I promised you I would write some posts about the making of Pendragon after it was accepted into its debut quilt show. Pendragon will be shown in the Mid Atlantic Quilt Festival on Feb 23-26. I am so excited because I am planning on attending this show. When you read this post, I will probably be there, since I am setting this up for posting on the day I leave for the show. Because of this, I can finally reveal the finished quilt picture.
34 x 45 Text from “The Legend of King Arthur” by Thomas Percy (1729-1811)
I actually made a few small changes since this picture was taken. There was some stitching that went on a downhill decline under the lower left of the pictorial center on the top of the black text box. I spent a whole day frogging (ripping out the stitching) of about five inches of decorative stitching and restitching it. It was worth it. I think it was the only thing that would stand in the way of a judge who likes the design deciding it is a good quilt. I’m not sure you can see it here on this web-sized picture, but I also added some interesting quilting below the text in the block. I had to enlarge the text box just a bit to make the borders I made fit just right.
So here is a web-sized picture of the design that Ken gave me for my birthday last year, along with the threads and fabrics. I blogged about this gift here. He gave me the throne room background in a separate full-sized file without banners or people or the table, which I had printed on cotton by Spoonflower.
You can see there are some differences. The banners are all a little different, the text box is longer than the one shown here to make everything fit together, and the border designs, which were a huge challenge, all have slight differences. Also, there were three more swords pointing on the table from off-picture knights that I eliminated.
So first of all, I sent out the thrown room to be printed, as I said, and then I tried to dye the prepared for dye cotton/silk radiance he gave me to get that nice rich dark green for the Celtic borders. It came out a very pretty color, but not dark enough. Here’s a picture of the fabric. It will make a wonderful green for another quilt, so it isn’t a lost effort (I’m thinking a whole cloth pictograph).
My green dyed Radiance
So I talked to some of my quilting friends, particularly Jerry Granata, who has one specialty of working in unusual fabrics, and bought some (much less expensive) poly satin of exactly the right color of dark emerald green and did some testing. That is what I ended up using. I also had some green cotton of the right color that I used to work out the design and way to achieve the Celtic border designs on. Quilters, I will tell you that getting these borders worked out was one of the biggest challenges of my entire fabric arts career. I wrote a little about it in previous blogs: One and two and three.
After that, I decided it would be best for me to withhold additional photos and construction information until it actually debuts at its first show, which will be the Mid Atlantic Quilt Festival in just a week. I’m so excited. I decided to go to the show, not only because Pendragon got in, but so many of my quilting friends and mentors will be there. I’m not taking any classes, but I am going to attend several lectures, try to spend some time with my friends, do some quilt gazing and shopping, and stand by my quilt a bit even if it doesn’t place. And it may not place. I love it, but it does incorporate digitally printed fabrics, which is not an altogether accepted method yet, and I am all too aware that my quilting is not traditional in any way and needs to grow. I plan on showing it as much as I can over the next couple of years regardless of the reception by the judges just because it is a meaningful quilt that I want people to see. When it finally comes home for its retirement, I plan on giving it to Ken if he wants it. I am thinking it will also be at my exhibit of my quilts at G Street Fabrics in April or May (I’ll give you the dates when I get them).
Anyway, back to the making of the quilt. I loved the way the people came out mostly. I particularly like the queen. Her dress is a small print with gold that I outlined all the little flowers with gold thread quilting. I used a matching sheer for the sleeves and actually made tiny sleeves for her arms. All their hair is free motion thread work. The guys’ tabards and the little banners all have machine embroidered designs. The little banners are independent banners that I made, then hand stitched on top of the quilt.
I digitized the mens’ chain mail shirts using some of the powerful software in Bernina V7. It was a fun challenge and took me several days to make it come out with the appropriate differences that fit their bodies. Then it was embroidered on black and after applique I added some free motion chain work around them to make them look more real and smooth some of the joinings. The swords were so challenging to figure out that (after much consideration and discussion with Ken and Beth) I ended up printing the digital design of the swords from Ken’s design and appliqueing them on with monopoly. Getting the hands properly tucked around the handles was a bit of a challenge, but in the end, I was happy with the swords. I added black crystals on King Arthur’s sword. The crowns are free motion stitching using metallic threads with the addition of hot fix crystals.
All the quilting of the throne room was done with the idea of bringing out a 3D concept. I am generally happy with that result.
Then I faced the challenge of piecing it together. The border was in pieces and had to match up square and with the pictorial center. I should have had the throne room printed slightly larger, because by the time it was quilted and squared up, it was a bit smaller than the intended design. I dealt with this by adding a bit of black below the text box (to make up for the lengthwise shrinking), where I placed some quilting designs, and slightly narrowing the top and bottom small Celtic border pieces (to make up for the crosswise shrinking). But in the end, after a few bits of frogging and restitching, it actually came out very square and flat. I was ecstatic. Getting quilts square and flat, especially my art quilts that have so many different types of techniques, stitching, painting, etc, is a huge challenge every time. This one worked. I used my laser devices (a laser square and a laser cross hair lamp) to help get it square. If the judges measure it, and it doesn’t get shifted in any way in the transport and hanging, they will find it a square quilt.
I used Quilters Dream thin poly batting and Hobbs wool batting. I ended up using 6 titanium top stitch needles on this quilt…I think the gold paint dulled the points quicker. Constructed on my Bernina 830LE and quilted on my Bernina Q20. All Superior threads (variety of weights and colors).
Sew happy everyone! Will I see you at MAQF? Do you have any questions?