Quilting Arts Magazine - Issue 117, Spring_clone Flipbook PDF

editor’s note How could that be? Why would Iever purposefully mix the color ‘mud’ when creating a cohesive color palette for painting on fabric? The answer is simple: it was an assignment for a color theory class. As someone who almost always follows directions, it was also one step that Inearly glossed over and ignored on my journey to explore gel printing this past winter. The assignment was simple: using the three primary colors, mix them in a proportion to make the color brown, then add a small amount of black and white to create a medium tone ‘mud.’ The resulting color was not awful, despite my initial hesitation. But the next step blew my mind: add some ‘mud’—just a smidge—to each of the

SPRING MAY BE THE SEASON ofnew beginnings, fresh starts, and the awakening of the natural world, but—if you are a New Englander likee me—it is also the season of mud. Lots and lots of mud. Ugh. As much as Ilook forward to traipsing through the woods behind my house and hiking on our local trails, Ido not get excited about the inevitable layer of brown goo that clings to my boots. Mud ruins the finish on my hardwood floors, stains my socks, and covers the carpet of my car despite all my best efforts to scrape the muck from my boots. No matter how much Isweep, rinse, or scrape, it is still my springtime constant companion. But recently, I’ve learned to embracee mud in my studio—and here’s how: it is my newest favorite color.

primary colors before continuing to mix the final range of colors. Icouldn’t imagine what would happen to bright yellow, red, and blue when combined with mud, but what Isaw was a subtle shift that connected all the hues to one another. Adding the mud was what each of those colors needed to start visually communicating. It was the ‘secret sauce’ of my next few days in the studio. I’ll never look at mud— either on my floors or on my palette— the same way again. Experimenting and letting go of expectations is one of the hallmarks of creative expression. If you have ever started a sentence with the words, “what if” then you know how powerful they can be.

“Sommaco” • 49" × 49" • Fabia Delise • Trieste, Italy

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What if you photocopied an image and wanted to use it as a focal point on an art quilt? Ana Buzzalino has experimented with that process time and again and shares the methods she’s perfected in the first installment of a three-part series about paper lamination. Paper DOES belong onquilts. What if you wanted to feature hand stitching on a quilt, but also combine it with machine quilting? Catherine Redford had that thought and experimented with lots of different combinations. Her work shows that one type of quilting does not need to overpower the other— both can pop when you plan ahead. What if you have a creative goal— like sharing your work—but have never worked up the courage to enter a show? Why not enter a QUILTING ARTS Reader Challenge contest? Lin Elmo shares her creative journey about entering our challenges and the joy in seeing her work in print. (Fun fact, the first piece Iever published was for a Reader Challenge in 2005.) Lin’s tips for sharing your work are spot-on! Art quilters are known for innovation, experimentation, and creative risk-taking. This issue highlights artists who are pushing boundaries and making their own rules. We’re excited to feature works from a broad range of art quilters and highlight some of the most interesting artwork shown at international quilt shows. In addition, we hear from the Quilt National judges, explore the latest SAQA exhibit ‘Sustainability,’ and learn how to look at (and talk about!) the quilts we see at a show with Frances O’Roark Dowell.

“Impressions of Siena” • 45" × 37½" • Denise Oyama Miller • Fremont, California

So what does all this have to do with mud? Take a tiny bit of what you experience from each one of the articles on the following pages; let those bits mix together in your mind, and then add the knowledge—‘mud’— into your next experiments in your studio. The results may surprise you!

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The artwork seen on these pages is from Quilt National 2023. To see more work fromthat show, turn to page 39.

Best,

Vivika Hansen DeNegre, Editor

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EDITORIAL

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DIRECTOR OF CONTENT, QUILTING Vivika Hansen DeNegre

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PHOTOGRAPHY Molly Stevenson unless otherwise noted

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Spring 2023. QUILTING ARTS® MAGAZINE (ISSN 1538-4950) is published quarterly by Peak Media Properties, LLC, dba Golden Peak Media, 500 Golden Ridge Road, Suite 100, Golden, CO 80401-9552. Periodical postage paid at Golden, CO, and additional mailing offices. Canadian return address: Bluechip International, P.O. Box 25542, London, ON N6C 6B2, Canada. EDITORIAL COMMENTS OR CONCERNS: [emailprotected] QUILTING ARTS MAGAZINE, 500 Golden Ridge Rd., Suite 100, Golden, CO 80401 BACK ISSUES: Quiltingdaily.com/go/QA-issues

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Learn classic quilt patterns or try your hand at a one-of-a-kind crazy quilt. Use fabric scraps or old clothes from family members to create a cozy heirloom that generations will enjoy.

SHOPS: If you are interested in carrying this magazine in your store, email [emailprotected]. ERRATA: Visit QuiltingDaily.com/errata if you suspect a problem. We invite previously unpublished manuscripts and materials, but Golden Peak Media assumes no responsibility for unsolicited manuscripts or other materials submitted for review. Our submission guidelines can be found on our website at QuiltingDaily.com. The editor reserves the right to edit, shorten, or modify any material submitted. Entire contents of this issue copyrighted 2023 by Golden Peak Media and contributing artists. All rights reserved. Readers are welcome to make copy/copies of any pattern(s) included in this issue for their own personal use. Other reproduction, in whole or in part, including photocopy, is prohibited without expressed written permission of the publisher. Artwork in this issue of QUILTING ARTS MAGAZINE is for inspiration and personal use only. QUILTING ARTS MAGAZINE is not responsible for any liability arising from errors, omissions, or mistakes contained in the magazine, and readers should proceed cautiously, especially with respect to technical information. QUILTING ARTS MAGAZINE does not recommend, approve, or endorse any of the advertisers, products, services, or views advertised in QUILTING ARTS MAGAZINE, nor does QUILTING ARTS MAGAZINE evaluate the advertisers’ claims in any way. Printed in the USA.

UPCOMING CLASSES INCLUDE: Painting Barn Quilt BlocksLog Crazy Quilting with Style Cabin Fun and Games Primitive Sampler UFO Quilt Clinic - Un-Finished Carolina Quilts Objects Painting Barn Quilt Blocks Elephants on Parade Basic Quiltmaking Quilt Restoration What Happened to My Nine Patch? Folk School Barn Quilt Potholders: For the Kitchen and Christmas Quilt Beyond

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Explore the world with fellow quilters! NEW DATES! BATIKS OF BALI February 14 – 27, 2023 • Holland America Line Exclusive Quilt Explorations cruise

PANAMA CANAL February 5 – 15, 2023 • Holland America Line Featuring Chardel Blaine, Jeanette Walton & Cindy Walter

PARIS & NORMANDY April 8 – 15, 2023 • AMAWaterways Exclusive Quilt Explorations cruise

ALASKA June 18 – 25, 2023 • Holland America Line Featuring Gyleen X Fitzgerald & Chardel Blaine

NORTHERN ISLES July 29 – August 12, 2023 Featuring Cindy Walter

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ALASKA September 23 – 30, 2023 • Holland America Line Featuring Jeanette Walton, Scott Hansen, Christina Erickson & Chardel Blaine

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69 69

table of 94 departments 2 EDITOR’S NOTE 8 IT’S YOUR TURN 9 CALL FOR SUBMISSIONS 10 ABOUT OUR CONTRIBUTORS 68 READER CHALLENGE ANNOUNCEMENT Art is a Bridge

81 ON THE BOOKSHELF 93 STUDIO STYLE 104

THE LAST WORD.

Joanne Adams Roth

design & stitch With fabric, photos, and appliqué

Lesley Riley

60 A CELEBRATION OF EARTH ON CLOTH Margarita Korioth

39 MEET THE JUDGES FROM QUILT NATIONAL

64 TAKE THE CHALLENGE Lin Elmo

Linda Chang Teufel

82 EXPLORING THE SURFACE Paper Lamination: Learn the Basics

Ana Buzzalino

46 ON OUR RADAR: MEET CINDY RICHARD Barbara Delaney

50 QUILT FESTIVAL WINNERS

88 OUT OF THE TOOLBOX Make your Own Fabric Paint

Brandy Maslowski

A gallery of top quilts from the 2022 JudgedShow

69 HAVE A HEART

94 TAKE THE SCENIC ROUTE

33 JUMPSTART YOUR MEMORY QUILT

Enhance walking foot quilting with hand stitching

Catherine Redford

in profile & gallery

Results from the ‘Give a Heart, Get a Heart Swap’ Reader Challenge

100 QUILTCON 10TH ANNIVERSARY SPECIALEXHIBITS A selection of Special Exhibit quilts from the show

12 ARTIST PROFILE: CLARA NARTEY Vivika Hansen DeNegre

17 SUSTAINABILITY A SAQA Global Exhibition

28 THOUGHTFUL, MEASURED, USEFUL How to have meaningful conversations about art quilts

Frances O’Roark Dowell

Cover art by Roxanne Nelson At Quilting Arts we love to make art and create. Make sure to visit QuiltingDaily.com/quiltingarts-magazine-spring-2023 for a free eBook curated just for our readers. And don’t forget, we share a daily dose of inspiration through the Quilting Daily newsletter. Sign up today!

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get more online Want more from this issue? Use our new QR code!

To scan the code, open the camera app on your phone or tablet and point the camera at the code. Once your device recognizes the code, it will provide a link that will take you directly to this issue’s home page containing additional bonus content plus an interview with the cover artist. If you prefer, you can access this page by visiting QuiltingDaily.com/ quilting-arts-magazine-spring-2023

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2023

Be a Confident Quilter In-person hands-on longarm training

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it’s your turn

Get Outside!

Our Readers Respond! In the last issue, we asked our readers “What about Spring inspires your work?” and asked them to share their thoughts—and their work, if possible— about their influences. Thank you to the many readers who answered our call and shared theirart with us. You hope you enjoy some inspired thoughts from your fellow readers— and we hope to hear from you, too, when a future prompt inspires you!

As we enter warmer weather here in the Northern Hemisphere, we like to get outside with our work whenever possible—kind of hard when sewing machines are involved ... or is it? Please respond to this issue’s prompt, Get Outside!, with your thoughts on working outside (machine or handwork) and how you do it –OR– how the outdoors impacts and inﬂuences your work. Please send your response and a photo (up to 4MB), if available, to QAfeedback@ goldenpeakmedia.com with ‘IYT RESPONSE’ in the subject line by April 7, 2023. We look forward to hearing from you and thank you from the Editorial Team!

The design for this wall hanging came from an English paper napkin. In England, spring is heralded by daffodils and crocuses, followed by tulips so they represent spring for me, even though I live in a far different climate. This quilt was made with raw-edge appliqué and machine quilting. As one of a series of seasonal quilts, I get to display it every year.

Spring is a time of renewal, fresh energy, creativity, and exploration of new ideas and styles. I love adding color, dimension, and a variety of techniques into my art quilts. Quilting Arts Magazine has taught me to combine many techniques into one piece; the more the better! In a recent quilt, I fussy cut ﬂowers from fabric, embroidered ﬂowers, and added ribbon for ﬂower stems. I arranged these pieces into my own ﬂoral design. The background fabric was made with scraps, similar to crumb piecing. Adding jewels, detail thread work, and quilting completed the project. Springtime energizes me and there is nothing better than using that energy in my sewing room. Thank you, Quilting Arts, for your added inspiration.

Maureen Rawson Saskatoon, Saskatchewan, Canada

Cynthia Boos Highlands Ranch, Colorado

“Spring” • 22" x 18" • Maureen Rawson

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What are you working on now? How has Quilting Arts inspired or educated you? What new techniques or inﬂuences are you exploring?

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Dear Quilting Arts, The Reader Challenge gallery in the Winter 2022 issue plus Ana Buzzalino’s article about scrolls in an earlier issue inspired me to create my own scroll. I have been collecting vintage and antique textiles for 49 years and was excited to use some of these treasures in mypiece. The front of the scroll is ﬁlled with handmade lace and tatting, vintage buttons, beading, silk ribbon embroidery with handdyed silk, and more. All are layered on silk, organza, or linen backgrounds. The backing is all handmade bobbin lace on linen. I had so much fun making this scroll of treasures and sweet memories of the past! Thank you for the inspiration, Cindy Williams Fruita, Colorado

At QUILTING ARTS, we make every effort to give appropriate credit where credit is due. The quilt, “Imagine the Magic: Summer Afternoon” by Alicia Merrett published on p.32 in QUILTING ARTS Winter 2023 had an incomplete description. The quilt was created using an original Modern Botanicals digital design by Lesley Riley. We regret the omission.

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—The Editorial Team

WANTED:

You and Your Work

Submit today and become part of the Quilting Arts family

ow that you’ve experienced our latest issue, isn’t it time for you to become part of QUILTING ARTS? What do you want to read—how about writing it yourself! Share your inspiring work, unique techniques, and new ideas with us and our readers. If you are teaching, blogging about, or exhibiting your art quilts, we want to hear from you! To submit, send us a short summary of your idea along with three images and we’ll get back to you within 12 weeks. Visit QuiltingDaily.com/ submission-guidelines-quilting-daily for our submissions guidelines. Questions? Email [emailprotected].

Counterclockwise from top, artwork by Emilie Trahan, Susan Mattson and Clara Nartey

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about our contributors Joanne Adams Roth has been a quilter and ﬁber artist for over 60 years. Most of her quilts are original designs and many are in private collections in Canada and the United States. She has been juried into several national quilt shows and has been published in Quilter’s Newsletter Magazine.

Barbara Delaney is a wordsmith, avid sewer, and quilter, and the former managing editor at Cloth Paper Scissors. She makes her home in Massachusetts, where she enjoys writing and editing for a number of craft publications.

Lesley Riley deﬁnitely likes to think outside the box. She is a mixed-media art quilter with a 20+ year focus on combining fabrics with vintage—and a few recent family— photographs to suggest or tell a story. She loves to repair, edit, and add a modern look to old photos. Her photo-inspired quilts are created with her unique raw-edge, loose-ends appliqué collage method. Lesley has written numerous articles and teaches worldwide. Her tenth book, Photo Memory Quilts, will be available April 2023. LesleyRiley.com

Margarita Korioth Lin Elmo taught art in the Milford, Connecticut, public schools for 36 years. Her academic background includes BS, MS, and 6thyear degrees from Southern Connecticut University. As a quilter, she has enjoyed and been enriched by learning opportunities such as Quilting By The Lake and workshops with Irene Roderick, Joe Cunningham, Betty Busby, and many others. Two adult daughters and a granddaughter continue to encourage her. Lin lives and works in a Victorian house with her four-legged assistant Zoe the poodle.

isa ﬁber artist and quilt instructor living in and teaching online classes from Tennessee. She is always seeking new ways to convert cloth into art. Her recent work features surface design such as dyeing, stamping, silk screening, and stitching with a focus on lettering on fabric. Margarita’s work has been featured in national and international publications and she has appeared on “Quilting Arts TV.” margascrafts.blogspot.com

Ana Buzzalino is a

her love of storytelling and quilt making in her 2016 novel Birds in the Air, followed by the short story collection, Margaret Goes Modern. She currently leads a thriving online community at QuiltFiction.com, where the second volume of her historical quilting series A Friendship Album is being released.

ﬁber and mixed-media artist, surface designer, teacher, and lecturer. Her love of layers and texture combine in her original work. She achieves results using a combination of monoprinting, hand-painting, free-motion stitching, and hand-stitching among other techniques. Her work has won numerous awards at national and international shows. Ana is currently teaching online from her studio in Calgary, Alberta, Canada.

@offkilterquilt

anabuzzalino.com

Frances O’Roark Dowell ﬁrst combined

Linda Teufel is currently a member of the 2023 Quilt National committee. She retired as publisher and founder of Dragon Threads, which produced textile arts books. With a BFA in Fashion Design, Linda is proﬁcient in all the needle arts from sewing and quilting to knitting. Photography is also a passion and Linda has exhibited her work in several shows. She lives in Columbus, Ohio, with her family.

Catherine Redford loves machine quilting and handwork equally and often combines the two for great results. She has learned to teach and lecture virtually and keeps busy with a full schedule of national guild and quilt show appearances. She is the author of Modern Machine Quilting and Butterfly Stitches: Hand Embroidery & Wool Appliqué Designs. catherineredford.com

Brandy Maslowski isa quiltmaker and textile artist who travels the world as a teacher, speaker, author and NACQJ certiﬁed quilt judge. Her quilts and textile art explore meaningful themes in her life using the texture, colour and boundless possibilities of fabric, surface design and stitch. She leads quilt cruises and land tours worldwide with the tagline More Joy, Less Overwhelm. She hosts the Quilter on Fire Podcast and can be found everywhere online as the Quilter onFire. quilteronfire.com

WANTED:

You & Your Work Quilting Arts Magazine is always looking for fresh voices, beautiful images, and artwork that represents the diverse and ever-changing art quilting scene. If you have a dream to see your name and bio on this page, reach out to us! Learn more on page 9.

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Clara Nartey WEST HAVEN, CONNECTICUT by Vivika Hansen DeNegre

ost serious art quilters, at some point in their careers, take time to evaluate their

goals and clarify their vision. Some are focused on creating a body of work that is shown in galleries or hung in museums among paintings and sculptures. Others aim to win prizes at quilt shows or have their work featured in major publications. Still more wish to hone their skills and share their expertise on the teaching or lecture circuit. Photos courtesy of the artist

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Clara Nartey sees the value in all those goals but doesn’t stop there. Her vision is to create a body of work that documents our current culture and leaves a legacy for future generations. “I want my work to have meaning, to start important conversations, and to live on after me when I am gone,” Clara says. And she is on her way to accomplishing all those goals, with unique stitched portraits that vibrate with color, texture, and spirit. Art quilters generally have roots in traditional sewing or quilting or come to the genre after exploring other media. But Clara’s journey had a few additional twists and turns along the way. “Growing up,” she says, “I used to be the creative one.” She loved interior design, created home DIY projects, and even started a handmade jewelry business with a friend while in college. Although she enjoyed fashion and working with her hands, she looked at those skills as hobbies, not as a basis for a career. “Moreover, the visual arts weren’t something I’d tried nor were they something I thought I was good at.” Academics, on the other hand, were her forte. “Career-wise, I was more of a nerd.” She headed to college and pursued a double major in computer science and statistics. With plans for a career in the tech industry, she also earned an MBA. She then worked in management consulting. But her artistic skills honed in her early years bubbled to the surface at a time when Clara needed a creative outlet. After losing her job, she found herself with an abundance of free time and was looking for a project that used her hands. Her mother’s creativity and resourcefulness became her inspiration to pick up sewing. “My mom owned an embroidery machine and used it to decorate our clothes. So during my period of unemployment, I purchased my first sewing machine—and of course it was an embroidery machine. I originally bought it for a monogramming project for a family friend. After the project was done, I had a sewing machine that I didn’t know what to do with.”

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“Amethyst” • 30" × 40"

As much as she loved fashion, sewing her own clothes wasn’t her goal. “I knew that I wasn’t going to do that! I started researching how to use my new machine to do creative things and that’s how I found and fell in love with art quilts. Before that, I embroidered on baby blankets, and tried traditional quilting for a brief period. But it was the idea of making wall art with my sewing machine that I was really excited about.” Art and design had always piqued her interest, and “the fact

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“I started researching how to use my new machine to do creative things and that’s how I found and fell in love with art quilts.” 13

“Emerald” “E ld”” • 30 ld 30"" × 40" 40"

“I want the hair to be a feature in my work, because the hair—and hair story— is how I started doing portraits.”

that I could use a non-traditional tool like a sewing machine to achieve that purpose was fascinating to me.” Since that first encounter with the sewing machine, Clara’s artistic abilities have skyrocketed and her business—which incorporates all aspects of her professional training, consulting experience, and artistic prowess—is flourishing. She has also created a body of work that is distinct, cohesive, and incredibly powerful. On the surface, her work is immediately recognizable and focuses on faces, clothing, texture, and setting. But those are just the outward things we see when looking at a ‘Clara Nartey’ art quilt. Behind every stitch, each quilt tells a story—and

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sometimes those stories deeply move viewers in ways she never would have expected. For example, one of Clara’s goals is to focus the viewer’s attention—to examine her portraits and see the humanity of the person portrayed. “I want the hair to be a feature in my work, because the hair—and hair story—is how I started doing portraits.” The quilt documenting her own hair journey was about accepting her natural hair texture and building a positive self-image. That piece led to more work intended to counter negative stereotypes about Black hair and represent it beautifully in art. She once hung an exhibit of quilted portraits in a local high school and the response from the young girls who saw themselves represented in those quilts was tremendous. “It motivated me to keep doing portraits” and continue this important work of representation and telling stories of strength and diversity. Clara’s process in creating these intimate portraits begins with a reference photo that she alters and manipulates digitally. The resulting image evolves into an entirely unique piece of physical fiber art. “A simple way of describing my process is saying that my works are threadpainted, digital paintings. I do hand-guided digital painting of my portraits, which means I’m not using digital tools to manipulate my reference photo so that a computer program generates an image for me.” It is all her work! How does she do it? She works on an iPad to make a rough sketch of the position and proportions of the facial features. “Then looking at the photo on my phone, I start shading the grayscale values that I observe onto my iPad.” She always paints the face in grayscale before adding color. “Painting this way has taught me to have great observational skills. What I paint is what I see, not what a computer sees.” After working on the face, she moves onto the hair. “Here, I get to be a hair stylist. Painting hair usually takes a lot of time—usually several hours.” The next step is to focus on the clothing. Since her work is all digital, she has no fabrics to create the clothes, so she designs those as

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well. “This presents me with opportunities to influence the narrative of the piece. A major decision I like to make when designing fabrics for the clothes is what symbolism do I want to embed in the fabrics. How can I use the fabrics to help me tell the story of this piece of work? I then use illustration software and design the fabrics to ‘dress’ my figures. Here, I get to be a fashion designer—matching colors, prints, and accessories. When all this is done, I send the digital files of the fabric designs and digitally painted figures to Spoonflower for printing. That is the end of phase one—the digital painting phase.” Finally, the stitching. “When my printed fabric arrives, I use quilting techniques to create a quilt sandwich and embroidery techniques to stabilize the fabric and prepare it for the heavy thread painting. In this phase, threads are my paint. Going by some estimates, I use a couple thousand yards of thread on each piece. I use a variety of thread colors to stitch details and to add texture onto my figures. I stitch so close that it’s more like machine embroidery than quilting and all of that harkens back to my embroidery days.” So which comes first: quilt design or the story behind the quilt? Clara responds, “I’d say it’s a collaboration between the story I want to tell with the piece, and the story the piece wants to tell the world.” Sometimes, she begins with a story and as she works, the piece moves in a different direction as it evolves. “Other times, I start with just a loose idea without a strong story in mind” and eventually, the story bubbles to the surface. How the final work is viewed is also part of the process. Viewers might have an entirely different response than expected. “So, the story behind the works are truly collaborations between myself, the work itself, and what the viewer sees.” Making and exhibiting amazing artwork are not the only ways Clara has made an impact. While many artists focus on just one income stream, Clara has developed a business that encompasses creating art, teaching, coaching, showing, and selling prints. Her website is

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Gem Quilts The portraits featured in this article are from Clara’s series Hidden Gems. “In this ongoing series, I explore the different shades, facets, and color ranges of precious gems as a metaphor for humans of different races. Different, but each one equally precious. “The portraits are created with a wide range of ink colors—painted digitally, printed onto fabric, then stitched with colorful threads including variegated threads for the ﬁrst time in my portraits. The Adinkra symbol for Siamese crocodiles is used in the background of each piece. The story behind these mythical Siamese crocs references unity and highlights the absurdity of ﬁghting each other when they’re joined together at the belly.” Learn more about this series at claranartey.com.

“Rhoda” • 30" × 40"

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can help alleviate that stress and provide some financial security to help artists focus on pursuing their crafts so they can create amazing works that impact the world in so many meaningful ways.” She continues, “Even for established artists, income from art isn’t always consistent—there are months you’ll make more money than others, and months where you’ll earn nothing. I think a lot of artists are not able to have the mental space to grow into the great artists they could become because of all the financial stress associated with being a professional artist.” Ultimately, Clara wants her work to leave a legacy as she learns and grows as an artist. “My artistic goal is to evolve so much that ten years from now I’ll look back at my work today and be amazed. I don’t ever want to stop experimenting as an artist. In addition, I want to have helped train a group of textile artists who are professionally doing very well in the art world.” To learn more, visit claranartey.com.

Above: “Sapphire” • 30" × 40" Right: “All Lit Up” • 30" × 40" This quilt is from The Joy of Living series.

“I don’t ever want to stop experimenting as an artist.”

clear and colorful, and her blog is inspiring. She’s found a professional ‘sweet spot’ of maintaining a studio practice as well as guiding others on their creative journey. When asked about her multilayered approach, she is forthcoming. In addition to being an artist, “I have a degree in business management. But the thing about art and money is that society has created this perception that art that has anything to do with money or business is not pure art. (Bear in mind, this is the same culture that tells creative people that they’ll starve if they choose to become artists.) So, what are creative people expected to do? Starve or find ways to make artwork for them? I believe multiple income streams

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WHAT DOES SUSTAINABILITY MEAN in this time of climate crisis? What is to be sustained and for whom? How might quilts guide an exploration of these questions? Historically, quilts are objects of comfort which are constructed by bringing together disparate elements to make a whole. This practice of accumulation, improvisation, reimagining, recycling, repairing, and remixing is a perfect metaphor for the theme of this exhibition. Artists use quilting to approach environmental concerns from a variety of vantage points. Many draw on quilting as a practice of reuse: making something from scraps that have their own material histories. Others reference quilting as reuse while stepping beyond messages of individual responsibility. Still others explore relationships with the more-than-human world. Referencing the use of quilts as memorials, artists attend to the vulnerable places they love. These objects of comfort, constructed by bringing together fragments of other textiles to make a new whole, is a reflection on the interdependence of human and more-thanhuman life. —TALI WEINBERG, JUROR

sustain ABILITY A Studio Art Quilt Associates Global Exhibition Weightless PAT KROTH • 24" × 63" • VERONA, WISCONSIN

Photo by William Lemke

I have always been fascinated by non-traditional materials. “Weightless” is a lightweight, waterproof ﬁber artwork made from consumer waste packing materials. How we assign value to things interests me. Sometimes humble materials play an intriguing role. It is imperative that we work together now to protect our planet from the glut of plastic and microﬁbers in our environment by making choices that are environmentally friendly and sustainable. Colored plastic shopping bags, clear plastic sheeting, bubble wrap; hand cut, layered, heat bonded, machine stitched.

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Photo byy Forrest Doud

Earthen Abode

Mapforms #11 Ma

MARY-ELLEN LATINO • 38" × 25" • NIPOMO, CALIFORNIA

MICHELE HARDY • 32" × 48" • SILVERTHORNE, COLORADO MICH

This summer I was fortunate to visit a quaint turf home located by the sea in Isafjordur, Iceland. The guide explained how the homes are sustainable, withstanding the passage of time. These greencloaked dwellings ﬁrst appeared during the Viking Age in Europe, and they melted into the natural landscape. They provided better insulation against the harsh, northern climate than buildings made from only stone or wood. Durable, renewable, and widely available, turf was laid over a timber structure to form walls and a thick roof. After wetland plants died, dryland grasses grew over the roofs and provided further stability. While Icelanders hold on to their beloved heritage, these sustainable earthen abodes can still be found scattered throughout the countryside, some inhabited and some preserved for individuals to visit.

Clima change and its effect on our water is a very real threat. Climate In the American West we are in an historic multi-year drought, with river ﬂows and reservoir levels at all-time lows. While water rights and usage are complex legal issues, it’s well past time to take right action—not only through efforts to slow global warming but to actio cconserve co nse water, our most precious resource. Continuing to turn desert landscape into unnatural green spaces through tthe he natural n irrigation and irresponsible landscaping and agriculture is affecting irriga not n ot only o the current water supply, but that for generations to ccome. ome We must allow rivers to ﬂow and the natural landscape to prevail. preva Cotton ﬁber reactive dyes, acrylic paints, markers, paint sticks; dyed, painted, Cotton, freehand drawn, screen-printed, machine stitched. freeha

Cotton, photograph, mixed media; digitally manipulated, commercially printed; quilted.

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Gifts from the Universe: Tree Rings DIANA S. FOX • 48" × 57" PARKER, COLORADO

Tree ring patterns show all of the climate and atmospheric conditions which occurred during different periods in the life of the tree. These rings create a library of information— in essence a record of heat, cold, availability of water, and other elements. Growing and harvesting timber sustainably provides valuable income and work opportunities while conserving the forest for future generations.

Photo by Richard Garduno

Cotton, upcycled fabrics, burlap, nonwoven material; hand dyed, frottage, raw-edge appliquéd; free-motion quilted.

Dirty Ash JAYNIE HIMSL • 35" × 50" • WEYBURN, SASKATCHEWAN, CANADA

A fallen ash leaf with distinctive dark spots marring its surface inspired this metaphor. The diseased spots are, to the leaf, as humanity is to the Earth: a sickening corruption. “Dirty Ash” asserts that humanity acts, metaphorically, in the manner of an infection causing illness to our planet. We suppose that burying toxic waste in a hole is an adequate method of disposal, only to learn that the poisons leach back into the groundwater, lakes, and rivers, causing sickness in humans and the entire biosphere. We know we must curb our harmful practices and we know we have the ability. Assorted synthetic and cotton fabrics, spray paint, markers, photocopies; pieced, appliquéd, spray painted; free-motion quilted.

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Polyethylene Forest: Leaf Litter KAREN PONISCHIL 26" × 30" × 1" CHARLOTTE, NORTH CAROLINA

Consider not raking your yard in the autumn. By not raking, a mini ecosystem is created under the leaves, suitable for salamanders, butterﬂies, turtles, frogs, insects, worms, etc. These creatures lay their eggs under the leaf litter and feed on it in the process. Raking breaks this life cycle. Not raking also adds nutrients to the soil and increases soil health with leaf decomposition. I hope you will lift the leaves on this artwork and see the creatures under the surface. Tyvek medical packaging waste, thread waste, old textile paints; painted, stitched.

Plastic Ocean MARGARET ABRAMSHE • 35" × 52" • SAINT GEORGE, UTAH

I grew up in Hawaii swimming in the ocean every day. Today the oceans face a challenge that I would have never imagined: plastic pollution. Eight million pieces of plastic ﬁnd their way into our oceans daily, while only 9% of plastics get recycled. The world’s oceans hold 97% of our planet’s water, feed over a billion people, and help regulate carbon dioxide. While creating “Plastic Ocean,” I considered all the things I could do to make some progress on this issue so that my grandson will be able to swim in a healthy ocean. Canvas, ﬂeece, artist’s images, acrylics, pigment sticks, watercolor; printed, painted; free-motion stitched.

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Photo by Joe Ofria

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Transformation 1 STEPHANIE SHORE • 24" × 36 ½" LEXINGTON, MASSACHUSETTS

The production of textiles requires an enormous amount of water and energy, involving the use of many kinds of chemicals. To reduce my own footprint, I have begun transforming quilts I made in the past. In this piece, small rectangles of fabric were fused onto an older quilt and stitched in place. I like to integrate the new elements into the older quilt so that the past is visible in the new image. Will our planet’s past still be visible through the transformative changes we are making to its veryfabric? Cotton; hand dyed, painted, pieced, appliquéd, fused.

Princess of Serendip FRAUKE PALMER • 51" × 59" • COLUMBUS, OHIO

The power of water is beautifully demonstrated in the slot canyons of Arizona, where the rocks are carved into dramatic shapes and then illuminated by the distant sun. In this composition, I aim to defamiliarize the natural contours of these canyon walls yet, paradoxically, bring out their curvilinear essence through creative tension between the representational and the abstract. Employing the vehicles of symmetry and superposition, I take my photographs and use these canyon curves to create my own composition; one that conjures up a new world, yet still evokes the memory of that mystical experience of traversing the canyon. When will I return? Photographs, cotton; digitally extracted, manipulated, rotated, and pieced, printed onto fabric; machine quilted.

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Provisions DEBORAH BOSCHERT • 40" × 40" LEWISVILLE, TEXAS

A tiny seed is at the center of a sustaining, ongoing pattern of nourishment. Maybe the seed is a grain that ﬁlls a bowl. Maybe the seed is an idea that feeds the mind. Maybe the seed connects us to the land and to each other. This ongoing and yet fragile cycle of nourishment at the personal and global level ensures our collective sustainability. Fabric, paint, ink; fused appliqué, surface designed, handembroidered; free-motion quilted.

Embrace Circularity JENNIFER SOLON • 28" × 34" PERRYSBURG, OHIO

The fashion industry is one of the most wasteful consumer industries in the world. Its linear production model of take-makewaste results in depleted resources, harmful pollution, and growing landﬁlls. With the popularity of fast fashion, almost 75% of clothing is thrown away but only 12% ends up being recycled. Asking consumers to simply change their buying habits is not enough. The entire clothing industry needs to shift to a circular production model which focuses on implementing sustainable options at every stage of the product life cycle, from design to disposal. The key to the circular model is to utilize existing resources, with a focus on longevity, and re-use so that waste can be minimized. Businesses, governments, and individuals all need to work together to create innovative solutions for a more sustainable future. Acrylic paint, repurposed canvas painting tarp, sewing patterns, clothing strips, clothing labels, plastic bags, recycled tissue paper; mixed media collaged, painted, machine stitched.

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Cedar Swamp #5 PAT BISHOP • 36" × 54" SHAWANO, WISCONSIN

This property was originally owned by my grandparents. It is unbuildable but beautiful in its desolation and ability to sustain itself as nature intended. Used a century ago for ﬁrewood and hunting, its beauty is in its peacefulness. We need to maintain our natural areas for future generations, to allow nature to take its own course without human development or stripping value for our immediate gratiﬁcation and desire to monetize our lives. My cousins currently have ownership with no plans to do anything other than leave it be. Recycled linens, clothing; hand dyed, stamped, discharge dyed, thread painted; machine quilted.

For more information about Studio Art Quilt Associates, visit saqa.com.

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Viewers study Nettie Young’s Housetop quilt.

Careful observation can help guide more meaningful conversations about quilts. Photo by Clifton Dowell

Photo by Clifton Dowell

thoughtful, measured, useful How to have meaningful conversations about art quilts

ou’re walking the quilt show floor when a

particular quilt draws your attention. Maybe you love it. Maybe you’re baffled by it. The person standing next to you seems similarly enthralled or appalled. You glance at each other–clearly, you both have opinions to express. “So, what do you think?” you ask. “It’s so cute!” comes the reply.

by Frances O’Roark Dowell 28

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Talking about quilts is just as satisfying as creating them. Photo by Michelle Wilkie

The conversations we have around the quilts we see can spur us on as makers as well as create new friendships. Photo by Kristin Esser

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Maybe you’re satisfied with this exchange of pleasantries. But what if you want more? After all, why come to the big show if you can’t dig deep into the reasons why some quilts stir your soul and others leave you unmoved? These explorations don’t only help us articulate why a quilt speaks to us, they also inform our own creative process when we return home, inspired and ready to stitch. So, how do we have richer, more meaningful conversations about quilts? I want to suggest that the first thing we do is move away from the “I like it/I don’t like it” binary. We’re not quilt judges, we’re quilt lovers, and many of us are quiltmakers with a vested interest in understanding how quilts work. Let’s go back to that first quilt. When someone asks you what you think, where do you start? Quilter Heidi Parkes suggests beginning by simply stating what you see. “One approach is to say, ‘I observe x, y, and z,’” she says. “‘I see machine piecing and a lot of warm colors, and a lot of texture.’ Observing a quilt this way is an easy way in. It’s not controversial. It’s just you wondering, ‘What am I literally seeing?’” Next, you might reflect on how these different elements work together. What can you say about how the quilter has used color, value, and contrast? Has the quilter utilized 29

repetition of shape or line to create a visual tempo? What’s the quilt’s focal point? You may be surprised not only by what a close viewing reveals, but also by what you’ve missed. You might have noticed how the quilting design differs in different sections of the quilt, while the viewer next to you points out how a series of small circles creates a pathway around the central design elements, something you completely overlooked. This way of approaching a quilt moves you out of the realm of judging and into a space where you’re playfully engaged with the quilt. It’s “I Spy, Quilt Show edition.” Another way of looking that can help you experience the quilt more deeply—and find more interesting ways to discuss it—is to consider the quilter’s design decisions. “Ask yourself, why did the quilter make that choice?” 2016 QuiltCon judge Cheryl Arkison advises. “Why is there so much negative space on this

P ot Ph oto to by b Franc raances ces e Dowel ow weelll

A viewer considers this quilt’s overall construction and techniques used.

side and not on that? What was their thinking? How did they make that curve? Is that circle made up of four quarter circles? Or is it made up of a full circle? Be curious about how the quilt was made.” Once you’ve deconstructed the various ways the quilt has been constructed, try getting personal. Certified quilt judge Scott Murkin is always looking for the ways a quilter has taken a trend and made it their own, or, as he puts it, “[How] they made their quilt sing just a little bit louder and stand out from the crowd.” What choices did the quilter

Ten Tips for Looking at— and Talking About—Quilts •

Say what you see. What colors, shapes, textures, elements do you notice? How is the quilt quilted?

•

Consider the quilt’s overall construction. What techniques has the quilter used in the making of the quilt?

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Consider the quilt in the context of its show category. How does this quilt reﬂect the hallmarks that distinguish the category? Does the quilt employ techniques from other categories as well?

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What trends in art quilting does this quilt reﬂect? What inﬂuences do you see at work in this quilt’s design? How does the quilter make the trend their own?

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What concepts might the quilter have been playing with? Heidi Parkes suggests exploring how the quilter creates meaning. Is the maker primarily interested in exploring a design or technique, or making a statement of some sort?

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Jurors evaluate quilts on visual impact, originality/innovation, visual appeal, and composition. Given those categories, what do you think stood out for the jurors when they selected this quilt?

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Are there ways in which this quilt disrupts your expectations? Are there tensions within the design or construction? (Example: a quilt composed of pink and ﬂoral fabrics that bears a message about violence against women.)

• •

What’s original about the quilt? What sets it apart from similar quilts?

•

Read the artist’s statement about the quilt. How does it illuminate the quilter’s intentions? Does it change how you view or understand the quilt?

Consider the quilt in context with the other quilts in the show. Does it mirror other quilts you’ve seen? How does it stand apart, if at all?

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Leap of Faith • 55" × 36" Kestrel Michaud West Melbourne, Florida

make that strike you as unusual or original? How have they disrupted your expectations? Finally, how does this quilt make you feel? There’s an obvious piece of information that might help you better understand the quilter’s intentions, one that I hope you’ll save for last: The artist statement. What a quilter has to say about their quilt, whether there’s a story or message within its stitches or a design he or she wanted to explore, is important. But if you read the statement first, it may end up shaping—and limiting—your experience of the quilt. On the other hand, if you’ve spent time seriously contemplating a quilt, the artist’s statement may not only enhance your understanding, it might also resonate more strongly than it would have if you’d read it earlier. Okay, so what if, after you’ve spent all this time observing, examining, pondering, and wondering, you realize you really don’t like what you see? How do you talk about that? First, before you say anything, ask yourself whether it’s the quilt or if it’s you. Scott Murkin suggests you examine your own biases before you

Photo by Miich Ph haell McCormick

Master Award for Contemporary Art International Quilt Festival, Houston 2021

Time to Practice Talking about quilts is a learned skill. Before walking the show ﬂoor, try to verbalize what you see and how you feel when looking at a quilt. We’ve provided two examples of award-winning art quilts with a few ideas for you to consider. Kestrel Michaud titled her quilt “Leap of Faith”—but is the ﬁgure in this quilt moving toward the Earth or away from it? What is she tethered to and what is she holding onto? Through what means is she being viewed? How does the artist orient—and disorient—the viewer with her placement of the various elements: the trees, the color-streaked sky and water, and cliffs? What shapes are repeated throughout the composition and how do they move the eye from one point to another? What other ways does the artist create a sense of movement?

pass judgment. “I find it important to explicitly differentiate between my intellectual reaction to a quilt and my emotional reaction,” he says. “For example, if I have a strong negative emotional reaction to the color yellow, that has nothing to do with the success of the quilt that uses yellow in it.” In other words, maybe you’re never going to love a tone-ontone quilt, no matter how well it’s

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designed. Or maybe a quilted F-bomb is always going to set you off. This is a It’s not you, it’s me situation. It might be time to break up with the quilt and move on. I guess this is a good place to say it’s okay to keep your opinion to yourself. If someone asks and you really don’t have anything nice to say about a quilt, you can always tell them, “I’m not sure; I’m still thinking

Just Thinking 59" × 36" Jill Kerttula Charlottesville, Virginia

about it.” The point of the discussion, after all, isn’t to pass judgment on the quilt; it’s to engage with the quilt as fully as possible. Don’t get me wrong. You should feel free to discuss why a quilt doesn’t work for you. But remember, as Cheryl Arkison points out, “There’s a person behind this. Imagine that quiltmaker is standing right beside you.” When offering a negative critique, choose your words carefully. Own your opinion, do your best to consider the quilter’s intentions, and be specific in your criticism. “To me, those three diagonal black lines interrupt the composition’s flow. Maybe the quilter meant them to be disruptive, but I find it visually jarring in an ineffective way” is a respectful and responsible critique. “I can’t believe this quilt got into this show” isn’t. If you want to offer a critique of a quilt on Instagram or another social media platform, follow the rules outlined above and keep three more guidelines in mind. First, never post anything you wouldn’t say to the quilter’s face. Second, make 32

Phot Ph oto o by Mic icha hael el McC cCor ormi mick ck

Master Award for Innovative Artistry International Quilt Festival, Houston 2021

Time to Practice When you ﬁrst look at Jill Kerttula’s quilt, how would you describe the portrayal of the woman—is it realistic? Painterly? Pixelated? How does a closer look change what (and how) you see? What effect(s) does the quilting produce? How does the quilting connect the woman to the background image? Is that image a quilt? What else might it be? Why do you think the artist chose to incorporate those lines of bright orange, both solid and staccato? Would the quilt be as effective without them?

your identity known—no hiding behind a handle or an avatar. Finally, examine your motives for posting. Is it to add to the larger discussion around successful design techniques, for example, or is the quiltmaker in question someone who you think has gotten too much attention for all the wrong reasons? That’s something better discussed over a glass of wine on your best quilting friend’s couch, not online.

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Every quilt show offers us an opportunity to talk about quilts as a community, both in person and online. Each year brings new ideas, new trends, and new understandings of what makes a quilt successful. The conversations we have around the quilts we see can spur us on as artists as well as create new friendships. So, let’s skip the snap judgments and really talk.

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Photos courtesy of the artist unless otherwise noted

Jumpstart your

MEMORY With fabric, photos, and appliqué

by Lesley Riley

ou have memories worth sharing. This I know. I also know that you have photos, paraphernalia, and

particulars stashed away just waiting for inspiration—or time—to materialize into something special. I’m pretty sure you are a quilter, so there is no time like the present to pull the past out your boxes, drawers, head, and heart and fabricate a memory quilt for all to see. And I can help you!

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I’ve been creating memories, stories, and moments in fabric for over 20 years. I began quilting in 1971 yet didn’t find my style, or my voice, until 1999 when I first combined the three elements I had been collecting since I was a teenager—photos, fabric, and quotes. These elements come together in my memory quilts to tell a story, shine light on history, honor a loved one, celebrate nature and events, or simply represent the joy found in the everyday. It was no coincidence that my creative vision coincided with the advent of home color printers. Once I started printing photos and quotes onto fabric, I never looked back. I continue to move forward using the latest technology, means, and materials to create and inspire with my art quilts, sharing and teaching everything I know along the way. I use a collage/raw-edge appliqué style of quilting, substituting fabric for the paper typically used in collage. Memory quilts are a lot like collage and scrapbooks; fragments put together to create a whole. My latest book, PHOTO MEMORY QUILTS: THE ULTIMATE GUIDE TO CONTEMPORARY HEIRLOOM QUILTS TO SHOWCASE ANCESTRY, HISTORY, & TREASURED TIMES, is an in-depth guide to all my techniques and processes. This jumpstart will highlight the basic steps and get your memories churning, wheels turning, and ideas flowing for creating your own memory quilt.

“Lineage” • 30" × 60" Pieced backing with collaged family and ephemera TAP transfer photos, embroidered names. Photo courtesy of C&T Publishing

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MATERIALS • Photos and ephemera • Inkjet printer • White cotton for photo transfers

or prepared fabric for printing • A variety of additional fabrics • Lightweight fusible web

(I use Mistyfuse®.) • Batting Optional • TAP Transfer Artist Paper for transfers

figure 1 I downloaded this 160-year-old photo from the Library of Congress. It was then cropped and enhanced with an added filter.

DIRECTIONS The following are my ten steps to create a memory quilt. Spend time on each one to consider how you proceed next. 1. REVISIT old journals, diaries,

scrapbooks, books, or historical documents. Interview or reminisce with friends or relatives. Research topics or periods of interest online. What grabs your attention or heart?

all of the information and ideas in a journal. Once you start this process, the ideas will begin to flow and grow. 3. CREATE your story. Start with

an image or concept that really speaks to you and design the rest of the collage around it. Use the internet to research details about a time, person, or place that may enhance your story and quilt. And keep in mind—it’s OK to use your imagination and artistic license to embellish the story.

2. GATHER and capture your ideas,

photos, mementos, and related ephemera. Use the 5 Ws—who, what, when, where, and why—to write about a memory you would like to explore. It can be a personal or a collective one shared with family, community, town, country, or the world. Be sure to record

TIP: You can ﬁnd a wealth of supporting public domain (copyright-free) images and photos online. All are free to download and use. 4. FOCUS on the photo(s). A photo—

more than any other visual—will always grab a viewer’s attention

first, especially if it’s a person, so make it a good one. We now hold in our hands the ability to turn any photo into a work of art. Old photos can be repaired, enriched, sharpened, and colorized. New photos can be made to look old, artsy, complex, or eye-catching. It’s all done with apps on your phone or tablet. (figure 1) You can also change the photo size. A 2" × 3" vintage photo can become a 20" × 30" image printed on fabric on demand. You can even use precious or fragile materials and 3-D objects by photographing them and printing the images. 5. AUDITION a variety of fabrics for

the collage. Let it do the talking. How does a fabric choice impart personality, time, place, emotion? Keep color, texture, scale, and 35

“Memory quilts are a lot like collage and scrapbooks; fragments put together to create a whole.” —Lesley Riley

pattern in mind and go for the unexpected choices. (figure 2) Select a large piece of fabric for the base/background of the collage. (You can also piece all or parts of the background.) Decide how you will finish the edges of the quilt and plan accordingly. 6. CREATE THE COLLAGE. Focus

on the elements and principles of art to arrive at a captivating composition. Determine what size you want your photos to be by printing them in black and white onto paper first. Often, adding even a ½" to the image size can make a big difference. When you are satisfied with the photo size(s), 36

figure 2 finish by adding the supporting elements. TIP: Be willing to sacriﬁce an element to save the composition. It is more powerful to tell a concise, well-composed story in the quilt than to include every element you want to share. 7. PRINT the photos onto fabric. I

primarily use three methods to get photos onto fabric—iron-on TAP Transfer Artist paper, direct printing on prepared fabric, or ordering

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large photos from an on-demand fabric printer (I use Spoonflower). Before cutting/trimming your fabric photos to size, back them with fusible web. Most of the time, I cut out the entire image without leaving space around it, but I leave a border if it will present better. You can also cut away the background (or erase it with an app in an earlier step) for a unique presentation highlighting certain parts of the image.

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Appliqué the ‘Top Down’ Way This order of appliqué works from the top layer of fabric to the bottom/base of the quilt. 1. For the pieces of your composition

that are not already backed with fusible web, lift each fabric layer around the edges and insert enough fusible web to keep things in place. Think of it as tacking down the fabric prior to stitching.

(figure 3) 2. Press to fuse the elements,

protecting anything delicate or heat-sensitive with parchment paper. 3. Starting with the uppermost fabric or photo, stitch in place. This will secure the underlying layers, too. I use and recommend a walking foot to prevent the layers from shifting. 4. Working toward the base fabric, continue to stitch the edges of the subsequent layers onto the underlying and/or background fabrics. Not every edge has to be stitched; it’s an art quilt. Loose edges create depth and movement. You may also want to leave some layers unstitched and stitch them down with your quilting.

figure 3

NOTE: Always cover any TAP transfers with parchment paper before adding fusible or ironing.

8. FUSE AND STITCH. Replace the

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paper photos with the fusiblebacked fabric photos. Confirm the placement of all of your photos,

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fabrics, and supporting items. Pin the layered fabrics, if necessary or desired, depending on size and positioning. Add borders as desired. 37

“Who Am I?” • 8" × 12" Recycled fabrics, image transfer, image grid printed on fabric and aged, embellishments; appliqué.

“High Rock Then & Now” • 19½" × 23" Vintage location postcards and photographs TAP transferred.

9. FINESSE. By adding embellishments—

text, quotes, names, stitch, buttons, etc. to create small details and add interest. These embellishments are not essential—if used, do so with restraint. You don’t want to detract from the focal point. 10. QUILT the composition and finish

the edges. Depending on the size of the composition, you may not need any more quilting than the appliqué stitching provides.

“Be Here Now” • 36" × 33" One of my first memory quilts. Photos printed on prepared fabric, metallics, silk, vintage lace, mirror, charms, buttons; collaged, stamped and stitched. 38

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Learn more about Lesley’s new book in our On The Bookshelf section on page 81 and at ctpub.com.

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MEET THE JUDGES from

s a former publisher of the 2013 edition of the Quilt National show catalog, I had the privilege of sitting in for

the on-site final judging of the accepted quilts. It was such an interesting experience and thrilling to see the judges’ process. I asked the three judges for the 2023 Quilt National show a few questions about their experiences jurying the quilts that will be on display, and about their expectations for the judging.

by Linda Chang Teufel In the Weeds 72" × 74" PAT PAULY ROCHESTER, NEW YORK

Growing up, it was noted that a weed is just a plant out of place. Cotton, wool, various ﬁber, artist printed fabric; pieced; quilted.

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Dr. Carolyn L. Mazloomi is a wellestablished artist, author, curator, lecturer, historian, and noted collector of African American quilts. She has won numerous prestigious awards for her developmental programs to help advance women, among numerous other achievements. LINDA: What made you select a quilt in the jurying process? CAROLYN: I’m inspired by quilts that bring something I think has not been seen before, that which is very unique; works that push the envelope. As a collector of quilts and quiltmaker, I have definite preferences in the work I choose, however, I set aside my proclivities and looked at the entries in an impartial manner. In determining which quilts would move forward in the jury process, I looked for all the usual ingredients that make for a successful artwork—design, composition, and visual impact, and works that had a strong personal voice that stood out from the other works.

Chiaki Dosho has been a Japanese fiber artist and quilter for over 35 years. Her work is uniquely dimensional and textural. LINDA: As an artist yourself, do you think your style of work inﬂuenced your choices?

“Impressions of Siena” 45" × 37½" DENISE OYAMA MILLER • FREMONT, CALIFORNIA

While visiting Italy in the summer, we enjoyed the delights of the ancient town of Siena. Even though the town was baking under the Tuscan sun, we found a cool viewpoint in a shaded alley. There was inspiration everywhere you looked, down to the smallest detail. It was overwhelming! My approach was to try to capture the impression that I had on that summer day. Commercial cotton fabric, polyester batting, cotton threads; raw-edge appliqué, faced edge ; freemotion machine quilted.

CHIAKI: Yes, it did in my Judge’s Choice Award. I chose a piece because of the perfection of the quilting technique and the freedom of blending different materials in harmony. One of my personal themes is to add unconventional

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materials and techniques to the expression of my work. I evaluated the artist’s work as being close to my way of thinking, and this is why I chose the work I did for my juror’s award.

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““Sommaco” 49" × 49" FABIA DELISE • TRIESTE, ITALY

There are places that make me feel at home, that take me back through memories, to a time in my life when everything seemed easier to deal with. Memories of happy moments, of family bonds, of walks in the karst on cold autumn days when the bora wind sweeps the sky and the clear air makes the colors brighter, evoking the more vivid emotions. In autumn, the karst unveils the beauty of its amazing landscape, the vibrant red of sumac leaves, and the warm shades of the grass turning yellow in contrast with the bright white of the limestone rocks. These are strong bonds with the land where I was born, and from which I moved away. A place that holds the purest emotions of my childhood and leaves an undying memory that always inspires me. Hand-dyed cotton fabrics, hand-printed recycled bed linen; English paper piecing traditional technique (hexagons assembled to create a three-dimensional wavy surface); hand sewn; hand quilted.

“Pre-Ka-ya” 48" × 48" DEB CASHATT CAMERON PARK, CALIFORNIA

“Pre-Kāya” is my idea of what a preColumbian version of that ubiquitous, Swedish big-box store would look like if the pre-Columbians had shopping carts, wine glasses, and cafeterias that served meatballs. The title is sort of the phonetic spelling of Pre-IKEA, with IKEA pronounced the Swedish way—ee-KAYah—which is how I ﬁrst learned to say it. Commercial cotton fabric, cotton batting; machine pieced; machine quilted.

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“Lifelines” 58" × 65" ÉMILIE TRAHAN JOLIETTE, QUEBEC, CANADA

My work focuses on improvisation—where I love to play with curves, movement, and color value. This piece was created at a point of exhaustion, working as a healthcare professional during the incessant pandemic. Whether you see it bursting and being torn apart or being held and pulled together, this quilt explores how sinuous the lines of our destiny can be and how a narrow lifeline could change everything. Upcycled fabrics; machine pieced; machine quilted.

“A Slice of Candy Apple” 60" × 60" KELLY SPELL • HIXSON, TEXAS

I’ve been making circular compositions for as long as I can remember. Curves are a frequent motif in my work, a friendly face I return to again and again. In 2020, I began exploring circles and swirls exclusively, distilling down ideas to ﬁnd and deﬁne my point of view. In this piece, repetitive shapes, a shift in color intensity, and thoughtful use of negative space combine to create delicious movement and rhythm. Hand-dyed cotton fabric, cotton thread, polyester thread, polyester batting, fabric hand-dyed by the artist; machine pieced; machine quilted.

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“Subway BC” 45" × 23" K. VELIS TURAN • EARLTON, NEW YORK

I always travel to New York City with a camera in hand. I love the buildings, the energy, and the people. I took many photos of people on the subway and this piece is the result of riding the subway before Covid. Cotton twill, MX dyes, textile paints, sheer fabric, cotton and polyester threads, polyester batting, commercial fabric backing; screen printed, painted; free-motion quilted.

Irene L. Roderick trained as a painter but is now focused on quilt making and fabric dyeing. LINDA: As a ﬁrst-time judge, what surprised you the most about the entries? IRENE: My expectations were high. I was looking forward to seeing the highest quality contemporary quilts but also had trepidation about

how I would be able to reduce the numbers by half before the jurying meetings started. I discovered quickly, though, that half of the entries were not unique or interesting enough to continue to the next level. Many of these were small to mid-size quilts that seemed over-worked or too safe. I think that surprised me most. Overall, I was intrigued by the variety of techniques of surface design, embellishment, and piecing used in the creation of these quilts. It was a delight to see the different styles of design from traditional piecing to jewel-like embroidery and to wonder

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at the richness of textile art. I was amazed and surprised at the array of possibilities entered into the exhibition. LINDA: What advice would you give to entrants based on all the entries that you saw? IRENE: I have chastised many of my friends and students for not entering the exhibition. I see great work from many quilters who have never entered an exhibition or only enter the same show each year. Because of that, I think we are limiting what is put out into the public. The quilt world has opened up in the past few years, and the possibilities are expanding. New styles, new expressions, new formats are showing up on social media and in workshops. I want to see it all in international exhibitions such as Quilt National. I advise entrants to choose their strongest work. Enter pieces that show originality and on which you

have taken a risk. Don’t choose the works that most resemble what was in last year’s exhibit or even last week’s exhibit. Enter the works that show your own unique voice. When the jurors look at over 700 quilts, you want to be the one that stops them in their tracks with originality. So many of the entries that didn’t make it through the first judging felt tired and most importantly, safe. I also want to stress the difficulty of jurying a show of 85 quilts out of 700 entries. Decisions have to be made that are very difficult at every level of judging. Every jury has different subjective criteria. Keep entering and keep growing. LINDA: What most inﬂuenced your choices? IRENE: The quilts that stood out to me had a strong color palette and/or powerful and bold design. My personal preference is for abstraction, and I don’t like representational quilts. I respond to color and pattern, especially unusual combinations. I love large work, and I admit, scale was a strong criterion for my choices. I also want quilts to be quilts, and textiles to be textiles. I dislike quilts that mimic paintings. I want to see the materiality of the medium be the showcase. It’s often hard to articulate why one quilt speaks stronger than another. I love all the quilts we juried into the exhibition. Some are all neutrals. Some have vivid color. Some are bold and graphic. Some are subtle. Some focus on stitching. Some have extensive surface design. All have an inner power. All have a sense of joy.

“Behold the Onion” 47" × 56" BETTY BUSBY • ALBUQUERQUE, NEW MEXICO

Cells in living tissue are busy places. I chose a number of translucent materials—some under the surface—to reﬂect the activities that occur to sustain life. The pink and blue palette represents the stains that are used in the lab to highlight the microscopic structures. Recycled nylon and other transparent synthetic material, woven and non-woven, heat tool cutting; machine appliqué, machine stitching.

Now you be the judge! See “Quilt National 2023” May 26–September 11, 2023, at The Dairy Barn, Athens, Ohio. For more information, visit dairybarn.org.

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On Our Radar

MEET

Cindy Richard BEIT SHEMESH, ISREAL

by Barbara Delaney

“

My name is Cindy Richard and I am a fiber artist.

My art quilts are based on glimpses of my life, which I capture in photographs that I take of my surroundings and family in Israel. I create realistic textile art that emphasizes depth and dimension by using color, value, shadows, and light through my choices in fabric and thread. To learn more about Cindy and her work, visit CindyRQuilts.com.

”

Photos courtesy of the artist

Quilt artist Cindy Richard’s dimensional quilts celebrate the people, places, and everyday events that enrich her life in Israel. Cindy endeavors to tell a story with each quilt she makes. The quilt “Sous Chef” shows her granddaughter ‘helping’ while baking with her mom. “During Covid lockdowns, I had a very narrow window of options for subject matter,” Cindy said, “I turned to my family and made a lot of pieces based on everyday events that touched my heart. Moments in time. This is one of them.”

“Sous Chef” 25" × 27½"

This little girl loves to do grown-up tasks. I captured her pouring ﬂour into a bowl while her mom was preparing cookies. She said she was helping! Since her parents love to cook and bake, it must be in her genes!

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“Alleyway in Safed” 12" × 22"

The narrow alleyways of the holy city of Safed in northern Israel have a special, quaint, peaceful, and spiritual atmosphere. Ancient synagogues and artist studios line the sloping cobblestone streets. I challenged myself to capture the charm of Safed in this quilt. Raw-edge appliqué, free-motion quilting, hand bound.

It All Starts with a Photo Cindy’s quilts always begin with a photo. She said she tries to use photos that are “a little bit edgy or humorous,” and she uses highresolution images so she can see all of the details. Layered collage is her technique of choice. Once she determines a photo will work for a quilt, Cindy manipulates it in Photoshop® Elements. She crops it, plays with the values to achieve the high-contrast image she desires, prints the image to scale, and then makes a pattern from the scaled photo. She took a photography class to sharpen her skills, enabling her to create the best possible reference photos. Cindy creates each element for the quilt separately, placing them on a background according to the pattern. “I typically build a background and quilt it first so I can position the elements in the foreground as I make them.” She said she challenges herself to create a flat, two-dimensional surface with the illusion of three dimensions.

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On Our Radar “Grotto at Rosh Hanrikra” The spectacular grottoes in northern Israel are geological wonders on the Mediterranean coast. The powerful waters crashing against the soft limestone eventually erode tunnels into the rocks. I challenged myself to create a quilt showing the depth in the colored layers of rock and the light on the water.

Creating Depth and Texture Tulle is her signature fabric; she uses it in every quilt. “It answers my needs for shadows, folds in clothing, waves in water, ephemeral figures, and more. I use it to show darkened areas instead of adding a darker fabric because it blends so well. I discovered it on my own and have been using it ever since.” Using value is how Cindy creates depth. “By shifting and juxtaposing the values of a subject from light to medium-light to dark, I achieve contrast and the result is depth; this is my favorite attribute in my quilts. I challenge myself in every quilt—no matter what the subject—to create depth and dimension.”

A Sense of Place Her quilt “Aqua Bella” is based on a photo taken at Ein Hemed, a picturesque national park near Jerusalem. She used a lot of green batiks for the vegetation and trees but used acrylic crayons and tulle to add a sense of light. “The light in the archway of the bridge and the trees behind the bridge are what give this

“Aqua Bella” 28½" × 19" This picturesque scene of Aqua Bella National Park at En Hemed shows its characteristic bridge and ﬂowing water.

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work depth. The light on the bank’s side on the right lets you know that there is height. I appliquéd rocks in the water and played with their values so they would look 3-D. I quilted ‘waves’ in the water so there would be movement.” Although she began quilting as a traditional quilter and actually took her first class as a lark, the tactile sense of the fabric spoke to her. Art classes taught Cindy to ‘see’ in a different way. And once she was introduced to art quilting, there was no turning back.

Share Your Quilt Story

“Reflecting at the Western Wall” 41" × 33"

The ﬁrst time I visited the Western Wall it took my breath away. The majesty and aura of the site is indescribable. I was struck by the enormity that today I can stand where others before me could not. Paying homage to this site is done in many ways. Some touch the Wall during Prayer. The couple in this quilt chose to reﬂect from afar while shielded from the sun under an umbrella.

On Our Radar is a new ongoing series featuring the work of art quilt groups and individuals who are creating extraordinary quilts. If you would like to see your group or your artwork featured on our pages, we want to hear from you! Email a brief description and up to three low-resolution images to qasubmissions@goldenpeakmedia. com with “On Our Radar” in the subject line. We’d love to hear from you!

“Mirror Image” 15"× 15"

My niece was standing in still waters on a beach at Cape Cod at sunset. Her reﬂection and that of the breathtaking colors of the setting sun were reﬂected so clearly in the sea, it looked like a mirror. I challenged myself to express this scene of reﬂections in my quilt. The smaller ﬁgures walking along the water’s edge and their shadows enabled me to show perspective and depth in the piece.

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International Quilt Festival

Houston Winners A gallery of top quilts from the 2022 Judged Show

he International Quilt Festival—held yearly in Houston, Texas—is a highlight of the quilt show circuit. Quilters from around the world not only enter the juried

exhibit, but also wait in anticipation for the announcement of the winning quilts. Competition in the 2022 show was fierce: the show always inspires with its depth and breadth of amazing quilts. We are pleased to share a collection of award-winning quilts from the 2022 Judged Show. Featuring a total of $52,750 in non-purchase prizes provided by generous sponsors, quilters from all over the world competed. Awards include The Handi Quilter Best of Show; five named Master Awards; and First, Second, and Third places in seven different categories. Picking up where the International Quilt Association’s annual “Quilts: AWorld of Beauty” show left off, this judged show features hundreds of entries from around the globe. Wehope these quilts inspire you to enter in 2023! For more information and a list of winning quilts,visit quilts.com.

BEST OF SHOW The Handi Quilter Best of Show Award Sponsored by Handi Quilter®

Beyond Reason 96" × 96" • ANGELA PETROCELLI • PRESCOTT VALLEY, ARIZONA

“Some accomplishments are beyond reason. This quilt is the embodiment of a dream . . . not of a ﬁnished product, but the journey and completion of a process. Ibelieved Icould, Ithought Ishould, Isaid Iwould, and Idid. The total piece count is 222,576.”

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Photos hotos by by Michael McCormick fo forr M3 PPhotographic hoto ho togr ogra grap raaphi hicc unless h unle un u less l sss otherwise le oth ther herwise erwi rwise w se wi se noted not oted oteed e

MASTER AWARD The eQuilter.com Master Award for Contemporary Artistry Sponsored by eQuilter.com

Blue Basket 61" × 41" • ROBERTA LAGOMARSINI • BISHOP, CALIFORNIA

“Baskets are like stories—if you listen, they will tell you something.” —Deborah Valoma “Inspired by California and Nevada Piute Tribes’ winnowing baskets, this is a deconstructed version to allow viewing of the weaving. The vibrant colors show the beauty of the rituals involved in creating the baskets, and a hand-painted background fabric suggests the seeds, leaves, and other debris that falls through the basket. Quilting is in the basketweave pattern.”

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MASTER AWARD The Grace Company Master Award for Traditional Artistry Sponsored by The Grace Company

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Merry Christmas 60" × 60" • AKI SAKAI • WEST MELBOURNE, FLORIDA

“This is my second Christmas quilt. It took about a year to make this. Imade it with the hope that everyone can have a happy Christmas.”

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MASTER AWARD The Janome Master Award for Innovative Artistry Sponsored by Janome

MASTER AWARD The Gammill Master Award for Machine Artistry Sponsored by Gammill®

Born to be Wild (above) 66" × 39" • SUSAN DE VANNY • GREENVALE, VICTORIA, AUSTRALIA

“Wild dogs or painted wolves are my favorite animals out of Africa. Here, three young pups are walking ahead of the adult dog in the background in a landscape of a changing environment. Diminishing in numbers rapidly from disease, it is crucial to look after the numbers before they reach a crisis point, like so many African animals. The webbed holes represent climate change and the effects it has on nature’s wonderful creatures.”

Soul of the Southwest (left) 84" × 98" • DEBBIE CORBETT WITH MIKE CORBETT • GLENDALE, ARIZONA

“Our love of Native American artwork inspired us to recreate an authentic serape quilt. The process began with selecting the correct quilt pattern, fabric colors, quilting designs, and thread colors. The quilt consists of 2,426 one-inch pieces, 12 different thread colors, and over one million quilting stitches. The 28 custom quilting designs were created from traditional vintage pottery artwork from the Acoma, Zuni, Hopi, and Navajo people.” Design Source: Digitized quilting designs—J. Michelle Watts, Classic Serape Quilt Design; Kim diamond, Custom Digitized Quilt Patterns from Sweet Dreams Quilt Studio.

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MASTER AWARD The Superior Threads Master Award for Thread Artistry Sponsored by Superior® Threads

Dear Humans … (above) 94" × 64" • SUE SHERMAN • NEWMARKET, ONTARIO, CANADA

“The animals are sending a message to humans, offering their opinion about the state of things. If you look closely, you can see where the humans have ﬁlled the sky with empty talk about addressing habitat loss and climate change, but don’t do enough to help. Wholecloth cotton painted with thickened dyes.” Design Source: Original design based, in part, on photographs taken by the artis artist.

PICTORAL SMALL CATEGORY THIRD PLACE Sponsored by Olfa®

Come On In, The Water’s Fine (right) 30" × 47" • ROXANNE NELSON • CALGARY, ALBERTA, CANADA

“This Majestic Sumatran Tiger is one of 400 critically endangered animals remaining in the wild. Ihope to honor and share his beauty through this quilt. My technique is a micro-collaged and fused fabric for realistic expression. Frayed-edge fabric enhances the water texture, suggesting movement. From a distance, the tiger seems real, but upon close inspection, the exclusive use of fabric is evident. The tiger is enticing you into the water . . . how can you resist?” Design Source: Shutterstock license

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Photo courtesy of the artist

JUDGE’S CHOICE AWARDS Judge’s Choice: Choice of Kathy York

Sunken Citadel 41" × 43" • KAREN ECKMEIER • KENT, CONNECTICUT

“Creating this grand lost city underwater was a real adventure. It all started with one of my hand-painted silks that suggested water. Idove right into this fabric collage challenge in my Happy Villages™ series by creating grand buildings, temples, and columns topped with shells – ﬁnishing with the metallic schools of ﬁsh.”

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Photo Ph courtesyy of the artist

Judge’s Choice: Choice of Jill Kerttula

Ammonite Flow 49" × 50" • KIMBERLY LACY COLORADO SPRINGS, COLORADO

“In my ongoing exploration of using ammonites in my designs and quilts, Ihave landed on stacking ammonites in a waterfall conﬁguration.”

Judge’s Choice: Choice of Teresa Duryea Wong

Carousel 52" × 46" • MARGERY HEDGES LAKEWAY, TEXAS

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Photo courtesy courtes of the artist

“This quilt was inspired by a Mediterranean cruise. Idiscovered an amazing carousel on a walk in Marseille. European carousels have extremely intricate designs and landscape paintings on the face of the roof. Iused the landscapes to highlight the places we had visited, which made this a great memory quilt of our trip. This section of a carousel is typical of that area, with added stories of people in and around it.”

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of on

Work with natural earth pigments for an authentic look 60

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by Margarita Korioth

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atural earth pigments are among the earliest recorded materials used by our ancestors to make paint. Ancient people

from all over the world harvested them from their surroundings to make their paints. On almost every continent you can find natural clays and minerals. Through the process of grinding, these geological materials can become a pigment powder. They are not dyes, however. Dyes penetrate fiber and are soluble in water. Pigments stay on the surface. It is necessary to mix them with a medium so they can bond to fabric. There are numerous variations for mixing pigments into a paint-like consistency. In earlier times, people used binders as varied as urine, honey, blood, sap, or oil. In my studio, the medium I use is soy milk. The protein in this milk is what binds the earth pigments to the fiber. Pigment powder painting on fabric is relatively easy and very gratifying—and using it with stencils is even better! The fabric you choose to use should be washed prior to painting. Do not use fabric softeners or dryer

sheets, as this interferes with the pigment’s ability to bond to the fibers. After washing, a final treatment of soy milk is applied to the cloth. You can forage pigments from where you live or travel. Each landscape is unique; your own land’s color palette has its unique geological features. You can find several sites online with advice on how to pick and process them. I buy the pigments I work with from Maiwa, a company based in Vancouver, Canada. They specialize in natural products and offer a collection of colors selected from various parts of the world. Let’s celebrate our vibrant natural world by using earth pigments to color cloth!

Fun Facts about Earth Pigments from Wikipedia Earth pigments are naturally occurring minerals that have been used as pigments since prehistoric times. Among the primary types of earth pigments include reddish-brown ochres, siennas, and umbers, which contain various amounts of iron oxides and manganese oxides. Other earth pigments include the green or terres vertes earth pigments, blue earth pigments, white earth pigments such as chalk, and black earth pigments such as charcoal. Earth pigments are known for their fast drying time, are relatively inexpensive, and lightfast. Cave paintings done with pigments thousands of years ago still survive today.

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MATERIALS • ¼ cup dried soy beans (Buy these

online, at natural food stores, or at larger grocers that sell beans in bulk.) • Fabric (I use natural ﬁbers such

as cotton, linen, hemp.) • Earth pigments (I use pigments from Maiwa.) • Small scraps of fabric or

paper towels • Blender • Colander • Muslin or cotton sheeting

to line the colander • One cup container with lid • Small containers for mixing the

earth pigments with soy milk • Plastic sheeting or drop cloth • Repositionable spray adhesive

(I use SpraynBond™ Pattern & Stencil Adhesive from HeatnBond®.) • Stencils • Stencil brushes with bristles

D IRECTIONS Prepare the soy milk binder 1. Soak the soy beans in water

overnight. The next day, drain the soaking water, rinse the soy beans, and place them in a blender. Add 2 cups of water. Blend for 2–4 minutes. 2. Strain the soy mash through

a colander lined with muslin, catching the bean liquid in a separate container. Place ¾ cup bean liquid in a one-cup 61

container and set aside. Label it ‘concentrated soy milk medium.’ It will be used to mix the earth pigments to create paint in a later step.

solution, ensuring the fabric becomes fully saturated with the liquid. Squeeze out excess liquid and hang the fabric to dry completely.

3. Place the soy mash back into the

NOTE: The pre-soaked, prepared fabric can be stored in a dry place until you are ready to use it.

blender. Add 2 cups of warm water and repeat the process two more times. You should get a liquid the consistency of 2% milk. This will be referred to as the ‘remaining soy milk.’ NOTE: It is best to use fresh soy milk in this process. It can be stored for a couple of days in the refrigerator. Store-bought soy milk will not work.

Prepare the fabric

Paint the design 1. Cover a table or work surface with

plastic sheeting or a drop cloth. Pin or tape the fabric to the table. 2. Apply repositionable spray adhesive

to the back of the stencil. Place the stencil on top of the fabric. 3. Mix ¼ teaspoon of earth pigment

1. Wash and dry the fabric; do

with 1½ teaspoons of concentrated soy milk medium in a cup or small container to make pigment paint. Mix different colors in separate containers. (figure 1)

not use fabric softeners or dryer sheets. 2. Pour the remaining soy milk

Process photos courtesy of the artist

in a container and completely submerge the dry fabric in the

figure 1

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Tips and Tricks for Success Let’s talk a bit more about the tools and processes used in this project.

Concentrated soy milk medium

Brushes

The concentrated soy milk medium is perfect for mixing with the pigments. This creates a creamy mixture that limits bleeding, ideal for painting with a brush through a stencil.

Use a stencil brush with bristles—not a sponge brush— for this technique. The bristles help to push the pigment into the cloth for a better bond.

The ratio of earth pigment to medium stated in the directions is a starting point. Some pigments require more liquid. Use your best judgement and add more medium if necessary.

because it’s difficult to control the bleeding.

It’s very important to remix the pigment paint every time you dip the brush into it—the pigment is only suspended in the milk and settles quickly to the bottom of the container.

TIP: Sponge brushes do not work well with stencils

Blenders The type of blender you use will affect the amount of soy mash you end up with at the end of the process. A highspeed, good-quality blender provides the best result with very little ﬁnal waste after the third time. Since you are working with food-quality soy beans, you do not need to have dedicated, non-food-use tools for this project.

4. Collect some of the pigment paint

with a stencil brush. Blot it on a small scrap of fabric or paper towel and apply the paint through the stencil to the fabric. Paint carefully near the stencil edges to prevent paint from bleeding under the stencil. (figure 2) 5. Repeat with different colors,

cleaning the brush in between. 6. Once finished, let the fabric cure

for two weeks before washing. Hand washing and line drying in recommended.

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love a challenge and no one offers a better art quilting challenge than QUILTING ARTS!

But first, let’s go back to the beginning. Issue Three of QUILTING ARTS—circa 2001—caught my attention on the magazine display at my local fabric store. It had a bright blue and yellow cover and a list of enticing articles.

Photos courtesy of the artist

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What’s Your Story? Lin Elmo is a big fan of and frequent contributor to Quilting Arts’ Reader Challenges. We wanted to know her back story and learn more about her process. Here she shares some of her thoughts and tips about participating in Reader Challenges—and why you should, too! —The Editors

“The Colors of Hope” • 6" × 6" “The Swiss painter Paul Klee felt that color was an indication of optimism. It is for that reason that I was inspired to work with similar bright colors and angular shapes. I felt the single circle and tiny tree—typical of Klee—symbolize hope and better days to come,” said Lin.

Detail from “Wild and Wonky Wonderland” (opposite, top) • 18" × 18" An abundant summer garden provides the perfect sanctuary for fantasy creatures large and small. The juxtaposition of wonky shapes, joyful colors, and repeating patterns give energy to the composition—it is a wild and delightful wonderland! Improvisationally pieced hexagons were cut to create many of the elements for this quilt. The pieced background was free-motion stitched before individual elements were fused in place. “Piñata Pincushion” (opposite, bottom) 4½" × 3" × 4" tall Lin’s entry to the ‘Put a Pin in It!’ Pincushion Reader Challenge was an amazing, three-dimensional, mixed-media donkey ‘piñata’ composed of a wire frame, hand-painted Evolon®, fleece, felt, and embroidery all sitting on a covered and embellished sponge base.

Never having seen a publication like this before, I bought it and brought it home with me. Thus, the love affair began. I read the issue cover to cover, again and again. It was such a departure from the traditional quilting and craft magazines I had seen. The articles were varied and inspiring. I was hooked! My search began and I was able to find copies of back issues while I waited anxiously for Issue Four. At the time, I was still teaching so my personal creative time was limited. However, I enthusiastically designed responses to the reader challenges in QUILTING ARTS and its sister publication CLOTH, PAPER, SCISSORS. Sometimes these quilts existed only in my imagination, other times they were

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created but not submitted. I looked longingly at the challenge results in every issue and finally said, “Why not?” Through the years of teaching, retirement, moving, and the birth of a granddaughter, the creative opportunities continued to inspire me. The pandemic was a critical time—with a silver lining. It offered open-ended time to focus on ideas and bring them to reality. During that time, I answered the Reader Challenge call for a 6" × 6" ‘postage stamp’ quilt and created “The Colors of Hope” and it was accepted. Meanwhile, during isolation, I became ill, and thought that I had contracted the virus. Although the symptoms did not match, I was 65

“Pumpkin Delight” (right) • 12" × 12" Lin’s quilt featuring a mischievous squirrel was featured in the Fall 2022 ‘Pop Art Pets’ Reader Challenge.

“Stream of Serenity” • 10¼" × 16" This quilt was one of two accepted in the 2022 QUILTING ARTS Reader Challenge Invitational. It was also featured on “Quilting Arts TV” Series 2900. 66

convinced of the diagnosis. As days passed, I lost many abilities and ultimately could not even write my name. My daughter and son in law called 911 and I was rushed into emergency surgery for a subdural hematoma. While recovering, QUILTING ARTS Spring 2021 arrived and I was able to see my quilt in print. What a thrill! It was an encouraging reminder of working to meet a challenge and succeeding. And I was fortunate to make a full recovery from my illness. Last year’s Reader Challenge Invitational came at a perfect time. My potential pieces were planned and edited. They were vastly different in media and subject. The quilts were completed—“Stream of Serenity” was painted and “Wild and Wonky Wonderland” was pieced and fused.

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Both were quilted and submitted for consideration. The waiting began. Among the many opportunities that QUILTING ARTS gives to its readers, the expedient jurying and selection of quilts to be featured is amazing. You can only begin to imagine how thrilled I was to receive the news that BOTH of my pieces were chosen to be part of that special gallery. It was an honor to be invited to submit, then again to be selected for publication. I was over the moon! In addition, the pieces were shown on separate segments of “Quilting Arts TV” Series 2900. Thank you to all the people behind these magazines for your hard work, creativity, and for continuing to encourage readers to reach new heights. I encourage everyone with a dream of seeing their work in print to enter.

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Top Tips to Meet the Challenge You don’t need to change out of your comfy T-shirt or dust off your dancing shoes, just put on your thinking cap and get ready for the challenge. Here are a few ideas to encourage you.

CARPE DIEM, SEIZE THE DAY You’ve read the

PICTURE(S) PERFECT Perhaps the most important thing

latest Reader Challenge and you feel inspired. Now it’s time to brainstorm. Make a list of as many different ideas as you can. Inspiration is everywhere. Some may be tame and others outrageous, all are invited to the party. Review your list and begin to select the most viable ones for you.

to consider, the photos of your work share your story with the viewer. Your presentation will be best with a few considerations.

•

Use natural light if possible when shooting your work. If you can, work outside on an overcast day. This reduces the problem of shadows and reﬂections.

TIP: I suggest narrowing your ideas to three or four for further

•

Set up a large, neutral color, plain background. I like to use felt. Be sure your choice of background does not distract from your ﬁnished work.

•

Focus, focus, focus. Sharp images will show details and stitching.

•

If your piece is three-dimensional, try shooting from different angles.

• •

Take multiple shots of your work. Vary the distances.

•

Check that the color balance is the same in both shots. If your full shot shows a royal blue quilt, the detail shot should not look turquoise.

consideration. Make some sketches, look over potential materials, and then select one idea to focus on. You may decide to create a second entry also, but one at a time is usually best.

WORK TO YOUR STRENGTHS If you are an expert embroiderer, great! Think about that when you plan your design. If appliqué is not your thing, pass. This is not the time to experiment. You will be most comfortable and professional working in an area of strength.

DIRECTIONS MATTER Pay careful attention to the rules: theme, size limitations, due dates, etc. Make sure your materials are copyright-free.

CRAFTSMANSHIP My third grade teacher said “neatness counts” as she taught handwriting. It applies here, too. Dangling threads and uneven bindings will not present a great ﬁrst impression, and could be the reason for early elimination.

HONEST EDITING The role of a trusted, honest editor is invaluable. I have relied on a dear friend for this task for many, many years. We live on opposite sides of the country now, but thanks to the internet and phones, we still share and critique each other’s work. If you are feeling particularly sensitive about your work, express that before the discussion begins.

ELIMINATE THE NEGATIVE Hold your work up to a mirror or take multiple photos to determine the best placement for the elements in your piece. Does anything stand out as not working with the whole?

CONSIDER THE PROS + CONS OF EMBELLISHMENT Sometimes the beads, trim, sequins, and ball fringe will enhance a piece. Other times, it is best to keep it simple. Try to be true to your plan and honest with yourself. Also, if you do decide to add mixed materials, be certain they are attached securely and follow the rules fordepth.

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Edit ruthlessly to ﬁnd the very best shots. After you choose the best full photo of your work, crop the image so it is centered in the shot. A little space around the piece is great—in fact, that’s usually part of the rules; to show all of the outside edges—too much space and it will be lost in the picture. Repeat this process with the detail photo.

SEIZE THE OPPORTUNITY Each challenge you take on will be a learning experience. You may not be selected for publication the ﬁrst time you submit, but don’t give up! It is a challenge, meant to stretch your abilities. Just as an athlete needs to train, you will hone your skills and sharpen your tools, and become more knowledgeable with each future piece. When the challenge ﬁnalists are selected, try to look at them objectively. What set these entries apart? What made them special?

END-OF-THE-DAY REFLECTION There are many moving parts to meeting a challenge. Sometimes life will be very busy and the timing isn’t right. Not every challenge will speak to you, however, each challenge offers the opportunity for problem solving, personal growth, and artistic expression. I hope these suggestions will help you in your adventure— accept the challenge, map out your plan, and stay cozy in your fuzzy slippers!

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INTRODUCING OUR LATEST READER CHALLENGE A BRIDGE CAN BE SO MANY THINGS and has many definitions. The word is a verb and a noun—and an emblem. It conjures thoughts of structure, connection, even unity. It also refers to a card game, a yoga pose, a part of the nose, a dental appliance. The earliest known bridges were built of fallen trees and stepping stones— also things that are metaphoric and artinspiring. There are many ways bridges connect us all—art quilts connect us, too. Our challenge to you, dear readers, is to think deeply about your own interpretation of the word ‘bridge’ and show us your thoughts in a 5" × 10" quilt oriented horizontally. Whether you choose to interpret this word symbolically or realistically is up to you. We look forward to seeing your work and hearing its story!

mark your

Rules 1. Create a quilt based on your interpretation of the word ‘bridge.’ The quilt must be 10" wide × 5" tall (horizontally oriented). Embellishments, if used, must not protrude more than ½" from the surface of the quilt. The quilt may be made with any materials but must consist of three layers and be closed along theedges. 2. Your entry must be an original design and be free of any text or images protected by copyright unless you have the expressed written permission from the person or institution that holds the copyright and you include that written permission with your submission. 3. To be considered for the challenge, attach two jpeg images of your completed quilt to an email— one of the entire quilt, including all four of the edges, and one of a detail—by May 5, 2023 to [emailprotected] with ‘Art is a Bridge’ in the subject line. Include your name, city/state, email address, title of the quilt, and a brief statement about your quilt/its story in the email. 4. You may submit more than one entry, but each entry must be in an individual email.

5. To learn tips for photographing your Reader Challenge submission, visit quiltingdaily. com/photographytips. 6. On May 10, 2023, we will post the ﬁnalists at quiltingdaily.com/bridge-readerchallenge. Please check this post, as artists will not be notiﬁed directly. 7. If you are a ﬁnalist: Put your name on your quilt. Indicate the top, if needed. A hanging sleeve is not required; you may include one if you work that way. For safety, place your entry in a plastic bag before packing it for shipping. We reserve the right to keep and possibly display your ‘Art is a Bridge’ quilt until December 2023. Your artwork will then be returned to you. 8. Finalists’ artwork must arrive in our office by June2, 2023. If you have questions, contact us at QAchallenges@ goldenpeakmedia.com. We look forward to seeing your work!

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calendar MAY 5: Emailed submissions are due with two jpeg photos. MAY 10: Names of ﬁnalists will be posted at quiltingdaily.com/bridge-reader-challenge. JUNE 2: Finalists’ quilts must be received in our offices. SEPTEMBER 2023: Look for a gallery of ‘Art is a Bridge’ quilts in the Fall 2023 issue of Quilting Arts Magazine!

NOTE: By submitting your Reader Challenge entry, you conﬁrm the originality of your design and authorize Golden Peak Media to publish your quilt in an upcoming publication and promotional materials, on our websites, and in other e-media, as well as possibly display at shows. Golden Peak Media will not be held responsible for loss or damage due to circumstances beyond our control.

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RESULTS FROM THE ‘GIVE A HEART, GET A HEART SWAP’ READER CHALLENGE

n the Fall 2022 issue of QUILTING ARTS, we introduced something we haven’t done in a long time—a swap: an

opportunity for readers to send their artwork to us, for us to swap their work for that of another reader, and to send them this ‘heartwork’ from another quilter—all in a good faith sharing of how special the art quilt community really is! The challenge was inspired by the artwork of Mel Beach, who has made countless hearts and offered them out to the world. We received dozens and dozens of beautiful hearts from all around the United States which were sent out to the participating artists in February. We hope they felt a little ray of sunshine when they opened up their packages—and we hope you feel that, too, as you enjoy this gallery of some of our favorite hearts from the many we received.

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Lyons Burke RICHMOND, VIRGINIA

This heart was from an orphan block. Icut the heart out, added a bit of quilting and three ﬂower buttons, and blanket stitched the edges with perle cotton.

Normajean Brevik vik ORMOND BEACH, FLORIDA

The enclosed heart was made in a painted mosaic design using your heart shape as a base. Isketched mosaic shapes onto a black fabric heart with dressmaker’s chalk then painted in the shapes in different colors of metallic paints. Iadded batting and backing and heavily quilted around each shape then couched a glittery cording around the edge to ﬁnish.

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Sandra Weimer COLUMBUS, MONTANA

Hand embroidered wool appliqué.

Pam Tannura BLOOMINGTON, ILLINOIS

The focal point is based on a winged Milagro Heart as Ihave a cardiac history, and lived in Santa Fe, New Mexico, for seven years. The background fabric is printed on my inkjet printer; a photograph of fall leaves that Itook. The leaf veins mimic the veins of the heart. Free-motion quilted on the front and stipple free-motion on the velvet back. Hand embroidered background using variegated thread in seed stitch. Handmade cording of silk gimp ﬁnished the edge. Hanger is hand-dyed silk ribbon.

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Shoni Maulding ST. IGNATIUS, MONTANA

Techniques used: Seminole patchwork, French knots, and pa blanket stitch.

Karen Garrett MCKINNEY, TEXAS

Iused fused raw-edged fabric with free-motion stitching to create the honeycomb, bees, and writing.

Pamela Roberts PLAINFIELD, CONNECTICUT

My hea heart was inspired by my love of warm weather w and sunshine. Iused raw-edge machine appliqué and hand beading to make my heart.

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Ellen Julius PITTSBURG, PENNSYLVANIA

The heart was painted with Lumiere® pearlescent paints. Itt was then free-motion machine quilted. ilted. Hand embroidery was used to deﬁne the butterﬂy body and wings. Rhinestones estones were added to make the eyes pop. op.

Marianna Zimmer Ma ROCHESTER, NEW YORK

My piece represents my wish for the world to live in harmony with each other. A very ve traditional commercial with a very different, embroidered satin on one side is juxtaposed juxtapo fabric on the other side. The yet beautiful, embellished upholstery fab traditional di i l side id has h a touch h off hand h d stitching, i hi barely visible, yet seeping in. The embellished side has beads, harsh burlap, embossed velvet, and metal wire. The entire heart is surrounded by a couched decorative thread. Blended together, the two sides live in harmony and love.

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Lisa Schreck L ST. AUG AUGUSTINE, FLORIDA

This heart is made of w woven yarn, ribbon, and batik fabric. Thread color and stitches were and resulting weave chosen to complement the fabric an design. The edge was bound with cotton lace trim and glass beads. Satin ribbon ribbo for hanging and a charm attachment ﬁnish the piece.

Linda Williams lliams LAKEWOOD, PENNSYLVANIA ENNSYLVANIA

The ﬂowers were re made using a folded yo-yo pattern, the stems ems and ﬂower embellishments were hand embroidered, broidered and the leaves were made with bugle beads.

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Cheryl Guacci MOUNTAIN LAKE, MINNESOTA

Titled “Beautiful Inside & Out!”, Iused remnants of a silk tie—inside and outside—and hand stitched with embroidery ﬂoss using running stitch, French knots, and a blanket stitched edge.

Nancy Bonaguro o CORYDON, INDIANA

Techniques and materials: s: fusible appliqué, hand embroidery with silkk ribbon and ﬂoss, glass beads, watercolor pencils, s, couched satin stitched edge, commercial fabrics, and cotton batting.

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Velda Becker ABILENE, KANSAS

Ilove collecting vintage hankies. On this heart, Ilayered a hankie e with a sheet of Angelina Fibers uilted and then free-motion quilted everything and added a few beads. Finished with a tiny zigzag edging.

Lauren Demasek NEW BERLI BERLIN, WISCONSIN

Inspired by traditional wat watercolors, Iused Inktense pencils to create an oombre effect on white Kona Cotton, overlaying that with bold copper quilting to convey the ﬂuidity of water and the beauty of Earth’s nat natural elements.

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Pam Swearingin n SUNSET BEACH, NORTH H CAROLINA

The kindred spirit mailbox ox is a destination spot for many visitors and locals,, it is located along the dunes of Bird Island in Sunset Beach. In the mailbox there is a notebook where you u can write your hopes and dreams, thoughts or stories. i

Jill Russell ALAMEDA, CALIFORNIA

Am mixed-media creation using a handmade gel print, mesh from a fruit produce bag, stitched black-and-white hearts with zigzag-stitched glitzy yarn as the ﬁnal layer. Mounted on glitter craft foam!

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Sherida Warner GRAND JUNCTION, COLORADO

My white cotton heart was cut from prestitched practice fabric, indigo-dyed by me, beaded and seed stitched by hand, and then ﬁnished with a beaded picot stitch.

Cynthia Boos HIGHLANDS RANCH, COLORADO

Idug deep into my sewing drawers and found many bits and pieces of lace, ribbon, and cording and embroidered them onto a piece of fabric—a ‘fussy cut’ printed rose. Istitched an inspirational word and then used a blanket stitch as the ﬁnishing touch to this sweet little heart.

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Kristen JohnsonWalenga CHAGRIN FALLS, OHIO

Blues Focus Heart: The basis of this piece is liberated quilting, augmented with hand stitching and machine quilting. Commercial and hand-dyed cotton fabrics. Itried to add buttons or beads or fancy things, but liked its simplicity of shapes and stitches.

Nancy Ryan GARDENERVILLE, NEVADA DA

Iused a technique from the article “From Sketch to Stitch” in n the Fall 2022 issue of Quilting Arts to o create my heart. Stitching and Derwent went Inktense pencils were used to color or the piece.

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Susan Mattson EVERETT, WASHINGTON

Idrew the butterﬂy on prepared-for-dyeing fabric then painted it with textile paints. Once dry, Ilayered the top, batting, and backing and machine-quilted the piece. Then Icut out the heart shape and stitched a satin stitch all around the edge.

Kathleen Patrick trick EARELCA, MONTANA

Techniques used: Procion® MX-dyed embroidery ﬂoss and cloth, chain stitch and, on the edging, blanket stitch. stitc

JoAnn Peraino FARMINGTON, MICHIGAN

The heart includes indigo-dyed fabric an Imade a long time ago at Eastern Michigan University. The quilting pattern is a Leah Day design called Channel Weave. Ican’t remember mber where Igot the buttons, and the cross stitches ches were handsewn.

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0n the bookshelf Focus on books: add these titles to your quilter’s library REPRESENT! EMBROIDERY: STITCH 10 COLORFUL PROJECTS & 100+ DESIGNS FEATURING A FULL RANGE OF SHAPES, SKIN TONES & HAIR TEXTURES BIANCA SPRINGER

Following the advice of Toni Morrison—who said, “if there is a book you really want to read, but it hasn’t been written yet, then you must write it”—Bianca Springer has done just that! After noticing that many embroidery books are written for, feature, or are written by white people, Bianca decided to expand the medium and invite a more diverse group of stitchers to create projects she designed to include them. The projects are fresh and fun, representing a more modern style for this artform. Her tips and instructions for three-dimensional designs and textures, such as natural hairstyles, are beautiful and new to the genre of embroidery how-to. The extensive design gallery and iron-on transfers ensure you can jump right into creating Bianca’s memorable and creative designs foryourself.

$24.95 • Stash Books • ctpub.com

PHOTO MEMORY QUILTS: THE ULTIMATE GUIDE TO CONTEMPORARY HEIRLOOM QUILTS TO SHOWCASE ANCESTRY, HISTORY & TREASURED TIMES LESLEY RILEY

Lesley Riley is an icon in the art quilting world—an incredible artist, creative teacher, and gifted author—and this new book is a treasure trove of tips, best practices, and inspiring lessons from the master. In this title, Lesley encourages quilters and mixed-media artists of all abilities to create works to document their own or our shared human history. The lessons in this book offer enough guidance to get you going yet not so much as to constrict your own thoughts and ideas. Like releasing a dove into the air, Lesley guides you to make your own way in creating meaningful and treasured quilts.

$24.95 • ctpub.com

ESSENTIAL SASHIKO: A DICTIONARY OF THE 92 MOST POPULAR PATTERNS BOUTIQUE-SHA

Once you’ve dabbled in sashiko, the traditional Japanese hand stitching artform, it’s hard to stop. The relatively simple running stitch becomes mesmerizing and can also be quite complex. This lovely book not only provides the basics and beyond, it will be an essential reference tool when you’re looking for the next stitch or project to work on. Many people are familiar with the traditional white stitch on indigo-dyed cloth but the possibilities—and colors—are endless. We love that the ﬁrst 60 pages of this book just show projects and stitch patterns, building excitement before even talking about supplies, tools, fabrics, and how to draw the designs. That may appear backward to some but it seems refreshing to celebrate the joy of the ﬁnished creation ﬁrst and then learn the technique. This is a handy title for all of your sashiko projects to come.

$18.99 • tuttlepublishing.com

QUILT OUT LOUD: ACTIVISM, LANGUAGE & THE ART OF QUILTING THOMAS KNAUER

In this powerful new book, author, quilter, and activist Thomas Knauer reminds us of the power of words and how their meaning can be ampliﬁed in art—and how important this all is for generations to come. Thomas not only explores the ‘how’ of making these quilts but the ‘why’ as well. Filled with fabulous advice and tips on creating your own text for quilts, Thomas teaches how to trace, print, appliqué, and piece a variety of alphabets, including Braille, Morse code, binary code, and data visualization. Don’t miss the ‘spotlight’ sections featuring artists such as Chawne Kimber, Hillary Goodwin, Denyse Schmidt, and more. Ultimately, Thomas encourages quilters to express themselves uniquely. Use this book as a guide. He says, “Ilike to think of these quilts as a means of writing that which we should never forget.”

$29.95 • Stash Books • ctpub.com SPRING 2023

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surface

EXPLORING

THE

PAPER

LAMINATION

MATERIALS • Styrofoam insulation or a

Learn the basics

printing table • Plastic sheeting

by Ana Buzzalino

• White 100% polyester sheer fabric

such as voile, organza, or tulle

mages, images, images everywhere! If you are anything like me, you take photos of different things—because you liked the colors, the texture, they caught your attention. Landscapes, details, trees, interesting color combinations, grasses, water, rocks … I have photos everywhere of everything. With the convenience of cell phones, we don’t even have to take a camera with us.

• Images printed on copy paper—

laser prints, or photocopies in black-and-white or color • Matte medium (I use Liquitex®

or Golden®.) • Ball-headed pins or small/medium

T-pins • Squeegee, used credit card, or brush • Container of water large enough

to hold your piece • Flat, ﬂexible scouring pad • Parchment paper • Baby wipes

The technique offers lots of creative possibilities for simple or complex images. Paper Lamination is the process of using a permanent adhesive to attach paper to a fabric surface and provides an opportunity to combine graphics, photos, and

art papers with fabric, resulting in pieces that are ethereal and unique. I learned this technique in 2014 with Claire Benn in a five-day workshop and have been using it ever since. I also took a class with Janet Scruggs last year to learn her methods. In this series of three articles, I’ll share everything from the basics to more advanced ways I use the technique to create unique images. We are going to explore fragmented paper laminations in the next installment. Look for it! The materials for this process are relatively easy to find at any DIY big box outlet, art supply store, or in your own studio. 82

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Photos courtesy of the artist

I work with images a lot in my quilts, and what interests me is finding different ways to add photos to a piece. I want to share with you one of those techniques I love. It’s easy to do and the results—although sometimes a bit serendipitous—are always wonderful.

Polyester sheer fabrics come in many weights, weaves, and colors. I usually use white, but experiment with different tints for a variety of effects.

figure 1

figure 3

A Brief Overview of Materials

To avoid any copyright issues, use your own photos or copyright-free images. (figure 1) If you want to use words from a newspaper, use portions that won’t be recognizable once the lamination takes place.

Gather the images Let’s talk about images—the success of the paper lamination process and the appearance of the transferred image will depend on the choices you make at the beginning. Images with good contrast work best—especially if you are working with a portrait, as you want the facial features to transfer properly. You can edit and enhance images with photo editing software and adjust colors, contract, sharpness, and brightness. You can also use photo editing apps to create interesting images by changing them into watercolors, addingg ggrunge, g or mixingg and remaking photos.

Papers Your photos will need to be printed onto paper, and low quality paper works best. Coated photo paper or glossy magazine pages are not suited to this technique as the coating interferes with the laminating process. If you’d like to use images from magazines, make photocopies and keep the originals. Laser prints work better than inkjet copies because the inks won’t bleed. If using an inkjet machine, print an image and then let the ink cure for a week or two. Test the image to see if the ink is stable before committing to a large project. To prepare the papers for lamination, cut or tear any unwanted parts of the photo such as borders or the white edges. Tearing paper will give you a more organic look than cutting away the unwanted parts of the image.

Matte medium Matte medium is acrylic based, and it is used to adhere the paper to the fabric. It will stiffen the hand of the fabric; by how much will depend on the thickness of the application. Matte medium comes in gel and fluid. I used gel for this exercise, but fluid medium is also good and pours directly from the bottle. (figure 2)

The fabric Any lightweight or sheer polyester fabric will work for the lamination. This process requires a lot of scrubbing, and natural fibers will not withstand the effort required to remove the paper without being damaged. Avoid nylon as the matte medium won’t adequately bond with the slippery surface. Test the transparency of the fabric you’ve chosen. Place it on top of the paper you’ll be laminating—can you see through it? (figure 3) Consider making a small test piece before embarking on a large paper lamination. Translucent polyester sheer fabric allows for the image to be used from either side, depending on which you prefer.

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Before you begin, press the sheer fabric to remove wrinkles—use a piece of parchment paper to avoid melting the material.

DIRECTIONS Paper Lamination Basics Create a full image transfer Working with a full image transfer will help you to understand the steps taken in the process. 1. Cover the print table (or

Styrofoam insulation board) with plastic.

3. Cut a piece of sheer material

1" larger than the photo on all sides. For example: if the image is 8" × 10", cut the sheer fabric to 10" × 12". Place the sheer on top of the image. 4. Pin the fabric down taut over the

image without stretching it. The fabric should stay in contact with the paper. (figure 4) 5. Spread a moderate layer of matte

medium with a scraper, credit card, or paintbrush, being sure the medium thoroughly contacts both the fabric and image. Avoid getting gel medium on the edges of the fabric around the image. (figure 5)

2. Choose an image and place it on

the plastic with the image facing up—remember to prepare the image and remove all borders and extra paper from the edges.

figure 4 84

NOTE: The paper is likely to buckle in places as it gets wet and relaxes, which means that in some areas the sheer may not stay in contact with the paper. This adds to the distressed look.

for 10 minutes to partially dry, and then carefully remove the pins. 7. Lift the fabric with the attached

paper and check to see if you missed any areas. If you have, place the image back on the table and add medium where needed. 8. Hang it to dry. It will take

30 minutes to 1 hour to dry (depending on the thickness of the application and the climate). If in doubt, leave overnight. NOTE: Gel medium dries quickly and can ruin your tools. Wash your brushes in warm water right away. The printing board can be cleaned with baby wipes or a wet paper towel before working on another piece. 9. Once the image has dried, cover it

with a piece of parchment paper and heat set with a dry iron on a cotton setting. (figure 6)

figure 6

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6. Leave the piece pinned in place

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Remove the paper 1. Soak the piece in a bucket or sink

with lukewarm to cool water (not hot) for 10–15 minutes. The paper will soften making it easier to remove from the fabric. (figure 7) 2. When the time has elapsed, gently

squeeze out the excess water. Place the piece on the plastic covered surface with the paper side up. 3. Use your fingers at first to start

loosening and peeling the paper away from the piece. Discard the paper waste in the garbage, not down the sink. (figure 8)

“Two Windows” • 14" × 14" Fabric, batting, thread, paper, paint; monoprinted fabric, free-motion quilted, collaged papers; mounted on a board, ready to hang.

NOTE: Where the matte medium dries, the paper will begin to ‘split,’ meaning that the back will peel off quite easily, leaving the front layer, with the image/ text behind. You need to keep scrubbing until all paper has been removed,

Heat Setting Tips It is of vital importance to heat set the paper lamination. If you forget to do this step, the entire image will disintegrate when you place it in water to soak.

figure 7

•

Place the image with the sheer fabric on an ironing board, image up. Place a layer of parchment paper on top.

•

With a dry iron on cotton setting, heat set thoroughly. It takes about 10–15 minutes to heat set 1 yard of fabric.

•

You cannot over-iron a paper lamination, so take the time to heat set the piece properly. Better safe than sorry.

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Additional Tips

Cheesecloth — right side

Cheesecloth — wrong side

figure 9 especially if you want to use the image from the (wrong) paper side. Any remaining paper will create a ‘fuzz’ that will cloud the image. If you are using the image with the sheer on top (right side), then that’s not as important. 4. Continue removing the paper—

if you are working large, work in sections—until all paper is removed. Use a scouring pad to help remove the last bits. Be careful not to scrub too forcefully as you do not want to damage the weave of the sheer fabric. Always

Make Your Own Printing Table If you are going to do a lot of printing, it is helpful to have a designated table or surface for that purpose. Making your own printing table is not difficult. For Ana's easy-to-follow instructions, visit QuiltingDaily.com/ quilting-arts-magazine-spring-2022.

•

Do not be discouraged if you lose some of the image completely in areas. It means that the fabric lost contact with the paper. This is sometimes part of the process and you may get wonderful and unexpected results.

•

If you are going to embark on a large project, test your images ﬁrst to make sure that the print won’t bleed.

•

If you don’t get all the paper out the ﬁrst time and you see fuzz once the paper lamination is dry, you can soak the piece again and rub some more. You can also spray water in the areas that need more work.

scrub with the weave of the cloth, not in a circular motion. 5. Shake the piece out. Rinse it by

hand or hose down larger pieces outside. Hang the lamination to dry. 6. Iron the laminated fabric to

remove wrinkles—again, protecting the piece with parchment paper. Use a medium setting and iron on the paper side. As noted, paper lamination can be used on either the fabric or image side. Each has its own characteristics. It’s difficult to see a difference when using fabrics such as voile or tulle, but the laminations viewed from the paper side of loosely woven cheesecloth look better than those from the fabric side. (figure 9) Use whichever side of your laminations that you like best. It is my hope that you’ll give this technique a try. In the next article, I will share more paper lamination techniques and so much more! Don’t miss it.

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“Only You” • 10" × 10" PFD fabric painted with diluted India ink and a cola pen, batting, backing, thread, paper lamination, copies of magazine papers; background free-motion quilted, fused paper lamination; mounted on a board, ready to hang.

This article is the ﬁrst in a three-part series by Ana Buzzalino adding complexity to your ﬁber art with the paper lamination process. In the next issue of Quilting Arts, Ana will experiment with Fragmented Paper Laminations.

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By QUILTERS, For QUILTERS At Quilting Daily, we are passionate about inspiring others. That’s why we’ve created the best online hub for all things quilting! Find your inspiration with thousands of patterns, motifs, videos, workshops, magazines and more. We’ve got something for every quilter at any skill level.

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out of the toolbox

make your own

blank canvas such as white cotton fabric can be daunting for a fiber artist when

there are thousands of commercial fabrics on the market that are beautifully designed and ready to stitch. But the idea of making one’s own fabric from scratch, trying new surface design techniques, and bringing ideas you’ve seen in the world to life in textile art can keep you inspired to return to your studio again and again. Investing daily time that includes free creative play can get you to the point

by Brandy Maslowski

where a blank canvas ignites your mind. When I carve out studio time to create new fabric, the first and quickest choice for me is to mix my own fabric paint. Mixing readily available acrylics with fabric medium gives me a nice variety of colors—since I already have a wide assortment of acrylics. It also saves money to buy one bottle of fabric medium rather than a range of colors in fabric paint. As you mix in fabric medium you change the acrylic paint by adding a polymer to create flexibility and adhesion. It enhances the workability of the paint with a longer drying time, lessens bleeding, and leaves the fabric with a softer hand. When you explore making your own fabric paint, take the time to experiment with heavy- and soft-body acrylics, the different mix ratios of different brands, and heat setting and washing Photos courtesy of the artist

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MATERIALS • Plastic sheeting

tests to find the texture and colorfast result you desire. Or you can simply wing it and have some fun! The risks of painting with acrylics directly onto fabric without fabric medium are cracking, peeling, and a hard-to-stitch fabric which is not flexible or generally useful in textile art projects. In a nutshell, acrylic on fabric without fluid fabric medium might not pass the scrunch test.

DIRECTIONS

• Acrylic paints

1. Prewash, dry, and press the fabric

• Mixing palette or cups

to remove any sizing or chemicals and get the fabric to its finished size before painting. This will help the homemade fabric paint adhere to the fibers. 2. Protect your work area—which

should be a smooth surface—with plastic sheeting and tape down the

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• Fabric medium • Rinse cup • Paintbrushes, sponges, and stir sticks • Mark-making tools and recycled

items for making marks • White cotton fabric • Painter’s tape • Spritz water bottle • Press cloth

out of the toolbox fabric. Taping lessens movement, stretching, and folding while you paint. I like to create a grid of fabric squares with painter’s tape to try multiple techniques on one large piece of cloth. (figure 1)

Technique ideas for painting fabric •

•

TIP: Paint the fabrics before you cut and stitch them into a project rather than painting directly on a ﬁnished project. If you test the colors, thickness, and processes on fabric pieces ﬁrst, you can experiment without the fear of messing up. 3. Squeeze paint onto a palette, and

then add fabric medium following the manufacturer’s instructions. Mix only what you need or store excess in small airtight containers.

•

Spritz one section of fabric with water before adding paint in several shades or tints of the color with a large brush alternating vertically and horizontally for a watercolor effect. (figure 2) Try taping off straight lines vertically and painting in between in several shades of one color and hints of black. Then remove the tape and add horizontal lines. Paint in between again to create a plaid effect. Anywhere you had tape should remain white. Use recycled or household items such as corks, bottle lids, cotton swabs, or a basting brush for printing on fabric. Paint a thin coat directly onto the item and then stamp the fabric. It is easier to add more paint to the fabric than to remove paint. (figure 3) Dedicate such tools to non-food use only.

•

Use painter’s tape to create shapes or lines for a stencil or relief design. For the wavy line effect, place a piece of tape on a rotary cutting mat, cut a gentle wave down the center with a rotary cutter, and then peel both pieces off the mat and position them on the fabric. Press tape down well so paint doesn’t seep underneath.

(figure 4)

•

Try mixing multiple shapes like swirls and lines and then add contrast with black or white highlights such as lines of dots. (figure 5) Use one shape—like a circle—in multiple sizes and colors. If the background stands out as too white then add a light colorwash.

TIP: If you are blending paints to create a custom color, do this before adding fabric medium. 4. Paint the fabric. See “Technique

Ideas for Painting Fabric.” Allow all painted fabric to dry 24 hours, then heat set with an iron on medium/low with no steam. Always use a press cloth to protect the iron from paint. Wait 3–5 days before washing if you are making a project that will be washed.

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Tips for success •

•

Buy the best quality brushes, tools, and paints you can afford. Prices vary drastically as does quality and effectiveness. The brands I use are Liquitex® fabric medium, KROMA artist’s acrylic paints, Artify paintbrushes, and white 100% cotton fabric from Northcott. Consider painting all the fabric you need in tints and shades of one colorway until that paint is used and then move on to the next color. Pull fabrics from your stash for inspiration or to match when using your new fabric in a project!

(figure 6)

• • •

If the painted fabric starts to look like one solid color or becomes muddy, add touches of white to brighten it up or black to add contrast. Set used brushes in a rinse cup of water while painting and wash and dry them immediately after you are done painting. Test and play with the homemade fabric paint on different types of fabric for different effects. Or recycle an old hand dye or art cloth to make it into something new. (figure 7)

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out of the toolbox

Further Exploration INSPIRATION: Choose something you love in your studio like a gorgeous skein of hand spun yarn for color inspiration—you can do this!

NOT ALL BRANDS ARE THE SAME: Read the mixing ratio directions carefully on fabric medium because brands differ. Do plenty of test printing—plus, sometimes those test pieces can become their own little works of art!

COLOR: Tints are made by adding white to a pure hue and shades are made by adding black to a pure hue. Remember less is more with black! Add black in very tiny increments. (figure 8)

FINISHING: Piece the painted fabrics with scraps from your stash for an improv scrappy effect. You can also use stitch to accentuate the painted design, playing with thread weight, color, and machine- or hand stitching. (figure 9)

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studio style

Focus on your studio: add these fabrics and tools to your quilter’s tool kit HOTHOUSE BY DEBORAH FISHER

Photo courtesy of the artist

We are big fans of multi-talented Deborah Fisher and Hothouse is her latest fabric collection with Windham Fabrics. We love Deborah’s bold colors and range of values— and her overall sense of whimsy and wonder. Who doesn’t love bright blue, chartreuse, and orange together, right? These vibrant prints would pair well with solids, dots, or stripes ... or maybe all three! We see happy baby quilts and charming cuddly throws from this group. We love Deborah’s ‘Boundless Binding’ prints as well and their versatility for piecing, borders, or binding. Make yourself a happy quilt with this collection!

windhamfabrics.com

SCANFIL® ORGANICS THREAD Do we really need more thread choices? The answer is yes when the product is as amazing as Scanﬁl threads! These organic threads are long-staple Pima cotton, naturally dyed, chemical- and pesticide-free, and GOTS and Oeko-Tex-certiﬁed. Scanﬁl threads are new to the U.S. but have been made in the Netherlands since 1970. We were able to sew with 30wt and 50wt samples and they were a dream to work with. Did we mention the thread is wound on beautiful wooden spools and their packaging is earth-friendly, too? The set we are featuring includes six 30wt spools and a wooden stand but their online shop has dozens of choices. With a full-range of thread weights, colors, and multi-pack options, it might be hard to choose—so buy a few!

$49.79 • scanﬁlthreadshop.com

SUNBEAM Photo courtesy of the artist

BY RASHIDA COLEMAN HALE

Rashida Coleman Hale’s latest Ruby Star Society fabric line with Moda Fabrics is aptly named Sunbeam. This collection is warm and lovely as a summer day with a calming range of values from light-lights to lovely mediums. Predominantly pinks and golds, this collection does have some charming and cheeky highlights of bright pink; lovely geometrics to blend and mix in; plus tigers, doves, and sassy gals with beautiful hair. We notice the seal of Ruby Star Society says “guaranteed delightful”—this collection certainly fulﬁlls that promise!

modafabrics.com

A NEW LEAF BY JANE SASSAMAN

We have always loved Jane Sassaman’s designs and fabric creations—and her ‘A New Leaf’ collection tion with FreeSpirit Fabrics is mesmerizing! The fabrics are lush and delightfully saturated with color, almost luxurious as you drink them in. This collection leans hard toward greens and purples with highlights of turquoise and fuchsia in a good range of light, medium, and dark values. The patterns include ﬂowing and circular elements plus spiky and geometric ones, too. Each design echoes nature and yet also seems fanciful—there are leaves, ﬂowers, cones, ferns, and berries—and also a plaid, a rickrack print, linear and more abstract grasses and rows of sprouts, all representing a delightful tumble into a wonderland of possibilities. Enjoy the journey!

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take the Enhance walking foot quilting with hand stitching

by Catherine Redford

inishing a quilt top is a tremendous accomplishment, butit is just the beginning! Even before I start cutting the

fabric for a new quilt top, I am thinking about the quilting possibilities. I guess I’m just one of those people who likes to plan ahead and know where I am going!

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For me, the quilting should accomplish two things: First, it needs to make the top into a quilt that is fit for the purpose it is intended for— whether that is a functional object or a decorative piece. In addition, it also needs to enhance the quilt design. Iwant my finished quilts to look even better than the original quilt tops. You might say that the quilting stitches add form and function to everyproject. I have been a hand stitcher since elementary school when I was fortunate enough to have embroidery lessons once a week. My first two quilts were hand quilted. I never mastered a tiny, even stitch, however, and soon realized I wasn’t going to be able to keep up with all the quilt tops I wanted to make. I took the machine

quilting classes offered at my local quilt store and learned how to finish my quilts using both free-motion and walking foot techniques. Eventually, I started adding handstitched details to my projects after stabilizing the quilt sandwich by

machine. I discovered I could bring together my two loves, machine quilting and hand embroidery! Walking the show floor at QuiltCon last year, I saw lots of quilts combining these two sorts of stitching with beautiful results.

Plan, Press, and Then Proceed Catherine’s tips for successful walkingfoot quilting will lead to a stable quilt and better overall results. Plan ahead. Think about your quilting and embellishment plan as you start your quilt top. Press your quilt top carefully. If you want to be able to stitch in the ditch to stabilize your quilt, you will need to press the seams to one side. Press from the front for the best results.

Make sure to baste your quilt sandwich well before you start quilting. Use your favorite method. Ilike to use #1 safety pins placed evenly across the project. Take time to baste and you will save time at the machine and be pleased with theresults. Use a walking foot made for your machine. Ask your local dealer if you need advice. Identify the best needle for your chosen thread. I like to quilt with a 50wt or 60wt two-ply thread and an 80/60 (Microtex) sharp needle. A ﬁne thread will add texture but still allow your piecing to be seen and appreciated. Stitch carefully at an even speed. Remember, even if you seem to be going slowly it’s still quicker than handquilting!

“Wh iin D “When Doubt bt Ch Choose Pi Pink” k” • 18" × 20" A mini improv quilt with extensive irregular matchstick quilting and hand stitching

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Get started I always begin a quilting project with the machine stitching, usually opting to go the walking foot route. The machine stitching sometimes just stabilizes the quilt, making it possible to remove the basting pins and keep everything flat while I hand stitch through all the layers. Other times I machine quilt quite densely and only add some hand embellishment, such as in the quilt “When in Doubt Choose Pink.” These stitches do not necessarily penetrate through to the back of the quilt. Either approach requires planning. I relish taking my time at the machine, and enjoy adding irregular matchstick quilting across a project.

figure 4 figu

figure 2

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(figure 1) The lines add a wonderful layer of texture to my quilts and unify almost any design. Organic curves (figure 2) add a different dimension but are limited to smaller quilts because they involve turning the quilt through the harp of the machine. Simple grids (figure 3) provide a network for all over hand stitches. Sometimes I also include spirals in my

quilting plan. There are many options for texture, line, and design when quilting with a walking foot. It’s not all stitch in the ditch! (figure 4) Once I have finished the machine stitching it’s time to sit in a comfy chair and enjoy getting close and personal with my quilt. Hand stitching allows for that connection. At times I simply add a few running

Is This a New-to-You Technique? I have been hand stitching and machine quilting for years, but these techniques can be applied even by the newest quilter. Check out these tips for successful hand stitching on a quilt.

•

Make sure your quilt sandwich is stable. I do this by adding a layer of machine stitching ﬁrst before enhancing the top with embroidery or hand quilting.

•

Minimize the need for marking your design on the quilt top by choosing a suitable allover walking foot quilting motif. If you do need to mark a design, use a method that is easily removed. For example, you can add lines with a chalk pencil, low tack tape, or crease with a Hera™ marker without leaving signiﬁcant residue on the fabric.

•

Match your thread and your needle. I use a heavyweight thread for hand stitching—8wt and 12wt threads work well. Regarding needle sizes, there are many alternatives available. I prefer a #24 chenille needle because it has a large eye and a sharp point. If you are struggling to thread the needle or it rubs excessively while you are stitching, go up to a #22.

•

Resist the temptation to cut extra-long lengths of thread! It will tangle and fray as you stitch. Stick to a length of about 18”.

•

Start your stitching with a quilter’s knot and bury it in the batting. Finish by making a small backstitch hidden under the last stitch, then take the thread through the batting for about 1” before coming up on the top of the quilt and trimming the thread so the end is concealed in the quilt sandwich.

“Wholecloth: Small Two” • 12½" × 12½" 96

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stitches to highlight a particular quilting line. I have discovered that my stitches are easier to form and more even in size if I just sew through the top layer and the batting. On other occasions the hand stitching is extensive and forms a whole new layer of design to my quilt top.

“Beneath the Surface: Squares and Swirls” Swirlls” • 21" 21 1" × 21" 21"

Embroidery stitches to try Simple running and cross stitches are a great place to start your handwork journey. Some traditional stitches can be modified to successfully quilt a quilt. Fly stitch, seed stitch, and lazy daisy stitch add interest and texture. Wrapped stitches and even beads can be combined when appropriate. With a little practice you will soon develop your own personal vocabulary of favorite hand stitches and be looking for places you can use them on many of your future quilts. Why not create a sampler and test out these stitches?

Stitches This sampler incorporates gently wavy machine quilting with several different hand embroidery stitches, added after the machine quilting was complete. (figure 5)

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Running stitch This is the simplest hand stitch. Take several even stitches at a time on your needle. If you struggle to keep your stitches the same size, call it long and short stitch and embrace the imperfections! French knots French knots add little dots of color. Travel in the batting between the knots for a tidy finish. Cross stitch Take one stitch at a time for an interesting quilting stitch. (figure 6) The crosses embellish the top of your work and the back is very neat. (figure 7)

• Come up at A and work the stitch B to C below. (figure 8)

• Go back down at D and out at E to complete the stitch and start the next one. When you’re done, you will have two neat rows of running stitch on the back of your work.

figure 8 Lazy daisy stitch is a single chain stitch. To use it as a quilting stitch, scatter the stitches evenly in the space to be filled, traveling in the batting between the stitches. 98

“Mini “M Min inii Qu Quilt” Quil ilt” t •1 14" 4 × 114" 4" 4 4"

Seed stitch can be used in a similar way to the lazy daisy stitch. Each stitch is a double stitch on the front resulting in a single stitch on the back of the work. (figure 9) Again, travel in the batting between stitches for a neat back. Fly stitch is another embroidery stitch that can be used to add interest to your quilt. Take care to keep the back of your work neat and tidy by working the stitch in a consistent order.

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QuiltCon 2023

SPECIAL EXHIBITS THE QUILTS PRESENTED IN THIS YEAR’S SPECIAL EXHIBITS SECTION ofQuiltCon are powerful and beautiful examples of the groups that created them and how the sense of community is strongly visible, palpable even. Social Justice themes run strong through these exhibits as does homage to 19th-century quilter Harriet Powers and African American quilters of today. On the pages that follow is just a sampling ofthese quilts, their makers, and their inspiration. For more information and a full listing of exhibits, visit quiltcon.com.

Crucifixion 27” × 28”, based on Block 15 of the Harriet Powers Pictorial Quilt (MFABoston) MADA COLES GALLOWAY co-president of Princeton Sankofa Stitchers LAWRENCEVILLE, NEW JERSEY

Harriet Powers traditionally used bright colors for the background of many of her blocks. I selected a background that would represent her use of color but would also capture the somber mood of the cruciﬁxion. I chose to use black-and-white fabrics for each of the cruciﬁed ﬁgures. Fabrics designed by e bond were used to represent Christ as he took on the sins of mankind and the thief who was not saved. Cloth with crosses and an empty tomb were used for the thief who was redeemed. Bright colors were used to represent the unchanging love of Mary and Martha for Christ. The combination of Shweshwe fabric and ﬁsh were used to symbolize Christianity. Hand appliqué, machine appliqué, foundation paper pieced; machine quilted without a frame.

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Paying Homage to Harriet Powers This is a collaborative exhibit involving the leadership and members of three historically African American quilt guilds: Brown Sugar Stitchers Quilt Guild of Atlanta, Georgia; Princeton Sankofa Stitchers Modern Quilt Guild of Princeton, New Jersey; and Akoma Ntoso Modern Quilt Guild of Indianapolis, Indiana. By recreating the Harriet Powers Pictorial Quilt and blocks from the Bible Quilt—using the design element of scale and other characteristics associated with modern quilting—this talented group honors ancestor Harriet Powers by keeping alive quilting traditions in the African American community.

Harriet Powers’: Jonah Cast Overboard 29” × 34”, based on Block 6 of the Harriet Powers Pictorial Quilt (MFA Boston) JUANDAMARIE GIKANDI co-president of Princeton Sankofa Stitchers PRINCETON, NEW JERSEY Design source: A Pattern Book: Based on an Appliqué Quilt by Mrs. Harriet Powers (Museum of Fine Arts Boston)

This quilt is part of a challenge I created for my guild to recreate Harriet Powers’ quilts using a modern aesthetic. Fabric selection and color were vital to creating this composition. I selected a background fabric by a Black maker, printed with the words, “The Stories We Must Tell.” I feel compelled to continue to tell our stories and keep the tradition of quilting in the African American community alive. As a descendant of enslaved Africans in the diaspora, Ipay homage to my roots by using batik fabrics I handprinted in Ghana. I hand appliquéd and hand quilted this piece in honor of my Arkansan ancestors who were proliﬁc quilters, and selected colors that were bright to capture the joy I felt in bringing this work to life. Like the writer Alice Walker, “My interest in creating is that it be useful.” I used needle-turn appliqué for all the ﬁgures except the turtles. I wanted the turtles to have well deﬁned edges, so I used raw-edge appliqué with tiny hand stitches around the perimeter to anchor the fabric. For quilting, I chose to echo each ﬁgure, but to keep it modern, quilted straight lines using a big stitch in a widely spaced grid pattern. Hand appliquéd, hand quilted.

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Harriet Powers’: The Baptism of Christ 26” × 46”, Based on Block 7 of the Harriet Powers Bible Quilt (Smithsonian) JUANDAMARIE GIKANDI, co-president of Princeton Sankofa Stitchers, PRINCETON, NEW JERSEY

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Lives Taken, Lives Remembered Exhibit by the Fulton County Remembrance Quilters Project Five quilters used their craft to honor and remember the 36 African Americans, documented by the Equal Justice Initiative, who were lynched by white mobs in Fulton County during the period between 1877 and 1950. There were undoubtedly countless more victims murdered during that period for whom records do not currently exist. The makers hope these quilts not only memorialize and humanize the victims but also serve as a vehicle for educating the public about the history and legacy of racial terror committed to maintain white supremacy.

For more information, contact [emailprotected].

Mack Henry Brown —40 Years Old (above) TANYA HELDMAN

December 23, 1936: Mack Henry Brown was found in the Chattahoochee River drowned, shot, handcuffed and footbound.

Dennis Hubert —18 Years Old (left) ODESSA HUFF

June 15, 1930: Dennis Hubert was approached by seven white men accusing him of verbally insulting a white woman. He was fatally shot in a playground in front of at least two dozen witnesses, many of whom were children.

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Warren Powell —14 Years Old (left) ROBIN BLACK

September 4, 1889: A mob of masked white men seized Warren Powell for allegedly assaulting a 12-year-old girl. He was found the next day hanging from a tree.

Atlanta Massacre of 1906 (below) ODESSA HUFF

September 22–25, 1906: White mobs gathered and yelled “Get them all! Kill the negroes.” Over three days at least 25 African American men and women were killed. Estimates suggests the number killed was closer to 100.

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the last word. Photos courtesy of the artist

BY JOANNE

ADAMS ROTH

Family and college took over in there somewhere and the quilt that Istarted at age 17 didn’t get finished until Iwas 34. Iwas so tired of working on that scrap quilt after Both of my grandmothers, my 17 years that Ihired a local hand quilting group to quilt mother, and most of my aunts all it for me. They were a little astonished that Ihad sloppily sewed and saved their scraps to make overcast the seams and that the top did not lay even close quilts. As a very young child, Ihelped to flat. So, they did their best to ‘quilt it out.’ And they to cut squares and thread needles with didn’t rub it in on how Ihad done such a poor job in yarn so that the women in my life putting together and hand stitching the top. could make tied utility quilts for our beds. We didn’t have What did Ilearn from that experience? That Iactually electric blankets, store-bought clothes, or store-bought did like to make quilts and Iprobably needed some help! fancy bedspreads. And Ijoined a local hand we used our quilts; none quilting guild a couple of them were heirlooms. of years later and learned Iloved getting tucked into why the quilt needed to bed at night with my cozy be stretched on a frame; quilts and homemade why quilts that don’t lie flannel pajamas. flat are an issue for those When Iwas in high doing the quilting; and, school, Imade my most of all, how much own scrap bag. Igot Ienjoyed being around leftover scraps from my the other women and grandmothers and my learning from them. Iwas mother from dresses, the beginner then. shirts, blouses, house Fast forward to now— dresses, and aprons that I’ve been at this quilting they made … and from game for almost 60 years the doll clothes they made and have completed over us for Christmas. Ikind 200 quilts. That’s a long of liked my little bag of time! And a lot of quilts! scraps. It was mine and I’m now helping others Icould make whatever to learn how to quilt Iwanted. through my weekly blogs, The first quilt Ipieced local small quilt groups, was a Grandmother’s and occasional classes. My “Sunshine and Shadows” by Joanne Adams Roth Flower Garden. Ididn’t quilt guild featured me in realize how difficult this would be for a first quilt. Itraced a solo show in 2018, which felt like a lifetime achievement a pattern from a quilt my great aunt had made and used a award. I’m grateful for their trust in me; grateful for all cereal box to make the template. Icarefully traced around of my women relatives and friends who came before me; the template onto my fabrics. Iused the same cardboard but, most of all, grateful for the lifetime gift and passion piece until it essentially lost its shape. So, when Ihand ofquilting. pieced the tiny pieces together, Ihad to fudge a little bit. Haven’t you been quilting long enough to start thinking Not knowing any better, Iused an overcast stitch . . . about your own creative legacy? Submit your complete essay a longish overcast stitch. (up to 800 words) along with a low-resolution image to ’ve been quilting nearly all my life. What a statement! And still, what agoal!

[emailprotected] with “the last word” in the subject line. 104

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Get Creative with Quilting Arts TV Series 2900 is Here! Join host Susan Brubaker Knapp and her many talented guests for a brand new season of Quilting Arts TV! Tune in for new techniques and fresh inspiration. Plus, download the FREE eBook with detailed instructions and tips featured on the show. Watch Quilting Arts TV on your local PBS station or download the series at quiltingarts-tv.com.

Featured artwork by Margaret Abramshe, Lea McComas, Susan Brubaker Knapp; and Quilting Arts community members Terry Aske, Susan Price, and Mary Jo Stipe.

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Quilting Arts Magazine - Issue 117, Spring_clone Flipbook PDF - PDF Free Download (2024)