More Snow Dyeing

This snow dyeing technique produces some unique markings, that's for sure. It's too bad it's limited, season-wise. Plus it takes a fair amount of space. I have to cover the pans to make sure the cat doesn't manage to get into them. After all, they are kitty litter pans, and she feels a certain ownership. So here I have these beautiful fabrics, which present the problem of how to use them. It would be difficult to overprint them and they don't seem to want to fade into the background. Front and center would make them happy, I think. So I thought that a good way to showcase these fabrics would be to dye some t-shirts also.

This blue one, which is nice, but not spectacular, will be my working-out-at-the-gym t-shirt. I can admire myself as I slog through my workout.

This second one I like a whole lot better. I used two different pans with different colors (obviously). The blue pan was the Brilliant Blue, with a little bit of Black Cherry and a little bit of Golden Yellow. I didn't mix the dyes so strongly this time, only 1 T per 1 cup of water. The second pan was mostly the Golden Yellow with some red and a small amount of blue. These pieces are to die for. Or is it dye for? Ha Ha. Sorry.

These next 4 images are all from the same piece of fabric and were in the same pan with the above t-shirt. It's amazing the variety of markings and colors that appear. And again these are fabrics that will have a difficult time playing with others, they are just too eye-catching.

Before the snow all melts I should try to do some with more dilute dye solutions to see if I can get subtler markings. I think I have some time, I'm betting there will still be some piles of plowed snow for another month.

Snow Dyeing and a Sweater

There has been a lot of discussion on the various dyeing and surface design lists about snow dyeing. I have always thought that this was rather a strange method of dyeing fabric since one of the basic premises is that the dyes need a temperature of at least 70 degrees to fix to the fabric. Snow is obviously nowhere near that temperature, so why use it? But at the moment we are overwhelmed with snow and I needed to dye some backs for quilts, so I thought I would give it a try. Right outside my back door is enough snow for just about the entire world to try out snow dyeing. In case you hadn't heard, we here on the East Coast, particularly in Baltimore, have had two humongous snow storms in the past week. This much snow is unheard of around here. And this season, we have had three storms of more than 20 inches of snow, an event never before recorded. For a region that normally gets 18 inches of snow for the entire season, this wallop has pretty much shut down everything. So, back to the snow dyeing.

A little research showed me the methods that people had used: pre-soak the fabric in the soda ash/water solution, wad up and place into the bottom of a large pan. Gather up the snow and pile it into the pan. Pour the dye solution over the snow. The snow forms a resist of sorts so that the dye hits sections of the fabric unevenly. Once the snow melts, then let the fabric batch overnight. I placed my snow-filled pan in a sunny window to speed up the snow melting process, but it still took many hours. The pans were on a slant so that as the snow/dye melted and puddled, the fabric was not soaking in the liquid.

I used some blue dyes that are at least 10 years old, mixed at 2 Tablespoons dye powder to 1 cup water. This is pretty concentrated solution. I wanted to see if I could get saturated colors because most of the examples I saw on the web were too pastel for my taste. This first piece is a Brilliant Blue and Black Cherry, both from ProChem. The Black Cherry was mixed at 1 Tablespoon in 1 cup. When all the snow melted on this one, I drained out all the liquid.

This second piece of fabric is Cerulean Blue, again 2 T in 1 cup water. For this one I must have had more snow or it wasn't in direct sun because it took much longer for the snow to melt and I didn't bother to drain the liquid. Maybe those more solid areas were soaking in the dye all night.

The results are really pretty nice, but I'm still not convinced it's worth the effort and the time involved. And the close contact with snow, that stuff is cold.

In December I blogged about dyeing some cotton yard and knitting a sweater. You can read about it here and here. I discovered that it's difficult to get even coloration on the yarn and I was worried about how it would knit up. Actually I like the slightly variegated look. Here is the finished sweater. It crosses over in front and ties at the side. I haven't had a chance to wear it anywhere yet. I like the patterning and once I got the hang of it, didn't have to rip out very much at all.

Now I've got another knitting project going. I like to knit while watching TV in the evening. Hand sewing makes my fingers and hands hurt, so I do this instead. It seems a shame to just sit and watch and let my hands be idle. I can glance up enough to keep up with what's happening. Except for Lost, and particularly when they air the previous week's episode with little explanations written out at the bottom of the screen. I call this "Lost for Dummies" because it helps make sense of the plot. Sort of.

Keeping Busy

This is not a creative time of year for me. The days are dark and often gloomy, the trees are bare, and everything feels gray. I can't seem to get in the art mode, but I want to be in the studio. So what better time to clean the place up? I wish the horizontal surfaces weren't such magnets for stuff: magazines, fabric scraps, paperwork, stalled projects, yadda yadda. If I'm not diligent in putting that stuff away my work surface contracts into about 2 square feet. So I spent a day or so putting things away and dealing with paperwork. And I have several pieces that need the finishing touches - sleeves, labels, bags, slats. Boring work, but I can listen to audio books and the time passes quickly.

In the past I've made labels using t-shirt transfer paper. I've never been very successful with that stuff, and I think the papers have gotten old, because I was even less successful this time. I couldn't get a good transfer no matter how many times I tried. I had the idea to get them printed at Spoonflower, and created a jpg of the label with my name and address information on it, and uploaded it. I'm getting a yard of labels, which I think works out to more than 50. That should last for a long while. The title of the piece and its measurements will have to be added to each piece, and I could either write it out by hand or stitch it by machine using the built-in alphabet. Or I could even freehand write it out.

On one of my email lists there has been a thread about rejections. I've hit the trifecta this season with 3 (or maybe 4, is that a quadfecta?) rejections, all in a row. I'm not sure of that last one because I'm not 100% sure I even entered. It wasn't a show, so I didn't have to put it in the schedule, and I don't have a copy of the entry form. I intended to enter, but maybe I didn't carry through. I was never notified either way, and since I'm not on the list of people who did get in, obviously I didn't. Sheesh, I hate this CRS (can't remember s*^%).

Winter time is knitting season for me, and I searched for a sweater pattern that had more interest than a plain stockinette stitch. I found one with an intricate cabling pattern and I really liked it. Knitted up a test swatch and tried to follow the pattern. Yikes - too complicated. I would never be able to get it right and would constantly be tearing out rows. So I've found another pattern that's not quite so complicated (I hope). Ordered more cotton yarn from DharmaTrading and dyed it the other night. For this sweater, I thought the yarn should be all one color and so I used three skeins and immersion dyed them. I know why variegated colors are so popular - they're so easy to do. Even coloration is very difficult, and I have the results to prove it. You have to stir the yarn in the dye bath to distribute the color, but the more you stir the more likely the yarn is to tangle. So I have different shades of the golden brown I tried to get. The skeins have been hanging on the line for 36 hours now and they're still not dry. Then I will have the task of winding them into balls, which will have the added difficulty of keeping the yarn away from Rosie, the kitten, who thinks everything is a toy. Once I knit the sweater, if the variation in color is too obvious or doesn't look good, I can always over dye.

But the news is not all gloomy - yesterday I shipped High Noon off to its new owners in California. They are celebrating an anniversary and decided to treat themselves to the purchase of my quilt. I think that is an excellent way to celebrate an anniversary.

High Noon ©2005

We will be celebrating our Thanksgiving on Saturday again this year, since my daughter goes to her in-laws on the official T-day. It always feels weird to be cooking the turkey dinner when everybody else is still recovering from their celebration, or out shopping. So, whenever you celebrate Thanksgiving, have a great day!

One last thing. John Hopper, author of The Textile Blog, wrote a very complimentary article about my work last month. He writes about the entire gamut of textiles - quilts, tapestries, knitting, carpets, embroidery, and more. There are some very interesting articles on his blog (in addition to the one about me, of course).

Chemistry Exercise Part 2

As promised, the second part of the dyeing exercise, using what Elin Noble calls "Jewel Tones". I used Fuchsia, Turquoise, and Sun Yellow (ProChem 108). The greens, oranges, and purples produced were clear and bright. These used only 2 dyes in combination. When using all three dyes, the results were less bright and moved into browns, some nice and some less so.



As I examined the results of the combinations of all three colors, I wondered how Elin came up the proportions of yellow, blue, and red that she chose. It certainly wasn't an arithmetic progress, like 10%, 20%, 30%, etc. And it didn't seem to be geometric, like 1/2, 1/4, 1/8. I'm certain that it has much to do with the relative strengths of the dyes and that the numbers she came up reflect that. I'm just curious.

Part 3 of the exercise combines the earth tones and the jewel tones to see how they differ from the straight combinations done so far. I could really get carried away here but I'm going to just be content with what I have. And maybe someday I will take Carol Soderland's class.

Chemistry Exercise Part 1

I love the excitement of dyeing fabric and watching the wonderful colors emerge but I've never been very precise or scientific about the process. I have Ann Johnston's Color by Accident: Low-Water Immersion Dyeing
book and refer to it constantly, particularly for the dye concentrate formulas and occasionally to get a particular color. It's always been hit or miss, with the emphasis on the "accident" part. When aiming for a particular color, sometimes I'm successful, sometimes not.

I also have Elin Noble's book Dyes & Paints: A Hands-On Guide to Coloring Fabric, which is also a great resource. I refer to her color pyramid with the percentages of yellow, blue, and red needed when I'm trying to get a particular color. She talks about "earth tones" and "jewel tones" and herein lies the basis of my chemistry exercise.

(I know I could take Carol Soderland's color class and end up with a marvelous resource of color recipes, but I know I will never be that precise when dyeing fabric. I'm just looking for generalities here and to see how the various primaries affect the final color.)

Part 1 - the plan is to use the "earth tones", which are somewhat subdued from the "jewel tones". I used the three dyes she recommends, or at least something close: Golden Yellow (Dharma 3, which is nearly orange), Light Red (Dharma 12), and Intense Blue (ProChem 406). The orange tendency of the Golden Yellow has a big influence on the final color.

I took her percentages and translated them into milliliters of dye concentrate, which I made using Ann's formula of 2T dye powder in 240ml of water (talk about mixing measuring systems, but I only have measuring spoons in teaspoons and tablespoons, and it's easier to use milliliters when calculating percentages.) I used fat eighths of fabric and labeled each piece according to the color it was going to get. I knew I had to get everything arranged ahead of time in order to not get mixed up. I used little syringes marked in milliliters to measure the dye concentrates, if not exactly, at least pretty close. Here is the color pyramid from earth tones:

This is not a very accurate color presentation, but you can certainly see how the yellow tends toward orange. The outside edges of the triangle are combinations of 2 colors only: red and yellow, yellow and blue, blue and red, with the points being the pure color. I find the colors on the inside of the pyramid much more interesting - these use all three dyes in varying amounts. It's equivalent to adding the complement of the color to the color to mute it somewhat. If I mix yellow and blue, I get green. Red is the complement. Or mix yellow and red to get orange, then add blue. Or mix red and blue to get purple, then add yellow. It was really interesting to see how little or how much of a color was needed to make a change. The color in the middle of the third row from the bottom is the brown that results from equal intensities of the 3 dyes. But not equal amounts, since red is about twice as strong as blue or yellow.

Part 2 of the exercise is to use the "jewel tones", which I mixed up last night. Those colors are Sun Yellow, Fuchsia, and Turquoise. I haven't rinsed those out yet, but I can see that there is a huge difference in the results. The colors are definitely more brilliant, like jewels. I have to be a little more patient before rinsing these colors out because turquoise takes longer to fix.

Part 3 of the exercise is going to be smaller in scope, because I could drive myself crazy here with all the combinations and permutations. But I am going to combine earth tones and jewel tones to get the secondaries (green, orange, purple) and the middle brown.

Then I will put all the information in a notebook along with color swatches and have a marvelous reference!

Finishing off the dyes

I still had some dye pastes left but I was done mentally with doing screen printing. I hate wasting dyes so I thought that I would just add water and do some low water dyeing and that would use up what was left.

These first two pieces are some green that I had mixed up and some gold/yellow/brown that I combined. The green looked pretty awful when wet but got much better when it was dry. Usually I like the colors better when they're wet, so this was a surprise.

The one on the right is fuchsia (no surprise); the one on the left is scarlet. I love red.

This was the surprise. The dye color is Deep Cherry and in the dye pot it looked nearly black. The wet fabric looked very very dark purpley-red and rich. The dry result is less so and is destined to be the base for something else. I don't much care for this color.  The light grey piece was dyed in the same container but added after about 15 minutes had passed (like Ann Johnston's parfait method). It looked lilac when wet, but all of the red washed out and the fabric is a lovely grey. (Eat your heart out, Linda in Belgium!) This was a reminder that red always fixes very quickly and isn't be available in subsequent layers of parfait dyeing.

I had 4 different blues left over: navy, intense blue, turquoise, and I don't remember the name of the 4th one. I always have lots of blue left over because it's the color I use least when dyeing. So why do I mix up so much? Can't resist having a selection. And blue is necessary for green and gold and purple; I just have to remember that I need relatively less blue than I need red and yellow.

These last two pieces were done with screen printing, using 3 different screens. I cut stencils from newsprint. The first one was the outline of the connecting squares. The other two were the squares that were slightly offset from the outlines and also sized and positioned so that they didn't quite fit inside the boxes.  I like how these turned out, but I did them on white fabric and there was too much white. I put each of them in a very dilute yellow solution just to take the edge off the white. 

I'm thinking that I will make some thermofax screens of these boxes and outlines. This kind of stuff is quicker to do with paints because there isn't the batching time that's needed with dyes. Also, doing these designs with dyes meant I had to wait to let the dye paste dry enough that it wouldn't blur when more layers were added, a step that isn't necessary with paints because they dry so fast.

The real surprise was in one of my dye containers. I have a collection of 1/2 gallon sized plastic milk containers with the tops cut off that are terrific for the layered dye method. They're stored in the closet, which is next to the crawl space, home to various and sundry uninvited wildlife. Imagine my delight when I found a mummified mouse in the bottom of one of the containers. Must have fallen in and couldn't get out.  At least it wasn't a snake. Yuck.

What the turquoise did

Thanks for the great comments! Sometimes it takes me a while to appreciate what I've done and I know that each of these fabrics will be perfect somewhere sometime.

Linda asked what the turquoise on the blotter fabric went into. This is the piece. It's turquoise and also another deep blue, either Intense Blue or Navy Blue. With some pale yellow to soften the white. It's very difficult for me to leave white areas. Even a little bit of color is better than pure white.



This morning I took all the dye pastes that were mixed and used on soda soaked fabric and slopped them onto a piece of fabric. It looked very very dark. It's batching right now and it will be interesting to see just how much color was left in those pastes. Stay tuned.

Deconstructed Screen Printing once again

I've been working on some deconstructed screen printing again, hoping it will provide some inspiration for new work. I have to pull out my notes from previous sessions so that I don't spend days relearning what I already know but have sort of forgotten. In spite of that, I still did some things that produced less than satisfactory results. So here are some of my new fabrics. You can click on the images for a larger view.


I like this one. The dot images are from some kind of tape that I got at Home Depot. I have no clue what it's supposed to be used for but it makes a great screen image. I used a Deep Cherry Red to make the screen and then used a yellow print paste for the release. Or maybe two yellows.


Torn paper for one image and a design I drew on the screen for the cross hatch lines.


Furnace filter screens for the big circles, bubble wrap for the small circles, and hand drawn circles for the medium sizes red circles.


Torn paper striping, a thermofax screen made from a previous session with torn paper, and some squares made with regular screen printing and torn paper.


This was from a screen made with big bubble wrap and it didn't work too well because the print paste covered the entire screen. So not much of the bubble wrap design showed through. And the red was an experiment in doing a monoprint by putting the dye paste on some plexiglas, pulling a striping tool through, then putting the fabric on top. It smushed the dye paste so that the stripes disappeared, so I tried putting the dye paste directly on the fabric and using the striping tool. Which sort of worked but not very well.


Blotting fabric - when making the screens I used this piece of fabric to blot up the dye paste that goes through the screen. What I find so interesting (besides the fact that it's a pretty cool piece of fabric) is that this fabric doesn't get the special batching treatment that the printed fabric gets: wrapping in plastic and sitting in a warm spot. It just sits by the side of the work table, drying out, not covered, not warm. Obviously, it's humid enough that the dye is reacting with the soda ash that is in the fabric.


One of the first pieces I did. I had an idea for these overlapping rectangles with intersecting blue rectangles (which of course turn green on the yellow dye). Not sure this worked out all that well, but I can always cut it up.


This is construction fencing and it deconstructed really well. The first pulls started at the bottom and there is a good image of the fencing. By the time I got to the top of the fabric it's only a small portion of the original image left.


Not exactly sure what I did here, but I think it involved some direct application of the dye paste.


More dotted paper and torn paper. This turned out alot lighter in color than I expected it to. I violated one of the cardinal rules of screen printing with thickened dyes. Once the dyes in the print paste come in contact with the soda ash soaked fabric they begin to react and lose their strength. Any used print paste put back into the unused print paste will begin to react. So even though the color still looks good and strong, in actuality there is not much dye left to react. I was putting the used print paste back instead of segregating it. Live and learn.


Another blotting fabric, given the same treatment as the first one. Some really interesting sections on this one also.


Good color, the way it's supposed to be.


I might have gotten carried away with the dotted paper.



Very pale background. I thought it was coming out much darker but this was using spent print paste.


I thought I was screening with a gold color but only the yellow I added to the spent paste showed up.


This is the color it is supposed to be. The dye paste on the screen was medium blue and green and the print paste was clear. So the background color is what was released from the color on the screen.


Another one where the background was supposed to be a lot more golden. I guess I won't be making that mistake again.

I still have some good print paste left, but I think I'm going to finish it off with some direct dye painting onto the fabric. And using some thermofax screens also.

Goodbye February

I can hardly believe February is almost over. It has really flown by and I'm not the least bit unhappy about that. I spent all last week putting together a "puzzle" as it were. I'm in charge of devising the hanging plan for my local guild's biennial quilt show. I did it 2 years ago and the whole process of hanging the show was completed in record time with a minimal amount of anguish. It was a major accomplishment of organization, if I do say so myself. Of course, the problem with being really good at something is that you get persuaded into doing it again. So I ended up with a database of 270 quilts, pictures of 270 quilts, and a layout of the gym. The rate limiting factor is the number of hanging rods and standards. I tried to group things so that logical groups hung together and was mostly successful. So now what's left is to print up the plan, complete with what's hanging where, labels, etc, etc. The show is next month and I'm very happy that the difficult part of the project is finished and I can return to art.

In the winter I always get the urge to knit. Several years ago I saw a sweater that looked like it had been dyed after it was totally knitted and that has been on my mind every since. I order yarn from DharmaTrading and used a top down method to knit a sweater (I hate sewing up the seams). Here is the sweater:



The plan was to dye the whole thing a golden yellow, then add in some blue, and finally a bit of red, which results in a gold-green-brown combination. So here is the golden yellow. I used the parfait technique that Ann Johnston describes in her book, except that she's stuffing fabric into tall containers. So the sweater soaked in the golden yellow for about 10 minutes, then I added soda ash.



After about 10 minutes I added the blue dye, let it soak for a short bit, then added the soda ash. I wanted the green to only cover the bottom half of the sweater so I tilted the pan to keep the blue dye at that end.


Lastly I added the very dilute red dye, waited a bit, then added the soda ash. I forgot to take a picture. After letting it batch for several hours next to the hot air heating duct I rinsed out the dye. For some reason all the blue dye went down the drain. (It might have something to do with the fact that it's pretty old). So I mixed up a different blue, poured it on, and it's batching again. We'll see what happens.

I've also finished 6 more 12" squares but haven't photographed them yet. Tomorrow I'm planning on going to the American Craft Council's Show in Baltimore. It's an amazing display of very high end crafts and I could easily spend big bucks there. My favorite crafter is the man who upholsters chairs with different pieces of colorful upholstery fabric. They are just beautiful and I know if I bought one it would immediately be christened with a hairball from my cat.

Dyeing in Winter - Part 2

Success! The colors in these images aren't quite true, but they're close. The 3rd one is a lot darker and the blue markings aren't so obvious. But it worked. I think I would have gotten an even more deep purple if I had the patience to let the dyes work longer. But then maybe not, some of the dyes were quite old. The 3+ yard pieces were so unwieldy I decided to do the rinse in the washing machine. So after unwinding them, which was a struggle not splashing dye all over the place, I put them in the washer and set it to rinse with cold water. Oh so much easier. Then added the Synthropol detergent and ran them through the wash. The final rinse wasn't quite clear, so it got another rinse run through. I haven't ironed these yet, I was hoping a mangle would show up on my doorstep, but I don't think that's going to happen.




This piece is going to be the binding. It will end up as about 400 inches long. Something else I'm not looking forward to pressing.

But I'm thrilled that I'm not going to have to wrestle this through my sewing machine. The quilter has booked me for mid-March so I will just have to be patient until then.

Dyeing in Winter

For my bed quilt I need to dye fabric for the backing and the binding. Dyeing fabric in winter is always a problem. Dyes need a minimum temperature of 70 degrees F in order to react and bind to the fabric. My house is heated to 68 degrees and with the cost of heating oil, it's really wasteful to burn the oil to raise the temperature 2 degrees. However, in the living room is a heating vent right below a huge window. During the winter the sun streams in this window and heats up the room. And I can trap the heat coming out of the vent by making a tent with plastic. So this little setup has been sitting for 24 hours and I'm about ready to wash out the fabrics. This technique has worked before but this time I'm using Turquoise as one of the dyes. The problem with turquoise is that it's a big, fat molecule and it needs warmer temperatures and longer time to react. The color looks fabulous in the pot but until it's all rinsed and washed it's difficult to tell if it has had sufficient time and heat to react.

So there are 2 - 3 yard pieces wound and twisted that I hope will have a sort of shibori look, another 3/4 yard in another pot in which I did a fair amount of smushing so that it will have a more even and less mottled look for the binding. And since I had a lot of dye solution left I ripped off another 2 yards and stuck that in a pot also. No point in throwing good dye down the drain. So now I'm ready to wash it out. Stand by, news at 11.

Fabric Annex Redux

Several years ago I wrote about my Fabric Annex. When I made the move away from commercial fabrics, I stored them in an inconvenient location. In order to retrieve any fabric, which I have been using for backings, I have to crawl on my hands and knees (ouch) underneath and around the model train foundation. And I'm running out of the larger pieces which means there is a considerable amount of piecing necessary in order to get a backing large enough. Needless to say, this has all gotten quite tiresome.

I could use the fabric I have already dyed, but it's a very tightly woven broadcloth and it's difficult enough to sew through one layer of it. Making it the back layer also would make it impossible to do any hand work at all. Not that I do all that much, but sometimes I like putting some big stitches in by hand.

Well, duh, why not get some looser woven fabric and dye that for the backing? I ordered 50 meters yesterday from Testfabrics. I got the 400M, their cotton print cloth. And since they're so close, it showed up today on my doorstep and I've already cut off two large pieces and dyed them for backs for the current pieces. They're in the washer now.

So, timewise, it's difficult to say which is more efficient. Actually, getting fabric from the annex probably takes less time. But crawling around on a hard wood floor is becoming less and less appealing as my knees get older and older. Probably should send one of my grandchildren up there to pull fabric. I'm sure they would love the little cubby hole.

The rest of the week

The next class I taught at CraftSummer was a combination Dyeing and Machine Quilting class. Before the class started I polled the group to find out if there was more interest in one technique over the other. If most of the class wanted to spend more time dyeing then I could adjust the segments. But they all said they were interested in both segments equally. OK, so we would spend 2 1/2 days dyeing and machine quilt until Friday afternoon.

Each student received 10 meters of fabric and 3 colors of dye. I had prepared samples to demonstrate each of the exercises I had planned and as I pulled them out, the class could hardly contain themselves. They were eager to get going.




Into the second day, when it became apparent that 10 meters was not nearly enough fabric, they were able to purchase another 5 meters. And they brought in t-shirts, tote bags, aprons, cotton duck, and threads.



I told them that they had to put their last fabric in to batch no later than Wednesday noon. Then they cleaned up the dye materials and pulled out sewing machines, ready to begin machine quilting.



This segment of the class turned out to be more of a challenge than I had anticipated. The abilities ranged from experienced machine quilter to not having touched a sewing machine in a very long time. We had some problems with incorrect sewing feet, sewing machines that couldn't do free motion work, and unfamiliarity with the machine in use. (That would be me since I borrowed a machine and was always forgetting to lower the presser foot. The machine let me sew but would leave a lovely lacey tangle on the backside.)







But they all perservered and everybody discovered new skills and new stitches and cool techniques. It was amazing how much their free motion skills improved just over the course of 2 days. By Friday morning they were ready to work on the small quilt I had them bring to class.

Michelle, Shara, Jeanie, and Carole are concentrating on their form. The table and chair heights were uncomfortable and we had to remember to take frequent breaks.

Meg and Mel stitch away.

Michele demonstrates the eyeball technique for threading a machine.

Don't know what Shara is doing, but it's got her undivided attention.

Mel zipped through all the exercises, then quilted an entire piece on Friday morning. Working with metallics presented a little challenge. I told her she needed to slow down a little with metallic thread and that was difficult since she normally quilts at about 90 miles an hour.


Meg is demonstrating the proper tongue position.

I was so proud of all of them. They accomplished a great deal in 5 days of class. I would like to think it's because I'm such a fabulous teacher but it's probably due more to their interest and eagerness to learn.

I arrived home Friday night and have mostly unpacked. Now it's time to get back into my normal routine. June was extremely hectic and I haven't done any of my own work since early May, it seems. Been concentrating on class preps and other stuff.