Orange rose egg

This egg panel is very simple.  I wanted to use the orange rose print just because I think it is so pretty.  I tacked the fabric over a stiff card egg template, stitched almost all the way round it and then pulled the card through the gap.  I find this is a good way to handle curves.  Then, to give it some interest, I used variegated thread to go round it in beaded fly stitch:

Orange rose detail

I used very cheap glass beads from Tiger.  Sometimes having cheap elements is good because it is easier to be generous with them.  The fabric came from a cheap bargain bin at a quilt show.  I suppose that lilac and tangerine isn’t everyone’s choice, but I really liked the exuberant full-blown roses which lent themselves to fancy-cutting here.

I don’t have much else to say about this one.  It was quick and easy and has a bit of a sparkle but not enough to look flashy.

 

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Turquoise egg

Turquoise egg

I have been busy making more pieces to illustrate my soon to launch Fabergé-inspired egg workshop, and I am going to put them on the blog in fairly quick succession.

This one is one of the flat panels that I have been making.  It is made of silk and wool tweed that I bought on Etsy.  It is the most lovely stuff imaginable to work with because it feels fabulous in your hand with lots of drape, but it doesn’t particularly fray.  I also think that the muted colours are quite reminiscent of Fabergés pastel palette in many of his pieces.  Again the weave echoes his machine-worked enamelling called guilloché which I described in a previous post.  The use of the beads and the way they are applied is a reference to his dedication to skill and expertise.  He was adamant in public statements that the price of the stones didn’t matter; the level of craft in working them did.  In this piece I used some turquoise type beads that I bought in Leicester:

Turquoise egg detail

The big trefoil beads have holes in the sides for stringing which I used to stitch them on, but I have learned if you want beads to be very precisely spaced like this in a repeating pattern, then it is as well to put a bit of pva behind them, let it dry and then stitch them on.  Otherwise no matter how careful I am they move and spoil the effect.  The beads around the edge which are there to anchor down the egg appliqué as well as to add decoration are applied with blanket stitch.  Once they were all on I went over the vertical element of the blanket stitch with raised chain band which gives the knotted effect, which I think just adds a bit.

 

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  Raised chain band – not as complicated as it looks.
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Blanket stitch

 

The finished piece feels really lovely.  It is drapey because of the silk in the mix, but it is also heavy with beads, and the trefoils form quite a dense tactile surface.  Fabergé wanted his work to delight people, and, although I am blowing my own trumpet, this piece is delightful.

Turtle Egg

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There has been one of my all too frequent gaps in posting.  Again it is because I have been doing a lot of making, mainly on my inspired by Fabergé eggs.  I have also moved on to working with wook appliqué and embroidery and have gone back to my old highly decorative and surface worked style.  This is one of the new series of eggs (and I will post about all of them eventually).  It is worked on a thick but light Welsh woollen background, with the egg itself made from an Irish tweed from a sample pack.  I chose the tweed to try and echo Fabergé’s trademark guilloché enamel.  This involved many coats of thin enamel over a tooled metal base.  I believe it is called Guilloché after its inventor M. Guilloché.  This is an egg showing the technique.

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Strangely whereas enamel is cold and hard and durable, the soft, thick highly susceptible to moths tweed seems like a brilliant way to render the guilloché in textiles.

This piece, which I have called the Turtle Egg, also shows what I mean by being inspired by Fabergé rather than copying him.  I don’t particularly like the neo-classical style of the eggs, but I find them endlessly inspiring for my own ideas.  I heard an interview with the singer PJ Harvey yesterday in which she said she does a lot of research and reading for her albums but when it comes time to write the songs she puts it all aways and just writes what comes out, in effect her own response to the material.  I think this sums up what I do much of the time.  I do my research, look at the picture books I have amassed and then wait to do what the cloth tells me to do.  I find this a highly satisfying process.

After choosing the delicate tweed I found a leftover circle of cloth from another project, already pressed over a paper form.  I appliquéd that and then started to add the beads around the edge of the egg.  Tweed and wool in general don’t fray particularly badly, unlike silk, but they still need gentle treatment until the edges are secured.  After that I stitched on the turtle, which is a charm that I bought for three pounds in a bead shop.  It was a happy accident that the cloth circle and the turtle fitted together so well.  As I was sewing I became aware that I was working in bronzy tones, but that the tweed was a very soft blue, green and pink blend, and so I put a ring of turquoise beads around the inner circle.  I finished by stitching colonial knots in a beautifully variegated perlé cotton around the turtle.

Turtle detail

I made this one in an evening and it was really relaxing to make.  One of those pieces where everything comes gently together rather than having to be wrestled into place, which is a story for another day.

Some news

 

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Example of reduced pixel size rose

As lots of you who either know me in person, know me via Facebook or read this blog regularly will know, I am starting a small studio at home.  As part of this I am working with a wonderful woman called Hannah to build a really smart website.  Hannah is great because she gives me lots of excellent training and tips about social media.  One thing we have been talking about is doing things to improve my blog and the ease with which people can find it.  I am experimenting with three things which I would like to have feedback on:

  1. I am condensing the size of my photos so it will make this much quicker to load, particularly on a smart phone.
  2. I am putting in more headings which increases the likelihood of google searches finding the blog, apparently.
  3. I am including more links to other websites where I can as this also helps google find me.

I would be really interested to know what you think.  In the meantime, thanks for your support and I will give you the website address as soon as it goes live.

Squaring up quilts

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Badly hanging quilt

This is another quick post.  You may remember that I was horrified by just how badly this quilt hung at the Bristol Quilters’s recent exhibition.  Well, in the comments I received there was a practical suggestion from lovely and knowledgeable Judith Barker:

The best aid to having straight edges and square corners on a quilt is a tiled floor! I pinched this idea from Carol Bryer Fallert, who has a HUGE studio with 12 inch square black and white tiles. My small workroom has vinyl flooring like fake wood blocks, all straight lines. My kitchen has square slates. You tape the quilt to the floor, and slide a cutting mat under the edge to trim. Really helpful.
Judith B.

The quilt that goes on giving

I’ve never been tremendously fond of the saying that you can eat all the pig except the squeak, but I do like to use as much of a quilt’s basic materials as I can before I begin throwing away, so here’s a mouse made out of the trimmings of this badly-squared quilt:

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Wise words

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Teeny, tiny post today.  I was discussing the perennial scrap quilts leave you with more scraps than you started with problem last week and was delighted to hear the following acronym: STABLE = Stash beyond life expectancy.  Which just about covers it.

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I recently went on a really great workshop organised by Selvedge magazine.  It was called a ‘Craft Spa Day’ and was held in Bloomsbury.  Selvedge, by the way is a fantastic magazine.  It has the most glorious photos which I virtually want to eat, plus it has introductions to wonderful craftspersons and the story of all sorts of textiles and techniques.  It is a real treat.  The only problem is that it makes me want to get up and start doing something every time I read it, so I seldom finish reading it.   You can get it in WH Smith and arty bookshops, or you can subscribe.  If you don’t want to do that you can just look at the website which has glorious graphics.

Okay, so, the day was divided into two parts.  The first had two talks on sewing/craft and therapy.  Ruth Battersby Tooke gave a brilliant talk on Lorina Bulwer’s extraordinary textile letters:

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Bulwer was put in the Great Yarmouth workhouse by her family because she was, as we would now say, suffering from some sort of mental illness.  As Ruth pointed out, this sounds awful but it may have been an act of kindness.  She led an independent life and was not put in an asylum and it seems that her brother visited her regularly.  As part of her condition she wrote the most astounding letters to local dignitaries complaining about her lot and about her sister-in-law, whom she despised.  All the text is couched, and occasionally another panel comes to light.  It is now  in two massive pieces: one twelve feet long and the other fourteen.  Ruth used the pieces to talk about reading history through textiles, and also about the embroideries themselves.

The next speaker, Marie O’Mahoney, was talking about whizzy hightech textiles which was fine, but I sort of thought I’d heard it all before a bit.  Textiles to monitor our health, textiles to interact with our environment, that sort of thing.  The third speaker was due to be Betsan Corkhill, who had a family emergency and so could not attend.  She is the woman who has written about knitting as therapy.  I bought a copy of her book:

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I found it a bit terribly jolly, but it makes some very pertinent points about the therapeutic benefits of knitting and craft in general.  I presume there are also scholarly articles that she has written, but this would give you a good overview of the main arguments for knitting.  We should all knit for ten minutes a day, by the way.

In the afternoon we got to choose from a series of workshops on spinning, weaving, basketry and quilting.  I chose the quilting  I had a lovely calm afternoon stitching as the tutor, Abigail Booth, had already marked the cloth, all of which was dyed with tree-based dyes.  I finished my piece on the day which I think is important in a workshop, and because Abigail, who was really lovely, showed me a new way of finishing the edges which I adapted a tiny bit to give a frame.  My only problem was that I chose a pale turquoise thread to contrast with the nicely browned pastry colour of the cloth:

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Fine close up, but when I stood back it looked like I’d used one of the water soluble marking pens and hadn’t washed it out.  Hubris, of course, always gets its comeuppance.

 

 

 

 

 

Wreath Wraith

 

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I have been very busy recently and have let my blog slip.  I can only apologise.  There are plenty of posts coming up which I hope will go some way to make up for this.

I am starting with the pieces that I entered into the Bristol Quilters Exhibition earlier this month.  The first of these is Wreath Wraith.  I have no idea why I chose the word ‘wraith’, here; it should have been Wreath Wright, as in someone who makes wreaths.  But I think that I might have done so much of this that it made me feel like a wraith or a ghost.  My idea was to show how you could make Baltimore style wreaths part of a contemporary quilt.

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The appliqué here is all by hand, but the construction of the pieced elements is done on my IKEA sewing machine to show that you don’t need a fancy one to piece.  I had to fall back on the Bernina for the machine quilting, though.

I have blogged about making this piece before: (https://annjrippin.wordpress.com/2017/04/17/further-adventures-in-wreath-making/, )and so I thought I would say something about seeing the quilt in the show.

The first thing was my horror in seeing it hanging.  About as straight as a dog’s hind leg, as my mother would say.  The right-hand-side of this ripples gently and is probably about three inches shorter than the left.  Now, I put this down to rushing to finish it, and not hanging it up myself.  What a nightmare.  Note to self, try the measuring and using a set square the way they tell you to in quilting manuals.

The second thing was my ‘delight’ about being hung next to the totally glorious and perfect appliqué piece by the international championship winning quilter, Sandie Lush.

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Just stop for a minute and consider just how perfect this is.  Here is a detail:

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Not only is the appliqué of a standard to make you weep, but the hand quilting is perfection too.  Then look at mine:

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Just above entry level.  But Sandie is a lovely, gracious and kind woman.  She came up to me at the show and said, ‘I love your appliqué.  It’s really vibrant and lovely.  Mine looks dull and lifeless.’  It didn’t, of course, but very kind of her to say so.

Sandie has a great web page detailing her quilts and her activities.  When you see that, you will realise why I was so crimson of mien being placed next to her, and why she is such an inspiration to so many.  Her website is here http://www.sandielush.co.uk/

Just to let you know I am still here

 

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I haven’t posted anything for far too long and that’s because I am at that point which a lot of you will recognise of frantically trying finish a quilt for an exhibition.  I wouldn’t exactly use the phrase ‘throwing it together’ but it’s really not that far off.  I made the classic mistake of entering a quilt which I hadn’t made without fully taking in the date of the show.  It’s helpful that the evenings are lighter for longer otherwise I don’t think I’d get anywhere near finishing it.

There will be plenty of photos and posts to come when this marathon is over, but for now, here is a weird photo from my phone of Westonbirt Arboretum.