Tag: quilting

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The First Steps to College Fjord

The College Fjord quilt is going to be the most difficult quilt I have attempted so far. I made a SPREADSHEET. It’s ugly.

Let’s discuss, for the moment, the fact that I still cannot find the solid blues I want and that the indecision surrounding said blues has (temporarily, I hope) paralyzed forward momentum on this project for my ADHD brain. (Also, let’s ignore the fact that I have had a metric crap-ton of other things on my plate for the last few weeks, and I have not really been able do sit down and do anything in the sewing room beyond finishing a couple of bindings and watching old episodes of “All Things Great and Small.” (So excited about the new season in January! But I digress…)

I actually shouldn’t say that I haven’t found the blues I need for this project. I have found the blues for the mountains. Six of them. Muted blues, ranging from so-dark-it’s-almost-black to so-light-it’s-almost-white. Found them in one store actually – it was pretty perfect. 

My issue has been finding solid sky blues. Bright blues. None of this muted nonsense. The morning sky (and the sky in this photo) is a brilliant, sapphire blue ranging from deep royal blue to, again, a blue that’s almost white, but a different almost-white than the muted blue almost-white. I can hear you now – “A blue that’s almost white is a blue that’s almost white. You can’t have different shades of it.” I (and the people who make paint chips you can get at the hardware store) beg to differ. Trust me, there is a difference.

A few weeks ago, I found a jelly roll of Kona solid blues and thought I’d died and gone to heaven. It looked perfect in the roll, inside its plastic, in the store. I got it home and unrolled it and…it was no longer perfect. Some of the colors stuck out like sore thumbs. There were 12 different shades of blue. I put them up on the design wall and picked out a couple of them as being wrong. I’ve been staring at them for weeks, and I can’t decide whether I need another roll or two (one roll doesn’t have enough for my project), or if I should just start over from scratch. And I also can’t decide whether I should use the 2.5” strips as is or cut them down to 1.5” strips for a true bargello (and a better blend from light to dark). At it’s longest, the sky needs to be 13.5” – with 2” (finished) strips, I only need 7 blues, but with 1” (finished) strips, I need double that, which means finding even more blues.

See why there’s a ton of indecision paralysis? I feel like I need to decide how many blues I actually need before I can go out and find them, and at the same time, I feel like I need to see how many blues I can find before I make a decision about how many of them I need. I don’t want to decide I absolutely MUST have 14 blues, only to find that I can only actually locate ten of them.

Ugh.

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I Was Not Kidding…

…when I said I was going to have a busy fall.

Having said that, the abstract iceberg is done! I found an evening to quilt it, which took a lot less time than I thought it would. As a result, I was able to get the binding machine-stitched on that night as well. And a few nights later, the hand stitching was completed. I was even able to spend a couple of hours sewing the sleeve for the dowel onto the back so I could get it on the wall yesterday. Here it is in its displayed glory, hanging in my living room above my workstation.

I’m so pleased with the result!

I did post a photo of the quilt on Instagram and tagged Oscar, but he either has not seen it yet or has not reacted. (I suspect the former – I don’t think he spends a ton of time on Instagram.) I’ll let you know what he says if he ever sees it.

I wasn’t sure whether or not I would like the quilt without its borders, but the more I looked at it, the more it just fit, and the less I could imagine it with any sort of border around it. And now, where it is on that navy blue wall – I think it’s framed enough.

Now to get the sleeves for the Tracy Arm iceberg quilt and the Crater Lake quilt sewn on so I can hang those, too!

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A Productive Weekend, Part I

There aren’t many weekends that I can spend all or part of both days in my sewing room, but this was one of them. The entire day Saturday and some of the day Sunday were spent working on various items. With some bonus time on Friday evening, I was able to layer the Horseshoe Canyon quilt with backing, batting, and top. That is ready to be quilted, and I’ve got a good idea how I’m going to quilt it – I just need to gather up the courage to attempt it with my domestic machine. I don’t normally quilt projects this size on my own, honestly. But in this case, the quilting will be stitch-in-the-ditch, and it involves either straight or almost straight lines, so I think I can handle it.

The question of quilting for these projects is an interesting one, and it goes back to the thoughts I had about quilting the Crater Lake image. Quilting is a necessity for these projects – after all, it’s not a quilt unless it has those three layers sewn together! In a traditionally pieced project, the quilting is an opportunity to enhance the piecing. Let’s take another project I’ve got started (but have clearly shunted aside for the moment) as an example: Getting to Know Hue.  I’ve been in love with this project since I first saw it hanging in the quilt shop where I got all of the block-of-the-month patterns and fabrics, but it’s a very different type of project. I am actually planning to leave out the applique in the corners of the center block with the star. I’m not sure what I’m going to put in there in its place, but one of the options is to work with the long arm quilter (because let’s be honest – I will not quilt this on my domestic machine!) to do something design-wise with the quilting rather than trying to piece something together. In this type of project, the quilting has a chance to enhance the piecing – to bring out the colors and enliven the background. To quilt this project with a stitch-in-the-ditch method would be a TRAVESTY. Could it be done? Sure. But why would you do it that way?!

These picture quilts, though, are very different. There’s no background fabric in the same way that there is in the Getting to Know Hue quilt. Everything is part of the image at a higher level than the “main fabrics” of a traditionally pieced quilt. To quilt these images any way other than stitch-in-the-ditch takes away from the image, unless the stitching is meant to be part of the image in some way. (Like quilting around bits of the tree in the Crater Lake quilt. Doing that enhanced an element of the image.) But to recreate an image, even in the abstract, such as I did with the Horseshoe Canyon quilt using fabrics to mimic elements of the image renders intricate quilting unnecessary. All of the image elements are there already – in the fabric. Why try to distract from that with quilting?

The question is: does the quilting enhance the quilt, or does it distract from the quilt? Intricate quilting on a traditionally pieced quilt enhances it, if it’s done right. Intricate quilting on these picture quilts that I’m working on, in my humble opinion, would detract from them – at least for the ones I’ve done so far.

And so the Horseshoe Canyon quilt sits until I can gather up the courage to shove it into my domestic machine to do some plain ol’ stitch-in-the-ditch.

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When Bored…

Today, I took an unexpected sick day when I realized that I needed to deal with both a dentist appointment and what looks to be an infected tick bite (we don’t mess with Lyme disease up here in the northeast!). I feel fine, but I just needed to deal with these two appointments, and that was going to take a chunk out of my work day, so I just took it as a sick day. I was done dealing with both issues by about 2pm, so I decided to tackle the abstract iceberg foundation papers.

As a reminder, I planned this quilt out a couple of weeks ago. I have a foundation paper-pieced pattern that I’m going to use, and I copied all of the foundation papers for it and labeled them according to a diagram of the quilt back then, but stopped short of projecting the image onto the papers and deciding which piece would be what color. I tackled that part of the project today.

What I did:

I started by taking my felt design wall down and working with the bare wall. Fortunately, I have very light gray walls, so I didn’t have to cover them with white paper or anything like that to get true colors. I taped the foundation papers to the wall in the formation that they will be in once all of the fabric is sewn to them. So in the end, the papers covered the wall exactly the size of the final quilt. Then I turned on the projector and lined the image up with the papers on the wall. It didn’t have to be exact; this pattern’s pieces are pretty big, so a few millimeters here and there weren’t going to make a huge difference in the end.

Once the image and the papers lined up, I labeled each foundation paper with the colors that the four fabric pieces would be, based on the image that was projected onto it. This proved to be far more challenging than I thought it would be. The fabrics I have for this quilt fall into four main colors – light ice blue-green, light gray (with or without silver on it), dark gray, and white on white. I found that I need more than that. I’ll use everything I have, but I also need a medium gray, a silver on white, and several blues I did not expect to need – a slightly darker ice blue-green, plus a light and medium sky blue (I did find a good medium sky blue in my stash). I was actually a little surprised to find that there was as much variation in the colors in the image as there is.

About halfway through labeling the pieces, after adding yet another color, I started to wonder whether or not I should have done this part first, before I even tried to go out and get a bunch of fabrics. It probably would have been a good choice. I have a much better idea of what the fabric requirements are for the whole quilt (me =/= a good estimator of size), so I might not have gotten nearly as much fabric as I did without really knowing what kind of quilt I was going to make. But I’m also not sure I would have come this far in thinking about the design of the quilt without some fabrics in hand. So I think it could have gone either way. Could I have done this without having any of the fabrics? Sure. But I think I now have a different mind’s-eye image of this photograph, so if I had waited to get fabrics until I had finished what I did today, I think I would be making very different fabric choices.

I imagine that this will be a technique I use moving forward with other images and published patterns. It might be a little difficult with a pattern that isn’t foundation paper-pieced; I think I might have to take a look for some larger pieces of gridded white paper so that I can map out what a pattern might look like if the pattern doesn’t already come with a coloring page to experiment with different color combinations (both of the patterns I’ve used so far for the Horseshoe Canyon and abstract iceberg quilts have had coloring pages).

A couple of things I learned today:

  • I am out of Scotch tape. I’m not 100% sure when the last time was that I was out of Scotch tape, but it has to have been many, many years ago. I could have sworn I have more tape somewhere, but I couldn’t find it. I used the last piece on the last foundation paper.
  • Tape the pieces to the wall, but not to each other. All of the tape has to be peeled off afterward, and it’s easier to peel one piece of tape off of one piece of paper, not multiple pieces of tape off of each piece of paper.
  • Draw the contours of the image onto the foundation papers, even if you won’t use them in the final quilt. I drew the line between the bottom of the iceberg and the water onto the papers. I probably won’t use that info when piecing, but it will be helpful to have if I have questions or want to make a different choice if the water ends up looking weird.
  • Take pictures before you take everything down! The pictures should include closeups of every foundation paper with the image projected onto it, plus the whole image with the papers “behind” it. I didn’t want to tape all of those papers to the wall a second time, so I made sure to document it ALL.

All in all, I’m a big fan of this process. The jury is still out on whether the result will live up to my expectations.

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Fabric Challenges

A few blog posts ago, I mentioned that I’ve had to get over my dislike of batiks. Let’s look at that a little.

Batiks are…not my style. Generally, at least. Up to this point in my quilting journey, I have used them very little. I tend to use bright colors and crisp patterns that appeal to me, and batiks always seem to be…I don’t know. Sloppy is a word I might use, but it has negative connotations that I don’t mean. Irregular might be a better word. Out of focus, to use a term from photography. The lines aren’t sharp – they tend to blend a little more than I’d like. Put batiks next to the clearly defined patterns that I normally choose, and they seem out of place. Like a watercolor painting contrasted with a nice sharp photograph. Each has their place, but you probably aren’t going to mix them into the same piece of art. Up until recently, I’ve tended to gravitate towards the photographs rather than the watercolors. Which, you know, makes sense…since I’m a photographer.

But the very qualities that make batiks ill-suited to fit with the fabrics I normally choose are exactly what makes them excellent for these projects. Nature is irregular and amorphous and…sloppy. Nature doesn’t fit neatly into a box. Batiks are perfect for attempting to recreate nature through fabric. (Which is sort of ironic – using the fabric version of watercolors to recreate photographs…but I digress.)

With some exceptions, batik fabrics read as solid – or, at the very least, variations on one color – from across a room. But there is random texture to them that mimics nature nicely, in a way that a perfectly designed, repeatable pattern can’t ever do. And so I have been going directly to the batiks to source many of the fabrics for these quilts. And that is a sentence I never thought I’d write.

That’s not to say that I have not – and won’t in the future – use fabrics elsewhere in the store for some of these quilts. Several of the fabrics I’ve picked out for the abstract iceberg quilt came from, of all places, the section of Christmas fabrics. (Hey – if you’re looking for whites and grays with silver, the Christmas section is a great place to start. You certainly won’t find them in the Halloween fabrics!) The key here is keeping the photograph in mind, but not closing yourself off to the possibilities that might lie in sections of the quilt store you haven’t looked at yet. I almost stopped after looking through the batiks for fabrics for the abstract iceberg. I’m glad I didn’t.

One word of caution: when you are looking for fabric for a quilt, take everything with you that you think you might use in it. Everything. At least a small sample of each. (This is just a word to the wise for any quilt, but particularly so for these.) For the Horseshoe Canyon quilt, I bought several pieces of orange fabric that, in my mind’s eye, I was sure would be perfect to go with the oranges I already had. And in every case where I didn’t have samples of the fabric I already had, I was 100% wrong. Was my mind’s eye wrong? Was the lighting weird? Who knows? But now I have these pieces of orange batik fabric that I don’t know what to do with (because orange isn’t normally my style AT ALL, and we’ve already talked about my relationship with batiks). So…yeah. Take what you’ve already purchased with you when sourcing additional fabrics, or be prepared to put the extras into your stash ‘cause you screwed up.

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Choosing Fabrics

If you’re not going to print the photograph onto fabric and play with it that way, you’re probably going to need to find some fabrics that in some way mimic what you’re trying to capture of the photo. Colors. Shapes. Mood. All of those can be recreated in some way using the fabrics you can find in a quilt store.

When I was looking at fabrics for the Horseshoe Canyon quilt, I was mostly trying to capture color, but I wasn’t necessarily trying to be 100% faithful to the original image. There was no way that anyone could have gotten me to produce a quilt where all of that orange was replaced by the rust colors in the original image. Nope. That’s not how I see that image in my mind’s eye, and I knew the rust colors of the canyon weren’t going to translate well into a quilt. In retrospect, would I have incorporated a few rusts here and there among all of those orange strips of fabric? Maybe. I don’t know what that might have looked like. But I might have entertained the thought, at least, instead of simply blazing ahead with all of those awfully bright oranges. I wanted the quilt to be saturated colors, not muted ones, and the orange truly came through for me in that respect. I also liked the combination of bright blue and orange with a deep, dark green, and in that sense the final quilt is a success.

Look back at the unsuccessful (read: BOOOORING) version of that image from Norway that made me rethink all of the ideas I had to create fabric versions of some of my favorite photos. For that attempt, I was trying much harder to be faithful to the original coloring of the image, and look where it got me. It got me a snoozefest. Granted, I don’t necessarily think choosing different colors might have worked better, but certainly going with the original coloring wasn’t as successful as I had thought it might be.

I’m currently choosing fabrics for two of the three quilts I’m working on. (The third is thread painting, so no extra fabrics until I add a border, and I won’t even think about border fabric until the inside image is complete.) For the Tracy Arm iceberg one, I’m trying as much as possible to maintain the feel of the original photograph, if not the exact original colors. The goal for that quilt is to emphasize the brilliant blue green of the iceberg, which the photo does nicely. But I have a chance to keep the feeling of the photo yet enhance the contrast between the rest of the image and the iceberg. I have selected some fabrics from my stash, but I’m also looking for others. And I’m debating what to do about the snow on the mountains in the original image. I’m just not going to find that in a fabric. So – do I leave it out? Do I insert it with thread (not fabric) at the end? Do I attempt to find a good snow fabric that might suffice in small quantities? I might try all three and see which one I like best.

For the abstract iceberg image, I’m mostly going for the colors. Those are what drew me to the photo when it was being displayed on the big screen on the ship, and I think that image might not be as good if it were just plain white ice, for example. The blue green of the ice is compelling to me (hence my wanting to do two different quilts with that color as the emphasis). The challenge here is going to be finding the right blue green, with enough variation and quantity that it will fill out the quilt nicely.

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Choosing Images, Part II

I had another photo from Norway that I was sure I could turn into a small fabric image using a type of layered applique technique I learned in a class taught by someone in my guild. The image is fairly simple – a road, some rocks in the foreground, and some mountains in the background. I easily found fabrics that mimicked the colors in the image, and I set out to recreate it. I love the photograph. The fabric version is BOOORING.

It turns out that the texture in the image was what made it interesting. Take away that specific texture and replace it with a generic texture, and the image loses its impact. So as I look through my pictures to see which ones might end up as cool quilts, I have a lot to think about.

Each of the three types of categories of quilts I can create needs a different quality of image. 

Interesting images that I would have no hope of recreating with fabric can go one of three ways:

  • Is there an interesting element to it? If yes, then I might print the image out on fabric. Unlike the Crater Lake quilt, though, I want to be able to do something interesting to it once it’s printed out. I don’t simply want an image printed on fabric with standard fabric borders. I’m currently waiting on two pictures that Spoonflower has printed to arrive in the mail. I have two very different ideas for what I’m going to do with those two pictures. But I knew that I would have no hope of recreating those two photos to my satisfaction without printing them out on fabric.
  • Are there layers to the image? If so, that might be a good candidate for the layered applique technique I learned earlier this year. I can tell right now, though, that there won’t be many of these. First, I’m not a huge fan of applique. Second, this technique is relatively easy to do, but as I illustrated above, it’s a very specific photograph that will withstand this treatment. I’m honestly not sure I have very many photos that will suffice.
  • Are there lots of colors, or is the image something I like but that would be boring using either of the methods above? If so, it might benefit from the abstract treatment. The first quilt I’ve worked on, in fact, is one of these, and I have another one in my head that I’ll start trying to find fabrics for soon.

I’m still looking through the images I have to find ones that I think would translate well to quilts. I’ve considered and rejected many images so far. I keep having to remind myself of what I am looking for when I look through my pictures. I look at the pictures one way when I’m trying to decide which ones I like in general, but I have to reframe how I look at them when I’m evaluating whether or not they’d make good quilts.

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And All of This Leads To…

I was having a conversation with someone about photography earlier this year, and it came out that I don’t really consider myself to be an artist. At the time, I was thinking more about my submissions to an art show co-sponsored by the photography club I’m in. In 2023, I submitted four images to this juried show, and none were selected by the judges to be included. So I began to think about what distinguishes a good photograph from art, if anything. I had submitted some of my favorite photos to the show, and I was rather disappointed that none of them had been chosen at all. 

So it came out in this conversation that I, personally, don’t see myself as an artist. My friend was surprised to hear me say that. From there, a discussion of “what is art?” ensued, and I won’t bore you with the details of it. The conversation – and subsequent internal musings about it – has changed my perception of what it means to be an artist. I’m still not 100% sure I’d classify myself as one, but I saw my friend’s perspective when she pointed out all of the reasons she would put me in that category. And one of those reasons was the quilts that she’d seen me do in the years that she has known me (as well as the photography). And that conversation led me down the internal rabbit hole that has put me on the path to merging my quilting and my photography in a more meaningful way.

So…what does that mean?

In the months since that conversation, I’ve spent a considerable amount of time trying to answer this question. Understanding my limitations as a quilter – I have little patience for small, fiddly bits, and I mostly detest applique, among other things – would it be possible for me to bring my photography into quilting without simply printing my photos onto fabric, like the Crater Lake and national park quilts, and putting a border around them? What are the possibilities?

The ideas that I’ve come up with fit into three general categories:

  • Printing the photo onto fabric, but then doing…something…with it afterward. Current ideas for this include printing the photo in black and white and adding color back in through thread painting, or printing the photo but only using one element of it, while recreating the rest of the image with regular fabric one can buy at the quilt store.
  • Recreating the image with regular quilters cottons from the quilt store. I have a couple of ideas for this, including superimposing an image onto a normal quilt pattern, or just projecting the image onto a wall or tracing it onto paper, which can then be used as a template for creating the image with fabric.
  • Using the image as inspiration for something abstract. This is actually the first idea that I’m attempting to work on – I found a published quilt pattern that mimics an image I wanted to use, and I’ve been a little creative with the colors I’ve used to do so. So far (it’s not quite done yet), I’m pleased, but I’m learning lessons as I go along.

As I mentioned before, I have about 10 quilts that are sloshing around in my head in various planning stages, and I just returned from a two-week vacation with 3200+ more images to play with (one of which has already been printed out on fabric). Fortunately, what appeals to me as a landscape photographer also plays well with the “doesn’t like little fiddly bits” part of me as a quilter – I tend to like the sweeping landscapes with large scale elements that lend themselves well to larger pieces of fabric that don’t take terribly long to put together. So I have lots of options, and I promise I won’t run out of them anytime soon!

The journey ahead promises to be fascinating, both from a learning perspective (this is what I want to do, so now I have to learn how to do it) and a “push Allison completely out of her comfort zone” perspective (watch me be forced to embrace batiks, which I pretty much have refused to work with up to this point in my quilting journey). Either I rise to the challenge, or I end up throwing things through windows – either way, it promises to be fun to watch!

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Background on the Current Project

I’ve been interested in photography for a long time. I took art photography classes in high school and learned to develop my own black and white film (dating myself a bit, here!) and use darkroom techniques to get the images I wanted. When I joined the Peace Corps in 1998, the thing I most wanted to take with me from the U.S. was photos – mostly those that I took around home and on two major road trips from east coast to west coast and back again, stopping at national parks. Landscape photography has always drawn me in. With film, it was more difficult because I didn’t have the attention span or the patience to deeply learn the ins and outs of camera work. With digital photography, I was set free – to experiment, to learn, to get immediate feedback on what was going right and what was going wrong, and to get the images I wanted no matter how many takes it took to get me there.

I got my first DSLR in 2010, when I lived outside of Charlottesville, VA, within sight of Shenandoah National Park. Since then, I’ve taken DSLRs and other digital cameras on multi-state road trips, international vacations, and short jaunts around the corner or into the backyard. I’ve experimented with sports photography, night photography, and nature photography in addition to landscape photography, but it’s the landscapes that always have seemed to be the default for me.

Quilting is a newer venture. I taught myself to quilt in the fall of 2008, when I was seriously underemployed and had moved literally across the country for the guy I was dating at the time. I knew few people beyond my boyfriend and his grad school classmates, who, as PhD students, spent more time in the lab than out of it. I was, in short, bored. My mother’s old Singer sewing machine, a workhorse that was older than I was, had made the journey across the U.S., so I relearned how to use it and found a local fabric store and a book to learn from. Some of the projects from that year – placemats, a table runner, a couple of small blankets – can still be found in my linen closet.

My quilting skills can best be described as “better done than perfect.” I use my seam ripper as little as possible. I was recently, at age 51, diagnosed with ADHD, and my ADHD traits are clearly manifested in my quilting:

  • I start far more projects than I finish.
  • I get grandiose ideas but have absolutely zero follow-through, so few of them ever get realized.
  • I get bored and wander off if I have to do the same thing over and over again. 

I will never be one of those quilters who does intricate portraits or who can work with tiny blocks to create stunning works of art. I want my quilting to be simple and quick. The quicker it moves, the more likely it is to get done. All of the larger quilts in my collection took me years to finish, and each one was put away at least once for over a year when I got bored or frustrated and couldn’t look at it anymore.

When I was teaching, I had little time for quilting, or any of my other hobbies for that matter. Oh, I brought my crocheting to faculty meetings to occupy half of my brain while the other half took in the important stuff for work, but to dedicate an hour or two or five to putting together a quilt top was largely beyond me. So when I stopped teaching in 2020, right at the start of the pandemic, and got a job in the corporate world that really was only 40 hours per week, I decided that it was time to break out the hobbies again. Quilting was one of them; photography was another.

In 2014, I made a small quilt for my grandmother for Christmas. It was my first venture into using photographs in a quilt. We’d done an extended family photo session in the fall of that year, so I used some of the photos of us in a quilt pattern I found in a book called Panel Play. The quilt was little more than a lap quilt – it was meant for Grandma, at age 98, to take it with her when she was going to spend a few weeks in a nursing home while my aunt, normally her caretaker, was recovering from surgery. 

From there, the idea of using some of my own landscape photographs in quilts was born. Yes, I do still print some of them out on fabric – more about that later – to incorporate them into larger quilts. But the ideas are starting to expand out into other ways of turning what I produce with a camera into something that I create with fabric. There are three finished quilts (including Grandma’s), and about ten more planned in various formats – some with printing, some with thread painting, some using fabric to imitate the image, some using the image as inspiration for a color scheme or maybe something else. There are plans – well, actually mostly vague ideas right now – to try to figure out how to bring the beauty of some of my night photography – the aurora borealis and the Milky Way, specifically – to quilt form. What might any of this look like? Join me as I figure it out!

The Grand Canyon of Yellowstone, picture from the summer of 1997.
The Grand Canyon of the Yellowstone in 1997. Even back then, the grand landscapes pulled me in. Maybe this will become a quilt someday?