I am really pleased that the quilt I have been working on for quite some time now is finally finished. Yesterday I stitched on the hanging sleeves and put on the label. It is now ready to submit to the exhibition I have made it for (more on that later).
There was a slight false finish though, which delayed me just a little longer! As I was pinning the quilt to the design wall ready to photohraph, despite my very best efforts to get the whole quilt square, it quickly became obvious that the right hand side of the quilt was 1/2 inch shorter than the left hand side. How this happened I just don't know. I must have measured it over 20 times, then blocked it before the final trim and facing. I guess it just goes to show that fabric continually moves and stretches.
So, I unpicked the facing, gave it another trim, reattached the facing, had a gin and tonic, and then resumed with the photography.
Here are a few close-up shots to show you some of the detail....
Whilst making the quilt I also worked on a number of different samples as I tried out different ideas. Two of these samples were good enough to have been made into small quilts in their own right to accompany this one. I have decided to mount these onto stretcher bars and place in white floater frames, as you can see below. I will be interested to hear what people think about this finishing treatment as it is not something I normally do with my work.
As I mentioned, I made this work to hang in the upcoming exhibition 'Unfolding Stories 3' which will showcase work by members of the Group Contemporary Quilters West. The exhibition promises to be fabulous and I hope my work will be selected to hang.
The exhibition will premiere at Harbour House Centre for Arts and Yoga in Kingsbridge, Devon. TQ7 1JD from April 27th to May 3rd. I aim be at the exhibition every day and it would be wonderful to see you there if you are down that way. Click on the image below to go to the CQ West website.
Thanks for reading.
One week on and this is the progress I have made. It took a lot of thinking about how I want the finished quilts to look. The last group of faces I made were mostly colourless, or very lightly coloured. For these quilts I decided I want to add a new dimension, and colour is going to be my focus.
Over this past week I have spent a lot of time trying different colour palettes; from realistic to complete fantasy. The image above is what I have decided to go for. It is interesting that in this photo they left eye does not work well, yet when I look at the quilt top it seems fine. I need to find out what is going on, and if necessary make some changes.
I have never really painted a large face with colour before, and I knew I would need to mix a lot of different tints and values so I could give contour and definition to the face . As you can see, the style I have chosen is not exactly 'realistic'.
This is what I did.
Like your art teacher probably used to tell you - start with primary colours.
The paints I used are Daler Rowney Graduate acrylic paints mixed with a little Berol fabric medium. Nothing fancy, but not the budget type of acrylic either. I started with Primary red, blue and yellow. I also used mixing white a bit later. (I didn't use the brown that is in the photo at all.)
I used these 3 colours to create a base colour from which I made all the other tints.
I began by mixing equal quantities of each colour, but ended up with a sludgy grey yuk. After some trial and error I ended up using 2 parts yellow, 1 part red and 2/3 part blue to yield a dark brownish yuk. I made a small jar of this to use as my base.
This is the yuk that turned out to be perfect when mixed with various amounts of white.
I made a (not terribly accurate) record of my mixing in my sketchbook, as you can see below.
Using just the dark yuk to start, by adding small amounts of white, red, yellow or blue as I worked I was able to paint each part of the face with different values and tints. I also took a photograph of my own face to use as a value reference which proved to be very helpful.
This is how my paint palette looked at the end of the day.
I had intended taking lots of photos as I worked, but unfortunately I got so engrossed with it all that this is the only photo I took before it was finished. You can see form this image I started by adding the lightest values around the eyes first.
And this is how both faces look now.
And now the project continues - next stage - how shall I quilt them?????
Thanks for reading.
Alongside my 'Stitched Alchemy' quilts I have another ongoing body of work, named 'In This Skin' (All my quilts are on my website gallery which can be viewed by clicking here.)
Until recently I didn't used to like working on different themes at the same time as I used to find it too confusing. Funny how things change... nowadays, I prefer to work this way, as I can take a break from one set of thoughts, leave the quilt to sit on the wall for a while and give myself time to mull things over whilst getting on with something different. It gives my mind time to work things through.
And that is exactly what is happening with my 'Goddess or Sex-Object quilt at the moment. It is almost finished, but at the moment is sitting on the wall whilst I contemplate one more idea before I think it will be complete. It involves some violet-red velvet....................
Which brings me to the other quilts I am working on; they are a development of the large faces I made in 2016. Those quilts focused on physical appearance and how there is a whole industry dedicated to persuading us that we are not beautiful enough. For the new quilts I want to explore how important physical appearance is in the way people view gender and the multitude of stereotypes that accompany that.
For my first two quilts I have decided to focus on people who identify with a gender that is different to that which they were assigned at birth.
This is the sketch that I began with. I am trying (not very successfully) to start each day with a drawing in my sketchbook. I want to improve my portrait drawing skills and thought it would be a good habit to get into. Unfortunately I am not very good at the discipline this requires.
This original face is of nobody in particular, but I think it is fair to say that it is what many people generally think a beautiful woman would look like.
Is it the long slender neck; the defined cheek bone; the pouting lips; the long lashes? If you look like this you are categorised as 'feminine' by society - an attribute solely based on appearance. I am thinking here about identity - not the sort that gets you a bank account, but how we feel about ourselves and how we 'fit' into society as a whole. It makes me wonder if you don't look like this are you less of a woman?
Like it or not, our 'looks' have a great impact on the way we inwardly perceive ourselves and the way others perceive us. Gorgeous, pretty, plain, ugly.....leads on to other assumptions: strong, confident, smart, sensible, ditsy, shy, dumb, geek, .......... the list is long. I know it has always been this way, but I think that since the growth in popularity of social media more and more we find ourselves tied into roles and identities that others have chosen on for us. And that is where things can start to go wrong. What if you don't like the identity that you find you have been put in? What if you believe you have been placed into the wrong one? Do you go with it and accept it? Do you put up with it and feel unhappy? Or do you rebel and make efforts to change it? That is what my first two quilts are about.
Developing the idea
Moving on from my original sketch I drew another one, but much bigger this time, about 1 metre by 1 metre in size. I wanted to explore how changing the neck, cheek shading, eyes and hair could change the perceived gender of the subject. After I made the first drawing on the left I flipped it over, made a copy with a few subtle changes in shading, a tiny change to the mouth, taking away most of the eyelashes, softening the hair lines and slightly thickening the neck. Apart from that it is virtually the same drawing. I was amazed to see how little it took for the perceived gender of the face to change.
To transfer these images onto fabric I put a large piece of white cotton fabric over the top of each drawing and used the sketch to guide my painting. The pictures below show my progress.
From here I need to begin to think about how I want to create more interest in the images. Obviously colour is one avenue I need to explore, as are some other mark making techniques on the cloth. I need to do some more thinking and sketchbook work to figure that out.
Thanks for reading.
This copper quilt is driving me mad! I don't think I have ever spent so long over the development of a quilt as this. For once I I had too many ideas and I decided to explore all the possibilities, which has all taken time:
copper used for electrical wiring, circuits & microschips;
copper fixed to the hulls of ships to reduce the amount of fouling and thus make them faster, so slave ship owners would loose less of their 'perishable' human cargo;
copper mined in Cornwall and refined in South Wales, forming the backbone of the economy for the south west until cheaper copper was found elsewhere;
the little known copper-age, ( about 4500 B.C. to 3500 B.C.) where copper metal was worked on a relatively large scale in part because it is found in "large pure ingots in a natural state" in many different locations around the world;
Copper used in medicine as an antiseptic to sterilize, cure eye ailments, help with immunity and TB treatment, give relief from arthritis and as a contraceptive .....
The list goes on, but I wanted to research each of these ideas before I narrowed down my options.
Happily, today, I made a final decision and brought together my refined ideas to form a resolved design. It is a huge relief!
I finally decided the narrative for this quilt would be the Roman goddess Venus, who, in Western classical tradition, is the most beautiful of all goddesses and is the living embodiment of fertility, love and sexuality. Her birth and subsequent life story is inextricably linked with the island of Cyprus, ancient home of the metal copper.
Venus is also known as the 'Alchemical goddess', because she alone had magical powers that could cause both gods and mortals to do as she wished. One thing I rather like about Venus is that she does not fit the image of a 'vulnerable' woman as do many other goddesses, and in classical times was never victimised or made to suffer because she was a woman. She was mother of Cupid and many, many others; she cast spells which resulted in mortals and gods falling in love and conceiving new life; she turned a statue into a living woman for Pygmalion; she inspired poetry and declarations of love. Whole goddess cults grew around her, (some still continuing to this day) focusing on fertility and love. Such was her popularity and power, even Julius Caesar himself declared her an ancestral relative.
During the Renaissance Venus's popularity as a 'sexual' goddess made her a subject of great interest and depictions of her became the classical nude figure. What is interesting to me is though, is how, over time, such depictions have gradually transformed the notion of 'Venus the revered goddess' into a simple nude female sex object. This change is what I decided to explore with my quilt.
I have decided to call this quilt 'Goddess or Sex Object?' and have used Botticelli's painting of Venus as a starting point.
I have kept the quilt top in two parts, to reflect this dual view of Venus and have cut into the quilt to create a large venus symbol. To join the two sides I have created something 'appropriate' - I hope people can figure out what they are supposed to be!
This is how the quilt currently looks.....
It still isn't finished as I have more to work on at the top of the quilt, but I am finally happy with the direction it is going.
Thanks for looking.
And so I finally got there. I have been thinking about this for so long now it seems like it is an old idea, but this week I have finally got it 'out'. The beginnings of a piece of work on copper, element 29. It is that shiny, reddish metal that was probably the first ever metal to be worked my man.
The oldest metal object found to date in the Middle East consists of a tiny copper awl dating to around 5100 B.C. The artifact was unearthed in Tel Tsaf, an archaeological site in Israel located near the Jordan River and Israel's border with Jordan.
In my research into this common place metal I have learned some very interesting things......
Anyway, with this and more buzzing around inside my head I got out my sketchbook and started to mess about. Here are a few of the pages:
Although copper does not readily corrode as much as iron, its surface does oxidise when exposed to air. The oxide layer, unlike rust on iron which flakes off, remains on the surface of the copper in a beautiful green layer known as verdigris. This is the colour I decided to dye the fabric for the copper quilt.
The best verdigris colours came from a recipe using turquoise, bright blue and golden yellow procion dyes. The rest of the greens will probably end up being overdyed again transformed into something for another quilt about lead!
Using some of the symbols from my sketchbook pages I made some print blocks from foam and lino and printed onto the green fabrics. I also used a monoprinting technique to create other thin lines and marks, all which have some connection with copper. You can see some of the results below. The fabrics have been cut into strips and pieced in a similar way as the other alchemy quilts I have made.
And these are two long strips I have stitched together, alongside the original quilt which was the first in the series which has just returned from a trip to China (I wish I could have accompanied it!).
As for what comes next, I am not sure. I obviously want to add stitch - I have some thin copper wire I would like to try - and I am also thinking about using copper leaf and copper shim, but as to how - that remains to be seen. I think some experimenting is in order!
Thanks for reading.
After a long break from actually making anything I have finally got down to work. It isn't easy getting started again though. I have at least one large quilt that I want to make based on copper metal - more work for my Stitched Alchemy series which I am hoping to exhibit next year in the Contemporary Quilters West 'Unfolding Stories 3' exhibition (more on that in another post).
The fabric I have dyed isn't saying much to me at the moment, and despite lots of trials and stitching of different pieces together nothing much has worked.........yet. I have several ideas which I need to allow to develop and if I try to rush things it just isn't going to work. My design walls have lots of different fabrics pinned in all sorts of combinations and sketches and ideas are all over the place. The studio looks, quite frankly, a mess!
So, although it feels a little like a diversionary activity today I decided to make something completely different. I think if I take time 'off' from the serious stuff it might just allow some space in my mind's eye for more ideas to develop, (well, I hope so).
I was inspired by the ladies of Hardy Quilters with whom I spent a lovely day last week teaching my workshop Surface Design Techniques 2. We had a great day designing, creating and then using print blocks and when I arrived home I was in the mood to create something in the same way. I have added a selection of images at the end of this blog post so you can see some of the beautiful fabrics the ladies created on the day.
As it is Halloween I decided to take that as my theme
I've noticed that so called 'sugar skulls', more correctly called La Calavera Catrina, have become a popular image used in Halloween costumes and decorations. I did a little research and found out some interesting things about these unusual decorative skulls.
Wikipedia tells me that La Calavera Catrina ('Dapper Skeleton' or 'Elegant Skull') is a 1910–1913 zinc etching by famous Mexican printmaker José Guadalupe Posada. The image depicts a female skeleton dressed only in a hat befitting the upper class outfit of a European of her time. Her chapeau en attende is related to European styles of the early 20th century. She is offered as a satirical portrait of those Mexican natives who, Posada felt, were aspiring to adopt European aristocratic traditions in the pre-revolution era. She, in particular, has become an icon of the Mexican Día de Muertos, or Day of the Dead. (Click here to visit the Wikipedia page)
I thought I would make my own simple version of La Calavera Catrina to make some prints on fabric and then use the fabric to make something. I began by drawing a simple skull shape to use as a pattern.
Next, my favourite part - carving the lino block. I also made a second one using childrens' play foam. It is a very cheap and versatile product and makes great stamping blocks in minutes.
Once they were carved /cut I did a few test prints to make sure I liked the outcome. I used a foam roller and black acrylic paint mixed with a little fabric medium.
I printed a whole length of fabric with randomly placed skull shapes. I think I need to add a little colour to the remaining white fabric to make it more appealing.
I printed a second piece of fabric, this time in a more considered way. I alternated printing with the lino block and the foam stamp to add some variety. As I used acrylic paint it dried very quickly and I was soon able to add more colour with more acrylic paints.
This is how it looked just before I layered it up and quilted it. I layered it with a medium/heavy weight stiff interfacing and a layer of fabric on the back ready to turn into a bowl.
The quilting pattern I chose was a simple daisy flower motif - the same as the flower pattern on the lino block. I decided to only quilt the centre of the fabric and then outline quilt the skulls to hold the layers together.
And after adding a little more paint, this is how it finished up. It is more of a shallow dish/ plate than a bowl, but I think it looks very pretty!
And here is a selection from the work created in the workshop by the ladies of Hardy Quilters, one of whom was just 9 years old. Thanks ladies, I hope you create something great with your fabrics.
Thanks for reading.
This week has been busy with all sorts of non textile related things - perhaps the most interesting of which was the arrival of 4 ex battery hens. I've been preparing for their arrival for a few weeks, and here they are.............
They have been a fun distraction - but I have also been determined to get myself organised in the studio so I can resume dyeing fabric once again. Dyeing fabric with fibre reactive dyes (sometimes referred to as Procion MX Dyes) is pretty straightforward once all the right 'stuff' gathered together. If all the things that can be pre-mixed are made up at and at hand it is a quick process.
Late last week I began by gathering various containers ready to mix and keep the different solutions I generally use when dyeing. I raided the recycling bin for a nice big bucket with a lid, a large soft drink bottle, several small bottles with lids, a few jam jars and some yoghurt type pots and put them all into an old washing up bowl.
With all that ready I spent a very enjoyable day measuring and mixing the various chemicals so they are all ready when I need them. Before I carry on though, I need to say that I am not someone who dyes fabric by weighing and measuring precise amounts. I have tried to be exact, make notes, make samples, be disciplined; but after about ten minutes I have lost the plot and revert to mixing colours on the hoof with a bit of this and a few drops of that. I will never be able to exactly replicate a colour if I love it - or if I run out of fabric in that beautiful shade of crimson I dyed last week, but that's ok with me. I think I get more fun and a more exciting range of colours for my work by doing it this way. It is the way I like to do it - it isn't the only way, but I like to be a bit spontaneous and squirt colours together and try them out.
But before I get to the dyes, I also need some other chemicals and solutions to be prepared. These are the 'recipes' I generally use for most of my dyeing work:
Urea Water: (also known as chemical water)
Mix together 8 tablespoons of urea in 1.5 litres of warm water in a bottle and shake until dissolved. It seems to keep indefinitely.
Soda Ash Solution: (also known as pH+)
Mix together 1 cup of soda ash and 4.5 litres of warm water in a big bucket. I give it a good stir with a wooden spoon until it is all dissolved, then put the lid on. It keeps for ever in my experience.
Sodium Alginate thickener: (also known as Manutex or kelp / seawaeed thickener)
Sprinkle 6 to 10g of sodium alginate onto 100ml liquid. You can use plain water, urea water or liquid dye, depending on the result you want. I usually make mine up with urea water. Whisk it together and leave to stand for at least 15 minutes. I put it into a jar and store it in the fridge. It keeps for a month or too before it goes stinky.
Fibre Reactive Dyes: (also known as Procion MX)
I like to make up small batches of dye (100ml to 200ml at a time) so that I have some ready to use at a moment's notice. I keep it in small bottles with the lids firmly closed. I label each colour so I know exactly which is which - sometimes the colours can be deceptive!
I like to make up fairly concentrated dyes so I can dilute them if necessary. Some people believe the dyes 'go off' or lose their oomph once mixed, but I haven't found any issues with dyes I have made up and used even a month or so later. So long as there is no soda ash in the dye mixture they seem to last at least a few weeks - if not longer.
I use 1 heaped teaspoon of dye powder and 2 teaspoons of salt for every 50ml of warm liquid for my concentrated dyes. The liquid is either urea water or plain water. It needs a lot of stirring to get the dye powders fully mixed and sometimes not all the powder will go into solution. I find yellow to be particularly difficult. If that is the case I usually use just plain water and which is just off boiling point. I dissolve the salt in that first, then allow it to cool a little until it is hand hot. Then I add the yellow dye powder and stir and stir and stir. Eventually most of the dye powder goes into suspension, but often settles out once the dye stands. I just give it a huge shake before using and that usually does the trick. Any tips on dealing yellow are much appreciated!!!
1. Although not all the chemicals require you to wear gloves and/or a mask whilst you are handling them I find it is just easier to put them on whilst working with the various powders and not worry about forgetting to do so. That way you know you are covered!
2. Remember that any utensils or containers used with these chemicals should never be used for food use. Get yourself a collection of utensils and containers that you only use for dyeing - charity shops are great places to gather such stuff.
3. Label everything really clearly with the name of the contents and date - Manutex really stinks when it goes off!
With all that prepared I will be able to dye any fabric I want in just a few minutes - with no need to get everything out and mix it all up from scratch (although sometimes that is nice to do too, especially if a big batch of something is required!)
And finally.............starting work on a project at last!
I need some 'wood-like' fabric. In 4 pots I mixed up some of the alginate paste with dye concentrate and soda ash solution - each pot has a different colour dye. Once the soda ash goes in the clock starts ticking! Around 4 hours is the advised time you have to work with the dye, although I find the working time lasts much longer in the cool British climate!
4 big paintbrushes and some bold brush strokes later - this was the result.
I made 3 large pieces of fabric, rolled them in a huge sheet of plastic and left them to sit in a warm room overnight (called batching).
In the morning I unrolled them, rinsed them in the sink with tepid water to get rid of the excess dye and then put them into the washing machine on a hot wash. And this is how they turned out.
So, now I need to figure out what to do with them next!
But while all that was going on, look what else happened.......................................
Thanks for reading.
Due to moving house have had a long break from blogging - but I hadn't quite realised how long. It has been almost two months and even my sister is on my case. Last night she called and told me she was fed up with looking at my last post and could I get on with something please?
The problem is, I have been so busy with the house move that I haven't actually made anything for a long time. My fabrics and equipment were all packed up in boxes and I didn't have the time or place to create - until now!
With lots of help from my family I have finally got my new studio up and running. It has been exciting watching the shabby garage gradually being transformed into a studio and I am absolutely itching to get started on creating something new. I have a list as long as my arm of projects I need to get on with - but as yet, nothing concrete has been planned. I have lots of ideas that all need to come out of my head and onto paper and fabric.
So here is how my studio looks......................that pile of fabric on the table........... watch this space!
Most of the furniture has come from IKEA - and was reasonably priced and very practical. With a bit of lateral thinking several pieces of furniture have been combined to create a cutting and work table, a mobile ironing table, an office desk, sewing tables and storage.
The walls have been lined with floor insulation and are in the process of being covered with felt to make large design walls and a place for my work to be photographed.
The lighting (not quite finished, as one of my lights has been 'transferred' to another project in the house...) is also from IKEA - in the form of a dimmable LED light box. The unit I currently have over the sewing machines produces a clear bright white light with no shadows. I need to buy another to mount over the work table to complete that part of the project.
My pride and joy is the work table with the biggest cutting mat I have ever had. It is a single piece of colourless transparent 'stuff' (not sure what it is really) that will allow me to cut large pieces of fabric in one hit, without the need to jiggle smaller cutting mats about. I have put a grid underneath it to form guidelines. It wasn't the cheapest thing on my wishlist, but it fits the table top perfectly, and I love it.
The part of the project that is the least impressive in the photos, but probably the most important of all, was the transformation of the floor. Being an old garage it was rough, pitted and very uneven. After being partially screeded and painstakingly smoothed I chose a really hard wearing lino type product to cover it and it has transformed the crummy garage into a clean and tidy studio.
I have made it feel like 'home' by hanging two very special pieces of art on the only wall that isn't being used for storage or designing. The first is a painting by Sue Van Staden, a very dear friend whom I miss greatly. I just love it and I'm so glad I can look at it as I work. The second is a fabulous piece of textile art that I received just a few weeks ago from the 'Portrait Shuffle' that took place at this year's Festival of Quilts. ( laurakemshall.blogspot.co.uk/2017/08/the-portrait-shuffle.html )
Thanks to the efforts of Annabelle Rainbow and Laura Kemshall (and, I am sure, a huge team of others) I now have a new friend and a portrait of someone very special to her. Thank you Fiona Bailey for your fabulous portrait!
Original artwork by Sue Van Staden and Fiona Bailey
So, I am ready to get to work. It is pouring with rain today, so I think I will have a busy day in the studio.
Thanks for reading.
I'm in the middle of a lot of things at present, which means small projects are all I can manage at the moment. I like to be busy, and have gradually got into the habit of having lots of things on the go at the same time.
Last weekend I taught my Reversible Sun Hat workshop at one of my favourite places, Midsomer Quilting. For the past few weeks I have been preparing for this new workshop, getting the patterns right, making samples and ensuring everything would go smoothly on the day. As the hats are small this worked well in my 'small projects' category. Teaching a new workshop for the first time is a mixture of excitement and nerves but I am delighted that all the hats all turned out fabulously and everyone had a thoroughly good day. By the end of the afternoon there were 4 completely finished hats and 6 that were almost done. As you can see below, there were lots of hats in lots of different sizes - some finished, and some still floppy and under construction. They all looked fantastic!
You can see more about the hat's workshop by clicking here.
This Saturday I am going to be teaching again, but this time at another of my favourite places, Pauline's Patchwork. I'm going to be teaching how to make a small art quilt that takes its inspiration from the traditional favourite 'Grandmother's Garden'. The two quilts below are my interpretations using tesselated hexagon shapes to create the garden. This week I have been busy preparing the samples, stamps, fabric paints etc. to make sure everyone has a great day. You can see more about this workshop by clicking here.
Another small project I have started to think about is the annual 12 x 12 challenge hosted by Midsomer Quilting. Each year in November/ December they challenge anyone who has a link with the shop to create a small 12 inch square quilt on a given theme. Here is a link that will take you to the 12 x 12 challenge web page where you can link to all the previous challenges:
Over 700 - yes you read it correctly, seven hundred quilts that have been entered into the various challenges. Many of these have been donated and sold to raise funds for Dorothy House and CLIC Sargent, two very worthwhile local charities. This year the theme is 'Where in the World?' I think this is a great choice as it is easy to think of all sorts of places or things associated with places that would be a great fit.
This week my mum and I started our quilts - another 'little' project. Here is a sneaky peep at part of my mum's quilt. She has chosen to do some needle felting as well as some quilting. I really enjoyed watching how she made it.
Mine started life as a doodle, which I turned into an idea for a little quilt along the lines of one of my Doodle Birds. Here is a glimpse.....
So - although you have only had a teaser so far, can you tell where in the world our quilts are from???
I hope you have enjoyed seeing what I've been up to these last few weeks - I'll post the completes 12 x 12 quilts once they are finished.
Thanks for reading.
I recently spent another fabulous day with the members of Walton Textiles, this time making beautiful rose gardens. We had a lot of laughs and everyone was tremendously productive, in fact by the end of the day everyone had pretty much finished their curved-pieced quilt top and covered it with sprays of flowers.
The nice thing about this workshop is that the pieced quilt top builds quickly. Once you get the hang of the technique of cutting and piecing the gentle curves (not difficult, just different!) you are off. In just an hour or so everyone had their quilt top done.
By lunch time everyone had a fabulous quilt top to work on.
After lunch we began adding the flowers. There are so many different options..... We discussed size, shape, colour and layout before everyone got back to work.
Amanda began quilting her fabulous quilt top towards the end of the afternoon.
I hope you agree, they are all fantastic. I know that at least one is destined to become a cushion, one a wall hanging, one a table runner and another is going to have a twisted log cabin border added. Ladies, I am looking forward to seeing them once they are finished!
To find out more about the 'Garden of Roses' workshop and download the accompanying brochure, please clickhere.
Thanks for reading.