April 2015 Workshop: Whole Cloth Painting

Instructor: Chris Eichner
Workshop title: Whole Cloth Painting
Date:  Saturday, April 18, 2015
Time: 9:30 am – 4:00 pm
Costs: Class ($25) + Kit ($25)
Where: Lyndon Arts House Fiber Room
How to Register: Contact Linda Zacker

Available for the class:
15 kits  available at $25 each
10 Brush kits  available for $7 each.  They are acrylic white bristles for fabric dyes, short handle

Mum_Example2 Mum_Example1

Whole cloth painting
Supply list
Demonstration
Thread Painting

Download Acrobat PDF Versio of Workshop Information

  • Artists paint tray, multiple compartments for mixing paints, preferably with lid cover—-craft store
  • Paper and fabric scissors
  • Mechanical pencil with soft lead #2
  • Masking tape or blue painters tape
  • Portable light (if you have one)
  • Disposable plastic cups 3 or bowls
  • 10 x 13 foam core board
  • clean up rags- 3
  • Large plastic bag for work surface or vinyl sheet
  • 3 brushes for acrylic paints( white bristles)for fabric dyes; Loew-Cornell. # 223  4-flat shader ,   #226 spotter- 5/10, # 228 round scrubber-1
  • roll of toilet paper
  • optional— container for water ,brushes, and surface to clean brushes, sold in craft stores

Required:       Kit fee: $25.00– includes:  Pimatex PFD fabric, pattern, photo, set of textile paints and extender

The beauty of these paints is that they are fast drying and do not bleed into one another. The mum photo maybe painted in your choice of colors therefore the threads you choose should complement your mum. Please bring an apron for old clothing as the acrylic paints stain.

The focus of this class will be blending primary paints to achieve a value of color which represents your mum.

Thread painting the mum to embellish veins and petals can be achieved with free- motion embroidery. I will demonstrate this technique, time may not allow for this to be accomplished during workshop; however you will know how to before you go home.

Finishing your flower at home:

Free motion embroidery

Darning foot (free motion) check your sewing machine manual
Microtex needle # 80/12 or jeans needle 80/12
Pellon 910 non fusible interfacing, – 2 layers cut 10 x 13 or 1)  10 x 13 piece of Sulky “Fuse n Stitch” stabilizer.
Optional: Sewing machine with ability to lower feed dog. Depending on finishing painting of mum.
Become familiar with stitch width and upper thread tension adjustments I used 2 to 3 values of color each for dark, medium, and light to highlight, also 2 greens for leaves and black or very dark green for crosshatching. Bobbin filled with 50 or 60 wt. thread or invisible thread of your choice Free- motion thread painting cannot be accomplished without the spring loaded free-motion foot.

Questions: please contact Chris Eichner

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Cone Challenge due at June Meeting

Due: June 2015 Meeting

Download PDF here for diagrams & examples

At the September guild meeting, Gyleen Fitzgerald mentioned during her program that quilts with cones as pieces would be favorably received by judges. Okay, we can try this! The next challenge (due at the June meeting) is to do a quilt with a cone piece featured somewhere in the quilt. You can use the cone either as the focus of the quilt, or as a border, or both. There are no size restrictions.

As I see it, there are four possible ways of doing this:

  • Y-seam piecing, with diamonds and hexagons as the other design elements. See first diagram for an example:
  • Converting the Y-seams to straight seams, by cutting one of the pieces down the middle (but add a seam allowance), sewing the halves to each of the other pieces, and then sewing these two pieces together:
  • Straight-seam piecing: adding an equilateral triangle to the blunt end of the cone creates a diamond, and it’s all straight seams from there. See second diagram for an example:

An example of a border would be the portion of this layout which is between the horizontal lines. For this, you would add the triangles to the sides of the cone instead of to the blunt end, again creating straight seams

  • If you prefer stained glass (as in the last challenge) and/or fusible appliqué, you could do this as a stained-glass quilt. It should look nice!

I’ve included a cone pattern piece (last diagram), drawn on computer. To make it a diamond, extend the short sides. You are adding an equilateral triangle, otherwise formed with sides one-half the length of the cone’s long sides. To make a hexagon, cut an equilateral triangle from the cone’s long sides, of the same size as that formed when you made the diamond. But remember to add seam allowances!

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November Workshop: Patti Hempen’s Free Form Symmetry

Instructor: Patti Hempen
Workshop title:  Free Form Symmetry
Date:  Saturday, November 8, 2014
Time: 9:30 am – 4:00 pm
Costs: To Be Determined
Where: Lyndon Arts House Fiber Room
How to Register: Contact Linda Zacker

Download PDF version of the supply list here

Patti_Hempen_Class1 Patti_Hempen_Class2

“BASKET OF BLOOMS”  50”x50” (127cm x 127cm) Supply list

Artist / Designer: Patti Hempen – 2011
IMPORTANT NOTES – Read carefully:

Take into consideration that my quilt was made with a large light gray polka dot background and bordered with a floral print.

My quilt is 42” long (106.68cm) and 38” wide; (96.52cm) however, being that we are all unique and do things differently, I think it is wise to buy too much than too little, so I am giving you generous calculations which are enough for a 50”x50” piece (127cm x 127cm).

Background fabric:

For a center that is approximately 40” square (101.6cm), 1-1/2 yards (137.16cm) of light or very mottled print to enhance your flowers, remembering that your flowers need to be the “STARS” of the show.

Focus fabric – for flowers: Read carefully – important.

For this project, I recommend a dense, bright and colorful print with a repeat of no less than 6-8” (15.24cm – 20.32cm) with minimal background showing through. Too much background will take away from your design and overwhelm your quilt. You can purchase any repeat size over 8” (20.32cm); however, any repeat size over 8” (20.32cm) will be wasted unless you plan to use it again. It is very important that when you purchase this fabric that you be certain that you have received no less than 8 repeats or your project will not work.

If it sounds confusing, to explain it another way, fabric usually comes folded in half lengthwise. Without unfolding, lay the entire length of the folded piece of fabric out in front of you. Starting at the left side with the selvage edge toward you, pick out a flower or motif and see if you can find the same one 9 times along that length that faces you. As an example:
__x_____x_____x_____x_____x_____x_____x_____x_____x, so you should have 9 of the same flower or motif along the selvage side that faces you and if you don’t, you don’t have enough.

Background fabric:

For a center that is approximately 40” square, (101.6cm) to 1-1/2 yards (137.16cm) of light or very mottled print to enhance your flowers, remembering that your flowers need to be the “STARS” of the show.

Other fabric using fat quarters (each fat quarter is 45.72cm x 55.88cm):

Petals for 8 flowers: 8 fat quarters (each at 45.72cm x 55.88cm) to
Co-ordinate with focus flower fabric)
Leaves and stems: 1 fat quarter (45.72cm x 55.88cm) for dark green print
1 fat quarter (45.72cm x 55.88cm) for light green print
Vase or basket: 1 fat quarter (45.72cm x 55.88cm) color of your choice
Heart: One 6” square (15.24cm x 15.24cm) – color of choice

“BASKET OF BLOOMS”  50”x50” – (127cm x 127cm) Supply List

Border fabric:
To make a 5” (12.7cm) finished border around a 40” (101.6cm) square piece, you will need 1 yard (91.44cm) – this will make at least six 5.5” (13.97cm) strips and will be plenty to go around.
Backing fabric:                58” x 58” (minimum) (147.32cm x 147.32cm)
Batting:                           58” x 58” (minimum) (147.32cm x 147.32cm)
Binding:                           3/4 yard (60.96cm) for 7 strips at 2.25” (5.715cm)
(This will give you more than you need.)

Other items:
Thread:  Matching or contrasting threads for blanket-stitching around all motifs.
Fusible: 5 yards of 12” wide Lite Steam-a-Seam-II (or comparable (457.2cm) x (30.48cm).
Embellishments: Your choice.
Templates:                        I will provide all the templates.

Tools:
Sewing machine
Sewing machine needles and bobbins
Open toe foot and foot for zigzag|
Straight stitch foot and plate for seaming
Stabilizer for machine appliqué – I recommend Ricky Tims’ Stable Stuff, but you can choose what you like.
1 – 45-degree angle ruler or comparable (best to use is one with blunt tip)
24” (60.96cm) ruler
Rotary cutter with extra very sharp blades
Scissors – sharp
Seam ripper
Mechanical pencil for fine, accurate tracing
Flat head (flower type straight pins) are a must
Curved safety pins for basting quilt sandwich
Iron
Teflon sheet for pressing
Extension cord
Cutting board
CHOCOLATE:  All you can eat 🙂

“FREE-FORM SYMMETRY” Supply List

Description: Experience the freedom, elegance, beauty, and simplicity of Free-Form Symmetry, a wonderful concept that lends itself to teaching students that they can actually design without knowing how to “draw.  Each student’s final product will be completely different from anyone else’s. I will take the “fear factor” out of designing!  The best part? Everyone will go home a WINNER and they’re like potato chips – “you can’t make just one!”

Cutting mat
Rotary cutter
Scissors: Small, sharp 4″ scissors for cutting paper and template plastic
24″ ruler
Mechanical pencil
Good eraser
2 large sheets of template plastic
10-12 sheets of copy paper
Scotch tape
Iron
Teflon sheet for fusing
3 yards of fusible (Lite Steam-a-Seam II preferred)
Contrasting threads
Sewing machine with open toe for zig-zag and open plate for zig-zag

Suggested fabrics

Background – 1-1/4 yards (this can be plain or mottled used with textured or printed fabric for the kaleidoscope pieces or vice versa….a textured or printed background with plain or mottled kaleidoscope pieces.

1/2 yard of 5-6 high contrast fabrics to enhance background

Appropriate length of fabric for border and binding (this will be determined by the size of the quilt you want to make.

And, last but not least……..don’t forget your chocolate :-0

Artist / Designer:             Patti Hempen – Copyright May 2011

Download PDF version of the supply list here

 

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Challenge: Stained Glass

Due Date:  December Pot Luck Meeting

Stained Glass Challenge

The first challenge for this year is to do a stained glass type of quilt. In stained glass windows, panes of colored glass are held together by glazing; in stained glass window quilts, the same effect is achieved by bias tape (usually black or gray) in place of the glazing. Almost any quilt could be done as a stained glass quilt, by sewing bias tape over the seams (which as it happens will hide mismatched corners), but designs with curved lines (whether pieced or appliquéd) can make particular use of this technique because it is possible for the bias tape to cover the raw edge of the curve without the need to sew curved seams.

Aside from religious themes, the most common types of stained glass designs include floral (such as some of the Tiffany stained glass), giant dahlia (think rose window), and Celtic, but plenty of art nouveau, landscape, mosaic, and oriental designs have also been published. If you have a certain quilt you’ve always wanted to do but couldn’t face the piecing, this may be your chance!

Suggested resources:

There are a LOT of free patterns available on the internet. Try www.freepatternsforstainedglass.com.

For Celtic patterns, Philomena Durcan has a series of books, especially Celtic Spirals, which may give ideas as well as instructions for laying bias tape.

Dover Publications has a few books devoted to stained glass patterns.

Tips (from me):

If you want to recreate the effect of stained glass windows, I’d suggest jewel tone solids.

Try not to pick a pattern with a lot of lines meeting at one point (usually the center). You are likely to end up with a small mountain of bias tape as the strips overlap each other, creating a raised lump.

You really do need to lay the entire quilt top out (aside from the bias) before you start sewing; for one thing, to make sure your fabrics work together, and for another, to be able to plan how your bias strips will be laid out and in what order you should affix them.

The ends of pieces of bias tape have to go under whatever bias they are intersecting, so that the junction is hidden. (Don’t permanently affix tape until whatever has to go under it has been laid.) A given piece of bias tape has to be long enough for its segment; if it isn’t, you have to cut a new longer strip and recycle the short one for something else.  So lay the longer pieces first, to avoid waste.

You can’t have bias strips ending in nowhere land, unless it’s the edge of the quilt which will be covered by binding. Think about how a window is held together. You can have your tape turn sharp corners, in which case you have to miter the tape. If the corner forms an angle of less than 90 degrees, you’re going to have to trim the underside of the miter so it doesn’t show or present too much bulk. Actually, it’s best just to plan your design without such acute angles.

You can, of course, make your own bias tape, but it is a lot less trouble to use a roll of Clover Quick Bias Fusible Tape, which in 11-yard rolls can be found at www.anniescatalog.com. While the adhesive can’t be trusted to last very long, it will at least hold its shape when ironed so that with assistance from a few pins you can then sew it down. You can reposition this tape if you lift it while still warm from the iron. Another option is to buy ordinary bias tape and trim the width to the desired thickness, press the new raw edge under, then pin and sew. With wider bias, you have more room for error in its placement, but you will also have more trouble turning corners and following along curves. I’d recommend bias not less than 1/8” and not more than ¼” wide. One further way you could do such a quilt is to incorporate extra pattern pieces, representing the glazing, into the sewing of your top – but I suspect that this will be a lot harder than using bias tape over the seams.

Although the bias tape can cover the raw edge of appliqué, I think it best to sew the appliqué pieces together as much as possible, then lay the bias tape over the seam – all the more so if you are using very narrow bias. Alternatively, you could fuse the pieces to a background before laying the tape. If you fuse, I’d recommend a very slight overlap of the pieces so you have only one raw edge to worry about hiding. And if you must lay the tape over a raw edge, BE SURE to sew first the edge of the bias which is next to the appliqué fabric with the raw edge, to be certain the appliqué will hold. Then sew the outside edge of the bias (and not before you insert any bias coming to meet it). I’ve had too much trouble with appliqué fabric working out from under the bias tape, no matter how carefully I thought I had stitched it.

It may save you some work if you are able to sew only the inside edges of the bias tape while assembling the top, and sew the outside edges in the course of quilting. You probably would want to quilt along the tape lines anyway, and this could save a step. But it does require some preplanning.

There is no size restriction on this challenge, but unless you are either planning a very intricate design or intending for people to view it from a distance I would recommend keeping it fairly small.  Large pieces of the same fabric (especially if solid) can become monotonous, and this is a situation in which it’s the design rather than the fabric which you want to feature. (But pieces which are very small can be a real pain to work with, and they do need to be large enough so that after the bias is applied they can still be visible. If your chosen design has some very small pieces, consider either enlarging the intended quilt size or consolidating these tiny pieces with their neighbors.)

Downloade Acrobat PDF Vesion of stained glass challenge

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