FOR l!w..f!

): R:~D 5

INT,R,QIDlJC-TIO, (1,

ELEMENT' 'O'F JAPANES: DESI'G-N 9

T~ ~'es 91" J~p"atu~'8e Qui) ts 9 hirugo 9

Kasuriand Ikar "lO

Ytik.llJtt 1,3,

Shibor! 14

Kal[az;ouI,1!; and' 'lUren 14 Aizome 15

Silk 18

AMERICAN-M.AOI[ FAB,RICS IN TI-IE JAPANESESTYL,E 2,1

KAMO,N (P,AMtLY CRESTS] OIR I-IERAtDRY 2" SASHJKO' 25

M~ukil1g :3 $ashiko Design 26, Sdtichin,g a S'ash afO Dles~.gn 26-

AS'SElVIBLY AND FINISHING TECI-INl:QUES 29 English Bapet Pi~cj_ng 291

Sandwiching and Basting 30

Quilring 32

Binrung and FadI~g 33

DESIGNINIG. A ',_ I~N"OVATIVE IQUI T37 'GALLE,RY IOI.F '~ItTS 40

PROJECTS

H~i,go.l1-SpshikQ Quil[ 51

. apanese O:,ctag:())ual "Brlod:c IQUUt 57' JaJM1~$e 'CGi:z)' IQuilt 6,5

japanese IGnd,en Paltb 7'1

u nked Sha:PieS, 7'9'

Sas.hjko 8lJlt[~, Ely Medallion' . S5

Snow Rin_g with Fruni~y Crest 87

TRAD'rT10NAL '_A' HIKO r'A,TT-ERN'~1 90 BIBLIO'GRAP' _,~ 95·

RE.SOURCE 95

ABOUT T1-i.E AU,THOR '9'6

- · h 1:.- • h I!_ ~ • • "

mce [ ,e K:tmono L e most s:ym..,o~,lU: rn :U:$,

associarien with J- panese fine arts, has all but dis:rp'fnmI~d from the daily Jives of Japanese. the mditi!on;JJ rex iles frou'!, which kimono are' made are even mere

• - - - - - • }, -- .Ii' • . - -

qwckly v,wsbLll,g from Japanese sodery.

It] l ~gh! of this da,Q.m.ed. fit rure, so me Amerlcan quilters, de~i,gneF: ~'I' and decorarers are Itry~ng [0, e p<tUt:f the quintessence. of [apanese traditional cultura] va]'LU!'S dn-e'll§h the use fJflle'f Ittadid()'naJ tex:iles. This book will ufu1GitlbledJy support 110,:t only (be' 'mOst ,rudyaQta,geQ~l'!i use a,f]a;pan' texriles ln patchwork, bur will also expand. ~he tl,:!1def:S,~andlillg and appr¢ciadon ~ofJa,p.aJl~se .textiles"

The eff0crs of 16ber arrisrs riLlay nourish an appreciaticn of J~p~les.e art opt ()nly ill ~(:S Ja:n:cl pf birth bur f1t',e many hIt lTI igra nts, he'Fe in [he Smtfs -a;s. well,

_TUttiS beok ,f'ealiIJ_fCSmal1,' '0uuxaadtil~. exam pLes of her .wod ·~·tb Ja'P~ul~e 1h~i(;S .an~l c';ocuse-s on the di'iFr fe~eH[ forces that influeorJlll!! her ,d:esig,n.s. W,hethcl" rhr9ugh mo,d£ Qo,lp!,: Wr€avin,g ,and dy,eing [ethu.w~u~. or

- _ r

,enl.be:rnihl::qell~f dte)' cele~r~ce J~,p,arfe:5:le' we::(rIle ~.rds[ly.

LUte akimone, the JapaflJf.~se[exdJe artistry is Japan.

Koji~ Wada

Ka."furi Dy,~wQrks BJetkdey~, California

Fadnl&: IPaee~: hqlrJDe,se AJpiN'f:!! IVillage by eu'!y PilPP~1!I~, 1999'. La'keRllmalt]olr~. talliilvf;n1a~. :3Q11X. :31ii

The fimeulitai,p{' ~$;lJri'"fabri.c, .al ,gi;ft from KoH and Debbie! Wada; was designed and made by Mr. Tanaka. I had the Dppo,rt\:Jnity to Vif5.j, Mr; Tanakai.2lln orLlI1stalrldin,g:. textii'e ,artistl, on a recer"t1ri,p, t.e Japan. Mr., Taria~ won ;awBrds:i'91f ,thIs piece; 5() itwols with great reluctance tI1lat~. (La it a part'.- \Nh~R '~ foljnd e, SIlk diiilrim.ehi fatwJc ,cQv,ered with 'Iii:tl'e Ja~panese houses, I knew it hed, ~o be used with the mowntairls. Other-5:Hks and indigo ~OIP rneke up"the ~ilkidksil" the backg1r~urldj Needle-t!Jff11;ng a,Ulld app'liqu~fn8' tn.e s~lk ho'~ses was a 81E!nuilrH:'! 'lest of my ab]lity! Bbrd~r 'faltmics' are a!s® ,l\;asuri. The ,quilt WOIl Best In CI!ess, at the 19'99. Marin Qi!lilt and Needl:ewor!k show.

co

Q

e style of quilts ] be vie chosen [10, make i (0 authen tic to my ~jfe experience, j[ was born aUld ,gr w up in he rnountalns of rural . ~hlnn, where Illy patn~m swere missionaries. My bro her Henry, twin sister Marie, and f\iVel'e home-schceled in ous earl'}r year before:,.· 'ttclI1ding the Nord I China. Anterkan School near Peking (now Bdjing).This envirenmenr, will ChineKe p~t1ym,afes and no television, radio, supermarkers, or departmem srores hasertaiBJ.y influenced my values, My 'appfi€ldacion .of fin,e needlewcek grew fnn1] the ,hoil:, r spenl: '\V,arcbil1g Chinese women mend ckr L,~ quilt :pad~,ecl garments, and decorate the toes of :baby shoes w,idlll li~trtle[iger facf;5.,

1 C.,1]11e '~O America e a rend ~oUege' at North Manchester Indiana, ,¥It,,e're I gra&lJa' eeL wi 11 a B,~S., in 'Jl:mo];e economics and arr, After ~eachi'ng f0I .several years, I married tdQ.fl P'lppe:n~ -a.J~d "live settle in dl€ ~al1. Franciscc B~y area. .tID raise our fiun:ll". We .have three d1jJd:r<:'I1l (Di;tvid, Sy:lvia. and N~lnqr.) and (6u[ .g;ranclchildren (. ean E aa, Bris n and Anroy). For eleven year, I worked as: a: draftsman. in ltb~ b ioC'l1e.mj_~r.ry departmen at UCBerkeley. Ir WAS du ri ng, 'this rime tb_~u I d. iscovered ]3.!]pane"e fabr~c a: Kasuri Dyewerks, a small Store near the Be.il"kd~')' C:Wlp1l5. r bought a fe'Vii' p~-~oes of yu.JGltR which I squirreled a\.v,a.:y for !ll1aRy yeaTS!_

Meern;,t;irir::tg) we: moved [0 LaJte,AlJ 1<1n:QI;', Cali-ffitnia where we have lilI beautifiJ view ofMounr Lassen. [was SOon occupied Imkin:g -wat€nze.JQx lessens and readiil1,g counted- hread needlewerk. at: the leca tOI1lJm'W11~jI ,cf)Heges. W:he:n ~l group' of women wvirf!d ID,e' 'IIO jO~l1 a

quadl'lg grolup" 1 was nnt particularly interested, Nonetheless, j deci,ded to be a good sport and attend rhe meering. The rest ws hi·· tory!,

The fabdc 1 b,a.d stashed Rewa,}" carne au t ()f.h~dj ng, T made a return rrip [0 Kasuri DYfw!,forks and I starred 1:0 maklf! the quilt whk h would become " Cranes' (pa.ge 7). When rhe quill firJlaJ1y came tla,ge.~iler~ Iwas Imp'py~ excieed and inspired, Although I fdrCranes ~ was .a 'g'QO(~ piece of wod-:, 1:'I,e'\'E!r dreamed i would win a First Place awat~ Hu Innovative Pioc]I'I!g at [he .f:\n1erkan 'QuiJuu:s Socwety show. [lor did I ever imagine rhe doors it would open for me teacbiJlg worl shops, lecru ing" a.rrelldL1il'g .and 'exhlbi [J!lJg :3:[ q'ui~[ s:-llows~.allld-best of

~'Il II '! . frO d s ... · _IL.' "1'_

i!U ,___.""."maltlng nlany new .U!:lI1rlS. cmce U'11S quw [ nas

brougl',-, 111re gOQdL 'O["I-,LUle" reccgniticn, and I:JUU1Y awa~-ds, I lurve adopted the ,mi[ror-im~ge cranes aP.S rny ragp" and I mark h on [be back €If all my qui Iits.

Over die ye'~trSJ my faIuay~&ienrio;, wdi rudenrs have been asking- a'Wh;en are you going to write a boek?"" 10. the pa r, my answer lias ,always been: "There are ildreard:y 5 I' 1n'l3.ny qujl:rmg books.our the:re., M~'in1;' lllr;k;s" quil'l£ .shops . W1Q guild libraries are fujI of them. Will ana- her quUr book be useful or add '[0 the .information akeady .puhfish.etdi" Lately, h:awever as] seem re [I],aocl, relentlessly toward '3. tirae in ruy tjfe when ill aJ11 no longer able to jump at every 0ppOUllllllt"}? ro arrend "3.. show. exhibir my qull rs gi,~e: lectures., ox teach dasSI05" m hary,e decided '[i(j' take that llieap. In [his endeavor:" Rly family cheers me on, with a h:eaJify 'IGo for ir, lvlom.fl'

Act,ua:Uy: . here aee many reasons 'wby I :unwridng [b~s

6

book Fbs,t of aU-perhaps rather selfi,sb1y,...........j wOl.dd taithe-t see pictures 'Olf ,my' quilts between the covers Q:f a book than sca.rr:e,!j~dl th:rQugp pho'iograph albu:ml$ QI:r ila()se'-~,e'af notebeoks, Can ilt my legac)t" 'vet the fears~ l ,Mve delJiv~d ,muchL j\Dy and sa'd,sficnolt using the beaurwuill r:exdles of Jap~nl' a.nd I w:ould 'like ~tO, enoDuragl: ott.el!' qul]: e~s to do the same, Tbro'l;lgh these p'3geB, 1 hop _ [I .. introduce you lfO rhes~ exquisite fab les, including how rl1eyare clle.sigru~:d, d}red andwoven. - 'Q encour.(1I,ge experimenratlon, I Vi! clle',c:r~b~d. rechaiq U.CJ, like: 'saShiku and Englis,l) p'31i',et pieeing, h¢ p:r,u~lects, and patterns fea ure Ja.panese and/or Jap,a:I;1,eSf:.l5ty~:e' fabrics, and

'd:ieres Sloi1:ij'ecidn,g ft'f1r Iqwlters, SJ: all experlenee levels, Pho(ograp118 of luscious japanese t!~' i1¢~ and oJ quilt· made' IDllQS[ ,exdusIvely ofJapan¢-se kimono fithcic;s and 42 ~~ -wicle ~ll1dri;c:a.n-ftl-adt: Jap'.anes,e~style .&bri,cs are-sure Ito insph~e' .you. A resource list .(p@g,e 9'5) w!U hel p you 6l1d rhe materials.you need,

-Ul' . I' II. • .LIL· "1'1 cl' b II

.. ~lllJ}ltelly~ my no.pe t rna you Wl.u US'f . :us - 'O,O,~!{ to

design and ereare y()~.r O"Vf1. oll]J,e-Qf-a,-ldnd ~ aUts wirm ;, Jap~1I1~se nair., If y,ou have ruwerp dep:e,n.Qotl O.D' ,wadtti,d:n:d b~otl~ ,pattern8~ I ~~r you a new' approacl1 [0 working srarrimg, with Japaun's un~que. '[~~i.tes ,and _heir :cikcfI :t,ar:ge bold desig~s afloatl in mu.ch space.

ICmne5 'b, IlJiIty 'Pippefill~ 191B~ IL,a'ke ,Aimalil'cltl: .. Ca~if,lll~nia~ '1 DO'! ,I, III"

In Japanese arid ,c}iJnese' art'l the crane is a symbol of good luck ~ got the Idea for these mirrcrimage crenes from ,ill d~ign wQ,V'e;r.II in a pieoe of kasurL 'Yukata Wll'S ,us,eel fur the cr~nes. and wid,e border; myreluttana€ to cut up these beauti~ul yukatas IS refle~:ed in ~he large lanl'i~ bcrder pattern. Trad~tiQn¢J~ g:eorTI1etr'i€ sashiko designs and kamon were qu[lted on the indigo setti'ng with ;!F,6 perle tot1on. The b~t~~ng liS El c;att'onrpdYest,er blend .. The quilt won Rf.St place 'f,or Innovative' Pilec:i.r~g at-the AQS show In 198,9, Since this, quilt has brought me gpb'd l'LIck and m,any awa(tds,. I hav,e . adopted the' mi,rro,ne,tj 'cranes as my lf2)gn.

, apan s pn)taun:d appredation ef nature is " te:H¢,cted in irs ~ong history 'of' tr,aditiona~ t xtar des,ign. As' yo [I, page ehrough booles olf jap-dne.se '~brics and, kimono des:ig.mJtit you lV'HI see one example arrer _.In,~tller ,af m,()ti[i oft_o,ttl nature combined with ,ge()~ merr,ic fo. rms, Naeural elements such as cherry blossoms, mal'!ir! leaves, bamboo, pine bQU,g!l~~1 eranes ducks) and fil;y[tz:ecl d:Q!ud w,m lle· artisrical ~y il~ltretty{inedl with whcels bridges, funs, .'b.9.ats, boxes" pape.:r scrells, or burrcU&S of ribbons. The four seasons are dften evIdent.: the p~um ,bl~'S8d!ITID rep'r~el!ltts sp.ri.ngj,r;Jh,e iris a.R~d a.-flawing S'rr,eam) su mmer, th.e ell tysanthemtJJl1, aurumm a_nd b - til boo le3ves~ winter; Three m,o-tits freq uen dy used wgether are pine, b:atnbo,Q,: and the plum h.~.OS'S{HJ:l .•

In Japanese art, ,liisy,m:flJetry 'and icregl!ladty are PIl"e~d over SJ,ilUme[ry and balance, D'eiigns m.ay be off celue'r. :actllally ''<dis' ,plpearingn ,Qive.r. the ed81!' of ·a: cernPQ<sij:tiou~, ~,eavm:ng: rbe 'viewer to im~g,i'n,t' whar has been ,omkced .. As i,'ll Chinese scr,oH palnrings, ima:~s w.BJ fade ,away, ,russi_D.g th--reugh a '~uibde transition hefo're. emergin,S_ls: something new~ Designs w.Ul ove hlp 'or s!Catr.er at rand.om. Circles:, he%l1gan!- ,and diamonds appeaL :as :5ookgf,~unds O1'thi'ey may he used to. oudune or contain ather designs:.

Wit:b dl®.UgJU and ingenuiry, you eae easily adapt theae' elements of Japanese d,esigp '(Q create innovative qiill[s.,~.F wbid~ you wm be proud.

-

f'~ks f.r /ap:l1tllese Quil~

t ,('A ,. •• ~ 'L • ,JlI ,.c:

Ja'~-[I~:e ~~WJ'.rlCS ar:e il~p'peanng.WIW m.tilrea$ea lMq~UI~CY

- - -

in new Amet~lcan quilts, atll;d rh~y draw' us whhtheir

sim pl k.w ry and. bClluqr. ~ am co nvjn[~d' tna.t quil tmakers will a:ppreda[[e these fabrics even more as we come to understand ,tbe complex, rime-consuming methods J."equ_ired '!(J) mal-e them.

The &br:ics 1 usc are nearly ,aU hatl,dJna,de~ In Japan

') . Id J L.~ f' n F'- I'· l 1- AlA Ii

r ley a re sotc in me rorm (lb a 11111'1 ~ fO.1lJ 10 ero till' ~ 72

wide x ~ 21. or J 4! long_..._,cl1!e widdl and Jengd:l neeaed to. OOIJ1stru.C[ a kimono, C"o'llsjdermng the rune .and workmanship that .g,QJes inre makil1:g each piece' of doth) ir is e.asy '00 see 'why Japanese f~ilie, value textiles so high!:}r ~n:d consider them an. investment, It ii' not uncommon fo]" a ,~o$dlr} d:abora~ely decorated kimono to be passed down 6tu~ th:tee or fOllL[ ·generatiQns~ "When it becemes solled, it is taken ~l'pa_;r·t w,a$il:od, al].Q reassembled, ll1:ave taill{lEin {tpart many hand-sflwn kimonos ito p'mpare' the fabrcic: fOor qu.Htmaking;-ir8i, apreeedure ,that. takes sever'iI,11 -U--S'II'

;:Ill. ,1,0. r.

The di~~uss:i.on and, photogratpllSl thar fOI.U~,w v,ill introduce s@m€ ®,f thes~'.Japanese' textiles '00' y,o.u tell yOI'Ul hs!w tb_ey are dyed and 'rM'QllI'ien, .and aClqtuliut }1011 Worth rhe 1-' erll1inolQ'BY and ;rlefen~u.ces used M ,uugll€Juc thE" boolc. ,1 also discuss Nlul:dc8!n,-ltlrld~' Jap'.an;e'·~8tyJ;e.' fab,ries, ""bi,lell are beco,miRg more widely a:vailable'"and am wondru·Fu,I' for qu,Htnialcing.

l~d~'go

People often ask me -why I make' so iUa.llY ~blu,e: 'fpiihs. My reasen is [W®fold.: The Ja:p.a;R1~e "use' 3"gr,etl1' d~al of indigo, ,qyt; .~Jtd blue happens re be' Ollie nfmy favgriwe 'IDG.JO]1~

WJ"cn tspeak of:indi.goJ, 1,alillJ vefen:illg' .1'10, '0n~y :ro"ith,e

deep. blue OOIItl')' fO:mlo,d_ in ch.~Il1icU d} .. e~ a nd used fa r p'riRJ:ing designs, btu ~so te narural ir.i.d~80 ~yes produced by h.anid uS.iuSr l[fa.didc)J'lta~ merheds, lndtigol dye' comes from a variery of pl:~ui" belQrngi~g, '0 Idl pea,. muatard, or buckwheat timmes. The p'in·k;_fl~-e.red knotw'eed I{ PfJ.~gp/'i#;fif!Z tin 't¢neniJ: is: dt~ in:cl.~ 'Crull man to japan, Thi~ plant was hIghly I:es,pe -" oed by CGLU1'tfY. gr.ower.-s~ w:h·0 used 'im: as· amedicine and felt it bfoughr g.ood ,fo·rtull,e:. 1~h~ smell of an U:l;di:gCr~v'eid gru"fl'1en _ was believed '10· repel snakes andinsects,

Making a vat ci" indigo dye is a rechn leal and rimeconsunli,ng process. requ~ril1g, monrhs of iJ;ncnsive labor aud acrencicn. Tlre leaves ef [he indigo planr contain an, IGrgan ic COm pO II nd caned indican. The Ieave are cut drle 1 :and ccmposred, 'with lID eceasiena] sprinkling of water, 100 pfi·omore bacteria I l(ern)J!:;ruation. A-fiet rer'r~entarien rul'd oxidation, the indican is chen '!1(;.aHy convertedto Ind.igo--:"ouMl]e of the unique deep blue color; The resulting dye is stored in vats. which ar-e arranged] In .groups, of four around a Fire hole, -A~] of the V'iles are then I. a:nhJly: buried in d-a:y' floor. Like wiljcbes~ brew that bubbles ar d boils. me contents must be stirred and main ained at rhe p.l1.)pe'r temperature ,fair 9,$, lll!l~g as rhe dye is used,

;I

.FinaUy the dy~ barh is r.t!adly for cloth, A well-tended

vat is good fo~' rn:hT:~e 91· fO~LD![' months beyo~d the rime required to 'p_repare it. Clod'l. ma.;y be dJpped in the vats, in$uG.~..ssion~froln lme 'weakest U~ the most coneenrrared dyle~' to build ',,0 lor. To ·.acl'lm~ve the deepest blue, doth ma1Y requlre rwenry or more clippings.

_foi[qu~J. makers, 'jD,d~u is ehe.qulneessenrial.japanese fiiliri~, I o,fren use wide batlQS of "l1dig.o for the top and borrem borders {Ill [Otlg;~ pand-sty·me, Iql1IIE..~·· [10 enhanoe

' ..

the oriental ~a.ppeara.noe.. Sashikc desi,gnsworked with white thread .1(5)1,] iJld.igo" ~ldd an ~p,eClaUybe:au~iful (iontrast and aceent,

:IGzn"i ,llsd lAs.,

Ofa.11 the J'ap6l:lle£f!' li1hdc,!; I use, ktU:l;t'~fis one ef the most (asIQina'cing" Wh~J1 ] think of tl e farty-plus s[e,P~ requ~ed '. n'lue:a.' ,ingle p~le(;e (and llo,\V expensive i is!) , 1 am drawn to i it l~ ke a In.aW1j·& and feel It0'JllP,eUed ItQ ·e·wn ~~ery l1ew design I 16ncl

Kasud is ac uaU f a Japanese f(lltm of ika v\fl~avI!8gl .a; proeessin whk:h yarns are resis .. dyed and then WOlf,en [10 create 3. pattern, The w,e~vin,g; precess nl~.rr be cllolile by hand. 'Of machine, The fev Japanese' hand' weavers that survive rod;ay 'R[~ mosdy fOtlRd in remote vi Hages .. M.ad1ine_;wDv'enl ikae IDS discingtiishred by sma.ll g:oomer]"Lc rdesJgfJs such. as crosses O[ ~n:O'VIS. B..I,a~ is used instead of indigo. -1'o:6g wi h other colors, I ofren use ikarsfor [be borders ofa.quilr,

'tbm,ake' patrerns for kasuri, a .I?ilol[ ,mr:e~.d .or master IJemplate' yaJ"l'li is prepared wi th markings for the resist areas, Ea:th shot ofrhe \¥~eft thread (se,lvage :(0,' lya~) carries 3! differern Illut.ddng~ The markings are ~_.piecl. onte at bundle of p'ro:o.u _ - ion threads .. by biadLng rhe resist areas tigh 1y with strjng!, p'b$~:c, or~ in p '.:'1: ·cimes'-"re.eds. or .~asses. The entire bundle ,gO'('1l, into the 'dye and is dJpped ·many 1[~m.I~.~ wich air dlrying in between, tg obtain a deep indigo color;

01 nee a b undle is dyed sin,gi~e- thread.s are' sep.a:nued _Iirn~nl. i! ~U1(;J wound (1:Ulla speols and later ,IO!UQr shutd,€'s For use fun weaving, The resist may ~S9' be applied E.G! rhe W3LI~p threads (paF.aUel to-the.selvage I. with the' result rill[ w:llea 'tV:/'O re;si.stf:d areas cJl:'{)ISS in rhe 'weaving process, (hey appeal[ as JPUf€ whhe, Wov,endes'~gfcl,5 in k.a,suti ]~ruve a characteristie ~~fu:z.ay edge .. Ir Is imposslble fOlr me 1['01 understand or d¢$c11ibe hGW [he inany variations of eel-

IL .In • ._j,~: _'iL " d -

ors-otner lJiiDJ,an nl~gp are achieve l

Many beauti(lJl moriE' ~ such as cranes, ftowers, butter.flies: douds" and geometdrt;s, may be found ln t:as,lJ'frn. Kasuri yarns are Stomlewhar heavier than m,()se; .'in other .fubri,cs~ :ru!ld because archie II()w thread ceunr, tend re Ear¥e[ easily~ 1 otten paper-piece b]G~h that areereared l~.dr from ,wllii f.'lbrics (see o((Bn.gUsh Paper Pi.eci'ng,·P p~~ 2s)). -My ·qru,Ht 1··F.uji"~ (f£bc;~ng page), as well ;tt.~

fuji by KMy iP·ilppen, 199] ,f lalke' Almil'fliD'r~, CaliDornia'" 5,1':1' )I fi8~

lihe Ic1ll'ge· rectangular kasuri used illl th,e, ceimer ol -the 'quilt shows MotJnt Fuii encirded by tI huge wave.·Thls Js ,a. f~~rtc inteq:mattrtiGJn of the famous print The 'Great Wave off Kanagawa~j by H.e,k,u'$~i. ~rhe :(IUi~t could be considered ·a. f.:On~g_e of kasuri fabriC5r since' the drfferent d_esigns ~wre co~lect~d oVer a period of time. "Fujli' was pictured irt the ·QiJiltefs, Engag,ement €a,lenriar (New. York;' Dutton Ce., 'Cyril Nelson, 19'9:4). T,I1El quUt was.,snown at fhe P-61,!:ifi~ Ilnte;ifi1'al~0na,1 and lOA .shows .. in 19'92.

II

lJ'tJti/( Gl'lrtierfl1 Itr Kitty' IiI~pp~J..19195;r iak.e AlmiiUI,Oilir CaI'ifDlIDi~all' 36,n ): ,5Q!II'

To make, the most of several sm:aIU batik p~eces.~ I fractured the I,'" ~.ltOI equ]larenil:l. ·trIangles. My goal was 'to ,cr,ea:le mo,vemenl: by inserling~ colored snip.s be:lweent~e ~ll:bck.s. I useda touch of sp:ri!¥ '£tel rich to pfev:en~ 1J1:1:e bias:eQ;ge; from ~Fejtchilng as I worked. A 14r II -w,i de p'~ece 'Of batik W~I$ sp'~itJ.for the: asymmetrical s[de bordefS~ and dark bBAds·em:belllshed w1th sashike were pj~C6d to, ~bp a iilld bonom lor adClitioll all orienta I 'n~l\ior.T~:e' outside edg€s are 1fcaiGed instead, of bound.

~Hexagoll-SashikoKamolt I(page' 22), I Pli,gbr')J (page 3.0~ 'FHgh, Herne" {page 48 " and "(Mandarin Ducks" (~lige 27) all lnc;lude paper-pieced kas![Lri b10dQ;.

- ~ r· ._J. -..__.- - ;I -- 1l-iP:=t

1- '''°1- I I . ': l' "_ I :

I , .. AI '-;q_ ," ~_'_.-'f .... ~- 'L- -'~" ·,r I

,.: '!.,I " I., I I - I' 1 ~' .

.--!L B-ij N-~ __ .-l!i· .jiI---[l!I"-. .11

, TI .! _.1 '-I_J' j _I 'I_.L ' _~

.-~ ) 'r ~--~. -I. - ~.--r l-~" ,I~.

f_:_~_ ' 'a.l1 'll- '\t-,;':., 1'1 . -Lrti :

• I . t I I I

II II

t t

Ii

N I'

",iIt ; n' [I

... f Ii ... 4' ..

I ,r1 I I ~ I I I· I : I d I I ~ ~

III iI I' 11 I II • II III I' IJ 1,"1 r I: I I~

I II I L I~ L ~ tJ I I, 1=1 t i ~.: I I ;\ I I .IT. I n I, H I I

I.l' ill', II I I . LI ~ 1 II I -u . iii I r • H I I I ~I r ~ ,II' ~ I = H 1 11' I :)1 L I II L I ~I I I D t ,I )II I t: I ~ l!l I I rll'.

II' ~ • !.1' !, I 11 I ~ - II ~.. II I i II 'I ~ LI ~ ~ I IJ 1 i' I H i ~ I LII

I I I I 'I I I ~ I I ' , 'I ' , , L I

I h~~ • " , ~I,':' I 11 " II ' 11 • II .. n '_11 • 1,1 .t •

j;i, .• ' • U ill : I -, ' JI1'II

I"

• " , I
l 1 I!iII
i. I I J ,
! I If'.!! 1.1 i'
; i iii
Ii :Ii •
1 ., Y;,lmttl

M . fuvo'f1he fabric" [Gil I1Sf in q.lLliJ,nl' ',is ytJlta1,tiI.. It is a s_oft~

U,IJUJ'. .~ QRmiJCfJI' mbJ'icl, ~ lIld its light w1eig,h r makes r[ trity ea~f [0 quih. f?.anerns V'iaty fOO111 blue-and-wh ite goom~:r t"~c;;&~ used for ,n;l(::n's ,do dli ~g) ita c@[brrfu] &!raJs~ m~ldt·&;,r ~:Vl'meIl'~s'garmti![1ts., Sin<ee' yuka[~ is dy'ed :ra;lrhe:r tlwlt printed, the. d~sigl1S' ~he~'W Ide-ady Jon both sides of thr fall~k. As a result~thel~e is :n:o' rilh~ O~· w,f0'ng sh:1e;) ,,;vh]eh ad,£l. flexibility wlaen ,desiS!::'l~ll;g quIlt bllocks,. l:~verse'Clbe,~\i;oris of a. dc.sigll-l are possible' simp:ly by Ripping a: patc.h <0 its n back" side,

The desig,w on yukuta are made by the kll'ttlZfJ1'tl'C' luedu:)d], whieh ~voive's dyeiuf? Ehr;ou,g_h .a stenci]. To makea sreneil, iliree ICl:y~r~ of dice _paper are .laminated with pessimmen juie€ and allowed [:0 dry unt.il.stiff and snLfdy~ Next, skilled cDl,ft~m,en use very-sharp knives or punches re I~uir d~sig:L1s, ~',f;UO ,rhe :5m~~Jied. papes The r.es~thh:ag stlene-w, al\f'f~alced on Llllldyled ,deC) h; and l riee [)'ast~ called i'(Jri is bj'U' hf:d 'Q'?ilICr rhem '[0 pnoduoe areas

f· he cl II. Thi . d _£ L fuIi"1

0' ~e~lS'- an toe C ,0[[1 .• _ 115 p'l"acess Jfl tepe";a:te' ,£~t to!e _ '

~'ength 'Ilf me tan. When tl e resist its Idry; the cloth is fo~ded lnte de,(gn ~e:D,gtbs. Dye til, IO,lU!' Orr a ',a;decy ,6f colors is lIljp,pJied and pulled dl"LVX~:gh all layers bry a vacu- 1I.t1J'Q t.ab:~'f!,. Muldple s :rtlllCU,:, may be used.o add addidonal eolors, ~fln the resist is" washed fr~'ln '[he fitbri,c:~ the tenciled d.esign a~ppears.

Yuka· at designs i(}f~e.rl run in beth directions to create a miner-image, Slnce a continuous s,1tip 10'£ dQth ~" used for beth the f(:lnc .and back of a l{~mICH10~ and rhese ase 11 e S haulde'r ,~~1J..n'S ~ rb 1$ fe3 turf' a UC)\VS rno ;[iEs to ~p'ea,r right side UjP' on D:tlich the fr~n'lt and ~,adit ~r the kimono'. Whj~~ kimono makers finld rhis advaneageous, ~t 'tak:~ skill. and plWJlin g 10,[1 the pa;rt of the quilrer to ensure <1·11 du~ designs run iL1~ 'U}lI!' direction on the 'face 0f a qllH' . The fel ults are well worth the -eliott.

,S:Blmpl,les l.yullll:a,ta~, rmleil~S b.~iU'e "nilldi white i(.Ieft)1!' and 'women's: nDlr,a~ Cfight)

SIJi6'fJN.

S'hih.()l·j is one of the oldest d}re]].ng tech nlq:ues i:R the war'klt. Pieces of shi'bori dorh Id,a,d.ml,g to 6-83:, A.D,.wer]e fO[;LBd in 11 tarnbin Cbhit3.~ Oldgi-ns m,a;y alse be rraced co India and- then ro Japru'll, 'by "I,wy off China.

The word sA ibo.lri· G'IneS from ~ J apanesi! verb meaning to wring or to squeeze. The p.urer'lling 'is created by plearing, pluQh:i'n~ .g~tlf.l'e.Frung krn;n:t'ini~ or fmldil1g ]rhe ck~th,~ :and then ,s'ewmng or bindin;g it .wid!. 8tri]]"~g- tO' ptOteer il- fimom the dye:. M,any patterns ale I[)'o~sib[e.

One t1f 'the nIOSE well-knewn ,s;hibofr"~ methods is tieand-c :t,e-, which J w:a luc,ky .. enough [0 Sf: - demonsrrared run. J ap,an., The wo'rna:n: :pn!'p]uing rifle cloth 5i2 on her l':nees~h(}'LdJ ng (lOWI'!I a. ",,'Ooden plar6o_m~1 with a PQ'st i [J fro'or of her, A cord wi~[h a Ions needle was artacbed to the "top of he PQSt. The cord allowed til needle to' be drawn .dose '[I] rhe woman, who placed the prernarked clorh over the needle wrapping born needle and cloth w~th several round: of thread, I. nee the fabric was secured! the needle was removed and reposieioned [0 make ano eher Ji', rle "po uch , ,~ a] I wi tho u [ curtin g the rhr ad, Thousands of similar ies were made 11m cover rhe entire length of preln' Ir~ ,ed fabric. CJo 11 which began a; 14!~ wide became ~ narrow 6i!-wide " trip. Th enclre tied

. .hen i dl "Jl ., ~ ~ I ~L . "

plcce was tnen trn rnerse ill aye. Ul~lll_lJT, '1J[1t: w.rappulg

threads were c;;tr]ef~IUy removed ~I~ reveal an elastic, ,cr·i'n[idJ.~ seersucker-like fabri~' .. One can inlag~ne ilQw' dif~ fkulr this process must be when w',ol~kedl on silllt!:

']ti'[ch resis is another method fOl~ 'making shibori. A sturdy t.~read is doubJed and knutlted at the end, then used t-O :st1-pch '01'1' a pat't,uB:~d nne. W'h,eJ1 ,aU tbe g]rit:¢l~,i]n,g rhreads aee g,a.mcred- very. ~ghJdy' and, tied fast, the &bdc is ready tit') he dyed rinsed, and dried- Many dj[.:: f~n~J:L.1Ii: '(li-t.!signs are P,QsS'jb.lej and" h: is amazIng '[01 ee them app'ea~ it dl :t~~ead:s IJJt removed. The lines resemble Little bltd tracks,

SiJk, or _o~o.trto;n shib:~ri j~ be~ulrifitJ fOlr b~;¢liU:S:es, vests, d resses; ar scarves, alrl~(n~gb' SGJnt'l:f (I r Idle rex ure needs]

o be lroned eur, The cdnlde- aloe sJ.upl'ising[y pennanenr, as 1 discov· red. wh:h a pieoe' r bad washed and ironed flax. When I fewer ir and dried Ir in [he dryer) it spran:g back re it;o,riginal size, IT you)re wing shfbori W agarmentsuch 1,(1 a vest, it's a good ldea ['0 srabllize h fllsr by ironing a. Ughrweiglu fusjble Wteh~ing [0 the baek , f the filb:ric.

KaUtzame ,(J,nJ.,] E"UZeB:

Iu I mendoaedwhen desC'r~Jbing yuk~ta katu.ol~~'e literally means [0 dye through shape cur inro ai stencil. l(atttztnttU also refers to nlan¥ other fab ics made by thi Inecl],od.

Of the tl'latly resist metheds used around the wcrdd the one most" familiar in the West is batik .. In batik. ,'Wa~ j,~ s~Jre::ld over ~!e'are~~~··of cloeh har are 1[10 remain :free.,cr dye. In karazome, rhe resisr medium is. nor wax bur nori, . water-soluble paste .lTIade trtu)'] nee fl,our and bran.

'iii,

Ii t]/jO .. will.e §trilPof s~.ibor,i bef'o're' dve5:ng;. and f I'ail ,red .. d:Y'EUillslidbolii witb, ties lremoved.

'. he vacuum table is nor used in the dyei ng process for k~lra1.om,e fab'foiqs,. First nori paste is __ ppU,cid to the bad{ side efthe dceh, Then the resist is applied me tlae Et(J'li,t ~id.e of tl.iI.e fabric throu,gha stencil, and 'the' cloth ~s war ,ciyed i~J inillgo. Wb en, the resist pas te ~ s removed, the

,tenc:ited design emerges as white agaim~ the indige' baekgr,ound on the fron r side while [he back ·of 'me' dod! remains Olunpleil'djr un olich,ed· bjf dye or d~s:igliJ. T[~H;~[:-ef(')rfl1::~1 IJI1Hke ~ul~~:rn} rhe tvnical fallrk is nor

J'. ~ ~

'renl'sib'I!f.!'.

In a i4iti:01l '(II wJuce, many colore may bile stencil dyed on the' fram; ,of [he fabric The taberic is spread 'em a lol't~, tabl " and rhe, dye is applie I dl.ra~g.h' Jle stenciJ with a qu(~ec. or '!li~ted en qy hand. Sllrnj ink). pine ashes, ~td ,al[~ef J1~:tUl~ ,dyes are typically 'used for h.J~,~lJii.gbts..

Srlme kam,lome made for SUJ.lunel'WCar is ] ru'ghrnrei!IJlt and may be made reversible, Afte:1F the front side ofcht. falJri:c has been srenciled, d yeti .M1J.d :rinsed, ill the U sual hi I h',('h lie p:rQ.cc S ~s reversed, The fr,eUiL cside i~, coated \V!'C~, ~~.si.tJ and ill, re'l;-I'er_~ m]}irw:t-image steaeil ismetieulOll~l~rp,{lIis'itjnneld '(!)fl. 'the' 'back o Fdle fib de sOI,iha:[ il[may lSe dyeOl to fnal'Cb the design 0;11 ,tbc~ &Q,n-t.

Nori is used .fQlr other' Idyeing ,n~Chjl iquescas weU. TO,

make Ju~en nori paste is put uno a waiterpiroof cOihe and 'squeezed 011"1:0 elcrh m .. uch like decl(u'adng a cake with icing, When rhe dyeing process is. complete, the fabm::Ll[ is soaked ill water to remove the paste" ~ea.vi·(:Ig behind whlteourlines around the designs cl1:e artist has painted,

'or an example 'ofl{:at~lZome, ~e,e, 'my qullr 'Friendly 'Iribute" (p:a;~ ('{5),., The fab; ic 'wi-thin [he octagons, was made 'by NAT, JCanj i Hama of Nagftll1lo Pre£ec;t:ure~ japan, 'Wl]jjevi~idng Ja.panj I was J?'fJvl1eged. to meet ,Mr" Hams and hls&tmHy and see dille studio where he curs his very intricate stencils and paints (he fabric. I alsol saw him use the yuzen m,echod to ,a.pply the resist freehand ro silk befqll:: ~r js dyed.

Aql.nm~'

The word (J.~:z.om{J'· refers to the 'p'f'OC~ s whereby ~ndlg,o dye nun fabric R rich bl ue c!oJo.r. To Ina! e aizome, the d'()I'lih is W,Qve:n pa'tt:erne,a IJSll'lg a stendl and resist method, anti "then dyed with i1.1digo. \""hen rhe resist is remeved, rille' parterns :lppear in white, M,y '~tJ(aI110'n,Sash.iko Sampl,er» (page] 7' has rectangle I of blue and. white f101-:.U ruZOJlU! sewn to -he sashileo squares.

PrielulJy Tribute &, 'KitW IPi,ppan, 1996;, lak@'AI'ma[rlor~ Ca~if:om'ill" 441 II[ 5]

Th:~s- ~IIJ~lt fe'atu,res the work. of tWQ , very telented artists, Mr. Hama ,and Mr~ Tana~~ whom ,~ rnet in Japan ,Mr:. Ha,ma made' the katazome used wrthin the Gl,~gons:., When II: ",js[ted his ho.:rne, I saW the very Ihtricat,e'stef.'ldls he d~:SIg!'1IS; and outs to rnske these fabrics. !-Ie also took me to ill, bl,l]l:ding apart from the house where he dyes indgQ. Mr. TarH:lika likewise keeps i' separate place far dyei'W!,g, He tiS ~almous r'Oif his kasuri, used 'w,r the 3:~' squares separattAgthe "E)dagan:s. I feel very (Tl,nv!lleg$d to hS\t'e been ableJo visit in th:e homes of ihese talenfed textile artists, to meet their' familiesJ 'and tasee ~leir studios. l~,is.!quftlt won JIBes.! in Cla~rr ,at the, 1996 'Marin' QlLJ,ilt~1i1d Needl,ew<ork Show.

ItQmofi,~S:QslUk,,, Sflrnplet' by Kitty' P\ippen~ l'gget. Lak:,e' A~Ulanolrli C;i!IlliI:omia, 49~~' x 4!IU

The, many derorativfe motifs. found in ,a Jelpanese k-amon (famlily crest er he'F.,llidry)~ 'inspired: this sampfer. 'Ge~m.,~r~j.C' sashiKcD design's 'wer,e worked with J,(llpanese. sa~shiko thread on ~6,!i naturall indigo squares; My ,~:dginal il1tenfian was 1'0' use tnerntow IdiSS. sOlmp1e~~ but I, 1:ikecl thsfTl somuch, I dedded to put them in d :guirt. Blue and whlnte aiz.ome tfram,gles were iltli'ru:!!d 'to' 'lJle squares of sa5hiko!,wh~ch were set 011 paint 't1;li' ijil1E;!mate with the k..a.'I11cJm bIJClc:k5,. The kamen 'were PClper-pieGed f(orn yu~ta, silk,and sn,ibdri, These were apPUflped to a cirqe' of raw silk which In tum Was a_PJ)Jf~que(l to, ,a..squ.are af ~r.1diio. 'fhe irl'dig~o was: rut away be'h~nd the silk ~'"0 keep the dark ,wler frorn shadowing thmu,gh to the ~froftt The' qui,1 O?IS, been '~x~ibite.d ~ In any'

-SAa,WSI iarIQd PtJbnsn~d ~n sev,erai magazines. -

s;llt,

Silk Is one ef me :li.ne~:[ and mast: ,eJltpeflS,~ve aarural Enbers in the world, 'Brough£' re J~tpaD &om IChIna arthe' '(ma~n of JapaJ:l~' Idvuiztu·en, traditional japanese silks have undergone over 21.000 years of' :evolurion and refinement. ~od~y" lap3.:m~se silks are avaJ~Ja;bl,!!_i~l I1lun~erO,1;.l5 weaves and finisbes. ~

Ri$'t,ot"call}1: I silk bas been b'mghJy ~duled; ,tt is, b"l11 an iBd1,€s:oor ,e'f'.~lrnlus and a. means or b:andij~g QI()Wn, w:eal,rb Iron] !l;)i]'l,', generarion u another; S,Glnaps of worn silk ,do h~ng n'ia-,y be 5~av:ed ~'I.~H gene't;,aiif 'n in J~p:anese. fatrulies" iGrl1lTI),Q dU:lP;S' .sdl deganl[ ,silk doth,ing, fol' theusands of dollars,

The vad€ry 6 ~ sillu ii~ endless [fblll 'inreica el,> wo,ven fd.brics['o hand-painted, harui,..prm[edj 01' hand-dyed clorh in vlbranr celors, MO'rifs can laclude cradi[ional' sJ~mho]'" of nature, heraldic crests, and 'evel household ;obtecrs. The "'Nay japanese ablrk artists arrange these various mociFs Invclve ,dlSYI1U11etry rotation, and to'vedappnng-( II '\i\f'ay. of expressing In UIVitdUaJ crea ivl'!:JI.

The sil k flber produces 3. verv high-quality yarn capable Or3L multitude or textures, Chirirnen crepe is woven by Mrernaring l"J o web- threads spun 1.110100 lJt) 3,1000 t111l_ per lard in opposite direction - wi:tb rni H imally spun warp thr,Cl'li:s. The Jab i." is \lVasl ed afrer it has been wovefID, "",b.illch causes loosening of the high,y S,PlU1r weft threads and jgI:uening of rhe lesser spun \VaIf threads. Tl e ,dilfel~nt'shritdulges ,Cr€a'(ff rhe uniq:~w, c:tinl~y reamre of this particular silk" Orher silks come Ln Jhu weaves, such as cll0se found 'in jacquard, brocade. and nubb.,c I andspun tS'1.~"l-1,iegi ... c lnee cbirimen L heavier and stronger than nat weaves and drapes '0 .beautifully: 1 like [111 use it in Iny quiInl'ul[{irlgi) especiiUy for paper piecing a nd appliq ue.

Becau e silk h3S ti tendency It::O "shim~my and 5lip)' mt ;canbe diffi,cuh tn cur and ,new' auc~'1ll,a 'elly. 1'0 'w(uk with it successfully )~()tu ~nUSl1L be patient and' r;esource£lll. Try sew'ing -d!u'Uugh, tissue paper or u ing a foundation fabric, as you ~ou~d fo,· a ~nk: 01" velvet crazy qullr, The, rechnique I S:nd r!ll'@,:_'n u5lefu] is English: paper piecing {page --9)" w:i-lich inva:hres basting the I :abri C' over a paperpattern and then whiplpil'~, [be p:a: cIi"es together .. Anoth,ef ~s [0 applilque the paper-hacked. fabric shapes to Itt, e backgro un d :fub r ic .. , SOD1,e 'q, nil ters use ~ll fusible

badcing roadd weighr t() very duo silk, bLU ill think tht d!e$tJ~s.ys the softness of rhe fabric :and. makes it difficuh to 'h~cl.-aLppHqlle.,

5amp:!es, of Ich~fimen si1i( (,[tell,e)

'Ibe '~ar,gerr p;ie:oo' w,a'5 used 'I'or ~~Iiap.an,ese~ Alpine Vin!agel~ u

5how,n 0]111 page' 4. -

18

I 4 5

QQ'

JDpan,eSif! Silk ,Mosaic :by Kitty Pipp'en~, 199J. ,La'ke Arm'an,[!lJr. Ca'liforni:af" 41~' X 42u., IOwned 'by' Nan a'nd Bob HlIWer. Su:nDlfnil; Callifomia A Japanese opticall and ~onletric art book bV Hajime Duchi inspl,red this piece. Chirimem silk crepe W85!b.aokftcl with papef and

a liquid ko. he dark backgrmmd., ieavil1g:narrow spaces in between 'to resemble' a mosaic. Quilting in"'the dutch mel,l's ,bring. ffle'silk i3 pliq~es inm relie[, while narrow ~tdps ofsilk a1rld sash'ko .. decorate the wide bac,~gro.und border.

H L ' ~ • NT S 0 m;; J A ill .A. , 'S E D E SJ. G N

, t.inked SIJ',fJP~S, lOR' floml Path' by SaIl, S,eneslnuo.. ')9199" GleRn~ Caiftloli,l1li~a~ 31" :.; 4gi~

Salll:y U'5ed~nglish paper pieCing to i'o:ln these ,(lJI,Birful triemgle.s ilnd hexagons into a· chalrming qi:jilt~ ma:de with J aparu;.se--inspiire:d Ame:~ical1fab.IFuG5.

20

lny domestically produced Japan.,ese-.i;i,ryle C:::IDU~n fa:brIcs, are 'now available for q uilrers ':'If~~~ waU:1t to make ·q~jJ.m;s with a j:a,p,arul:se Hair, I; nemUr 4211 to 45" wide,iliese fah[ics fe~u:ur:e' rich

~

ool~' ,nl]~esi,gn,s .~ld3.pt'€d f~'o'm Id,mol1'(}1 silks. Th~y

illClhjl.de bodl huge,and small patterra, ,andi the meeifsare o"~rJJ outGn,ed ira goJ.d.me'lta~Hc., BaiQk~rounds may be ptiineCl [I), simulate ,hibed Or ;'j,ashlk:o ,1[0 'f.lf;~V de CO:DI[ rast L:a Jlhnw areas,

Beesusethis A:merk:a.n~lbric ,i~: three times the ·wjdrll of a traditional Japa.nes:e tan, many desi;bfi m(Jdfs can 3.{J'p·ear in a $:uigte one-yard .pice.e" Large-scale prines, pa.rtiGulady;, offerrnatlY laycu.lLtopcio,t'lS fOI£ choosing and. cartingparches, These lab'rics .are 'Io'vdr~ and I reenm mend them ,M 3011. ~cdL:[lI substieure ifT0<U do not hav1e access [.0 aud1e:nclc 1 ~PID~u:~s:e fabrics.

,H'eX(1gfj,ij""S(Js,lliio 1'1 by Kitty Piippen" 1'994. Lake AlmalniIJr~ t'ililitoln:ia, 2711 x 31ft

Ihis s~,aU qllilt-is··a versJofl:Of !J1H'~agtJ[n-$;ashirkmt Kilman'l (page· 22), Imade for-us,e'!" wotksho1P~. The fabfics are Amerie:a~ verslons lOlf JapillTl,eSe te:rtHes: and . ana wtcrJely ,ava~l~ abie ih the WMl're.cl' .~klte5,

H:eDfgaB'..,So'shii,f)' Hi'am,OlIl' !b, Kirty ,Pi'p'p'8nj> 1193,~, l,almAJlmlan(!I1!'. Q!I.'£illnii'[![:!., 34ji' K ,41"

In this qult, kasuri hexagons a~terliB"h':!: with Ifg:h:t and dark indigGl hexa;gpns d~cpta~ed witll sashi,ko ,~amDn,. OF f~m~ly' crests. Ih~ 'crest desfgfl,s W~rle sized to fit withi~ a'6L'~ hr·~agan; the sashikn, was worked before the h~gt:)n5 were

'10 paper-pieced and whJpstikhe:d togetner. The, outer kasuri border is taken'trom a mtllnjs kimono .. The qui~t wa~ o:rigihaUy' rnede for a demonstration at Jt(:asUTi Oyework5 if! Ber~eley" CeHfum,i,a. J[ is nQW used f0ra dOlS6 to teach paper pmeci'r1i,i' ~11€l1 sasn1ko. \I'a:riatians of ~his qui'lt 'mode' ¥lAth 45!I~wrde Ameriran"ma,de Japenese-siyle 'fabrics ,are popular dass proiects.

h

c m,

77

-.,-_ ..... - t;.~'.' .. ~".-_ ..... t ..... e;"."'·I" "-~-:'-r)"" -lA' ",". "~'.-'" - "

"'-~~"A#> , .. " , ',' ,' .. , .,',',, i: """HA:A-~:n,,,,., r~rtf'H,',""

, I'7wr',Pf/rr'., " ~'", ""'" -PCic . , •. ,' VI" Vl , 't:.J

be ktt1n{)J'I" a family c~~ or heraldry] is an ernamenral emblem used by Japunese fa:mU'l]es 0111 fi051IJ.lme·s·wo:rn for fOfJUai o.c~Qn,jhe ()rig~ n .of the Jaf~.ese crest go~ ba:dt 1'1 'any cp1cu_des. Cou;f'~ie.:t·s e ~i~l rankused rhein on the formall g~[rme.nni' worn itt _h~ imptr.'o l ,COUL'[. Crests :'lIJ ,0 appeared on carriages, Waniors used simple', bold crests, Qo ~heir B~lg~~ banners, and weapons 10 idendfy their otmps run time of war. 'ome o their design' included t..b,e folded etA arrow, ~nd hoe, 'the shtdl dragon mAd cleud, ba[~1 .and sh.ipp(J (Sf'~n rre • .'ures) carne fnlEu China, Tt.u! peony and n·II,··bollyh,odt were used 'by.the InHitrul"' shogun . No on~ \vtS permitted to 'use th_~ ,cl:rrysa.o:tb_eU1Ulu; Iwhi:ozh ~\'as reserved for [he i mperial fa:lllily:.

I n aU) ~Iuu:e are .' hree tCl five hundred basic desigrts~

including plants, animals, .g~ometcic forms, and manu", ,fa£fured olbj'ects,~ancl several rhcusand variations. Stylized douw,s,I1owHakes . e:a.th r 'm0LUl_~,inSJ sailboats), the Sjclsl'~, the dl·unl~) and the . pinning lm.p are :dl populo r des~gn . Cresvs, are olften enclosed in a ci rcle Ol sno.w ring ,de~igo .. In' this modern era Rlany corpOfa,rio niS ,3J,fll.d. o r-gaJl ~'!ati.ons use crests Eor bad g't's. rrade .. marks, ()rcicy symbols .. FamUies still Use the[1J. for formal kirn.OJ'O ~'nd n'tl!'Jf'£ (s~r0r, C9a.:rs)..

Miter ~rudfiog lruJ.llY kinds- -of ramiJy crests in various books; I adapted nlly favor~'~ one to use in quilts (slee' p·ages 89-9'4)" The·sedes;gn' C3!I1 be' used for sash iko as well 3S'f0r'quHtin,gand lilppli,'qlle. T~'I'i: wealth. and w:de'wy ofk4l,11Cml ill thls,bo,ol{ will, ] hope~, inspuf you t,' incerparae them ml0 your own quilt nulking.

...

JC1PflBBcS,e HeJliafJDII~'SlJShilc;J' WulllQu,ilt by M,erle Kee5:Unl~ 1999~. lart:, AII'man101lr: ICa:li~liJJmlla" J1WI J:3,3,ilfi1i Krimo.n Wer-keG -'i:rJ salihikrzl, alternate wjith flora II print hexagons. PI. beautiful cnmbinatlon 'irlf tQh;.IfS throughout!

h'L • & -~_Jl '. -1° .J_ . b ~, '. -

tt litO sometunes ref1en-cc. to as, W me 5,[3 _ S-. J.5.

arunnins' Stitch traditionally ,done with white rhl1ead 01), indigo fahr·c. The:sewhi,-t8' seitchea; ~NtmJy: phl!.Cfd in smooth]' nes, S:e€'Hl 'to flQ~c and sparkle li~t:l srri.llg Qf pea.d, $pinst d"l.'e rkh~!, dark badcground"

]llrmlJ~h, the yerurs, sashilto has t''V'(}lvoo. ~1l',()iJ1 pralcti.caJ !!1St into an arr f())lfU1" Originally it was us~d by' fa:[:ooel,'S tulJ m:sh:ar,ml~ll to tnelld and .reinforce rhelr dotbing. A ~[l{lmW\l1B ],ayer--ec:l coat Ga~uld. be l~lQs"e~y sdttthed 'alt'd '(ljaJke~ ml'J water tOI protect irs. Wlftawer while he ;wa,s fi_gl1timg 61U" Tqthtis ql}Hr1eJ.'S frna sashlko ,1;Jsd1d for surfaee embellishm6ntaJ~id as an alternative tiOI' tt~ufi dO;llru westIl'ffi q Icing.

P~u;~e'ILi5 fer s-ashiko. vary- wid«:I,:y. Stylized ge~mettic shapes .are ba§f'd f),no h:olri~~);i1tjJ yoniQll, or dia,gona~ li nes, or On en-des. M~'lifs frolM narure, s:uc.h i1S 'ocean waves .dallds! ban ,boo. tortoise shells, :9.Q1Wf2:rs, Ugh [eni.n.g~,at,.d cranes, appear ,fr'equell !dy., Lines m,ay also b"e ~t1eande.ring and. iJlI'JQ'v~['rive.

Ma,!}:}F sashiko designs halve' come to;:syulbol ize ~pelChu arrributes, The ,I.l~mp plant" used fot inaking repe, is respected f():r its :strength. al1d endurance, One classic 5a_~hlko pattern ts the ,(1.$anui},{h or hemp leaf' a, comple arrangement ,of s:t~[chJng lines 'that repeats pat1tetns of spoke rilidialt.i:ll.g from a central hub, [(ikklJ,~ cr tor eise Sh_U-1l/ven called "beehive" in ~~glish-i.s thought to

....'

bring good lock, N:(JJh~ a bundle of knarrsdribboas 6o,r 'tylllg presents, br'iJip ll~lppintli~ and ccagratulatisus. S'eigttiJj~ O~ 'l-vave~~ :r~Jlf,I,"C5e..1:]_[S- the u ever -ending nllt~tkull (!If ale sea ,and s:yntho1izes ete rn hy an d i rnmor ,al j' 'ty;

Kamon, (U L"imily· ~re-B ts are at b sui Itaib le sll~bj eers r~br .aa~l,tk0. J"LtSe:Q LruT.IA)!fj '~n llfi.a;:O)(; I~f tl'H::; 'qulhs·.:m.'ustnimd in thi book enlarging rhem tn fit intn 51'1· GJ t)TI hexa-

·g,ons or Q(:ta:g:on., Of·couf.S2t:., a.nyd~ign can be mAde larger or smaller tOO 3 p'ho:cG'copier ,or by. hand draftillg. Keep in mmdl' b:aweveE, that very mall design" axe dlffi~l111l: tOt s.q.n;;n·wi:th tr~d'ir~fZ!'llaL Japru~u:~e' s:~:bike. thread, which is siafter but: rhlcker, They may ne~d to be w,tJIXed wid DMC ct}t~Qtn emb:fo~a€ry [it 5:5' silk thread er lightweigbt,#8 pede cettsn in$tead" The~e thread alrernarives also make good substiruttr:es whe11l rradirio nal Japane e sashiko thread t; llO:I1 avail:abJe'.

length of sar&hlko thread it all to a sharp; needle with large eye, . and make a small, ingle knot R1[ the.other.end; You ,rn;ay llegi'::l st~[(hhlg; II, apr polnraleng the mul-;ed design In.u: do have in mind .30' somlung route thar w:iI1 no ]JC!qu.ire 00,0 many 'ty{[su" nn ris, or 10ng sllci:p'pri~g a'pa~: on dle ffi?~'LdL

'Bring, the'tb_[ead~d needle up from the back 0'£ be marked fatu·.ic, By placing, the po~nt of the needle flar 00 the !'ill!!' 3! shQrt ~u.~tal]C¢ £fom the polnr .~U wbich till! rht'ead 'em'er~, J[ is pOlS ible to measure the -first see Qn,dl ~!1d third Sfttcll,?s,be(Qtfe dta\i\r;llI;tg the rhr~~d cernpie'rdy ~l e~ugb. rh~ ,f:abl'i,c. Y~·1~1'1I.Val1t aU the stitches to,ic t'h:€ SaJFU~. Length.. id!eally 5 to 7 stitches per inch, If dile needle is aT1g;~,eil 01[ held ittaigh~~p' before ulaki,ng",

; titch 'the P'Oirll[ ll"~Y not sewy on lin.€' or :Y'Oli nl,~y _m.is~ ~ udg~ the sri tchl eft,gth.,

III

M4,~fzi11:g If S~hikfJ Design

There are several-ways you can transfer a sashiko ,design 'to darkindigo .. To L~5e a Ijght bQX place th~ .sa~hil{o P~[~ terri on [he light box [~Y' the ind~g)O' on top and trace the deign line d1re:cdy' onto rhe &jbric with a. w.b.i e ,olarking pencil, r- rhe ll'ldm,go' is· very d:a1'-lk .and the Ilnes are diffiCltim: DO see, i someeirnes helps to place a second ,copy ,o,f the p,attcrn in the: arne 'ize Q,jongsi4.t: yourwm:k as '3[ JefereutGf'. Ano.rher way [0 transfer a design is with dressmaker's carbon. Place 'the pattern on th _ clerh, slip, a. conrrasting color carbon in bre~~enJ and .g~ ever 'aU the liaes with 3" fine Lead. pencil, USe rhe 'white marking pencil ro tidy up' the Hues on the indigo k~.e,L£ If a sash ike td~tgn h$s -:a k'\~ simple' elements ~t 13[LII.·Vf;s:! you rui,ghe trace [be enrire des~g[l onto [template plastic, CU'I: out tb, indiyw,duaJ shap ) and, uaeeacound them with a wll~te chalk pe:ndl to, mark th~ iud:igc.l", M~l,e S:Ulif ,aU year finaJ lines arefine and frneFro:m smears in order r[e pf~vilrdelr~,~ Ideal ,guide for neat, smoorhs itches.

5,- . • - .. !. ,. e ,I. '".:I. £III .,

tztCI"J'1.H'(j1'. S all$.r;J,tRiJ' 'L':eJttFft 16· l!b"'_

S:a_1iil.iJ{Q' 'eGan bf!' worked ei ther beflJre at afirer me piece is

l.3yered wim 'bar-ring and backing. In moslr cases, fOJ'tease uf Ileedliilg and handling" I pr~f,e.r the fo; mer method. YOll can tlSi!;: rhe tl"ad.iti.~lllaJ.~ 'siofr ·wpj:te eorten thread 'from Jap:an.t or you can SUb~SIl:hUI,e 18pede:co[tflHit DMIC

- .. - 1~ .' ,1 U--:H. _'L.- -'!ILd G' 20il - "1t4;II"

conot,n emaro:~'ul'!ry uOSS, Or[ SUJI.\.. u.ll'eCili • I., u,(:a " I '[() ~ .

After srmtdnng for all hU3h or two pull. up on th _t1'11!l'~'a.d. ,~ lirl1l.e!. and t:['t.erl,~ lJ~iug a rn;:hLUilboail'J' Stretch ,~u.u d1C~ stitching, The idea is to keep" the work le'05~fspt: ci~l1y the luead on the back~-.'o rhatthe stitching do , notp llckie,r.

'"'r" J,'. at I Ok '. • id d ".1_.1'

raU!.UI0i1:, sas 11 ··0' msrrucrrcns ,PIP@V1. .. e I.' j taJl~

d:irections, .re:,gatrding ,the s~i~chi.ng routes to rake :ana rhe number lo,F scitcbes per l~g ,of t1i!t: d~~gn~ ba:r: a.6, "QU acquire experience ar d confidence you will cL ;ve,lb. y0UI own, mf:,tilods,. The main ceneern is WI lc-eep rbt 'S;th~ch'fS even and the lines s·~oCll[h .. Here-are-a f-ew' trp&:

A sr'j tch 1l1USt end at the rum of it corner; either '~idl the [bread gOIj],g 1:0 rhe back or coming, up ,ret dl,~ t(),' .

• T~ ~it.e::h 3] very small circle at:a '.bup-, ti~ghc ¢lJr~e, ir ~y be nec,essary I~O make the stitch on [lbe back smaller than OJ the front .

• Threads [118.[ skip across the had~ s'houl:d nor

I I IL !'~ 5 ',- '.' - 1--

measul'e onger man "/'.L ~ ',o'rn€:.tlmes aou~g:er

skip ~l:l, be avoided by weaing [hedu~ad d-uJJugh-s,ewral stitches Jon the back ll\l reach a ne section of the nl,arlred de sign •

• to 6nish 0,ff at line' ofstirching, puU the thread-

~ fI~d:l,e d(rougl, ito 'clb,e back! 3i:Lild we:ave, ~he dfr~d mH [brpugb sevel'~ srirches before dipping ['he t~III. ,Rallnle' stitching with a D'ewmy kmil!t~ed t1i'reat,l.

()m~e ¥o,lfv,e ~ea:rnec15ashiko" you may want to uy it for lI.'tc~mu'l.ld 'quil,dng in place '0rf Qur usual Western pan mrs. ~ or ~~1Ip,1e1 Im,any' 'ashik~, ,d~ig~ : may be fnl1nd ill the 'Iquilt ~',KatrUl:n-Sa:shik'O sw:npme[1~ on, ~la.ge r'" f~t ,titsi91I, br~'Gbvo[kl basI er weaves" iruersecring ,;jjcl't'~, an,a curved waves are all gpe,,~ ._cbok~ ,OOt b'ad,gnItlUd. .fiUer.s:. 170 'emphasize'he heauy of tihes€ patrtrns, tr1 qwltJng rhem with cb],of;ed threads 0'1' IIlc,raUics., Aic,e:r rOu.'ve e:xperim,ented Ion ,'qt~il[,s,t,ry asblka on. garmenrs, pillows, and tahllie runners, It adds

mu.ch dchnesS' '[0 dl'C sltr~c'e dtig.J!I.. -

,ManthlllD DUckS :b, Kiny Pippenl, 1993" LakeAlmano'. Cali'roJ:ni,a.~ '2JiI I 3'4"

This S'ITianl quHt-is ma,de ,a:lmO:~t entirely of kaiSUri. The Mandarin duck f,abric~ whIch 'I received as a gift,. ins'WJired the des'ign ill ~mC1$t. ~mmetlia,tely:, W~,th great relwctalf\1'~, I :cut the duc~ into A-:e}!agon 5h~pes and a,ppHqued 1hemt~ the ~entrai paneill'stre.aml' and to the borders. To add "ook.)r~ I pieced red strips,lo tne, ISlS¥mme:tdcall borde'iS., Sasbiko,:wdfk~ a,ro,und ea~h hexs,gon. and in douds, and -$rn~" ''duck metlfs. :co:rn~ pleses ,the ~uilt

-

,Friendly Tribute III b,' ,Kitty, IPip'pen. 1991" Lakle A,ln1anor. 'C8nf,om:ia~ 2,4/'iX 14ii

This ,quilt is ,~ rn.in,i,alur,e ve,rsion of 11;1'1:: ,original jjFrien~ly lributeli (page '116} ~hirteen od::agqn b,kH:~ ar1e_ cut from American fabric. The small :oonnedins:squ8Ires are Chinese-stib:hed shiQQrI ,outJi'liiee with whrte S'asHiko.

:18

'. ,he ri~ J. 6:n:t started U1si~g Ja,i?an,e_~~e: ytL l~atl1. itl.my

, guilts, most of the 'p~,ecID.g. :i,£l'v,oliV1ed s:rr:.aigbt seams and ien de curves, As I went on [0 worl V'tth k'8:~ud), hiboci ,an.,o silk, it soon became a,ppar'enr tl1ar I!ru:se' Jibrlcs=a.t'ld the shapes I was cutting 'from mC:lTI-foukl not be pi,eced in rhe W1HllUt[ way. I neededrc jjrrd, new l1l!edlQ1as fot :1l,an;,cMilng the: loose w.eavf"and [,ow' th['OO,d CD'LmlS uf crjnl~y cormns and stipp!ierysUks J as wJ~ ~ tO'I' )oit1jn~, dle cbiUengulg llexagon, diamond, and rnang~e 111li rs lthat were app1enring,more and mere ,w n my Ltire&lg!1,s.

Frag,LI,e fabriq, can be stabilized in ~ [ljumb~er of ways.

C~y. qJ~~U,[ blocW;~ fo:l~ el(au:np]e; are ,t:~dfu'clo(!l.any made hy stitching sU~ velvets. breeades, beads, and l~ce to a ~ig.ht\\I,e~ghJ 'rnJ:LSlin fOl;ulda'tiQn~, in SCJiI:ne cases eliminar- 1ng th ]]ie_ed for ba,ttm ng, ertaln de$'~gru" such a. Lqg C~hin aDd Pineapple, can beassembled wirh,g;r:e3:[ a..GCLl~ 1".19' ,by 8ritcli'ing The Fabric 00, a pll"e:marked do:th ,Q~" p~pea'fa~ndariGln. Nowad;ays) 110,i:ll:waN"en .ult'e't1ac:in,gs ave a_ffil,e f~lr ,tl!i'e as founda'dons" though these w'ol'k best fbi nlacllln~ ,qwldrtg as (bey. eend [0 b~ diffi,cui.t [01 needl by band.,

The firit step, is [(J; make ,l.g]nep]~dt: tem,late fo,r ,e4lth" ,df/foll?nt JM,teh;tp(jI~~k shape. in the design, Tl~e rernp1ate must 'be dle exact fi,ishea slze,of the lPa:tdn~li)rk sh~pe i[ re~1I!'ese'n'tS. ~ce around the plasric templaft~ onto typing: paper and cut a paper pattern, ah:o·t~. - ~inc't finished .size 60r 'ach' iru:livid1:tal piece' in your design.. Pin ea"Ch paper p,artte'[lll '[1) rhl~W~·Q'"tl.g: side of [he .s:e~,ected f;1bri<c~ and Cut oLrtme shape, :i1.dding, a generous vi'll searn ,a11oV/lallce all around, Fo~.dl [he seam allowance cneo the p'ap'er (back), '~id~ 8]nd ba te around the ,edg~ muaugh all rhe layers fO crease 1lIl_ fhl'll~1 st3h~~ patch, Repeat this precess 60f" every piece in 'till'!' .r d,ej1gt](.

:P'a[i:H~~F ,;0

Right s~de '~f:f~bde

~'llf,r,sIJ' ~~P" P~ed~r

~or my work, English paper piecing proved '[he ideil mt~lu)d. Here, the IEabric shapes are backed wirh Q, Faper QIIOUC .si.m.Ha[ to The technique used in applique bel~[(! bein~ sewn '[O,getbli:f by ha;nd. This enables 11!e [0 pTe ... d '1y pteoe.a Wl1'lety' ofge,o:nli2tri:lc; shapes with se-'~~n, COf:n~5':'atld .selms. O:lliCe the 'Iliec~$ are ~.e\m, :tQ'gerhlet'f rb(! p3por b~b\~kings are removed.

,SiI'tJiI'l"f;hi1iZ ,tltlel' B4Jh'l&l

CUI .m,€: g,ui[t backit'!!1 a .few in~hes ~.i:lrg~'f rhan the quilt rOlp'~ pied flJ if if ne\Cf'ss:::try;. A quUt ba~f,gS b~g.rifthe b.a~l ·Ing··seam, is ~E;red" or" if [owo seams are pl~ce.d. at· reqa& dis~niZ~ ,F~"Oi;n the side ,edgi!:s.

Iron the quUt Ibaik and the quilr ,[O(?,. Spread me q~~~ back wro ng 'sime' up 011 ,8 lfilia,]; ,slllf3J,ee.,T@ e~e my b~~, a.nd because :I am &0 s:h~lJn.~ I wcrdt en a queen-siza bfdJ TQ~'p'ing the' Irl,~d with a \¥{H~,loolvedei helps keelD rb.e .~b. fie fWJll' shif,..int. G~nter ~be barting ever roe.~qunt ba:c~ then add the quilt 1L0p~ r~gbl side up- Keep tile CI~ due quil[~op' .p:Q1F.iU.d [(), tha$;~ 'o'ft"l1,e baik if pos·s.ilJ]~e.

C;.wefi:lUy slip 'a large .P'OS't~f~Ql3J:d under ~hu~: ~'l1t!e'f 1I[ tl1,~ quil t .s:wdwich. Pin. [he' ·sa.nd:wicll:ed. l~yeLIS in dlls _tJltlif-a'j <then ;thread-baste in ,iOV"P' dh:.eGIP~Qil$,. :I'1I"aki-n,~ nJ\~~ o,f scJt~h1rtg lfJ ,r~xi~~~O~3r 4 "re ,5, '~'a;pShrr. ~eep the b~~ ~ng stlsches no long;ar ~h:a.n. 'lh-~'I. B.egJn wid} a kn.o.mM

. thread, .and ell.d by ~ste'.nil:'lg, s~curery"; yQiur b3,s~~~~g sti[Jett~ mq aeed to [~111Iin i.1l place '3 long. dlU~ depelldi~g upon how fasr and how o.ft1en you 'q~ih:.

C.b.I:lt[nue.pirnuhrng and b~s(h~S [he quilt ,~ayets: te.gem· er~Tt). ~e.p'"(jsm'tion the pa~:rer hQ:~.urd~ ;gen.tly Uft the sa~l!d· wich and n10Vf: tlre beard uaderanother .5 ecdoa, '~ln~

~'IJ .I!.. '.. f' Rl '-b.J1 ~",. d- ",,' r.

:i:U fJCU~ areas .on repor tne " e~ m ~a~te ,t tr 15 sare fl]

~e'p;0El~d:an ehe eD.dre~~ndwjch and! Inove dlC .o,'V~h'oo.,· In;~ I~d~esto rhe- bed [(l.P for lbai5'r:ing. Fialsh viim shQ~ ~lastiQg s.ti~[cll!:lS :~.n in fr,q,m rhe tJdge all around ~l perimeter of dlrc q uiII[ ll~' Pl. TF-runru the b:~tuing [0 'w~tl] ira 11k" ,o:f ehe edges ,of til€: quilr top so ~"1'1r it will 'Ii:N')t ,~tNt(h er snag,~~{b'~]e you work. D:omlrfi)rger eo l1eD].9~ ,all j\l,]]]sJ

To ioiA !BlVO S9:J!1pes., pb(;;c thenn tigb1t .sides CQ:8t'cll! ~ ~I]d nllg:rn, [L-re,,~dg~s tiji 11:ie' j,e,ined. USe' a ~ing,le' sU:il[ld~r m:aIrEl:Xin:gll'h.read re whripsol[ch these ed~ ~og@th,er with v~ry tio;y' ·sritches (:ap1?~i.nn,:;t.tel~"Vi6n :apil.·~). .. 'take ,1 stj.t~l1~i) i.r-tp'~"aiGe (L'~ rhe ·beg,i;·tm.i.ng a::oo~ eI1~, of.a s~a;ijl [0 ensurea n~ [ jUln.C::!)llLn~ when a .thin! shape is. .r;\!dd,~d, Wlttn1;Y'€f po8.sib~ei ICOrurjnO'f: sl;!·wIH'i with ,the SU'l'I .. U dtread \whe.n (led~lli~g a. thi~,d.·~:~tape~. as sl10wn at leit ..

The quilts: t¢1f'],tgp,~~' (pa;ge. 31) and "Linleed Shap~~

(~\a1p: 7)8) ~tre both lOM\[fUCI[(;o[ 11~~:g ~bls '~)(~[reme:l) ·atCUl~~ll're.;D~Il!t:i.l\rug ,ft\@thea .

..... _. r· L~ '("

'FliJlit Ib, Kitty P~lppefl~, 1994,1 Lake! Ahnallll,CiUir Catifo:rtmi,iI" 641~xl'l~"

This quirt lUustmes how .i~the 1abriG: makes' fhe ql.lUt:) A ceUedtion of k~suri birds 'ClIne! me~allh:""I!s,sugg~vCI ;a- aiagonall ·~.ow acrossfhe qUUt ~Q. r~~rE'sent the freedom a,' brds lrl thefrwQdd 'lD.e,ruveen ;sky anc! wat€!r, Inner (2Hy blocks oiled: tn~ vlewGf frnm the_ .. k~w~r left cG,me~·(jf the .quirt to:-the' ~p~erri;~Ht~. ~i;jiAJEJ oo~~ d~wn,' \1Yi~hthe tligntof the cranes. K~s~lri·h~gams an'd '~fiangles w$Bp'~,~eF-pi@.(pcl EJif'ld ~IPlflilt~Lt~d ro ·enhooGE!' '~he diagonal flow of the b8CkgmWfld ble_eks. The wkle-sashiko Ra~:el pla'Ge~f 0ff oontE!J pLQ~td~ a ~f-ong: ",erti~~ oontraSt1G ,aJl'f'le ~ijaig6n~I.s.· 9f QIU "the' q~il~:~ ha~' d~gn:e8j thiS ~ifi'le :pi,ell:!ieS m:e; m1Dsti WUhtle' ~t does, nl'J,t harVe' mai1Y ~oblrs; I~sd ~~n;n:1 whi~'- hel:p reli~,~~ the- <e~erLq~'~ 'o:f. bh.re.s. th~ h~a;~I\l""pat~ temed kssurl in the Si08' borme:rg. was a. Iluo1<¥find. "this qUlll~ won a Hirst plaGe for IllrlTIolLtBth.re 'Pu:1!ceGi at .. HrlA in lrrfH.lg~'Dn! ] 9;94.

(/~~jlfii1/.g

J alway~ enjoy this phase of rhe q_ uu(m.aking process, After hours of EXacting design alnd ·O~),IlStJm.cd.on and. 'the rather mundanei ob of bast["!g, the. work SI[.ar(S to come

aiil,~f' as I quiltl'

My methed of quilting pIQbahly breaks: allf.hc rules, I do not usea fr:allle Of" hoop hut ,quiltwith the w0ik in my lap', semerimes rig;lll uades ~c y JiQs.,c. lfa.quilt is, 'very la_r.g~; I work bssld,ea bed or o:th~"r 1:~\1ge flar s.tI'rfa~~" ,$Q I canspread eur rnost efrhe rquih:.· . b~s allows me [:0 garher u p th exc~~s edg¢S ser l is:¢1n ~~ch die. area 1 wish ~Or rqRilt. I place rJlle ,wm· of lUY. nOinqulb:iag J:utnd ,i:.lnd~r~ nearh an a$1. between basting lines, lift ,aD,jd ... S1ll0CJlh me sanrlwir,c.b"J ,and a__nd1Dl~u:,all the. bl)fCfS w.lth·(1 ttru,g;hc pin'- I can then quilt up to the pin move it roanether spot" and ceutinue .. nus, litder tfMdt helps me '1r0 keepr the quilt back flat i1!ul w_rI.m:dlde-fi·~ 3.5r I W(Jtk,.

Since I baste ve a~refuilly~ I can begin IquHting any~ wl1eJ;'e' ,(')in r;he C!tuUt,. and I do MlloV'e around. To init'ial~y

'stahiliiM and anchQ1rthe work, I usually qullt in the .' (~i,lht alo'n;~ the .seam): around pieeed b~0lctla apr;]?'l lrclUf:; and r:t0xt tOI ·sa.s],_i,rtg: srri ps and borders .. is one. eX:Qtpde'flr how(v¢r~ 1 ·quil~ paper-pl:eced pa:-lil~111 W 'from rn'f mlipp~d seams, as it is oo·fflclJJr UJ 'qllJih;. l s~~: Itha.t is ~r&s;,ed rop,en.

After .s.ttlbiHZlng rhequih; I quilt r~r(nJIL'ld the . designs and m,()tifs guch as leaves and petals, and ~.J:1'y see.IS,. Qacltgr¢.i'nnJ:l: .ar.eas mar' then be quilted ~ tradirionai .sas,Jllk.0' pattetA~: p'u.ined. waves, clam in frmctlng circles basket wt;:aves, Of free I designs ..

'Q:f ,~tt"u.ru. sa,~~M1o also req_uire some ,quilting unless s-ashil«l ivselF' bas been w:o!rkf.:d[h.Ir~I~gb all three nc!·~ of 'tIl,e ~'ttrlt. I uSLl~Uy quilt 19h.t beside SQD~e I the Une5' 'Gif' s~s&ik;o stitchIng,. Bro'rdcf can be SUed, , {l vSl_riel~Y o.f'com~p,lre,me[llwydesigJ,l~: ineludingv ~t~laJ:lJJlflJlLl'j of,thOI$II!'describoa above, or with eeho quilting re n'le.an]~h:.r:ing clouds 0'r lines, o.f Wj,tY-f alrui w"nd.

ICircle rot FriendS' ,by Babs !o:bhIlIS·OO. J 9r91. Red IlllIff.r talifo!lIni,., 51011,:1( ,5,211

Traditionall stl.shiko d~i~ q l.Ji Ited over the Qf1hi;s I,ovely and ir4Atl_ "ieee. A subtle b1',eii~ () link the"odagons, .. OUI_I-Ii .... btnder.:; in· a ple.Qsing_

QQ

Bi~Jili~"r ".J FadHg

Theft arc hv~ meth'oils 1 use' eo R ni ~.h theedges afmy lluil~ buu.'tring .and facing., A binding wjl1 show 'On both r~~ I ent and back of rhe quib, whereas a fac:iJO;,;g is ulimed ~Iltil.rely to the' bc;;ll:;~" F'or either approach, begin h,y ln~uring and [orting down the qWJ:[ dimensions, hen rhettuU[ f.·ont and back, 'and trim tile hatting and ~1tdrif,lg:,e~rtn wi'rb.lm,e .qllJ~t top~ IT trimnl~Hg loosens or ,!lle es the hasring around. I[be etIlge 'CDf the gluI;;" ruJtl!

rime ro redo it.

Te bind aquilr I usc' 2° -wide do-uhle-fold strips cur .an tb€ stlFai,glu ,gr-aiEll Cut two scrips to maech tli:e'vlerdul mt:rt:S;LJlte.lueD. of dl.'~ q.!-tl~'t, and then (\VO' 'I1Q' "matdl the hO:fw~n[8l,rtlEl urernent plus 1 'if Ito :aUo'\lv JfBIl' a:. [inisb,ed

orner. If,)"ou must join strips felt. a lolnger h=:m1::gt'h~ sew an a'QI:~ed . SC:!1m [0' pi',event excess dUGkA.e~s at ilii:s spo ~ hen the 1),illdin:,g' 'is mrned.

IDJrld fue side edges of dl.e quilt firs,t. J~o]d e~.h snip 111 h<!llfiengIDhwise" wrnl1g side in. W1(b the raw .~dges I tBJdhl~g~. pin tll:l!':! strip to rile quilt [O,P and sew' a v..'~ Sel1;m.

7 , - old rhe strip to rhe badlC 'of the quilt, Q [h.~ iJutdiJ1.g Hts sn,u,g;l.y around dle ~llW edges; Hem dJe raid c1 Gdge in pl.ace.

Adcd the 'tiOp ~l1d bO·tbO:JU Ioindjng. srrips in the same way bu t £ohf baJo.dr tile excess ar eadh, end [0 ·,o:v,eda,p' a.nd conceal the' 'side bhidin,g strips when the binding is hem ~titch~d in place,

': M 11 Y AI D Fl·] [ H I N GTE C 1-1 ~,-, I Q IW E 5

Occasi[QoaHy T miter 1 he .Icoxners [of a bwnding. F:Ol' a circulae pro1ecr . u::h ;L a. medalllcn qullr, I cug- th b indin.g strips, on. t11e hi as.

wtu!n tl, .quit fenrure'. a },oll1g panel 'with wid. ~0'P' ,and bertom berders r often faJGf the edlges ra:rbe'r than him!![ them to a~<lI·id inrro!du,cLllg .an. esrra design element. ]'0 .r~t<:e' the side ,e.dg,e;s., cut ·,trips 211 ()if 3'n wid'e ~nd m [he same lengths you would us" few bin~lng. Wi.~ righr 5~.cLetll t'®J,gtlrher and raw led,gesm~l'tlchmng, pint each side s rip [0 the quilt 'W'P' and sew ~, '~ !~eaQ[L, Erem the fron ~ side of dlf quilt, press the ".[ rip aVi.l"ay (nun (be seamline,

( U~ ':1 .:"1; e: 'd k L.. ) T. ". h I i 1'1 Co

, se ~ pre$lnJ~'CLQu:"l ror c a-r, et'6a1rs. lLOpSOW .. roB: rrom

the seam diroug~ all the laY'ers.

'turn rhe quilt over, Pollid! the facing 19nto 'tIle bac..k, rhequilr, ,mal~ing SUJl;l! a riny .ed~ of the quilr op. f(l [0 rhe back, Press as you gOI., using quite 11 bit of s~eal 'Iurn me raw !.tuge: under and hem it to the back ofd1 quilt.

fmntofqwlt

Wrong I

"(!J , ,

,c' - ,

~ue "

,~, ., 11

o~ iiaCI R.g 1

I

C 'j' ,r· C tI b d 'II 3' " .~

U! r ~.C' racin g ror _ ie, ' D'nD m e , ge ~ 0'[, w~ij,e : I

n U lOl'l:ger than the quilt w"~ddil' ro allew (cu~ II finish corner, Sew the- facing ri:gh[ sides ra:ge:rbe.r whit he :6:0 b.Oln~)1:n edge, mal ~nS Slue the strip ex[,end 1 ]h"I' bCJ!o, rhe quil[ .8i[ each e~d.

IfTSrI't af quilt

Ri,lht

I 'S,cae

: of fatino

I' 00

I

I

I

I

I

r

I

r

•

• "-~ - - - - -~ - -"e"~ "_. ~.~,~"~ .~ ~ • -.; __ I.

Ibpstj~ll~. f()~4', back ~ and press the bertom !radl1,~ .

did c. hL • .JI F ld h h d

you Cl; :1 or rnessaes. ~01;: 1:111 t. e excess a:1l: eac en: an

"hem i~ place.

Par [he tGP edge fiI:ing~ whk.h. wiJI, also: serve as: at hangjng,l,~eve~. cur the sltl!'il.~;- 5,411 wide and 211f, long~l" [han [~t1 Iqullr width. ey.; ellis ,'acing 1[0 the Ft~onT rop edige I aUonring a 111 !l*renSlOn at e-Ach end. 17op5.l:irch a before.

Front otrnuiilt ~

...... _I.". 11 .... ~-..- .-.

..

'"'

Fold [he 111 .extlt:nsip~, to the badt of tile bOn'll suirp and ![ack. in place. " 'old t_he fad ngw me b:a.ck. of [be quilt, pressing. well. Fold under and hem h~ l:Dng edge. Leave _h '.end~, . pen SOl you. can. insert a dowel for baJlgillJgihe quilt.

Leave apeill .

i ----- ---- ----~-------~--~--
_ 1 Right side,. &t facing

I
I
I
I.
I~
I
j
I B:a~k Qj~llJ,ill't
,
~
I
•
I
•
"
11 1 haJ1C found thar this lnethQd ,of Wl1CQrpOIrarting the s:1~ve in1101 ph,!,! fiv,;i[J"g works ,weU 60r small "wan ,quilts. 'For lCl.rgem7 heavier ''1 uilrs, or 1:0 pro~ec't the hack of a . ery valuflh1e quilt, I r,eG.QJ1!UI)et1d 'roal: YOll 'CD.tUitrU(Jt rh,e leeV'l asa tube in the more tJrarurfonru manner,

.~ t,

h

1

4

Ilis by IRjtty' P,ippen, 1'1913., Ilake ,A.lman&r~ ICali"\innhl, :~nl'i X 3]16i"

Thi'S- quih; a goodexamplJe of .sn innovati:ve Japanese-style quilt, il:l:ustra~es the febrics II su.ggest on page' 37. It. has EI p.rimary mr,j~~hem:e'~fabric the ttarge bold iris. In contrast-.ii also has a smaJ'ler-palterf,(,ed~ monochromatic ie'2lf rabric~ ,~nd a 5nip'~ ~o:metric. A light blue batik, E!' ,dark ill1digQ; and a soli:d red ~,re used as. strips, between hi,an,glles and! border- This quilt is oonstruded muoh ~~ke "Batik Garden'! (pffge '12).,

M'llI11Cie' you I~t been S:G excited abeut making a L11l~,'th~u y6u.l~.s~e alltr .. ,a~l~ 'Qf '~,tb~? New,'i~"~;Si eod your mlnd e erythirrg seems . o faU m

plac::e. and the. hours fl,y by. These are wonderful time .. ,

Intlr:i [hell'~ are rhe '~o'thcr'? ',imles., ¥ou, limp along Ifrnkfftg ar your w(uIk .lW.U\'IIl..ng tl~~lt it IS scill ner 'right .• n Som~til]je. you simply "g~ive up b;~de [he: p:FIOij'eCt under he bc(i~ and fo:rge,c about L lor awhile, If the flb~i(; is

ande'fftd .and }',OU spent rime and money ~eL_crin,g ir, crh:mc '. m iuch breaks are only ~en'p.iQirary, and wll ulCi:"'" iiiur.¢ly seree t.OI re.nlew}101'~I· Icrea,t:i;v,~ spiri-cs., AU of us oIpl.'Eience' h1gh~ ana mows in our work, ;tI.l-d I kaew this i~ ~tanlnJy rrue whea we atre mpt all 'ruigrn rial dcsi.gll.

To' heuer ;cgu,aint YQ:U wh:h lh¢ Wl:fs Japau£:sf' fabuia nn be used, ] will describe my approach to des:ignmng 'nd n~.·k~ng. 3m~ Japan.lt;s'e~tyIe IqWlt. Th¢ 00,0,.'[ dwEfl,c~ It art sre p~ fOf many qui! [Ie cs is 6:b,opsing , '3..bd~qlhere Ilrre ~ U"U:U1Y beantiful -ones ,avaUah1e! Yet IJhis ,s~ep i. ·,cft4~ial. 'As quilr ~u[~s.r and 'itIludi6r Ro,be'foa HOr["'tO:rl, ~Ut9 it the mbci~ m~es the q~iJ[ .. i' I Eed much of my

ucc~irnl quiiltnl~!lci~g is dtlero: the fact than: I use J p9nes~ &bdcs almost exdus:ive13'. The fabricspeak~o nd, i nllpE re me, and the' l@nEe,f. I use .tbese exotic ma eeri;~~ the mere 'ideas Lfind fo,r ways '['0 ()om,ib,irJJf! them,

At y0u read d1J8'J y~u mal' he ve ~lre)dy ceUelCted a ta~ r~sh ofJa:paoes~· fabric] or you m,ay have only a few

"';:11" D AI J h II d . 'I' . .

,ecSa! plit~~ces. ,011.[", [II:' e· iarcer c eter .10u~ lmIr;J!']" ns

tI~,en iOe'I;IS tilt: mind to, tbink rC_t~'[ivdy and Q()nl_e up wirK:nneeof-a-ki-nd solutions and. inllov.al'i~ns: Audition ~ur &brici and narrmv yOlur cllo~,cCsto [;ho'se you CI:~,a.-s-

_., ~ ~ - ~.,

_,: __ '.- .. ,._ • '.','.'._ .,' •• 1 "

. "_,_,.

ure most. Select one spec~al fabricro be your primary 'Of 't~J~JH,e fabric. I liike~el use a cjJlo~ful yukata 'Ij~~i[h ;;b~l~d .de5~gn I sudl aa an iris, bamboo, bydran'g,ea Of ceane. An.ad r yukata with ccmpatible eolor and a smaller pan ern ,might be ~1 ;seti:o'1ldary dlDke. Monochromaric (sing~'e-co~O-l')and geomerric patterned fabrics alsomake g,()md :snppl®r.rlng pliyer.s:. A vari.e:cy 'of Sill ~Jds Me 'us.eful fo,(: aecents and '3'8 a ~hQ:wa:s€ fo~r s.ashiko,. Build around these choices, and keep Y'IDL.tr fllSt innovatlve japanesestyle quilt small and sirrrp1e.,

Quilrers are,lotten rehictanr ['Q cut WJl[Q thdr expensiv f~bdcs." but th is ts a n:eeessary seeond step. To gCI[ started~ cut 4 ,pt 6 blliocks (rectangles or Slqua:r:es) fro·m ·th>e: prlrnaryyul~{tta~ vatyitlg the' numbe-r ,ot L11tlltifs In each piece. Dorlt be concerned ifthe pieces seem large, SQ1ne of [he.' ~e pi.eces may be C.lI :al?arrc or fractured~· 13.'00£, and mes of them will c_errtain!y he tl"ull.me:d i'n .someway.

Ar.rnng:e these star er pieces €1m your desigrru, 'Ul~61,~;, scattering them randomly from comer ICO earner, Cur rbe "Eoondary f,abric into bmo.dts as weU" an arratlge these IIUi!l{ to the prl.ln.a.ry pieces, Or ~n an opplQ~ke path. FHI rhe spaees be'l:W,een with monochreruadc n.J[dh~1: geQ merric-parterned patches, Qr w kh sor dt '~lo,c1ti reserved fat $~blkQI. uyt:o us~e eaQt:' .kiRd qf £~.hrj e several runes t!(Ll;luggeS[ movement ,o~er rhe qudr surface.

'Once 'rb€' blocks are arran:g:¢,. 'move I hem lQ~ er, Qverlappir.rig-· them 'to allow f()J; seams. If l~e[e aresrill gaps, decide' ho:l.V Y'®u JI1 ~:&b Ern them .. Sas.hHo half-sqaares, ,strips O,f~tybl,g··Ge.~~· tradluon;a;!! _bloc:lcs uS~llg J~,PaJl'~

faibr:k:. or narrow .¢IQ"J(H'ed sn .. jp$ can a.U be' used te join, fr,acrured pieces,

Once the main bctdy of the quilt isa:r:ran,f¥td. think about ehe bord,er,. IGeo.meu.it-pl~ttltetned 'F.tbde such as Ita,sur; or jlsars rip'p'~a from eld ]kinIon,QI are' FCi~,],prof!J,f dtoices. 'Or you may decide on s01uething quite innevarive wi:r;h a vuie.~ of flbfi~ in ·clifFe'l'enr widJhs Q1I:l, the' . ide·· top. and bnrtom. Sashilm blocks rn,ay extend I:hrol1gh. tb_e herders ['0 mil: edges Io.f '[be qRib. fiaT' a

strong '!J,deil:lull Look.~ ·add a vidde baud' of a dark sclor '[(I 'the . Dp aad 'bl:Qr.tom,. Maire InU (;) th:es,e tet~ioll'~' beliim Y'0U acrumJy begin [0' sew. 'Then, pay caT~fuJ areendon lin' squa;ring, I[Jff Bl,o'~ and cbedc.ing dimen ions as Jrou

- -

wo:rk£in ensure dla.t ehe quilt hangs rr,aight.

A .. emble and finish ch:C!' quilt ft)UIQ\~l~ ;my §_ujdclin (p'30ge's 29-3,~) Q~' ,the!]J.,edl'od l~Q:u p~refeI. S;,hika may . dOJIlJ'. before ,0rafljer he quilr is . mdwiched (l find it w.ier ta ,dOl ~hfcOU~h one lay'~r of cl'Q,th). Th:e quUdng rna;

Bomboo ~DfhwrlY Iby Kitty iPi:p,peR~ 198'9', ILake Almanor~ CaUfDmi8~, ,1I0u'·1t ,Q4~' CoUedilon 01 SYlvial Pi,pp'en This linle quil~ i,s one' of m'y favorites. II tried to suggesl a pathway through a bamboo grove by Jraduril1~I a f~oral yukata. $ashiRo was dane through al:llayers using +a. perle cotton. Other quill,ting is innovClltive and often mirrors. designs in thE' f-abr]cs. The quilt 'was IIUfi.ed into the·l990 AQS show.

be ,ai siJnl~le or as elaberare as youchoese, Begin by ~uU['ingin dle I itch around most of the 'bMocks . 0 stabilize dle entire ~pieee, Theil quilt 'around di'e l:U1!C; elf ,gns';'arid AU in b~ckg ;ouuds, W,ith curlicuesor rradil~idJlfl'l s3sbjka, designs. The actual sashike areas wal need smIle q~tib:ing [:00", U~e threac to match the bad~grgul1!d £3!11J,rit?, ~ll'ct quil:t along some 'o.f [be sashiko lines- -at. lean ~llo'Ugh EO keep' 'the area '[[iom pu,ffing: O~'Lt'. Th~ o'l:rrer'ec&g~ ll1ay be b{)ui1d or Ed!~ed.

~~ll'eFe ~' ID311Y' other optlons 'ftu(" small, inno'!lat~ye J~palleSlt'"'I[)'l~ quilrs, Sometimes a fabric t so be;udfuJ

1 can U7J1t bdng R'lysdf to cur-inta 11:;. OctasiolldlJ I havt used a sing't~ piece of fahrk. as, the complere ldesj'gn, 'InakiJlg lr in WI 3 wal] hallging s.imp~y by add~llg hQlf(lers, or -areas ,of sashiko, Designs woven into kasM', such as

liI'iil- b dM' F" b

cranes, nowers, :9JJ·?e..s ana rv eunr ~up"can ie cam-

plll:!t!e ill rhemselves and m,ay betXull'f focal poirn$ f0f an entire p'i,'~(,;e. ::ai$hiko worked ·ruvund appU.g~ed d1esig,ns lltreSl~]9.£S a;Dodl"er ~,ovdy alternarive. Wirh paperpilecing. nonrrn.dit~ona:I quildng f\bric sucl1, as . ilk ,'nd shiberi can be' ¢ttt ,and 3trang'i.'!ld into allover patterns and mo . aics, The cbll] ells.e of~,nnov~tive quiltIng is ~ndless!

lall~, .. patternedl ia,'bric; 'ij~1; ~OltaRld fI'o;ra~ mo,tils,

I~' 'I'd ,"-II...'~ , :S00 I a.urlCi

N,nller' e[emejlllu~tar bla~k:r 5a,sbiksl pje(eS1' kasl1rfl sldp~, h,alf .. s:qllarls" strip of f~vm,g l[ieese

,Flfty--FtJur ,f;~ny ",Figllt lb:r Kitty Np"I'11!:~~ 1'99.1~ lake Afmano'r~ IC13llilem~a: ... 5,5~·I: 65ill

This 1quHt rieprsset1,t':$ my ,att,empt ttl use ja~alil'la~ f~bric in .cf traQitiOrJia~ Arilierican: quilt p,!a~~m, Yuka'ta, aizcrne; shbQrt:~kasur~" and ~kats ali'e aill ~!l~rp~'~~Jted 1nto this·'work. The: bmrd.ttilr 'is an jk;at frQ,nt 8, ,milln"s ~ime:r'1o,.lhe p'a:tt~rn, which ~t1 I~IrGduc.e the,·inuSlGn iIDi clrclles~ HaIs aliways· fssdnated m.e becaus!e 'of the quillting p:o;ssibiHtles,. The quilt is milu:hine pie~e.d arid han:d ~Ldl'~tJ.,

...

~rarm' ,m: SlIl"" b" KifHy P)Iil,e'I~,

1"'iU II~I!.- JII.II .-",,' ~·t~~-,·- i!:i .... ~11 - :0111111

",;iI!I~,~ ~",:e't",m'anQf~, ~a.~1!11Blrliil,lal", Q'±!' .1 1~1.'I_111

I na~' a]w~ys: 1I:~e,d the lradi~i()nal patte"rn

us~ In ~i~,·quUt. .B~u~ Cllndl. white y,uka;as

from ill sample book were_"comb~~nedl with lalld i"~~~. 'ltie bo,dk cJJ:~:tain~d ,.$2: dlff~:r~t 'hfbriC'tfe:sllns~ many ~r: which' were lw@STdd Mr. Na,~C!hi 0f Tokyo (re.ated these im!'N(e~tlrtefns. by cI!Ltti~g~ ste'i1dls wit!i 'v:erv illaIP kflklGS'j)1~ punmes. The .qlJUt is

mchi [Joo ~ier;sd -en~, hand qu~lted. It W~5

lud0j irtb·1Re 19:92"AQS shmrv .

..

Explo'SiOm' b, 'Witty P~:PPeJ~

l'519il~ La&.E! AlllnHllnQlr~ Cil'tif'jj)ln1ia, 3,6'1 .~4'6;11

. ,

The: design :fortthii"w~rk:is' MOt ,~'ew ,or ori;gin'aL The blocks radiate' 'hnmthe center, bEioom\rrg wider ,and;h~)n:ggr as th'e~ prog:ress. toward the b(i)rd~'r, outl~!!g, ~ine~ appear to· becurved, but they alG' a:dua,tl}l! straught ~iagcmals -fm:m comer (0 'romel:i ~r eadCl bl,o,tk,. The Qui~t is made of 'yu~ta. '~t 1:5 machine piecedend tl~nd qui,!ted and includes ~ 'sman am;o;un.t ,m tril~unro.

Si/bon bV Ki'lity ,Pi,pp,e:n.

11,913, ta:ri:(!1 Ahlilil1lll 01F', !Cai'Ufo.VlEil i,ar 4111'" X S'Ii)" As in so Im,any Qfm~' qLJ:ih:s~, karhOJ1i" or fami!y crests, p.r~vfded the illl$'pi~tl;In, To m~ke'lhl!' crestsr ~ iraneld seefions ofb~u;e ;and white 'shr~[)rl ',Halt cut ,f!ut Iflar1s elf the' karmOflJ ba~ked ,~h em w1lt.h p~;p.,~~ and .a:p,pUqu~!cl tltem tf) rndigp ·sq~,are5. The S.Quar., were'1hen Jsined' ~t;); baGkgroul1d ,se1ting pieees m,ade: of Ohi~J~se shib,drl. Ja,P~nes:e shibmi floW'eJ5 (not ironed fl8t} were ~cattered ,at!: ra nd,0m .3:Cc;rnSlS the' Cfu~'It. ()M(\~rnbmidery IncyS~ wa.s used for s~shiklil-a:tound!i;ome' of !the d'esign$~ Tr~dr'tional .I,a,,~:n~,se :al~over design~tsu!1;11 as" o1!ledapP'ir1.g ci rt!e~", a clols:onr~~ 'pait-ef!il~ aJ~'Clwaives~ we're q~ji ~~ed uslng indigQI thn~ad. lh€! qUI Ht 'We n A rSf Pilace' for

~n nova~ive Ap'pill~~lN~c, ,~t the 19'941 .IQA~

!~ 'SlYCW.

Mr., N8g'udJi S€J.p'ler,' IJry' ,Ki~ Pi,peft~ 1'990~ La'k~, ,Aim a.nm'r, Canf'(ilrniil~, 1'4,~ t ).c, 2ru

A'lil f~briC5 ~n this smaH ,~aFf1p~e:r-, were''de'sign,~ by 0011[, Nagus:fli 'pf TokYo. II was aSiked to make; a mini quilt for hJm~ us1n;g ~-,~ manrY aiffe:re~ degi~ns as I could.

8'ed~ IWhite dAd BII'ue linked' ,Jhapes

by limy' 'P]PP-fHiI, 1"9'4,. Lake ,A~mano t Californi'i1l.,4I,"1 x 56u 1m ~hj5 :quHtl' hexagons ?JnCl trlcl'rlgles W,e.r,e ,(;ut-ITom

yt!Ika~ pa,pet-pJe~edr and whipSti~Ched together by' hand After -the papers were removed, the ta,~ was ap'pliquM

to reci--al1(!1 indigQ,bQrd:er5 The borders, arl~qullt~d :wftth )1IJQ traditiona'i sashiko p_attE!fl1.Sw he wa;Vlf andjhe tori.tllise'shell. lnstrudions'for another v1Zl'$i,on Clf thls de51gr.r--il'pppula~ WQrksho;p, p~Je:¢~beg~n qm p'atiil~' 1St,

11iJI" ,. C" '~, u;:th~ l1'li'

n,~5U~' .,itJmp~le" ... , lm"",~ '1i'~'Pfe:n,

'995, Late Alm:aliul". Canmrnii,~, 41,11 ~ 60~' Na.rrow gr,ary and red bi5uri sB5hk~g sets. off the, 193',s'[11lidl Ras:uri squares s~,rt wr$)' this waU quilt. Sclsh1ka desi g 115, ~l1the four (_(lme~s are tamtlycrests.

UntetJ Sttl;/fJle'5I ,II' Ihy WHy IPi"p@n~,

m ,g:g:., Lake! AhllfHulor. Ca'~ifcn1llJi:a. 4:1," ::c 5411' This,q~nt_'wh~ch ·features rna.W1Y diffen~nt-, 'S:~:t.e tril[!1.'g~'es) '~d~:a;Jjtmonds, b~~'ioFlS:; :a'rra

)JaU~hexag(jl'FkS-FWas tJ~slgnedi ,~n ~qUHate'r ... a~ trFan:gle graph paper. fabrics ]ndude.. yUt"£lit~~f~nd ~aA:d~td~rd so:lUls. Sashikd was, ~Cld,ed ttl 90me 0f~he, rn~6~i1$ itiefQt:e ~hey ~re p~per-pie[edt:o other :s:~,apas.

·44

me lIiiltllJfl Ib" KJtty PilP'pln.

1'991", ILalie AllmalnOf .. Cal'il'o:rllilii!lf .ll,li' x JI'~~

- .

A .$8\ltr'Ipl~, bp,®'k 'ton~aiinl:iig ,11411 x 1 sn batilk pieces

prov]o ad "the fa bf~~ ~G~r.Hl is ·11:i:OO~e qui Itr~ The QJ rved fen~e$ ~.!Ug.gested die smsl l, re undedl h~IQc.ks use(fl fm.: E,tl'ilfi' t~,e hdnJs~s ~:nd ll!ee~" Some b~O~Gks W€Ft=: appi'iqu~d te o\u:2r~,a-p o(',sl,(ltEira'd ·on~I·'~iie

. ~" , , ,

b:olrderr, I woi"plmasoo with the, ·nnished work~ an.tJ

w~~ I f~~ln~ a si,mWar col!e¢6'Gl[1 a~· batl~.~ I

m ?l~"e my twin s~ster"a ~u~l:t "t"b m.8l:tth!

.Spiraling Squares ,or' J(Jpanes~ A1misli by IUtty Pippenr 11998. Il.a~ke Ai'manoif, til.Koml,a,. 41" It 4 r' The insptratireJn for this quilt came from a book on m~:thematicai qW'il:ts by CHana 'Venters and Etaine Kraj,enke ElI\SClil Tlite de$ig.n •. drawil with comp',!~

a nd futer, featu res, a it] rge ci rde div'lded by twelve· di,ameter lines. Silk (a gift irern my TOkyo fnen:d, V:a.e' Honj,a) wes backed wth paper and appli.quecl .to the-dark background, l fonowe.d the snowflake=~ike motif S,"of the ba:ckground print to work 5ash·~k.Q in DMC 'e:mbro idlety. i1ass.

G ~ L L 'b. it Y 0 QU I l T'

Music o.f the .s:ph,e.res· by Kilt; PipP;Eln',

ill 'gi91~, 'L,a1le .A;lmI1l1,'o~~._ Itidii'o'tni:a. 52i~ 'I 60"'

, . '1'1,. .

,Klmon0 91 IS. crepe was

ba,S:ted aver typing, pap'€f drdes, them a.~plkl'ued ill raw silk. App>iliqued hexe-

d,·

·gon~.·ah._· sashikoa:dOfn

the corners:

M~miDg 'Glfjde,s ,pod'lhistks by' K1iHy' Pi'ppenl, ~II'!HJ la keAJmanglr"C'aUf:g,mia., 2$,'! X 4]1,11

~ttk 'yuIKm:a W;aS usedfur this small innova1JhJ.e quilt 'Whr,dl~arur;~ s~shrko ~n~ ~ra.ditllQrh:J1 Postag~

':S~mp block \embell~'~hme~ls. -

CtJIQmta!& withl rfia,fJ:gtes by KiH:y P;iIPl'le'n~ j'199" Lillh"e' AiIM,i1!1i1D1i" Ca'lli'o:mli1~ 43!1 X 415;11'

YtJk;atai.:tflanfjies of difffi.~entr-si~es become prGlS~'ffi$-ively darker as they reaib the bot~:ers, .. ]niS qu~lt'wes.a-go®a way to' re.Cy€le· mY'irowi"rI>8 f0111,ea~rNJ~ yUlr~ata sC",rp ps,

~

IfrdliiQD9i~5 hi' Kitty IPip'p@n, 1990:,. L"ika J:Ulm'anol',. CiilitlflOlr,1iII ia~ 1: tg,~ ~ liI", lir

111 rs ~1ece Illh.l:strate-s '!h©w a la r:ge floral fabric may ·be cut into, d:~.~t\@rit~$i:lS;d sl!J~iEllIn,:s or redEingles, then. ~~atrered across a ~Lilliit 'te:F-l, am;;~lllpa~ireQ b9' ~ma'~II'E'lr.",":p"auemed 'nlQf!;a'ls'l,martfD[hr.Qmmfcfab~GS. ~€lmetdcsl: alma 'ie]ids to, m~ke an ~ nn~~(t'i\lt qlJ~lt.

!Ii

I1~LLEIV OF QUILTS

·47

-

I,is IGOl'ideft' by' Rutnl Hal'BY. 11!l\1,93f Pino,ie, CaUf:ol'iJ1i,a, 15,'1 X 46"'"

lhfs infi'loV'atH,~e'. ~u~lent~mil,~e: ql..ll,i~ deFl1onst~am.s en ,excellent mLx CI'F ytJkata p'iiintea with. a t~l'rg~scabe desfgo, :fabri~ with 'smell! patteffltS'f ,geometrics:. F'lvirl's.~(Gele'·z.e 'snipS., and 'sash~k0.

1

m ()

Flight Home' Ib'i Kitty' Pi,'piell,

1,99,S~ IL,a:ke ,JU01anrD,r~, 'Cill~hJndil~' ,641r X ,16~"

lh ree b1l1rgs panels of kaiSUn, s,ltetGil dt~go;:. flalJy,aclUss ·tHi5qll.lilit~ J;) CG1mpanion p;i;e!t:e to jlR'i~ht~r (p'~~ ?H~., 5ine~' '~rn~ [glrs~tentra] kesuri 'was a gat tom'-lm¥' tJienid5,. Kt?p, and D,ebbie Wadat I did n(5t wani1tto cut ft down in a:lly'way. The' s:maU bjue~a~d~white chedierboardl r€!peati; th~ :1:a:fger ch~kerbo:ard b~t~ck:S b~~ow, Bi rds .fiyth R1Ug!h if01.lji;~~(I '~~otJrds" . alia '$asHi~p~(]e~fl:Fated pine "trees l~}YJW oe'bNeen sky ~md s.Erearn~a - per:fsct C~'~~lese' .shil~aii.-lhe:tiny ki:lsuri (]if the 1nrlLer be:rderml~roFS '[h~ kasu~-j, 'G,orner

".~. '-~...- ~ .. ~ - - . -- . - .

me:d~ U ions . . . ·arnother. 1'LI~kY' find! Two .beau~ftJl YUlkata.,p811e.ls baek the' qU]!t

BwnbfU)' ,Glf,deu b, i6Hy- Pip pent, 1'9'9 11· :Laike Alm·iiJEiI:Q:Il •. ca,I~~8rnia~ ,64,j! x ;HII~I

Fa ~[re~cs. ief'~ is qlu]~t ar:e YLlk~, na;cLJIra.~ ilhdigo~ ,aJncl ;k"aS.Hfli. Mc?sl sf-the' pieGing ·was· done b¥ mach~Ref ~d;~;t fOI the clam' :s~:eUs in ~1 e s~y and waer, w.hi:ch were- appliqblsd. Sas~1 ko ~lithr.f1 -~he bQdy otthe qui"tft was1done with Jspenese sCiishjl!W thread' p_~Q(e ~l~e "qu.Ht w~s t:;~nclW~ched. Alter the 1hriee ~a'fers 0flhe q!Jilt were ba,s:;e~~ ~tn'e sas,hiko,are~~ were -quiite~' oll(!)ng ec},(h sr.\Hi'hiko I~ne' with indl~Q thread alone .. '$<~;~hRpl'€li~~rthe:'mp @!1:d bottom bord~T5 was dan€!~ vi.{rth :lFe;- pe~e cqttl;):Il ;~lre8d thro~gh ,alii Ilayers, lh e fina I berderol ka!51d~] (am~ from a mi3ih'S-JkilmOl)j()~lhe' .qoil't was juri~d inm tHe 19'91 AQS ·$~OW.

CSt"" Flower Cart 'by Kitty ',i,ppe'n. UIISl!~ Lak'e "'mana,:. CaJifomi'B, 2a~' X 21'11

"The 11011ogo'111mo, er 'flower 'tart des1:gn" :ap;pea,rs qu'te orten in Jap~nese ~x,tites, 'In ~hiSc s'lTI,dl I!lie€€. 1 E:nc10,sed ,the cart ~n ;tl, snow nr~ g,

another 'freql.Jel1tt~ used mufif= ihe appllqu~d bamboo. leaves were iru;pired by iii quHt made by, J,enni Dohson, The b~¢~gmwnd 'is, sbi~ pie~.ed (rom kimono lin~ng ·sil'k. 'The lavender border an d sneW ring are 1hali s:llk~

Silt Gm-den Purh Iby Kitty 'Pipp,e:E!I~ 1996~ Lll~ AllmiIiJJOf., caltfornia •. 15'1' x 44' I

A !l1II.h:Jlf of ,8 Ji\l,pa,n.ese ga1rden path inspired 'dlis

s;!"I'll Tft,a'stone shapes, ~ut -f.rom siJk chirimen, were baG~ with p~rpleir,before beiMg l1Ippliqued to a'ri indifl'sul~ bad!:ground. r q,uitted in' the o{tch around _:each sroneror milke the rjmQrtar~ recede end me Si'lk

·sto 'ef' p:uff ~J!t QuHtin;g: along,side the path mimks Ihtl uaked sand or pebb1les in ja,panese ,garde'os, .. Clamshe-n end wave designs Wer'e qu11ted to;P'. and bQ'I:I,am, The olJtsi(je;)edg~ cue faced.

FmdifJl'!\d F:ons ,by Mary J'Ill S;ndth,

l'9I!i1~ La,ke, MnHlnCii'Fr, Ca1hf"rnis.- 23,11 K 4,]. I

AAath.erin.novative, student desigr,1 made. by 'frattuJI"ing yuka:'~ fabrrcs into eGJ.l.1j1.at~rall triangliE;S. The mWfjJw·, Ic~*,'ed '~alilds ~pamting th e patches 'cr,eat'e tI, sense, ,of movement

{~ 11 ERY 0 ir Q U [l T ....

-

-

HeXiflgolll-5dShikfJ' ,f" by Kitty ;Pi,ppen, 19'96. La'ke Atlmiano,rr Calilqrni's .. lr' X ,33'11

to' mak:~ tnls olrrangement of hexagons ap,~ear more' 'Q,rien~~t ,da['k indtgGl bands' \l\l"8fe addeol to tile tOPr(jJnd b'OlttQtfl. t;IU the f~brk' was, found in American shops, FOf ,related ,e:<'U~fliples" tee 1'H~K(J~gon" Sashiko Katf.1o.liI~ (pa~ "42')} '~HexagGfl'-S~shnro HM (ps,ge'21); 'Silk. Min~ Quilt (piage 54)t and j~aipa'nese

HeXB_g6n-Sat5!hiko Waill (3l,tllileu (~ag~ 2;4). _

11~;' l11~#dge ,tl:1'lIOtU~~ 1l'7hc~lc:u,la,te:dfor 42 Ij_,tb 44'r~- },vidi! fobr.ic.

II 1'1 qUines t(JtfJ'L' each 811 x 6u sf assorred patterned ,~Ilka~a 1!)Ji1 japanese- ryl,~ prints filf A and B

• I] squares ttJtnt each ,8'"1 x S'~~,~ of ~s~l@tted, dalicl< $'(]'l,j·,dsfQ'r A:aurlB

II ' }~trd darcksofid_ or suhde pril1:t :fO'f tbe ,top and bO,1:= ,rom. aeeene Strips

113 yare eonnasting dar~. solid for the top and b,fJlt&am borders

From, the oontrasting dark selid, cute 2, snips], eachS'' )t 22~P,~ fOiJ." rhe t0P and

b,otlOJU o((',Hd!e [ti

Fro:m, Ttb,e ha!dclD~g :fabriCj, cu,t::

1 piece 26" x 3ff', '[01" the ~ ullr back

2· b 2-"" 3- ,L~I c. d ·d· t: •

strips, ~3:!C'~, ." x -:'::I: IF~r "le S~ l! I,;'u:m:gs

• u :. in ~ ~L b' f:' •

] srn p", 2, X 23'E~QOr tW"'li!e . nrrnml!'a.C~flg

1 snll?~,511i X 24111' ~ fo r dle [OP fiioing ~id sleeve

I 11A yar~,s of fabricror chI! backw'ag" :mcirtgs. nd ,'ll!evi!

Pl1ep,a,1.ng ,tn'l! p,';n.t Blaclu

Th.is ,yuilt iS4!semblitd tUi12gh'f.<j Englid'J jHtpet p.icc:ing tJl'e.ti'siot/;' flrge,ne.mi i1'~s.n,,!{cti(jJ1S; .$tt:e. JNr,ge 29,

I , Trace parrerns .A. amd B €m p'age 5,'S onto template plas ic, Curout both e 'mp1ate:s"

• 8*.' x I,~ n' piece :of temp tate pJ as de I'Typi cg '?a,p~ (several sheet's)

• Wh'n! dUllk pencll

I J~pl1iOO' e saJ,t,'ruim needle or any sharp needl!! wi h a l'lrte eve

~ e>

2. Use the template, '001 mark 18 A piece rand 4 H I?~ces on ryping pap~r., CUI: out the (Japeif' p~l:t~rru,.

3,. Pin f'Ui A parrern ro the 'W'f~):ng ,Side: of .an ,ati' pr!int squar~ .. CULI.': O,lL't the shape, a:d.dill.g 3 g_nerp~ ~" seam allowance ,lid 1 around. Do not.unpin.Repeat ro CUlt:! total ·,o'f ~ A b.e:xacg(H1S frai:tn rhe a,il' prinr squares.

Cfltlli:r

tUJ ~l!4SUFd,n'lfJ'!,ts include * "-wide Jeam l/l'll.o wanees.

rom lilie dark solid or subtle lP,dnt~, rot::

[1I.~~ each 4" x 2211. f,cn therep and bQHi:JJtU accent

.

smps

I

, h

5. JIY the f\ llnd B pieces paper sidellp, FOir eash, fol,dI the seam allowance onto the paper 'and has:te in place through alilithe layers,. Remeve [be pins. Set these ,I] piece aside.

Wrong ~dde (Jffa:bri~

IDo no~ fp~d ih seasn ,a:lJ,~rW';imce.

I~ will end up G.1i Iball!k after Ipatches ,aJlfe ~~iIRed.

J

Pre,p:m,ing: the StUbik;o BIo~k~

Po,~~ gt;.n,traJ ii"itfl;~"(tii)n$ ()it Jd.$/,,;,ko,, Jf!~ }agl':25

1", Seit!c'[ 9, different Fanta), crest de.sign .. from ,lin sasbit(o patterns -on pag¢s 9'0 ...... 92., ,Use a whn[e,,~ pencil tpl ,m;ark. a dif=~e_[le]] r crest i[l 9' IQf tb~ 811 dark: sOI.lid' ,5'quares. Sf sure te ee:L1Jter each ~¢S,\I n In hesame Wtty, select and mark a half...;h5Hfn design fr-eUl ,pa:ge 90 i~J;l1 ·each. 'of ~he rerna" 1:1.4118 d:arrk solid squares,

2. Tiluead ':iJi sashiko or otfl,eli ~~g~-ey.e(l needle '\";111 wbJ[I~ 'sash"ko or#'fJ perle-corte» thrll3!d. Worl\;'lrh~ hexagpnand 2. ftmlif-heK3(gCH1 s,asbiko designs. .marked ill srep I. Press the reverse side of, oo'd! . ashiktl sqtLaure.

3" ~lay each sashIko s:qua'fe face down. Cenrer p~ait template A on each "ashiko crest and. tracearoua I "\i\firh awhite ch.:alk pencil. Repeat wi-th " en}\pla~ lHo mark the .lllm~f-llea;gpn outlines.

4" P,Ul Ithe 11 ren1a.in~l1g paper patterns tb ehe Si1'Sbl~ sqU\an!~s ~'idt1n .rhe marked outlines. Cur out (!ad shape adding at ,generen.:_1:S ~"It . Peam aUamncc ~II around, Do nor unpin.

S. Tor IC0n:t.pt~tle' ~h¢ ·"sa$hiko. blocks, baste ehe edge$. Q3 direeted i:n "Preparing u'le Print B,l('lck5,~ ~ir:~pl·~!i.

l. ArraDge and audition your basted pant and sashiko ht;xagon and ha.lf-h.~gon blocks on your 'design wall UJId! yOl:tn nd.a pleasing visual balance, Refer 'to·d})e colorphoto on page 50 $ud the quilt assern,b1y ru~g:r:iDl below as' needed,

2. \'(lidl right ides [O,geili'ti!'ri' 'wbi_p" ti1!cll t:h~ hexas~n..s, and half·hexa;gon toge,threr Ei.['~t 3.~e-mbllng ,the ;' units indicated by rhe dash limes in [h,e asse.nlblry !di-a,g,rallnand tb,en joining these unhs [o~f!ther t~e

L E "I'·' Ie.. iii) m·· n 2[l) 1) h 'I

' fOngj~\D ~'ap'eT 1J,~'u:!:culg om page''3!. r,e_'s'S·"t:,e WQr[~

f.fiOID both the front and [be' bad.

flclJ.al,

'Floral, Sa$hlk.o

3., C;ue.iidly remove ,,'be ba8~i~ll.g threads and [he paper patterns, L,euYI! d:u: seam all owances ,aj,(Ulg th~top and b~,:,~on] "~lgz'e.lg'· edges of [~u.~ qlLlih turned under, 'Opec up the side edges, press rhem flar, and 'trim. [hem as needed f(;lr~an even, JAn s,e~Ull allewance ..

4' .. \Vith the r~ght sides .-ace up pastrdoilll. the. lOp z.ipag edge of me Iqui~[' ~op tl1n ~ 411 x 22m• darksolid or subde print ,a,~c:enlL 5~wip 5~' that ,tl:u~' ,tCqtlCl[ strip extl~Jld<s 1\4'1'1 beyotld d'lle 'Zi~g points. B,a.st~,~ then appJtiql.1t the 2Jig.zag, edge '00 me ascent snip. Re:pea:r i(,fJ ,app1:iquf' th'" 'bo,ita.m zi,g~ag edge 00 the remaining

,

aecent 'oSt-n.p.,

5., Tarn d~e quilt over: .. Tdm '~way the excess accent strip fab.dc JA II fronll the Hn€ 0 ~,a.ppJiqLLe 5ti~1:c:hiJ:;lS'

, 'JI h ] 5~" -(~'~I

6. With right sides cqg;f!t'_ er; sew [:'JJe' ]if 2~

dark s:®Ud border strips' 'to me' ~QP al1',d b:o,[O,m edges p,:f the quilt I,OP" )l,.r~ the Slf$JDs,tQwa.ra dle bo mer Str'~lPs,

-

FJl1"isJJiuf

I,. Refer ItG ~\Stiln"d;witb higand Ba~[:i.pg'~ (p~g€ 30)" LaiY the. g uilt hack Ilar, eenter the harting and qL~ilit '(:op ~'¢r lit] and 'b~~e,.

1J" lJse a wb:iee chalk pencil to tran:sf'er traditjel~ s~hl~o ,bo:rder de.sign~ (pag~ 91-~2) tel d:l~t()l3!.ffi1' b(Jtl:iQulquilt herders. :Qu ~h rhese ,dj~si&n1i R.'lllDlj r1:rure:adf:Jb~t lnac;dl!t'fi the baCkgrolulct fabric.

2. ReFer [0 '~~IQLUldnff (p,algE 3~). ~uUr each hexagen 9.!F1d 1l:~f;.,hexS\gO:nappfIQjlcim~a,td1 ~ II f1-'iom rbe seam aUOWatDC€", 'Qu.i~[ l'n rhe I!!1Jtch a:h::U1g bG"th.z'~ag eclgre-:s., ,QutJ1rne.-quUr delle :8f)'~al and, ~ihe1" me,lifs, In the .p'a.tte [~iIJ:e'Q_ bif}lYagQus. IQIL;ld ~;;I].~'~q w~ t me 'siUihikdl lines in ehe ~1oHdhe.xlgo!ns- $ d~~ir.td .

,4. ~e,fer ·ce. ');'B,i~llding .Q:od F.-d~i[~gt (page:33l Use [~~, 2,11' ): a,4~il sttW'Jl}'S [~ &s~' ehe sides ,of the quiit, ,r]"cJ:11 ~ 2~t' scrLp :[.0 face the bQtt:Ol'll (gdge:~ and the ,II x.';;M strip to 'fice~he top edge and complere the .d~e~I¢.,

. Silk Mini ,Q'Uilllblt, KitIJ' Pi,pen .. '1 995~ larle .AlriDi!'anO~, 'Cal~;;fltrni'a. 11 II Ji:. 141."

The si I ~('fo.r 'ttl is 1:1 ny qu:j Itt 'was ',i]: g,ift 'from Mrs~ H,arrfa~ .a Ja:p.2jnes.e 'fri~elid. Sash iktl'fam~iy 'crests. V!:tete W0~ke~ irr'1' *'~ 'p'erle :ce:ttO{~ 19J~ -$()Jh:i ~oltDn":s.ihe ~l~xagon,si:\!Ver:e joirn!ed by :En,gH:$n- p~we:"

~'ieci i1&1r Tbe.q lli It wo~n Bes:l. i 11 da9s at 'the 19$16 Marin: alii ~t airl~ N,e't~d hS!~J01~~' $1;r0:W~ .

~' )4

A 'Cutt, ]1

(9 prmm, 9" soUd)

QQ

- ....

J~. ;;I

Hlexa~IQ'n-':9a5,'hiko Q'uilt [P,aHlefins 'fbr 'P,apit:!'f Ipi'irSdll1:g

II Cut 4-

1(2 prr:ill'1tJ 2 saUd),

,.

Mendly lfiiiUfe. ,Illb, :Ki~ Pipipent 1'9981 talk,e AI.ano:f. 'a~liif4n,n,ia~.2) II X 3J!!

lweotliaigollal sash'ikQI blOciks; alternate withflQrals '~n this smaller V£lrsldn of ~'Fn:endy Tr:~blJrt'er; cp~ifjge; 1 ~~. for ~imnar ~lgrnlSl' see also 'iFrien~ly Tribute ul" (pa'ge' '2~I'i IINo:shl'l (pag~' ~8'! .and ~~n Gogill"'My l.rj~l' (pil~ fa).

·'~.'li

J"_

q4

8

. 0 Q 44

Fitl-ished Q~ilt Sizet 21 " x 31 ro'

ICutti":l

AM. m(j'([S'a~~e;1'te~'ti* .£11,' ~J~J'lle kf ~'- cwi:d:c' scam ,attotlJances, ,.

FrOlm the b~:6e: so:~jd; cut::

6 trips ' each l1Yif! },t, 42 ,.]' fOlr B.

Frem the' datk red ,5u,Gd,), COlt: "'I --". .: h 1'1:1'1."11 /..,U e: B £. s.rrlps~, eae.· n'·"X"i.,L I ror "

2, strips- each ~I' ·X .3 E ~' ,. Jor 'th'e side borders

2 trips each 2 Iii· x 21 1h11~ 'for the tOP and bottom borders,

f~om 'the backing fah.,ic, ,cut:

1 piece, 2.4·'11 X 35 i'~ .for the' quilr b3.d

2 SJE:dps" each 2 III X .3a u ~ far tbe side bind[:ng MripJi 2 smps, le.ach 2~1' x 22'\ fo·r the Itop and bonom

b,j nding trips

Not ,~ Yardage amounts art' ctliculitred fiir42 ", 1/0' 44J1- 'wide fobrL

• 6 s.qmlres, .t()tt(l.l ead, <Gil x 6~"l of atleasr

1 diffe~enl' flom] YLlkat:3l Qli japanese-.sryle Do.ral, filbJ:ics for A

,_ quares, ~ch S" x 8"\ af..a .da:rk, . o~ld such as

r,n(Li:~e,' for A . . ','

,II squ' .. · .... I:.~~"~ ~~;I,n "f"-~d"kc "d-

. _ uares, ea~rl .)I~yq .}i::J1 :i"~" 0,1 a:SSI~IJli[~., ~'.3-r$~ 'tU!"'- ,ye5~

or :p£"nlt :rean,u;'ing similar mo:rU:; reQ! exa m pte.

ao ~-rus fans) 1;0 r C

t ~ yard. 'bllJe SQUd fo r B'

i ' vard dal,n~ .. red selid li';.::"l'· 10 D E- d L" •. .11

I jl).. );I.... U t'v D, ' I an' tne O'U'~~lfl.e

bD!ders

• I ~ -p.rds o,f fabdc :Fo~r (the backing and binding -13u"X 3!f' pi'ece oflo\v .. 1Qft barring

II g~!J X 11101 p'iec~ of template plasric

, \illite ehalk ,pencil

, Jal~ane.s:e' ashiktl ne,edj,~, or ~ny sharp needle wi" 1.1. a

]~gf! ,eye -

II Wbi:~e sashIDkb {;ir #-.8 perle 0--01;11':0111 dvead ~ 'Iyp~n:g p.(lpe~ (seve r.aJ '~heiets)

Assetl'lb.li~g th,e FlorJ IOlct4goD' Blocks

t. Trace pa.ueros A~E on pa,g.es 62-~3 once template p1aS:ci.i. C.l!It .ou I the tellpla..es.

2. Posirio» pbl.s'[L,c template .A 'on ,cacb ~!' Iota! .'llquar~ ,allcli trace the corner aqgles. Use a :rUtary. cutter and. ruler It'e ,trim. ,off theeorners-as marleed.

,3. Usin.g templare B~ trace and cur 48, B pie:Ges,r:om the IIh~'''wide' blue Strips .. and 16 :S' pi~~ from, rhe

1i' 1'" n . d-_j: k .J •

. L·:r.~ ,"Wll<e U;iU~ ". :[,eGl s:tJ;: p.s.

-

...

4.. Usifl g templa1:ttS -D :alld E,rr~ee ancl ~u[6, Q, pieces ~nd4 Ep'i,~oes f~l):fi:l the - ;v~n)ainiJllS ,~l~ red fah.d.c. Set these pieces aside,

5. With righr sides tr'Q,gerbru .. t, pim -the long J1J,' - ,O'f a!

bJ ue B tQ' any, ed~ of il R9,raJ '~)fl~g~n A. ~Sci:tlt:h,th'e seam p~rnv31!_ :~ shown. Pr,eJ5'S. tli'e seam :al[]:ow~-O'G€ rowa~iL me- Q piece.

6. Pin a 1'l!e'w blue B· re the AlB ed,ge~w~t;]] right sides ~Glfgerhef~ Se w rhe c0mp Iete searn, Press the seam aJ'~ owanee toward [be .8 piece, COlll dnue C,tock~i\rl$e 2..1,'0 IJ nd tilt'! octagDilll to Join ,8 blue B p ieces re tal, End by completing and p'r,e:$si~~g [he .6:rs[ seam ..

7. :Rep~at ~p6 5 ~1C_1. 16 .[{) 1l1lJak~ :a '[)aim] of 6" o€[ago,~~l b~:o,cks:.

PJ"e:p'miHg the .,s'4S/JI,ik,tjl IOf1ta:gfJ~fI' Blo€ck, For gi!11'{?mI1J~J';trt.~'ctl(J!1~$ 0'1/.' saslJik,()~sl(!e'pagu 2.5;

l, S.eleict 2 fanUl:f. crest :de$~g.As, f:i"Q.J;n the ~~iu. s'8sll:Jikp; parte [Os. o:np,a:ges SlO~91. They 1':may be dr, same 'fZU' cUffe)",eo[ d~.]g:'l$. Use ~ Wh~tie ,c'lllatk p~ncij 1:0 mark a crest in each 8 II d,m SiOUcll.(->5q:LUt~~. :IB~ 5U~ ro een (er~~ch desl:g:n.

N(J5:bi It,y 'Eilizahe:th .. 8rh:I!:IIl-:e~ 1 g'J~. 'Che:s;tev" CaUfoll'mia!. lr~ It ~3:

A striking ~mb in~tiCln ~f ·e~~:tlrs- give thi,§; WD rk g c;bgr'!;'l~tic ~n. entali, :ft,alr. NQ$~r ... S ~n':s~hiko iI~ well 8.S faQric deeQram the ,,~c~sons. The f.rd~.g~A$ are' sep~'~ar!?~ by tkat sgqa rB$:

2. 'Thread a sashiko or other ~,ar:ge-eyf!!d needle wi -, h whife silsbil,(!O 01 #8 perle cotton thread." Work the t!es~gf'l~ y:ou.l:nadced i.n s:rep 1. Press' the reverse side of each ,s'i'lis,hiko square,

3.14l'Y each sasbi.ko, square face down. 'Center pl~lstic templa.te A'OJ'l etl£i:b 8.ahiko (reS, and trace _a{,ound it "i,th a \l\T]' ire ,chalk pencil, C,1.:t:[ ;ll)rUr. rhe oora.,~n d'irecdy B:IJ [he, chalk lines

,~'F~am!t" 'e,acb ,sa;.dtilI[Q' ocmgon. w:h:h S, dark red H, Jpileces~ ref€rr~ng 11:0 -:A,s~a,~rnbling ,the Fl~rt.a~ Octagon .m~O(!:k:s, J sr,e'ps 5 and 6.,

.l, U!:lC plastic '[erJll'~lte C' to mark 7' squares.en typing, [paper., Cut out the paper" pasreros.

2. Cen~er and pin .a C pa'merl1 '[0 the wron.g side of ai . . ~;WIII print ~qu~l}e., Cur our ehe sh"ap'~~ addil~tg a, gel1~ ereus ·1A.ii s~:ndlowam'Ce sll around, Do not unpin. Repe~n.t to cut a [oem of 7 C, squ':lhres i[)~.m the 39ft II p'fm r sq uares,

3. L1¥ each ,C piece p,ap-er side u,p. EiQr each, ~old rhe seam "JUowam.?c~ -ente the J'\apl~r and baste h1, place tl~r0ugh ;d] "the layers,., RenruJive llie' pin'S .. ,_ c.t these 7

p~e,ces aside.

1

-

Ass;ttmbli'lflg el1, Qw.'i,lt T01J

1" ·Refen'ingto the coler p~Odr:o IQ1Fl ptigf; 5'~ tAd ~e: diaglrRrt] b-e~ow {lrr:ang-e the 6 nOJ~t11 and l !'!'ru1hiko octagon blocks on YO'lllr desi.gr\l ,,,;ill. Pin ea~h bloc} to its. neigl~boI, tighl sides together, as, ~ndlcated. hoy the dash lUte't and machine sriech, Pless the seam 's:Jlowaoces fo,w,ard 'the sashiko blocks.

Appligu! ~attO..

2. With right sides '[iOg~dle_r pin 01 pieces itO ehe Hamed J1{)ir,al octagons as indicated by [he dash nne.s, in the diagla:rn below. ~[alc.bjne stitch to j~6in the pieces, Pres. I the seam ai1owanoesr [ow~url the fleeal blod(s,.

4,. Wld, l'ighr sides to~theI pin an E pieee ro CJJtl\ corner an.d machine S itch. Press; [he seam. allowances towards [the E pwee;es,.

3.rbs;:doll the 7" C ~~jlinking"'-'sqmlres,oVe[ dle 7 opellin,~" pr:!l in placf! and applique rhe edges. Carefully removethe bas·tin,g .. h reads' md rhe paper pattems.

60

I" Trim the edges of rhe quilt tOp lf necessary, to :srni,gh'[en them, and pre'ss. Measur the quilt horiliQ,ntally.wd vertically dlL["()Jugh the center, Trim the' 2"-,vide border strips ac!cordil'lg [0 the comet' treatmellt-m ltered or squared -dla[ you pfe:fer. Pold each border strip in h_alf [0 'find its, midpoint and mrut ~:vith a pwn" 10 the ;sanleway~ mark 'the mid,?o1urs: of the Iguilt sidle" '[Q.p~ and!. bortem e·d.ge-s. Wi, rh f; gh ' ides '~o:ge[he rand mjdpoinrs :maltcbing, ,p'- n each bord r ]:r i I? to -r11- app 1"'[)P[ iare quil r edge and machine sritch e-as.in'g as needed. Finish me .~orner~ as desired. P:lie:S,th,e seamsroward the bord'C[ strip .

Mit~ror' -SlCj usre borders as, d~es:iIi'ed.

lib'n GDgh ...... My Iris by Joaln 5aVIrer 11'9" Chester, IcaUfa.rni,B, ,24" lie 35H

Dal]caue irses on Kana Bay fabric adorn six 'e!ctagcm b~o.cksl. Gold Hnead 'was uised for the 'sCI'sh'iko in thjls.a'ttroctIv~ wan quilt insp)ir,ed by the Dutch impressionist Vincen Van Gogh.

Fi'llishi~g

1. Refer ttl USat1'ildwkhwllg~l1d B~~tirng-- (page 3:0). Lay the qu~lt back Oa[~ center tb_e.batd~~g_,and quilt r;op over It) and baste,

2. Refer to "Quilriug" (page 312)'; QuHrj, WD1'kb~g eprienal 'crane and d.f.)l~d.m()o[ifs, (pa,ge '93:) into. the 'CO'p and bOl1'lJon:ru borders iFdf-si,r-ed.

3.. Refel" 'to, ~ Bindl:l1)g and Facing. (p~ge 13' I. UsC: the 2i'-wid,e st r ip co' hind the quilr, quadng or miil:erin,g the corners as d,eshed.

lOCI

'M'

J'8Ip1anes-e Q:dillioinal ,Block Quillt,

Patterns

/~--~-~--- ~-~-~-....

/ '

/ '

/' ,

/ ,

/- ,

/ '

- ,

/ ,

/ ....

- ,

/

/ '

/ '

/ '

<,

/ I

I

j 11

I I ~

I;

I A •

I 111 I -a-

~8 s

[ . (61 ·fl'mal:~. 2 dalrk somid) I ~

I ~ &

I' ::J.

I II -

I I

I

II I

I

l i

, /

, ./

~ /

;I'

'"

, /

, /

, /

/

, /

, ~.'

'''\. r

, /

, /

, ~/

____ ~_~. - ,_~ ~_J

/: /1

/ I ,/

/ !

,/ I

/' I

/'

I I

I I

I II

I

I II' I I

I I

I I

l ~

. I

-,

-. II

.....

'\, I

" l

-, I

,I

I, Cut 6-4 ,~4\8 bllue, 1G.reid)

..

C

Cut7 pa;jler _Pi3,ttems: rO,f lappl'iq,ue,.

Pattern dQ-&S' ,not induds .seamailillowant::e,

-

r

I\."-

I " -,

-,

-,

-,

-,

-,

-,

" '-.

"-

'\.. -,

-,

"-

"\

I I I

/1 /' I /

/' I,

;r I '

// t

l' 1

_/ 1

// I

/ I

/ II!

/ . fut 4 red I

/ I

/ I

// i

,L.. ~~~.~.~, __ --,...!I

V~" :seam ,atIlo.wcmoe

l 1 I I

I ~

1 I :4-

~ I ~.

I D fa-

I Out 6 r'Bd I a

I ~

I -Ol,

I' II 51'

II Ii

I I

I I

,/ I

I I

I I

I )

I ?

I /

~ '/

I 7

I /'

'I //

I ,/

I /.

/

I ;/

l -/

I /'

/'

I /

T 1/

~/

J,a'pan!esle IQIG;agoln,all,loc:k Quilt Palfierns

'-

..

Craq Quilt 101'1 .PfJ';a,' by Kitty· IPi"pen.,~'9IJ7~ L.a'ke· Almaln'D.r~, ICalifOll'nial~, 24;J'x ,451~ Amer~can Gotten 'fabries r1esembl'ing Japanese silk ,give this quill an.Asian flavpr: $Jrtp5 we:~sewll L()g'Cij~.in-styl~-,a'l'0ul1d a"pe_fltaigGln~haped ,center patcl1~ and the fillrshed blocks, were, set on paint Alte'rnatililg, saiki blocks are ~e.GoJ;:J~ed wi~h sashii!ko birds ..

7

.p

,

5 7

r:_'. ' . .L ,j "~l e" _." ~1/' " A'€H:£ "

rifUJI1t!a: ~<..Htit .:lf$f!.: LJ'}y,z'"t" ~ci"1'~

Finis/Jod B'lo(;'k Size: 8-' J;qUrfro

Cutting

Ali "J,etlI1.1U;~m(fnt~ :include -!4r ''--'Wide seam. 411ou)6ln:~N.

Nfite: ~~1j4ge 0il'll(}1t,'lJ,ti m-er:n(Cltlatf!d/ior 42 '~to' 44 "':"'uli{ile fohric.,

, '& squ ares; each ,~pplie'xun.a.ce'ly 6n .;6" of colorful Japan',es,r,-s,~h: prinr fabrics \vir.b similar ma"lifs (for e~m:ple, fl~wers, ~TIJ:l-tel"fl~,es or [,oys) .

.' IAl )lilril 't'{l'(;~' oif at least 12 di:ffer€tlt' bright~ prl nrs for B 3,nd add ir iona] sttm p:s

I'IV; yards dark solid fpr the s~~ha~D~lod{.s and. etting tr~rulgl(!'.

I 1 Vl yards' QQnlp,~'€n1ern.m.I'Y bi'ighlE print for [he border

an~b'i ncl.iIlR

• 1~ y,a'rd;s fabric for the ba,cltto:g ·'28" t 51" piece IQf low-~I{~ft barring

'·8 '21' X 11" pjece of Ittmp.la.lif! plastic (3 sl~eets) , WlU're dlalk pencil

I, Jll!~nese sashileo needle or any sharp needle wid1. a I,argeere

• '\'(/~ j te ~1SbJko en" #8 perle corron th'L'ell:d-

,

ID . .' ... 1- . .JI _._lL. U-' "'d-

Jr'.ro,m tne ~ 10.' r- !li .cQ,t~

2 squares, 'each 12'h'lll x t2:;h"", fat the . ide . tti ng triangles (e)

2 squan~s, each ,6~" X. 6%11, for the corner setting ,tl:k1.n,gl~. (D~

3: sq nares, each 8,·Y2 Iii' .~ ,8112 ~I fo.w: thu:!, ~~Abiko

block~ (E)

Frnm lithe lenp;wlse pain Q,f the complemO!m,tary

bli,ght print, 'CUt:: -

2 strips, each 2;1! ·X 454f' fair the side borders

2- strips, ,e(lcb Zit x 261"~ '£01' the [O.lP and bottom ~homers.·

2 s:~riJPs) each 211 .~ 4~55A.!' fqrme' S.idl~ billclitlg std'ps 2 s:oiips, each 2!11 x 26Jh ~I ferrhe tOp' and bot ern 'binding strips

From the :leomhwise :g1IW1 oEthe b1ac:kingfabtic" cut: 1 piece 30" x 5'J""~, '6or [he quilt blCk

I. Trace parterns A and Bon page- ,6'9 onto ternp~a.tre plastic. C,ll.t OttJ th, cem.1? l::1tBS.

2. Posi.ti~n ~te:m.pla[~ A on a 6:~1 p.ril'iJ't .,square SQ [h:e selected metif is centered Insiderd1c pe~u:a:gon" lvlaik andcut 'out the' mbricshapH~. Repeat tn' Gut 8, p,en':' ~ul,go;na tat~d.

-

,j. ·U~d.:llg tem p'l~'[,e B.1,"· trace and eut 40 B, l'\l,iec.ei .Ii Q:m the: v~uio:Lis 1A .. ;uatd . .1ftD;p:m:s· of brialn ·pl'ilm:ft rahr~,~~

,~ • ~i' J'. e~ ~. t:iI.. . ..

•

:6. With xigJ1.[ sidest0g-edter,pj'D a new print e,"rn;o the AlB ed1~el. S~w ~l,e: Go:mp,le;re seam, p.]:es~ t:I~e':s!lfam allowance '[award ehe B piece", Cronri1JL;le: cl(;1tc'kvvrs~ areund the pemr3,son ee [loin :5 B, pieces tatal End by cnfrl}llet'i,l1land ,p;r:cssj,l),g the first 5e:anl'"

4", Fl',om the remnaini1tg lbriglu print SC;:,n'.aP1:i,. CUI: a .t1Jtrit!

f -, "- - - '-I' - ,g G'I ... '" • - - - JI "11' I! L,'~I - d' ''11\ Ii "~ II

'(;1. a:[1p,rO'XtlJSla:re:"y o;,~ ·,M%O:Ftf:t:I,.!. J.i" P W!fj,L, l,G'

s:[rips~ to be used fQ'rd~Nl! OlLn~r n;fW~ in ~h~ 'Icrazy patdli blow.

5,. With ~~fJ.I sides ro:ge!t.her~ pin a~'€lrnl:g edge, 01£ a priu~ B, CIS eb,e bo,ub'IlI, !~~,e fif·a pi!l1,mson A; Sl1i[~b the seam 'I?-ru:cw~y (s!e~ ~~.Iis~en~bl;i~l~d~g Pl~ ml'Och}g~HJ "61~ocla ,~~ step "5 .on 'p:~~:e' :5,,1). P.[e.~s: r!CU1;, ;s,ea[~:'JJ

ruJ.~0\W~llce t(l,f'irv,a~t-d d'lfli, ]B, pte:c!~"

U ''IfF'' ,~_Jd·,1ft . d" - rh 91~' Z u .J cc III .CH

0" H) ~w,., the ne"K[ .fiOllml't use rnez x vW.UJ 2 x 6

print strips, W[[hrillghr- sid,es, [o'gemer, pin, (j:de CIt d~~e- .s:f~i:ps~"() the ba:ltCYflt 8 ~tdp., B,~ sure [be nmv ,s,uip extends beyond the "base" block 01], h©th ~mdt Sri-uell ,'cke: Se.:,uD," p'art~Aroiy;' as in step D .Press the se_aJn :d]0w:a~l'~·.l:ow.ard rhe new iSu·ili:lIl. Trim dle ek(;;~s.s :I!b..

., • ';_:I~ - t I"b -:1, Ii.! L J " d d 1'-

ne eVrfJ'iJ. Wllll me 'ease; '. l).aJ)()Cti.:. enrne 5.1. •. €:s an awlmt

tilt'" ~'C)!['PO< 01 i~tdgt -a:s 5.]1,O,W~li..

7. Repeat ste ps 5, and ,6 to compleee the fi rSI: re und 0 f st~ip's on all 8 PH;~1'[ag(;)rn~.

Press :!itin'ip awa,y, 'from OBMe-r.

Twmml as s~own.

2. 1 h ~l!ad a st\S'hikQ or other luge-eyed needle w im wI" ite saH.bjko 0& #,8 perle conan tb.~·ead. Work [he deslgns you marked in step' 1. Priess he reverse ~,ide' of eaeh complered sa.\),blko block,

'@. Continlll.ewa,.rkffing clockwise [if)! add S· strips total ~ as ~n step 16,. ltepea,[ £o-raU 8 ·cr.azy .p:lu;h bIocks.,

ASlem'b,ling the' 'QJ,ilr

1. Cut each 12~lll ,dark solid square twice di~gon2lny to make 8 t,da:ng~es [and. L~b~l these rrian:gl.cti C, .

. 2.. Cur each ,6~i' dad, solid sqlJ:ollie QD,Ct:' di-agon:al1y to make 4 triangles [lSI tal. Label these tria.ngl€.s, '.

lA C' ddl d - 2- III' 6111' d 2'" 8'" ..

u. c' OllI[Ulue a~ mg ran ,om . x" ,an~ , x' st:tl··

'[0 ~he perimeter c;;lif tbl.e' blo,ch p,m:-€S ing a1J.d trim-

. . "1' - -l 11!...,n: k 't 9,11 9' Ii

!lUng W:iltl 't. Je' ~JWoe, m,eastq:es at ,east . ·x' " ,.

'Repeat fQl.: all ,8 -crazy patch blocks,

3. Arrange [he ,8, .crazy patch hloc:ks. 3 sashilco blocks. 8 C mangles, and 4 D triangles. as, shfl'''r'Vn in t1 e quilt ass~~t1h ly diagram.

I. elect 3,,£iie,igp frarH the saSbjl:o pattern on p~g_ 9.jl. fhf'y may be the same 'Qr d Hf~r:ent de5~gf:~JS. 't~I,rn t"tu:h. dark ,soHd,:g·*, II E SqBru~ on poi nit. Use 3. white c:~;uI. pencil ~o mark a Ide ,igo j,11 each, Orne. Be sure to lzentffr the designs

R.ow7

1,1, -Oint each of dj.e crazy pa,[ch blocks [0 measure

S~.tll .OJL n 11 X 07Z •.

t . I

4

4., Whh rign.t':iildes together, sew the blocks to,getne'lr (0 £01"01 diagonal rows. Whene-"Ier p"~scible.,, press cl:u;: seams away from the crazy parch blocks,

5:. W~,'ih right sides rogerher and S(;aJlIS matchlng, p,in and ew the "[O.ws (OJgethel' to ferm the qwh: ~[)ip, Press al t seam allowan~e~ ~n 'Dbe· s~e direction.

I~. Trim the qdges of the quilt top" if necessary, to

'gh' ~I F Id h 211 45<f1l1" "d L d

st:rru~, : 1ten .mem, ~QlI. eacn, x.:' ;;-~<11' ~~l __ e uo:r' er

• • L, If' t: jl • '..I' " d k '~iL

stripm kia,": [0 tmn irs m~!~pOl'll[ ail m,f'I;r'· W,l:!:n~ a.

pin. ill the same w~y~, mMk the midpeinrs i;!)f each side edge o:f'the' quilt. WI'I:b· Eight ~ide>: together and midpoints ,maEfJhi[lg~ phl each side border srrip ~'Q a side edge of-the qui,lt ana. m~bi1ie' ~.titc;hl' easing ~ n > eded, Press the seam t~~~u;,d the. border .trips.

7. R.,ep:e.at S[~P 61110 sew the: 2"1 x 261irop 'and bortorn borders re the oop and bottom edges of the quilt [0P"· ,-rI@S'~.

Finishil~g

1 .. R~erl:o ',< 'an dwiching ~l1d Basting" (page 30). Lay the qullt back Oai. center [he battwng and gull '[up' 0Ver m'rJ alld. baste,

2. Refer to "Quilting" (pagl;! 32)., 'Q_uWitJ 'Llsin,g rile us- 8ested pattern fu,f tbe Ie and D ~J"iwlgles .if desired.

'.

68

78 3

3. Refer te ulBind;ng: and F:aiChlg')I~ (p~ .3'3). Use [he< 2111_W~(lf' sttips,(o bind the 'quU~ ..

lap'ane'se Crazy QlI'ilt Patterns

...... ,/ "'-

,/ .......

/' .,

.« <,

./ ........

/' "

/" ......

. / ,

/,

/" ,

/' ,

/ ,

/ ~

/ ,

/ ,

/ ~

, I

\ I

\ I

\, /

\ I

\ A

!'

Cut ,8.'mo,tifp'ri'niS

\ I

\ ,I

\ I

\ '/

\ I

\ I

, I

\ I

\ I

\ I

\ I

B [ut40 b'l'~ght' pl'lilnm,

QCI

. ...,

Ill'

-..

1

-

J pi A-N E' E C it A Z Y Q U l L T

,fi;OOQ' Bdr Cdmen llatb IIJ,Kifty· P,i,'pen", 1199" La:ke' AlliDanor~ tC:alitornJilI~ 1'4111 X 321•

Th,is~ie~ 15 a ~maJter versiO:I1, pf my ~)rigin:al ~Silk Carden Pat~,rl (pag~ 49). AU tabrics are cottons, avaUa'l:9lle in ,Almerircan fabric stores,

te· "L .. J Q' .•. ,' S" J ,.'" .. ;22",

,rt.n.'JJ''Jtfa .!,UHt': tee: . iii x: ;.)"'ft.

MllterJdh

Note;' }dpdtlge amour~t$ a~'t ,calcuta:_tr.dfo,~ 42'~:' tfJ' ·44 'I'_wide fobli~;

'I, 9 pieces e~ch '12'" .X 14"". (if assorred ]ap~ nese silk cd~pe~ and/orr japanese-style cetron p'rin ts ~",icl~ B,O'ral, reek, PI' pebble niQtiJs for the srepping [O'fle£

r, 14[1 K 36,'~ Jflctang1e' of clark . solid £o,I the back,grouuld

~ 'J ~AY1trdS ·Qf fft.'!:uic -fOI the h~cJ.{jng~ .tach~gs~ and sleeve

l;11 c ",:,'11 '. . fl·· 111·£:k b '" .

ill L~ :Ii: 3!oJi pIQte'6'" QW-~(lil.l[ ratttng

I . haLk wi ,eel 'or white chalk penrcil

PI~eparin,g ,hltl, rSt-eppiug ,St-ones

]. Use at photocopier to make: 2,(:['-. of the §t:~rd(!1l path.

IJ~.'tli:ern €In p':tge,S, 7'4--76 (3 p~ges per set, or 6 pa_ges total.). QSe n'anspa.J'en'[ rape to j:o,j,n the 3 ,pa,g:es 0f ehe fi:rn set along. rbe dash lines .. Set t~_lls fuU-siz.e psn em aside,

C~.i.tf;i.g

~U m'tftl-.Jurtm'l!~UJ ifUillJilil' .{4 n_,wiae. tfl1.;'fA: ·'li.lIl)~V:fI,'~«s..

'$rpHte with tJans,~rel'llt 'tilpe ,along .d_~slJed I~'nes,

'rar ~mlpl~~e. ,pa,t;ter~l.

As;siemb'liiJg th'e' I~ilt 70,

-1" Press the ] 4li x 3'6nreetan,g~e ·of h3ICkgr([lIJJld f~b[ih:.

Lay the. rectangle fla;[~ rigl~t side up, wi b the I:ijogcr fdg~ at the sides. pQ:]rl- ir in haiflen,~h:wise1 m,aima crease, and cl~en open it. Usea GhaUt- wl1,ed Of white dl:aJk penc.il tco mark ,3. horizenral line ..phil. from the bottGllll ed~. Next. mark 2- vereieal lines, each one 3u fnun·ldle. middle crease, o,oU'[~j'n,e a ~~path-fl' dlar i 611 \~~,de. Baste these li.fie~ '\IlI1~tb U,gh[-coillo-red tirrqad so th.~'}r. renlai!J;m v'isibte jf :the chalk is brushed awa~

2. Fr()!ID the second .ser cut our tl e 27 ,stepping, Slone. patterD..;"Wdtf '[he partern number on. tile back IOJ each piece.as you go,.

3. "or each sreppj.ng stone ehoose a .faluic from the 121! x 14';' silk or ~Eludp Ipi~.cesand audition "i,ts placement on the ful~ .. siae paper pal;,ter.n. Each fabdc may be repeated 2 Qf :5 'tin"les,-wdean~ one time !eilch ill. tire cop, middl.e, and pattern sections of [he path, Refer [0 the: cot'0f phore en p~ge 70 fUli g~tida~1ce as needed.

2. Rei~r EO yo.ttr full-size pa'tl!!ern and the color p,ho[crof the 'Eluih: ,~Jnl p.R;gt 70. 8eginnhlg "with 41. traflsf~ the !itones--sev~ra1 ata d:rne----£u0fil I he pl;tltlle~n .~ ,tke background fabric" Stay within the basted om lin'~ aJll\d spact the stones ~~. apRl;l. Pi.J..l 3.1):,6 bg~ m pm8loe. Use till} ·af,Jpro:priately €Oh)i,r'~cl ~U"iCa,d ro, app,~i'qLle' - e'~dl s on e' te 'ril,e ba,ckgro und, As y.filiIU fih~ ish each :·S[Ql1.eJ remove the ba!;iu],g stirehes, ~mu~n [~I: quilt over, cur a. small slir in the fubrk beh~[Jd t~Jt applique) and tarefuJJy remove the l?ape.I pil[tt~m. Continue In this way LHlitilall 2:7 s ones, ~e se;wn J: [he background..

4. Witb YU1J~ handwritten pattern number face 'Up pln -tepping, stone pattem #1 tOl the WI,j'J(fiJg, sid of the' desired fabric.. CU:t"OH,- 'the shape, a{ddin.g, a ge~nerous ~IP earn allowance ,aU a EOlmti .. D~o, not unpin, ~peat eo CU'[ stones #1-427 &Ofi~ the fabri.cs- ViClU

,

selected in srep j.

;, Lay tb~·teppi""g-srnnespa:pe[ side up, Fo:r-each. fo,ld '[he seam .a11DiW3110e onto the papeit and baste in pi~C'e·. be SU,l·,~ 'to! round rhe corner, smooth ~y and keep the ,suaigluedges crisp, Resnove the pins and press each piece as you complete the b.asting. P,m leach s:IlQ'n.e right side up re I~be full-sized pattent.

3., Trim .the' bad~gt~Ulld rectangle 4'1 h~Y'ond the up' .. edge efthe path, Press the quilr tap fForn hoth the tl:on~ and t'ohe Dadt.

1.1te:fer to ~'Sandwkhing and B:asrh,g,D (p~' 3J~~I. lilli the "quilt back eic~ 6en~ertlle' b~tdng ,and qll.UH I['OP

O - . Or d b·I.-c ..

't v'er.~ .. ~ ~. I ··as'~e.,

2 .. Reefer 0< uQujltio:rf (page 32). U:sinj15 rbre-ad [hs[ msrehes the' bac~gl',(j)'w,cl fab;r-ilC,. I[pillt.in tb~ ,ditdt

- .

Mound each SILOtlJ;;: t'O malee rhe ·stone's s~and oW~¥md the * ' spaces beMem them recede,

.3. Trace the dan} shell paneifO on pa,gen Ofl[10 template pbs ic, CWl' our '[he remplate. Use [he template and a chalk wheelor white chalk pencil to mark the clanl . hell design on dl,~ pop and belt(onl borders, Qlli~!t using thread rhru matches the bad~grOL"lnd. fabric.,

curved UncsQ:I1 me s~de bOipders '&'0' suggest" me ,des'ign:s- that JapaLne!i'le ga.rdlene£i rake ilRO' th~sand and pebbles SlU!fO u tldin.,g reeks and pat1b~l<ays., ,Q.vlln: using thread that rnatehes thie ba(kgra~u~,d &tbJ1ic.

e .Measure [be qui h hmrizQfitaUy and vertically through the center: also measure [he. si.d.el tl1,Pt tnd bortom edge$. Trim the edges ,a.ndJo·r re-square rhe corners, as uecessarj; to correct any dl'Eorricul caused. by. the extensive qwhiRg"

Not,,;- Sinoe the chalk brus.hes off SOl 'es_"UY1' ypu may 'wi h itO mark-and quilt 'the pattern ,o~nly.·81"or BY" alt

4, Trace d'le curved line pattern Ion p~ge 77' [onto remplate plastic. Cut ou' the template. Re-press 'the ~Un[~ men use this 'fempl:ue and achalk wh eel or white. chalk pend I to mark I"epf:ating pattieIn of

6., Refer ~o "Binding and Fa,cing~ (p~ 3,3)., Use he

"'I'''' 3/.'1'1" C -t_ id E- 1 "1 - t '1,"

J:.. );"':11 'stnps 1[10' race tne iU es or tne qUI _" tile i x:

Eft strip [0 b'cc'_ the botrem edge, and. [be 51 x 1.41• sn-ip' 1[0. -face tile ~mIJ)' ,edge~ aIDJd. cempleee the s~ee;ve.

j P A '. E S.E 'G A It 11 E J P A H

Scenes by ,6 Gd'liriM ,P,(jJtiJ' by Kitty' 'Pippen. 1997, lake Al'lR,iI'Ror, rCa:lliffo'fhi,~ S'11lr 11 511 A si~k embroidery round in 'the

1".4 r 1!...1 _i.. "111.;:

~mng '~I' e man 's U!J~\aU\o 5.1 [l;

kimono~a gin f~qm my fl'ie.Mc Ma~gleCwinlil,.....insprnlled this qUitl The sil!k depicts CD meuntali n lake where bea ~trf\.d' kiim(imo-dad ladies, ere resting by a. j:ltJf:aq,tJin', or sedan' d1ai,~;' A s'Uk :sard:en p&th separa,t~ 5,he ~-pe!rtr brot;:ad~fraITH~d'

talble'a UX'j "md a '~h¢ny tree drops. bloss'(!]rn~1 inwo. the stream that i1lows belew .. SinlOf' the silk

, ernbroi~delf~ . wer,esQ· de[icate" ; ad'd\ed ithem ~a$t and ~uilted them sp~ringly TIH3 quilt was jlU'ti.ed·,into~ tfu;e '1998" IIQA show and won ,f.'Urs IPI·ace' ,and B~st ,il1l, '(la5;S .at the: 199~" Marin lt2ui,lt and Needlewori~h~w.

JapSln,es,e Ciill,rd'enl Patlh Bottt9,m Sedio:n

5

'74

1

'I'""

1(;,

12

11

5

7

5 7

o

,'llpan,ase Garde'n [p,8,th Top Si81ctiolill

16,

22

25

20

211

~"¥' __ ~,_ ... __ ~ __ ~ __ ~_ .... ,..". =~ '_~'_._~..".,=ot' __ '''''''~_''''~_· ''' __ :&''''''~U-IL''~_~ ~ __ ~-'

Conned1D_mi'd,l:Ue B,ecmi:on 'Ilfllpag;e 7'S ~Ol iOpm:p,leie the, F,lilrt1lern.

-

fA H

Ja1panes'. Garden Patb QuJltllilg Patt!e'lions

!CJliURshen Quiliit ID!esigJl fo!,r 'fopl land 8loft,oml :1:orllll'r5,

L_, ~

IR[evetSie' palttem atfoldfo!,r flJdf de~;jgn.

IJd'tted Slblp'es by Kitty' I',ip',pen~ 'J 9'96i1 Lalke AI malliil 011(;, Call;ifoma.52I' x &\21'1

In this design-aauaU'y a well-kn:Qwn Japanese sashiko pattern caM,ed linked Tortoise 5hen:s.-;e,qui~,Btera.1 tri.alr1Jgles and hex.agons fit 1Il~·atly tQg.~ther to form ·an ,overall panern. The stde 0'flhe tnangil'e"is'€xeIdl!y "tj,me trnes.as long as th~ sldeQJf ,tl~n! hle>i~gon, Manv interes.tirig variations can be explored by ex,Perlmenting,on equ~~:at~ral triangle ,grid pa,~er~ This p'alnlcular -~mrsiol1 won Second Pla:t~ for AppUque et the '1'9.9'7 lOA show~ For 1'~lalted desilgns, ~ee "Red~ Whi'l$j q~~ iBtue liflked ,slhapeS~ (p~g~43);. itili)ked Sha:pes '!'IIi (~age44)j IjMinl~tlne Un ked "Sha,PJes/i '(pl:lge "82), '1'M~nia~l..m~ Silk

Uink~d 'Shap~'9" (~r]I~e 6,.2) ", a,nd \r.L.~Fike~ Shapes. o.".~ FI~ra1 eath;;' ~ag,e2Q}.The' p rojled instrtJctioris~iEdd a sim pB-filed versIon of th:ls ,quit; tor a vlsuall re:fer.~n,O:'f S!!!e.poig;e ,8tO.

c:.' • ,,1~ d Q" 'l~ ." · 26" "c ::ii3 '

.c:tnt1i2.d r 'Uz,_t ;Jtze:: .· ... '.1 X ')1_. ,

i Y2 yard bright .SJolid fttJl:t the Q!otenlsmp

'.' 1 yard, of CQntr:~sring dark s.oHeL or sLlbde prinr far

dIe ~.{lllrtter Md bjndinB

" 1 yard of fabriE fa,f the bacltin,g

I. iig t, g: ,,) ~'n piece ·of low-loE: barti ng.

11 8Vilr x 11 'I pi'fee of template plastic I' TypIng· piper (s,eve_ral sheets)

F:rom the contrasting .dark soli:d Dr' subde p:rillt~ ICU,t:: 2 srrips, each ill x 3'I(lV21Ii) for [he', side- borders

2- $[['] p6~1 tach 2:~~ x: 21~~ ", for. !clj._e· ro p and bettorn

bord:,el1i

2 '. . r.. 21• 2: 2: II C rl · ~I. b.' .J ~. -

srnps:. e.acu:- '.' X- so , LOr Ie S:~,Ge 11.:1l nW_~lg S[[fPS

.2 strips, each 211 1(: 27'U, for che . [ICJ;P' and bottom

binding strips.

Dom -di,e b,diiQg fabl'ie, CD,t:

... , • ." - I

1 piec ,_ ~ i{}~1 x .37 ~n ~ >'f~'~' rhe Iq IJH ~ b~k

Note; l&:rdagt IdmfJ/;{,rtti are Gy,eLt:tdat(jdjii~' 42 I~- to' 44 r~_ zli'ide fl,fJrl,r:.

'. IA· yard iracl, uF ,6 differell_:r ftond 'fabrics For A'MdC,L

I 'YJ :yard meal of assQ"rred sol ids I dil$~r than Ilerals, for B

PtYp,tt:rifJg' the Pattbe,

This tj,uii-t is msembled itring thl~ Englis.h p-nper piecing m.ethod~for $e/fu!~\{ll i1'1stluctio'nJ" !C~ f!tJ;g~ .2"9'.

L Trace pattern ~C on lPage_..8301J:HO templare ph1,s'tic Cut out the templates.

2., Us' the ttlji,p.hltes to Inark 24~ A pieces 14 B pieces, and .[6 C' pieces- on typing paper, Cu'!:: OUt the paper

~a.t ero.l8",

CUtt.i'tth

·ilIl

All m{Jds{J'rf'irlelf,ts. irJciude -!4'I;_ wide s;"dm ,all(iWRn.(.'Ws.

Fmmtbe hrigb.t sOllid~ ODt~

." . h ~ rL~1 "OIL" - -'- ·~'l~ .

- srnps; eacr ,;ir:-~ x . ·.·n .. llOr i..;ufl SRu: a.acent :S'rlE'~ps,

. .;; nrip~I) ea(:6. 4" 1'1' x 22"~' I' ',(iu the '['op .and 'bon::om ace'en, stnps

3. Re6er i5B the projecr diagram all page 81 for sugge',tio,ll:il.s on fabric . ,select man :(1Jld placem~ll,:t. P'1A ·an A patp e Ii Ip;ume rn '[IQi. thew rang s,id e of a ~ 0 rat fibric . 'h· 1 .. J...:I: '[.t I' . ~U[ out r -'f ruan,g e, atiwn~ a generous Y!1 seam

aL~owa.nce ,~U areund r DpJl;~[' unpin. Repe-aJ: to cut a. reral 'Gif 24.A triangles ff'Qm 'the fleral prinrs,

5. Repear !m~p 3, to cur J 4 B pieces fromthre assmrred darksoHds.

Jaln hexillgon B· '~Qi triangle A.

Positf:a.n a se(1e~d trianile (A~.~) ibetweel!l, A, and. B;

4. Repeat step 3 to cur 6 C haU:hex.agons from dle remainin g .tlotf.af printS'.

6 .. 1~ y the A B, and C pieees paper side up. For eac.h) f01d Ime seamallowance on:t1J, the f'a,per and baste' in lpface ihl ough all the' layers", RelUOVl! the pins,,,

A_,S,emb,I~~~f .th:e Quilt Top

ill. Arr,an,ge [be AI' B~ a.nd C pieces on yo!ur design wall.

Refer re rhequilr asse.m.bty di~am. 'belaw farguid .. ~.J d-'

ance .as ne~u;.' .

2. \Wi~h rig!u sides: C9g~d1l!t; wl1ips(,ijtdl 'tb.e tfi1llng~es~

~. -

he-;G-1.gens~ and ba1f-he'X~pns tQgerhet" first ass:e'm-

bUng tue 12 wlim;s flldicared bytbe dssh lines and '[hen iQ,iw'ng rhese unirs. [Qged1!l!"t [01 oomplete the center. of the 'q:lull- tilp:.

The diag,am.s at right SDI[)W a .5!ugges~ed S)cq uence fo

iL f • ":I~. . '1 fi' .

assemw.JJ.mg we 'top etc urut.

f~!d hex~g!Dn,! andl 'tria1n\glle A/2 ooor Po.

SewA~2~OA.

Posi:ch]IF'II ha'lf~hellr~g:CI'n C -and ·sew·tO ,A:-2 and lB.

PO.sitilBn ihe:X8S'Cln B~2 and Slew ,to A and :A~2-.

3 .. Pl·'~S.S [be WCH'k :frornl b orh rhe froJlt ,,,lId rh¢ baek.

Carefidly' remove the basting threads and the pDlp!1t parterns, Leave the seam allowanees along dl!t'I'I/UUsld:e e~ge-s turned under ..

4 ... With the I[j,gh'[ sides ,face' up poSi'riC;Ul I[he top t..i:W~l,g

.-1 f ... L "1" 4.11 zr' b " IL,

eog!:! 01 • me .qut t tOP on ~l', X2. " :rlgu 'al!~1l

strip SIQi mat the accent strip ex ends 1 ~ II beYDnd [he zigz;a$ poincs .. B,a~e- then 2ppHquie [be ~ip§

.edge to the accent strip. Repear te appliqul't;;, tbl.ll1ot~ mm zigz.-ag ,ed,me Ito' rhe secq:rtd4i' x 22" aeeenr snr~p,

I I

I . d

~" R.ep'e~utecp 4 li~ b3$t1c and ap:pUqul eash side ~\~ge

of the quilr top '[0, ~IL 5~u X 30Y211 b:rrighr aecent strip, At each cotner. turn underthe end of rhe cop lOr bo~roe,:m. snip and ~ppUque it "[0 the side scrip, Keep th long rriangle points free 11:0 .overlap the outer, fInal b.olrdei~ .. Retei' to, the quilt a~s',emb[y diagram, on p,age 80 arid d~,e pr0jecc diagran,l below as needed,

1" Refer I: ~'.ru)dwidting and Ba.t;tlng~' (page 3,0). Lay the 'quill back flar cei ter the batnjng and quilt top over ir, a:Bd baste.

,6. Tl:H::I'l d1'e: quilt over, Trim a.way [b,e excess a,c(er-u ·nrill. 'tabdc tAu froJn the. line ofappHqne sri [lchiLng ..

,t "~Q. :~I ... ~. 'n (pa ··,n' A, "[ .. d ·~·c'._]·' e.,

. Z. Rerer to .. · .. llili:!:11'g. page :u . .J. '~Ul t as . esuea: SlX

small famjlt crest patterns, !j,i~ed fQ[ q Llih:ir~g in rhe ·tri1i:lgle~ aDd/Of he~.gons .areon page 9'4~

7. Tr.im ~he 'edges of rhe quilr tOp:;, wf DlveC'f.SS~'l11:J[:e, S ,r,a:ig;hlien them, and press. Fo~d 'each .~!II X 3,0 ~'II

horde!' strip in half to .find its midpoinr and mark wim a pin .. In the same wa:y, mark d1e midpeinr of ea.J.ch -il le edge of die' quilr, With l'ighr sides eogerher and rnkipoines marchlng, pin each border strip, tiJ ~ ~id~· edge of rhequilt and machine stitch, ,~asin,g as needed, .Pl~'esS ~ch,e seams toward '[he border strips .. In the same way, join 'tb,~ 2" x 261" hord.e;r srrips .ro 'm~e top and bottom edges of the quilt.

3" Refer to IlBin.ding ~l.d. Fac~l1g 1 (pa;ge 3;;),). 'Use dl~ :2! -wide /stcip.$ '0'. bind the quilt.

"(,9 ~asytb design your own "'Un ked S'hi1pe5!!} q IJIli II. ManV '\,,'ari,~iG'n5 sf tih,e Unk.ed shapes ma, be Iffeate·d Oil! ~qu:i~late'ra~ flliangle ltaph paper (Si@eH11I!!s'Bufilt,e;s'" lUi paile 15) •. The Ikey:? Fa die llinl(·ed :sh,ites tm 11if',o:gettl.e;r. thle s.id,s lm@aRU'iem'tut. of :Ihe: equif~.r·a,'1 ti.i,anig~,e must eq:UilII :5 ;~ilill es fh@ side

me'a,!H.IIl1emem-t· oflhe 1h.e:I(~g.o:n'~

8. }\p'pUque t:b~ eJCcendiq.g t~iatl,gl,e pointseo -t~e: {·d·e aetlent srrips and berdees,

LINKEOtAP 4

.MiA;;':tu~ linked 'Shapes by Ki.lty Piip,e~"r ~L9'96~ Ila1f:!::eAlmaIJi1DIi, Ical~ifD.rnlia.~ 11" x lliill

Tr,.e; fabric-fur mi$>:sml~111 ~~i;lt ~~. kataiome. NOiteftnf' smi8iil alreiJi5. ot llfed d~added FO 'the' bLue i3nellN~li;te ~:~Jgn5. The e~ln~tir,e par;:n:1F-piece!d top 'INaS ,a~pliqued te tnra 'red baui\Sl1;lund. E~sh~:KO was added usin,g *9 perle cettonthread

MMiatule Sllk' ,[iohrJrJ Sh€l,{J.e& lby Kitty Ptpp-eJ~~' '11951 6r 'I>a lirre AhiJ1lalill~lJ.!l·f Caii'foffliiil. 1211 :x ~ 6,1'

J:apa;l9!sse ~1~i!;;H10 g;il~ wa,:; used almost ex(Jh!J:si,ve]y'fo~ th¥s ~ny' ~uiit the ~ieood t~[D ~~s,appltCJuBd to a (fJa:!'k brD\Nr1 G$iijIR baiCIq~r:ound fabr"~c;. mrrd 1hen ~~~dnetl ,wiith sasl~J~Q+

Uu,ked: :S:h!8IP'E!'1 'QII:iilt :pa'tt:erns,- .h.liIi ',aIP~~rfte(;:il ng:

c

'Cut 6~ '~io;r,~IIP'Nint{i;,

A

OJt 24 "~~oraJ IfJr~n:ts

h

45

p

6

45

Ma,teJiA/s

" 1411 X 1 ·f' ,;S(luam of illdilgo &bri'E for rhe Sasllrulto lba~~oL1nd

II 18" x 18J! square of fabdc for [be backing

3. Use a I?htU~.@cDlpier !tp copy ehe Gne~d]_ird ,butterfly medalli,010 f<airrern, on' paige ss, Cu iQUI the pattern on tb._ 'd,~h lines,

Iii LG'~i J IG~' piece, of 1,!Qw-kJifr batt·ng " TYP"ing, pap€r" (several sheets)

" T[nlliS'pareUt tape

I, Com PlS;l,

, W:hi~ chalk pi2;,ncU

'. J~pan.ese sash..il~.~ needle; 0 r aUIJ' ha rp ne~€Ue w~th, a ~,arge'eye

'l \il1tir,~ ,~,~llH €I' 'Qr #8 perle cotton thread

4. Posirienthe partern within the :ind'i,p eircle, Use a wbite '~haLk 1P~1 en and at rull,er '10 nace tbe s![raig,hr I{!dg 5, fo rwe radius lines. R:epo's,'tic)'n:'h,e pitt~tn to mark.a tbird radius line" diVo~dj1],g the circle in thirds, U~e a white: chalk l!1:encil '['0 mark Idle:(;q:m~p,~t:t~· burterny des ~gl'l ~11 ~ath, wfdte8ie three sect_ijo~L1:s.

2i! J.".c: i b" .' f' . ~ e. b '. r: h b"-I'~

• X.~'.;)las smp 0' srrlpeUli ra . fIC tor LC .Ilnti:ing

.', Thread a, sashiko or other large-ey~d needle w:icl1 whi.te sashiko or #8 perle corron thread, 'Wo,rk d1e p,llttf'rfly S1ashll{o design marked in step 4,., Press the

• JI f 'L iL "k .

reverse S.W[',I;f' 00. me sasnuco square.

Mllki»g the StBhilt'D Mefk,lli()rtl

FUr ,genera.! i:rn,tr.uc.tio~'tS (J 1'2! JtJJJi~'O. see P'age: 25"

l, JO~D several sheers 'of rypir(g, paper '[o:~ther with rraJ1Spa.mulf ;[ape 'll) make a shee:t~' leas'[ 1:4 II 8q,~ tare.

(C th £;1'" III .1" U" h

-.i),et I' te compass, to' a 'Ci;l4 malUS,., se I: e compass

~~ l~raft.3: 12,'Y2"i~ruameter cirele on tbe! paper;, CUt' out the circle parrern.

~ . Refer to (,~S~udwic:hil1,g and Basting" (p~,g~ 30}. Lay the hacking nall,m~n ~enn~£ the batr.i.ng ~l.d sashi ltijJl square ower it. Basre lr!:troug~ all the layers JUSt our'side the bu,!tte~rny rnottt all 3:r0ll.111d. Trim. aw;ay the

excess Fab,dc and batting lMu beyond th,t' ba\Stmg sdrches,

1. Lay ,hi€: 14 iiqua,re 10£ j,ndi!go dgh. side up, center the circle fHutem on 1[1' and traG~. thei Olt.ltUne w,itb a

'White .chalk genci1,. -

2., Rel~]; to uBindwng and ~a,c'~hg~ (p,a:ge ,3!3l. Use the 2 II X ,45''' bi~s .strip [01 bind the edg~ IC)f m~ ~l~dnlli€),n',.

Snow Ring 'with Fall'llil, 'Cirest, PiiUo,w Case by, Kitty Pippen, 1'99'1, ILa'ke A:I'manof"

ell Ii f'olmia

SnoW' Rin'9'wifh' Family ICt-est (,valliaDon) b, Kitty 'i,pe"~ 1'996:, li..ike A'lmliiI1l0ir. 'cI'liforn'iai - -

F'i1~'i httd SiZi!.: IJl/J'gt ring~, lO!4"· smaLl· ring, 8JIi" ,lin meter

,Mate,J74Ur

., 12"1 x ] z" .s1q_lL~:pt "f ~I]di,g,o· fabric ra~r [be sa.&h~ko baekground

.' Typing pa.per (several hee ,),

4; Thread. .a saSlul(0 or adler laL~!"efed" needle wich wrut€:sashli[w, Qr· #8 perle p'Oi~or-L d:u;,~d.. Wotk ·cl]_~· snGw ~'I]~g a.rtd 'peC'Dy 9'" wave· design you marked in steps 2 and 3·. Press the ~e[se side,

'. Whi!te ,chalk pencil

.. Jla.pa:nesifsashlko needle, or any sharp needle wirh a huge '~e

" \lVl~ite sashiko or #8, perle eonon thread

.. Assemble the finished. sashikn blocL piUow or small waH hanging.

"

lfllO a

lrlsh"cti:,u'U'

For.geneml insn~lcti(rPlS on StUhik(}, $B(! pagc' 25.

L Use a pl~q,tooPp'L~r to make l- copies o:f the snow ring h~-d~£,;;p:u.t€r:n on page 88~. Use tr:lllnSparefl[ '[ape a ;Qin the 2· cepies a[.o,ng the dasb, lines, Cut -out rhe ful1-sb:e pattern ff:.1L" the larger· er E:J:uaJler ring,~ as desired

appUqued. IChlUl§'e it fabric t'h~a" IItGlnllr'iaiP5J wDb 111m: jn,d,iID. 'Lay th,e

paftemtD it. Cut out d1erillil~ iI'dding

t . .Lay rhe U"" square of indigo righr side up~ center a dn,g.pa'Lldern on it_,·and trace the outllnewirh _ white th-~dk pencil,

'Olllito t1il:ep,aper ,~,na baste!th'119ugh aU du! layer,s~ removing Ule Ipins Clnd

" Select the pf!ony pattern for ehe Jargei" r~:I1.g or[" tile waves pa:n:etn [qr the smaller ring- (001[11 ,DP page 8:9'). US!! awhire chalk pencil to marl thethe design on the iru1i601 widjin the now r'Ti,g.

die sign in ,sasll ike. Uselhe 5 iii m:e

or blindiR,g 'kJliRish-'yoEllr pie,ce~

h P'

r .!'

lOlk' nng

.I / I

I

I

I

I

/

I

l

l

I l I

I

~ I

'....... ,

..._

~ /

~ .

......_

~ I

...._

...... I

.......

-- /.

...... _'

.._

...... _ I

.......

-.. I

......... .'

i I I

I

I

I

I

I

I

l

I I I

I

I I I

I

I

I

I

I

- / l I

I

.I

..

l

Snow IRin:g:

One-half offull p,attelrll'll

f I

:SasIl1!U~o [Buttelrf., IMeJda~ntn'l IOne~thIrd 'Olf fuU p-',attttern

. lEn 'I a r,~e' Ipattewll 2nJ(lW~

Gn Cif I!Jhatcl(o,P)f ma~c:rnmne'~ 'them tr,ace;

8)) 8J)

/" /' /'

,/

,-,/

/

Sn,fj,w I]'nl witlll Familly ere:s! !Q'pt1fQlila,1 iQuUthilg: IP'att~'r.n

En~ar,ge p2iilft~rn. '20(l~

,e,o, a' ~hQtcciopy madhin'~; '~henltr~e~:

SnoV;ilRh!ll,wilhl':a mi~, ICllf\est, Op:tw'l\I!:I':~I[ Qlurultiln,g Ifliait'lm

Er:J~a;r.ge ~ p;.,Werns Q;OOWb

ona p_nOmOCQIp;y Imaihine:j, fJherl tr,a~le~

INroshi (.Rilebons)

...

For Hi1exago1n-Sashikoland J1ap,aLnese Octag;lOnclil ,Block Qu il'ts

Enia,rg:e plEi'tterns 1·0~),%

'en a :ph6itO~'OP.Y: mathiliejtihen t1t~ce"

W,ismri:a

o

o

.

Hawk Feafherrs

Waves

t

,S,Bsh1ku, ~PaHerns fa! hlie;~gion-Sas ,i~'1\J~~ . .Japan;es'e OctagJlla'~ IBloc:k QUilts

lEnlclPge' patt~rns 100%

on,~ phOlQCOIPV ma(hine~, thentrace.

Gentian,

Designs tor H aU [HeX/a.gnns

H6Qlo,n, .. S,a,sh:illu, Q~i't

May Ible ·ada,pted f£ll[ border qui~tll:ng

Enla[ir~··'patter,n_s 200%

'ron a phlo~o(lo~, m~lch~nej1 then t~a-t;;e'"


I
-
I I
I
I .Key P'iltt~m (S.ayapta)

..... ,

T R'A D ~ T [ 0 N A' A~ H 1:1(·0 PlATTE R f. ~

Buddhist Svmboll

o

.

M IV

Cash

O·

.

pamiPass IGrEl 55 ( No,v!i;alkj)

Enlla:rg:E! p1a,:ttems 20(1%

on ,a: ,pn.1o'bcCOPV· machine, then b·ace.

Crll',pass ~m~e (H~galk))

WiekelWal~k (A~ilro)

,pio~n:~d 'O¢ealn Waive (Kalku Se·i:F;,aiha)'

IHemp Le'af (Asaln'0na)

S.ev,en T~asu!re'S, of: Buddhal (ShWp:r;)IIl)

I(-ypmss F@nce (Hliig~jkiil"

,S,iI,5,h!ik,o IP,aUelfnS, Jap,i!llneiS;;@ Cr,a;zy Quillt

. £rilatge ,patte;r,ns, 200%, Dn ,a pnotQt-Op'f ma€hi nel then(ua~:~.

Ja,alneS!,e 'Odalon,ilil ,llud, Quilt.

Optlon.al QUlj~Hn:? Pattern fo,r Borders,

. ,_, 0

E1n:large ~'atitern :2CHJq{.c

.. (!lIIill a P hoto6;1PV maehlne, ~h,entri!:([e.

T RA 0 ~ TIN A t, ,A S H I K 0' P AT ·.E R N

,U1n,l(eds,ba'p·es:

u

,May be ,6id'apt,ed wQ1r qU'J~titn,g motifs

Q

·Pine

Fall in 10 vel with' ,th'es',e Iobrks - and' iet yo,U! r;rea.ti'vitY."carry yau' to nlew h'elg'hts In' qUI'ltmakln',g

The stunning beauty of Japanese fabrics inspired Clwa.rd=winnin;g qulltmaker Kitty Pippen - at the age of 80 _, to write' her first book Let her dazzling creations inspire you to play w~th these dramratk.·'fabrics j'n Y'EHJf (luilG. Kitty"S stlm[)lified techniques 'wi;11111 help, you ad1i~eve ma,gnmrnnt results.

• Delight in ,eight exquisite quilt pattems; ttom simple rnosocs to Ja]1fane'se flf!:Jtag:onal designs end Crazy patchwork; plus over 40' photos :of glof;~JUS Japanese--:s.tyle q,uilts

'. team (Jbout Japanese' textiles· with a complen,ensive introduction to' indig-eJ1 kasur~ y:u.ko,tQ~ shib,ori, and oirome

'. DiscOVier how 5.'C1$1111<0 quilting can odd rithn,ess end 'vQr~ety to anY' of yoar pieced quift5

.' Use specio'! adaptGtions oftne most consno: .fZjuJ1tiny tecnnfq.ues, including traditional machine piecing, pqper piecing, and clppliqU'e'

,Discover KitfYs' methods fo,' cratlf/n,'9 Sfi'ikin:9' Iquilts with :thess gorge'o,u.,. V1er50tile Ifabric5~, and ,0'a'II' ,be' ,11I,~pi,e'd to mQ'ke YO'lIr own' ,quilts ;mmer.ssld ;n Japanese e,le9'a'n~e alld 5",e.,