The following was submitted by Gail Wozniak.
Thursday, May 6th over 70 women gathered at Maria’s Family Restaurant in Haverhill to celebrate in style, the 30th anniversary of MVQ. We were thrilled to have in attendance Pat Mamacos and Lois Schofield, two of the founding mothers of the guild whose vision and dream of a quilt group for women who love the art of quilting has forged on for thirty years. Flowers were presented to these ladies as well as a plant to Pat Beevers, who although not a Founding Mother, joined the group a month or so into existence. She has been a member all these years and our longest continuing member. It was great to see that many members have been members for over twenty years as we stood to show our years of membership in the guild. Over thirty raffle prizes were won by guests that evening. I think many long time members will attest to what a great group of members we are with all sorts of varying talents in the group and the love of the art of quilting has kept us woven together all these years. I know there are many splinter groups from this large group, some new and just formed and others still meeting weekly after twenty five plus years. And on to number 35!!!
Anne Lainhart is well known for her bargello classes. After hearing her lecture on color families you can see why. She has an innate sense of color. Her color board is absolutely fabulous. It is a wonderful way to illustrate the complexities of color families. Yet at the same time make them so simple.
The various ways that Anne mixes and matches her color families result in stunning quilts. She tries something just to see if it works. And for her it generally does. At least in my opinion it does. For instance, her multi-color family bargello, most quilters would have never thought to mix the colors in the way she did, but it works.
Click here for Slide Show of Anne’s Work.
The workshop was to create a Kaleidoscopic purse. Anne also brought kits for ornaments and note cards. I thought it would be a fun class but I didn’t expect to learn so much. Like when not to press. I know we are taught to cut – sew – then press. But there is a point in which you want to press your kaleidoscope, that is when all 6 or 8 pieces are sewn together and not before. That way you don’t accidentally stretch any of your pieces. Who would have thought of that. Not me, that’s for sure. I got caught going ahead of the teacher and pressing my pieces. That’s me, miss smarty pants. Seems I don’t know everything after all.
Anyway, Anne’s kaleidoscopes are not your average stack and wack. You need to make sure your print has symmetry to it. She demonstrated a few tricks on cutting your border prints using that symmetry. And how to match up the prints before you sew the pieces together. She uses pins, lots of pins. But if you really want to make sure your prints line up you need to pin – pin – pin. She also demonstrated how to pin the final seam together while matching the print and the center seams. This takes practice to get it right. Mine came out ok but next time I will do better.
In the workshop we got information on cutting and folding note cards. The best way to insert a loop to hang an ornament from. And how best to attach purse handles. You would think this to be all self explanatory but Anne has a few tricks that make you say “Now why didn’t I think of that?”
I am going to keep my eye out for some neat border prints. I’m also going to keep my eye out for more classes taught by Anne.
Thanks for the great class Anne.
Your humble student,
Click Here for a slide show of more workshop photos.
Sarah Ann Smith is an art quilter. She makes postcards, journal quilts and art wall hangings. She uses fusing, beading, painting, and any other medium that works for her. Her work is beautiful. View a slide show of her work.
Her lecture on beading showed the varying degree of which beading could be used on quilts, from very minimal to encrusted. She considers herself a minimalist when it comes to beading her quilts. She likes to add just enough beads to give a little sparkle.
Sarah has a group of art quilting friends. Her and her friends help each other grow in their respective art forms. They like to use various mediums withing there quilting. This give each in the group a different way of looking at their own artwork. This group had a showing of some of their work. One of which, they each chose a picture. Then they each had to create a postcard/journal size quilt of all the pictures in the group. It was interesting how different yet similar each were.
The workshop was titled “Postcards: An Introduction to Some New Techniques”. The amount of information we received was incredible. From how to assemble the postcards, to painting, to stamping, to finishing, mailing and displaying your postcards. There was such a wealth of information.
Sarah covered which products she preferred. Peltex 70 is her choice for the stiff stuff used in constructing her post cards. Peltex comes 3 ways, no fusible, one side fusible,or 2 side fusible. She prefers the non fusible. That way she can assemble the design first then fuse it to the peltex. This way you can keep fusing items to the card without over stressing the fusible on the peltex.
As far as fusible web she prefers Misty Fuse. It is a light weight fusible medium. If you are going to build up layers on your project, it doesn’t make it to stiff as some other brands might.
Sarah went over the layering process of constructing your card. She showed an example of the layering process of constructing a design. Once she completes a top she quilts it before she attaches the plain backing. She found it easier to address the postcard when the quilting is not through to the plain back.
I can’t even remember how many embellishment ideas Sarah covered. She demonstrated how to use this stuff call Angelina. It reminds me of the grass we put in Easter baskets, but much nicer. It has a metallic-opalescent quality to it. She demonstrated how you can bunch it up then using an iron and a stamp, press a design into it. Then you can trim it and use the resulting piece on you postcard. The stuff is really cool.
The different ideas for using paints was phenomenal. She demonstrated how to create your own stamps using carving tools and either stamping medium or a simple gum eraser. You can also use automotive gasket making material or craft foam. Another technique was using a surface that has a bumpy design of some kind. Using a roller you could paint the item then use it as a stamp to add texture to a design. She talked about creating your own stamping designs with cardboard and hot glue or twine.
You can also create a stencil from freezer paper. By cutting a design from freezer paper, then pressing it on to your fabric, there are no limits to the designs you can create. She showed us how tearing the paper can create a mountain/sky line effect or a natural looking branch. The trick with using the freezer paper is when you apply the paint, you want to brush from the paper toward the fabric. That way you will be less likely to get seepage under the stencil.
She also uses bubble wrap as a stamp. Her message is to just look at what you have. You never know how it will turn out. But she did say to test it out on your fabric first. Until you get the result you want. Then fuse it to your postcard. Because you never know how it will come out, there is no sense in ruining your postcard.
Once you have completed your card, you want to finish off the edges. You can use a satin or zig-zag stitch along the edge. Sarah demonstrated how to apply a decorative yarn to the edge using a three step zig-zag stitch. Sarah had various yarns to show all the possibilities. If the yarn is not heavy/thick enough to show, you can twist it with another yarn to give you enough substance to attach it to the postcard. That way you can use those pretty eyelash yarns.
Sarah also covered some of her ideas of framing/displaying her postcards. She also discussed how to mail your postcards.
Everyone enjoyed the class. There was so much information. Sarah was willing to demonstrate anything we were interested in. Here is a list of her product recommendations.
Click here to see more photos from the workshop.
If you were unable to take the class or wish to take more classes with her, check out her web site. She will be teaching at The Gathering in 2011.
If you ever want to work with wool, Sandi Bard is the go to person. She is a wealth of information regarding wool. She has turned wool applique into an art form. Her work is exquisite. To view a slide show of Sandi’s work click here. As you view the slide show, note how even her stitches are. She does it all freehand. It goes to show practice makes perfect.
If you want to learn about felting wool, ask Sandi. If you want to know where to find wool fabrics, ask Sandi. If you can’t remember how to start a button-hole stitch, ask Sandi. If you want to know the best way to do an outline stitch, ask Sandi.
Sandi shared her experiences with wool both good and bad, where the pitfalls were and what she found worked best for her.
Sandi had us use freezer paper as a template for our applique pieces. We were to glue the pieces in place then button-hole stitch them down. Using the water-soluble glue allowed us to place the pieces without pins. That way the floss would not get caught on the pins nor would our fingers. She found that starting on an edge as opposed to a corner would allow for more accurate points. How to stitch an accurate point was also demonstrated.
Everyone in the class chose to work on a gold star pumpkin. Sandi demonstrated the use of clear vinyl as a guide to accurately place our piece as we worked. Unlike cotton, wool is not translucent so a light box would not work. We started by gluing the various pumpkin pieces together first. Then glued the stem to the pumpkin. Then glued the completed pumpkin to the background. Once all the pieces were secured, we started stitching. I was never a fan of applique. I would get frustrated with turning the edges under. This is much easier. No edges to turn under made the stitching go quickly.
I think I’m hooked. I had purchased a pattern for wool applique a few year back. Now I think I’m ready to tackle it.
Thank you, Sandi. I really had a great time in your class.
Now where can I put all this wool?
Leslie Muir Volpe Lecture and Workshop
Bev Valle, you were right. What a great lecture and awesome workshop. Leslie is a lively speaker and great teacher. I know I came away with an even greater appreciation for miniature quilting.
With the title of the lecture “We’re Talking Small”, Leslie spoke of the difference between little, petite, and miniature. Little quilts is a phrase used by a shop in Georgia. The Little Quilt Shop has a few books out containing patterns where the blocks are small but not miniature. Miniature quilts are quilts made with blocks measuring 1″ finished or smaller. While Leslie’s work is small, she does not consider them true “miniatures”. She refers to them as petite. I like that term. It makes them seem more do-able.
Leslie’s work in miniatures enables her to purchase many – many – many fabrics. As she explains to her painter husband, he can mix up what ever color he needs, but she must purchase her colors separately. Thus the need to purchase more fabric always exists. Sounds reasonable to me.
Leslie considers herself to be a persnickety person when it comes to her quilting. Her quilting may be persnickety but her personality is anything but. She is patient, warm and funny.
Leslie’s workshop was very informative. Whether you are a novice or an advanced quilter, you got something out of this class. The wealth of information was phenomenal, even if you just came away with how to make your own portable ironing surface.
Leslie handed out her list of 20 tips. First, she went through her tips explaining the whys behind each tip. While her tips pertain to working with petite quilts, most are useful in working with larger quilts.
We started off with a four patch block, placed in a nine patch setting. Leslie had sets of strips for everyone to choose from. I thought this was ingenious. It got us stitching right away. Through the process of making these blocks she went through her tips, from choosing fabrics, cutting, stitch length, pressing, accurate seam allowance, snipping seam allowances and so on.
Most of us finished the four-patch/nine-patch around lunch. Some chose to put borders on in class. While others took them home to find just the right fabric for their borders. Leslie demonstrated how she uses the left side of her presser foot to create an accurate 1/4″ inner border. She also discussed her reasoning behind some of her border fabric choices.
Our second project was a friendship star or churn dash block, which would be a finished size of 2 1/4″. Leslie had us choose a focus fabric from what we had brought. Then we were to choose at least 3 more coordinating fabrics. The focus would be the outer border. The others would be background, sashing and accent for the stars.
Next we moved on to half square triangle blocks. Leslie’s tip on making these was to start big and trim. Our blocks were to be 3/4″ finished. So if you do the math 3/4″ + 7/8″ = 1 5/8″ cut. Now that’s way too small to work with accurately, at least for me it is.
Leslie had us cut two 2″ blocks, mark one with a single diagonal line from one corner to another. With right sides together, stitch 1/4″ way from the drawn line on each side of the line. Then press to set the seam. Cut down the drawn line. Then press open. Now you need to cut your block down to 1 1/4″. Using a square ruler that has the 45 degree marked, place the 45 degree mark on the seam and trim your first two sides. Don’t worry about the measurement at this point just trim one corner of the block. Then turn it and trim your last two sides to 1 1/4″.
Once we had our half square triangles, we were able to choose which setting we wanted to use, friendship star or churn dash. Leslie recommended we lay out our pieces before we sew, to make sure we have the half square triangles going in correct way. I think she jinxed me. Wouldn’t you know, I did just that. But of course I noticed too late. I have one dancing friendship star.
Leslie doesn’t just work on one project at a time. She has many going at once. She will cut fabric and sort it for future projects. She will sit and sew 20 or 30 blocks at a time and put them in her possibilities basket. And when the mood strikes she will pick through her basket and make quilt tops. She piles tops up and quilts them while relaxing at night. Once she has a few done, she will bind a few of them at a time. Her reasoning is that you get in the flow of doing one thing and keep going.
I was thinking, “Yeah, I get that.” But as I was working on my friendship stars, the idea really hit home. I can see myself sitting and spitting out a bunch of stars. You do get into a groove and it’s easy to keep going. I actually made enough half square triangles in class to make 8 blocks. I couldn’t decide which color I wanted to use so I used both. Which works out for me because I goofed on that one dancing star.
I really really liked this workshop. I tried hard to keep this short, but as you can see, I did not succeed. I know Leslie teaches at the Maine quilt show, so if you missed her workshop, check next years Maine Quilt show to see if she’s teaching there.
Thanks again for a great workshop Leslie. You have another stalker. Just like Bev, I want to take more of your classes .