California Dreaming

I purposely waited until after the International Quilt Festival Long Beach to post a photograph of my entry for  West Coast Wonders, called California Dreaming.  The quilt features some of my favorite techniques ---- machine quilting. machine embroidery and fabric postcards.  The photographs were taken by my husband Marvin, my sister-in-law and myself.  Marv did most of the the Photoshop work after taking two classes with Kerby Smith .  It looks deceptively simple, but there were a lot of challenges along the way, and I had to back-track a number of times. The project is also my wallhanging assessment for my City and Guilds Certification.

 The project was inspired by friends who like me to send them postcards from my travels to decorate their bulletin boards.  I started off with a cork tile, which was photographed.  The image was then sent to Spoonflower for printing.  I ordered two yards to allow extra fabric for testing, errors etc.  The postcards are really postcards.  I printed the images or postcard backs onto Electric Quilt pre-treated sheets.  I was able to get two images per sheet. The images were then fused to heavyweight Fast2Fuse.  I used the heavyweight to ensure that the cards would be flat against the background.  I fused muslin to the wrong sides as viewers should not be turning them over!  The edges were satin stitched using several different heavy-weight cotton threads including Sulky Blendables 12wt and Wonderfil Spagetti and Frutti.  Once the postcards were made, I took the ones which needed stamps cancelling to the local post office.  Gino was kind enough to frank them for me!  The background was quilted with a sun and ray pattern in 40wt thread, before I attached the postcards with monofilament thread. I had learnt from previous errors that areas need to be quilted underneath before applying large "appliqués".  As I knew that the piece would have to be shipped multiple times, if it was accepted into the exhibit,  I had to determine the placement of the postcards to allow for "folding" lines.  I used a wide binding to replicate the idea of a frame.  Once everything was stitched, Marvin  helped me to put real pushpins (thumb tacks) through each card.  We then cut off the backs to ensure that other quilts would not be harmed,  and sealed the backs with silicone to make the quilt safe for travel to multiple venues.  The quilt will be shown at the International Quilt Festival Houston, and International Quilt Festival Cincinnati.

Etrog box

 The assignment for my first City and Guilds assessment piece was to create a container using a pieced design based on architecture. I designed, engineered and created an etrog box using traditional English box-making techniques with some contemporary twists. The etrog  (citron) is used during the Jewish holiday of Sukkot, as part of the four species.  It is held together with the lulav and blessed during the holiday.  When not in use, the etrog is usually stored in a decorative box.  



The design inspirations for the box were windows in the Dohany Street Synagogue (Great Synagogue) in Budapest.  The synagogue survived World War II and has been restored to its former glory.  Today, it serves as the focal point for the small Jewish population still living it Budapest, and it is a major tourist attraction.  One of the reasons I chose to use this building as my inspiration was to pay homage to those who perished in the Holocaust.  Although there were numerous stained glass windows in the Synagogue, the one below was perfect for patchwork.  The patchwork for the  top and sides of the box were constructed using foundation paper piecing (flip and sew.) The color scheme was based on the colors used in this window and another more elaborate window, shown on the right.  The Star of David on the lid was created with English paper piecing.  The fabric for the lining of the box was created by sun-printing branches from our lulav. The lining was machine embroidered.

 







   

The construction of the box proved more challenging than anticipated.  I had planned on using heavy-weight  Fast2Fuse for the construction, rather than cardboard or card stock, the foundation material used for most English embroidered boxes, to avoid having to glue my fabric to the base.  (Fast2Fuse is a heavy, stiff interfacing with fusible web on both sides.  I use it in the center of my postcards.)   My original intention was to fuse the patchwork to one side and the lining to the other, and then to satin stitch the segments together to join them.   When I sampled this construction method, it did not seem elegant enough, so my tutors suggested using the traditional hand ladder-stitching method of joining the pieces, and using two pieces of Fast2Fuse for each segment so that there would be no raw edges.  This extended the scope of the project, and as it was not portable, due to the risk of bending the pieces, it has taken months to complete.  Each piece of the box is made from two pieces of covered Fast2Fuse which are joined together with topstitching, using YLI  Silk Sparkle thread.  Due to the small scale of the patchwork pieces, it was necessary to use a very fine thread for the quilting and topstitching.  When I sampled heavier threads they overwhelmed the patchwork, as many of the pieces are under one inch.  However, I had to test numerous needles before I found one which did not cause the thread to shred while going through the thick layers.  The only needle which worked was a size 80 SUK (jersey) needle.  Once each side was assembled, the sections were hand ladder-stitched together, a very time-consuming process, due to the thickness of the pieces, and the need for the stitches to be invisible.

The box is now completed, and ready for use next Sukkot.

Box closed

Box open

Box open