Are spirits see-through? Mine is! I traced the gull onto white netting, then sewed the netting down to the background, and trimmed off the excess netting. I couched white yarn over the lines of the seagull. The fan pieces are tea-dyed, and buttons were used for embellishment.
I found a fabric that had a black background with discs of blues, purples and pinks. I cut squares from the fabric which featured the discs, and then picked other fabrics to coordinate with them. Basically, this quilt is 15 squares sewn together.
If you read the description of how I created the blocks for “Stained Glass,” it tells the technique I used for making these blocks. It’s much more difficult to see in this quilt because I worked with only one fabric, which already had a lot of variety in itself. All of the pieces were fused to a dark blue background.
This was a piece of fabric cut from a jacket I found in a thrift shop. I used magic marker to add windows and doors.
M. C. Escher (1898-1972) was a graphic artist from the Netherlands. I was fascinated by the many drawings by Escher which show figures linked together, like in this picture of seahorses. To make this quilt I first made a paper template of one of the seahorses. I used the template to cut out shapes from black and brown fabrics. The white seahorses are actually the white background fabric showing through between the brown and black fused seahorses. When it came time to do the quilting, I chose brown thread and stitched scales and eyes on all the seahorses.
I used only two fabrics in this whole quilt top. One is the brownish fabric with the print. The other batik fabric had large areas of many different colors that flowed into each other. I cut the two fabrics into 3″ squares, turned them to make diamonds instead of squares, and spent a day arranging them on my design wall. Then I sewed the squares together in strips that run diagonally through the quilt top, and then sewed the strips together.
This quilt started with a small painting I did of a red heart on a blue background. (That block is now mostly hidden behind the large heart!) When I finished the quilting, I decided to fuse on the large heart, then added the ten small hearts, and requilted those areas. I still wasn’t totally satisfied, and decided to add the silk flowers. There are multi-colored buttons in the centers of the flowers.
This quilt was inspired by Faye Labanaris’ book “Quilts With a View.” The fabrics are from clothing found at thrift shops. The black and gold background fabric is actually a leg from a pair of harem pants! The quilt is embellished with metal charms.
The fabrics are from old clothing found at thrift shops. The cut pieces were loosely tacked down to a background fabric, then covered with a piece of netting. The netting held the fabric scraps in place while I stippled the quilt. A variegated chenille yarn was used for embellishment.
An old dress yielded the flowered background fabric. The gold flowers in the middle of the quilt were cut from that background fabric, and fused into a bouquet. The Asian figures were cut from another fabric. I loved the way the black-and-gold border fabric accented the quilt.
I used a flip-and-sew technique, but without any pattern, to generate the blocks. The fabrics are from old blouses found at thrift shops. The black lines are braided cord.
I made this quilt top on the weekend after 9/11. It was a way of using up some of my thrift shop fabrics. All pieces stared with fusible web on the back of the fabrics, then I cut the shapes, freehand. I arranged them on a background fabric until I was happy with them, then pressed the pieces to the background. I was mostly thinking in terms of autumn foilage when I made this quilt. Later, someone who saw it said it looked like an explosion. I guess that must have been my subconscious theme….
The technique I used for the snowflakes was the same one I had used for the fireworks in “Fireworks”. In this case, I only used one fabric behind the cutouts. That fabric was also used for the snow on the ground. The quilt still needed something, and Snoopy, enjoying the snow, was my answer.
I started this piece by cutting a rectangle of each of the colored fabrics and stacking the pieces on top of each other. Then I used my rotary cutter to cut through all layers at once, slicing off sections of the fabrics. I played with the pieces to make up my blocks. If you look at any one shape in a block, it will be the same shape in each block, but each shape will be a different color because it came from a different piece of fabric. The purple background was one large piece of fabric. I had put fusible web on the back of the fabric squares before I cut them, so once I had them arranged to my satisfaction, I pressed them to the purple background. I added the two columns of small squares of fabric to make it look more interesting.
The interesting mottled fabric was from an old jacket. The colors and shapes that I used in this quilt made me think of sweet potatoes and pies – hence the name.
Like many of my quilts, these fabrics are from old clothing found at thrift shops. While it may look like I pieced a quilt for a change, that’s not the case – all the pieces are fused to a background fabric. I named it “The Daily News” because it’s “black and white and red all over.”
Fourteen thrift-shop blouses sacrificed fabric for this quilt. I cut the fabrics into 2-1/2″ squares, set them on point, and fused them to a burgundy background. I arranged them slightly apart from each other to give the illusion of sashing (or grouting). For some reason, the fusible web was less than effective, and it was a challenge to do the extensive quilting to secure all the diamonds, while they did their best to pop up off the quilt.