Community Quilts 463 to 469

16 11 2019

Here’s the latest batch of quilts I quilted for the West Australian Quilters Association’s Community Quilts program; some were from them, others I made from my scrap stash.

(Click on a photo to view it larger)

Community Quilt 463

Community Quilt 464

 

Community Quilt 465

 

Community Quilt 466

 

Community Quilt 467

Community Quilt 468

 

Community Quilt 469

Photos of all the Community Quilts I’ve quilted are here: http://www.flickr.com/photos/rhondamadeit/sets/72157630291250200/





Combining classes

27 10 2019

I attended the Quilt Symposium in Auckland, NZ a few weeks ago. I took two of Claire Smith’s classes—one on monoprinting and one on making a quilt-as-you-go bag. Today I combined them! I took the green/yellow tones fabrics I made in the monoprinting class, added some other greens, aquas, yellows and oranges from my scrap stash and made this bag. It took about 4 hours, as I had to remember what to do—Claire’s instructions were sparse…

 





Heating a sandwich when you don’t have a sandwich press

11 10 2019

At the Quilt Symposium in Auckland, NZ, last week, ‘brown bag’ lunches were provided. For most of the classes I was in, we got sandwiches, which were pretty fresh. But on the last day, we got stodgy rolls, which were dense, slightly stale, and really only suitable for toasting in a sandwich/cafe press. So what do you do when you don’t have such an appliance? You improvise!

We used both baking paper (a staple for any quilters who do fusible applique) and brown paper bags to protect the irons, and the end result was slightly toasted bread—toasted enough to make these rolls far more palatable. We didn’t apply heat long enough for the heat to get all the way through, but it was enough to take away some of the stodginess! MacGyver would be proud!





Quilt Symposium, Auckland, October 2019: Claire Smith’s Quilt-as-you-go Bag class

11 10 2019

I’m a bit late posting this as I had paid work to do as soon as I got home from NZ.

My last two days of classes at Quilt Symposium were both with Claire Smith (a Kiwi), and they were very different. The first was monoprinting, and the second was making a ‘quilt-as-you-go’ bag.

This bag was easy to make, and is fully lined. I even had time to add an outside pocket and two inside pockets. I also modified her design a little to add long handles, suitable for carrying this bag over your shoulder. I chose beachy colours—it would be perfect to take to the beach or have beside the pool, or even for more mundane things like shopping!

Some of the bags produced by the class





Quilt Symposium, Auckland, October 2019: Claire Smith’s Monoprinting class

11 10 2019

I’m a bit late posting this as I had paid work to do as soon as I got home from NZ.

My last two days of classes at Quilt Symposium were both with Claire Smith (a Kiwi), and they were very different. The first was monoprinting, a technique I’ve never tried before. I really enjoyed the process and the variations of what you can produce. I’ll likely use it again.

By definition, monoprinting means getting a single print from a painted surface. Here’s a summary of the steps:

  1. Lay down a paint medium on a surface (we used old x-ray films [with foam rollers], and Gelli plates [with a special brayer]; the paint was a thick acrylic paint like that used by school children).
  2. Optional: Use various objects and textures to make designs in the paint (I used everything from clothes pegs to the end of paint brushes, to notched baking scrapers, to bubble wrap, to fronds and leaves). NOTE: If you want to write something, you’ll have to write it backwards on the painted surface so that it prints ‘right side up’.
  3. Lay a piece of plain fabric over the top of the painted/marked surface.
  4. Gently rub the fabric to transfer the paint and design onto it.
  5. Remove the fabric from the surface and allow to dry.
  6. Once dry, repeat with different paints/patterns to create various print layers, or, if you’re happy with the result, iron the fabric to heat set the acrylic paint.
  7. Repeat for each other piece of fabric you want to print.

Some photos of the MANY pieces of fabric I produced during the day—most of the small ones are about 6″ square:

Plastic sheeting to protect the table, newspaper, x-ray film, small Gelli plate, foam rollers, brayer, pots of acrylic paint, fern for making a pattern on the paint

My first efforts, drying. The two large pink pieces were the result of rolling the excess paint off the roller onto spare pieces of fabric—you can get some amazing extra pieces this way and there’s no way to predict how they will turn out. The circles in the blue were created from the bottom of a drink cup.

Most, but not all, of the pieces I printed

The large pieces were all created by rolling off excess paint onto spare pieces of fabric

 





Quilt Symposium, Auckland, October 2019: Some photos from the exhibition

4 10 2019

The quilt exhibition that’s part of the biennial Quilt Symposium has hundreds of magnificent quilts on display. There was no way I could take photos of them all, so this is just a very small selection of those I did photograph (the rest of my photos are on Flickr: https://www.flickr.com/photos/rhondamadeit/albums/72157711179169921).

This Dear Jane quilt really attracted me because of the colours and fabrics used. I’m not usually a fan of traditional quilts, such as Dear Janes, but the pastel colours drew me in.

I loved this red wine quilt! The evocative splash and splosh of the wine hitting the glass, the movement, and the size — this was about 1 m long, so a great size for an art quilt for someone’s wall.

This wholecloth quilt was HUGE. And the threadwork to create the design was just magnificent. There’s just one fabric in this quilt — the black background. Everything else is thread.





Quilt Symposium, Auckland, October 2019: Chris Kenna’s Wholecloth Mosaic class

4 10 2019

I’m at the Auckland Quilt Symposium, where I’m taking classes for 4 out of the 5 days. My first class was a 2-day class with Chris Kenna (a New Zealander), doing a wholecloth mosaic using her techniques. Our class supplies stipulated a 1 m x 1 m plain piece of fabric, and most chose white, off-white, or black as their background fabric. Almost all the class participants worked at this scale, though a couple varied it by using a rectangle of fabric.  We didn’t work from any pattern, instead making up our own designs. Below are the photos of my project in progress, Chris’ two magnificent pieces (both at least 2 m square), and all the projects done by the class as at the end of Day 2.

My piece in progress

Chris Kenna’s samples

Class work at the end of Day 2