Gallery 1 - original quilts
I had been told at school that I was useless at art so I just assumed I hadn't got a creative bone in my body. Perhaps I would never have discovered my creativity had it not been for quilt making, through which I have found that I have a feel for colour and an aptitude for design. I designed my first quilt, Jacobean Spring, in 1986 because I genuinely believed that a competition entry had to be an original piece of work! Having discovered that I enjoyed making quilts that were different, and that I could be successful at it, I found creative inspiration everywhere I looked. Here are some examples.
JACOBEAN SPRING 62" X 78 " 1986
Hand appliqué and hand quilting
This quilt was my first competition entry, 2 years into my quilt making career. It was made so intensively over a 10 week period that I was heartily glad to see the back of it! But when it was selected as the Championship Quilt at the UK National Patchwork Championships, you can imagine the pride with which it was brought back home again!
The quilt was hand appliquéd in smaller sections, which were hand quilted first before being joined together - commonly referred to as 'lap-quilting'. The motifs were inspired by Jacobean embroidery designs which were much simplified for ease of sewing.
Hand appliqué and hand quilting
This quilt was my first competition entry, 2 years into my quilt making career. It was made so intensively over a 10 week period that I was heartily glad to see the back of it! But when it was selected as the Championship Quilt at the UK National Patchwork Championships, you can imagine the pride with which it was brought back home again!
The quilt was hand appliquéd in smaller sections, which were hand quilted first before being joined together - commonly referred to as 'lap-quilting'. The motifs were inspired by Jacobean embroidery designs which were much simplified for ease of sewing.
DOILY ART 54" x 54" 1988
A much simplified doily design was transferred onto the right side of the pale foreground fabric. The coloured background fabrics were basted behind the 'holes' where the foreground fabric would be cut away. The edges of the holes were needle-turned to build up the design.
Hand reverse applique and hand quilting
This first attempt at reverse applique made me realise that I really enjoyed manipulating the shape of the fabric with the needle. This close control of the edges of the fabric resulted in very accurate shapes.
A much simplified doily design was transferred onto the right side of the pale foreground fabric. The coloured background fabrics were basted behind the 'holes' where the foreground fabric would be cut away. The edges of the holes were needle-turned to build up the design.
Hand reverse applique and hand quilting
This first attempt at reverse applique made me realise that I really enjoyed manipulating the shape of the fabric with the needle. This close control of the edges of the fabric resulted in very accurate shapes.
GOODBYE CREWEL WORLD 82" x 97" 1989
The inspiration behind this quilt was an antique, crewel wall hanging, originating from the Lee's Brother factory in Birkenhead. The flowers, motifs and stems were photographed for colour and traced and simplified for use. A master pattern of the quilt was drafted to size and templates were prepared for each individual shape.
Hand applique, corded quilting and hand quilting
This large quilt was the first one that I hand quilted as a complete quilt. It was rolled on a huge quilting frame which was placed behind the settee in the lounge and that's where I had to join it, whenever I worked on it! I never worked on that large frame again and have always preferred to hand quilt with large hoop from then on.
The inspiration behind this quilt was an antique, crewel wall hanging, originating from the Lee's Brother factory in Birkenhead. The flowers, motifs and stems were photographed for colour and traced and simplified for use. A master pattern of the quilt was drafted to size and templates were prepared for each individual shape.
Hand applique, corded quilting and hand quilting
This large quilt was the first one that I hand quilted as a complete quilt. It was rolled on a huge quilting frame which was placed behind the settee in the lounge and that's where I had to join it, whenever I worked on it! I never worked on that large frame again and have always preferred to hand quilt with large hoop from then on.
BLUE HAWAII 42" x 42" 1993
This quilt was entered and juried into the Quilters' Guild of the BI's exhibition, 'A New Look at Old Traditions'. I chose t1he tradition of Hawaiian appliqué and developed it to give a positive and negative appearance. A large square of fabric was created as a 4 patch, each patch made up of 2 triangles, one purple and the other blue and the pattern was transferred onto it. An identical square was sewn and basted underneath so that purple lay under blue and blue lay under purple. As the pattern on the foreground fabric was cut away and sewn, the opposite colour was exposed on the background fabric.
Hand needle-turning and hand quilting
Another favourite quilt for me, representing the time I worked as a VSO on remote islands in the Pacific for 2½ years. The hand quilted rhythms of the echoing lines represent so well the constant movement of that mighty ocean.
This quilt was entered and juried into the Quilters' Guild of the BI's exhibition, 'A New Look at Old Traditions'. I chose t1he tradition of Hawaiian appliqué and developed it to give a positive and negative appearance. A large square of fabric was created as a 4 patch, each patch made up of 2 triangles, one purple and the other blue and the pattern was transferred onto it. An identical square was sewn and basted underneath so that purple lay under blue and blue lay under purple. As the pattern on the foreground fabric was cut away and sewn, the opposite colour was exposed on the background fabric.
Hand needle-turning and hand quilting
Another favourite quilt for me, representing the time I worked as a VSO on remote islands in the Pacific for 2½ years. The hand quilted rhythms of the echoing lines represent so well the constant movement of that mighty ocean.
TAKING LIBERTIES WITH CUT-WORK 48" x 65" 1993
Cut-work embroidery motifs were the inspiration behind this quilt which was sewn using a hand reverse appliqué method. The design was transferred onto the black foreground fabric with carbon paper and the coloured background fabrics were placed behind and exposed using a needle-turn technique. Inspiration for the circular border and the outer border came from traditional quilting designs that were redrawn as stencils.
Hand reverse appliqué and hand quilting
The Liberty floral fabrics in the feather and rope border were sorted into light, medium and dark values to emphasise the over and under movement of the feathers in relation to the rope.
Cut-work embroidery motifs were the inspiration behind this quilt which was sewn using a hand reverse appliqué method. The design was transferred onto the black foreground fabric with carbon paper and the coloured background fabrics were placed behind and exposed using a needle-turn technique. Inspiration for the circular border and the outer border came from traditional quilting designs that were redrawn as stencils.
Hand reverse appliqué and hand quilting
The Liberty floral fabrics in the feather and rope border were sorted into light, medium and dark values to emphasise the over and under movement of the feathers in relation to the rope.
ROSE 32" x 44" 1994
A graded pack of dyed fabric was used to interpret the subtle transitions in colour of the central flower. A template-free method of appliqué made this an easy and accurate project to sew. The foundation pieced surround, which was an excellent way of using fabric scraps, reflects the colours used the centre.
Hand template-free appliqué, machine foundation piecing and hand and machine quilting
I think the foundation piecing revolutionised the accuracy of patchwork. Whatever could be drawn in sequence of straight lines on a foundation layer, could also be sewn on the machine (or by hand on a fabric foundation).
A graded pack of dyed fabric was used to interpret the subtle transitions in colour of the central flower. A template-free method of appliqué made this an easy and accurate project to sew. The foundation pieced surround, which was an excellent way of using fabric scraps, reflects the colours used the centre.
Hand template-free appliqué, machine foundation piecing and hand and machine quilting
I think the foundation piecing revolutionised the accuracy of patchwork. Whatever could be drawn in sequence of straight lines on a foundation layer, could also be sewn on the machine (or by hand on a fabric foundation).
ALL IN VANE 74" X 98" 1993
The patchwork background was created randomly from 3" squares. Silhouetted images of weather vanes were appliquéd by machine onto this background and the traditional 'weather vane' block was used to create a striking border. The hand sewn quilting lines represent the isobars on a weather map and a large ceiling pointer design was added to the quilt back to complete the weather vane theme.
Machine pieced and appliquéd, machine and hand quilted
This was the first time I had used silhouetting on a quilt. I liked the strength of the images created by the black fabric against the other assorted fabric used in the quilt. I took me a long while and many quilts before I got back to silhouetted images. I began to utilize the strength of black fabric in many future quilts.
The patchwork background was created randomly from 3" squares. Silhouetted images of weather vanes were appliquéd by machine onto this background and the traditional 'weather vane' block was used to create a striking border. The hand sewn quilting lines represent the isobars on a weather map and a large ceiling pointer design was added to the quilt back to complete the weather vane theme.
Machine pieced and appliquéd, machine and hand quilted
This was the first time I had used silhouetting on a quilt. I liked the strength of the images created by the black fabric against the other assorted fabric used in the quilt. I took me a long while and many quilts before I got back to silhouetted images. I began to utilize the strength of black fabric in many future quilts.
LOGS IN THE SAMPLER 68" x 84" 1994
Scraps of fabric were sorted into light, medium and dark values and used to create individual log cabin squares on paper foundations. Sampler quilt blocks were constructed to show clam shells, hexagons and 4-patch, 9-patch and 16-patch designs.
Machine foundation piecing and machine quilting
This quilt represents the first time that I had tried machine quilting on a large quilt. Hand quilting was impossible because of all the small log shapes and bulky seams. The standard of quilting wasn't brilliant but it was a breakthrough in my development as machine quilter.
Scraps of fabric were sorted into light, medium and dark values and used to create individual log cabin squares on paper foundations. Sampler quilt blocks were constructed to show clam shells, hexagons and 4-patch, 9-patch and 16-patch designs.
Machine foundation piecing and machine quilting
This quilt represents the first time that I had tried machine quilting on a large quilt. Hand quilting was impossible because of all the small log shapes and bulky seams. The standard of quilting wasn't brilliant but it was a breakthrough in my development as machine quilter.
ESCHERFLIES 49" X 56" 1995
Inspired by an Escher design, this quilt includes a variety of hand and machine methods. The quilt top is a piece of black fabric marked with the pattern on the right side. The colour-washed panel at the top was prepared on a design wall and machine sewn. The wings of the butterflies were constructed individually using a paper foundation method. The prepared sections were then placed behind the black fabric and sewn using a hand reverse appliqué technique. The striking border was accurately sewn using a paper foundation method.
Machine piecing, foundation piecing, hand reverse applique and hand and machine quilting
My husband suggested that I hired a cleaner to do the housework I was so reluctant to do (I'd rather be quilting!) Whenever my 'woman-that-does' came to work, I spent the time sewing this quilt, reasoning that I had bought back some time for myself. This quilt represents that short lived indulgency!
Inspired by an Escher design, this quilt includes a variety of hand and machine methods. The quilt top is a piece of black fabric marked with the pattern on the right side. The colour-washed panel at the top was prepared on a design wall and machine sewn. The wings of the butterflies were constructed individually using a paper foundation method. The prepared sections were then placed behind the black fabric and sewn using a hand reverse appliqué technique. The striking border was accurately sewn using a paper foundation method.
Machine piecing, foundation piecing, hand reverse applique and hand and machine quilting
My husband suggested that I hired a cleaner to do the housework I was so reluctant to do (I'd rather be quilting!) Whenever my 'woman-that-does' came to work, I spent the time sewing this quilt, reasoning that I had bought back some time for myself. This quilt represents that short lived indulgency!
DYEING TO PAINT 38" X 41" 2000
The pieced background consists of random-width strips that were sewn diagonally onto large square paper foundations (6 ½"). These squares were cut into quarters and sewn together in staggered rows to eliminate bulky seams and to provide a gentle transition from one shade to another. The foreground grid was hand sewn after the background had been machine quilted.
Machine foundation piecing, machine quilting and hand reverse appliqué
Jo Ann, a quilting friend from Georgia, dyes her own fabric in graded colours and she has given me samples over the years of our friendship. But there comes a time when you have to decide that the fabric aren't too good to use and this wall hanging shows them off to their full advantage. It is influenced by the colourful work of Melody Johnson.
The pieced background consists of random-width strips that were sewn diagonally onto large square paper foundations (6 ½"). These squares were cut into quarters and sewn together in staggered rows to eliminate bulky seams and to provide a gentle transition from one shade to another. The foreground grid was hand sewn after the background had been machine quilted.
Machine foundation piecing, machine quilting and hand reverse appliqué
Jo Ann, a quilting friend from Georgia, dyes her own fabric in graded colours and she has given me samples over the years of our friendship. But there comes a time when you have to decide that the fabric aren't too good to use and this wall hanging shows them off to their full advantage. It is influenced by the colourful work of Melody Johnson.
TIFFANY REVISITED 58" x 76" 2000
Beautiful Bali and Batik fabrics were the starting point to this quilt which was inspired by Tiffany windows. The window was designed so that it could be work in smaller sections, which were then transferred onto a foundation layer. A template-free method was used to build up the colours of each section and the raw edges were covered with iron-on bias tape.
Machine template-free appliqué, machine bias appliqué and machine texturing
I enjoyed the speed of construction for this quilt by using an easy machine method without templates and the iron-on tape. Working with smaller sections made it easier to manouever under the sewing machine when I was quilting the different elements.
Beautiful Bali and Batik fabrics were the starting point to this quilt which was inspired by Tiffany windows. The window was designed so that it could be work in smaller sections, which were then transferred onto a foundation layer. A template-free method was used to build up the colours of each section and the raw edges were covered with iron-on bias tape.
Machine template-free appliqué, machine bias appliqué and machine texturing
I enjoyed the speed of construction for this quilt by using an easy machine method without templates and the iron-on tape. Working with smaller sections made it easier to manouever under the sewing machine when I was quilting the different elements.
A TIFFANY IN THE ATTIC 57" x 38" 2003
A Tiffany inspired picture was created using a hand reverse appliqué technique. After it was quilted and textured by machine, the picture was then cut into rectangles. Medium and a dark fabric strips were added to each rectangle to give an Attic Window effect and the picture was reconstructed with a black joining strip which formed part of the over-all design.
Hand reverse appliqué, machine quilting and machine piecing
I love the dimensional effect of the Attic Windows in the foreground of this quilt. They are so easy to prepare and they add depth and interest to what was, disappointingly, a rather flat picture.
A Tiffany inspired picture was created using a hand reverse appliqué technique. After it was quilted and textured by machine, the picture was then cut into rectangles. Medium and a dark fabric strips were added to each rectangle to give an Attic Window effect and the picture was reconstructed with a black joining strip which formed part of the over-all design.
Hand reverse appliqué, machine quilting and machine piecing
I love the dimensional effect of the Attic Windows in the foreground of this quilt. They are so easy to prepare and they add depth and interest to what was, disappointingly, a rather flat picture.
SCENE ON THE TILES 42" x 52" 2002
Another attempt at resetting a ready quilted picture in a dimensional grid.
Another attempt at resetting a ready quilted picture in a dimensional grid.
