I bought this panel of the Frozen princesses To make a quilt ( or wall hanging) for my grand-niece who is a great fan of the two!
She was due to visit us and I thought of a quick gift for her. But how boring would this be!
So I came up with this idea.
I printed her face on a printer-ready fabric sheet after calculating the size I would need to make it.
Everything got more complicated than necessary because I planned to put K on the right side. I cut out the pink princess ( is that Elsa or Anna?) before I realised that that would make my darling Princess K an ‘outsider’ because the other two had interlocked arms.
So I disengaged their arms and locked them with Princess K’s who moved to the centre. Ah, that’s the way I like it. The Disney Princesses look at her admiringly ( and a bit enviously?). The Resident Consultant did not think much of my original idea of a silver dress for his Princess. So I retained the silver yoke and made her blue dress from…a rayon grocery bag! ( Jaipur is a big exporter of women’s clothing. With single use plastic being banned in India, our shopkeepers are using bags made from export-surplus fabric and export-reject dresses).
The quilting was kept to a minimum. ( Also because I had just over a couple of hours for the quilting and finishing). I folded the lighter pink border to the back of the quilted piece, leaving the darker plum inner border to frame the quilt. No binding. The top border became the sleeve.
Not that my Princess minded the short-cuts taken to finish her portrait! She couldn’t believe what she saw.
“How? wow! how? wow…”, she exclaimed!
And here is the Princess herself, posing with her quilted wall-hanging.
Now that done, I have to decide what comes up next!
I love to browse through antiquarian books and read stories of the India that was….
One day, I was flipping through the e-edition of a profusely illustrated book written by Louis Rousselet, a Frenchman who travelled from 1864 to 1870 to the numerous kingdoms that dotted Central India and was treated as an honoured guest by the rulers. In June 1865, he reached Baroda in West India and was received with great pomp by the Gaicowar Maharaj ( as the king liked to be called). I was reading his account of the grandeur of the palace, when I came to a sudden stop on page 99, captivated by the young dancing girl who stared back at me.
She and her companions had intrigued Rousselet too. He writes
Several young and pretty dancing girls, covered with trinkets and attired in thin chemises, mingle with the strange and motley crowd that fills the palace. These are bayadéres, or dancing girls; who have perfect liberty to go wherever they please. They enter the king’s apartments, seat themselves on the floor, and converse boldly with persons of the very highest rank. This singular privilige accorded to the bayadéres is of very great service: their presence makes up, in some slight degree, for the absence of the ladies shut up in the zenana.
At evening the strains of lute resound on every side; the chambers and terraces are illuminated, and brilliant circles are formed around these charming nautchinis,who give quite a vestal aspect to the palace songs and dances… (while) the king and his ministers …discuss State affairs...
The bayadére has been beautifully captured in this print made from a wood engraving. Not in a a thin chemise, but covered from top to bottom in voluminous folds. As I looked at her, it was there, the proud and confident bearing that the Frenchman refers too. But was there something more? A hint of pain…and a resigned acceptance of her fate? Was there amusement at the ways of the world in the slight curve to her pouting lips? This young girl, about 15 or 16 old, was after all, no more than a concubine. Just a little better than a slave in the palace. Available to whoever fancied her. Was she really free to move out of the palace? What went on in her mind as she posed for the white man who sketched her? Her eyes spoke to me and called out to me to bring her alive!
About the copyright: I spent several days trying to establish who owns the copyrights to the image. The book itself has been re-printed several times, including by an Indian publisher some 10 years ago. I wrote to the latter but got no response. Some stock image websites carry the image, and one site has even sold a print from the original wood engraving. But it is clear from the general information available online that because of its antiquity, the image falls in the public domain.
I enlarged the picture on my laptop, removed the background on MSWord and prepared the vector image on CorelDraw.
While I debated how I wanted to create her (it was certainly not going to be a black and white image), I did two miniature quilts based on prints from the same book! You can see the Pali Darwaza that he visited before he came to Baroda, in a previous post. From Baroda he travelled to the Rajpootana (Rajasthan today) traversing through the dreaded Bheel country, where the wood engraving for this cenotaph, the tchatri of Tintoui, was made.
By this time, I was getting around to the idea of doing a miniature for my bayadere too and I started work on her from the A4 size image I had made. Finally, I would combine my two loves, painting portraits and quilting!
I trace the outline of the girl on tracing paper, using an Iron On Transfer Pen acquired on my last visit to the USA. I am not very happy with it, as it is not as fine as I would have liked it to be. But it serves my purpose. I transfer the image twice, once on to the cream coloured background fabric and then just the upper garment–the odhani (stole) on pink damask silk fabric. The face is traced separately on cream coloured quilting fabric–just the eyebrows, pupils and mouth to act as a guide for placement of the features during painting. Then is traced the left hand that peeps from under the sleeve and the foot that ventures out from under the ghaaghra/ lehnga (long skirt).
The Bayadere Comes Into Being
I use Inktense pencils and a 000 size brush to paint the face.
…and the folds of her odhani.
I want a suitable setting for her and browse the net for images in public domain. I settle for this image of a stone screen door in Humayun’s Tomb in Delhi. It will take forward the story of my Bayadere beautifully!
I experiment placing the screen on the background fabric using this stabilizer by Floriani that I had read about and bought. You just iron it onto the back of your applique piece and hand press it to the background! No pins required and nothing messy like glue. It works beautifully well and the finished piece is not stiff. You can easliy peel it off and adjust the placement on the background.
I then iron on the tracing of the full outline of the girl on the background. Time to start working on the ghaaghra/ lehnga (long skirt). I rummage through my silk and brocade scraps. I find the perfect pink brocade for the tiny pleated sleeves that peep from under the odhani and decide I like the black brocade for the ghaaghra. I do not have enough of it, but let us see how we will get around that!
I rummage some more and find gold fabric that can work for the petticoats peeping out from under the ghaghra. Working with these fabrics is not easy as they are stiff and I want real folds to mimic those on the original. Moreover, I cannot afford any raw edges, as the fabric frays; so I add misty fuse under the gold fabric to stop the fraying. The ghaaghra is hand-stitched to the background with a hemming stitch. I am lucky to have a part of the selvedge in my scrap and that will work great as a border of the ghaaghra. I also add black tulle to the shadowed areas, but that doesn’t work for me and I end up painting in shadows with black. Making the ghaaghra and petticoat to my satisfaction takes me the better part of a day! I later work more on it, but we’ll come to that.
I then trim the odhani from the fabric on which I had painted it, along the outline, and glue it carefully to the background, matching the outline. The face is similarly trimmed to size and glued to the background.
Everything is in place. The neck is not fully trimmed and she is yet to put on her ‘trinkets’ .
Learning: Painting on a separate piece of fabric and then attaching the piece to the background allows one to make mistakes and rectify them. However, it would be better to trim the to-be-appliqued piece about 1/8″ beyond the final outline. Stitch on the outline with the applique in place on the background and then trim it to size. Then the stitching line is exactly where it is meant to be. But do remember where your final stitching line is meant to be!
Once everything is in order, I can go ahead and stitch it down with invisiible thread. I paint in the jewellery on her neck and ears. This is where I make a mistake, which I realised only after finishing the quilt… I forgot to trim the neck and my Bayadere has a fat neck, which I plan to recify now. I do remember not to stitch down the ghaaghra, for I have plans for it.The whole picture looks a bit flat as I finish it. I add a double layer of polybatting and a sheet of foundation paper by George Siciliani to stabilize the piece under the girl and the odhani, and carefully quilt in the folds of the odhani and outline the jewellery to give it depth. The foundation paper tears away and my girl looks lovely after the trapunto! I now ease in more batting between the folds of the ghaaghra and background fabric using a huge needle, to shape her leg under the garment.
I have a brilliant idea for the background. I have found the perfect fabric for the backing; the print is similar to the pattern on the screen behind the girl. I use fusible fleece gifted by my friend Jaya Parker and prepare the sandwich. I plan to quilt it from the back, following the printed pattern!
But before I start doing that, I have to do something to make the back more interesting. I attach a piece of the background fabric on the back just behind the screen. I now quilt it, so that I have a screen at the back too. I consider painting in the stone trellis on the back, but am wise enough to leave it for the end. You will soon find out why.
I then quilt the rest of the background from the back.
I am enjoying the free-motion quilting …and zigzag quilt the shadows around her, intensified with Inktense colours.
I even dare to quilt the tiny face. I then have fun with a a wooden toothpick and sculpt the contours of her trapuntoed face!
Finally, the shadows behind the girl are quilted and the shadows in her ghaaghra are quilted in too. She is done, except for the floor! I consider adding a shadow of the screen door and play around with photopaint to get an image I can work with.
But I decide it is too much work! A quilter friend, Sobana, shows me images of receding tiles in a quilt and asks how it is done. I decide to experiment.
Are we done now? What about the binding, label and sleeve?
Finishing The Quilt
This actually deserves a post of its own. The binding and sleeve are simple enough; I stitch the sleeve into the binding on the top edge. But that hides my lovely arched door at the back and I am glad I did not spend time painting it.
More importatly, I want to keep the story of my bayadere with the quilt and even more importantly, I wished to incorporate somewhere on this quilt, the heart-warming impromptu poem written by my friend, Suranga Date, when she saw the quilt being made.
Some old souls still wander, stunned at a changing world, clutching at memories as they watch fabrics and clothes being abused; not for their own exposure but the wearers.
And then one day, they watch as a honeyed artist, recreates them; so much attention to the odhani design, folds and design stitched in; the beauteous ghaagraa living voluminous in black and gold, the gold petticoat folds peering at the base, typically unsuccesful at covering the feet.
In her world, it is not the done thing to speak with words; It is the eyes that say them.
So few have receptors in their brains for these visual words; It takes a Madhu Mathur to see and hear them…
She smiles. This was exactly how it was.
The Frenchman tried, but this one seems to succeed more. Perhaps it has something to do with Jaipur, and its old Gayatri connections to Baroda.
She smiles a bit more. It has more to do with everything coming from the artist’s heart.
A big one at that!
Isnt it beautiful? I consider various options and end up doing this!
I design the label with the original bayadere image and its source printed on it. I also write down the story of this quilt in a separate text box. The third text-box contains Suranga’s poem. These are adjusted on a letter-sized page and printed on fabric.
The three boxes are lined with fabric individually to take care of raw edges. I start attaching the label as a pocket with the top edge left open. The plan is to insert the legend of the quilt and the poem inside the pocket. But with one edge of the pocket-label hand-stitched down, I have another brain-wave. I stitch the bottom edge of the strip containing the poem inside the top edge of the label! No chances of the poem getting lost.
Am still undecided with what to do with the legend. And then comes the solution.
The Finished Quilt
So this how the quilt looks from the back.
And here are images of the front.
The folds of the odhani and the ghaaghraa…
And her, finally, is the finished quilt!
I hope I have been able to do justice to the Baroda Bayadere! She looks a bit older here than in the book, but that is understandable, she is older now! She also smiles a bit more in my quilt than she did in the wood engraving of the stranger. That was unintentional. Perhaps she likes me better?
Completed Quilt#2 in my 19th century wood engraving print series! 7” x10” The original print dated 1883, is 3.5”x5” and the image is from periodpaper.com.
The monument shown is, I believe, Pali Darwaza or the ‘first gate’, at Rajgad ” king of all forts “, near Pune, in Maharashtra, India. Rajgad, known as the unconquerable fort, has a history going back to at least the 15th century, but is best known because of its association with the great Shivaji, whose capital it was for over 26 years! Interestingly, this is a reverse image of the original monument, possibly because the original engraving on wood was correct, but when printed on paper, it got reversed. Look at this picture, from Wikipedia, taken from above, would you agree?
Here is the reverse of my quilt, picture taken before I quilted the background.
I photoshopped the original picture to reduce the contrast and gave it an antique paper finish, before printing it on A4 size printer ready fabric sheet.
Tha sandwich was made with thin poly-batting and free-motion quilted with YLI Softouch ( black) and variegated Gutermann (sand) on Hasina, my Husqvarna Viking Topaz 20. I wanted to clarify that is not first thread painted and then quilted. Finished the edges with a simple zigzag ( which makes it eady to frame under glass, in case the recipient decides to) and a corner curled in to give it a dog-eared look! Here is a close-up!
Can you guess that you are going to see more of these thread sketches here?
One thing that has always entranced me is the illustrations of buildings and places from the India of the nineteenth century. As the British travelled across this vast and fascinating land that they had recently colonised, they made a record of its diverse flora and fauna, its people and its rich architectural heritage. An artist usually travelled with the demographer/geographer/biologist/historian and the final document presented to the world was beautifully illustrated …such intricate drawings, with the minutest details!
Ever since I learnt to sketch with India ink on paper, I wanted to be able to draw like that! (One had those nib pens, that you dipped in bottles of ink and you controlled the width of the stroke by the angle of the nib and the pressure applied!) I never got around to it, but you can see some of my drawings from those days, about 40 years ago, here.
When I started quilting, I wondered if I could replicate those ink drawings with thread. I finally got around to trying it a few days back!
I would start with something not too complicated, I decided. This seemed a good candidate!
I reduced the contrast and brightened the image, till I had an outline of the basic shapes monuments and trees. I then changed the image size to 8″ x 10″ and printed it on printer- ready fabric. Added a 2.5″ wide mitred border in black and prepared the quilt sandwich with thin poly batting.
It was free motion quilted on Hasina, my Topaz 20 ( embroidery needle size 70) using YLI Softtouch thread.
Here are some pictures showing the progress of the quilting!
I wondered how it would look if I coloured it lightly, but was scared to ruin it. Then I had a brilliant idea! I flipped the quilt over, and tinted some areas of the back of the quilt with Inktense colour pencils! And added the border with some fancy stitches.
When I flipped it over, I loved the back as much as I liked the front! Or perhaps more!
Now began my search for the monument that had been the inspiration for the wood engraving.
The legend read, ‘Tchatri at Tintoui in Bheel Country’ and I presumed that these would be the chhatris ( pavilions or canopies built over a place where a member of a royal family was cremated) near Udaipur in Rajasthan. The Bheels a proud, warrior tribe have long inhabited the forests near Udaipur. But I wondered about Tintoui.
A search on google maps took me to Tintoi in Gujarat, South of Udaipur, presumably also ‘Bheel Country’ – you can see how the hill forest to the West of Udaipur continued southward to the North of Tintoi.
Now to hunt for a chhatri near/ in Tintoi! Is it possible that Tintoi, now a small village, was earlier the name of a much larger surrounding area? Further research revealed that Sabarkantha District in which Tintoi Village was located also had ancient monuments in a forest area, called the Polo Forest! From there it was easy!
Not only was I on the right track, I also found my pair of chhatris, sadly much worse for wear over the last 140 odd years! But totally recognisable, including the tree with its slanting trunk! The website of Gujrat Tourism provided me the best picture of my chhatris! !But…the chhatris seem to be ‘flipped horizontal’ or a mirror image of the wood engraving! How was that possible? Then it struck me. The original engraving was true to the monument, but when it was printed on paper, a mirror image was created! Check the back of my quilt!
Isn’t that amazing!?
You can imagine how delighted I was. The Polo Forest is definitely on my bucket list of places to visit now!
I leave you with this image of my finished mini quilt. But I will be back soon with another thread sketch, for this is addictive, I tell you!
I have spoken often here about my mother-in-law, an incredibly talented seamstress and renowned cook. It was her 100th birth anniversary this year and what better way to pay a tribute to her than by a celebration of her many gifts?
Long ago, I had seen a blog-post about how a quilter printed her mother’s handwritten recipes on tea-towels. I decided to do something similar for her two daughters and daughters-in-law (including self) and grand-daughters who had been supervised and trained by the strict matriarch in the kitchen!
I had inherited Mummy’s recipe diary, in which were some of the recipes she was famous for! Her creamy hot soups and some delicious cold soups; her dhoklas that melted in your mouth and what her grand-children remembered most–her gulabjamuns and rasmalai. There were other recipes copied from women’s magazines like Chic and Femina, the source conscientiously noted in her neat hand-writing in the green 1972 diary!
Armed with this treasure, I mulled over how I was going to go about it. The first thing was to scan those recipes on my iPad. I then played around with photo-apps to give them a further vintage look.
The fabric was not difficult to decide on. Did I mention Mummy was no mean gardener? whose winter garden was ablaze with hollyhocks and sunflowers, dahlias and chrysanthemums, salvia and delphinium, sweet-peas and snapdragons, nasturtiums and pansies, to name just a few? and summer garden was fragnant with lilies, the raat-rani, jasmine and frangiapani? But…her favourite were always her roses! (Her green diary, incidentally, also had her notes on growing roses!) Well. So roses it was to be. I was in the US, visiting my son and bought these beautiful fabrics–so fifties and sixties–that she would have loved. I also bought some printable fabric sheets (Printed Treasures) and once home, got down to work. There was a deadline too, as her daughters and one grand-daughter were to visit in May for a family get-together.
The first step was to quilt the recipes with some straight lines to look like ruled paper.
Initially I used pale blue thread to quilt a couple of recipes to resemble the lines ruled in the diary. Not sure if I liked the result, I matched the thread to the background on another few. But the Resident Consultant objected to both, saying that you could no longer read his mother’s recipes. So I switched to invisible monofilament. That certainly looked better.
In the meanwhile, there was one domestic crisis after the other and I had no time to finish what I had started, even as the guests arrived! I had to become the rude and reclusive hostess who abandoned them every afternoon and retreated to her bedroom ( where I had shifted my sewing machine). The recipes were taking forever to quilt!
Finally, I had about a dozen different recipes quilted and ready. The next step was piecing the background–with this lovely fabric on which pink roses bloomed on a green background and borders fussy cut from striped fabric.
And here is how the final product looked!
Since the Niece was to leave before anyone else, she was shown her gift and promised to secrecy.
Are you wondering what that strip of fabric with text is doing at the back of one of the mats? Well one of the recipes said ‘P.T.O’ and was carried over to the next page! So the ‘carried over’ portion was attached to the back of the mat.
By now, I had decided to abandon the idea of quilting individual recipes and instead backed them with the Heat-n-Bond (red) double sided iron-on stabilizer that had been lying around for almost ten years. I was not sure how much of its holding properties the stabilizer still retained, so I stitched down the edges in any case. I was also bored of the straight-stitch echo stitching, so tried out the various stitches on my machine. It still took much longer than I expected!
But the reaction of my sisters-in-law was worth every stitch on these mats!
The border fabric did give a lot of trouble, because of the thin blue strip at the edge. I had to attach the binding from the back and sew it down oh-so-carefully by hand to the front.
Sis-in-law #Three, the Brother’s wife, who lives in an apartment just below ours, was in on the secret gifts for the visiting Sisters. But she did not know she was also one of the intended recipients! However, I managed to complete only one of her mats in time. Here is that one, to match her eyes and her favourite colour.
Yes, I know these are not roses, but this green fabric was too pretty to be not used here!
A couple of close-ups, before I sign off and start working on the remaining mats…
For those of you who want to know, this is not a quick project:
Choosing the recipes.
Scanning them. I did that on my iPad using the Fasterscan app, because the recipes were in a diary. Had they been on loose sheets , I could have scanned them directly on my printer-scanner.
Preparing the pics for printing through cropping etc and working on them on photo-editing apps. This too was done on my iPad, using first the Fasterscan app which permits me to ‘pull out’ the edges and straighten the ‘documents’ horizontally as well as vertically. I then imported these to PhotoEdit to work on the final look.
Transferring the recipes to the PC. I like to use the Phototransfer app for that.
Arranging them to fit on letter-sized paper ( the same as my Printed Treasure fabric sheets) in the paper layout option on Excel. The purpose is to minimize fabric wastage while printing, as each commercially-available fabric-printer sheet is quite expensive. I like Excel because it permits you to play around with the size of each picture individually or arrange the pics in a group and to resize them or move them around at will.
Once satisfied with the placement, saving them as PDF files. I do not recommend you print directly from Excel, as the print is skewed.
Printing on paper-backed fabric. It is important to check that the printer-settings are on the same size paper (letter in my case) as thefabric sheet and not A-4. Check the orientation (landscape/ portrait) to match how you laid out the recipes in your file. Lastly, the print quality should be kept at ‘high quality’ not standard or quick.
Sewing/ piecing the mats ( borders always look nice). I was not very particular about sizes as each set was to go to a different person. The pairs are anything between 12-14″ on the shorter side and 17-20″ on the longer.
Cutting out the recipes and peeling off the paper. I mention this, because it is a tedious job!
Quilting the lines on the recipes. In which case you add a thin batting and backing. These do look prettier and add a 3-D effect to the mat, but do you have the patience and the time? They also involve an extra step, securing the raw edges of the quilted pieces.
If you skip the quilting, then ironing on the stabilizer.
Ironing the recipes to the mat after peeling off the paper backing of the stabilizer. If you have quilted the recipes, you can attach them to the mats directly while quilting the mat sandwich.
Preparing the quilt sandwiches.
The quilting. Like I mentioned secured all raw edges with a zigzag stitch and then echo quilted, with straight stitches in the first two mats and decorative stitches in the next four. In the last (the green mat), I ironed on a thin, thin strip of the fabric with no-sew stabilizer as a border around the recipes.
The binding! Like I mentioned, hand sewing the binding on one set meant an extra hour or so for that pair!
The dedication on the label. Would you believe I spelt ‘celebration’ wrong, missing out the first ‘e’, discovering it only after the labels had been nicely ironed on? I had to change the ‘c’ to ‘e’ and insert a capital ‘C’ in front of it! Quite shabby, but couldn’t be rectified at the last moment!
Nevertheless, all in all, this is likely to be the most satisfying bit of quilting that I have done. Probably also something that will be the most treasured by the recipients! And I think my mother-in-law would have approved too!
I hope to be back here soon, once the rest of these mats are done.
The peacock is the theme of the India Quilt Festival, 2019 and I have designed a quilted peacock feather that you can make–as a participant in q quilt-along–to feel a part of the first ever quilt show in India! This is the fourth and final post in this quilt-along. I have given the list of materials required in the first post, the cutting instructions in the second and the tracing instructions in the third post of this series.
Now the real fun begins. I promise you that this is addictive!
Quilting the Peacock Feather
I would have liked to have a free-motion quilting foot, but a walking foot will work equally well for this small feather. I do not have even a walking foot, but I have not added a batting to my feather, so I think a regular foot will have to work here! Let us see how it goes.
The first thing I have to do is quilt the centre of my feather (which you may remember, I do not have in place at all!) So I flip over to the backing side and quilt the outline of the centre of the feather. I turn it around and realize I had white thread in the bobbin, so the outline shows up in white on the front. I am not very happy with this, but eventually, it will not matter.
2. Now I know exactly where the centre of my feather lies! I pin it in place, and zigzag over the edge of the outermost green layer. I then zigzag over the other three layers, beginning with the centremost to get the pin out of the way.
I have used dark blue thread, but you could use a deep yellow, or a dark green or even black—anything that will contrast nicely with your fabrics. If you do not have a zigzag stitch on your machine, use the straight stitch. A tiny satin stitch will work equally well! The great thing about this feather is that you do whatever you are comfortable with. The intent is to have fun! And now the fun begins.
3. With centre in place, I turn the sandwich over and start quilting over the lines in the pattern traced on the backing. I do the central spine of the feather first.
The trick is to quilt slowly; it is quite simple really, just quilting over a line drawn on the fabric!
4.I then start doing the rest of the feather, beginning again at the bottom. Start from the central spine, travel to the outer edge, travelling up the edge a little to the next line…
…stop the machine with needle down, turn around the sandwich and travel back to the centre. Travel up a little to the next line and repeat!
Once one side of the spine is quilted, I sew over the lines on the other side. In less than 10 minutes, I am done! The best part is that one does not need to panic if one strays from the lines. Your feather need not look exactly like mine, after all.
5. I am ready to add details to the feather now. I start, literally, to quilt between the lines. Note that I go beyond the outline in several places, just travelling with the flow!
Another 10 minutes, and I have finished quilting my feather!
The Final Step
6. Now I am ready for bringing my feather to life! I pick up my really sharp scissors and start trimming the feather along the quilted outline. At first, I am a little circumspect.
But then I become more adventurous, travelling almost up to the central spine with my scissors to make my feather look realistic. Let me check it from the back.
Time for the final reveal?
For a list of materials required and the PDF pattern for the quilted feather, refer to the first post about this quilt along. For the cutting instructions for the feather, refer to the second post about this quilt along. You can download a PDF file containing cutting instructions from that post. The tracing instructions (including a PDF file) are given in the third post, a continuation of my second post. The download link to the quilting instructions is below. If you want to make a larger 10.5″ or smaller 5.5″ feather, download the pattern below. Remember you need to keep the feather and background fabric at least 2″ bigger than the finished feather, on all sides!