The Race Is On

Today is Friday, October 19th, and probably our last day in the upper 50’s, which means my indigo vat has one last round before hibernating for the winter.

photo courtesy of Tracy Altieri.

Fabrics are soaking, and the clock is ticking. I’m really looking forward to getting my hands in that big blue vat! If you’ve followed along on Instagram, you’ll have had a glimpse at an average dye day and how it moves from hour to hour throughout the day. Suffice it to say, with all of the dyeing these past few weeks, there will be a shop update very soon!

These action photos were taken by my very talented friend Tracy Altieri, and you can find her gorgeous blog here and on Instagram @myretiringlife. On this particular dye day, Tracy swiftly captured me gingerly shaking out the fabric immediately upon exiting the vat. The fabric transitions from a yellow-green to blue-green and then to a majestic blue, as seen below. The blue deepens with each dip in the vat. This process never ceases to delight and impress! With that, I’m off to the vat, tick tock!

Indigo dyed sateen drying among the dogwoods.

A shop update is quickly approaching!

photo courtesy of Tracy Altieri.

Stay tuned for next week’s post!

Friday, October 26th is my day on the fun-filled blog hop for Karen Lewis’s chic new book, Wabi-Sabi Sewing! Meet the entire line up of talented, generous sewers and quilters on the blog hop which begins Wednesday, October 24th with Svetlana Sotak at http://www.sotakhandmade.blogspot.com. I’m thrilled to be a part of the blog hop celebrating Karen’s book. Follow along to see gorgeous examples several of us have made from the book. There will be giveaways, too, including one happening right here! You won’t want to miss it!

A hidden clue for next week’s exciting post. Can you spot it?

I hope this weekend brings you some of what you love most about fall! See you next week!

Slow Fashion October and a Mighty Mini

I’ve recently had an epiphany: I deserve more time to play, and with my own fabrics.

Bird’s eye view of my mini quilt and trusty tools.

Silly as it sounds, since starting this beautiful dye business I’ve been of the mindset that the fabrics are for my customers, as well as for sample making and ready-made gifts for the shop, but not for me to let loose and play with. This stemmed from the fact that the substrates I purchase are organic and, therefore, more expensive. If you follow my Instagram feed you may have seen what my average dye day looks like in real time. The dye side of my business leaves little time to play, clearly an area of my work life that could use a little rebalancing.

With that said, I’m resisting no longer, and I’m ready to have the same kind of fun playing with colors and designs that you have! I want to immerse myself in stitching these incredibly beautiful fabrics like you do! Knowing that magic happens when I allow myself time to play, I’m making my first mini quilt!

Inspired by Amish and Welsh quilts, I sketched out a simple design that would allow the colors to sing. Next, I set about assembling the top using two fat quarters (one pink and one gold), a few scraps, and because I don’t dye black, some ready-made black organic sateen. This mini has one layer of wool batting. I’ll decide the binding color once the quilting is complete.

My hand-eye coordination is adjusting to making tiny stitches. I’m being brave (or ridiculous) by not drawing any quilting lines. I’ve done some big stitch quilting projects this year and I believe that’s where I developed this habit of eyeballing my quilting lines. Gosh, this is fun!

Here in the studio, there’s something special in the works, but first I really want to hear from you! In the comments below, tell me your favorite mini quilt design, your preferred way to hang mini quilts, if you exchange blocks with your quilty friends and whether you keep or give your minis! Anything you want to share about your love of mini quilts would be very much appreciated! Thank you!

Hoping to finish my Zweig sweater (pattern by Caitlin Hunter) during #slowfashionoctober

Photo courtesy of www.fringeassociation.com

Do you know about #slowfashionoctober?

Karen Templer annually hosts this thought-provoking opportunity to increase awareness of fast fashion and how we personally relate to it. Connect with a growing community, join in diverse conversations, read interviews and see inspiring projects all throughout October (and beyond). If you have an interest in your clothes, the textile industry, mindfulness about what we put on our bodies and in the earth, you’ll want to watch The True Cost , check out Karen’s website for thought-provoking prompts, interviews, inspiration and much more, and of course, follow the action on Instagram at #slowfashionoctober. Thank you Karen for creating and hosting this life-changing event!

Do you love butternut squash? I recently made this recipe and it’s so good! If you’ve never tried frying fresh sage leaves in butter, this is a perfect time to give it a go. All I can say is that I’ll be making this recipe all winter long.

While you’re over on Instagram exploring #slowfashionoctober, have a peek at my recent cochineal dye day @tierneybarden

Strategies For Success and Sewing With Eco-Dye Fabrics

“If you fail to plan, you are planning to fail.”

-Benjamin Franklin

Fall is a great time to review goals!

Drawing on Mr. Franklin’s wisdom, I like to occasionally review the goals and plans I made in January. Checking in with my goal planning a few times during the year is a fairly recent addition to my process, and it has become the key to helping minimize failure and maximize success.

I used to write my list of goals in January and that was it. No plan set out for accomplishing each goal. No progress report mid way through the year. Instead, I would simply ride the wave of New Year excitement only to experience a feeling of failure by December.

If this cycle sounds familiar, this post is for you. Today I’m sharing simple but specific things I do at these critical check-ins. Without them, I have a list of hopes rather than a clear path to success.

Review and Revise

A view of my beautiful work in progress.

Just like in January, I make a date with my goals at least two more times during the year. I encourage making this a celebration! Light scented candles, cut fresh flowers, play music, plug in twinkle lights, wear cozy clothes, and savor a slice of cake. I’m a fan of treating yourself while helping yourself.

Afford plenty of time for this review session. This is not a time to whiz through and simply check things off before needing to start dinner. Certainly begin with checking off what you’ve accomplished (yeah!!) and, equally as important, strike what no longer suits you. Goals that no longer suit us are simply evidence of our own growth, so look at it as making room for that which serves who you are now. In fact, holding on to old goals that no longer serve us can actually hold us back from living the life we want. It’s very OK to let something go.

If you’re unsure if a goal is still important enough to remain on the list, imagine that goal being reached - what does that look like? How does it feel? Is it still worth your time and effort? Or, as the saying goes, if it’s not a YES! it’s a no.

Next, review your planning pages for each goal still on your list. An accompaniment to your list, planning pages are essentially a schedule (ie: a calendar, store bought or hand made work equally well) for dropping in all of the steps needed to accomplish your goals. This schedule becomes your road map to reaching each goal one step at a time and in a thoughtful, steady, clear manner throughout the year.

Does the road map you laid out in January still look realistic or are modifications needed? Life happens and it doesn’t take much to throw off our best laid plans. Give yourself plenty of time and space to modify your road map as needed. Checking things off the list feels great, but this step is the critical one for success.

Remember, this date is a celebration focused on creating the life you want to live. Planning one dream, meeting one goal or having several small successes that lead you to the big success - these are the things that keep you squarely in the driver’s seat to living a happy, fulfilling life.

Simple Strategies

• Post your goals where you can see them

• Keep your planning pages handy where you can refer to them often

• Make a date with your goals two or three times a year and revise as needed

• Reward yourself for goals accomplished

• Willingly strike unmet goals that no longer suit you

• When setting or reviewing goals, ask yourself these questions:

  Am I living the life I want to live?

  What do I want or need more of? Less of?

  What are some realistic ways I can accomplish that (even if it takes time)?

With that, I’m off to spend some quality time with my goals and a piece of cake! Life happened to me, too, and now my road map needs adjusting. There are some exciting projects on the horizon! If you have goal planning tips you’d like to share in the comments below, I’d love to hear!

A quick project using an eco dye panel mixed with scraps.

How can I use eco-dye panels in my quilting and sewing?

This new pillow looks right at home in our Family Room with my art quilt “Self-Portrait”.

When I recently displayed my eco-dye workshop at the Quilting Connections event, I anticipated this question and filled my booth with samples. For example, those of you who attended the event may recognize the pin cushion at the top of this post, as well as this pillow. Pillows might be my new favorite way to incorporate eco-dye fabrics into everyday living.

Only one panel was used to make the 16” pillow shown here. I cut the panel into pieces for the center triangles, the “floral” border (how true), and the four outside corner blocks. My naturally dyed solids and a few scraps of commercial fabric were also incorporated. You can see how a little goes a long way. I’m really happy with how this turned out and will share more samples in the coming weeks.

If you’ve made a project using my eco-dyed fabrics, please share it: #tierneybarden. We’d all love to see! It’s also a great place to see what other talented makers are doing with my naturally dyed fabrics. Be inspired!

Meaningful Connections

Rose leaves on silk noil, 2018

Last week I attended Quilting Connections hosted by the Quilters Consortium of NYS. While the Consortium’s main purpose is to provide the ways and means for quilt guilds across the state to network with each other throughout the year, the primary purpose of Quilting Connections is to connect local and national teachers with Program Chairpersons from the quilt guilds. Teachers display their workshops or product offerings and guilds effortlessly fill up their program calendars. It’s a win-win for everyone involved, and the women who organized this event deserve a huge round of applause. They did a stellar job!

I attended as a teacher, although I’m also a member of the Thumbstall Quilt Guild in Marcellus. I displayed my eco-dye workshop, including the silk piece in the top photo, and I was overwhelmed by the positive response. I’ve updated my workshop calendar, so if your guild, group or shop is interested in this workshop, simply contact me by email here and we’ll set something up!

I post a lot of my eco-dye fabrics and projects on my IG feed which you can view here. You can also see what other people are making with my naturally dyed fabrics here.

photo courtesy of moreloveletters.com

Did you ever have a pen pal?

I did, and I have fond memories at the age of twelve writing letters to a girl of the same age who lived far away in a tiny country called Sri Lanka. Through letter writing, we exchanged simple details about our every day lives which, over time, afforded me a basic understanding of how, with a little time and effort, a friendship can be forged, even with someone I would likely never meet in person. Each time I wrote to her, I would delight in selecting just the right paper and matching envelope, agonize over which things to write about, followed by the some what ceremonious letter folding, envelope stuffing, sealing and addressing, all punctuated by pasting the stamp. Once the letter was safely mailed off, I’d patiently wait for the day when her letter would appear in our mailbox. Holding an envelope with my name on it was, and still is, exciting!

In an age when connecting without the aid of an electronic device seems almost in danger of extinction, I had to share this organization with you. I hope you’ll share it with your family and friends, co-workers and anyone else you think would want to join in this effort. While it’s not a pen-pal experience, it is an opportunity to write a letter giving support to someone in need. Offering words of encouragement, hope and love are at the core of The World Needs More Love Letters. They’re doing something so important, and we have an invitation to join in.

courtesy of The Postman’s Knock

If you’re looking for help launching or strengthening your letter writing practice, Lindsey of The Postman’s Knock has an excellent kit that offers everything you need to stay organized and to send off extra special letters. For years, I’ve enjoyed following Lindsey’s beautiful, creative calligraphy business and receiving her inspiring newsletter. You can find a link to her jam-packed kit here: Letter Writers Complete Resource.

In writing this post, I got to thinking about the slow food, slow clothing and slow stitching movements and wondered if slow communication is a thing? I know for sure that there is something undeniably special about the love that is poured into a hand written letter. Writing letters has always appealed to the romantic in me, and I hope it always will. If you have a favorite letter writing habit or product, please share in the comments below. I’d love to hear about it!

*I’m not compensated for sharing any of the links above. I simply like to share the good stuff in life!

Artist Spotlight: Jody Alexander

Original work, photo courtesy of Jody Alexander

In 2016, I was selling my naturally dyed fabrics at the Squam Art Fair when the inimitable Jody Alexander stepped up to my table and purchased some of my fabrics. 

Original work, 2016, part of KEEP: Modern Library. Photo courtesy of Jody Alexander

Lo and behold, a handful of months later, Jody published her first book, The Boro Aesthetic and graciously let me know that she used my fabrics in a few of the pieces featured in her book. Quite tickled, I've ordered my copy and can hardly wait to savor every delicious page! 

To properly introduce Jody to my readers, and because I certainly can't say it any better, with her permission I've "borrowed" Jody's profile page on Blurb Books:

"Jody Alexander is an artist, bookbinder, librarian and teacher who lives and works in Santa Cruz, California. She binds books with found and discarded papers and fabric in a number of historical and modern binding styles, and rescues discarded books and gives them new life as scrolls, wall pieces and sculptural objects. Her pieces celebrate collecting, storytelling, and odd characters. Her characters, books, sculptural pieces and found items are often combined to create installations.

She has taught book arts at San Francisco Center for the Book, The Center for the Book in New York City and University of California, Santa Cruz. Her work appears in a number of publications including Masters: Book Arts: Major Works by Leading Artist, 500 Handmade Books, and 1000 Artists' Books: Exploring the Book as Art.

Jody is the 2015 recipient of the Rydell Visual Arts Fellowship."

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Original work, photo courtesy of Jody Alexander

In addition to being a working artist and a librarian, Jody teaches workshops all over the world. I'd love to spend a day in her company, learning from her and seeing her work in person. For those of us unable to make it to a workshop, Jody offers incredible online bookmaking classes at Creativebug! 

To follow along on her textile journey, see a broader range of her work or purchase any of her collector-worthy books, you'll find links to her blog, Instagram feed and each of her three incredibly beautiful books here:

www.wishiwashistudio.blogspot.com

@wishiwashistudio

The Boro Aesthetic

KEEP Modern Library

Preparing For Evanescence

Original work, photo courtesy of Jody Alexander

Now that our long hot spell in upstate NY has just broken, I'm ready to fire up the oven and try this delicious looking recipe from Ina Garten. It's her Crispy Mustard Roasted Chicken, and I'm looking forward to it this weekend!

Do you have a favorite recipe you make the moment fall arrives? Tell me about it in the comments below - I'm on the hunt for new tasty meals!

As always, I enjoy connecting with you, so please say hello on IG or in the comments below.

Shakespeare, Paper Cutting and an Expedition

Presenting the stunning paper cut bookmarks made by the students in Ms. Rebekka Boysen-Taylor's class at the Palouse Prairie Charter School in Idaho. This work is the culmination of their 2018 8th Grade Humanities Expedition, A Midsummer Night's Dream. Working with these students is an honor and one of the highlights of my year. 

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Students, from top to bottom: R.F., Joey, Benji

For the past two years, I've been fortunate to work with Ms. Boysen-Taylor and her students in what the school refers to as a Humanities Expedition. A professional is invited to work on a project with the class, and in some shape or form, share first hand working-world knowledge and experience.

Ms. Boysen-Taylor and I first connected in 2016 by way of her facebook inquiry for a paper cut artist. Elizabeth Duvivier passed along my name, as I had just taught a paper cutting mini workshop at Squam Art Workshops. The rest is history, and for even more insights into our journey together, you can see and read all about the 2017 Expedition here.

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Students, left to right: Xhander, Blake, Elisa

 Our process together is made up of multiple stages. First, the students read Shakespeare's A Midsummer Night's Dream and select a passage that resonates. Together, Ms. Boysen-Taylor and I share instruction and pointers on paper cutting techniques and best practices as the students sketch their designs for their selected passages. They share their sketches with me and I offer feedback by way of a personal video. Final drawings are made before moving to the actual paper cutting. 

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Students, left to right, then top to bottom: Viola, Norea, K.R., Dante, Shafer

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Students, left to right: Madeline, Isaiah, Shawn, Keenan

The next time I see their work, it's finished, which is what you're seeing in these photos. Ms. Boysen-Taylor had their art copied onto glossy card stock so that the students could autograph their narrative book marks before slipping them into books throughout their local library. Ms. Boysen-Taylor didn't stop there. She approached the Idaho Shakespeare Festival in Boise which agreed to sell the book marks, helping the students earn back the money for materials. 

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Students, left to right: Isabella, Julia

Aren't these eighth graders so talented?! I've marveled at their imagination and skill. I've also watched in awe as their teacher continues to demonstrate leadership, foster creative expression and spread compassion. Ms. Boysen-Taylor inspires and innovates. I'd love to spend even one day in her classroom!

Working with her students was so much fun, and what moved me was their good humor combined with their willingness to adjust, improve and grow. Each time I look at their work I find more to see. I hope they're enjoying the last of days of summer before ninth grade begins. Here's wishing them all a successful new school year ahead!

If you have any questions about the Expedition, our process together or anything else, please leave a comment or email me: tierneybarden@gmail.com. 

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photo courtesy of geniuskitchen.com

Do you love pickles?

Below is the recipe I try to remember to make each summer because it's that good! 

Grated ginger really sets the recipe apart, and while I tried to find the recipe link on bonappetit.com, it's not coming up, but that's where it originally came from.

Bread and Butter Pickles by Kevin West

Yield: about 2 quarts

Ingredients:

2.5 lbs kirby cucumbers, cut crosswise into 1/4" rounds (about 8 cups)

2 cups thinly sliced red onions

1/3 cup pickling salt, or Kosher salt (not table salt)

2 cups apple cider vinegar

1 -1/4 packed light brown sugar

1 Tbsp. grated fresh ginger

1 Tbsp. turmeric

1 Tbsp. yellow mustard seeds

1-1/2 tsp. coriander seeds

1 tsp. celery seeds

2 Fresno chiles or red jalapenos, pricked with a toothpick

Preparation:

In a large bowl, toss together cucumbers, onions and salt. Add 3 cups ice and set aside for 2-3 hours. Drain, rinse well, drain again.

In a large pot combine the vinegar and all remaining ingredients with 1 cup of water. Bring to a boil and stir to dissolve sugar. Add cucumbers and onions, return to a boil. Turn off heat.

Ladle into 2-3 clean, hot 1-quart jars. Leave 1/2" space on top. Wipe rims, seal and process in a boiling water bath for 10 minutes. Remove jars and cool to room temperature before storing in pantry or refrigerator.

Satisfying Sewing

Beautiful OOAK drawstring bags in the shop

When I'm meeting a deadline and my work table is piled high, I often find sneaking in a little satisfying sewing helps me keep calm. Lately, these reversible bags have been the project of choice.

I've slowly been adding these simple, elegant drawstring bags to the shop. Fun to make and easy to sew, they make stylish storage for knitting projects, portable sewing projects, gift wrapping or travel necessities. They're reversible, too! I learned how to make these bags in any size by watching this YouTube video.

The bag shown here uses one of my eco-dyed silk panels and naturally dyed muslin. The same muslin is used for the interior. Easy!

Al fresco lunch served on a placemat made from one of my eco-dye panels.

 This is my go-to bean salad with champagne vinaigrette. It's simple, healthy and tastes like summer. You can find the recipe here.

If you're looking for something specific in the shop that isn't there, please let me know in the comments below or by email. There's a chance I just might have it. 

My One Weakness

The title of this post pays homage to a beloved fictional character, Dorcas Lane, who actually has many weaknesses. That's probably why I like her so much. If you haven't seen the British television series Lark Rise to Candleford (2008-2011) you're in for a treat, but I digress....

My one weakness is delicious food, and August puts me squarely in my happy place pickling, freezing, baking and cooking. Yesterday, I tried this zucchini bread recipe from Once Upon a Chef, and is in the photo above. It's moist and not too sweet, which allows the freshness of the zucchini to come through. The cinnamon is a nice touch, too. It only seems right to try Jennifer's double chocolate version next. Would you share in the comments your favorite recipe(s) to savor summer's bounty? I'd love to expand my list of must-makes.

Books are my (other) one weakness, and I'm sharing some exciting news: my friend Karen Lewis has a new book, Wabi-Sabi Sewing, and it's hitting book stores and online shops now. I'm tickled pink that Karen used my naturally dyed sateens in some of her projects; for example, you can see my Gold, Teal and Indigo fabrics used in her gorgeous log cabin quilt on the book's cover. Anxiously awaiting my own copy, I'm eager to hold her book in my hands, pore over the spectacular projects she's been working on for many months and decide which one I'll make first. 

Karen's main focus for the book is to celebrate her love of seeing the human hand in both designing and making. Her initial love of quilting began by being drawn to the imperfect, preferring character over mass production, hence the book's title. Artfully combining hand stitching and tactile textures, Karen inspires us with 20 projects to discover and develop our own unique hand.

Having worked with Karen for about a year and a half now, I can tell you she is one of the hardest working independent designers in the industry. I've stood in awe of what she accomplishes in a day, a week, a month. I'm convinced she doesn't sleep. Karen's wit, wisdom and warmth make working with her a pleasure. I only hope that one day I will actually get into one of her (always sold out) printmaking workshops.

In case you were wondering, there is an upcoming blog hop for Wabi-Sabi Sewing, and I'm thrilled to be included. Stay tuned here and on IG for all the fun! To see more of Karen's hand printed fabrics, inspiring projects and world travels visit @karenlewistextiles.

Gallery Talk: Resplendent

At last, we've reached the final post about the making of my art quilts recently shown at Squam Art Workshops. 

While the previous five quilts focused largely on their story telling element, this quilt's story is in its making. Enjoy a closer look at Resplendent's inception, techniques and artistry. For the complete view of "My Enchanted Wonderland" installation, please click here.

Resplendent, 2018

Title: Resplendent, 44.5" x 46.5"

Materials: Naturally dyed organic cotton sateens, commercial cottons, metallic and cotton threads; two layers wool batting

Techniques: English Paper Piecing, hand and machine piecing, fused applique, hand quilting

Date: June 2017 - May 2018

re-splend-ent, adjective

attractive and impressive through being richly colorful or sumptuous

Looking back over the months that this quilt was being made, I can honestly say that resplendent is the best word to adequately convey how I felt through the entire process, including how I felt when I saw it finished for the first time. From the initial design idea, to fabric choices, exploring paper shape combinations, cutting paper for the center medallion, and hand piecing and quilting - at every stage, I felt a sort of inner radiance mixed with thrill and eagerness to keep going. 

1" hexis cut from paper and wrapped with fabric. I'm a fan of glue basting.

In the beginning, this quilt was intended as an attempt to satisfy my curiosity about medallion quilts (their history, variety of quilt components and assembly methods). At the same time, I had been anxious to start an English Paper Piecing (EPP) project using my naturally dyed fabrics. Just at the early stages of designing this quilt, Elizabeth Duvivier invited me to teach at the June '18 session of Squam Art Workshops. We had discussed paper cutting being a large part of the class, and then with a little more play time and sample making, I bridged paper cutting to fabric by way of fused applique - more on that a little later in this post - but it's important to note this time of play was a key moment in the planning of the workshop, as well as the evolution of this quilt. Lesson: make more time to play. 

First things first, I began the process of making Resplendent by cutting piles and piles of 1" paper hexagons. I also pulled a stack of my naturally dyed silks and cottons in colors that I see around me every day during summer months. I laid them out to create a transition from light to dark and noticed darker greens were needed, but because they aren't in my standard dye palette, I turned to Nancy Rink's New Aged Muslins by Marcus Fabrics. Feeling the need for a little bit of visual texture, I brought in just a few batiks, and a stripe by Moda and stars by Andover. 

EPP hexis being sewn into units before being sewn together to create the center panel of the quilt. 

Making the most of every piece of fabric, especially my hand dyed indigo.

A few of the jewel shape paper pieces used in the outer border being wrapped and glue basted. 

One unit of many forming the outermost border. The center diamonds are all lovely, soft shades of peaches and pinks from my dye pots.

A tray made transporting the English Paper Piecing units much easier!

I chuckle when I recall how I used to think sewing by hand must take ages! Having done a bit of hand sewing before embarking on this quilt, I knew that with an efficient set up (tools, posture, support, etc.), hand work actually moves right along. Stitching one color and shape to the next is satisfying, relaxing and enjoyable. I'll even admit to finding it slightly addicting. Sewing EPP is like solving a puzzle - as soon as you put two pieces together you can't wait to see the next piece put in place, and the next! 

Speaking of puzzle pieces, once the center panel and outer borders pieces were stitched together, the four outermost corners were in need of a solution. They presented a fun design challenge, for example, I knew I wanted the colors to flow around each corner, keep the eye moving and maintain a coherent design, but I also had to keep in mind that a paper cut design would be applied over this space, so how not to compete with that design? Below are photos of my solution, and with that portion completed, I moved on to the paper cut motifs. 

A corner in need of a solution. 

One half of the corner unit.

One half of the corner unit meeting up with the border.

Two corner units sewn together, inner border added.

In the quilt world, there exist a few applique methods. I tend to do a lot of needle turn applique, of which you can see an example here, here and here, but when it comes to my paper cut designs I find fused applique to be the most appropriate method. Generally, if it can be drawn and cut, it can be fused. It's a fairly simple process, and any one can use this technique with beautiful results. I enjoy sharing the technique with fellow creatives, not just quilters, and you can see the work of talented Squam students in my Instagram feed here.

On the left is a paper cut that didn't quite hit the mark for Resplendent's center medallion. I must have cut four or five different designs, fine tuning each time, getting closer to what I felt was just right. 

The final paper cut design ready for transfer to fusible web, which had already been adhered to fabric. When cutting, I first get my head in the right place: patience, steadiness and staying in the flow. 

The paper cut design is cut and turned over to the right side. 

Fusing the center medallion onto the quilt top. Tiny, sharp scissors trim any stray threads before fusing. 

Once the quilt top is completely assembled, at last, all of the paper pieces can be removed! Aa a mountain of paper pieces grows, one can see the wisdom in reusing papers.

The assembled quilt top, paper pieces removed, and the entire top pressed. The next steps include layering the batting and backing, basting, machine quilting the paper cut motifs, hand quilting the rest, and then binding. 

The day to begin Resplendent's hand quilting was memorable. It was 7:00AM on Saturday May 19th, 2018, and I was in my Nest with fresh hot coffee to my left and my small wooden tool bowl on my right, and the TV was airing Prince Harry and Meghan Markle's wedding. There was one specific moment after the ceremony when a reporter commented that this wedding was "resplendent". I could hardly believe my ears. Of all the adjectives to describe the wedding, he chose the word I had named the very quilt I was stitching. Without slowing, my needle simply continued to weave glinting gold metallic thread through all the layers, holding them together for a lifetime.   

Big stitch hand quilting, detail. Metallic thread and Aurifil cotton thread.

A view of the back of the quilt. Topography comes to mind.

One last look, Resplendent surrounded by Specimen (L) and New York Beauty (R)

How's that for a fairytale ending? Thank you all for the time you have taken to read my posts about this special body of work. I value your interest and your feedback. Many of you have been so kind to share your own reactions and thoughts with me, and I've sincerely enjoyed those conversations. 

A heartfelt thank you goes out once again to Elizabeth Duvivier @elizabethduvivier and Meg Fussell @squamlove for the opportunity to produce and show this body of work, as well as their support. This has been an epic stitched journey and I've enjoyed every single moment. I remain open to traveling with this show, and would appreciate any potential locations/events you may know of.  

Please continue to share your questions and comments below or by email: tierneybarden@gmail.com. I read them all. You can also follow my natural dye works and daily life on Instagram @tierneybarden.

Gallery Talk: Self Portrait

Welcome to the fourth installment of posts that explore the making of my art quilts recently shown at Squam Art Workshops. 

During the four days this show was up, I was genuinely touched by visitors' reactions and questions. Spontaneous, often dynamic conversations with small intimate groups or individuals helped shape this unique experience. Hands down, Metamorphosis and Self Portrait received the most inquiries and "likes", as it were. For the complete story about Metamorphosis, please click here. Read on to discover how Self Portrait came into being. For the complete view of "My Enchanted Wonderland" installation, please click here.

Self Portrait, 2015

Title: Self Portrait, 30.5" x 33.5"

Materials: A variety of silks and velvets, some hand dyed; cotton batting

Techniques: Needle-turn applique, fused applique, embroidery, machine quilting

Date: July-August 2015

Metamorphosis, 2014

To talk about Self Portrait without first acknowledging it's precursor, Metamorphosis, would be leaving out one half of the story. Metamorphosis was made in 2014 shortly after I decided to start a whole new chapter in my life. I was in my mid-forties and had recently faced a health scare (that thankfully came to nothing), during which time I found myself asking the big questions, primarily, have I done the things I want to do? My answer ultimately led me to the decision to put my financial affairs in order and allow myself the freedom to explore options for what could be next. Metamorphosis is about dreaming the dream and protecting that fragile, vulnerable space. You can read more about it in this post.

About a year after Metamorphosis was completed, I felt compelled to stitch an update to that story. Four months had passed exploring possibilities, trying on various business ideas and adjusting to an evolving lifestyle, after which another six months were invested in getting my natural dye and quilt business up and running. All the while, I was gaining clarity and confidence about who I was becoming and the direction I was heading in.

Going back to my college days earning my BFA at Alfred University, Joseph Scheer was a professor in the printmaking department. For a delightful trip down the rabbit hole, please visit his website here. His incredibly beautiful book, Night Visions: The Secret Designs of Moths, is highly coveted in my own art book collection, and it contains the moth I was drawn to for this quilt, Apantesis phalerata. Have you ever felt that inexplicable connection to something outside of yourself? Every time I opened Joseph's book to this moth, I felt a physical response - a sort of burning in my solar plexis - a connection. I had only felt that one other time, when I would stand before a particular painting by Lori Ellis, so I knew not to ignore this feeling. Click here to see Lori's incredible paintings.

Early stages, drawing the cartoon for Self Portrait

You know how moths hang on a screen with their wings spread wide, unmoving for long periods of time? Well, I thought if I were to hang in one place for such a large portion of my life, I'd want to hang on exquisitely patterned silk.

So, moving ahead with a vision, I drew the moth on paper and cut it out. On a larger piece of paper, I drew a cartoon, a full scale ink drawing of the background damask pattern. I moved the moth around the cartoon until it landed where it looked most at home. Next, I traced the entire damask pattern onto clear plastic.

Cutting the damask pattern.

Tracing shapes onto paper-backed fusible web.

Next, I hand cut the pieces of just one damask unit. These became individual templates that I used to trace as many as were needed onto the paper side of fusible web already adhered to the back of hand dyed silk. These two steps are shown in the photos above.

I cut each silk shape and referred to the cartoon as I arranged them on the shot silk background. Once the entire design was in place, I peeled the paper backing from each piece and fused them all into place with a dry hot iron.  Essentially, by this point, I've handled each shape four to five times.

With the background in place, I hand appliqued the moth. The forewings are reverse applique, silk on velvet. The hindwings are reverse applique, velvet on velvet, with hand dyed pink and red silk crepe de chine appliqued closer to the body. Two thin black velvet strips were cut for antennae. They were heavily machine stitched, which frayed the edges and created an ideal texture. The final step for the moth was to lightly stuff the body from the back before hand embroidering hair to resemble her real life Lepidoptera specimen.

Needing a little life breathed into it, the moth's head, thorax and abdomen received light stuffing before hand embroidery.

The next stage in the making of this art quilt was the free-motion quilting that covers the entire background. I didn't have a design planned out, instead, I brought the quilt to the machine and simply decided to start by outlining the damask pattern with red thread, defining shapes and filling in details like individual leaves and small flowers. Next, I moved on to stitching groups of small and large circles with a variegated thread in warm earth tones. The circles were also a way to connect to the moth eye spots in Metamorphosis.

Metamorphosis and Self Portrait side by side in the cozy Deephaven Library, 2018.

While Metamorphosis is about creating a safe place to dream the dream, Self Portrait is a celebration of shedding the cocoon. When this piece was finished I felt like I was looking in the mirror and this is what was looking back.

As always, please share your questions and comments below or by email: tierneybarden@gmail.com. I'm grateful, and I read them all. You can also follow my natural dye works and daily life on Instagram @tierneybarden.

Gallery Talk: Dark Night

Welcome to the third of four posts that look deeper into the making of my art quilts recently shown at Squam Art Workshops. 

Dark Night has many layers, both physical and metaphorical, so enjoy this rare peek behind the curtain. For the complete view of "My Enchanted Wonderland" installation, please click here.

Dark Night, 2018

Title: Dark Night, 33.5" x 39"

Materials: Shot silk, my father's silk ties, men's cotton dress shirts, silk shantung, Japanese wovens, shot cottons, commercial cottons; wool batting

Techniques: Needle-turn applique, machine piecing, machine quilting

Date: January-February, April 2018

American Folk Art quilt, artist unknown, 1825-1845. Wool, silk, cotton, applique, beading and embroidery. Photo by Gavin Ashworth for the American Folk Art Museum.

Smitten with American Folk Art quilts, like the example shown at left, I've long wanted to make my own quilt that tells a story with hand applique figures sprinkled all over the surface. Antique folk art quilts commonly illustrated daily life on the farm, politics of the day or biblical stories; however, my quilt tells a tale that transcends time and place. The title of this quilt is a nod to a specific step of the Hero's Journey as defined by Joseph Campbell: the dark night of the soul. Making this quilt provided plenty of time to really consider what it is to be on a quest through our own dark night - the battles we fight, the choices we make along the way, whether we hold fast to our values and beliefs or perhaps discover things about ourselves that change how we see the world and ourselves. My quilt's overall design became a treasure hunt, a search for meaning, sign posts and messages that help light the way through the darkness. 

As my stitched quest grew richer and more meaningful, these words eventually made their way to the surface:

Dark Night

In the depths of that dark night

Every minute of every hour

Choose love.

Shine your light. Breathe.

Trust in yourself. Believe.

One day, you'll look back

Stronger. Wiser. Softer.  

        -T.B.

As I mentioned, this quilt has many layers, one of which is the actual making of it. Imagine that it's February in upstate NY. Cold winds whip around the house, the days are more dark than light and temperatures hover in the teens. I'm safe in my Nest, burrowed beneath layers of downy softness, warmth and comfort, busily stitching by hand. On my right is an aged wooden bowl that holds my favorite tools and threads. Hot coffee on my night stand at 6:00AM, and by 7:00PM a fresh cup of fennel tea and a small piece of chocolate. I tell myself I've earned it, stitching by hand for 12 hours. The next day, wake up and repeat, and still with a happy heart. I realize this is the work I was meant to do. These are the stories I was meant to tell. 

The background of this quilt is the traditional Flowering Snowball block. I chose that block because, like life, everything is connected. I also like how the geometry of the pattern blends both feminine and masculine energies. From around the studio I thoughtfully pulled a wide variety of fabrics, including men's dress shirts, Japanese wovens and some commercial cottons. The fabrics had to relate to the story being told, for example, a bit of black lace suggests grieving, loss, pain, sorrow, feminine energy, etc.. Where there's shadow there is light, so fabrics that brought in light were equally important, hence the gorgeous rose-gold shot silk.  Including some of my dad's ties made this quilt very personal. My dad passed away of a heart attack at age 59. I was 29. This sudden and tragic loss was my first quest into my own dark night.

As rough as they are, I made my Flowering Snowball templates by hand and they worked like a charm. The test block shown here later became part of a pillow I made for Terri Dautcher who was indispensable helping me hang this show.

The background all laid out before machine piecing it together. At this stage, I had only a basic idea of what the rose-gold silk applique might look. 

Scattered on the floor of My Enchanted Wonderland installation were some of the actual cut paper rose stems used in the making of Dark Night. 

For this quilt, loose paper cut shapes helped determine the composition before the final shapes were cut from silk.

Hand stitching silk shantung is an indulgence I'd afford again and again. Stitching shantung into a garment is one thing, needle turn applique is another. Once I understood this fabric's tendency to fray, the nature of the weave upon turning under, and the presence of slubs, the process actually became enjoyable and I found myself drawing somewhat intricate shapes like the key, the ladder and the swan. The entire composition actually evolved over weeks of stitching, adding more paper shapes, then more stitching and more paper shapes. As I stitched, I'd connect a few more dots about dark versus light, or fighting the good fight, and another symbol would appear in my mind's eye. Gradually, all of the quilt's symbols revealed themselves. Looking back on the process, it was a good lesson in staying open and in the flow.  

One of the reasons I'm partial to antique folk art quilts is their inherent wonkiness. Confronting my Type-A personality, I intentionally made myself loosen up when drawing and cutting each and every paper shape. I stopped myself from "fixing" this curve or that petal. I have to say that those wonky shapes were a joy to applique. It's funny to me that when I teach, I readily encourage students to embrace imperfection, to celebrate it, and there I was, reminding myself to do as I say. For me, those mis-shapen, odd-looking shapes breathe life into the piece. They add character and personality. The way I see it, evidence of the human hand is a gift, a little piece of the maker left behind for the viewer to discover, to take delight in and even to bond with the maker - to say, "Yes, I'm human, too." I'll have more of that, please. 

I hand basted this quilt before taking it to the machine for free motion quilting. 

First day of machine quilting. Two full days, total.

This handsome piece of Jo Morton fabric was perfect for the quilt backing and binding. One layer of wool batting was enough to create a sculptural quality on the back.

Dark Night is suspended over my Nest in the cozy Deephaven Library, 2018.

Artists are often asked, "How do you know when a piece is finished?" For me, there simply comes a moment when I notice a silence in me, a stillness that says, "No more is needed. I've said all I need to say."  

As always, please share your questions and comments below or by email: tierneybarden@gmail.com. I'm grateful, and I read them all. You can also follow my natural dye works and daily life on Instagram @tierneybarden.

Gallery Talk: New York Beauty

Welcome to the second installment of posts that look deeper into the making of my art quilts recently shown at Squam Art Workshops. 

This quilt is titled New York Beauty and is a dynamic example of what can happen when curiosity and spontaneity collide. For the complete view of "My Enchanted Wonderland" installation, please click here.

Title: New York Beauty, 34" x 32.5"

Materials: Batiks and quilting cottons; wool and poly blend batting

Techniques: Hand and machine piecing, needle-turn applique, ink-jet printing, machine quilting

Date: February-April 2018

All our love, Grandma and Parpar

One wintry afternoon, diligently stitching along on some of the other quilts in this collection, I went into the studio in search of something and found myself rifling through a drawer only to come across a stack of envelopes with my grandfather's hand writing. Perhaps I should have left those letters for another day and gotten back to my stitching, but instead I chose to stand in silence and open each envelope, unfold each letter and read all of my grandfather's words. The memories! My heart was both happy and aching at the same time. Missing them all. The bottom of every letter was signed, "All our love, Grandma and Parpar". I knew then and there that a quilt had to be made to celebrate these letters.

I do a lot of looking at antique quilts and the ones that always hold my attention are wonky with a clear presence of the human hand. 

Early stages of building NYB, nestled in the Nest. 

New York Beauty (NYB) is a classic quilt block that dates back to the early 1900's, and was a way of using up very small fabric scraps that would otherwise be considered unusable. Because of its construction, the block earned quilters ample bragging rights. When I began quilting, I remember seeing NYB quilts and thinking, "If I could make that some day...." In February, I sat down and taught myself how this block works. All of the triangles in my quilt are hand pieced, and thanks to my friend Marion's guidance, I was able to advance from straight rows to curves. Steadily stitching peaches and pinks to lovely grays and deep blues became a soothing way to sail through several days of winter in upstate NY. At this same time, I was looking at an older drawing I had made of a plant out in the yard. Its spiky nature seemed to mimic the traditional NYB block, so I used it for the needle turn applique design in the center panel. I may never learn the plant's name, but we've both been growing alongside each other in our natural habitat. 

Like so many of us, much of the joy I experience with each art quilt is selecting fabrics and colors. Quite often, the core palette presents itself to me, I see it in my mind's eye, and then my job is to make sure all of the supporting players do exactly that. If I had to choose, I'd say that's my favorite way to build a quilt because I can get to the rest of the process much sooner than if I'm deciding on the entire palette (so many choices!). I often marvel at other quilters' color choices, and I know I'm not alone with my affinity for antique quilt palettes! For me, the study of color is a lifelong pursuit, and this I truly believe: color is a language unique to each of us and spoken by all of us.

Leave me your questions and comments. I'm grateful, and I read them all. You can also find me on Instagram @tierneybarden and email: tierneybarden@gmail.com. If you haven't seen my Pinterest boards, there's bound to be something there that will suck a few hours out of your day.... :)

Gallery Talk: Specimen

This is the first in a series of mini talks about my process making some of the art quilts shown in "My Enchanted Wonderland".  

Reading this post will transport you back to that marvelous show in the woods of New Hampshire.

Specimen, 40"x51", 2018

Specimen                                     

40"x51"

January-April 2018              

Materials: quilting cottons, batiks, silks, eco-dyed silk; wool batting      

Techniques: Needle turn applique, machine piecing, hand embroidery, hand and machine quilting                

View fullsize

The star of this piece, the botanical applique, measures over 3'0" in height and is cut from one piece of cloth. I cannot tell you how many cozy winter hours were spent stitching it in place, but I can tell you they were glorious, for this piece marked a turning away from shame and embarrassment toward a place of acceptance, empowerment and love. 

This plant and I are friends, as it greets me on my summer walks. It grows in the shade of a much larger tree and the silhouette always catches my attention. When I drew it, I had no idea where it would take me, and what a journey! Love of nature, love of self.

The making of this piece began with the central hand applique panel, (detail above), followed by the frame of triangles. It was at this point that the piece hung on my wall, unclear how to move forward. Weeks later, it came to me that just one final border was needed, and it should be fairly deep, with some movement and a kind of glow to it. 

Have you ever faced a deadline and known that the only way forward is the most involved, labor-intensive and meticulous process? Well, I chose one inch squares, individually cut and sewn. 1,408 squares of sumptuous color. While it seems a daunting number now, those days in the studio were so much fun and saturated with color that I hardly realized the quantity of squares I was sewing together! My Instagram feed is a nice place to see more of my process making this border, showing how I laid out values and made beautiful color combinations: @tierneybarden.

As the quilt was nearing the finish line, one of the final touches was hand quilting the feathers. I had long wanted to give hand quilting a try, and this was my chance to dip my toe in the water. First, I marked the feather stencil (purchased from local Mennonites), with a water soluble marking pen. For three of the feather circles, I used Valdani variegated perle cotton, size 12 (detail photo), and for the large feather circle, DMC metallic copper floss. Quilting through two layers of wool batting was a dream, and the loft was just right to show off the hand work.

The final element of this quilt's story is an ugly duckling/swan hand embroidered on the main panel. A small piece of my eco-dyed silk was used to accent the swan's head. When I was working on this part of the story, I was thinking of one of my idols, Hans Christian Andersen. If you haven't read his tale, The Ugly Duckling, give it a go this weekend. It's a good one at any age.  

Parting words:

Specimen

plucked from one's natural habitat

pressed

flattened

pinned into position with an exacting hand

labeled

framed

stored in the deep shadows of a drawer

examined at will

no. rather,

carefully selected

delicately presented

respectfully preserved

lovingly shared

-T.B.

As always, I enjoy your feedback and welcome conversation at tierneybarden@gmail.com, @tierneybarden on Instagram, or right here in the comments below. 

Enchanted Squam. A Fairytale In the Woods.

Welcome to "My Enchanted Wonderland", an installation of art quilts that I had the honor of sharing this past week at Squam Art Workshops in NH.

Housed in the Deephaven Library at Rockywold-Deephaven Camps, an inherent coziness and intimacy infused the space surrounding my Nest and art quilts. As soon as the quilts were hung, I stood back with my amazing helper Terri Dautcher (@tldautcher) and we took it all in. It was the first time I saw my work all together and, as Terri can attest, I got a little choked up. I've spent the past eight months creating this installation, with most of it being made within the last six months. As a quilter, this has been a physically intense period of time, completely self-induced, with every art quilt featuring hand applique, and some also incorporating hand piecing or hand quilting. As a story teller, the intensity only continued to build because each story is so personal, and at the same time, universal. It's a lot to carry, which I see as a privilege because they are our stories. Sharing this little world of stitched stories with 200 like-minded people, nestled in the woods along the edge of Squam Lake, was truly a gift, a once-in-a-lifetime opportunity. 

The view to the left of my Nest (the bed, the sacred space that fosters stitched stories.)

The view to the right of my Nest.

This installation was companion to the workshop I taught for two days, also titled Enchanted Wonderland. 28 incredibly gifted, generous, kind women gathered around work tables and cut what I'm calling botanical paper cuts, and then translated their favorite piece in fabric. (The blue and white pillow below is one I made as a class sample.) Some students even took their fabric pieces to the next level by adding hand or machine stitching outside of class. To be surrounded by people so open to adventure, and to see their eyes light up with excitement about what they've just created - well, it's my favorite part about teaching. I believe this workshop is worth offering to a wider audience, so stay tuned for a workshop update. You can see a group shot of each class holding some of their work on my instagram feed, @tierneybarden.

Close-up of the heart of my Nest. The pink and black Antique Stars is in the process of being hand pieced and will be hand quilted, some day.

Back to the installation, over the next few weeks I'm going to share each quilt right here, one at a time, as a way to talk more in-depth about my design process, how I choose quilting techniques in relation to the story being told and other topics. Send me your questions here in the comments, by email, or DM @tierneybarden on Instagram and I'll do my best to answer in the upcoming posts. That would be fun!

On my Nest is a Welsh-inspired quilt top that I made entirely with my naturally dyed organic sateens, and will be hand quilting this summer. There's also a small black and white paper cut featuring a mouse friend (background) that has then been hand appliqued also in black and white (foreground). More on this and other little pieces coming soon, too.

While at Squam, I was frequently asked what's in store for the quilts. I'd like them to travel to other unique, intimate spaces, and to share these stories with more people. I see the installation changing to fit the space, a welcome challenge. I'm open to location suggestions, and you can email me here.

Paper cuts used in Dark Night, 2018.

To every person at Squam Art Workshops who experienced the show and shared their thoughts and questions with me, thank you! For every person who held their experience more privately, thank you! To Elizabeth Duvivier (@elizabethduvivier) who flung the door wide open to such an incredible journey, thank you! To Meg Fussell (@squamlove), thank you for keeping Squam Love alive!  

For a generous dose of magical, woodsy, love-filled Squam Art Workshops eye-candy:

#squamlove  #squamlove2018  #squamwardbound and follow @squamlove to be the first to know about future Squam workshop offerings, have an inside look at all things Squam, and more! 

Quilting Endurance and a Springtime Favorite

Detail, the back of Dark Night, 2018

Above, detail, the back of Specimen, 2018

Quilting has been the name of the game these past four weeks.

In fact, I've managed to quilt one quilt each week on my domestic machine. Whether quilting through two layers of wool batting or one layer of wool and one of poly blend, my muscles have really had a workout! Out of necessity to meet a deadline, I forged a habit of stopping each hour and stretching for a few minutes. The benefits were almost immediate, so much so that now at the end of the day, I also do a series of deeper, whole body stretches. I also try to remember to look up from my work and move my eyes around in all directions, notice the view around me and take some deep breaths. Simple, I know, but effective.

This photo captures the irresistibly tactile texture that only hand quilting can create. For this quilt, Resplendent, I've used one layer of wool batting, and the backing is pomegranate-dyed muslin. 

My big take away through this month of quilting is the importance of daily simple stretching, not only for overall wellness, but in order to comfortably quilt, cut, stitch and all of the other things we quilters do. 

I've put together a round up of links to some of my favorite stretches. Maybe you'll find a few new ones to help your quilting endurance, too. 

STRETCHING ROUND UP:

For the back, lower back and hips

For the neck

For traps

For hands and wrists

 

 

Each spring, ramps thrive in the woods next to our house.

I selectively dig, rinse with a hose and then wrap in a dampened dish towel and placed in the refrigerator's vegetable bin where they keep for a few weeks, provided they last that long. I usually keep it simple and saute ramps with eggs and fiddlehead ferns, but this year, I'm feeling adventurous, so I found this recipe for a pizza with ramps and morels on saveur.com.

The weekend is looking mighty tasty!

Seeing Stars

Recent evenings find me stitching stars, my Liberty EPP stars.

For anyone following my blog or IG feed you may recall that I've been deeply immersed in creating a new body of work, and that it's all top secret sewing. As this collection's big reveal approaches, the days are becoming more concentrated in every way. So, in the evenings I've been unwinding with hand stitching.  

After a ten hour day of cutting, sewing and machine quilting, my muscles need a rest, but my hands just can't sit idle. Are your hands like that, too? For this and more reasons, I'm smitten with English Paper Piecing, and now on the cusp of spring I felt this would be a nice time to share a bit about my favorite tools and tendencies. After all, EPP is portable, so why not take our stitching to the great outdoors?

*I'm not being paid to endorse any of the products described in this post. I simply want to share what what makes hand stitching enjoyable for me. 

Let's talk papers: I've tried a bunch and my favorites (equally) are from Paper Pieces (US) and Tales Of Cloth (AU), and plain old card stock. They're all sturdy yet flexible, and can be reused. For these EPP stars, I'm using Tales of Cloth recycled cardboard papers. You can order from both companies online. You can also download and print any of my free EPP templates on card stock (found in the right margin).

Basting: Years ago, when I first found EPP, I was thread basting, and then I met glue and haven't looked back. A little care and patience go a long way to achieving neat corners, which allow for the pieces to fit together nicely. For me, glue just seems to be all around faster and easier. 

Seam allowance: You can see that I use somewhat generous seam allowances. I find that doing so is especially helpful when removing the papers because it's easier to get under the fabric and lift it from the glue without fraying it or mashing the paper.  

Thread: I've tried plenty, but I seem to always come back to Aurifil's 50 weight thread, which I pass over beeswax (gifts from my friends @fauxsister and @roseshelly1) warmed slightly by my hand.

Needle: I needle my thread with a Quilter's Between, size 10. I also reach for a fresh needle often. Needles dull, hastened by coming in contact with glue and thick paper.

Other useful tools and tips: I'm a fan of Clover mini clips, as well as small, sharp embroidery scissors. I keep both serrated and smooth scissors in my little wooden bowl. I also keep a small pair of pliers in the bowl to help with pulling an especially stubborn needle. Small pliers can easily be found at any hardware store, although mine were a thoughtful gift from @northknit.

Finally, when it comes to large shapes for which I have no precut papers, I make my own templates, trace and cut from Freezer paper and then fuse to the back side of the fabric, like the pink ticking diamonds seen in the photo. The Freezer paper is sturdy and easily removed. My friend, Jessie Aller sells her own precut iron on EPP kits online. I have one of her beautiful #snowflakesEPP kits and hope to use it in time for a special Christmas gift. 

Joining the blades of a six pointed star.

A few more words about why I'm so enamored by English Paper Piecing. Not only do I find the entire process to be soothing and productive, but magic happens as pieces are joined. Slowly and steadily a larger pattern blossoms, and before I know it, in this case, another star is born. 

If you'd like to bust your fabric stash, create dazzling patterns and set yourself up with a portable sewing project, consider printing my FREE Striped Octagon template and instructions, or either of my FREE themed 1" Hexis (Girl Power and Winter Wonderland). You can find them all in the right margin. For inspiration, check out my Pinterest boards, especially "EPP Envy".

As always, feel free to send me any questions or simply say hello! I love seeing what you're making with my patterns and fabrics. Use #tierneybarden #stitchingenchantment on social media and we'll all cheer you on!

Printing on Fabric, an Easy Tutorial

Meaningful stitches...

This post finds me deeply, happily immersed in very personal, very storybook-like stitching for a new art quilt; however, earlier this week, I posted this photo on Instagram and it received lovely feedback (thank you all!), as well as a few requests to explain how I printed my grandparents' letters onto fabric. So, below is a quick tutorial for your creative pursuits! Enjoy, and please share how you decide to use this technique: #tierneybarden. We'd all love to see!

PRINTING ON FABRIC, A TUTORIAL

STEP 1: Cut an 8.5" x 11" piece of freezer paper and with a dry hot iron, press it well, shiny side down, to the back of a piece of fabric cut to the same size. 

STEP 2: Place your image that will be printed onto the fabric on your scanner bed and close the lid. Carefully load your fused fabric sheet* into your INK JET printer and print. (I've always read this technique only works with ink jet printers. I haven't tried it with other types.) *It's helpful to know which way to load your fabric sheet in order to print on the correct side.

This is how my fabric looked coming out of the printer.

STEP 3: To set the ink, press your newly printed fabric very well with a dry hot iron. Now, your fabric is ready for use by peeling off the freezer paper and proceeding as you would with any other fabrics in your stash! Have FUN with this technique, and please share what you make! #tierneybarden 

This delicious powerhouse seed mixture is now a staple at our house!

Seedy Nut Crumble

This smart, gluten-free snack (or topping) is so tasty and easy to whip up that you'll want to sprinkle it over salads, cottage cheese (above), applesauce, oatmeal, or eat straight out of the jar! I came across the recipe in Bon Apetite (Seedy Oat Crackers), and while the original calls for making crackers, I've found that treating it as a crumble is more my style, so that's how I'm writing the instructions:

Preheat oven to 375 F

Line a jelly roll pan with foil.

In a large bowl, combine 1 cup old-fashioned oats, 3/4 cup raw pumpkin seeds, 2/3 cup sunflower seeds, 3 Tbsp. chia seeds, 3 Tbsp poppy seeds and 1 tsp. kosher salt with 4 tsp. vegetable oil, 1 Tbsp. pure maple syrup, and 3/4 cup room-temp. water and mix well. Let sit and thicken for 10 minutes. Spread mixture evenly onto the prepared pan, pressing with your hands to an even layer about 1/4" thick. 

Bake for 15 minutes. Gently stir the mixture and bake for another 15-20 minutes, until light brown and smelling toasty. Let cool in pan, then transfer the mixture to a glass jar or other air tight container. 

* Feel free to substitute chopped nuts of your choosing; chopped sturdy herbs like rosemary or thyme; chopped dried fruits like raisins, apricots or cherries. 

Deep In Winter's Reverie

Flowering Snowball blocks on the design wall.

I'm not ready to let go of winter.

The world around me seems anxious for spring to arrive, yet I'm still safely embedded in winter's embrace, filling my days with stitching and dreaming and planning. And drinking fennel tea. I actually feel most productive during winter months, spending long hours in the studio, many of which are well before sunrise. There's something powerful, even magical, about those early morning hours, offering a space that is completely my own, shrouded in darkness and free from visual and audible white noise. I can truly immerse myself in my imagination and stay there, suspended, for hours. Winter affects my palette and subject matter in marvelous ways. For me, all of this is worth holding on to for a little while longer. 

Selvedge Magazine (C) 2018

This article recently caught my eye and I thought I'd share it with you. In this day of throw-away textiles, it's somehow personally fortifying to become more acquainted with a garment that was made with care and made to last. 

In this post I shared my personal method for setting and planning goals. I've just checked in on my own goal calendar and I'm happy to report that I'm on track! How about you? 

This is a snapshot of my year so far:

• I'm currently deeply immersed in creating a body of work for a very special show this summer. Details to come.
• March: I'll have the honor again of participating in a long distance expedition with a phenomenal teacher, Mrs. Rebekka Boysen-Taylor, and her class at the Palouse-Prairie Charter School in Idaho. This will be my second year, and I'm excited to engage with another talented, committed group of students! You can see what last year's class created here.
• June: I'll be teaching at Squam Art Workshops. SAW has a few openings if you're interested in joining the fun! 
• Late Summer: An exciting project by a fellow textile artist will be announced, and I'm thrilled to be a part of it, in my own small way. Stay tuned!
• July-December: My first ever Block-Of-the-Month program! It will featuring all of my favorite techniques: EPP, applique and piecing! Details for this 6 month program will be announced in May, with the program running from July to December.
• September: QCNYS Teacher Connections event

Winter shadows always inspire!

Finally, if you're stumped for some (free!) winter sewing projects:

• For a quick, charm-friendly and classic baby quilt, download my FREE Gingham For Giants quilt instructions in the right margin!
• Scrap bust with my FREE Striped Octagon template and instructions! 
• Try either of my FREE themed hexi PDFs for an extra special hand stitching experience!

Share what you make! We'd all love to see: #tierneybarden #stitchingenchantment

Plan Your Goals Like a Boss

For many of us, the new year means a chance to wipe the slate clean and start fresh, dream big. One of my absolute favorite things to do this time of year is assess both my business and my personal goals. I admit it doesn't sound very romantic, but it does go a long way to being prepared, and therefore, feeling empowered throughout the entire year. Simply stated: fail to plan, plan to fail.

Several years in sales helped me refine how I lay the groundwork for a successful year, so I thought I'd share my process with you. We all have our own preferred planning system, but whether you have a business or are setting personal goals, perhaps you'll find a few tips to incorporate into your planning routine to get even more out of 2018! Be forewarned, I'm a list person, so this is generally how it goes: 

Inspiring clay words are lightly sprinkled with soothing lavender and refreshing peppermint essential oils.

Probably the single most important step: schedule and commit to a time to settle in and do the work. I treat it as a ritual of sorts by setting a peaceful, calm mood and clearing away distractions. Being alone with no TV or music is a great start. I light candles, wear soft, comfy clothes, brew a fresh cup of coffee, put my phone on silence and finally, get a fresh tablet of paper and a smooth flowing pen. For this exercise, I still prefer to write by hand because it forces me to slow down and to be mindful, but using your tablet might suit you best. Using what works for you is important.

• First, on a blank piece of paper list all of the goals and wishes that come to mind for the new year. I don't edit at this stage - I simply list everything, no matter how outrageous! I take my time with this step, after all, it's defining how I'll spend my year. 
• Once I've written every dream and every goal I can imagine for myself, I mark an A, B, or C alongside each goal as follows (catagorize as you see fit for your own list):
  • A = top priority or an existing commitment
  • B = keep plugging away because achieving this would be excellent
  • C = this is nice, but it's really ok if it doesn't happen this year
• To really embed these new priorities in my mind, and to make the next step more efficient, I write my A, B, C goals as three separate lists. My A list is always short, and becomes the backbone of my year.
• Here's the last step: The Master Calendar. I have a separate paper with 12 roomy, blank boxes, each labeled with a month. If you want something more spruced up, plenty of free calendar templates are available online. Items from the A list are written in each appropriate month's block. For example, you might need to work on an event for six months leading up to the event, so break down the steps into manageable chunks and assign each to an appropriate month. Next, items from the B list are dropped in throughout the year according to when they make sense to be worked on. Repeat for the C list. Something important to note: if any item on a list doesn't excite me or isn't important to the growth of my business, it simply doesn't go on the calendar. And that's OK. This exercise is about getting clear on your own priorities and realistically mapping out time to accomplish your goals. 

By now, I can really see how my entire year is shaping up. I stop here, for a while, and ask if this line up truly seems achievable, or am I better served letting some thing(s) go. The older I get, the more I appreciate quality over quantity. I also remind myself that things usually take longer than expected. At this point, I'm looking at my whole year on one page where I can regularly check in throughout the year and keep myself on track. I can also modify the calendar as the year unfolds and be reminded of small things that, despite best intentions, might have otherwise fallen through the cracks. 

This approach to goal setting and planning can be used in all sorts of manners: maybe you're building your handmade capsule wardrobe, or want to take your blogging to new heights. This is the place to commit to family outings, campfires and stargazing. Assign blocks of time devoted to making the quilts you really want to make. Schedule your workouts. Make dates to get out and have fun. One thing we can all count on is that the year will pass, so let's be sure to make the most of each month, each week, each day.

A one-page calendar isn't meant to capture project details, inspiring photos or important contacts, so those parts of the process are best left to a second wave of planning: inspiration boards, journals, sketchbooks and planners. Personally, the list maker in me depends on a Franklin Planner for infusing the big goals with the details of daily life. For drawing, I'm transitioning from purely using handmade sketchbooks to increasingly using my ipad and apple pencil. With these additional methods to plan and track progress, what's the point of the goal planning calendar? By keeping my entire year in front of me, I always see the big picture, as well as the sum of its parts. And to make sure I don't lose sight of where I'm going, it hangs from a clipboard just inside my studio door. 

This exercise is meant to set myself up for an awesome year, one that I can look back on and feel satisfied, which is why I only include goals that are meaningful, purposeful and positive. I hope this guide is helpful as you plan your beautiful year ahead. Feel free to drop me a line with any questions.

From One Dream Into the Next Dream

On Winter Solstice, I posted my art quilt, Metamorphosis. 

I included a quote that speaks to the heart of this quilt:

There are as many pillows of illusion as there are flakes in a snow storm.                                                             We wake from one dream into another dream.                                                                                                                                                                                                 - Ralph Waldo Emerson

 Metamorphosis tells a story about dreaming the dream. I made this quilt during a time of radical change in my life. Deciding to start a new chapter came with all kinds of emotions, and allowing myself that safe space to imagine the possibilities was paramount. This quilt celebrates my journey.

Crown Vetch grows vigorously near our house, and during the summer months I see it on my walk to the mailbox. Common. Unassuming. Humble. And at night, bowing its head to a dream much larger than itself. Moth eye spots ward off predators, protecting the sacred space held for dreaming. A necessity for survival.  

Detail, Metamorphosis, 2014.

Making Metamorphosis was truly enjoyable. I'd spend 12-14 hour days steadily stitching my story. My first step was to make a cartoon, a full scale ink drawing. With a road map in place, the fabrics and construction methods were decided as the quilt progressed.

Some areas, like the darkest petals of the damask flower were best done as reverse applique (they're found toward the center of the quilt, see detail). This allowed them to sink into the background in order to give the entire damask flower the appearance of coming into being from the deepest depths of a dream. The rest of the damask pattern is appliqued using the freezer paper method. The Crown Vetch, however, was best executed using fused applique. Doing so allowed exact placement of each hand cut leaf and flower petal, often with the aid of tweezers, before being fused into place. The moth eye spots were a surprise, as I didn't have a plan how to make them. I decided to cut fairly large, wonky circles from a gold piece of my hand dyed silk, followed by a smaller circle of black cotton, and then an even smaller circle of pink cotton. I stacked up the circles and with free-motion stitching, I covered each stack with as much thread as my machine would allow before getting tangled up. The dense stitching caused each eye spot to bubble outward, raising them off the surface of the quilt and giving some dimension, which I really like. The entire quilt is sparingly free-motion quilted.

Detail, Self Portrait, 2015

Within a few months of completing Metamorphosis a second art quilt came about. I've decided I'll share Self Portrait in the spring at about the same time it was completed back in 2015. (Sneak peek on the left.) While each quilt's story stands on its own, the two quilts together tell an even larger story. Looking ahead to the new year, one of my intentions is to develop and strengthen my storytelling voice. I'll share the journey, and hope you'll share your feedback with me. We all share a love of textiles, and I value what you have to say. You can always email me or DM on IG @tierneybarden. 

Going in to the New Year, I've increasingly felt the need to share my art quilts, as well as to allow more time for making art in the form of quilts and paintings. Many of you who follow me on social media are familiar with my naturally dyed fabrics and traditional quilt patterns. So, while business continues as usual, I'm also spending some time creating a body of work in the form of art quilts and paintings. Sharing this body of work with you is the end goal. Stay tuned for information about where to see this blossoming collection.

 

Coconut Birthday Celebration Cake

Coconut Pound Cake with Coconut Cream Cheese Frosting

I've always loved being a December baby, and I'm celebrating my birthday with one of my most favorite cakes: Coconut Pound Cake. A few birthdays ago my very dear friend, Victoria Marsted, made it for me. This year, I decided to bake the cake, slice it up and make cake deliveries all over town! Surprising friends was a really fun way to celebrate, so this might just become a tradition. I'm sharing the recipe for this tasty, hearty, easy to make cake:

Coconut Pound Cake

• 2 cups butter
• 3 cups sugar
• 6 eggs
• 2 tsp. vanilla extract
• 4 cups flour or spelt flour
• 1/2 cup unsweetened coconut milk
• 2 tsp. baking powder

Frosting

• 1/2 cup cream cheese
• 1/2 cup butter
• 3 cups confectioner's sugar
• 1 tsp. vanilla extract
• 1/2 cup shredded unsweetened coconut

350 F     Butter and flour Bundt pan

Cream butter and sugar. Beat well after each addition: eggs, extract, flour + baking powder, coconut milk. Pour into prepared pan and bake immediately for 60-75 minutes until cake is firm, golden and pick test comes clean. Cool in pan for 10 minutes. Invert onto plate and leave pan in place over cake until cool. 

Make frosting by beating all ingredients until smooth and fluffy. Frost cake as desired and dust with shredded coconut. 

Cut yourself a slice, get cozy and savor each bite!