Quilts from Quilt Market 2016 • part 2

The following quilts were exhibited in the center of Quilt Market this year, in a special exhibit.  They are the prize winners from Houston, and the area around them was always calm and quiet, so it was a nice place to visit.  Here are the rest of the pictures I took.


Why Knot? is by Tanya Brown, who writes: “This quilt was inspired by watching my Cub Scout son practice knot tying, an exercise designed to torment the uninitiated.  In this piece, the metaphorical nightmare of becoming hopelessly engulfed in one’s own knots is made real.”  Follow the link on her name to read her (hilarious) description of how this piece came to light, as well as interesting reading on her process.

Ravendale Star, by Linda Fleschner, is a quilt where she did not design the entire thing before she started but knew that she would “use the Ravendale paisley print in a Radiant Star.”  She goes on to say, “When that was finished, I designed the border feather, staying with a black and white palette–a big departure from the bright colors I normally use.”QMFleschner_RavendaleStar2 QMFleschner_RavendaleStar3

(Okay, I took this one because it bulges slightly in the middle, just like mine do.  However, mine aren’t as intricate or beautiful or amazing as hers.  This is my make-me-feel-better-about-my-creations shot.)

Laura Fogg‘s Visions of Apple Pie.  Her artist’s notes say: “Looking up into a loaded apple tree on a hot summer day, I imagined all of the things I could make with the glorious fruit.”

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Anniversary Roses, by Susan Gorder.  She writes: “The appliqué rose blocks and borders were my take-along project on many trips over several years.  Once the top was finished, it took me another six months to hand quilt.  Instead of traditional grid quilting behind the appliqué, I decided to quilt feathers and to repeat elements of the border design around the center blocks.”QMHayward_WhiteHoles

White Holes by Peter Hayward.  His notes state that “I wanted to take the basic concept behind op art quilts to a new level by adding color gradation and concentric lines as a way of enhancing the 3-D effect.”QMIke_magicalZone1

Magical Zone, by Keiko Ike.  She writes: “I wanted to create a mysterious quilt with design and color.  I perfectly pieced the extremely sharp points in the Mariner’s Compass, which is normally difficult to finish flat.”QMIke_magicalZone2 QMIke_magicalZone3 QMKotani_CoastalTown1

A Coastal Town is made by Nobuko Kotani and quilted by “14 friends from Kanagawa.”QMKotani_CoastalTown2

She writes: “This started from a fabric I found while I was on a trip.  The pattern on it was interesting, so Katy designed a town with many unique houses along a coast.”QMKotani_CoastalTown3 QMKotani_CoastalTown4 QMKotani_CoastalTown5

Can you tell I loved all the details?QMMarquez_Dance1

Dance, by Marisa Marquez (of Madrid, Spain): “Every little girl’s dream is to become a dancer–elegant and graceful.  As we grow up, we continue dreaming.”QMMarquez_Dance2 QMMulheren_AudreyII

Audrey II Plus 3, by Marianne Mulheron.  Her notes say that “In response to a Spring Into It quilt challenge, I used real springs to attach three dimensional baby plants to their carnivorous mother, Audrey II, from the movie Little Shop of Horrors.”QMNozawa1_mysteriousletter

Mysterious Letter, by Noriko Nozawa.  Her notes say: “The Kana letter, which is a Japanese inherent letter, is the main theme of this work.  Although I used the Japanese traditional letter, I added a sense of fun by changing the color, placing the letter randomly, and repeating it.”QMNozawa2_mysteriousletter

I love all the different textures in her quilt.QMPerejda_ArroyoGrandeAlbum1

Arroyo Grande Album is by Andrea Perejda.  She writes: “Folk-art appliqué has been an interest of mine for many years.  I started with Threadbear’s pattern for their Civil War Bride quilt top.  I altered it considerably, adding personally meaningful motifs and appliqué sashings.”QMPerejda_ArroyoGrandeAlbum2 QMWasilowski1_birdonbranch

Laura Wasilowski‘s Bird on a Branch #6.  “This quilt,” she writes, “depicts a view of my front garden.”QMWasilowski2_birdonbranch QMWeichselbaum_Exuberance

Exuberance, by Enid Gjelten Weichselbaum, was “[i]spired by the layering of colors created in watercolor paintings.”  She “used layers of bright organzas to ‘grow’ a joyful bouquet of flowers and a transparent vase.QMWeichselbaum_Exuberance2

That’s it for my quilt show today.

Shine Circle quilted

I’ve been working on my own quilts, finally tackling the hard job of quilting through two layers of batting (some make this look easy, but really, they are lying. . . unless they are on a big machine).

OCT Working on borders

I’m also working out the thorny problem of those pesky border instructions for our Oh Christmas Tree border post, which is coming up quickly.  Don’t worry.  I’m on it.


It’s all coming July 2nd–just in time to stay home that weekend and sew!  We’re almost finished with that quilt. Just keep on  quilting; we want to see YOUR quilts next year in Houston, and then Quilt Market!

A Look at the Quilts at Quilt Market 2016

Giveaway Banner

First, I need to report on the giveaway held in the last post–all your comments were terrific! and seemed to be a healthy range from “just the kids” to “adults have a great time, too.”  I really liked the ones that said to include them both–so now you know.

The winner was Number 7HalloweenGiveawayJune2106. . . and it was Leslie, so I’ll get those shipped out to her right away so she can keep going on her Halloween quilt.  She wrote: Leslie comment HalloweenI do miss the homemade donuts that our neighbor used to make and for which we, as children, would double back around for.  Now it’s only wrapped candies, and we Moms all sort even those for scary things, but I do like Leslie’s perspective.  Okay, here we go with the quilts.


Tutti-Frutti Alleyway, by Susan Bleiweiss.  She writes: “This quilt is part of my ongoing series of art quilts which celebrate the use of vibrant color and whimsical imagery.”QMBleiweiss_TuttiFruittiAlleyway2 QMBranjord_BlueprintLife15347 Redfox Circle. . . Blueprint of a Life, by Sandra Branford.  Her artist’s statement: “Using my collage skills, I created a fantasy story board of my imaginative home.  Through my original designs, I define myself and take the viewers on a journey through my mind. . . some wit, a few brains, and loads of imagination.”


And as an English teacher, I smiled when I saw the misspelling in this text.  (You’ll have to find it yourself, and no, it’s not “hors d’oeuvres.”) Whenever I find typos and misspellings in things I write, I die a little of embarrassment, so I understand how things can get overlooked.QMBrown_Triology

Trilogy, by Peggy Brown.  “My goal,” she writes, “was to start with a painted free-flowing design, add collage and overlays of more paint, and compose a well-designed and unique painting on fabric — an art quilt.”QMCoatesPerez_PinkBird1

Pink Bird, by Judy Coates Perez  (Check out the quilting in the following photos!)  She write that she likes “painting images inspired by nature, using photos of real birds as reference for a pose, then altering them graphically; simplifying details, creating new patterns, and choosing different colors to create unique stylized birds and plants.”QMCoatesPerez_PinkBird2 QMCoatesPerez_PinkBird3 QMCoatesPerez_PinkBird4 QMDaniels_LongWinter1

Long Winter Flower Basket Sampler, by Eileen Daniels.  During a “long, cold winter in Wisconsin” she “became addicted to embroidery.”  She writes that she “spent hours listening to podcasts by Jonathan Welton and to my husband reading books aloud as I designed and embroidered this quilt.”QMDaniels_LongWinter2

I noticed more embroidery in this show than I’ve seen before–a welcome addition!QMDaniels_LongWinter3 QMDay_CubanBallerina1

Cuban Ballerina, by Jennifer Day.  She writes: “This quilt is based on a photograph that I took of a ballerina with the National Cuban Ballet in Havana.  She is dancing in a wonderful old building built in the early 1900s that has fallen into ruin since 1959.  This quilt is a testament to the young ballerina who is gracing the building with her beauty in dance.”QMDay_CubanBallerina2

More threadwork, but this time by machine.  It was stunning.QMRehak_TeaforTwo1

Nancy Rehak‘s Tea for Two.  “Inspired by Cindy Needham,” she writes, “I took an old tablecloth of my mom’s and created a quilt.  It was a challenge for me to design my quilting to highlight the tablecloth.  I named it Tea for Two because my dad used to sing that song to us when we were little.”QMRehak_TeaforTwo2 QMRidgway_TreeTokyo

A Tree Grows in Tokyo, by Helen Ridgeway and her friends: Anita Crane, Mary Ann Hildebrand, Linda Humphrey, Marilyn Lampman, Holly Nelson, Bonnie Sprado and Barbara Woodman.  The artists’ statement reads: “This was a collaboration by the eight members of the Sew Be It Bee.  We each hand appliquéd a block from Kumiko Sudo’s book.  One of our members, Mary Ann Hildebrand, designed and made the tree, using a scrunching technique, and made the cherry blossoms out of Yo-yos from a synthetic fabric.”


Gillian Shearer’s Eager to Learn – Afghanistan.  “In 2011, in Wakhan Corridor, Afghanistan, Ellend Jaskol recorded this image of two girls eager to learn at a new school in Sust,” she writes.  “They were studying in a temporary tent until the school was completed.  The power of educating girls is slowly breaking through.  ‘When you educate a girl, you educate a nation.’ ”
QMShearer_EagertoLearn2 QMSim_Journey1

Journey, by Grace Sim.  She writes that “This quilt allowed me to try techniques I have wanted to try for a long time — fabric manipulation, liberated blocks, crazy quilting, modern quilting, Broderie Perse, and the use of buttons and crystals.  I used them to form my favorite Italian landscape.”QMSim_Journey2 QMSim_Journey3 QMSim_Journey4

More quilts are coming.

I realized in doing this post that if a person desires to become a quilt artist, it’s pretty important that they create a place in space to reside: whether it be a blog page, or a gallery of images, or just a single place where people like me can go and search in order to read more about them. There are many platforms that can be used: Instagram, Pinterest, blogging, Tumblr, etc.

I was unsuccessful in a finding a couple of the above artists.  In this day and age of >instant< and >quick< and rushrushrush there is a tendency to overlook the long form of blogs.  But they become important when looking at the bigger picture, or, your journey as a quilter. So if you are just starting, you might consider building your own little place where people can find you.  While there may not be much more than four walls and a piece of carpet (where others might have several fully-furnished rooms), it will be your space.

Quilt Market • Salt Lake City (3)


This quilt is called Over and Down Under, and is simply lovely.  I want to make twenty.  But this was a typical sort of sight and I’m afraid a typical sort of reaction from me.

QMarket_Beach Quilt

And another.  This came out last year, but to see it in person was really fun.  And thanks to you all for leaving me comments and for entering our giveaway.  The Husband Random Name Generator picked Mary of Lake Pulaski for the Elea Lutz book and Cathy C. for the Stashbusters book. (I’ll be in touch with you both by email.)  Actually I wanted to pick you all, so the next giveaway is on June 2nd.  And by the way, I’m working through all the comments where you asked me a specific question.  Thanks for your patience.  Now we continue. . .


But I also get giddy when I see Alison Glass’ fabrics, as they are lush and rich and saturated.  These next few pictures are from Andover’s booths.  Today’s post is the last  of the business side of Quilt Market, before we break for an Oh Christmas Tree post on June 2nd.  Then I’ll return to show you the beautiful quilts exhibited in the center of Market, award-winning quilts from Houston.  Then we’re done with my lovely tumble down Alice’s — Quilt Market’s — rabbit hole.QMarket3_Andover2 QMarket3_Andover3 QMarket3_Andover4 QMarket3_Andover5 QMarket3_Andover6


Near the Andover gang is the Art Gallery gang.  Above are the ordering tables, and now we’ll stroll through the quilt fabric designers’ booths.

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Maureen Cracknell in front of her new collection.QMarket3_ArtGallery4 QMarket3_ArtGallery6 QMarket3_ArtGallery7 QMarket3_ArtGallery8 QMarket3_ArtGallery9 QMarket3_ArtGallery9Makers

This is a collection of pillows, using fabrics from all the Art Gallery Collections.QMarket3_ArtGallery10 QMarket3_ArtGallery11

Exquisitely quilted little piece of deliousness in Bonnie Christine’s booth.


Cotton & Steel’s newest collection from Rifle Paper Company.  Their booth won first place at Quilt Market–for design, I suppose, because it was so lovely.  Here are some photos:QMarket3_CS2 QMarket3_CS3 QMarket3_CS4 QMarket3_CS5 QMarket3_CS6

There’s that first place ribbon.QMarket3_CS7

Such a teensy little sample!QMarket3_CS8


I hunted down Lecien’s booth because of this:QMarket3_Lecien2

This is Semaphore, Cindy Wiens’ quilt using my design, and it has been around the world, landing here for one more stop.  Cindy did a terrific job.  Mine is in the works; pattern coming soon.


I have no idea whose booth this was, but check out those chairs!  Those colors!  Wow!


Windham Fabrics was another favorite stop, and I did stop at their Pop-Up Shop before leaving on Saturday to pick up a few things.  As I noted before, there was very little for sale on the floor; this was one place you could buy something.

Felice Regina’s new collection Luna Sol (sorry I caught her with her eyes closed!)QMarket3_Windham3 QMarket3_Windham3a

Check out these hexies from Yellow Creek Quilt Designs–amazing.

Marcia Derse and her new collection, Studio Alphabet.


This is the corner for the new fabrics from Janine Vangool (of Uppercase Fame), inspired by designs from her magazine.  (She gave me two magazines and a skinny pack of charm squares to use in a giveaway–coming soon!)QMarket3_Windham6 QMarket3_Windham7

Natalie Barnes’ new collection Hand Maker.


How many ways can I photograph this display from RJR?  Apparently, after looking at my photos, a multitude of ways.QMarket3_RJR2

RJReynolds is the parent company of many fabrics, most notably, Cotton & Steel.QMarket3_RB5

I hunted all over for this quilt for SloStudio, the colorful confetti-style quilt in the center, and found it at Riley Blake; I posted it up on IG, and kept looking around.  I apologize if I don’t have the names of the makers–the tables for the buyers were snugged up to some quilts and I didn’t want to interrupt the business of quilting. All the following photos were from Riley Blake’s booths.  You should also know they had the most amazing mint chocolate truffles, and I sampled one.  Okay, maybe two.QMarket3_RB4 QMarket3_RB6 QMarket3_RB7 QMarket3_RB8

Kimberly Jolly of the Fat Quarter Shop.QMarket3_RB3

Lori Holt, in the green, waiting to sign books.  She had a great booth with all her quilts.

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Close-up of the above quilt.  I love how they pieced the squares and fused on the leaves.


Fabri-Quilt had given me my Focus quilt to take home with me, so at the end of that last day, I posed it on the door handle going out and snapped a photo, as kind of a good-bye.  I never ever expected to be here at Quilt Market, and quite frankly, wonder if I’ll be here again.  It was a whirl of creativity, fabrics, colors, people, ideas and experiences.  I’m so glad I was able to come.


(map of convention center, showing Fabri-Quilt’s booth)

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


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.


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.


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.


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.


Sassafras Lane Designs, in all their colorful glory.

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!


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.

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.

Amy Butler’s section.  She also had a larger booth:QMarket_AmyButler

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Tula Pink’s alcove.

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:



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.

QMarket_ModaDesigner QMarket_ModaDesigner1 QMarket_ModaDesigner2 QMarket_ModaDesigner3 QMarket_ModaDesigner4

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.

UPDATE: Comments closed.  Winner announced in next post.  Thanks to you all for entering!

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.)


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:


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:


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:


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:


(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):


Happy Moment:


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:


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

QuiltConIG-5 QuiltConIG-1 QuiltConIG-2 QuiltConIG-3 QuiltConIG-4

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.


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).


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.


Suzanne Keeney Lucy’s Ocean Waves


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



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


Likewise there were some quilts from QuiltCon.


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.


Deconstructed Nine Patch by Jacquie Gering


Honey in Space, by Elizabeth Hartman


Log Pyramids, by Liz Harvatine


You Rule, by Brigitte Heitland


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.


Random snapshot of free-motion quilting


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.


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.”



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.



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.


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


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.


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.


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:



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.


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


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


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


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


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


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


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


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.


Modern Alphabet, made and quilted by Gerrie Thompson.


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


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


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.


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.


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



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.”


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.


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.”


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



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.”


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.


Autumn Whirlpool, by Bobbie Moon.


Banderitas, by Victoria Murphy


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


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.


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.


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.


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.

Schamber Grand Prize2

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

Schamber Grand Prize3


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.


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.


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.


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



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.


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






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.


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.



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.



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.

Sparkles 1

Sparkles 2

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.


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.


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.


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.”


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.


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.


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.


I thought the spiderwebs in the borders were classic!


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.


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:


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



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.



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


And the Sacramento River ran through it all.


China Gardens by Roblee Irvine


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


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


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


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:

AWAT2_someone else's

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.


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.


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


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




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.



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.


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


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.


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



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.


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.




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



This quilt is titled Iris.


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.”


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.



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.



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.



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.



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.


Someday I aim to make a pineapple log cabin quilt!


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.


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.











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.


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





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.


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.



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



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.


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.


The beautiful quilting is by Connie Lancaster.





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



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.”



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.


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.


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.


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.