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| TITLE: THE MAGIC OF CRAZY QUILTING - J. MARSHA MICHLER TITLE: QUAKER SCHOOLGIRL SAMPLERS FROM ACKWORTH TITLE: THE PROPER STITCH - DARLENE O'STEEN TITLE: THE QUILTERS DIRECTORY OF EMBELLISHMENTS - SALLY HOLMAN TITLE: COMPENDIUM OF FINISHING TECHNIQUES - NAOMI McENEELY TITLE: SCULPTURED NEEDLEPOINT STITCHERY - ELLEN PROJANSKY |
| TITLE: THE MAGIC OF CRAZY QUILTING AUTHOR: J. MARSHA MICHLER HEG # 632 By now all the bru-ha-ha of the holidays is finally behind us and I hope you are all ready to get back to our "normal" lives which these days are definitely lived in the fast lane. This is especially true when you think back to the beginnings of the "CRAZY QUILT" era during the reign of Queen Victoria. For it's time the years between 1838 and 1901 were the fast lanes of their day as they were characterized by massive and significant social changes. The "Iron Horse" made it's debut during this time, as did the flushable toilets, telegraph cables, and even electricity! For us "stitchers" the great innovation was that silk became more affordable and readily available, the color mauve was discovered and sewing machines were invented. Painters were studying the effects of light on color and juxtaposing colors in ways that the eyes would mix them. Needlework even underwent a dramatic change as women reacted to the changes around them. One of the ways women "broke out of the mold" was to attempt unconventional methods of quilting. Part of this was achieved by playing with the colors and textures of the quilt top and uniting them with decorative stitches ; which were every bit as artistic as the painters. The Victorian crazy quilts often feature ribbon embroidery, monogramming, embroidery stitches of all types, painting on fabrics, as well as other forms of needlework. There is no "inventor" of the crazy quilt, but like today's fads seems to have been congruous with the era in which it was born. In America it's momentum started about 1860, culminated by 1880 and then proceeded to fizzle out by 1900. This book can be used in a variety of ways. For those of you familiar with crazy quilting you can use it as a reference guide, while beginners can read it through to become familiar with basic procedures and options. This book covers all the necessities for making crazy quilts . From how to use tools such as they laying tool and iron and even the sewing machine, how to choose color schemes and shop for fabrics. Foundation fabrics and piecing as well as patching methods are discussed in great detail. All the Victorian stitches are shown and beautiful detailed drawings accompany them to show what they should look like and how to achieve them. There is even a section covering punch needle embroidery, which can be used to add dimension to your quilt. (I thought it was a unique idea, but then again I am not a quilter.) Paintings , stenciling, and dyeing silks are also covered. I especially enjoyed the chart, which covers the Meaning of Flowers as Victorians attached great importance to them and used them as a communication device. For the over achievers there is a projects section, and for the non quilter, just browsing through the book and looking at the beautiful color pictures, that are heavily sprinkled throughout, is an achievement in itself. This book was purchased by the Guild in memory of long time member Carol Mifflin. Norrene Trama Liberian |
| TITLE: QUAKER SCHOOLGIRL SAMPLERS FROM ACKWORTH AUTHOR: CAROL HUMPHREY HEG# 539 Ackworth, Yorkshire is in the north of England approximately 250 miles from London. It is home to the Ackworth Quaker School which dates back to 1778. This boarding school was founded for Quaker children "not in affluence" and was part of a movement to re-integrate Quakers more fully into the society from which they had become estranged. This book is an attempt to cast a limited light on one aspect of Quaker education. Most of the girls at Ackworth were taught 'plain sewing' as their future was servitude and they needed to be adept at mending and clothes making. Being Quakers, these girls were even less likely to be familiar with the frivolities of fine hand sewing that is prevalent among samplers of this time. Most darning and marking samplers from the late 18th C. display exquisite workmanship and beautiful colors. Even the more mundane marking samplers of this era tend to be brightly colored and frequently include decorative motifs and patterns. They are quite a contrast to the Ackworth samplers from this time period; as these samplers have a limited or monochrome palette, undyed linen or wool for the ground and ivory, white, black, or occasional red stitching threads. Simple and austere are best used to describe the samplers-similar to the lives of their makers. The oldest sample is dated 1782 and "was up to date" as it was around this time the 26 letter modern alphabet became generally accepted. The only decoration is in the form of repeat patterns between the lines of marking and framing the border. A year later 2 girls produced samplers and one had a hort maxim. Later samplers while still monochromatic tended to include maxims. This book goes on to trace many of the family records and give new insight into the lives of Quaker girl scholars that tend to be overlooked. It is the richness of the context that surrounds these samplers that makes them important social documents. The distinctive and beautiful patterns were to influence sampler throughout the U.K. & USA. There are two mysteries surrounding these samplers. First, there is the intricate medallion samplers which appear to emerge fully formed from no where, around 1790. The other mystery is why these samplers simply disappeared and what was the causation. No one seems to know the answer to either of these quandaries for sure. Full of exquisite plates of many of the Ackworth samplers held in the archives of the Ackworth school, along with a detailed history of the school, the samplers, and the lives of the students; this book is a must read for anyone interested in samplers and the history of sampler making. It can stand by itself as a detailed history of a specific area of an era that has been long overlooked and forgotten . This book has been placed in our library in memory of Art Taylor, beloved husband of Peg Taylor. Norrene Trama Librarian |
| TITLE: THE PROPER STITCH AUTHOR: DARLENE O'STEEN HEG# 191 IT'S BAAACCCKKK! For those of us who have been denied a copy of the original book this is a great day. For those of you who are unfamiliar with the original edition; it will not come as a surprise as it did me to see this volume back in print. Out of print since about 1996 this book has been a sought after gem with some willing to pay a gem of a price to obtain it. Well, look no more and be grateful if you are one of those who like myself refused to pay robber prices the book is back in print as a revised and expanded edition and at an affordable price to boot!! This beautifully and clearly illustrated books is a must read for anyone who enjoys counted work of any kind. Covering stitches from every stitch group, i.e. cross, satin, buttonhole, etc., the clear concise directions make it easy for even a novice to master the techniques. Beginning with how to use "away waste knots" and how to change threads correctly this book continues on to things like turning corners and how the back should appear. Each chapter contains a section that discusses difficulties and hints --which can help you evaluate your own progress in a given technique. One suggestion as a way to assess your overall progress was to keep a notebook or practice cloth of newly learned stitches. This way you could help build an overall library or sampler to which you could refer back to at a later date. Another section discusses how you can use the stitches that you have learned or are shown in detail; to transform a plain piece of cross stitch into a richly detailed or embellished work of art. Many of the designs that are beautifully interpreted come from varied places in the art world; tapestries, ceramics and even architecture. Darleen O'Steen also shows how the adapted designs can be used for many venues from fairy story pieces to church embroidery. There is also a detailed discussion as to how to use and change ideas to fit the different pieces you are working on. The pictures alone are worth making the effort to check out this book as they can transport you into that realm just outside your imagination without too much strain on the brain. This book is a true must see for all those who are involved in any kind of counted work. This book has been placed in the library in memory of Ann Cosgrove. Norrene Trama Librarian |
| TITLE: THE QUILTERS DIRECTORY OF EMBELLISHMENTS AUTHOR: SALLY HOLMAN HEG# 634 This book is designed to introduce those not familiar with embellishments on how to properly apply them. While it deals mostly with quilting many of the ideas and techniques contained here can be easily applied to other forms of needlework. There are lots of reasons for adding embellishments to a project. Some for purely esthetic reasons, some to help cover unwanted seams, or if you are like me some to cover boo boos! Embellishments can vary greatly and are not just limited to buttons and braiding. They can include beads, sequins, bows lace and anything else you might want to conjure up to make a piece stand out and become more interesting. This "Directory" gives one a complete course in "how to" and starts with a chapter on equipment and progresses on to chapters discussing the types of fabrics, threads, beads, fabric painting and photographs. The sections covering tassel making and ribbon appliqué flowers are ones I found extremely interesting; especially since I am working on a needlepoint project that will involve appliqué flowers. Beautiful color photographs are in abundance throughout the book, along with easy to read step by step instructions. There are numerous "Galleries" sprinkled throughout the book that allow one to view finished pieces using specific techniques. Thus........ whether a quilter or not this book has something in it for everyone. I recommend it as a must read for anyone contemplating some extra "something" for their next piece or for those who truly want to add some razzle-dazzle to their work. |
| TITLE: COMPENDIUM OF FINISHING TECHNIQUES AUTHOR: NAOMI McENEELY HEG# 1907 From braids to cords, trimmings to edges and don't forget knots and seams, this book covers it all. Finishes are what make textiles so interesting and beautiful. Whether simple or complex it is the attention to detail that can make the mundane sublime. While most stitchers possess the skills to finish a project they often do not because they don't have the total understanding of how to do it. This is just the book that provides the how to, to overcome our lack of understanding and our fears. Chock full of beautiful illustrations and how the finished edge should look, this book also has clear concise directions every stitcher should be able to understand. Another useful tool in this book is the table of contents. Unlike most books, this one has 2! You can look up the finishes by techniques i.e. embroidery, crochet, or you can look up the type of finishing you want to do i.e. edges or seams. I found the pictures of the finished projects extremely helpful because they gave me strong clues as to what the project should eventually look like. If you are like me, and usually go about a project with one idea in your head, only to find out your hands had a totally different set of instructions and there was a snafu somewhere along the line in communication and the end project is nowhere near what you were expecting. Be assured you won't be "clueless" any more, if you follow the simple straight forward instructions contained within the covers of this book. You will know what you are trying to achieve and have a project that turns out to be what you envisioned. Another added benefit of using this book is that you will save lots of money by finishing yourself so then you can have added funds to indulge yourself in new projects! |
| SCULPTURED NEEDLEPOINT STITCHERY (HEG #1106) by Ella Projansky The history of needlepoint as we know it, is centuries old, but that of needlepoint stitchery is somewhat younger, and sculptured needlepoint is even more recent. Some of the earliest designs were inspired by knitted fisherman's sweaters and a simplified version of Irish crochet lace appearing in a 1970's McCall's magazine, which makes this a very short history indeed. Sculptured needlepoint stitchery is embroidery on canvas carried into the 3rd dimension, beyond the limits of conventional needlepoint stitches. This concept utilizes the 3rd dimension "depth" in such a way that neither color or pictorial design is essential for it's creation. Not only can one augment or enhance a conventional needlepoint design; it also allows you not to need one; as this medium comes to life entirely on it's own. The fascinating play of light and shadow is a challenge unto itself and one that is a lot simpler than it sounds. Whether you are a beginner or an experienced needlepointer, some of what is stated may be a bit redundant, but you never know when something will shed new light and turn up something new and useful to you. The designs in this book are a mixture of naïveté and sophistication, simplicity and complexity. There is no orderly progression from easy to advanced as these decisions are left up to the stitcher. The designs were meant to be impressive to the beholder, but easy enough so that a beginner could be taught by written instruction alone. For each design in the book there is a color or black and white plate of the finished project. There are a series of stitch guides for all the stitches in that particular design, showing how each stitch is constructed and how to technically execute it. A graph shows one where on the canvas the stitches are to be made and even how many to make, along with the number of plies that should be used (Now that's definitely my kind of instructions!!!). The projects included make good starter pieces and if you stretch yourself a bit you may find yourself reaching new heights. For someone who has never even held a needle before, it should be possible for him/her to follow the stitch guides with good results; they are just that good. The author is very aware of how many of us have been "turned off" by a particular project or technique because of poor stitch guides and she seeks to avoid this at all costs. Each design section has all the stitch guides it needs, no matter how many times they have to be repeated. This way one does not have to go hunting through the book to find the stitch guide for a particular stitch that was used on a prior piece. All this help should not only make for a delightful stitching experience, along with the ability to create something to behold and enjoy for a very long time. This book resides in our library because of a gift made by Lorraine Meyer. Norrene Trama March 2008 |
THE HOUSTON EMBROIDERERS' GUILD Book Reports 5 |
