Presentation on theme: "Quilting By: Carry Mounts Appalachian History Course Project."— Presentation transcript:
Quilting By: Carry Mounts Appalachian History Course Project
Different Types of Quilts Crazy Quilt-Term used for quilts that are made up of "crazy pieced" blocks. That is, scraps of all different types of fabric are sewn to a background fabric using decorative stitches to join the seams and embroidery to decorate. Pattern pieces are usually irregularly shaped. Crazy quilts were popular in the Victorian age when young girls pieced together these quilts to display their sewing and embroidery skills. Often times, the ornate stitching is what makes the quilt stand out from other quilts. Velvets and silks were often used.
LOG CABIN BLOCK Perhaps one of the most popular, traditional blocks, this block begins with a center square that is then surrounded by long, narrow strips, or logs. These logs are usually sewn on in an orderly fashion, moving clockwise around the center square with each strip addition. Commonly, the strips will become darker as they move to the outer sides of the block. Variations are: courthouse steps and pineapple block
SAMPLER QUILT Sampler Quilt-A quilt top in which each block is a different design or style. A popular "beginner" style quilt to give experience in many different quilt block patterns and styles.
C Cathedral Window Quilt-A particular quilt block that makes use of fabric folding to reveal an inner window of a different fabric. a t h e d r a l Window
STEPS TO MAKING A QUILT PANEL (In remembrance of someone) Design the Panel Include the name of the person Feel free to include additional information such as birthdates, death dates, special talents and so forth. It is best to limit each panel to one person. Exceptions are given for siblings and spouses.
Chose your materials Remember that the Quilt is folded and unfolded every time it is displayed, so durability is crucial. Since glue deteriorates with time, it is best to sew things to the panel. A medium-weight, non-stretch fabric such as a cotton duck or poplin works best. Your design can be vertical or horizontal, but the finished, hemmed panel must be 3 feet by 6 feet (90 cm x 180 cm)– no more and no less! When you cut the fabric, leave an extra 2-3 inches on each side for a hem. If you can't hem it yourself, we'll do it for you. Batting for the panels is not necessary, but backing is recommended. Backing helps to keep panels clean when they are laid out on the ground. It also helps retain the shape of the fabric.
Create the panel In constructing your panel you might want to use some of the following techniques: Applique: Sew fabric, letters and small mementos onto the background fabric. Do not rely on glue - it won't last. Paint: Brush on textile paint or color-fast dye, or use an indelible ink pen. Please don't use "puffy" paint; it's too sticky.
Creating the panel Stencils: Trace your design onto the fabric with a pencil, lift the stencil, then use a brush to apply textile paint or indelible markers. Collage: Make sure that whatever materials you add to the panel won't tear the fabric (avoid glass and sequins for this reason), and be sure to avoid very bulky objects. Photos: The best way to include photos or letters is to photocopy them onto iron-on transfers, iron them onto 100% cotton fabric and sew that fabric to the panel. You may also put the photo in clear plastic vinyl and sew it to the panel (off-center so it avoids the fold).
Quilt Block Names The interesting names given to quilt block patterns are rooted deep in the history of the United States. It is easy to see the influences upon quilters of the past by studying the names that they have given to their quilt patterns. The strong biblical influence is apparent from the large number of blocks with religious names such as Jacob's Ladder or Job's Trouble. The hardship of the pioneer can be seen from blocks with names such as the Rocky Road to California. The aspects of everyday life led to blocks with names like Churn Dash and Log Cabin. Many quilt patterns have several different names. A pattern known by one name in New England may have had a different, more significant name to the quilter in the Midwest. Sometimes old names were changed for commercial purposes. Each generation of quilters adds its own varitaions to an old art form.
Different places that the names came from From Trades and Occupations Anvil, Saw-Tooth, The Ship's Wheel, Carpenter's Wheel, Monkey Wrench, Water Mill, Chips and Whetstones, The Dusty Miller Outdoor Life and Nature Garden Maze, Autumn Leaf, Spider Web, Rolling Stones, Ocean Wave, Flying Geese Square Dancing Eight Hands Around, Swing in the Center Politcal Influence Clay's Choice, Whig Rose, Fifty-Four-Forty or Fight Biblical Names Job's Trouble, Job's Tears, Joseph's Coat, Jacob's Ladder, Wonder of the World, World Without End
Quilting in Italy Trapunto is a whole cloth quilting technique which produces a raised surface on the quilt. Trapunto patterns consist of vines, leaves, grapes, cherries and so on. The vines and straight line patterns are threaded with a soft yarn or cording. The rounder shapes are stuffed with small amounts of batting inserted from a small slit made in the backing fabric. After the shapes are stuffed, the slit is whipped stitched closed. A second backing fabric is then added to the quilt and normal quilting is done all around the previously stuffed shapes.
Styles of Trapunto Another style of Trapunto uses a loosely woven fabric for the quilt backing. Then, instead of making slits in the backing to stuff shapes, a needle is used to carefully push the backing thread apart to form an opening for the stuffing. The threads are then carefully pushed back into place. This eliminates the need for a second backing fabric. Trapunto originated in Itay in the early 16th century. It appeared in the United States in the the late 1700's and remained popular until the Civil War.
Quilting in Japan Sashiko is a very old form of hand sewing using a simple running stitch sewn in repeating or interlocking patterns through one or more layers of fabric. Originally designed for quilting together several layers of fabric for warmth and durability or for strengthening a single layer of fabric, sashiko patterns readily lend themselves to contemporary designs and projects. Many Asian cultures have utilized sashiko stitching as a sewing technique since ancient times; however, sashiko is most commonly associated with the Chinese and Japanese. In ancient days, clothing was made from homespun fabrics woven from native fibrous plants such as wisteria and hemp and necessity demanded that this clothing be recycled for as long as possible. Unfortunately, these homespun fabrics gave little protection against the bad weather or cold. Along the way, some creative sewer discovered that garments became much warmer and functional if a lining was stitched in or if several layers of fabric were stitched together.
Japan quilting designs As with many other art forms, most patterns are actually simplified representations of things found in nature and are often modeled after plants, birds, animals, natural phenomena such as clouds, tools, implements of war, or written characters from the language. A distinctive element in all sashiko patterns is the use of space-- Japanese designs especially make full use of blank or "negative" space as an integral part of the overall pattern. Examples of designs primarily drawn from nature include: CLOUD ("kumo") - clouds were thought to be vehicles for Buddha and other celestial beings and was the symbol of rulers and authority; HEMP/FLAX LEAF ("asa-no-ha") - a motif often used in Buddhist sculpture and scrollwork to represent radiating light or the inner light of the soul; BAMBOO ("chiku") - symbol of vitality and prosperity; TORTOISE SHELL ("kikko")- symbol of good fortune and eternal youth.
Fabric used by Japanese Any number of layers that can be comfortably worked may be used, or just a single layer of fabric may be used for embroidery work. Two layers of fabric sandwiched with a layer of batting can be used for quilting. In Japan, sashiko is most commonly seen on indigo-dyed cotton fabric with colors ranging from a pale light-blue to the deep blue-black usually associated with sashiko. However, other materials such as silk or wool, and even other colors and prints are becoming much more popular. Keep in mind that it is the beauty of the stitching that is important in sashiko, so the fabric pattern or colour should be kept subtle for best results. Evenweave fabrics that are tightly woven are excellent for use with those sashiko patterns that are stitched in straight lines. If doing handwork, it becomes a simple matter to just count the threads as you stitchThis creates a pattern that crosses at regular intervals (such as every 4 threads for instance). Always prewash and iron your fabric. Natural dyes, such as indigo, may bleed with washing. Extra care in setting the color should be taken. Iron your fabric from the wrong side. Some natural-dyed fabrics (especially indigo) tends to "shine" if ironed with too high of a heat setting. With this type of fabric, always use your iron's Cotton (or cooler) setting. Many people even iron their fabric to straighten the weave so it won't shrink during washing.
The stitching The beauty of sashiko is in the stitching design itself which is a simple running stitch done traditionally done without a hoop. The stitch count is usually 5 to 8 per inch. There are actually 3 variations of sashiko still commonly used: sashiko, hitomezashi and kogin. Hitomezashi requires only one stitch in any given direction with the end result being a design that is very dense and usually geometric in shape. If done well, it can actually resemble fine lace when finished. Kogin stitches are uneven in length and only follow the direction of the weft threads.
Different types of quilts from all over the world America Italy Japan Hawaii
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