Sea Edges

I don't normally take this long over a quilt.  This one took just over a year.  It began with a workshop with Jo Budd on monoprinting and collage and a sketchbook full of drawings paintings and photographs of various bits of the Northumberland coast in the north-east of England, up against the Scottish border, an area of warm welcomes, windy deserted beaches, abbeys and castles, seabird colonies, farms boats and inshore fishing, saints and wildlife: my favourite part of the country.

My monoprints were of the organic rather than formally-patterned kind, sort of messy but deliberately so.  Organising them into a collages (including layering with organzas and chiffons) was a lengthy process, from here:

 



to here:

 

 

 

over a period of about three weeks.  Simply pinning on a design wall, moving elements around until they appeared to balance.  I discovered that the striped bits (originally greyscale samples) were essential to give the piece a bit of structure.  The fabrics chosen were ones which suggested the colours and weathering of the coastal landscape.

 

 

The rest was about the quilting.  Though I'd originally planned it as a machine-quilted piece I found that certain areas needed hand-quilting, and it was this that took the time - a mediatative process that meant the quilt evolved slowly (my hand won't let me hand-stitch for too long at a time) and developed in unexpected ways.

 

 

 

The end result (above) combines areas of texture with areas where stitching has been used as a medium for drawing - close-ups below:



 

 

 

 

 

 

 

June-September Journal Quilts

For this series of CQ Journal Quilts I have chosen to explore family history, specifically four generations of women in my family at similar points in my life.  These pieces all use text - a specific requirement for JQs in these months.

The first piece, 1968, relates to myself - yes folks the picture below really is me, taken from my passport photo, posterised, solarised and blue-printed in Paint Shop Pro, then printed onto Extravorganza, cut out and stitched down with a simple running stitch, which has also been used to emphasise some of the features.  It is appliqued to a piece of tie-dyed silk taffeta; the whole thing was then machine-quilted, very simply, using the same thread as for the applique, then bound with tie-dyed cotton.

The words round the edge were suggested by an idea from fellow CQ member Margaret Cooter, who created a piece of artwork using the last three words of popular phrases.  In my case I have used the last three words of favourite sixties quotations, plus one quotation from something written later about the sixties.

In 1968, I was a student at London University.  It was a heady time, with a rather strange feeling of a worldwide student community (I suspect for those of my contemporaries have to devote their energies to earning a living things might have felt different) and a real belief that we could change the world.  It was also a huge amount of fun, and a great time to be a student in the swinging sixties. 

The second piece centres on a picture of my mother in 1944.  She was then doing war-work in the Vickers Armstrong factory at Castle Bromwich in Birmingham, making Spitfires (she told my brother about the Spitfires, me about the partying that went on in off-duty hours); to hear her talk it sounded like a bundle of laughs; it was only later that I found out about the long hours operating a capstan lathe and the fact that the factory was the target of bombs (one bombing raid had taken out one of the main sections).  This piece again uses a photograph (printed "straight" this time) on Extravorganza, layered onto pale fabric.  The background is a contemporary fabric of the sort used to make overalls and aprons; another contemporary fabric contains the text that describes her life at the time.  The poster is used with permission of the Imperial War Museum.  The whole thing is quilted very simply, with the addition of the outline of a Spitfire.

In 1926, the year of the General Strike, my grandmother, who is the subject of the August JQ, was 23.  She was a miner's daughter, married to a policeman, though there doesn't seem to have been any sense of divided loyalties; though having to police pickets and demonstrations publicly, in private my grandfather sympathised strongly with the miners' cause; he also helped support her sister's family through the hard times of the twenties and thirties.

Unfortunately, I have no early photograph of my grandmother, though I do remember her as very young-looking well into her fifties.  The drawing here is a combination of later photographs and my own memories - though not the best drawing I have ever done it did succeed in capturing something of the look she had.  The other pictures are all taken from contemporary sources, and again there are some details in print about her life at the time.

The final piece centres on my great-grandmother.  My research into family history began with her, and I have included the family record from the 1901 census as well as a tinted photograph from a couple of years earlier, at around the time of her wedding (again printed onto Extravorganza)  The census entry means the piece goes back a further generation, including my great-great-grandmother.  Both were quilters, and they quilted professionally.  My great-grandmother died young, in the flu epidemic of 1919, but her mother went on to quilt for the London market in the 1920s, in common with many other women from her home town of Maesteg in South Wales.

Both census entry and text are printed onto commercially-treated cotton, with hand-painted silk chiffon layered over to give an antique feel.  The whole piece is hand-quilted, including a characteristic Welsh spiral pattern (which unfortunately doesn't show too clearly at this scale.

One annoying feature.  The commercial fabric I bought came in sheets, and unfotunately none of the sheets in the pack were straight, as a result of which it distorted when being taken off the backing paper, and no amount of gentle tugging could make it straight again - unfortunately I had not more left and it was getting just about to the deadline by then so I had to go with what I'd got.  But I shall be exploring similar themes again - and next time I'll get it right, I promise!



 

Wildwood - final part:

The final episode begins with the second set of trees. First the autumn trees, then the spring ones:

Next at the front is the fallow deer one of the three kinds of deer in Wytham Woods (the others are roe and muntjac) A deer-fence limits them to part of the wood only, to minimise damage to trees.

On the other side leaves and a scarab.

Next the toad - I kept him safe, well away from the grass-snake:

I'd originally intended to use bracket fungus as the reverse, but whatever I did to it it just looked toad-shaped. Surprisingly, the mole worked much better:

The back of this section begins with the dragonfly. I remember once walking along the bottom path on a hot summer day with thunder in the air being followed by a huge emperor butterfly which kept pace for about half a mile. My mother used to be scared of them, as are many people, but they are in fact completely harmless.

On the reverse a moth. It started as a copper underwing but bits got added ... you know how it is!

Last in this section is the tawny owl, on the back of which is a Daubenton's bat (they're the ones with short ears)

And finally as the endpiece we have, appropriately I thought, a hibernating common dormouse: it took a number of goes to get this right:

With, on the reverse, a brimstone butterfly, one of the earliest of butterflies to fly in the year: hence I've paired it with primroses.

Wildwood - Part One

It seems very self-indulgent showing both sides of all sixteen book pages' but people have asked to see them so here goes! To begin at the beginning, with the title page. It was originally going to be much grimmer (the working subtitle was A Story of Life and Death) but I chickened out of showing things like crows feeding on animal carcases though I am annoyed with myself about this as it would have been more honest to have done so, and would have developed a more interesting theme, i.e. the way in which death for one kind of life-form becomes life for another.

Next to the titl-page comes the fox, in his uncorrected state (I did later elongate the front leg out of the picture so it got to be back in proportion.

And on the reverse, what else but foxgloves! All the pages are see-through (shapes cut in painted pelmet vilene with a scalpel; then covered in hand-dyed silk organza - for each side; then stitched and sandwiched together with dyed silk net in the middle, and finally quilted, the organza cut back in places so that the light could come through in a similar way to the dappled light in woodland). Designing double-sided pages proved challenging: this is one of the more successful ones.

The next page in the middle bit shows a squirrel: not one of the most successful pictures (though as my art teacher pointed out you can see its a squirrel:

backed by a stag beetle, one of the pages I like best:

On the back section is a grass-snake (not normally associated with woodland but my dog once found one curling itself round his hind leg after running into some undergrowth, and you do still find them in the more open bits of Wytham Woods).

with brambles on the reverse: they do tend to throw out suckers which makes them appear to grow in loops and coils - and I was relieved, after a great deal of trial and error, to find something woodlandy that would go on the back of a snake!

And the last page of this set of four has snails...

and on the reverse badgers. They are fat because they are from the badger colony adopted by my sister-in-law's father who feeds them on suitable left-overs. Once has was asked to stop feeding them while Oxford Wildlife Films (some years ago) could make a documentary about the effects of drought on the Wytham badgers; they then phoned and asked him to come back - the badgers refused to come out and be filmed until Sid reappeared with food and water...

I suppose that's the badger equivalent of Equity rates!

Next instalment coming soon.

Little Gems

For anyone who doesn't know by now, Little Gems are A4-sized quilts, being made in aid of the Quilt Museum in York, for a tombola at The Festival of Quilts in August. This is being organised by The Quilters Guild of the British Isles with particular input from one of its sub-groups, Contemporary Quilt, of which I am a member.

I had planned to make a few to send, but I ended up getting hooked. First two I made earlier - my first attempts at doing "arty" quilting a couple of years ago:

Next, one I made last summer, one of several on the theme of bubbles: this one has been cut down from a slightly larger piece, and is cut back applique with free machine quilting:

Together with friend Chris, I'm working on a session on Little Gems for my local quilt group, Night Owl Quiltmakers, in Leeds and thought I ought to try and expand the range of Little Gems that I had. The first uses a collection of quirky folk-art cat fabrics I have in my stash and is simply a collection of squares of different sizes:

Next I experimented with free-pieced squares and oblongs from my hand-dyed fabric stash:


And next, strip-pieced base with fused applique, attached with free-machine stitching and FM quilted:

From there I moved into print fabrics with the following view through a window:

There will be more - at present I am having loads of fun playing with print fabrics and asymmetrical compositions - of which more later! In other words, Little Gems are addicitive, and enormous fun. Above all you can use those precious fabrics you've been saving and try them out on something small so you'll have plenty left for later! Try them for yourself: you don't have to be a member of The Quilters Guild, or even British, to contribute.

More information at:

http://littlegemquilts.wordpress.com/

http://quiltersguild.org.uk/
http://quiltmuseum.org.uk/

February Journal Quilt

Yes I know it's March - but though this was designed when we had all the snow in Feb it was a long time getting finished - I tried various techniques and ended up with Shiva paintsticks. The format for Contemporary Quilt JQs this year is 6" x 12", hence the shape which has turned out to be real fun to work with.

Inspiration - as my cats and I get older we enjoy snow less - at least when we have to go out in it. In my case I have a fear of slipping and falling: despite being a lot rounder than I used to be I don't bounce as well as I used to. In Django's case - the only one of the three felines willing to venture beyond the door - he has short stubby legs and soon discovered the snow came up to his armpits and froze his belly. The JQ shows my tentative footprints (in my new walking shoes) and Django's few footsteps before turning back.

The fabric is a silk mix that my nephew brought me back from Thailand. First I made a rubbing from my shoes, then tried to get a rubbing on tissue paper from one of Django's paws but Django wouldn't play nicely and kept tugging it away, though I did manage to get a sort of rubbing in the end, which gave me the right size (with my footprints being lifesize I felt the cat's prints should be too. Drew on the pawprints, ironed to set, then FMQ'd which I really enjoyed on the silk - some areas where the fabric was totally flattened, others forming a sort of drifty pattern.

All in all the final version took a lot less time than all the experiments that led up to it, and this was the simplest of the techniques I tried.