BATS! The Basics...

Fun Fact: I based my bat pattern off of my red dragon pattern!  The general shape of the dragon head comprises the body for the bat.

 

COMPONENTS

The basic components for a bat, not counting miscellaneous spines, eyes, feet, etc.:

 

ASSEMBLY

The ear panels are assembled into cones and stitched to the forehead panel in the same way as in the red dragon's assembly (please see the red dragon tutorial for detailed instructions for both ear and wing construction).  Next, the two side panels, forehead, and belly panels are all stitched together, starting from the tip of the nose, to create a pouch.

 

Here, you can see the prototype pattern beside the prototype bat body (decorative spines have been sandwiched into the rear seam):

 

I then add a base panel and two wings.  These are exactly the same as the wings I use in my dragon pattern--two quilted layers of wing with a skeletal accent stitched into the inner side.

When all components are roughly assembled, the bat prototype looks like this:

For this prototype, I've sewn the wings together into one continuous piece (I've since decided that this is an unnecessary and complicating step, and no longer bother to do it, so feel free to skip doing this).

With the wings assembled, I now have three pieces: The body, the base, and the wings:

I lay the inside-out bat against the base panel, sandwiching the wings between the back seam (the one with the spines) and the top of the base panel, and stitch them together 3/4ths of the way around.  Then I sew the eyes onto the bat face.  With this prototype, I have also sewn two stuffed cones to the face, to create a beak.

 

Finally, I simply stuff the bat and stitch the final edge closed (You may review how to close your plushie using whip stitch and blind stitch here).

 

And there you have it!

That's how I made my first bat!

 

I hope you enjoyed this tutorial.

Next time, I'll show you how to make the "Microbat," which is much simpler, and I'll show you some more pictures of my completed bats.

See you then!

500 Days Blogging, 45 Posts!

Today is my 501st day blogging (and 46th post)!

I thought it would be fun to look at audience stats again.

In the blue table, you can see how the overall stats have changed.  The left column contains the audience data from the last time I recorded it, February 10th.  The right column shows yesterday's numbers:

February 10, 2014	September 14, 2014
Number of Posts: 14	Number of Posts: 45
Days Blogging: 284	Days Blogging: 500
Total Page Views : 843	Total Page Views : 2,089
Most Viewed Blog Post: "Anatomy of a Plushie" (May 8, 2013)	Most Viewed Blog Post: "Jane Austen Festival 2014: Part 1" (August 9, 2013)

The pink table shows which countries my readers are coming from:

ENTRY	TOTAL PAGEVIEWS (02/10/2014)	ENTRY	TOTAL PAGEVIEWS (09/14/2014)
United States	441	United States	1276
Malaysia	110	Russia	169
Russia	109	Malaysia	111
Ukraine	21	Netherlands	94
Germany	18	Germany	49
China	14	France	47
Canada	13	Luxembourg	46
South Korea	9	China	41
United Kingdom	8	Canada	40
Brazil	4	Ukraine	25

It's really fun to see where all of you are based!  Hello! 
Hope it's cooler than 107 degrees Fahrenheit where you are...

TRAPUNTO

Have you ever heard of “Stuffed Quilting,” “Corded Quilting,” or “White Work”?  When people describe this type of quilt-work, they are usually referring to the technique known as “Trapunto.”

Pronounced “trah-poon-toh,” the word “Trapunto” originates from the Latin and Italian word “trapungere.”  In Latin this word originates from “tra/trans” and “pungere,” and means “to prick through,” while in modern Italian, “trapungere” means “to embroider.”  “Trapunto” as a term was only adopted around 1920, but the technique of stuffing an image into quilting goes all the way back to Italy in the 1300’s.  This style of quilting can also be seen in many textiles from Tudor England (1485-1550A.D.), and from France in the 1600’s.

Trapunto employs a basic running quilting stitch to create a design or image in a solid piece of fabric.  Picture a dotted line of thread that sandwiches layers of fabric and quilt padding together.  By controlling the proximity of these stitched rows, you can control the relative thickness of your quilt.  For example, by grouping several rows of stitching together, the quilter compresses the quilt padding and creates a flat background.  Wider-spaced rows of stitching allow the middle layer of padding to expand, for a slightly fuller look. 

Featured designs or images are then given even more volume by adding stuffing or cord to the filler layer, in small, controlled pockets.  The result is a pillow-y image made up of tiny half-spheres and ridged lines.  This manipulation of volume with additional filler material is why Trapunto is often referred to as “stuffed quilting.”

Many fabrics have been used to create this classic quilted clothing and bedding effect, but Trapunto is traditionally known for using solid, white fabric.  The shadows on the bright, light-reflecting surface help the eye to see the intricate designs and relief-work of these amazing pieces.

My white work sample, which used quilt filler, stuffing, and cord, in its glorious, haphazard entirety:

In my next sample, I have drawn in the stitches on the front side, to make them easier for you to see.  In this example, additional fabric is only used to create the stuffing pockets that comprise the rabbit, rather than an entire backing:

A less traditional technique, also used with Trapunto, is to quilt a semi-sheer fabric like silk or rayon over a bright fabric or yarn.  By controlling where the color shows through, the quilter can create a striking 2-D image.

In the first example of this method, bright fabric is used as the backing.  Again, I've drawn over the stitches to help you see them.

The areas that are stuffed become white, creating a negative image of an eye:

In the second example of this kind, a sheer fabric is stitched to a bright backing.  Brightly-colored yarn is sewn between the layers, to create an accent design:

When you turn it over, the bright colors have become subtle.  The purple oval is lightly stuffed but distinct from the equally colorful red background.  In contrast, the purple triangle has been stitched between two semi-sheer, white layers (both on top of the red fabric), to make the red background even more subtle:

 

MUSEUMS
If you would like to see more traditional (and complex!) examples of Trapunto, many textile museums have samples and images of beautiful pieces that can be seen in person or online.

 

Below, I have placed the links for 3 lovely examples:

1.  Popular quilt images often included fruit and plants.  A great example of this can be seen in this flower-filled basket detail, from a quilt made by Orella Keeler in the early 1800's.  This quilt is in the collection of the Daughters of the American Revolution Museum. 

2.  Other stuffed-work quilters ambitiously decided to depict specific scenes  from life or literature.  the Russellville Fair Quilt, made by Virginia Ivy between 1856 and 1857, shows various people, animals, and buggies at a county fair, and is in the collection at the National Museum of American History (you can zoom in to examine various details).

3.  Two of the most famous examples of stuffed white work are also amongst the oldest preserved quilts.  The "Tristan and Isolde Quilts," also called the “Guicciardini Quilts,” are believed to have been made in Sicily sometime between 1360 and 1400, and depict a variety of images from the historically popular epic of “Tristan and Iseult.” 

These quilts are thought to have been part of  a group of three quilts originally.  One, called the “Tristan Quilt,” the “Tristan and Isolde Quilt,” or the ”Guicciardini Quilt,” is on display at the Victoria and Albert Museum in London, England.  The second quilt (the “Guicciardini Coverlet,” or “Usella Coverlet”), as well as a duplicate of the quilt in England, are on display at the Bargello Palace, Museo Nazionale del Bargello in Florence, Italy.  The third quilt is believed to be in a private collection.  I could not find a link to the quilt at the Bargello, but I did find this interesting blog piece on the making of the duplicates Tristan quilts in Italy, which includes some helpful links.  For more information on the scenes and symbols in the quilts, you can view this helpful Wikipedia article.

As with any other technique, trapunto can be used for as simple or as complex a design as you wish, and can add a striking element to your piece.  Why not try incorporating a little stuffed work into your next project?

2000 Pageviews

It's been really fun to watch the ticker climb,
and to see what countries viewers are visiting from each week!

Happy Labor Day Weekend!

What will I be doing this coming weekend?

I will be hiking and hanging out with friends.  What better?  And it should be cooler than the 95-99 degree heat that we've been experiencing this weekend...  "80 degrees" sounds like a refreshing change of pace...

In addition to being social, I'll also (no surprise) be crafting!

Labor Day is a holiday that celebrates workers' achievements, and their contributions to the nation's well-being.  While some might say arts and crafts are a bit of a different kind of "labor" than the holiday was originally referencing, art and textiles continue to add a great deal to one's quality of life.  Additionally, "holiday" to me means time for friends, family, and those hobbies and pursuits that are valued but don't tend to get enough attention during the regular grind.  So...crafting!

What have I been up to lately, crafts-wise?  Bats!

Whenever I have a few minutes, but don't feel like starting a large project, I will sew some felt eyes, or cut some scales out of scraps I have waiting.

That way, when I do have more time or focus, I'll have everything I need to make a plushie ready and waiting:

This past month, I've been cutting out panels in anticipation of my new batch of bats.  The Fall season is fast approaching, and I would like to stock up on finished bats before October. 

So I've been stitching spines,

 

and eyes



and wings!



I've decided to branch out into other Autumnal and Evening colors, so I think I'm going to have fun!

I'll keep you apprised of my progress...

 

I've also started work on a "Bat Construction" tutorial, so look for that a little closer to October.

 

I hope you all have a lovely weekend.  And to all you U.S.-based folk, have a lovely holiday!

Jane Austen Festival 2014, Part 2: Archery, Fashion Show, Workshop, & Links

Hi, Everyone!

Without further ado, PART 2 of the Jane Austen Festival, held in Louisville, KY, USA:

ARCHERY
The archery demonstration included a lecture on the purpose of archery clubs.  Archery events were another opportunity (in addition to dances) to socialize--and flirt.  They provided another venue for increased equality and skill for women, as well as an opportunity for exercise and gambling.  While a tournament could include up to 6 miles of walking, the social or club atmosphere was also a high priority: some clubs met for years without ever drawing a bow!

Note the costumes: Archery clubs had strict clothing requirements, down to the shade of green fabric used in one's clothing.  A feather in the cap was also required, for the purpose of the outfits was to emulate Robin Hood, who was very popular.  The founder of one club got fined for neglecting to have his cap-feather...

REGENCY STYLE SHOW

The schedule of Events for Sunday also included a wonderful fashion show:

I took a lot of pictures of the fashion show.  Most ensembles consisted of a dress with a lovely removable jacket on top, so it was like we got to see each model in two different outfits.  The lecturer, Betsy Bashore, created her dress patterns from museum pieces and fashion plates.  She helpfully provided construction tips for interested crafters.  Her website provides images of original garments as well as patterns.

Some of our favorites:

 

 

An interesting thing I learned during the presentation was that many of the dresses and bonnets in the Regency period were made from saris. Indian fabrics (and shawls) were a prized import at that time. The colorful sari prints were transformed into beautiful Grecian or Roman-style dresses, and the embroidered edging could be turned into an accent at the hem or waist.

BREASTKNOTS

In the afternoon, I took a workshop on "Regency Breastknots" with Julie Rockhold.  Her blog, "The Fat Reenactress," can be found here.

"Breastknots" also known as "nosegays," "tussie-mussies," "corsages," and "posies," are basically beribboned bouquets.  During the Regency period, breastknots were usually made from real or artificial flowers that were sewed together into a cluster and decoratively displayed on a ribbon base.  Additional decorative elements like fruit or nuts were often included. 

 

Here are a few of the images from the workshop handouts (unfortunately I do not have sources):

 

These floral arrangements were frequently worn as accent pieces near one's cleavage or at one's waist, but they could also be seen as the accent piece in a hat, or even carried in one's hand like the bouquets we see today.

Here's an example of hat decorations, from a Bingley's Teas recipe card:

Julie read us a passage from a letter Jane Austen wrote to her sister, Cassandra, from Bath.  In the letter, Austen remarks on the prevalence of flowers and fruit as accessories:

Flowers are very much worn, and fruit is still more the thing. Elizabeth has a bunch of strawberries, and I have seen grapes, cherries, plums, and apricots. There are likewise almonds and raisins, French plums, and tamarinds at the grocers', but I have never seen any of them in hats. A plum or greengage would cost three shillings; cherries and grapes about five, I believe, but this is at some of the dearest shops. My aunt has told me of a very cheap one, near Walcot Church, to which I shall go in guest of something for you.

--Queen's Square, Sunday (June 2, 1799)

For those of you who are "Pride and Prejudice" (and Lady Catherine de Bourgh) fans, I will include one other passage that I found in this set of letters, on the accommodations in Bath:

I have a very nice chest of drawers and a closet full of shelves -- so full indeed that there is nothing else in it, and it should therefore be called a cupboard rather than a closet, I suppose.

--13, Queen's Square, Friday (May 17)

The piece I made in the workshop:

When worn:

SOUVENIRS
We were pretty tired and warm  by the end of the day, but I couldn't leave without getting some souvenirs!

This bag wasn't technically a souvenir, but I loved the humor.  In case you aren't familiar with "books" and "bookstores," this bag helpfully fills you in on both:

 

 

 

A Jane Austen mug, which features the pivotal declaration letter from "Persuasion" (my favorite Jane Austen novel):

 

The Festival T-Shirt--I couldn't resist!

I also picked up a few of these fun magnets. 

COSTUMES

I wanted to show you a few more shots of two of the costumes I wore.

First, the outfit I wore to the festival: A short-sleeved dress, with a blue over-robe.  White, cotton dresses were reserved for labor, because they could be washed and bleached.  Strongly-dyed or embroidered fabrics were more expensive, so they were usually reserved for accent pieces or evening gowns.

 

I had always wanted a walking outfit like Elizabeth Bennet's, complete with her short Spencer jacket.  This is my attempt at one.  I wore it over the same dress:

Another interesting thing that I learned about Regency dress-making was the fact that most sleeves were detachable.  Ladies could easily unpick the sleeves from their dresses and create an entirely new outfit, or turn a winter dress into one for summer.

My Spencer jacket without the long sleeves:

BONNETS 

For my mother's hat, I added a tube of the green fabric from her blouse/jacket to a pre-made sunhat:

Here she is, in front of the perfect banner:

 

My own bonnet was a little more complex.  I pleated white fabric around the brim of the sunhat, and then I stitched the top edges of the tube together (from the inside) and tightened the seam until it created this pouch look. 

The rosette is made from the lacey ribbon that I'd used as the ties for both hats, as well as some ribbon scraps from the blue dress that I'd cut up to make my over-robe.  I knotted together several loops of the ribbon to create a messy flower.  I bound the long tail of the rosette around the pleated brim, and tacked my new "hat band" down. 

 

BONUS CAT PICS!

While I was photographing my bonnet, Rio decided that the bonnet suited him much better.  Too cute!!

 

LINKS

I wanted to include the links to some wonderfully informative websites that I found online while I was researching Regency dresses. They include some beautiful images of museum pieces, as well as some helpful patterns.

 

Regency Fashion:

 

Detachable Sleeves

 

Men's Breeches, Pantaloons, and Trousers

 

Patterns:

 

Spencer & Pelisse Patterns

 

Regency Gown Pattern

 

 

If you'd like to see more pictures from the 2014 Jane Austen Festival, Kathy Cummings provides some great detail shots of the various workshops and activities here.

 

We had such a good time!  I can't wait for another opportunity to obsess about Jane Austen!