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Inspiring Quilting: Elly's blog to boost your creative IQ

I really don’t do “pretty”

May 3rd, 2016

As usual, it was a class–long ago–that started me on a new art quilt. In Lesson 2 of About Style, Pamela Allen assigned us online students to “cut various long skinny shapes out of different fabrics and ‘grow’ your plant in the same way Nature does.”

Rather than “grow” a tree from my imagination, as Pamela does, I relied on photos I took on a trip to Lisbon, when the jacarandas were blooming gorgeous.



Started with a background on a quilt sandwich, anticipating a small art quilt:


Next, I brought in the trunk for a pretzel-like tree, with a bunch of lavender prints:


“Grew” the tree with other, similarly colored fabrics in various shades and tints:


Oh, this could be a really pretty picture, a la my photo. I could balance the lower left side with flowering shrubbery.

But then I remembered: I don’t really do “pretty.”

#1, there are so many fabulous art quilters who take “pretty” to levels I could never dream of.

#2, “pretty” can be pretty boring.

Around this time, my sister Carolyn was shopping for a new car. As a wife, she had always deferred to her husband’s choices in this department. As a widow with a new-found sense of her capabilities for research and decision-making, and within short order, she she walked into her local Honda dealership, test-drove, and bought a Honda Accord.

So, in accordance with those trees that grew in a high-trafficked, urban setting, and with tremendous pride in my sister’s taste and independence, I slapped a Honda under the jacaranda. And made my getaway from “pretty.”


Stay tuned to see how this art quilt is going, and growing. As always, comments are much appreciated.


8 Responses to “I really don’t do “pretty””

  1. Carl Harrington says:

    This quilt is growing into something very wonderful. I bet you all wish you could just walk in and watch the progress on a day-today or hour-by-hour basis like I get to do as Elly’s husband. Staying tuned will be very worthwhile.


  2. Mary Ann says:

    Glad to see you finishing this. My pieces from that class are still in a box unfortunately. Look forward to more.

  3. Annie says:

    Love the idea that you don’t “do pretty”! I feel the same, somewhat daringly rebellious! I’m wondering if a good green in the background, instead of the light beige might be fun? Don’t know if your stuff is already fused or sewn down yet, or not. Just a thought.

  4. Suzanne says:

    Sorry to disagree, Eleanor, but I think it’s still pretty. Now if instead of a Honda, you had a bleeding skull, you might be beyond pretty. It’s going to be hard to make that tree you’ve grown anything but lovely. I like lovely; admittedly, beauty is in the eye of the beholder. Thank you for sharing this.

  5. Linda Cline says:

    I will agree with Suzanne. I don’t care for “pretty for the pretty’s sake”, but I love where you are going with this beautiful quilt. You’re tree has a lot of character. The car and the urban setting add to the personality of the quilt.

  6. kathy york says:

    Your car made the tree pop!

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Diaspora in 3-D

April 24th, 2016

It took a phenomenal exhibit to move me back to blogging mode–after months of merely Facebooking (sigh).


Out of Africa: Primal Diaspora, by Buff McAllister; Crossings II, by Sandy Gregg; and Generation 2500, by Barbara Schneider


Stories of Migration is a joint venture by SAQA–Studio Art Quilters Assoc. and the Textile Museum, now housed at GW University in DC.  It takes the concept of diaspora, and moves it far beyond the traditional dispersal of Jews following the destruction of the Temple. From the Greek–a scattering or sowing of seeds, it now covers any body of people living outside their homeland. Psychological and evocative reactions and political ramifications are powerful. But because movement and geography, or space, are inherent to this theme, I am moved to share with you just a few pieces that go beyond the art quilt on the wall and take less usual positions.

Above, that big ball is a rolled up strip, 300 yards long, with overlapping hand-prints to depict the people and the journey of homo sapiens over 2500 generations.

Below are three shots of an installation piece by Sara P. Rockinger. She is interested in how “global social issues intersect, overlap, and become stitched together through shared human experience.” Handmade clothing from different cultures are molded and stiffened. Video projections allow the viewer (i.e., me) to become part of the experience, called In/Visible.




































Jane Dunnewold is a favorite artist of mine, working in fabric, paper, and lots of surface treatments. Taking a vintage quilt and handmade and vintage papers, she has used collage and weaving, added spackle and gold leaf to rework the idea of a soft covering for a bed into a symbol of transition and paradox. The title, “Receptacles of Memory,” can be applied to a great number of the pieces in this exhibit.














































I’ve also followed the evolution of Susan Else from quilter of bed quilts to art quilts to fabric sculpture. Above and below is her “Crossing Points.” She explains that decades of injury and counter-injury and outside interests catch people up in a web where they have nothing to lose by leaving.

This piece sits beneath a site-specific installation by Consuelo Jimenez Underwood, called “Undocumented Border Flowers.” Underwood was invited to submit work, as were other celebrated artists (Faith Ringgold is another one). The rest of the artists were juried in.





















More human-scaled, and perhaps more accessible, is this wonderful evocation of what it is to be an urban nomad. Kristin La Flamme has made a shopping cart over into a village, using fabrics from army uniforms, yarn, floss, and bungie cords. It’s called, “Home is Where the Army Sends Us.”


Hoping this blog post sends YOU to see this exhibit before it closes Sept. 4. And, if you’re still reading, I have a copy of the exhibit catalog to send to someone. Share your personal migration story in the comment box below. Not much room, I know, so try to use fewer than 50 words.  I’ll pick one that particularly inspires me and mail you out this full-color collection showing all the pieces in the exhibit.

9 Responses to “Diaspora in 3-D”

  1. My husband and I grew up in the same hometown in upstate NewYork. We met on a blind date after we had both headed in different directions for college. We married young and had four children by the time we were 26 and 27. We moved to Maine for him to complete college, then active duty military, then move after move for various reasons. We have lived 18 places in our 51 years of marriage. I still think of the house where I grew up as home, although my parents have passed on and the home is no longer ours. I never feel like I truly belong anywhere.

  2. Wow, Eleanor, thank you so much for this fantastic blog post. I feel like I was there. What amazing pieces. Thank you for sharing the experience!

  3. Carol mcdowell says:

    Very interesting! I love seeing what artists come up. From one prompt comes so many totally different pieces. Thank you for posting this 🙂

  4. Susan says:

    I migrated from England to the us in the days when women’s opportunities were still limited in the UK but the US had brought in affirmative action.

    • Eleanor says:

      You must have been very brave, Susan. I find it absolutely fascinating that you have created or found a community of the world in Fifteen Quilts. Love the architecture of your Walt Disney Hall—a sense of place, if not home!

  5. kathy york says:

    Thanks for the photos of this amazing exhibit. I hope to get there to see it in person. Very powerful and evocative.

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Let It Flow

October 24th, 2015


Ahoy there, mateys! Just picking up from my posts of June 29 and July 1. Seems like I row row row my boat, get off of it, get back to it, and row some more. Isn’t that how everyone courses through their bigger projects?

Please excuse the metaphors, if they don’t float your boat. Always thinking of my son and his fiancee as they about halfway through their one-year trip sailing the Great American Loop, which you can read about on their blog, sailbatic.al.

To refresh everyone’s memory, including my own, the wind beneath my sails is a challenge from Quilts for Change, titled Water Is Life. See this post for info, and this post for my launch of the project.

The weavings came together, with lighter and darker sections cut in curves and overlapped, as shown above. Then, I added stream of consciousness phrases with free-motion script:

  • Justice
  • transparent governance
  • wellsprings of knowledge
  • flow of info
  • ponder policies
  • unclouded judgement
  • funding streams
  • wo/mandates
  • fathom the depths

After that, some dense quilting in wavy lines. Then appliques to lighten some areas, tone down others, add interest and contrast and texture.



The finishing was a whole ‘nuther trip around the bend. One rust binding all around wasn’t enough, so that became an inset with a pieced binding.


Still not enough. So I auditioned several different sizes and colors of rickrack. Aqua, white, yellow, blue and gold…

DSCN2893     white rickrack

Opted for a yellow green to add light to the whole. Or, as a mutiny against spending more time and angst over this piece. (I’m ready to set sail on a new project.)

Yes, after months, I have finally reached the shore and completed my art quilt today! And submitted images, a bio and a statement.

Title: Let It Flow

Water is a deeply complex issue, swirling with interwoven challenges of safety, security, social justice, and access.

Only transparently clear, progressive, democratic governance can ensure a good flow of information and funding streams.

As the traditional water gatherers who understand what is best for their communities, women deserve a place in discussions and decision-making. When mandates become “womandates,” results are life-affirming.


Done! And 9 days before the deadline: a record for this captain of last-minute industry. Making art and quilts is usually a lonely, isolated journey, so comments and constructive criticism are always very welcome! 

Let-It-Flow,ELevie – Version 2


4 Responses to “Let It Flow”

  1. I LOVE THIS! Big congratulations on getting it done on time. I have never entered an international exhibition that required mailing on my own because I have NO clue how to do it. This is a very poignant theme. I think the exhibit will be WONDERFUL. What really sealed the piece, IMHO, is the inner border + the pieced outer border + + + the rick rack which really made it shine! Sometimes, MORE is MORE is the needed finish. This is an absolutely GREAT piece.

  2. Karol says:

    Reminds me of the beautiful flowering trees I saw riding through Center City with you. Carry on, friend!

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Give me a hand…

July 31st, 2015

KitchenHamsa (2)

Seems I have a hamsa series going. Often called the Hand of Miriam by Jews, or the Hand of Fatimah by Muslims, this middle-eastern symbol features three fingers and two thumbs. Don’t ask me why. A good luck charm, it’s said to ward off the evil eye…cast by those who would be envious of what good fortune you may have. Lots of folks wear a hamsa as a talisman around their necks. But since bad luck can occur right at home, frequently in the form of cooking disasters, I recommend a household hamsa —especially in the kitchen. Done in foil-lined, plasticized packaging like coffee bags and tea bag envelopes, the resulting art can be wiped clean of cooking grease, sprays from spills, dust and grime. I teach this class as a workshop for trash-stash quilting, using the sample shown above, or for a westernized version, the hand-in-heart motif below.


Hand-in-Heart folk art, by Eleanor Levie, 2015, approx. 8″ x 10″


First time I ventured into hamsa territory was for a 2011 Quilt Alliance challenge; lots of shiny packaging made it impossible for this amateur photographer to capture a good representation.


Tahrir Square, by Eleanor Levie, 2011, 16″ x 16″

Recently, I answered another challenge with Eyes Wide Open as the theme. Right away, I thought of a hamsa with an eye, done out off coffee and tea bag packaging to reference the caffeine that literally opens my eyes, and the need to reduce and recycle that informs my trash stash quilting. Two other inspirations guided my creative pathway. First was  an article in the Summer SAQA (Studio Art Quilt Associates, Inc.) Journal referencing the keynote speaker at the SAQA annual conference. Namita Gupta Wiggers is an art historian, and director and co-founder of Critical Craft Forum. She pushed for art quilts to take a place of power. Art in and of itself, instead of simply as a reference to the older, more traditional form of a bed covering. To do that, she encouraged breaking out of the rectilinear picture plane, and redefining the medium through the use of materials other than cloth. Hmmmm.

Another inspiration from a few years back was Pamela Allen’s Black-Eyed Susan art quilt, where plastic doll eyes peeped out from the centers of a bouquet of blooms.

Thus was born my Black-Eyed Susan Hamsa!


Securing top layers to bottom layer of black felt.


















Couching satin cord over felt edges.











Black-Eyed Susan Hamsa, by Eleanor Levie, 2015, 14″ x 24″ ?





















Photo by Carl Harrington, who is angling to get out of the photo business!

3 Responses to “Give me a hand…”

  1. Mary Ann says:

    They are all wonderful!

  2. Love, love love it! The danglies! The eyeball! The buttons! It’s all great!

  3. Vivian Lewis says:

    Your creativity is inspiring!

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Best in Show

July 15th, 2015

Can’t make it to the Dairy Barn in Athens, OH, where the incomparable juried venue for art quilts, Quilt National 2015, is on view. (dairybarn.org)  But got the catalog, and immediately fell in love with the quilt on the cover.


I’ve got extraordinarily good taste: the piece, shown below in its entirety,  justifiably won the Best in Show award.


Girl in the City with Blue Hair, by Karen Schulz 32″ x 59″

As any quilt lover will tell you, an image is a far-distant second to seeing a piece in the cloth, aka up close and personal. So I was thrilled to take a road trip to the Black Rock Art Center in Germantown, MD (near Rockville and Gaithersburg), where I could see several pieces by Karen Schulz. This one commands the space:


Out the In Door, by Karen Schulz 58″ x 66″



Out the In Door (detail), by Karen Schulz

Also from Karen’s Schapes—er, Shapes series, are these somewhat smaller pieces:


Beckoning 1, by Karen Schulz 50″ x 40″



Beckoning 2, by Karen Schulz 47″ x 47″

Sorry if the spacing is crazy in this post–I’m struggling with technology here! Derry of Gloderworks will no doubt come to my rescue.

Getting back to the important spaces: Notice how vibrant color blocking in one work is followed with subtle, sophisticated hues in the next. No matter the color palette, the hand-dyed fabrics are warm and rich. The shapes are monumental, angular, powerful. Quilting patterns—whether thin lines or free-motion zigzags alternately on the horizontal and on the vertical, deliver  smart, modern textures that perfectly complement the shapes. And taking the minimalist work to another level entirely:  A counterpoint of comparatively delicate, sketchy lines–couched, embroidered, or quilted. A lyrical dance on a stage of massive columns and platforms. Or, as Karen describes her her process on her website, “I am drawn to the tension created by the simultaneous holding of opposites. Circles and squares, stasis and movement, light and dark, the flat plane and three dimensional space; each is needed to highlight the other.”

Here’s the third one of the series, all of which certainly beckon my attention:


Beckoning 3, by Karen Schulz 40″ x 27″


Beckoning 3 (detail), Karen Schulz

Beckoning 3 (detail), by Karen Schulz [The blue shown in this photo is really off!]

Smaller pieces that rock my core:


Stonehengeish, by Karen Schulz 28″ x 48″



Stacked, by Karen Schulz 26″ x 20″



Bend, by Karen Schulz 45″ x 25″

The title of this last piece aligns with the fact that the artist is a clinical social worker who only recently gave up her private psychotherapy practice treating children, families and adults to devote full time to her art. Bend, as in, stay flexible, be willing to change and grow. Or, as in, that Eleanor Levie is really ’round the bend. Just kidding.  No really. Well, I am crazy about Karen Schulz’s current body of work. If you are, too, mark my words:  Given recent awards, this art quilter’s prices should surely be on the rise. Art collectors, this is the finest in contemporary art… in the medium of quilting. In my book, that means all the rich color of painting, and all the rich texture of sculpture, plus all the rich associative evocations conjured up by fabric, thread, and quilt history. Would one of these works by Karen Schulz look good in your home?

Yup, Karen Schulz is my new favorite artist. And that’s before I saw her picture on her website, www.karen-schulz.com. Wait: I know this person! She was in a Sue Benner class with me at QSDS many years ago. She was warm, composed, quick to laugh, yet determined to apply what she learned to composition with expert crafts(w0)manship. And clearly, in the intervening time and with the same deep integrity, she has learned to bend shape and line into extraordinary, masterful compositions. I’m proud to know her, and to have this opportunity to rave about her art quilts!

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Woven Water

July 1st, 2015

Getting right down to it. Here’s today’s progress:


Warp laid out



Plain weave—over one, under one, with the lighter values of fabric and ribbons


Medium tones woven in a basketweave or twill pattern, passing over 2 strips and staggering the next



Getting ready to weave the darker section.

What? Not looking like water? Will wash away intensity with sheer fabrics, and balance the angles with curvy quilting lines…That’s the plan, anyway. Not that I ever stick to a plan!

One Response to “Woven Water”

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Letting Concepts Flow

June 29th, 2015

No matter what the crisis or social issue, there’s a warm and multi-layered response from the quilt world. As a quilter who’s passionate about advocacy and fabric-play, I am salivating and drooling to participate in a challenge by Quilts for Change. The theme this year is:

Water is Life: Clean Water and its Impact on the Lives of Women and Girls around the World

A challenge quilt exhibit to debut at United Nations headquarters in Geneva, Switzerland in March 2016 to commemorate UN World Water Day. Organized by the United States Mission to the United Nations in Geneva in partnership with American Exchange Rome and Quilt for Change.

Quilters are invited to create and submit art quilts that address the issue of clean water and its impact on the lives of women and girls. Participating quilters can highlight any aspect of water – for example, how access to clean water can effect women’s daily lives, health, safety, the environment, mobility, income and development or any other aspect related to the theme, including women’s relationship to water, such as fishing, acquaculture and even transport.

The call for entries is here:

http://quiltforchange.org/quilt-for-change-exhibits/water-is-life/, and the deadline is Nov. 1, 2015.

Planning this work has meant 3 stages so far:

Idea collecting:

*Images of women with water containers on heads and yokes…which has been done so much, and to which I have no personal connection.

*Vessels–a symbol for women, bulbous or with sinuopus curves, vases or urns with handles that mimic the uterus with fallopian tubes, and vessels that call up containment in the sense of being held, of safety and security…and again, presume the womb!  I return to this image again and again in my work:


Wedding gift for Archaeologist Marcie Handler and Classics Instructor Mark Atwood


for my mother

Gift for my mother, a wonderful potter, upon her 80th birthday

the vessel-detail-vase (2)

Detail of The Vessel


Vessel (a completely different title, right?)



Stage 2: Panning for Gold! I read all the articles cited by the challenge orgs and more to better understand the issue. I googled images of microbes for typhus, river eye blindness, and more. Reviewed some great watery-art quilts and images used to illustrate the problems of water. Wishing well graphics would find their way into my piece…

Stage 3: Advice from the experts! Answering my calls for help, uber-advocates Janet Goldner and Sammie Moshenberg pointed me toward insightful articles on the subject, focusing on sub-Saharan Africa and Colombia.These readings illuminated the bigger problems, above those of purification, draught and pollution and access and climate change. It’s not just about good, scientific solutions to the problems of purification and access. That’s solvable. It’s corruption at the top, a lack of good governance. Funding for local wells, well-kept-up pipelines, and the technology for safe water and sanitation practices rarely reach those in poverty who need them most.

No question about it, WATER is a complex, many-layered problem, with interwoven aspects. Think I’ll do a woven piece and let it evolve…


Waking Up, Down the Shore in process



Surprise Party of Color, detail


Text is the only way I can think of to get across the sophisticated concepts. So I’ll layer areas of organdy, printed with words or phrases. Try to express the GAP of Governance, Access, and Policy. The importance of Power and Justice, Funding streams and the Full-on Flow of Wealth, rather than trickle-down realities. I’ve been pooling together other expressions: Pollution and Poison,  Poverty and Powerlessness—but these are all polarizing negatives. No one wants to see a PO (pissed off) attitude displayed, but a clear POV (point of view) seems essential.

What other words or phrases concisely speak to this issue? Could a top-down ordering of concepts in text be used to show the hierarchy of problems? Or differences in font size? And apart from using curves, spirals, teardrop shapes, and vessels, how to communicate the role of women in all of this? I’m struggling in the water…who wants to throw me a lifeline? Comments extremely welcome!








One Response to “Letting Concepts Flow”

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Tea Rex

March 28th, 2015

TeaRex, detail

Word play is often a part of my art quilting, so my riff on T-Rex shouldn’t come as a surprise. And like other pieces in my ReUse, trash-stash series, this piece is made of tea bag envelopes, coffee bags, and other foil-lined packaging. And yeah, it’s a “green quilt,” as in the term coined by Susan “Lucky” Shie, representing an effort to use what’s on hand and upcycle, to do our part for the planet. Of course, the citrus net bags, vintage fabrics and trims, buttons, beads, and rickrack are here partly because, as my hubby bemoans, I never throw anything away.

Yes, I began with an appealing pun, a Barney-like dino and an Alice-in-Wonderland tea party set up, with a funky vase made from my grandmother’s well-worn, embroidered neck wrap, and the vase is filled with—what else?—tea roses.


Here’s where the word play wandered into sword play, quickly and quilterly lunging into the more politicized rooms of my mind. Didja notice the space ship and volcano out that window?


How about the tsunami rushing in, the blazing sun, the meteor hurtling towards earth? It seems our titan of leisure is cluelessly indulging in conspicuous consumption. Our Tea-Rex is denying inconvenient truths, such as global warming and waning resources for those lower on the food chain. Instead, the arriving guest invents wild fabrications…and invites extinction. A cautionary tale? A parable for our time? Obviously, this Tea-Partier is way out of date.

Tea Rex, by Eleanor Levie, 32″ x 57″, March, 2015

4 Responses to “Tea Rex”

  1. Everything about this is utterly great. oooo, I just noticed the stuffed metallic teapot! Is that a coffee bag?

    • Eleanor says:

      Yup, it’s a coffee bag–the inside. Creamer and sugar bowl are swirly designs on Starbucks coffee bags a friend gave me. None are stuffed, but sewn to felt, with lots of free motion designs, then sewn onto quilt, but just around the edges.

  2. Julie Domenico says:

    I love the whimsy and imagination that have gone into this quilt. Many details – making it so much fun to look at!

    • Eleanor says:

      Thanks, Julie! But so much time went into it, it is not fun for me to look at…right now. Fortunately, I don’t have to: it’s on view at a gallery.

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Volcano Season!

January 8th, 2015



The Slow Stitching Movement: So. Not. Me.

This is me: Scraps on the floor after another obligatory project is due and done. Restless rumblings. Silk, rayon, and frenetic free motion stitchery building, colliding, bursting, erupting—all in the course of one intense evening—just don’t ask me how I define “evening.” Ideas surge and flare, drowning out the inner mom trying to guilt me into cleaning up before starting something new, the urges to check the computer screen one more time, the calls from the hubby to come to bed. This is how I do my best work, imho. If only this brief season of volcanic creative activity would strike more often than once in a blue moon!

But opportunity may strike for you! Here’s how:

1 Day (Feb. 4) — 100 Artists (I’m one of ’em!) — 100 Patrons (You could be one!) — $10,000 for the American Cancer Society.  My 8″ x 10″ art quilt, which I call, “Volcano Season,”  is one of the amazing 100 art quilts that could be yours. Mark your calendar: Wednesday, February 4, 2015, at 10 a.m. Central. The first 100 people to contact Virginia Spiegel at her website, VirginiaSpiegel.com will be given a link to donate $100 by credit card directly to the American Cancer Society through Fiberart For A Cause. Somebody gets my piece. But oh, you gotta check out the talented quilt artists–lots of big names–who are also among the 100 contributing artists. This site shows you a bunch: http://www.pinterest.com/…/the-100-fundraiser-to-fight-can…/ You’d contribute to the ACS anyway, right? Be on time, and the bonus is gonna be bodacious in your abode.

What about you? Do your brainstorms erupt suddenly? Or build quietly over time?


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Quilt-scape Album

January 2nd, 2015

Sad but true: We never print those photos anymore. Whaaaa. We are captives of our electronic world. And a captive audience for anyone who shoves a smart phone in front of us to thumb, er, swipe through a batch of pics. Fight back, quilters! Just as folks enthusiastically welcome your quilted table runners, pillow covers, and tote bags, they’ll love looking at your vacation pics in a handcrafted format, and they’ll be overjoyed to receive their very own brag book with a cover handmade by you. Here’s the how-to lowdown:

1. Get a plastic photo album that holds about the number of 4 x 6 photos you want to include (12, 24, 36). Dollar stores have ’em. For a dollar.


2. Open the photo book out flat and measure across the back cover, spine, and front cover, then measure the length of the spine. Make a little quilt (or quiltlet) 1/2″ larger all around than these dimensions. By my book, 11″ x 7 1/2″ were the final dimensions. OK, woooo, that sounds like a Star Wars commercial, the “final dimensions.” I was inspired to borrow from Karen Eckmeier’s techniques explained in her Accidental Landscapes book (which I was privileged to edit and which you can get from her website) and also in the masterpiece “By the Sea” which Karen contributed to my Skinny Quilts & Table Runners book).  I started using her layered/topstitching method,  pressing edges under and topstitching them to a background— you’ll see that below where the sea meets the sky, for a crisp horizon line, and in the sand of the foreground. Then I threw caution (and patience) to the wind. I abandoned pressing edges under and just tore fabric. The raggedy fringes suggest frothy waves, as do couched ribbons and lace (Karen’s ideas).


3. Pin a looped strand of elastic to the middle of the left side edge. From fabric, cut two rectangles the same size as the little quilt made for the cover. Set one aside for the backing. Cut the other crosswise in half (along the spine). Then fold each crosswise in half again, and place on top of quiltlet so raw edges are aligned at top, bottom, and sides. Pin to hold in place temporarily.


4. Place the backing on top, with right sides facing. Stitch all around, 1/4″ from edges and leaving a 4″ opening at the center of the bottom.


5. Clip corners, and pull the quiltlet through the opening. Use a pin to pick out the corners. Turn the edges of the opening 1/4″ to the inside and stitch them closed. Insert the covers of the photo book into the side pockets.


6. Stitch a button to the front cover to correspond to the loop.


7. You might want to knot a length of ribbon to the elastic loop — for decoration, or to wrap around the photo album.


Eh voila! Nice, old-fashioned way to capture vacation memories, latest escapades of the grandchildren, or hilarious costumes you forced your pet to wear.

Do leave a comment: what images and techniques would YOU showcase on a photo album cover?



One Response to “Quilt-scape Album”

  1. HelenMarie says:

    Love your beach-y cover but would do mountains and flowers like so many of the Colorado photos I have but don’t print! Would be fun to do one with the Chihuly bubbles done in crystals and circles of lame!

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