work habits – Page 3 – Sandy Gilreath

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.

Jim 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.

I 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

Our 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.

I 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.

As 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.

As 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?

I 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!

A 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?

It’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.

Fall 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.

This 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.

I 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).

My favorite fall quilt is Stella: Harvest Princess, finished in 2004. It uses raw edge techniques in the manner of Rosemary 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 methods, 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.

A 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

A 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.

As 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.

Another Voice

Sometimes the process goes smoothly, other times not.

The secret’s out. My quilts talk to me.

Here’s what “Prom Dress” girl said to me as I worked on her over a few days. (this piece started with an old photo of my mother, so you may recognize her voice):

I’m wearing the white dress I made for my graduation, all stitched by hand. We didn’t have a sewing machine. The photo was taken on the farm beside the smokehouse. Are you going to cut away the building? So the focus will be on me?

You’ve printed the photo on vintage linen fabric. Have you decided if you will put it in a frame when you finish? I will fit nicely in a 5” x 7”.

What are you doing to my hair? Brown is the right color, but I never had long hair in my life. Oh, you put more paint than you planned. Ok. Maybe I should have had long hair, this looks pretty good. And, you are right, now you see a face in there. I did blend in with the background. We know the grass is green, but the black/white photo doesn’t reveal that. You could have planned to paint the grass. Or stitch it with green thread.

You plan to call this piece Graduation Day, right? So you have to leave the dress white. Because it was.

So you’ve cut an oval frame from that beautiful green silk Dupioni. I like that, but it doesn’t contrast enough with my photo, do you think? Oh, you’re making an oval “mat” to place in a rectangular frame. Even if you don’t put it in a wooden frame, you can make a cloth frame. I get it.

Ouch. You pinned me to a nice oval doily; guess you abandoned the silk like I said, then you saw that blue Irish linen handkerchief and started over? You get in such a hurry, then have to redo things. Think, first, ok? And now the blue kerchief and I are pinned to a black embroidered hankie, on point. Ok, but your design is getting bigger and bigger.

What happened to the pieces of the silk log cabin quilt that you cut as my background? Yes. I guess you can use them for something else. Wasn’t this supposed to be a quick project?

Now I’m getting a ragged edge. You are stitching me to the linen and the hankie using wool batting for dimension. Nice. Warm. Are you writing on me? Oh, drawing lines for stitching details on my dress. Ok.

Not bad. When you press me and the marker disappears, it will be good. And the pebble stitching on the blue looks nice, too.

Now what is that design on the black hankie? It’s ok, but aren’t those embroidered flowers sorta rough looking? Is it UPSIDE DOWN? Maybe you are right, maybe no one will notice. Go steam these marks out, though, ok?

WHAT? The marks aren’t disappearing? You used a regular pen? You goofball! Now what? Oh, I see the blue paint. Yeah. My beautiful white graduation dress has to be blue? So, now it’s not a graduation dress anymore.

And, the black hankie is WHERE? Well, you saw the problem before stitching the whole thing. So you have three corners to use in another project. Think you can remember to check right side up next time?

Whew! I’m back on the oval white doily you started with as my frame days ago. But on what? Oh, this is lovely brown linen. Just enough drama. You made it work, but you didn’t make it easy!

Oh, you are finally getting to use a piece of that cross-stitched quilt you bought, aren’t you? Its colors do carry the blue dress to the back. Wasn’t it hard to cut into that old quilt that someone spent many many hours stitching? And they quilted it by hand, too.

I know it has holes in it, but I can hear the ladies at your guild now. They aren’t going to like the idea of cutting up an old quilt. Yeah, you are right. The nice handwork that remains will be seen now. With holes in it, it would have been relegated to a closet, or to wrapping furniture for moving. Or, as you found it, languishing in an old dusty store.

And, you did change the name from Graduation Day to Going to Prom. No, you cannot call it Bossy Girl in Blue Dress.

Ok, I’m back. The sequence of steps would make more sense if I had photographed each layout, but when I’m feverishly tossing things about, auditioning colors and shapes, there is no thought of documentation, just doing.

Yes, I do have scraps of silk Dupioni, an old silk log cabin quilt, and a beautiful black embroidered hanky that are cut into bits. But each of them has potential in other projects. They are not lost, they are not forgotten, and, I confess, they are not well organized. Serendipity plays a big part in my fabric combinations. Something that is lying on the cutting table gets stirred to the top of the pile while I’m looking for something else, and the pairings that occur inspire dozens of other projects. Ideas come faster than I can sew.

This afternoon project wasn’t completed until four days after I started working with it. Interruptions come about because of life’s events, and because the design stalled and I needed to walk away from it. And, though this is not the “graduation dress” design I had planned, I can reprint the photo and go at it again if I choose. If something doesn’t work out, I don’t consider it a failure, but as lessons learned. I might be more careful in the future to be sure the embroidery is right side up. And, I’ll check to see that I’m marking with a removable pen when sketching quilting lines.

Photos: The finished quilt measures 15” x 20”. Wool batting, silk and cotton threads were used for quilting. Hand-guided, free motion stitching attached the photo to the blue linen, to the vintage doily, and that to the brown linen. Hand stitching was used to invisibly stitch the lace edges down and to attach the linen to the vintage quilt on the back. I used a modified seed stitch. The backing has a bit of lace stitched over a hole in the quilt, and a label made from a portion of a vintage linen napkin.

Rescued Remnants

It’s been eleven weeks since I wrote about an adventure buying vintage linens. Only today is this piece finished, featuring pieces of an old tablecloth found on that excursion.

This quilt has been in development since I brought that pile in the house. Growing, developing, changing. Pink is not my “go-to” color, maybe that’s why it took so long for me to hear what the fabric was saying.

I know, people have been referred for psychological help when they said their quilts talked to them. But quilts do talk. If only you are willing to listen.

Here is the conversation as this process ensued: Vintage Tablecloth (VT) and me (SG).

VT: This basket motif wants to be the centerpiece of a medallion-like wall hanging.

SG: Ok. I’ll cut one out in an irregular shape and stitch it to a background. With wool batting underneath so you rise to be noticed.

VT: What background? The green pieces from the tablecloth without holes?

SG: Ok. Done. Centered, stitched on the machine with dense machine quilting to make the embroidery pop.

VT: Oh, I’m disappointed. I’m not featured as I should be. I need accentuating.

SG: Ok. I’ll cut you out from that background and put you on something darker.

VT: How about pink? See my perky little bow, let’s do pink!

SG: Noooo, I don’t like pink too much. Let’s try something else. Let’s pick up all those other colors. Here. I like this stripe.

VT: Ok. But horizontally, no. Vertically, no. Both too plain. I’m fancy.

SG: Agreed. How about mitering the stripe so there’s some geometric interest?

VT: Yes, Mrs. G, I know you have to get that in there somewhere.

SG: Done. Now on the green.

VT: uh-uh. I want pink.

SG: Pink? I don’t like pink. I don’t even buy pink fabric. Oh, wait, here is a gradated solid. I bought a pack of these pastels (Lord, what WAS I thinking? That’s not me at all.) But it does work with the colors in the ribbon. How about a pink border around the basket on the stripe?

VT: Yes. At last you heard me. Pink. Pink. Pink.

SG: Ok. There is now a border around the basket. It’s pink. And, can I let it be raw-edged, since that is the way I applied the basket?

VT: Yes. Sure.

SG: Done. Now that is going on the green background from the original tablecloth. Good grief, how many layers is this? I guess I should cut triangles from the green and frame the center rather than continue to build thickness. More cutting and fitting and sewing. But that’s what it needs to be.

Now I need to layer the quilt. Cotton batting this time, and look, I found a pink calico for the backing.

VT: Ok, I’m done talking. Have your way with me now as you quilt. Oh, I guess you will bind me with that stripe, too; since that seems to be the only fabric you can use for a binding. But will you not make it bias this time? Let’s be a little bit subtle with it, ok?

SG: Good idea. Especially since I’ve used almost all of the stripe and it will have a jillion seams anyway. But I’ll place the stripes perpendicular to the edge.

Quilting is done. I repeated the bow motif from the original basket. I drew a replica, resized, marked it on corners of quilt, and stitched with heavy pink thread. I quilted the remainder using a matching fine thread (silk) so the emphasis is on the texture, not the stitch.

VT: Your quilting worked out nicely. But now the center stripe is a bit puffy. Can you get it to settle down a bit?

SG: Sure. I’ll do the seed stitch with a matching thread. But it makes a mess on the back.

VT: Find something pink. You use vintage linens for the labels anyway. Just find one large enough to cover that center square.

SG: I agree that it needs to be pink. I don’t have any vintage pink stuff (nor pink dye). I don’t DO pink. But, you are right – any other color will be too high contrast. It is the back, after all.

VT: So, wait. You don’t have to finish today. Wait until you find the right thing.

SG: Oh, WOW. I saw this pink linen handkerchief at an antique mall. With lace. It was $3. More than I normally pay for a hankie to stitch on as a label. But I thought of you and bought it.

VT: Good girl. I’m worth it.

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”

Strollin’

Strollin' 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.

My guineas must be relegated to quilts and buttons and such.

Strollin' closeup 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.

The art quilt here uses the same fabric and pattern I drew for that larger quilt. This one is needleturn appliquéd onto a brown and white checked background (more on the philosophy of that here). The sunflower in the border is raw edge appliqué on a brown hand-dyed fabric. All quilting is hand-guided, freemotion quilting using cotton thread.

Strollin' back closeup 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 “using the good stuff“.

In addition to Guineas on Parade, I’ve included guinea buttons on a block in 52 Tuesdays, and an appliquéd guinea in 52 Wednesdays.

I found a delightful poem about guineas online. In part, it reads

They seldom walk –‘tis a run or a trot,

Snatching bugs left and right, one for each polka-dot.

The poem in its entirety can be found here.

When I see a guinea, or hear one, it takes me back to a sunny day of softball practice where the “buck-wheat” cry of these birds interrupted our practice. Those friends, the serenity of a spring day, the joy of playing in the rural outdoors, all come to mind and I feel a smile spreading across my face.

The Seed Stitch

I’ve been delighting in a new stitch in the past few months, the seed stitch. It is a simple little stitch which is carefree and easy, but adds an amazing punch to textile work in many situations.

If you are a stitcher and haven’t used this versatile stitch lately, give it some thought. Directions and video tutorials are abundant online. Just search “seed stitch for embroidery”, or you’ll learn knitting.

seed stitch on floozie In recent years, I used the seed stitch in this block of Floozies, a quilt I made using a Sue Spargo kit she called Bird Dance in 2013. In this case, the stitch was done as an embellishment. The seed stitch can be seen in the area under the bird’s feet.

detail of Mourning Flight

In Susan Lenz’s class I took in May and wrote about it in detail here, I realized that this stitch could be used as a quilting stitch, to secure several layers. In this case, I used a heavy black thread making the stitch itself quite obvious. This photo is one from Mourning Flight, detailed here, where all the hand quilting is accomplished using this simple stitch.

seed stitch in car But recently, I’ve used the seed stitch on another piece, this white baby dress on blue, still untitled. Here I’m using a fine thread (30-weight cotton) which matches the background. The stitch is rather small, so all that is visible is the dimple created when the stitch secures the top, batting and backing. The photo here is one I took while riding in the car. (The seed stitch is in the area of the white in the lop left quadrant of the photo.) On a road trip yesterday to see and photograph a rare bird, I got a lot of stitching done. I was not the driver.

The seed stitch is rather random in nature, neither the length nor direction of the stitch having to be consistent, making it a great travel project. Much of the seed stitch on Mourning Flight was also done in the car, this time on a birding trip to Florida.

seed stitch intended pink basket And remember the pile of vintage linens I brought home here? Well, salvageable parts of one of those old tablecloths has become this piece. After quilting the inner pink border and the setting triangles densely, the striped center is a bit puffy. So, I’ll be adding some seed stitch in this area.

One caveat: the seed stitch does not produce an even result on the back of the piece, so an additional back will be needed. But if you plan an additional layer on the back, or you intend to frame the work, the seed stitch is an interesting one to consider for securing layers. I’ve planned for that on the white baby dress, using an extraordinarily thin fabric (harem cloth) as the backing now. And on the pink/green piece, the label will be placed over the seed-stitched area of the back of the finished product.

My Threaded Needle

bluebird on linen Saturday night finds me stitching through layers of delight:

A photo of Eastern Bluebirds made by Jim Gilreath is printed on a vintage linen tablecloth.

The photo is layered on hand-dyed Osnaburg fabric the color of the male bluebird’s breast.

These are atop a remnant of vintage linen dipped in my indigo vat.

My needle is pulling smooth cotton thread through these layers and wool batting.

I am accompanied by live music from the photographer and his stringed instruments.

Are there really people in the world who would prefer to be anywhere else? I can’t imagine.

Loving the Blues

indigo fabrics I’ve been playing in my indigo vat for the past few days. The pile you see here includes some of the results. I’ve dipped pieces large and small of old vintage sheets, old hankies and napkins, doilies, placemats, purchased commercial fabric, bits of lace, and a cotton Matelasse bedspread.

Fabrics are cotton, linen, silk, and combinations of those. Some have been dipped once, some several times. I love to watch the magic as the oxidation process occurs.

indigo vat When first removed from the vat, the cloth appears green. As the dye oxidizes, the blue appears. If a resist is applied to block the dye absorption, interesting patterns can be created.

The only resists I’ve tried are some tying of the fabric and a bit of folding. Already I can see how addictive this process can be. And though I’ve already peered into the rabbit hole of staining with tea and blackberries, and then explored the browns, this lover of all things BLUE is tumbling headfirst into the indigo dye.

indigo stitching This third photo shows that I’ve started some projects using this most delightful fabric. I’m loving the work I’ve recently been doing with vintage linen; it’s so deliciously soft to stitch by hand. The photo shows a vintage baby dress appliquéd on linen now ready to embroider and quilt and some squares prepared for piecing. Both pieces use techniques I’ve learned from that amazing artist, Jude Hill. Her invisible basting stitch and paperless piecing technique have changed my stitching forever!

I haven’t limited myself to playing with yardage. If I took a selfie right now, you would see a cotton knit shirt and a silk scarf which have both spent some time in the indigo vat.

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