Quilt Out Loud! Episode Notes
June 2011 Episode
Sitting at a bar in revitalized South Philadelphia, Mark and Jodie can’t believe they are opening the show that completes the first two years of “Quilt Out Loud!” To celebrate they chose Watkins Drinkery, an old time bar that has been charmingly renovated. Every celebration needs a festive drink, so Julie Rill, the resident mixoligist conjured up an appropriate libation for the event: the quiltini. It’s a mix of appropriately colorful mixings. Watch the show to see how the intrepid (it’s so tough but someone has to do it) duo rate Julie’s creation.
Jodie and Mark share their experience at the jaw-dropping Red & White quilt exhibit at the Park Avenue Armory in New York and share a homemade video of this magnificent collection. These are quilts from the Joanna Rose collection of 651 red and white quilts amassed over a period of 50 years. It’s the largest display of quilts ever presented under one roof in New York.
Jean Ray Laury, an icon in quilting, recently died at age 82. She was a free spirit who designed joyful quilts. Jodie and Mark reminisce how she has influenced so many quilters over the years.
1 oz. gin
½ oz. brandy
½ oz. Grand Marnier
2 oz. freshly squeezed grapefruit juice
1 drop grapefruit bitters
Grapefruit peel twist
Mix first 5 ingredients together and shake with ice. Strain into martini glass and garnish with grapefruit peel.
For his doorknock Mark’s travels (undercover) to one of the most historical streets in center city, Philadelphia to the new home of Eleanor Levie. She and her husband lived in a giant country house and decided to downsize and change their lives dramatically by becoming urban dwellers. Eleanor says everyone should move every ten years just to get rid of “stuff”. She collects many artists’ works, enjoying the inspiration. Her spacious studio has a place for everything. A storage wall was collaboration between Eleanor’s needs and California Closets. An open trunk is filled with vintage and antique quilts she uses in her lectures. Her design wall shows works in progress for two series. One is stretching traditional patterns making them skinny. She occasionally takes a vacation from fabric and uses trash to quilt, using mainly packaging. The idea is to reuse and recycle. Eleanor’s latest book is “Unforgettable Tote Bags: 20 Designs Too Cool to Leave in the Car.”
Unforgettable Tote Bags-20 designs too cool to leave in the car by Eleanor Levie and Celebrity Quilters
Skinny Quilts and Table Runners from today’s top designers
Skinny Quilts and Table Runners-15 designs from celebrity designers
All available from eleanorlevie.com
Eleanor Levie shows Jodie some of the techniques from her book “Unforgettable Tote Bags: 20 Designs Too Cool to Leave in the Car.”
She can say it’s a really great book because a lot of talented people contributed to it including Karen Eckmeier who came up with this quick technique. Start with a purchased canvas tote bag. The easy way to prepare a foundation is to open up the bag by cutting off the seams and top edge. Pellon Peltex II fusible interfacing is ironed on, then tapered strips of fabric are sewn on using the flip and stitch method. On her bag, Eleanor added pockets and giant rickrack trim. She then shares a technique from Jean Ray Laury. Jean was a force in the quilting world since the 1950’s. Her mantra was to do your thing…don’t be afraid of the quilt police. This is silk screening without the silk and without the screen. Cut a stencil from freezer paper and iron it in place on your tote bag. Spoon a big of textile paint on the paper near the design and use the edge of a credit card to squeegee the paint on. Then peel off the paper. Using this book is like taking a workshop with your favorite quilters.
Pellon Peltex II is available at your local craft or fabric store
Quilters Happy Hour
Out of the Box with Easy Blocks
Deck the Halls
Christmas with Possibilities
Huskings, Quiltings, and Barn Raisings: Work-Play Parties in Early America
Here is a detailed explanation of Eleanor Levie’s quilt, Timeline Quilt:
1970: First show held for the National Quilting Association. First full year of production for Quilter’s Newsletter [later to be called Quilter’s Newsletter magazine]. Heavy cottons and polyester blends in paisleys, wild prints, and bright colors abound. Suitable quilting fabrics throughout most of the ‘70s are limited to a few solid colors and tiny calico ?oral prints.
1971: Abstract Design in American Quilts, an exhibit of antique and vintage quilts opens at the Whitney Museum in NYC, and the art and editorial worlds take notice. An Amish Bars quilt is a favorite in the exhibit.
1972: Hudson River Quilt is auctioned to bene?t the environment for $23,100, showing the public that newly-made quilts also have value.
1976: America’s Bicentennial: Leading up to it, women get together to make commemorative and traditional quilts, beginning the third revival of quilting in America; commemorative fabrics abound. The Bicentennial Finger Lakes Quilt Exhibit in Ithaca, NY, sets the trend for symposiums and major quilt shows.
1977: Vermont (the “Green Mountain State,” see border) Quilt Festival ?rst held; Marti Michell’s ?ip-and-stitch log cabin quilts convinced readers of Woman’s Day magazine that quiltmaking could be quick, and other time-saving methods gain rapid popularity from here on.
Throughout the 1970s: The traditional block, like the Evening Star, is king. Hand- quilting skills are much admired and sought after.
1979: The OLFA rotary cutter ?rst appears in the U.S. International Quilt Market-the only trade show for the quilting industry, ?rst takes place in Houston TX. The ?rst Quilt National takes place in Athens, Ohio, giving art quilts a forum.
1980: Marks a decade where how-to books become available and most quilters start a reference library for themselves. The American Quilt Study Group (AQSG) is founded. The Concord/Fair?eld Processing Fashion Show present the ?rst major invitational fashion show of quilted garments at the second Quilt Market.
1981: The First designer fabric collection appears—by Jinny Beyer, for VIP Fabrics.
Throughout the 1980s, there is an explosion of fabrics for quilters; earth tones and calicoes predominate early on, softer, subtler, muted color palettes gain in popularity later in the decade.
Early 1980s: Seems as if everyone is making sampler quilts!
1984: The American Quilter’s Society (AQS) is founded. By the mid-1980s, a majority of quilters are seemingly members of guilds or groups 1985: The AQS Show and Contest debut in Paducah KY. 1986: Fully electronic sewing machines made their debut.
1987: AIDS Memorial Quilt is ?rst displayed, on the Mall in Washington, D.C.
Mid-’80s: The iron becomes more and more essential as paper-backed fusible web makes machine applique (with machine satin stitching along the raw edges) popular, and freezer paper is adopted for appliqué.
1989: Corona II: Solar Eclipse, a machine quilted piece, wins Best of Show at the AQS Show; thereafter, machine quilting gains rapidly in popularity and use, even for quilts made for competitions.
Beginning in the 1990s: Baltimore Album style brings a love of tradition, embroidery, and embellishment to the forefront of quilting. Fabrics soar in quality, richness of pattern, and design, quantity, availability. Repro fabrics and hand-dyed fabrics are coveted. Foundation piecing is hot, making complex patterns like Empire Beauty much more do-able. Continuous-line quilting patterns have great appeal for machine quilting, but meander stitch patterns are most likely to be used.
Mid-’90s: Nature prints, batiks, border stripes, and designer prints explode. Scrap quilts help to use up the diverse bounty of fabrics in quilters’ stashes. The folk-art look captures quilters’ hearts, with simple designs, humble homespun, yo-yos and buttons, and buttonhole stitch applique.
Late 1990s: Decorative threads, decorative machine stitches, and free-motion quilting take their places as major design elements. A substantial percentage of quilters are sending some of their work out to be professionally quilted on a longarm machine, leaving them time to make many more quilts than before.
2000: More than half of US households, and 76% of dedicated quilters own computers, and most are sharing and networking on line, via email and chat sites just for quilters. Some are also logging on to get information and shop for quilt products, or designing quilts using computer software. Millennium fabrics commemorate the era, establish the date in thousands of quilts, and spark quilt challenges.