in from one of the long edges. Then mark every 2″ down the length of the strips, as shown.

With the right side facing out, fold the strip along each of the 2″ marked lines. Then fold again to form a pleat. For ease in attaching to the body of the apron, be sure to fold in the direction shown in the photo. Use painter’s removable tape to hold the pleats in place. It’s not necessary to stitch the strips together to form one long piece; simply place one strip next to the other, hiding the raw edge of one behind the fold of another.

Position the folded strip onto the bottom edge of the main fabric, aligning the main fabric with the 1″ marked line on the wrong side of the ruffle. Secure on the wrong side with tape. Sew two stitching lines on the right side; one 1/4″ and one 1/2″ from the top edge of the ruffle.

Fold the top edge of the apron 1-1/2″ to the wrong side. Secure with tape. Make two 1″ pleats at the top edge, each 5″ in from the sides of the apron. Position the “D” ring and strap over a pleat (right side for right-handed bakers and left side for left-handed bakers.) Stitch across the top to secure.

With the folded edge on top, center the waistband on the top edge of the apron. Stitch through all layers, stitching over the previous stitching lines. Trim the waistband to your desired length and cut the ends at an angle.

Insert the dishtowel through the ring and you are ready to spend the day in the kitchen…and keep the back side of your pants clean. Enjoy!

Note: there is some very helpful information on working with and caring for laminated fabrics on the following websites: The Quilt Show, Pink Chalk Studio and Oilcloth Addict.

I just can’t resist showing you one more project. This one is so super simple, yet I think it has many uses. I purchased a hand towel (could be any size), and then cut a piece of laminated cotton approximately 1″ smaller. With the right side of the cotton facing up, I centered it onto the towel and then edge-stitched all the way around, using a walking foot to prevent slippage.

Here are a few potential uses: baby-changing pad, dog-or cat-food mat, shopping-cart seatcover for toddlers. Can you think of any others? Simply tell us how you might like to use these fabrics by the end of day Friday, March 2nd, and I will be “happy” to send one lucky reader a fat-quarter bundle of the same four, beautiful laminated cottons we received from Kathy Davis. Thanks again to Kathy for the fabric and the inspiration.

Sending more happiness to all of you.

Flat shot on wall by Heather Moore. Click the photo to visit her Etsy site.

While good lighting is always the #1 requirement for successful quilt photography, there are a few other essentials Heidi suggests for shooting whole quilts. Ultimately, the challenge is to capture the full size of the quilt and the totality its pattern/design as well.  That means flattening the quilt against a surface like a floor, table, or wall.

Heidi’s Tips:

• Select a background bigger than the quilt. Backgrounds that are too small look messy and contain distracting details.
•  Aim the camera directly at the quilt’s center to mitigate perspective and distortion challenges. (Here’s your clue that you’ve missed the center point with your focus:  your quilt’s edges will be tapered or rounded.)
•  Consider investing in a mid-range professional tripod that combines a vertical column with one that will rotate and lock horizontally at 180 degrees. Tripods make it easier to photograph quilts straight on when spread on a floor or another flat surface.
•  Investigate using wider-angle lenses—generally 50mm and below—to achieve a broader field of view. You’ll get a little distortion, but you can minimize that by increasing the area of your background by an additional foot or so and cropping excess background in photo editing.

The bottom line is that it’s easier to photograph large quilts on the wall than on the floor, but the biggest challenge with that strategy is affixing the quilt to the wall and keeping it flat.  Heidi suggests using double-stick tape, especially exhibition tape with low- and high-tack sides. You’ll find more insights into craft photography in her wonderful book and in the interview excerpt linked above.

Professional flat shot of "Harajuku Feathered Star" by Laura Nownes. Click the image to visit her original post on the theme fabric and star design. Visit Laura's Etsy site for all her patterns.

For those in need of especially high-quality quilt photographs, there are professional resources available. As quilt makers who design patterns for purchase, Christie, Laura, and I occasionally turn to C&T Publishing when we need to photograph our larger quilts.

Professional flat shot of "Zen Roses" by Jennifer Rounds. Sorry no pattern, but I'll gladly teach you my dimensional applique process!

Professional flat shot of "Block Party" by Christie Batterman. Click the photo to see Christie's Artichoke Collection patterns.

About that Interweave giveaway and the winners of the valentine’s challenge . . . Carmen has won a copy of Heidi Adnum’s The Crafter’s Guide to Taking Great Photos. Congratulations! And many thanks to our visiting author and Interweave for the book and the blog-tour visit.

Hearty congrats to Kim Butterworth for best interpretation of theme with “Heart-FELT Valentine,” Sandra Bruce for “XOXO,” and Michelle Rockwood for “Hearts Full of Love.” Each will win handmade heart earrings which I photographed by using Heidi’s nifty idea for a light box explained on page 56 of her book. Click Gallery to visit our Heartfelt Special Exhibit (FYI: closes 2/29/12) and click any image to start the slideshow. Till next time, Happy Quilting!

Just a little more Valentine inspiration.

Are you ready for the second block in our 2012 Block of the Month project? Let me know if you’re sewing along with me and what fabrics you’ve chosen. As a  teacher and designer, it’s always so interesting to see how distinctive a pattern can look depending on fabric selection.

A couple of years ago, I was teaching a holiday wallhanging class. As the students were getting settled, I mentioned that I was looking forward to seeing their fabrics. One by one, each of them brought out the same kit they’d purchased in the shop – so much for diversity!

Here are my two samples of the February block. Click here to download the instructions for Block 2 or click to visit our pattern library. I’ve added a Setting Diagram for anyone who is interested in a preview of the finished quilt. If you’re just getting started, all of the monthly block instructions will be available in our pattern library.

February Block - Sample 1

February Block - Sample 2

For my February blocks, I used three fabrics, alternating two fabrics for the center two-patch units and the third for the side strips. If you decide to do the same, you can save time constructing the center units by sewing a 2½” x 40″ strip of both fabrics together, and cross-cutting the strip set every 2½” to yield the 15 two-patch units needed to complete the three blocks.

Have you noticed that I’ve kept the values of my fabrics fairly consistent within the blocks? I plan to continue this for the entire quilt. Having said that, I’ve seen similar patterns done very successfully with lights, mediums, and darks within the same block.

I’ve chosen to use the same fabric combination for all three of my blocks each month. You certainly can mix them up and make each block unique, especially if you’re making a scrappy quilt. Another option is to limit a block to one color. My friend Allison chose a jelly roll in Moda’s Hometown line by Sweetwater, which features grays, reds, taupes, yellows, and creams.  Since she’s chosen cream for her sashing, she’s going to save the strips that read cream for another project, and feature a single color per block. This is another very appealing design option.

Congratulations and Happy Valentine’s Day to Deb Anderson! You’re the winner of my January 31 post giveaway – Alex Anderson’s book Neutral Essentials.

Happy Valentine’s Day and Happy Sewing!

This is a great project for using those bits of “exotic” fabric and beautiful trims, beads, and buttons that are so tempting at the quilt and craft shops and shows, and so perplexing when we get them home! Best of all, you don’t need much of anything. A little extravagance goes a long way.

From background fabric, cut 1 piece, 6 1/2″ x 6 1/2″.

From complementary fabric, cut 2 side panels, 3 1/2″ x 6 1/2″.

From heart fabric, cut 4 hearts using the Boudoir Heart Pattern; if you plan to hand applique, add a scant 1/4″ when cutting the fabric hearts.

From backing fabric, cut 2 pieces, 6 1/2″ x 8″.

You’ll also need a 6″ x 12″ pillow form; embellishments, trims, and decorative threads as desired; and scraps of lightweight fusible web if you plan to fuse the hearts as I did. (Instructions appear later in the post if you prefer to make your own pillow form.)

Pillow Front

1. Fold the background square in half horizontally and vertically; press lightly. Center one heart on each crease line, points to the center. Use your preferred method to applique the hearts to the background. I fused the hearts using lightweight fusible web, and finished the edges with a straight stitch and metallic thread. Easy, easy, easy!

2. Using a 1/4″ seam, sew the appliqued square between the 3 1/2″ x 6 1/2″ side pieces; press toward the side pieces. This completes the basic pillow front.

3. Now comes the fun! Embellish the pillow front as desired. I stitched beads and silk leaves to the appliqued block, and garnished the center with a decorative button and my trusty glue gun. I also topstitched a jacquard ribbon over a lace-edged satin ribbon and added them to both sides of the appliqued square.

Pillow Assembly

1. Turn under one 6 1/2″ edge of one backing piece 1/4″ to the wrong side; press. Fold over a second 1/4″; press and topstitch. Repeat with the other backing piece.

2. Layer the pillow front and the backing pieces, right sides together, aligning the raw edges; pin. (The hemmed edges of the pillow backing will overlap about 2″ – 3″.) With your machine set in the needle-down position, stitch 1/4″ from the raw edges all around the perimeter, pivoting at each corner. Clip the corners at an angle, taking care not to cut into the seam.

3. Turn the pillow cover right side out, making sure the corners are nice and crisp; press. (Another job for my 4-in-1 Essential Sewing Tool). Insert the pillow form, and you’re all set!

To Make a Pillow Form

Cut 2 pieces of muslin, 6 1/2″ x 12 1/2″. Place right sides together. Stitch around the perimeter with a 1/4″ seam, leaving a 6″ opening along the bottom edge. Clip the corners, turn right side out, and press. Stuff to desired firmness with your favorite filler, pin the opening, and slipstitch to close.

Here’s an up-close look at my second take on this versatile little pillow: same pattern and instructions, just different fabrics and embellishments, and a slightly different layout.

For this version, I folded the background block on the diagonal in both directions (rather than vertically and horizontally) to create guidelines for the alternate placement of the heart appliques, and I embellished the pillow with two layers of ribbon, oval pearl beads, and a narrow satin bow.

If you’re looking for a good book on basic pillow construction, as well as lots of ideas for simple-yet-stylish decorative pillows, I highly recommend Oh Sew Easy Pillows by the dynamic mother-daughter team, Jean and Valori Wells. This colorful, 64-page book includes 29 projects, or pillow “recipes.” I particularly love the chapter called “Decorative Details,” which features nicely illustrated, step-by-step instructions for flanged edges, ruffles, cording, piping, and more.

On the subject of books, congratulations to Evelyn O’Brien, winner of Gwen Marston’s book, 37 Sketches, from my January 27 post. Evelyn, if you’ll email us with your mailing address at seehowwesew@gmail.com, we’ll have your autographed copy on its way from Gwen asap!

By the way, I was intrigued by the comment from Deborah, in which she noted that she has been making a series of little 3″ x 5″ collages per my May 6 (2011) post. Has anyone else out there been experimenting with this creativity exercise? If so, please let me know at seehowwesew@gmail.com. I’d love to hear about and see what you are doing.

January 22: Another 3" x 5" collage from my personal creativity challenge

‘Til next time, happy sewing!

I spent the past two weeks digging through stacks of fabric and visiting several local quilt shops in search of what I call the “muddy” colors that will play well with the other fabrics I have selected. My goal in adding these tones to my palette is to help diminish the brightness of my original three prints. The tool was helpful in allowing me to narrow down the search and select my favorites.

Looking for good "playmates" in the muddy Fuchsia tones.

Here are a few bolts of muddy Aqua Blue prints.

I look for a variety of prints as I like lots of pattern play.

After going through this process, I have quite a large selection of fabrics (lights, darks, pure colors, and tones) to choose from. I wanted to take you through the process of collecting fabric for a particular color scheme, but unless you are making a very scrappy quilt, which I often do, you will want to narrow down the selection.

I think most quilters start with a pattern and then begin the process of choosing fabrics. I decided to experiment with the Memory Star pattern.

Memory Star block

I like this block not only because it offers many color opportunities, but also because it allows for some interesting secondary designs when the blocks are joined together. You only need to make one block to see these often-unexpected and exciting secondary designs.

To preview the secondary designs that form when multiple blocks in these fabrics are joined together along the sides, simply fold two opposite sides of the block into the center.

Secondary design formed where blocks join on the sides.

For a preview of the secondary designs that form where blocks meet in the corners, simply fold each of the corners into the center of the block and pin.

Secondary design formed where blocks join at the corners.

Auditioning your block this way also gives you an opportunity to make simple changes, perhaps alternating corner fabrics to produce even more interest. Look at the following photos to see how a simple adjustment in fabric placement changes the secondary designs.

Memory Star block in Triadic Color Scheme.

Secondary design when blocks join on the sides.

Secondary design where blocks join in the corners.

Thanks so much for joining me on this color journey. I hope you have found it helpful and that it encourages you to play with the 3-in-1 Color Tool and to experiment with fabrics and colors that you may not have yet explored.

As I mentioned in the first post in this series, if you are interested in a more in-depth study of color, I encourage you to follow Joen Wolfrom on her new blog, Playing with Color. I promise you a wealth of information and inspiration.

Until next time, happy sewing!

P.S. – Before signing off I want to show you just one last sample. This has been a fun process. I think I will be playing more with these fabrics. Be sure to check back to see the full quilts.

Scrappy four-patch blocks set on point.

Have you noticed our recent bookishness? Well, that trend continues today with a blog-tour visit by Heidi Adnum, author of The Crafter’s Guide to Taking Great Photos from Interweave Press. Check below for giveaway details and click here for the tour itinerary.

Heidi’s made her mark on Etsy offering fine art prints and handmade décor called Good Will Bunting, but it’s her photographic skills that have given her an enviable edge in online commerce and made her a go-to resource for photography tips.

The bottom line here:  I LOVE Heidi’s book! It’s my new blogging bible. Seriously.

It’s one thing to write a post, quite another to take the images that capture the spirit of a tale, illustrate a technique, or showcase handiwork. Who will be tempted to read a post if the photos don’t sell the message? (Much less spend precious bucks for a handcrafted item that isn’t drool-worthy.)

Photo by Rodica Cioplea

Of all the hurdles to setting up and running a collaborative blog like ours, photo taking has been among our toughest weekly challenges. Enter Heidi’s instructional guide complete with do-it-yourself accessories and real-world insight from featured artists. I’ve hopes that I can close the gap between my creative ambitions and technical skills now that I’ve perused the book and experimented with her suggestions.

While Heidi’s book tends to focus on photographing smaller crafts and fashion, her insights are equally appropriate for those of us who want to showcase quilts. Luckily, blog tour hosts can query visiting authors so I asked Heidi for advice when photographing quilts. She gave me so much great information that I’m splitting the details into two posts. Check back Friday, February 17 for the next installment–she’ll be covering flat shots of quilts.

What advice do you have for photographing large-scale items, like quilts?

I think in situ and neutral backgrounds are two great options for styling quilts. In situ styling (also known as lifestyle or on-site styling) includes homey settings such as a living room or bedroom, on a wall, draped over a sofa, or folded and stacked on a chair, etc. Choose an uncluttered, not-too-personal setting, moving the prop nearer to the window to take advantage of natural light, if necessary.

Outdoor settings can be lovely, too; just make sure that the lighting is soft and the scene is relevant to the object. For example, you wouldn’t normally hang your quilt over the verandah, but you might drape it over a chair.

Photo by Heather Moore

Neutral backgrounds in whites, soft grays, and natural colors will let the beautiful detail, color, and patterns of a quilt do all the talking. Neutral styling can also include walls, but choose walls without distracting details. Combining the two together, that is, a neutral background with a simple but relevant in situ prop, can give you a clean and contemporary result, similar to what you will often see in higher-end home décor stores, catalogs, and websites.

Using a white wall against a white or concrete floor and one or two simple but classic props, such as a beautiful chair or hanger makes a high-impact visual statement. Photographing a quilt that is laid out on a bed won’t allow the full pattern to show, but it will still give the viewer a good idea of the pattern and composition.

Photo by Helen Rawlinson

Try shooting your photo from eye-level or slightly below and consider framing a side-on view to the bed or diagonally across the bed’s surface from one of the bottom corners, depending on the room layout and quilt design. Check the book for tips on showing the texture of the fabrics that your quilt is made from. H.A.

Now about that book giveaway . . . Interweave Press is generously offering a copy of Heidi’s book to one of our readers. You know the drill: leave a comment by Friday, February 10 for the random drawing and I’ll announce the winner in my next scheduled post the following Friday, February 17.

REMINDER:  The Heartfelt Valentine challenge also ends on Friday, February 10–I’m working on the prizes so you work on your valentines! Click here for challenge details and our Gallery preview.

Black adds drama to a neutral palette.

When I examine my fabric stash, it amazes me to see how many neutrals I’ve accumulated. For someone who’s usually drawn to and inspired by bright colors, it’s odd that neutrals take up more than their fair share of space, and when I do my annual sort through the “too-much-ever to-use-in-a lifetime” stash to make room for the new, I rarely give them up.

The versatile neutrals are especially wonderful for masculine quilts and, depending on the pattern selected, the results can range from traditional to contemporary. Here’s a quilt I made using the Urban Chic pattern for my niece and her husband as a wedding gift. The décor in their home is ultra modern, so I used lots of black, taupe, and cream fabrics with geometric prints.

Neutral palette using Urban Chic pattern.

Mother Nature provides a bounty of neutral inspiration, from stones to beach grass. One of my favorites is high-desert landscape (soft gray-greens and creams)–very yummy!

If you’re interested in a book on neutrals, try Alex Anderson’s Neutral Essentials from C&T Publishing. It’s full of information and includes seven projects using the neutral palette. C&T has generously donated a copy for today’s giveaway!

My blogging sister Darra has a charming little quilt featured in the book. It’s so cute, and very Darra with the buttons and rickrack.

Look for the project instructions in "Neutral Essentials"

Here’s a detail of another neutral quilt I made which favors more of the brown, tan, and gray hues. It was for my favorite nephew Joel and his wife:

Another of my favorites!

Several years ago, I attended Empty Spools Seminars at Asilomar, CA, where I took Sylvia Einstein’s Dancing Rings workshop. The pieced-rings design is based on the classical Double Wedding Ring pattern. Sylvia is a phenomenal teacher and it was an inspiring, creative four days; however, I had chosen a neutral palette for my quilt and everyone else in the room was using brilliant, bright colors. I felt like a dandelion in a field of poppies. Once I got it out of the classroom, however, and away from the “colors,” it turned out to be another of my favorite quilts.

My dancing rings "dandelion"

If you haven’t tried working with the neutral palette, you’ve missed something special. Don’t forget to add glorious grays and beautiful blacks. Grays used to be difficult to find, but in the last couple of years they’ve been popping up in lots of fabric lines. Gray adds a modern sophistication to the traditional creams, tans, and browns.

To be entered in the giveaway for Neutral Essentials, post a comment telling me how you might like to explore neutrals. Or, if you’ve used them, let me know what you’ve created. The winner will be randomly chosen from comments received before midnight Friday, February 10th, and announced in my next post, Tuesday, February 14th.

Happy sewing!

Gwen Marston is a well-recognized–and beloved–figure in the quilt world. She has taught quiltmaking in the US and abroad for over three decades, including at her popular Beaver Island Quilt Retreat, which will celebrate its 29th year this fall. (This year’s theme is Liberated Medallion Quilts.) Her work has been featured in solo exhibits all over the world. She has written 26 books, contributed to numerous quilting magazines, and inspired countless quilters with her passion, knowledge, and playful techniques, including Liberated Quiltmaking, with which she has become synonymous. With so many accomplishments, most of us might be content to sit back on our laurels. Not Gwen!!

Gwen holding forth at one of her Beaver Island Quilt Retreats.

About a year and a half ago, Gwen embarked on a new quilting journey. She had been teaching for her friend–quiltmaker, author, and shopowner, Jean Wells–in Sisters, OR, and found herself with a four-day gap before her next teaching gig: not quite long enough to make the long trip home worthwhile. Jean invited Gwen to stay, and the two looked forward to four glorious days in Jean’s studio.

"Small Study 1": The first quilt Gwen made while visiting Jean Wells in 2010.

Gwen decided to focus on making a few small pieces combining a number of Jean’s techniques (narrow curved insets and small accent squares) with some of her own signature methods. Making small quilts is not new for Gwen; over the years, she has made approximately 450 of them! She explains, “I feel that constructing small quilts developed my technical skills and aesthetic understanding more than any other single factor.” In the past, working small has allowed her to experiment efficiently with a variety of ideas, to be more adventurous due to the reduced risk in time and materials, and to audition new techniques, compositions, and fibers. But this time, something unexpected happened.

"Small Study 4": By Day 4, Gwen was exploring horizontal composition.

Over the course of her visit, Gwen completed four small pieces, attempting each day to create a new composition while staying within the parameters she had set for herself in size (small), fabric (mostly solids), and technique (freeform). “When I began, it was never my plan to work in a series,” she reveals. However, when she eventually arrived home, Gwen’s head was spinning with ideas stemming from the little pieces she had made during her four-day “sabbatical.” She also had begun to recognize the link between these little quilts and the sketches a painter makes to work out ideas regarding color and composition. With a healthy block of uninterrupted time now available to her, Gwen decided to continue what she had started in Sisters.

"Small Study 10" by Gwen Marston (2010).

The end result was a series of 37 small pieces, or “sketches,” and what Gwen has described as “a crash course in design.” The typical piece finished approximately 9″ x 11″, and she usually was able to complete one a day. She took a short break after making #19 to refresh and regroup, but was soon back at work, enthusiastically committed to a new composition each day.

“Small Study 33″ by Gwen Marston (2010)

“Small Study 34″ by Gwen Marston (2010)

When the last little quilt was finished, Gwen realized that she had something to share. She gathered the 37 pieces, and worked with fine-art photographer, designer, and publisher Harry Littell (who generously provided the quilt photos for this post) at Six Mile Creek Press to create a beautiful, 96-page, hardcover book, 37 Sketches, that chronicles her experience as she followed her muse, and the astonishing work that resulted from her journey.

The book itself is a work of art; it was recently honored with an award by the 2012 New York Book Show. It is not a “how-to” book, with patterns and instructions, but a book filled with inspiration and offering unique access to the design process of a very talented quiltmaker. It opens with a foreward by Jean Wells and an introduction in which Gwen describes how the series evolved, where she draws her inspiration, and how she works, with insight into the series process. The remaining pages are devoted to the quilts, with a two-page spread dedicated to each of the 37 pieces, shown in the order they were made so you can follow Gwen’s progress.

37 Sketches is beautifully designed to showcase the quilts.

Wouldn’t you love to own a copy of this special book for your personal library? Well, Gwen has generously offered an autographed copy to one of our readers! Leave a comment below by midnight (PST), Wednesday, February 8, telling us your thoughts about working in a series: Have you ever tried it? What was your experience? If haven’t, would you like to give it a try? I’ll announce the winner, chosen by random drawing, in my February 10 post. If you can’t wait that long, and want to purchase a copy, check your local quilt shop or order an autographed copy directly from Gwen. 

As for the 37 quilts: their journey has just begun. Gwen has added a new class, Small Studies, to her teaching repertoire. Among other venues, she’ll be teaching it at Quilter’s Affair in Sisters, OR, in July 2012. In July 2013, all 37 quilts will be shown in a month-long solo show at the Taupo Museum when Gwen visits New Zealand to teach at the Taupo Symposium 2013 Fabric Art Festival. 

In the spirit of working in a series, I’ll replace my usual avatar this time with one of the little quilts I’ve been making since the first of the year to explore new ideas and to jump start my creativity.

‘Til next time, happy sewing!

January 19: D is for Darra (3" x 5")

The starting point for my Triadic color scheme: Fuchsia - Golden Yellow- Aqua Blue.

Welcome to Part Two of our Color Journey using the helpful 3-in-1 Color Tool by Joen Wolfrom. If you are just joining us, you might want to take a minute to catch up with Part One , where I introduce the tool and select my favorite color scheme (triadic).

I have spent the past several days hunting through my stash, my friend Diana (McClun)’s stash, and visiting my local quilt shops for fabrics to expand my original selection. Yes, this process often takes a bit of time, but isn’t the hunt just so much fun? I took my handy tool with me wherever I went and, of course, many customers were curious as to just what I was up to.

I started by looking for both the lightest colors (called tints because white has been added to the pure color) and darkest colors (called shades because black has been added to the pure color) found on each of the three cards. I found it pretty easy to find solids to meet the requirements, but honestly, I love lots of pattern play so I had to hunt even further to find the variety of textures I so enjoy using in my quilts.

Take a look at what I have added so far to each of the three color families: golden yellow, fuchsia, and aqua blue. Notice that I have selected both the lightest and darkest. If you want less contrast, simply select colors closer together in the line-up on the pages.

Please remember that if you are playing along, we are not trying to “match” any particular swatch, but instead trying to find fabrics that look like they belong to and feel comfortable with that family (or page) of colors.

Here’s my collection as it looks at this point.

Building a triadic color scheme.

I am going to take one more step before making the final selection and deciding on a pattern. I call this “Playing in the Mud”–not a technical term; just my description of adding what I refer to as the muddy colors. They are commonly referred to as tones because gray has been added to the pure color.

I am happy to be able to offer the 3-in-1 Color Tool under “My Favorite Tools” on my website. I always suggest you first support your local quilt shops, but if you are not able to find the tool, you can click here to purchase one.

Until next time, when we have fun “playing in the mud,” happy fabric hunting everyone.