TAFA: The Textile and Fiber Art List

Showing posts with label Quilting. Show all posts
Showing posts with label Quilting. Show all posts

Monday, January 12, 2009

Teaching Quilting in India by Donna Hussain

Main building, Nasr School
Hyderabad, India

A few years ago I received an invitation to teach quilting at Nasr School in Hyderabad, India. The invitation came from my husband’s cousin, Begum Anees Khan, the school founder. Starting with a small nursery school in the 1960's Anees slowly added students, extended the curriculum, built classrooms, and acquired property to expand the school. Today Nasr School enrolls over three thousand students from preschool through high school on five Hyderabad campuses.


Classroom building, Nasr School



Students on the way to school.
Hyderabad, India

Although I have taught quilting here in the States, I questioned my ability to teach abroad. Would familiar quilting supplies be available in India? What level of quilting should I teach? How long would I need to stay abroad to make my teaching worthwhile? Anees was at a loss for answers to such questions since she had no quilting experience herself. “Just come,” she wrote. “Once you are here we can figure out how to proceed.”

Despite my misgivings, the challenge of teaching in India was too enticing to resist. In early January 2006 my husband and I flew to Hyderabad for a seven week stay. We became part of Anees’ family living in her home on school grounds. I taught hour and a half sessions of beginning quilting twice a week to a class of 12-14 year old girls. I also taught quilting to two groups of women, mostly teachers, two afternoons a week. I had a busy social schedule as well: formal house calls to all of my husband’s relatives, dinner parties, weddings, and other family celebrations.

Morning assembly at Nasr School


Primary school students


High school girls, Nasr School


Classroom at Nasr School

Twenty-seven girls signed up for my quilting class. The sewing classroom was large, but sparsely furnished. There was a small teacher’s desk, eight “new” treadle sewing machines for my quilting classes, and benches for the students. I asked for the addition of six large tables, bulletin boards, and irons and ironing boards, a request immediately granted because of my relationship with Anees.

Quilting classroom


Students at work

Unfortunately, the “new” treadle sewing machines were a disaster, at least in my classes. Most of the girls needed instruction in their use and time to practice on the machines. Since the treadles were easily jammed with thread and inoperable most of the time, I taught them how to piece and quilt by hand.

Cranky treadle machines

I brought plastic rulers, cutting mats and rotary cutters to India in my luggage. Before my departure from home I debated whether to do so. It seemed reasonable to teach students the easiest, most accurate ways of measuring and cutting fabric. But would it be wise to teach the use of tools unavailable in the Indian market? Hyderabad is a city of seven million so I thought quilting tools might be for sale in the city if I could only find the right shop. A relative spent hours and hours driving me around the city to look for the tools with no success. Fortunately, most of the girls in my class said that they had relatives living the Middle East, England, and United States who could send them quilting supplies on request. I donated the tools I brought from home to the school on my departure.

In driving around the city I also looked for cotton or wool batting like we have in the States. None was found. However, I did find a thick polyester batting that might be used if split. In one small shop I met a quiltmaker who was doing hand quilting for a client using layers of thin rubber sheeting as batting. I used flannel for batting in the small quilts I made while in Hyderabad.

In winter months Hyderabadis like to sleep under soft full-cloth bed quilts that are filled with cotton held in place by rows of large hand-sewn stitches. The cotton is so light and fluffy that workers in shops where the cotton is sold wear masks to protect their windpipes and lungs from fuzz in the air. When dirty from use, the quilts are taken apart, the used cotton fill is discarded, and the fabric sandwich is washed. The fabric is then refilled with cotton at a shop.

Shop for cotton fill used in bed quilts.
Hyderabad, India

Once classes started, I taught the girls to measure and cut fabric, and how to sew together quilt blocks. We focused on four- and nine-patch blocks and those that included half-square triangles. The girls then practiced how to assemble a variety of quilt blocks using paper and fabric cutouts. It was my expectation that they would then choose a pattern and start making a small patchwork quilt top in class using fabric brought from home. To my disappointment few girls actually started a quilt project. Instead of learning the final steps in quiltmaking by doing, the girls watched me demonstrate how to add borders, batting, and binding, and hand-quilt with a hoop.

Members of my adult quilting class.
Hyderabad, India

My classes for adult women were much more successful. All of the women had sewing experience, and all wanted to learn as much as possible about quiltmaking before my return. While some of them wanted to make quilts for their families, most were teachers who carefully took notes in class hoping to pass on knowledge of quiltmaking to students of their own. The women didn’t want a slow-paced class that allowed time for practicing new techniques in the classroom. They preferred that I spend all of the class time introducing new material. At the next class they would bring me samples they had sewn at home to show me that they had mastered the skills that I had demonstrated in class.

My husband and I enjoyed our stay in India. On my return, however, I keep reviewing my experiences including all of the teaching mistakes I had made. I could have done better. Last Fall my spirits were bolstered by an e-mail Anees sent to me with pictures attached showing girls in Nasr School uniforms sewing patchwork blocks onto school tote bags. None were my former students…my girls must be nearing high school graduation by now. However, Nasr School’s sewing teacher was in my adult class.

Girls sewing patchwork
Hyderabad, India

California quilter, Donna Hussain, has exhibited in major quilt shows around the country, authored books, and is a regular contributor to Fiber Focus. Click on her name to see all of her past articles.


The photo shows Donna with her husband, Pascha.


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Saturday, November 15, 2008

Paradise Found: A Mola Quilt by Rayela Art

Paradise Found, a mola quilt by Rayela Art

For years and years, I have been promising my friend Diane that I would make her a quilt. Guilt has plagued me as for those same years and years as Diane has been one of those friends who walks the talk. She has consistently given support in the form of advice (as a chemist, Diane is a well of knowledge in all household and textile care tips), as a customer, as a knitter (I have benefited as the recipient of wonderful woolen goodies), as a book pusher (many of my favorite authors came through Diane's guidance), and much, much more.

Diane, AKA The Yin-Yang Knitter here on the blog
and DLouse on our Fiber Focus group.

Last April, Diane came down from Wisconsin to help me with my booth during the Quilt Show here in Paducah. I had just purchased a bunch of molas to sell on Etsy and we decided that I would finally make true on my promise of a quilt, using bird molas as the basic theme. Our booth was next to Bob (also a Fiber Focus member) and Helene's, who were selling fabric. Diane scoured through and picked a selection that she liked:

Aaargh! For all that we do have in common, our color palettes are not one of them. I prefer earthy, more subdued colors, while Diane's favorite color is bright yellow. However, I admit that her choices work well with the bright colors the Kuna Indians like to use in their molas. For months, the fabric sat in a pile- I just couldn't see what to do with it. Then, leafing through a quilting book I have, New Cuts for New Quilts by Karla Alexander, I saw what I could do.



The book shows different techniques for "stacking the deck", where layers of fabric are stacked and then cut in free form. Rotate the layers and you get repeat blocks, but with different fabrics. The quilt is very busy, so it may be hard to see the blocks, but the center is made of big, bold leaf designs, alternating the flaming oranges with lighter fabrics. The border on the top and bottom is another set of stacked decks and the sides alternate larger molas with forest greens. Perhaps some symbolism can be read into the reds and greens, referring to the destruction of our forests around the world and the hope that this paradise may somehow continue to exist.


Small molitas are appliqued throughout the center with large leaves protruding from behind them. The larger molas on the sides were sewn into the quilt as part of the piecing.

The quilt looks a lot better "live" than it does in the photos. Some close ups will help show the details.

Border Medium Size Molas:







Small Molitas with Big Leaves Appliqued in the Middle:





The Back of the Quilt
I like to bring elements of the front to the back of the quilt. In fact, I really like the simplicity this brings and often prefer my backs to the tops I've made. Most of the quilts I've made have been for other people so their tastes or designs have been dominant over what I would prefer to do. I long to play more with these ideas.
I also like the prairie points that go around the border of the quilt.

There was absolutely no way that I would be able to quilt this thing! Molas involve layers of fabric appliqued and reverse-appliqued so that they can often be quite thick. Diane hired our friend, Pam (another Fiber Focus member), to do the quilting. Pam is a professional long-arm quilter and did a great job! I told her I imagined vines and tropical leaves throughout the piece.

Pam Heavrin, Professional Long-Arm Quilter

Pam knew exactly how to translate my idea into reality! The quilting shows up best on the back.


Paradise Found is also about friendship and the collaboration we do together with our interests. Diane saw the vision, Bob and Helene had the fabric, I put it together, and Pam made it all stick! Plus, there is the international touch with the molas, bringing people and nature together. If the quilt were mine, I would have overdyed the whole thing to tone the colors down, but Diane absolutely loves it and that is what counts.

Molas are wonderful center pieces to work with and I hope this piece inspires you to look at the ones I have listed on Etsy. This quilt used 16 molitas, which could become quite costly, but simpler versions could be done. Molas are sturdy and work great to applique on pillows, jean jackets, bags, and other accessories. If you have ever made any mola projects, leave a comment and give us all some more ideas on how to use them!

Books on the Kuna, Molas and Stacking the Deck,
available on Amazon

Purchases through this widget help support this blog.

Note on Commissions: I am available for commissions. I enjoy doing them, especially if I have some freedom in coming up with ideas. A similar quilt to Diane's (in terms of labor) would be around $1,500 plus cost of materials and another $300 or so for Pam to quilt it. I especially enjoy working on memory quilts that honor a person or occasion. I will not be able to start on any new projects until after the New Year, but will happily work on commissions after that.

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Thursday, November 13, 2008

How To Machine-Quilt A Large Bed Quilt On A Home Sewing Machine by Donna Hussain

After seventeen years of use and abuse, the bedspread in our master bedroom, one of the first quilts I made as a novice quilter, was worn out. The fabric was beginning to tear weakened by cuddling, washings, sunlight and age. Even my husband, who was fond of the quilt, agreed it was time for a new quilt on our matrimonial bed.

Most of the quilts I sew are baby quilts or art quilts. I own a domestic sewing machine that serves me well when sewing small projects, but cannot handle the bulk and weight of a large quilt. I find it almost impossible to quilt by machine in the center of a large bed quilt since my sewing machine does not reach more than twenty-four inches from the quilt edge with ease.

My Limits on Machine Quilting

That is why I decided to adopt a quilt-as-you-go strategy for making our new queen-size bed quilt.


Donna’s New Quilt-As-You-Go Bed Quilt

I explain this process in the paragraphs that follow. I am introducing a methodology for machine-quilting, not giving directions on sewing a quilt with a particular block size or pattern. You customize the details. You choose the block design, the size of your quilt blocks, your color palette, and the dimensions of your finished quilt. The advantage of the quilt-as-you-go method is that it enables you to machine-quilt a large quilt on a domestic sewing machine.


Directions for Quilt-As-You-Go

  • Sew quilt blocks together to make a small quilt top measuring no larger than 48 inches x 48 inches.

  • Add batting and back fabric to this small quilt top and do the quilting by machine in a pattern of your choice. But leave unquilted a seam allowance of one half inch on all four sides of the quilt top. You will need this seam allowance when you later add blocks to enlarge the quilt.

  • Trim the batting one inch larger than the quilt top. Trim the back three inches larger than the quilt top. Trimming the batting and back will stagger the seams when you add more batting and back fabric to enlarge the quilt top.

  • The next phase is to add a section of quilt blocks rows, batting, and back fabric to the quilted top. This new section should not extend the measurement of the quilt top by more than 24 inches. Remember, it is hard to machine-quilt more than 24 inches from the quilt edge when using a home sewing machine.
Adding a Section to the Quilt Top

  • First sew the new block rows to the quilt top. Be sure to fold under the margins of the batting and back before the stitching begins so that they will not be caught in the seam.

  • Then add a new section of batting that is slightly larger that the block rows you are adding. To do so, first fold back the added blocks so that the batting of the quilt top is exposed. Fold back the small margin of back fabric as well. Then butt the new batting against the edge of the batting in the quilted top. Be sure both sections of batting lie flat. Baste together these batting sections by hand using the stitch illustrated below.
Basting Pattern for Joining Batting Sections

  • Add an additional section of back fabric. The back fabric should be slightly larger than the added block rows.

  • Then trim the batting (one inch larger than the new block rows), and back fabric (three inches larger) as you did when making the original small quilt top.

  • Machine-quilt next. To avoid puckers while machine-quilting I suggest that you first lay your quilt top on a bed. Place an ironing board at the foot of the bed and lower the board to bed level. Pull the new patchwork section and new batting onto the surface of the ironing board, but allow the back fabric to drop to the floor between the bed and ironing board. The bed will support the already quilted portion of the quilt.

  • Smooth the added section of blocks and the added batting to remove puckers. Iron the two layers together. The ironing will create enough friction to hold the two layers together while you turn over the quilt. (The new blocks are now face down with the batting on top.)

  • Now pull the back fabric onto the ironing board to cover the batting. Pull the back tight and smooth the fabric with the iron. Pin-baste the new section, then machine-quilt the layers together using the pattern of your choice.
Repeat these quilt-as-you-go directions each time you add a section to enlarge your quilt top.

Enlarging a Quilt Top

When your new quilt has been enlarged and machine-quilted to the size of your choice, finish by adding a binding. The queen-size quilt I made for our master bedroom using the quilt-as-you-go strategy is huge (102 inches x 141 inches) because I wanted the sides to reach only a few inches above the floor and a pillow tuck. I just kept enlarging and enlarging the quilt top with new 24” sections until finally satisfied with the look of the quilt when placed on my bed.


California quilter, Donna Hussain, has exhibited in major quilt shows around the country, authored books, and is a regular contributor to Fiber Focus. Click on her name to see all of her past articles.

The photo shows Donna with her husband, Pascha.


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Monday, October 27, 2008

The Making of a Quilt: The Book of Kells by Donna Hussain

Illuminated Manuscript from Ireland, The Book of Kells

The image above, a portrait of John the Apostle from the Book of Kells, was my inspiration for making the quilt below.

Quilt by Donna Hussain: The Book of Kells

The Book of Kells, a national treasure of Ireland, is an illuminated manuscript of the four Gospels of the New Testament transcribed by Celtic monks ca. 800. The text is written on folios of calf vellum that are richly decorated with Christian iconography, intricate interlacing patterns, and figures of humans, animals, and mythical beasts. The Book of Kells was my inspiration for developing a way to draw knotwork designs and sew them with bias tubes on fabric. My article on this website, Interlacing Designs for Quilt Borders, September 26, 2008, is an introduction to this process. But my ultimate goal was to render the Apostle John from the Book of Kells in the fabric of a quilt. I realized that I could not replicate the masterwork of the manuscript illumination but hoped to simplify the portrait of John and pay homage to the religious themes and symbolism found in the manuscript.

When planning my quilt I could not arbitrarily assign a finish size. There were practical constraints to consider when sewing the interlacing designs within the four cross blocks in the border of John’s portrait. Two variables would affect the block size: the width of bias tubes chosen for the knotwork, and the pattern scale. I had to make several sample blocks to test these parameters before I settled on the best size to make the cross blocks for my quilt.

Interlacing Design in the Crosses

This knowledge enabled me to draw the entire quilt border on a large sheet of graph paper and to visualize the size of the center space where John’s figure would be placed. The graph paper I use is Drafting & Design Fade-Out Vellum from Clearprint, a firm you can access on the internet at http://www.clearprintpaper.com/. I buy a roll of 36 inches x 20 yards, l000-4. This last number means that my graph paper of choice has four squares to an inch. A roll of twenty yards lasts me for about five years of quiltmaking.

I next decided on my color palette (purples, blues, and greens) and selected fabric for the quilt. The decision on the background fabric was difficult to make so early in the project. Fortunately, my choice, a soft pink print, proved to be fortuitous. I also made a decision to appliqué John’s figure to the center of the quilt after I had sewn the background and border blocks together. I chose this assembly method in order to ensure that the border blocks were symmetrical and squared.

Assembly Map of Border Blocks and Background

All of these preliminary steps took months to complete. In spite of the fact that I still had to design John for the quilt center I decided to take a break. So I stowed the graph paper design and quilt fabric on a closet shelf. Normally I work on one quilt at a time and finish all of the quilts I start to make. Taking a break was a risky strategy for me, but served me well.

Several months later, reinvigorated, I took a class from Judy Mathieson, who teaches the drafting of mariner’s compass blocks and their paper-piecing. I wanted to learn her techniques in order to design and sew John’s halo. Since my halo is only a partial circle and John’s head covers the center I did not have to worry about sewing accuracy. Novice makers of mariner’s compass blocks often create a “volcano” in the center because of their lack of sewing precision.

Once the halo was sewn I was ready to draw John’s portrait. I tried and tried but never could get his proportions right. Fortunately I have an artistic son who came to my rescue and drew John’s outline to scale. I first made John’s head with curly hair and a beard as in the illuminated manuscript. Then I added big eyes and mouth. The result astounded me. My John looked so compassionate. Elated, unsure how that happened, I now had confidence that the time and effort I was spending on the quilt was worthwhile.

John’s Head and Halo

From the onset of the project, I planned to use purple fabric (for majesty) for John’s clothing. Instead of the voluminous robes in the manuscript, I decided to make a serape sewn with bargello strips. I changed the awkward position of John’s manuscript arms with arms I found in a book of medieval costumes. When people ask me why the index finger on John’s left hand is pointing, I have to admit there is no good reason, except that the hand was at the end of the arm that I chose.

Because the Book of John in the New Testament was written by the Apostle, John is usually portrayed holding a book and a pen in religious art. Instead, I placed a flagellum in John’s right hand. A flagellum is a liturgical fan that was used in the early Irish Catholic church to scare away evil spirits from the alter. Illustrations of flagella appear throughout the folios of the Book of Kells.

The Book of Kells Quilt, Detail: Liturgical Fan

Perspective was not well understood in the ninth century when the Book of Kells was being transcribed. So it doesn’t matter whether viewers of my quilt have difficulty telling whether my John is standing or sitting on the couch. The monks were also weak in anatomy. Look at the position of John’s legs in the manuscript. His knees are forward and his feet facing sideways. I copied this feature and added some whimsy by placing John’s feet on a balance.

The striped second border was added last. I also embellished the quilt with beads and charms but used them sparingly on John's figure in respect to his vow of poverty as a disciple.

California quilter, Donna Hussain, has exhibited in major quilt shows around the country, authored books, and is a regular contributor to Fiber Focus. Click on her name to see all of her past articles.

The photo shows Donna with her husband, Pascha.


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Monday, October 13, 2008

Rayela Art Online Quilt Classes

Applique Details from "God Save Us All"
Quilt by Rayela Art

Several years ago I taught a couple of quilting classes at the now defunct Textile Art Centre in Chicago. Loved it! Several of my peers now teach online and I thought it was time I joined in the fun. Part of the joy for me was to see how each person interpreted an exercise in their own way. One theme, many voices. As I have not taught these classes before, I don't have any photos showing examples of what a finished quilt will look like. The above photos are not very good ones, but are details of an appliqued quilt I made for a friend of mine.

I am offering two classes, Window to the World and Sew My Self. Both classes are aimed at helping people break out of patterns and kits into seeing in a new way and achieving skills to design their own quilts using applique. As a big believer in recycling fabric, both also can be made with scraps, old clothing, or other fabrics you might find at a thrift store. The cost of materials, therefore, really depends on the participant.

Time Commitment for the Quilt Classes
The classes will run through the month of November and require a minimum of 40 hours to complete. Perfect time for creating an heirloom Christmas gift! (... If you celebrate it...) Each class will have four lesson plans that will have photo and written descriptions. We will meet on a private, invitation only forum. Participants will also be able to critique each other and brain-storm over ideas. I will also work on a piece for each class so that you can see my process.

Skills Needed
Basic sewing skills, ability to draw free hand or with rulers, comfort with working online and ability to follow through on tasks. We all live busy lives and it is easy to put off a lesson until tomorrow, but the reality is simply that mastering any craft requires time. We will discuss shortcuts and present options so that the participant can choose how much time they want to dedicate to their projects. Be sure that you have at least 10 hours a week that you can dedicate to this in order to complete it in a month. Maybe peer pressure will help those of us who have a tendency to accumulate "ufo"s (unfinished objects)... Both classes can be done completely by hand, although a sewing machine will help it go faster. I usually mix a combination between machine and hand work, but you can use what you prefer.

Deadline for Signing Up
October 31st. Use the Pay Pal buttons below to pay for and sign up for the class. These will be your receipts.

Window to the World

Pick your favorite window in your house. Look at it. Imagine it in fabric. You will learn how to graph it out and translate it into a finished piece. You can look out on to a real world or your fantasy world. Finished size will be around 2'x2' depending on the shape of the window. The class is made up of four lesson plans, a new one posted each Monday:

November 3 Graphing it Out and Fabric Choices
November 10 Freezer Paper Templates
November 17 Sewing and Adhering Options
November 24 Finishing


Window to the World November 2008 Class
$60





Sew My Self

Outline your body or that of someone you love. If you do yourself, this will be a self-portrait. A child's body would be faster and easier. Dress the body with actual clothing and explore ideas in texture, movement and color. Limbs and faces can be expressed in many different ways. Finished size will depend on on participant's body choice, but will most likely be a rectangular wall piece. The class is made up of four lesson plans, a new one posted each Tuesday:

November 4 Drawing the Profile
November 11 Dressing the Body
November 18 Applique Choices
November 25 Finishing Options

Sew My Self November 2008 Class
$60




When we are finished, we will have a "gallery exhibit" here on Fiber Focus and you will be able to write about what you learned and how this class has helped you see in a new way! Even experienced quilters often need a push to help them experiment with new techniques and fresh ideas.

When you sign up I will send out a questionnaire that will help me shape the class to fit the needs of the participants involved. Come join us! This is going to be a lot of fun!

See my post on Arpilleras for more inspiration.



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