I’m so lucky…

vabagWR-revised

Last thursday I was grinning like a cheshire cat (and haven’t stopped grinning really)…I’ll explain but it’s a bit of a long story and that’s why I haven’t got round to sharing it ’til now.

Long Story number one…earlier this year I had planned to go to the V and A’s Quilt Exhibition but, well with one thing and another, it just didn’t happen at the last moment.  However I had been optimistic enough to pre purchase my entry ticket to the exhibition for the 5th May.  Then I saw my friend Virginia Enright of Threadbear Quilters fame about a week before she was due to go to London so said to her to use my ticket if she wanted but it was for the day after she arrived (but it’s 24hrs minimum from Melbourne to London so I completely understood if she was too tired, it was only 10 pound, don’t feel obligated, yadda yadda).  I didn’t think any more about it but Corliss mentioned a few weeks ago that Virginia had used the ticket so I was really chuffed about that.

Then last thursday the post arrives and there are two parcels for me…both wrapped really prettily… one was from Virginia (Long story number two following so just wait)

V and A bag and booklet

Virginia sent me these.

I will cut a fine dash around town with my new bag which came in its own matching ‘mini me’ bag and the book has interesting details about 18th and 19th century life.  The back has a quote from George Eliot’s ‘The Mill on the Floss’… Oh dear Oh dear Maggie what are you thinkin’ of, to throw your bonnet down there? Take it upstairs, there’s a good girl, an’ let your hair be brushed, an’ put your other pinafore on, an’ change your shoes-do, for shame; an’ come an’ go on with your patchwork like a little lady. I love it, my Aunt always called me Maggie and she made sure I had a ‘pinny’.

Long story number two… the same trip (the one that didn’t happen) was also supposed to coincide with me taking my Mid 19th Century Star quilt to Petra Prins of Den Haan & Wagenmakers in Amsterdam.  So instead I posted it to her and we have emailed back and forth ever since.  At some point I probably mentioned that I would buy the book from the V and A as a substitute for not making it.  So yes, you’ve guessed, the other parcel was from Petra.

V and A Book and Fabric

Petra sent me these.

The parcel contained the book I had not got round to getting yet (now I don’t have to) a beautiful postcard signed by Petra & Nell and 5 fabulous Fat 1/4ers.  Exactly the fabric I would have chosen for myself.

I have had the books by my bed for bedtime reading and inspiration…filled with full colour photo’s of sooooo many gorgeous/intricate quilts, I can’t even describe a lot of them…if you haven’t bought the book yet and you love old quilts, you must buy it.

Both these parcels were so completely unexpected and I felt all warm and fuzzy inside.  Thank you, thank you to Virginia, Petra and Nell.

And today I caught up with my dear friend Judy for coffee… how did two weeks get away from us Jude, we usually make it weekly.  We trotted down to her studio so I could see what she’s been up to and she pulled this out.

Waverley Fabric

Jude said "hey Margaret, can you use this...

… it’s a remnant from my slip-covers?”

I said (tongue in cheek) “oh yeah, might come in handy for something”.

I can feel another Broderie Perse ‘Tree of Life” quilt coming on.

Thanks for visiting…

Fabric, fabric and more fabric

RJR Smithsonian Fabric

I didn’t get back to you about my weekend of super organisation a while back and my snazzy new label maker.  I had promised to post some photo’s of my fabric shelves and now that I’m getting more confident with Photo Shop it’s all getting a lot easier.

As you know I’m a great fan of the Smithsonian fabrics which RJR released quite a few years ago.  Most of my Smithsonian fabrics I’ve kept from all those years ago and they are still some of my most favourite…I can’t imagine I’ll ever tire of them. I keep them separate from my other fabrics, I don’t know why I do…I just do.  Maybe because it makes them easier to be admired and of course they just go so well with each other.

RJR Smithsonian Fabric

My favourite fabric stack...but if only it were taller (sigh)

However, about a third of my Smithsonian fabrics I bought about 5 years after they were released here in Australia and I found them in New Zealand, just in a small town’s quilt shop.  There were still bolts left and so I was able to pick up a bit of meterage.  And some I bought online just a couple of months ago on reproductionfabrics.com so it pays to keep looking.

Smithsonian and Vintage fabric tub.

The leftovers go in here, along with scraps of vintage pieces.

You also know how crazy I go over 1800s repro fabrics and after several years of studying Quilt History I have a developed a keen eye for the different styles of fabrics and where they fit into the time line of fabric production.  So I stack Turkey Reds, Indigos, Cheddars, Chrome Yellows and Poison Greens separately from Reds, Blues, Orange etc.

Turkey Red shelf

Love these Turkey Reds, they were in vogue after 1840.

I don’t use much green in my quilts…just not a fave colour so my regular green stack is hardly worth photographing… but I do have a reasonable stack of  Indigos  and I’m always on the lookout for Prussian Blues, good ones are hard to get.  Dyeing of Prussian Blue dates back to the early 1830s but  was popular in quiltmaking and clothing in the 1840s and 50s.

Indigo/Prussian blues

Love the Prussian Blue on the top, from reproductionfabrics.com

And this last photo shows one of my much loved stacks of French Fabric.  I have two stacks, one  for French fabric I have bought or aquired over the years and the other is this stack…

French Fabric

Fabrics bought from Les Olivades in St. Etienne du Gres, Provence.

Last year I visited Provence and was able to go to Les Olivades wharehouse/shop and showroom in St. Etienne du Gres.  They are reproducing fabric in the Indienne Style produced in Marseilles in the mid 17th century and are well worth the visit, either in person or online.

My DH and I drove  half way across the bottom of France for most of the day (we somewhat underestimated the distance involved) and we didn’t arrive in St. Etienne du Gres until 4pm even though we had left ‘home’ in the Midi Pyrenees at 8.30am, but of course the day did include the obligatory 2hr French lunch!!

I’m so glad to have been able to purchase some of these gorgeous fabrics that I keep them in their own stack…I have lots of ideas about what I want to do with them but I haven’t settled on one idea yet so for now they just remind of an enjoyable but long day out (we got home at 1am but had also managed ‘to squeeze in’ a trip to Pont du Gard at sunset…beautiful)

’til soon,

thanks for visiting…

Subscribing

Thank you to my friends who have been patiently asking/waiting to be able to subscribe to my blog via email…I’ve had a couple of false starts but, after a techy day here with Jennifer, “it’s now working”…yippee.  And we’ve tested it so it really is working, thanks Jenn :-)

So if you would like to subscribe and be notified of my new posts via your email inbox, there is now a subscribe box on the sidebar.

’til soon…

That Notebook…

Work Book

My friend Irene left a comment a couple of posts ago about my open notebook  next to a block I had photographed, so I thought I would elaborate on it a bit.

Yes it is my ‘work-book’ and it is my life line when it comes to writing up a new quilt pattern, by the time I finish a quilt and then write the pattern I need this book in order to know what I did.

I usually start my design on EQ6…I have an idea in my head about what I want to make (usually heavily influenced by an antique quilt in a book) and on the computer I start playing around with blocks/settings/borders etc.

Of course, I can’t wait until the whole quilt is designed before I start sewing so I will often start trialing fabrics once I”ve decided on just the centre. I really just have to start sewing so I can see if I’m happy with the fabrics…there is a limit to what you can achieve on a computer and I just have to see it in the real…Now.

That’s where my work-book comes in, it’s nothing flash, just a school book available from any office supply shop.

Work Book

Spirax 5 subject Note Book A4 No.P596 by Esselte

What I like about it is that it is divided into 5 sections and between each section is a double sided pocket, perfect for keeping templates or other relevant ‘stuff’ in so it doesn’t fall out.

Work Book

Work Book Pocket, photo doesn't show very well that the pocket is coloured for easy reference.

In the photo below you can see the start of my Connecticut Quilt.  I have been very organised and named the quilt but I have not put the date at the top…not good, I pledge to date the start of a project in the future.

You will notice WOF which is ‘shorthand to self’ meaning width of fabric, I always note how many units I can cut from 40″ (I allow 40″ to be safe even tho most fabric is 42″…you never know when you’re going to get a really deep selvedge and because I’m writing patterns, I would feel responsible if someone didn’t have enough).  Tho actually, by the time I get to writing the pattern I will still allow a bit extrain the fabric requirements…just in case.

I paste the fabrics into the book, in this example it’s the eleven fabrics for the centre star and a note about how many diamonds I need from each fabric and how many across the WOF or in some cases a Fat 1/8.

Work Book

Instructions for Connecticut Quilt centre.

At the moment I’m working on the Basket blocks which go around the centre star.  I got back on EQ6 and fiddled about a bit until I was happy with the scale and that everything would fit and then noted and pasted in my book what I had come up with so now I can work off these notes  and make corrections if necessary.

When I was at 6-midnight at Threadbear a couple of weeks ago I got all the basket ‘bottoms’ made and am now up to appliqueing the handles on to the triangles.

Work Book

Instructions for Basket blocks, Connecticut Quilt.

If I can offer one piece of advice about using this method of note-taking it would be to always always always write the finished size of the block/unit (you know that means the size without a seam allowance don’t you). It’s the finished size you need to know in order to know that things will fit.  Cutting sizes are clearly marked ‘cut’.

On another topic, I have been catching up with my customer’s quilts this week and have been ‘pedalling’ away at the Long-Arm machine like a woman possessed.   I feel very virtuous.

Til soon…