Four-in-Art

Good Friday: Four-in-Art Challenge • May 2016

4-in-art_3FourinArtMay16_1

Good Friday
Quilt No. 164, May 2016
#2 in the Color Series: MusicFourinArtMay16_2 FourinArtMay16_3

This quilt was inspired by time spent in Antonio Gaudi’s magnificent creation of La Sagrada Familia, a basilica in Barcelona, Spain.  We visited there in March of 2016, on Good Friday of their Santa Semana (Holy Week).  It was a fitting capstone to our visit to Spain, and to other of Gaudi’s architectural buildings, and from the moment we walked in, we were overwhelmed.  Gaudi based a lot of his structures on natural elements, curves inherent in draped forms, local mountains, rock and nature.  So I took my cue from the same, as well as trying to weave in a representation of my experience there with color, music and the Spirit.FourinArtMay16_SagradaChristIn most of the Catholic churches we visited on our trip, the center crucifix of Christ was based on what we perceived as physical pain: the suffering that Jesus as a mortal man endured on the cross for all those many hours of the crucifixion, his head bowed, the expression on his face, agony. Yet in Gaudi’s church, Christ was under a canopy that appeared almost like upside-down blossom of a trumpet flower, surrounded by a vine laden with clusters of grapes, the expression on his face transcendent, his eyes focused upward.FourinArtMay16_La Sagrada FamiliaAnd high above him, nearly 200 feet in the air, is a golden arrow or tree that points to a further high point, a representation of his ascension to heaven.  The symbolism is rich and layered for those who are familiar with the story of Good Friday.  I sat down in the chairs in the nave to think and to let myself fall into what I was seeing, and surprisingly, hearing.  As I sat there I became aware of music, just below the level of hum of the crowd.  It was hard to decide what the score was, whether it was some oratorio like the Messiah, or a choral rendition, such as Ave Maria (which was later played at noon).  The beauty of the stained glass, the unique and thoughtful Christ in the unusual baldacchin, the representation of the Resurrection by this golden motif pointing upward and the music were a fitting celebration of the events of Good Friday.

FourinArtMay16_SagradamotifLaSagradaFamilia_13 LaSagradaFamilia_12On a more practical level, during our entire trip I had been puzzling what I would make for our May Four-in-Art art quilt, with its dual themes of color and music; I knew that day that I wanted to attempt to recreate some portion of what I had experienced, however puny my attempt might be.FourinArtMay16_5

This is my third try at this structure.  I had started out with the swirly pink, yellow and blue batik, but first used a yellow solid.  Then when we went to visit my son in San Diego, I found a fabric store that sold silk shantung, and a bit of the glistening crisp fabric came home with me.

FourinArtMay16_6

I worked those diamonds multiple ways, but finally had to settle for a tepid reference to the intricacies of Gaudi’s design.  I’m not too happy with the blue pieces, wishing I had instead something more grayed to bridge the swirling pastel batik to the outer gray, but again, I was aiming for a representation of the experience.
FourinArtMay16_7 FourinArtMay16_8Because of the lattice shape, the dimensions of this quilt are quite different than the usual 12 inch square quilts I’ve been making in this series.

FourinArtMay16_9I backed it with more of the batik, quilted it up on my new quilting machine, and bound it in more batik, wishing to let the edges flow, not constrain, the design.
FourinArtMay16_10 FourinArtMay16_11 FourinArtMay16_12 FourinArtMay16_13 FourinArtMay16_14I was surprised when I laid it out on my flagstone for a photograph in the sun, how the sheen of the silk echoed the glinting bits in the rock underneath it.  The label reads: “The intense spiritual experience of Good Friday in Barcelona, as I sat in the nave, with color, sound and Spirit blending around me, prompted this quilt: an attempt to recreate one of Gaudi’s motifs.”

Perhaps to someone who wasn’t there, it may seem puny or very far from that design motif high above the nave.  I agree.
But it will do.

tiny nine patches

Please visit the other quilters in the Four-in-Art group, so named because we work towards quarterly challenges (next challenge will be August 2016):

Betty         https://www.flickr.com/photos/toot2

Camilla     http://faffling.blogspot.co.nz/

Catherine    http://www.knottedcotton.com

Janine         http://www.rainbowhare.com

Nancy         http://www.patchworkbreeze.blogspot.com

Rachel         http://www.rachel-thelifeofriley.blogspot.com

Simone       (sitting out this round–her daughter’s getting married)

Please also visit our blog: Four-in-Art Quilts.

tiny nine patches

5XmasTreeMaySee you tomorrow for STEP FOUR of the Oh Christmas Tree QAL.

Quilts · Something to Think About

Three Mini Quilts and a Few Thoughts on Deliberate Practice

 

RoadFriendsHouse
The Road to a Friend’s House is Never Long, Quilt #159

I started this July 2015, and you know what happened to me shortly after that, so it was nice to get it fixed up and quilted, because I’d had a purpose in mind: a gift for a friend.

RoadFriendsHouse_back

Leisa likes it!  Pattern coming soon.  I used the new Northcott labels I bought at QuiltCon.  I just cut them apart, backed them with freezer paper, and ran them through my printer; see the complete how to under the tab “Tutorials,” above.

Thread Doodles_front
Thread Doodles, Quilt #160

And then there’s this one, a mini quilt made as a class sample for the Free Motion Quilting Class I’m teaching in late summer at Quilter’s Cocoon.  I had to think of a way for the students to practice their stitches, yet display what they’d learned in a pleasing way.  As soon as they master one of these stitches, I’ll have them stitch it onto their own class sample.  They may want to finish it all up that day, or may want to add to it as they get better.  Thread Doodles_back

I’m big on naming my quilts.  Another Northcott label.  After they are printed, I cut a square of lightweight interfacing and fuse it to the back the “light” section of the label so I won’t see the fabric underneath.

Electra Magnetic_front
Electra Magnetic, Quilt #161

I seem to be finishing up quite a few things lately, a nice change from the months November to February, where I felt swamped all the time, unable to seemingly get to anything.  Do you have times like that–like you see everything around you and just can’t get to it at all?  Where you are climbing, climbing Mt. NeverFinish and wish you could find the summit?  That’s why these minis feel like a success story to me.  Electra Magnetic_back

So, with all my rainbow-type quilts this past year, I’ve about run out of names.  Combine that with the funny comment I got on one of my quilts that they thought it looked like Hal the computer from the Space Odyssey 2001.  This quilt might also suffer from that comparison, so I thought I’d go with it.  The electromagnetic spectrum is all the colors, from those that we can see to those that we can’t; they call it “wavelengths, both visible and invisible.”  Okey, dokey.  So I feminized that idea and came up with Electra Magnetic, mother of Hal.

I’m still working on these patterns, and should have them out shortly.  Well, maybe not this week;  I’ll let you know.

But let not’s stop there today.  I have Brain Pickings in my Bloglovin’ Feed, and occasionally they hit a streak of book reviews on topics that interest me, and recently they did a review of Ursula LeGuin’s latest revision of her masterpiece on creative writing, Steering the Craft.  Brain Pickings references her written piece “How do you make something good?” and notes that:

LeGuin Quote1

Isn’t that also what quilters deal with?  We can make a decent quilt from stuff from the garage sale or someone’s basement (with that embedded fusty smell), but why not go for better ingredients?  We are surrounded by loads of high quality quilt fabric.  Perhaps instead of focusing on accruing endless supplies of this good fabric, why not focus on being good?  That means getting in those oft-cited 10,000 hours of practice, but as Joshua Foer noted, sometimes just making and making doesn’t bring us to the place of making something good.  Foer Quote 1

According to Joshua Foer, this is called hitting what is called the “OK plateau.”  That’s when we are just going through the rote mechanics of quilting, making quilts of only rectangles, or traditional fixed patterns in a loop that’s known as thinking from “bottom-up,” where we are good-enough, automated, rote practices to get our work done.  Yes, even those modern improv quilts with their fluid patterns can get stale.  Daniel Goleman notes how we can get stuck here:

Goleman Quote1

Foer also emphasizes this point: our deliberate practicing must be hard for us in order to engage that higher focus of creativity.  I, like many of you, can cut and stitch until I’m so bored I can’t slice one more piece of fabric or sew one more HST.  I’m falling right in line with studies that indicate that about four hours of concentrated deliberate practice is about the most amount of time we can do anything well.  At that point, we have to take a break and do other things.  Perhaps that’s why we are sometimes distracted by a new quilt, or a new design, or a new piece of fabric, as we try to restore our ability to refocus.  Perhaps we just need a break, in order to deliberately practice well.   But what I learned from these authors is that when I do come back to my quilting, I must “counteract the brain’s urge to automatize” and actively concentrate on what I’m doing.

So take a break, read that magazine, scroll through your IG feed, and then get back to it with a determination to make it good, make it better, and to fully engage.

Halloween QAL · Quilt-A-Long · Quilts

Hallowe’en 1904 QAL–Step Two

Step 2 halloweenQAL

STEP TWO: CUT!!

Happy March 13th!  My friend Leisa and I got busy this month, cutting up our fabrics so we could show you this step.  I’ve made some alterations to our Master Plan (below).  If you’re not making this quilt–see you at the next post!

Fearless Leaders HalloweenQAL

Yep, we got a little goofy on some of the cutting, but don’t worry! We made it through, and so can  you.  Remember that Leisa and I are doing only NINE blocks of the original twenty as we want wall-sized quilts, so if you are making the big one, your numbers and cutting time will increase (I know that’s a duh.)

HOWEVER, at the end of this post, I’ve included a smallerized version of this quilt, thanks to Mary Burton, one of my readers, who often “shrinks down” quilt patterns in order to make the full compliment of blocks.  So you can make a smaller quilt, by also making smaller blocks.  More, later.

halloweenqal_pattern cover

As a reminder, we are following this pattern by Blackbird Designs, so of necessity, to protect the pattern designers, I won’t show complete measurements.  But where I’ve deviated or made up my own pattern, I’m happy to share.

halloweenqal2_fabriccuts

We started here.  I didn’t have the pattern when we were buying, so we went a little overboard on some things, but amazingly, we ended up fairly on target for most of the fabrics.  I would probably add another green, if I were doing it again.  Download and print out the PDF of the cutting chart: Cutting Chart for Halloween Quilt

Here’s a part of it:

CuttingChartHalloween

Across the top I identify the piece, then the color of the fabric and the number (#) of those pieces for one block.  Then I added my column of number (#) for 9 blocks.  You get to fill in your info on the last column.  Keep reading. . . while you enjoy this wonderful quilt from Thelma, of Cupcakes ‘n Daisies:

Thelma’s Quilt, of Cupcakes ‘n’ Daisies

As you look at YOUR chart, you’ll need to decide how many star blocks you want, how many appliqué blocks you’d like to make.  Then, further subdivide your appliqué choices into how many pumpkins?  how many cats?  how many moons/whatever?  The pattern includes the pumpkins, stars and moons, but for the cat, you’re on your own (that’s what we have Google Image for–just type in silhouette halloween cat).  Thelma’s owl is referenced in *this* post.  Leisa and I are making 5 star blocks, 1 cat-on-a-pumpkin block, 2 pumpkin blocks, and 1 moon block.

We are doing the 8-way method of making half-square triangle blocks (HST)–more on this in the next post–but for the size of HSTs we need to go around the outside edge, we need to cut 7″ squares.  Since there are 24 HST around the outside of one large block, you’ll need three sets per block of these 8-way HSTs–three of a dark (orange or black) and three of a light (tan/off-white).  I couldn’t decide ahead what I wanted where, so I planned to cut 27 of each (dark, light) and I’ll figure it out as I go along, but then I’m okay if I have to mix orange and black HST points around the outside.  Refer to the chart.  Quickly, here’s all that we cut:

halloweenqal2_fabriccuts1

Cut seven-inch squares on this step, half in light and half in dark (orange/black) fabrics.halloweenqal2_fabriccuts2 halloweenqal2_fabriccuts3 halloweenqal2_pumpkin block

Then to make sure I was on track, I thought I’d better sew up one of these 8-way HST things and cut the triangles for the corners around the appliqué just to make sure it all worked.  It does.  I’ve put on the leaves on my pumpkin, but not the curlicue stem (that, and appliquéing them down will come later–I’m just testing).  By the way, this block measures 19 1/2″ (finished)– just to compare it to Mary’s version of 9″ (her instruction sheet further down; keep reading).

ATTENTION: If you are going to appliqué down your stars onto the center of your background blocks, skip ahead to the next section.  This next discussion (somewhat confusing until you start the actual construction, but I’ll do my best to explain it now) is for those who want to make wonky stars.

halloweenqal2_star block

Let’s talk about the Wonky Stars.  Here’s a sample (without the HSTs) to see how the fabrics are all placed around.  There are four pieces for the star centers, and five pieces that make up the star backgrounds.  Sew them together, trim and you have our block. halloweenqal2_wonkystar2

While this cutting-bigger-and-shuffling thing was big in the 1980s when we’d make wonky nine-patch blocks, it’s currently being taken to new heights by the Buggy Barn.  But generally you make a pattern for the star bigger than you need, then sew it together after shuffling the pieces.  I’ll give you this template next month, but above you can see one of the earlier prototypes.halloweenqal2_wonkystar3

The stars in the blue/light print are my first prototype and you can see I cut off the points.  Re-draft.  The next set (the lower green/white) just looked weird.  Re-draft.  I am pretty happy with the top two stars (green white) as their proportions look okay to me, and when I did them up in the fabrics of the blocks (above), they still looked okay.  So, how did we figure out what to cut?
halloweenqal2_wonkystar4

First, following Thelma’s lead, I made plastic templates for each piece, then divided them up by star-center and star-background.  Leisa laid out the templates on the cutting board, trying to see how economically we could fit them onto a strip of fabric.  She came up with a 4″ strip of fabric for the star backgrounds (and it will take 18″ of that strip for one background set) and a 3 1/2″ strip for the star centers (and you’ll use 11″ of that strip).  So you can get two complete star backgrounds from one 4″ by WOF strip and three complete star centers from one 3-1/2″ by WOF strip.

The trick is, though, that you need a variety of prints to make the wonkiness.  Since there are 4 pieces to the star center, you’ll need at least 4 strips, each of a different fabric.  For the star backgrounds, you’ll need 5 different strips.

ARE YOU THOROUGHLY CONFUSED?  Me too, and I already did it.  Just download the chart, follow along how many we cut (or count the number in the photo) and get everything cut.  Don’t give away your extra fabric, in case you need more, and tuck it all away in a box until April 13th, when we’ll start constructing the appliqué blocks, and I’ll show you how to do the 8-way HST blocks, too.  Wonky stars are coming in May.

NOW, here’s Mary Burton’s measurements for her smaller quilt.  She writes:

“The blocks finish at 8.5 inches with piano border finishing at 3″ so the quilt will be 40″ square.  I love mine. I don’t usually make bed quilts so I reduce lots of patterns.”

MaryBurtonHalloween

I’ve purposely left this photo uncropped so you can use the outlet for a gauge as to how elegant this smaller version of the quilt is.  Really fabulous, and I love the way her backgrounds in the star blocks go from medium to light.

She and I corresponded back and forth several times.  She mentioned that:

“[Going smaller] isn’t harder when you are an experienced quilter. You just take your time.  Take two squares, sew your seam and measure  that piece to be sure you have the measurement you are supposed to have.  Do that until you get the correct measurement.  If you do that you should not have to pin.  Also, you will always be able to use that needle position for all future projects.
The only part that I had to slow down for were the half square triangles because they are so small.  If you use the easy angle ruler, they actually cut and go together fast.  I just learned how to use it this year and it’s wonderful.   Since I made this quilt last spring I just cut 2-inch squares in half and sewed my triangles together and then squared them down to 1 1/4.”   The Easy Angle ruler leaves that step out and you don’t have any fabric waste.  You do have to find your correct measurement though.   You don’t measure your seam, you measure those 2 squares after you sew them.
I did press my seams open because of so many seams. You can use any technique you wish. I always use whatever works for me. If you have never use the Easy Angle ruler, Bonnie Hunter has a tutorial for it on her site.   Don’t bother with the tutorial from the manufacturer.”
Download her instruction sheet here: Burton_Halloween1904  And if you want to thank her, leave a comment and I’ll forward it on to her.

By the way, I’ve changed some of the schedule stuff below.  Just keeping’ things up to date.  See you next month!

1halloweenQAL logo

Revised Master Schedule:

Step 1 (Preparation): February 2016–buy all the fabrics and find the pattern.  Mine was purchased from Common Threads in Waxahachie, TX (www.commonthreadsquilting.com).  The quilt measures 90 by 90, which is too large for me, so I’m only doing nine blocks.  Each block is 20″ square, and with the outer borders, that should come to roughly  65″ square.  I may change my mind, but this looks good from here.

Step 2: March 2016–Cut out the quilt: the tan backgrounds of the squares, the border triangles, the smaller half-square triangles, strips for the wonky stars, but save the piano key border for later.

Step 3: April 2016–Assemble four blocks and add large appliques; use Thelma’s method (of Cupcakes and Daisies) for adding the curlicue stem. Make and add half-square triangeles (HSTs) around these blocks, using the 8-at-a-time method of HSTs, here and here. In the pattern, and in the photo from Thelma, they are mixed up and varied, but also harmonized (some have a mix of orange and black, some have just black, some have just orange.)  Make your own rules and go with it.

Step 4: May 2016–Cut and make the wonky star blocks from templates and strips. We’ll be using Thelma’s method.  I’m doing five blocks, so will need to make twenty wonky stars and true them up.

Step 5: June 2016–Assemble the rest of the star blocks, adding the large triangles on each corner and their HST borders. In the pattern, and in the photo above from Thelma, they are mixed up and varied, but also harmonized (some have a mix of orange and black, some have just black, some have just orange.)  Make your own rules and go with it.

Step6: July 2016–Arrange the blocks on your design wall and stitch together.  Cut the pieces for your borders.  Make the four corner pinwheels.

Step 7: August 2016–Sew borders together and attach them to the quilt.

200 Quilts · Quilts

QuiltCon Prepping Fun

block printing class sampleTool Roll_3c

Since I will taking a class from Lizzy House on Block Printing (see random sample from web, above), and since I decided I’d had enough of “have-to” sewing, I wanted to just whip up something fun. . . like a tool roll.

Tool Roll_2c

Here it is, fully loaded.  I had some leftover canvas from making bags for grandchildren, doubled that, then stitched on wee pockets for my tools.  Oh, plus a flap for rolling over the tools and a tie.
Tool Roll_1c

Empty.  It’s in the bottom of my bags that are all packed up for QuiltCon this week:

Packed for QuiltCon2016

Focus_sideview

I’ve been working backstage on a quilt to bring to the kind folks who asked me to make a further-backstage quilt for their market booth (pictures of that one coming in May).  But I wanted to have something for them to show off their fabulous new line of solids, called Painter’s Palette, so I put together this smallish quilt for them to have in their booth at QuiltCon for everyone to put their hands all over to feel the nice hand of the fabrics.  I call it Focus, and soon I’ll put up a free pattern on Craftsy for it.  Just not this week.

Focus_front

Focus, quilt #158
Approximately 38″ by 42″

Focus_front2

I quilted it lightly, because heavy quilting changes the texture of a quilt, sometimes obscuring the “hand” of the fabric.  Since it can be hung both ways, I had to construct a rod pocket that could go both ways.

Focus_back

Focus_label

See you on the backside of QuiltCon!