Morning Make December 2020

December saw a decided slow down, a necessary slow down. I was in the mood for hand stitching plus I wanted something that would carry me through the quiet holiday at home. Having done embroidery in February and already working on English Paper Piecing I decided to try something entirely new to me.

Pojagi is a Korean art form of patchwork. It can be done by machine, but I chose to go the original route of hand stitching. The end result is a finished seam from both sides. This means any Pojagi piece is entirely reversible.

It was never a one piece of fabric to represent one day in the month kind of project. Some days I did a single short seam, some days I did five. I will say that, initially, I thought I would make it into a curtain or shade for one of my sewing room windows. The low winter sun and Zoom events mean I have to diffuse the light coming in the room for part of the day. This would have been a very traditional use for the Pojagi. But it’s a big window! So partway through the month I switched plans and made it longer rather that wider, sealing its fate as a table runner (if I finished it.)

The first exposure I had to Pojagi was years ago from Victoria Gertenbach. Despite the time passing, it has always stuck in my head. She did machine work, but it was the history and the effect that stayed with me. For a hand stitched technique I used this tutorial. I won’t lie, I had to look at the tutorial each day for a week while I worked on it to have it make sense.

For materials and colour I stayed close to home. Many examples of Korean work will use different materials from silks to polyesters. I stuck with quilting cottons and linens, a mixture pulled from my stash. Included in this was a sparkly linen left behind when a friend from Australia visited, leftover blues from Shiver, and a scrap of fabric used to sop up dye when we tie dyed sheets with the kids last summer. My fabric pull was, in the end, an homage to a winter sunrise here.

I did actually finish this piece. It felt silly to leave it behind to be both forgotten and potentially wrecked. During downtime and while supervising virtual school this week I hemmed the edges. The tree is still up, candles light our evenings, and a lovely reminder to slow down graces the table.

As for Morning Make I am going to continue on the monthly change for 2021. I really liked the strong focus for a relatively short period of time. It is fostering play and exploration but still allows me to dig in to something new a little.

Names for Snow

Names For Snow

47” x 58”

Okay, so I finished this quilt more than a year ago. Then it was on display and stayed living for a friend for a year. He was paranoid about it getting wrecked and so gave it back. I’ve just been waiting for a proper snowfall to get a picture of it.

Of course, I forgot that proper snowfalls actually make it difficult to take quilt pictures. There is the feets of snow, for one. And two, despite all that white, it is quite difficult to get accurate colour representation in snow. Good thing this quilt is inspired by snow! In a strange twist in quilt photography, shooting this quilt in the sun was the way to do it. Got my tween and her best friend to help out as I forced them away from the snow fort they are building.

The entire quilt started as a love letter to my favourite scissors. Kevin from Knife Wear goes on buying trips to Japan. I made a comment about scissors offhand and he came up with some pairs to try. Yes, I know we quilters are spoiled with a lot of scissor options. These ones are, by far, my favourite. So I set out to freehand cut half square triangles and sew them together. Everything was cut by hand - the initial squares, trimming, and squaring up. The only time I brought out a rotary cutter and ruler was to square up the finished quilt. What a liberating way to work!

Note to self: do this again.

Playing with all these neutrals resulted in another love letter through this quilt. To my favourite season: winter! It isn’t often that I have the name of a quilt early in the making but this one was set pretty quickly. Whites, creams, beiges, more whites, a little blue. No yellow.

I spent way too much time obsessing over the quilting. I was researching different languages and their names for snow, I was trying to figure out how to stitch in Inuktitut. I brainstorming loads of options. In the end, however, a deadline and my desire to never mark quilts won. I went with dense, wavy lines (snowdrift) with little asterisk/sparkles here and there. Texture, more than anything.

The white binding seemed like a no brainer.

When making improv quilts, whether free hand cut like this or now, one key thing to remember is that perfection does not live here. Points will be trimmed off, lines might be a bit wonky, you might cut more than expected to make things fit, and almost nothing lines up. This is precisely why I like this. It looks and feels handmade. I see my own movements in every line of stitching, every shape. It can be a hard switch from the pursuit of perfection in quilt making but it is a liberating switch for many.

Now that we are settled in for a Christmas at home I am glad for another quilt on the sofa to celebrate my truly favourite season. Winter is indeed for snow forts and skiing (hopefully) and skating. Winter is for curling up with quilts and cookies at the bookends of those activities.

Here’s to the season!

This is the third in my landscape series. See Mountain Meadows and Ripples.

Morning Make September 2020

Another month of painting. More focus this time.

With the kids returning to school I really, really needed something both a bit quicker than my doodles of last month but also still meditative. I decided to draw and paint a series of quilt blocks and turned them into cards.

My knowledge of traditional quilt blocks is not terribly deep so I pulled some classics off the book shelf for inspiration. I still used my quilting ruler, but wielding a pencil instead of a rotary cutter. My trusty watercolours and a black marker for outlining rounding out the supplies.

For the most part I limited myself to just a single block in the painting. Sometimes, however, you need a few repeats for good effect. With each block I played with colour in my paint choices, but not really anything fancy. I am no watercolour artist, but I am definitely improving. At the very least I am capturing what I want and that makes me happy.

Now I have a collection of 30 cards!

Which really means, now I have a collection of letters and notes to write. Would you like one? We could all use some happy mail these days.

The first 25 people to send me an email to cheryl@cherylarkison.com with a return mailing address and a short request will get a card. Please include a bit about yourself or your online presence so I can truly personalize these.

Morning Make - May 2020

At the end of April my son decided to learn how to sew All. By. Himself. He made 2.5 quilt blocks, they were awesome. He told me he wanted making a quilt big enough to wrap around himself. He also said he wanted to start the day with sewing, like me. So rather than have any machine work on the go in the mornings I made May Morning Make about hand stitching so I could be available for him. And he hasn’t sewn a stitch since!

I, however, got a quilt top finished in May with that hand stitching. One applique shape at a time.

The background fabric was a single piece of linen I picked up in California years ago. It was intended for a different applique project, but things change! I liked that it was a single piece of fabric, as opposed to something I had to sew together. It also constrained the project in a good way. As for the other fabric choices, I simply went into my solids bin and picked mostly based on size. And ability to match with thread I already had in the house. The green and the periwinkle came first then I chose a yellow to have some pops.

It was absolutely coincidence that I had the spool of Aurifil 80W that matched this vintage mystery fabric in periwinkle. But using it made me want this thread in ALL. THE. COLOURS. for any future applique work.

Other than having a general idea of a collage, I started and progressed with no real plan. It looked quite questionable at the beginning, I won’t lie. But halfway through the month I could see the vision come to life. Every couple of days I cut a few shapes out fabrics. Some general shapes are repeated, but never measured to be the same. By cutting a few at a time I could have a bit of control over the distribution of colour. Then each morning I would pick a shape that motivated me or looked good that day and stitch it on.

While it’s been a while since I did any applique, I stuck with my tried and true basting technique. I didn’t invent it, but I will certainly sing its worth.

The original influence came from the collage and painting work of Lisa Congdon as well as the watercolour marks made through Lisa Solomon. That being said, when I was flipping through old sketchbooks I came across an image I made seven years ago that could definitely also be an influence.

One of the most difficult parts of an applique project for me is then deciding how to quilt it. A part of me worries about ruining the applique with quilting. Or questions whether I should highlight the applique or ignore the specific construction. Needless to say, this quilt top will sit for a bit while I figure it out more.

We’re halfway through June and I decided to put the needles down entirely for Morning Make. And my son still hasn’t sewn anymore himself.