Library Card Files for Storage

Library Card Files - recycled for STORAGE in my sewing studio.

Stored in the first four drawers of the library card files are the items I use the most: scissors, seam rippers, hem guides, machine needles, tools, and thread.  

Easy reach.

 
BEFORE PHOTO
Rough, but Ready to Convert

In the fall of 2010 - Jon and I were looking for library card files for my studio.  Our neighbor offered 2 used-vintage credenzas of library card files with a total of 120 drawers.  What a jackpot!   And a chance to make them into built in units for storage.

My Mom Lorraine visited me September 2010 and she and I started on the card file project. 

Mom removed brass pulls from the 120 drawers and hand cleaned each one with fine steel wool.  She buffed the brass pulls only slightly--clean to the touch, just enough to remove surface dirt. 

While Mom cleaned brass pulls from the drawers, I started working on the two credenzas.

One of two library card file credenzas with its 60 drawers pulled out.

Each slot you see here has three stacked drawers.   I hand sanded and primed the unit with black primer.  The project took two weeks. 

I removed the legs, and unbolted the four boxes to finish sanding and priming.

Pictured above are 40 of the 120 wood faced drawers. 

Sanded, Primed, and Painted two coats black satin finish.

Mom's work cleaning the brass pulls was PERFECT. 

I was able to sand most of the alligator varnish finish off the wooden drawer fronts, primedand repainted black.   The drawers are 17" long, 5 inches wide.

I labeled each drawer

Threads sorted by color.  I got acquainted again with all the threads I purchased over the years.

Oh My!

I took this photo of all the threads in 2012, in preparation of moving to the studio. 

Since then, I've USED UP, and ACCUMULATED more thread. 

Different threads for different machines and applications: 1) General Purpose Thread for piecing quilts, clothing, purses.  2) Serger Thread (larger spools) for overcasting fabric (edge finishing) to build clothing. 3) Thread for Embroidery Machine.  4) Not Pictured are Long Arm Quilting Thread and Crochet Thread/Pearl Cotton Thread for Hand Embroidery Work. 

Things that don't fit inside the converted library card files--I store in a vintage four drawer oak file cabinet.  Things like: stabilizers for the embroidery machine, interfacing for clothing, wool roving and topping.  Which reminds me of other things stored in those drawers that I need to pitch. 

The curtain panels are ivory cotton/polyester shirred on tension rods.  I made curtain panels for each of the seven windows, but only ended up using one curtain.   I move the curtain from one window to another--to block the sun which sometimes makes sewing difficult.

Having my studio on the second floor, the windows are a cinema view of  deer and their fawns, turkeys and their gosslings moving across the expansive yard.  The view and sunlight makes me happy. 

The curtain also becomes storage for colorful clips I use while making fabric rope baskets.

Adding a new strip of fabric takes just a dab of stick glue to join the end of one strip to a new strip.    Lots of fussing to keep walls straight.  Learning curve--definitely.

Decorated with my hand formed polymer clay buttons.  I like making my own buttons and beads for purses and rope baskets.

As I wind the fabric around the cotton clothesline rope, I secure the wind with a plastic clip, and then sew about 6-8 inches as I sew round and round.  It takes a whole day, and a hundred feet of clothesline to make a fabric rope basket.  They are really cool looking.

I added twine and beads to the perimeter for decoration and stabilizing an extra wide rim. 

My studio is the second story (800 sq. ft.) over the two stall garage and woodworking shop.  Built in  September 2009,  Jon made the building to look like a grain elevator--and we painted it Barn Red. 

I sewed many years in my basement with the spiders at our old place.  When we moved to the Victorian, I sewed at the dining room table.  

For thirty years  I stored all my notions in boxes, and wasted hours looking for this tool, or that color of thread, and where did I put the buttons, or the zippers?  I lost/misplaced things over and over again.  I re-purchased lost/misplaced sewing notions all the time.  

Having a big studio where there are labeled drawers is a dream come true.  

Getting organized doesn't come overnight.  It was a process for sure.  In this photo I just dumped the zippers into the drawers as I was moving into the studio.  Later, I sorted all the zippers by color and labeled each drawer.  Organization is a blessing. 

As a little person, I remember Grandpa Bert telling me many times, "a place for everything, and everything in its place."  Seemed like a lot of words to remember back then, but easy to remember Grandpa's smile forever. 

Grandpa also told me, "the early bird gets the worm."  I was tickled to find a big sign for the wall in my studio.  I keep it right in front of me at the long arm quilting machine.  I see him and smile each time I see the sign.  Sometimes I start my day in the studio at 4 or 5 a.m.  I'm an Early Bird. 

"Navy Blues Quilt" - May 2016

***

SHE'S ALIVE:  The sewing studio comes alive!

PATIENCE

Patience is the name of the game.  I finished restoring the library card files in the fall of 2010.  Two years later, my studio space was just a big room, waiting for flooring and finish carpentry.  Above are the finished card files sitting in the middle of the unfinished studio space.

***

In January 2012 Jon started to transforming the studio into a real sewing space,  and turning the credenza boxes and drawers into multi task storage units.

FINISHED:

Jon created bases and cubbies for the converted library card files shown here at the north end of my studio. 

I use table extended with leaves for a long layout/cutting table.   

Notice the high 4" deep shelf Jon installed around the perimeter of the studio?  This is one of the most important features of the studio.  We used this same feature in the upstairs bathroom in the house. 

http://1893victorianfarmhouse.blogspot.com/2010/12/just-few-holiday-decorations-for.html

In later photos you'll see the studio railings hold spools of serger thread, long arm quilting thread, and crochet thread for hand embroidery.  The spools of colorful threads are artwork for the walls, and color inspiration for projects. 

Jon is a genius to make bases for the card files, lifting the drawer off the floor, and turning these storage units into  good looking furniture.

With the new floor installed, Jon goes to work building the cubbies. 

He is very good about checking with me to make sure my STUFF fits.  The cubbies are built to store bolts of fabric, and therefore Jon built the cubbies about 6 inches taller than the standard fabric bolt.  Makes it convenient to access and put away fabric bolts. 

I drew picture of what I wanted for this north wall and he built it perfectly including wide cleats underneath to support a countertop.

View of Studio--looking south

I didn't overthink lighting, but was sure to find lights that have swivel features.  I figured if needed, I could beam some of the lights toward the ceiling or walls if it were too much.  I didn't hesitate when I saw these fixtures, and caught them on sale to boot! 

Jon added three ceiling fans for seasonal comfort.  So glad he did this. 

Next Window Quilt

Next Window Quilt

One Yard Wonders:

I pulled all the one yard neutral fabrics I had on hand (audition process), and paired them hunks of random darker drab fabric. 

This block is Hampton Roads 1860-1870 Civil War inspired reproduction fabric by Barbara Brachman, and the modern gray frame is Quilt Wisconsin 2015 by Jeanne Horton for Moda.

Gathering fabrics didn't make any new space in the CAVE (a double door cabinet) where I store stacks of folded leftover cotton fabric.  At one time, I had all the stacks sorted by color, but over time--I've made them messy again.  Ha!

Note to myself about the stacks of folded leftover cotton fabric: 

1) measure hunks of leftover fabrics in the cabinet

2) tag with yardage info, and price to sell ($2.00 a yard)

3) put into shallow plastic tub(s)

4) sell at summer craft shows

5) one day, your son will be very glad you had the good sense to do this. 

I know you are expecting to see a photo of the CAVE where I store hunks of fabric.   Those photos are in the same folder where I put scary Halloween stuff. 

***

Ok, ok.  Back to the Next Window Quilt

Above: 

Olive with Rosebuds Sashing:

That bolt of fabric has been lost in plain sight for a long time.  Lost, but not unloved.  

So why have I waited such a long time to use up these fabrics?  BECAUSE, they are muted . . . and I've become a very loud SCRAPPY QUILTER for several years.      

Muted Colors for Next Window Quilt

Oh shoot me . . . look at all those "L"s

My given name is Linda.  And Oh L . . .  I didn't do this on purpose. 

I was just playing around with a Lincoln Log block by Carol Hopkins from her Civil War Legacies I Quilt Book.  Every single quilt in her book is fabulous. 

Uft-dah . . . making a queen size quilt of 4" blocks would take me a very long time. 

Nonetheless I was inspired and made the block bigger (unfortunately not prettier).  

It's a "L-of a big block" for sure. 

Backing Fabric:

Above:  you can see a sample of the backing fabric (olive floral), and a leftover block sitting on top the backing sample.  The first item of business is checking the quilt frame for square and level, then load the backing.

The 3 leg Grace Company Quilt Frame has seen a lot of improvements since I bought mine in 2013.  I check and tweak my frame every new quilt start. 

Did you know there is a little elf who comes in, and nudges it out of square when I'm not looking?  Yep--that's true.

Thanks you for stopping by and looking at my things  Next Window for me is working on beaded wool purses next month.  Hope you visit me again.  Here's a preview of some woolies I'm working on.

1939 Featherweight and Finished Gray Quilt

1939 Featherweight weighs 11 lbs.

Lots of photos on this post - scroll down to see more.

"Gray With All The Trimmings" queen size quilt, pieced on my 1939 Featherweight

How it began . . .

(Right) I had a quite a number of 16 patch blocks leftover from making another quilt.

I paired 16 patch blocks with framed 4 patch blocks.  The gray fabric is from Jeanne Horton's The Settlement Collection. 

I purchased the 1939 Featherweight last year.  It all started one morning--suddenly, I saw it on Craigslist, asking price $100. I emailed the seller to say I'd take it, and he emailed back to confirm.  I got in the car and drove there right away (a two hour drive). 

During the drive--the seller phoned me to say his father was mad at him for offering the machine at $100 and said his new price was now $200.  I told him I was already into my second hour of driving to his place to pick up the machine.  I'd already stopped at the bank to pick up  $100 cash, but thought I probably had another $50 on me.  I explained that's as good as I can do.  He said OK, $150. 

When I arrived I saw the machine.  It was very dirty, had no case, and a broken/taped-together spool pin cover--(I wondered if this machine had been dropped to do that kind of damage).    

There was no foot control/power supply cord, no sewing attachments, no manual, and no way to plug in to see if it actually runs or sews.  There was a bit of wear on the decals right/front, and its original 75 year old motor in place.  Oh well, when it comes to old machines--I like a challenge.  I bought the machine as it was, and hit the road for home, before another buyer grabbed it. 

Results after DEEP CLEANING EVERYTHING INSIDE AND OUT. 

I put another $100 or so into replacement parts, and extensive internal cleaning and lubricating.  I am still looking for a good condition vintage case (another $100).

 

Thank goodness the original bobbin case SIMANCO 45750 was inside the machine.  A vintage original bobbin case costs $100.  Chinese reproduction bobbin cases don't work.  

The machine was missing its foot control/power supply, so I ordered a vintage "clam shell with power cord" through my friend Ed Lamoureux.  I prefer the clam shell over the standard Featherweight issued stationary button type foot control. 

Ed is a great source for sewing machine parts, and has genius ideas for making machines run great.  He is a sewing machine wizard.  Here is Ed's website:

http://sewing-machines.blogspot.com/

Besides replacing the broken spool pin cover, I added a new V belt for the motor, a 1/4" presser foot for quilt piecing accuracy, and new cushion feet for the base after scratching the dining room table. 

This is the first machine I've equipped with a LED light bulb.  And I bought a spool pin spring.  The spring does a great job of reducing jiggling of plastic thread spools.  The spring improves delivery of thread, resulting in better thread stitching.  Especially good for consistent thread flow to fill bobbins!

So, you think I should pack this Featherweight away, saving it because it is old and special?  To the contrary.  I sew with it often--doing piece work for quilts at my dining room table.  It runs fast and sews accurately.  

"Gray With All The Trimmings" on the frame

on the frame in the studio

I've been working in my dining room weekdays so I can keep an eye on our new puppy Buddy who is a chewing machine. 

He chewed two holes in the new couch, and two holes in two quilts.   There's more, but the couch and quilts are the worst of it.   

Weekends Jon watches "Buddy the amazing chewing dog " and then I have an opportunity to work in the studio to do the long arm quilting. 

Free style long arm quilting

See the art panels on the backing rolled up on the take up bar

SCRAPS, SCRAPS, SCRAPS

Continuing this year with my goal to use up fabric scraps from previous quilts and purse projects

One full bin has been recycled, four full bins to go . . .

at the table, turning the binding and hand stitching to finish the quilt

Flipped over a corner of the quilt to show you some of the art panels on the back of the quilt.

Magic Needle Threader

At left, see needle eye placed into the tube, insert thread into the v-notch, press button. 

Viola! the needle is threaded. 

hand-stitching binding on
"Gray With All The Trimmings" queen size quilt

Thanks for stopping by.   I'd love to hear from you.  Leave me a note when you can.

Love ya,

Mrs. D

Raspberry Cobbler Quilt

(queen size quilt)

One of my favorite quilt blocks is "Arrowhead" by Anita Solomon; a block introduced to me at her Craftsy.com class online. 

HOW THE BLOCK IS CREATED

Two squares of fabric (one light, one dark) placed with right sides together,
sewn around its perimeter,
then sliced . . .
1. diagonally once
2. vertically once
3. horizontally once
then the slices are arranged and sewn together to form this beautiful block.
There are formulas for different finished block sizes. 

Peach/Ivory Solid border decorated with Lined Prairie Points

THE FABRICS:

Light Fabric: a very traditional pink rose with vines on a cream background.

Dark Fabric: a raspberry floral that reads solid from a distance.

ASSEMBLING THE QUILT:
I added a third fabric (a peach/ivory solid) around the perimeter decorating it with raspberry prairie points lined with leafy green.  I quilted over the extra thicknesses of the prairie points, but did it slowly and cautiously. 

PAIRIE POINTS:

Details--how to make lined prairie points . . .

FREE STYLE QUILTING:

The edge to edge quilting is my free style sequence "Floral Bouquet".  It is a "S" curve ending in a spiral, back tracking with feathers down the spine, and returning with feathers up the spine.  The sequence takes me under two minutes to do, and covers an area 12" high x 15" wide. 

THE BACKING - decorated with art panels using up leftover blocks.  I always put two art panels in a queen size backing, always different block combinations, usually one wider than the other.  Below--the smaller art panel features a nine patch of the dark raspberry floral fabric paired with contrasting peach/ivory solid. 

Final Step - Adding Binding

After the binding was added I took the quilt to the dining room table to turn and hand-stitch binding in place.

PREVIOUS ARROWHEAD BLOCK QUILT:

Notice how the white fabric shows off the quilting better?

I created this queen size quilt in 2015

Fabrics are from "Magical Garden Collection" by M'Liss

Loading Quilt on Frame

Detail of Quilt Top prior to long arm quilting

It took me a long time at the fabric store, looking at this M'Liss collection of three companion fabrics "Magical Garden" to figure out how I was going to use the fabrics.  I mean, really!  Just look at that solid mass of flowers on the backing.  

I chose to frame each Arrowhead block in the lighter fabric.  It tamed the busy fabric and made the quilt look airy and reminded me of pie crust.  I introduced a double row of color into the border--to help make sense of the saturation of color in the backing. 

***

There's more coming soon.  A new queen size quilt I call, "Gray with all the Trimmings"

" Gray with all the Trimmings" Quilt:

Last week I finished the assembling the quilt top, and this weekend I started adding art panels to the backing.  I may be able to finish today--and get the quilt loaded on the frame to quilt.  More photos to follow soon.

As you can see from these photos--this scrappy quilt is a combination of 4 patch framed in gray and 16 patch blocks.  All sewn at the dining room table on a 1939 Featherweight. 

Next post, I will tell you the story about acquiring the fabulous little sewing machine and why I was working at my dining room table instead of the studio.  

***

My Focus Again This Year:

To reduce my scrap bins (now numbering 4 very big, full tubs).  But it was worse last fall--I had 5 tubs full). 

Into the Light:

I made a promise to use up many bolts light fabrics this year--to make oodles of pillow cases.  It is time to remind myself why I bought so many lovely light fabrics the last five years.  I didn't buy them to decorate my studio, I bought them to use.  Ha. Ha.

Thank you for stopping by.  Leave me a comment; I like hearing from you. 

P.S. - It's Spring:

The ground outside is still thawing and mushy.  Not quite ready to start up the Condor high lift so we can climb aboard and scrape the alligator paint off the ancient barn.  Because of my recent bout with inner ear dysfunction (dizziness) I'll be working close to the ground.   

The past two seasons our lovely neighbors Renee and Steve have worked silently and generously with their time to remove small trees and bramble around the old barn and clearing scraggy bushes between our properties.  They are absolutely amazing people.  I don't know how we can ever repay them.  They do so many wonderful things for lots of people.