Which Of The Following Describes A Decorative Technique Used By Plains Woman

Bedcover fabricated of multiple layers of fabric sewn together, ordinarily stitched in decorative patterns

A quilt is a multi-layered cloth, traditionally equanimous of two or more layers of fabric or fiber. Unremarkably 3 layers are used with a filler material. These layers traditionally include a woven cloth superlative, a layer of batting or wadding, and a woven back combined using the techniques of quilting. This is the process of sewing on the face of the fabric, and not just the edges, to combine the iii layers together to reinforce the material. Stitching patterns can be a decorative chemical element. A single piece of fabric can be used for the superlative of a quilt (a "whole-textile quilt"), but in many cases the pinnacle is created from smaller fabric pieces joined together, or patchwork. The design and colour of these pieces creates the design.

Quilts may comprise valuable historical data about their creators, "visualizing particular segments of history in tangible, textured ways."^[2] In the xx-first century, quilts are frequently displayed as non-utilitarian works of fine art^[3] but historically quilts were ofttimes used equally bedcovers; and this apply persists today.

(In mod English language, the word "quilt" tin too be used to refer to an unquilted duvet or comforter.)

Uses [edit]

Pieced quilt, cottons, c. 1865, unknown maker, Kentucky, dimensions: fourscore×85 inches. The design had numerous names such equally Rocky Road and Crown of Thorns until it was renamed and marketed as "New York Beauty" in the 1930s by the Mountain Mist company. Included in the volume "New York Beauty, Quilts from the Volckening Collection" (Quiltmania, French republic). Collection of Bill Volckening, Portland, Oregon.

There are many traditions regarding the uses of quilts. Quilts may exist made or given to mark important life events such as wedlock, the nascence of a child, a family unit member leaving home, or graduations. Modernistic quilts are non always intended for utilize as bedding, and may be used equally wall hangings, tabular array runners, or tablecloths. Quilting techniques are frequently incorporated into garment design every bit well. Quilt shows and competitions are held locally, regionally, and nationally. There are international competitions as well, peculiarly in the The states, Japan, and Europe.

The following list summarizes most of the reasons a person might decide to make a quilt:

Bedding
Decoration
Armor (e.thousand., the garment called a gambeson)
Commemoration (eastward.k., the AIDS Memorial Quilt)
Education (eastward.g., a "Science" quilt or a "Gardening" quilt)
Campaigning
Documenting events / social history, etc.
Creative expression (due east.g., Art Quilts)
Souvenir
Fundraiser

Traditions [edit]

Quilting traditions are particularly prominent in the United States, where the necessity of creating warm bedding met the paucity of local fabrics in the early days of the colonies. Imported fabric was very expensive, and local homespun material was labor-intensive to create and tended to vesture out sooner than commercial fabric. It was essential for most families to use and preserve textiles efficiently. Saving or salvaging modest scraps of fabric was a role of life for all households. Modest pieces of fabric were joined together to make larger pieces, in units called "blocks." Inventiveness could be expressed in the block designs, or simple "utility quilts," with minimal decorative value, could be produced. Crib quilts for infants were needed in the cold of winter, merely even early examples of baby quilts indicate the efforts that women made to welcome a new infant.

Quilting was oftentimes a communal action, involving all the women and girls in a family unit or in a larger community. There are as well many historical examples of men participating in these quilting traditions.^[4] The tops were prepared in accelerate, and a quilting bee was arranged, during which the actual quilting was completed by multiple people. Quilting frames were often used to stretch the quilt layers and maintain even tension to produce high-quality quilting stitches and to allow many individual quilters to work on a single quilt at one fourth dimension. Quilting bees were of import social events in many communities, and were typically held between periods of high demand for farm labor. Quilts were frequently made to commemorate major life events, such as marriages.

In that location are many traditions regarding the number of quilts a young adult female (and her family) was expected to have made prior to her wedding for the establishment of her new home. Given the demands on a new wife, and the learning bend in her new role, it was prudent to provide her some reserve fourth dimension with quilts already completed. Specific wedding ceremony quilts go on to be made today. Wedding ring quilts, which have a patchwork design of interlocking rings, accept been made since the 1930s. White wholecloth quilts with high-quality, elaborate quilting, and often trapunto decorations as well, are also traditional for weddings. It was considered^{[ by whom? ]} bad luck to comprise heart motifs in a wedding quilt (the couples' hearts might exist broken if such a design were included), so tulip motifs were oft used to symbolize dear in wedding quilts.

Quilts were often made for other events as well, such as graduations, or when individuals left their homes for other communities. One example of this is the quilts made as farewell gifts for pastors; some of these gifts were subscription quilts. For a subscription quilt, community members would pay to have their names embroidered on the quilt top, and the proceeds would be given to the departing government minister. Sometimes the quilts were auctioned off to raise additional coin, and the quilt might be donated dorsum to the minister past the winner. A logical extension of this tradition led to quilts existence fabricated to raise money for other community projects, such every bit recovery from a flood or natural disaster, and after, for fundraising for war. Subscription quilts were fabricated for all of America's wars. In a new tradition, quilt makers across the The states have been making quilts for wounded veterans of the Transitional islamic state of afghanistan and Iraq conflicts.

The Museum of the Southern Jewish Experience in New Orleans holds a 19th-century exemplar of a "crazy quilt" (one without a pattern) "that was made by the Jewish Ladies' Sewing Social club of Canton, Miss., in 1885 to be raffled off to help fund the building of a synagogue there."^[5] (A photo of this quilt accompanies this citation.) The Museum's director, Kenneth Hoffman, says that this quilt involves "lots of footling pieces that come together to brand something greater than the sum of its parts, information technology'due south crazy but information technology'due south beautiful, information technology has a social attribute of ladies sitting together sewing, information technology has a religious aspect."^[v]

William Blitz Dunton (1868–1966), psychiatrist, collector, and scholar of American quilts incorporated quilting equally role of his occupational therapy handling. "Dr Dunton, the founder of the American Occupational Therapy Association, encouraged his patients to pursue quilting as a curative activity/therapeutic diversion...."^[four]

The urban center of Paducah, Kentucky in the United States hosts an almanac competition and celebration of quilting that attracts artists, celebrities, hobbyists, and novices from the world of quilting from all effectually the world. Called QuiltWeek, it has been celebrated in a brusk documentary by Olivia Loomis Merrion called Quilt Fever. Coming to the subject with no previous knowledge of quilting, Merrion explores what quilting means to its practitioners along with what it means to Paducah, which has earned the nickname "Quilt City, United states of america."^[6] Among the many television programs besides equally YouTube channels devoted to quilting, Honey of Quilting, which originates in a magazine of the same name, stands out for being aired on PBS.^[7]

Techniques [edit]

Patchwork and piecing [edit]

One of the main techniques involved in quilt making is patchwork, sewing together geometric pieces of textile often to form a design or "block." Also called piecing, this technique can be achieved with hand stitching or with a sewing machine.^[viii]

Appliqué [edit]

Quilt block in appliqué and reverse appliqué

Appliqué is a sewing technique where an upper layer of fabric is sewn onto a ground fabric. The upper, applied fabric shape can exist of any shape or contour. At that place are several different appliqué techniques and styles. In needle-turn appliqué, the raw edges of the appliquéd fabric are tucked beneath the design to minimize raveling or harm, and pocket-size hand stitches are made to secure downwards the pattern. The stitches are made with a hem stitch, and then that the thread securing the fabric is minimally visible from the front of the work. There are other methods to secure the raw edge of the appliquéd fabric, and some people apply basting stitches, fabric-safe glue, freezer newspaper, paper forms, or starching techniques to fix the fabric that will be applied, prior to sewing it on. Supporting newspaper or other materials are typically removed later on the sewing is complete. The ground fabric is often cut away from behind, afterwards the sewing is consummate, to minimize the bulk of the textile in that region. A special form of appliqué is Broderie perse, which involves the appliqué of specific motifs that have been selected from a printed fabric. For example, a series of flower designs might be cut out of one fabric with a vine blueprint, rearranged, and sewn down on a new fabric to create the image of a rose bush-league.

Opposite appliqué [edit]

Opposite appliqué is a sewing technique where a footing fabric is cut, some other piece of fabric is placed nether the basis textile, the raw edges of the ground fabric are tucked nether, and the newly folded edge is sewn down to the lower fabric. Stitches are fabricated as inconspicuous equally possible. Reverse appliqué techniques are often used in combination with traditional appliqué techniques, to requite a variety of visual furnishings.

Quilting [edit]

A key component that defines a quilt is the stitches holding the three layers together—the quilting. Quilting, typically a running stitch, tin be achieved past hand or by sewing auto. Hand quilting has often been a communally productive act with quilters sitting around a large quilting frame. I can also hand quilt with a hoop or other method. With the development of the sewing auto, some quilters began to utilise the sewing motorcar, and in more recent decades machine quilting has become quite commonplace, including with longarm quilting machines.^[9]

Trapunto [edit]

Trapunto is a sewing technique where two layers of fabric surrounding a layer of batting are quilted together, so additional fabric is added to a portion of the pattern to increase the profile of relief as compared to the rest of the work. The effect of the elevation of one portion is often heightened by closely quilting the surrounding region, to shrink the batting layer in that office of the quilt, thus receding the groundwork fifty-fifty further. Cording techniques may too exist used, where a channel is created past quilting, and a cord or yarn is pulled through the batting layer, causing a sharp modify in the texture of the quilt. For example, several pockets may exist quilted in the pattern of a bloom, and so extra batting pushed through a slit in the bankroll fabric (which volition later be sewn shut). The stem of the rose might be corded, creating a dimensional effect. The background could be quilted densely in a stipple pattern, causing the infinite around the rose bush to become less prominent. These techniques are typically executed with wholecloth quilts, and with batting and thread that matches the pinnacle fabric. Some artists take used contrasting colored thread, to create an outline issue. Colored batting backside the surface layer can create a shadowed outcome. Brightly colored yarn cording behind white cloth can give a pastel event on the surface.

Embellishment [edit]

Additional decorative elements may be added to the surface of a quilt to create a iii-dimensional or whimsical effect. The nearly common objects sewn on are beads or buttons. Decorative trim, piping, sequins, found objects, or other items can also be secured to the surface. The topic of embellishment is explored further on another folio.

English language paper piecing [edit]

English paper piecing is a hand-sewing technique used to maximize accurateness when piecing complex angles together. A paper shape is cut with the verbal dimensions of the desired piece. Textile is then basted to the newspaper shape. Adjacent units are then placed face to face, and the seam is whipstitched together. When a given piece is completely surrounded by all the adjacent shapes, the basting thread is cut, and the basting and the paper shape are removed.

Foundation piecing [edit]

Foundation piecing is a sewing technique that allows maximum stability of the work as the piecing is created, minimizing the distorting effect of working with slender pieces or bias-cut pieces. In the well-nigh basic form of foundation piecing, a piece of newspaper is cut to the size of the desired block. For utility quilts, a sheet of newspaper was used. In modern foundation piecing, there are many commercially available foundation papers. A strip of textile or a fabric scrap is sewn by auto to the foundation. The cloth is flipped back and pressed. The next piece of fabric is sewn through the initial piece and its foundation paper. Subsequent pieces are added sequentially. The block may be trimmed affluent with the edge of the foundation. After the blocks are sewn together, the newspaper is removed, unless the foundation is an acid-free material that will not damage the quilt over time.

Quilting styles [edit]

N America [edit]

Amish [edit]

Lydia Beachy, Amish Crazy Quilt, 1910-1920, cotton, eighty 7/viii in. by 62 1/4 in. (Smithsonian American Art Museum)

Amish quilts are reflections of the Amish way of life. Every bit a part of their religious commitment, Amish people have chosen to reject "worldly" elements in their dress and lifestyle, and their quilts historically reflected this, although today Amish brand and use quilts in a variety of styles.^[ten] Traditionally, the Amish use only solid colors in their clothing and the quilts they intend for their own employ, in community-sanctioned colors and styles. In Lancaster, Pennsylvania, early Amish quilts were typically made of solid-colored, lightweight wool fabric, off the aforementioned bolts of fabric used for family vesture items, while in many Midwestern communities, cotton predominated. Classic Amish quilts frequently feature quilting patterns that contrast with the plain background. Antique Amish quilts are among the nigh highly prized by collectors and quilting enthusiasts. The color combinations used in a quilt can help experts decide the customs in which the quilt was produced. Since the 1970s, Amish quiltmakers have made quilts for the consumer market, with quilt cottage industries and retail shops appearing in Amish settlements across North America.^[x]

Baltimore album [edit]

Baltimore album quilts originated in the region around Baltimore, Maryland, in the 1840s, where a unique and highly developed style of appliqué quilting briefly flourished. Baltimore anthology quilts are variations on album quilts, which are collections of appliquéd blocks, each with a unlike pattern. These designs oftentimes feature floral patterns, just many other motifs are used as well. Baskets of flowers, wreaths, buildings, books, and birds are common motifs. Designs are often highly detailed, and display the quiltmaker's skill. New dyeing techniques became available in this period, allowing the cosmos of new, bold colors, which the quilters used enthusiastically. New techniques for printing on the fabrics also allowed portions of material to be shaded, which heightens the three-dimensional effect of the designs. The background fabric is typically white or off-white, allowing maximal contrast to the frail designs. India ink allowed handwritten accents and besides allowed the blocks to be signed. Some of these quilts were created by professional quilters, and patrons could commission quilts made of new blocks, or select blocks that were already bachelor for sale. At that place has been a resurgence of quilting in the Baltimore style, with many of the modern quilts experimenting with bending some of the old rules.

Crazy quilts [edit]

Crazy quilts are and so named because their pieces are not regular, and they are scattered across the meridian of the quilt like "crazed" (cracked or crackled) pottery glazing. They were originally very refined, luxury items. Geometric pieces of rich fabrics were sewn together, and highly decorative embroidery was added. Such quilts were oftentimes effectively samplers of embroidery stitches and techniques, displaying the evolution of needle skills of those in the well-to-do late 19th-century dwelling house. They were bear witness pieces, not used for warmth, but for brandish. The luxury fabrics used precluded frequent washing. They often took years to consummate. Fabrics used included silks, wools, velvet, linen, and cotton. The mixture of fabric textures, such as a smooth silk side by side to a textured brocade or velvet, was embraced. Designs were applied to the surface, and other elements such as ribbons, lace, and decorative cording were used exuberantly. Names and dates were often part of the pattern, added to commemorate of import events or associations of the maker. Politics were included in some, with printed entrada handkerchiefs and other preprinted textiles (such as advertisement silks) included to declare the maker's sentiments.

African-American [edit]

Past the time that early African-American quilting became a tradition in and of itself, it was already a combination of fabric traditions from 4 civilizations of Central and Westward Africa: the Mande-speaking peoples, the Yoruba and Fon peoples, the Ejagham peoples, and the Kongo peoples. As textiles were traded heavily throughout the Caribbean, Central America, and the Southern Usa, the traditions of each distinct region became intermixed. Originally, near of the textiles were fabricated by men. However when enslaved Africans were brought to the Usa, their work was divided co-ordinate to Western patriarchal standards and women took over the tradition. However, this potent tradition of weaving left a visible marking on African-American quilting. The utilize of strips, reminiscent of the strips of reed and fabric used in men'south traditional weaving, are used in textile quilting. A interruption in a pattern symbolized a rebirth in the bequeathed power of the creator or wearer. It also helped continue evil spirits away; evil is believed to travel in straight lines and a break in a pattern or line confuses the spirits and slows them downwardly. This tradition is highly recognizable in African-American improvisations on European-American patterns. The traditions of improvisation and multiple patterning also protect the quilter from anyone copying their quilts. These traditions allow for a strong sense of ownership and inventiveness.^[eleven]

Quilters of Gee'southward Curve, Alabama, 2010. Gee'south Bend is well known for its quilts and quilt makers.

In the 1980s, concurrent with the boom in art quilting in America, new attention was brought to African-American traditions and innovations. This attention came from 2 opposing points of view, one validating the practices of rural Southern African-American quilters and some other asserting that there was no one way merely rather the same individualization constitute among white quilters.^[12] John Vlach, in a 1976 exhibition, and Maude Wahlman, co-organizing a 1979 exhibition, both cited the utilise of strips, high-contrast colors, large design elements, and multiple patterns equally characteristic and compared them to rhythms in black music.^[13] Building on the relationship between quilting and musical performance, African-American quilter Gwendolyn Ann Magee created a twelve-slice exhibition based on the lyrics of James Weldon Johnson's "Elevator Every Vox and Sing," commonly known as the "Negro National Canticle."^[14] Cuesta Benberry, a quilt historian with a special interest in African-American works, published Always In that location: The African-American Presence in American Quilts in 1992 and organized an exhibition documenting the contributions of black quilters to mainstream American quilting.^[15] Eli Leon, a collector of African-American quilts, organized a traveling exhibition in 1987 that introduced both historic and current quilters, some loosely post-obit patterns and others improvising, such as Rosie Lee Tompkins. He argued for the creativity of the irregular quilt, saying that these quilters saw the quilt block equally "an invitation to variation" and felt that measuring "takes the middle outa things."^[sixteen] At the aforementioned time, the Williams College Museum of Art was circulating Stitching Memories: African-American Story Quilts, an exhibition featuring a unlike arroyo to quilts, including about prominently the quilts of Religion Ringgold. Nevertheless, information technology was not until 2002, when the Museum of Fine Arts, Houston, organized The Quilts of Gee's Bend, an exhibition that appeared in major museums effectually the country, including the Whitney Museum of American Fine art in New York, that art critics unknowingly adopted Leon's assertions.^[17]

Pictorial Quilt with American Flag, unknown maker, Ohio, cottons, c. 1930, dimensions: 64×75 inches. Drove of Bill Volckening, Portland, Oregon.

Pictorial quilts [edit]

Pictorial quilts ofttimes contain one-of-a-kind patterns and imagery. Instead of bringing together fabric in an abstruse or patterned blueprint, they apply pieces of fabric to create objects on the quilt, resulting in a film-based quilt. They were ofttimes fabricated collaboratively as a fundraising endeavor. All the same, some pictorial quilts were individually created and tell a narrative through the images on the quilt. Some pictorial quilts consist of many squares, sometimes made past multiple people, while others take imagery that uses the entirety of quilt. Pictorial quilts were created in the United States, besides as in England and Ireland, showtime as early as 1795.^[18] ^[19]

American. Pictorial Quilt, ca. 1840. Cotton, cotton thread. Brooklyn Museum

Hawaiian [edit]

Hawaiian quilts are wholecloth (non pieced) quilts, featuring large-scale symmetrical appliqué in solid colors on a solid color (usually white) background material. Traditionally, the quilter would fold a square slice of material into quarters or eighths and and then cut out a border blueprint, followed by a center design. The cutouts would then be appliquéd onto a contrasting background fabric. The center and edge designs were typically inspired by local flora and often had rich personal associations for the creator, with deep cultural resonances. The most common color for the appliquéd design was ruby, due to the wide availability of Turkey-red fabric.^[20] Some of these textiles were not in fact quilted but were used as decorative coverings without the heavier batting, which was not needed in a tropical climate. Multiple colors were added over time as the tradition developed. Echo quilting, where a quilted outline of the appliqué pattern is repeated like ripples out to the edge of the quilt, is the most common quilting pattern employed on Hawaiian-fashion quilts. Beautiful examples are held in the drove of the Bernice Pauahi Bishop Museum, Honolulu, Hawaii.

Group of people from Niʻihau with their quilt, 1885
Kapa Kuiki

Native American star quilts [edit]

Star Quilts are a Native-American class of quilting that arose among native women in the late 19th century as communities adjusted to the difficulties of reservation life and cultural disruption. They are made by many tribes, simply came to be especially associated with Plains tribes, including the Lakota. While star patterns existed in before European-American forms of quilting, they came to take on special significance for many native artisans.^[21] Star quilts are more an art form—they limited of import cultural and spiritual values of the native women who make them and continue to be used in ceremonies and to marker of import points in a person's life, including curing or yuwipi ceremonies and memorials. Anthropologists (such as Bea Medicine) take documented important social and cultural connections between quilting and earlier important pre-reservation crafting traditions, such as women'due south quill-working societies^[22] and other crafts that were hard to sustain after hunting and off-reservation travel was restricted by the US government. Star quilts have also become a source of income for many Native-American women, while retaining spiritual and cultural importance to their makers.

Seminole patchwork [edit]

Created past the Native Americans of southern Florida, Seminole strip piecing is based on a elementary grade of decorative patchwork. Seminole strip piecing has uses in quilts, wall hangings, and traditional wearable. Seminole patchwork is created by joining a series of horizontal strips to produce repetitive geometric designs.

Europe [edit]

The history of quilting in Europe goes dorsum at least to Medieval times. Quilting was used not merely for traditional bedding only likewise for warm habiliment. Clothing quilted with fancy fabrics and threads was often a sign of dignity.

British quilts [edit]

Henry 8 of England's household inventories record dozens of "quyltes" and "coverpointes" among the bed linen, including a green silk one for his beginning wedding to Catherine of Aragon, quilted with metal threads, linen-backed, and worked with roses and pomegranates.^[23]

Otherwise known as Durham quilts, North Country quilts have a long history in northeastern England, dating back to the Industrial Revolution and across. North Land quilts are oftentimes wholecloth quilts, featuring dense quilting. Some are made of sateen fabrics, which farther heightens the consequence of the quilting.

From the late 18th to the early on 20th century, the Lancashire cotton industry produced quilts using a mechanized technique of weaving double cloth with an enclosed heavy cording weft, imitating the corded Provençal quilts made in Marseilles.^[24]

Italian quilts [edit]

Quilting was particularly mutual in Italy during the Renaissance. I particularly famous surviving instance, now in two parts, is the 1360–1400 Tristan Quilt, a Sicilian-quilted linen textile representing scenes from the story of Tristan and Isolde and housed in the Victoria and Albert Museum and in the Bargello in Florence.^[25]

Provençal quilts [edit]

Detail of a white cotton wool Provençal, or boutis, quilting

Provençal quilts, now ofttimes referred to every bit "boutis" (the Provençal word pregnant "stuffing"), are wholecloth quilts traditionally made in the South of French republic since the 17th century. Ii layers of fabric are quilted together with stuffing sandwiched between sections of the blueprint, creating a raised effect.^[26] The three principal forms of the Provençal quilt are matelassage (a double-layered wholecloth quilt with batting sandwiched between), corded quilting or piqûre de Marseille (also known as Marseilles work or piqué marseillais), and boutis.^[26] These terms are often debated and confused, merely are all forms of blimp quilting associated with the region.^[26]

Asia [edit]

China [edit]

A lattice of thread is being created atop a layer of batting.

Throughout China, a elementary method of producing quilts is employed. It involves setting up a temporary site. At the site, a frame is assembled within which a lattice work of cotton thread is made. Cotton batting, either new or retrieved from discarded quilts, is prepared in a mobile carding machine. The machinery of the carding machine is powered by a minor, petrol motor. The batting is then added, layer by layer, to the area inside the frame. Between adjacent layers, a new lattice of thread is created with a wooden deejay used to tamp down the layer. (Encounter: Image series showing product method)

Japan: Sashiko [edit]

Sashiko (刺し子, literally "little stabs") is a Japanese tradition that evolved over time from a simple technique for reinforcing fabric fabricated for heavy employ in fishing villages. It is a form of decorative stitching, with no overlap of whatever 2 stitches. Piecing is not office of the tradition; instead, the focus is on heavy cotton thread work with large, even stitches on the base fabric. Deep blueish indigo-dyed fabric with white stitches is the most traditional grade, only inverse piece of work with blue on white is too seen. Traditional medallion, tessellated, and geometric designs are the nigh common.

Bangladeshi quilts [edit]

Contemporary Bangladeshi Quilt (Kantha)

Bangladeshi quilts, known equally Kantha, are not pieced together. Rather, they consist of ii to iii pieces of textile sewn together with decorative embroidery stitches. They are made out of worn-out clothes (saris) and are mainly used for bedding, although they may be used every bit a decorative slice likewise. They are made past women mainly in the Monsoon flavor before winter.

Sindhi Ralli quilts [edit]

Women in the Indus Region of the Indian subcontinent make cute quilts with vivid colors and bold patterns. The quilts are chosen "Ralli" (or rilli, rilly, rallee, or rehli) derived from the local discussion "ralanna" meaning to mix or connect. Rallis are made in the southern provinces of Pakistan including Sindh, Baluchistan, and in the Cholistan Desert on the southern edge of Punjab, as well as in the adjoining states of Gujarat and Rajasthan in India. Muslim and Hindu women from a variety of tribes and castes in towns, villages, and also nomadic settings brand rallis. Quiltmaking is an old tradition in the region perchance dating back to the 4th millennium BC, judging by like patterns found on ancient pottery. Jaipuri Razai (quilt) is i of the most famous things in Jaipur because of the traditional fine art and process of making it. Jaipuri Razai is printed by the process of Screen printing or block printing which are both handmade processes carried out by the local artisans of Jaipur, Sanganer, and Bagru. Jaipuri quilts are designed to keep y'all warm during winters without irritating your skin. By including elements of traditional art in your modern living spaces, you can preserve the essence of Indian culture wherever you live.

Rallis are normally used as a covering for wooden sleeping cots, as a floor covering, storage bag, or padding for workers or animals. In the villages, ralli quilts are an important part of a girl's dowry. Owning many ralli quilts is a measure out of wealth. Parents nowadays rallis to their daughters on their wedding day every bit a dowry.

Rallis are made from scraps of cotton fiber fabric dyed to the desired color. The most common colors are white, blackness, cherry-red, and yellow or orangish with green, dark bluish, or imperial. For the bottoms of the rallis, the women use sometime pieces of tie-dye, ajrak, or other shawl fabric. Ralli quilts have a few layers of worn cloth or cotton fibers between the peak and bottom layers. The layers are held together past thick colored thread stitched in straight lines. The women sit on the ground and do not use a quilting frame. Another kind of ralli quilt is the sami ralli, used past the samis and jogis. This type of ralli quilt is popular due to the many colors and the all-encompassing hand-stitching employed in its construction.

The number of patterns used on ralli quilts seems to be almost countless, as there is much private expression and spontaneity in color within the traditional patterns. The three basic styles of rallis are: i) patchwork quilts made from pieces of cloth torn into squares and triangles and and so stitched together, ii) appliqué quilts made from intricate cut-out patterns in a variety of shapes, and three) embroidered quilts where the embroidery stitches form patterns on solid colored fabric.

A distinguishing feature of ralli patterning in patchwork and appliqué quilts is the diagonal placement of similar blocks as well as a variety of embellishments including mirrors, tassels, shells, and embroidery.^[27]

Africa, Oceania and Southward America [edit]

Cook Islands: Tivaevae quilts [edit]

Tivaevae are quilts made by Cook Island women for ceremonial occasions. Quilting is thought to have been imported to the Islands by missionaries. The quilts are highly prized and are given every bit gifts with other finely made works on important occasions such as weddings and christenings.

Egyptian khayamiya [edit]

Khayamiya is a form of suspended tent decoration or portable cloth screen used across North Africa and the Centre East. It is an fine art form distinctive to Egypt, where they are yet sewn by hand in the Street of the Tentmakers (Sharia Khayamiya) in Cairo. Whilst Khayamiya resemble quilts, they typically possess a heavy back layer and fine top layer of appliqué, without a primal insulating layer.

Kuna: Mola textiles [edit]

Mola textiles are a singled-out tradition created by the Kuna people of Panama and Colombia. They are famous for their bright colors and reverse appliqué techniques, which create designs with potent cultural and spiritual importance within the ethnic culture. Forms of animals, humans, or mythological figures are featured, with potent geometric designs in the voids around the principal image. These textiles are not traditionally used as bedding, but use techniques common to the larger international quilting tradition. Molas have been very influential on mod quilting blueprint.

Block designs [edit]

Foursquare-in-a-square quilt cake pattern

Kitchen kaleidoscope quilt block case

In that location are many traditional block designs and techniques that have been named. Log cabin quilts are pieced quilts featuring blocks fabricated of strips of fabric, typically encircling a small centered square (traditionally a red square, symbolizing the hearth of the domicile), with light strips forming half the foursquare and dark strips the other half. Dramatic dissimilarity furnishings with low-cal and dark fabrics are created by various layouts of the blocks when joined to form a quilt acme. These different layout variations are often named; some layouts include Sunshine and Shadow, Directly Furrows, Streak of Lightning, and Befouled Raising. 9-Patch blocks are often the first blocks a child is taught to make. The cake consists of three rows of iii squares. A checkerboard result with alternating dark and light squares is almost normally used. The Double Wedding ceremony Band pattern first came to prominence during the Corking Low. The blueprint consists of interlocking circles pieced with small arcs of material. The finished quilts are often given to commemorate marriages.

Cathedral Windows is a type of block that features contrary appliqué using large amounts of folded muslin, and consists of modular blocks in an interlocking circular blueprint that frame minor squares or diamonds of colorful lightweight cotton. The volume of fabric is high, and the tops are heavy. Because of the weight and the insulating value of the base fabric, these tops often are assembled without batting (and thus need no quilting stitches), and sometimes have no bankroll. Such a quilt may exist chosen a "counterpane" and may serve mainly as a decorative bedspread.

Machines [edit]

In that location are many different kinds of quilting machines. Of form, you lot have the sewing machine. For this, you must push button the cloth through the machine which volition allow a needle and thread to go through your fabric. Another famous car is called a Long Arm. This car is used to stitch the quilt tiptop, batting, and backing into a finished quilt. This motorcar also allows you to essentially decorate the quilt. You can put loops, flowers, words, or any drawing into it. If you expect at some quilts closely, you can meet many of them will have the designs on them with the Long Arm techniques.

Autograph quilts [edit]

There are two distinct kinds of autograph quilts. Unmarried blueprint quilts are often referred to as "friendship quilts" while the more formal quilts made of different blocks are called "sampler album quilts."

Although both kinds of quilt are part of the same tradition of signed remembrances, they differ in how they were created. Sampler album quilts were composed of several unique, intricately pieced or appliquéd blocks. A friendship quilt was ordinarily made of several blocks from the same pattern. These blocks could be made speedily (by each friend involved in the project), from textile scraps available at her home.

In her Clues in the Needlework newsletter, Barbara Brackman wrote, "Many of the blocks in the early album quilts made between 1840 and 1860 featured elaborate ink signatures and modest drawings and verses. By the time of the Civil State of war, album quilt inscriptions had get shorter and were more likely to include only the block maker'due south proper noun, and perhaps his or her hometown or date."

Well-nigh 19th-century signatures were written with indelible ink, while in the 20th century they were oftentimes embroidered. Occasionally, one person called for her beautiful handwriting would inscribe all the signatures. Some regional signature quilts were inscribed in the fraktur calligraphy used to certificate important events by the Pennsylvania Germans.

Quillow [edit]

A quillow is a quilt with an attached pocket into which the whole blanket can be folded, thus making a pillow. One time folded into the pocket, it can be used as a absorber during the day and unfolded into a blanket at nighttime.

T-shirt quilt [edit]

A T-shirt quilt is made out of T-shirts. Ofttimes seen as a keepsake particular and fabricated from memorable T-shirts, sweatshirts, or other wearable, they are pop graduation gifts. At that place are six different types of T-shirt quilts;

Puzzle Style or Variable fashion T-shirt quilts – All the blocks are different sizes. The blocks are cut to fit the blueprint or graphic on the T-shirt. The blocks are puzzled together then that there are neither columns nor rows.^[28]

Stained Drinking glass Puzzle Style T-shirt quilt – All the blocks are different sizes. The blocks are cut to fit the pattern or graphic on the T-shirt. The blocks are puzzled together so that at that place are neither columns nor rows. This style quilt used thin strips of fabric betwixt all the blocks called leading. This strip is less than 1/2" wide and mimics the look of lead came that is used in stained glass.^[28]

Traditional Block Style with Sashing – All the blocks are cutting the aforementioned size. The blocks are laid out in columns and rows divided by cotton fabric. Interfacing may or may not exist applied to the back of the T-shirt cake to brand the textile like shooting fish in a barrel to work with. This style does not take into consideration that T-shirt designs are different sizes. If a design is larger than the uniform blocks size the quilter uses, the area exterior the block will get cropped off. If the pattern is a lot smaller than the uniform blocks size, in that location will be a lot of blank space around the design.^[28]

Block Fashion Without Sashing – This fashion is the same as the traditional block style, only it omits the sashing (the fabric dividing the rows and columns.)^[28]

Unequal Rows or Columns – A quilter uses 2 or three different widths of blocks. The T-shirts are cut with the cake that all-time fits the width of the image. The height of the block is adamant by the graphic. The blocks are sewn together in columns of matching widths. And then at that place is a wide column, so a narrow column and and so a wide cavalcade and then on. This style besides could be made in rows rather than columns. This is not a traditional block style, but the quilt is nevertheless made with columns or rows. If the blueprint on a T-shirt is still wider than their largest block width, the design will still be cut off.^[28]

Crazy Quilt – All the designs on the T-shirts are cut out randomly. Subsequently the block are cut, they are so glued to one piece of fabric or bed sheet. The blocks are then zigzagged down. Potential issues: function of a graphic may be covered up by another overlapping graphic and if they aren't done right they can look very messy.^[28] ^[29]

Quilting technique [edit]

Quilts on brandish [edit]

1 of the virtually famous quilts in history is the AIDS Memorial Quilt, which was begun in San Francisco in 1987, and is cared for past The NAMES Project Foundation. Portions of it are periodically displayed in various arranged locations. Panels are made to memorialize a person lost to HIV, and each block is 3 feet past 6 feet. Many of the blocks are not made by traditional quilters, and the apprentice creators may lack technical skill, just their blocks speak directly to the love and loss they have experienced. The blocks are not in fact quilted, as there is no stitching holding together batting and backing layers. Exuberant designs, with personal objects applied, are seen side by side to restrained and elegant designs. Each block is very personal, and they course a deeply moving sight when combined past the dozens and the hundreds. The quilt as a whole is still under construction, although the entire quilt is now so large that information technology cannot be assembled in complete grade in any i location.

Beginning with the Whitney Museum of American Art's 1971 exhibit, Abstract Design in American Quilts, quilts take oft appeared on museum and gallery walls. The showroom displayed quilts like paintings on its gallery walls, which has since get a standard way to exhibit quilts. The Whitney showroom helped shift the perception of quilts from solely a domestic craft object to fine art objects, increasing art earth interest in them.^[thirty]

The Museum of the American Quilter'southward Society (also known as the National Quilt Museum) is located in Paducah, Kentucky. The museum houses a big collection of quilts, most of which are winning entries from the annual American Quilter's Gild festival and quilt competition held in April. The museum also houses other exhibits of quilt collections, both celebrated and modern.

In 2010, the world-renowned Victoria and Albert Museum put on a comprehensive display of quilts from 1700 to 2010,^[31] while in 2009, the American Folk Art Museum in New York put on an exhibition of the piece of work of kaleidoscope quilt maker Paula Nadelstern, marking the first fourth dimension that museum has always offered a solo evidence to a contemporary quilt artist.^[32]

"Collecting New York Beauty Quilts: Bill Volckening's Passion" was featured in 2013 at the San Jose Museum of Quilts & Textiles.

Many historic quilts can exist seen in Bathroom at the American Museum in United kingdom of great britain and northern ireland, and Beamish Museum preserves examples of the Due north East England quiltmaking tradition.

The largest known public drove of quilts is housed at the International Quilt Study Center & Museum at the University of Nebraska–Lincoln in Lincoln, Nebraska.

Examples of Tivaevae^[33] and other quilts can be institute in the collection of the Museum of New Zealand Te Papa Tongarewa.

The San Jose Museum of Quilts and Textiles in California also displays traditional and modern quilts. There is free admission to the museum on the first Friday of every month, equally part of the San Jose Fine art Walk.

The New England Quilt Museum is located in Lowell, Massachusetts.

The Rocky Mountain Quilt Museum is located in Gilded, Colorado.

Numerous Hawaiian-manner quilts tin can be seen at Bishop Museum, in Honolulu, Hawaii.

In literature [edit]

Ismat Chughtai wrote an Urdu-language story entitled "Lihaf" ("The Quilt", 1941) that led to scandal and an unsuccessful attempt at legal prosecution of the author because information technology was about a Lesbian relationship.
The Quilter's Apprentice and many others by Jennifer Chiaverini
The Quiltmaker's Gift and The Quiltmaker's Journey by Jeff Brumbeau, illustrated by Gail de Marcken
Alias Grace past Margaret Atwood
Wild Goose Hunt by Terri Thayer
Old Maid'due south Puzzle by Terri Thayer
How to Make an American Quilt past Whitney Otto
A Fine Residue by Rohinton Mistry
Everyday Apply by Alice Walker
The Keeping Quilt by Patricia Polacco
The Last Runaway by Tracy Chevalier

Periodicals [edit]

Quilters Newsletter Mag
Patchwork- und Quiltjournal ^[34]
European Quilt Art ^[35]
Fons & Porter's Dearest of Quilting

References [edit]

^ "Quilts as Visual History: Introduction". Clio.
^ "Quilts as Visual History: "Send out an old quilt"". Clio Visualizing History.
^ International Quilt Study Center and Museum. "Quilts equally Art". World Quilts: The American Story . Retrieved November 2, 2015.
^ ^a ^b Burks, Jean; Cunningham, Joe (2012). Human Made Quilts: Civil State of war to the Present. Shelburne Museum Inc. pp. 1–26. ISBN978-0-939384-37-2.
^ ^a ^b Grisar, PJ (February fourteen, 2020). "A museum devoted to Southern Jewish civilisation to open in fall of 2020". Frontward . Retrieved February 16, 2020.
^ Roustan, Céline (March 21, 2020). "Quilt Fever". SXSW Shorts . Retrieved May 5, 2020.
^ "Fons & Porter's Love of Quilting". Quilting Daily. 2020. Retrieved May 15, 2020.
^ International Quilt Study Centre & Museum (2013). "Patchwork". World Quilts: The American Story . Retrieved March 21, 2017.
^ International Quilt Study Centre & Museum (2013). "Quilting". World Quilts: The American Story . Retrieved March 21, 2017.
^ ^a ^b Smucker, Janneken (2013). Amish Quilts: Crafting an American Icon. Baltimore: Johns Hopkins University Press. ISBN9781421410531.
^ Maude Southwell Wahlman. "Signs and Symbols: African Images in African-American Quilts" Penguin: 1993 ISBN 978-0525936886
^ International Quilt Report Middle & Museum. "Race". World Quilts: The American Story . Retrieved June 17, 2014.
^ Janet Catherine Berlo and Patricia Cox Crews, Wild past Design: Two Hundred Years of Innovation and Artistry in American Quilts, Lincoln, Neb., International Quilt Report Center at the University of Nebraska in association with Academy of Washington Printing, 2003, p. 28
^ Moye, Dorothy. "Lift Every Voice and Sing: The Quilts of Gwendolyn Ann Magee," Southern Spaces, September 11, 2014. "Archived copy". Archived from the original on November 15, 2014. Retrieved November 19, 2014. {{cite spider web}}: CS1 maint: archived copy as title (link)
^ Dennis Hevesi, 'Cuesta Benberry, 83, Historian of Quilting', The New York Times, September ten, 2007
^ Eli Leon, Who'd A Thought It: Improvisation in African-American Quiltmaking, San Francisco: San Francisco Craft and Folk Art Museum, 1987, pp. 25, xxx
^ Michael Kimmelman, 'Jazzy Geometry, Cool Quilters', The New York Times, November 29, 2002, and Richard Kalina, 'Gee'southward Bend Modern', Art in America, October 2003
^ "Collections: Scan Objects: Pictorial Quilt". Brooklyn Museum. Retrieved May 20, 2014.
^ "Brooklyn Museum: Store". Brooklyn Museum. Archived from the original on May 23, 2014. Retrieved May 20, 2014.
^ 1990: Susanna Pfeffer. "Quilt Masterpieces" Outlet Volume Company, Inc. ISBN 0-517-03297-X
^ "THE GRANDEST QUILTED STAR OF ALL". Judy Anne Breneman. Retrieved May 20, 2014.
^ Lakota Star Quilts: Commodity, Ceremony, and Economic Development; Bea Medicine; To Honor and Comfort; Museum of New Mexico Press, 1997; Read more: Native American Star Quilt History
^ Evans, Lisa, History of Medieval & Renaissance Quilting , retrieved June 2, 2010
^ Quilting – see, trapunto, Quilting in the North Country, Needlework through the Ages , retrieved May 2, 2010
^ The Tristan Quilt in the collections of the Victoria and Albert Museum, London. Retrieved February 5, 2010
^ ^a ^b ^c Etienne-Bugnot, Isabelle, Quilting in France: The French Traditions , retrieved May 2, 2010
^ "History of Ralli Quilt". Retrieved July 2, 2017.
^ ^a ^b ^c ^d ^e ^f LLC, Too Cool T-shirt Quilts International. "five Types of T-shirt Quilts". Retrieved July 2, 2017.
^ Lindenfeld Hall, Sarah (February 5, 2012). "Quilter pieces together people'due south life stories". WRAL.
^ International Quilt Study Heart & Museum. "Abstract Design in American Quilts". World Quilts: The American Story . Retrieved June 17, 2014.
^ "Victoria and Albert Museum The world'due south greatest museum of art and design". Retrieved May 20, 2014.
^ Hickman, Pat; Hovey, Gail (May 31, 2009). "Kaleidoscopic Quilts: Paula Nadelstern". American Arts and crafts Quango.
^ "Museum of New Zealand". Retrieved May xx, 2014.
^ "Patchwork- und Quiltjournal". Retrieved July 2, 2017.
^ "European Quilt Art". Retrieved July 2, 2017.

External links [edit]

Wikimedia Eatables has media related to Quilts.

"The Surprisingly Radical History of Quilting", Smithsonian magazine