Quilt Market: Salt Lake City (2) • Giveaway

Giveaway BannerUntitled-1First off, congratulations to Dorothy, who won the giveaway.  I’ll be in touch with you, Dorothy, to get your mailing info and get that off to you next week. Thank you to all who participated, and especially to all who commented on my yank-out-the-carpet-from-under-me fall.  I’m pretty much fine, and am going forward, but you can bet I’ll look twice before coming out of an aisle.  That story also made it to Carrie Nelson’s MODA blog, as I had to tell a story to her to get one of her camping badges.  For a great recap of her Moda Designers’ booths, head over there.

Mom on young birthday SM

I’ll also have another little giveaway at the end of this post, to reward you for reading, AND in honor of my mother’s 88th birthday.  This is a photo of her back in the day.   They apparently used to take all their birthday pictures outside because the camera couldn’t really capture the light as well inside.  I think of that when I tend to use my mobile phone everywhere because its light-capturing sensors are the best.

QMarket Book Signings

QMarket_CTBookSignings

Book Signings

Quilt Market is about business–the business of selling, of buying, of hawking your wares, of displaying, of meeting your buyers, meeting the designers, meeting the authors.  Sometimes I would get a book at these signings, and sometimes I just snapped photos on my way past.  Some publishers were gracious, not knowing who their books were going home with, yet others were a bit cranky about the whole thing.  Considering that I buy from all of them, I’ll never tell who was cheerful and who was cranky, but it taught me a lot about that aspect of this business.

Qmarket_2ELutz

This talented lady’s book is part of our giveaway today.  Elea Lutz designs not only patterns, but also fabrics for Penny Rose (associated with Riley Blake Fabrics).  It’s a book published by Fat Quarter Shop and has charming pieced patterns, as shown in the quilt behind her.

stashbustersbook

The other giveaway (I’ll divide them into two) is the Stashbusters Book, by Sarah Maxwell and Dolores Smith, a wonderful collection of scrappy reproduction-style quilts.  I’ll choose two from the comments left below; let me know if you have a preference for which book you might win.

QMarket_AlisonGlassGirl

Once I left the cocoon of my Painter’s Palette booth and ventured out, I saw this young woman modeling the skirt found in Alison Glass’ LookBook.    It was like — pinch me!–as I encountered Famous People and things I recognized from all the advertising I see when I read magazines, or attend quilt shows, or wander through the web.  It was going to be a day of double takes as I walked among the Business of Quilting, the other side of the quilty looking glass.

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Sassafras Lane Designs, in all their colorful glory.
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Renegade salespeople in the lobby of the Salt Palace.  Great carpet, right?QMarket_QuiltSoup2 QMarket_QuiltSoup1

Quilt Soup.  (That’s not Barbara Jones, but a “booth babysitter,” she said.QMarket_Kokka

Don’t look now, but that woman in the Kokka booth is wearing a Wookie Backpack.  I was in line behind her later on at the Lucky Spools book signing, and she shared with us all the trending video of the woman who’d just purchased a Chewbacca Mask for her birthday.  I thought that was a neat coincidence.
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These three pictures are from Katie Cupcake, by Amy Hamberlin.  I love that Midtown bag.QMarket_Jillily1 QMarket_Jillily

Jillily Studio’s booth was a sweet shop, complete with little bagged chocolate truffles they gave out.QMarket_Hoffman4

Hoffman Fabrics are in my neck of the woods in Southern California, and first started with Hawaiian print fabrics for the local surfers.
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I don’t know if you can see it, but Latifah Saafir’s booth (Hoffman Fabrics) has a pair of tennis shoes slung over a wire–so LA.  I loved it!

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Fun also to see Hoffman’s newest line of fabrics from Thistlewood Farms.  Those blues! (And yes, that’s KariAnne Wood holding her quilt.)QMarket_HeatherJones

Heather Jones’ line of fabric is subtle, but I bought some at Sample Spree because I think it will work well in so many quilts.  One of my favorite types of fabrics are those that bring a punch of something new to the existing stash, giving it more life.  She has some great designs in her collection.
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Here is a series of photos from the Clothworks/Frou-Frou booths, across the aisle from each other.  Maybe because I was thinking about my trip to Geneva last week, and how I was missing the small prints from Europe, but I really fell in love with these fabrics (plus I love how they feel).QMarket_FrouFrou5 QMarket_FrouFrou4

I love their cans of projects.  Very clever.QMarket_FrouFrou3 QMarket_FrouFrou2 QMarket_FrouFrou1 QMarket_FreeSpirit5

Now, for a complete change of pace, this is the Free Spirit Booth.  I noticed more and more of this type of booth design among the big names: a central section for the business of ordering, and small alcoves for the designers.
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Amy Butler’s section.  She also had a larger booth:QMarket_AmyButler

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Tula Pink’s alcove.
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Snow Leopard Designs by Phillip Jacobs (again, for Free Spirit Fabrics)QMarket_EHartman

Elizabeth Hartman’s booth, with the lovely creator in attendance.QMarket_CoriDantini1

Cori Dantini, for Blend Fabrics.  I loved their booth:

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EdMar Company, a small vendor from Idaho was selling these gorgeous rayon Brazilian Embroidery Threads.QMarket_Benartex

Benartex.  I think you can see where all those beautiful quilts go that we see in “sneak peeks” on Instagram (and yes, I spelled “peeks” correctly).  Every booth was awash in beautiful quilts, and I must admit I hadn’t even hit the Moda booths yet, and I was already in overload.  So I thought I’d better head over and see Sherri’s booth, since I’d sewn a couple of items for her and had a sneak peek myself of some of her beautiful fabrics.QMarket_AQuiltingLife3 QMarket_AQuiltingLife2 QMarket_AQuiltingLife1

I could never get a photo that wasn’t blurry of these two women, so this will have to do.  The Moda designers were in clusters at this show, which didn’t give them much space, but that made meeting them easier.

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That’s enough for today’s post. More is coming.

WWII Lincoln Memorial

Have a safe Memorial Day (or Decoration Day, as my mother calls it).  Leave a comment below to win a book in the giveaway.  I’ll choose one and announce it in the next post.

Oh, yeah. My take on QuiltCon.

Quiltcon Stats

This popped up in my email one morning, and it about wraps it all up, as far as I’m concerned.  No, I never met Claudia, but I did meet a few other fine quilters, including some from different countries than California.  (That was a joke, people.)

LorenaLoriSqueak

Since it’s been over a month since QuiltCon, I thought I should get around to writing about my impressions.  The show was held in Pasadena, California and the Registration Desk, Vendor Mall, part of the quilt show, and lecture room were in one building.

QuiltCon bannersAcross the courtyard was a large older room with high clerestory windows (building behind these banners) where the rest of the quilts were, and to the other side of that, was the building where the classes were held. While pretty close together, I did miss Austin’s intimacy, but the great part about being here was that the weather was unseasonably warm which made everyone except those Californians happy (we want rain).

Silliest moment for me:

Bacon Brownie

Hollering Polo! to Eileen’s (@luckycharm93635) Marco! as we bumbled out of the restaurant after topping off our 50/50 burgers with a bacon-brownie.  And yes, we did the Marco! Polo! thing all conference long, whenever we’d see each other.

(I’m behind the camera)

Moment when I realized that none of us quilters ever charge enough for our quilts:

MakerMakingLiving

When, during our From Maker to Making a Living class, I glimpsed the majesty of Jacqueline Sava’s spreadsheets and listened to her funny and wonderful stories about making a living.  She’s the SOAK lady, and to support her, I went down to the selling floor and bought a bottle of Flatter, in the Fig flavor.  So so yummy-smelling and it works, too.  A whiff of it and it brings back that class and the belief that I, too, can be as successful as she is.  Kidding.

Moment when I realized that I’ve missed mucking around in paint all my whole life:

BlockPrintingBlockPrinting Paints

In Lizzy House’s block printing class.  Even though I was beyond tired (and I’m pretty sure she was too), we had a great class of doodling, carving, printing, sharing.  This was my last class of QuiltCon, and after this, I met up with Lisa and Simone and we drove the 90 minutes home.  We’d stayed for two days and two nights, beginning with an early morning (up at 4:30 a.m.) on Thursday, and ending Saturday night.

Moment when I realized that my QuiltCon experience had shifted from taking classes, to hobnobbing with the Women of QuiltCon:

QuiltConLunchAmara

This is the only photo I have of me ( at the end of the table, nearly on Lorena’s lap) and Lisa (third down on the right, with glasses and blonde hair) and Simone (second down on the right, with brown hair).  The rest of the time we passed like ships in the night, or sat next to each at lectures.  I met several quilters I’d only followed on blogs or on IG, and deepened friendships with many of these fine women.

Moment when I realized that quilting connections could be made from other subjects:

Lecture Notes

Simone’s notes from Victoria Findlay-Wolfe’s lecture

One of the highlights for me at QuiltCon this year were the lectures, and Bill Kerr’s lecture in particular.  I filled pages of notes of him talking about the branching connections we make from the choices that come into our creative lives, and he used Frank Lloyd Wright’s homes around Chicago as an example.  Victoria’s lecture was also good, as were Luke Haynes (I wish I could have gone out to see his exhibit of fifty log cabin quilts) and others.  Usually I hit the vending floor’s mix of lectures, but hardly made it to any this year, and the ones I did, I thought sounded like commercials.

And in other ways (witness my badge collection):

QuiltCon2016 buttonsQuiltConBag

Some QuiltCon eye candy is this tote bag and the signature quilt (hanging below).QuiltCon_quiltBestofShowRibbonFriedlanderapplique

Moment when I learned I should have left class at noon, like my buddy Martie did:

ImprovClass

This was in our third conference/discussion of the day in a class where I found I was more interested in learning about how to make a panorama photo on my iPhone, than in listening to the adroit conference/discussion by our very well-learned teacher.  When you know you are just done with a technique, it should be okay to go. The teacher was fabulous.  I wasn’t, obviously.  If I’d left, maybe I would have seen more of the quilts.

Moment when I realized that creativity was all around me, and I was slightly besotted by it all:

SewModernBooth

(That’s besotted using the archaic definition) Glimpsing the fabulous booth from our Los Angeles shop, Sew Modern.  That camper!

Moment when I found my personal Best of Show quilt, and wanted to grow up and be Yvonne Fuch (@quiltingjetgirl):

QuiltCon_FuchsQuilts

Happy Moment:

FocusQuiltinbooth

Lots and lots of them, but especially when I turned the corner and saw my quilt Focus in Paintbrush Studio’s booth.  Thank you Paintbrush!  It’s made from Paintbrush Studio’s line of solids, Painter’s Palette Solids, and I used the leftovers from making them a quilt for their booth at market, which will remain under wraps until then. (Well, okay.  Maybe just one sneak peek…)

SneakPeak Starry Compass Rose

Another set of happy moments was finding quilts in the show from people I knew, and also when Cindy Wiens showed me the quilt she’d made for Lucien fabrics, using another design of mine, Semaphore:

from LiveAColorfulLife’s blog

Yes, I couldn’t find the photo I’d snapped one late night in her room, so I borrowed this one from her website.  And here’s another of hers, hanging in the show:

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Moment when I realized that I should skip going to Savannah-QuiltCon-East2017 and just stay home and sew:

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When breezing through my Instagram feed, where I’d posted most of the quilts, and realized if I was ever to get a quilt in this show, I’d better stay home and get busy.  So next year, I’ll be at QuiltNon, home and grateful for the chance I had to go this year, and looking forward to QuiltConWest in 2018!

Final Thoughts:

Most of the quilts I found fascinating are on my Instagram feed, to the right.  Scroll back through the feed to see them, or follow me on Instagram (@occasionalpiecequilt) and see them that way.  Take screen shots of the ones you love, compile your own QuiltCon collection and use them to inspire you further!

Lanyard Tutorial for Quilt Shows

lanyard_hangingI didn’t have a lanyard last year at QuiltCon, and my pins slipped and slid everywhere, beside the fact that I jingle-jangled as I walked.  I wanted one of those spiffy ones, where I could pin on my pins.

lanyard_1

I patchworked up a strip 3 3/4″ wide and 37″ long, took it to my ironing board and pressed it in half, lengthwise. lanyard_2

Open it up, and to one side of the center fold, lay down a 1″ wide by length-of-lanyard strip of fusible interfacing; iron that into place. lanyard_3

Fold both raw edges in, almost to the center, but not quite.  The side with the interfacing should be folded over that interfacing, and the side without interfacing should match when all folded up.  With the interfacing UP (not to the feed dogs), stitch first along one long side about 1/4″ away from the fold, then the other.  Make sure you’ve caught all the folded edges when you stitch it down.  Then stitch down the center. lanyard_4

Arrange the strips so that it will hang around your neck (see top photo), then mis-align the lower raw edges, setting the top one 1/4″ beyond the bottom strip.  Slip on the lanyard clasp. lanyard_5

Zigzag the extended top strip over the bottom strip, to hold it in place. lanyard_6

(View from the underside)

Again, for ease in wearing, slightly splay the two strips apart, then stitch along the finished ends (refer to photos). lanyard_7

(View from the top side)

lanyard_heartYes, I’m headed to QuiltCon West 2016 this week (held in Pasadena, California), along with some friends from the Good Heart Quilters, the small monthly sewing group I belong to here (which is why there is heart fabric on our lanyards).

1QuiltCon2016Classes

That Friday night class is taught by Jacqueline Sava.  I hope to meet a lot of my online friends, trying to make “real” the digital friendships I’ve enjoyed.  There should be more than a few a whole mess of photos on my Instagram feed (button is to the right).  If you are going, find me and swap me a button!

Button for QuiltShows

Road to California 2014, part II

There was a great exhibit of quilts from the book I was lucky enough to be in: Amish Quilts, The Adventure Continues.  As always, seeing them in person, beats a flat picture or a digital photograph any day. (How has that changed what we esteem as “good” quilts?  Just something to think about.)  That’s why quilt shows are so valuable as they allow a viewer to fall in love with quilts again.

LucyOceanWaves

Suzanne Keeney Lucy’s Ocean Waves

WeberHipToBeSquare_1

Two views of Michelle Webber’s It’s Hip to Be Square

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YostenBonner_2

Two views (one to show the quilting) of Reflection of the Times, made by Angela Yosten and quilted by Natalia Bonner

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Likewise there were some quilts from QuiltCon.

FriedlanderLocalQuilt

I took a shot of this one because I love Carolyn Friedlander’s fabrics, but it is true that this quilt is lacking some contrast.  It’s not just the photography.  The title of this one is The Local Quilt.

GeringDeconNinePatch

Deconstructed Nine Patch by Jacquie Gering

HartmanHoneyInSpace

Honey in Space, by Elizabeth Hartman

HarvatineLogPyramids

Log Pyramids, by Liz Harvatine

HeitlandYouRule

You Rule, by Brigitte Heitland

HutchinsonLongConversation

and lastly, A Very Long Conversation, by Rossie Hutchinson.  I was pretty sure I had a photo from Christa Watson’s String of Pearls (using Lizzy House’s fabric–a great design) but it’s too blurry to post, so go *here* to see that fun quilt. . . and her (more on that later).  There were a couple of quilts I was sure I had a photo of, but when I looked at them, I must have been taking them on a fast run past.  Maybe it was because I had too many bags around my shoulders?

charm display quilt

At this point, don’t you think we need a little retail therapy?  This is the little quilt in the charm booth–a way to display those little pins we all love.  This group had figured out how to make earrings out of them, so they had a lot of people crowded around.

Fabricworm Booth

Fabricworm’s first time at Road.  Judging from the crowd at their booth, I think they’ll be back.

floor mat and chair

Loved the chair AND the floor mat.  The floor “rug” looked like just patches with some sort of matte finish brushed over it.

Quilters Who Lunch_Friday

And LUNCH!  From left, Leisa, Lisa, Lisa’s sister-in-law Betty (who came from another state just for Road), me and Simone.  Get your scrolling fingers ready, here come more quilts!

HirthLooseLeafEarl Grey

Janet Dorsey Hirth used lots of different piecing styles in her sampler quilt, titled Loose Leaf Earl Grey.

FMQingRoad

Random snapshot of free-motion quilting

FeitelsonMusicofSpheres

This is a terrible picture of a fabulous quilt, by Ann Feitelson, titled Music of the Spheres.  Google it and you should find a better photo.  It’s really amazing.

FeitelsonBasketWeave

Here’s another Ann Feitelson.  I think she never sleeps.  This one is titled Basket Weave II: See Saw.  There was a lot of math that went into this quilt, judging from her description.  She writes “The titled also refers to seeing and have seen, the way vision shifts in every blink.”

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BrunyBlastPast_1

Kim Bruny’s Blast from the Past is so named because all the bright designs and paisley prints remind her of her childhood.  Well, now we know how old she is!  (Kidding, Kim.  It was a terrific quilt.) I have several photos, showing details.

BrunyBlastPast_detail

detail

She used the “tiling” method of creating her top: appliquéing her patches to a single piece of fabric, keeping the pieces an even distance away, so it looks like tiles have been laid down.

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And in the borders–broderie perse, a technique of using specific cuts of the printed fabric to create the design.

BrunyBlastPast_detail3

I liked this quilting because it wasn’t so dense.  Lately quilters have been quilting their quilts so densely, they could stand up as a room screen by themselves.  This is a nice change.

DelmanMarksburyKartwheels

Sandi Delman’s Kartwheels was started in 2009, and took several raids of her fabric stash to make the rings, arcs, borders and stars.  Kerry Marksbury quilted it.

BirchTequilaSunrise

Eva Birch’s Tequila Sunrise was a more modern quilt with lots of interesting quilting in the negatives spaces.  Even though the photo above looks washed out, the background fabric was deep-toned. Two more detail shots:

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Nancy Rink and I

I spent the better part of Friday afternoon tearing back and forth between the Superior Thread Booth and the booth where my quilter Cathy Kreter was working, talking about threads, designs, colors, etc.  I was successful in choosing a thread, and on the way back, I stopped by Nancy Rink’s booth to show her my quilt (she designed this quilt).  She obliged me with a photo.  Yes, I carried that king-sized quilt top around all afternoon (which may account for some of the blurry photos).

Leisa and I

After a long day (as both Leisa and I woke up too early that morning and couldn’t go back to sleep) my little gang, The Good Heart Quilters, took ourselves to the local El Torito, where ten of us gathered round the table, including Cindy of Live A Colorful Life and Deborah of Simply Miss Luella. (They’ve adopted us Good Heart Quilters.)

Gang Out for Dinner

A few went back home to our town, and those of us who were staying the night gathered together in mine and Leisa’s room, did Show and Tell and talked shop.  I’m not letting those others go home next year, and think we ought to order in some chocolate cake and ice cream for fun.

Hotel View

You’ll hear us Southern Californians complain about our drought (those mountains ought to have WHITE tops, not brown), but you can’t beat waking up to this on a January morning.  We’re in for a doozy this summer in terms of water rationing.  Expect me to come and see you for a shower this summer.  Okay, last batch of quilts.  Here we go.

AdairGiddiness_1

Pat Adair’s Joyful Giddiness used a few of Kim McClean’s patterns to create the appliqué in this quilt.

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A lovely quilt, as evidenced by the use of color, piecing and quilting (and that blue ribbon!).

AllenAlmostSymmetry_1

Almost Symmetry, by Nicki Allen (quilted by Kathy Gray).

AllenAlmostSymmetry_2

This was made for the EZ Dresden Quilt Challenge, an online challenge sponsored by the Salt Lake Modern Quilt Guild.

BelfordAndromeda

Marilyn Belford used all varieties of fabrics and techniques to create this masterpiece titled Perseus Saving Andromeda.

Belford_detail

That rough water is raw-edge appliquéd, as is most of the quilt.

BergmanFracturedStar

Fractured Star was made by Linda Bergmann and quilted by Debbie Lopez, and is a Karen Stone design.

BianchiGraffitiHeart

So is Susan Bianchi’s Graffiti Heart a quilt? Since she created her design out of beads and buttons on whole cloth?  I remember that controversy came up with Hollis Chatelein first debuted at Houston, with her whole-cloth painted quilts.  (She earned a blue ribbon that year.)  Whatever, this was one of two of these button/bead quilts in the show, fascinating collages utilizing hard surface design.

And now it’s time for the Ugly Quilt Award.  Every year I try to pick the ugliest quilt.  It could miss on overall composition, surface design treatment, overreaching in the skill department (think: Peter Principle), or by the fact that somehow, it was just plain.  And ugly.  A very subjective category, but in walking around with some of my quilter friends, a number of them pointed out candidates for this award, so I know it wasn’t just me.  All of these are nameless, maker-less.  And in full-disclosure, any one of us could in any given year qualify, so no hubris intended.

Ugly Quilt_7

From the plastic doll, to the overly busy background to the tassels, andthat 3D hair, this is a sure qualifier.

Ugly Quilt_6

Another angel candidate, with her strangely proportioned torso to that gift-wrapped bow on the corner.  Hmmm.

Ugly Quilt_2

Meant to evoke a haunting response from the viewer, of the souls of lost native Americans now inhabiting the abandoned-dwellings-now-a-National-Park (I suppose) instead this just came off as creepy-looking, kind of like a cartoonish dead baby head filling a sacred space.

Ugly Quilt_1

Update: While I originally noted the fine quality of the quilting and the good design and composition of space, I panned this quilt for the drawings, as they looked extremely juvenile.  My sister, the historian, called me tonight to tell me that she thinks they were based on well-known (to historians) primitive drawings done by Native Americans at some of the critical battles.  She’ll let me know the source, and then I’ll add it here.

Ugly Quilt_1 detail2

Ugly Quilt_1 detail

If it is true that this quilt was based on those historical drawings, it obviously needs to be moved from this category.  (However, I still stand on the unfortunate quilted swirls on the men’s faces.)

Okay, Ugly Quilt Contest over.  Later on I’ll show you my favorite quilt, and I’ll tell you why.  (The ones I love usually never win at this show.  But I was happy to see this week that one of my favorites from last year went on to Win Big at other national contests.)  Okay, back to the quilts.

ThompsonModernAlphabet

Modern Alphabet, made and quilted by Gerrie Thompson.

ThompsonModernAlpha1

Yep, I’m pretty much fixated on DSM quilting this year.  My apologies.

WolfeKABOOM

Patricia Wolfe titled her innovation of a traditional Bear Paw block KABOOM! Bear Paws Gone Wild.  She also quilted it herself.

WilsonMischiefMaker

Titled Mishief Maker, Sue Wilson both made and quilted this octopus quilt, hand-painting the design on linen.  I walked around with my friend Simone and she gave me a lesson on borders, and why are quilters so attached to their borders?  As a trained graphic artist, she showed me several quilts that would have benefitted from “breaking the borders,” as the traditional use of that space enclosing a design cramped the artistry of the quilt.  This was a successful breaking of the border, she noted.  We both loved it.

QuiltersWhoLunch_day2LUNCH! (Day Two) with Cindy, Deborah, me, Leisa and Christa of ChristaQuilts.  It was a great conversation about quilting, the industry, design, breaking news and old news, one of the advantages of getting together at a quilt show.

Okay, last gasp of quilts, then my favorite.

UptonOdinTrilogy3

One of a trio of quilts, Linzi Upton’s quilts were tucked away at the back of the hall.  Another quilt, Silver Madonna won big last year, and these look like they follow in the same trend of using metallic fabric, then painting it, then quilting it to achieve the texture.

UptonOdinTrilogy2

The title of the three together is Odin’s Triology, and Upton made and quilted them all.

UptonOdinTrilogy

TaylorLonelyCrowdedRm

Another strong black and white quilt, ChrisTaylor’s I have felt lonely in a crowded room brought in architectural features of doors, windows and line to portray that feeling of being “alone” yet feeling “comforted by memories.”

TarrSnapshots

Inspired by the Holyoke Range and the Connecticut rivers near her home, Timna Tarr created Valley Snapshots, a rich mix of shape and color.  This was almost my most favorite.

TarrRequestDedication

Timna Tarr was busy this year, getting two quilts into Road.  This one, titled Request and Dedication, started out as a Wheel of Fortune block, but “after ten years of marriage [to a musician], he finally rubbed off on me and I unintentionally made a record quilt.”

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I had to show you close-ups of the quilting.

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SchlotzhauerSpillingOver

Spilling Over was made and quilted by Sharon Schlotzhauer, her inspiration coming from the loss of a treasured quilt, and from the “faith. . . [and] loving thoughts and prayers from friends and the quilting community.”

OKellyCitrusSlices

Citrus Slices by Marie O’Kelley was dear to my heart, as we live near the Citrus Experimental Station of the University of California–Riverside.  She writes “This quilt commemorates my brother’s career at UCR hybridizing new citrus varieties.  Included are the names of his hybrids and those of more common citrus types.”  By the way, if you like the little easy-to-peel Cutie (brand) tangerines, you have the scientists at UCR to thank.

MoonAutumnWhirlpool

Autumn Whirlpool, by Bobbie Moon.

MurphyBanderitas

Banderitas, by Victoria Murphy

MyersDaisyDance

Daisy Dance, by Susan Meyers, from a pattern by Kathy Munkelwitz

TaylorWashBeak_front

And now my favorite quilt of the show.  It’s not flashy, overly huge, stylized with 300 pounds of crystals and bling, but it’s a perfectly executed gem of a quilt.  Titled, Did You Wash Your Beak, it comes from a nature photograph of Eastern Bluebirds by Steve Byland.

TaylorWashBeak_quilting

The quilting appeared to be in a heavier weight variegated thread, which shows every flaw.  I couldn’t find any.  Taylor had put more leaves in the background of his quilting, surrounding those with small stippling stitches.  The branch had more texture added by the quilting.

TaylorWashBeak_back

The white-gloved lady held it up to show me the back.  Exquisite.  Taylor writes “I believe this is my most accomplished quilt to date.  The technique I have been trying to master for the past 12 years. . . was to create an appliquéd quilt that appears to be a photograph or painting at first glance.”  I’d say he succeeded.

TaylorWashBeak_detail

All of these feathers, the claw, all pieces really, are needle-turned appliqué, with the quilting enhancing the shading and structure. A masterpiece of a quilt.  While some might aspire to be the big old blue ribbon winner at the front of the hall, by the CD-selling harpist, I aspire to create quiet quilts of detail and story like this one.  I loved it!

Road to California Logo

And that’s all folks–see you next year!!

Road to California 2014, part I

Plaid Geese Quilt

No matter how many times I go, I’m always excited to walk in the front door of the convention center, see these hanging quilts (this one is by Nancy Boyce Geese in the Fields) and know that the quilting game is ON, specifically that the Road to California show has opened for another year.

Road to California Logo

I’m trying something different this year.  I noticed that the Road to California has put up good, high-resolution photos of the quilts that far surpass any of my snapshot renditions (largely because they are able to go around earlier, with a tripod and a good flash camera), plus they have many of the quilts that I may pass by.  Click *here* to go to that listing and enjoy their show.  What I’ll do below, is list some of the ones that interested me, make some commentary here and there (good and bad) and sum up the social aspect of the show.

Schamber Grand Prize

This is the Big Kahuna of winners, and no surprise, it was won by Sharon Schamber.  Titled Once Upon a Time, she started making it in 2000, then put it aside for over 10 years.

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I’m interested in her quilting, for that it how she gained her fame.

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See

Cheryl See’s quilt, Tatted Hearts had 20 yards of her great-grandmother’s hand-tatted lace and a doily. Never could locate the doily, so I assume it was used in the construction of this whimsical quilt, but the yards of tatting are evident.

WilsonMagicCarpetRide

Magic Carpet Ride reflects the childhood of maker Janet Wilson, when she noted that she grew up with Turkish carpets all over their floors.  She set out to create a design that was a colorful quilted, version of these carpets.

WilsonMagicCarpetRide_3

This is a quilt that gets a thumbs up on the use of crystals (generally, I think it is WAY overdone in show quilts), as they were used to be a integral part of the design and only for accent.  But using French knots would have been okay with me too, in those spaces where she put some bling.

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How do you like that fringe?  Wilson is a clever quilter, and skilled with her quilting (below is the back):

WilsonMagicCarpetRide_back

GunnZenGarden

Zen Garden was made and quilted by Margaret Solomon Gunn, and is based on the “Blooming Carpenter’s Star.”  She noted that all the fabrics she used were from her stash (certainly noteworthy!) and she used a longarm machine to complete the quilting.

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On this next quilt, first I’m going to show you some of the details before showing you the full quilt:

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CrineWillow

And here it is: Willow, by Debra Crine.  She used hand-dyed fabrics over a silk background, and her technique was to fuse them, then appliqué them with a double blanket stitch.  She also quilted it.  This was not a large quilt, nor was the Magic Carpet Ride.  Crine doesn’t say whether it was a domestic sewing machine (DSM) that she used to quilt it, or a long arm.  Of course, my bias is to see people quilting on a domestic machine, as that’s what most of us have.

I love reading Linda’s blog, Flourishing Palms, as she is trying to adapt many of the longarm techniques to our DSM, applying some of their tricks and tips so that the resulting finish can have a similar technical excellence to them.  I began to look for quilts that indicated that they’d used a DSM, chuckling a bit at the phrase “hand-guided longarm quilting,” although I know that this label is appropriate.

LegerMarinerCircle

When I read in MaryPat Leger’s artist’s statement that her quilting was inspired by Leah Day’s free motion quilting class, I knew I was seeing a quilt that was done on a DSM.  Leger tried out many different patterns on her Mariner’s Circles, and although the next picture is blurry (they have strips of plastic stretched across the quilts so it does make it hard to get good photos), you can see how many different stitches she tried on her quilt.

LegerMarinerCircle_detail

CrineTasteofParadise

Debra Crine’s been busy.  This is another quilt of hers, titled A Taste of Paradise.  Taken from an illustration, she hand painted the fabric with acrylic paints and a used a variety of threads for the thread painting.  She also quilted it, but no word on whether it was a DSM or a longarm.

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CrawfordBrittany

Lenore Crawford came upon an art class of teenagers sketching in the streets while on a trip to northern France, then returned home to create her quilt Capturing Brittany from what she saw.  She used raw edge fused appliqué, and quilted it herself.  This was another quilt that we were prevented from seeing up close, due to the barriers.  I just wanted to stand there all day, enjoying her scene and her skills at bringing this to us.  Click on this quilt on the Road website to see it larger.

We interrupt this quilt show to bring you an advertisement for more sparkles.

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This is the BACK of the quilt, a sign proudly proclaiming “over 22,000” crystals.  Would it surprise you to know that this quilter had a booth, and was selling crystals? Certainly a masterpiece of quilting and technically perfect with applied crystals, it represents the high point (or low point, depending on your point of view) of the Crystal/Sparkle/Bling phenomena.  (I don’t know who the maker was because I was not impressed with the front, and I don’t like to give out the names of quilts I diss.)  We now return you to our regularly scheduled quilt show.

WilliamsPrettyPieces

Lorraine Williams, who made this quilt titled All The Pretty Pieces, notes that it comes from a pattern, but doesn’t mention which one.  (I’m guessing this one from Jen Kingwell Designs.)  But it was lovely and refreshing and I’ve already participated in helping to make a variation of this pattern for one of our Mid-Century Modern Bee quilters.  I like the look of this one, as if someone had been piecing blocks all along, and then it just came together naturally.

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Williams also quilted her blocks differently, letting each stand out.  I thought she used varying backgrounds quite successfully, and her color palate was harmonious and brought the quilt together.

Gallery of Flowers

One of the odd (and maddening) things about the way they hang their quilts at Road, is this unfortunate habit of grouping all like things together (p.s. have they ever heard of “habituation?”).  The downside is that a viewer’s eyes begin to glaze over. . .oh, another flower. . . oh, another animal. . . oh, another whatever. . . after seeing 10 of the same subject in a row.  The upside is that you can always find them again if you want to find them again “It’s in the flower section,” like we are at a garden show and all the lilies are grouped together or all the orchids.  It’s been this way for quite a few years, and nothing I ever say will change that–it’s just one of Road’s idiosyncrasies.  But since I’m trying to bring you the essence of Road, that’s just part of it.

TurnquistSunflowersWept

Sue Turnquist started her quilt Even the Sunflowers Wept shortly after her mother passed away in 2009, and she referred to it as her “mourning quilt.”  I’ve seen a few of these in quilt shows over the years, and I like the idea that a quilt was made to help process grief and in remembrance.  She writes “Even though the sunflowers weep, one cannot remain sad in their presence.”

GunnRainbowNouveau

Rainbow Nouveau is by Margaret Solomon Gunn, using batiks, hand-dyes, and gold acrylic paint for accents.  She quilted it herself: “quilting is hand-guided,” meaning longarm machine.  Her original and whimsical appliqué kept my eye moving over the quilt.  It was fun to look at.

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Random Quilt

I apologize for not having the maker’s name, nor the title, but I found it on my camera.  Something about it caught my eye.  If anyone has any information about this, please let me know.  I really liked the use of those four small squares set on point to act as a type of sashing.

ElenbaasBeauchampHappyHauntings

Always fun to have a Halloween Quilt! Debra Elenbaas pieced the top and Diane Beauchamp quilted Happy Hauntings.  It’s taken from a pattern by Verna Mosquera of The Vintage Spool, and has lots of appliqué.

HappyHauntingsdetail

I thought the spiderwebs in the borders were classic!

LabodaStarsLightYourWay_front

Kay Laboda made and quilted Stars to Light Your Way, a black and white quilt where each block is different from the others.  She says she “loves paper piecing” and gave this to her son and new daughter-in-law.

LabodaStarsLightYourWay_detail

KayQuilted Northern

Now I’ve seen everything.  Yep–the title of this is The Real Quilted Northern.  Maker and quilter Jerry Kay writes “The TV commercial showed little old ladies with knitting needles making quilted northern.  I wanted to show the ‘REAL’ thing!”

I’m going to close out this post (there’s more coming–stay tuned) showing one reason why there are fewer and fewer judged quilts at Road.  It is because these collections of quilts — sponsored (read:$$) by a shop owner or a store or a corporation — have become numerous.  I counted about five different ones, but here’s two.

Gallery Show Angels at Road

This one was huge (I’m only showing half of it) and had mounds of white fluffy batting to denote “clouds” as this show was about angels.  Some of the quilts were interesting, but many were not.  Wasted space.

Gallery Show at Road

Because I’m involved in an on-line art group, I took time to look at this gallery of “art quilts,” also 12″ square. I thought some were interesting, but many were not (sound familiar?).  Some wasted space.

I’m guessing that the economies of sponsorship outweigh the showing of quilt-show quilts, but am saddened by the shrinking number of quilts, and wish, somehow, we could have more individual quilts, fewer galleries of quilts.  The category of wearable art seems to have disappeared this year, and the doll exhibit was substantially reduced.  Here’s a couple:

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And one doll from my favorite doll maker: Elinor Peace Bailey.  She’s the best.

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This traditional Dresden Plate design is updated in a pink and green setting with central blocks to allow for fabulous quilting.  Quilting designs are “hand-guided.”  Margaret Solomon Gunn titled this Big Bertha, and it was a stand out quilt, as you can tell by that fancy ribbon hanging on the side.

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At the front of the hall, just behind the harpist selling his CDs, was this exhibit which was a communal effort of many quilters.

SacramentoRiver

And the Sacramento River ran through it all.

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China Gardens by Roblee Irvine

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Table Mountain in the Bend Area, by Alice Burris, Violet Skeeters and Beula Alioto

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Sims Flat by Patty Schuler.  She says the three women about ready to head into the river “represent my sisters and me.”

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Headwaters Along the South Fork of the Sacramento River, by Jacque White

Part II of Road to California 2014 will follow, which will include my favorite quilt and my nominees for the Most Ugly Quilt (I actually have several this year).  I just found out that the Quilt Inspiration blog has also liked some of the same ones I have.  Click *here* to see their first post, then follow the links to their second post.

Amish Quilt, in progress

AmishWithATwist2Top

Finished the inner top.  Put on two borders and still have one border to go this gigantic quilt (finishing at 105″ square).  What was I thinking?

AWAT-detail Jan_2014

I was thinking I loved the colors, the sparkle of the brights, and the use of solids.

Quilt Border Fail

This picture is titled Border Fail.  They sent me 2 5/8 yards of Blue Coal (it’s a nighttime photo, so all the colors are wacky), and after dinner I was tired but wanted to push on to finish the quilt.  So I came upstairs and whack, whack, whack started cutting crosswise strips to piece together for the outside border.  After I’d cut about half the strips, I realized they sent me enough to do a lengthwise cut for that outside border, which would really stabilize the quilt.  I slumped into my chair, and yes, got all teary about how dumb I was.  I was tired.  My husband said some “there, there, theres” and I ordered a new swath of Blue Coal from an online shop, which should be here by the end of next week.

Lessons learned: husband is a gem, mistakes can be made, especially if I’m tired, and beware of cutting after dinnertime.  I’d already put on the first inner border, and the little squares border.  Now that’s an exercise in frustration.  Those squares NEVER fit, so you go back in and stitch another 1/16″ of a seam on a few squares, inching it down to fit. If you want to see what I’m working toward, here’s a photo of Amish With A Twist–II:

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Here’s Amish with A Twist–Version I, and it’s really big, too.AmishWithATwist2011

Found this on the web when I went searching for ideas on how to quilt my quilt.  Which won’t be done until NEXT week now.

So the center of my version, Amish With A Twist-2,  is this lighter set of fabrics, so that would call out for beige or cream or light gray or something.  But then the outer is darker, so that indicates black or dark gray.  And I’m having this done by my long-armer, and to keep it affordable, I’ll probably do an edge to edge design.

AWAT1 quilting

This quilter had hers done in colorful variegated thread, which she showed on another page.  That’s certainly an option, as it does melt into the light-colored fabrics.  But I’m not too crazy about how it looks on the dark black.  My version doesn’t have that dark black thing, so maybe it will be okay.  What would you choose?  Road to California is coming up in a couple of weeks and I can pick up some Superior Thread there.  Any ideas?

Road to California Logo

And if you are going to Road to California, want to try for a meet up–say Friday, late afternoon?  That will give the out-of-towners time enough to get there, and by then, I’ll be ready to call it done for the day.  If you are going, leave a comment, and we’ll figure out a place.  Possibly near the ice cream cones.  Or cookies.

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Reminder: my blogging software will occasionally place an ad on this page.  It’s the way I can keep blogging for free, so it you see one, it’s for them–not for me.

Road to California Quilt Show 2013—part III

This is the final post on the quilts I saw at Road.

BuckleyQuilt

Fiesta Mexico was made by Karen Kay Buckley and quilted by Renae Haddadin.

BuckleyBack

The back was amazing, with all the colored thread.  Details of the front are below.

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Chromaticquilt

Chromatic Transitions.  Rachel Wetzler adapted a late 1800s Minton tile pattern to make her quilt.  Four tiles pivoting on center makes one block and there are 25 blocks in the quilt.  She played with the placement of values to de-emphasize some shapes and empasize others.  Details below.

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This quilt fascinated me by the way she appliqued it.  Some swirlies were turned-under (freezer paper method?) and then appliqued using a small zig-zag.

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And then there’s this section which is raw-edge appliqued.  I love the combo of both in one quilt.

Cranes

Cranes in Motion was made by Gloria Gilhousen and quilted by Jean McDaniel of Oregon. So you’re thinking: nice birds, nice autumny background.  And then you realize that the background is all flying geese, set on the diagonal.  Clever.

Cranesdetail

Inspiration came while she was vacationing in Florida where “cranes are ubiquitous and sunsets are an extraordinary visual experience.”

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FantasyLandQuilt

Sheil Frampton-Cooper is the one who put together the Perspectives exhibit where you saw lots of landscapes yesterday. This is her quilt, Fantasyland.  She writes: “Created during an emotionally challenging time, working on this quilt was an escape to a fun place.  It was my ‘amusement park’ and regardless of what I had to deal with, as soon as I entered my studio and felt its vibrant energy, I was comforted and full of excitement.”  She is from California.

FantasyLanddetail
GreenMiles

I included this quilt because when was the last time you ever saw a cream and green quilt?  Green Miles was made and quilted by Peggy Kragnes of Minnesota.  She writes that it was made “using green fabrics gathered on a 7,000 mile road tip with patient husband.”  No kidding.  There are many different fabrics in here and the quilting is wonderful, too.  Detail shots below.

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GuerreroConverge

Annette Guerrero made two solid-fabric quilts.  This first one is titled Convergence.

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GuerreroIris

This quilt is titled Iris.

GuerreroIrisdetail

She included a quote from Emile Zola on her sign: “If you asked me what I came into this world to do, I will tell you: I came to live out loud.”

HexiesQuilt

Lily Pad, made by Patti Van Oordt and quilted by Cory Allender (both of St. George, Utah) is a paper pieced design that had its origins in a class by Claudia Meyers.  Since I’ve been working on a hexie-shaped quilt for eons, I was interested in how she displayed the pieced hexies against the rusty-orange background.

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McTangerine

This little stunner, titled McTangerine Rose, was the 2011 Block of the Month patter by Sue Garman for “The Quilt Show.”  Lynn Droege, the maker, added an additional border.  It was quilted by Lisa Sipes; both are from Kansas.

McTangerinedetail

MiniLogCabin

For a change of pace, here’s a miniature quilt.  Kaye Koler of Ohio, “set out to see how small I could make a log cabin.” Each block is ONE AND ONE-HALF INCHES!!  Which means, my thumb (and yours) would just about cover one log cabin.  She used 172 different fabrics.  All of the miniatures were amazing, but because of the plastic tape, I couldn’t really get in to see them.

MiniLogCabindetail

Moose

Pam Hadfield, from California, saw a trivet in the airport, and used it as inspiration for her quilt We Moost be in Yellowstone.  I have a Christmas ornament similar to this from when I visited Yellowstone: a moose filled with designs.

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PowerSuits1

Another exhibit in the show was something called “Power Suits,” and each quilter used their own ideas to depict the theme.  I liked some of these very much.

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Someday I aim to make a pineapple log cabin quilt!

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The annual awarding of The Ugly Quilt came from this exhibit, but this year we had a tie.  You’ll find them at the end of this post.

rarebirds

Remember the swirly quilt above in yellows and blues?  Well, Rachel Wetzler did it again: Rare Birds is a quilt depicting the six of her friends in a their quilt critique group: (l to r) Denise Havlan, Rachel Wetzler, Annette Hendricks, Beth Gilbert, Ann Fahl and Robbi Eklow.  That’s quite a group!

Along the front wall of the ballroom was a Route Sixty-Six quilt.  It consisted of large panels with lots of small quilts adhered to the “road,” showing off the sights in the area of the cities along the route.  Here are some of the panels, with some close-ups of the mini-quilts as well.

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I included this one because my daughter used to live in Kingman Arizona, and I’m pretty sure the movie Cars was based on some of the scenery around there.

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We have a giant orange stand like this in Riverside, in our State Citrus Heritage Park.

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Rte66-quilt

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sleepingcats

Let Sleeping Cats Lie, by Cheryl Giovenco (quilted by Sheila Osbrink, both of Corona, California).  This quilt is made of 19 different batik fabrics, and was designed by Helene Knott.

starrynightquilt

Vincent–Haunted Genius was made and quilted by Danna Shafer of Temecula, California and is her interpretation of Van Gogh’s “Starry Night.”  She used fused appliqué, secured with monofilament thread; it was five years in the making. Detail below.

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TeaPartyQuilt

This is for you applique fans.  Joan Lebsack made Welcome to My Tea Party, based on a pattern by Verna Mosquera.

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ThelmaChildersFlag

The sign next to this quilt was wrong, so I have no idea who made it or what the title is.  It’s really lovely.

ThelmaChildersREDquilt

A couple of years ago (March 2010), there was an exhibit of red and white quilts in New York City, “Infinite Variety: Three Centuries of Red & White Quilts,” which took us all by storm.  Thelma Childers made this quilt as an homage to that amazing show, but also as a way to show many different quilts, and how one might have obscured the other as a person walked through that show. I’m a fan of Thelma’s, so was really excited to see it in person, as I read about on her blog as she made it.

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The beautiful quilting is by Connie Lancaster.

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ThelmaChildersStarquilt

This is another Childers’ quilt: Two Score and Seven Stars, and it is quilted by Judi Madsen (both are from Illinois).

ThelmaChildersStardetail

TreeLifeQuilt

Tree of Life, by Allison Lockwood of California, was based on a trip to Thailand, where she was “enthralled with the color and sparkle of Thai Buddhist temples.”

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TwoCrows

What made this quilt by Gayle Pulley stand out for me was not only the coloring of her hand-painting on a whole cloth, but also where the color isn’t, and how the stitching fills in.  Two Tenacious Crows are certainly having their feast in a cornfield.

TwoCRowsdetail

And now I bring you my truly subjective category: Ugliest Quilt.  One is easy and you’ll probably agree with me.  This first one, however, may make you howl, especially if you loved this Award-winning Quilt.  I couldn’t find anyone who did, so I think there are more that might give me a thumbs’ up on my awarding of this quilt one of two in the Ugly Quilt category.

UglyFeathers

I like red.  I like gold.  I’m not opposed to feathers.  But I couldn’t make any sense of this one, other than it was one of those quilts that was just a show-off for technique, and not for design, or cohesiveness.  It’s made by a couple of big-name artists (I never reveal my Ugly Quilt makers), and while a lot of times I see their quilts up here on Winners Row at Road, this one just made me scratch my head and realize that my puny efforts will NEVER get in, if this is what the winning quilt looks like.

UglyQuilt

This is just all wrong on so many levels: the art, the composition, the appliqué wads of dyed cotton batting for hair.  It has nothing at all to do with the subject matter, just like the quilt above.

I guess I look for quilts that have some intrinsic beauty, when I pick out my favorites, or colorations or design elements that are interesting.  I also appreciate technique, but “over” technique is just as big of a sin to me as is “under” technique.

Other observations: The people that hang the quilt show still have that affliction of hanging subjects together, such as all the flowers together, all the birds together, all the zombies together (I didn’t show any but we did have some Halloween quilts) so that you don’t let the quilts interact in a more natural way.  Wish that would go away.

I think the show overall was better than last year (it could only go one way), but I was not as charged up about the vendors as I usually am.  Perhaps that’s just because I’ve gone too many times and seen everything that is brought to the show (or maybe I have just too projects on the back burner with too many yards of fabric home in the closet).  I did buy a bead bracelet (quilt shows are a great place for jewelry), and some solids from Ginger’s, but other than a few bits here and there, it wasn’t a Big Haul.  I think the group that we were with didn’t buy as much as usual, either.

I do appreciate having a quilt show nearby, and look forward to Long Beach the first week of August.  The best time of all was with my friends–both new and old–eating together, doing Show and Tell, taking a break. See you all next year!

And that’s a wrap for 2013.

Long Beach–Final Post

It’s the final post because it’s time to move on, maybe moan about the first week of school where my classroom was 83 degrees.  Whose idea is it to begin school in the middle of August, anyway?  Okay, enough moaning.  Here is the final set of quilts.

I wrote some time ago about the Masters Books, and my lucky day arrived, for they had sample albums related to the published works.  The quilts could jump off the page and I could touch and see and figure out how they did things.

Alice Beasley’s wonderful portrait.

On the left, are some pieces of fabric that Beasley used, and on the right, Beatrice Lanter’s sample.

There’s my thumb on her sample, just so you can appreciate the scale.  Teensy-weensy little squares.

This sample on the right is from my favorites: Gayle Fraas and Duncan Slade.  If this post weren’t so photo-heavy, I’d paste in some more of their work, but use the link above to the Masters Book to see more.

ConText, by Pat Kroth

I keep thinking that little white strip of text looks like the flag in a Hershey’s kiss candy.  Maybe it was time to break for lunch, which I did.  While eating a (lame) salad (the food at the convention center is in dire need of an overhaul!), I received a text that my son had gotten a job!  So the title of this quilt, based on the idea of texting, had resonance for me.

Ladybug Garden, by Collen Harvey in the Hoffman Challenge series of quilts.

Detail of the quilting and fabric use.

This quilt is from where my mind was feeble and I completely forgot to get info about it.  If anyone knows, leave a comment and I’ll update.  It’s a shame not to acknowledge such an interesting quilt.  Please forgive.

My Friends Made Me Do It, AKA Starlight Garden, by Betty Brister
She has great friends, if this is the result.  Detail below.

In her artist’s statement, it comments on the supple stems and perfect circles. Here’s a detail version of those.

M. C. Bunte was driving across the Indiana countryside during an approaching storm.  As she watched, a shaft of sun lit up a small church and the surrounding trees.  In this quilt, Shelter in the Time of Storm, she felt it was a message that even when “situations appear threatening, hope — God’s protection for the spirit — exists.”

She had quilted what looks like text into the fields of crops, but I can’t decipher what it says.

Pamela Druhen created this exquisite small quilt that just pulled me in like some of the larger, showier quilts can not.  She used the techniques of dye-painting, free-motion embroidery and free motion quilting to create Vas-Y, which according to her artist’s statement means “Let’s go!” in French (since it is a French bicycle).

Detail of Vas-Y.

This quilt, titled Totally Insane, is from the Nearly Insane book by Liz Lois.  The maker, Loretta Duffy, wanted to recreate the 1879 Salinda Rupp quilt that, according to her artist’s statement, is composed of 98 blocks.  Working with such small pieces, like block #18, which contained 229 tiny pieces, was quite a challenge, but nothing compared to the satisfaction of seeing the completed work.”   I’d be totally insane, too, if I tried this.

I don’t know which one had 229 pieces, but all of them are heavily pieced blocks.  It was an amazing quilt and always had a crowd around it.

Carol Bryer Fallert became famous for her impeccably pieced flying geese in loop and swoops and swirls over the face of her quilts.  She continues her pristine piecing in Checks & Balances, which is machine pieces, machine quilted and painted.

Did I mention she was known for her machine quilting, too?  Amazing.  Those cloth shadows really make the figures feel dimensional.

First, notice the interesting binding — it’s turned to the back, leaving a clean edge on the front.

Since Connie Fahrion’s quilt has a lot going on (but it was wonderful to look at in person) I think her choice of the clean edge was masterful.  She says the design source for A Fine Pastry came from “the desire to depict how it feels to be part of a communication gone wrong. . . . A poor choice of works, misunderstanding all around and, voila! you have created, as my Italian neighbor would say, ‘un proprio pasticcio’ — a fine pastry.”

I’m a sucker for text in art.  Yessirree.

Since I’m the kind of person who always wants to know “how did you do that?” I tend to focus on technique.  Sometimes this frustrates, like when I’d like to create a text quilt like the one above and I don’t feel I have the artistic chops to do something like that, but other times my interest in technique lets me appreciate a quilt like this one by Helen Godden, titled Good Onya Sonya Onya Bike!  This hand painted, whole cloth quilt allows the free motion quilting to really shine.

Annette Guerrero in her quilt, Gridlock, used a two-line motif in the shape of a modified T to create her quilt.  From the smallest to the largest piece, you can see the T-construction.

Cool quilting, too, carrying out the theme of the grid.

Mrs. Lindberg’s Neighborhood, by Martha Lindberg.
Apparently she designed this quilt, then started a house swap with some friends, inspired by a quilt she saw at the Dallas Texas Quilt Show.  Her friends’ blocks, and her own houses, populate this neighborhood.

Nice quilts we weren’t supposed to photograph.  Or maybe it was okay to photograph them, but I was too tired to get all the info about them.  Even though you might feel like you’ve seen every quilt in the exhibit, trust me. . . there were a lot I didn’t put in these posts.

Danielle Reddick, from Picton, Ontario, Canada was inspired by the fields in rural Prince Edward County to make Sunflower Heart for Alice, in honor of her daughter’s 21st birthday.

I’m including two detail shots because it’s not until you look at for a while that you realize you are seeing cut-up cast-off shirts.  Note the button-front, above, and the pockets, below.

Eat Your Vegies, by Judith Roderick, a long time vegetarian.

I love her quilt even though she misspelled “vegies.”  It’s veggies, if you are going to abbreviate it, but I have to admit that’s one of my “fingernails-scraping-on-the-chalkboard” words.  I hate it.  But I love this quilt!

Springtime in the Garden, by Mary Schneider, uses raw edge machine appliqué along with hand appliqué to create this sublime field of flowers.  She made some changes to a pattern, to put her own stamp of originality on this creation. (I wished she’d given us the source of her inspiration, though.)

Pretty sure there was an exhibit on text, as there does seem to be quite a few quilts using letters and words in the design.  This one, The Word Gets Around, by Louisa Smith, uses commercial fabrics that she manipulated by painting, dyeing and overdoing to obtain the colors she wanted.  Her idea for the quilt came from the fact that “our lives are surrounded by text. . . [in] newspapers, advertising and street signs.”

The backside of her quilt.

Gaudi Star, by Lisa Walton  Influenced by the architecture of Anton Gaudi in Barcelona, Spain.

This is one of those quilts where the the parts are greater than the sum.  The parts (above) are fascinating, both in the use of shape and color and the screen printing which she did. Really beautiful, up close.

Terry Waldron is a favorite quilter of mine, a local gal who has had some fame and success, but still found time to write me a congratulatory note when she saw my quilt hanging in a show.  So I thought it good to end these few posts with not only a lovely quilt, but a lovely quilter.  The title of her quilt is A Gentle Heart, based on George Herbert’s statement, “A gentle heart is tied with an easy thread.”

This quilt is hand appliqued, hand beaded and machine quilted.

What do you feel like after you leave a quilt show?  A lot of times my wallet and my hands hurt from gathering up treasures from the vendor malls.  But aside from that, are you inspired?  Overwhelmed?  On overload?  Me, too.  And then it’s time to climb back into our lives, into the reality that we don’t have enough time or energy to make all those quilts we dream about, so we just choose what we can and make what we can.

But it’s always great when a quilt show comes around.

Long Beach Quilt Show: Log Cabins

I’m just sneaking in a little slide show here before I finish up the Long Beach quilt posting.  This collection of quilts belongs to Claire McKarns, who has been “collecting, buying and seeling antique quilts for 30 years.”  Most of the makers are unknown, but they date from the late 1800s on up into this century.  A special note to one of my favorites (shown below, but above the slide show).

I especially like that modern touch of high voltage cables and plugs decorating the bottom border of the quilt.  Enjoy the slide show.

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Some information on the names and the patterns are found *here* and *here* (you can also search the web for more).

Long Beach, Part 3

Let’s see if I can roll these out for you.  I’m watching the Closing Ceremonies of the Olympics and all this music has me typing quickly.

Karen Eckmeier’s quilt, Aegean Memories, was a masterpiece of tiny pieces, yet it really evoked the Greek Isles, fresh in her memory from a recent visit.  She used collage, paint, machine quilting and couching to make this.

She used the applique-under-tulle netting approach that she did in her other quilt (Black, White, READ).  I think this would be a really good way to control all all those tiny pieces.

Detail.  Maybe this is where she used the paint?  But no, all those little squares look like scraps of cloth.

Harumi Asada had her first granddaughter (her son’s daughter) and she made Happy Birthday to commemorate that first year.  There are growth records, pictures of the baby throughout this first year and flowers flowers flowers!  I was happy to get a nine-patch quilt made when my grandchildren were born.  This was really a stunner.

Here you can see a couple of the baby’s photos at different stages of that first year.

All those circles!  My Karen Buckley circle templates would have gotten a workout. I turned off the flash to show the hand quilting, but it does produce a slightly soft focus.

Here’s some of aforementioned flowers.  All hand appliqued.

But this wasn’t the only Asada quilt.

In this quilt, Harmony in Nature, she wanted to express that all living things are linked.  She made it for a conference on biodiversity in Nagoya, Japan.

I could have taken billions of photos, but mostly I just stood with my jaw dropped and sighing at her exquisite details.  This is the central medallion of a large quilt — close to a queen size.

Since I spent a year in Washington, DC, I fell in love with this depiction of when cherry trees bloom. The title is Spring Blossoms by Terry Aske.  If you look in the background, you can see a row of trees, as well as the soft carpet of pink blossoms under the tree–so very typical of what the blossoming trees are like.  Aske, however, is from the West Coast of Canada.  I guess cherry blossoms are a universal.

An excellent use of floral fabrics to suggest the individual blossoms.

Here’s another quilt from Terry Aske, titled Spring Beauties.  It’s those stripes that pull me in, as well as the plaid leaves.  Such inventive use of fabric to depict a “local patch of tulips.”

And look at this “border”– outlined, subtly, with the use of the striped fabric again, and the background flowing over into that border area.

Cricket on the Radio, by Elizabeth Bren.

Sometimes simple quilts can be very effective.

NASA Wind Tunnel, by Linda T. Cooper.  Highly graphic use of shape and color.

Another Whimsical Garden, by Tina Curran

Fused flowers, but they are all different and wonderful.

Bodil Gardner must be a favorite of those who put on the show, because I’ve seen her quilts multiple times.  Always interesting, though, with her free-form shapes and almost troll-like faces and bodies. This one’s titled Nine girls a dancing.

Spiral Fever, by Jane Lloyd

Spiral Fever, detail.  She says she likes to work in a series, and the ideas for the next quilt come to her while working on her current project.

In the center of one of the areas, they had this display of a little village of houses, organized by Kathy York.

I’m convinced some of these quilt artists never sleep.

And now it’s time for the Ugly Quilt Award.  Again, this is only my very subjective opinion (and certainly some of mine could qualify.)  To protect the innocent, no names are revealed.

It’s not necessarily the head-on shot that reveals its place as the winner this time.

It’s the side view (and I realize it’s a pretty ugly photo, but again–the lights here are challenging), that shows the 3-D effect of purple pipe cleaners.  I know nothing about the quilt artist and I do have to applaud her inventiveness, but maybe some things just shouldn’t be tried.

YoYo2: Trip Around the World, by Helen Remick

Native Market, by Phyllis Cullen and Annie’s Star Art quilt group members. This is one of those quilts where they take a photograph and cut it into pieces (in this case, twelve) and each member interprets the section s/he has.  I like how they sliced this one into irregular pieces, rather than the usual strips.

Native Market, detail.

Watt & Shand # 6 is by Sue Reno, who was documenting the conversion of an old department store into a convention center and hotel in Lancaster, Pennsylvania.  These images  are from her own photographs of the reconstruction.

Reflections, Glass Walls, La Defense, Paris, France var. 3 by Barbara Schneider.

This quilt was in the quilt show booklet, as it is such an interesting quilt.  It is dyed, overdyed, painted, collaged, fused and machine stitched in order to show “the contrast between the patterns in the glass and the structural gridwork” (artist’s statement).  The quilt below is another variation in her series, but I couldn’t find the title in my notes.

This one’s for all the hexie fans out there.  This is the popular rose block that is being constructed by many quilters, using hexagons (or parts of hexagons) in the English Paper Piecing method of construction.  The title of this is Rose Garden and it is made by Ardie Skjod and quilted by Dorothy Burnett.  She used a pattern from an Australian magazine, designed by Dale Ritson.

Here’s another one by the same quilter, Ardie Skjod, but this one is quilted by Debbie Blair.  Star Garden is inspired by a photograph she saw in an old magazine, but designed it herself.

I had to zoom in on that one block, as the use of the stripe really skewed it visually for me, but I think it makes the quilt more interesting.  Some blocks look like Tumbling Blocks and some have those diamond stars, but all of them are a large hexagon.  It didn’t say if this was hand-pieced.

Springtime in the City, by Cynthia St. Charles.  Her city of inspiration? New York City.  This quilt is hand-painted, block printed and machine quilted.  It’s really quite full of beautiful springtime colors.

Detail.

Portraits of Flora, by Timna Tarr originally started out to be done in taupes and neutrals, but then her “love of color took over.”  The circles are hand appliqued onto a square, and these squares were pieced together to make the quilt.

I hope you don’t find these detail shots tedious.  Used to be in the OLD days of blogging, you could click on a photo and it would enlarge, but now I find that lots of blogs limit the size, so a detail shot is needed in order to see what’s going on in the quilt.

Her tight quilting made the circles pop into a bas relief.

Baskets Made With Love, by Connie J. Watkins.

I haven’t figured out yet how these quilts come to be displayed — is there some entry form I don’t know about?  Are these quilts from another show merely transported into the Long Beach festival?  It might be interesting to know as we Southern Californians don’t see a lot of coloration like the browns palette in the quilt above, which speaks to the idea of “importation.”

One more post and then I’m done.  School begins today so I really need to get going on that, but to close, here’s what I finished during the Olympics: