Shopping at the European Quilt Meeting

EuroPatchwork Meeting Program

The brains of the meeting.  I’d done some prepwork (looking at the website) so I knew what I wanted to see.  The very first thing: see the vendors.  I told my husband it would be like going to Disneyland for quilters.  Everything was new and different to me, but since I only have a small suitcase, I had to choose fun and interesting things.

EuroPatchwork 2017_Vendorsprices
Since fat quarters were running about $5 a piece (with the conversion rates) and fabric was 22 Euro (about $25 dollars) per meter, I knew right off the bat I wouldn’t be buying any “American” fabric, and gained instant sympathy for European quilters at these prices!

The vendors were in a combination of inside “Espace Commercial” and outside tents, with one side of the tent opening to the passersby (and the weather).  I saw many of the drapes drawn to close in the booths when it was raining.

The Commercial Space was weather-proof, but hot and stuffy.  I took these photographs early in the morning.  When we doubled back before leaving, it was very crowded.

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Who wouldn’t want to shop at this booth, with its array of Kaffe fabrics and a vendor with bright pinky-red hair?

EuroPatchwork 2017_VendorsVenue6 Moda

This isn’t exactly a vendor, but the distributor (Rhinetex) who’d rented out the ground floor of this old house, displaying some Moda fabrics (don’t they always do it spectacularly?).

EuroPatchwork 2017_VendorsVenue6 Moda3EuroPatchwork 2017_VendorsVenue6 Moda2And inside, the famous Tula quilt for her new line, and a sweet scene at the fireplace, with their logo on the felt backdrop.  Lots of quilts in here, and it was fairly mobbed.

EuroPatchwork 2017_VendorsVenue5 creativesThe last venue I want to mention was titled “Les Createurs” and was filled with beautiful handiwork from “designers and craftsmen.”  I definitely coveted a few pieces of jewelry, as well as that blue coat in front. Now to show you what I bought and what their booths looked like.  I asked permission for all photos, but was told more than once they’d only like me to take a “general” photograph (imagine this word with a French accent); I totally understood their request and why they made it.

EuroPatchwork 2017_Vendors1These folks are from the west side of France; she has a book out (I saw it at the book booth, but since it’s all in French, well…)  I’m always thinking small, so I picked up these two fat quarters.
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Across from them was the Costuretas de Moly booth, with the most charming kits and small handmades.  I saw a lot of sweet little bags and pouches with detailed scenes appliquéd and embroidered on the fronts and backs.  They are from Catalan, Spain.EuroPatchwork 2017_Vendors2a

A small bracelet, a quick blurry shot of the bins of bracelets (they didn’t want their booth photographed) and random German Christmas Tree, the only thing I regret buying.  The vendor had tacked green rosettes of fabric around all the outside edges, and I thought maybe I could tie on some green primitive rags instead.  Oh well, we’ll see.

The handmade, laser-cut embellishments were purchased next, from a booth that made it hard to decide, given their categories of sewing, animals, children, family, house, etc.

EuroPatchwork 2017_Vendors5aEuroPatchwork 2017_Vendors5Even though I said to myself “no fabric” the Filarte booth drew me in with their linens.EuroPatchwork 2017_Vendors6My husband and I both liked the scarf on the outer upper edge of the houses, but when I tried on the leafy print next to it, well, that one came home.  It is wool and cotton so I will be very warm in sunny old Riverside. (I’m wearing it now, as I type this next to the chilly window in our hotel in Geneva.)

EuroPatchwork 2017_Vendors7cI had a total fangirl moment when I realized whose booth I was standing in front of: Un Chat dans l’aiguille.  The lady on the right is the artist who makes up all these beautiful pieces (and whose name I think is Christel–hard to figure it out when you don’t speak the language).  I fell in love with her Matryoshka needle case, that I saw in a shop when I was here in Geneva last year, but they didn’t have any more (it’s out of print).  So when I got home, I looked up who made it and read all about her and her designs.

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But what to chose?  None of them are cheap, so I had to choose carefully.EuroPatchwork 2017_Vendors7aEuroPatchwork 2017_Vendors7bI went with this little pouch with all its flowers and scalloped edge detail.EuroPatchwork 2017_Vendors7aabWhen I looked inside, I can see why her kits are so popular: everything is well-labeled, ordered and she even included a needle.

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Sometimes what draws you in to fabric is that it is the exact opposite of what you’d normally buy.  Like the dusky shades of printed and dyed linen on the left.  Then you spend the next two hours mentioning to your husband that it won’t be enough fabric to do anything with, so you circle back around (my husband is a saint) and then pick up two more fat quarters to round it out.  I’m assuming it was the wife of the man (below) sort of strongly suggested that it was not good to put the heavier weight linen next to the quilt-fabric-weight linen on the right.  But I loved the look of the thicker threads in the first pack and couldn’t be persuaded to change.  If only they’d had the colors on the right in the heavier.  The vendors are from Germany.EuroPatchwork 2017_Vendors9a

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Here’s the back of the package, in case you ever run into them.  Like I said, nearly everything I saw was unique, unusual, and not seen in the American markets.

Like these doll heads:EuroPatchwork 2017_VendorsRandom HeadsEuroPatchwork 2017_Vendors10EuroPatchwork 2017_Vendors10a
We saw this sign while walking between exhibit locations, and entered into the little lane where several booths were set up with bolts of fabric.  At the back was a burned out house (?) with buttons for sale in what looks like the garage.  Or maybe the whole house was under renovation?EuroPatchwork 2017_Vendors10bEuroPatchwork 2017_Vendors10cThe quilts are pretty backdrops for what I purchased: the two buttons, above, and a necklace.

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The penultimate purchase was this dishtowel from the Beauville exhibit in Sainte Croix-aux-Mines, one town away from where we started.  I have one more purchase, but I’ll mention it when I get to the various exhibits.

Alsatian Dress Lady

Here’s the woman in the Alsatian dress again.  It is so beautiful, and of course, I wondered where I could get that apron fabric.  We saw her again later in the Old Theater venue, so stay tuned.

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July’s Gridster Bee Block

July 2017_Gridster_Carol

Here’s the block I made for the July Gridster Bee, for Carol.  It was a fun make, made easy by this tutorial from Sara Noda.  (She also has a blog post on her completed flag quilt.)

Rosette 7

I also dragged out my hexagon quilt, and got started again.  Here is Rosette #7, isolated (above), and below as it looks sewn into the quilt.  I took the blocks and quilt rosettes with me on our recent family trip — since we had a lot of driving time — and was able to get the rosettes sewn together and one more completed.Millefiore Rosette #7I’ve totally revamped Rosette #8, because frankly, everyone on the Facebook page was having real troubles with it, so I thought I would have a go at creating my own hexie arrangement.  I’m choosing fabrics for it now.

Road to California 2018 classes

I also picked my classes for Road to California 2018 (above)…

QuiltCon 2018 ESE Classes

…and my classes for QuiltCon 2018, too.  Anyone else going?  Are we in the same classes?

Film Quilt1And in case you think you only need fabric to create quilt patters, Sabrina Gschwandertner acquired a collection of old instructional films on the textile arts and has been creating quilt works of art.  I will spare you the mumbo-jumbo about quilting from the LA Times, but here’s the article if you want to read it.

Film Quilt2

(PS Ignore the random “A” up on the right side)

Film Quilt3

I actually wanted to see the movies, after reading about her and seeing images of her work.  Now it is lost forever.  Will we feel that way about the millions of YouTube videos?  I doubt it.  There is something about the tangible presence of film being cut up, the scarcity of that resource being destroyed to begin again.  But I do like looking at her works.  If you are in LA, the article has info about how to see this in the gallery, but the show closes soon.

And today is six months since my shoulder surgery.  I’ve seen the surgeon for the last time, finished my formal PT.  Now just the challenge of walking, getting back into some semblance of shape after sitting around, and doing the PT exercises on my own.

LASTLY, thanks to all who entered the OPQuilt Summer Book Giveaway (snazzy title, don’t you think?).

 Giveaway Banner

Here’s another:

Intentional Piecing_Book Giveaway

Amy Friend’s Intentional Piecing, a look at using fussy-cutting to make spectacular quilts.  She has a range of stellar projects, plus some fun paper-piecing designs to sew into various quilts and hand-mades.  It’s signed by the author.

Again–leave a comment letting me know if you are interested in receiving this book in the giveaway.  I’ll notify the winner by email.

Update: Roxanne was our winner from the last giveaway. Thanks again for all who entered!

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Quilting System

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Some time ago, Oliver Burkeman, writing in the Guardian newspaper, discussed the idea of implementing “systems” rather than using goals when we are striving toward a new frontier, whether it be in quilting, or better exercise.  He starts by quoting the Dilbert creator, Scott Adams:

“when you’re trying to get better at something – a creative skill, such as cartooning, or a habit, such as regular exercise – think in terms of systems, not goals” for “when you approach life as a sequence of milestones to be achieved, you exist “in a state of near-continuous failure.” Almost all the time, by definition, you’re not at the place you’ve defined as embodying accomplishment or success. And should you get there, you’ll find you’ve lost the very thing that gave you a sense of purpose – so you’ll formulate a new goal and start again.”

Systems ideas mean that if you are a person who walks in the morning, you’ll strive to change one small thing about your stride, or improve your time slightly, and incorporate that into your exercise.  The trick is to keep it simple and small, much like the kaizen idea formulated in Japan, which means continuous change for the better.

Adams notes that working in a system is “something you do on a regular basis that increases your odds of happiness in the long run,” regardless of immediate outcome. Burkeman goes on to say that “drawing one cartoon a day is a system; so is resolving to take some kind of exercise daily – rather than setting a goal, like being able to run a marathon in four hours. One system that’s currently popular online goes by the name “No Zero Days”: the idea is simply not to let a single day pass without doing something, however tiny, towards some important project.”

Keagan_6

So how does this apply to quilting?

If you think of all our words for unfinished goals (e.g.: WIP, UFO, etc.) and look at the number of online “finishing” blogs that give away prizes if you finish quilts on your list, you can see that we in the quilting world might need the idea of a system.

What IF you approached it as having no zero days…or…continuously making one small change for the better (kaizen) by sewing for small increments at a regular basis, rather than trying to do a blitz over a weekend?  Certainly how your time is managed for you has an impact, for I recognize that small children, spouses, bosses and health issues can indeed interrupt the time available to you.  But what if you had a idea of doing a small part of your project, but doing it daily? Soon your system would bring you to a completed quilt project.

goals

from Here

It’s hard to grasp the idea of process, especially if you’ve spent your life thinking in terms of product. We’re very good at beating ourselves up over our procrastination or lack of motivation or our inability to get that quilt done.   But I like the idea of leaving behind a “state of near-continuous failure,” exchanging that instead for a series of small, manageable tasks that become a part of my day.

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I leave with you a little saying on my bookshelf from a past leader in my church, which, when I’ve overwhelmed myself, helps keeps me centered:

Making Progress on Oh Christmas Tree Quilt

OhChristmasTree7_Final

Remember this?  And did you know there are (at this writing) about  35 days until Christmas?  So I decided I’d better get to it.  counter-pinning_1

Since rolling around on the floor pin basting a quilt is not really something I want to do, I do my pin basting on the counters now.  Some people use ping pong tables or dining room tables, but the principles are all the same:  Tape/clamp the backing to the counter, using the edges of the counter to help locate the center of the backing, and keeping it straight.counter-pinning_2

Lay out the batting, previously cut to size.  Tape down.counter-pinning_3 counter-pinning_4

Drape the quilt over the above, matching centers and getting it on straight to both axis–both North-South and Left-Right.  (Ask me how I know this.)  But I did find out that you can unpin pretty quickly when you find out you neglected to pay attention to the Left-Right axis.  Quilt is all pinned now.

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That felt is really thick on some parts, so I used it to help scoot my needle around the disc.  I decided not to quilt through the felt ornaments, but to instead outline them.  I know I may go back in at some point and put in some stitches so that it is not too poofy, but aware of the deadline, I just outlined today.  On the first day of quilting, I did all the way around the tree–all flowers, leaves, birds and the manger scene at the bottom.oct_quilting-background2

Then I had some time left before the next interruption activity, so I had decided to keep going on the background around the tree.  I had chosen a really really really low-key free-motion design for that space, given how much was going on in the rest of the quilt.  I quilted little stars (less than 1″ tall) and loopy lines in between them, using a matching thread: Masterpiece from Superior Threads.  Bisque is my go-to color for nearly everything and it worked well here, too.oct_quilting-background

At the end of the first day I felt like I made great progress: all around the tree stuff and then all the neutral background on the righthand side.

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Day Two.  I tackled the lefthand side of the tree, filling in the background with the loopy star path, as before.  I am trying to get better at “puddling” up the quilt all around me so I don’t end up tugging and pulling as I work.  Lots to learn.  I have a Sweet Sixteen Handi-Quilter quilting machine, and I’m amazed at how much more quickly I can stitch a vast amount of quilt, than I could when using my domestic machine.oct-day-2_2

After I completed the center background fill, I outlined the triangles, then stitched in the ditch down the backside of them in a long straight line, outlining them.
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Here I am at the end of my quilting session on Day Two.  I’m now stalled at how to quilt the wonky stars and am letting my brain think about it for a while.  I might yet make my deadline of Dec. 1 if I can work out the stars challenge.

I also realized that I shouldn’t do a star-studded-over-the-top quilting job, as it will change the look of the quilt.  Those wool appliqué pieces are rather flat and glob-like, if you want to know the truth, and if I quilt heavily, it will further emphasize that they are “floating” on top of the quilt.  I’m trying to keep everything flat, not puffy, so that the quilting feels integrated with the quilt.

As I reviewed the quilts I’ve made this year, it feels like it’s been the Year of the Tiny.  Some of it is due to group challenges, like Four-in-Art, some of it is due to swaps and collaborations, and a lot of it was due to my being gone a lot from home.  I can’t get the work done if I’m not here.  Writers have a phrase for it, something to the effect of the need to apply the seat of the pants to the seat of the chair in order to get to the writing.  And unlike writing, with its portable paper and pen (computer?), when quilting, there is a lot of stuff you need, that can only be found in the sewing studio, room, or nook.

Joseph Campbell understood the idea of a place to create, when he noted that

“To have a sacred place is an absolute necessity for anybody today. You must have a room or a certain hour of the day or so, where you do not know who your friends are, you don’t know what you owe anybody or what they owe you. This is a place where you can simply experience and bring forth what you are and what you might be. …This is the place of creative incubation. At first, you may find nothing happens there. But, if you have a sacred place and use it, take advantage of it, something will happen.”

Annie Dillard wrote about the time she had a space upstairs in an office with a window.  She reached over and closed the blinds, even on the Fourth of July so she could keep writing, undistracted by the view, the noise, by anything.  I had a quote of hers taped to my computer when I was in grad school:

“Every morning you climb several flights or stairs, enter your study, open the French doors, and slide your desk and chair out into the middle of the air.  The desk and chair float thirty feet from the ground, between the crowns of maple trees.  The furniture is in place; you go back for your thermos of coffee.  Then, wincing, you step out again through the French doors and sit down on the chair and look over the desktop.  You can see clear to the river from here in the winter.  You pour yourself a cup of coffee.

Birds fly under your chair.  In spring, when the leaves open in the maple’s crown, your view stops in the treetops just beyond the desk; yellow warblers hiss and whisper on the high twigs, and catch flies.  Get to work.  You work is to keep cranking the flywheel that turns the gears that spin the belt in the engine of belief that keeps you and your desk in midair.”

We are the same in our places of creation, whether it be the dining room, the corner of a bedroom, or a big fancy studio.  We need our place to create, we need distraction-free blocks of time.  We need to keep cranking the flywheel, to turn those creative gears.

We need to work.

Uppercase Fabrics, Kevin Umana, and Creativity Breakout

KevinUmanaSnap

This post is the story of two creatives, well, maybe three.  One is an artist living and working in Los Angeles.  That’s Kevin Umaña, up there.Vangool

Another is Janine Vangool, a graphic artist and editor-in-chief of Uppercase Magazine in Canada, who recently released a line of fabric through Windham Fabrics (photo of Janine from *here*).

And then there’s me, but you know what I look like.

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And it’s also the tale of two quilts and a quilt block (which is at the end, by the giveaway from Uppercase and Janine, so keep reading).KevinUmanaIGfeed1

Some time ago, my nephew linked me over to Kevin’s Instagram feed, as he knew I am slightly passionate about quilts and designs, and I’m especially in love the the “grid.”  Apparently Kevin loves it too, as well as color and shape and repeated lines. (All these images are posted with his permission.)
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I had sort of been in a creative slump, slightly burned out, not really knowing what to do next besides bee blocks and the Same Old. Idly scrolling through Kevin’s feed one afternoon, I found a few designs that interested me; he and I began to correspond, and then collaborate.

Stitch-IlloAbout the same time, Uppercase Magazine‘s Janine Vangool announced that they were producing an Encyclopedia (images from Uppercase’s website), and the one that interested me was her Stitch-Illo, one of three that was launching the Encyclopedia series.  Since I’d missed submitting to her Compendium (which is always on my nightstand), I went right to her website and started choosing pictures to submit, planning on getting the submission in early. Everything was going along swimmingly until I hit this question: “What makes your work unique?”

Unique?

No matter what I wrote, it sounded trite and useless and idiotic and banal and cliched, and believe I re-wrote the answer to that question about 50 times. I felt dead in the water.  (I’m sure Kevin wondered what happened to me.)  It was like coming up to a mirror and instead of seeing a reflection of my image, it was like seeing past me into an empty sewing room, forty million quilts stacked to the ceiling, but they were all somebody else’s vision or creation or idea.  Nothing unique anywhere.

That question rattled around in my head while on a trip with my husband, and where it rained nearly every day, giving me lots of time to think.  I slowly reviewed all the quilts I had pictures for while sitting in my hotel room, wondering; do we all make the same quilt, over and over?  Not our own same quilt, but the One of the Moment, currently seen on everyone’s Instagram feed, or splashed all over the quilty magazines?  Where was my unique?  If someone saw one of my quilts, would they say, “Oh, yes–that’s Elizabeth’s!”  And if I really had a unique, what was it?  What did it look like?  How could I tell it from someone else’s?

And in my more cynical moments, I’d say, “Well who cares, if it’s unique?  Doesn’t matter enough that I’m a maker, that I express myself with cloth and sewing and cutting and stitching?” Really helpful, right?

IllusionofColorsQuilt

Back home, I began looking at Kevin’s designs again.  In college we were encouraged to do “imitations” of writers, using their form in order to get the meter and the words under our creative nails, as a way of training up a writer. It was a form of limiting, giving us structure, but not letting us off the rails, so to speak.  So I decided to allow Kevin’s form to give me structure. And I chose to limit my fabrics to a (delightful) bundle of Janine’s Uppercase fabrics, which I’d purchased at Market.

The first experiment (above) with Kevin’s work was almost an exact copy.

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Umana Cross Quilt 2

But the second quilt took off on its own.

Crossroads Center Block

The center cross morphed.
Crossroads_frontfinal Crossroads_detail

Somewhere in here, the experiment sparked an original idea.  And when I quilted, I kept seeing more.Crossroads_3 Crossroads_2 Crossroads_1

Crossroads, after Umaña • Quilt #165

Until finally, I’m here.

I won’t tell you what I wrote for Uppercase, because in a way, it’s really irrelevant to the idea of this particular story.  What resonates is that challenge laid down in those words of the application, one that I think about to this day.  I’m incredibly grateful to Kevin for allowing me to collaborate with him, and to borrow a little from his light when I needed it.

I’m also grateful to creatives who make fabrics for me to use, such as the excellent line shown in this post.  All fabrics, with the exception of the solid white, are from Janine Vangool’s Uppercase Fabrics line.  Yes, even the wee metallic letters in the sunglasses below, an echo of Kevin’s at the top of the post.

UppercaseFabricSunglasses

 (Chuck Nohara block #345. Pattern for the Crossroads quilt coming soon to Craftsy.)

And finally, the cheesy way to close out a conundrum: let somebody else do the talking for you.

I narrow-mindedly outlawed the word ‘unique.’ Practically every press release contains it. Practically nothing ever is. (Fred Hechinger)

Every person born in this world represents something new, something that never existed before, something original and unique and every man or woman’s foremost task is the actualization of his or her unique, unprecedented and never recurring possibilities. (Martin Buber)

Always remember that you are absolutely unique. Just like everyone else. (Margaret Mead)

Nobody can be exactly like me. Even I have trouble doing it. (Tallulah Bankhead)

Giveaway Banner

Uppercase Giveaway

When I saw Janine at Quilt Market, her booth was handing out free Uppercase Magazines.  Since I’ve been a subscriber for several years, I mentioned to Janine that with the free magazine I could instead do a Giveaway on my blog, and she handed me another magazine, her fabric catalogue and the charm pack of her fabrics to sweeten the pot.  To enter, please leave a comment.  Blog followers get double their chances (shameless promotion), but it’s not necessary to follow to win. 

NOTE: Giveaway now closed.  Thanks to all who entered.

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And finally…

Giveaway Step 6_OCT

…congratulations to the winner of the Dresden Carnival book, Beth T, who wrote about making a squared Dresden plate block for her niece’s quilt.  I’ve sent you an email and I’ll get that off to you this week.  Thank you to all who entered.  You have lovely Dresden Plate Memories!