Asian Elegance: Quilting with Japanese Fabrics and More by Kitty Pippen
By Kitty Pippen
Bought a fondness for unique materials? function the materials of Japan, Polynesia, and Hawaii on your subsequent duvet! This proficient mother-daughter staff stocks their love of bizarre materials in one of a kind designs.
• research the easiest how one can use appealing, daring materials in 9 step by step projects
• holiday the normal principles of layout by means of twiddling with asymmetry, house, and movement
• Get artistic by means of combining a number of textile types, from stylish kimono silks to colourful tropical prints.
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Extra resources for Asian Elegance: Quilting with Japanese Fabrics and More
Other times it hung in box pleats all around. But I’ve heard Aunt Ann say that in whatever way she arranged it, it always took a whole bolt of crepe paper (10 feet) to make a parlor lam ’kin look right. 41 g o o d n e s s g r a c i o u s , m i s s ag n e s The parlor was frilly; the bedroom was neat; the dining room was dark and cool. But we spent most of our Mondays in the kitchen. Even before I left home on those Monday mornings I knew exactly what we would have for dinner—chicken and dumplings!
At last I was passed back over the high fence again and went into our house. In Mama’s room everything was dark and Mama was in bed. That in itself frightened me. Aunt Ann was there and Grandma; and they told me I must be very quiet. My trundle bed was pulled out in the middle of the floor—that had never happened before in daytime as I remembered—and Aunt Ann called me to the side of the little bed, drew the covers back, and told me to look at my little sister. All I could see was a little round red head, a squirmed-up face, and two little-bitty fists—and they called that a sister!
36 d a r k a n ge l i n a w h i t e ap r o n A Feather-Bed Lap And A Two-Pillow Bosom I remember well looking up at her round black face, glistening with sweat beads that became trickles. ” Her face was always framed with a halo of white flour sack. Somewhere I have seen a picture that was like my childmind’s portrait of Aunt Ann’s face. It was a landscape silhouette with a black sun outstanding in a white sky. Aunt Ann’s face was that sun; her white head-rag was the sky. Wherever she went and whatever else she wore, her principal garment, according to my recollection, was always a stiffly starched and distinctly creased white apron—three deep creases up and down and three creases crosswise.