Guest Blogger

Alissa Haight Carlton lives in Los Angeles and is one of the founders and president of the Modern Quilt Guild.  She has written two books, Modern Minimal: 20 Bold and Graphic Quilts and Block Party: The Modern Quilting Bee.   When not quilting, she casts reality shows including many recent seasons of Project Runway.  She blogs at www.handmadebyalissa.com.

How Blogging has Changed my Craft

It’s fair to say that my quilting and my blogging are directly linked and have each influenced the other enormously.  I started my blog handmadebyalissa in 2008 when I first started quilting so I almost can’t remember a time when there was one without the other.

When I made my very first quilts I was on flickr (which inspired my desire to quilt in the first place) and my descriptions were getting longer and longer.  I remember saying to my sister who was encouraging me to start a blog “really… a blog? What will I write?”  Well obviously I came up with plenty because here I am, a few years later and my blog has grown into something that has provided me many opportunities and led to an unbelievable sense of community and friendship for me.  I sometimes wonder what I did with my time before I quilted, blogged and worked on all of the things that it has led to.

The most important thing that my blog has done for my quilting is that it has helped me to push and grow creatively.  I’ll openly admit that this is partly driven by a sense of obligation.  I always feel like I need to get that next post ready, but I don’t think that is completely a bad thing.  As long as it doesn’t take over more important things in my life, it pushes me to get to my sewing room to design and sew.

It’s in my nature that I dislike making the same quilt twice, so I try to push and grow my voice with each quilt I make.  Not every quilt is equally as successful at taking a new step, but I’d like to think that a gradual, natural change and growth happens over time. What is certain is that without my blog I’d have made fewer quilts and therefore would not have grown creatively as much as I have.

Aside from the creative influence my blog has had on me, it’s been immeasurably important in terms of community.  In October of 2009 I co-founded The Modern Quilt Guild  (MQG), which has grown into an organization made up of more than 100 guilds all over the world and it all started with one blog comment.

I wrote a blog post about feeling that I didn’t see Modern Quilting represented at mainstream quilting events and wondered how we could work to change that.  Latifah Saafir, another modern quilter local to Los Angeles, posted “Maybe we should start our own modern quilt guild!”  And the rest is history.  The LAMQG met, I blogged about the fun we were having, and quickly there were other Modern Quilt Guilds popping up everywhere.  Now, under three years later, the MQG is still growing at an amazing pace and has added a lot of fuel to the fire of the Modern Quilting Movement.

In February of 2013, The Modern Quilt Guild will be holding it’s first convention and quilt show, QuiltCon, in Austin, Texas.  Tons of workshops, amazing teachers (including keynote speaker Denyse Schmidt), a huge quilt show and lots of shopping in the vendor hall will all lead to the first large scale event aimed specifically at modern quilters.  One blog post a few years ago (and a lot of hard work after that!) has led to this.  It’s astonishing what can happen when you voice your thoughts to a group of like-minded people!

Without my blog, I’d still consider quilting a hobby.  It would be a hobby I love and that would help to fulfill my life but with my blog it has turned into my passion and career.  Really what it comes down to is that quilting and blogging have changed my life – and for that I’m so, so happy.

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Jennie of A Little Vintage started making hand painted dolls about 3 years ago. The decision to make them custom made from her clients sentimental items has turned her craft into something much more meaningful. She talks about her creative process here. Pop by Jennie’s blog or Etsy shop to see the latest dolls and other new makes!
Hmmm … the creative process for me, really starts with getting a feeling for something. There is an ‘urge’ to create. Even with custom orders – where I’ve been given a certain amount of information (or even sentimental fabric) this gives me some direction. But then the rest is just what feels right – creative instinct? I’m not a doll maker who has a stack of arms and legs ready to sew on at any given moment. There isn’t  a ‘production line’ of limbs. I’ve never been able to work that way – it just doesn’t feel right.
I begin by tea dyeing my fabric to different shades (apart from the much darker skin tones). Then I draw their faces — not drawn from a template — each face is individually sketched out and hand painted. They are then heat set in the oven! (only 5 minutes at a very low temperature). When I first started, the whole doll would go in, as I was painting the shoes on too. But now it’s usually just the faces that get baked.
Colour is a huge component in decision making (probably for all crafters). The eye colour, the skin tone and the shade of lip colour. I’ve been known to change the eye colour with a very fine brush once everything else is finished. I love it when I get to put pattern on pattern or put colours together that you wouldn’t normally, in your own outfit. That is very freeing and exciting — coming from a background where I was told things had to be even, matching and not to mix pattern…
Making a doll for someone from their sentimental items can make the creative process quite nerve wracking sometimes. I think my all time favourite order was for a 40th birthday present. (Before I started blogging) I made the doll from the birthday girl’s 1970′s toddler clothes. A short polyester aqua dress with cream crochet neckline and sleeves. In the photo I was given, the little girl was wearing the dress with some white knee high socks, so the crochet part became the socks on the doll too. Another doll I was particularly pleased with, was for a girl with Downs Syndrome. Her mother wanted her to know that not all dolls (or people) are the same – and that it’s okay to be different.
The face painting takes a good deal of time, but something else that is time consuming is deciding the details to add once the doll is made up. Neck wear, earrings, hair clips, collars, scarves and ponchos. These are the things that pull everything together. Sometimes it’s a matter of too much choice, and I have to be careful to not over think things (which I tend to do sometimes).
This is where having a blog has been the best thing ever. Apart from the wonderful friendships it has created for me, it is a huge part of the creative process. The opinions, feedback and support is fantastic. But it has also been a portal to new and exciting projects and challenges that I wouldn’t have experienced otherwise.
So, that’s my creative process — ever changing, but always fun and interesting!

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Welcome Weeks Ringle from the Fun Quilts studio who is visiting here today and discussing her and her husband Bill Kerr’s new book Transparency Quilts, their new magazine Modern Quilts Illustrated and talking to us about colour.

Kathreen asked me to write about color – how we use it and how we think about it. My husband and business partner Bill Kerr and I both have Masters degrees in design so we were taught color theory using the seminal books on color theory such as Johannes Ittens’ The Art of Color. Ittens’ book describes the terminology of color and the relationships between colors. However, understanding color and designing with it are very different things. We’re not big believers in “color tools” or formulas for color work rather we like to teach people how to “see” and think about color in new way.

Although those nice color forecasters at Pantone will tell you that this year the important color is “Tangerine Tango” and last year it was “Honeysuckle”, our aim is to design with an approach to color that will make our work seem fresh 20 years from now. Trendy colors come and go but great color work is timeless.

In our new book Transparency Quilts we show quilters how to look beyond hue (or color) and look at value (the lightness or darkness of a hue) and saturation (sometimes referred to as intensity). We describe in the book how to look at fabrics in a different way so you can begin to see that placing some fabrics next to others creates the illusion of a transparency. We have numerous examples of transparencies that don’t work because we know that it takes some visual cues to understand the complex relationship among a group of fabrics.

In general we approach designing with color with an idea or sometimes a question. We did a fabric line a few years ago celebrating the diverse flora found in the US. So while there were the predictable pinks and greens found in most traditional florals, there were also soft blues and greys for the succulents found in dry climates and deep greens found in the ferny forests of the Pacific Northwest. Occasionally we’ve asked ourselves questions such as “What would happen if Marimekko went to Guatemala? What would that look like?” or “How could you take Civil War fabrics and make them modern?” To us it’s the juxtaposition of two disparate design vocabularies that sometimes yields interesting color work. Sometimes it’s a memory. The inspiration for the color work in one of our quilts was my grandmother’s favorite swimsuit that she swam in along the shores on Virginia in 1968. It was a lovely 60s palette of aqua, light blue, olive and a seaweedy green that still looks fresh and sophisticated.

For a quilt that appeared on the cover of American Patchwork & Quilting a few months ago, we asked ourselves how far we could push the idea of eclectic – eclectic in pattern as well as color. As we gathered 36 very different fabrics together we knew that we’d have to have some constraints or it would turn into visual mayhem with Kaffe Fasset prints next to Civil War reproduction fabrics next to primitive prints next to traditional florals. So we eliminated very light fabrics, very dark fabrics and bright fabrics. By limiting our palette to medium-value, medium-saturation fabrics, we soon found that everything pretty much looked good together.

When I was a landscape architect I knew a renowned plantsman who began every garden design trying to figure out where his favorite plant would go. He had a go-to palette of plants that he liked to use and they formed the starting point of every design.

We work very differently. We’re out to discover new palettes, new combinations of colors and prints that you’ve never seen before and that you would never have thought to put together. A great compliment to us is hearing someone say, “I would never have thought those colors would look that good together.” The same goes for prints. In the second issue of our magazine Modern Quilts Illustrated we’ll be combining the fabrics of two designers at opposite ends of the design spectrum.

If you’re about to start a project you can do the same thing at home. Think about who the project is for or what you want the quilt to be about. Is it for a soft-spoken friend or a high-energy child? If you’re working off a fabric you love, what colors beyond the colors in the fabric would compliment it? Is it a bright fabric that might be calmed with a neutral or is it a large-scale print that might be easier to work with if paired with a smaller-scale print? For a little color inspiration we have included in Modern Quilts Illustrated a fun feature called Palette Chasing. We find an interesting palette in some part of the world and we reassemble the palette using currently available fabrics. Our first chase was at the Library of Congress in Washington, DC. The rich palette may be over 100 years old but it’s a classic. Future issues will take you around the world in search of great color work because spending a little bit of time planning color work never goes unrewarded.

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Caroline and Maryanne are sisters who live in Sydney, Australia. They come from a long line of crafting women, who have all had the desire to create. They hope to continue this family tradition, spark this same passion in their children and share it with friends. They run a sewing school where Their main focus is to help their students discover the joy of creating beautiful but simple things and the joy that comes from being part of a crafting community. They have a blog too!

Beyond the Basics

We come from a long line of crafty women. While sewing and craft have always been part of who we are, it was only when we had children that it became our passion.

Sewing for children has brought us endless pleasure. Their little bodies are soft and round – there is no need for darts or real shaping other than some simple gathering, an elastic waistband or a few sweet pintucks.

When we started sewing for our children the patterns we chose were super simple – a-line dresses, elastic waisted pants, peasant tops and hooded jackets made up our sewing repertoire. The more things we created, the more we wanted to make and it was through this that we made an exciting discovery. Basic patterns are infinitely flexible and are super easy to adjust, alter and combine. Make a few alterations to a bodice top and combine it with tweaked elastic waisted skirt and voila! You have created an gorgeous dress. If you cut a pair of elastic waisted pants short and add a cuff you make some seriously cute and easy bubble shorts.

There will always be a place for patterns created by expert draftspeople, when we come to a new skill, moving from faux flies to real zippered flies, faux plackets to real plackets, for example, commercial patterns are always our starting point. Through this we acquire a new skill. And after we’ve mastered it? Then the fun begins. We get to play with it!

Some of the things we’ve discovered are:

  • Never use your most expensive or favourite fabric the first time you alter a pattern
  • Be confident with the basic pattern that is your staring point
  • Bias tape is your best friend. It means you don’t have to draft facings.
  • Create a master pattern without seam allowances. This makes drafting additional facings, collars and sleeves much easier. When you’re happy with your draft, don’t forget to add your seam allowances back in.
  • Be aware that your finished product won’t always be the one that you had in mind when you started. Nine times out of ten you’ll love them anyway. This is one of the things that makes pattern alteration so much fun.
  • Embrace the inevitable failures and see them as a learning opportunity

We love this idea so much that we’re doing a series about it on our blog. Each week we take a basic pattern shape and show our readers how infinitely flexible these patterns are. We hope to give our readers the skills to become confident, designers and creators. Pop in and have a look. We’d love to see you!

Take a look at some of the basic patterns that we’ve altered…

  • 1. Basic jacket with ruffle
  • 2. Dress to jacket inspired by this 
  • 3. Modern vintage top ( basic bodice pattern with flutter sleeves and a contrast placket)
  • 4. Sixties inspired dress (a-line dress with peter pan collar and cuffs)
  • 5. Reversible dinosaur jacket (basic jacket with spiked lining!)
  • 6.Ruffled blouse (peasant dress with ruffle collar and placket)
  • 7. A-line dress with bow feature (this one is SO simple to make!)
  • 8. Little girl dress-up dress (bodice top with ruffle, back placket and elastic waist style skirt)

 

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Guest post by author and crochet designer Dora Ohrenstein, discussing her new book Custom Crocheted Sweaters: Make Garments that Really Fit published by Lark Crafts (January 3, 2012).

I’m so happy to have the chance to talk about my new book, Custom Crocheted Sweaters. When I first became interested in crochet, it seems I took to making crochet garments quite naturally, and ever since, I’ve been trying to help other people make them. I was really thrilled when Lark, my publisher, accepted my idea for this book, which would give people all the tools they need to make sweaters that look and fit really great.

Do you have issues with making sweaters? Are they with fit? Gradually I’ve come to realize that the problems people have with sweaters comes down to several related issues:

  1. Not knowing your body’s measurements.
  2. Not understanding how to read the schematic provided in the pattern
  3. Not knowing how to adjust the pattern

I address all of these issues in depth along with: how to measure yourself, how to read schematics, how to break a pattern down into manageable sections, and how to use math and your calculator to adjust a pattern.

Now as you know, there are several different ways to construct a sweater, and the construction will affect how you deal with alteration. The book has 10 sweaters in all, starting with simpler constructions and moving to more complex; each sweater is a lesson in itself explaining alterations that are specific to that construction.

  • Floating Tee is a simple t-shirt shape, using a very open lace pattern. It shows how even simple rectangular shapes can create a lovely garment. They key thing is to have fabric that drapes, and to establish the right measurement for your torso width and length.
  • Double Trouble Shell is also a basic rectangle, created by joining square motifs. There is a different motif used on the front and back, and the top can be worn either way. The side panel is made of simple rows of treble crochets worked vertically, and it’s here that all the sizing takes place.
  • Shawled Collar Tunic is also made with vertical rows, or side to side. It uses a very simple stitch pattern: (sc, dc) in the same st. This design has a set in armhole. The A-line shape, with some flair towards the bottom of the garment, is created by changing the stitch pattern to (sc, 2dc) towards the bottom of the garment. Very simple, and not hard to do.
  • In Vest is a classic and versatile garment with a fitted armhole and v-neck. For this garment, I asked that the neckline and armhole be shown in stitch diagrams for all the sizes. This allows people to understand exactly how size affects the number of pattern repetitions and stitch counts, and makes alterations easier to tackle.
  • Fiji Cardi uses a variegated yarn which sometimes gets a bad rap. I think the long stitch patterns in crochet are great vehicles for self-striping yarns. This design also has a set in sleeve. In this section I talk about how you can alter a pattern by changing the gauge, a very useful topic to study.
  • With Beau Blazer I wanted to show how shaping can be done even with an angled pattern. The natural diagonal in the pattern is used to shape the armhole, sleeve cap and neckline. For the waist shaping, I went down a hook size for a few rows. The alterations on this design include how to make a bust dart for those who need more room in the front of the garment than the back.
  • Eleganza Raglan shows how raglans have a more relaxed fit than set in sleeves. Raglans are easier to alter, since both the armhole and the sleeve cap are a simple diagonal line. Again, a simple stitch pattern is used, with a different stitch to emphasize the open neckline.
  • Uptown Sweater is a top down design. I found a stitch pattern that has a wonderful way of hugging the body, it almost acts like ribbing. In this part I discuss how to alter the neckline, to make it closer to the neck or larger, depending on the kind of look you like.
  • Shrug Hug is another top down design. I have a somewhat different approach to top down design than what is commonly advocated. Of course you can try it on as you go and see if it fits, but I think there is a better way: know your measurements and plan the sweater accordingly ahead of time.
  • Creampuff Cardigan is a circular design, with no seams. Most of the shaping for the body occurs in the rows of half double crochets, but in the yoke, I actually changed the size of the stitch pattern to get the correct decreases.

Designers have to size garments according to an industry standard. This means that someone with a 40 inch bust, for example, is assumed to have a certain size shoulder width, neck width, sleeve width and length, etc. But most people are not standard sizes! If you make a pattern and pick the size based only upon the bust size (which is what people often do), you are likely to end up with a sweater that doesn’t fit. In fact, many women are well-endowed in the bust but may not have “standard” sized shoulders, or arm lengths. I mention this issue in particular because I’ve found it to be a very common one. When you decide to make a sweater, look very carefully at all the measurements given in the schematic. Of course, they won’t mean much to you unless you know what measurements are right for you.

Getting accurate measurements

  • Get accurate measurements of your body in all the places that you see measured on a sweater schematic. You can do it by yourself, but it’s easier if you have a friend. You should be wearing undergarments when you do this. The measurements include: bust width, shoulder width, hip width, armhole depth, ideal length from underarm. You also need sleeve width and length measurements. Write all of these down on a schematic.
  • Before you compare these to the schematic for a sweater, think about how much ease you need. I am a big fan of little or no ease, but this is definitely a matter of preference. The most ease I would ever add to the bust is 2″ over the whole bust circumference, but often I use no ease, or negative ease. One to two inches of ease can be added at the bust, hips, and upper sleeve, but nowhere else. The shoulder width should definitely NOT have ease — you want the shoulder seam to be right at the shoulder not lower – or it can be a bit narrower than your shoulders.
  • If you’re not sure about your own ease preference, I recommend measuring sweaters that you own and that fit you really well. Lay the sweater flat and measure it with a ruler. You may be surprised to learn that your favorite sweaters have little or no ease.
  • Once you have all your measurements and have added ease in those areas I mentioned, you can compare it to the schematic. The next step is to know where in the pattern to make these adjustments, and how to make the adjustments based on the pattern.
Making pattern alterations
  • Patterns for garments can go on for pages and pages. However, professionally produced patterns are almost always broken down into sections, so you can tell which part of the sweater you are working on, and where the shaping is. In my book, the sections are marked “Hip to Waist” then “Waist to Bust”, then “Armhole.” In top down sweaters, the first section is the yoke, then the body. Whichever direction the pattern progresses, check the pattern carefully to zero in on the section you will have to alter.
  • Most alterations can be minor – simply a matter of doing more or fewer decreases, using the pattern as a model. You’ll have to study the simple math equations using gauge to plan your alterations. If you are phobic about math, remember that the calculator does all the work for you!

Before closing, I want to let readers know that I am teaching classes on the same subjects on line at my site, Crochetinsider.com. I’ve taught them before and was amazed how people responded: several have started designing their own sweaters and they fit perfectly! It’s the same info as in the book, but I’m able to give a lot of hands on attention to the students and it helps people gain confidence. So if you’re interested, please check out the schedule here.

Credits: All photographs Scott Jones. The design on the cover is Beau Blazer. The top right photo is Dora wearing the Shrug Hug. The other images are from left to right: Creampuff Cardigan :: Shawled Collar Tunic :: Eleganza Raglan :: Floating Tee.

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