Are Bellydancer Coins Appropriate for Chanukah? And Thank You Target!

Shameless self-promotion, as well as promotion of Target stores (no financial affiliation with the latter):

Chanukah looms! It starts the night of December 7! It just occurred to me that I must locate my quilted fiber art dreidels, but finding them may not be easy. So instead of starting the search, I procrastinated by looking for my PHOTOS of quilted dreidels, to see if I needed to take new shots. I came upon this very nice photo:

The photo was taken in 2018, for my pattern booklet "Quilted Treasure Dreidels". Upon close inspection, I realized the coins I'd used as props were bellydancer coins, featuring  curvaceous humans who don't appear to be wearing a tremendous amount of clothing.

Does this completely defeat the original intent of Chanukah?  Does Judaism have room for, or a history of, bellydancing? (My mom took a bellydancing class in the 1970s, when it was all the rage.) I'm thinking this might have pissed off the Maccabees. 

While pondering this issue, and if you don't have time to make Chanukah presents, consider a field trip to Target. (No financial affiliation). I was stunned and thrilled when we walked into Target/Alhambra (in the San Gabriel Valley of California, hardly a Jewish neighborhood) last week, and right in front of the door was a shelf of Chanukah stuff -- plus, there was another long shelf-full on the other end of the store, right behind the Christmas stuff! Thank you Target! I showed my gratitude by buying one of everything, including a crinkly fibrous stuffed dreidel on the bottom left of this picture, which is a cat toy! (Their wares included had a half-dozen cat and dog toys, it was hard deciding!)

If you might prefer to make your own soft dreidel, see more photos of my quilted dreidels at https://www.etsy.com/listing/652897119/quilted-treasure-dreidel-sewing-pattern. Hag sameach, happy holidays!

Tallit Commission: A Time for Machine Embroidery

Here's my latest commission, and although I live in California, and the client lives in the southeast USA, it was made with help from one of the best Judaica machine embroiderers on the planet, Marilyn Levy of Ontario, Canada. It's a tallit (prayer shawl) for a young man's bar mitzvah. 

Like all my commissions, this one started out with a  discussion with the young man's family. They wanted cotton, with a leafy design, in blue and grey, so I drew up choices.

They liked #1 best, the simple vines. What was most unusual - and why they needed a custom tallit instead of one off the rack - was that they wanted Ecclesiastes 3:1-8 on the atarah, the long rectangular band that marks the collar.

You know this verse: it begins, "To everything there is a season, a time for every purpose under heaven." 

An atarah is optional - store-bought shawls sometimes carry the embroidered prayer for donning it. But I've never seen one with this particular verse. 

Initially, the family hoped we could fit in the entire verse, which is a long paragraph. They wanted the letters big enough to read from a distance. I make a sketch to show them what this might look like. 

That convinced them that just the first line might be better. They wanted it in Hebrew and English. I told them I could only do this job if I brought in a subcontractor. I contacted my friend Marilyn Levy, a.k.a. "the TALLITmaaven," who graciously agreed to help. So now we had a three-way, international collaboration, with the family telling us what they wanted, Marilyn showing us what's possible in embroidery, and me getting everyone on the same page and doing the construction.

After much back and forth, here's a printout of Marilyn's design; the family was happy with the size and fonts she chose. (The straight lines help with placement; it's not part of the design.) Full size it was about 22" long.

I printed it out onto paper, cut out the lettering area and taped the two pieces together. I used that long paper strip to block out the area of the tallit where it would lie, and started sewing the other elements in place around it, while waiting for Marilyn to finish the fabric version. 

Marilyn did a gorgeous, flawless job with the atarah, as I knew she would. 

A little closer: 

She also embroidered the boy's name a few times, so I was able to cut those out and place them inside the tallit, inside a kippah (hat), and inside the quilted tallit case I made to hold everything. Here's the front of the case. The secret to quilting those lines so straight....

....was that I used my walking foot to quilt it from the reverse side, a star print, following the lines of the stars in three directions. Below you can see the print under the top flap. Lower down, the silver thread that shows against the blue was in the bobbin. One of the name tags is on the lower left (I blurred the name for this post.) 

I also made a pair of kippot with the same blue fabric, with grey binding.

The one on the left is reversible, but the other one, not so much, because of where the name tag went, as you can see below. (I didn't want to set the name lower, fearing it would interfere with the fit.) The hat pattern is from my book, The Uncommon Yarmulke (sold in my etsy shop at https://www.etsy.com/shop/CathyPStudio.) I used the "large, 4-panel" pattern on p. 19, which fits most teens and adults.

On the tallit, I freehand machine stitched veins on the leaves, and 6-pointed stars on the "pinot" (corner squares), with silver metallic thread. The leaves contain Decor Bond, a midweight fusible interfacing, which  gave them a bit of depth and stabilized them for embroidery. There's also Decor Bond backing the corner squares, which makes them strong for their duties holding a satin stitched buttonhole to surround the tzitzit, the ritual macrame strands, in place.

Like so many commissions, this one was not without its moment of terror. Marilyn put the package with the atarah and name labels into the mail, and headed off on vacation. After a week, the package vanished from the tracking system. I couldn't find it in the Canadian or the US mail. It didn't turn up on its due date, a Friday. My incoming US mail alerts showed no sign of it.

I lay awake that night, imagining the worst. What if it never showed? What if I had to do the embroidery myself, by hand? I decided to give hand embroidery a shot, just for my peace of mind. I spent the weekend doing the best hand embroidery I could possibly do, using Marilyn's paper printout as my model. Here's the result.

The closer you get, the messier it looks. This: 

Versus this: 

The handmade version is charming and might work for a compassionate blood relative; but it's not a job for a client. 

Thankfully, on Monday, Marilyn's atarah appeared, seemingly out of nowhere (according to two country's tracking systems).  I was thrilled with it.

The tallit and its accessories reached the family with plenty of time to spare. But you know how you sometimes find yourself buying fabric for the last quilt you finished? That's what sort of happened to me after this project. 

In this case, I started looking at embroidery machines, thinking, "Wouldn't it be nice if I could do this?" 

And then I answered myself. Machine embroidery is a complicated hobby and/or business. The cost and complexity of an embroidery machine is just the beginning. 

Then there's the knowledge, skill, time, and money required for acquiring and understanding lots of software; designing, sizing, adjusting, stabilizing, hooping and rehooping required for large, complicated designs including bilingual Bible verses on atarahs; not to mention mountains of threads you have to buy, and thread changes you must perform. Most of these things are so clearly not my strengths. But partnering with Marilyn who loves all this and does it so well - that was my idea of fun! 

I also vowed to learn a little more about hand-embroidery. I enjoyed doing it, even if the results were not suitable for formal occasions. I do wonder if flawless hand-embroidered  lettering - especially Hebrew lettering - in a reasonable amount of time is possible. If you've done it, I'd love to see and hear about your approach! 

To learn more about Marilyn's gorgeous Judaica, go to her website, http://www.tallitmaaven.com/. More examples of my (mostly not machine embroidered) tallitot and their backstories are on my Judaiquilt.com website, at http://judaiquilt.com/Tallit_Gallery.html. 

Celebrate New York City! Make a Quilt!

My favorite things in life (aside from people) include most foods; most quilts made by someone other than me; and many aspects of New York City, which is sorta my ancestral homeland. 

So I am thrilled to announce that after a lifetime of gestation (plus a year of actual work), my book, "Quilted New York; Celebrate the City with Fabric and Color" is in print and available! 

Here’s the proof, my new book in my old hand, wearing my Dad's even-older ring (I think my grandmother gave it to him in the 40s). My Mom’s ring is on my other hand. I wish they were here, because New York City played a big role in their lives.

The book has detailed directions for making 11 structures inspired by iconic NYC architecture. There are two quilt patterns, one for this quilt, which I call "Color Block New York." (It can be about 70" square, more or less, depending on border choices.)

And for people with less wall space, there's "New York Condensed," which is about 60" square. 

My Dad's mother, a turn-of-the-century immigrant from Poland, settled in a one-room tenement apartment in Williamsburg (at 182 S. Third Street). Her husband abandoned the family, so she raised two sons alone, toiling at a sewing machine in a leather pocketbook factory. It’s such an irony that the sewing which wore her down brings her granddaughter so much joy. I understand how much luckier I am than her; the unconditional love she showered on us despite so many years of hard labor is one of the reasons I have the luxury of enjoying recreational stitching.  

My Mom was a death camp survivor from Radom, Poland, who moved to Brooklyn after the war. 

New York City gave both of them refuge and an excellent education. Dad earned an undergrad degree from NYU, and a graduate degree at Columbia U's Teacher's College; his tuition was paid by the GI Bill because of his combat service in WWII. I don't know how Mom paid for Hunter College, but it couldn't have been expensive, because it was public.

When I was in elementary school, we'd visit my Bubbie (grandmother), in that Williamsburg apartment. To my frustration, our parents absolutely forbade my brother and me from playing on the tantalizing fire escapes.

So New York always felt like my homeland. One building in my book is a tenement, complete with fire escape, in honor of Bubbie. (I took artistic liberties with the color).

It's my hope that the book will appeal not just to fans of The City, but also any quilter interested in portraying any city. 

First, because the book teaches my unique piecing technique for architecture, in which most raw edges are turned to the back during piecing, so you don't have to rip seam ends after the building's pieced. This method works well for all kinds of architectural appliques. 

Second, even though most of the buildings were inspired by particular New York structures, there may be similar buildings near you.

For example, the Empire State Building shares the wedding cake profile of many of its peers across the country that were built in the 1930s. Here's one of my depictions. 

The next structure was inspired by the New Museum of Contemporary Art, and the edge-turning-during-piecing technique works particularly well for so many post-modern buildings like this that have cantilevered sections hanging out beyond lower sections, with no supports at the ends, an engineering as well as a piecing and applique challenge.

Making my version of the Freedom Tower (gold below) was a little like making pants, because the base piece was so long. Next to it is a purple-ized Chrysler Building variation, with arcs of triangles.

 

And so forth! The book invites you to either follow along with detailed directions, diagrams, and measurements; or if you prefer, improvise your own variations. 

Learn more about the book at my shiny new website, here. Where can you buy the book?

1. Ask at your local quilt shop. Tell them they can order it from me, or via the wholesaler Ingram Books. (If you ARE a quilt shop, please contact me for more information, at cathy.perlmutter@gmail.com)

2. Order it from a local bookstore: Go to Indiebound.org, and enter your zip code, to find a local bookseller who will order it for you (from Ingram).

3. If you'd like a signed (printed) copy; or a digital PDF edition, find both in my Etsy shop.

4. And, yes, it is on Amazon here, as well as other online booksellers. 

Please do feel free to email me with any questions!

Pandemic Porch Quilt Show, Days 29 - 33: Flamingos and Hashtags and Adverbs, Oh My!

Day 29: Flamingo Carrom 

This was made in the early 2000's, when my kids, my fabric stash, and I were so young! Also, I was obsessed with Marilyn Doheney's wedge rulers. Despite the frenetic color, and, lordy, the gold lame in the center (what was I thinking?)....

...I still sort of love it. Flamingos and zebras and tigers, oh my! 

Day 30: Frankenquilt! 

The previous project left me a bunch of extra wedges, which I stuffed into my UFO cabinet. About 15 years later, I pulled them out and made the central circle and inner border of this quilt: 

 

The outer borders were more recent experiments in modern hashtag blocks.

I tried to come up with different ways to make hashtags.

This time, I had the sense not to put gold lame in the middle. Just a  nice soothing solid yellow. 

Read more about this quilt in my blog post here.

Day 31: New York State of Mind 

This was my first cityscape quilt, made in 2018, and it happened completely by accident. I was trying to make improv modern ladders. When I offset the tops, skyscrapers appeared! 

I used my trusty Doheney wedge ruler to make the top portion.  The circles and triangles over the wedges create something that looks like a group of diverse people. All happy accidents! The quilting was then inspired by NYC's iconic Chrysler Building. 

More photos in this blog post. The intentional city quilts that followed this quilt are blogged here.

Day 32: "The Road to Hell is Paved with Adverbs"

The quotation is from writer Stephen King, and it's so true! In researching this quilt, I plowed through (adverb) an exhausting yet non-comprehensive list of 3732 adverbs.  

I rubber stamped the adverbs I abuse most, onto pieces of fabric, before piecing and appliqueing everything together.  A closer look is in my earlier blog post, here. 

DAY #33: Seven Sisters Potential Wedding Canopy (Chuppah)

This quilt was made in the '90s, using the technique in the book "Magic Stack and Whack Quilts" by Bethany Reynolds, which was was all the rage - for good reason! Start with large scale print; stack layers, matching printed motifs precisely.

Then rotary cut diamonds - you wind up with multiple sets of 6 identical pieces. When you sew them together, they kaleidoscope, and non-quilting friends declare you a genius! You humbly say, "Aw, shucks," but you and your guild know the truth - even relative beginners can follow this book, have a blast with it, and come up with something spectacular.

The simple-looking bias tape border took MUCH longer (and more skill) than the center.

(There's a "Chai," the Hebrew word for "Life," quilted in gold thread in the corner, but it's hard to see.) I think this quilt would make an excellent, dignified wedding canopy, but no one has asked, so it's still a wedding virgin.

More porch show quilts coming soon!

Passover Masks; I Couldn't Help Myself

Passover is April 8. With the world in the throes of the COVID epidemic, public health authorities and rabbis agree that people should stay home, and connect with farflung loved ones at the seder via Zoom, Skype, or whatever. 

I don't have any matzoh in my house yet - but of course, I always have plenty of matzoh fabric. So this morning, I broke away from making (somewhat) normal masks for friends and family; and I made these, just to make myself laugh.  First....

(I buy matzoh fabric here.)

The next mask covers two plagues: Frogs and hail. 

(The dots could also be boils and/or cattle disease; the black area could be darkness. That's five plagues in one mask!)  

The third mask, dancing skeletons, is good for the tenth plague, the death of the firstborn; not to mention the new plague we are enduring.

And finally, if your virtual seder guests don't see eye to eye on politics, send these to the loquacious ones in advance.

 BUT SERIOUSLY

• My easy pattern, which I used to make the masks above, is HERE.

• My roomier mask tutorial is HERE. 

• My resource page with hospitals around the country asking stitchers to make masks for them, and links to many more  patterns, is HERE. 

And whether you celebrate Passover, Easter, or anything else, please, listen to the public health experts; stay home; don't invite guests, except the ones you already live with. That's the best way to save the world. 

More Passover and matzoh fabric projects are in the word cloud on the upper right. 

A "No Apologies" Tutorial for Improv Paper Pieced Log Cabin Triangle Quilts

UPDATE: My book with step-by-step directions for this quilt and its cousins, "Improv Log Cabin Triangle Kaleidoscope Quilts," is available in my etsy shop, here. An on-demand class, which includes the book with this pattern, is here.

When I started this quilt, the idea was to make a rainbow-colored 6-pointed star. I hoped to create a pattern people might use to make a wedding canopy, among other things.  The most relaxing way to do that, I figured, would be to start with log cabin triangles.  

So what you see in the central area of this quilt are a whole lot of log cabin pieced triangles - each center piece is light, and the three "logs" around it are darker. You're also seeing blocks I call "water lilies" - from left to right, the oddball orange, pink and purple blocks, as well as the lavender blocks on the bottom of the photo. These blocks are a log cabin variation, with light triangle corners added.

The problem with log cabin piecing triangles - compared to squares - is that the angles quickly become awkward and confusing, with sharp bias-cut corners. 

That's why I decided to piece all my triangles on clean scrap paper and/or newsprint from the packing store - $6.00 bought me a lifetime supply!  Most triangles were improv-pieced from the top of the paper - stitch-and -flip - with no markings needed on the paper. 

I pieced the water lilies onto scrap paper cut into triangles. Here's how it looked halfway through. 

 Then I stitched lighter colors to cover each corner:

The last step is using my equilateral triangle ruler to trim the excess. (In this photo, I'm doing it on a pink block.) 

My favorite part of this quilt is the six stars in the corners  - spontaneous and irregular piecing makes them vibrate! Here are a couple.

The triangles in the dark outer border are mostly crazy-pieced 

When the quilt reached 67" at the widest by 57" high, still hexagon- shaped, I decided it was finished.  If it were a wedding canopy (a "chuppah" in the Jewish tradition) it would need 6 poles for all the corners!?  Better yet, if someone wants to use this pattern for a canopy, they could sew the top to a square or rectangular background. 

[UPDATE: Several people have suggested that the finished hexagon could be basted to a square of lightweight chiffon. It would create the illusion of a floating hexagon! I love that idea, thank you!]

When it was done, and I counted the number of equilateral triangles, I was astonished. No matter how many times I counted, it kept adding up to 600! How cool is that? Thus the title of this quilt: "Fireflower 600."

Another quilt in this series was shown last week. 

My on-demand class, which includes a book containing directions for making this quilt, is now here.  If you just want the book, it's in my etsy shop, here.