Andover Textile History Notes: Chintz

A NOTE ON THE AUTHOR: Margo Krager, owner of ReproductionFabrics.com, a website and storefront located in Northfield, MN, has been a fabric retailer since 1984. She has spent over 20 years researching historic cotton printed and yarn-dyed fabrics used in quilts and garments, gives lectures on historic dye, and print technologies and does hands-on workshops on Center Medallion Quilts.

Margo received a Bachelor’s of Science degree in Medical Technology in 1970 from Michigan State University and worked in that field for 15 years. In 1984 she switched needles and became a fabric retailer. Since that time she has also done graduate level work in History at Montana State University, distance learning through the Quilt Studies Program at the University of Nebraska-Lincoln and published a professions paper, The Calico Trade Shirts on the Journey with Lewis and Clark, with the Textile Society of America.

Her design inspiration comes from the 9 antique fabric sample books she owns.

Andover Textile History Notes: Chintz

by Margo Krager

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Chintz or calico…can be a pattern, a finish, or just plain muslin.

In early merchant ledgers (17th/18th Century) the terms chintz and calico were often used interchangeably. Even today some of my customers refer to muslin as calico. Generally 19th century calicos featured a printed pattern on cotton fabric in the foulard style (small motifs on a diagonal…think menswear ties) and were used as dressgoods.

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PHEASANT & TRACERIES: A-8298-Y 

Large complex multi colored floral patterns or realistic birds in a natural setting, sometimes with a shiny finish, were called Furnishing Goods or chintz. The surface glaze applied to these early fabrics could be from a natural product like beeswax or a mechanical polishing and was used to both brighten the colors and to imitate the shine of silks. Early chintzes were used for garments, women’s dresses and men’s dressing gowns as well as bed coverings. Today we generally think of large complex chintz patterns as Decorator Fabrics.

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GIGGLESWICK MILL: A-8217-NG

The establishment of numerous American textile mills early in the 1800s not only fueled the American Industrial Revolution, but also provided competition for imported textiles, especially those from Great Britain. In 1836 American domestic print production was 120 million yards. These were largely small scale prints for clothing. Roller printing of two colors had been the main product in 1835; by 1840 the mills here were capable of 3 color designs. The reaction to loss of American market share in England was a dramatic decline in artistic standards for their cotton prints coupled with a large increase in production. (The lower cost, bigger volume approach) In 1835 British mills had exported just under 280,000 million yards of printed cottons to the United States, by 1845 that had risen to 413,000 million yards.

The first edition of John James Audubon’s Birds of America was printed in London in 1827. It had a large influence on textile design. His illustrations inspired the popular Bird Style chintzes of the period. Pheasant Under Palm Tree, one of those prints, was offered in several different background colorations. The high point of the English chintz industry is often considered to be 1840-50. By the American Civil War Era (1850-1880)…small neat foulard style calicos and plaids, plaids and more plaids (printed and woven) were fashionable.

Pheasant Under Palm Tree Chintz has an amazing chintz finish! It will last through several washings.

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PHEASANT & TRACERIES: A-8292-N

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PHEASANT & TRACERIES: A-8292-R

The print style is an ‘island’ pattern in a drop set. This means one horizontal row will have 2 of the pheasants and palm tree motifs and then the ‘half row up’ will have one motif in the center with 2 partials on each side. This arrangement works beautifully for a strippy style quilt, especially popular from 1800-1860.

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FREE PHEASANT & TRACERIES PATTERN: STARRY PATH

The term Chintz can mean a print style, large colorful florals or birds, or a finish. When the American market was flooded with those poorly designed, cheaply printed goods in the 1840s, those fabrics were often referred to as ‘chintzy’…gaudy and cheap.

Margo Krager’s new collection Pheasant & Traceries is available now. Be sure to tell you’re local quilt shop that you can’t wait to get your hands on the line!

 

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Andover Textile History Notes: Indigo Dye

A NOTE ON THE AUTHOR: Margo Krager, owner of ReproductionFabrics.com, a website and storefront located in Northfield, MN, has been a fabric retailer since 1984. She has spent over 20 years researching historic cotton printed and yarn-dyed fabrics used in quilts and garments, gives lectures on historic dye, and print technologies and does hands-on workshops on Center Medallion Quilts.

Margo received a Bachelor’s of Science degree in Medical Technology in 1970 from Michigan State University and worked in that field for 15 years. In 1984 she switched needles and became a fabric retailer. Since that time she has also done graduate level work in History at Montana State University, distance learning through the Quilt Studies Program at the University of Nebraska-Lincoln and published a professions paper, The Calico Trade Shirts on the Journey with Lewis and Clark, with the Textile Society of America.

Her design inspiration comes from the 9 antique fabric sample books she owns.

Andover Textile History Notes: Indigo Dye

by Margo Krager

Antique dark blue and white printed cottons are my favorites. I had an indigo dye house, Stifel Calicoworks, in my hometown, Wheeling, WV, from 1835-1957. Johann Ludwig Stifel was born 1807 in Germany and arrived in Wheeling in 1835 to begin an indigo dyeing business.  He soon added block printing to his repertoire and by 1874 the business was one of the largest calico printing companies in the country.

Natural indigo dye is derived from a tropical/subtropical shrub (genus… Indigofera) and has a natural affinity for cotton. The classic 19th century European and American blue and white indigo prints we so love were all printed and dyed with this very stable natural dye. A commercial synthetic indigo textile dye was finally produced in 1897.

Early European indigo prints (indigo dye replaced Woad late in the 17th century in Europe) involved applying a resist pattern on undyed cloth.  The resist paste (flour, starch, clay, wax or resin) mechanically blocked the dye from adhering to the fabric.

The fabric was thoroughly air-dried, then dipped into a cool indigo dye vat. The first dip might last only a few minutes. Just under the surface, the dye bath and the fabric were a pea soup green color. As the fabric emerged, oxygen in the air turned the cloth blue! Additional immersions and oxidizations produced a darker blue hue.

The dyed fabric was once again thoroughly dried and then passed through a warm weak sulfuric acid solution. This step removed the resist paste and whitened the printed pattern

A second method of ‘blue dyeing’, the discharge style, involved printing a design with a bleaching agent such as oxalic acid paste on a length of cotton fabric that had already been dyed indigo blue. The result is again a white pattern on a blue background. Indigos printed in the discharge style were seen in England around 1813. By midcentury, this technique was commonly used throughout Europe and America.

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An additional step could easily produce a Two Blue design….a light blue motif or background along with a darker shade of blue.  A portion of the resist would be removed and the fabric redyed.

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A fancy or illuminated indigo print had a bright chrome yellow or orange element on a deep blue ground. Discharge pastes that included lead chromate produced indigo prints that were illuminated with a sparkle of chrome yellow. A subsequent rinse of the fabric in an alkaline solution converted the yellow figure to chrome orange. These sparkly indigo prints had good registration, meaning clean, sharp figures without halos on a dark blue background. Today’s reproductions have that showy orange sparkle.

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Beginning in the last quarter of the 19th century a new grayed blue, often called Cadet or Soldier blue, became fashionable.  It was printed in the classic style with an off white pattern on a blue ground.

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The ultimate example of complexity in blue dying is a polychrome print, meaning multiple colors in the design.  Numerous intricate steps in the dying process made these very expensive dressgoods of the 1830s.  Design source was my c. 1830 Dargate book.

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Synthetic indigo dye was commercially successful by 1897. Adolf von Baeyer was instrumental in this development and received the Organic Chemistry Nobel Prize in 1905. Synthetic indigo is exactly the same formula as the natural product but without impurities. Because this new dye was so reliable (always the same strength and delivery was not dependent on weather conditions/harvest in the growing regions) and cheaper, it replaced natural indigo dye within a decade. Many indigo plantations in the East and West Indies and Central America were put out of business.

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SLC Spring Market Recap

We are back from the long weekend recovered from the Quilt Market frenzy! We had such a blast in Salt Lake City. We have so many photos to share with you of the amazing projects our makers have made. Just take a look at all of the incredible eye candy Andover had to offer in SLC.

People showed up in droves to check out our newest licensed collection, Outlander. Everyone was so excited to take photos with Jamie and Claire. But mostly they just took pictures with Jamie…

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We had some beautiful projects featuring another new license, An American in Paris.

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And of course we had to show off these spectacular Little House on the Prairie projects.

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Di Ford-Hall and English paper piecing hit the perfect chord in our booth. Check out these stunning EPP projects featuring Di’s collections.

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Renee Nanneman’s beautiful new Pumpkin Spice collection got us all excited for Fall!

046 (2)The always classic reproduction prints of Margo Krager were beautifully showcased in these elegant projects.


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Lizzy House impressed with projects featuring many of her current collections including, Whisper Palette, Mini Pearl Bracelets, and The Hit Parade: Double Gauze.

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Libs Elliott made quite a splash with her first collection, True Love.

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Just look at all of these amazing bags!

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As always, Alison Glass stunned with an amazing array of bright and colorful projects showcasing Handcrafted Patchwork and Sun Print 2016.

175104109We are already hard at work coming up with ways to top this show in the Fall. We have so many great ideas and cannot WAIT to see you there!

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Katie Hennagir’s The House that Jack Built

The House that Jack Built

by Katie Hennagir

Hi! My name is Katie Hennagir and this is my son, Jack.

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And this is “The House That Jack Built.”

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Ever since my son Jack was little his “thing” has been Halloween. While other kids would have chosen dinosaurs or super heroes, Jack gravitated towards anything spooky. He loved bats, spiders, ghosts, and of course jack-o-lanterns. As our Halloween decorations started to outnumber our Christmas ones, I knew we were in deep. When he asked if he could decorate his bedroom in Halloween all year round I said, “why not.” Don’t get me wrong he’s not the only one who loves Halloween; I also love celebrating this holiday with fun sort-of spooky decorations. It wasn’t long before my love for Halloween and my love for Jack mixed together to create an idea in my head to design a line of fabric that would be a clever play on words with the nursery rhyme The House That Jack Built.

I knew right away that I wanted to create a fabric that would include my new version of the traditional nursery rhyme. I didn’t have to go far to find someone who was eager to help me write it. Jack and I brainstormed our own version with phrases like, this is the cat that chased the ghost… this is the door that creaked in the night… the is the witch who turned into a toad… in the house that Jack built. From there I added in prints that include Jack’s spooky house, a hexie spiderweb, and funky trees.

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As a fabric designer, my favorite part of the process is figuring out what projects to make. I love creating free quilt patterns that coordinate with the line so that you can get right down to the business of sewing.

This time I created three different patterns that can be found on Andover Fabric’s website (just click on the Quilts and Downloads tab to find them). Above you will see Jack’s Centerpiece. This is the perfect little table topper for adding a splash of Halloween to your décor. I love the gray and green combo and had a blast shopping for coordinating candy! It’s never too early to start getting ready for a party, right? I’m also pretty smitten with the orange colorway.

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I know we’ll use this centerpiece when we celebrate Halloween along with one of our favorite snacks: Caramel Corn Puffs. This is something my mom has made for years and it is just the perfect amount of sweet and salty. Head on over to my blog for this recipe as well as a couple more spooky time favorites: Monster Cookies & Buckeyes!

I also created these adorable candle mats or placements that feature a pieced house on one side and the story on the other side.

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I think these would make a great gift. You could tie one around a bottle of wine or include it with a cute coffee mug. It would be a great hostess gift if you’re headed to a Halloween party!

This girl said, “those cupcakes were a great prop mom!”

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And of course there had to be quilts!! Jack’s Quilt is a quick and easy sewing project that lets the fabric do all of the work.

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This pattern is also a free pattern on Andover’s site so be sure to go and download it.

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I love how the hexie border frames these quilts. I also decided to make up two of my best selling quilt patterns with fabrics from “The House That Jack Built”. Here’s a look at my Just Three Yards pattern. It’s just a half yard each of 6 different fabrics.

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And here is my Three Yard Throw pattern. A yard each of three different prints.

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Both of those patterns can be found on our shop’s website, Bay Window Quilt Shop:

Thank you for taking the time to hear about my new fabric line. I am thrilled to be able to show it to all of you along with what I’ve made so far. Knowing me, there will be more projects and ideas for using these prints that have a special place in my heart. If you want to join me along the way be sure to follow along on Instagram (@katiehennagir) or my blog. There are only 178 days until Halloween….

Happy Sewing! -Katie

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Dresden Carnival Blog Hop

Hey there, friends! Giuseppe here from Andover (AKA @giucy_giuce). Today we are reviewing the new book Dresden Carnival by Marian B. Gallian and Yvette Marie Jones of Pink Hippo Quilts and Vetmari, respectively.

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When Marian and Yvette asked us to peruse their new book we jumped at the chance to get our hands on a copy. Our Brand Manager, Daryl (AKA @fabrichick), has worked with these ladies for as long as she has been at Andover. I’ve been a fan of their work in my tenure here as well. We couldn’t possibly be more excited for them and we are so honored to be included in this blog hop!

The ladies used Makower UK‘s Modern Folkloric fabric to splendid effect in their gorgeous Italian Ice quilt. I love the beautiful swish of the Dresden Plates against the angularity of the outer-most border.

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The book is packed to the brim with inspiring Dreseden Plate quilts for all levels. As a quilter I have never tackled the Dresden Plate. All those curves and appliqué are so intimidating! I can honestly say, though, that this book really has inspired me to give it a shot. The instructions throughout the book are super clear and easy to follow.

After reading the book I pulled some fabric for a Dresden pillow I hope to make soon. I pulled from groups by Alison Glass, Lizzy House, and our newest designer Libs Elliott.  FullSizeRender (5)

Dresden Carnival is chock-full of sophisticated, colorful quilts. The fabrics are so expertly curated, the palettes so romantic and classic. I felt like this fabric pull invoked that same feeling of chic elegance.
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I highly recommend checking this book out. For the experienced Dresden maker it is filled with projects that will inspire you to look at this classic motif in a new light. For the novice, like me, it’ll inspire and motivate you to try something new!

There are a ton of great posts about this book on the tour. Check out the blog hop schedule below!

Mon. April 18: C&T Publishing

Tues. April 19: Generation Q Magazine 

Wed. April 20: Bryan House Quilts

Thurs. April 21: Michael Miller Fabrics

Fri. April 22: Textile Time Travels

Mon. April 25: Happy Quilting

Tues. April 26: Kitchen Table Quilting

Wed. April 27: Andover Fabrics

Thurs. April 28Crazy Old Ladies

Fri. April 29Vetmari  & Pink Hippo Quilts

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Design Inspiration: The Dargate Book

A NOTE ON THE AUTHOR: Margo Krager, owner of ReproductionFabrics.com, a website and storefront located in Northfield, MN, has been a fabric retailer since 1984. She has spent over 20 years researching historic cotton printed and yarn-dyed fabrics used in quilts and garments, gives lectures on historic dye, and print technologies and does hands-on workshops on Center Medallion Quilts.

Margo received a Bachelor’s of Science degree in Medical Technology in 1970 from Michigan State University and worked in that field for 15 years. In 1984 she switched needles and became a fabric retailer. Since that time she has also done graduate level work in History at Montana State University, distance learning through the Quilt Studies Program at the University of Nebraska-Lincoln and published a professions paper, The Calico Trade Shirts on the Journey with Lewis and Clark, with the Textile Society of America.

Her design inspiration comes from the 9 antique fabric sample books she owns.

Design Inspiration: The Dargate Book

by Margo Krager

Dargate Cover

This fabric sample book was obtained from an estate sale at the Dargate Auction House in Pittsburgh, Pennsylvania in the summer of 1997. The ledger-style book (10” X 16”) contains 330 rag-paper pages with fabric samples attached with either horse hoof or fish bone glue. The book had been kept in a slipcase, away from light for about 80 years. Consequently there has been very little deterioration of either the fabrics or the dye colors (archival environment…rag paper, archival glues and no light). It contains approximately 1,750 fabric swatches of c. 1830 French dress goods. Both Dr. Virginia Gunn, Professor of Costume at the University of Akron (now retired) and Susan Meller, author and textile historian, have dated the samples c. 1830.

In 1997, I had my mail order company in an old country store in the Dutch farming community of Churchill, MT. UPS was on strike late in the summer of 1997. Some fabric wholesalers suspended shipments with a ‘wait and see’ attitude. Others began to ship goods through the US Postal Service. One day in late August, my postal carrier brought the mail—letters with orders, boxes with fabric and notions, and then he handed me a large flat box. From the label I knew it was the book. Not insured, not registered. Somehow with the United State Post Office in extremis, this very special package had arrived.

There is no provenance on the book, no inscriptions, no notations, and no dates. I took it to Dr. Virginia Gunn, professor of costume at the University of Akron and sent scans to Susan Meller, author of Textile Designs. They both dated the book c. 1830 and probably French. After numerous hours of turning pages and admiring the wide variety of designs, I knew this would be a great source of reproduction fabric designs, not only for quilters but also for costumers. My goal has been to reproduce as accurately as possible the designs, scale and colors of the samples in the Dargate Book.

Some Dargate pinks…

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Small and large prints in two or three shades of pink or red (often referred to as Double Pinks, 2 or 3 Reds and Cinnamon pinks) have been a perennial favorite of the textile industry. The Dargate Book has a large assorted of double pinks as well as many with highlights of yellow!

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The only natural dye stuffs (a substance that can be used as a dye or from which a dye can be obtained) with an affinity for cotton are indigo, some berries and tree barks. Other natural dyes such as madder need a mordant to bind them to the fabric. The word mordant is from the French, mordre, meaning ‘biting’ or ‘caustic’. Mordants are salts of common chemicals such as aluminum (alum) or iron. They form a bond between the dye and the cloth.

Different mordants produce different colors in the madder dye bath while different strengths of the same mordant give different shades of a hue. An aluminum acetate mordant (alum) produces a range of colors from deep red to a very pale pink and was used historically for block printing as well as copper plate and then roller printing.

For a double pink, the fabric was first printed in a pattern with a weak solution of alum and allowed to dry/age and then over printed with a companion pattern in a stronger alum mixture and dried again.

The next step was a madder dye bath. The mordants bonded the dye and cloth together for a lively double pink design. Occasionally a design with three pinks/reds was produced using three different strengths of the mordant.

Today’s modern fiber reactive dyes are able to reproduce these much loved designs.

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TRINKETS: A-8158-E

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TRINKETS: A-8156-E

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DARGATE VINES: A-8201-E

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DARGATE VINES: A-8197-LE

 

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Diamontology: The SARIELLA Way 

Guest blog post by Sari Thomas of @sariditty and Nikki Young of @lillyellasworld

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While neither of us can remember exactly how we met (we just know it was on Instagram) and it was only about a year ago, we both agree it feels like it’s been a lifetime and agree we must be twins separated at birth. We are just a couple years apart in age and are both military wives without children who love big mutts and cannot lie. An affinity for donuts and hyperactive creative drives are the two most prominent traits we share among a lengthy list of similarities. It didn’t take long before a few emails turned into an occasional text, which turned into an everyday text, which turned into neither of us being able to make a decision without the other one involved. All of our projects began to feel like joint efforts, so it only made sense for us to team up officially.

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While some people may think all we do is eat donuts and wear fancy leggings, in reality, we’ve teamed up and created SARIELLA (@sariellastudios) to bring the best of our two minds to life through unique patterns, fun tutorials, and miscellaneous crafty goodness. When we’re invited to work with a fabric line for an event or blog tour, we can’t help but jump at the opportunity for an exciting side project (and by jump we mean dive head first and don’t come up for air until we’re done). #sendcoffee #andpoolnoodles

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In this instance, Andover asked us to create a piece for Spring Market using the new Whisper Palette by Lizzy House. The timing was serendipitous in that we already had a work visit (a.k.a. SARIELLA retreat) planned at Sari’s for the following week. Though we’ve grown accustomed to working with 1,466 miles and two time zones between us (Sari currently lives in West Virginia and Nikki is in Colorado), sharing airspace definitely makes the collaborative process easier and way more fun.

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When deciding what to create with a specific fabric line or bundle, we draw our inspiration solely from the theme of the collection. We are constantly brainstorming and always have several patterns and ideas in various stages of development. We look to these first and decide if any are a good match to best showcase the fabric, but we often end up designing a new pattern specifically created for the collection. This involves maxing out an unlimited cell phone plan (I bet you didn’t know that was possible) and bouncing ideas off each other for about 15 uninterrupted hours, pausing only for dog exercise and donut refills.

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With Whisper Palette, however, we knew almost instantly that a few antique star cut diamond sketches that Sari had been working on would showcase the collection perfectly, so the only question remaining was what specifically to do with them. We tend to dream big, and that’s always where we start. Occasionally, we have to rein in our ideas due to any number of limitations; whether it’s turn around time, space constraints, or a limited amount of fabric because we’re working with strike offs. And sometimes all of the above.

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We’ve both really been into adding fun 3D elements to our projects lately and our initial idea was to create a large mobile of dangling gems; however, hanging it was just not a possibility with the setup of the Andover Spring Quilt Market booth. So, from there we scaled back and revamped our idea into what became our final design.

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After hashing out all the project details, Sari finalized her sketches and sent them off to Nikki to work her digital pattern magic. One day later (and one day before her flight to BWI), three patterns were ready to go. Thanks to the perfect timing of Giuseppe and UPS, a box of whispery goodness was waiting for us at Sari’s house when we got home from the airport. The next steps of deciding on fabric placement and creating the pieces took a fraction of time compared to what it normally would since we were together, but typically this process involves texting numerous photos back and forth, mailing supplies, deciding how to split the work load and partaking in a few dozen overly-caffeinated Face Time sessions.

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While most of a project’s details are determined ahead of time, sometimes ideas for special finishing touches hit us only after a piece is completed. In this case, we both knew that these gems needed a little extra sparkle and that heat set Swarovski crystals were perfect for the job. We also have one more final step to complete this piece, but you’ll have to wait until Market for that reveal!

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With side projects like this, sometimes a pattern we create is ready to be released as is, and sometimes the pattern needs modifying into a more versatile design before releasing. We wanted these diamonds to make a bold statement for Market, but will most likely add additional gem cut designs and create a larger series which are formatted to be used as minis, pillows, or in a quilt.

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We’ve loved sharing a bit about ourselves and what SARIELLA is all about. And we can’t wait to hear your feedback about our Andover project. If you are in attendance at Market, please find the awesome Andover booth and snap a pic with our gemstones and tag us on Instagram (@sariellastudios) – we’d love to see them and you!

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xo Sari & Nikki

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Introducing Libs Elliott

Hi, I’m Elizabeth Elliott, aka Libs.Libs Elliott

As a textile artist, I’ve been designing and making quilts since 2009. I have always liked the idea of taking a traditional and tactile art, like quilting, and marrying it with modern technology. Which is why I work from digital to analogue. I enjoy the quick gratification of generative art combined with the slow-craft of building a quilt.

I began using generative design for my textiles after collaborating with Joshua Davis. He provided me with the inspiration and customized Processing code that I now use to design my quilts and textiles. I play with various colour palettes, use simple geometric shapes and alter variables in the code to generate random compositions.  I can then take those compositions and adjust them further using Illustrator until I get the results I want. The combinations and permutations are endless and addictive. When the digital results are so beautiful that I want to wrap myself in them, I make them into quilts and textiles.

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I’m inspired by good design, the randomness of nature, and all kinds of music. When I’m not obsessing over triangles and fabrics, I spend my time hanging out with my awesome family in Toronto, Canada.

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The TRUE LOVE fabric collection balances bold graphics with soft textures and embodies my love for using both technology and my hands to create. It’s about that electric feeling you get when you see something you desire and the nostalgia of love at first sight. It makes you dizzy. It makes you restless. It’s like a wicked first crush.

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You can find out more about my process, workshops and available patterns and fabrics on my website. And be sure to follow me on Instagram & Twitter.

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Andover Fabrics: Libs Elliott, Alison Glass, & Lizzy House Steal the Show at QuiltCon 2016!

We had quite an exciting week at QuiltCon West in Pasadena, California. Our little booth of color saw many friends, new and old.

IMG_4134Our #ModernMinis4Andover project made quite a splash. We asked some of our friends to create mini quilts using a limited palette that would amount to a giant wall of color-order goodness. Boy, did they deliver. Check out the hashtag by clicking here.

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The wall made quite a splash. Many stopped by to take photos in front of the wall or of their favorite minis. We can’t thank all the makers enough for helping us create this magnificent, eye-catching display.

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We saw quite a few trends at this year’s QuiltCon. For one, hand sewing was front and center. So many modern makers infused their work with the traditional techniques of appliqué and other hand sewing methods. Many of the minis in our #ModernMinis4Andover project utilized hand sewing techniques. We also gave out these adorable little packets of hexies, courtesy of our friends at Paper Pieces.

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Our friend Nicole Daksiewicz, aka Modern Handcraft, stopped by to show everyone how to make hexies.

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Our very own Daryl Cohen even got in on the action!

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Another trend we saw was that many makers are utilizing many different substrates to tell their story in their quilting: lawns, jersey, chambray, double gauze, denim… It’s so exciting to see some of these classic substrates make a comeback and turn up in the world of quilting.

The last, and possibly most important trend, was  diversity in the crowd of sewists. From novice quilters in their teens and early twenties to veteran quilters in their seventies and eighties, the wide array of makers showed us that the world of modern quilting intrigues and excites quilters of all ages and backgrounds.

Many of our designers stopped by the booth and did demos. Libs Elliott premiered her new collection True Love to a full house in the QuiltCon demo area. To celebrate, we invited attendees to meet Libs and have her apply a temporary tattoo in her signature diamond design.

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Alison Glass demoed a hand sewing technique from her book Alison Glass Appliqué to a packed house in the QuiltCon demo area.

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Tiffany Hayes stopped by the booth to demo her amazing Goddess Ruler.

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All of these blocks were created with one very powerful tool!

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Lizzy House hung out with us in the booth and met with fans from all over the world.

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Andover was well represented with the vendors as well. Alison Glass and Lizzy House fabric could be found everywhere!

Andover at Quiltcon

And then of course there was the quilt show. Andover was all over the places, even as part of award-winning quilts! Chillingsworth himself made an appearance in Victoria Findlay Wolfe‘s quilt, which won Judge’s Choice.

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Many quilts featured our fabrics in new and inventive ways.

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Overall, we had quite an amazing time at this year’s QuiltCon West. We are already planning for next year’s show in Savannah, Geaorgia. Can’t wait to see you all again!

 

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Little House Table Runner Tutorial

table-runner-22Our friends over at Little House on the Prairie have an adorable tutorial over on their blog about making a holiday table runner with our newest collection. This quick and easy tutorial is the perfect gift for the Little House fan in your life. Click here to get started.
The site is always being updated with new tutorials. To check out the full list, click here.
And don’t forget to enter the amazing Little House on the Prairie giveaway by clicking here.
 
 
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