/ CREATING A SILHOUETTE QUILT

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Decide on an image to turn into a silhouette, preferably one with the face in profile. Children, grandchildren, ancestors, and animals all work well for silhouettes.

Print the image on 8.5 x 11 paper in either color or black and white. This does not need to be a high-resolution image.

Trace the outline of the image onto another piece of paper using a light box or window. I like to use a fine line Sharpie marker.

Use your printer to scan the tracing back into the computer. Be sure all the tracing lines are closed curves. Use a drawing program to fill the tracing with black. I use Photoshop, but Photoshop Elements or any simple drawing program with a "f i l l " feature will work. You will quickly discover any places where your tracing lines are not continuous and need to be retouched.

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6. Print the finished silhouette on 8.5 x 11 fabric that is backed with paper, i purchase these sheets by the package at Joann's or on Amazon. My current favorite is Jacquard Ink Jet Fabric 8.5"x11" Cotton Sheets. These come in packages of 10 or 30 and I purchase them on Amazon.

7. If you wish a larger silhouette on your quilt, use either a local printing service like Julie Brandon's Red-Dog Enterprises at http$://wwmM^ed--doqenierprises.com or an internet printing service like Spoonflower at https://www.sDoonflower.cQm. With this type of service you can print the silhouette at any size.

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8. Carefully cut the silhouette out and applique it to your background fabric, i use Steam-a-Seam2 Lite to fuse the silhouette to the background and then sew a straight stitch around the edges, but any applique technique will work.

9. Quilt the background.

10. Consider any embellishments that would enhance the design, such as floss or ribbon embroidery, beads, sequins, paint, etc

Embellish and Bedazzle

By Jean Lemmon

There are several items that can be used to embellish quilts and garments.

Hot fix crystals come in many sizes and colors. They have a glue that melts at about 340-375 degrees F. If your fabric is easily damaged by heat these stones may not work for you. There are multiple methods to use to adhere hot-fix crystals (a regular iron no steam, a heat press, or bejeweler hot fix tool. The Glue is adhered to the flat back of the rhinestones, its quick, clean, and easy. The glue dries clear.

Heat your tool being careful not to touch the tip as it heats up. Use the proper size tip for the rhinestone to get best heat coverage. Get your fabric ready and place it on a flat surface that can withstand heat. Be patient and make sure the glue is melted, remove the gun and press down on rhinestone to make sure it has made good contact use something to protect your finger.

Plan your design and work from the center out. Use different sizes, colors and grouping. Straight or curved lines give movement to a quilt and draw your eye to special areas you want to highlight. Start with minimal embellishments on the whole quilt then add to it as needed to get the overall effect you want.

There are also rhinestones that you attach with a special glue, use sparingly to prevent it from oozing out around the sides.

Beads of all shapes and sizes can be used, either sew on or use special glue.

Buttons, sequins, threads, ribbons, etc can be used. Use you imagination to embellish your quilt and make it personally yours.

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Origami Squares (By Joyce Lyf^e

Origami Squares can be used as background to add textiu-e. as comer stones, or in wearable art.

M a t e r i a l s : 4 " paper square, 6" fashion fabric, 8 silk/satin pins

D i r e c t i o n s :

1. Find the middle of each side of the square and make a slight fold. 2. Pin the comers of the fashjon fabric (wrong side dowTi) to the comers of the square

with the pins on the diagonal. 3. Pin the fashion fabric to the center of the paper on each side in one direction, (either

counter clockwise or clockwise) There wi l l be a pleat on each side. 4. Push the fabric dowTi and play with it until you get it to turn and lay flat. ( A center

square on point should appear.) 5. Press with the paper on, remove pins and paper, and baste edges.

Thiegs to try:

Instead of using the middle, make a mark on the T ' or 1 l/'2'" on each side.

Use fabric ratlier than paper for the base.

Use voile, organza, etc for the fashion fabric.

Change the proportions form 2:3 to 3:4.

Try the same technique on circles, hexagons, triangles, Parallelograms etc.

Try half of the sides going counterclockwise and half going clockwise.

Special Thanks to Jeannette Denicoiis Meyer (www. Jdmeyer.com) for allowing me to share her ideas with you.

She also suggests that you might vy ant to see more examples in "Wearable Art for People"" by Mary Mashuta

1 wi l l be interested to see what you create from this simple idea.

'Enjoy a

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Hand Trapunto - Chris Wickert Trapunto is a technique in which extra stuffing is added to specific areas between the top and baci<ing after the quilt has been quilted (either by machine or by hand) thus enhancing the design and dimensionality. This can be done by inserting a darning needle or longer trapunto needle threaded with 4 ply acrylic yarn between the quilt layers.

Supplies:

• 4 ply acrylic yarn (NOT cotton or wool) • a blunt darning needle with an eye big enough to thread the yarn • a trapunto needle • toothpicks • Backing fabric with loose weave (such as cotton batiste, muslin or

dupioni silk) • High loft batting such as wool or polyester • Needle grabber

Some important considerations:

• You will be working from the back of your quilt. • The design area you are about to trapunto should be no wider than 1". • Thread the needle and pull the yarn through so that you will have a

double strand. • Insert and exit the needle just inside the quilted area to be stuffed,

leaving a very tiny part of the yarn to stick out on both ends. Use your toothpick to push the yarn back in between the layers. Repeat insertions about Vs of an inch apart.

• Use your fingernails and/or tip of your needle to push the fibers that were separated by the yarn insertion back together.

• Use a hoop if possible to avoid distortion. • Long narrow channels are either done with a trapunto needle threaded

with yarn or a darning needle with a quilting thread "lasso" into which the yarn is looped.

Bibliography:

• The Art of Boutis by Kumiko Nakayama-Geraerts • Traditional Boutis by Christine Vignal • Quilts of Provence by Kathryn Berenson • American Quilter (Fall 2006) - "Trapunto by Hand" by Zena Thorpe

Demo Derby Demonst ra t ion , January 9, 2020 by Jeanne Grinnan and Leslie DelPopoio

How to make "Penny" tabs for a quilt border;

Determine the size and number of tabs needed. To do this, measure each side of your quitted project

and prepare a template l!l<e the one beiow which is the finished size of your tab. For example, your wail quilt measures 27" x 33". if your finished tabs measure 3'', you will need 9 for each end ( IS ) and 11 for each side (22). The tabs can be any lerigth desired.

Preparing the ''tab sandwich":

For each tab, you will need your fabric (A), batting (B), and backing fabric (C). Cut a rectangle of each

larger than your template. Lay your template on the back of your fabric (A), and trace around it with a

pencil.

Put your fabric (A) and backing fabric (C) right sides together and lay thsm on the batting fC). Machine-stitch on the traced lined being sure to secure your threads witri bscicstitches at beginning and end.

Cut away excess fabric W from sew/n line with pinking shears or tr im and clip curved edge-

Turn right side out and smooth curves. Press gently.

Embeifishii'ig your tabs:

For each tab, you wiil need a bias strip of contrasting fabric to outline the curved edge. Determine the length of the strip by measuring the curve and add 2". Cut your bias strips 1" wide and press them In

half wrong sides together.

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On the right side of each tab (Fabric A), pin the raw edges of the bias strip along the curve of your tab

and hand-sew it down a scant K" away from the edge. When finished, finger press the folded edge of

the bias strip toward the curve and sew it down with a blind-stitch framing the tab.

From scraps of fabric, prepare the circles to embellish your tabs using your preferred method for mal<ing

circles. We used Perfect Circles templates from Karen Kay Bucl<ley; freezer paper templates worl<

equally well. Determine the sizes of your circles and mal<e a quantity sufficient to suit your

requirements.

Trace around your circle template, then run a gathering stitch outside your traced line. Cut beyond the

stitches, then gather, starch, and press. Allow your work to cool before removing the template.

When your circles are complete, applique them to the tabs in a way that is pleasing to you.

Finally, to quilt your tabs, stitch in the ditch around the circles and along the edge of the bias fold.

Attaching the tabs to the quilt:

Our GVQC Friendship Quilt 2019 was finished in this way. The tabs were sewn to the completed

potholder quilt using a 1" double-fold bias strip to enclose the unfinished edge of each tab. This banner-

like strip was then whip-stitched to the finished edge of the quilt.

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. Sashiko stitching Margaret W. fVliyake

mwmiyake@gmaiixorf miyakephoto.corr

Sashiko is the term for Japanese embroidery—a basic running stitch, traditionally stitched by hand, it deveioped ir northern Japan more than 400 years ago. Sashiko translates as "little stab." The .stitches look like grains of Japanese rice. The space between the stitches defines the design.

The past At first, sashiko was u t i l i tar ian, used to prolong the life of the garment—to mend, insulate/or reinforce farmers' and fishermen's clothing. Several layers were stitched together using thread f r o m the origirfa! fabric. When white cotton thread became available, stitching became more noticeable and evolved into being decorative as wel l as utilitarian,

Sashiko reached its peak between 1912-1926, but by the 1950s sashiko declined in popularity due to increa.5ed prosperity in Japan and the introduction of man-made fibers, its revival began in the 1970s; parallel to the rise of western quilting in Japan.

The present in the 21st century, sashiko continues to evolve; there are even sashiko-styie sewing machines. Today sashiko is used in a variety of ways—to decorate quilts, pillows, table runners, tote bags; embellish clothing; create art wall hangings, its patterns have been inspired by nature: flowers, animals, waves in the ocean, geometric designs, wheat fields. Also family crests and calligraphy. Its uses are limited only by the sf i tcher ' s irriaginahort.

Sashiko tips • When turning a corner, make t he last stitch Into the corner so the pattern is sharply defined. » To stitch a very smal l circle or a sharp, t ight curve, it may be necessary to make the stitch on the

back smaller than on the front. * Threads that skip across the back should be

a l i t t le loose to prevent puckering. To avoid a longer skip, weave the thread through several stitches on t he back to reach a new section of the marked design.

« When pattern sines .meet or cross, space the stitches so they do not cross one another. To f inish off a fine o f stitching pui l the threaded needle to the back and weave the thread in to several stitches before dipping t he tail or t ie a loose knot for a more secure finish,

» Try to keep stitches even and l ines smooth .

Bibliography Briscoe, Susan, The Ultimate Sashil<o Sourcebook: Patterns, Projects, and Inspirations

Japanese Sashfrn Inspirations Japanese Quiit Blocks to mix & match

Ishigurc, Yoko. Sasbilio Style: Traditional Japonese Patterns for Contemporary Design Psppen, Kitty. Quilting with Japanese Fabrics Pippen, Sylvia, Paradise Stitched: Sashiko & Applique Quilts Pippen, Kitty and Syt^ia. Asian Elegance: Quitting with Japanese

Online Sites http://susanbnscoe.biogspot.com/ http://wv,/w.deslgnbyaika.com/ https://www.pinterest.com/athreadedneedle/s3shtko-sntching/

Fabric

1 stained Glass Quilt As You Go -

The Quilted Treasures Method From the Quitter's Treasure website (http:/Avww.quiiterstreasure.comK

Do you love tlie lools o f Stained G lass? Arc you intimidated by applique? Now you can learn a quick, easy and tlin way to

make stained glass quilts! You wil l be able to convert stained glass patterns and apply fiiis simple technique. You no

longer liave to use raw edge, registration marks, paper piecing, reverse applique, sahii stitching, fusible web, etc. Your

quilts wi l l be soft, not stiff You wil l learn how to piece, stitch and quilt at the same time reducing your stitching by 50%', this vtorkshop is fun for everyone, and appropriate for all levels.

Supply I -ist: .Standard sewing kit., and pencil or marking chalk. , f Sewing machine required only fur full day classes, in gotid working order, extra needles, black thread far top & bobbin, extra bobbin. 2.0 twin needles i f you know how to use tliem. i f not single needle wil l also work Student wil l need baiting, Black tabric for backing

(12" X IS" each) & bjiiding (62" strip) Ibr fiill day classes) Kit Fee; S50.00/per smdcnl includes top. martiled tabric, leadline, iiilt size pattern, instructions & complete i(K)l kit Roxanne Glue-baste-it & applicator, Alcene's Tacky Okie & applicator. Sixth Kinger, & prcsser

Tools and Supplies: Applicator -Aleene's Original Tacky Glue -Roxanne's Baste-lt Giue -Plexi-square -5th Finger

Available as a package from Qutiter's Treasure http://www.quilterstreasure.com/product-deta)i.php/375/toolkit-stained-gla55-tool-kit

QTNl 4B12 Quilters IVeasurc I eiKlline Nylon Braid

Available in 1/4 and 3/16' vvidlhs. Black. White and Green colore

Pattern -In this case, I've chosen Quilter's Treasure

Water Ripple Stained Glass Pattern

To see YouTube Demonstration go to https:/M v\s

Other videos by Quilter's Treasure: htlps://www.voutube.com/u-it'..-v1-"^d-r ^aFabricSS

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Quilts inspired by photos Janet Root

Photos printed directly on fabric

Original ske - can do with home printer i f you iron freezer paper to fabric and use quality fabric with a tight weave - Family quilts.

Enlarged by Julie Brandon or Staples - Poverty

Photos loosely translated to fabric

Realistic - Redwoods Abstraet - No Green Apples

Plioto OB abstracted photo background - Converge

Ptirsto of object eiilargecl by overhead projector - Rhapsodies on Blue

(This method could be done easier by taking a photo to Staples, etc. I dorft live near Staples, so I purchased an overhead projector.)

I have used two methods of making a quilt like this - using freezer paper or fusible web. For either method, make a chart of small fabric swatches glued or stapled to a piece of heavy paper. Number each swatch and use the same number to mark each corresponding color area of tlie pattern.

To make the pattern, enlarge a photo to fit 8 1/2" x 11" paper. Slide the photo into a plastic protective sleeve. With a Sharpie uitrafme permanent marker, trace the lines onto the plastic. Remove the photo from the sleeve. Using an overhead projector and the plastic drawing, project the lines on a paper attached to a wall. Trace the lines onto the paper. This is your pattern. I f you are using the freezer paper technique, lay a piece of muslin over the pattern, and trace it lightly with pencil onto the muslin. This will be your quilt's base. 1 used the following technique for this quilt, and didn't care that the quilt was frill of raw, fraying edges.

For freezer paper, trace each pattern piece onto the dull side ot' the paper, adding about W extra on all sides that will be covered by another fabric. Cut around each piece outside the lines, but don't be fussy about it. Iron the paper shiny side down onto the right side of each fabric. On the lines, cut through both fabric and paper. Remove the paper, and place the fabric where you want

it, being sure to cover all tlie muslin. Pin each piece thoroughly. I pinned all pieces down before sewing anything. Quilt closely to capture all small pieces of fabric. Don't quilt over pins! Don't bleed on your quilt, either.... This method hurts more....

I f you do not want raw edges, you may use fusible web, but you must reverse the pattern. 1 do this by turning the large paper pattern over and retracing the lines on the back side. Remember which side is which and mark it clearly! Do not cut it up. Lay a piece of muslin over the pattern, and trace the lines lightly with a pencil. This becomes the base for your quilt.

Lay fusible web over each segment, and trace. Add about V" extra on any side that will be covered up by another piece of fabric. Fuse to the wrong side of the quilt fabrics, and cut out on the pattern lines. Remove paper backing and lay each piece in place on the muslin. You may fuse in sections as you go.

For either method, decide where to begin, (background to foreground, center to outside, top to bottom, etc.) trace and cut the first pattern piece with a little extra on the side(s) or edge(s) which the next piece of fabric will cover. I usually use dotted lines and allow about for the part that will be overlapped. Pin it onto the muslin backing. Keep cutting and layering fabric until the whole pattern is covered. Fuse and quilt, or just quilt, being careful to remove pins as you go and try not to bleed on your quilt.

Due to copyright laws, the photo should be one you took, or in the public domain, or you have permission to use someone else's photo.