I’m loving an article in the current issue of Threads magazine: “The Lost Art of Piecing.” This is what my former blog, Project Remnant Review, was all about, pursuing projects that can be made using fabric remnants. Somehow I’ve felt that deep down, a project from remnants is maybe, second class. It satisfies my inner cheapskate. But when I make an item, I know that I didn’t start from scratch, visualizing the finished project, then purchasing the fabric that would make it a stand-out…instead, I “made do” with something I had, and which I no doubt bought at a reduced rate, too. These things I don’t mind. Apparel sewing is nothing but a big experiment for me.
Sometimes I will see parcels of fabric at the remnant rack, that I believe I have some of already, home in the stash. In that case, I might buy the remnant and add to what I have, opening the possibilities for making something out of that fabric.
Take this skirt, for instance:
I had a little remnant of this that was less than a yard. So when I saw the Vogue pattern V8882 for a pleated, full skirt with a sash, my hopes to make a cute outfit for Valentine’s Day were dashed, because View D of the pattern asks for more than 5 yards of material. I got on the Internet and looked at the store where I originally bought the remnant to see if there was any more of it anywhere, and it referred me to my local Joann’s, which had only 4 yards in stock.
I went and got the 4 yards, but I didn’t have enough to make the article, without piecing fabric together for some of the pattern pieces. This skirt has an interfaced hem facing sewn to the bottom of the hem, then blind-stitched. I pieced the hem facing, since after all, it will be underneath and most likely will not be seen unless the wearer wants to go all out Moulin Rouge, with the high kicks.
The sash is also a remnant, of sheer fabric. Rather than doubling the fabric, folding it, seaming and turning, like the instructions said, I used one piece of the embroidered chiffon for each sash end and hemmed the edges of them with a 2mm hemming foot.
This top, view E from Vogue 8792, was intended to be made from the same fabric, with pieces cut on different positions of the fabric grain. Instead, I made it from two different but similar remnants, one with the multi-colored stripes and one of white, gray and orange stripes. And instead of matching fabric for the neckband, I used black rib knit.
Like the top, this dress was intended to be pieced from two different fabrics, or the same fabric. I’ve seen lots of dresses like this in the middle-age and plus size clothing catalogs I’m apparently a target audience to receive in the mail, I guess because the black panels at the side are supposed to give an illusion of slimness.
And then there’s this project, Butterick B4597 View C. The sash/scarf was a remnant, of double-sided red and grey plaid. But the dress fabric I thought I had plenty enough for this view, and I must have screwed up cutting it out to where suddenly, the last pieces to be cut had to be pieced. The two backs could not fit on my remaining fabric, so I pieced them so that there was a seam across the waist area in the back, which made the zipper area at the seam a little bulky, but I pressed it down hard and top-stitched the seam, then top-stitched the neckline and front slit to make it all look intentional.
Here’s the pattern:
The finished dress reminds me of something Guinan would wear. I like it although the Ponte knit is really more suited to cooler climates ….on Valentine’s Day here it was in the 80’s. I have also made this dress before, a few years ago, as shown in this former blog post.
I got this little circle-making attachment in an after-holiday sale at A-1 Sewing, our local Husqvarna Viking store, and I’ve been trying to get some projects going, so I can make use of it.
First off, I used it to decorate some window coverings for a superadobe building. (If you want to see more about this particular building, go to this PlenitudPR website under the heading “Bio-construction.”)
You may see this photo and think, “But that looks like a pillow, not a curtain!” True! The proprietors (who happen to be very dear to us) mentioned that their superadobe house could sure use some window coverings, that the windows to be covered were like portholes, about 12 inches in diameter and some were more oval-shaped than round.
They were currently using pillows to stuff in the windows. We came up with some options that did not work, then a few that were more useable.
This was the first attempt: it looked like a big circular potholder. I used white blackout fabric for one side, batting in the middle, and fabric on the other side, and edged it with double-fold bias binding, with a little strap for pulling it out. Unfortunately, you can see here that it was not quite big enough to plug the hole.
For the second attempt, I tried out a new design, sketched here:
The diameter was increased to about 26 inches, the center circle was padded and sewn around, and the outer circle was supposed to slide into the cylinder of the wall thickness to be held in place. But again, this design didn’t work well, although they were able to fold it a certain way to keep it from falling out, so it was somewhat useable, see it in the next pics:
The third attempt included the brown dragonfly “pillow” shape shown above. Since they were already using pillows, and that worked…if it ain’t broke, don’t fix it, right? I increased the diameter to about 16 inches and added a lot more fleece padding. Since the diameter was larger than was usable for the circle-making gizmo (maximum diameter for that is 10 inches), I did snap it on anyway and sew some circular designs in the centers of the covers, to quilt the fabric and batting layers together in the middle. The attachment comes with templates to make circles, 4-petal flower shapes, or 6-petal flower shapes.
And I should be glad to mention that PlenitudPR is an organization that teaches and promotes sustainable living, so we kept that in mind and used fabric remnants for our window covers, and thus kept those leftover pieces of fabric from potentially clogging the landfill.
In a previous post, I referred to the multitude of quilt tops I had ready for quilting.
Since I got the Qnique and Grace Frame, I may have quilted about 5 or 10 items. I hoped to have acquired expert status with this set up by now, but it hasn’t been like riding a bicycle. The brain and muscle memories haven’t automatically renewed every time I tried a new project. Each project has its own set of peculiarities!
Since most of the pile (seven of them) consisted of table runners, I thought maybe I could pin several of them up to the Grace Frame, and quilt them all at the same time, and see how it went.
This frame is supposed to accommodate fabric to make a king-size quilt. I was able to comfortably fit 5 of the 7 table runners across the width, with a little space in between each. The backing is pinned (with the right side facing down) onto the first (top, furthest back) leader cloth, and to the second (center) leader cloth. I have marked on each leader cloth a mid-point. Normally I would fold the fabric of the top, bottom, and batting in half and pin that half-way point to the mid-point on the corresponding leader cloths. To match up the mid-points on all these separate fronts and backs of the table runners, I just counted the marks on the top leader cloths and lined them up with the marks on the bottom leader cloths. I realized later, that not all of the table runners were the exact same length, so that was one major problem with this set up!
A while back I bought 2 big rolls of batting on sale, anticipating that I would be making a whole bunch of quilts. I use one of them most of the time, for the smaller baby quilts and lap quilts. I can position the roll on the floor in front of the frame, and just roll out the batting up onto the frame as I am rolling out the fabric to be quilted. The one end of the batting layer is pinned to the backing, and then the quilt top is pinned to those two layers, forming the quilt sandwich. I actually purchased a fourth rail for the Grace frame, onto which the batting roll can be wound. One of these days I will find that fourth rail and install it. The second of the two batting rolls is for larger-sized quilts. The batting is folded double, and then wound onto the cardboard roll. So it doesn’t conveniently unwind from the roll like the first one does. You have to unroll the estimated length of batting, cut it off, and then unfold the large section of batting in half, and pin it to the backing.
One thing I enjoy about the Qnique and Grace Frame set up is that pinning the fabric layers to the frame takes significantly less time than pinning the layers of a quilt for quilting on a home sewing machine. You pin the selvedge edge of the backing to Leader #1, then the opposite end to Leader #2, then roll it up on the rails, smoothing it out with your hands. No need for fifty-thousand pins with the little foam bobbers, or safety pins, or clips. However, in this case, since all the table runners were not the same length, and there were so many separate edges above and underneath the batting layer, a bit of mayhem ensued.
All five pieces were conjoined in the batting layer, as seen above. But when the ruler base attached to the throat plate of the Qnique slid across to continue quilting the top next to it, it sometimes slipped the backing layer of its neighbor (underneath the throat plate) out of alignment, which wasn’t easily seen from the top side. And because all the tops and bottoms were of slightly different dimensions, some of the backing layers had a bit of slack, which wasn’t easily seen from the top, and which resulted in a few big puckers.
DH (Skip) suggested that next time, I sew the edges of each runner together prior to quilting them on the frame. I don’t like that idea, because I feel that the seam ripper should be used for ripping out undesirable stitches that occur by accident, not on purpose. But, if I ever do 5 at a time again, it might be worth a try to see if sewing them together causes less shifting of layers.
After the quilting, and cutting out the separate runners, and truing up the edges, I found that I would need to rip and redo several areas of quilting, due to puckers, overlaps, and other unsightly mistakes. In a couple of spots, when I slid the Qnique over to the next runner, the hopping foot got entangled in the edge of the top fabric and had to be cut loose with scissors. Sheesh.
The worst shifting and puckering occurred in the inner three table runners. The outer two turned out with the least amount of rework needed, perhaps because the bungee clips which hold the fabric taut, are attached to the two outside runners. This is the reason for DH’s suggestion that all the lengthwise edges be seamed together for quilting, so that the tops and bottoms are one continuous piece of fabric during the quilting step. But I also feel that these errors can be chalked up to overall unfamiliarity with the process. Perhaps they could be prevented in the future by smoothing all the fabric pieces, exercising extreme vigilance of the under layer, and perhaps installing the fourth rail and rolling the batting on it, thereby keeping the batting layer more taut and uniformly stretched out during quilting.
Next pass, I pinned up the last two table runners to the frame. These, too, were of slightly different lengths, so one of them had some slack in it during the quilting step.
I pinned them up closer together, practically touching, but I didn’t sew the edges together. I ended up with a couple of minor puckers and overlaps. But the one with the pink backing, because of its additional length compared to the other one, had about a 5-inch space at the end that couldn’t be passed over with the machine, because its neighbor was already at the end of its quiltable area.
So this last little bit, as well as several areas on the previously mentioned runners that had to be picked out and re-quilted, were done on the Brother SC9500 with the free-motion hopping foot installed. BTW, that Brother is an awesome little machine, and very affordable!
I did manage to get all the quilts (3) and table runners (7) finished, reworked if necessary, and bound. Here are a few pics of the finished items.
The last one is not bound yet, because I couldn’t find anything in the stash right away that would make it “pop.” But the cats love it already. This is a slippery, satiny fabric that is possibly meant to represent snowy winter camouflage. For a backing, I used a silvery hologram-looking knit fabric. I love all of the camo remnants!
Skip, who is somewhat tone deaf, was trying to tell me about the famous Halloween Song that they always sang when he was a youngster.
“You know, the song “On October 31?” he said.
” No, I’ve never heard of it.” I said.
“You know, this one…” and he started singing it. It went like this.
“Oh, yes, that one. I didn’t know it actually had words.” I said. “It’s from the Peer Gynt Suite by Grieg, right?”
“I don’t know,” he said.
Same famous melody, two totally different contexts!
“Music Time” at Meade Heights Elementary School in Ft. Meade, Maryland in the mid-60’s, was sitting in the same seats in our classroom and listening to LP’s played on a portable record player. There were no visuals. Perhaps, as first or second or third graders, the teacher would have us draw what we felt when we heard the music. But I was never introduced to those lyrics that were well-known to Skip. Wonder if it was a regional thing?
Thinking, on the last day of October, how quickly this month evaporated, and that soon it will be gone altogether.
Other October things:
Lately, October has been the month of Breast Cancer Awareness, and every year we have more friends and relatives to whom we dedicate our service and consideration. Here’s hoping for a cure!
As for crafting, it’s been a few weeks of machine embroidery on dish towels and future table runners. Designs from Embroidery Library.
Kokka is a Japanese fabric company. Every once in a while I’ll go to a sewing expo somewhere and find a vendor who has Kokka fabrics–usually in 1/2-yard packages that cost about as much as a yard of other fabrics, but they are so darn cool!
The red and green dish towels were machine embroidered on packaged sewn dish towels from JoAnn Fabric. They are sturdy cotton with a loop on one corner for hanging. The beige dish towels were also pre-made, but I forgot where they came from. The others were sewn from fabric. The table runner is a Realtree cotton duck cloth fabric remnant from JoAnn’s.
For Autumn table runner number 3, I’m doing a left brain sort of a project. Actually they’re all pretty left brain for me, because rather than offering a tutorial or a gallery of images, I tend to analyze everything that went into a project. To the nth degree.
This project looks pretty simple, but it was troublesome to pull off.
I had it in my head that I wanted to do some machine appliqué text letters. But nothing in my pattern files fit. Ditto for the two of my favorite sources for machine embroidery patterns, Embroidery Library site and Urban Threads. I found the appliqué font for this project, Sporty Script, at Rivermill. It was delivered in a zipped file, including several different sizes. I chose the biggest size, 7 inches, for this.
As this is the first sewing project featuring text as the main design element, that I’ve done in a while, I was experimenting. Just playing around, really, to get a feel for what I could do, how it would end up. My fabrics were remnants, of course, of about a yard each for the top and bottom. The top piece is Hoodie’s Collection for Michael Miller Daisy Drama in fall colors. The bottom is a mustard-colored Fabric Traditions NTT print with glitter shot through it. At first, I wanted the fabric of the text appliqués to be a yellow-orange or a sherbet-color, but I tried mocking that up, and didn’t like the resulting look much. In the end, I decided on the green batik. It picks up some of the color of the green and beige and yellow in the top fabric, but it’s more subtle than a solid orange or yellow would have been.
The thread for the satin stitch around the letters was a light gold Robison-Anton rayon, color Patricia. When I first bought an embroidery machine, I got several boxes of thread with it from the dealer. I didn’t realize this spool was from the special Marcia Pollard Elegance Collection, as I guess the free box was a sampler of various RA threads. But I liked the color, and have used it for a lot of machine embroidery. The machine’s embroidery software has a matching feature, so that if you don’t have a color your pattern calls for, it will bring up the closest color you have on hand, if you have entered all your inventory into the program’s database. Anyway, I forgot to search in the matching db, but took off for the sewing store thinking I could just grab another spool of “Patricia,” pay, and leave. Wrong. They didn’t have it. So to be on the safe side I got 3 spools of similar gold colors, hoping one of them would be a good match. One of them was ok, but it took some testing to determine that.
To do appliqué embroidery on a quilting cotton-type fabric, I hoop up the fabric and stabilizer(s), in this order: 1) tear-away stabilizer on bottom, 2) table runner top background fabric (the Daisy), 3) fabric of the text appliqués (the green batik), 4) possibly a transparent water-soluble stabilizer on top, but not always necessary. I didn’t break it down into a detailed mathematical placement here, so the lettering is somewhat haphazardly scattered. I did do some general arithmetic to make sure I had enough surface area to put 13 letters down, including 3 upper case ones, that were in a 7-inch font size. As I hooped and appliquéd the letters one or two at a time, I didn’t get the same amount of space in between them, like you would if you were hand-lettering from a Speedball chart. I will need more practice positioning with chalk or a disappearing marker, before trying to eyeball it next time.
Sorry to report that, weirdly enough, after many attempts, I could not get this photo, taken with an iPhone in the portrait position, to rotate into the correct position! A WordPress phenomenon! I’ve found since, that a workaround is to only use iPhone photos taken in the landscape position. Unless you know how to insert some code that will get the program not to automatically rotate your portrait photos, which I currently don’t.
I added some leaves and acorns cut with the Accuquilt Go! Big machine and Fall Medley template and applied with Steam-a-Seam 2. Then stitched around the shapes with a machine satin-stitch.
I loaded the top, bottom, and batting onto the quilting frame, with the long edges pinned to the leader cloths, in hopes that it would only take two passes to quilt with the Qnique. It did, but the bobbin stitches for about half of the runner were horrifically ugly.
Ugly bobbin stitches with obvious tension problem.
I briefly considered leaving this the way it is, because the top looks fine, and hopefully no one will come over for dinner and snoop underneath the runner, to see what the underside looks like. But dang! If they do, seeing this will ruin their appetite for sure. So I picked out all the ugly stitches while watching the Blacklist last night on TV.
Next, redid the meander stitch quilting using sewing machine with a free-motion spring foot, then squared up the corners and edges. For the binding, nothing I had in a package looked good, so I went into the scrap bin and cut up all the scraps of the green batik into 2-inch wide strips, sewed them together, folded the strips in half long-wise, and sewed the binding out of that.
The applique saying is “Happy Fall Y’all” and with a black cat and a velvet pumpkins on the table, it’s beginning to look like Halloween around here. Never mind about the digital photo orbs in the background.
This is the second autumn table runner post, the first one presented a few posts ago, here. That first one was pretty much general quilting, with a pieced top and a whole underneath side, with batting in between, quilted on the Qnique longarm, or “mid arm,” as some people designate it. The raw edges are bound with Wright’s Quilt Binding.
If you had to categorize this next one, the main descriptive word that comes up is “appliqué.” It is quilted, in that small pieces of fabric were put together on the top. But the underside is not pieced, unless you count that I ripped it in half length-wise and serged the two long halves together. And there is no batting in the center.
Naturally, the fabrics used in these projects are mostly remnants from the 50%-off bin at JoAnn Fabric Store. I had a couple of larger pieces of fabric, say, almost a yard each, for the top and bottom. The top is a plaid fabric with metallic orange-gold threads woven into the check pattern. The backing is a striped very low-pile flannel in yellow, tan, and tobacco-ey colors that wash together. You can see the center seam of the runner above, and I decided to make one side a maple motif, and the other side an oak motif. All the leaf, pumpkin, and blackbird appliqués were cut with the Accuquilt Go! Big machine and templates. I backed each appliqué piece with Steam-a-Seam 2 double-sided fusible web, also cut on the Accuquilt cutter, and then ironed them on to the runner top side.
After the appliqués were applied, I wanted to pull them all together with branches and tree motifs. I looked at lots of methods for yarn and textile couching, which is technically just laying down strands of yarn or string and then sewing over them. Looking through my box of sewing machine feet, AKA my Foot Stash, I found that I had a heretofore unused Yarn Couching Feet Set.
The two plastic feet each had a small hole (one was larger) through which the end of the yarn was to be threaded. You hold the end of the yarn in one hand and move it around, if in “free motion” mode, and then sew over it. (You can also use it with an embroidery hoop and software pattern.) The kit also contained two different types of hooks to mount on the back of your machine, to use as thread guides for the yarn, a device for threading thick yarn into small holes, and some sample yarn and a DVD and basic instruction sheet.
I found this process to be pretty interesting, but this yarn was very slubby and every so often I had to cut and re-thread, because the big slubs wouldn’t go through the hole.
Next, after couching, I needed to sew down the appliqués. Originally I wanted to do a big thread-art project, using different colors of thread to add shading to the pumpkins and also do the tree trunks and branches in embroidery thread. But since I used the thicker yarn, I decided to just basically outline the shapes in one color and not do a whole bunch of shading, and leave it as sort of “primitive” colors and shapes.
After going over all the appliqués with free-motion embroidery, I spray-starched the backing and ironed both top and back, making sure the back piece lined up with the top. Then I sewed all around the edges of the top with Wright’s Bias Tape Maxi Piping in black, with the piping facing inward, toward the center of the cloth. I then sewed the backing on, right side facing the appliquéd side of the top, and sewed the edges, leaving the piping sandwiched between, and leaving about a fist’s length of seam unsewn, for turning. After turning inside out, and hand-sewing the opening closed, I pressed the edges, making sure the piping was peeking out and at the very edge of the seams. Then I top-stitched around the edges, about 1/4 inch from the piping edge, using thread that matched the top (and back for the bobbin thread).
Sometimes people will comment on the nice stitching, so I wanted to come clean and say that it isn’t me who’s responsible for that, it’s my Foot Stash. I use a special see-through foot with a little groove in the bottom, for sewing piping, and another special see-through foot with a metal attachment, called an edge-stitching foot, for top-stitching. And the machine has a triple-stitch function that I use for pretty top-stitching, setting the length on a 5 or so (normally it’s more like a 2.5 for ordinary seams).
It was fun to make, and the cats definitely like it. Sigh. Cat people will understand.
While waiting to be caught up in the next project, I’ve been turning out a few interim FO’s (finished objects) that loosely fit into the category of “covers.”
The main thing they have in common is that they’ve used up larger pieces of fabric that have been lounging in the fabric stash.
These are mostly cotton lightweight lap quilts we sent to the non-profit organization that is closest to our hearts, plenitudpr.org .
The tops of the quilts are cotton flannel remnants pieced together, and the backs are cotton remnants in sizes of about 2 yards. The solid yellow one above possibly has some polyester in it. But the idea was to have a smooth, bedsheet-like side and a warm, flannel side. The edges of the backs extend over the tops, and are folded over and sewn down with a machine featherstitchto make borders.
This one is a lap quilt made from the selvedges of fleece fabrics. A few years back, I was making fleece blankets a lot, and trimming them with packaged Wright’s fleece binding. First, Wright’s discontinued the royal blue fleece binding that went perfectly with Florida Gator trademark pattern fabric. Now, you’ll be lucky if you can find fleece binding on eBay in any color other than black or white. Normal people, I guess, would trash the selvedges, but I threw them in a box, and this is the end result. This little quilt of sewn-together selvedges can also be turned around and used for light non-fiction reading if we get tired of watching TV in the La-Z-boy. Fun for the whole family.
Next, if you’ve seen my Pinterest page, you might find that I’ve gone nuts pinning tablerunners. These little projects are wonderful for expressing creativity, but not getting bogged down in a big, long, quagmire of obligation like you would get making a full-sized tablecloth or a queen-sized quilt. It’s just a little slice of a quilt, the slice with all the good stuff in it!
As soon as we put a covering of any size on a flat surface, a cat’s bohunkus is right on top of it.
This tablerunner was an experiment, using remnants. The top is 5-inch squares pieced together, and the back is one whole piece, about a yard of 44 or 45-inch wide cloth, cut in half lengthwise and pieced together on the short sides. I longarm quilted it, loading the short sides on the frame and rolling out the length. I used the meander stitch, and although I thought I had the tension right from the previous project, it came out with some of those spidery-looking ugly stitches on the back. When Lorraine came over and did a little project, we decided that one problem with the tension was the cheap-o thread I had loaded up. Without even thinking, I got a cone of thread that I normally use in the serger and threaded it up, bobbin too. Next time, we will try thread designated for machine quilting.
It’s been a long time since I posted anything about knitting…
Temperatures in the 90’s and 100’s, egregious humidity, dog days of summer…are a few reasons why knitting isn’t on my mind lately.
However, that doesn’t mean I haven’t been knitting!
I’ve tried a few projects, but they just didn’t work out for me. So I decided I’d work on a hat, at my leisure. I have a feeling it’s going to fit a very big-headed person, since I didn’t consult any pattern but cast just a whole bunch of stitches on to a circular needle. Tired of starting patterns, goofing up, and not knowing where or how I went wrong. There’s pretty much no good TV on at night, so we’ve been binge-watching Netflix shows.
I came across a Netflix show that offers the best of both worlds for me: Slow TV National Knitting Night. It’s national for Norway, that is. Wonder how that would pan out with an American TV producer: hours and hours of knitting on TV? Apparently, when the knitting episode originally aired in 2013, it was a very popular program in Norway. See more here from the Craftsy blog.
I started watching it, and every time I got ready to get up and do something else, a new, interesting scene came up. [I haven’t finished it yet. For some reason, Skip didn’t find it as compelling as I did! Maybe the same reason I don’t thrill to watching hours of woodworking shows and listening to the soundtrack of a saw blade.] The TV stars of knitting got a project going (knitting a sweater for a tricked-out Harley), a contest going (beating the record for making a sweater from scratch; that is, from the sheep’s hide to the finished article), and all sorts of sidebar activities featuring historic knitting patterns, viewing the gorgeous seascapes the country offers, meeting enthusiastic knitters, touring a knitting museum. All with beautiful music and English subtitles. It’s a great show!
When we had lots of family members descend for the Beach Weekend, we were dragging out bed linens from the closet to accommodate folks sleeping on the beds, couches and floors. I found this quilt my grandmother had made. Part of the crazy-quilt patches had come unsewn, so after everyone left, I took it to the sewing machine to mend and repair it as best I could.
I’d forgotten that my grandmother wrote on the back of it. She had a whole set of these little tubes of “embroidery paint” similar to this modern-day product (click the link to see). For a time period, she was very prolific with the embroidery paint, making pillow cases, sheets, all sorts of things. She had been in the habit of stamping a design or motif onto a piece of fabric, then embroidering (or drawing with the tube paint) over the stamped designs.
This is what she put on the back of this quilt:
Here, on the backing (which looks like it probably was an old sheet, so thin here it is almost transparent) you can see the underside of some heirloom quilt stitching, all hand-sewn. In the next photo, you can see the top side of the feather-stitching, probably done in a few strands of contrasting-color embroidery floss.
The quilt top itself is remarkable too.
It’s made of patches of double-knit fabric, which was an innovative fabric type for those of my grandmother’s era (she was born in 1906). See this article at Seamwork about the differences between the double knit fabrics available then vs. now. John said, “I remember it [the quilt] was really scratchy, the sort of polyester material that leisure suits were made from.” Hence, the soft cotton sheeting on the back of the quilt, which side would go next to the tender skin of a little 4 or 5 year-old great-grandchild.
I’d like to say that I matched the embroidery thread and repaired the blanket in the style and manner of the original–but for me to do that would involve quite a learning curve. I picked a decorative stitch on the sewing machine and put the pedal to the metal. For any curious posterity, it will show obvious mending by machine.
Meanwhile, how enlightening to have this information!
The Family Beach Weekend of 2016 has come and gone; the flurry of activity in planning, purchasing, and preparing has now evaporated into the vivid orange, pink and purple Gulf of Mexico sunsets…but we have great memories of our creative pursuits.
Photography: it’s not hard to get a beautiful shot in this place! Everything is incredibly photogenic.
Sewing/quilting/knitting: We always try to scout out creative hubs when we travel around, and we happened upon a great little shop on Sanibel Island called Three Crafty Ladies. This unassuming little storefront opened into a treasure trove of art yarns (at very affordable prices!), a wide selection of fabric and notions, specialty patterns, artisan beads and jewelry-making supplies, paints, charcoal, pastels, brushes, lots of art supplies, shells, and all arranged in a very organized and gorgeous display. I picked some things for future projects.
This little kit is a cute reminder of sea turtle nesting at the beaches this time of year. A Row by Row Experience is something like a Shop Hop, where you can visit quilting shops in a circuit and get each shop’s kit, then assemble all of the kits into a quilt made up of each row. Or you can just make a wall hanging or table-top quilt from the single kit.
Three Crafty Ladies has many cute little designer kits, featuring beach and Florida wildlife motifs, all fabulous!
This little cotton sateen fabric plate, also from Row by Row Experience, can be incorporated into a quilting project or sewn onto the back of it.
Art: Creativity abounds in these beach towns (Sanibel, Captiva, Fort Myers). Everywhere we looked, we saw paintings, sculptures, all sorts of arts and crafts. The ceiling fan paddles were painted with tropical fish, and murals and wall art decorated the whole interior at Rosies’ Cafe. Every restroom had a whimsical seaside theme. Displays of shells and wildlife showed up in lobbies and hallways.
Creative Cuisine: Even the humblest of eating places had great, creative food selections!
We had our family dinner at the Doc Ford’s in Sanibel. Both had gourmet offerings, and the one at Captiva even had a book signing event going on, with the prolific author (and restaurant owner) who created the character Doc Ford, Randy Wayne White.
Improv: was a surprising highlight of the weekend — surprising because they pulled together a show on the last night without any planning prior to the trip! All the kids and grown-ups enjoyed this fun and hilarious stand-up show with plenty of audience input.
Family members who came from far and wide have gone back to their homes. Some are already starting the fall school semester or will start next week, while others have the whole month of August left of summer. We had a great, creative family beach weekend!
Using current technology to create 19th Century crafts