“Plus YI MPEIRIE % TIPS for THREAD SKETCHING with 4 .. Susan Brubaker LE ta / puta theres design Tac acme} Dye thread and floss p.s6 Discharge color ». 25GET INSPIRED by nearly 50 great exhibits featuring more than 1,300 gorgeous quilts fabric art, and wearables. LEARN in “small-batch” clases and leetures, taught by a fantastic acy of 126 experts, Get tipsand techniques to create your OWN masterpiece, ina ‘warm and encouraging atmosphere unique to Festival Se Xe) INTERNATION{AL DISCOVER great new fabrics, glorious antique nd new quils to collet, ineredible new notions, embellishments, tools, patterns, jewelry, books, gifs, design software, sewing and quilting machines. Just imagine ‘what you ean do with them! uy International Quilt Festival... everything you want to see and do in the world of fabric...all in one place, under one roof! SHOW DATES October 30-November 2, 2014 PREVIEW NIGHT October 29 CLASSES & EVENTS Begin October 27 GEORGE R. BROWN CONVENTION CENTER Howston, Texas Call 713-781-6864 email shows@quilts.com. www.quilts.com Ect Boers... SHOPPING is a big part of the total Festival experience, with more than, 1,000 booths chock-full of fantastic new products to bring out your creativity! FREE Plus free learning experiences ‘on the show floor like Make It University!™, Meet the Teachers, & Open Studios”Experiment with new techniques & surfaces for incredible art quilts With a sheet of TAP and a hot iron, the art quilting possibilities are endless 19 Petite Pecitieed kraftstex co feels and wears like leather, but sews, cuts and washes like fabric AVAILABLE AT QUILT, FABRIC AND BOOK STORES NEE ease aa eet te La Srocers creteeditors note ‘WHat TIME OF YEAR IS IT? IT Is BIRTHDAY SEASON. The other day I brought my youngest son to our local toy store to buy a birthday gift for his best friend. As these boys grow older, it is becoming harder and harder to find just the right gift. Our old standby of Legos is taking back seat to impersonal gift cards, funky headphones, and electronic games, But | keep hoping to extend their childhood just a bit longer by steering them to toys. They don't have much time before, in the words of my favorite Joni Mitchell song, * tum to car wheels thru the cartwheels town.” ‘As we were standing in the checkout line (whoopee cushion and magic tricks in hand), my eyes rested on the display case holding the object of my inner 12-y old's desire. Mood rings. Of course, my son had little interest in them, but I had to try one on for size and wait until the colors changed to show my mood. Blue for happy. I always got blue, Orchid? No, just the predictable deep blue of my childhood. But that isn't such abacl thing. The colors around us and inside of us really do influence our mood and perception, Blue is calm and peaceful. Orange is the flame of summers ‘ansition into fall, Red is associated with passion. Green conjures images of envy or greed. wer the fiery red or amber I desired. How about orange? Maybe aqu Is ita coincidence that this issue—which is overflowing with articles about adding, removing, and working with color—is filed with orange hues? Just take a look at the cover: The heat of Constance Gray palpable. Her manipulation of color and the way she tones it down or heats it ‘up with layers of sheer fabric creates an intense emotional response. Constances quilts speak the language of color fluently mn quilt, “Stamen,” is almost i time to break out the dye poweler and create my own intense palette. While the heat of summer is still influencing my color choices, I plan on heading to the backyard and dyeing some orange thread (p. 66) using Melanie ‘Testa and Carol Sodertund’s fun techniques. While the dyes are handy ‘magic with Candy Glendening’s faux snow dyeing (p. 50) and make abit of hot pink fabrie then use it in a hand stitching project. And maybe while T'm at it, TM throw in a Dit of blue, just to satisfy my inner mood ring ll conjure up some winter Best, Vivika Hansen DeNegre Editor AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINEin profile & gallery 16 Gautenr: Loca. Couor ‘git rom New pad 42 byte Srorucit: lows An Quurens 55. RISULTS FROM THE QUILTING ARIS ages AUGUSTISEPTEMBER 2014 | QUILTING ARTS® design & stitch 10. Leaves, Lion, Suapows ‘heaves ate sculpture with gal printing Suumnacasi MARBLN on Fann 20 AnstrAcTING THE Ess Create sbarace flowers fabric cage 36. NURTURING Your Cxeative Set 50. Faux Ww DrEtss Tuneap Dveisc 101 Two approaches (OFF THE PAGE: SKETCHOOK KEEPING For TEXTILE ARTISTS get more mle vie quiltingdlly.com Be eee creer Mary Rush Mele Test ad Susan iiatar a © Check ou che atest digital media produces from Quitrne ARTS ® Lear about the newest QuieTiNG ARTS Reader Challenge © Check out the atest Call for Entries listings from around the world. Cover art by Constance Grayson departments 2 Eorrow’s Nort 6 Lerrens rnon Oun READERS 48 Cult ron Ar 64 Reser Cra Favorite Thi INGE ANNOUNCEMENT 70. Mepis We Line 89 Mankerniace 90 CuassFiens & AD INDEXmeOneaea § (uiltingArt MAGAZINE Naples Emons. Dutcron Vita HanenOeNepe SS Mons on oven Debt (Ome Eon Cae Prat Fano Eo Ply Boon Desc Lares Dt Dest nt Gani ang Promicros Coron Kate Ser MARKETING/SALES Arwemrsns Mast rts Sasa eawabeierveecom 97205546) Grovr Msscees ‘whey Daan Berea Whether for machine, Vir Pune, Gar amuse hand, or computer-quiting, ‘Shana be Ges Orns Omen & CFO the finest quilting products ie Paes, Contest lames Ot are always ek Geir Panes Sa Dome Hldole G ‘ie Paso, ME SMES ‘st aa. Osc Chad Pl hy Grace ike Maced ‘ice aesne, eConeace ‘Visi us online or call Seo Prooyenon Manet luce ibe for a free catalog. any Plc Soon Vice Paste, Omens 1-800-264-064 Boos Eom RECOM Aion Kes hice zoxeace Maren Dmacrot Vie Pasens,Comcanons fen Be Saco egr ‘ome cmeoumon Sect Jo Sth RETAILERS Iryuareinurested in crying this magazine in your ove please el 9-09.16 oa sales tinterweavecom. VISIT US ON THE WEB uiltingdailycom - interweave.com « fwmedia.com AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINEIW hs phisticated es embroidered minutes ch in top form: The BERNINA 880 is the flagship BERNINA sewing, embroidering and ‘uiiting machine. It boasts plenty of space, high speeds and an extra-large work surface. Unleash your inner artist by creating your n patterns using Stitch Designer. Be ng the look of stitch p: with the Dist Experiment with & using the Color Wheel before embroidering, : ; - made to ceate BEIRNINA®letters from our readers Dear Quine Ants, During lunch today savored the June/July issue and the ‘Irs Your Turn page. Here's my story of taking quilting on the road. | was prepating fora trp and knew | wanted {0 packa quilt project. In honor of my srandmather (who we called Nanny), bought a one-gllon plastic bucket of ce ‘ream. Nanny was an avid coach bus traveler I have fond memories of siting next to her fn the bus when she would pullout her repurposed bucket and pop open the id Inside were the makings ofa quit. She spent hours carefully cutting, piecing, and finger pressing individual pieces inco blocks | appreciate now, more than ever, the time and ove she put into every quilt she made Thanks to Nanny, now have a need fora plastic bucket. an Harper Athors, Ohio “La Rosa" by Mary Ruzich Dear Quitrinc Ants, Hove my QUILTING ARTS MAGAZINE. | read ic from cover to cover wich my ‘computer nearby so can look at the links in the articles, bu they often don’t work. | was looking ata dyeing article with the directions, "To see more of Dee's work, visit quiltingdatlycom” but when | went 1 thellnk | found no images. This is very frustrating because it has happened to me over and over: Don't just give me link tell me how ean access the extra information, | have never been able to ink to other stuf Why do you tell us to goto your website when we cant find what were looking for? Jeanie Velarde Cordova, Tennessee Correspondence we receive is considered property of Interweave and leters may be ‘edited as neceseaty for length and clarity Email: feedback@quiltingarts.com ‘Twiteer": twicrercom/QuiltingDaily Faceboole facebook com/QuilingDaily ‘Mail; QuierIne Aats/Interweave 490 Boston Post Road, Suite 15, Sudbury, MA 01776 Dear Jeanie, Were sorry to hear of your frustration Here’ how to find what you're looking for at quilingdailycom: + From the home page, look forthe rabs along the top—they are on the purple strip just below che “Quilting Daly" logo. + Hover your curser over the FRee Resources tab and a drop-down menu will appear. + Scroll down to ONLINE ExrRas and click. Tis brings you to where the extra goodies are, Sometimes there are photos, diagrams, or patterns co be found, The ‘most recent additions will be near the op. We try to mention the artisr’s name first in the ttle of each entry when applicable. Click on the thumbnail photo or the artists name/ttleline for more information ‘More navigation tips for our website: + Don't forget to look under the ‘OpPorrunimies cab for informacion, about entering our READER CHALLENGES, submitting article proposals to QuiLTiNG [Aars and its sister publications (MMacaxzINE Suemissions), and entering, contests and exhibits around the world (Catt For Evrnies) + Also, did you know we maintain an index of atticles that have appeared in over 60 issues of Quittinc ARTS? Find this under the MAGAZINES tab; scroll down to ‘Aamictss INDEX fra free download. You also told us ina follow-up email you had success on some browsers and not ‘others. Perhaps other readers might take a lesson from you and try a diferent browser ifthe website does not appear to be ‘working cooperatively Thank you for your feedback. We hope you will surf happier now and we wil look for ‘ways to improve your experience on our website! The Fite Teor AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINEDefinition SUEUR lise: Rud ede y Pee eee eee en tery eee between two layers of fabric. Coats Bold Hand Quilting” thread. Available in 17 colors. JENNIFER DAY idstories Gia an WAIN JDAYDESIGN COM/CLASSES JENNIFER DAY + 505-660-8656 AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINEabout our contributors ‘Susan Brubaker Knapp creates highly alti Rer arcased on vga Photographs usng two rma echniques— wholedech pairing and fusble appliqué Sheistheauthor ofw0 books has wtten several articles for QUETING ‘Agrs Macazne aditssster publications and has four Quiking Ars Workshop” videos including har lates, Fabulous Finishes Seven Techniques for Binding Facing Framing and Hanging 2 Qui’ (Over the ens Suan has appened numerous timesan Quilting Avs TV and snow the hast of the show Susan teaches iceraiorally and ves near Charon, Nerch Carcfna, with he husband and wo daughters bbluemoonriver.com Candy Glendenings addeted to color! She dyes fabricso she can have jus the hhueand excureshe wants and then uses, iceomakeart quits and everyday a. By day. she teaches biology at che Univesity of Redland in Southern Caloria:by right weekendianlineshe ceaches quitng and dyeing She hes appeared ‘on “Qulking Avts TV" and has ewo Quiing ‘Arts Workshop” videos, "Dyeing to Ste: A CComprehersive Gide o Creating Colorful Fabric A" and Free Maton Machine Sketching: Drawing with Thea fiom Bird to Botanica” candiodfabrics.com Barbara Schneider is smarter who use cure as thescarting pine forcreseng absooct sophisicaced inerpetatione nied media, She began quitingin 1986 and dscoveed the pleasure of working with doth pain. dye and ‘ved Her icerestin che apanese concep of vibs0b strongly influences her work, Shebas an excensive backgroundin surface design and exhibits natonaly ar intematicnlly Her artwork isin pvate and publ collections He sudo isat The Starne Gallery in Harvard lino where she eis reaches and explores new des barbaraschneider-artist.com AUGUST/SEPTEMBER 2014 | QUILTING Lynn Krawezyk ‘sasurace design ast residing in Plymouth ‘Michigan. Herve Focuses on the vrious ways pane canbe applied to fabric xo create expressions of personal vsion, She has \wtten numerous artes fer QuumNG AS and Chom Pane Scissors" magazines has appeared con ‘Quiking Ares TV? and has ewe Quikng Ares Workshop" vides “Prine Design Compose: From Surface Design to Fabric Ae" and "Color “Theory Mace Easy An Exploration ofColar& Composition through Surface Design” smudgedtextilesstudio.com Mary Ruzich caries her quiting and dyeing materials Inher suitcase a he rmgraces each year from British Columbia co southern Oregon to Mazatlan Mica She ithe author oF Sicns (OF LiFE/A YEARIN THE LE OF A Grrsy QUUTER, ‘which highlights 62 journal quits long with ‘heir stones dyometothomoon.blogspot.com Constance Grayson ves in er native central Kentucky where she eoploresher love of aly form and texture in faricand paper collages andin absvacepaincngs. I al hese actos Constance appies the same inwiove, spontaneous creative process—simply allowing ‘thewore to takeher where ie wants to go egraysonart.com UP gr WW yy neve,’ Cheryl Sleboda isan award-winning ar quiter speaker, and teacher Shehas ‘witen fr numerous publications appeared = fon Quiking Ares TV and has anew Quiting Arts Workshop” video, "Heirloom Sewing Techniques or Todays Quiler ‘muppin.com Carol Soderlund dyer surface ! designe and award ‘winning quiet Carol reaches her dyeing techniques nationally and inceracionally. For Caro the ability to dye ay color opens the door to sponcaneity and inutive use of color in her work: eis this joyful key to coler she hopes co give her students, carolsoderlund.com Melanie Testa is f son anaccomplshed texte and quit arcit She - hhokds a degree from tek | the Fashion Insitute of Technologyin Texcle/Surface Design and exhibits her ber art at varius galleies and qultshows around the country. she the author of DREAMING FROM THe JOURNAL PAGE TRANSFORMING THE SKETEABOOK TO ART a InsmMRED TO QUET: CREATIVE EXPERIMENTS IN ART (uur buaceny. Melanie fist ne of fabri e ‘Meadowlark by Windham Fabris ‘melaniotesta.com TREENWAY > silks} Pa otra No NST ers eT create luxurious art quilts See (ORI et aren eer cating ARTS® MAGAZINEMagnify ‘our tdlentss Ican see clearly now, the strain is gone! Patented optics with your Rx Sri se eee a CO eee LC ed | Gateway Canyons Presents ALEGRE RETREAT 2015 ‘An Annual Art Quilt Conference ~ April roth -April 24th, 2015 By, Featuring: Joe Cunningham, Jane Dunnewold, Linda Colsh and Katie Pasquini Masopust ‘Alegre Retreat is an escape from everyday life for art quilters to ‘come together to leatn and share their expertise Packages include all class instruction, special lectures and events, lodging, gratuities, food and beverage, premiums and much more! Six-day Packages start at $1,845 j.Fackages ie pried er person based on double occupancy exces axes ee For more information orto make a reservation —Please call 970-931-2458, 45200 Hwy 141 | Cateray, CO 815221 wwrwigatewaycanyons.com |wuwalegreretreat com | katiepmsos@gmail.com| AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINEby Barbara Schneider 10 AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINEfier drying, dhe fabric stiffener allows the leaf to hold a natural shape. m Leaves series is an ongoing exploration creating three-dimensional fiber art. | collect leaves and look closely at their structure and shape. In particular, I gather them at the end of summer when they have begun to wither and fragment, Examining them closely and then enlarging them allows me to see them as sculptural objects. Looking at the play of light upon surfaces and creating dimension by shaping the pieces introduces @ new element—light and shadow interacting with the undulating surfaces MATERIALS + Computer with a photo editing program ((used Adobe" Photoshop® Elements) + Scanner or camera + Princer + PFD (prepared for dying) cotton and freezer paper or Crate’ Images” PhotoFabric™ by Blumenthal” Craft, cotton poplin used the 8" x 120" rol) * Fabric for backing + Small amount of batting DIRECTIONS Scan and print the leaves 1. Collect eaves at the end of summer when they begin to dry and change color. I usel a large grapevine leaf that had changed color from green to yellow, rust, and purple. Scan the original Ieaf on a flatbed scanner. Use a photo editing program to enhance and enlarge the leaf to prepare it for digital printing directly onto the fabric. You can also photograph a leaf and download it to the computer rather than scanning it. + Fusible web (1used Pll’ \WeonerUnder* and Mistyfuse) + Decorative tread + Tianium-coaced copsttch needle 100/16 (used Superior Needles) + Aleene Fabric Stfenerand Draping quid + Foam paintbrush + Plastic sheeting Optional + Feking cool or needle fling machine TIP: make the leaves larger than life so they will have more impact. | often increase the color saturation and use photo effect filters to increase the texture or make the characteristics of the leaf more visible. (Figure 1) 2. To digitally print a large leaf, it needs to be printed in sections and then reassembled. I use a 13" x 19" printer, and have found that as long as I stay within the 13" width I ean print pieces that are longer than 19". Set the parameters on the computer to print the sections with a 1"=2" overlap and to the desired length. (Figure 2) AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE nn 5. Press a piece of freezer paper to the back of the PFD fabric then trim it to the width of your printer. Another option is to use Crafter’ Images PhotoFabric (cotton poplin) which is paperbacked and comes on a roll that can be eut to any length 4, Using the method and product of your choice, print the leaf sections. (Figure 3) Note: You can adapt either of these techniques toa smaller printer or have th image printed at a copy center Fuse, stitch, and cut 1. The printed lea sections are now ready to be joined and fused to a backing fabrie. Cut the overlapping edge in a wavy line so that when Figure 1 8/2294)000\24)9)00\¢ ajemo os je pevereremremrerry $C leeSereee vio G+ Tr ee fused, the join will blend and disappear. Figure 4) Position small amounts of fusible web in the overlapping area and fuse the Baa sections together. 2. ‘Trim the underside from the fused seam, Add small amounts of batting in strategic areas aa re that you want to emphasize with stitching, 5. Use fusible web to adhere the completed leat to the backing fabri: stitch those leaves een tee eee peice enti are te eer ae eee area eee ete aeerreentl that are onthe calle Soren cute up thread, overstitch, or use heavier threads— ee ere eee eee cet ' Ine of eure wth sie stiching sain rarer mee tiene ce ee thread for eens Werk ea) around the laf! often go back several times t0 add more detail and to change coloration, Figure 3 AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINEFigure 4 1. Set up your machine for free-motion stitching, Try to imagine what the stitching will add to the surface. Is it pattern, texture, or color? Whatever itis, relax and start stitching, Let the design flow through your brain and into your hands, and then just go with it, Create swirls, motiled texture, areas of distress, or natural patterns. 1 up t0 you. (Figure 5) 2. Consider adding texture in other ways. 1 often add visual interest and texture by using. a felting tool or a needle felting machine. ‘The felting distresses the surface of the leaf and softens it to look much the same as a leaf that is deteriorating over time. Leaves in nature are not flat. This shaping step brings my fabric leaves to life, creating dimension so they catch the light. 1. Dilute @ small amount of Aleene’ Fabric Stifener and Draping Liquid with some water. Using a paintbrush, coat the entire front and back of the leaf with the stiffener, 2. Cover your worktable with a protective layer of plastic sheeting, While the lef is damp and pliable, shape it into a natural form. Ido Figure 6 AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE BBARBARA'S TIPS _ : adding details with thread ‘© Needles matter! use a Titanium-coated Superior topstitch needle, size 100/16 because | experience very lel thread breakage ‘= Choose threads for their color or sheen. use rayon threads in my work. ‘= Tocreatea mottled effect, use cwo different colors threaded through a single needle. ‘For best results load your bobbin with a color that blends withthe top theead. ‘Imagine the patter, texture, and color your stitching will ad to the piece and let your imagination be your guide. ' Think beyond thread and consider adding texture with needle felting. this by using a variety of supports such as small cans ot plastic bottles, foam wedges, ppins—whatever I can lay my hands on—to hold the leaf in the desired shape for as long as it takes to dry. (Figure 6) Drying time depends on how much glue is used and the humidity 5. When the leaf is dry and stiff, trim the outside edges. Sometimes I add more stitching or needle felting, 4, Finish with a hanging loop in the back. ® To learn more about Barbara’ technique dont iss her Quiting Arts Workshop” video "Three-Dimensional Fiber Ar: Shape & Texture, Light & Shadow ar shop.quiltingdaily.com. To AUGUST/SEPTEMBER 2014 | QUILTING ARTS®MAGAZINCUA meg ec aR TDS Paes IT’S NOT ALL BLACK AND WHITE SEPTEMBER 25, 26 & 27, 2014 Ce eee na ost To al Keo) NLfes Reh ies » rable now yout hp rele SAVE PROMO CODE: ep @QA82014° PCR Tne ceed Dharma Trading Co. 800-542-5227 | dharmatrading.com Enter QASZOM oF checkout fr 10% OFF your subtotal THROUGH 1 Panasonic GREAT FOR HOME. LOVES T0 TRAVEL. The smart, cordless Panasonic N-WL60O is everything you want a tpiter'iron tobe. Delightfully quick to eat, it creates gr ‘Anda double-ponted soleplat presses any fabric from any di ideal for piecing and appliqués. Best ofall, tworks as beautifully at home as it does away. A sturdy, ghtweight carrying case ets you easily take youriron to classes or retreats, And safely store it when nat in use. Check out our ete tine of rons at shop.panasonic.com/ronsAUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINEr / his traveling exhibition of quilts about the Connecticut landscape was inspired by small groups of fiber artists. Working together with the common purpose of exhibiting throughout the state, SAQA (Studio Art Quilt Associates) representatives Diane Wright and Kate Themel partnered to lay the groundwork for this regional show. Introduced by Kate Themel | ‘Tapping into the groups energy, experience, and talent was key from concept to conclusion. It was important to get the members involved and excited about the idea. Because they felt invested in the shows success, SAQA members were willing to enter their artwork and loan it to the show for over a year: Artists whose work was not even included in the exhibition volunteered to help with important tasks. Months of hard work and volunteer hours were rewarded in the end. The artwork was seen by hundreds of visitors in three separate ventues, expanding their idea of quilts as fine art. Several pieces were sold during the show's run and color catalogs were purchased by people as far away as Australia and Israel. For some first-time exhibitors, this experi en them a boost I ce has gi of confidence to propel their artistic 5 “Blood Iris’ wrest KATE THEMEL Cheshire, Cometiut careers forward. Handed coton and bast: rawedae applqu, achive gited “found this lice flower growing in my front yard AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE“Town Green” sina DIANE WRIGHT Guilford, Connecticut ‘Corcon fabrics: paper pieced with original design and machine quilted “Town greens in Connecticut are thoroughly enjoyed ‘common ground. In my town, the green isthe pride of the township, annually hosting an ar expo, che high ‘school prom reception, and the always well attended high school graduation. Theres little wonder why they are cherised in New England” “Forsythia in the Fall” wa RUTHANNEOLSEN New Hoven Connecticut Commercial bat, over psited by the artist art's thotoprophs of leaves printed on ls crocheted stom rrachine quite “Forsythia, known for is showy yellow flowersin spring. aso puts on a fal display of leaves in unusual colors Nature's beauty s sometimes unexpected” AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE“Woodland Avei pun West Hartford, AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE“Hay in the Heat” sexs ‘CATHERINE WHALL SMITH ‘Chopin, Connecticut, ‘Allcoton fabs, bating and ved. arts photo images ily winced on caton fbi hand que. “Presently the quits create are strongly influenced bby my rural surroundings. Everyday activities are being incorporated into my art. My photos that record the cutting of hay fields are used to make a statement about the seasonal changes that occur around me!” AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE“Take a Bow” ara KENDELL STORM White Plains, New York Sie upon, cotton and upholstery fabrics, rayon bating ordng, Tekneko” inks machine quiked “This quile was made using an inspiration photo taken “during the winter at Myst Seaport: The Museum of “America and the Sea. enjoyed trying to giveita feeling of realam using the inks and embellishments: “Iris Reflections’ ar 19" BARBARA MekiE me, Connecticut Disperedye-printed polyester and hand dyed cotton border ented bythe att egitally created images printed with Uviresiane techniques machine appliqued ee maton machine quilted “This quilt isa collage of images ofises from my garden ad the same flowers reflections through gla block” AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE 21“Of Cabbages and Kings” ar NORMA SCHLAGER Danbury Comectut Coto, ery unt ron hen leah pune, freemen at sch ging This quit was inspired by a series of pictures hat took cof cabbagesinarighbors garden had neverrade a \wholecoth pained qu before andi led oa series 2 AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINEPS\\\\ WE'RE STARTING 4 Combine traditional and modern quilting practices to create a design that incorporates the best of both styles. Vintage Quilt Revival helps you utilize traditional quilt blocks with contemporary colors and fabrics to create pieces that could rightly be a part of the "traditional made modern” movement. There's no need to give up your love for traditional quilting styles—just bring in a bit of modern flair! Vintage Quilt Revival Katie Clark Blakesley, Lee Heinvich, and Faith Jones « Paperback « 160 Pages © 13MOs EA Caen es Sent ea are ee Barry CRTeN Quiltfest OAS PALM SPRINGS Thursday-Saturday: 10am - 6pm 277 N Avenida Caballeros + Palm Springs, CA + Over 500 Quilts & Works of Fiber Art on Display + Featuring the World Quilt Competition XVIII * Fabulous Merchants Mall Special Exhibits ‘Everything for the Quilter and Needlecraft Enthusiast! * Fun-Filled Luncheon Presentation +Presented by Laura Wasilowski * Workshops, Lectures, & Quill-O also available 2014 Faculty: Tammie Bowser (C4), Marian Kluefel (C4), ‘Linda Schmid (CA), Laura Wasilowski (11), Debora ‘Konchinsky (P4), Pat Yamin (NY) & Nina McVeigh (WD, ‘SHOW SPONSORS: 46 Ped st tarry Bary ite es Sane Cr Gey tod) ue =, wa © : 2 Vier rt te rcurefom ur unaerrebea brechre nite nase $5 pyle Manco Show Manageent ANCUSO : 20% rar Show Management } New Hope, PA 18938 www.quiltfest.com AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE 2ITla FABRICMATERIALS + Plastic drop cloth + A shallow pan or tray for wacer (se white enamel butcher trays 0 you can see the inks well) Prepared for dyeing (PFD) fabric Suminagashi ink Painc palette (I use a ceramic palerte because ic will nt tain) + Thiee or mote small paintbrushes Liquid soap (dishwashing or hand) + Skewer Plastic eub of water for cleanup Optional + Apron or painting clothes + Protective gloves couple of years ago, I saw a Suminagashi marbling technique ‘demonstrated for paper. | immediately thought, “I wonder if you can do that on fabric?” The answer is, “Yes, you can!” Its a great project to do in an afternoon because you don't need many tools, and the process and cleanup is easy. Suminagashi means “floating ink” in Japanese and refers to the technique of floating the ink on the surface of the water to make your design. There are no other chemicals to mix up or prepare—just inks and water. This technique is a bit serendipitous—so no two marbling effects will ever look the same. DIRECTIONS Ready the inking surface 1. Cover the work surface with the plastic drop cloth and change into your painting clothes or put on an. apron, 2. Fill the clean, shallow tray with 1%4" of water. Drag.a scrap of fabric along the surface of the water to remove dust or other debris from the surface of the water. A clean water surface will help the inks float and not drop down to the bottom of the pan. TIP: Work ona sturdy surface and be careful not ro bump the table while doing the marbling Working in a room with no breeze will give you better control of the marbling effect. 5. Vigorously shake the ink. Squeeze a few drops onto the palette Repeat with a few different colors. 4, Place a small drop of soap into an empty well of the palette and add a few drops of water. Use a brush to mix the soap and water, and reserve that brush for the technique. 5. Using 2 other brushes, pick up a small amount of ink on each and put all 3 brushes in your hands. «6. Gently rest your arms on the table, and with 1 ofthe ink colors on the paintbrush, very gently and delicately touch the paintbrush swith the ink to the surface of the ‘water. The ink will spread out quickly from the brush onto the surface of the water. (Figure 1) Figure 1 by Cheryl Sleboda AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE 2Figure 2 Figure 3 7. You may atemate colors by gemnly 9, Once you havea good amount of touching the other brush tothe ink color on the surface, is ime surface ofthe water. The longer to marble them. Very gently drag you hold the brush tothe surface, a skewer through the ink on the the more inks released ‘water’ surface o creat swirls and TP: teins dropping to the boctom movement. (Figute 3) You can also ofthe pan you mayhavetoomuchinkon blow on the surface ofthe water thebush You want to are ouch the for effect sace—the nll pf ebm and Ger eady opin Note: Move quickly as the swirls and other effects are probably still moving ‘on the surface of the water 8. To create a gap between colors, touch the soapy brush to the water’ surface in the same manner, (Figure 2) Make the print 1. Cuta few PED fabric pieces slightly smaller than the tray holding the water and inks. Note: Be quick when using the soap. It.can very quickly repel the inks to the edges of the pan, If that happens, it can be quite an adventure to get the inks back into pleasing arrangement paper floats method “The Surinagashi ink st includes paper dots that work a floats Drop the Fats into the water and lec ther get really wet. Once they loatco the top, you can apply the ink right out of the bottle onto the float, ‘The paper float prevents the ink from forming droplets at the bottom of the pan and ‘can be used over and over. AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINEFigure 4 2. Place a few layered paper towels on the plastic drap cloth near you. You will set the fabric here alter ‘making a marbled print. 3. Hold the fabric in a U-shape above the water with the middle of the U Justabove the water’ surface 4 Gently touch the bottom of the U to the surface of the water and release both ends down so the full piece of fabric is floating, (Figure #) The inks should immediately be drawn up into the fabric, Pull the fabric up off of the water’ surface and place it on the paper towels to dy. '. Once the print is dry, follow the ‘manufacturer’ instructions to heat set the fabric. Note: The effects will be lighter when dey than when wet. 6 Before the next print, you may want to start over with fresh water. Sometimes the surfactant properties in the soap do not allow another clean print to happen. If you aren't getting the effect you want on a particular try, or drops dump the water into the bucket or tub, and start with clean water. you have a bad print, you can allways print over it! Let it dry and overprint iton another try. ® resources For Suminagashi inks and ‘other great surface design tools and supplies, visit shop.quiltingdaily.com. ge AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE of ink are in the bottom of the tray,Curved piecing is not nearly as difficult as it appears, ¥ and Angela Pingel offers an introduction to the technique via one simple block—Drunkard’s Path. Start with the basics and work your way to more advanced projects with a eomuritnceel Recht ies ete leer AC EG NA ene een OI Came eed NM ry eet EOP NLT SN Pree onesies Seer a30 2 primary goal in my current body of fabric collage work is io simplify; to strip an image to its primary essence. I have developed a technique to help me focus on the essential visual center of the image while giving the finished piece a painterly feel. 1 do this primarily by layering pieces of ever more translucent fabric onto the base, much as a painter would apply increasingly translucent layers of oil or acrylic paint. In this process, organza, tulle, and sheer ribbons are truly my friends. The design phase begin by selecting a photograph which I then manipulate on the computer using photo editing software, Since my aim is to create a collage akin to a painting, like to enhance the photo using the software’ filters, For this piece [used the ‘Watercolor filter in Adobe Photoshop ements and the image took on the ook of brush strokes and paint. Although my inspiration starts with the photo, my finished collage may not be a literal interpretation of it ‘Once the image isin my head, I work Intuitively to ereate the piece. For someone trying this technique for the first time, 1 recommend placing the photo on a design wall or near your ‘work space so you ean refer to it when needed, The materials phase The next step is the fun part— selecting fabrics and materials for the collage After I have the basic design elements in place on my collage, I reserve small sections ofthe fabric T used in that step to include later. [usually just ceut those fabrics into random shapes, ‘trying to keep an organic rather than 4 geometric line to the cut edges. I then place those shapes around the piece, literally as the spirit moves me, in an effort to have the fabric colors and patterns move around the piece. 1 usually use only one or two patterned fabrics in any one piece, relying instead on subtle color variations MATERIALS Finished sie approximately 30° x 30 * Color photograph of your own ora ‘copyrighe-free image Fabric for top layer, 1 ye (This wil be the background of the fabric collage) Backing, 1yd.(/ used musi) Batting, 36" x 36" (| used alow-loft 100% cotton) + Fabric remnants, tulle organza, and sheer ribbon in the color paletce of the photograph = Organza, 1 yd, in awarm mid-tone ‘of the color palerce * Black tule, 1 yd (atleast 36° wide) = Quilter pins + Thread in colors to coordinate with the color palece Optional + Photo edicing software (I used ‘Adobe® Phocoshop* Elements) * Repositionable spray adhesive + Stretcher bars or artist canvas for mounting or 3 ye Fabric for binding and texture to add interest. This is an extremely forgiving technique and it Is easy to make adjustments as you go along, The finishing phase Finally, T mount my work on stretcher bars or anst canvas and then hang it Uke a panting, Try you might lke treating your work lke fine at AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINEFigure 1 Figure 2 DIRECTIONS 1. Select a photograph with a strong, focal point and vivid color. 1 cropped the original photograph and altered the image in Photoshop by applying the Watercolor filter. (Figure 1) IFyou wish to skip this step, try sketching or photocopying the photograph to alter or augment it. The photo is merely a guide forthe free-form fabric collage you will erate. 2. Make a traditional quilt sandwich with the backing, batting, and top layer. Figure 3 3. Gather materials in the color palette of the photograph—fabric, ribbon, odds and ends, and so on. Use a variety of fibers such as cotton, silk, and any other sewable materials Because I wanted some of the top layer to peck through and read as dark, I chose a black satin, For other projects, Ihave pieced the top layer or only used a top layer on pat of the Piece Figure 4 AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE 34. Begin collaging by placing fabric and other materials on the top layer, cutting the materials as, needed. Create the background of the design first, starting with the langest elements. (Figure 2) Use a repositionable spray adhesive to keep the pieces in place, if you wish, Refer to the photo as you build the image. As you add details, audition the selected materials to create a strong focal point Icisat this point that | make my final compositional decisions especially those concering final placement ofthe focal point and orientation ofthe piece (vertical, horizontal, or square). cis also at this point that take a final look at my inspiration Photograph. From this point on, want the work to be my response o the photograph, rota recreation of the image. 5 Place the warm mid-tone organza over the entire piece. (Figure 3) This adds both a warming layer and more complexity to the fabric collage 6. Continue creating the design by placing increasingly smaller and more translucent fabric layers on the piece. I often use bits of tulle as well as organza and other sheers (Figure 4) fabric & fiber of all kinds Like many artists, my studio isa repository for everything from recycled clothing to mesh fruit bags. ‘Anything can find its way into one ‘of my fabric collages. No matter how large the finished piece willbe, this proces is perfect for using up all ‘those litle too-precious-to-throw- away scraps that we all have tucked away. [have bolts of tulle in every color sheer ribbons, and organza, all ‘of which | use in large and small ways Constance inshed fabric collage before mounting have had great success with tulle except withthe very lightest shades, which tend to dilute the colors underneath, 2. Cover the entire piece with black tulle and pin it in place at 1" increments. The black tulle is extremely difficult to see in the finished piece, yet adds a wonderful depth to the work. It also holds down all ofthe little pieces and makes stitching easier 8. Machine quilt with your favorite free-motion quilting design. Add thread painting and hand stitching, as desired. Hike to use colored thread of varying eight, bers, and colors—and changeit frequently If a the end, you find places that need more—or less—attention, add ‘more fabric or covera spot with tlle. Stitch around the spot and quilt overt The adjustment will noc be noticeable. 9. Square up the quilt and trim the ‘edges. Mount it on stretcher bars ‘or artist canvas—leave several ‘extra inches to wrap around the ‘edges and secure to the back with a staple gun—or bind as desired. 2 AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINEjh Anniversary 30" Celebration! are ° ° Celebrate! Join us al one of our AC jhtn quit through the eyes and hands ot in rs, Buid your skis and an incredible W rally sion ‘chant Mall Thank YOU for: Chattanooga, Tennessee Des Moines, lowa. @QuiltWECK Fa di Ee he September 10-13, 2014 October 1-4, 2014 Order Tickets Today at AmericanQuilter.com/tickets or Call 270-898-7903. SPOR your ideas SAVE your art SHARE your inspiration mene ry; KEEPING rata Cex oy 2 wuiemeaveseeconiuing Sacro can Neamscoar san The keeping of ideas inspiration, and technique samples in sketchbook format snot ‘new-—bucits influence in theare quiking community has became much more prominent in recent yeas, Keeping ones work in thi formac snow commonplace, and the books created by fiber artists are ‘occasionally even shared and dspayed along With the work. Fiber ar sketchbooks are {prized for not ony their 4 inspiration but also for ‘her individual beauty and creativity AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE 3YOUR Want to write for us? We'd love to hear from yout What are we looking for? + Sketchbooknspired quits for our OF The Page serie. «Artists with inspiring porolio of ‘work tobe featured in ourln The Spotlight Artist Profileand QB articles. Show us your workand tll usyourstory. + Unique techniques, new ways o use exiting tos and supplies, and ideas we've never featured before. Submit your art to QUILTING Arts! «© Ifyouare aching, blogging about, ‘or exhibiting your at quilts, you probably have great ideas to share! get more niline Check out the submission guidelines for Quitrinc ARTS" MAGAZINE, INTERNATIONAL QuILT FESTIVAL: ‘Quitt Scene, Quivtine ARts* HouioAy, and related, Interweave publications at quiltingdaily.com. We look forward to hearing from you! innovative processes, and unique approaches to the art of quilting, HERE A QUILTING Agrs, we celebrate contemporary art quilting, surface design, mixed ‘media, fiber art trends, and more, We are always looking for new techniques, How to submit + Witea brie description of your idea and email o submissions ‘uiingartscom. Your submission should give us an overview of what you are proposing to wre with enough dea and supporting information for uso carey consider youridea, ‘Attach upto three low-resolution photos of yourart or process ro Your eral, and don forget ro inlude your name, website, and ‘contac information, Note: Wework far ahead inthe year and sometimes cant fia pice into the magazin ight away. Ouredtvial ‘evew process mo tak upto 12 wees bu in many cases we will spond to you much sooner No phone cals or {followup emis please fabric ket se Caro Soderind nd on page 6s, In addition . © Arts profiles media and product reviews and reader chllengesare wren by our staf © We doll our photography In-house. accepted, your work ‘must be available to be shipped to ‘our ofices, ao AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINE_INNOVA Innovative Quilting Penasco er Tale Colac Free 24/7 Tech Support! and Ne ee) Ce Le Ue Ce ees e AUGUST/SEPTEMBER 2014 | QUILTING ARTS os QUILT TAHOE Se Ue ech) Cee naa og Deed ore Sac De TUT uy Su} ey Cee eas Cy Pr eC) EE Oru ORT Pur cad nse MAGAZINE 3%WUrtHY ing your. translating LULPtVATLON ORK ulling inspiration from unexpected places is a big part of being an artist. Where other people may see something mundane, we see artistic potential and our minds take off, running with possibility: ‘More often than not, Lely on photography t0 ‘track my inspiration. 1¢S not unusual to find me twisting into some add pose so I can angle my ‘camera to get a shot of the thing that caught my eye. My photo library is packed with images of close-up details and vibrant colors Having those resources isa gift, but sometimes ‘making a connection between inspiration and actual artwork is not always the straightest of lines. Since I favor using my photos asa jumping off point, I have a simple process for taking them from a twinkle in my eye toa piece of artwork by Lynn Krawczyk Lefe "Oe to a Sponge Brush” (detail) «12% 12" x6 AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINEFocus on three things: color, shape, and mood. Color Although color may seem an obvious element, nevertheless take a good hard look at your inspiration photo. Go past the immediate visual and find the shades and tones that bring the image to life. Choose a fow colors a8 point, and then supplement with other colors as you work to achieve a good balance ting Shape I you make realistic work, choose an abject from the inspiration photo asa focal point and build the rest of the piece around that image. If you're an abstract artist like me, focus on the basic shapes, like the curves or patterns that inspired you take the photo in the first place. “It is not unusual to find me twisting into some odd pose so I can angle my camera to get a shot of the thing that caught my eye.” Mood Color and shape will give you a strong start to establishing the mood of the piece. But sit for ‘a while and study the inspiration photo a bit more. How does it make you feel? What can you add to the artwork that isn't captured in the photo but will help establish the mood? You don't have to be literal in your translation from photo to art. Let the photograph be a starting point and us 4p fil in the gaps. your creative process to Lets walk through how I made the piece “Ode to 4 Sponge Brush” and the photo that inspired it, I wanted this piece to be fun and quirky: After all, making artwork about a sponge brush is already a litle on the gooly side—but I loved the photograph. With lots of color and a pinch of chaos, it made me want to print fabric Process photos by Lyon Kraweryke Since T use sponge brushes for the majori ‘of my surface design, they e always kicking around in various states of paint goopiness. shot this inspiration photograph of used brushes and a stencil soaking in water after I had been demonstrating surface design. The main elements 1 took from the photo are the following: ‘* Color: the splotchy paint globs sticking to the brushes * Color: the idea of the “solid” color of the water with brighter colors mingling around it ‘+ Shape: the stencil sitting in the water pot ‘Shape: the sponge brush itself ‘+ Mood: playtime and paint-linging enjoyment AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINEMATERIALS Frished sive 12° x 12 ' Fabric in a sold color, fat quarter + Jacquard” Dye-na-Flow* pain, in 2.02, squeeze bottles (I used Turquoise and Sulphur Green) ‘= Rubber bands «Lente stencil + Sponge brushes Textile paine white, brown, and orange Embroidery thread and needle Fele or bating, 12" 12" Fusible web or pins (| used Mistyfuse") Figure 1 DIRECTIONS 1. Cut a 12° square from the solid fabric. Starting in the middle, randomly scrunch it up and secure it loosely with several rubber bands. Figure 1D 2, Place the bundled fabric into a container and begin dripping litte splatters of Dye-na-Flow paint onto the fabric to create a splotched pattern (Figure 2) Do this with both colors. Dye-na-Flow won't seep through tothe back so «urn the fabric bundle over and repeat on the other side. 5, Allow the fabric to dry completely before opening it. Following the manufacturers Figure 2 Instructions, heat set the paint to make it permanent 4. Using a letter stencil, print the letter with white paint and a sponge brush. CChoosea eter thats shape you ice. | prefer curves and soft shapes so that’s why I chose the letter BI has some straightness to mimic the angular shape ofthe sponge brush bur some curves o soften the imagery and give the piece energy. 5. Work across the fabric square, continuing {o print the letter, Rotate it as you go and. concentrate on the shape of it to lend ‘movement to the piece. (Figure 3) ‘Allow the paint to dry between each ayer. Heat set each layer of printing before moving on to the Figure 3 next step. AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINEyou have artistic license Why orange and brown? Brow is close ro the color of the brush handle and the darker tone lends some weight and focus to the piece. Why orange? Because it's my favorite color. Thisis, where artistic liberty comes into ply. 6, Paint the sponge brush shape in a line pattern across the piece using orange and brown paint. (Figure 4) ‘TIP: ifthe idea of painting by hand isnt your cup of ‘a, use your own favorite method of adding the shape. Because the shape was simple and I wanted a hand drawn look, enjoyed the painting 2. Fuse or pin the printed fabric to the square of felt or batting. 8, Hand stitch as desired. Note: I stitched with black thread to outline the white letters for a pop of strong conttast. Lalso used crass stitches on the ends of the sponge brushes to represent different colors of paint. Don't let your inspiration sources intimidate you, They are jumping off points and can become whatever you choose—titeral, abstract, ‘ora combination of the wo. Let them inform, your artwork but don’t allow them to put your {imagination in a creative jail, worrying that you have to remain true to it. Think of it as ‘collaboration between you and the idea it presents. Embrace it and enjoy! Left “Ode ge Brush” « 12° « 12 AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE 30“Begin” is a fairly literal translation of a drawing from my sketchbook. TThe tree shape is the same as the fone in the image and I wrote the ing across the background of it in marker: “There is always time to begin.” single color pen, I had the liberty to use whatever colors I wanted in Since my drawing is done in the actual artwork ‘The drawing feels serene to me, so Twent fora soft, quiet color palette The dimensions were chasen to mimic the vertical orientation of my sketchbook “Afternoon Snack” is my little nod to the 3 p.m. boost I need every day. Mellow tea and clementines are my favorites. I took a lot of liberties with this one. The shape of the Inspiration to artwork got more online E Check for tynns new book INTENTIONAL PRINTING 5) Simoce Tecrsiques ron Ison Fansic ART at © shop.quiltingdaily.com artwork mimics the long horizontal nature of the image—everything is. in a neat row in the photo. The colors—yellow, brown, and corange—come directly from the inspiration shot. I painted crescent shapes in orange to make sure my beloved clementines got center stage. And the rest of i? Pure whimsy. love curves and movement in my pieces so the stitching reflects that. Since T often use this little pause in my day to daydream and let my mind rest, 1 stitched the piece that way, in curves and a combination of restrained and pop colors—restrained to reflect that this is just a momentary pause and pops for the pleasure of letting my mind take a break to wander. ® *” AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINEelas All at the most competitive prices in their class all for more information * Qualified Dealers Wanted eed SE Mr ee) portent ied ES eC} Geeta nolting@nolting.com AUGUST/SEPTEMBER 2014 | QUILTING ARTS (Oct 12-18, 2014 Li Berg (Occ 19-25, 2014 [Sue Benner (ce 26Now |. 2014 Vik Pignaell ‘Nov 2-8 2014 Shela Frampton-Cooper Ape 26 May 2.2015, Kave Pasquini Masopust Jun 7-13, 2015 Best of. modern | Look for these patterns | more in our new | pattern store | shop.quiltingdaily.com MAGAZINE7 / MMe BASED IN GRINNELL, IOWA 2 AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE66 jowa Art Quilters was formed in 2005 and is composed of more than 50 members interested in learning about and sharing their experiences with art quilting, We meet once a month in Grinnell; we start with a learning session in the morning followed by a business meeting and Show and Tell in the afternoon. Lately we have been interested in developing group projects to exhibit in local and regional art and quilting shows and Ann goe by Ann Igoe AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINEPoo by lady Luck ce Above: Members of he lows Art Quitesar, ont rw fom et Rebeca Loew Barbara Rigs Rebecca Kemble Susan Ment, and Karen Hats, ackrow fom lft An genet Bergeon, Sue Kluber dy Luck at Weber, and Wendy Res Nor pictured Susan Barnes, Mayne Harewood dy Kath, Dorothy Palmer and Cael Trumbull Collectively, we developed a unique approach to a stice quilt. We liked the idea ofa slice quilt fora group project, but were constrained by the size requirements of an upcoming show. Each quilt could measure only 30° x 30" at ‘most—nota ot of room for aslice quilt that would have several contributors! We solved our size problem by making five quilts of four slices each, For our slice project we chose a photograph of an abandoned barn taken by member Judy Ludwick. We enlarged the photo to 22" x 30" and sliced it into four equal vertical slices—A, B, C, and D, (Figure 1) We put together packets including the original photograph, a full-size cartoon of one slice ofthe AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINEAbove From lef work by Ann go, Karan H Haris Barbara Rigs and Pa Weber photo, an instruction sheet, and a 7" strip of Velcro® —we devised a unique ‘way t0 display the quilts; more on that lager: Twenty art quilters chose to be part of the Barn Slice Quilts project, took packets, and agreed to complete their slice im two months We put no limitations on the style in which they could work. Instead, we encouraged the use of any techniques that would enhance the artist vision of the slice The instructions tothe artists were simple: * Create a complete quilt from the photo slice, ‘© Ensure the barn structure tines meet ‘the next slice(s) within 4", Retain the light and dare values of the photograph (but color choices were up t0 each quilter, © Use at least three layers, quilt the Piece in some manner, ana finish the edges, and Ensure the finished size is 22" « 718 As time progeessed, some ofthe artists were unable to complete their slice within the time constraints so the of us made muliple slices. When wwe gathered our slices together, we had 20 slices from 16 artists ina variety of fabrics and styles. Techniques used included hand dyeing, bleach discharging, piecing, pleating, and appliqué. Hane and machine embroidery and couched yarns were featured in AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE 64” ‘many slices. All slices were quilted by hand or machine and had varying edge finishes. Each quitt was finished by centering a 7" strip of Velero on the back, rather than a conventional hhanging sleeve. We displayed the Barn Slice Quilts by attaching an A, B, C, and D slice to a 30" piece of wood finished with a strip of Velcro. This attachment method allowed ts to interchange slices at will to create rnew barns at any time—an almost infinite number of five separate barns which we hang side by side. The Barn Slice Quilts have been displayed at two art shows and at a local quilt show in Towa. The slices were From Ie, work by Judy Ludwick Sue Klber, Rebecca Loew nd Rebeca Keble Share your textile creations with us. you have a photo of your art that you would like to shate with us, we wane to hear fom you. Email your digital images (up to 3 jpgs) with a brief explanation of how you accomplished your work to submissions®@quiltingartscom with "Spotlight submission’ inthe subject line Quittinc Aars Macazine does not pay for Spotlight articles. However, ifchosen to be featured In the Spotlight, you'll be sure to receive much welldeserved recognition. accessible to viewers and many of them enjoyed ‘building’ their own barns by exchanging slices on the display forms. Completing the Barn Slice Quilts project has encouraged our group {0 continue searching for ways to participate in shows and exhibits, together and as individuals. Upcoming projects include a three-dimensional plant wall widh artists contributing plants and a seascape created from 8" squares contributed by individual ants." AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINE; g & oes Queen - a DECLARES Det ro pcre Mansy Cary QUILT VISIONS 2014: The, Shag ther Liew October 3,2014 January 4, 2015 CALL FORENTRIES -— SE Smart Quilters « ‘ate me January 1-Janvary 31, 2014 JURORS Magic Bobbin Gonios wm fa 47 Just drop one in your bobbin case! ‘Aslan Award (Rfectng tens between Ac are Amer) F Tliminates backlash and bird's nests cetlin Eel ay on the underside of your quilt. Presidents Avard Littl Bobbin Gonios ‘Viewers Choice Avard for all home sewing machines, size L bobbins YEAIAvard ung Eneing Att) Moga Bobbin Ganics a fora ong arm size M bobbins! ‘Setdla eitiibieciveor NS ART MUSEUM 2825 Dewey Road Suite 100 Buy at your favorite sewing store or order at E rary Quilts ¢ Texzites S2n Deg CA92106 www. the prayer flag movement is here to stay Join the growing number of fiber artists who have found an outlet {or expressing their hopes, dreams, concerns, and joys by committing them to cloth. In this eBook youl find a variety of ‘ways that artists around the world hhave taken their passion for fabric and stitch in a new direction. You will get inspiration to make your ‘own prayer flags from hundreds of examples provided by fellow Quurin Ans readers. Get yours today at wwwinterweavestore.com/quilting! S697 Pages POF eck roc Ce E67 Tiny tre Cpe 5A IE SETS BRE PL ES OR Pa ENE TR SE AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE | i eARIWANTED FN an-¥.\en ite Awd GroMerRics for publication! INTERWEAVE IS PLEASED TO ANNOUNCE A CALL FOR SUBMISSIONS for Art Quitt INseIRATIONS: ABSTRACTS the latest volume curated by Martha Sielman, author of the AkT QUILT PoRTFOLIO series (Lark GEOMETRIC? Publishing), Publication is planned for Spring 2016. gallery sections How to submit Preliminary submission willbe vie eral to artuiltbook@gmailcom snd should include: Your name = Addess = Phone number = Emil address Website URL = Titleof your submissions) '* Arework may be any size and any age. ‘© Atcach upto 3 images of your art Images should be jpegs only and ‘not larger than 1200 pels inary dimension «Please label each image file with last name. firstname. tite (eg, Sielman_ ‘Martha_Abstract1).Do not use any special characters in the file ile "Tracings I” by Deidre Adams Photo by Deidre Adams ‘Agr QUILT INSPIRATIONS: ABSTRACTS AND GeomeTRICS will include interviews with many featured antsts showing ‘multiple works by each. Approximately 70 additional artists will have their work showcased in the book’s Submission process 1. Send your submission to artquiltbook@gmail.com by (October 31,2014. Marcha Sielman will ‘make preliminary slectionsin November 2. Artists whose work i chosen for further consideration will hen be asked to provide print-quality photographs. Final decisions will be announced in Summer 2015. We look forward ta your submission. We want to see your best work! AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINEye. F Join mixed-media artist and art quilter Helen Parrott for a journey through the art of mark making. ‘+ Explore the different types of marks that can be made on fabric * Create surface effects with hand and machine stitching * Turn sketched ideas into stitched Quilt & Wearable Art Competitions lines on fabric ae * And much more! Whole Utilize the art of mark making and Over $31,000 in Awards & Prices™) discover its vast applicability! aed ine Yard: ds” Over 800 Quilts & Garments on Display Fashion Show] Workshops Lectures Appraisals + Fabulous Merchants Mall Price: $28.95| is 978-1-59668-879-7 Pages: 128 ie sen Caloria Sewing & Vacuum Major Sponsors [Ray iy ate ‘brother = Meee | RSS BBLBECE taste ee ee NOLTING ree ow and pet apt rch rom curb rome a bach in ol hae Get your copy today at: www.interweavestore.com/mixedmedia NAA Hip INTERWEAVE May L www.quil tfest.com ml AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINEd fers who live in cold climates have fun using snow. Jn the winter as a resist to dye, But what if you live in a climate bereft of snow or want to dye in the middle of summer? Just create “faux snow” by using crushed or shaved ice in its place! I discovered that ice gives the same lovely watercolor-like visual texture that I see from dyers who live in snow country, and it can be done any day of the year. This dyeing technique uses Procion MX Fiber Reactive dyes to create fabric with a distinctive, beautiful visual texture. by Candy Glendening MATERIALS All supplies must be dedicated to nonfood use * Soda ath Plastic bucket, 2 gallons or larger PFD (prepared for dyeing) fabric, several ya. pieces Procian” MX dyes, Respirator or dust mask Latex or rubber gloves Plastic cups and disposable spoons ‘Measuring cups and spoons Prastic drop cloth Dishpans Fiberglass screening 6" larger in both dimensions than each dishpan Binder clips (4 per dishpan) ‘Crushed ice or ice cubes mallet, and plastic bags + Synthrapol AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINEDIRECTIONS Fabric and dye prep 1. Combine % cup soda ash with 1 gallon of water in the bucket and mix thoroughly 2. Put on the mask and gloves. » 3. Ina plastic cup, measure 5-10g of dye } powder (this is 2-3 tsp. of dye; weight is much more accurate). In another plastic cup measure 1 cup of lukewarm water. Add a lye, mixing it into a paste using a plastic spoon, Continue small amount of water to the adding small amounts of water until the powder is completely dissolved. et «. This dye concentratio colors, For a more pastel color, dilute these dye concentrates by mixing I part of the concentrate in 3 parts of water (e.g., 25ml dye to T5ml water) «Repeat this process with he otherdyes Measure ota olf 130-10 Ground ll 4: omees 9 hp) of eso cach ly thin Ueasingecor wcomtine 3 Saft hues om sng pee abr Work with the faux snow 1. Cover your work surface with the plastic My drop cloth. IPs 1 ike to work outside where the lawn i fat and | can leave the dishpans of cloth ice, and dye undisturbed by people or animals for several hours. Suibmerge the fabric in the soda ash solution, Once the fabric soda ash solution, wring them out with c fully s arated with :> your gloved hands, One at a time, place a piece of fabric flat on the work surface and CAUTION “scrumble” it, Serumbling or “crunching” ieee try the fabric creates lots of nooks and crannies reer for the dye to setile in and creates visual texture, This is achieved by pushing the fabric in from all sides, creating a disk that ay lace Aibesgliss streenlng on a distpan, has random peaks about 1" high wrapping the extra over the edges, and securing it with binder clips. Prepare a roe Nodes The soda ash splurion mises the-pHl ofthe aishpan foreach piece of fabric. Place he Aa a nam fiber so that when the dye touches the fiber it scrumbled fabric on the screen. (Figure 1) [Joeaaaalaaaag will form a permanent bond. res AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE4. Cover the fabrie with 1"-2" of crushed i f you do not have ac machine that makes crushed ice, place ice cubes in a thick plastic bag and use a mallet to break up the cubes, 5. Slowly pour the measured dyes over the surface of the ice. I'you are using more than 1 color, try pouring the dye in a pattern. (Figure 2) Dycing the fabric with a single color also provides wonderful results, When you pour the dye on the ice, some of it travels through to the fabric right away, but some of it freezes to the ice and bits the fabric later as the ice melts, This explains why you car ‘get such wonderful tonal variations in this fabric 6. Patiently wait for the ice to melt As the ice melts, it simultaneously adds color (as the dye trapped in the ice hits the fabric) and rinses the excess soda ash away Tworked on a mild 70° day with partly sunny skies, Under these conditions it took about 344 hours for the ice to completely melt AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINEBat i tinse tk 1. Once the ice is completely melted, un-scrumble the fabric and place it flat to dry, Although most of the soda ash and excess dye has been rinsed away by the ‘melting ice, there is stil some soda ash and dye left, so this batching time may allow for «few final bits of dye to bind to the fiber And the drying fabric certainly looks pretty fon the grass! (Figure 3) 2. Wash the fabric in a washing machine with hot water and a tablespoon of Synthrapol. After the washing machine runs all the way through, I usually run it again, stop it in the riddle of the agitation, lift the id, andl scoop cout some water ina clear glass. Ifyou see no color, the washing time over. If some color remains, run the fabric through another cycle until the water is clear. Thope this technique provides you with another tool in your surface design tool belt. Ido a lot of low-water immersion fabric dyeing and have not found another technique that can create these watercolor effects so beautifully on fabric. ® AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE 2 ‘igure 3 want to know »/¢? Topurchase Candy$ Quiking Arts Workshop" videos, Dyeing to Stitch” and Fre Motion Machine Sketching” visit shop.quiltingdaily.com.Susan Brubaker Knapp, host of Quilting Arts TY, collaborated with Aurifil, the thread choice of quilte worldwide, to create these exclusive thread collections for Quiutinc Axrs MAGAZINE and Interw sel If you are building your thread collection or just begin- ring to explore thread sketching, choose the Thread Sketching Essentials Collection. Each box contains 12 large spools of thread (approximately 1,422 yds. per spool) in Susan's preferred colors. Looking to round out your thread collection? The Thread Sketching Basics and Beyond Collection is for you! This collection includes 10 small spools of thread (approximately 220 yds. per spool) curated by Susan. CURATED BY Susan Brubaker Knapp great for thread sketching, piecing, and more! y Quiltingtrts | ENR www.interweavestore.com/quiltingResults from our ‘Art in the Park’ Reader Challenge AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE 3he warmer months remind ‘us of the joy of time spent outdoors in our favorite parks—city parks, national parks, theme parks, or our own backyards, In the February/ March issue, we challenged readers to create an 8" x 8" art quilt inspired by the theme of enjoying a park. Almost 100 submissions were received depicting foreign travel, hometown bliss, and natural beauty in abstract and literal interpretations. We hope you enjoy this gallery of our readers’ artwork! There’ More to Yellowstone Than Old Faithful UDI GUNTER CHESTERTOWN, MARYLAND (tp) Wyoming Yellowstone National Pak has ‘much more to offer chan ust Old Faithful ‘nas impressed with che landscapes and the layering beween the tees and water elements ‘With this lee, wanted to create a vial 3.0 appearance of phat | cook Yellowstone Art at Pare du C {GEORGIA (bottom) “tas an are teacher fr 39 years and | am lays thinking about makingart What beter place ces! the alleles ar han n Pari ‘This would be my ideal spt to crete arin 3 park A frshed painting a gas of wine, and ome cheese and bread would complete perfect day: AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINE“Central Park, Transformed” “Thschallenge immediately reminded me of the spectacular inallation that transformed Cencral Parkin 2005: Cisco and jeanne Claude's The Gates’ Giant shimmering banners of arange fabric arched over countess footpaths bringingan amazing wave of olor to a snowy landscape chat winter and sues the faces of my neighbors Volunteers handed ut snatches ofthe special fabric the artist ‘sed apiece of which aes center stage inthis ‘ul. Thead work and fabricink represent the wintry bare branches. and walkways. Thank you for bringing bck a marvelous memory “Crevasse” JENNY MESSER -NORWALK.JONA “innatur cere are expansive views to enjoy, but sometimes when you arrow you focus, youcan see amazing pattern and abszracness in chesimplescof chins. When vsking Alaska Several years 2go, werooka dve up the Glenn Highway tose the Matanusia Glacier. We hiked chough the glacial moraine onto the ice to see the fae ofthe glacier and the huge breathtaking, gaping crevasses, Looking down ae my feta | tied not to slip on the ice {au the abstract relationship beeen 3 small blue crevata, the white making ie, and the git ofthe moraine gravel. This qa was inspired froma photo! took a that moment AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE a“Bark in the Park” USA DODSON MARTINSVILE INDIANA ‘After along winter ou fury fends enjoy avs to the local dog park unleash thee energy. The qui backgrounds pieced with hand-djed fabrics, details were ised and raveedge appliqued the quit was fee-mation uid. anda faced binding was applied” “I'm Flying Parks re about feedom. We've fee to let go of eur diy-o-ay ves and jus ply. Parks are places for imagination where we canbe who ‘we want ro be—explorers. pirates cowboys. [Ageless We don'have fo be bound by the laws of physi We ean Ay AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINE“My First Quilt Show” JUDITH PANSON LOCKPORT, MANITOBA, CANADA ‘Alone ati fen now workin fabri. An mine, who run ar hows na local park suggested display some of my wall hangings This qui represents my fst que show which led to an ently new cates for sme “En Plein Air” lve to create things. painting outdoors, cing indoors, but moe of a Hove tating. ‘This theme brought co mind the entsand splays of aris sling ther workin the park Tat chad sculpting park. The quits composed: ttnbelisiments anda tiny watercolor pang ‘ofthe scene eas alt ofan co create” AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINEcrayons on black and white fabrics to create the background. fused everything together, and add details with black marker pen and black free mocion quilting ‘When | created this quik, we were into our sixth month of now in Albers, Canada, 0 AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINEseason's End’ "Ar seasons end, the bight colors of summer sett into fae hues Nature becomes ss stingushabl, producing impressionistic image. This piece isa blending of wet felting and fabric lines and shapes overlap to create a ew landscape MELANIEJOHNSTON - HAMPTON created a collage of my own fiber art and printed icon to fabric then painted a Gel “Arcpate with Ege and dark green paint ‘masked of shapes fora uee a and pulled the print. The tee leaves re fabric Smippers covered with calle and abi of fol was Sedded forthe sun. Te child dng a handetand ‘wae rested froma stencil made AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINESALLY MAXWELL -POQUOSON, VIRGINIA "My husband and! lew to Pai fora special birthday ter a wonderful dinner we decided to walkin the'City of Light'and see che Eiffel Tower illuminated inal her glory. it wasa pleasant June evening and as we approached the Champ de Mars we could se groups of Pains pinicking on te grace, drinking wine, and listening to music. was sucha happy time! Trecreated the scene using a special abi to mimic the night sky, which lembllshed with beading and French knots Evening in the Park’ “Parks have always been apart of our city ves. They remind us of spending every weekend wich family and ends for coffee cake, anda stl, This design was drawn by Mike and interpreted in fiber by Sy sing cotton and sk fabrics, Jacquard Lumiere” pants, and Toukineko" inks got more oxline To see more Reader Challenge Quilts, visi quiltingdaily.com, AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINETake your next sewing project ro new heights by adding an unexpected twist—fabric manipulation! Award: winning quilter and heirloom sewing expert Cheryl Sleboda takes the mystery out of smacking, pintucks, pleats, and gathers, and will soon have you applying these simple and effective techniques 0 your own quilts and home décor projects.Here's how to enter 1 Create an are quiltbased on the theme ‘Favorite Things” The entire quit including binding, must measure 9° 12 including binding Embelishments must not protrude ‘move than i from the qui {The ult may be made with any materials, bu it must be quilted (by hhand, machine, or both). consist of thre layers and be ether bound ‘or closed along the edges. t may be oriented horizontally or vertical Label your qui on the reverse with your name, ema address and tte of the uit, On the back ofthe quik please ‘mak the top. hanging eve s not required 1 Your encry must be fee ofany text cor images protected by copyright, ‘unless you have the expressed written permission from the person or Institution that holds the copyrighc and you provide chat written permission INTRODUCING with your submision. (tsa good idea MAYBE WE SAY IT TOO GLIBLY; “I love that song” or “That's m outfit.” But we all do have favorite things COUR tsterclearofcommercialimagery) jfavorite tee send two low-resolution images (each less than 1MB) of your completed entry —one of the entire qu including the edgos/binding and one ofa detail ‘ofthe quilt—va email by October 5, 2014 to challenges@interweave.com, with the words "Favorite Things” in the subject ine. Pleas include your name, email address, phone number tite of the quilt, and a brief explanation of your piece in the email. NOTE: Pleace do not “rp” your files and be sure to send jpegs. y favorite that inspire us in many ways. It might cOnicasber $4 henbcors be a favorite possession, a pleasant scltr Kristine Lundblad wl pos the memory, or a loved one. Or it could be a finalists on the Reader Challenge bog treasured memento, a tip of a lifetime, at quitingdallycom. This the only or a new opportunity. Our challenge to you is to create an ant quilt ‘notification chat will be made. ‘accepted as finalist, your artwork Spee ‘must be in our offices no later than your favorite thing or things. Share it October 24,2014, along with a fac ‘with Quitting Apts and we’ 1 publish a shipping and handing fe of 515 sampling of our readers’ artwork in the (US.and Canada) or $25 allother February/March 2015 issue. Internationa). Tis fee which must be paid in US. dolar coves the shipping costs, packing materials,and handling for che recurn of your entry (Only ash, checks, or money orders can bbe accepted, Checks or money orders should be made payable to Interweave 1 The entre piece and al of ts packaging must weigh less than 3 Ibs ad fic inside a standard shipping! ‘maling box or padded envelope. Finalists should mail their entries to: Quine Atrs Macazeiinterweave ‘Aae'Favorite Things’ 490 Boston Post Road, Suite 15 Sudbury, MA01776 NOTE: y submitting your reader challenge entry, you are authorizing F&W ‘Media, Ie to publish your project in ‘upcoming publications and promotional rmaterias.on our websites and in other emecta as wells ro possibly display cat shows FAW Mea Ine. will not beheld responsible for los or damage due co ircumscances beyond our control Werreserve the right to keep and dlsplay you Favorite Things quit nel the wek of anuary 5, 2015 you have questions, contact Krstine Lundblad at kndblad@ We look forward to seeing your work! MARK YOUR calendar ‘ocr. §, 2014: Emailed submissions are due with low-resolution jpeg photos ocr. 6, 2014: Names of finalists ill be posted on the Reader Challenge blog at quikingdaly (0cr.26, 2014 Finalists’ quilts ‘must be received in our offices. FEBRUARY 2015:Look fra gallery ‘of Favorite Things” quiltsin the February/March 2015 issue of QUILTING ARTs MacaziNe! AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINEGoogle play a 4, Available on the ts EN eyeb ice) i- kindle PaW PAU Ey eUs) n= |by Carol Soderlund and Melanie Testa 101: TWO APPROACHES yeing your own threads in a rainbow of colors is an easy and re way to spend an afternoon, In this article we outline Fa Seance two approaches, each of which yields both solidly colored and eT) process should be dedicated to nonfood variegated multi-colored threads—and a bit of bonus fabric, too! AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINEMATERIALS Procion” MX dyes yellow. red and blue (PRO Chemical and Dye's Sun 108, Mixing Red 305, and Basic Blue 400 or Dharma Trading’s Lemon Yellow 1, Light Red 12, and Sky Blue 26) Dust mask or respirator Plastic gloves 3 plastic cups or bottles for dye mixing ‘Measuring spoons and cup Plastic spoons for mixing Sodaash ‘Small bucket, 1 gallon size 24 skeins of strand DMC* embroidery floss, white 12 DIMC StitchBow" Floss Holders 12 clear plastic cups Permanent marker 12 quare-size plastic ap bags Disposable foam plates, Plastic wrap, Paper towel Optional + Yarn forties (We used acrylic soit would not pick up the dye) + PED (prepared for dyeing) fabric, 6-10 pieces 10" 10° Get the basics ready 1. Make te yellow dye concentrate by mixing tsp. of dye poeder Lan oa aa of dye weighs ? grams.) Repeat to mix the red and bue dye 2. Make the soda ash solution in a container by mixing cups of warm water with 2 hsp of soda ash. +. Follow Mellys or Caras methods Tale Melly’s solid-dyed floss You might imagine that dyeing your own thread and floss would be too difficult in a home studio environment. Not true! When | frst came across the DMC StitchBow Floss Holder, I instantly knew the unintended usefulness ofthis item. ‘This plastic holder is designed to organize your embroidery floss collection—DMC 6-strand embroidery floss skeins fit perfectly on thera. But what I saw was an opportunity to dye floss without fear of tangling! 1 instantly bought the entire stock of white embroidery floss at my local shop and a matching number of StitchBows, went home, and began rmiing dye concentrates. I dyed every skein I bought. Seeing the thread absorb the dye and imagining the ever- so-colorful possibilities practically smagle me jump with glee! When [finished dyeing, [began using ry new vibrant threads. As I worked with them, however, I discovered the inside of the skein, where the thread touched the StitchBow, remained a lighter color or even remained white ‘The outermost thread had acted as @ resist, preventing the dye from getting into the innermost part of the skein. P- — To address this problem, T tried the process again, but this time 1 vigorously massaged each skein after pouring the dye concentrate over the thread. This helped but did not alleviate the problem. So I went to bed. Halfway through the night, 1 woke up with the solution Each skein needs to be secured to itself (not the holder) so it can rotate around the holder during the dye process. This way you can pour the dye over the floss, massage the dye into the thread, scoot the thread a few inches down while keeping it on the holders, and then massage the thread second time. This method produced evenly colored thread throughout the entire skein, AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE oaFigure 1 Solid-dyed skeins create the 12 dye colors, | in each 1. Bend a holder and slip a skein of Segoe floss within the Y shapes at either tend. Check that the skein is in 5. Place a single skein (still on the holder and now dipping wet) into 4 continuous loop. Tie the loose a plastc bag, ends together Fill 12 stichBows © Pour % of the dye in Cup 1 over with loss. the thread inthe bag. (Reserve the remaining dye for Carols variegated technique.) Carefully massage the dye into the thread 3. Label 12 cups, numbering them scoot the thread a few inches 1-12 with the permanent marker. 2 Soak the skeins (on the holders) in the soda ash solution. around the holder, and massage 4 Using the yellow, red, and blue dye again, Squeeze the air out of each concentrates, follow the chart to sandwich bag and zip it closed. Soda ash solution can be kept from dye session to dye session. It never goes bad. A repurposed gallon drink containers perfect for both mixing and storing the solution. ‘To mixa gallon of soda ash solution: 1. Pour % cup soda ash powder* into the jug. 2. Fil the jug halfway with very warm water. 3, Shake the jug to dissolve the soda ash. 4 Fillthe jug the rest ofthe way with more warm water ‘The soda ash dissolves very easily and the halF fll jugs easier to shake than a fll one, ‘Once mixed, then | pour out only what | need for my project. “Instead of soda ash, you can also use sodium carbonate whic supply area ofthe hardware store, Called Balance + or pH Up, PH of swimming pools. js found inthe pool isused to balance the Figure 2 7. Repeat with the other 11 skeins 5. Place all of the bags in'a warm place overnight. My approach to freeform variegated threads Is the perfect way to have some fun using up the 12.cups of leftover dye, No need to let li vibrant color go to waste! Ay and While I loved the convenience of the StitchBow floss organizers, 1 wanted some variegated colors so 1 opted for a different approach. | used disposable foam plates to hold the circles of thread. (And since I wanted to coordinate some cloth with my thread, I dyed 10" squates of fabric at the same time.) 1 tied the skein of floss with acrylic yarn in 4 places using loose figure eights. (Figure 2) Keep the yarn loose to prevent creating areas of resist on the thread. Acrylie yarn does not take the dye, so its easy to see alter dyeing when you're ready to remove it. After Melly finished her dyeing, the remaining dye was more than enough for 6 skeins and 6 squares of cloth. AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINEat Figure 3 ‘Use whatever is left to dye more skeins and cloth, (On my skeins, I used 4 colors on each plate. Referring to the numbered recipes, on Plate One I used colors 1-4; Plate Two, colors 5-8; Plate Three, colors 6-9; and Plate Four, colors 9-12. On 2 other plates I used multiple colors placed randomly, When pouring, I did not necessarily use all the leftover dye in the cup, only saturating the thread and cloth so that the colors would not blend too much. carol and melly’s dye recipes cup Yellow Red Blue number concentrate ‘concentrate concentrate 1 Btsp. 2 Tsp. 3 7 tsp. 4 4p. . s 6 7 violet 8 blue violet 8 blue 10 blue green Tsp. n ‘green 4p. 2 yellow green 7H tsp. Variegated floss and fabric Note: Ifyou want to have fabric to coordinate with your loss, have the ssame number of fabric squares as ted skeins of floss. These instructions include dyeing the fabric. 1. Soak the cloth and floss in the soda ash solution fora few minutes, Squeeze out most of the moisture from the cloth and thread skeins. (olike Melly, I squeeze mine thoroughly) 2. Ona disposable foam plate, gently crumble 1 piece of cloth and top it with a skein of floss placed in a cirdle. 3. Pour or spoon leftover dye onto the threads and the fabric. Press the dye into the folds with the back of the spoon or your gloved hands Figure 3) 4. Cover each plate in plastie wrap, and place it in a warm place overnight Wash out the excess dye—both approaches 1. Drain andl dispose of the remaining, dye from the plastic bags and foam plates 2. Filla small bucket with cold water. Rinse each skein (either loose or on the plastic holder) and piece of cloth thoroughly by hand in the bucket, Pour out the cold rinse water 3. Filla teakettle with water and bring it to a boil. Gently pour the hot water over the dyed items. Let everything soak for 15 minutes. Pour out the hot rinse water and repeat the process until very litle color laches into the hot water. 4 Place the threads and cloth on paper towels and allow them to dry. When dry, you can use the thread straight off the StitchBow or wind the thread onto a spool From a stitching perspective, having solid and variegated colors that coordinate in both thread and fabric opens the door to artistic possibility! ® AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE «mediawe Like A Finer Artist’s GUIDE TO Cotor & DESIGN Tue assis & BevoND Heather Thomas Landauer Publshing, 20:4 208 pp. Paperback 2995, In this sumpruous book Heather Thomas guides readers ehrough the bases in cw sections-—The Language of Color and The Language oF Design In each, he offers detailed lessons on getting stared how and whac ro study, and how co bring chese newfound sks into your ‘wm artwork Thraughous the book, Heather provides detailed cagrams, useful ps and exquisite ilustracons of her work and the work of zher art ists working ina variety of fbr mediums. The las section, The Workshops, provides 12 opportunites to use che sls you've learned and buld upon ‘ther. "To erly lam about the inceraction of olor and how to haressits ‘energy, one muse ge tei hands an cole and work wich it” says Heather. Each ofthe 12 workshops isa complete lesson and ules upon the ase. ‘one, becoming increasingly comple. Heather hopes readers will come away with a fuller understanding of color and design addition ro learing good work habits and cukivating arctic utosty This book would bea great series of sson plans to work through with your fiber or at ui grou. FREE-MOTION QUILTING WorkBooK Anata WALTERS Shows YOU How! “Angela Wakes Stat Books, 2014 ie 46 pp. Paperback with spiral binding 51695 Bey Maeno mistake hi sim bok shore BA | in page cour acting with Uipkand ideas for ee-modionquitng CEE i gulng superar Ange Waker ‘Angel describes er book aa "guided setchbook not ahow-tobock” She hopes o ge your cteate juices fawing and encourages you orn your brain by ketchng Anges contends tha sketching design before uing es your brain eady fr the task Your serch dsr nee to bea Michelngelo—merly alse representation of your design thoughts. This exerci wil ep you plan and soe sues before you commit stches to you quit Angela such skeching advocate that pags graph paper ate incadedin the book! Angel includes drawings dagrams, and photos of her own work bath ae istration and inspiration She focuses on diferent aeas ofa quit—blocks, borders, negative space—with ideas examples and tis for quiing each ‘one. The final pages show diferent quit designs Angela uses Free motion machine quilting no exception vo the practice practice practice rule ane, vith Angela genle manner and encouragement, f you can sketchit, you can quit REE He n00m Sewine Tecniques Heitioom Sewn TTechmiques fore Today's Quilter FoR Topay’s QUILTER CCheySkeboda Quilting ts Workshop" nueweave 2014 DDybiNideo download Rundi: 76 mines 2499/5109 Take your nex sewing project tonew hehe byadding an unexpected tne fre manipulation, Chery Skeboda uses vnage sewing echiquesin her decidedly ‘modern work and sows viweshow they can raneform thelr own work fom flac to febulos Cheryisanaward-vinnng quite and eto sewing exper ‘win aks che mystery ouco smoking pinccks pleats and gathers Viewers vllsoan apply these simple and efecive echriquest ther awn quits nd home décor projets Cherysckar aed concise drectiors coupled with her encouraging teaching sy, wil have you engaged fom heft moet _Nter an oxervew of the hisory 90 and marek usedindensiona ening (Chery describes and demonstrates each echrique Her shortcuts and tos simplify the mos: mystifing designs into eas 20fllow steps Chey shows how te erate smocked imsers fra sampler yl anda chaning vintage ire pilow with a contemporary Ra Soon youlbe creating your own dimensional deg sng the dmecezed methods demorsratedn the vdeo Picroriat ART QuiLt GUIDEBOOK Len: Levenson Wener CCATPublshirg 2014 128pp Paperback 57335, youhave avays wanted co make an area from your phocograph Leni Leveruon Wiener villshow youhavwin thi manus guidebook, Leni cakes the nysery ou of cola pactan and eae with che opening section ofthe book Section (vo i erally a step-by step guide on manga qulc using cone ofher ow quls “Explorers asan example Yeu willearn about manip laang your phetas chacsing fabri, and desing an att quit Dont mssher 18-pomelis Are Quik Pocessat a Glace tha breaks down te teps ino ther most elemental ned unintiicing form ee p46), Tiss thermos: clr an staghorward st you may ever see The final section ischockfilloftip ik, and guidance pus false pacems tory your hand ac one of Lens quits The hecogaphy hroughour the bok pena ingpng anc very deta Beginners wll appreciate the thoughefl deri ofLenis approach and more advanced quilters vl benefit rom her comprchensiveknowledge, eet lence and encouraging manne To purchase these and many more fiber art and. | ‘mixed-media items, vst shop quilingdaly com. Lean about our newest Interweave books and videos on pages 23, 63, 7l,and 89 7m AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINEi PLZZ ues sl coms Colaloel Machine Sketching (ele Taye iaeol acerca en eee Over INVthread sketching for beginners TOP10 ques TIPS FOR GETTING GREAT RESULTS by Susan Brubaker Knapp What exactly is thread sketching? Is it just heavier threadwork than machine quilting? Because thread sketching is done only through the surface of the quilt—not through the batting, and backing fabric—it is not quilting, Thread sketching is really a surface design technique. Part of the reason for the confusion is that you ‘use the same skill—free-motion stitching—to do both thread sketching and quilting. ! use thread sketching to add details, subtle shading, highlights, texture, pattern, and movement to (lons ANSWERED EXPERT W. Ive gathered the most frequently asked questions together and hope they illuminate the fine art of thread sketching in your work, then I teach thread sketching, my students have lots of questions about getting the best results from threadwork. iy fiber art. When I quilt, Tam only thinking about two things: holding all the layers together, and adding dimension (by quilting some things heavily and some things not at all). What is the difference between thread sketching, thread painting, and machine embroidery? While there are no precise definitions, here's how I perceive the differences: Thread sketching is light threadwork on the surface of an art quilt, done so that a good deal of the fabric shows. ‘Thread painting is heavier, nearly covering AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINEthe surface. n some cases, elements (such as trees, pumpkins, ete.) are created by covering, 4 piece of stabilizer with thread, then cutting it out (or washing the stabilizer away, itis ‘water soluble), positioning it on a background and stitching it down, Machine embroidery is very heavy stitching, usually done in a hoop, and may be guided by the operator or by @ computerized module ina sewing machine I pin a layer of interfacing underneath the surface of my work, and stitch lightly over the AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE entire surface before going back to add more Above: “Joyful” + 9°» 12 and more threadwork. Ifthe piece starts to distort and go seriously wonky, I add a second piece of interfacing, I work most often with Pellon® 910 or Heavy Weight Shaping Aid. For larger pieces, I use Pellon Décor Bond”. Although itis a fusible interfacing, 1 don't fuse it. Look for a stabilizer that does not stretch at all, but is still fairly lightweight, Whatever stabilizer I use, I keep the entire sheet inside the piece; I don't cut or tear any of it away. I you use a heavier stabilizer, you can't get as muchPhotos by Susan Brubaker Knapp 3 loft when you quilt. The piece will be extremely flat and lack dimension This is a hard question to answer. I've had some pieces that were wavy after thread sketching, yet ended up perfectly flat after quilting, Just how uch distortion is too much is something that you will learn with experience. The key is 10 leave some areas quilted lightly, so these areas can take up the slack. When | finished thread sketching “Joyful,” the distortion eventually was removed by the quilting. (Figure 1) Since the first thing I want to do is get the piece basted together—allowing me to take out the my piece and decide where to do some light, overall thread sketching first. On “Joyful,” I thread sketched the red lines in the petals. This stabilized the whole piece before I changed to the next thread color. (Figure 2) ‘most pins—I analyz I stop when I have all the detail I want, and when the stitched piece looks like my photograph—or what I see in my minds eye. ‘The most important thing is to match the type and size of thread you are using to the needle, because the shape and size of the eye, the type of tip, and the depth of the groove on the needle all make a difference. I use Microtex 80/12 needles because they are very sharp, and usually perform better for thread sketching. Ifyou don't want to hoop your work when you thread sketch—and I personally hate to hoop!—itis critical that you use lightweight thread. 1 always use Aurifil” Cotton Mako 50. Itisa strong but lightweight cotton thread with. ‘2 good amount of sheen (rare in cotton thread) Ifyou use heavier thread, you will experience more puckering and draw up, and the thread will build up very quickly, so you may not get the subtlety you desire. I use the same type and ‘weight of thread in the bobbin as in the top. Using heavier thread in the bobbin makes it hard to get the tension balanced. I either match the color, or use a similar value inthe bobbin as the top thread. AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINEHow do you start and stop? Thegin and end with three or four small stitches very close together, these act as a knot. I simply snip the threads off close to the surface of the fabric. Do you follow some of the same lines you thread sketched when you quilt? Quilting adds dimension, so T quilt around things that I want to stand out, and on top of things I want to push back. When quilting, ‘either use the same weight of thread I used for thread sketching ora slightly heavier thread. MATERIALS Fished size "> 12° * “Joyful ine drawing template provided + Tracing paper or clear upholstery ving, 11" 14" + Permanent black marker + Paper backed fusible web (| used The Warm Companys Lite steama'Seam 2) * Green fabric for base, 11" 14" 1 Yalow bate 44" Red batik yd * Brown batik, 77" NOTE: | prefer to use marbled batik fabrics because oftheir high thread counc and naturalistic patterning * Light box or brightly i window + Mechanical chalk pencil (Vike Swine” and Bohin}) « Firm, ightweight, non fusible interfacing, 10" x 13,1 or 2 pieces (|used Heavy Weight Shaping Aid) Thread, 50-0 60-wreght in brown dark purple, dark blue, medium blue, green, white, orange, ight yellow and red (used Auriff*Cocton Mako SO-weight) * Bacting 10" x13 (Lused a wool/polyestr blend) * Backing fabric, 10"x 13" Optional + Mieron*Pigma” pen ow that you have gained lots of thread-sketching knowledge, put it to use in this project based on my quilt, “Joyful.” DIRECTIONS 1. Enlarge the line drawing to approximately ore 2. Use a permanent black marker to trace the line drawing onto tracing paper or clear upholstery vinyl. >. Flip the traced image upside down, and trace sections of the piece (for example, the red petals, brown flower center, yellow background pieces) onto the paper side of the fusible web, Leave extra on the edges ‘of the pieces that go under other pieces, and also leave extra for the seam allowance. (Figure 3) 4. Following the manufacturer’ directions, adhere the fusible web to the wrong side of the fabrics. Cut out the pieces on the line (Figure 4) Figure 3 AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE BPlip the traced image fabric side up. One at ‘time, position each fabric piece on top of the traced image. Use alight box to trace important thread sketching lines onto the fabric. Remove the release paper. (Figure 5) Place the traced image right side up on top of the background. Position each fabric piece on the background under the traced imag Figure 6) Check that the pieces are properly layered (for example, the flower center goes on top of all sections). Fuse the pieces down. Place the fused top om a piece of firm interfacing and pin them together. Thread sketch lines on the petals using dark red thread, yellow, and white, (Figure 7) and brown and blue atthe flower center (Figure 8) If desired, use a Micron Pigma pen to darken part of the flower center Add more thread sketching details such as, orange to the petals, and yellow and orange for pollen clumps. Add light blue and purple to the flower center. Add detail to the negative areas (background) using yellow and green thread. (Figure 9) Layer the thread-sketched top with batting and backing fabric and baste. Quilt around the petals and flower center, and quilt more heavily in the yellow and green background Bind as desired. AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINE© Thread Breakage If your thread s breaking, voutare either using the wrong needle for the thread you have chosen, moving your hands too quickly or have the tension adjusted incorrectly Try differene needie types and sizes first, then adjust your tension, ‘Tension Problems Adjusting the tension for thread skerching can be more challenging than adjusting i for other kinds of stitching, because youare stitching on such a thin surface. In thread skerching, either the top thread or the bobbin thread is going to show more than it does when you quilt. Its best to have a bic of the top thread showing on the back of the interfacing © Ripping Out Stitches Uniess the thread is really loose almost never rip threads out Instead, just put more thread on top. Ripping out thread skerching is very hard to do, and often leaves holesin the fabric. The best way to avoid ripping out i to practice lot on a project that doesn’t matter to you before you take on an important work Quilting an Interweave exclusive! ‘Curated by Susan Brubaker Knapp, this collection of ‘Aurifil Cotton Mako SO-weight | Pt thread isa great way to start ‘or supplement your thread stash, Twelve of Susans go-to thread colors ae ll arranged ina handy storage case and available only at shop.quiltingdaily.com. get more 21 For more of Susan's answers to frequently asked ‘questions, vist quiltingdaily.com, Lefts “Joyful” Tne drawing template enlarge 288% AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINECREATE mixed-media retreats July 9-13 New Jersey + Aug 13-17 Chicago Sept 17-21 Dallas * Oct 22-26 Seattle Designed f6r you by the artists behind Cloth Paper Scissors and Quilting Artsythe CREATE Mixed-Media Retreats offer a tempting array of workshops to inspire your mixed-media art. » MIXED-MEDIA JEWELRY >» PRINTMAKING & ; SURFACE DESIGN » MIXED-MEDIA STITCH » COLLAGE & ASSEMBLAGE >» BOOKMAKING & ART JOURNALING Find Your Beautiful Self Portraits, Cindy Wunsch. JOIN US AND REGISTER TODAY AT CREATEMIXEDMEDIARETREAT.COM 225. Jilanger BERNINALyrically Speaking, Kass Hall This and That Steampunk Clock, Erin Keck Tne tlusrated Wora, Jécnne shorpe iii =| & te > asketchbook keeping TUN AHN ta eS Set P | I I ld I } by Melanie Testa love travel—taking a trip to a new and undiscovered locale is invigorating and magical. Often, vacations are taken with loved ones and these trips become sparkling gems that we can look back upon to conjure up the fun and excitement of finding that awesome restaurant, exploring a {great museum, or seeing that interesting (though odd) bit of graffiti, While a watercolorist might bring paper and paint to document such a trip, | like to document my journey through what I call Stitch Journaling, AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINEuse stitch and embroidery to interpret and engage with my surroundings. But since handwork, by its very nature, isa slow process, photography isan integral part of stitch journaling, Through my photos, Tean look back to a specific moment of inspiration and resume stitching, later that day oF week. Usually when Tembark on stitch journaling, ! am 100% committed to completing the item either while on the trip or just after returning home—my intention is to capture the spontaneity and verve of the experience ‘My camera is an essential part of my ability to stitch on the go. Lalways carry a camera andl take photos at every turn, Whenever I stop to examine something that might inspire me to stitch, ott comes the camera ‘The 2oom feature isa saving grace, allowing me to 200m in ona detail or remember a spelling By stitching our inspirations on fabric, ‘we are expanding our memory of that original moment. As an example, take look at this stone work outside a hotel in Bilboa, Spain, (Figure 1) Just by looking at my stitched reminder, remember the chill of morning air and the glossy wetness on the street as my husband and I headed out for breakfast. When traveling, remain on Pos by Melanie Lats Figure 1 Pigure 2 the lookout for patterns that can be sily interpreted in stitch 1am often drawn to things that are much too complex to be interpreted in stitch. For example, | immediately loved the Antoni Guadi mosaic tile work at Park Gitell in Barcelona, but was I drawn to the color, the sheer volume of mosaics, or the chipped and cracked! effect of the mosaic? In this case, itis best to identify what you are connecting with prior to stitching | was fascinated by the broken and crackedl nature of the mosaics and I also liked the round circles, so I took a photo of a simpler section of mosaic and worked from that. (Figure 2) Once identified the connection I felt to the imagery I had found, I stitched aa smattering of cracked and broken cireles across the surface of my work. Street art and graffiti are some of iy favorite things to look for when traveling, Graffiti artists will often reped mage or word again and again Repetition leads to an ease and ly draw or “tag” the same confidence in a given subject. Graffiti artists generally need to work quickly while tagging in a recognizable style; because ofthis, the imagery they use will often have a finished, polished quality to it. The bird image seen here is one that | instantly fell in love with (Figure 3) ‘When I stumbled on this bit of graffiti, (Figure 4) I was taken aback. It was painted on the wall using a roller— not marker or spray paint!—and I estimate it was about 12 feet tall. This sgralfiti artist had both the time and audacity to complete this work in two colors. I connected with this imagery to such a degree that upon my return home, I promptly redesigned and cut Figure 3 Figure 4 a stencil for repeated use in several media, including stiteh. (Figure 5) ‘More often than not, 1 embroider using no marks or pre-drawn lines when I stitch journal. accept the simplistic nature of my drawing and stitehing skills and think this is part of the charm of journaling while using thread on cloth, Transferring ideas to your cloth is the most difficult part of stitching on the go. L encourage you to trust yourself and simply stitch. If that makes you uncomfortable, I suggest using a ‘mechanical peneil on lighter fabrics or AUGUSTISEPTEMBER 2014 | QUILTING ARTS* MAGAZINE, atry this SKETCH INSPIRATION ‘Logos from restaurants, wine bottles, ‘museums, and stores you vist. * Ifyou finda fantastic restaurant, you mighe want to embroider their telephone number into your work. * Ifyou take public transit stitch the line number. * IFyou fy to.get co your destination, stitch your fight number. yee Figure 6 white pencil on dark fabrics: Mark the cloth very lightly and faintly to ensure the stitching will cover each mark, Or you can simply embrace the aesthetic qualities of seeing pencil rarks in your work! When choosing fabrics to embroider, consider using solids or prints with simple backgrounds that will not compete with your hand stitched ‘marks. Audition thread choices by placing them atop your stitch work to help you decide if your design will benefit from high contrast or if a lighter, more integrated color will suit your idea better. Or use your clothing and fabric accessories as your canvas. The best thing about stitch journaling ‘on my purses and clothing is that the memories of those trips comes flooding back each time I use my hip bag, wear my vest, or sling my purse over my shoulder, tend to gravitate toa few, well mown and oft used embroidery stitches—backstitch, French knots, running stitch, fly stitch, lazy daisy — or simply stitch densely in an area {or fill or texture. If you dont already havea set of “go 10” stitches that you are comfortable with, leaf through an embroidery stitch dictionary and make aa quick sampler of a few stitches that strike your fancy. (Figure 6) Of course, we need to take photos of our travels and the sights we see. This can be a great way to connect with loved ones to conjure the memories of that stellar vacation. But don't forget to use your artist’ eye to discover inspiring designs. Capturing images with your camera and then interpreting them in stitch while sitting in a local coffee shop or restaurant will more deeply embed those same memories into your consciousness, Small details that right otherwise get lost in the passage of time remain clear and present to you because you took the time to stitch your memories. # coming s0 ‘The complete instructions for ‘Melanie's sticched bag will bein this, B year’ issue of Quitrine ARts* Hourpay. shop.quiltingdaily.com. NI} ’ , ee ms ae Le 2 AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINEENJOY 10% OFF educational products, resources, projects and more enter code QUILTPUB10 at check-out ro), I J R now at InterweaveStore.com SAVE 10% Off Your Next LeU C1 are }=X-3 RO ce Enemies Ree el Rem eC Ce TCU agen ee Poe check out InterweaveStore.com/ quilting UCR my Peele eer en ee eee ete ee eed oe ee ne er ere er ee ares Ce eat eee tnt et Let eee eae nite eee eee eeeAN EASY AE RRONCIE 1O) APPLIQUE Does appliqué take TOO LONG, is it TOO HARD, or TOO FUSSY? Of course not! With expert help from Kevin Kosbab, quilters will learn to take their quilts to the next level with easy appliqué techniques and 12 beautiful home décor projects. 2 INTERWEAVE. 144 pages « Paperback « 3QMo1- $26.99 ret Mol Ak a alta YOUR COPY TODAY AT WWW.INTERWEAVESTORE.COM/QUILTING OR BY CALLING 866-949-164¢letter] ellering ON CLOTHa f lockstitch Sbaseline begin qt adding text to cloth creations as it makes an instant connection to the underlying story. Memories of travels and experiences, greetings, announcements, o favorite quotes are some of the many ways I enjoy personalizing my work, Years ago I started playing with thickened bleach product to embellish my fiber art, After piecing my designs, | would free- motion continuously outlined shapes that | later filled in with a discharge agent. The results created ele s that popped out and came alive—fish, flowers, leaves, and starbursts being some of my favorites. Over time I started using this same technique to create text, and now it’s definitely a part of my personal quilting style. DIRECTIONS Prepare the text This technique creates block-style lettering originating ata baseline. Stitching is done in a co line through the whole word, phrase, or sentence. Figure I shows technique in a whole word. Figure 2 shows a close-up of the overstitched portions ofa letter on the pedestal that connects the baseline with the leters. Figure 3 has a complete alphabet and numbers 0-9. Several of the letters (ike D) and numbers (like 9) have inside areas—what typographers call counters—that call fora little extra attention in closing them when retracing your stitching, 1. To get the feel for the lettering, practice on paper first. Choose the word or phrase you will be stitching. 2. Using a pencil, draw the baseline. Begin by marking a lockstitch—the short stitches which secure the thread. 3. Move the pencil along the baseline, adding each letter on top of a short pedestal. Continue along, the baseline adding letiers until the word or phrase is completed Sed estal) lockstitch end Figure 1 MATERIALS Finished size 8° 10" + Sketchbook = Pencil * Fabric safe marker (or light fabric) ‘or chalk pencil (or dark fabric) Background fabric 8" x 10" Batting, 8x 10" (| used Warm and Natural" by The Warm” Company) Fabric scraps for appliqué Backing fabric 8" 10" 4 masking tape + Sewing machine with fee-motion ‘capabilites Polyester (not cotton) thread Rubber or latex gloves, + Dusc mask + Thickened bleach product (1 use CClorox* Soft Scrub* with Bleach ora ‘Clorox* Bleach pen) * Small plastic squeeze bortle witha Fine tip (| used a gutta applicator bore) + Plastic drop cloth «= Paper towels = Asoft bristle brush Optional + Light cable * Permanent or fabric markers AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINEA Aveeete. Figure 2 at the final lockstitch, Dont lift, the pencil—you are mimicking the path for the sewing machine needle TIP: Since the lettering has a hand- drawn look | prefer to draw the letters with a freeform approach. If you are new 1 lettering, you may wish to trace the legterforms using light table ora bright window until you are comfortable with the process Make the mini-quilt top 1. Test the background fabric to confirm the bleach product will remove the color. Dab a bit of bleach product on a scrap, wait 5 minutes, and rinse it off. Ifyou are not satisfied with the degree of color removal, test another sample at 10 minutes or 15 minutes. Make a note of the time that gives your particular fabric the result you desire Note: Since some commercial fabrics donit respond to bleach, always test them before using them. Fabrics respond differently to bleaching, agents, Thave gotten beautiful results, with hand-dyed fabric. 2. Draw a design (images and text) no larger than 7" x 9" 3. Transfer the design using a fabric-safe marker or chalk to the background fabric. Align the background fabric over the AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE Figure 3 “Mercado Orga 0” 815" 11"batting—do not add the backing fabric yet. Stitch the images from the design using the technique of your choice. I generally use raw- edge hand and machine appliqué. 4. After the appliqué process, add the backing and baste as desired. 5. Use narrow masking tape to mark. the baseline and define spaces for stitching the text, ‘TIP: While | don't write exch individual leecer once | have defined the letter spaces with the tape, | do use che pencil sketch of iy leering asa reference when stitching, When you'e new co the technique it may be helpful to write che ext within he defined spaces with a fabric chalk pencil marker ora 6 Prepare your sewing machine for fiee-motion stitching. With the feed dogs down, make a lockstitch by stiching in place 2 or 3 times 10 anchor the thread. Begin stitching along the baseline (just above the tape) until the first letter. Stitch up a tiny distance on the pedestal, stitch around the letter ancl then close it by overstitching on the pedestal, returning to the baseline. Stitch the remaining letters, Finish the line of text with a lockstitch, Complete any other lines of text in the same manner, Note: This lettering technique ean be used to add shapes and other forms to your work as long as the stitch lines are continuous and closed. “My Garden” + 8% 11" Apply the discharge 1. Put on gloves and a mask, Over a sink, shake the container of bleach product and fill the small squeeze bottle. Attach a fine-tipped metal applicator. Wash your hands and swipe off the outside of the bottle to remove any excess bleach. Turn the squeeze bottle upside down and shake it over the sink to push owt any air bubbles. 2. Cover your work surface with the plastic drop cloth. Place the quilt sandwich on the drop cloth Ke ‘with clogs, air bubbles, or watery product. Squeeze a line of bleach product on a paper towel to check. paper towels nearby to deal that itis milly white and runs frecly. Carefully apply the bleach product inside the stitched lines. Remember, bleach product is permanent! design & color your world Explore differen lettering options by esting fonts on a computer Print our the lines of text and create your own template using the same baseline/pedestal method. If desired, colori the bleached areas ofthe leters with permanent or fabric markers after che quilt has dried. Ifthe background fabrcis light-colored, omit the discharge step and just use fabric markers to color inthe letters. Pela: foi “Hope Point” + 8/6" 11 pa eee en) ork only ina well-ventilated area or 3, Wait the necessary time (determined from your test swatch) for the bleach to do its magic. Use a soft bristle brush and running water to gently remove the bleach. Place the quilt on clean paper towels to dry Note: Cover the squeeze bottle ‘with foil or masking tape and store ina dark place. Light breaks down bleach, making it stringy and hard 4, Press gently and finish with the binding method of your choice. ® resources GUTTA APPLICATOR WITH METAL TIPS «« dharmatradingcom get more alin To see more of Mary's work, visit quiltingdaily.com. AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINEVr pear Quilting Arts'TV Ov SSS Mlle) Emel ay as 4-Disc DVD SSOis ss $39.99 each. ALN HN TUNE IN! Series 1400 of “Quilting Arts TV” is now airing nationally on PBS. Check your local listings for program times or visit quiltingartstv.com. Hosted by Susan Brubaker Knapp, well-known quilt artist, teacher, and author, “Quilting Arts TV’ features many top quilt artists sharing their artful approaches to surface design, free-motion quilting, fabric design, and more. Tune in to see fresh and creative projects, how-to's, techniques, and ideas that inspire the artistic quilter in all of us. This season features free-motion stitching and embroidery on special fabrics, how photography can be used to jump-start creativity, creating cor temporary quilting designs, fun and easy projects such as colorful brooches and quick quilted pieces, explorations in a variety of fabric dyeing methods, and much more. Featured artists include Carrie Bloomston, Jane Sassaman, Sue Reno, Lyric Montgomery Kinard, Cheryl Sleboda, Sarah Ann Smith, Vivika Hansen DeNegre, and many more. For preview Fale Maire) [E1185 V0» Aooroximately 6 hours and 18 minutes AOMI7 + $39.99 + Also available as a video download Thanks to our “Quilting Arts TV “Series 1400 sponsors: ‘The Warm™ Company Coats & Clark; American Quilter’ Society made to entale Havels* Sewing, eQuiltercorn: Oso Inc: Rt* Dye; and New World Textilesey TRAVEL TOGETHER fiber art supplies meinketoy.com Aurifil Thread nas with Fellow Quilters to... Seprember 09-21, 2014 Attend the 20th European Patchwork Meeting in Sainte-Marie-aux-Mines Vision wets oral of the des! Fins H Feats inc. ew. ‘loasgeghee! 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Education on the road, the web & at tho store. Still the best place to find your quilting, fiber art, needle art, beading & fine art ‘supplies to make the most gorgeous creations! Watch for our Long Arm & specialty quilting school. es Facebook (Open Monday-Saturday 10 AM-6 PM, Sunday 1-5 PM. ae. AUGUST/SEPTEMBER 2014 | QUILTING ARTS* MAGAZINE orZara Zannettino ‘Myrole models are all SAQA members and they have all rec- ‘ommended SAQA, My membership is helping me to focus on being ‘more professional Lam loving the inspiration I get from SAQA’ exhibitions ‘and resources like the “Portfolio: !am aspir- ing toone day have ‘my work included in these, Jam an Australian art quilter, teacher and quilt appraiser, Join SAQA now www.SAQA.com A 1 A ABM International Alegre Retreat 2015 American Quilter’ Society Art Quilt Conference B Bernina Bytowne Threads c C&T Publishing Coats & Clark Colour Streams CPS Create Event CrafiOpries D Dharma Trading Co E Embellishment Village eQuilter.com FE Fabric Art Shop G Grace Company Handi Quilter Hudson River Valley Art School I Interweave Books/Mark Making Interweave eBook/Prayer Flags Interweave Books/Quilter’ Applique’ Interweave Books/Quilter’ Mixology Interweave Books/Sketchbook Keeping Interweave Books/Vintage Quilt Revival Interweavestore.com the ad index 90. 1 4 1 41 9 23 95 63 n 47 13 3 65 80 93 a 90, 54 90. 90. 2 AUGUST/SEPTEMBER 2014 | QUILTING ARTS® MAGAZINE J Jacquard Products Jennifer Day Design John C. Campbell Folk School M Meinke Toy Mistyfuse Modern Patchwork ePatterns N ‘New World Textiles Nolting Manufacturing, Inc. P Pacific Quilt Festiva/Mancuso Palm Springs QuiltFest/ Mancuso Panasonic Corp. Q QA Workshop DVD/Dunnewold QA Workshop DVD/Sleboda QA Workshop DVD/Glendening Quilt San Diego/Quilt Visions QuiltFest Inc. of Jacksonville Quilting Arts Back Issues Quilting Arts Digital issues Quilting Arts TV Series 1400 Quilting Live Event Quilts, Ine s SenchNeedles.com Stitchin Post Studio Art Quilt Associates SupremeSlider.com T Thread Collections Kit ‘Traveling Together Inc. Treenway Silks w WoolyladyFons&Porter Fir) Meet Your 8 Quilting Arts ‘y Editor Rose DeBoer ATLANTA, GA SEPTEMBER 11-13, 2014 COBB GALLERIA CENTRE (oa tre LLC) Doar PTT eT ingLIVE.com i a OO Cc 800.699.6309the clascifieds ACCESSORIES & SUPPLIES WW.W.SOFTEABRICPHOTOS.COM is your best resource for ink-jet printing 6 fabric, Do it yourself or well do it for you, (651) 636-0800. WORKSHOPS, TOURS & RETREATS UK. & IRELAND TOURS & RESOURCES for Fiber and Food-Lov: ing Travelers since 1996. Tour updates at wwwhandcraftedholidays.com (253) 476-3040 handcraftedholidays@yahoo. quilt shop directory FLORIDA StitchCraft—Boca Raton Top-qualit fabrics, patterns, notions for the ‘modem, traditional and arc quite and sewer. Email stitchcraftboca@gmailcom, 3995, FEDERALHY. (561) 447-4187 2014 QUILT SEMINARS AT SEA: SEA OF CORTEZ! December 3-15, 2014 with Kimberly Einmo, Paula Nedel- stern, Stevii Graves and Karen Kay Buckley! Contact Amy at (866) 573- 6851 or Amy@QuiltCruises.com, or visit www ses, QUILTING IN THE DESERT January 19-23, 2015 in Gilbert, Arizona with Esterita Austin, Patti Hawkins, Bill Kerr, Cindy Needham, Velda Newman, Weeks Ringle, Jane Sassaman, Leni snson Wiener, Ginny Goodbar. Le Details at www.quilicamp.com. CALIFORNIA Once Around—Mill Valley ‘The felting, stamping, embroidery fabric: painting, wreath-making, embossing. scrapbooking, decoupage, candle-rafting bookbinding litter sewing, knitting and, more... ARTS and CRAFTS STORE. 352 MILLER AVE (615) 389-1667 ayulting web connection ART QUILT SUPPLIES. Blueprints On Fabric 800-651-3369 [Natural fiber fabrics and paper hand treated for cyanotype (sunprinting). Felt Art with Jackie IACKIE@DFELTARTUS Wet felting atthe mos realistic level, DVDs and searte its Unique Stitching WWWAUNIQUESTITCHING.COMAU (CECILE@UNIQUESTITCHING.COMAU ‘Atreasure trove of hand-

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