A couple of years ago a friend of mine told me she was having a baby, a little girl. This beautiful mother-to-be loved a particular line of fabric which included birds and flowers.
I gathered together some of the fabric from the collection, made a tree, planted some flowers at the base, and constructed a birdhouse. I had a ball!
A note about the some fabric: just as I never follow a pattern exactly, I don’t think I’ve ever made anything solely from one designer’s collection. Though the collections are a great way to get coordinating colors and a variety of scales and patterns, I find they are often a bit static. I like to add a zinger or a focus, or just something different from another source. In this case, the collection didn’t have a fabric that said “tree trunk” to me, so I used a little brown check. Likewise, there was not the right blue for the birdhouse. And I’m confident that the leaves were cut from green fabrics from the collection and perhaps from others as well.
I cut the background to the finished size of the quilt (38″ x 65″), adding a bit in all directions to allow for shrinkage that comes with appliqué and quilting. The tree, branches, and leaves were all freely cut using the eyeball method on top of the background. Needle turn appliqué was used throughout. I like raw edges on leaves (as in After the Chlorophyll, Shade Tree Mechanic, and a few other projects) but this was to be a baby quilt to be used, and I didn’t want fraying to be an issue when washed. Nor did I want the little one getting stray threads in her hand or mouth.
Broderie perse (a fancy word for fussy cutting) was used with the flower centers at the base of the tree. The birds were larger than those printed on the fabric, but I mimicked the birds the designers had used when I made patterns for mine.
The tree bark was quilted with a dark brown thread, the rest with a matching thread that simply gave texture. The exception to this was some of the embellishing stitches around the flower heads. In some cases, there were details printed on the fabric that couldn’t easily be cut out and appliquéd, so I recaptured those with the quilting stitch using a heavier thread. All threads used were cotton, and the batting was cotton. That is often my preferred fiber for all components of a quilt, but certainly is the case when it’s for a baby. Seed stitch was used to embroider the seeds the bird on the ground is eating.
All quilting was done on the sewing machine, hand-guided, free motion stitching. A variety of motifs were used, including echoing, vines with leaves, curved crosshatching, vaguely parallel lines.
Now G is having a little brother. Hmmm….
SG: Done. Label attached with seed stitch that just goes through to the batting. Sleeve attached the same way. You aren’t square, close though. (16” x 17″). And you speak “pink”
I printed those two pages on commercially prepared fabric for printing, then used those as the background for appliquéd bee skeps, vines, leaves, berries, and bees. Cotton was used for the vines and leaves, beehives are a woven cotton, berries are made with silk ribbon, and the bees are appliquéd from felted wool. The quilting is hand guided free motion on a domestic sewing machine. Each piece of this pair finishes at 12” x 15”. In keeping with the school theme, I entitled this pair Beekeeping 101.
This reconnection with my Daddy’s history with bees spurred me to stitch several more quilts with bees and beehives. I modified a pattern from Maggie Bonanomi to create Beauty and the Bees in wool. The background is commercially handdyed and felted black wool. All the appliqué pieces are felted wool from recycled clothing, mine and Goodwill’s. The pink berries and tendrils are machine couched with my free motion couching foot, one of the most fun-to-use tools in my toolbox!
The Beehive on Blue was made to fit an oval frame (8″ x 10″) I found somewhere. That’s a shape I love and find those frames hard to leave in the store. So one came home with me, got a coat of chalk paint, and holds my quilt. It is honored with the presence of an original drawing of a bee by my art instructor and friend, 
My latest art quilt features a guinea. I love these funny looking birds; the pattern on their feathers reminds me of little old women wearing black calico dresses, and I love their spirit of self-confidence. I guess it should be noted that I admire them from a distance. I don’t think our neighbors would like for us to have them on our property.
I found a black and white batik fabric a couple of years ago that said “guinea” to me. I made an album quilt of Sunbonnet Sue-style guineas and called it Guineas on Parade.
This piece finishes at 16” x 20”. For the back, I used a delightful batik I bought in Paducah. Even though it’s on the back, it harkens to my philosophy of “
Kits to make quilts are wonderful. They are a great way to make a quilt if you don’t have a large fabric stash, if you aren’t comfortable selecting fabrics, or if you just want to jump right in with a ready supply of coordinated fabrics in the right colors. A good friend advises that they are great for travel or retreat projects, because they are packaged ready to sew on the go.
By then, I had learned both techniques of paper foundation piecing and needleturn appliqué. I love to do handwork and don’t like to travel with my sewing machine, so appliqué was the approach I used.
Quilt details: Finished size is 85” x 88”. The pattern is called The Quilted Village by the City Stitcher. Cotton fabrics, silk thread embroidery. Completed 2010. Cotton batting. Quilting thread DMC machine embroidery thread, two-ply, 50 weight cotton. Free motion quilted on home machine. Since there are lots of goat farms around Lake Hartwell, I made the label in the shape of a goat.
In February, I was quite busy with several demanding projects. Some of them kept me occupied at the computer, others at the sewing machine, preparing for our guild’s imminent quilt show. What I needed was some hand stitching to soothe my rattled nerves.
I found three colors I liked, chose a solid fabric for the background, and stitched them over a few evenings in front of the television. Recently, I layered the top with Dream Wool batting and a piece of hand-dyed fabric from Wendy Richardson as the back. I outlined the appliqué and stitched several rows of echo quilting using a variegated thread. The various edge designs; pebbles, straight lines, and continuous curves were stitched using a neutral color thread of the same weight.
This whole project was based on revisiting something I had liked from an earlier quilt. Four Little Pitchers was my entry in our guild’s annual challenge in 2009. The challenge was to make a four-block quilt. I drew the shapes of the pitchers based on some pieces from my pottery collection, used needleturn appliqué to stitch them to the black background, and separated the four blocks with a tiny (1/4”), subtle sashing of black with silver dots. Then I appliquéd the vine using the pattern from Emily Senuta’s basket book, and continued the design with the quilting motif. In that case, I continued the vine in green, then echoed all with a black thread.
The sashing turned out to be so tiny and so subtle that it became invisible, but I always liked the result of the vine motif and wanted to work with that design again. Especially after I began using wool batting, I wanted to use it to give extra dimension to the leaves in the quilted vines. The vine in the latest project is twice the size of the original pattern.
Many quilts are made in small units, or blocks, which are then assembled into a larger quilt top. Most quiltmakers I know have an abundance of “orphan blocks”. These can result when a project is abandoned, when extra blocks were made to test color combinations or size, or when the stitcher simply changed her mind about where the design was going.
Some of these baskets and bunnies still reside in a basket awaiting their opportunity to shine. The photo you see here is a quilt top that came about when my minigroup needed a quick project for a donation effort a few years ago. The timing was Spring, my stitching sisters remembered my collection, and we got busy. The completed top was quilted by a local longarm expert and we had a sweet little quilt in record time!
In my quilts, anything goes. I love quilting cottons, silk, linen, denim, and wool. All together or separately, depending on the project.
My Daddy was a hard-working man who loved sports, good conversation, good people, and a simple life. He did not have a lot of hobbies; didn’t play golf, didn’t go fishing. I heard stories of his past exploits (before I came along) going hunting, but whether that was for food or the social drinking that came with it, I don’t know.