Huge Challenge: Making a Whole from the Parts

In the previous posts, you've seen the individual blocks I've been making, 61 of them, for my Travel Diary 2014 quilt. Each block is quilted, bound, and embellished... each a mini-quilt. The difficult challenge was how to put them all together into a whole piece.

This is one of the 61 blocks.

My original thought was to stitch them together into a wall hanging, something like the arrangement below:

No way! As I played with the arrangement, it was obvious that the results were "muddy," confusing, and "busy" from close up... and boring from a distance.

So then, I spaced them apart, like in a photo album, not touching, something like this:

Nope. That didn't work either... still too busy, muddy, and boring from a distance. Akkk, what to do???? Sleep on it!

Next morning, the solution came to me upon waking! Sew them together in clusters, and mount the clusters on a back-quilt!

To see how the idea would work, I grouped the blocks on a piece of fabric from my stash, each cluster representing a whole (or segment of a) trip. This is how it looked:

The idea of clustering worked! Yay! Instead of 61 different things to view, there were now only a dozen or so. And from a distance, the shapes of the clusters against the pathway of background color made an interesting pattern.

What color would the back-quilt be, and how would the clusters be attached, I wondered? After stitching the clusters together, I took them to the quilt shops in Anacortes to find the a fabric for the back-quilt.  It had to be a read-as-solid print, one that wouldn't distract from the clusters, in a color  that contrasted in value with the over-all value of the clusters. I soon found that either too much or too little value contrast was not good. Two green prints and a light coral print came home with me as possibilities.

That evening, after trying all three of them, I decided to go with one of the green prints. The clusters seemed to "pop" nicely on it!

However, the next morning, when I viewed it in daylight, the green seemed just too cool. My travels were warm (at heart) and wonderful...  I wanted the quilt to have visual warmth. Back to the drawing board. I made a "help!" call to Lunnette, my quilting friend and travel companion on one of the trips, who came over and agreed that the green was good... except for the important consideration of "warmth." While trying various possible fabrics, she happened to mention that red is sometimes considered a neutral color, which made me look at the red/rose fabrics in my stash with a different eye. When we put the clusters on a piece of medium-rose batik, we both knew instantly we had found the back-quilt fabric!!! Whooo-hooo!

Next was the matter of how to construct the back-quilt and how to attach the clusters. I made all the mini-decisions on an "as needed" basis. Here they are in order:

1. quilt the names of the people I spent time with on these travels on the back-quilt (picture shows one quilted line, and two lines written in chalk to be quilted)
   
   
2. use the same color thread as the fabric to quilt the names, so they are there, but do not distract the viewer from the clusters of blocks
3. make the edges of the back-quilt irregular
4. bind the back-quilt edges, and then whip stitch the binding with pearl cotton, the same as the individual blocks
   
5. sew the clusters onto the back-quilt on the top edge only, allowing the cluster to be lifted to see the backs of the blocks (all different fabrics, carefully chosen for the subject of each block), and giving a place to sew a label identifying the location, people, etc. in the photos of that cluster
6. use a double row of hand-stitching along the top of each cluster to support the weight
7. make a small identifying label for each cluster
   
8. sew a small, and very personal, embellishment on the back of each cluster, something I know is there but that most people won't see (or know the meaning of if they did see it)

And here is the finished quilt. It's 37" wide by 43" tall. Even if you click-to-enlarge, this picture does not do the quilt justice... So, if you'd like to really SEE it, come to the La Conner Quilt & Textile Museum during April (April 1 - May 3), when it and 29 other of my beaded objects and quilts will be exhibited!

What did I learned making this quilt? Whew... probably more than you'd want to read... The most important thing was a reinforcement of the "just do it" approach to original art, an approach that works so well for me with my bead embroidery. Not stressing over all the decisions, not needing to have all the answers in hand before starting, is a hugely enabling gift to the creative process!

"Just Do It!" - Proof It Works

Last night, too excited to sleep, I tossed and turned for hours, my mind racing around the most amazing "just do it" story I've ever encountered.

Here's a little peek.

But first, if you read my blog or my books, you are well aware of my favorite motto: "Just do it!" I say it all the time when I teach and believe from many examples, including my own shy journey into art, book writing, and teaching, that it works like a charm. You can do anything, if you just do it.

Are you ready for this? Be sure to click on the picture so you can see the details!

This amazing basket, inspired by a similar 17th Century basket, was made by Rachael Kinnison, a woman who did not know how to bead. Take a closer look at some of the details...

 

Rachael says:   I have collected antique beads since I was in early grade school. I was always drawn to them, but never made anything with them.  The second I read about the beaded baskets ..., I knew why I had collected them for so long.  I saw the Corning Museum basket, and that was it, my mind was made up in a nano second, I had to make that basket~ I had no idea how~so I just looked at the pictures and did it. 

She just did it. See? It works!  Just do it, everybody, make up your mind, and do it!

Rachael kept track of her materials, how much silk ribbon it took to wrap the spokes, how many beads she used, and how many hours she worked to complete this museum-quality piece. She wrote about it on her blog, showing many step-by-step photos of the process. If you want to know how she made her basket, go to her blog, Lady's Repository Museum & Diamond K Folk Art, and start scrolling back through recent posts. It's such a gift. Thank you, Rachael!

Rachael entered her basket in a contest sponsored by Dr. Tricia Wilson Nguyen, of Thistle Threads. Go to her blog (The Embroiderer's Story) to see pictures of the runner-up beaded baskets, all definitely worthy of a look-see, if you like beads and beading.

You are looking at pictures from both Rachael's and Dr. Nguyen's blogs, placed in this post with their permission. I am grateful to both of them for posting such excellent photographs. And congratulations to Rachael for this magnificent achievement!