Mom and Apple Pie

 


A friend visiting in our home said, “what are you working on now?”  I spread this quilt top on the floor in the den.  His comment, “Oh, boy!  That’s just Mom, and Apple Pie, and more, isn’t it?”  I agreed, mentally noting that this project now had a name.


The appliqué for this quilt was done based on patterns from Alma Allen and Barb Adam’s book, Celebration of American Life.  Today most quilt makers change something about the pattern as they work, and almost always change the name to represent their interpretation.

The patterns for the blocks are like those in the pattern except for the lower left block.  I personalized that one, substituting a watermelon slice for their orange, and added some figs, using the broderie perse technique (an age-old method of using designs printed on fabric).  My border and sashing are totally different, too.


The appliqué is something I typically do at night in front of the tv, or when sewing away from home.  One the fabrics are selected and the pieces are prepared, I keep just the supplies for that block (these squares measure 20” on each side) in my sewing basket so the work is portable.  Once all the blocks are finished and sewn together, the big unit is a stay-at-home project.

Another work habit of mine is to select the fabrics at the beginning of a project and set them aside in a basket so they are designated for this quilt and don’t get used in another piece before this is done.  I like to repeat fabrics across the quilt to make the design cohesive, so the same greens used as leaves in one block appear again in several others.  It’s easier to do this if I have a limited selection of fabrics as I prepare each block.  It may take months to complete the appliqué on a big quilt such as this.


I quilted this using 100 weight silk thread, echoing the appliquéd design with stitching lines 1/4” apart.  I refer to hand-guided, freemotion quilting as dancing with my sewing machine, even on a project this large.  This quilt measures  75” x 95”.  I start in the center, working outward block by block on a quilt such as this.  My large table supports the weight and bulk of the quilt as I work.


I don’t normally keep up with the time I spend working on a quilt, but for some reason, I did do that on this one.  The time I spent sitting in the chair pushing the quilt around under the needle while it was moving up and down was 65 hours.  That was spread over 3 months, I think. I work in 30-45 minute intervals and more than two sessions a day is exhausting.  That’s why I have another sewing machine set up so I can be piecing or sewing on something else during those weeks that a big quilt is under the needle.

The finished quilt measures 75” x 95”, covering a queen-sized bed.  It has made a few public appearances, winning ribbons at our local guild show last March, at the Georgia National Fair in Perry last November, and was juried into the AQS Show in Paducah, KY last month.  It is currently en route to the East Cobb Quilt Guild show in Marietta, GA, scheduled for June 8-10.

Free Form Log Cabins

I love hand piecing.  There’s something about pulling a needle and thread through cloth that soothes me.  It’s the rare day that I don’t have to do a little stitching before going to bed.  Most of the time, it’s during the couple of hours after supper when we watch tv.

Even after spending hours in my sewing room as I did yesterday, cutting and sewing at the machine, I still find it necessary to unwind by stitching a bit.

My current project is pictured here.  Log cabin-style blocks that approximate 5” finished.  Mostly in blues and whites.  I was inspired by a blog entry by Jude Hill a few weeks ago when she was piecing some free form log cabins.  I started my own and can’t stop.  It’s so addictive.  Part of the fun is using special fabrics.  Many of these pieces came from clothing remnants, some from scraps of vintage linens.  I selected some special fabrics to be the “heart” of the blocks, too.  Some bits of embroidery, some pieces of a friend’s silk jacket, various old treasures lying about.

In theory, the blocks start with 1” squares and use 1” logs.  But, if the chosen center element is larger, I just adjust as I go.  I have some templates lying nearby and use them sometimes, but other times I just eyeball it and start stitching.

I’m using Jude’s technique of invisible basting the seam allowances open, too.  It makes subsequent stitching so pleasant.

I have no plan.  I’m just stitching for fun.  Enjoying the process, letting the assembly evolve.  I did scatter a few blocks on the design wall a few days ago, on top of a piece of silk I had dipped in the dye pot.  Here’s how that looked.

 

 

Some years ago, I made this little wall hanging.  (I wrote about this before, remembering that I sewed the binding on while visiting a B & B.) Here, I hand pieced tumbling blocks from assorted blue fabrics.  Then I did use a template to have exactly the same sized blocks, and I used commercial fabric.  I collected beloved blue fabrics, including the fossil fern (I love that fabric!) in the border.

A blue and white toile on the back is a favorite of mine, too.  I quilted it using free motion quilting, invisible nylon thread and cotton batting.  It measures 26” square.

Generally, commercial fabrics are not nearly so much fun to stitch as the softer, thinner, more loosely woven fabrics I’m using now.  And the memories ….memories of the homespun jumper my mother made for me and I wore for years, the shirt Jim wore with his overalls, the threadbare linen jacket of mine, and the remnants I dyed indigo last summer make these pieces special to handle.  Those memories don’t come off a bolt in a store.

Quilters’ Retreat

A few days ago, I crashed a party.  We were on a backroads jaunt and I remembered that some of my friends were attending a quilting retreat at a nearby wildlife refuge.  I asked Jim to make a stop and let me say Hello.  He asked, “Can you just pop in?  Were you invited? “  I assured him, “It will be fine.  They won’t mind.  They will all be happy to show me their projects.”

And, they were.  They were busy.  They were happy.  And they did not mind my intrusion.

There is a reason many quilters like the bee motif.  Quilters and bees buzz about with a purpose in mind and get things done!

I was greeted with smiles and hugs from many friends, and made the acquaintance of new quilters as well.  Sheila and Barbara and Jean and Donna were the first to see me and report on the fun.  I didn’t get photos of everyone’s work, but everyone was busy and productive.
Angie was piecing some animals.  Mary was working with baskets.  Jean had stars on her design wall.  She had discovered that her alternate blocks were cut from directional fabric, unnoticed until they were put on the wall.  She had lots of advisors to help her decide how to deal with this dilemma.

Joyce had two big appliqué projects: a Baltimore Album that just needs a few details and a border attached, and a fabulous Kim McLean pattern all with big pieces of Kaffe fabrics.  Joyce is one of our guild’s charter members and she still produces more quilts than several of the rest of us combined!  She was sitting beside Hilda, her BFF for more than FIFTY years.  They have worked on many projects and been to many retreats and heard many stories in that time, don’t you know?

Dewey was there with his longarm machine and an eight-foot table.  He had already quilted two quilts at the retreat for other participants and was doodling on his machine while he waited for others to get backs prepared for him to quilt their tops.

Here is Donna working on a One-Block Wonder.  And Dewey had just finished the quilting on her Friendship Garden  before the retreat.  Now she can add the binding and label and it’s done!

Mary had run to the store, but her work-in-progress is here.  Mary is the organizer of this event.  Someone has to take charge and she does it well!  She reserves the space, organizes the guest list, plans the food, and assures that everyone has fun.  And she is successful, because these people plan their calendars around Mary’s retreat dates.  Because of her, the sisterhood thrives.

Candace is a local designer and teacher with her own line of patterns.  Here she is working on a new pattern design.  And there were some of her finished products with chickens made from her hand-woven fabrics.  Wow!

Lynn was putting the finishing touches on a garden scene, while Eleanor was working on a batik project complete with labels to insure that every block ended up in exactly the right place.

Getting away from home, focusing on a project or two, socializing while you work, learning from each other, what a blast!  I loved visiting this beehive.

Beds and Breakfasts

We are Bed & Breakfast travelers sometimes.  When we leave home, we like adventure.  B&Bs  provide a unique experience every time.  And, in thirty years of enjoying this, I can’t think of one that didn’t prove to be positive.  Of course, there was the one where we stopped and looked around, but choose not to stay the night because it seemed spooky to Jim.

We’ve stayed in one inn, the York House, so many times that we know more of its history than the most recent owners.  Others we’ve visited a few times, many only one time.  In Asheville, we stayed in a former insane asylum, in Pigeon Forge, we stayed in Patricia Neal’s favorite home-away-from-home, and in Waynesville, we were given a free upgrade to the Tasha Tudor room when I recognized some of her work framed on the wall.

Though all are one of a kind, our experiences have revealed some similarities.  Included in this list are quaint decor, privacy, friendly service, and a sense of getting away from it all.  Rarely are there noisy residents (though we did share a B&B one time with a wedding party who was a bit raucous after the rehearsal dinner), phones ringing, televisions blaring.

We’ve stayed in B&Bs in the mountains, at the beach, in warm weather and cold (oh, my goodness was it cold once in Charleston – and our room was at the back of a long addition to an antebellum cottage.  We thought the heat must have been distributed from the front to the back).  We’ve enjoyed them in small, medium, and large cities, and in out-of-the-way places that made us wonder how guests ever found them often enough to keep them in business.

Breakfast is always provided. Sometimes its’s on a silver tray delivered to the room at the designated time with coffee and fresh baked pastries.  Other times, breakfast is served in a large dining room with family style seating with other guests.  My journals have pages of descriptions of conversations with fellow travelers.  Names usually escape me, but some of their adventures I remember.  The couple who rode Segways around an art village, the potter whose mugs hold our coffee twenty-something years later, the Florida couple looking for mountain real estate in North Carolina, and the innkeeper asking if we met the resident ghost during the night come to mind.

I suspect some of those people remember me as the lady who takes a sewing basket wherever she goes.

B&Bs are often in old houses with creaky floors, clawfoot tubs, temperamental water faucets, and steep stairs.  In our most recent B&B abode, we actually stayed in a cottage property which had a kitchen of sorts.  The stove and refrigerator were minimal in size, and even the sloped roof seemed designed for small people.

The tiny desk tucked in a corner made us think of all the creativity that had come from such quaint attic spaces.  Jim commented on the quaintness at the same time that he said he would go insane ducking his head all the time.  My reply was that many creative people did just that – went insane.

The make-do decor in B&B’s is always interesting.  Many time inn owners have clearly been decorating on a budget, saving the big bucks for luxurious towels, fine soaps, and good food.  This kitchen faucet intrigued us.  Perhaps repurposed, it extended past the perimeter of the sink in most positions.  Fun and funny to us!

Photos: The blue tumbling block quilt measures 26″ square.  I was working on it while visiting Waynesville, NC, in 2005.  It is hand pieced and free-motion machine quilted.  Here I am seen stitching the binding.  But the blocks are hand pieced, and that is a great sewing project for travel.

The white house with blue star is the fabric interpretation of a cottage in Mt. Dora, Fl.  That block is part of Fifty-Two Wednesdays, still in progress.

Soulful Stitching

I’ve written before about how stitching soothes my soul.  That happens when I’m in front of the tv and multitasking, when I’m visiting with family and friends and my hands are busy, or sometimes when riding in the car.  Those are often the times when my hand stitching gets done.
I realize I need to add some opportunity to quietly do some hand stitching when I’m alone. Watching Jude Hill’s videos remind me of how studying the texture formed by stitch gives way to thoughts about light and shadow, contrasting textures, symbolic meaning of weave and stitch, even relationships between people.  Though I’m not sure my thoughts run as deep as do hers, I know that mindful stitching leads to deeper appreciation of everything.

As I watched her video where Jude is adding white hearts to a heavily stitched white nine-patch and emphasizing the touch points of the hearts with red thread, she notices that they remind her of a scar.  Her perception always gives me pause, and this struck me deeply.

 

I can’t explain why, but I had a flashback to my life working with teachers.  One of my colleagues heard a teacher say, “we like this book because we can go in the classroom and teach without having to think about it.”  Harriet said to me, “I don’t want teachers who don’t think about what they are teaching.”  Indeed.

Sometimes I sew without thinking about sewing.  And, that is relaxing to me, to be sure.   The rhythmic pulling of thread through cloth allows my mind to be somewhere else, planning something.  But Jude’s symbology in her work, her soul searching thoughts remind me to pursue even more depth in my stitching stories.  She reminds me that only when we share the stories behind our work, the symbology we’ve included, the strategies we’ve used, do others really appreciate our art. I admit if I had seen the white hearts on white stitching, I might not have noticed the red thread, and if I had, I might not have made the “scar” connection.

A needle and thread are how I’m stitching myself to the universe these days, so I don’t want it to be shallow.  With the recent art quilts I’ve been making, I try to ensure that the viewer knows the story behind the photo or appreciates the handwork in a vintage remnant.  I hope that seeing the connection between my work and some element of the past will cause one to think of their own family’s past generations and find the stories that are there.

Another word on Jude Hill and her influence on me.  I found her online a few years ago and realized she was offering some online courses.  The latest series was already underway and i had missed it.  I resolved right then to get in the next one.  But then she opened up her vast base of videos and audios for free.  You are free to watch them and make a donation or not (I have).  But I found a quote from her in one of them that resonates with me.  She was responding to a comment from someone who had warned her, “you share too much of your process.  Protect your art.”…

Jude’s response:  “And, by the way, just to be clear, sharing IS my art.  And in case you haven’t noticed, I am out singing in it.” Sept 10, 2015

Wow.  I have noticed.  And, I am amazed by it.

You can learn more about Jude Hill and her work at http://spiritcloth.typepad.com.

My earlier posts with references to her work are here, and here, and here.

Photos:  The photos of the “beast” piece is one I was fortunate enough to buy from Jude.  When her pieces go on sale, you have to be sitting at the computer watching (or lucky) because they sell quickly.  I love having this piece to examine.  Seeing her stitches and handling her work informed me of her techniques so much that I began to consider selling some of my own work.  If my work could help another quilt maker with a particular technique, or if the final result gave a viewer satisfaction, than I would be willing to share it that way.   You see images of the whole piece, approximately 6” x 9”, and closeups of the front and back.

The photos of the blue hearts are my work.  I made that piece after watching Jude’s Whispering Hearts series of posts on her Feel Free site.  That piece may become part of something else or be finished as is.  That’s one thing Jude and I have in common.  A work may be started, then incubate a while as ideas mature, then later become complete as it is or as part of something else.

This post is published with permission from Jude Hill.

Sharing and Learning

In recent months, I’ve had several opportunities to share my quilting stories.  The emphasis is on sharing – listening to quilting stories from other people as much telling them about mine.  There is the frequent conversation beginning with, “I remember seeing my grandmother make quilts,” but there are many different experiences along those lines.  I also hear, “I’ve always wanted to learn to quilt”, “I have my mother’s sewing machine”, and “I find it so relaxing to sit and stitch.”   I never hear, “what is a quilt?”  Everyone seems to have memories of quilts in their lives.

I never tire of hearing about memories associated with quiltmaking, but I find that I learn about my own experiences in those conversations, too.  When asked questions about why I do what I do, I am often surprised to hear my answer.  I don’t always verbalize to myself the reasoning behind an approach.

A few weeks ago, I spent three days sharing Fifty-two Tuesdays, the quilt and the book at Mistletoe Market ( a festival-like weekend shopping experience in Perry, Ga.).  As I repeatedly summarized my experience with that journal quilt, I came to realize how that adventure changed my focus from traditional quilts to story quilts.  In the fifty-two weeks of 2015, I depicted a scene that represented an experience in my life each week.  I also explored every quilting technique I could, in essence making it a sampler quilt, too.   In so doing, I tried things that I would not have wanted to pursue on a large scale.

I learned that printing on silk fabric gave a luster to photographs that seemed dull when printed on paper or canvas.  Now I’ve explored that more fully with several art quilts. (Examples written about here are Swamp Bird, Flowers for Phyllis, and  Commonly Uncommon).  Success with that approach gave me confidence to try something totally different.  I had old photographs I wanted to print on fabric and wondered if I could successfully use old linen or cotton fabric in keeping with the vintage photo.  It worked and I’ve played with that numerous times. (Some are Spinster Sisters, My Daddy wore Overalls, and Galadrielle.)

Shortly after that market experience, I was scheduled to share my work with a civic group.  I’m accustomed to presenting trunk shows to quilt guilds, but groups of non-quilters are a new experience this year.  The self-examination I had realized in the days at Mistletoe Market allowed me to better understand and therefore explain my transition from the traditional quilt world to the art quilt world.

Make no mistake, I still love traditional quilts and will continue to make those.  But the freedom to tell a story in a small piece of cloth, using traditional quiltmaking techniques is very compelling right now.

As I started a new file for my 2017 journal entries, I couldn’t help but ponder the possibilities of this prime year.  I even wrote a blog post entitled Prime Time, reflecting that since 2017 is a prime number, we should all use that to try something different.  But I never published that post, because I couldn’t conclude with what I proposed to try differently myself.  The list I made of 2016 efforts was so eye-opening, I just want to keep on keeping on with what I’ve learned.

I am assembling the blocks from Fifty-Two Wednesdays, my journal quilt for 2016.  I’m still imagining what the journal quilt for 2017 might be – if I do the weekly quilt block again.  I have a few days to decide; I will continue the weekly format I’ve done before, using Thursday as my deadline.

 

About the photos: hexagonal images are from Fifty-Two Tuesdays.  Rectangular blocks are from Fifty-Two Wednesdays.  Notice that the scenes from the 2016 quilt are not yet quilted.  In addition to changing the shape of the block, I chose not to “quilt-as-I-went” this time, leaving the quilting until after assembly.

Commonly Uncommon

The Common Yellowthroat Warbler is not commonly seen by the average homeowner.  He’s not a “yard bird”, he lives in the swamp.  He likes briars, damp brushy places, weeds, or grass going along country roads (that explains why I like him so much).  This species is a year-round resident in our part of Georgia.

Despite his bright feathers, this fellow is hard to spot, flitting about busily as he does.  This tiny bird is picturesque, though.  So it’s worth the effort to capture his image on film, uh, on a flash card.

These birds don’t come to feeders much, preferring grasshoppers, beetles, spiders over seeds.  According to the iBird Pro app, they love sugar water, fruit, and pieces of nuts.  That may be worth investigating, but water seems to be a big factor in their habitat.  They are most often found near streams, swamps, and marshes.

common-yellowthroatJim captured this shot in a remote area near the Ocmulgee River.  I printed it on silk fabric, layered it on wool batting, and stitched the background densely. As in Swamp Bird, I stitched with silk thread in closely spaced parallel lines.  Then I added a bit of black and white, a yellow fabric frame, and attached it to an old quilt remnant.

common-yellowthroat-backI used a lot of Jude Hill’s invisible baste stitch to secure everything without penetrating the final layer of the quilt on the back.  I added beads stitched by hand, and made a label from an old doily. 100 weight silk thread was used for machine quilting, 60 weight cotton for the handwork.

The finished piece measures 20” x 16”.

I’ve noticed lately that even though I’ve been designing these pieces by starting from the center and working outward, and beginning with different sized photos or vintage motif, these pieces all seem to end up the same size.  I wonder why.

Challenging Quilting

seasquared-mouthOur guild’s challenge quilt is due in three weeks.  It’s secret until then, so I can’t show photos of it now, but I can say I’m excited about what I’m doing.  Tess, our Challenge Queen, gives us the annual specifications in February with the deadline being our November meeting.  I typically think about it, research photos and patterns, basically collecting thoughts until October or so when I have no choice but to make something.

There are years when I’ve started early, but I often aborted the first plan. There have been exceptions; occasions when I started earlier than usual, stayed focused on a project that took a lot of time, and brought it to completion ahead of schedule.  But several have been done the week before the due date.

On the single occasion when I completed the project early, I really disliked the quilt and abandoned the idea of using it as my entry. The challenge in 2013 was “ Dare to be Square” or something like that.  Tess always comes up with catchy titles.  The rule was that the quilt must be pieced (no appliqué!) and every piece must be a square. In October, I sprang into panic mode, grabbed a half-yard cut of a bold fish print by Brandon Mably, some hand-dyed fabrics of similar colors, and started cutting squares.

seasquared-whole-quiltI cut the largest square I could from the focus print (20” finished. (I know – it must have been a generous half-yard cut)), then cut smaller squares from the fish fabric and the others.  20” finished was a nice measure to use as the reference.  It was easy to patch together units using 1”, 2”, 4”, 5”, 10” components.

seasquared-fishesAs the project grew on the design wall, I had fun finishing a fish.  Where one had been cut off, I could find missing components of that fellow somewhere else in the smaller squares and place it close by to make his image extend into the other spaces.  I even discovered a batik striped fabric that mimicked the background of Mably’s fish and inserted that.

seasquared-starfishAs the “squarequarium” grew on my design wall, I began imagining quilting lines.  I could stitch even more of the missing parts of fish bodies, add bubbles in the water, and enhance fish fins and tails.  Oh, my, how fun was that?

seasquared-octopusI sewed quickly to get the piecing done, layered it with cotton batting, and began dancing with my sewing machine.  I used some heavy threads on some of the solid spaces, enjoyed stitching lots of free-motion quilting motifs, and especially enjoyed adding the octopus and starfish.

Even after all that, things looked a little “flat”.  Eyes.  Fish have prominent eyes.  So out came the wool, a circle cutter, some buttons, and voila!

seasquared-backA solid blue fabric on the back made the stitching details noticeable. Susan said she liked the back of this quilt better than the front.  So for her next birthday, I stitched a fish on blue fabric for her beach house.

This quilt does not contain colors in my house or colors I particularly enjoy using in a quilt.  But I love this finished product because seeing it reminds me how much fun a challenge can be.

I called this finished project “Sea Squared.”  Some of my math colleagues will notice the reference to a  project we worked on for years. The finished size is 40” x 34”.

This year the challenge requires at least three fan blocks, and some yellow fabric.  The finished size is prescribed this time: 36” square.  My first reaction was “I’m not a fan of the fan block,” but in my research I’ve certainly learned a lot about those historic blocks and their reinterpretations through the years.  As a friend said yesterday, “I love our challenges.  They force us to think about things differently.”  Indeed.

Update:  A later post revealed my entry in the fan block challenge.  It is here.

Is It Fall, Y’all?

stella-closeupIt’s still hot.  The calendar says tomorrow will be fall, but temperatures still reach 90 everyday.

Nonetheless, I have some pumpkins out in my house.  I love the fall colors.  Maybe it’s the vivid blue skies when the humidity drops, maybe it’s the complimentary colors of the turning leaves and that glorious atmosphere.  I wince whenever Tess, our guild’s Challenge Queen, requires a bit of orange in a quilt, but I don’t know why.  I could just always put a pumpkin in.

In recent years, I have collected pumpkins from other artists including needle-felted beauties by a north Ga artist, wooden pumpkins a friend made, and several pottery ones from Shelby West and Charlie Bob West.  But many of my autumn decorations are of the fabric variety.

pumpkins-and-fall-basketsFall Baskets was made in 2008, using autumn colors of batiks and quilting cottons.  This may be the first quilt I designed using Electric Quilt software.  Now using EQ7, I sometimes turn to this software to audition such quilt features as block size and width of borders and sashing. This one finished at 45″ square.

 

sunbonnet-with-pumpkinThis Sunbonnet Sue piece is one of the first times I made one block ( 9″ x 12″) and said “done.”  Quilting, a binding, and it’s a remarkably fun way to welcome the season.  The block is from a book by Betty Alderman.  I guess it’s unnecessary to point out that the apron is a little brown check.

pumpkins-fusedI have a few quilts with pumpkins on them.  Some wool appliqued pumpkins, some needleturn appliqued ones, and even this fused one (sorry, I don’t recall the name of this pattern or the designer).

 

 

 

stella-harvest-princessMy favorite fall quilt is Stella: Harvest Princess, finished in 2004.  It uses raw edge techniques in the manner of Rosemay Eichorn.  Fall motifs were cut from a commercial autumn print or two, pinned to a base fabric, and free motion quilted with a flannel layer as batting. The technique was fun, the motifs whimsical, and the learning process was transformative.  I use this raw edge appliqué method still.  Looking at this piece for the first time in almost a year, I wonder why I don’t play with those decorative stitches on my machine any more, or use metallic thread very often.  It was FUN to do this experimentation. It measures 25” x 16”.

There is more to Stella’s story – there was quite a learning curve for this one. I saw the technique on Simply Quilts, bought a book by Rosemary and studied her technique, cut and pinned the raw edge motifs in the fall of 2003.  Then it sat in a basket for almost a year, waiting for my free motion quilting skills to improve to the point of completion.  Finally I dared to load the machine with some invisible thread and give it a go.  When asked at my guild how long it took to make it, my answer then was, “a day and a half, or a year and a half, depending on how you look at it; actual construction time, or time from beginning the process to sewing on the label.”  That’s often the most direct answer I can give.  I work in spurts on some things.

pumpkins-in-jailhouseA couple of years ago, Jim and I spent a lovely fall day in Porterdale, GA, where we saw hundreds of pumpkins for sale in and around an old jailhouse.  I took many photos, planning to make a quilt someday called Pumpkins in the Jailhouse.  Maybe this year will be the year that gets done.

Portrait of Red Coneflower

 

red-coneflowerA recently purchased linen doily reminded me of a mat for a framed portrait.  I didn’t have a photo on fabric that fit, and wanted to stitch something on this marvelous piece of linen with the wide handmade tatting.

A simple coneflower is always fun to appliqué, and I had seen somewhere the idea of using a spool of thread as the vase.  So, a few snippets of fabric, a good tv show in the background, a bright light at my side, and the stitching began.

Once the appliqué and embroidery were done (see the French knots at the base of the seed head?), it was time to find a base to set off the oval.  The French General print in red was perfect.  So, I layered wool batting beneath the oval, threaded up the machine with silk thread, and echoed the appliqué with free motion quilting.

Once I cut away the remaining batting from behind the red fabric, it was time to seed stitch the piece to an old quilt as the back of the assembly.  A yellow and white pieced basket quilt from an antique store fit the bill, but the white was a bit stark.  A scrap of red ticking came to the rescue, adding another layer of matting to the frame job.

red-coneflower-backAs I neared the finish, I hadn’t come up with a title.  But my original plan to let the doily serve as an inner mat for a portrait was still on my mind, so Portrait of Red Coneflower was simple enough.  One more vintage doily (with a history and stains to prove it) served as the label.

The finished piece measures 16” x 20” and the hanging sleeve utilized a leftover strip of the red ticking.