&Print Add layers , 4 ZB ¥ of color 4 A i with TEXT & TEXTURE2 INTERWEAVE, eo) ca Inspirat ion with 19 Quick & Colorful Projects! Seo ent eon oct egies naa Taco expert sewist Ayumi Takahashi’s patchwork projects which embody Meee ae eee e eee eeeiem tei Bee ee eae eee eee a patchwork projects for the home, family, and friends. PATCHWORK, PLEASE! Rey eee eas Rec acca ea eC 2dRemember... Potluck picnics at your grandparents’ farm? ‘Tables were put up in the yard with old doors and. ! saw horses and the benches were boards on crates. i Food for everyone... potato salad, fresh tomatoes, com-on-the-cob, pies of all kinds with mile high ‘meringues, and watermelons cooling in the creck! 7 POotLuck reminds us of those summer days... summer sunshine blended with a cool breeze. nah yO Pre Cuts Yardage ; Patterns Ge modafabrics.comdors note % i Nii Pode | THERE'S SOMETHING ABOUT FLIPPING THE CALENDAR PAGE TO AUGUST THAT MAKES MY MIND WANDER BACK TO SECOND GRADE the school bus rounding the comer of iy childhood street and taste the chalks dust on my eight-year-old fingers Tean almost hear I spent a lot of time at the blackboard that year practicing cursive writing, My teacher, Mrs, Foster, believed in th things: repetition, repetition, repetition! Every day included lessons writing out spelling words, practicing leters, and sighing our names, Her high standards created a legion of students with legible handveriting and an appreciation for fine penmanship. But the most {important lesson from those hours at the blackboard was that words—what they ‘mean as well as how they look—mater. This issue of QuaTrNG Ars brings together a collection of anicles, projects, and quilts that share a common theme: text matters! Our contributors have found a multitude of ways to use test in their quilts. Fiber amiss are a creative bunch, and seem to have a limitless imagination when it comes to incorporating symbols, leners, and words in their anwork. Quilter Ruth de Vos (p. 10) is known for her portraits of children and pieces depicting the lara of her native Australia. But look closely at her artwork and you will see words quilted into the background or stenciled fon top of the fabric. For thase who enjoy surface design, Lynn Kraweayk’ anwork (p. 32) incorporates text and symbols ns, Lisa Kijak’s work (p. 54) takes a different approach and focuses on the graphie beauty of the with Thermofax® sc words themselves. And don’ miss the results of our “Test Me!” reader (p. 82 and this page) to see the many ‘ways our readers incorporate words into challenge their arwork, Additionally, our new section, Ws Your Turn, includes not only correspondence from our readers but also tips and suggestions for signing artwork. Whether you incorpora signature by quilting it imto your pie hiding it in the binding, or attaching it as a laminated embellishment, you are using words and text on quilts Waite on! Vivika Hansen DeNegre Fadtor Glendora, California ‘OMGiHow would al those monks whe spent hours crafting each lee fel abour our new speed writing? “Qwerty” Germaniovn, Tennessee “Teac vo me's prin in is many forms handwriting block printing tex, rypewsite and move” AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINEPa INC ae ae beh Tele eine! departments 2 Eorron’s Nore s Tum 8 Avour oun CoxtamurORS 16 OFF The Pace: SkeTeHBOOK KEEN For Aunsts Whimsical tary quits with yer of color and 20 CalL ron Sun 32 Ovror me To ‘dd mension to pain with ncquar Pal Aduiive Go. RrmLeNisnc You Cxranve Wet Finer Ant Gi design & stitch 74 Miso Your Bustwess Move Ir Ov! Davila 22 Fn The Benes of moving your seo outside Vouace Tests aol isrew agin 78 Moms We Lie 26 Fr wine Irenst Pees ‘SkeTen To STi1c#-T0 Coto 88 REAnee CuALLeNar ANNOUNCEMENT ante so 66 Wusr 4 Duvesence rue 34 96 table get more oxl/H visi quiltingdaily.com * View more artwork by Ana Buzzlino, Ruth de Vos, ‘Mary Lachman, Sarah Ann Smith Sandy Gregg Teri Stegmiller,and the members of Contemporary Textile Studio Co-op, © See mare quis from our reader challenge. * Link toa shore video by sa kj © Chat about the business of at uiting in our Minding Your Business forum. © Check our the atest dial ‘media products from Quurine ATs © Learnabout the newest Quine Ars reader challenge © Check out the latest Call for Entries ising from around the world, Cover art by Ana Buzzaling in profile & gallery 38 Ars Q 6 A: Si Gra 44, bs Tue Srorucirr Kathy Loomis Daily squares, Ler: QuiLy Narioxal. "13 racing ts rom wot renowned at 82. RESULTS FROMTHE Quine Ants Text Met AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINE 3vil t e ron. LYEXLo, $455 Spe Roe, Ste E, Bold, CO 60301 TOLL FREE 877932.7489 + Largest Online Selection + Over 22,000 Fabrics + Great Prices, Fast Shipping FREE Pattern Designer ¥2% of Sales to Charity + Exclusive Color Finder SEA D CoS Tay WW) wo s2ynba:wmm NOLTING LONGARM QUILTER Pee area oer AUGUST/SEPTEMBER 2013 | Quilting Arts. MAGAZI VISIT US ON THE WEB. uiltingdailycom + interweave;com + fwmedia.com QUILTING ARTS® MAGAZINE sales@incerweave.com, or visit www.interweaveretailer & Hos OY “THE WORLD’S FAIR OF QUILTS” Ac Festival, you can expect to shop at more than 1,100 booths, pick from more than 965 hands-on clases, lectures, and special event, and a renowned faculty of oer 100 experienced teachers, enjoy free teacher demos, and lear from educational exbibite, But best of ll You'll se more than 1,500 great quilts, dolls, wearable ensembles, and pieces of fabric art in exhibits like "SAQA: Text Messages, The Festival Gallery of Quilt Art; Traditions,” “The Festival Awareness Project 2013: I's Raining Cats and Dogs," "The Modern Quilt Guild Showease 2013," “World of Mother's Dream by Reiko Kato," and "SAQA: People and Portesit, Pus, the 2019 editions of "Ia Fall Bloom,” “In the American Tradition, “Tatil Architecture™.” "Hands All Around," and “Celebrate Spring! So make plans now to join usin Houston! www.quilts.comPRON oO: cory Stella Bolikiowios ales angibsoufjax soutantingsbecen tertandson shes Pasrce bowing ts eso crete spiced face ned cpa scalewrsthacsgges weolsoes rd ened rinsing lash New kc Srdbigeaboe sr quting dls ares lookeloselyprets blogspot.com Ana Buzzalino isa quiker and ber ett living Calgary, ‘Alberta, Canada who has spene the ise 20, years experimenting wh and reaching valey of quicing and surface design vechngues She has wnten numerous acces for Quen ‘Aats* MAGAZINE appeared on "Quiing Arts TWF and has rw Quiting Ares Workshop” videos "Machine tching and Pansing Quis: From Start 0 Fins" and "Quilting & Dyeng Serendip Frm Pieced & Quited Neu 0 spectacubily Dyec Masterpieces” atchosandpaint.com Jane Davilais «a iber arti, mea racer and colecror ‘of found objects She isedicor of theemag, ‘Quumne Aetsin SroHes the author of Surrace Deion sseNnits ara the co-author ‘oF ART Quis Wortaox and ART Quits ar un. She has appeared an “Quilting Arts TV"and asa Quiking Arts Woskshop” video “Mixed ‘Media One-Page Book" ane lives in Ridge CConnecricu, with her husband Cals. anol painter and selpton. janedavila.com Ruth de Vosis aguiker and mother ‘offive rom Perth ‘Wesern Austria, She lowest daw cileten doing and discovering things and urs hese rawings ince inccately pieced arc quits Ruths arowork hasbeen fexuredin juried ard slo eshibkionsas wal asin several books ruthdevos.com/blog Arc author and educator Lyric ‘Montgomery Kinard transforms cloth incoarcin ber sudo and mig specs ineoconfidene creatersin the dassaom, She was recogrined fr her talents asthe 2011 Inceratioral Association of Profesional Quikers “Teacher othe Year ands the autho of At # Qui Dston Pas AND CREATINTY ExgRows She has been a guest an “Quiting Arts TY andhasa Quitng Ars Workshop video, "Surface Design Sampler Pacer lyrickinard.com Lynn Kraweayk ie asurace design artist resing in Phuc, Iichigan.shehas artis for Quin ‘Aars*and Com Pee Sexsonst magazines, has appeared on Quilting Arcs TW" and has cwo Quiking Aes Workshop” videos “rine Design Compose From Surface DDesgn co Fabric Arc‘and "Colo Theory Made Easy An Exploration of Calor & Composition hvough Surface Design’ Sbraartysta.com Mary Lachman isafiber area and pathologist Sheis ‘member ofthe Connecticut Fiber ts Collective Herarc hae been jute incoraional andregonal edb ar was rece selected forthe CTSAQA "Local Colo” exhib Mary Ines in Cannecucut with her husband, Doric Scalamuzaina a photographer and seers. ‘marylachman.com Martha Sielman isthe Execuive Diector of Sudio Are Quilt Associates Inc (SAQA). 8 nonproic organization dedicated wo achancirg arc qultingasa fire art medium She's the author of Mastess Ar Quis VOLUMES 3 and 2 [Akt Quir Ponrsouo’ THe NATURAL WoRLO, and [Akt Qui PoRrrOuo: PEORLE AND PORTRATS She hasserved asa jurr for quik competcons anc exhibtions Marthais 2 flequert lecturer on 2 qulesand was the founder of the arc que group Fer Revolution. She ves in Sto Connectcu, With her husband and fue chen marthasielman.com Sarah Ann ‘Smith isinspired by calor nse, imagery, stones, creting and berg part. ‘of thecradition and the fue ofquilng and art. A former US. Aiplomac Sarah dawson influences omer catersve travel around che werld Shes the author ofTieaDWorx Untavetib and has soon tose released Quilting Arts Workshop” video. She lvesin Hope, Maine, wth her husband and two sar sarahannsmith.com Torti Stegmillerisa mixed-media rex arise from Mandan, North Dakoca. She focuses manlyon creating art ques incorporate mixed-media surface ceciques. ‘She's co-author along with 11 other quis, of Tie ay TWAT INTERNATIONAL ART (Quitr GuaaLence. Tee is ehe designer ofa line of sencis with Seen Gir Products terristogmiller.com Want to see your name here? Check our our submission guidelines under the Arti Opportunites tab at quikingdaycom, We are always looking for unique, fresh, and creatve Ideas and many submissions come from readers just ike you! AUGUST/SEPTEMBER 2013 | QUILTING ARTS® MAGAZINEGirls Since 2000 Gadgets Designed Exclusively for Quilters Longarm Quilters Plop them down, then stitch around! Litle or no marking needed! Home Machine and Hand Quilters We cary rotary cutting tools, The Remarkables and more. ‘Alcame wt dt instructions an design ideas. Visit our WEBSITE and see what's new! ‘Secure lntemet Odes www.TheGadgetGirls.com ShellyaTheGadgetGirls.com 281.890.4222 or 888.844.8537 . Follows on iter GadgeGsock Friend uson Facebook The Gadget Gils nyons Presents ALEGRE RETREAT 201 An Annual Art Quilt Conference ~ April 13th -April 18th, 2014 Featuring: ‘Valerie S. Goodin, Elizabeth Barton, ‘Wendy Hun and Katie Pasquini Masopust Packages include all class instruction, special lectures and events, lodging, gratuites, food and beverage, preminims and much more! Sixeday Packages start at $1845.00 Dackages ate priced per person based on double cxcopancy exlade tee Aepenarar soci life for art quilters to come together to : novia ‘i Je: A ae Sate For more information orto make a reservation ~ Please call 866-671-4733 0 970-931-2458 43100 Hwy 141 | Cateway, CO 81522 www gatewaycanyons.com | wwwalegreretreat.com. AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINEProcess photos by Ruth de Vos DIRECTIONS Mater A: |, Te ‘+ Heavyweight drawing paper # Acta’ knife 1. On the heavyweight drawing paper, draw your stencil desige, Leave at least a 2" margin of paper cere ee ¥y ou cun allarund the design o avid the * Sa newpaper sk of paint'spilling pact thesides * Fabric 7 - ofthe paper Sees prngnahone Print any 2, Using the cutting mat and X-Acto + Textile paint t la, ct out he ten avn + Spon or spl Paper bridges where necessary. * Squeegee (| use a tle grourer) Figure 1 Fortheleter“o” forevanplthe | center of the “o” will gt lost if you dont leave a litle bridge to keep it attached to the paper. (Figure 1) While holding the screen-printing frame firmly in place with one & Prepare your work surface for hhand and the squeegee at a 45° screen printing by putting down angle with your other hand, drag a stack of newspaper. Use several the paint across the screen with sheets, both to protect and pad the the squeegee. I often take the printing surface. Place the fabric om squeegee back to the starting the newspaper stack and then the point and run it over the sereen paper stencil on top of the fabric again just to be sure the paint has 4 Place the screen-printing frame on cee. nee ete top ofthe stencil and fabri, Using 6. Set the squeegee aside and carefully the spatula or spoon, put some remove the screen-printing frame fabric paint across the full width by holding down one edge of the of the screen-printing frame atthe fabric while lifting up the frame. top ofthe stencil. Figure 2) igure3) ec eon Print anything Figure 3 AUGUSTISEPTEMDER 2013 | QUILTING ARTS* MAGAZINE na3 Opposite: Junior Naturalist” (detail above) stencil, tatas © Write down the fist words that came to mind when you think about the story of your qulitand turn them into astenell Print them sing your computer or wrice your lecters by hand. Be sure to leave bridges to the centers of your letters ‘when you cut them out, © Drawa simple geometric design that complements your quit. ‘© My favorite design source for my paper stencils the garden—leaves, flowers, textures—its all there \waiting tobe transformed into stencils! ‘© The smaller the scale of your stencil, the more dificult isto ut, ut don't Jecthar stop you, ust make sure your paper knife sharp and have sorne tape on hand for fixing any mistakes asyougo. 2. Carefully remove the paper stencil from the silk screen. Ifit comes off in one piece, let it dry and reuse it (Figure 4) Note: Irs important not to allow paint to dry on the frame as it will clog the screen fabric. Clean your silk sereen immediately if you're not making more prints ‘8, When the paint has dried on your fabric, heat set it following the paint mannfacturer’ directions, Ways TO USE SCREEN PRINTING ON YOUR QUILTS Create customized fabric usually use a solid white or colored fabric, but you can also print over a patterned fabric. Seren printing a bold white design over a busy pattemed fabric could be the perfect ‘way to tone it down to suit your quilt. In the quilt “My Big Wide World,” the ‘machine piecing in the background issimple, but I wanted some bold patterned fabric to give the impression of a child exploring in the garden. Printing pieces of fabric based on the foliage and flowers found in my own backyard allowed me to choose the cexact colors I wanted and to make the designs large in scale. I printed several designs overlapping on a single piece of fabric to give the impression of 3 garden waiting to be explored, Add another layer of interest Sometimes my quilt design is fairly simple and | ike to ada litle bit more interest on one side of the quilt without introducing a new fabric. Printing text that relates tothe quilt ora simple design onto some of the quilt pieces, before stitching them together solves this rather well. When the screen- printed design is smal in seale, it can ‘hea great way to add the impression of texture to your quilt—small polka dots, skinny lines, and tiny text all contrast well wth plainer areas of the quilt. Sereen printing can also jazz up a quilt by adding a splash of color to-an otherwise modest design Help tell the story (My favorite use for screen printing is to help tell the story ofthe quilt, All of ry quilts have a story and I bet yours do, to0—even if it’s just the story of “colors [ like.” Inthe quilt “Eucalyptus Spectacular,” I sereen printed bright red filamentous eucalyptus blossoms into the background of the machine-pieced AUGUSTISEPTEMBER 2013 | QUILTING ARTS¢ MAGAZINE, 6eucalyptus leaves. It was a fun way 10 capture the dancing flowers without going insane over piecing all the blossom filaments, Redeem a poor design Sometimes I dont spend enough time designing my quilt before cut into in fabri, Or maybe I do, but still Screen printing can beas subtle ot find partway through the quilt making as dominant as you like. A subtle process I'm not happy with how its print would help reinforce the story Jooking, This is a perfect time to use already being told inthe quilt. A screen printing to remedy the situation more dominant screen print may be necessary, providing detailed images such as the bugs and butterflies in ‘Junior Naturalist,” which reveal just what the little hoy is so absorbed with. Accouple of blocks of color printed onto the quilt can help an imbalanced design. A too-dominant area of the ‘quilt can be toned down by printing a calming design over it. A boring area can be hanced with a lively screen My Bi 38" 61" ge} more online To see details of Ruch’s work, visit quiltingdaily. com. print, Although | prefer to print my fabric before I start piecing, T have printed on pieced sections of quilts ‘The likelihood of mistakes and mess (uch as paint bleeding under the stencil) increases significantly when you start screen printing over seam lines so its not forthe fainthearted, Jnut sometimes the risk is worth it Whichever way you tackle it sere printing is a simple and versatile way to enhance your quilt, You'll surprise yourself with what you can do with even just one stencil design and one color of fabric paint, # 4 AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINE() . JIMBO WONDER CLIPS ” WeECSK HOLD YOUR QUILTING IN PLACE DES MOINES, 1A 2013 Caw. Catch Quilting Fever in America’s Heartland! Art No.3157 ‘Twelve by Twelve: The International Art Quilt Challenge USD § 24.95 presents 144 pieces in its exclusive Colorplay exhibition and over 1,000 quilts to inspire your creativity! lowa Events Center * Des Moines, IA October 2-5, 2013 American 0 www. AQSshor com CLOVER UF. CO, LTD JAPAN www.cloverusa.com 6o Magnify (= ae iat Es a ee will LOVE. \ _ shir! See’ better. / . buses Feel better. ‘ (Ceom ‘abric forall your sewing, quilting and decorating needs! More than just bugs... Baits y Visilicrattaptienieani'or I iq 425-836-0645 COLE M eer ee iT Se AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINESKETCHBOOK KEEPING for TEXTILE ARTISTS whimsical. story a tilts by Terri Stegmiller COLOR & PATTERN° po keeping sketchbooks because I wanted to practice and improve my drawing skills. As time went by, I realized my sketchbooks served many purposes, and they have evolved into a place where I can quickly draw my ideas. Sometimes I can be playful with my supplies and create fun little artworks. Recently, many of my sketches have become little scenes that tell a story. The characters and images that 1 most love to draw—girls, cats, birds, and flowers—seem to appear in every story I sketch. “These sketches are the first step in ry quilt making process, which starts with a blank piece of cloth and a black marker. Once I've transferred ry sketch to the cloth, and added batting and backing, the images in the quilt are outlined with free- motion threadwork, and texture and dimension are added with background quilting. The last step isto bring the characters in my quilt alive with the use of layers of color and pattern, ‘These layers not only help to highlight the dimension in the quilt surface, but they also give the images and characters the whimsical feeling that | love to convey with my quilts. This fll-size pattern for “Pink Parasol" was originally a sketchbook drawing. DIRECTIONS 1. Choose a drawing fom your sketchbook that you like and determine the finished size of the quilt. Mark those dimensions on a lange sheet of paper with a pene andl redraw the sketch to size, refining the design as you go. Once you are happy with your drawing, draw over the lines with a black permanent marker, making sure the lines are dark enough to trace conto the fabric. Alternatively, scan the sketch into a computer and print out the design atthe size you want or enlarge it on a copier. 2. Cura piece of white fabric 2-4" larger than your drawing. Tape your drawing 1 a sunny window or & light hos and then tape your fabric cover the drawing. Trace the drawing conto the white fabric witha black permanent fabric marker. (Figure 1) ‘Once the marked lines have dried heat se them with your iron MATERIALS = Paper © Pencil © Black permanent marker * Painters tape © Light box or sunny windaw * White 100% cowon PFD (prepared for eyeing) fabric * Black permanent fabric marker * SEL Tumble Dye" spray-cn fabric ‘color ® Stencil (| use steric from Stencil Gitl Produces) * Parchment paper © Batting * Backing and binding Fabric * Quilting thread, neutral and black * Sewing machine with free-motion ceapabiley © Transparent textile paints (luse Jacquard” Textle Colors] * Jacquard?” Colorless Extender * Paintbrushes assorted sizes (Luse Tulip" Fabric paintbrushes) * Iron Optional © Matyfuse® fusible web UGUSTISEPTEMBER 2013 | QUILTING ARTS* MAGAZINEFigure 1 TIP: Placea piece of parchment paper on the fabric so your iron doesrit pick up any marks and deposit them elsewhere on the design. 2. Place a stencil on the fabric. Apply the first layer of color by randomly spraying Turnble Dye through the stencil onto the fabric surface (Figure 2) Allow the color to dry and then heat set it with your iron, following the manufacturers directions. Luse a piece of parchment paper as a pressing sheet for this step. 4 Create the quilt sandwich by cutting batting and backing fabric the same size as your quilt top. Layer and baste the quilt using ‘your preferred method. a . oar Neighborhood” « Figure 2 mW web It holds the layers in place, prevents shifting, and | dont have to worry abou pins "baste my quits with Mistyfuse fusible boeing in the way during the quilting process 5. Set up your sewing machine for free-motion quilting, Using black thread, stitch over al the black marker lines, outlining all of the parts of your drawing, 6 Using a neutral thread (Iused a cream color), quilt the areas on the surface where you would like ‘more texture. like to add a variety of free-motion quilting motifs in several areas ofthe quilt and leave some areas umquilted, which provides additional dimension 7. When you are finished with the quilting, square up your quilt and trim away any excess fabric layers. Stitch around the perimeter of the quilt with a straight stitch approximately / from the edge to secure the edges. “TIP: Save the trimmings and use them to {est your paint colosin the next step 8, Assess the quilt to decide where you want to add more color using textile paints and a brush. While the textile paints I use ae already transparent, Tike to make them THE THICK GTHIN ON MARKERS “There ae lots of marking pens crayons, and markers to choose from and each one wll produce a diferent type of line :oi’simportane cocerperiment 0 find the look you vant for your project The thicker the imatkers tip the more dificult icisto draw fine details You should always tet your marker ona scrapof tabriczo make sure that the fine you draw isnot too thick or thin and doesnt bleed uuncontellbly, Pain stick thac resemble the look of a fat crayon can producea nice thickline, but because they are softer they dort hold point. Usinga paint stick to draw your ines on fabric wil sive your projecta looser sketchy look compared to the crispness and precision ofa fne line marker Experiment with markers that arent specifically made for use on fabric, bbut be sure to test them inthe same ‘manner you will us the quit. For example ifyou will machine wash your finished qui, put your sample hough the laundry to make sure you like the final result 18 AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINEeven more so by mixing them with, Jacquard Colorless Extender. This creates a very subtle tint of color and allows the previously applied layers of paint to show through. 1 paint some areas with a transparent white mixture to tone down but not totally obscure the stenciled patterns undemeath, Allow the paint to dry and then heat set it final time, using the parchment paper as a pressing cloth, 9, Finish your quilt with a binding or edge facing of your choice. resources shopquiltingdailycom stencilgrproductscom TumpLe Dyes shopseicam SAKURA SOLID MARK Jacquard TEXTILE CoLor ‘COLORLESS EXTENDER, MAR dharmatradingcom get more nxlixe To see more of Terris work, visit quiltingdaily.com. ‘Green Vase” + 2338" 13 AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINEtL QUILTING Ars, as celebrate contemporary art quilting, surface design, mixed media, fiber art trends, and more. We are always looking for new techniques, innovative processes, and unique approaches to the art of quilting, We'd love to hear from you! YOUR ( Submit to QUILTING Arts! COULD BE Want tog publihe? HERE What are we looking for? « Sketchbook: inspired quilts fr ‘our OF The Page seis « Artists with inspiring portolios of worktobe featured in our Inthe Spotighe. Arist Profle, anid QUA artes Show us your work and els your ory. 1 Unique techniques new ways se exiting rooleand supplies, and ideas we've never featured before «you are teaching blogging about or shibiting your are duit you probably ave great ideas to share How to submit Wie a brie description of youridea and emalieto submissons@quitingarts. cam. Your submission should sve usan overview of what you are proposing to rite wth enough detail and supporting information for uso carefully conser yourides, «Attach up to thee ow resolution photos of your at ‘or proces your email. and don forget to include your same, webste, and contact tnformaton. «+ Noe: We werk ar ahead in the year and sometimes cat fica pieceinco the magazine right away Our eicria review proces can take up to 12 weeks, bout in many cases, we wil respond o you much sooner Nopphone calor fallow up eas plese AUGUST/SEPTEMBER 2013 | QUILTING ARTS? MAGAZINE In addition ... «Aris profs, media and due reviews andreader chalengesare written by our sft + Wedboallour photography in house. accepe your work rust beaalbleco be shipped te oureffies + Welook forward ro hearing from yout get more vitline Check out the submission guidelines for Quittinc ARTS" MAGAZINE, MODERN Parchwork, QUILTING ‘ARTS Girts; and related Interweave publications at quiltingdaily.com,www.innevalongarm.com, Biurn-sharp “The Turn Sharp Rotary Bade Starpner is Efortlese—Conioregip knob warns easly with righ or lee ad ade locks plce {for perfect sharpening Ergonomic-Wrat remains straight cure does the work sono pressure neds Economieal-No batarles no ord, no oly mes. no nose SW INWMOM Built to Quilt! N Delivering Superior N Machinery f Training & Service Y 24/7 { Clair tient One owry Bade Sharpeners ‘Asko Sarp an nr Ciel geome bet Sef gud be shop yve met ay Workshops 3 & 5 Day Clases, Charming Rooms in an store Country Inn with Prive Baths, A, ‘in Fabre Shop, Outdoor Pool, Chocolae! ‘Dehour Access to Studlo, Great Food ‘Avg 11-17, 2013 Paula Nagelstern Katie Pasquini Masopuse Mar 23-29, 2014 Rayra Gilman Mar 29-Ape |, 2014 Laura Wasllowald ‘Apr 3-6, 2014 Kathy McNeil ‘Apr 6:12, 2014 Kathyanne Whiee Ape 27-May 3, 2014 Call Toll-Free 1-888-665-0044 ‘Ask for our full-color brochure Mice AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINEWHAT’S OLD IS NEW AGAIN by Mary Lachman love collecting vintage textiles and I have a large bin filled with crocheted doilies, tablecloths, and other linens Many are partially unraveled, stained, and no longer useful {or their original purpose, but 1 cant part with them. Alter learning the basic techniques of wet felting wool in workshops led by fiber antist Robin MeCahill, l read. some books about felting (see Resources page 24). Then | began experimenting by adding silk fabric and decorative yarns into wool felt to add texture and interest and eventually added my vintage crocheted pieces as well. ‘This technique is fun and easy and allows you to reuse beautiful handwork of the past to create new fabric.MATERIALS * Plastic sheeting Bubble Wrap" * Spray bottle, 1 quart size * Hand dishwashing detergent ‘© 100% wool roving or wool tap various colors (I prefer merino) '* Crocheted cotton doily * Polyester curtain (the chin plastic from the dry cleaner will also work) |= Warm water DIRECTIONS 1, Protect your work surface by covering it with the plastic sheet. Put a layer of Bubble Wrap, swith the bubble side up, on the work surface. Filla spray bottle ‘with warm water and 1 tbsp. of detergent and set aside, 2 With dry hands, grasp the end of the wool roving with your thumb and index finger. Gently pull out the strands of the wool roving. Begin at a commer and place the strands evenly in rows that overlap by about ¥/. Each row should be thin enough to see through. Try to keep each row the same thickness (Figure 3, Place a second layer of wool fibers perpendicular to the first layer. Add a third thin layer if there are any holes or areas that you can see through. 4 Place a cotton doily and different colors of wool fibers on top of the layered roving. (Figure 2) 5. Spray the entire wool-doily-wool sanctwich with the warm water- detergent solution using the spray bottle. Saturate all the fibers evenly and thoroughly: Styrofoam” pool noodle (ld knee-high hosiery or elastic bands Padded shalf liner (he kind made of dense plastic with a rough bumpy sie) Boor tray (or lage container with raise sides) Large bows White vinegar Towe's Cuta section of curtain or thin plastic several inches larger than the ‘wet wool-doily-wool sandwich and place it on top; press it down evenly dover the surface, Roll the bundle around the pool noodle and secure it using knee-highs or elastic bands Hike using knee-highs because they are stretchy and easy to tiefunte. Figue 3) Place the buralle on a piece of plastic shelf linet, Tis textured surface adds fietion, which is required, along swith water and heat, fr the fibers to felt together. Using your hands and forearms, apply pressure and roll the cemtie bound piece back nel forth for S minutes, Rotate the bundle 180° and continue rolling for another 5 rninutes, This ensures equal pressure con the bundle and a more evenly textured final product. Unroll dhe bundle andl check that the ‘wool fibers are equally wet. fot, spray dry areas with more of the warm watersdetergent solution, Re-roll the bundle and repeat step 7. Unroll the bundle and gently remove the curtain, The fibers should be lightly connected to one another and holding together. If Process photos by Dominic Searzmuzzing Figure 3 CABS for success Use dry hands when handing wool roving ‘The Bubble Wrap should be 3~ larger than your piece Use multiple chin layersof wool roving instead of ene or two thickones. Use crocheted pieces with more open areas than solid Havea ready supply of warm and hot ater froma faucet of electric kee AUGUSTISEPTEMBER 2013 | QUILTING ARTS¢ MAGAZINE, Bfelting ergonomics ‘© Roll the buncle on a horizontal surface that is approximately ac ebow height to minimize buck strain. This step takes some elbow grease so having your tray at a comfortable height is important. Tables can be placed on risers to make chem higher. ‘© When rolling place one foot slighty ahead ofthe other co minimize bac sain ‘© Forstep 10.1 recommend using aboot tray or other large contziner with edges because the shallow sides contain the water and suds but allow you to reach in easy. they are not, continue to work: the piece by re-rolling the bundle and repeating step 7 for another 5-10 minutes, Then recheck your progress, (Figure #) TIP: The time requted forthe felting process varies with the temperature of the water and ‘the physical pressure applied. The process, may be hastened with warmer wate, rmer pressure, oF more vigorous ling, 10, Unroll the bundle and place the felted wool on the padded shelf liner inside the boot tray. Pour hot ‘water andl a squirt of detergent onto the wool. Using your fingers ‘and gentle pressure, move the piece in a circular motion, Move from area to area on the piece, continuing the gentle pressure and circular motion until you have worked over the entire piece. As the water cools, gently squeeze the piece, add more hot water, and continue moving the piece in a circular motion, Apply more pressure and agitation to any areas you wish to shrink to-a greater extent. (Figure 5) Excess surface water may be sponged up at any time. Filla large bowl with hot water. Immerse your felt, remove it, and squceze out the excess water, Place a towel on the floor and drop the piece onto the towel, gently at first, and then more forcefully 10 times to help harden the fibers. Immerse the piece in a large bowl filled with cool water and 1 thsp. of white vinegar for 2 minutes, Remove itand squeeze out the excess water. Place the piece flat ona dry towel and get more oxbne ‘To see more work by Margie quiltingdaily.com. Figure 4 Figure 5 press to remove any remaining water, Remove the piece from the towel, stretch itinto the desired shape, and dry fla. The thicker the wool, the Tonger it will take to dry. 1, When dry add stitching and ‘embellishments to accent your artwork. # resourcer Woot ‘» Hudson Valley Sheep and Wool hudsonvalleysheepandwoolcocom ‘= New England Felting Supply feldngsupplicom VINTAGE TEXTILES © The Sturbridge Anique Textile and ‘Vintage Clothing Show vintagefashionandcextleshowcom + Local thrift and consignment shops ‘Compcert Feutmacine by Gillan Harris Unwquety Fetr by Christine White ” AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINE1 Aad dp water CHOOSE YOUR FLAVOR! Stipes haltgome or es-oi fie «nn ‘gy F2Dip & let sosk IS-mionees cn Silk Fusion make your own silk felt” Teenway Silks ~ your source for rare ney towoodCO-USA- WW watroonwaySIES.cOm ves iS 33a 3) AUGUST/SEPTEMBER 2013 {abs and bon, along wth suples tom MAGPANELS™ you can create your own urique meget toads Hang fished MAGPANELS™ on a decorative thon at te ofce and rund the tome, Delay photos; posted o-dlts, buses cards ter you choose, easly and auc with mags thoghtuland handnade gts or birthdays, ola, teaches, and co-worers. They wl ove the catty hat you vil bing the fished gt to ll on ETSY oryou oun west, MAGPANELS" can ao Ceol of afc at your magpanels.com | QUILTING aRTS* MAGAZINED erwent Inktense pencils and blocks provide an easy and versatile way to add vibrant color and interesting texture to fabric. Inktense pencils are highly blendable and come in a range of 71 colors. They can be applied wet or dry, and produce beautiful effects on fabric. Once they have dried, the colors become permanent and allow for layering to create even richer tones. Ihave used them to add a new dimension to my wholecloth quilts, and love the results “Umiled” «15% 1646" by Ana Buzzalino AUGUSTISEPTEMDER 2013 | QUILTING ARTS! MAGAZINEDIRECTIONS Create a master pattern Tape the photo, sketch, oF drawing toa larger piece of paper to keep it from shifting and place a piece of tracing paper oF acetate on top, taping the corners to hold itn place, Using a fine black permanent marker, trace the main lines and as many details of the image as you can. (Figure 1) Photocopy the tracing enlarging it to the desired size of your finished piece. Once the image is enlarged yout ean draw in more details if desired. This is your master pattern, MATERIALS * Sketch, photo, or drawing (Use your ‘own original work or obtain written permission if you use someone elses images) * Tracing paper or acetate * Fine point black permanent marker * White or light-colored fabric * Fine point mechanical pencil © Fabric for backing and binding © Batting © Safety pins or basting spray © Thread * Sewing machine with flee mation capabilcy * Free-marion quilting foot © General sewing supplies * Derwent” inkcense pencils or blocks * Textile medium © Rotary cutter, mat, and ruler © Paper towels Optional * Eraser Figure 1 Transfer the pattern to the fabric 1. Cut the base fabric 2-3" larger than the size ofthe finished piece 2. Usingaa light box or a window, tape the base fabric on top of the mas pattern to keep it from shifting Trace all of the lines onto the fabric with a fine point mechanical peneil and alight touch, The lines should be just dark enough to see when you are quilting. (Figure 2) Note: Ido not usually erase pencil Iines even after quilting, because they add to the whimsy of the piece However, it is possible o erase lightly ‘marked lines with an eraser Quilt your piece 1. Using basting spray or pins, layer the backing, batting, and marked base fabric into a quilt smdwich Attach a free-motion quilting foot to your sewing machine and lower the feed dogs. itch over the drawn lines, adding additional details as you sew. Ltry to move from one area of the design to the next ina continuous line, stitching more than once on some parts of the design for added interest, similar to how you might skerch in your sketchbook, Make some lines heavier than others by going over the stitching line 2-3 times. AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINE5 Once your design has been stitched, decide whether oF not to quilt the background. When quilting the background, switch toa thread color that is a clase as possible to the background fabric and use a simple quilting design so it won't detract from the quilted image. Color the design 1. Use a small brush to apply textile medium to the area you want to color. The area needs to be damp, but not soaked. Ifyou find the ‘medium is too thick, thin it with abit of water. Working in small areas ata time to prevent the area from drying before you can color it, color each area with the main color first and then ad in secondary colors for highlighting and shading, (Figure 3) Once you have blocked in the colors, use a small brush and 2 bit of textile ‘medium to carefully blend them together starting from the center and working your way out to the a i eee tee tips for using Inktense pencils & blocks Paihia ap ev ella ete ee ete Coenen eer en Layering colors while the base layer i stil damp makes the colors more vibrant. Some fabric mediums require heat setting to make the color permanent. A fallow the manufacturer's instructions to avoid disappointment. If theres any dubs ‘make a sample and test it to see ifthe color washes off ‘edges, so by the time you get to the ‘edge of the design area, most of the before you are finished blending, apply more color and textile medium has been deposited and medium until the desired result is you reduce the risk ofthe medium achieved sting outside of the stitching 2 Continue working until all the lines. Some bleeding may occur, but this adds to the serendipity ‘of the technique. If an area dries colored areas have been blended, remembering to clean your brush AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINE 2when switching areas to avoid ‘muddying the colors. Note: As you work, you may find that You want to deepen or lighten some areas of color: You have two options you can work the area while the base color is wet, or you ean wait for i 10 dry. Adding color while wet makes the colors more vibrant, bat you run the risk of muddying them as they will bleed into each other. Once the eolor is dry it is permanent, so you can wet it again and the base color won lif. 3. Once you are finished coloring the ‘quilt and it is heat set, square up, the quilt using the rotary cutter, ‘mat, and rater, Bind the quilt with a fabric of your choice and don't fonget to add a label and a sleeve for hanging. ® Don't miss Ana's new Quilting Arts Workshop™ video, “Quilting & Dyeing Serendipity: From Pieced & Quilted Neutrals to Spectacularly Dyed Masterpieces” at shop.quiltingdaily.com. aking Dyn ein resources Deawext Iverense Blocks shopauitingdailcom thoughts on thread get more aline To see more of Anas wholecloth ‘quilts visi quiltingdaily.com. AUGUST/SEPTEMBER 2013 | QUILTING ARTS? MAGAZINEwe nate oe a Soak up some inspiration Sliced: Wheat Fields—Eco Tote Pe rr CaF rssinc ON Neal eae MPa ere Ole O11) a} Dae cee eer aayeee Add Dimension wonton CO Paint WITH JACQUARD PUFF ADDITIVE a 42D artist, I'm constantly challenged to make my pieces appear to have more depth, Even though the work is flat I want it to be rich with details and textures. Paint alone can do some pretty nifty things, but once you start adding mediums to it the sky is the limit! ee ee LC | eek tan ind he he = : AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINEJacquard Puff Additive -quard* Profesional Screen Printing ink Jacquard Textile Color fabric paint Jacquard® Neopaque fabric paint hermofax” screens Geli Ars” gl printing plate Sponge brush Palette knife Plastic spoons, small bow and ‘measuring spoons (all deh to nonfood use) LET a LF k erat! ah er Ce ery id is dscns Jacquard’s Puff Additive isa prime example of how paint ean be altered to create really unique effects, As its name implies, this product gives a raised effect to paint when dried and heated. I decided to put it through several trials with a variety of paints, including trying to see how far I could push it before it would “break.” 1 found it to he really versatile and easy to work with and Il definitely add it to my printing toolbox Iry time My first task was to come up with a dependable mixing ratio of paint to puff additive, The formula that gave a ‘good puff was 1 tbsp. pant to Ms tsp. puff additive. Less puff additive didn't change the paint enough, andl mote created an unstable pul that resulted in the paint flaking off when the surface was handled, The other crucial component was how long to let the print dry before applying heat for the puffing action. 1 did four time trials, ranging fro: no dry time to a 10-minute dry tim I didntt go beyond that because the paint was nearly dry after 10 minutes and a litle wemness is needed for optimal puffing. | obtained the best result W ha 2-5 minute drying time There is no noticeable difference between the puffing, but shorter and. longer diy times required more heat ‘might experience different results Experiment before working on a large piece to determine which dry time works best for you. oam cation rinting & brush ap} | performed a number of experiments using the puff additive with screen AUGUSTISEPTEMDER 2013 | QUILTING ARTS* MAGAZINE 3printing and foam brush applications. Here’ what I learned: * The paint will become more opaque after it pufl, causing it to block out whatever is underneath (This opacity shift is noted on the instructions on the ja.) I found the effect to he quite pleasing. For example, I screen printed with a brown paint that was close in color to my base fabri and not very interesting. After puffing, the brown paint became muck bolder its opacity improved 100%, * Too much pul additive causes an unstable puff. 1 was able to fake the paint olf the fabric by wiping my hand across it. The recommended ratio must be observed to avoid this. It did eventually stop flaking off, but the appearance of the puff is choppy and the design is not as clean as other sereen prints done with the right ratio of additive to paint BE IBCREDIBY be gracto be simp © A screened puff design can be used san outline for later painting inside the design, The puff outline acts as a barrier. © The pusffadditive works in textile paints as well as in screen printing paint © When only a litle pulf is desired apply the paint ina very thin layer with a brush. Ie will still puff, but not too much, © nis possible 10 use the pul additive swith screen-printed text andl symbols, Delicate t « stood up better than expected. The text that was chunky and had letters close together was harder to read, but the text was still very readable Gelatin plate monoprinting Although Jacquardls Puff Additive is advertised for use with screen-printing. paint, [rarely restrict a paint (or additive) to a single printing process, “4 “i 4 avin WWitha ed paint in inom fabric. The uneven yp o AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINEL wanted to see how the puff additive would perform if | used an entirely different printing process and if Tused paint that was not meant for screen printing. I put it to the test with Jatin plate monoprinting using elli Arts plate With a palette knife, | applied paint in randlom swipes tothe Gelli Arts plate The fabric was placed on top of the Gelli Lbe he Arts plate and pressed lightly into the paint, This was repeated across the entire fabric. The uneven printing produced several effects: puffing where the paint was thiek, mild puffing in areas with, Tess paint, and color shifting of paint in areas with barely any paint. This would bean excellent way to mimic textures in nature (like tree hark) or movement (like running water) additional observations “The pul adive Rasa mild oor out ofr and dusing pufing left window eee ee tee ae nee The altve thins the pain sigh but when usedn the sugested rato it dn affect the paint’s performance. ‘The additive successfully washes off of printing tools However, never lt paint dry ‘n your Thermofax screens ori may permanently clog them. You can iron fabric that has puffed designs, | recommend ironing lightly on the back side of the fabric with an iron set at high heat, no steam fan area doesrit pul¥f the way you like it adda small amount ofthe paint/pufT additive mixcure over itand re-puff ust that section, Use avery small amount, just a lighe swipe. I didn’t conduct any wash ests bur the label indicates the pul adultive is washfast ‘when mixed at their recommended ratio, Before using the additive on a quilt that willbe washed, be sure to testa sample fist Layered printing 1 did a simple test to see how this produet performed in layered printing 1 applied a layer of paint with no pull additive in itand then overprinted 18 paint with pul additive init, The paint without the pulf additive was not bothered by the application of heat. Painting one “flat layer and then a puffed layer created Don't miss Theory Made Easy: An Exploration of Color & Composition through Surface Design” and Print Design Compose: From Surface Desi shop.quiltingdaily.com. AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINE 35d fresh--fun PROJECTS and so much more! The Spring 2013 issue of Modern Patchwork magazine features 34 contemporary projects q native articles for today’s quilters 's. Find endless inspiration for gifts, quilts, home-dec items, totes, tit ily (866) 949-1646 Bee eeia a 3 Ree earn)Phat by Joe Ofria a visit with artist Sandy Gregg by Martha Sielman MS: You majored in atin college yet ‘only started making ac later in fe, SG:My mom worked in oils and was heavily influenced by Pablo Picasso, She designed and painted scenery for the local community theater group and I sometimes helped with the painting [took printmaking in college, so that became my area of experts (Once I graduated and entered the ‘working world, | didnt create any art at all. worked asan administrator at Dartmouth College. Thelped organize programs for undergraduate students and academic conferences for faculty artist OCA i often seem to be two artistic paths: some artists find a form ‘or theme that fascinates them and pursue it through an amazing array of subtle variations; others experiment endlessly, finding their inspiration through exploration of new terrains and roads less traveled. Sandy Gregg is clearly a member of the second group, finding her artistic energy through the challenge of mastering new techniques and approaches. Each series explores different subject matter, and she constantly searches for new materials and surface design techniques to use in her work. This type of continual striving to master new forms may mean that not every piece she makes will he a success, but each sei strength and powerful meaning, My quilting production follows my work life to a certain extent because it was like working in a series: rhe same conference would be offered for several years in a row and that would end and something different would follow, MS: How did you ger involved in quiles? SG: I learned how to sew in home eco- nomics in junior high school, which was a blessing because although my mother was creative, she didn’t sew at all. l enjoyed sewing and made clothes for myself and eventually for my sons, When L moved to a new town in 1976, ries yields works of great visual 1 took my frst quilting class because 1 sas looking for a way to meet people ‘That fist quilting class was basic patchwork, We were given a new quilt block each week, and we learned to create paper or cardboard templates. ‘There were no rotary cutters or self-healing mats and acrylic rulers in those days. We used scissors for ceuting and pencils for marking, 1 met some great women in that class, and wwe later went on to form the frst quilt guild in Lebanon, New Hampshire MS: You seem to work in several dif ferent styles. Do you focus on just one AUGUST/SEPTEMBER 2013 | QUILTING ARTS® MAGAZINEAUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINE0 Eat Your Peas 2" © 38" « 24 series ata time or work in different styles simultaneously? SG: usually work on one series at a time, Often the series will begin in a class, and I'll continue working en. itwhen I get home. Lam a curious AUGUST/SEPTEMBER 2013 | QUILTIN: person and like to know how things are done, how 1 ings work, and how other artists work, | am always looking for new techniques and for the stimu- lation that comes from a roomful of, artists trying new things. | moved from rural New England to the Boston area 10 years ago, and there isa lot to look at in the city: the grittiness of the buildings, roads, and people; different noises; sidewalks; manhole covers; and lots of graffiti. 1 live next door toa community garden, $0 [still get to enjoy plenty of green space as well dont think anyone has had success ‘growing peas in our community garden, so maybe my Eat Your Peas series isa response 10 that, Seriously of the pod as a shape. After searching the web for pod though, 1 was chink shapes, I chose the pea pod because it ‘seemed the most interesting to me used text in the background of this series because the solid fabric didn't ‘seem interesting enough, I also needed. to plan how would machine quilt the background, and the text provided a structure for the horizontal quilting that I ended up using. MS: A lot of your work incorporates text. The text pieces seem to be more muted in their palectes, SGé1 purchased a Thermofax” ma- chine about 10 years ago and often use text to add visual texture and in Thave always loved the shape of letters. Since I don't usually toa pi work with realistic Images, the inet sion of text can help clarify the inten tion of the piece, Uhadn't realized my text pieces were more muted until you mentioned it, but as I worked with color over the years, I came to appreciate the simplicity of using a more limited color range. Asa beginning quilter, used all of my favorite colors in ceach piece and found the results to be sometimes jarring. When looking at quilts made by other artists, | ARTS® MAGAZINEam attracted to those made using a limited palette MS: Much of your work references ‘weather and storms, and we recently suffered through a devastating hurricane named Sandy. How did that make you feel having a storm with your name? ‘SG: The Katrina pieces were a result ofa class on using thickened dye in a squeeze hottle. I had never had the courage to try handwriting ona quilt, but it seemed that this was the time, Instead of worrying about my handwriting or the meaning of what 1 was writing, | just started writing ‘words, inspired by information about Hurricane Katrina that was posted on Wikipedia. Since | meant for the ‘words to be a background, the quality of the handwriting seemed less impor- tant. Before writing, | silk-screened most ofthe cross forms onto the cloth For me, those quilts were more about rebirth than the storm’ chaos, | was in Houston when Hurricane ‘Sandy hit the East Coast, It didn't really do much damage in the Boston area and | don't take responsibility for the naming of the storm, but I won't de making any Hurricane Sandy quilts, “Gentle Rain” came about during a workshop I took last April, which is ‘usually rainy where I live. | pinned apiece of dry white soda-soaked print loth to the tabletop and used heavyweight upholstery vinyl and thickened dye to create a watery look. It was painstakingly slow, but worth the effort in the end, Later steps included cutting teardrop shapes of various sizes from freezer paper, attaching the freezer paper stencil to assilk screen, and then sereening ‘many raindrops in various shades of thickened dye to the surface of the cloth. The next step was to use a ‘Thermofax screen to add the definition of rain in metalic silver paint to the surface. The final step was to add large organza raindrops to the piece. MS: How do you know when a piece is going well? And what do you do it’s not? SGI find it very hard to evaluate my own work. I hang a piece on the wall ‘until | think itis done. When I'm not happy with it, [leave it up on the wall until I decide what needs to be done to fix it. Sometimes I'l move it toa different wal, since that change often Gentle Rain 2° « 54°41" helps. I belong to a critique group that meets monthly: I don't usually bring ‘works-in-progress to the meetings, but Tave found it useful to look at my ‘work and that of other members and to tall about what works or doesn’t work and why. MS: What your next challenge and ‘what would you ike viewers to remember about your work? SG: Currently Lam working on a couple of picces that utilize Tyvek, Doth as a stencil and as a design ele- AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINE “ment. This past winter I took a class with Beatriz. Coron, a visiting artist ts College of Art. Ms Coton is a paper artist whose work very much reflects the fact that she lives in the ety She often works with Tyvek, which is strong and thin enough to allow the user to cut several at Massach layers at once, resulting in multiple identical images. So far I have cut a stencil and used that to cut four layers of 367 43° Tyvek, which took about three weeks because of its size. I plan to work on this sevies and explore the possibilities of this process until the next technique starts pulling me in a different direction, am constantly reinventing myself, which is what makes life interesting | hope viewers will appreciate my effort to ereate a work of art that is, beautiful and thought-provoking in one way or another, # To learn more about Sandy and her work, visit sandygregg.com. ‘Katrina 1° #34" x41" get more oxline To see more of Sandys work, vic quiltingdaily.com. 2 AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINEME Smart Quilters , a use Magic Bobbin Genies Just drop one in your bobbin ca: Eliminates backlash and sts ie underside of your quilt. The Cutting System for Little Bobbin Gonios Straight Cuts E1 Tim for all home sewing machines, size 1. bobbins batt Ges Eeery, eae Mega Bobbin Gonivs for all long arm size M bob! ‘No more slip-upst All TrueCut rulers and cutters work ‘together with the trackand guide system, to keep ‘the cutter from slipping away from the ruler’s edge. > - ‘Magazine isa bi-monthly publication exploring ideas, textiles, and techniques related to contemporary art as Ps eee 5 : ‘Sentepat , quilting. inside, youtl find design ern cn inspiration, Step-by-step pee Y directions, gorgeous photography, and AAR si ‘ motivation for developing your (Anita icy ei ba peag le : personal style, a all skill levels. AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINEin the spotlight QUISVILLE, KENTUCKY © For more than a decade 1 have chosen a daily art project each year: Every day I have to make a little bit of art following whatever rules I choose ast projects included taking photographs, making a quilt square, assembling a bundle of stuff, and sending a postcard every day to family members. For 2012 my daily project was hand stitching. Tove the structure of doing art every day. Each bit can be quite small, and doesnt have to be perfect or terribly well thought out, so you can have a litle low- risk flight of fancy. It reminds me, even on busy days with other preoccupations, that I'm an artist 1 cut a fourinch square of solid Kona® cotton (my favorite quilting fabric, which Lalreaay owned in dozens of colors) and made a tle drawing or doodle with embroidery floss. Although I already owned bags of miscellaneous los dating back many years Lsplurged in honor of this projet with three new packages of floss in a huge variety of colors. But what to stitch after ' threaded the needle? AUGUST/SEPTEMBER 2013 | QUILTING ARTS® MAGAZINEOften I simply made doodles, practicing old familiar embroidery stitches. Spirals, cictes, and grids showed up often. Las like feather stitches, and frequently turned them into plants with French knot flowers, For a while I carried an embroidery pattern book with me and tried out new stitches, I dont know how to draw so its challenging for me to make pictures. But ‘ne ofthe discoveries ofthis project was that I cao do better than Thad thought saw an exhibit by embroiderer Tom. Lundberg and was struck by is tiny ‘embroidered pictures, with motifs no larger than an inch across. A recurring motif in his work isthe flip-flop sandal, ‘and I came home and embroidered «tiny ‘lip-fop too. More litte pictures started to come to mind. If you work really small it doesnt talee tong to do a picture, and there’ no roam to agonize over whether i looks right. When the pictures were tiny I ‘often put frames around them to give them a litle more stature ‘One day I made alittle picture and without realy thinking about it, stitched word next to t, That added tot ‘of piggaze and I started labeling my pictures more frequently. (That's also a help if your drawing is tess than great.) We always found that day art projects morph as you progress. You set the rules at the beginning ofthe year and follow them, but what you end up doing a the end of the year has a diferent character than what you started with. Partway into 2012, {had already seen a big change in my work withthe inconporation of ttle pictures and words. {fm sure | avoided drawing in the past because my taste far outstripped ry ability But something about using “embroidery floss instead of a pencil ‘hanged that mental outlook. Instead of Av Figure 3 The French knot 1. To make a French knot, bring your ‘needle up and hold the thread taut. ‘Wrap the thread around the needle twice so that the end coming out of the fabric will be on top when you tip the needle down for the stitch. (Figure 1) 2. Insert the point as close as you ‘ean to where it came out, without actually going back into the same hole, Hold the thread right so it doesnt slip off the needle, After the point is firmly in the fabric, pull the thread to make a tight little looking like bad drawing, the stitched pictures looked like charming fale ar ‘They're crude and primitive, not beeause Pm a lousy artist but because of the nature ofthe medium. That change in ‘aititude made me feartess! I rarely even raid « sketch, [Just started stitching. If A French hnot makes a perfect bud for this vine. coil, (Figure 2) Keep the thread taut while you pull the stitch tight, (usually shift my grip halfway along from what you see in the ‘photo to hold the coil with my thumbnail as I pull the stitch tight.) As you pull the stitch tight, the coil forms itselFintoa litle donut, held down with a thread that comes up from the side and goes down through the donut hole, (Figure 3) “TIP: French knots are fate if your thread is not tightly twisted so separate the strands before you thread your needle, or rll the needle beeween your fingers to unis usually stitch with three strands of cotton embroidery Foss. the picture didnt end up exactly in the enter of the square, that was OK. When I started the project hadnt vet decided what to do withthe squares Thnew I wanted to put them all together ina format that could be displayed, but hadnt decided how. After the frst month [USTISEPTEMBER 2013. | QUILTING ARTS* MAGAZINE ”Figure 1 Figure 3 The feather stitch The feather stitch, like a feather, arranges {itself along a central spine. You can work ‘with an imaginary line or mark a line on your fabric. You can make a nice line or ‘rease with your thumbnail or the end of your needle. 1. Bring the needle up at the end of the spine. Make a stitch that goes down away from the spine and comes up right on the spine. The thread loops around counterclockwise under the needle, (Figure 1) 2 Pull the thread through the stitch and tight enough to make a ¥, but not so tight that the fabrie puckers. (Figure 2) + Your next stitch is just like the frst, except this time you work on the other ‘side of the spine and the thread loops around clockwise under the needle. (Figure 3) 4 Keep alternating right and left as you ‘work down the spine. If you like, you can make the spine a curve instead of a straight line, (Figure 4) s. Fora fancier feather stitch, make your first little Vand then for your second stitch, shift toward the left. (Figure 5) For the third stitch, shift toward the left again. (Figure 6) 6 Then make three stitches in the ‘opposite direction, shifting each one toward the right. Figure 5 1 decided to sew them together with ‘simple running stitches and no backing, leaving raw edges visible on top, knots cou ends visible from the back. I ended up arranging them like « calendar— seven squares across, Sunday on the left ‘through Saturday on the right, and each ‘month Lused a different color thread to stitch the squares together The task of finding something to depict every day is, of course, the ‘challenge and the fun of such a project ‘Sometimes I would think of a picture that referred to something I saw or did ‘that day. Its often hard to pare dovn an idea to depict it in a four-inch-square format, but that’ work that develops ‘your artistic muscles and improves your ‘eye-brain coordination! Sometimes the picture just came out of the air, triggered by a photo in the newspaper or a remarl heard on the radio when I picked up my needle. Or 1 would choose a stitch and start sewing, rot knowing what it would become. 99 To learn more about Kathy, visit artwithaneedle. blogspot.com. ‘See Kathy in action on “Quilting Arts TV" series 1000, available at shop.quiltingdaily.com, AUGUST/SEPTEMBER 2013 | QUILTING ARTS® MAGAZINEFor instant Satification download 1 orkshops today! Learn from the Pros at | Fabric with Pauline Salzman Postcard Pets 68 minutes, Join award-winning quilter Pauline Salzman for an adventure in creating delightful fabric pet portraits on a small scale using simple sewing techniques. The postcards are perfect for sewists and quilters looking for quick and easy design ideas, or for beginners searching for non-intimidating projects that are fun, easy, and not overwhelming, You'll go step by step through her foolproof method for making pet postcards, from making a simple line drawing to simple fusing and coloring techniques. iia: } Color Theory Made Easy with Lynn Krawezyk 65 minutes Lear all about color theory in a series of easy-to-follow lessons. Lynn applies paint to fabric using surface design techniques to help teach the principles of the color wheel; tint, tone, and shade; and combining colors in a single artwork You'll also lean ff how neutral color palet: with different color fam demonstrated by repeatin art sampler design to best illustrate how color affects a composition Art by Lynn KrawezykQuilt National ’13 f: more than four decades, the Dairy Barn Arts Center in Athens, Ohio, has been the home to one of the world’ most prestigious exhibitions of contemporary art quilts. Quilt National '13 represents the 18th biennial presentation in this unique setting. As director Kathleen M. Dawson states, “[The show’] longevity is fueled by both the growing ranks of artists who embrace the medium and. the general population’ insatiable interest in this particular form of AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINEfiber art.” Jurors Linda Colsh, Judith Content, and Penny McMorris had the daunting task of culling more than 850 entries down to the 85 exquisite pieces included in this colle ion. After its premier in Athens in the summer of 2013, the exhibit will go on tour to additional venues. The following pieces are just a sampling of the fine workmanship, exquisite artistry, and cutting-edge techniques that we've come to expect from a Quilt National exhibit 0) ea ia (CATHERINE KLEEMAN Ruston, Maryland (opposite) “Post No ils 25"% 45" «Cotton, de, pat fabric crayons, cotton, batting, cotton backing: gelatin place ‘monoprinced, painted with curved tip syringe stencil, machine stitched and quite. “aslworked on this piece was frustrated withthe direcionin which icseemed to be heading, felt had Jost contol ofthe process and that Iwasa the mere ofthe fiber gods Large graphic Xs seemed to be the best expression of that frustration and helped me regain control, ora least to pur te pice ines place” SUSAN CALLAHAN Silver Springs. Maryland (ght) "2 Top" «3 «247 - Hand-dyed cotton: hand painted and printed, machine pieced and quilted 'My artwork reflects my professional lifes ache. | ave the process of creating love that can intersect ‘my passion fr textiles with my profesional lite. This pce tells the story ofarestaurane table waiting for the guests The’? Top’ isthe table ‘most available in a restaurant” AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINE sey and Lary Hamel Lambert $LARA Cotton, synthetic blends pain paint sticks cotton variegated tread, pert cotton thread, Ukiah Caforia Coton batting: freehand machine thread sketched printed, machine and hand quite. “happened co be with my sewing machine at an event featuring lve musicians, and impulsively set about daing some freehand thread sketches of them as they moved around. the room. later created the guitar prints to augment the story and quilted circles ro satisfy my sense of artistic desig. tehink my fluid process of creating this qui reflects the lighthearted move ofthese wonderful jamming musicians” “arnmin* 53°43" AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINESIDNEE SNELL Corvallis, Oregon Rivetad” «30° 21" Cotton, dye cotton thread, bating rav-edge appliquéd, machine quite. he effect of naare-on man-made objects fascinates me. This plece i based on images eel Bridge chat spans the Willamette River in Portland, Oregon. The rain and ofth weather have worn away areas ofthe black paint allowing besuefl paterns of wom And faded paine and rust form AUGUST/SEPTEMBER INELDA WARKENTIN, Phila, Maine Bella Woods" + 60" 40" ik, cotton, lin n. canvas acrylic pain, bating cotton thread; layered collaged, machine constructed and quilted, Uving in rural Maine, observe the woods daily Nacureis strong influence for me and my work. Upon returning to iy studio after having spenc a winter in Mexico, ‘Bells Woods was born immediately and with much energy ILTING ARTS* MAGAZINE 5hTo learn more about Quilt National '13, visit dairybarn.org. NATALVAAIKENS Vintage linen, papel pastels plastic dryer sheets, color catchers painted collage, machine stitched. Pleasanill, New York -prchicecrrally inspired, diately stcched thats the motto for my art. The core of mye is deeply “TheCity'+ 56°40" rooted in my Russian heritage andthe architectural imagery of St. Petersburg and New York City. fee strongly about using recycled materials suchas paper plastics, and vintage fabrics, Computer photo ‘manipulation, intense hand and machine stitching, and translucent effects are the techriques favor! 2 AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINEIntroducing the ; Dive into the eleventh issue of Quitrina Axrs® In SrircHEs! This dynamic format is the perfect studio companion because it allows you to view colorful slideshows of step-by-step processes, pan-and- zoom photographs to get an up-close look at the tiniest of detail, and pause and replay videos IN THIS ISSUE: Grace Errea will take you from photo to pattern to art quilt ‘Marjorie Post shows her unusual approach to appliquéing landscape quilts from photo images You'll see one photo transferred six different ways to help you decide which transfer product and technique is right for you Learn from Leisa Rich all about an innovative product that allows you to add three-dimensional elements to your work ‘Travel to Mexico to visit Deborah Kruger and her feathery creations Plus more! Don't wait! Explore Quicrine Arts wv Srrrcuss volume 11 today. Download your eMag today atWwW ith your first glance at Lisa Kijak’s art you think you are seeing a large- scale, supersaturated photographie print. Its an evocation of an iconic symbol of a bygone era. Think road trip. Route 66. A Pontiac convertible with Nat King Cole swinging it on the radio. neon sign depicted in her work prom comfort food at the diner just up the road. AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINELook closer at this intricate work of cloth and thread and you understand that this neon sign has seen better days, with rust stains below the bolts and missing lightbulbs here and there The glory days of neon might be gone, but as you begin to absorb the quiet beauty of Lisas work you feel as though these ancient beauties are being given a comeback tour and the crowds just might go wild Lisa is relatively new to quilts asa medium, but she has certainly hit the ground running with entries from her Neon series accepted into both Visions (2012) and Quilt National (2013). Her mastery of composition, of color and value is the result of years of practice and formal training including a BFA in Visual Ants from Mason Gross School of the Arts at Rutgers University and. an MA inart therapy from Loyola Marymount University She has worked asa graphic designer, at director, and art therapist. She has worked in software, publishing, and even designed wrapping paper, but it wasnt ‘until she was diagnosed with ovarian cancer three years ago that she began to focus on her own work, carving out her own creative path as an artist. Lyric: What was itabout your diagnosis that pushed you into ereating are quilts? Lisa: I found that while Iwas working, asa graphic designer and art direc- tor, my personal creative pursults languished. 1 just didn’t have the energy or the interest to do my own, work, The one regret I had was that I stopped working on my own art and stopped pursuing the dream of having ry work in galleries and museums. Post chemo, I committed to creating artona dally basis, found a fiber arts _group and created a piece for their challenge. It was my first real at quilt and it was a deeply personal one: self portait daring chemo—a picture of me bald and vulnerable. Creating that piece and processing my emotions around my cancer diagnosis renewed my desire to create and share my work with others. Lyric: Youre the primary caregiver for your two very young children. How do you find time to create? Lisa: Finding inspiration again was important, bat having a spouse who supported me in making those dreams a reality was vital Finding time to make art on a consistent basis ean be really difficult. Family life is demanding. It complicated, Making art isa priority for ‘me, Lam grateful for every minute in the studio and I am cager to create more, Inut not so eager forthe girs to grow uupand give me that time andl space. swouldnt trade it for the world, but sometimes struggle with feeling content swith the pace of my life as an artist now, swith all ofits stops and starts Lyi: Why have you chosen ro work with cloth as your medium? Lisa: Working in fabric just feels right to me. Lwas never able to create the sense of texture 1 was looking for in any other media, The complex sur- faces of those old neon signs, with the chipped paint, scratches, and weath- cred patinas is captured so nicely in Opposite: “Neon Coffe, Los Angeles” (detail above) © 60" x 24 the layers of fabric and stitched lines of quilted art. The fact thatthe edges of raw-edge applique contimue to fray adds to the texture and further it- usteates the passage of time. Even the fabrics themselves, printed and pur- chased, mark a particular period in my lifetime. Love that commercial fabries hhave their own stories, their own designers, and that textile at caprores, those stories into larger images in a collaborative and dynamic way. Lytic: What other media have you worked with? Lisa: I have a love affair with a variety of art and craft media. I paint, work in clay, sketch with pen and ink, carve wood, and blow glass, I think exploring other media helps you to ‘understand your vision and voice. How I see images in my current work is directly related to the pursuits of graphic design ancl printmaking. Iam drawn to neon signs in part because of the typography. | love letterforms, the positive negative spaces, their his- tory. My constmuction, the way I break down images into blocks of color, comes from my work in reduction prints, woodcuts, and linocuts, which hhave similar production methods. Lyric: What is i about derelice neon signs that has so captured your attention? UGUSTISEPTEMBER 2013 | QUILTING ARTS* MAGAZINE 33Lisa: am attracted to really complex and worn down and elevate them. from the 1920-1960 that have been surfaces that show the effects of time. by creating art calling attention to tet domme expensive to rialotn Tam constantly ph phing peeling them, bringing them a new life by and not energy efficient enough to paint, chipped, we ‘memorializing them. consider In particular, with my Neon series, | am hoping to capture signs that are disappearing from our landscape served and restored as important artifacts, Thete are so many wonderful signs 36 AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINE| am choosing to capture the signs unlit, While the magic of neon signs is often seen in their glow at night, 1 think there is something special in the moment just before they are turned on. By showing them unlit, Thope to capture alittle of that anticipation, but also speak to the loss of signs as they fall into disrepair AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINE Lyric: Please describe your process of trans forming a photograph into an are quilt Lisa: For every sign, I shoot somewhere between 10-50 shots, from different angles and with different lighting, | never know if I have the right shot un til I get back to my computer where I do a great deal of digital work: editing he colors and contrast, adjusting the composition by removing elements, and moving things closer together. 1 could do it all by hand, but sketching fon the computer is so much faster for me and I am always anxious to get to the construction phase. Once I finalize the image, I print it out at full siz 1 spend hours deliberating color values, how many fabries to use and how detailed the image will be use commercial fabries, and it can be difficult to find the right fabrics to create convincing dimensionality and the subtlety of such weathered surfaces, But when it comes together, it feels like it stands off the wall and asks to be seen. Uhave been known to use the backs of fabrics or layers of tulle to bend the fabrics to my will, In fact, my Quilt National piece, “El Cortez, Las Vegas, employs both of those techniques (One of the darkest values of blue is comprised of three layers of tulle (wo navy, one black) over a dark fabric Tewas the only way to match the richness of the batik and hand-printed fabrics in the background, Talso used the back side ofa fabric inside therusted letterforms, | think it adds t0 the visual interest of the piece and provides additional textures to touch and explore love to see the full image slowly At the height of my work on any piece, there are literally thousands of tiny bits of fabric arranged in color palettes on my desk, waiting to be pieced together to come to li see what works with my vision and what keeps my work most true to the original rawness and decay of the signs 1 am capturing, Lyric: What is your favorite pate of the creative process? Lisa: Once I start sewing and the im- ages start to be more recognizable, 1 am energized. I love to see the images ‘emerge from the fabric. While Tuse a loose pattern for the main elements, the detail work of the rusted metal, the shifts in light and shadow, the \weathered paint is generally impro- vised. Up close those details become abstracted, but they must pull together tightly to sell a convincingly realistic image from a distance. This sign that was long forgotten and has fallen into disrepair is being seen again in a new light. It is being remembered and I love that Tyrie: How do you feel about your art onceiis done? Lisa: Sometimes it can be hard to step away and call it done, But once | make that call, whether itis driven by an internal gat feeling or a pending show deadline, lam usually pleased with the final product. And while I love ceach piece, lam creating them ta be enjoyed by others. I want to draw a viewer ftom across the room, I want chem to be euri- ‘ous about what they are seeing: Is ita painting? Is it printed on cloth? When they get closer and realize it is entirely sewn from small pieces of fabric, I want to pull them in closer, to examine the layers, the colors, And then even closer, until they are Tost in the details of the fabrics, the frayed edges, the stitch, and texture, There is such beauty in these signs, 1 can stare at them forever and still see something new. I want to capture that experience and share that with the viewer: To learn more about Lisa and her work, visit lisakijak.com, get more niLine To see how Lisa pur together ‘Neon Study "her SAQA auction donation, link toe shor video From our Online Extras ae quiltingdaily.com. AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINEbaa Be Make a memories last forever by capeuring. ‘hem in personalized quilts ~ Learn how to make quilts using bits of ‘memorabilia with the help of expert tips and derailed instructions ~ Be inspired by these patterns to create one-of-a-kind designs! GET YOUR FREE PROJECTS TODAY AT:REPLENISHING YOUR CREATIVE WELL fiber alt groupsMembers’ work from a workshop with Dawne Dupree hangs to dry’ inthe studio, Photo by Alana Mteod, wo large windows yawn tall at the end of the whitewashed brick room. The stretch of space is filled with a long table and its walls are covered in shelving that holds a wide variety of equipment Ie in this simple 1,100-square- foot space that the members of the Contemporary Textile Studio Co-op (CTS) come together to hone their cali, The Toronto-based group calls this space home, the beginning of experimenting, a place of knowledge and learning, All artists long fora grand space in ‘which to create their work, but often itremains a daydream. In 2006, the members of CTS decided to stop pondering and made the space a reality. What began as a simple conversation around a dining room table has grown steadily into an educational powerhouse for textile art Including between 11-13 artists, CTS members are selected based on a set of criteria that helps to keep the co ‘op humming, Their chosen processes Above: Members of Contemporary’ Textile Stadio Co-ap tn Toronto are, rom tet, Sharon Epstein, Manira Amin, Rachel MacHenry, Cathy Lang, Kerry Schletmer Mama Mel eo, and Roohi Qureshi. Ana Galindo is oghat, Fiona Greer Joanna Opposite: Works by Rachel MacHleny from her Wool Blankets sees, Phos by Nicole Babin ot AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINE‘must fit within the limits of the studio space and they must be willing to contribute to the maintenance and operation of the studio, While the group conducts themselves at a high level of professionalism, they do not limit themselves to only established. artists, They welcome emerging and pa ne artists, too, and they all ‘work together to share skills and encourage career development for their members, The textile isciplines they employ encompass an impressive variety of techniques including screen printing, block printing, dyeing, quilting’ piecing, weaving, felt making, hand and a Wedding Ahava’ by Sharon Epstein (deal ff) * 30° x 24 ‘machine embroidery, and various forms ‘of embellishments such as beading and incorporating found objects. Rachel MacHenry’s Wool Blankets series combines functionality with art, using screen printing to create pattern and color. Rachel focuses on creating textiles that are both useful and ‘environmentally friendly. In fact, sustainable practice is a primar CTS. Textile production can use lots concern for the members of ‘of water and produce chemical waste. The co-op has received funding to research using organic materials and carth pigments for printing. Photos by Thomas lanchart AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINEThe energy that comes from working ‘with like-minded artists is invaluable. Member Ana Galindo says, “I've never been part ofa co-op before CTS, but have shared studios before, The difference is monumental, in the best possible way: We always manage to look after cach other and work with each others best interests in mind, The studio is in a complex web of former factory buildings known as 401 Richmond, Their building plays host to a wide variety of artist studios, a café, bookstores, and galleries, Community and inspiration are forefront in this space and the members of CTS personify perfectly. The community they have created is not hound to the studio they share. They reach far b themselves, focusing on education— yond both teaching and learning—in order to advance textile art as a specialty They offer classes and workshops plus hold Textile Talks, which are lectures Pear print on tea towel by Ana Ga about vatious aspects of fiber art. They hhave featured guest instructors such, as India Flint as well as collaborative community art project The art project “Hello Housekeeping...2!" was a perfect example of CTS working within their community to bring textiles more in view of the public. The project was ‘a collaboration between artist Eliza Plumaley, CTS, anda local housing co op. The members of CTS mentored Fliza to create a large textile to display atthe housing co-op. The piece centered on using recycled items from hotel housekeeping Other members of the co-op draw from their personal hives, working with conganizations close to their heritages. Alana MeL¢od, who is aboriginal, is ‘working with the Native Women's Center. Member Sharon Epstein draws from her Jewish heritage and creates ‘work for synagogues in the Toronto area and in the US. Photos by Ana Galindo Even the commissions they take on push the limits of their work, bonding them closer with the people in their community. Kate Busby, a quilt maker, takes commissions in which she works with fabric that has special meaning to her clients, She says, “One woman brought mea tattered childs blanket. It had belonged to her daughter and now that her daughter was expecting her first child, the woman asked if could repurpose it into a crib quilt for the new baby. I enjoy projects like that one because L truly believe we should feel a connection to the objects we use in our lives.” CTS members push the boundaries, look for the unexpected, and deny no new possibility. This is most evident in the wide variety of artistic styles the members have, From wall att to ‘weatables ta functional items such as ‘household goods, the artists of the co- ‘op dont really know how 10 say “we shouldn't try this.” Ana Galindo’ screen printing im progress this design is called “Talavera.” AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINE 6CTS’S ADVICE FOR starting & running a successful co-op © Choose like-minded individuals who will all commit to working toward a ‘common goal. Study other operating co-ops to ‘identify what parts oftheir practice will work well withthe groups Be realistic about expenses. Research the cost of facilities, equipment, etc, ‘to make sure members will be able {to financially support che co-op. Build slow. easy to get swepe up with enthusiasm, but thisis one case where careful planningis necessary Be sure to properly formalize Yyour co-op once itis set in order to obtain insurance and create a contract that each member wil ign 10 be part ofthe group. CTS is mote than just a group of antists working toward improving skills and producing artwork. They are a force, a gateway to community education and involvement. They have gathered in a central space, but its clear from both their artwork and _generous spirits that the impact they have on the world around them knows no bounds. # To learn more about the Contemporary Textile Studio Co-op, Textile Talks, and “Hello Housekeeping...2? visit textilestndio.ca, To learn more about 401 Richmond, visit 40lrichmond.nct. get more online ‘To see more work by the members ‘of Contemporary Textile Studio Co-op, visi quiltingdaily.com. Trapper’ Quilt” by Alana McLeod (detail below) + 43" x 30" Photos by Thomas Blanchard AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINEInspiring eBook from Quilting Arts® Magazine Dye Your Own Fabric CTTITTO URL OE CELL TELL UOT oreeRenour Rms ine ancl ack cl Peel eee le hare eR Uses Seeman uaa R ne chin cl mame euk Rice aya) Pac ea SCm MR Cliche ian ats PUAN ER ele Recloimesh The step-by-step instructions, gorgeous photography, colorful samples, and exquisite finished artwork are ‘sure to provide endless inspiration. shop.quiltingdaily.com/DyeYourFabric 345 INTERWEAVE Conardiffarence round tT" color, degree of contrast, and visual usy-ness (or simplicity) of a quilts background can make or break the quilt. Yet often, the background isn't given much thought as we race to make the picture we see in our mind. It is important to consider value, contrast, harmony, and scale in your background, as well as in your main images. Imany composition, the eye automatically goes to the point of highest contrast. Think of the great ‘masters’ paintings or a dramatic scene in a movie: a beam of light often illuminates a face or figure, directing ‘you where to look. Using high (or low) contrast in your background will reinforce (or subdue) your focal point. Neither is right nor wrong; it depends ‘on what you are trying to convey in ‘your image, Joshua” = 48" 36 Josh, Utena «very strong, For realistic images, we take our focal point—the boy Toachieve that [needed to exaggerate the conta ‘cues from what we see. For outdoor eileen scenes, the background might evoke a sunny sky, a snowy or rainy day, aan impending storm, a sunset, or AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINEack o School” » 13° x 13* = “Ind with homework, o be tempted outs nighttime. For indoor scenes, there are the choices of wall color, texture, added molding, and more. Ifyour piece is whimsical, abstract, fantasy, or sci-fi, you can go really wild, But no matter ‘what the style of the quilt, basic design principles of harmony, contrast, and simplicity/complexity apply. AUGUSTISEPTEMDER 2013 | QUILTING ARTS* MAGAZINE guile, F wanted t tel thes th of a i who comes home du justripe glorious sky and d the-tre apples. Here, take you through my visual process for creating a background. While the details ate for one specific quilt “Back to School,” the process is what 1 use over andl over when designing. Fabric selection Grab a selection of fabric from the shelf and set i on the table in a controlled heap. Place the key components of your design adjacent to your fabrics to see what clearly does not work, ut the fabrics that don't work back on the shelf, and then consider the restProces photos by Sarah An Sith Figure 2 croppin Zool ae A cropping tool can help you visualize and edit | use an inexpensive "x 10° mat cut into ‘wo parts, Move the two pieces in and out co shrink or enlarge the image and highlight areas that need attention in your composition. (Fgure2) Outside views your design includes an outside scene, start by selecting a variety of fabrics for the sky. (Figure 1) Although 1 like the glowering storm and night views, they didn't tell the story 1 ‘wanted for this quilt, so those were out. The lighter, less contrasty blue sky, typical of the fading light of late afternoons, was my frst choice. Then 1 saw that sunset sky: The strong value contrast (light and dark) with the tree and the fact that the greens of the apple tree and the pinks ofthe sky are complementary colors makes this view pop. But when I placed the pink sky against the warm wall fabries I wanted to use, Ihad a glorious sunset—not the story T wanted to tell about the child, So I returned to my first choice, the soft clear blue sky. Interior design The next step was to make decisions bout the fabrics forthe walls, wanted awarm, cozy feeling that would provide good contrast wo the red backpack. Placing the pieced/fused window design on a collection of warm tones allowed me to delete many quickly — a pink was lovely but too vibrant, a _green too outdoorsy, a bright yellow too garish next to the other fabrics used, and so on, ‘Once you have edited your options, again lay out the finalist fabric the key design components, testing your top choice on one side and ‘comparing other maybes to it on the other side with ‘When you've decided on the wall color, move on to the next design clement. For me, it was the table. 1 auditioned fabrics in the same manner, placing them next to the wall fabric and window until l was happy with the combination, ‘The next time you are making an art quilt, eemember the importance of ‘considering the basie principles of design forthe background as well as the foreground. Tt isnot so much what is right or wrong, but how the fabric ‘conveys the mood! and tells the story ‘you want in your quilt. ‘Check out Sarahs Quilting Arts Workshop” video on fused collage and {ree-motion thread-coloring, available at shop.quiltingdaily.com. get more auline To see more of Sarah work, visit quiltingdally.com. AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINEQuilting Arts EXPLORE wonder Med issues of Quilting Arts’ Magazine Discover space-saving collections that give you the power to access back issues (Including hard-to-find sold-out issues!) of Quilting Arts®. They're easy-to-use and fun-to-navigate. Each issue includes technique articles on topics ranging from surface design to free-motion quitting, embellishment, and more. Revel in the limitless possibilities for transforming your art quilts. cr Tans rice) ia m0 om a Quilting Daily shop shop.quittingdaily.com/QACollectionslaminate it EMBELLISH YOUR ART QUILTS WITH LAMINATED IMAGERY by Stella Belikiewicz DIRECTIONS 1. Gather your images and appropriate size laminate pouches, (Figure 1) 1 recommend starting ‘with simple shapes that have no dramatic interior curves, as it can be tricky to do complex cuts in thick laminate. Because quilts are flexible and laminate is not, fairly noes ‘small individual pieees that are no more than 3" work best. 2. Place the images inside the laminate ppouches—you can laminate rmultipe pieces of paper in the same ppouch as longas you leave enough space around the papers to cut them out, Note: Small pieces can jump around Inside the laminate pouch before ‘you get a chance to seal it. To avoid them overlapping or falling out “How Nature Embraces Imperfect Specimens (#1)" + 8° 9* unexpectedly, dab the back of the . Sr very lightly with age stick 1 to use unusual materials in my work and after EB ca fadiae iwniot yeaa tl experimenting with a laminator at the print shop where inthe pouch, I worked, I discovered I could add texture and dimension by 5 Feed your laminate pouches into the machine with the sealed end first. (Figure 2) When they come ‘out, set them aside on a fat surface colors pop in the most beautiful way. I have developed several to cool so they do not warp stitching laminated images directly onto the surface of my art quilts. The laminated images are durable and shiny, and the techniques for working with these images that can be used. 4 Ifyou will be attaching images to your quilt by hand, punch holes in the laminate with a sharp awl or a Ys" hole punch. (Figure 3) alone or combined in limitless ways. 70 AUGUST/SEPTEMBER 2013 | QUILTING ARTS® MAGAZINEFigure 2 Figure 3 TIP: cis best to punch stitching holes before you cut out your images. Punching a hole right atthe edge can weaken che bond between laminate and paper 5, Cut out your images with a sharp pair of scissors, leaving a small border of laminate to kee paper safely sealed inside. (Figure 4) Clip off any sharp corners. ‘There are several ways to attach laminated images to your quilt My quilt “How Nature Embraces Imperfect Specimens (#1)" is a sampler, of sorts, of the 6 methods 1 like to work with, Clockwise from top left, they are Machine Stitching: If your sewing, machine has a strong motor, it should be able to pierce the laminate, Use tape to hold the image in place and stitch slowly. AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINE Thermal laminacor machine 410 mil thermal laminate pouches images on paper Scissors to cut laminate ‘Awl or Ye" hole punch Fabric or qui sandbic Needle and thread Option Sewing machine Glue stick Tope Rotary cutting supplies Jump rings Sheer fabric recommend an 80/12 universal needle and a slightly longer stitch length than the 2.5mm standard, Use a high quality cotton or polyester thread, 7Marked Man’ + 13 9 why buy a winator? Many copy centers and office stores offer laminating services, but having laminator in your studio is more ‘convenient and a heck of a lot of fun. laminator may seem lke an odd tool fora fberartis to have, but luse mine all the ime. Thermal laminators range in price from $25~$500, but you should be able to find a good machine for under $100—just make sure the ‘one you choose is capable of handling 10 nil thermal laminate pouches. Tacking: Pierce the laminate with a few strategic holes and hand stitch, All-Around Hand Stitching: Make ‘many regularly spaced holes around the image and hand stitch, Sheer Fabric Pouch: Do not punch any holes in the laminated iter, Cover the image with sheer fabric and stitch around the outside by hand or machine Swinging Freely: Punch a is" hole slip on metal jump ring, and stitch the at the top of your ima jump ring to your quit. Decorative Thread Stitching: Hand stitch using decorative fibers such as novelty yarns or thick: decorative threads. You can laminate almost anything that . J is laf Tey sto phiotoghaphs, magazine banish the bubbles aera ee et eee een eee ne en eo and le pach ds between the layers of laminate. There are two main ways to avoid air bubbles. labeled eer che feene oe ee ee ee eee eerie esther atch to hearts of ny petites dSexextnearet quilts (sce page 6)! images, original drawings, text, glitter, collages, a hhole punch discards. 1 ‘Make sure the size of your laminate pouches matches the size of your images. For best results, leave of space between the paper and the edge of your laminate. You can purchase small laminating pouches or make your own by cutting larger pouches into long, thin strips using a rotary cutter. Make sure your cut strips havea sealed end, however, or they willnot go through the machine correctly. AUGUST/SEPTEMBER 2013 | QUILTING ARTS* MAGAZINEstitch craft reate OCTOBER 25 — 26 * CHARLOTTE, NORTH CAROLINA Irip @ YOu oor ng fun\ Stitch Craft Create Live combines three high-energy crafting events under one roof! With Great American Scrapbook Convention, Martha's Sewing Market and Bead Fest in the same location, you've never had so many crafting choices. = Learn new ways to preserve precious family memories in scrapbooking workshops + Discover new sewing techniques for both hand-stitching and machine work + Explore jewelry-making with classes on beading, wire work, metalsmithing and more Plus, shop hundreds of vendor booths for paper, fabric, jewelry-making supplies, embellishments, tools, embroidery kits, beads, gems and much more! Cicer erece a eeeby jane Davila move itout! THE BENEFITS of MOVING YOUR STUDIO OUTSIDE YOUR HOME if comes a time in nearly every artist's life when she or he jdreams about having a studio outside the home—a space devoted to art, maybe with other artists working away in their own nearby studios, group events like open studios and exhibitions, and space to spread out and work uninterrupted without mundane distractions. Lasked four artists, all of whom are living the dream, for their thoughts. Jamie Fingal and Sandy Donabed both have studios in industrial parks, in California and Florida, respectively. Rayna Gillman has space in New Jersey in a building full of other artists and creative businesses. Margaret Applin combines her home and studio in a live/work loft in an artist complex in Massachusetts. rer Why move out of the house? “There are many reasons why artists seek working space away from their homes, Some ate tired of interruptions in their working time, are ooking for a space that doesnt need to be ‘leaned up at the end of the day, or are looking to connect with other artists and relieve loneliness. Sandy notes, “Every it and I find that its really easy to jump right back in where I eft off ‘The extra space enables me to try new things that I couldn't do in my house, like marbleizing fabric, working on ‘encaustics, and having three or four projects underway at once.” ng slays where Leave ‘The ability to have a really large space is very tempting to many artists, too, We've often limited to spare rooms at home, but renting a studio means we ‘can spread out. In addition to having lots of space for working and storing supplies, Jamie’ studio is “large ‘enough to teach classes, have an open studio day for artis to ¢ome in and ‘work, or have a small gallery show” Inher studio, Rayna has excellent light and ean work on a langer scale with a 10-foot design wall. Margaret Left Jamie Fingal studio in California thas enough space for a seating area where she can alo display her artwork, AUGUST/SEPTEMBER 2013 | QUILTING ARTS® MAGAZINERight; Sandy Donabeds studio in Florida has several work zones, decided to live in her studio when an opportunity to move into a live/ ‘work loft arose saying, “At that point, realized I would be making a real commitment to my art and my life san artist, I believed in myself and the path I wanted to take. As you can imagine, living in a community ss simply, inspiring in and of itself surrounded by arti Types of spaces ‘Art studio space comes in many shapes, sizes, and locations. There are buildings with nothing but artist lolts and there are mixed-use buildings with a combination of artists and commercial businesses. Office or ‘industrial parks can be an excellent place to have an artist studio, as can a retail storefront Each location has pros and cons For example, although Jamie loves everything about her studio, she doesnt always feel comfortable working there late at night because it is in an industrial park and most other businesses are closed. Sandys studio is also in an industrial park and she understands the trade-off of having. 4 large space in a more commercial location versus having a much smaller space in a building with other artists, ‘The industrial park can get lonely ‘without other artists around bhildings dedicated to artist studios can sometimes offer the benefit af pooled resources. For example, there could be community rooms, gallery space, kilns, printmaking equipment or presses that can be used by all AUGUSTISEPTEMDER 2013 | QUILTING ARTS* MAGAZINE 8 by Sand Denabed tenants, The community fel has value beyond shared equipment. Rayna finds that even though she isthe only fiber anistin her building of painters and printmakers, she has the respect and interest of her fellow artists. Margaret has rearranged her space many times since she moved In. She says, “This new, untraditional space hhas come to be the best thing that has ever happened to me! | began living my life as an artist in my studio. | no longer hacl to worry about leaving iichen or living room, or covering my dining room table with aplastic cover for painting, I have projects in the 1,335 square feet of space meant for exactly that, along with huge windows and 1+-foot ceilings.” Artists naturally think outside of the box and applying that thinking to finding a space to work ean offer more ‘opportunities than you realize. Ask other artists where th y work, attend open studio events in buildings that ‘you are curious about, and keep your eyes open for potential working space, Benefits The benefits of having a studio outside nding, adding structure and purpose to your day, providing uninterrupted work time, and creating a clearer separation between family time and att time. You of your home are numerous mnay also find your commute gives you time to mentally change gears and get ready to work: If you seta schedule for yourself ofthe days and hours youl spend in the stu focus your attention on your art when you ae there itwill he easier to Rayna loves the light in her studio and the fact that there are artis available for an opinion or a quick cchat whenever she needs one. She finds the regular open studio events at her building provide an opportunity to sell work and meet a lot of potential collectors, Jam hher organize current and upcoming, projects, saying, “I have a huge board (on the wall) divided into categories for exhibits, publications, volunteer inds her new space helps7 work, ongoing projects, and curating, with Post ® notes for each project that [need to do, I can see it from anywhere ‘in my studio, Plus, I have more balance in my life, I dedicate myself 10 a schedule of Monday through Friday in the studio, and spend the weekends at home with family.” For Sandy, it’ all about having more time to create, She says, “The best thing is that I never have to keep things put away! Neatness no longer ‘counts after all those years using a home studio. I don't get interrupted and I find my concentration is so much better without the distractions of household chores. Lam treating the space like an office job. I try to keep sort of regular hours and T dont bring, ‘work home at night Margaret has a “day job and comes home to her studio at night. She says, “Adapting to this new way of living iy lfe every day was instrumental in increasing the amount of time and nergy Twas able to devote to my art feel free to spread out and try new things. There are two distinct parts to nny day: From 85:30, lim a paralegal From the moment Larzive home until my head hits the pillow, lam an artist.” moving out Photo by Rayna Gillman Drawbacks “There can be disadvantages to working in an outside studio, Rayna doesnt have laundry facilities at her studio so she must bring fabric home to stea wash, or dry it. Ifshe wants to work at home on a projec, she needs to have supplies in both locations. And because she shares studio, there room to teach a class with more than four people. n'tenough Sandy finds her studio lonely sometimes. She says, “II could change anything | would rather be in an artistic environment with other studios around, but T've scen what’ available in space like that near m call them art closets!—so 1 am happy as al get-out with my big space.” Consider thsi you are thinking of moving your studio outside your house: "© What is the commute? Will the price of gasoline and the time spent driving outweigh theadvantages ofa dedicated space? ‘© What isthe fll cost ofthe space, including utilities, publicity setup, etc? How: you cover that cost—wil ou offer classes, sell more artwork? © Is it berter to buy or lease? Will there be construction coststo get the studio in prime working condition for your needs? © Do you want solo space or will you share with others to save money? Start with alist of your needs and alist of the potential costs to see what wil fi into your budget, Look forthe benefits and drawbacks of each potential location to help in the decision-making process. The print tables in Rayna Gillman’ New Jersey studio are well used, (Other drawbacks might inelucle the pressure of having to cover the costs ‘of maintaining the studio space, the ‘commute to and from your studio, and sometimes the inconvenience of noise, I 4 : 0 value), ) Handi y Quilter : e Follow us on (SI E@