Skip to main content

Whole Cloth Silk Quilt Update


It seems I blinked a couple of times and 2016 was gone. How did that happen?

Since my last post, there has been very little activity on the Seams French assembly line. Several nasty versions of flu bugs have kept me pretty much out of commission for most of December and the early part of January. Preset goals and deadlines became meaningless when the only thing that mattered was having enough cough meds and tissues in the house. Vulnerability should never be underestimated.

With some wind back in my sails, I decided to start up 2017 by pulling out my whole cloth quilt design that had been shelved since last April.

For a quilt like this, I like to preplan and draw in fairly detailed FMQ lines for focal motifs. I love this part of the process and can get completely lost in it.

Completed FMQ butterfly design.

When designing, I rely on a lot of different resources. Our collection of photos is fairly large and is my first source for ideas and inspiration. Books, art, the internet, etc. are all great references as well and I use them all.


For this quilt, I seem to be drawn to the Arts and Crafts Movement (1880's Britain), to Art Nouveau (1890 - 1910) through to Art Deco (1920 - 1940).

The butterfly got a touch of the diva from Erte, a fashion illustrator from the Art Deco period.

"Erté: Art Deco Master of  Graphic Art and Illustrator", by Rosalind Ormiston: Flame Tree Publishing, London 2014

Another illustration from the same book.

Alphonse Mucha inspired this little hummingbird.

Here she is in progress.

Completed hummingbird.

Below is a trial run of FMQ on some gardenias, inspired by William Morris and the Arts and Crafts Movement

"William Morris: Artist, Craftsman, Pioneer" by P. Ormiston and N.M. Wells; Flame Tree Publishing, 2010 London

The general design layout of the quilt has been printed out to full size, 100" x 100". It's basically a map of all of the elements, with details to be reworked individually


My Notre Dame Rose Window design has found it's way into the background of this quilt along with a scattering of shamrocks.


I have not set many "SeamsFrench" goals for this year, but finishing this quilt this year is a priority for me. It has been on the back burner for far too long so it's definitely time. Updates will be posted.

Comments

  1. I am so excited to do this journey with you Elizabeth. At least a visual journey. Can't wait.

    ReplyDelete
    Replies
    1. Hey Cherie. This is by far the most fun I've had working on anything. I'm really hoping it will get done this year. You're most welcome to join me on the journey anytime.

      Delete
  2. This is going to be magnificent! What an undertaking. And to think that you do this on your home machine...and it's SO BIG. I can't wait to see the progression of your quilt. Post often!

    ReplyDelete
    Replies
    1. Thanks Karen. 100" x 100" is bigger than I've ever had in my machine, but by adding the batting in stages, I'm hoping it will work OK. It will still be a while until I'm at the quilting stage though. I'm hoping to do regular posts on the progress.

      Delete
  3. This will be spectacular! What a great idea to use so many difference motifs and inspirations. I hope you will stay healthy now, I know Vancouver had an early winter. Happy quilting!

    ReplyDelete
    Replies
    1. Thanks Monica. Although I've designed and made quilts for others through the years, I have never done that for ourselves. It's about time. Thanks for the well wishes. Still on the mend and going to keep going in that direction.

      Delete

Post a Comment

Popular posts from this blog

The Tristan Quilt at the V & A

On our recent visit to London, one of our first stops was at the Victoria and Albert Museum. Established in 1852 and named for Queen Victoria and Prince Albert, who were strong supporters of it's founding, the museum is a facility that is both educational and cultural, and open to everyone. It is here, in the "Medieval and Renaissance Gallery" that I finally saw the "Tristan Quilt", one of the earliest surviving quilts showing stuffed, corded whitework (known as "Boutis" in France). A Chihuly chandelier hangs in the grand lobby of the Victoria and Albert Museum. Medieval needlework was often a medium for storytelling. It told of wars and conquests, heros and warriors, love won and love lost, etc. Myths and legends were recorded for future generations through the nimble fingers of the artisans. Through the intricately depicted figures stitched into the Tristan Quilt, this classic Norman legend follows Tristan into battle...

Boutis: Traditional French Needlework

" Piqûre de Marseilles" or "Boutis" is a traditional French hand stitched and corded needlework technique, which uses embroidery stitches to create intricate channels that will later be stuffed with yarn, thereby creating a raised design with three layers. It's origins, and it's name, can be traced to the port of Marseilles in southern France to the 15th century. Traditional boutis was a technique invented to embellish otherwise plain white cotton with intricately patterned channels that would later be stuffed with a plump white yarn to give it relief. The resulting corded whitework created an elegant, embossed textile that was much sought after. Not only was it aesthetically appealing, but it also provided warmth and absorbency, so could be used for bed coverings, toilette linens (like towels), clothing items, home decor, etc. The first two photos below are from the collection of Mme. Monique Alphand, a well known French expert and collector of antique t...

Hawaiian Applique Quilting

While on a family vacation in Honolulu, Hawaii just before Christmas, my daughter and I managed to squeeze in a class teaching the basics of traditional Hawaiian quilting. At the end of the class, we both had a 22" x 22" cushion size Hawaiian Applique quilt ready to stitch. The coral coloured "Ulu" pattern below is my daughter's project.  Traditionally, the ulu is the first quilt made for the home to ensure that there will always be food on the table. The "Ulu" (Breadfruit) pattern, designed by John Serrao. It's the designs of these applique quilts that make Hawaiian quilts unique. Each pattern is individual to the maker of the quilt and symbolizes who they are. Although many of the patterns use a similar motif or symbol, (for example the "Ulu" pattern), when adapted by the quilter, it becomes personal to that quilter and unlike any other version. Ideally, each quilter should create her own design, but beginner's are gi...