Author Archives: Maggie Ball

Kitsap Quilters’ Guild Annual Show, 17th and 18th February

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My local quilt guild show is coming up soon! See Kitsap Quilters website. I designed the opportunity quilt shown in picture and coordinated making the quilt (more on this in another blog). If you live locally, I hope you will plan on attending the show.

I am part of a team of four responsible for organizing peer judging of the show. This is a good educational opportunity to tell guild members, and also to publish in our program, the criteria that judges use when judging quilts. I will be orienting the judges before they begin the process. They judge in teams of three and care is taken to avoid having them judge a category in which they have entered a quilt. Guild members are given the option to enter their quilts for display only, but the vast majority opt to have their quilts judged. We don’t have the time to write a constructive critique of every quilt, so we use a process of elimination and the team of judges has to come to a consensus. Judges are asked to consider the criteria when looking at each quilt, rather than simply considering whether or not they like the quilt. The names on the quilt labels are covered so that judges cannot see who made the quilts. Here are the judging criteria:

  • Visual impact of design and originality
  • Color and value
  • Balance and integration of design (scale, relationship and arrangement of quilt components including borders)
  • Overall appearance (quilt is clean, free of odor, and hangs squarely)
  • General construction – workmanship (piecing, appliqué, borders even)
  • Level of difficulty/complexity of design
  • Special techniques (if applicable)
  • Hand quilting (stitches even size on front and back of quilt, starts and stops not visible, quilt marking lines not visible)
  • Machine quilting (stitches of even length, no tension problems – bobbin thread should not show on top and top thread should not show on back, starts and stops not visible)
  • Quilting design appropriate to quilt top, density of quilting consistent
  • Finishing (binding applied securely, evenly and accurately, square corners – no dog ears)

Feel free to copy this list for judging and educational purposes. It is based on the criteria used by the American Quilt Society and the International Quilt Association.

 

Teaching at Quilting at the Lake, Lake Havasu, AZ

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Earlier in January, I taught at Quilting at the Lake, Lake Havasu, AZ, a wonderful annual quilting event organized by the Havasu Stitchers. I can highly recommend this well organized and fun retreat. This was my first time to teach in AZ and I was delighted at the opportunity to take a winter break and head for some sunshine by the lake! The event was held at the London Bridge Resort and I was excited to have a beautiful view of the bridge from my classroom!

As a child, living in the UK, I can recall hearing about some place in Arizona which had purchased the London Bridge and was transporting it stone by stone to the desert and creating a channel over which the bridge could span. This was a big joke to us especially as it seemed to us that they had anticipated getting the Tower Bridge! However, the locals don’t remember this disappointment and are very proud of their bridge which is a major tourist attraction and can take the credit for the prosperous growth of the town. I have to say, that the bridge is definitely a highlight of the city and looks very handsome, fitting in surprisingly well with the beautiful lake and spectacular surrounding mountains.

My class was full and I taught an overflow group two days later. We worked on the Gateway to Mongolia pattern making the large central Olzii block. This motif is painted on the doors of yurts in Mongolia to bring long-life and prosperity to the people who live there and to drive away wild beasts and evil spirits. It also has special significance in the Buddhist faith which is practiced in Mongolia, symbolizing the universe and never-ending cycles of life and death. The woven effect is achieved by using a color gradation of fabrics. Having a smooth gradation of fabrics is key to the success of the under-over illusion. The pictures show some of my students’ work. The purple and green one was an unusual choice of fabrics but it worked! I always enjoy seeing the different results from the variety of fabrics brought to class.

Quilting at the Lake, Lake Havasu, AZ

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I’ve just returned from a wonderful trip to AZ, where I taught at the Havasu Stitchers annual Quilting at the Lake event held at the London Bridge Resort in Lake Havasu. The guild has a membership of over 200 and about a third of them are snow birds. They are an active, busy group who gave us teachers a wonderful welcome. In the lobby of the resort there is a replica of the golden carriage used in Great Britain to take British royalty to their coronations. The railing surrounding the carriage was a perfect place to display quilt tops made for American veterans!

AQS Quilt Show Des Moines (5)

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These Double Wedding Ring quilts were exhibited in the judged AQS show at Des Moines. I was drawn to the unusual use of color in these two quilts and to how the changing background colors and the placement of different values refresh this traditional pattern.

Double Wedding Ring 2016, 88″ x 88″, made by Susan Haslett-Schoflield of Canton, MI. From a distance what strikes me is the color transition across the quilt and how the white ovals between the arcs of the Double Wedding Ring stand out. The arcs themselves, recede into the background, but the dark arc intersections are much more distinctive. Closer up, the subtle shades in the arcs are visible.

From This Day Forward, 102″ x 102″, was made by Carol Duffy and Sara Velder of Plymouth, MA. Their design source was Wedding Star by Judy and Bradley Niemeyer. The use of gradual value changes in the arcs against the medallion-style arrangement of background colors is stunning. I love the addition of purple points in the large background pieces in the center of each block, giving a diagonal effect radiating out from the center of the quilt. The wide purple border is a great backdrop for the beautiful center field.

One of the aspects that I love about quilting, is how even the simplest of quilting patterns may be presented in so many different ways just by changing the colors and the value placement.

New Year’s Resolutions

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Do you set goals and resolutions for the coming year? Here’s an early twentieth century postcard on the subject from a calendar by Bishop John H Vincent, published by Chatauqua Press.

Many of us begin the year with good intentions for leading healthy and more active lives, but easily slip back into our old habits. Do you make plans for what you might like to accomplish in the coming year? How do you balance work and play?

I have a notebook in which I write down my annual work and personal goals, such as, making specific quilts, designing a new workshop, improving current workshop materials, writing quilting patterns, raising $10,000 for the Mongolian Quilting Center, negotiating a certain number of teaching jobs for the following year, continuing to write one blog per week and produce one e-newletter per month, and so on. I try to be realistic so that I’m not setting myself up for disappointment. The next job is to divide these goals into doable chunks and make lists of tasks to achieve in the next two months. This may be broken down further into weekly or even daily goals, e.g. spend 5 hours per week quilting, complete editorial work on pattern, update business accounting records etc. I derive great satisfaction from checking items off my lists once they are completed.

Towards the end of the two months, review what items aren’t checked off and think about why they didn’t get done. Write the goals for the next two months, (which may include uncompleted ones from the previous two months), and refer back to the annual goals to remind yourself of the bigger picture. It’s easy to get swamped by all the little tasks without making progress on the major goals. I lead a busy life, so I try to prioritize to make sure that the most important things are achieved and that necessary deadlines are met. This requires some discipline and determination to avoid distractions. Your priorities may change through the year and it’s OK to go back to the original goals and modify them. Some may not seem important any more, or new opportunities and goals may arise. Doing this helps me enormously, and I recommend it to you if you find this way of organizing and prioritizing your time useful. If you find that you have a lapse or simply that life gets in the way, don’t let that put you off for the rest of the year. You can start afresh in any month or on any day of the year.

All the best, for a healthy and happy 2017!

 

Rag Rug

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Here’s a way to deplete your stash using up fabrics that have been sitting around for a while. This is my almost completed rag-rug made from 2” strips of batik fabrics.

I use Aunt Philly’s toothbrush needle which is more ergonomically friendly on the wrists than trying to make a fabric rug with a large crotchet hook. You can see the blue plastic needle in the picture. These were originally made from toothbrushes in the days when toothbrushes had holes in the handles. The head of the toothbrush was removed and filed into a point. About 20 years ago, toothbrush manufacturers started making fancy handles and dispensed with the hole, so Aunt Philly now makes these needles. Check out her website for more information. This is a fun fireside project that doesn’t require much effort and can be done in low lighting while watching TV. I made one last year and gave it to a friend as a gift. It turned out that her dog absolutely loves it and it became the hanging out and sleeping place of choice!

AQS Des Moines Quilt Show (4)

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I’m still savoring the many beautiful quilts that I saw at the AQS Show in Des Moines in October. With Christmas rapidly approaching, this seems an appropriate time to share a couple of gorgeous star quilts that were exhibited. The first was in a special exhibit, The Art of Quilting, Quilts by Judy Woodworth. Sawdust, 90″ x 90″, is an original design pieced by Mary Sue Suit and quilted by Judy Woodworth. This award winning quilt is one of several on which Mary Sue and Judy have collaborated. I love the rich colors especially the royal blue which majestically frames the stars in the center.

The second is Feathered Star quilt which was in the judged show. I have a soft spot for these especially when they are well executed with exquisite quilting like this one. Fine Feathered Friends, 71″ x 87″, was made by Tamara Gross of Wichita, KS and long-arm quilted by Jan Hutchison. I like the way different background fabrics were used for the stars, adding interest to the quilt. There’s an attractive variety of browns used too and it all looks very crisp and clean. The intricate machine quilting patterns tremendously enhance this beautifully pieced and appliqued quilt.

 

Mongolian Quilting Center booth

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The first weekend in December is a busy one on Bainbridge Island, WA. Both Christmas in the Country and the Studio Tour offer several locations where artisans display and sell their work. Four years ago, St. Barnabas Church, (our USA non-profit host for the Mongolian Quilting Center), became a Christmas in the Country venue, and we have had a booth at this event ever since, selling Mongolian products. This is a great opportunity to raise money, and since St. Barnabas donates the book keeping, 100% of the funds go to the Mongolian Quilting Center. Here is our booth.

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The Mongolian women are excellent seamstresses and the silk patchwork products that they make are stunning. Selenge Tserendash is able to get silk scraps from a clothing manufacturer in Ulaanbaatar, and the women use these to make beautiful Twisted Log Cabin and Fan blocks which are then assembled into larger pieces for table runners and wall hangings. They also use them for small coin purses and cosmetic bags as well as patchwork horses. Cashmere scraps are available too, and these are used for patchwork goats and camels. Some of the women make felted slippers and these are always popular. The event ran for three days and we were delighted to raise $3,103 which will go towards operating and maintenance costs at the Mongolian Quilting Center, including wages for women doing piece work who would otherwise be unemployed. If you are interested in purchasing any products, please contact me via the contact page on my website.

AQS Des Moines Quilt Show (3)

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There were several special exhibits displayed at the AQS QuiltWeek in Des Moines. One was The World Painters Challenge. In 1995, a group of quilters from Japan formed the Nihon Heritage Quilters Guild. They participate in an annual quilt challenge and every few years, the challenge is extended to include other nations. A list of 30 world-famous painters was chosen for 30 quilters from Japan, France and USA. Each quilter was assigned an artist and challenged to design a piece of fiber art either representing a work of their painter of making a design of their choice in the style of that painter. Here are photos of four of the quilts that particularly appealed to me. The famous painters are easily recognizable in these creative pieces.

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Benedicte Hanot from France made the Salvador Dali piece. She painted plain white fabric with acrylic paints and machine and hand appliqued a variety of textiles including leather. There is embellishment with embroidery, pearls, driftwood, sequins and machine quilting. The Vincent Van Gogh piece was made by Nancy Kibbey from OR. Her inspiration came while sketching a lawn chair which reminded her of Van Gogh’s painting of The Chair and the Pipe. She included themes from other paintings too, including The Harvest. She used cotton fabrics, both commercial and hand painted, which are fused with raw edges.

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Joan Miro’s work is represented by Ginny Steller from OR. Although much of Miro’s artwork is childlike with a sinister twist, she chose a lighter moment depicting a cat in a garden. Dark lines and solid colors define the shapes. Jae McDonald, also from OR, interpreted Gustav Klimt’s Portrait of Adele Bloch-Bauer. Jae writes, “I’ve often thought of Klimt as a very “quilterly” painter, with his peculiar use of shape, pattern and color.” This is made from hand-painted cotton and lamé, and commercial fabrics embellished with acrylic inks, fabric paints, metallic threads, gold-plated paillets , beads and wire.