Study from Home

2020 was not without its quilting study initiatives, so the posts that follow are a brief summary of ventures, not necessarily involving a quilt outcome; more for interest:

My Book Choice: Stitched in Color

In one of my Google “research” moments, I found a wonderfully coloured Bears Paw quilt and tracked it back to the book, “A Quilters Field Guide to Color” by Rachel Hauser.  The quilt’s owner had participated in a colour study exercise from Rachel’s book and followed along with her blog quilt-along too for even more tips and tricks.  Working effectively with colour has always been one of my weak spots “needing work”, so I quickly ordered a copy from Book Depository and in between other projects, started my own Bear’s Paw learning adventure.  I’ve wanted to do this block for ages but couldn’t decide on what colour the quilt should be. Now it will be all multi-coloured and happy!  And who would pass up the opportunity to learn more about colour on this journey.  Not me!

Of course, the book led to Rachel’s blog and her very generous tutorials, quilt-alongs and pattern offerings.  I’ve since decided to go back to the start of her blog to find out more.  In the meantime, I’ve also been hooked on Rachel’s Kingfisher EPP (English Paper Piecing) and have been cutting hexagon shapes from my scrap box.  I’m hoping at some stage to add to all this learning by putting together a colour wheel using a Carpenters Wheel block to hang in my Garden Shed.  Well, it’s a nice plan for 2021 perhaps…

My Tutorial Choice: Tula Pink’s EPP Series

To complement all this study, especially if you are into EPP, I found Tula Pink’s excellent series (made for the Fat Quarter Shop).  Tula shows in great detail how to best achieve very professional results (don’t lick the thread!) and look after your well-being at the same time.  Her three tutorials (the first goes for over 39 minutes) cover so much that I’ve watched them a number of times to make sure I didn’t miss out on anything.  I should add here, that I’m not a huge EPP fan, although I did enjoy putting together my hexi quilt all those years ago.  That said, I am open to small projects that use scraps like Rachel’s Kingfisher, so all I need to do now is to actually start stitching all those little 1” hexagons I’ve been busy cutting and hoarding…  

Loving Quiltmania (& My To Do List)

In the interests of economy and space, I’ve been busy downsizing lately and decided that Quiltmania was going to be my only subscription magazine.  Well, that and its sister publication, Simply Moderne.  Not an edition goes by without my adding at least one more project to my To Do List.  The magazines are great quality, offer a balance of news, articles and advertising, and contain more than enough projects to interest and challenge quilters of all levels of expertise. 

I’ve written about my To Do List before, but it’s essentially a list of the great unfinished kept in my UFO box and a note or two about progress (or otherwise).  I also record where the project is located if it’s not in the UFO box, so that I can find it if I suddenly have a rush of blood to the head and want to finish that something NOW.  I also add a list of those patterns I’m inspired to do or ideas that have inspired me to make a quilt.  Bearing in mind that I achieve about one finished quilt a year and have been quilting for over 35 years, that list is long; rather too long.  Now, I make this To Do List every year, as close to the start of the year as I can.  It helps me to organise myself.  (I have mentioned OCD tendencies before.)  In 2020, I couldn’t help myself and added a further few (too many) pages to my wish list by noting those projects from Quiltmania & Simply Moderne that tempted me.  I’ve been introduced to such luminaries as Sujata Shah, Brigitte Heitland, Kaffe Fassett and Rachel Hauser.  Of course, I’d need to live to 200 to finish them all and that’s not going to happen.  But it’s my happy place!  How inspiring and thank you so much Quiltmania.

A Few Challenges

Gee's Bend Comes to Town

With four unfinished samples from my Art Quilt class, I began to realise the extent of my UFO collection and felt rather keen to do something about it.  Thankfully I’d started keeping a UFO List way back in January 1997.  Every year from them on (with only a few exceptions!), I had made a New Year’s UFO List.  Somehow 2008 became my year of retribution & shame given the large numbers of bits & pieces languishing in my stash.  However, the year got away from me before I could put salve on that distress; though not before stepping out to the Gee's Bend Quilt Exhibition (31 Oct- 2 Nov 08) – sorry no photos allowed – and participating in a group cot quilt for one of our friends.

I wasn't quite as excited about the Gee's Bend Quilts as I imagined I would be.  I think this was in part due to the venue not showing the quilts to their best advantage.  It was crowded and the lighting poor.  Having recently read Nancy Crow's account of her first experience with these quilts (in "Crossroads"), I can better understand the excitement they generated in the quilting community. (By the way, her Artist's Statement is worth reading too!)

Find this catalogue here

Out of interest, here's a couple of links to Pinterest sites so that you can enjoy the eye candy of:

• Nancy Crow's work, and
• Gee's Bend quilts

During our November meeting, we were Stash Challenged by one of the group (who shall remain nameless – and it wasn’t me) with some real uglies.  But I guess that’s what makes it challenging!  My “challenge” pieces sat for a while in the bottom of my garden shed but eventually another challenge for Australia Day 2013 saw them rise to the fore.  They thus became the basis for my “Apron Quilt”, a submission for the Café Exhibition in December 2012 and subsequent "silent auction" during our Quilt Show, Australia Day 2013.  It was a nice little earner for our cause and went to a good home off-island.  You see, all good things come to pass….

Front view

Quilting close-up

Back view

The idea behind this quilt is that even when "relaxing" with my sewing machine, family duties, especially feeding the masses, is not far from my thoughts.  So rather than quilt the apron in a traditional fashion, I wrote a menu of family favourites (with my trusty machine).  I finished it off with tape measure ties - a subtle reminder that there's a need to watch the kilos.  Too much eating, sewing and sitting can be dangerous.  This was really a rather fun exercise (if you'll excuse the pun!). 

Song Lines

Bush Picnic: 2013  (Started: 2007)

Finished & photographed....at last!

For simply ages, I had wanted to put together a quilt using the Aboriginal fabrics I’d been gathering.  I was fairly particular and had only purchased fabrics by Aboriginal women artists and designers.  Needless to say, some of the fabrics are just stunning; making it oh, so hard to cut into!

I started collecting these fabrics after a visit to Freemantle in 2002.  In a souvenir shop, of all places, I found the most amazing (but tiny) collection of authentic fabrics.  I’ve mentioned previously that I’d found current selections a wee bit stuffy, so this was definitely a “willy-willy” (dust storm) moment.  My initial selections rested in the garden shed for quite some months before I inadvertently found a new (and closer!) supply, also in a souvenir shop, in Berry (NSW) that same year.  So, my stash grew steadily over the years! 

A close up of both hand & machine quilting

However, finding an appropriate design to feature these wonderful fabrics was not so easy and for me, became something of an issue…  I dallied & dithered; again for some years until finally in 2008, I discovered a “Stars over the Rockies” pattern designed by Judie Rothermel. (Quilters Newsletter Magazine, Mar 2007).  This pattern seemed to meet my need for a design with some larger pieces (so as not to destroy the continuity in those bold designs) yet was complex and interesting enough not to be “the same old thing again”.  Mind you, I had already started cutting out pieces for another pattern, until this change of heart.  Oh well!

Cutting out had started in March 2007 and continued on over the next few years until somehow I managed to get a wriggle on with piecing it together.  I suspect the deadline for the Australia Day Exhibition 2013 had something to do with it, but my quilt went public without being properly finished – a little hand quilting needed finishing.  So, one must compromise when deadlines loom! 

Not quite finished for the Australia Day Exhibition, 2013
Bush Picnic (Right) & Margaret's Hexies (Left)
(Textile Artwork on wall by Cath Phillips)

One point I had overlooked however was the provenance of my fabrics.  I had been busy collecting fabrics but missed noting the artists’ names and design names.  I also have a little information on the various symbols used in the patterns, so more is needed.  Just a little more work to do then…

(In case you are wondering, "The SongLines" is the title of the wonderful travel book written by Bruce Chatwin in 1987.  It, rather like "The Fatal Shore" by Robert Hughes (1986) that I've only recently discovered, made me realise how limited my world view has been & perhaps continues to be only seen through the eyes of Australian history and settlement.  In a way, this viewpoint embodies the isolation of our country.  This cover, a Picador edition (1988), features "Red Landscape" by famous Australian painter Fred Williams. )

Just for the Record:

Quilt Finished Size: 190 x 190cm
Block Sizes: 38cm
Cut in: 17 Mar 2007; adjusted 2008
Pieced & Basted: 2012
Quilted: Hand & Machine 2013
Quilt Type: Judie Rothermel Design
Quilt Finished: Jan 2013
Exhibited: Australia Day, 2013 (part-finished)
Collection: Home# 050
Pattern Name: Stars over the Rockies
Pattern Source: Quilters Newsletter Magazine, Mar 2007
Fabrics Purchased: Special Collection
Fabric Design: Aboriginal Women Designers
Fabric Style: Aboriginal Designs
Materials Type: Printed Cottons
Wadding Type: Cotton
Backing: Pieced using left-over remnants

A Little Learning

December 2014

Before I delve into the great wonder that is India, I’d like to take a step back and perhaps explain a little of where my head was taking me at the time.  Up front, I consider myself to be a quiltmaker; pure & simple with no fancy aspirations.  I love what I do and like to explore opportunities, especially learning to help myself to “do this thing” better.  I’m a great exponent of lifelong learning.

Patched Japanese Jacket.  Wendy Lugg Exhibition, 2000

By 2000 I had been quilting for 15 years and had had a wonderful time learning all sorts of techniques, improving my technical skills and trying to add my own twist to things eg unusual colour choices, pieced backings.  Was I bored?  Well, I don’t think so, but what I did need was something to get the blood pumping again.

The 1998 Rapt in Colour exhibition of Choson Dynasty Textiles (Korean Wrapping Cloths) at the Powerhouse Museum was part of my reconditioning experience.  It came like a bolt of lightning!  Quilts CAN have depth, a personality and convey messages.  Similarly, the various exhibitions we attended before going to Japan (2000) had me off and running. My first “textile” travel experience was thereafter destined to become a quest of discovery.  In other words, a real foraging!

I had also by happenstance, come across an interview with Linda McCartney (I think the ABC, played in 2000) about her photography.  I found it incredibly interesting and inspiring.  The gist, in my own words, was that your “medium” is simply an expression of your reaction to things around you.  LMcC believed in modest materials and a minimalist approach eg one lens and black & white prints.  This allowed her to focus on her chosen subject and add a touch of surrealism.  She believed that we need to understand the history of our “medium” and how that influences our own style or way of seeing.  We need to grasp how old masters have used the elements and apply that learning to our own work too.  Copying is certainly out of the question, unless it is traditionally or culturally acceptable.  Finally, LMcC advised how important it was to add something of yourself (capturing your own style) and to just seize the moment.  

Rapt in Colour, Powerhouse, 1998

With these experiences in mind, I had a plan:

1. Take a sketch diary with me to Japan (Well, I did but used my camera instead.  Time to languish was not on our side!)

2. Think about a theme eg blue & white, manhole covers, flowers, seasons etc. Try a fresh approach if it's been done before. (It was so hard to focus in Kyoto...land of the unbelievably beautiful.)

3. Review my current works and make a note of what I’ve learned from that exploration.  (Had I sewn myself into a corner?  Where (or what or even who) was my superhero to help me on my way?)

4. Join a group of like-minded individuals to discuss work.  Learn from others.  (This is why I love attending classes.  Teachers can offer fair criticism.  My friends offer other constructive options to consider.  Fantastic – only a few blocks to unpick!) 

5. Travel and be inspired…could I record the experience?  (I am continually inspired, my photograph collection is approaching digital mega-tons and my mind is spinning with ideas.  From all this though, my love for blogging has bloomed.) 

6. Now of course, all there is to do is focus and get on with it. 

Oh, sure….

More Desert Island Reading

Books I can’t be Without continues:

101 Fabulous Rotary-Cut Quilts

Judy Hopkins & Nancy J. Martin, 1998, Martingale & Company, Bothell, Washington

I've just noticed that 101 seems to be my favourite number!  By the time I purchased this book I was well and truly obsessed with patchwork and quilting.  Whilst I still loved hand piecing and quilting, I realised that my machine (dear old Ernie Elna) was my best buddy and, along with the rotary cutter, my only way forward.  Of course, some quilts still demand “slow” making but there were times in my increasingly busy life when I needed a quick fix.  I was occasionally making clothes too, so it seemed only natural to do more than just machine borders and bindings on to my quilts.

Hopkins & Martin had written other books but I couldn’t wait to get my little fingers on this big bruiser.  It has become, and still is, my most favourite reference book of all.  If I want a basic pattern, it’s usually here.  The illustrations are terrific, the measurements always exact and I’ve never yet had a dud – and trust me, I’ve made quite a few from this book!  Yes, the patterns are classic but it only takes a moment to add, subtract and massage and before you know it, another new creation!  Mind you, I know I prefer to make quilts that are basically geometric designs, so that helps.

When I went to live in India in 2004, I took, aside from my machine, 2 suitcases.  One with clothes and one with quilting supplies (not fabric though, just a few UFO’s).  This book was the only one I took.  It was in the spirit of adventure – and proved a very valuable learning environment.

That Perfect Stitch: the Secrets of Fine Hand Quilting

Roxanne McElroy, 1998, The Quilt Digest Press, Chicago, Illinois USA

When it comes to hand quilting books, my choice was difficult but this one by Roxanne McElroy was a standout because it is almost a scientific evaluation of the hand quilting process.  If ever you want to improve your stitching, this is the place to come.  I particularly appreciated advice on batting choices for hand quilting and how better to position your hand to protect against repetitive strain.  I also made the decision not to buy a frame (I’d been wanting one for years) after reading this book, because I didn’t think it suited MY style of quilting.  This book is so worth the read, there is much to learn, and I refer to it time and time again.

I can’t leave the subject of hand quilting without mentioning Liuxin Newman (Perfect Hand Quilting without Pain, Thimblelady, Australia, 2003).  I did a hand quilting workshop with Liuxin a few years ago and it turned my quilting life around. I just love to use her thimbles; they are so perfect for the method she taught us.  Another plus was that I managed to use a hoop -finally! I’d always used one for embroidery but had found I had trouble quilting with one.  Now I wouldn’t quilt without one. 

So I guess the moral of the story is that it’s fine to know, understand & appreciate the theory, however well it’s presented, but it’s understanding your own needs and lots of  practice that makes the difference.     

Simple Shapes Spectacular Quilts

Kaffe Fassett, 2010, Abrahams, New York

What can I say!  The title says it all - simple shapes highlighting fantastic fabrics that are all about COLOUR.  Kaffe is definitely the colour master.  I could have chosen any of his books for my “fab” favourites.  His quilts are, each and every one, a lesson in colour play and I sometimes think that in the race to make all those quilts that dance in our heads, we miss taking a slow approach.  Perhaps by making our designs less complex, taking (lots of) time to explore colour options, and considering construction options, we too can get the message. This doesn’t mean that I copy, copy, copy.  But I do see how shapes and colour can be grouped and use this as a springboard to help me find the next rung on my learning ladder.

Well, reviewing has been lots of fun; the thinking hard but at last a vague notion of better understanding - myself and my motivations.  Why?  Well in the words of Melody Crust, “my best quilt is my next one”.

Desert Island Reading

Books I can’t be Without:

Before I finish with 1999, I want to list my five favourite reference books.  Over the years, I’ve amassed a few but only a handful stand out above the rest.  So here you have my choice if I was to pack up and move to a desert island (or in reality, live for half a year on a sailboat!):

In the 80’s patchworking had taken off but we, in Australia (certainly country Victoria) didn’t have a lot of choice, particularly in books.  Generally they were imported, nearly always American, and somehow we became programmed to think in their systems, eg measurement, style, judging, choice of colours, etc.  I think we still do to some extent but that’s another discussion point for another day.

So here's the first two:

Patchwork Possibilities

Marjorie Puckett, 1981, Orange Patchwork Publishers, California

Anyway, I began my patchwork life in 1985 (after my Malaysian fumbling) more successfully by learning how to hand piece – the traditional way.  This book was recommended to me and I would certainly endorse it as a fantastic resource for beginners. 

Marjorie has provided very clear diagrams and instructions that are easy to read helping to understand exactly what the process is.  She provides tips that beginners need to know explaining clearly how NOT to go wrong at any step.  This is the book I would recommend to any beginner who wants to successfully hand piece as the diagrams and instructions are kept simple and a cinch to follow. 

101 Patchwork Patterns

Ruby McKim, 1962, Dover Publications, New York

 

After a while, beginner’s samplers began to pale, so Ruby McKim’s book provided me with a source of patterns for whole quilts.  What was so enchanting about this resource was not only its great selection of patterns for hand piecing (most fairly easy) but the snippets of interesting history about the craft.  You begin to get a sense of how life must have been for early Americans and begin to see where the names of many of the blocks originated.  (It wasn’t until many years later - 2009-2010 - as we toured some of Virginia’s historic battlefield sites and visited the Virginia Quilt Museum that even more bells began to ring in my brain!).  I really loved the vintage "cred" of this book. 

All of Ruby McKim’s patterns are beautifully drawn out (for hand piecing), so who could stop at one?  And the templates are always spot on measurement-wise. I particularly liked her suggestions for colours, especially those that had been traditionally used. This makes you reconsider your colour choices and to see different options.  A bit of a visual shake-up if you like of your “reference framework”!  I began to see how you could add a bit more zing to a quilt by marrying pattern to fabric to tell a story.

First Impressions

Guild Guest Speaker:  Susan Denton “Contemporary Design” 19 Mar 1988

Sadly I can’t remember this event – my mind is a total blank.  However, I mention it to remind myself of the powerhouse effect that Susan Denton and Barbara Macey had on me in those early days.  Their work was exciting, thoughtful and professionally constructed.  It also sent out clear messages that textile art could be far more than simple reproductions of traditional works – if that’s what you wanted to do.

My signed copy so I must have been there!

I had a lot of exploring to do in the quilting world and I wasn’t sure I had even thought about developing “personal style”.  I was caught up in learning techniques and perfecting my stitching.  As one does! 

The internet makes it just so easy to study other artists work.   Links to Susan Denton’s work appear as listed: (I've just discovered that none of the links below are active anymore. I suppose it's now 2021 not 2012! Google may be as ever helpful in finding more about Susan Denton and Barbara Macey.  It was after all, the beginning of the modern quilting world in Australia.) 

• News article: Susan Denton’s work
• Art quilt: Susan Denton's membership so you can get an idea of her current work (Susan is no longer with this group)
• Exhibition photos courtesy of shiny: (blog post no longer available)

Not forgetting Barbara Macey, whose clean lines and precise stitching has fascinated me for years.  Barbara perfected a "quilt-as-you-go technique that she manages with confidence and extreme precision.  Wonderful!

If you are interested in discussion on developing your own artistic style, then creative journey offers some interesting links too.  Let it be a start, a New Year’s resolution to find out more about your own contribution to the quilting world.  Start a journal and thoroughly explore each aspect of discussion; don’t be put off by some of the fancy journals you see about today – just making notes can be enough.  Visit a gallery and jot down your thoughts on a couple of artists pieces.  Compare it to your own work.  A bit of reflection never hurt anyone! 

A further Comment: 2023.  Susan Denton and Barbara Macey's amazing talent and approach to the modern quilt genre were certainly well ahead of their time.  Now some 35 years on, given we support both traditional and modern quilt guilds and a huge appreciation for textile art, we should be thankful for their pioneering spirit, leadership and encouragement in growing this textile art form.     

Cloaked in Patchwork

Patchwork Jacket: 1987

Like everyone else at the time I became obsessed with having a distinctive patchwork item of clothing.  I had seen Yvonne Porcella’s colourful designs and began collecting a few books on how to make patchwork clothing.  At the time I was still making my own clothes, especially knits.  An Australian company, Knitwit had just taken off and the fabric and patterns were all top quality, not to mention easy to make.

A scanned photo not showing true colour

I was certainly pleased with the outcome and this jacket that took me to many a formal function in the late 80’s.  Today, we sadly seem to have reverted to “patchwork means a bit hippy”.  Too bad, it really did look nice…back then.  Class run at QNH by Sue Longmore on strip patchwork.

Who could forget this great book & inspiring clothing?

Each pattern piece was strip pieced over backing and ultra-thin wadding.  I chose to use dusky pinks, blues and maroon.  For a bit of glam, I finished the jacket off with closures using bias button loops and cow horn buttons.  I did a little hand quilting to add to softness to the vertical strips and enhance that handcrafted feel.  In all it took about 15 hours to finish.

Exhibited at the Geelong Quilters Guild Exhibition in Jan 1988

Just for the Record:
Quilt Finished Size: 78 x 79cm
Block Size: Strip
Cut in: 1987
Pieced & Basted: Machine 1987
Quilted: Hand 1987
Quilt Type: Sue Longmore Workshop
Quilt Finished: 1987
Exhibited:  Geelong Quilters Guild 1988
Collection: Garment 1
Pattern Name: Not specific
Pattern Source: Knitwit #
Fabrics Purchased: 1986/87
Fabric Design: Plains & soft prints
Fabric Style: Cotton
Materials Type: Cotton
Wadding Type: Pellon
Backing: Cotton

Lessons Learned:
Technically it was a challenge to move from quilts to clothing. I stripped the pieces, sewing backing, batting and strips all together then cut out the jacket shapes. Hiding raw edges, making pockets and collar details were all “little problems” needing attention along the way.
 

Christmas Sampler

Back in the Day...And my very cute Assistant!

Christmas Sampler: 1986  (Started: 1986)

This was my first real quilt under guidance of Joc and Margaret (Canadian) who helped out teaching patchwork to the Queenscliff Quilters in 1986.  Learners in the group were doing a sampler and I chose Christmas colours, in part because I had some fabrics left over from previous crafty endeavours but also because I had seen quite a few antique red/green quilts and was enraptured.  I thought the colour combination worked really well and hoped to produce just such a masterpiece.  Ha!  We talked about quilt sizes and decided that a lap quilt was best – an achievable end result given time and our level of technical skill.  It also kept costs down too.  We started work in March and my 6 chosen blocks, sewn in order were:

1. Ohio Star
2. Monkey Wrench
3. Drunkards Path
4. Grandmothers Fan (completed two of this block – perhaps this was cathartic)
5. Bridal Wreath &
6. Flower Basket

They were completed; a block each month.  I found a stars in the sashing border to brighten it all up, used a really nice quality poly batt from the Quilt Shop Joc was working in at the time (I think) and got to work hand quilting. I remember thinking I had done enough quilting a couple of times, but my taskmasters sent me home to add still more.  Finished hand quilting at last in Nov 1986. Phew!  The whole thing took me more than 60 hours.  This quilt was exhibited at the Geelong Quilters Exhibition in Jan 1988.

Fan Cushion

I completed a cushion with the extra fan which I donated to St Aloysius School to raffle (1986).  I wasn’t (and still aren’t) big on patchwork cushions but one has to learn…. 

 Home# 023 Beginners Sampler 1991 (Apricots & Browns) 

I rather enjoyed making sampler quilts and this style became a mainstay for me to later teach with at the Queenscliff Neighbourhood House when Sue was no longer able to teach.  I used patterns from Ruby McKim mostly as we were nearly always hand piecing then.  I amassed a few quilts in this sampler style, most given away as gifts.

Finally, a better quality photo of my first sampler/first ever quilt. (1986)

A more recent & digital photo - we've come a long way in lots of things

Just for the Record:
Quilt Finished Size: 112 x 154cm
Block Size: 12”
Cut in: 1986
Pieced & Basted: 1986
Quilted: 1986
Quilt Type: Group
Quilt Finished: November 1986
Exhibited:  Geelong Quilters Guild 1988
Collection: Home# 002 Christmas Sampler
Pattern Name: Sampler – see list of block names above
Pattern Source: Supplied by Tutors
Fabrics Purchased: 1986
Fabric Design: Christmas Prints & Plains
Fabric Style: Cotton
Materials Type: Cotton
Wadding Type: Poly Batt 50g
Backing: Cotton

Lessons Learned:
Hand pieced and quilted; estimated 60 hours of work.  There’s never enough (hand) quilting…

Serious Influences 1986

Back in Australia, I joined a local quilting group after being introduced to the art by my neighbour, Joc, in 1985.  She had spent some time in the US and her house was brimming with crafty things we only ever saw in magazines (if we were lucky enough to find a bookstore that stocked them!).  She hosted a group of avid stitchers who were later to become the Fort Queenscliff Quilters.  I happily joined in, wanting to demystify the secrets of stitching perfect fans.  After all, I’d been battling with my silk creation for over 2 years now. 

Just sew 80's

We all have to start somewhere and my quiltmaking apprenticeship began in 1986 by learning to hand quilt a cushion, front and back.  The front was a cheater panel (of course) and the back became a lesson in marking up a pretty feather wreath.  Needless to say, I didn’t enjoy this less than creative activity although managed to add 80’s crafty excesses to it before giving it away to my MIL for Christmas that same year.  Meanwhile, I battled on with the GMF (Grandmother's Fan) adding more embroidery. 

Starting the hard way - still it was finished fairly quickly

Ideas for stitches came slowly, until I found Dorothy Bond’s (1981) book, Crazy Quilt Stitches.  Meanwhile, there were so many other tempting things to do!  So the GMF was more or less abandoned for “another day”.  There you have it – the start of a serious quilt addiction, a reason to add even more textiles to my stash and a growing collection of books & magazines for patterns and ideas.

So good you can still buy it from bookstores