#fibercrafting

[bomberqueen17]

sewing and dyeing

I have managed to achieve some sewing!

I finished the silk dress from the yardage I'd dyed around Christmas, even hemmed it and everything, I feel very accomplished. So that's done.

And the linen bias-cut slip dress I made around Christmas, which I never wore anywhere because it was white-- I've managed to dye it, and it came out much more interesting than I'd expected! So, pictures and discussion behind the cut.

[image description: A mirror shot of me, a fat blonde white woman, in a grungy basement, wearing a clingy white knit tank top with a drapey cowl neck]

Firstly, I made this tank top (I bound the armholes, it looks nicer that way)-- started with the Cashmerette Wexford top, then used this tutorial from Threads Magazine to hack a cowl neck onto it. Ages ago I'd had a cowl neck sleevless top that I loved, and wore holes in, and couldn't find one again. So I used a yard or so of very slinky knit, probably some kind of rayon blend from Dharma would be my guess.

I tried it on, and immediately threw it in the soda ash solution to dye it because I don't need a white top like this, it'll get shit dripped on the tit immediately so I might as well give it a busy dye job. I will make more of this top in other fabrics, but 1) make the cowl just a bit longer so it drapes farther, and 2) make the self facing deeper, I feel like this one is going to flip out all the damn time.

I also think I'll hem this shorter, but I haven't hemmed it at all so far so it remains to be seen.

Secondly, I have nearly finished this button-up camp-collar shirt from the Cashmerette Club, in a natural linen that I have so many yards of from an old project I never did.

[image description: me in the same grubby cluttered mirror view of my basement, wearing a gray shirt, slightly wrinkly, with unfinished sleeve edges and I'm holding it shut because there aren't buttons on it yet. There are two breast pockets and one is significantly higher than the other.] So the breast pockets are optional and uh I am definitely only going to put one or zero on the next one of these I make because I checked and rechecked and rechecked and this is literally the best I could do at making them even??? ugh also they don't sit right because there's a bust dart and one of them went on ok and somehow the other one is overlapping the bust dart slightly, which means it's Not On Straight. Just.... not optimal. I get why there are pockets but I also super get why they're optional. No thanks!

I hate the interfacing too, it was awful to work with and feels like paper. But once I've finished and washed this I hope it will settle down. (In the past I've used shitty salvaged interfacing for things I was making, and used spray adhesive and sewed the edges where possible, and it worked fine. This, I splashed out and got the stuff in the package that's ostensibly meant to fuse on with your iron and guess what doesn't fucking work? that. So it's been just a nightmare and I'm not buying the nice stuff again because it fucking sucks. I get that you don't want to not interface the collar of a shirt like this, and the button band would be awful un-interfaced, but christ, I'm using the flimsy salvaged shit I cut out of an old bedskirt next time.

The directions on this pattern are... well as long as you know what they mean it's great. But there's a video sewalong, and that helped a ton. This is a very complicated pattern and yet somehow none of it has been beyond me, even though i sewed one bust dart inside-out first thing, and immediately also sewed the yoke to the back inside-out, and then right away also assembled the collar inside-out because I was so distracted by how much the interfacing did not actually fucking do what it was supposed to (yes i followed the package directions, no it did not fucking fuse). I got a lot of seam-ripping done, is all. (It really is a cool pattern, and if you manage to get through the directions, which are extremely specific, you wind up with a fully-finished interior with almost all the seam allowances beautifully enclosed-- it's cool as fuck.)

I have fabric already set aside to make at least two more of these. IDK how much I'll wear them but I love them. (I *have* coveted a shirt-dress for years, with one Almost Okay from Torrid that I wore a lot but have recently realized looks awful on me actually, so I will be making it a dress too, no fear.)

But then! Also: Dyeing!

So I looked on Dharma Trading for their tutorials and was not disappointed. I don't want to do traditional tie-dye, but I want the effect I got at Christmas with the silk scarves that I space-dyed. I don't have to steam-set fiber-reactive dyes, so that's a plus.

I saw this tutorial on dharma for ombre dyeing and I'm super gonna try that next, but haven't yet.

Tie Dye Tutorial on Dharma Trading: this is the one I used as a starting point.

So I dissolved a cup of soda ash in a gallon of warm water, put that in a plastic bucket, and soaked my fabric for 5-15 minutes, and then I decided to do a kind of gravity-based thing with squirt bottles and a spray bottle. I hung a clothes hanger from the gas pipe in the ceiling, put a big plastic mortar tub underneath, put a smock on myself, mixed up my dyes (and urea and in some cases salt, as directed by dharma the all-knowing-- half-cup batch size for the squirt bottles, and quarter-cup sizes for the spray bottle), and got to work one garment at a time.

I put some pleats into the garments and held them with clothes pins. Then I sort of "drew" along the pleats, picking a color to be the tops, and a second color to squirt into the valleys. I filled in with the spray bottle to highlight the pleats more, since that would hit the outer parts of the folds but the interior would be shadowed and stay white; then I could go draw in those white areas with my shadow color.

Everything then would drip down toward the hem of the garment, though there wasn't really that much movement; if I wanted a drip to cascade, i had to draw it down there myself with the squeeze bottle.

[image description: two squeeze bottles with narrow nozzles, and a spray bottle of more rigid plastic with a pump-dispenser top, sitting on top of a piece of stained scrap fabric on an old washing machine with tubs of dye powder sitting in the background.]

I also did a shirt where I spread it out on a rack in a pan at an angle, and sprinkled a mixture of dye powder and salt on it. Then I went and used the squirt bottles too, but it was a fun technique and I'd use it again.

[image description: a garment lies in loose folds, speckled with dark blue-green spots, and at the top decorated in splotches of blue and green.]

I wrapped the garments in plastic, and put the smaller ones into plastic bags, and then hung them outside in the sun so that a) the dye would flow downward rather than backstaining the areas I'd meant to leave white, and b) the sun would warm them so the dye could cure, and c) the plastic would keep them wet because the dye only chemically sets while damp.

Let them cure for 24h, and then today I brought them in and rinsed them for about a thousand years, and then washed them and gave them a soak and rinse in dye-fixative, then dried them on the line.

Here is the linen bias-cut slipdress I made at Christmas time, dry and ironed.

[image description: a dress on a hanger, with my hand pulling out one side of the skirt: the straps and neckline are bright emerald green, and then the body is streaked vertially with varying shades of green, teal, and dark blue, with a little purple at the hemline. The colors are light and a little muted, and some white shows between them in a few places.]

The linen took the dye lightest, the cotton a little darker, and a small offcut of rayon I'd had sitting around took the dye darkest of all.

here's everything still damp on the line:

[image description: under a blue sky, a metal clothes-tree-style line on the left has several small items in shades of green and turquoise, and then a line crosses the screen from right to left through the middle, with several items hanging on it. In the background are two cotton dresses, one mostly teal and the other green at the top with a white and purple skirt, then the linen dress from above in the middle, and closest to the camera is a mostly-quite sheet of fabric with geometric lines in green, blue, and purple.]

The foreground fabric is the rayon, and I sandwiched it between two blocks of wood with rubber bands holding it in place, and just saturated the edges with dyes. I'm extremely into it, it came out beautifully. i have more rayon so I am going to make something from that to ombre-dye, for sure.

I have severely overdone my physical activity the last two days though; I lay awake for a couple of hours the other night with my sciatic nerve just burning, and I expect the same tonight. We'll see though, maybe I'lll be pleasantly surprised, or just lucky.

Oh yah I'm trialing Ritalin, but just like the other medications, it's such a low dose and it's not extended-release. I looked up how to take it and the directions assumed I'd been given two or three pills to get through a day. Not so! So I have about four medicated hours in a day, and keep experimenting with where to put them. I don't notice it wearing off the way I did with Adderall though, so there's that at least.

Maybe by the end of May I can try a full dose of something, and see if that helps. IDK, it seems like it might.

[chthonicathenean]

Daaaaaaaaaaaaaang wool purists are snooty! I'm watching a video on machine washable wool, and the video starts with a description of how wonderful wool is (water resistant but water absorbant, warm, etc etc), but unfortunately it tends to felt if you're not careful with it. After describing the superwash process (which involves a coating of polymer, I had no idea!), she says "So what do we gain by doing this? Well, the wool is now machine washable and softer." *stares blankly at the camera with cricket sounds*

Oh pardon me, fancy fiberwear lady who thinks unadulterated wool is incomprehensibly superior, some of us have been using acrylic yarn that we can get from the craft store for years and are only just starting to explore wool! The switch from completely plastic yarn to mostly natural and a little bit plastic yarn is so much less intimidating than going directly to something that you have to give so much care to. I've seen so many instances of people not buying something if it says hand wash/dry clean only because "Ain't nobody got time for that!" so the wool now "only" being machine washable is actually a huge deal for people. Plus most people don't spend hours in frigid, windy, wet environments, so all of the main reasons that wool was such a super-fiber back in the day when people were more exposed to the elements are really just not much of a concern anymore. ALSO there's the fact that a lot of people are sensitive to textures and knowing that they can make something that touches their skin without worrying that they have proper under-layers that extend past the edges is pretty great as well.

Don't get me wrong, I think the fact that superwash wool is partially plastic is pretty important information that should be more widely known, but yikes. I will also concede the point that any industrial process is likely rife with all sorts of environmental concerns (the creator said she was an environmental chemist so it's not just "ooh, scary chemicals bad!).

She mentions that she does not judge people for their choices and points out that individual choice and systemic issues are very different things. I still think the video overall comes across as a bit disdainful.

[saltpixiefibercraft]

Oh my gosh I'm so behind on Tour de Fleece posts, but I feel like I have a decent excuse: what with having to move states in 2 weeks with a few days' notice, lol.

I'm getting a lil spinning in here and there, it is definitely a good way to destress between frantically packing boxes

[bethany-sensei]

Challenging all writers to stop using “homespun” when they mean coarse or crude.

These photos are of the scarf/hood of mine that gets the most comments from random strangers. I spun* the yarn (angora/merino blend). I plied* the yarn. I knitted the yarn. It’s as fine as any yarn you could buy in any store.

Let’s please find better descriptive words for simple clothing.

*on a drop spindle

[lookingforcactus]

Because I'm feeling whimsical,

What the fuck do you mean that's a quilt??? Round 2

All quilts are contest winners from the quilt show Road to California, 2022. You can see these quilts and the other winners from that year here.

Best of Show Quilt

Title: Harlequinade Maker: Rebecca Prior Quilter: Jackie Brown Design Basis: Maker's Original Design "Harlequinade" is a theatrical quilt filled with visual clues guiding viewers to discover a hidden story. Inspired by Venetian Carnival masks and commedia del'arte characters, the quilt features the antics of Harlequin, the trickster, who has his own ideas about freedom and fun!

Director's Choice

Title: Welcome Home Maker: David Taylor Quilter: David Taylor Design Basis: Original image by Margo Clabo, used with permission I first saw this image from friend Margo Clabo more than a decade ago. It took years to convince her to let me adapt her photo into a quilt. The image it depicts is especially sentimental for her. The challenge for myself was to create a pieced pictorial background and recreate a traditionally pieced quilt by using my hand appliqué technique. The project size was overwhelming, but I'm thrilled with the finished quilt. So is Margo. Time to exhale.

Note: To be clear, that is not a photo with a quilt in it, that WHOLE THING is a quilt.

Best Machine Stationary Quilting

Title: Emerald labyrinth Maker: Kumiko Frydl Quilter: Kumiko Frydl Design Basis: Maker's Original Design As a starting point I used an image from the entrance to the EL Barkookeyeh Mosque in Cairo. Thinking of an elegant and intricate garden I added bursts of natural color and filled the area between the large elements of the design with finer ornament inspired by butterflies and plants. I set the circular image in a rectangular frame with a subdued complimentary design of rippled reflective pools.

1st Place: Animal

Title: Woodland Wilds Maker: Ann Horton Quilter: Ann Horton Design Basis: Maker's Original Design My morning hikes in the woodland hills of our northern California home inspired this quilt. The rabbits are always alert for danger. This machine appliqued, thread painted and embroidered view through a window is surrounded by wild flowers on hand dyed silk and again surrounded by other wild birds and animals. I love my wilds things in the woods!

1st Place: Human Image

Title: The Memories That Remain Maker: Lynn Czaban Quilter: Lynn Czaban Design Basis: Library of Congress Photos - LC-USF33-006183MI and LC-USF33-0061 I am fascinated by the human face and our ability to communicate without uttering a single word. The Portuguese word 'saudade' meaning a deep emotional state of nostalgic or profound melancholic longing for something or someone that one cares for and loves. Moreover, it often carries a repressed knowledge that the object of longing might never be had again.

1st Place: Naturescape

Title: Desert In Spring Maker: Andrea Brokenshire Quilter: Andrea Brokenshire Design Basis: Maker's Original Design My Mom and I embarked on an epic travel trip we named our "Thelma and Louise Adventure" In Palm Springs, CA we visited the Living Desert Botanical Garden. This quilt is inspired by one of the photographs I took that spring day of a Prickly Pear Cactus in full bloom. I loved the leathery texture of the cactus leaves (paddles) and the almost translucent citron yellow blossoms.

2nd Place: Animal

itle: Not Today Maker: Kestrel Michaud Quilter: Kestrel Michaud Design Basis: Maker's Original Design The chase is on! The Roadrunner is after his next meal, chasing a Common Collared Lizard through a steampunk junkyard. The desert is a favored dumping ground for the detritus of progress, even in a fantasy world. A steam-powered industrial revolution creates iron refuse and pieces of broken machinery have been left to decay in dry desert air. That doesn’t bother these critters. To them, this is home. Will that lizard wind up as dinner? Not today!

2nd Place: Human Image

Title: Declaration of Independence - Voices of Freedom Maker: Nancy Prince Quilter: Terri Taylor Design Basis: Reproduction of John Trumbull's Painting The quilt is a reproduction of John Trumbull's painting which depicts the moment in history when the first draft of the Declaration of Independence was presented to the Second Continental Congress on June 28, 1776. The quilt front and back were created in Photoshop and custom printed on fabric. Four thousand hours over 4 years was necessary to create the quilt. The back captures the story of the Declaration and its signers.

Note: I'm not at all patriotic. But credit where credit is due. That's a fucking quilt.

3rd Place: Animal

Title: Midnight Flight Maker: Joanne Baeth Quilter: Joanne Baeth Design Basis: Maker's Original Design Several years ago we had an injured Great Horned Owl roosting in our willow tree during the day. I took several pictures and was inspired to create him in fabric. The background features a painted sky, old buildings, melting snow and a rabbit on the run The foreground is the swooping owl which was constructed by painting and inking each feather and thread painting over fabrics and needle punched wool rovings

3rd Place: Naturescape

Title: Day Into Night Maker: Deb Deaton Quilter: Deb Deaton Design Basis: Maker's Original Design Inspired from photo by Robert Murray with his permission. When the Arizona sun begins to set, the sky comes alive. I saw this photo and knew the splendor of this landscape needed to be captured with fiber! Sky is hand painted. Raw edge applique. Mixed media used: oil pastels, color pencils, inks to enhance the fabrics and create more dimension. Cheesecloth: painted to create spikes of cactus. Tulle used to capture the sunrays. Machine quilted.

[bismutharts]

i realised recently i never posted this guy finished. his name is Edward (effervescent) and i once edited him from discord emojis . he's been done for like a year

[hattedhedgehog]

My Dragon Age Inquisition character card embroideries all together! Each is 11.5x19.5 cm. Dorian took 73 hours, Cassandra took 89 hours, and Sera took 75 hours.

I wonder which character I'll do next...

-

[Image descriptions: Embroidered versions of the Dorian, Cassandra and Sera character selection card from Dragon Age Inquisition.

Dorian holds a book under his left arm while casting magic with his right. There are white glyphs in the air and a white snake running under his cloak and under his arm.

Cassandra sits atop a war horse with Inquisition soldiers behind her. She wears black armour with a gold-trimmed cloak, and the Seeker flag and he cloak stream behind her.

Sera stands atop a slanted tree trunk with her bow held suggestively between her legs, looking at the Skyhold tower in the distance, where the tiny figure of the inquisitor is present in the window. Mountains and turrets make up the background behind her.]

[hibernation-fibres]

This silly idea turned out SO CUTE it's worth the fluff that now covers every inch of my bedroom floor :D

usual catalogue post to follow ^v^

[cozy-ghost-crafting]

22ct Aida cloth, 2 strand DMC floss with 4 spaces treated as one!

Pattern found here!

I had so much fun making this little guy for a friends birthday. When we worked together we would intimadate each other red panda style just to make the day a little more fun.

The icing on the cake for me is the crochet border, Its just going to look so cute hanging on her wall!

[a-treatise-on-velociraptors]

Tfw you're knitting socks and you go to grab your DPN but it's the wrong DPN and you've just removed 1/4 of your stitches from life support

[bomberqueen17]

yet *more* weaving nerdery

So I’m to the point with inkle weaving that I reach on a lot of things, where I understand the technique well enough to just kind of do it, which is good because most of my difficulties lie in attempting to follow patterns. Understanding the principle means that if I thread up my own thing, I’m likely to have it work because I’m not misreading a pattern I’m just doing it so it’ll work. Now, are my patterns as good as those designed by experts? No. But they work. And I’m getting there.

Here’s a thing I’m finding as I web-search for information about inkle weaving specifically: most of the people who write posts and make videos don’t actually know that much about it. Many of the instruction videos are long and rambly and feature the person doing things that even I with my scant experience can tell are inefficient or won’t yield that great a result. So it’s frustrating to have to rely on that for information, and I really should just buy a published book, but also, I struggle with following book instructions. I have one pamphlet printed out from the 40s and it is literally impossible for me to follow-- it’s the one I warped a design from only to realize that they had not explained their method of notation and so I had put in like a hundred white threads that they’d merely meant as spacer blocks in the pattern notation, not white threads at all. Most of their instructions are like “see fig 4″ and then it’s mislabeled which figure you’re actually meant to look at. So anyway.

I’m trying to learn pick-up, now, which is the technique by which you can make finely detailed figures, even letters, but again, the videos on this technique are overly long and not done by experts, and there are some blog posts that are reasonable but I’ve warped up a pattern and realized my threads are so fine it’s nearly impossible to pick them up in the correct order and also I was working in a dim corner last night and so could not see what the fuck I was doing and this was a terrible idea. I’ve done most of my weaving in terrible lighting and it hasn’t mattered, but when you need to look at the threads, and it’s too fucking dark to tell the yellow from the cream border, that’s not a recipe for success. So that’s on hold until the sun comes up at least.

Here are some assorted pics of my most recent weavings, which I’ve done without using a pattern. I need some more colors, is a mild hang-up; I lack cobalt blue, true orange, and of all things black. I mean, I have black in carpet warp but if I’m doing a whole band in crochet thread then it’s too coarse. Except I think it would work for pickup, and meant to try it but I couldn’t find a weaving diagram for that-- the instructions that said use a coarser thread for your design did not have a diagram, so the one I’ve copied uses three threads per block of design and that is obnoxious because I keep losing count. I don’t do counting, you see. And you don’t have to count for this technique, it’s all “next” and “next” and following a grid chart, and I can count “every other” and “first and last” and such, but saying okay pickup one drop one, pickup two drop two, pickup three drop three for every single block? i lose count. (Of course you can’t do all three as a chunk, you must pick up and drop them in order so they stay correctly arranged, and with crochet thread it is far too fine. so this experiment is going to be hell, but i’ve warped it on so sunk cost fallacy means I’m gonna make myself do the whole thing and hate it the whole time.)

so here’s my first self-drafted pattern:

I found out how to make that central chain-- it’s two wavy lines next to one another-- and did that in carpet warp, and the rest is crochet cotton.

Next I did a shades of green one, with a gold dashed line down the middle; I have an idea in mind to use this as trim on a kind of crazy quilt panel, so we’ll see how it does like that.

Experimenting with the visible weft, I rather like it but it’s hard to keep disciplined and make it perfectly even, and you often wind up with two little bits showing, sort of unevenly. So I see why all the directions say use the same color weft as border, but a bit of that is that the people giving the directions are so frequently inexperienced weavers themselves!

Then I warped this one on, and realized at the end that I’d just made stripes and there was going to be no pattern, so like an idiot I added warp threads in the middle which involved taking some of the heddles off and fucking up the tension and spending forever repairing it and I don’t know how in heck I got it all back together but I did, and wove it, and it worked.

(yes this is the very beginning, I was using matches as spacers to stabilize it before I started weaving. Later I switched to using a weft that matched the borders but about half of it is done with purple flecks in the border, I do like the effect.)

And then I did this one, can you see what’s going on with it?

It’d be better if I had black crochet thread instead of that beige I used there, but it was a proof of concept.

Yes-- it’s variegated thread, which I warped on to the number of pegs that meant that the color repeat lined up. So the whole band is a spectrum along its length, as well as across its breadth. This is an idea I’d been wanting to do for a while, and I did see that someone had but now don’t remember where or what technique and can’t find it again. But I was obsessed with the notion of it, and am going to use this as background for like, a bunch more ideas I have for designs.

I think it turned out pretty great! But the beige, eh. Black would work better, and I need some slightly more carefully-chosen colors for the spacer threads. (The threading diagram is pairs of the variegated threads, then a pair of spacers that’s one beige and one of a solid color that matches the vareigated spectrum, though you can see for example that dark red thread is not matchy and rather too bold instead.)

Anyway there’s my weaving update, and i know that looks like I’ve been weaving a lot but actually that’s two weeks of work in one post. It’s not nothing and I’m progressing but man hafving several day jobs is slowing me way down.

[grison-in-space]

Man, there is a huge bias in the way that hobby fibercrafters approach and think about textiles—and I say that as a hobby fibercrafter myself! See, weaving has a high barrier to entry relative to knitting, crochet, spinning—even embroidery or sewing, these days, as the sewing machine automated much of the tedium of the craft. All of those crafts require a lot less in terms of startup costs to the hobby crafter than the machinery of a loom does.

But... look, if you want to understand mass produced textiles or textiles in any historical context, you have to understand weaving. If you want to understand how most of the cloth that people wear is made, you have to understand weaving, because weaving is the oldest art for mass producing cloth that can then be turned into garments.

Spinning is also very important, of course. Spinning is how you get the thread that you can turn into cloth any number of ways. Historically speaking, though, the most common way that thread or yarn becomes cloth is inarguably weaving. More to the point, weaving is also a historical center of industry and labor organizing. Ironically enough for the argument about how no one asked a woman, the industrialization of weaving is actually an interesting early case example of men organizing to push women out of a newly profitable position.

Besides that, knitting and crocheting in particular are incredibly modern crafts. Most modern knitting as we would understand the craft is shaped by the inventions of Elizabeth Zimmerman, and even things like the circular knitting needle date back only to the past century. Historically speaking, the great innovation of knitting as a tool for fiber craft is the ability to construct garments for small, odd shapes that can stretch and grip: stockings, gloves, underwear. Even that great innovation, the knit sweater, is an artifact of the 1850s—and the familiar cable knit sweaters of the Aran Isles are even newer than that. Crochet is even younger: the entire craft originated in the 1820s as far as anyone can document.

None of that is any shade on anyone. Like I said, I knit; that's the locus of my personal interest in textiles. I just think that textile history is neat, but if you're going to make big pronouncements about the historical development of textiles, it's important to think about what changed about the technology of textile production in the most common ways of turning raw fiber into cloth—and you cannot stop at the level of understanding how to make thread or yarn, because the properties of the cloth are always going to be an artifact of the construction of the cloth.

That's technology, baby! It's literally weavecraft. But it's not obvious that weaving is missing from the bounds of a person's experience with textile manipulation until and unless they're trying to understand and work with a wide range of fabric types—and when you can quite reasonably go from raw fiber to a finished garment using modern popular craft techniques that don't rely on anything that appears difficult for a medieval craftsman to make, it's easy to forget the role of weaving in the creation of cloth as a finished product.

I suppose the point I am making is: think deeply about what your own areas of expertise are not bringing to your understanding of history. It's easier to miss things you'd think.

[saltpixiefibercraft]

I LIVE I SWEAR. Have this 90's soda cup inspired warp as a proof of life lol.

[bethany-sensei]

I am cautiously hopeful that this will be my last batch of yarn spun while sitting around in hospitals this year. I’ll ply it tomorrow.

[lookingforcactus]

Went to a big quilting convention today and am feeling inspired so here's todays edition of

What the fuck do you mean that's a quilt??

Most people have no idea about how much craft goes into quilting or how much quilting as a craft, art, and even a science has been evolving in recent years. So here's my personal appreciation post

And btw the flat images do NOT even do these quilts justice, especially in terms of the absolutely amazing and detailed texture embroidery that a lot of quilters are using these days. Up close the texture and the sheer detail of many of them is just stunning

These are all from the Road to California quilt show 2023

1st Place: Portrait

Title: Sharing the Moment Maker: Hollis Chatelain Quilter: Hollis Chatelain Design Basis: Maker's Original Design African-American women are a powerful force in motivating their families and communities to vote. I wanted to create a piece about this and highlight the fact that African-American women did not receive the right to vote in all 50 states until 1965 when the Voting Rights Act was passed. I met Phyllis at a rally. I was drawn to her and asked if she would be my model. Without hesitation she said yes. She later brought her friend Loretta with her.

1st Place: Naturescape

Title: Augustinii Maker: Andrea Brokenshire Quilter: Andrea Brokenshire Design Basis: Maker's Original Design “Augustinii” is a blue/purple variety of rhododendron my momma planted within her forest garden. I was lucky to be home on when it was in bloom. When I see this quilt, I am reminded of my momma and how she loves to tend her garden and “grub in the dirt.”

1st Place: Pictorial

Title: Leap of Faith Maker: Kestrel Michaud Quilter: Kestrel Michaud Design Basis: Original design In this Steampunk fantasy world, men and women have taken to the skies on ships held aloft by hot air, ingenuity, and luck. Faith’s favorite past-time is bungee-jumping off the side of her airship, with Bubo, her pet clockwork owl. This quilt depicts the photo Faith took on her latest jump to test her brand-new camera and selfie stick.

2nd Place: Naturescape

Title: Homage to Birches Bare Maker: Jessica Noble Quilter: Jessica Noble Design Basis: Fabric recreation of Kesler Woodward's Birches Bare, acrylic on I fell in love with Kesler Woodward’s Birches Bare painting and knew I had to create it in fabric. I cut about 1,700 pattern pieces out of freezer paper and then fused fabric, through the fall of 2019 until the pandemic started. During this time, I homeschooled my two children and the quilt sat in quarantine. I quilted this freehand on my midarm in the winter of 2021. I managed to take the majority of the summer of 2022 on the binding.

2nd Place: Pictorial

Title: Toroweap Overlook Maker: Sandra Mollon Quilter: Sandra Mollon Design Basis: Derived from a photo Toroweap Overlook, in the Grand Canyon National Park, is an incredible view of the Colorado River. When John Slot sent me the photo to consider for an art quilt, I realized the complexity of the amount of the pieces it would require, but knew I had to do it. Raw edge fused, machine quilted, small amounts of media.

3rd Place: Pictorial

Title: Catch it Yuri! Maker: Hiroko Miyama and Masanobu Miyama Quilter: Hiroko Miyama Design Basis: Maker's Original Design Inspired by dogs’ action. Yuri, golden retriever big jumped to catch a ball and Ponta, mix hardly waited his turn. Dogs and girl were fused appliquéd.

Seriously can you believe these are all quilts!!! incredible amazing showstopping spectacular

[kiwisoap]

I made a pomegranate :-)