Learn tips and tricks to make a beautiful and colorful jelly roll rug. All you need is some precut batting and a jelly roll of fabric!
Annie Bendolph produced her quilt in 1930; thus, it is one of the oldest quilts in the Gee’s Bend collection. She is shown in a 1937 photo by Arthur Rothstein of the Farm Security Administration, which hired photographers to document rural life in America. The rug based on the quilt is very dimensional: the red areas are made of low loops, with raised, cut-pile white arrows. Hand-tufted rugs can be steam cleaned at home, making them ideal for children’s rooms or any area where your family sits on the rug. Barbara Barran has been working with the Gee’s Bend Quilters since 2003. She has shown and sold their work at over 25 US museums, paying the quilters a royalty for the use of their designs. She has visited Gee’s Bend, AL, several times and stayed at the home of Ruth Kennedy and Lucy Mingo. Working with the quilters has been the highlight of her design career. Custom Gee’s Bend Quilt designs and sizes are available. For more information, please write to info [!at] Classicrug.com or call us at 718-768-3338. I color matched each rug to the original quilt when the quilts were shown at the Whitney Museum. and I have made several trips to Gee's Bend during my years working with the quilters. These rugs have been shown and sold at over 20 US museums. To make this rug, a pattern is drawn in a reverse image on monk's cloth, and then each stitch is added by hand. When the complete pattern has been filled in, natural latex and jute are applied to the back, and the edges are turned under and secured with cotton canvas, so the rug is constructed of all-natural materials. There are no added chemicals. The rug is then sheared and by hand, and the edges are trimmed with a big pair of scissors. This is a top-quality rug that will give you years of use. The New Zealand wool will not pill or break off, and it does not have an odor, as many cheap wool rugs do. This rug should be vacuumed with a non-beater brush vacuum. Do not use a bagless cyclonic. Clean any spots with foam Resolve cleaner for wet spots and powdered Resolve for dry spots. The rug can be steam cleaned at home periodically, as needed. Please note, these are area rugs and not quilts. Because we do not know what happens to our merchandise once it arrives in the purchaser's home, we do not accept returns. Orders will be shipped promptly, usually within 1-3 days.
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THIS POST IS REPUBLISHED FROM 2015: I started this rug as a bit of an experiment and with no plan to create a tutorial so please forgive me if the photos are a little cobbled together. OK guys, now this is more of a marathon than a sprint (although it is super quick) so I think we need to organise ourselves before we start. Why ? because of course I jumped in feet first and fluffed up a few things and could have done them better so you guys get the benefit of my experience. You will need : Cotton sashing cord: I started with 8mm and had to really squeeze it under my presser foot. Once I ran out of 8mm I had to use 7mm - and it was much easier. You may need to see what your own machine is happy to cope with. My finished rug measures approx 47 inches across and I used 125 metres (almost 400 feet) of cotton sashing. Fabric strips: Any length x 1 1/4 inches wide. (Depending on my mood, I ripped some and cut some.) My strips varied between 1 and 2 inches but I found the narrower ones easiest to wrap. I have no idea how much fabric I used but my scraps are once more actually fitting in the scrap basket. Polyester Thread : Lots of thread - more thread than you can imagine. It is a good idea to pre-wind a stack of bobbins as well, because once you get started you are going to want to keep on going - it is highly addictive! Jeans needle: I started with a regular needle and broke one before commonsense kicked in and I switched to a jeans needle. Set Up: OK guys, this is the secret to success. You need to be able to sew somewhere that your machine will be at the same level as a flat surface roughly the size of the rug you want to make. You cannot fudge this step or you will end up making a basket. I started by putting the weird little plastic table on my sewing machine (I have never used it) but in the early stages the rug grows so quickly that it outgrew that little table in no time. In the end, my kitchen table, butted up against the kitchen bench (With the Guinness book of records under my machine to raise it) was the perfect workstation. There is a box, also on a book behind my machine and once the rug got wider than this arrangement I put chairs next to the bench. Yep, home beautiful all the way. You really need to be able to sort this out, if you don't have a flat surface it is impossible to keep your rug flat. Machine settings: I set my machine at the widest zigzag stitch possible and the stitch length at roughly the midpoint of what my machine offers. Getting started: Simply wrap one of the strips around the end of your sashing, making sure you have covered the end. If you look closely you can see, not only the zigzag stitch but also a straight stitch running the length of the cord. I began by stitching the length of the cord after I had wrapped it. I soon realised this was double handling and it wasn't really needed. Wind your covered sashing into a circle and sew. It could not be simpler. Joining: Simply tuck the next fabric strip into the one previous and keep wrapping. You will most likely get little bits hanging out - it is no problem at all, they get hidden as you add the next row around the rug. I began by sewing the ends of the sashing cord together but that meant taking the rug out of the machine each time. The sashing cord had tape on each end to stop fraying, so in the end I just taped them together - woohoo !! Easy !! As the rug grows it is going to get heavier - a lot heavier ! It will then become harder for your machine to 'pull' the rug through. Once the rug became very large, I would sew about 20 cm and then pull the rug around, constantly readjusting it so I was doing the heavy work not the machine. Tips: if you have a needle up/needle down function on your machine set it at needle up. Once your rug gets large and heavy and you start shoving it around a bit,you are less likely to break a needle if you leave it up. Finishing: I took this photo late at night so please excuse it. I wrapped the end of the sashing in sticky tape (just one layer) and then cut it, tapering it to a kind of point. I covered the raw cut edge with a bit more tape and then wrapped it and sewed. A little spot of backtacking and the rug is done! Note : My machine collected an amazing amount of lint during this project. I am not sure if it was the hours of sewing in one sitting, or something to do with the cotton sashing but it is worth your while to stop every few hours and remove the lint build up. If you have any questions I will answer them in the comments so everyone can read them, so make sure you pop back to get your answer.
Learn tips and tricks to make a beautiful and colorful jelly roll rug. All you need is some precut batting and a jelly roll of fabric!
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Want to make a woolie pentagon box for your sewing notions? This is a Dodecahedron. (don't say that with a mouthful of popcorn!) 12 pentagons, 30 edges, and 20 vertices (points)! You will need: Lightweight cardboard, cut 12 cardboard pentagon shapes. Cotton quilt batt scraps cut to the same size as cardboard, please cut 13 pentagons, the extra will be for the inside of the lid. Lightweight mismatched felted wools for the faces, cut 12 pentagons, 1/4 to 1/2 inch larger than the cardboard. Lightweight wool or flannel of one colour to use as lining, cut 12 pentagons, 1/4 to 1/2 inch larger than the cardboard. (Check my Etsy Shop...from time to time I will have templates and kits listed) This is my favourite quick method for fusing the layers, Cut pieces of fusible hem tape to the length of a side. Now trim that piece in half lengthwise. Layer the batting between the cardboard and wool fabric. Carefully place trimmed fusing tape on cardboard, fold over the wool fabric and iron. Repeat on all 5 sides. Trim the corners Press again Now press a hem on the lining pieces. Use the cardboard as a template, work around all sides Here are 12 covered and batted pieces with 12 liners ready to stitch. To reduce bulk, trim away the corners on the lining. Be careful not to trim past the ironed hem. Leave just a smidge for stitching. Pin lining to the cardboard side of the wool and batt pieces. Use a neutral coloured thread and make small whip stitches to join the sides. I used Coates and Clark polyester, brown #8360. ***Stop here and decide which shape will be the lid, use the extra, or 13th piece of batting for the lining side of the cardboard*** Lay out the finished pieces I chose the red piece to be my lid. It has batting on both sides of the cardboard. Join each side with small whip stitches. Stitch on the right side of the pentagons. Six pieces joined, place right sides down. Now bring up the sides and stitch one side at a time. (Stop now if you want a bowl!) Add a row around the bowl Keep going all the way around the bowl, using 5 more shapes. The last shape is your lid. This is the piece that has batting on both sides. The perfect spot to hold needles and pins! Not finished yet. Time to personalize and pretty it up a bit. Work a feather stitch, which is an adaption of a blanket stitch, along all the edges. Embroider with one colour, or a combination of thread colours. Add a fob to hold the lid down. I used a bobbin, a woolie strawberry, and a button! You could use one, or all, or any weighty dangle thing of your choice. What will you keep in your Dodecahedron? I will be making wool pieced kits for this project, no thread. I'm playing with the shapes to get just the right sized opening. Let me know if you are interested. Happy New Year! Check my Etsy Shop. From time to time I will have templates and kits available.
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Join the Sew Much Moore Quilt Block Club Swap and connect with quilters worldwide in a creative, community-driven exchange
Photos de l'exposition fin septembre 2011 à Bouaye des 18 ouvrages Colourful Quilt du club de patch local.
Flaunting an elegant indoor style that can actually go outside, our Spicher and Company Vintage Vinyl Applique floor covering is machine made of vinyl in a low profile for the ideal mix of softness and durability. Please Note: Each floor cloth goes through a unique production process, possibly resulting in some color variation. Swatches for Spicher Vintage Vinyl are available to purchase. Please contact our Customer Service team at 1 (888) 464-1447 to place your swatch order. Crafted with a non-stick surface, this collection of vinyl floor cloths will deliver untold resilience for years to come. Inspired by vintage floor coverings and linoleum, this sophisticated piece brings timeless appeal to your entryway, kitchen, or backyard patio. Machine made of vinyl, this indoor/outdoor floor cloth boasts a low profile and long-lasting durability. Maintain a high performance level by routinely dust moping your cloth on top and beneath. Made in USA.
The complete Schiaparelli Fall 2015 Couture fashion show now on Vogue Runway.
Fabric and quilting make these french postcards. Sold
Mid-Century Swedish kilim by Brita Grahn. via Nazmiyal Collection
high pile wool gives this rug a beautiful texture– yet simple in nature. We are proud to offer our artisan-made designer Oriental or Persian style area rugs - each is a hand-tufted rug and washed for heft, beautiful luster, and subtle color. Our plush, hand-tufted wool rug depicts a field of flowers in a rich blend of contrasting hues. Made from 100% wool, this exquisite designer oriental Persian style oushak hand-tufted rug is durable with a gentle feel. A thick pile adds delightful decorative complexity, while still maintaining softness & warmness underfoot. The defining details of this rug are sure to make it a conversation piece and an icon of your household. It is a joy to step out of bed in the morning onto these rugs. PLEASE NOTE:- The images we display have the most accurate color possible. Due to differences in computer monitors, we cannot be responsible for variations in color between the actual product and your screen. Please be advised that in some cases patterns and colors may vary according to size. Lengths and widths may vary from the published dimensions. We do our best to provide you with an accurate measurement, but please be advised that some variation exists and this is not a manufacturing defect. Variations can be expected due to the nature of handmade which makes each piece one of a kind. EVERYTHING SHIPS FREE IN OUR STORE Feedback 1. We depend on our customer satisfaction to succeed. therefore, your feedback is extremely important to us. 2. If you are satisfied with our service, please leave positive feedback to us. thank you! 3. Contact us before leaving any negative or neutral feedback, we will try our best to solve any problems. Terms 1. We will check all the product before shipping to you. 2. If the item is defective, please contact us at once, we will send a solution the first time. 3. Any import charges or fees are the buyer's responsibility. 4. Please check out your ADDRESS carefully when processing an order. 5. Feel free to contact us with any question or query, and any other things like for bulk orders or any custom order we will offer you a satisfying answer. Shipping: All items will ship promptly after payment has cleared Paypal. Please provide the correct and updated address and Contact Number for shipping. Usually takes 5-15 business days for the delivery.
kisskus.typepad.com/kisskus/2007/05/kaffe_fassett_e.html
SERIOUSLY?!?!?!?!? This is textile porn… TAPESTRY. “Karneval”. Tapestry weave variant (gobelängvariant). 230 x 160,5 cm. Signed AB MMF MR. (d)
Kate "Granny" Donaldson at work via North Carolina craft revival project more here
dreams, travels, ideas, inspirations & loves of a bohemian spirit... www.bohemiadesign.com instagram.com/bohemiadesign
...and we shall have snow. No, we're not predicting the weather now (we'll leave that to the Met Office, although they don't always get it right do they?!) but there has definitely been a chill in the wind this week. This coincides with our rather timely acquisition of a dozen or more of the most gorgeous, the most cuddly, the most adorable and the prettiest eiderdowns, available now at the Vintage Home online shop. These feather-filled quilts add much to a vintage style bedroom and display beautifully all year round but this is the time of year when they really come into their own, keeping you snuggly and warm as well as looking super rolled up in an armoire or folded upon a favourite chair. We are thrilled to have found some of the prettiest and plumpest vintage eiderdowns and thought we would share some of their loveliness with you. The website has been updated with these wonderful quilts and lots of other too-good-to-miss vintage treasures, so pop along when you have time. A colourful heart-shaped cushion... ...a 1940s rosy rug... ...a 1950s rosy chair... ...magnificent Barbola plaque. As well as our super vintage goodies, we have lots of exciting news to share with you - our dainty polka dot and rosebud mouse mat is featured by Cosmopolitan magazine this month - luckily we had just replenished stocks before the November issue was on sale! This month's issue is 'well stocked' with images of semi-clad men so it was a complete surprise that anyone noticed our dainty little mouse mat!! This is really exciting; the current Period Living magazine shows a tiny sneak preview of our forthcoming Christmas cottage feature to be shown in their December issue! It was icy cold and snowing when Gail and Mark visited us in the depths of Winter. It was a super day and we had great fun but it seems so long ago now! We will be announcing our special Christmas prize draw at the end of this month, so please check back when you can or join the website's mailing list to receive the Vintage Home eNewsletter. Phew, well I think that's more than enough eye candy (and that includes the hunky men in Cosmo!) and news for one blog post - see you all again soon! PS. Almost forgot! Look out for tonight's episode of Five TV's Cowboy Builders - with a bit of luck you'll catch a glimpse of the crochet bed throw the production team bought from our shop! We don't expect to get a mention but at least we'll be able to say 'as seen on TV!'
Appliqued crocheted piece by Kate Clayton Donaldson Sold at Case Antiques I've long been intrigued by this photograph in the Library of Congress, which has been posted for several years without any identification. Lately, though, the artist is identified as Kate Clayton Donaldson who did the piece above. The photograph was taken by Doris Ulmann about 1934 for a series she did with Allen Eaton for the 1937 book Handicrafts of the Southern Highlands. Just what was in that cardboard box? And is the woman making a quilt? I now realize that the box is full of crocheted figures. She is not making a quilt but rather an appliqued picture. John C. Campbell Folk School,Hunter Library Digital Collections, Western Carolina University Catharen Clayton of Cherokee County was born in Kentucky on April 19,1870 and died on August 1, 1960 according to her tombstone and death certificate. Collection of the American Museum of Folk Art Her method seems to be chain-stitching motifs and then assembling them onto a small piece of coarsely woven wool or linen. A prominent tree and some free-form animals link the work to traditional Indo-European imagery. UPDATE: Dot commented: "The figures look to be made with a double crochet stitch, not chain stitch. Some of the wider vines are also one row of double crochet; others may be chain stitch." This piece in the collection of the Southern Highlands Craft Guild is 31 inches wide. Collection of the Asheville Art Museum She may have dyed the yarns in the figures and the backgrounds herself. Because it is "folk art" the thought is she was using "natural dyes" but the way the colors are fading looks more like the synthetics in the packaged dyes that were readily available in North Carolina in the 1930s. From a Brunk Auction Kate and her story illustrate a point about our attitudes towards the makers and the work. She is considered a folk artist but she was also a commercial artist. There are several origin stories about how she began creating her small compositions. John C. Campbell Folk School today. It was founded to teach marketable craft skills to local residents. The probable truth is that in the early 1930s she was working in the kitchen of the John C. Campbell Folk School in Brasstown, North Carolina, 10 miles from her home in Marble. Her grandson Hayden Hensley was a student at the school in the late 1920s, learning woodcarving. She had stitched crocheted figures to an old baby blanket and liked the results well enough to show it to the people in charge of the adult education center. They were impressed, saw the commercial viability of the small piece and encouraged her to make more to sell. Donaldson & Allen Eaton Eaton's mission was to link crafts and rural traditions to provide an income for Southerners. She met Allen Eaton of the Southern Mountain Handicraft Guild, a cooperative marketing crafts. He and Doris Ulmann interviewed and photographed mountain artists for their survey in 1933 & 1934. That may be Eaton in the Doris Ulmann photo of Donaldson showing him how she works. The alternative, folky version of the story is that her work was inspired by "cow blankets" created by women in Italy. The caption at the Asheville Art Museum: "Many parallels have been made between the cow blankets of Granny Donaldson and the Po Valley fashion blankets made by women in Italy. In Italy, the blankets are used to proclaim the spirit of life and are worn by cows during festivals. Donaldson never heard of the Italian cow blankets and says that she didn't own a cow when she began her first blanket, although rumors still remain that she copied the Italian blankets for her cow, Bessie." http://www.ashevilleart.org/gallery/gallery-piece/cow-blanket-1308/ Another version is that she made an appliqued blanket to keep her cow warm. This piece of functional art was noticed by a passing art lover. The culprit in the cow blanket story may be a feature writer named Bill Sharpe, "Steeped in the Lore of North Carolina," who published an article in the Washington Star on March 2, 1946 with a few paragraphs on Donaldson and her cow blankets. In this story a passerby noticed Bessie the cow clad in a Donaldson blanket and the rest was history---or folklore---or what people wanted to hear about North Carolinians at the time. Do note another folky touch in that she is known as Granny Donaldson. How come men artists are never known as Grampy Bill Traylor? The textiles are fun to look at and there are a lot of them in the folkart market over the past years. Here's one from a Slotin Folk Art Auction in 2011 And the caption: "Farm Animal Pictorial Wall Hanging. c. 1980's. Knitted and hooked yarn on cotton backing. A few minor holes, otherwise great condition. 27" x 34"h. Provenance: Sally Cathey's Blue Ridge Weavers, NC, a copy of the envelope that Granny Donaldson used to send the work to Sally Cathey accompanies the piece. Est. $500-800." Didn't "Granny" die in 1960? https://www.liveauctioneers.com/item/10128111_383-granny-donaldson-pictorial-wall-hanging Little Brasstown Baptist Cemetery Donaldson at work with a crazy quilt on her chair. Source? Don't call them cow blankets and don't call her Granny, unless, of course you want to set my teeth on edge. Read about Allen Eaton and his influence on the ideas of folk art and the arts and crafts movement: https://www.wcu.edu/library/DigitalCollections/CraftRevival/people/alleneaton.html
Wasser ein wanderndes und wachsendes Altartuch Die Kirche steht in der Tradition, Auftraggeber für die Kunst zu sein. Die bildende Kunst schafft es, der Spiritualität Bilder zu geben. Mein Auftrag war es, ein künstlerisches Projekt zu entwickeln, von dem viele Gemeinden profitieren sollten und das individuell auf verschiedene Kirchen und ihre Menschen passt. Die Idee war ein Altartuch, das Wasser in all seinen Temperamenten darstellt, das wandert und sich dabei immer wieder verändert. So entstand gehäkeltes Wasser, das lebendig und plastisch vom Altar herab in den Kirchenraum schwappt, fließt und brodelt - Wasser in allen erdenklichen Erscheinungsformen. Rein und erfrischend, aber auch schmutzig, wild und gefährlich. Es ist aus Baumwolle in allen Schattierungen des Wassers gehäkelt. Eine alte Technik, die viele Traditionen und Geschichten beinhaltet. Eine sehr langsame Technik, die Ruhe ausstrahlt und viel Zeit in sich trägt. Als Bildhauerin habe ich vor 20 Jahren begonnen meine Kunst zu häkeln und mache seither "weiche Skulpturen". Das Altartuch wandert seit 2011 von Kirche zu Kirche, nimmt am Gemeindeleben teil, wird berührt und berührt die Menschen im Rahmen von Festen, Taufen, Gottesdiensten, Konfirmationen, Themennachmittagen, Kinoabenden, Konzerten, ...: lebendiges Wasser. Alle Erlebnisse und Anregungen, denen "das Wasser" und ich begegnen, "fliessen" in das Altartuch mit ein: Nach jedem Kirchenaufenthalt kommt das Altartuch in mein Atelier zurück und wird weiter "behäkelt". So ist bei jedem Kirchenaufenthalt anderes Wasser zu sehen. Dokumentation der bisherigen Reise: 1. Ev. Johanneskirche, Saarbrücken, April 2011 2. Ev. Stadtkirche, Saarlouis, April - Mai 2011 3. Ev. Kirche, Schaffhausen, Mai 2011 4. Ev. Kirche Überherrn, Mai 2011 5. Ev. Kirche, Merzig, Mai 2011 6. Ev. Notkirche, Saarbrücken, Juni 2011 7. Ev. Ludwigskirche Saarbrücken, Juni 2011 8. Kath. Kirche St. Jakob, Saarbrücken, Juni 2011 9. Ev.Kirche, Fechingen, Juni 2011 10. Ev. Schinkelkirche, Bischmisheim, August 2011 11. Ev. Versöhnungskirche, Völklingen, September 2011 12. Ev. Kirche, Schafbrücke, September 2011 13. Ev. Kirche, Wadern, September 2011 14. Kapelle im Ev. Krankenhaus, Saarbrücken, Oktober 2011 15. Ev. Martinskirche, Köllerbach, Oktober 2011 16. Ev. Heilig-Geist-Kirche, Saarbrücken Dudweiler, April 2012 17. Kapelle im Kloster Weingarten, Februar - Juni 2014 18. Ev. Gnadenkirche Wetzlar, September 2014 19. Ev. Kreuzkirche Wetzlar, September 2014 20. Ev. Vicelinkirche, Neumünster, Januar - Februar 2015 21. Stadtmuseum Hornmoldhaus, Bietigheim-Bissingen, September 2015 22. Kapelle, Tagungszentrum Akademie Diözese Rottenburg-Stuttgart, Stuttgart-Hohenheim, Januar 2016 23. Kath. Kirche St. Elisabeth, Stuttgart-West, Januar 2016 24. Kath. Kirche St. Georg, Stuttgart-Nord, Januar 2016 25. Kath. Kirche St. Antonius, Stuttgart-Hohenheim, Februar 2016 26. Kath. Kirche St. Raphael, Stuttgart-Echterdingen, Februar 2016 27. Ev. Stadtkirche, Bietigheim, Juni 2017 28. Kath. Kirche Heilig Kreuz, Ebingen, Mai 2020 29. Ev. Galluskirche, Truchtelfingen, Juni 2020 30. Ev. Petruskirche, Tailfingen, Juli 2020 31. Ev. Pauluskirche, Tailfingen, Juli 2020 32. Ev. Kirche, Laufen an der Eyach, September 2020 33. Kath. Kirche St. Maria, Onstmettingen, September 2020 34. Ev. Nikolauskirche Pfeffingen, September - Oktober 2020 35. Ev. Martinskirche Ebingen, Oktober 2020 36. St. Alexander, Schmallenberg (Sauerland), Juli 2021 37. St. Albert, Saarbrücken, November 2021 38. Abteikirche St. Michael, Siegburg, August 2023 39. St. Anno, Siegburg, August 2023 40. Basilika, Waldsassen, September 2023 41. St. Laurentius, Bad Neualbenreuth, Oktober 2023 Das Projekt "Wasser" - ein wanderndes und wachsendes Altartuch - ist ein unendliches Projekt, das seit 2011 hauptsächlich durch Kirchen wandert und vor jeder Station ergänzt wird. So wird es immer länger, bis es eines Tages zur Kirchentür hinausschwappt. Es ist als Objekt nicht auf eine Fertigstellung hin angelegt. Stand November 2021, 8 Meter Länge Ganz am Anfang In Zusammenarbeit mit dem evangelischen Kirchenkreis Saar-West nahm zum Themenjahr der Taufe 2011 ein Häkelobjekt seinen Anfang, das Bewegung und Veränderung als typische Charakteristika des Wassers, nicht nur zum Inhalt hat, sondern auch formal transportiert: Das Tuch wandert von Kirche zu Kirche, nimmt auf dem Altar am Gemeindeleben teil und wird nach jedem Aufenthalt von mir im Atelier weiterbearbeitet. Das Wasser ist nie nie dasselbe. Ende 2011 Sommer 2011, ich häkle im Atelier Das Altartuch soll auch weiterhin wandern Werden auch Sie eine Etappe der langen Reise! Kirchenkreise, Gemeinden und Privatpersonen können "das Wasser" buchen und Teil eines Flusses werden. Hochzeiten, Taufen, Gottesdienste aller Konfessionen, ... können sich mit dem Altartuch schmücken. Rahmenbedingungen -Aufenthaltsdauer des Altartuches: ein Tag bis zwei Wochen - Rahmenprogramm zusammen mit mir ist natürlich möglich - Kosten: Für einen Tag (z.B. Gottesdienst) 400,- € plus Fahrtkosten An-und Abtransport Für eine Woche 800,- € plus Fahrtkosten An- und Abtransport Für zwei Wochen 1.200,- € plus Fahrtkosten An- und Abtransport Wenn ich mich beim Rahmenprogramm mit Ideen, Vorträgen, Gesprächen und meiner Anwesentheit einbringe kommen Kosten hinzu, die im einzelnen geklärt werden. Außerdem soll das Altartuch für den Dauer seines Aufenthaltes versichert sein und nicht unbeaufsichtigt ausgestellt werden.
Learn tips and tricks to make a beautiful and colorful jelly roll rug. All you need is some precut batting and a jelly roll of fabric!
Stars 'n Stripes 'n Scraps Quilt (queen size--just finished Sun 3/13/16) Answering the question--what to do with all those lovely fabric scraps? I'm still pecking away at my fabric scrap piles, building as many scrappy queen size quilts as I can by May, then I'll switch to building purses, baby quilts, table runners, and pot holders. I am full speed in my commitment to reduce 3 big bins of scraps, mostly 2.5" strips. I have a fourth bin full of 1.5" strips - and here's what those 1.5" strips made in the past: a decorative pocket for a soft luggage, this travel bag is 22 x 22. and I make other soft luggage out of upholstery material--oh yeah, got a big bin full of upholstery material scraps. Here are a couple pics of the soft luggage the small cotton fabric scraps I build these . . . little padded pouches with metal swivel clasp to carry cell phone or eye glasses. and rope baskets that are cool seriously, it takes a full day to make one of these. I wrap fabric strips around 1/4" cotton clothesline rope to create a disc (bottom of the basket), then I start nudging the disc upwards with my left hand to build the wall while I stitch. A zig zag stitch holds firmly. Ok, ok back to photos of current quilt Stars 'n Stripes 'n Scraps . . . my signature free hand edge to edge quilting "Feather Bouquet" I confess, even after doing the last three quilts--I made only a dent in the scrap piles. Ah, oh well. I'll keep sewing 'n sewing. I'm sure I mentioned one more scrap pile of 1" wide or less strips and short lengths?? I give them to my friend Jerry who uses all the colorful bits in beautiful rag rugs he looms. They are gorgeous! Here's the half way point of long arm quilting process. Lots of color loading quilt (floating quilt) After removing the quilt from the frame, I cut away excess batting and backing, square the quilt, sew 400+ inches of fabric binding, install the binding, then sit for 5-6 hours turning the binding and hand stitch. It's not complicated work. Its time consuming, but relaxing. I'll drop in more photos later. Right now, I'm going to take a nap. Talk to you later.
