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May 4, 2002 Edition IN THIS ISSUE: Japanese Inspired Quilting
~~~~~~~~~~~~~~~~~~~~~~~~~ Upcoming Prochat guests
*****
2002 BOM ****
2002 Mystery ****
SUMMER MYSTERY This mystery will be presented during the month of June....one clue per week! The livin' should be easy during the summer, so nothing speedy! Get ready to wrap up in a quilt that is perfect for those cool summer nights....fast, fun and just what you've been waiting for! During the first week of May, come back to: AOL Summer 2002 Quilt Mystery - New Page for Made in the Shade and get the link to the fabric requirements and the cutting instructions....and, if you like, you can sign up for a reminder service that will email you when the first clue is posted! This pattern will use just 3 fabrics: a focus fabric and two complimentary fabrics (one is light and one is dark). Of course, the backing will be your choice! Start thinking of something bright, sunny and fun for this newest mystery!Our guest designers will be revealed when we post the fabric and cutting instructions, so be sure to join us! You won't be disappointed
~~~~~~~~~~~~~~~~~~~~~~ The time has come to travel again. Yes, we are going on another trip around the world via quilting and the Internet. Each issue during the summer (hopefully) we will be visiting countries throughout the world to learn about their quilting techniques, designs and whatever else we can discover! This issue we are headed to Japan! With the ever- increasing popularity of Japanese fabrics, this seemed like the perfect starting point! So enjoy, relax and learn.
~~~~~~~~~~~~~~~~~~~~~~~~~~ Here is one readers choice: PWRBABE - Though I live near Dallas,TX and we have some great shops in the area, my all-time favorite quilt shop is in Lihue, Kauai, Hawaii. Several years ago while visiting there I found it and I have been back many times. They have lots of fabric, nearly every kind, but so many beautiful Batiks and hand-dyed and Japanese fabric. They also carry some needlepoint and counted cross-stitch patterns. Best of all, the owner is the greatest and all her staff are always friendly and very helpful. I get energized just going in there. If you are every in Kauai - just check out Kapaia Stitchery. Everyone knows about it and you will just love it. People come here with empty suitcases just so they can buy fabrics to take back home. I promise you, you will love it. Send in your pick for your favorite quilt shop to: LDRSHBBYFabric@aol.com
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Sashiko Sashiko is a very old form of hand sewing using a simple running stitch sewn in repeating or interlocking patterns through one or more layers of fabric. Originally designed for quilting together several layers of fabric for warmth and durability or for strengthening a single layer of fabric, sashiko patterns readily lend themselves to contemporary designs and projects. Many Asian cultures have utilized sashiko stitching as a sewing technique since ancient times; however, sashiko is most commonly associated with the Chinese and Japanese. In ancient days, clothing was made from homespun fabrics woven from native fibrous plants such as wisteria and hemp and necessity demanded that this clothing be recycled for as long as possible. Unfortunately, these homespun fabrics gave little protection against the bad weather or cold. Along the way, some creative sewer discovered that garments became much warmer and functional if a lining was stitched in or if several layers of fabric were stitched together. The first milled cottons introduced were very expensive to buy and so new methods were developed to extend the life of the fabric. Long cotton threads were often stitched through the entire bolt of woven cloth at regular intervals to add strength to the fabric. And by layering this fabric and then adding sashiko stitching to hold the layers together, clothing could be produced that provided much better protection from the elements and that lasted longer. Even today certain items such as tabi (the socks worn with sandals) are still made with fabric produced by this method. Later, as cotton became more plentiful and less costly to buy, it was used in other non-traditional ways such as underwear and bed coverings. It was then that sewers also began using sashiko for decoration as well as practicality. Traditional Japanese patterns and motifs became incorporated into sashiko stitching and much more intricate designs developed. Today, sashiko is used primarily as decoration on items such as curtains, tablecloths, clothing and accessories.
Designs Examples of designs primarily drawn from nature include:
Often just an outline of a shape is used to represent a much more complex image such as symbols of seasonal change. And even the simplest sashiko patterns may have beautiful names symbolic of the natural image that comes to mind. Rising Steam (tatewaku) or Seven Treasures of Buddha (shippo) are examples of this type of naming. Some historians even believe that an abstract version of a chrysanthemum blossom may have served as the model for the common Dresden Plate pattern. Single designs with specific symbolic meanings are called Mon (crests). The well-known family crests (kamon) are actually very abstract representations of ancient textile designs. In the early days the aristocracy used motifs extracted from textiles as a type of personal and family identification. These designs were then painted onto their possessions and stitched on clothing.
Fabric In Japan, sashiko is most commonly seen on indigo-dyed cotton fabric with colors ranging from a pale light blue to the deep blue-black usually associated with sashiko. However, other materials such as silk or wool, and even other colors and prints are becoming much more popular. Keep in mind that it is the beauty of the stitching that is important in sashiko, so the fabric pattern or color should be kept subtle for best results. Evenweave fabrics that are tightly woven are excellent for use with those sashiko patterns that are stitched in straight lines. If doing handwork, it becomes a simple matter to just count the threads as you stitch. This creates a pattern that crosses at regular intervals (such as every 4 threads for instance). Always prewash and iron your fabric. Natural dyes, such as indigo, may bleed with washing. Extra care in setting the color should be taken. Iron your fabric from the wrong side. Some natural-dyed fabrics (especially indigo) tends to "shine" if ironed with too high of a heat setting. With this type of fabric, always use your iron's Cotton (or cooler) setting. Many people even iron their fabric to straighten the weave so it won't shrink during washing.
Thread Different fabric weights may require other threads: silk embroidery floss, other weights of Perle cotton, blending filaments (including metallics) can all be used. When doing sashiko by machine, other suggestions for threads include buttonhole twist for the top thread. If you want to use a thinner thread such as a metallic or silky type, use the thread doubled on top. However, note that many machines do not handle this type of thread well or at all, so check your manual for instructions first. If you are hand stitching, cut your threads 18-20" in length to avoid tangling and knotting while stitching.
Tracing the Design Patterns can be transferred on a light table (or by using some other type of back lighting) or with dressmaker's carbon, French chalk or a quilter's marking pencil. AVOID USING A MARKING PEN since sashiko thread can be very sensitive to the chemicals and might pick up the coloration. Consider using different colors of marks to represent the stitching order if possible. YOUR DESIGN NEEDS TO BE AS ACCURATE AS POSSIBLE. Since sashiko stitching uses a very even stitch length, any errors in the design transfer will show up noticeably in the finished work. Templates for common designs, similar to those used in quilting, are available commercially as well. You can also make your own patterns out of a heavy weight cardboard or template plastic.
The Stitch The number of stitches per inch depends on the type of fabric, the number of layers, the type of thread used, and the ability of the stitcher. As a general rule, larger stitches are used for heavier fabrics and thread; smaller stitches for fine or lightweight fabrics and fine thread. For example, sewing with 3 strands of embroidery floss results in more stitches per inch than when using sashiko thread. IT IS IMPORTANT TO KEEP THE STITCHES AS EVEN IN LENGTH AND AS REGULAR AS POSSIBLE. Stitches of unequal length will be easily noticed in the design. Use a needle that is comfortable and that can be threaded easily. Sashiko needles are best with the heavier threads, but embroidery needles or #7 or #8 sewing needles can be used also. Generally, the beginning and ending thread is never knotted in sashiko. Instead, begin by taking 3-4 backstitches. Then stitch directly over the first few backstitches. Thread ends should be clipped as close to the fabric as possible. If a new thread needs to be started before the end of the design line, 3-4 stitches with the new thread should be layered over the old thread. However, some people do use a method similar to that used in quilting for hand sewing on multiple layers. After the thread is knotted, the needle is inserted into the fabric at a distance from your first stitch (1/2" to 3/4" is a good choice for most people). If you're using light colored thread on a dark fabric, the needle should be inserted on the actual design line so that the thread does not show through. Pull the knot through the top layer and bury the knot in the sandwiched layers or batting. The needle should come up at the beginning of the design line. Stitches can be ended using the traditional quilting method of backstitching over the last 3-4 stitches and then burying the end of the thread in the underlying layers before cutting. Machine stitching on multiple layers requires a slightly different technique. When cutting your thread ends, leave enough length so that you can thread a hand needle in order to hide the thread ends between the layers. The ends of thread not finished in this way can often pull out over time, especially if the item will be receiving lots of wear and tear. The goal in both hand and machine stitching on multiple layers is to avoid having thread ends exposed whenever possible. Straight lines are sewn without a break in order to avoid accidental curving of the line. Generally, multiple stitches are put on the needle before pulling the thread through. Advanced sewers may have as much as 3-4" of fabric on the needle at any given time. Curved lines are sewn by pulling the thread through after working only 2 or 3 stitches. If the material begins to pucker, hold the fabric firmly and gently stretch the fabric into position. If the back of the stitched fabric will not be showing (i.e., if a backing cloth will be added later to cover the stitching), you can sew continuously with loops of thread on the back of the cloth connecting the beginning and end of two adjoining stitching lines. Do not leave too much slack in the loop--it should lie firmly against the back of the cloth. On multiple layers, the loops will be hidden inside the layers. If the back of the fabric will be showing, you will have to cut the thread at the beginning and end of each line of stitching.
A repeat of tsumeta design means that the outer most square is stitched continuously across the entire row or column with the thread looped underneath between the repeats. Then the stitcher would work a pair of inner square and cross designs, cut the thread and then begin a new pair in the next repeat. Obviously the choice of direction is up to the stitcher's discretion. The starting and ending points given for the two designs above follow the conventional Japanese methods. Pay particular attention to areas where threads intersect or turn corners. For sharp corners, the needle must either go into the point of the corner or come out from it. Corners must also be accurate right angles.
Altering Designs Reference website: http://ttsw.com/FAQS/SashikoFAQ.html Next issue look for Fabluv's JAPANESE TEXTILES article.. ~~~~~~~~~~~~~~~~~~~~~~
NEW PATHWAYS into QUILT HISTORY: Antique quilts...in Japan? Most of us think of silk instead of cotton when we think of old or antique Japanese textiles, and Kimonos (thing-ki = to wear=mono), not quilts. Silk was not used by the common classes. The rural or common men and women used cotton, hemp, banana leaves, stalks, and other plant fibers to make their clothing and textiles. In fact, they were prohibited by law to wear silk during the Edo era (1600-1868). Country folk continued to use these other fibers through the early modern era (Meiji period) ending in early 20th century. Ai or indigo was a native plant in Japan, and therefore not prized, resulting in the country folk to dye their clothes and bedcovers with it. Women made most textiles, from fiber to the end product, in the winter months when the fields were not in use. Bast or plant fibers, other than cotton, were not very comfortable against the skin. Cotton was not indigenous to Japan since the plant needs a semitropical climate. The earliest dated cotton textile found in Japan dates to the seventh century, but not until the Edo era was there the ability to grow cotton in Japan. In 1872 a group of Japanese textile designers and producers (men I assume) made their way to Lyon, France to learn about their methods. Upon return they made their version of the Jacquard loom. Their adoption of other advanced technologies, revolutionized textile production in Japan in the decade to come. So what about the Japanese using cotton, called "momen" and making bedcovers from it? Japanese folk art, called Mingei, is where cotton artifacts in the museum textile world are catalogued. Silk textiles are considered fine art or royal textiles. One has to look outside of many museums to find antique cotton textiles. In Japan they have museums dedicated to Japanese Folk Art. The closest thing to a quilt was their futon (stuffed mattress) cover, called a futonji. This bedcovering was laid on top of a "kake-buton", like our blanket, and dates back to the early seventeenth century or Edo Era. Just as in early America, they were part of a bride's trousseau. Unlike American's however, the couple used this funtonji on their wedding night after which it would only be brought out for use by special guests. Another futonji was made for daily use. A common technique of dye printing the funtonji, "tsutsugaki", would be started in a local dye shop. This method was saved for special occasion textiles such as these covers, ceremonial kimonos and wrapping cloths. The tool used to mark the fabric is similar to a cake decorators frosting tube. First rice-paste resist is placed in a paper tube, with a metal tip end that makes it possible to draw the resist design onto the cloth. After this is dry, the fabric is dyed in one or two colors, with indigo as the background color. The motifs were symbols meaningful to the Japanese spiritually or convey luck and good wishes to the newlyweds. The funtonji would be completed at home by the sewing together of various panel widths, usually about 12 to 13 inches, depending on the loom used. The finished size would be around 62" wide by 75" long when dating from the Meiji-Taisho periods, which is just post Civil War to early 20th century (approximately 1868-1912). Baby wraps were another textile that come under what we think of as quilts. They are rare now and usually originate from the Sannin area of Japan. They were used to wrap the baby in at birth. It is unknown whether or not it was used after that. Two textile panels and tsutsugaki were used, and auspicious symbols, such as a red sun, signifying good health, decorated this ceremonial wrap.
The quilt stitch and quilting is called "sashiko" in Japan. Two layers are
held together using a thicker thread, like pearl cotton. Small to medium
repetitive geometric or curvilinear designs are the norm. When the item is
to be used in cold weather, padding is added. The Tohoku region in northern
Japan is known for its sashiko cloth, although this is Japan's quilting method.
Today, quilts similarly quilted to those made in America are being made with
great artistic creativity and technically masterful skill by Japanese women.
They are pieced and appliquéd, use cottons, silks and textured fabrics,
and often combine all of these. The ones I have seen are hand quilted, not
machine quilted, piecing may be. The amount of quilting is immense and the
stitches are tiny, which bring back thoughts of quilts made in the early
19th century. 2002 Copyright Kimberly Wulfert, PhD. All rights reserved.
~~~~~~~~~~~~~~~~~~~~~~~~ Quilting with Japanese Fabrics by Kitty Pippen Japanese fabrics are certainly more popular than ever and are simply some of the most beautiful fabric manufactured today. They are so compelling, but sometimes puzzling. You don't even want to cut them up! Kitty Pippen has written a book to help us create beautiful quilts with these fantastic fabrics. Kitty says, "This book will undoubtedly support not only the most advantageous use of Japan's textiles in patchwork, but will also expand the understanding and appreciation of Japanese textiles." Kitty begins the book by introducing us to the Elements of Japanese Design. She then covers American-made Fabrics in the Japanese style. Heraldry and Sashiko each are explained in detail. She hits on English Paper Piecing and quilting basics from sandwiching to binding. The best part of the book (I think) is the Designing an Innovative Quilt chapter. She talks about using a focus fabric and then elaborating from there with the use of color, geometrics and motifs. The gallery of quilts is exquisite. She includes eight quilt patterns, "from simple mosaics to Japanese octagonal designs and Crazy patchwork." I love this book! The quilts are gorgeous and inspiring.
Softcover: 8.5" x 11" ***** Japanese Inspirations, by Janet Haigh Another great book from Martingale & Company, Japanese Inspirations by Janet Haigh is a fantastic book. Martingale says, "Discover the tranquil elegance of the Orient in 18 quilted accessories that will complement any décor, from contemporary to country. Combining the traditional fabrics and motifs of the East with the ease and versatility of Western techniques, this extraordinary collection of home-décor accents and gifts will wrap your home in the luxurious, distinctive Japanese look." The book includes 18 easy-to-make quilted projects including wall hangings, pills, full-size quilts and room screens. There are over 50 traditional Japanese motifs to copy included. Janet teaches you a variety of Japanese patterns through great directions and color photo illustrations. She includes a chapter on techniques that encompass hand and machine piecing, and machine appliqué. The book is divided into "seasons" with each having 4 or five corresponding projects. This is a delightful book, a must have for the Japanese fabric lover.
Softcover: 8.5" x 11"
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Links with an Oriental Flare!
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1. QUILT TOUR
2. TEXTILE HISTORY FORUM, JULY12-13, 2002 The Forum, now in its third year, brings together textile historians, curators, researchers, and enthusiasts from around the country for a lively exchange of ideas and information in the form of an open scholarly meeting. The Forum, co-sponsored this year by the American Textile History Museum in Lowell, is open to anyone with an interest in textile studies. The Forum features juried papers by noted textile authorities and scholars, reports on research currently in progress, roundtable discussions, and workshops. Presenters this year include Gloria Seaman Allen, independent researcher and former curator of the DAR Museum in Washington, DC, who will speak on " Gender Division in Hand-weaving on Chesapeake Plantations"; Judy Bessette, American Textile History Museum, whose topic is "A Rhode Island Textile Mill Village"; Virginia Gunn, University of Akron, Ohio, who will discuss "The Meily Family of Coverlet Weavers"; Kyra Hicks, an independent scholar from Arlington, VA, who will speak on "African American Quilters & Fabric Purchasing"; Amber Judge, a doctoral candidate at Texas Christian University, Ft. Worth, TX, who will present her research on "Indigenous Guatemalan Textiles of the 19th-20th Centuries"; Diane Joyce Montenegro, Boston, MA, who will look at "The Textiles of Dan Cooper, American Designer (1901-1965)"; Aimee E. Newell, Old Sturbridge Village, Sturbridge, MA, who will discuss "Embroidered Quilts and Coverlets in 19th-Century Rural New England"; Susan Oelette, independent researcher, New Hamshire, who will speak on "Imported Cloth, Provincial Cloth in 17th- Century America"; Jessie Ravage, independent researcher, Cooperstown, NY, who will discuss her work on "The Account Book of Ransom Williams, Tailor"; and Jay Ruckle, The Glove Museum, New York City, who will talk about "Handwear in the 18th Century." The program will also include a workshop on Pennsylvania bedding styles by Wendy Christie, a roundtable on reproduction textiles that will include Nancy Errico and Caroline Brooks, and a Works in Progress session, with current research presentations from several other well-known textile scholars. Additional pre- and post-conference events will also be available to Forum participants. On Thursday, July 11, tours will be given of the collections of nearby museums and other institutions, including the New England Quilt Museum, Lowell National Historic Park, and the collections facility of the Society for the Preservation of New England Antiquities (SPNEA). Tours of the American Textile History Museum, the venue for the Forum, will be given throughout the day on Friday, July 12, and Saturday, July 13. On Sunday, July 14th, the American Textile History Museum will host a Coverlet and Quilt Textile Discovery Day open to the public as well as Forum participants. New Forum events this year include a dinner for participants, show-and-tell sessions, and a silent auction. Housing will be available for Forum participants at Merrimack College, allowing for after-hours opportunities for further exchange and discussion. As in past years, Forum proceedings will be available to attendees as part of their registration packet. Copies will also be available for purchase by the general public. The two-day Forum registration fee of $195.00 includes admittance to all Textile History Forum sessions, admission to the American Textile History Museum, a copy of the Forum Proceedings (available at Forum registration), and lunch both days. A one-day registration for Friday, July 12, or Saturday, July 13, is available for $100. Nominal fees will be charged for pre-and post-conference events. A $50 deposit is required to reserve a space for the Forum; participation is limited, so early registration is encouraged. Full registration and housing information can be found on the web at: www.rabbitgoody.com or by writing to: Rabbit Goody, Textile History Forum, 101 Chestnut Ridge Rd., Cherry Valley, NY 13320. Tel/fax: 518-284-2729. Email: rabbitg@albany.net
3. QUILT EXHIBIT - Pennsburg, PA The Schwenkfelder Library & Heritage Center is pleased to present Patterns of Pennsylvania: Quilts from the Heritage Center Collection, April 1 - August 31, 2002, an exhibit of quilts from its permanent collection, in its first floor galleries. Approximately 25 quilts ranging in date from 1838 to the 1940s, plus quilt patterns and sewing tools, will be featured. The Heritage Center is also offering special programming during this exhibit - watch our website www.schwenkfelder.com A wonderful array of color and pattern, including several quilts in the popular regional patterns of Perkiomen Valley, Rising Star and Rainbow, in patchwork, appliqué and embroidery will take visitors on a visual tour of quilting in the region the Schwenkfelders call home - Montgomery County and parts of Lehigh and Berks counties. Quilt styles of the past 170 years will be represented, including the Pennsylvania German Beddelmann Deppich (beggar man's quilt); a near pristine example of a crazy quilt; and red-work and feed sack quilts. Maria Heebner's embroidered wool quilt, decorated with designs from her girlhood watercolor portfolio, will be shown with her drawings. Another highlight is a late 19th century Princess Feather quilt in chrome yellow and oxblood, with matching pillow shams. One group of quilts, created in the 1940s and 50s by a group of women in Hereford Township, Berks County, represent the wonderful legacy of community quilting in the area. Emma Heil Treichler (1882-1965) organized quilting parties in memory of her grandmother Elisabeth Nuss Rothenberger. These parties took place on Saturdays in March close to Mrs. Rothenberger's birthday. The gatherings were a time for fun and fellowship for the women, with the added advantage of producing many wonderful quilts. Mrs. Treichler and her quilting friends made quilts for each of her three children and seven grandchildren at these parties. Several of them will be shown in Patterns of Pennsylvania. Programs related to the exhibit include:
Programs are free and open to the public; refreshments will be served. The Schwenkfelder Library and Heritage Center was founded in 1884 as an in-formal collection in a private home to assure the preservation of the Schwenkfelders' cultural identity. Today the Heritage Center, a not-for-profit organization, is still preserving, interpreting and documenting the history of this German Protestant group, along with the history of its surrounding region in southeastern Pennsylvania. Now in a renaissance period, the construction/renovation project has enabled the Heritage Center to reaffirm its commitment to the historic vision of its founders-to tell the story of the Schwenkfelders and the Perkiomen region, in a contemporary voice, to old and new audiences. Heritage Center hours are Tues, Wed, Fri: 9:00 am - 4:00 pm; Thurs: 9:00 am - 8:00 pm; Sat: 10:00 am - 3:00 pm; Sun: 1:00 - 4:00 pm; closed Mon.
4. QUILT SHOW - East Aurora, NY
~~~~~~~~~~~~~~~~~~~~~~~~~~~ MAYSCHMIDT I will be going to Oceanside, MS (from Houston, TX) in mid-May. Any quilt shops on the way? Reid_Nor@mr1.k12.mo.us Hello! I am a student teacher doing a quilt project for a geometry class. The Quilt design I am researching is called Yankee Puzzle. My question is how did this design evolve? I cannot find any information about its origins. Anything would help. Thank you. barbq4c@wizard.com Small Charity needs computer help with posting to www sites etc. for details e-mail - barbq4c@wizard.com we are a small cancer quilt charity needing 450 children's quilts for this Holiday season bea3egypt@yahoo.com or bea3egypt@hotmail.com My mother is travelling to Australia in June and would like any information on any quilt shops in Sidney and/or Perth. She will also stop a few days in New Zealand if anyone knows of shops there as well. TIA!
trequilts I would like to announce
openings in the following Nifty Fifty 50 State Block Exchanges. Our exchanges
are making Breast Cancer Charity Quilts which will be auction by The National
Day of Caring
http://www.dayofcaringonline.org/
and
KELPPI Hi. I'm trying to find out if there is any way to restore a 30 year old plus quilt top. It is all stitched together. The material is so old that the blocks have pulled away from the borders. Other than taking apart the whole quilt top, I was wondering if there was another way to stitch just the blocks that have pulled away from the border? ================================================ The NPN is published every two weeks. Address comments or submissions for the newsletter to NinePatchN@aol.com, not the listserv computer. This listserv has been intended to be solely for the distribution of the NPN and other Quilting Community announcements.
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