March 24, 2015
After their year in Minnesota, Daniel and Amelia returned to Kutztown where she was presumably still working on her crazy quilt when her daughter Florence Amelia Linderman was born in It is assumed from an embroidered date on the quilt that Amelia finished her project in when she was While a housekeeper at Maricopa, Amelia also taught female students how to quilt.
In early , The Pennsylvania Historical and Museum Commission launched the Collections Advancement Project CAP , a program to inventory and catalog our vast and significant holdings of art and artifacts.
These efforts are resulting in better stewardship of our collections which represent Pennsylvania arts, culture, history, sciences, business and agriculture. As a component of the project, CAP curators have researched rarely exhibited artifacts and works of art. We are sharing these Pennsylvania Treasures with the public through weekly updates. A Greek classic set to an African American voice. Hunting down an Easter egg mystery: Hue - Crazy Quilt can successfully vary from monochromatic to rainbow hued if contrast and balance are carefully considered.
Contrast is intensity, as discussed above. Balance relates to your actual color choices. For example, three high contrast colors perhaps yellow, black and red can be used successfully if balanced across the surface of your design. The eye tends to like to see things in off numbers, so if your contrasting areas are placed in an odd-numbered "path" that keeps the eye traveling across the surface, the use of contrast CAN be successful.
You want to be able to see a "whole picture" all at once like a good painting , but also have the eye interested enough that it is enticed to travel across the canvas. Texture - refers to the feel of a fabric.
A woolly tweed would have a rough texture while a bridal satin is smooth. The goal is to strike a balance between too much variation in texture and too little. Using all the same texture such as all satin can be boring but too great a variation every fabric a different texture is confusing. Select a range of three or four textures which vary only cotton prints, wool or similar fabrics you will want to rely on variation in pattern rather than texture.
Pattern - is the density and scale of a print and can range from tint bouquets sprinkled sparsely across the surface of a fabric to large, tightly spaced cabbage roses.
The State Museum of Pennsylvania demonstrates that Pennsylvania's story is America's story.
Each of these is too extreme for crazy quilting. Patterns that are too loosely spaced will cut up as solids or with unbalanced pattern.
The large patterns can be interesting but the pattern will be lost and hue will change when cut up. Vary patterns in scale and density within a reasonable range. Too much pattern will confuse the eye and leave no design space for embellishment. The goal is to create an overall picture that interests the eye without jarring it. Here is a technique that I developed for constructing crazy quilt patchwork to accommodate wool, velveteen's and other fabrics that are too thick to seam.
This method is particularly useful in making crazy patchwork for garments. Although many traditional crazy quilts are simply fabrics butted together not seamed and thickly covered with embroidery, I felt that a garment should have some more stability to weather laundering. Cut your garment shape jacket front; jumper bodice; vest front; whatever you are making from stabilizer a size larger than the garment size you intend to make.
The stabilizer is then left in the garment to provide stability for the piecing. Select a piece of fabric that is rectangular - approximately 4" wide by 4 to 6" long. Cut this rectangle into an irregular polygon.
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Place slightly off center at the bottom and in one corner of the stabilizer. Baste in place with small safety pins. Choose the next piece of fabric to add and fit it to one side of the polygon. Do not allow for seams; there won't be any.
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Simply butt the two fabrics together, making sure the edges are straight and that they fit. Think ahead about what angles you want to create. You will not be stitching your next piece across the others so you have little more flexibility. Add the next piece of fabric to the next edge of the polygon, trimming, so it will fit the edges of both the first and second piece you laid down.
Continue building the patchwork as you work out from the polygon you placed in first.