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THESE LAST FEW WEEKS I’VE BEEN THINKING A LOT ABOUT BLACK GOLD … ALSO KNOWN AS COMPOST.

It is growing season in the northern hemisphere, and on any given day you’ll find me knee deep in my garden—weeding, planting, or just admiring the tiny plot that feeds my family and provides a bounty of flowers all season long. This year our raised beds needed to be rebuilt before we planted, and I am making many trips with the wheelbarrow to the compost piles to amend the soil.

Adding nutrients and organic matter to the tired dirt works like magic.

Within weeks, those beds will be full of happy seedlings and the hard work will pay off.

So what does composting have to do with quilting? Simple—before it becomes valuable in the garden, compost is the decomposed detritus of daily life: leftovers from the kitchen, garden, and yard. Dried leaves, potato peels, chipped tree

2

limbs, and even cow manure can be composted. Quite simply, it is scraps.

As artists who work with fabric, thread, dye, and a long list of various art supplies know—we all have scraps, no matter how well we plan.

All of those leftovers may sit on a shelf or in a bin somewhere in your studio as they do in mine. This issue of QUILTING ARTS has many ideas for featuring those bits instead of hiding or discarding them.

For instance, what do you do with leftover dye? In the past, I’ve either saved it and promptly forgotten to use it up before it lost its potency, or randomly overdyed fabrics and clean-up cloths. Some of them were pretty, others—not so much. But check out Beth Schillig’s answer to

the leftover dye conundrum. She makes coordinating labels for her quilts, and gorgeous socks to sell, gift, or share. Nothing goes to waste!

Beth demonstrated this technique on “Quilting Arts TV” as well, and it reminded me of Girl Scout camp, dyeing T-shirts around the campfire.

How about those small lengths of shimmering threads, silk ribbons, and colorful bits and bobs that are gathering dust in your studio? How would you convert those to ‘black gold’ to enrich your art? Three options are explored in the following pages.

Ana Buzzalino was inspired to make Snippet Scrolls from fabric scraps, wooden spools, and ephemera. The resulting 3-dimensional objects are gorgeous and unique. Colleen

Alone 41½" x 30½" • EUNHEE LEE • SOUTH KOREA

“Covid-19 has made people experience unprecedented restrictions. Ironically, the situation gave me time to think more about myself and the people around me. I don’t know how this situation facing the world will change in the future. But I hope it will be resolved in a positive way.”

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Ansbaugh fashioned mini landscapes with felted wool, trim, and other fibers. These are pretty enough to frame.

In addition, Donalee Kennedy shares how to make ephemeral Fiber Fusion, art she mounts on painted canvases for display. All three of these artists found treasure in items that might have ended up as trash.

Vivian Zepf goes a step further and literally diverts plastic normally headed for the landfill—the ubiquitous soda can holder—into a useable stencil and interesting component in her art. How cool is that?

Our readers always surprise and delight us with the art they create for the challenges we publish in each issue, and the pincushions featured on page 53 are no exception. We asked Frances Holliday Alford to share how she created the pincushions she entered into the challenge made from—you guessed it—leftover scraps.

What fun it is to see how these bits of repurposed projects were re-imagined into pincushions!

Speaking of Reader Challenges, they often inspire articles in future issues and reader quilts occasionally make their debuts on the cover of the magazine. Our next challenge is inspired by Ana Buzzalino’s Snippet Scroll article. Don’t miss your chance to see your own ‘scraps’ featured in a future magazine.

Of course, this issue of QUILTING ARTS also features amazing artwork and in-depth profiles. Meet artist and curator Dr. Carolyn Mazloomi and learn about her important work promoting the artistry of African American art quilters. Explore the insightful quilts of Cloth in Common (and friends!) as they explore the concept of community in the time of a pandemic. Browse a sampling of SAQA’s “Light The World” exhibit and consider the impact of “The Remembrance Project” from the Social Justice Sewing Academy.

I sincerely hope that every page of QUILTING ARTS brings you joy and insight as you explore work from the amazing worldwide community of art quilters and contributors. As you work your way through studio scraps and find new creative uses for fabric and thread, be sure to share them with us. We may feature your photos next on our It’s Your Turn page!

Best,

Nowhere to Go 40" x 32" • LIBBY CERULLO • ELVERSON, PENNSYLVANIA Guest of Terry Grant

“I see character in the stature of trees; as I play at dressing them, they become both self-portraits and companions. During lockdown, like me, the trees were tucked away on a shelf, feeling vulnerable. Their dresses, symbols of life and renewal for dormant trees, hang below—nowhere to go.”

The quilts on these pages are from members and friends of Cloth in Common. Learn more about their work on p. 97.

Get more online Want more from this issue?

Go to QuiltingDaily.com/go/QA-Summer-21 for the following:

•

More art from Lyric Montgomery Kinard, Melissa DeLisio, and Ana Buzzalino

• •

Behind the scenes images from “Quilting Arts TV” Access to a video from “Quilting Arts TV” featuring the art quilt group Cloth in Common

PLUS a free download: “81 Tips for Free-motion Machine Quilting, Thread Sketching, and Quilting Motifs” featuring content from the Quilting Arts Magazine archives.

Vivika Hansen DeNegre, Editor SUMMER 2021

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j a n o m e . co m

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contents table of

92

departments

design & stitch

In profile & gallery

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EDITOR’S NOTE

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16

8

ABOUT OUR CONTRIBUTORS

BRAIDED CURVES Maria Shell

SHOW US YOUR STUDIO Maria Shell

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IT’S YOUR TURN

Easy improve with a complex result

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25

CALL FOR SUBMISSIONS

52

READER CHALLENGE ANNOUNCEMENT

ARTIST PROFILE: DR. CAROLYN MAZLOOMI Susan Brubaker Knapp

27 53

SAQA GALLERY: LIGHT THE WORLD PIN-TACULAR!

38

TAKE THE STITCH CHALLENGE Julie B. Booth Exploring Layers

Scrolls and Rolls

110 120

42

STUDIO STYLE

BENEATH THE SURFACE Catherine Redford

THE LAST WORD

Results from the ‘Put a Pin in It!’ Reader Challenge

Wholecloth quilts with a hidden secret

Marie Shirley-Jones 47

116

CREATE FUNCTIONAL ART FROM SCRAPS AND UFOS Frances Holliday Alford

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An opportunity to grow and learn

Use up leftovers and ‘Put a Pin in It!’

66

FROM THE DYE POT Candy Glendening Indigo Dye Party, Part 3: Familiar folds and clamping techniques

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DON’T THROW IT OUT ... USE IT UP! Beth Schillig Put that leftover dye to good use

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SNIPPET SCROLLS Ana Buzzalino Showcase your scraps in style

87

THE REMEMBRANCE PROJECT Sara Trail and Laura McDowell Hopper

97

INTERPRETING ‘ISOLATION’ A gallery of work from Cloth in Common

get more online

Want more from this issue? Go to QuiltingDaily.com/go/QA-Summer-21 for lots more free content!

Cover art by Maria Shell

MAKE YOUR OWN MARBLED FABRIC Melissa DeLisio Basics and beyond

92

FIBER FUSION Donalee Kennedy Make ethereal free-form compositions from scraps

106

REVAMPED PLASTICS Vivien Zepf

112

SNAPPY SCRAPPY ’SCAPES Colleen Ansbaugh

116

JUMPSTART YOUR ART Lyric Montgomery Kinard Cool It!

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EDITORIAL

MARKETING & ADVERTISING

DIRECTOR OF CONTENT, QUILTING Vivika Hansen DeNegre MANAGING EDITOR Kristine Lundblad

MARKETING Kelsey Ratterman

AD MANAGER Cristy Adamski cadamski@goldenpeakmedia.com

BUSINESS

EXECUTIVE DIRECTOR OF CONTENT, CRAFT Tiffany Warble

AD MANAGER Diane Kocal dkocal@goldenpeakmedia.com

GROUP ART DIRECTOR Emily Simpson

AD MANAGER Mary-Evelyn Dalton maryeveholder@comcast.net

MEDIA SALES DIRECTOR Julie Macdonald

AD COORDINATOR Kay Sanders

CREATIVE

PHOTOGRAPHY Molly Stevenson unless otherwise noted

CHIEF EXECUTIVE OFFICER Gregory J. Osberg

VP, DIGITAL Melanie Darienzo

SVP, CONSUMER MARKETING Paula Backer

NEWSSTAND SALES Scott T. Hill scott.hill@pubworx.com

Summer 2021. QUILTING ARTS® MAGAZINE (ISSN 1538-4950) is published quarterly by Peak Media Properties, LLC, dba Golden Peak Media, 4868 Innovation Dr., Fort Collins, CO 805255576. Periodical postage paid at Fort Collins, CO, and additional mailing ofwces. Canadian return address: Bluechip International, P.O. Box 25542, London, ON N6C 6B2, Canada.

EDITORIAL COMMENTS OR CONCERNS: QAinfo@goldenpeakmedia.com QUILTING ARTS MAGAZINE, 500 Golden Ridge Rd., Suite 100, Golden, CO 80401 BACK ISSUES: Quiltingdaily.com/go/QA-issues

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We invite previously unpublished manuscripts and materials, but Peak Media Properties 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 by Peak Media Properties, LLC, 2021 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. Copyright ©2021 Golden Peak Media

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Explore the world with fellow quilters!

PANAMA CANAL November 3 – 14, 2021 • Holland America Line Featuring Gyleen Fitzgerald, Jeanette Walton, Cindy Walter

HAWAII December 5 – 23, 2021 • Holland America Line Featuring Jeanette Walton, Kathy McNeil, Kathy Wylie, Pat Delaney

CALIFORNIA COAST March 20 – 27, 2022 • Holland America Line Featuring Chardel Blaine, Christina Fairley Erickson & Ana Buzzalino

PARIS AND NORMANDY April 2 – 9, 2022 • AmaWaterways Exclusive Quilt Explorations cruise featuring Karen Combs

ALASKA June 12 – 19, 2022 • Holland America Line Featuring Jeanette Walton, Chardel Blaine, Gail Garber & Linda M Poole

MEDITERRANEAN EXPLORER June 25 – July 9, 2022 • Holland America Line Featuring Karen Combs

For more information, contact Amy Ross: (866) 573-6351 • QuiltCruises.com

Cruise itineraries, dates and ports of call subject to change until final confirmation by the cruise line, approximately one year prior to sailing. Agency #178-018-521 Job #6160 03/21

Frances Holliday Alford is an internationally known quilt artist living in Grafton, Vermont. She encourages fellow artists to collaborate and share her home studio. She is known for quirky subjects, vivid colors, and unusual embellishments. franceshollidayalford.com

Ana Buzzalino is a fiber and mixed-media artist, surface designer, teacher, and lecturer who loves to combine layers and texture in her original work. Ana is currently teaching online from her studio in Calgary, Alberta, Canada. anabuzzalino.com

Colleen Ansbaugh is a fiber artist whose work is strongly influenced by the ‘Up North’ woods and landscapes of Wisconsin. She is noted for her use of color and textures, and interpreting life experiences in new and exciting ways. colleenansbaugh.com

Marie Shirley-Jones is a fiber artist, author of children’s books, and former K-8 art teacher from the small town of Red Lodge, Montana. Marie loves teaching and has shared her passion for dyeing fabric in many classes and shows.

Catherine Redford loves machine quilting and handwork equally and often combines the two for great results. She is the author of Modern Machine Quilting. @catherineredford

Susan Brubaker Knapp is the host of “Quilting Arts TV,” co-host of the “Quilting Arts Podcast,” and a studio fiber artist, author, and teacher. Susan lives in Chapel Hill, North Carolina, and teaches in the U.S. and internationally. bluemoonriver.com

Donalee Kennedy is a metal artist turned quilter after 27 years creating unique jewelry in gold, silver, and stone.

She is a fiber artist, fabric designer, and teacher who loves the process.

Most of her work is abstract and reflects her enthusiasm and passion for abundant beauty. donaleedesigns.com

For Beth Schillig fabrics, threads, and sewing machines have always been a big part of her life. After years as a sewing machine dealer and educator, she is now a full-time, award-winning studio artist who enjoys incorporating sewing knowledge into artistic expression. bethschillig.com

Lyric Montgomery Kinard is an artist, author, and educator who transforms cloth into art in her studio and timid spirits into confident creators in the classroom. She was recognized for her talents by the International Association of Professional Quilters as a Teacher of the Year and is the author of Art + Quilt. lyrickinard.com

Melissa DeLisio is a fiber artist who loves surface design including marbling, hand painting, and ecoprinting/ dyeing. She specializes in marbling fabric and pushes the boundaries of traditional marbling techniques.

Vivien Zepf started quilting because she became besotted with the beautiful fabrics in a neighborhood shop. Vivien has had her artwork juried into national exhibitions and has appeared on “Quilting Arts TV.”

Laura McDowell Hopper is the Exhibits Director for the Social Justice Sewing Academy, bringing to her role over 15 years of curatorial experience. She is also a freelance quilt writer, past president of the Chicago Modern Quilt Guild, and board member of the Quilt Alliance.

vivienzepf.com

@lmhquiltsv

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Julie B. Booth is a surface design artist, teacher, and author of Fabric Printing at Home. Julie teaches numerous classes in hand stitching as an expressive art form, including telling stories and sharing memories in cloth and creating appliquéd and stitched works with a healing message. threadbornblog.com

Candy Glendening is an art quilter who works exclusively with fabric she dyes herself. By day, she teaches biology at the University of Redlands in Southern California. By night, weekend, and online she also teaches quilting and dyeing. candiedfabrics.com

Maria Shell’s work is grounded in the tradition and craft of American quilt making.

She strives to take the classical components of a traditional bed quilt and manipulate them with the hope of creating surprising combinations of pattern, repetition, and color for the viewer. She is the author of Improv Patchwork: Dynamic Quilts Made with Line & Shape. mariashell.com

Sara Trail is the Founder and Executive Director of the Social Justice Sewing Academy.

After publishing her first sewing book and line of patterns at age 13, Sara merged her love of sewing and passion for social justice at age 17 by making a quilt to honor Trayvon Martin. SJSA was born after Sara graduated from the Harvard University Graduate School of Education. @sjsacademy

Q U I LT I N G A RT S ® M A G A Z I N E

it’s your turn

Dear Quilting Arts, I designed and made a COVID-19 quilt inspired by Laurie Ceesay Landry’s article in the April/May 2020 issue. The size is 44" x 47". I had a blast blinging it up; glitter for her eye shadow, crystals on each eye brow. She also has false eyelashes and 2020 earrings. The coronavirus germ cells all have crystal stones on them, too.

I’ve made four portrait quilts so far. I have a lot more to learn. I enjoy Quilting Arts.

Quilla Ulmer Aurora, Nebraska “Tickled Pink” • 39¼" x 34¼" Beth Schillig

Editor’s Note: Due to a photo processing error in the Spring 2021 issue, “Tickled Pink” by Beth Schillig (shown on pages 88 and 90) was not printed in its full splendor. We are happy to present these shots—a photo of the entire quilt and a detail—of Beth’s beautiful quilt. Please pay particular attention to her exquisite machine quilting.

We extend our apologies to Beth, in particular, and also to you, our readers.

We love to hear from you, our readers.

What are you working on now? How has Quilting Arts inspired or educated you?

What new techniques or influences are you exploring?

Pinterest: pinterest.com/ QuiltingArtsMagazine

Twitter™: twitter.com/QuiltingArts

Facebook®: facebook.com/QuiltingArts

Golden Peak Media: QuiltingDaily.com — QAfeedback@goldenpeakmedia.com Subscription Address Changes and Inquiries: quiltingarts@emailcustomerservice.com

Correspondence we receive is considered property of Golden Peak Media and letters may be edited as necessary for length and clarity.

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Photo by Karol Kusmaul

BraidedCurves Easy improv with a complex result “Ripple” (2020) • 68" x 42" This quilt includes long, built out, curved unit strips to create the really big curves.

by Maria Shell

a

braided curve is a versatile improv unit that can be used in an assortment of quilt compositions from pieced landscapes to traditional pieced quilt blocks. The following instructions show how to

make your very own basic braided curve units.

As you become a more expert braided curve maker, you can modify these steps to suit your own design needs. For example, the braided curves here are made using two layers of fabric. More advanced braided curve makers may decide to cut their fabrics using four layers, creating more color swapping options.

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Before you begin, know that all steps can be executed with or without a ruler. I tend to use my ruler for the first step and then cut freehand from then on, so the instructions are written that way. Importantly, every time you cut, the fabric should be right side up!

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MATERIALS • 8 fat quarters (18" x 20") that go well together, prewashed and pressed • Seam pressing bar or ‘clapper’ • Rotary cutter (I use 60mm blades for the long, gentle curves.)

• Large rotary cutting mat • Stiletto or awl

Optional • 4" x 14" rotary cutting ruler or similar size Note: Fat quarters allow plenty of fabric for experimentation, but you will need more fabric to make a larger composition.

Process photos courtesy of the artist

DIRECTIONS To prepare, cut 1 (8" x 20") strip from each of the 8 fabrics. Separate the fabrics into 4 pairs.

NOTE: You will work with 2 pairs at a time (4 fabrics) so set the others aside for now.

Make single curve units 1. Choose 1 pair and place it on the

cutting mat, right sides up, with room to easily cut from one end of the fabric to the other without stopping. Cut a free-hand curve down the center of the fabric. (figure 1)

figure 1

2. Take the left half of the top fabric

and pair it with the right half of the bottom fabric, creating 2 units. (figure 2)

figure 2

Curves Ahead If free-hand cutting is new to you or makes you nervous, pretend-cut a gentle curve right down the center of the fabric with the rotary cutter closed. Practicing the maneuver is helpful.

Once you are ready to really cut the fabric, position yourself over the mat so you can easily execute this cut from beginning to end.

Give yourself a ‘running start’ by starting to cut slightly before the blade touches the fabric. Cut straight for ¼" at the beginning and end of each cut. This will make it easier to sew the units together.

Cut a gentle curve from beginning to end. Put down the cutter—closing it for safety—and gently separate the fabrics along the cut line.

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3. Repeat steps 1 and 2 with the

second pair of fabrics.

4. Prepare the units for sewing by

flipping one piece on top of the other, right sides together. Place a single pin in each pair indicating where the stitching will start. (figure 3) I do not use additional pins or mark the fabrics for stitching.

NOTE: You are now ready to sew the gentle curve together. If your sewing machine has any of these features, it can be very helpful to use them: freehand system, needle down function, straight stitch needle plate, and/or foot pedal heel tap needle down.

5. Sew the pieces together. It is

helpful to use a stiletto or awl to feed the fabric under the needle.

Sew slowly and don’t pull on the bias edges. Practice does make perfect. (figure 4) curve units approximately 7" x 20". Press the curves carefully in the direction they want to go (or to the dark side) and use the clapper to help the seams lie flat. (figure 5) They may have tails of fabric and be slightly warped. That is totally normal for this process.

Photo by Chris Arend

6. Once sewn, you will have 4 pieced-

“Jökulhlaup” (2020) • 32" x 42" Braided-curve bits were used in combination with other units to create a larger composition as seen here.

figure 3 12

figure 4 SUMMER 2021

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Photo by Chris Arend

“Tic-Tac-OH!” (2016) • 50" x 50" In this quilt, the braided curve rectangles were cut into chunks and sewn together to create curvy sashing.

Braid the curves 1. To create the braided curves, pair

2 pieced-curve units of different colors, 1 on top of the other, right sides up. Using your fingers, find the sewn curve in the bottom fabric. Arrange the top unit so the curves of it are not exactly on top of the curves of the bottom unit.

This may mean you move the top fabric over to one side or the other by a bit. If the curves are similar, consider turning one of the fabrics

180° to change the direction of the curve.

2. Trim the units to the same length.

They do not need to be the same width.

3. Once again, you are ready to cut

a curve through the center of the fabric. Remember to give yourself a running start and cut straight for ¼" at the beginning and end of the cut, and follow a gentle curve.

Separate the fabrics. (figure 6)

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figure 6

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4. As before, take the left half of the

top fabric and pair it with the right half of the bottom fabric. Pair the remaining pieces. (figure 7) Repeat with the second fabric pair.

5. Sew the new units together. You

will now have 4 pieced-curve units that are composed of 4 colors each. (figure 8)

6. Repeat these steps with the 4

remaining fabrics. You can then combine all 8 fabrics together into braided curves. (figure 9) Now that you have mastered the braided curve, your curved piecing options are endless! These curves can be used to create borders, quilt blocks, landscapes, and more.

Advanced Technique— Joining Curves

figure 7

Once you stitch the first couple of curves, you may decide to either stitch them together into a wider unit or take more control over the curve you are creating.

You will have some waste, but you will end up with a single piece of fabric instead of two smaller pieces.

Here is how to join those curves:

• •

Select 2 curved units to combine together. (figure 10)

•

Place that curve on top of the fabric you want to sew to. These fabrics should be RIGHT SIDES UP and need only to be overlapping by approximately a ¼". (figure 12)

•

Use the cut curve as a ‘ruler’ to cut the fabric beneath by following the shape with your rotary cutter. Sew these units together.

Cut a gentle curve into 1 of the fabrics on the side of the unit you want to attach to the other unit. (figure 11)

figure 8

figure 10

figure 12

figure 11 14

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SHOW US

YOUR STUDIO Photos by Paul Scannell unless otherwise noted

Maria Shell

Anchorage, Alaska

p

by Vivika Hansen DeNegre eeking into an artist’s workplace can open a window into their creative process. When

you consider how much time and effort it takes to create a body of work like Maria Shell’s—full of intricate improvisational piecing, exuberant color, and innovative techniques—and also the prolific nature of her quilt making, you just know that the spaces in which she creates must be exceptional. I asked Maria to share some insight into her process and share her creative studio with our readers.

VIVIKA: In your book Improv Patchwork you wrote, “Not everyone has a large studio with loads of storage … I really do think it is important for makers to have a space.”

Like Virginia Woolf, you believe that having dedicated personal space is one of the keys to creativity. Tell me about your philosophy for having a separate studio and how it has influenced your artwork over the years.

MARIA: Having a designated space for quilt making is about more than just square footage. It is about being worthy of space, it is about the psychological benefits of space, and the logistics of space. To claim your own space is to say that what you do in the space is worth the real estate it requires. And once you have the space and use it, it is also about the psychological benefit—makers feel better when they are making! And finally, logistics—if you can sneak into your space for five or ten minutes every day, you can actually get a quilt done.

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VIVIKA: How has your space changed over time?

MARIA: My first ‘studio’ was our old laundry room. It was so small, you could easily touch my sewing machine and cutting table (which were across the room from each other) at the same time. My design wall was on the back of the door that led into the house. It was tiny, but it was mine. At the time, we had three small boys and being able to start and stop work over and over again—to change diapers, cook dinner, break up fights—was the way I made every quilt in those early years.

I now have three major stations in my studio—a sewing area, a cutting and pressing station, and my longarm quilting machine. Every large piece of furniture is on wheels and can be rolled to reconfigure things if needed. My studio is filled with

weird mementos of my family and my quilting life. For example, the kid’s pencil sharpener is on the wall behind my longarm, and it is loaded

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down with conference badges from all of the different quilting events I have attended over the years. I like seeing these things every day.

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When I get into my studio, I am almost always under deadline, this is great because I am always producing new work. The downside is that I am rarely cleaning! My studio desperately needs a deep clean.

We own a cabin in the Wrangell St. Elias National Park located in rural Alaska. Our cabin is off the grid—we haul our own water, get our heat from a wood burning stove, and our electricity from the sun. The cabin was built in 1920 by a gold miner for his new wife. On the back of the cabin is a garage where they stored their Model-T Ford. That garage is now my summer studio and it is my favorite place in the world to create.

I call it a plein air studio as there are holes in the walls for the breeze to come through. My sewing machine and iron are both solar powered. The studio is minimalistic but perfect.

I do have to plan my stitching according to the sun—if it is sunny out, I know I can run everything full blast. If it is a cloudy day, I really have to plan my ironing to conserve our solar power.

VIVIKA: What is a typical studio session as you create your fiber art?

MARIA: I am deadline driven, so almost everything I do has an end date attached to it. If it doesn’t, I try to give it one, so that I will push myself to finish. I am great at starting a quilt, but I often need a deadline to finish. So, often what happens is that I will be working on a particular quilt which has a deadline, and then I will get distracted by another idea, so I start to work on that quilt, too.

And then another idea shows up and before I know it, I have all of my design walls filled with ideas, but no finished quilts. I suppose it is a good problem to have. I try to get all of my office work done in the morning and then spend the afternoon in my studio. Some days the office work lasts until four or five in the evening.

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Photo below by Maria Shell

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When that happens, I still try and get into the studio for just an hour or two. I suppose that is another reason I like deadlines: a quilting deadline means I can prioritize making new work over staring at my computer screen answering emails.

VIVIKA: Lastly, what advice would you give to someone who might just be on the verge of feeling that they need that dedicated corner or nook in their home for creativity?

MARIA: Over the years, the one thing that has helped me the most to become the quilter I am today is to try and remain fearless. Fear of claiming your own space, or fear of trying to do your own work, or fear of not being good enough, or really fear of anything (but maybe a moose or a bear!) is self-sabotage and benefits no one. On the other hand, if you can be brave and claim your space and use it for the greater good—and quilts and art are part of the greater good—we will all be in a better place.

Photo by Kristin Cohen

Photo by Maria Shell

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Alll ph Al phot photos otos os courtesy cou ourt rtes esyy of the the artist art rtis istt

artist profile “In “I In th thee Sp Spirit Spir pirit it ooff Fo Forg Forgiveness” rgiv given enes ess” s (2014) (20144) • 58" 58 x 58" 58

Dr. Carolyn Mazloomi WEST CHESTER, OHIO

by Susan Brubaker Knapp

d

r. Carolyn Mazloomi doesn’t want to talk about her Ph.D. in aerospace engineering or her brief career as a nurse. No,

long ago she moved on from that. Quilts are her thing now. Born in Baton Rouge, Louisiana, and educated in California, she now lives with her husband near Cincinnati, Ohio, and juggles making her own quilts, curating powerful quilt exhibitions about the African American experience, and advocating for African American quilters.

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The artist Carolyn’s art quilts—many of which are black and white, with strong graphic appeal that resemble wood cuts or linoleum block prints— explore themes of music, motherhood, family, and social and racial injustice.

She likes the starkness of black and white, she says. “There’s nothing to get in the way of the message.”

She starts by sketching in ink on paper, then digitizes her designs and sends them out to be printed on fabric before quilting them.

Her work has been exhibited in the U.S. and internationally, including the National Civil Rights Museum, the American Folk Art Museum, Renwick Gallery of the Smithsonian American Art Museum, the Museum of Art and Design, and the National AfroAmerican Museum & Cultural Center.

It is also part of private collections and museum collections.

The advocate In 1985, after realizing that many Black quilters did not feel at home in many U.S. quilt guilds, Carolyn founded the Women of Color Quilters Network (WCQN) by placing an ad

“The “T hhe P Peacekeeper’ eacekkeep ea eper er’’s Gift” Gif ift” ft” (2018) (20 2018 18)) • 76" 76 x 61" 61"

in QUILTERS NEWSLETTER magazine. A handful of quilters responded, and eventually the group grew to more than 1,500 people. It now consists mainly of seniors, and has dwindled down to about 500. Carolyn notes with sadness that it recently lost 18 members to COVID-19.

While the primary goal of WCQN is to provide a group where Black

quilters feel at home together, one of the reasons Carolyn created it was to provide ways for members to show their work. “The quilters needed an opportunity because we have so much talent within the national Black community. All they needed was an opportunity. They were on the outside looking in. They just needed help, they needed exposure.”

“A Piece of My Mind: Quilts by Carolyn Mazloomi” took place in early 2021 at the Weston Art Gallery in Cincinnati, Ohio. The solo exhibition featured both quilts and screen prints created by Carolyn in the past five years.

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As one of the country’s preeminent quilt historians p sspecializing in African American quilts, Carolyn points out that Black q quilters make all kinds of quilts, not q jjust the improvisationally pieced utilitarian quilts made famous by the u quilters of Gee’s Bend. q “Quilts in the Black community aare just as diverse as we are,” Carolyn says. “Every style you can tthink of you can find in the African American quilt community. Very A high skills of technical quilt making h … traditional quilters, art quilters, ffolk art quilters, people who do ccontemporary work.”

But many people don’t recognize tthat, Carolyn says, because “in the history of African American quilt h making, there have been fewer than m 25 major exhibitions in over 30 2 yyears.” While the work of some has become very well-known and garners high figures when sold—think Bisa Butler, Faith Ringgold, Michael A. Cummings, Dindga McCannon— other amazing quilters are still virtual unknowns.

Carolyn aimed to change that, through her books—she’s written and edited 12—curated exhibitions, and by donating and endowing a collection of 100 quilts to Michigan State University a few years ago. “My over-reaching objective in all of this is to find a place in American quilt history for African American quilts.

That’s important to me. It’s important that that footprint be duly noted for the sake of history.”

Carolyn is now preparing to transition the designation of WCQN to a foundation. She’s donating the $50,000 she was recently awarded through a 2021 United States Artists Fellowship to the Network.

“I’m going to endow it because I want to encourage young African

“Certain “C Cer erta tain t in i R Restrictions estr es tric icti i tion ionss Do D A Apply pply pp ly l III” I ((20 I” (2014) 2014 20 14)) • 62 62" x 42 42"

“Stolen “Sto “S Stolen tole len Comfort” Comfort C omfor f t”” (2015) (20 2015 15)) • 73" 73" x 61" 61"

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“Picking “P Pic icki king ng A Away wayy Dreams” wa Drea Dr eams ms” (2015) (201 ((2 015) 5)) • 85" 85" 5 x 61" 61" 1

American scholars and folklorists who want to study quilts. I want to see critical papers written on African American quilt history.” With a few exceptions, Carolyn has bankrolled WCQN since its inception. “If I didn’t do it, what has happened with the Network wouldn’t have happened. People would not have had an opportunity to show their work.”

The curator In the past 20 years, much of Carolyn’s energy has gone into the many exhibitions of African American quilts that she’s curated.

“The works have been transformative,” she says. “Many of the shows are just very emotional

and packed with messages that are compelling, that touch the spirit, that touch the soul, and make an imprint on the viewer’s mind. Some of these stories are unforgettable.”

Those stories, combined with the overall visual impact of the quilts, are more important than anything else, in Carolyn’s opinion. “When I curate a show, I am looking for work that tells the story of the theme of the show. How you put it together, I don’t care. I don’t care about your skill level. As long as it doesn’t fall apart during the tour of the show, I’m fine.”

Her current exhibition, “We Are the Story”—a series of seven quilt exhibitions presented by the WCQN and the Textile Center in

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Minneapolis—is work made in the wake of the killing of George Floyd in the spring of 2020. It explores issues of resistance, empowerment, struggle, and liberation.

This exhibition, she says, is her form of protest. “People have to hear, from outside of the culture, our side of the story. We have to pay homage to those killed due to police brutality.

We have to honor those people.

Their stories have to be told, their names have to be spoken.”

She was astonished when she put out the call for entries and received many from outside the U.S. “They all said, ‘Your story is my story, it is my story of a person of color living in Germany, or France, or Japan.’”

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She views her job as curator as one of helping artists get to the next stage in their careers. “If you want to show your work, then I’m going to find the place that you can show it. I want you to show it.” She’s also been very successful at promoting sales of work in the exhibitions she curates.

Right now, she’s planning two more exhibitions, including one at the James Museum of Western & Wildlife Art in St. Petersburg, Florida, and another virtual exhibition on how the African American community has been affected by COVID-19.

Carolyn works to educate artists on the importance of labeling their quilts, communicating their wishes about what will happen to their quilts after their deaths, and teaching quilters and their families about the monetary, historical, and cultural value of the quilts they make.

Equally important is that artists leave work for their families. “The largest collections of African American quilts are not in the community.

They’re held by people outside of the community.”

“Quilts are cultural documents that tell the story of our existence here in the U.S., what has gone on with our families and communities.

And each quilter is like an African griot [storyteller/historian]: We are the people who tell those stories. We tell them through our quilts. This is the legacy that we leave to the next generation. That is important.”

To learn more about Carolyn’s work, visit carolynlmazloomi.com. To learn more about the Women of Color Quilters Network, visit wcqn.org.

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“Play Date” (2014) • 75" x 61"

Dr. Carolyn Mazloomi is a well-respected advocate, thinker, historian, and artist and her work has continued for over 40 years. Among many milestones and accomplishments in her life, here are a few.

1981—Founded African American Quilt Guild of Los Angeles 1985—Founded Women of Color Quilters Network (WCQN); still acts as its chief administrator

2003—Received Ohio Heritage Fellowship Award 2014—Received NEA Bess Lomax Hawes National Heritage Fellowship Award (named after the NEA director of folk and traditional arts who initiated the National Heritage Fellowships)

2014—Received Distinguished Scholar & Celebrated Artist Lifetime Achievement Award from Faith Ringgold’s Anyone Can Fly Foundation

2016—Inducted to the Quilters Hall of Fame Museum 2021—Received United States Artists (USA) Fellowship in “Traditional Arts”

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WANTED:

You and Your Work Submit today and become part of the Quilting Arts family

N

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. For more information, go to QuiltingDaily.com/about-us-quilting-arts and click on Write For Us at the bottom of the page.

Questions? Email QAsubmissions@goldenpeakmedia.com.

Clockwise from top, artwork by Ana Sumner, Vivien Zepf, and Lyric Montgom mery Kinard SUMMER 2021

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Photos courtesy of SAQA unless otherwise noted

Light the World l

A Studio Art Quilt Associates Global Exhibition

ight is our primary tool for perceiving and understanding the world around us. Without light there is no vision. It allows us to appreciate

the world through shape and form and evokes emotions.

SAQA’s most recent traveling global exhibit, “Light the World” is composed of 40 quilts that explore the transformative quality of light. From the darkness of a night sky illuminated by the moon to improvisational compositions that seem to glow from within, these pieces are sure to inspire the viewer to consider how light is an essential component of art.

“The entry call for Light the World went out before COVID-19 changed all of our lives. Did the organizers foresee that creativity with the theme of Light would

be so needed as a tonic in 2020? Probably not, but of course there are many things in the modern world that require a tonic.

As I write this, I feel that we are at last on the brink; the post-pandemic new normal is edging closer … How appropriate it is that the notion of the ‘light at the end of the tunnel’ was expressed by many of the artists who submitted work for Light the World.

I know that viewing the work submitted was like finding a shot of beauty in my own isolation.”

—Jan Myers-Newbury, juror

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Peonies and Petunias 41½" x 37" • DORIS A. HULSE THE VILLAGES, FLORIDA

“I love using flowers in my work in creative ways to share the beauty of nature. ‘Peonies and Petunias’ was inspired by photos taken at the Denver Botanical Gardens in Colorado. The huge peonies were creamy white, contrasted with the deep, deep purple of the tiny petunias. I combined the two and created both in the opposite colors.

The flowers were then placed on a mirror image, hand-dyed background that complemented their colors perfectly. Ink and thread painting were used to enhance both the flowers and the subtle forms of the background, providing further harmony in the composition.”

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vertige/vertigo 36" x 46" • ANNE BELLAS LOIRE ATLANTIQUE, FRANCE

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“The world is tumbling down in a sort of chaos where light and sky must fight to exist. Made during the Spring 2020 lockdown, it definitely conveys the mood we went through.”

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Strange Attractor #8 49" x 38" • NIRAJA LORENZ EUGENE, OREGON

“Pyrotechnic celebrations dazzle the sky in multicolored lights as the world rejoices. ‘Strange Attractor #8’ was not driven by a concept; nevertheless, stories arose. This piece can be seen from many dimensions: illuminating explosions in the night sky, a magnification of microscopic particles, an aerial view, or all of these at one time. Freehand shapes and lines have been cut from solid-colored fabric and sewn together in varied combinations, creating textures and forms.

Units were then combined into large compositions. Thousands of pieces of fabric were joined to create this powerful visual image.”

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Photo by Kevin Johnson

Quilt Drawing #24 36" x 46" • DAPHNE TAYLOR MONTVILLE, MAINE

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“‘Quilt Drawing #24’ is a contemplative piece, designed to express that moment when the light from within or above shines from the depths of darkness. Light is a force that shows us the way, gives us moments of wonderment, clarity, and calm.”

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Photo by Sam Q. Garnett

Correspondence With Hope 48" x 48" • JUDITH QUINN GARNETT PORTLAND, OREGON

“At times overwhelmed in darkness, I meditate on the truths of life, grateful that my basic human needs are met on a daily basis. Then begins a deeper dialogue with hope and my truths: beauty, music, love, family, friends, and freedom of expression. I move toward the light.”

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What Light from Yonder Window Breaks?

41" x 46½" • MARIAN ZIELINSKI MACON, GEORGIA

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“The property of light that has always fascinated me most is movement, perhaps in part because it incorporates changes in any or all of its other properties—color, intensity, and distribution— but also because movement in light connects us to the passage of time. This work began as a photographic time-exposure of neon-colored lights, which I moved in curvilinear lines in front of a camera’s lens. I was struck by the evocative nature of the window-like shapes, which conjured a feeling of moving quickly through town—perhaps on a train or bus—and catching glimpses of reflections and distortions in glass windowpanes or on a wet street. I was hoping to evoke a lyrical beauty of moving through light and its absence.”

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Seaspider Mamam 37" x 43" • PETRA FALLAUX PITTSBURGH, PENNSYLVANIA

“‘Seaspider Mamam’ grew out of two separate wholecloth monoprints that were layered and d Gestures and d marks k make k ad k oceanic sea spider d figure, f printed. dark, reminiscent off Louise Bourgeois’ Maman sculptures. It appears and jumps out of the sea in search of the light of its mother country.”

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Heat Index 51" x 54" • SUE RENO BETHEL PARK, PENNSYLVANIA

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“The UV rays of the sun are critical to my cyanotype and solar dye print process. I made these prints in August, when a combination of relentless sunshine, record temperatures, and high humidity had me checking each day for the predicted heat index, an indicator of just how unbearable outdoor activity would be. I used leaves from plants that were flourishing despite the heat, and the color palette captures the intensity of the heat and light. The prismatic patchwork reflects the small bits of shadow found among the foliage.”

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Seeing Through to the Light 36" x 44½" • BOBBI BAUGH DELAND, FLORIDA

“I stood in the quiet of pine needles off a county road in rural South Carolina. Sunlight filtered through tree branches where once, long ago, a roof had been. The light defined a tangle of overgrown vines, revealing an intricate complexity. In that isolated place, what might have been frightening and eerie was made mysteriously beautiful. I wondered what had happened to this little house. Who had lived here? Where were they now?

Without answers to those questions, the patterns revealed by the light inspired me to give voice to what I saw. Light cut through emotional darkness and loss, resurrecting abandonment as art.”

A Tiny Moment of Happiness

Photo by Moti Chaimovich

36" x 36" • MAYA CHAIMOVICH RAMAT GAN, ISRAEL “For this quilt, I was inspired by the literary fairy tale, “The Little Match Girl,” written by Hans Christian Andersen in 1845. The story is about a poor, dying girl during a snowy and freezing night. She tries to illuminate her cold and cruel world using a tiny match, to warm her fingers and get one brief moment of dreams and happiness.”

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In the Darkness 36" x 46" • GABRIELE DITOTA MELBOURNE, FLORIDA

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“Light! Sometimes we just focus on the darkness. The year 2020 was defined by a lack of being able to see the future clearly. Economically, politically, and health-wise, we have all been searching for a way forward out of the darkness and divisiveness. If we keep our heads up, we can find our way out and reclaim the light.”

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Photo by Margaret Darcher

To learn more about Studio Art Quilt Associates and this exhibition, visit saqa.com.

Corona #2— Crepuscular Rays 40" x 60" • JANET DARCHER NASELLE, WASHINGTON

“Crepuscular rays are the brilliant beams of light extending from clouds at dusk and dawn. Light can change directions and scatter when it encounters even the smallest particles in the atmosphere. Often the scattering illuminates the light’s path from the sun to your eyes. Rust dyeing is unpredictable and always a surprise, as is every sunrise and sunset. This piece uses implied light to create the illusion of light in a two-dimensional work.”

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TAKE THE

CHALLENGE

Exploring

Layers

by Julie B. Booth

i

n the past three issues, we’ve covered a selection of basic

hand stitches and ways to change them to create different effects. You were introduced to basic design concepts in art: line, pattern and rhythm, and texture. You learned the importance of keeping a journal to explore stitching ideas and

MATERIALS

were given the opportunity to try stitching challenges to stretch your creative muscles.

In this final installment of the series, we’re switching things up a bit. Instead of focusing on a selection of stitches, we’ll be exploring three fabric manipulation techniques that can be used in combination with hand stitches.

I often use these fabric manipulation techniques to add layered effects to my stitched work. Each technique can be used singly or in combination. Refer back to the hand stitches covered in previous articles of this series to add linear, patterned, or textural elements to your piece. Create some small technique samplers before tackling the final stitch challenge.

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For the Layers Challenge • 4 or more (6") squares of black, white, or gray cotton or linen fabric (See note.)

• 4 or more (6") squares of one of the following to use as a stabilizer: craft felt, wool felt, flannel, or thin cotton batting • Fabric strips and scraps, ribbon, yarn, bits of thread, cheesecloth • Black tulle or other netting • Assorted thread types in black, white, gray, and/or up to two accent colors • Glue stick for turned-edge reverse appliqué For the series • Card stock template: 6" square with 4" window • Crewel embroidery needles in sizes #5 and #3 • Fabric-safe washable or disappearing marker or pencil • Journal/sketchbook or loose sheets of paper • Assorted markers/pencils for sketching NOTE: Try to keep to a black/white/gray palette but you can add up to two accent colors.

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DIRECTIONS

Slit and weave

Encase items in tulle Over the past year or so, tulle has become one of my favorite ‘tools’ for capturing small bits of fabric, thread, yarn, and other textural materials. Raw-edge fabrics and loose items are caught under the netting and can be further held in place with stitching.

1. Place the textural materials on the background, covering the entire 6" square, a traced 4" square, or a smaller portion.

2. Add a single layer of tulle to cover the whole piece or

just a section. Add more tulle layers or scrunch it up for more shading or color effects.

3. Hold the tulle and captured items in place with hand

stitching (refer to past articles in this series for stitching ideas).

NOTE: If you don’t have tulle, use other types of netting or open weave cheesecloth.

Create a raw-edge woven element to add textural complexity to your fabric.

1. To weave a background, place the card stock template on a fabric base and mark the perimeter of the 4" square window.

2. Cut a series of parallel slits inside the marked area. The

distance between the slits can vary. They don’t have to be straight; they can curve.

TIP: You can choose to slit and weave a smaller portion of the fabric base, if you prefer.

3. Cut strips to weave between the slits; they can vary in

width or fabric type.

NOTE: Consider knotting or bunching the fabric strips or using yarn or ribbon for more texture.

4. Complete the slitting and weaving on the fabric base

before attaching it to the stabilizer.

5. Use stitching to attach the woven area to the stabilizer or

add a layer of tulle to keep the woven strips in place.

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TAKE THE

CHALLENGE

Add reverse appliqué Create reverse appliqué windows, slits, or frames to hide some areas of the piece while revealing and focusing attention on others. Reverse appliqué windows/frames can have either a turned or raw edge.

1. For turned-edge appliqué, draw a shape(s) on the right side of a fabric piece with a fabric marker.

NOTE: To create narrow, rectangular shaped openings, use sharp scissors to slit down the middle and snip into the corners. For larger shapes, cut away excess fabric leaving a 1⁄8"–¼" interior seam allowance. You will want to snip curves on circular shapes. Use a glue stick to adhere the seam allowance to the wrong side of the fabric.

2. Raw-edge openings can be

stabilized with stitching along the

edges or layered with tulle and stitching.

3. Attach the window to your piece

using French knots, running, blanket, or straight stitch.

Explore design by drawing The stitch challenge here is a bit more conceptual … using pairs of verbs to inspire you while using these layering techniques.

Referring to the three fabric manipulation techniques just described, how can they be used to reflect one of the following word combinations?

• Tear/Repair

• Reveal/Conceal • Build Up/Break Down • Encase/Disperse

• Bind/Unwind Place the template on a journal page and trace several 4" squares.

Sketch a number of ideas showing how you would create a layered piece inspired by one of these word pairs.

Stitch Challenge: Layered Fabric Manipulation Pin or baste the cotton/linen fabric to the stabilizer fabric. For this challenge, use the entire 6" square or the centered 4" square used in past exercises.

Assemble the materials you will use. Thread up and knot a number of needles using an assortment of thread weights or types.

Use your journal prompt sketches as a jumping off point. Choose at least one of the layering techniques presented in this article combined with

Artwork below, from left, represents Encase/Disperse by Karen McElfish, Bind/Unwind by Lynn Moor, Bind/Unwind by Beth Schmaltz, and Reveal/Conceal by Myania Moses. Previous pages, from left, Reveal/Conceal by Jamie E. Flood, Tear/Repair by Debra M. Lee, and a sampler of three layering techniques by Julie B. Booth.

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The inner layer of the work by Myania Moses

hand stitches from the previous three articles to create a piece that expresses your word pair.

Enjoy the process!

I hope this ‘Take the Stitch Challenge’ series has inspired you to look at basic hand stitches and simple

layering techniques in new ways. The more you experiment and stretch yourself creatively with hand stitching, the more possibilities you’ll continue to discover!

A great big ‘thank you’ to my stitching volunteers for creating

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samples for this and all the articles in this series. Your interpretations of the challenges continue to inspire me and others. I couldn’t have done this without you!

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Beneath the

Surface

Wholecloth quilts with a hidden secret

by Catherine Redford

i

t took a series of little quilts for me to develop my method to produce a modern wholecloth quilt incorporating my signature organic curves,

accurate grid work, and pops of color. I often struggle with stray threads shadowing through my work when I am basting a quilt. That inspired me to create something that intentionally showed through to the top of the quilt. This technique uses what had been an annoyance in the past to become a useful tool—pleasing results with a minimum of fuss!

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MATERIALS

DIRECTIONS Prepare the squares

Makes three small quilts • 3 (12") squares backing fabric

1. Place a backing square on a work

• 3 (12") squares low-loft white batting • 3 (12") squares fine-weave white

fabric • 2 (10") squares brightly colored fabric • Ceramic fabric marker

surface and top it with a piece of batting. Repeat with the other 2 backing fabric and batting squares to make 3 sets and set aside.

TIP: Check for any stray threads and use a

• 12 (3½") squares backing fabric for

lint roller to clean them off, if necessary.

facing • 12 (8" x 3") strips backing fabric for

facing • Freezer paper • Permanent marker • Embroidery thread or 8wt perle

cotton • #24 chenille needle • Lint roller

2. Cut a piece of freezer paper

approximately the same size as the colored squares. Draw several lines across the paper in the design you want to create.

4. Using a rotary cutter, follow the

drawn lines and slice through the layers. Cutting in this fashion creates pieces of fabric that nest together perfectly. Alternatively, you can cut the fabric without the freezer paper guide.

5. Arrange the colored pieces on top

of a batting square, leaving ‘white space’ from the batting as a third color in the composition. (figure 2)

3. Pin the 2 colored fabrics together,

then press the freezer paper on top of the fabrics. (figure 1)

figure 1

figure 2

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NOTE: By cutting 2 colored squares and leaving some of the areas as white space, there will be enough leftovers to create a total of 3 quilts. You can work 1 at a time or compose all 3 in this step.

6. Look closely at your composition. If there is any lint or

even a stray thread, now is the time to remove it as it could show through. Top each with a square of fine-weave white fabric and baste each quilt sandwich.

TIP: I use straight pins for basting these pieces to reduce the movement of the pieces.

Quilt the organic curves and grids 1. Before starting to quilt, program your machine with a

pivot-lock stitch (width 0, length 0) and a securing stitch (width 0, length 0.5; this create 5 short securing stitches the length of 1 ordinary stitch) if your machine has this feature. Otherwise, be prepared to take a few close stitches to begin and end each line of stitching or pivot point.

TIP: Because the colored fabrics are very subtle, I outline each colored piece with a ceramic fabric marker or other tool that will not leave a permanent mark prior to quilting.

2. Sew along the drawn lines, outlining the colored pieces

with stitching. Echo these lines with parallel lines of quilting to cover the surface, leaving unquilted spaces for

figure 3

“Wholecloth” h l l h • 12" x 12" 44

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“Beneath “B th h th the h S Surface f 1” • 12" x 12" 12"

gridwork in a later step. Use the edge of the foot right opposite the needle to keep the lines even. (figure 3)

and finish stitching with 5 securing stitches.

TIP: I used a ruler and masking tape to mark

NOTE: All of the machine quilting was done in white thread.

my first line and then the edge of my ¼" foot to space additional lines.

3. Pivot as needed to make a pleasing,

5. Add hand embroidery as

pointy-waves design, remembering to use a locking stitch to keep the points sharp. Any time a line finishes in the middle of the piece, use 5 short securing stitches.

4. To work in a grid, start each line of

stitching with 5 securing stitches, use the locking stitch when you turn

embellishment.

NOTE: I used 8wt perle cotton in bright colors and a #24 chenille needle to add embroidery details. Lines of running stitch and cross-stitch make very pleasing highlights on the quilts.

6. Square up and finish the edges with

Want to learn more?

Watch Catherine demonstrate this technique on “Quilting Arts TV” Series 2800 available at quiltingartstv.com or your local PBS station.

the facing strips.

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Create Functional Art from Scraps and UFOs

Use up leftovers and ‘Put a Pin in It!’

by Frances Holliday Alford

w

hen we reach for a pincushion, we rarely consider its origins.

Before the pincushion, came the pin. Pins were made as early as the Paleolithic Era from thorns and bones.

Prior to mass production, they were carefully made from sharpened wire in silver or other metals along with bone and, occasionally, wood. Needles and pins held great value and had to be carefully stored. Storage was as important then and it is now. Thus, the pincushion has become an important yet common household item.

A pincushion is any type of padded surface that can safely hold pins and needles. Many fanciful pincushions have emerged over time. The iconic tomato pincushion became popular in the Middle Ages when tomatoes were considered good luck. People displayed them prominently SUMMER 2021

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on their mantlepieces. Since tomatoes were not always available, sewn red fabric balls were fashioned to make a tomato-shaped pincushion. It did not take long for sewists to recognize that these sawdust-stuffed pincushions were a perfect storage place for their valuable pins. Pincushions were made in an immense variety of fanciful shapes and textures.

Today, pins are inexpensive and easily obtained. Most sewists have at least one traditional pincushion. Many have more than one, and it is not unusual to have a collection.

Although easily purchased, making a pincushion is a satisfying project.

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MATERIALS • Leftover fabric scraps, practice

pieces, and unfinished projects, mostly quilted • Variety of thread/floss for sewing,

beading, and embroidery • Seed beads #6 • Stuffing such as wool batting, wool yarn, fiber waste, or crushed walnut shells • Tweezers, popsicle stick, or knitting needle • #3 Crewel/embroidery needles for

embellishing and adding beads (I use Bohin.)

• Compass or round object (such as a saucer or bowl) Optional • Felted wool fabrics

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Modern pincushions are made with a fabric exterior and some sort of stuffing. Wool batting, roving, or even yarn can be put inside the piece. Crushed walnut shells are an excellent filler and can be purchased inexpensively at a pet store where it is referred to as a type of litter. Many prefer the walnut shell stuffing because it adds heft to the pincushion and allows it to stay seated.

are fun to use because they give us a fixed starting point, based on what we have in our stash. Felted wool is also dreamy to use.

Since my leftovers were mostly three-layered quilted pieces, we are going to try two different shapes that could accommodate these stiffer materials. I am calling them the Pancake and the Muffin.

TIP: It is not a good idea to use sand as it

make sure it slides through easily.

can leak out of tiny spaces. Sawdust can get wet and swell. Rice, seeds, or other organic materials can swell from dampness or can attract moths or other insects.

Here we’ll use scraps, odds and ends, and pieces of UFOs (unfinished objects)—our precious leftovers—to make pincushions. This includes the trimmed edges, the practice pieces, the abandoned projects, and more. These

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TIP: Use a pin to test the top material to Each of us has an aesthetic or personal style. I prefer to use bright contrasting colors and unusual combinations of images and materials but each of us needs to find our own way. By using our leftovers, we have a jumpstart that will reflect that personal style. Also, when something is too pretty to discard, it is nice to have a way to use it.

If this is your first time making a pincushion, you may become hooked!

They are lots of fun and there is no end to the ideas that can be put into motion.

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DIRECTIONS Pancake pincushion This pincushion is puffy in the center but thinner on the sides like a pancake. Embellishing this pincushion is a great way to practice or learn embroidery stitches. Check books or online sources for stitches to try.

1. Use a compass or trace a saucer to make a circle pattern. From the fabric scraps, use the pattern to trace and cut 2 circles the same size. (figure 1) TIP: I like a large pincushion so my circle pattern is 5" in

figure 1

diameter.

2. Embellish and embroider both surfaces with hand

stitching and add seed beads to the top, if desired. Add a label to the bottom.

figure 2

3. Layer the circles wrong sides together. Sew around the

2 pieces from the outside using an overcast stitch or blanket stitch. Leave an opening unsewn for filling. (figure 2) 4. Fill the interior. Use the tweezers or other tool to push

the stuffing firmly inside the pancake. If you are using crushed walnut shells, pour them in with a small funnel.

5. Sew the edge to enclose the stuffing.

6. If desired, sew a row of seed beads around the perimeter

of the pincushion. (figure 3) TIP: After you sew the beads around the edge, run another thread through all the bead holes and the row will be uniform and even.

Knot at the end when you have gone all the way around.

figure 3

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Muffin pincushion M This pincushion has straight sides like a cylinder and a flaat bottom. The top is either flat or puffed like a muffin top orr cupcake. These directions are for a flat top.

1. From the fabric scraps, cut 2 identical sized circles for the top and bottom, about 3" in diameter. Embroider the top. (figure 4) 22.. Cut a band for the side. It needs to be a little longer than

the circumference of the circles for seam allowance. The width determines the height of the pincushion.

3. Embroider and embellish the side. (figure 5) Add a label to

the bottom.

4. Sew the long band’s top edge to the edge of the top circle

using an overcast stitch or blanket stitch. Leave the short

figure 4

figure 5 figuree 6

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ends of the band unsewn for now. Repeat this process to add the bottom. (figure 6) 5. Use the opening in the band—where the short ends are

unsewn—to insert the stuffing. Fill the interior.

6. Sew the ends of the band together.

7. Add a seed bead embellishment to the edges, if desired.

The basic shapes outlined here can be used for other small projects. Create tiny treasures such as holiday ornaments or herbal sachets, changing the stuffing to meet your needs. Your imagination can lead you as far as you want to go!

Be sure to take a look at all the creative techniques and designs Quilting Arts readers used to respond to the recent ‘Put a Pin in It!’ Readers Challenge. Check out the gallery of pincushions on page 53.

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Scrolls AND Rolls

INTRODUCING OUR LATEST READER CHALLENGE

Art for art’s sake is a beautiful, enjoyable thing! We are so fascinated by the artwork of Ana Buzzalino in this issue plus the countless creatives who have been posting their own snippet scrolls and rolls on social media. Their work is charming, thoughtful, breathtaking, hopeful, and—in some ways—a very fitting way to demonstrate the artistic experience of working with what you have in arm’s reach. Some are made with vintage linens and lace, some are sprinkled with colorful scraps, while others are printed, stamped, and uniquely embellished.

We challenge you to create a snippet scroll—primarily using scraps, leftover bits, found objects, and so on—to tell a story. Use the artwork in this issue as inspiration if you’d like, but make the scroll unique to you and your aesthetic.

Rules 1. Create a snippet scroll to tell a story about something important to you or that touches your heart. We encourage you to use scraps and items you already have but you may buy additional supplies, if needed. The size is flexible, however, it may not exceed 40" in length (unrolled) or 5" in height. The scroll may be made with any materials but must contain some fabric and stitching. The use of a center spool or baton is optional.

2. Your entry must 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 scroll to an email—one of the whole, unrolled scroll (showing as much of the ‘feature’ side as possible) and one of a detail of the scroll—by August 15, 2021 to QAchallenges@goldenpeakmedia.com with ‘Snippet Scrolls’ in the subject line. Please include your name, city/state, email address, title of the scroll (if any), dimensions (height x full unrolled

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length), and a brief statement about your scroll and its story in the email.

4. Only one entry, per person, please.

5. To learn general tips for photographing your Reader Challenge submission, visit quiltingdaily.com/photographytips.

Artwork by Ana Buzzalino

Golden Peak Media will not be held responsible for loss or damage due to circumstances beyond our control.

If you have questions, contact us at QAchallenges@goldenpeakmedia.com.

We look forward to seeing your work!

6. On August 18, 2021, we will post the finalists at quiltingdaily.com/snippet-scrolls-readerchallenge. Please check this post, as artists will not be notified directly.

mark your

calendar

7. Finalists’ artwork must arrive in our office by September 10, 2021.

8. If you are a finalist: Put your name on your scroll.

Indicate the top, if needed. For safety, place your entry in a plastic bag before packing it for shipping.

We reserve the right to keep and possibly display your Snippet Scroll until January 15, 2022. Your artwork will then be returned to you.

NOTE: By submitting your Reader Challenge entry, you are authorizing Golden Peak Media to publish your project in upcoming publications and promotional materials, on our websites, and in other e-media, as well as possibly display it at shows.

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AUGUST 15: Emailed submissions are due with jpeg photos.

AUGUST 18: Names of finalists will be posted at quiltingdaily.com/snippetscrolls-reader-challenge.

SEPTEMBER 10: Finalists’ scrolls must be received in our offices.

DECEMBER 2021: Look for a gallery of Snippet Scrolls in the Winter 2021 issue of Quilting Arts Magazine!

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PIN-TACULAR! p

RESULTS FROM THE ‘PUT A PIN IN IT!’ READER CHALLENGE

incushions are so ubiquitous we sometimes take their significance for granted. They sit, stalwart soldiers, next to our sewing machines or chairs where we do handwork. They are constantly

jabbed by pins and needles, hold our thimbles and a random safety pin or two, and travel with us at our beck and call. They aren’t proud or flashy; instead, happy with their somewhat anonymous utility.

Until now!

When we introduced this Reader Challenge, we had no idea what we would get. After all, for most of our challenges readers are accustomed to creating mini quilts in a specified size; often ‘limited’ in color, style, or theme.

For this challenge, however, we asked for three-dimensional functional objects incorporating handwork, unique fiber

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choices, and embellishments, all with a flexible size requirement—and our readers knocked our socks off with their beautiful, whimsical, clever, and touchingly personal pincushion artwork. We say it all the time but it was really hard to choose these finalists from the dozens of entries we received! We are pleased to share this gallery of our readers’ work. We hope you enjoy the following pages of original art.

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FELICE DAHLHAUSEN LHAUSEN SOLON, ON, OHIO 6" DIAMETER x 2½" HEIGHT

“My pincushion is constructed nstructed with hand-dyed felted d wool in three colors and the embroidery mbroidery is done with two colors ors of size 5 Eleganza® perle cotton. on. One is solid and the other variegated. iegated. It is stuffed with cut-up wool quilt batting. I used nine embroidery mbroidery stitches; starting from the he center, they are drizzle, seed, d, bullion, French knot, double cast on, chain, fly, and back stitch, plus us blanket stitch for closure. The colors olors were peaceful and reminded ded me off tropical al waters.”

“Midnight Floral ral Fantasy” y” CHERYL GUACCI CCI LONG BEACH, CALIFORNIA NIA 1½" DIAMETER x 1½" HEIGHT GHT

“After reading a magazine zine article several years ago about out turning recycled bottle caps into pincushions, I was inspired red to try it ... 50+ pincushions later, ater, I’m addicted! With each one, ne, I challenge myself to make it a little ttle different. This time, I tried the bullion embroidery stitch plus beading. I may have lost my mind ind but never my needles in these little ttle cushions. ns.”

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“Mime’s Teacup” “Mime PATTI LLO LOU PASTEUR NEW BE BERN, E NORTH CAROLINA 6" DIAMETER DIAM M x 2¾" HEIGHT

“I remember remem m my always-cheerful grandmother grandm mo usually had a blue-and-white blue-an nd teacup and saucer b by her side when she was sewing se ewi w ng or o knitting. It was either filled d with wiit tea or hot chocolate. dad My d ad ad told t me years later she more had m or than tea in that cup. o designed I desig gne my pincushion with thoughts thou ught of my grandmother happily doing her needlework hap ppily d while w hile I have h my own facsimile by my sidee at a the sewing machine.

The teacup teaac is made with cotton wrapped around cotton strips wr w Each cord. Ea ac piece was individually sewn and an nd shaped on the sewing machinee using a zigzag stitch. machin is cotton fabric The ‘beverage’ ‘bevv cotton with co t novelty yarn couched d by the sewing machine. hand It is han nd stitched to the inside of the cup ccu and stuffed with polyester polyeste e fiberfill.”

DENIISE EIG DENISE EIGHTEEN PPORT PO RT T DOV DOVER, ONTARIO, CANADA 5"" DI DIAMETER AMET x 2½" HEIGHT

“A “After Aft f eer discovering disc a Montessori ball, I thought thou ught stuffed st triangle shapes would unique pincushion! I also makee a un wanted my design to eliminate some want teed m frustrations; pins of myy pincushion pinc the bottom, cushions goingg through thro sliding slidin ngg off the table, and having too off-center pin storage surfaces. smalll or of wool clothing, batting, I used d upcycled upc buttons, cardboard, non-slip netting butt to ons, ca fabric, double-sided tape, and fabric fabric c, dou glue. glue e. Hand embellished with various stitching threads.” stitc ch hing th

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“Medallion” llion” FRANCES HOLLIDAY ALFORD GRAFTON, VERMONT ERMONT 5" DIAMETER x 1"" HEIGHT

“Both the top and bottom of this pincushion are three ee layered, quilted pieces, cut to a circle shape. The top circle is heavily embroidered with floss. The edges have several rows of seed ed beads.

The stuffing is crushed ed walnut shells. The heft of the walnut nut shells allows the pincushion on to stay seated while work is in progress.”

NORMAJEAN BREVIK VIK ORMOND BEACH, FLORIDA DA 1¼" x 1½" HEIGHT HT

“My mom always said, `Normajean, an, you always sees the beauty in the trash bin' so it's no surprise that this his project started with a discarded ed plastic cap from a soda bottle. My tiny pincushion is made usingg a soda bottle cap as an inner base. e. It is made with two colors of craft felt (rescued from remnants of larger ger projects), stuffed with fiberfill and nd embellished with embroidery floss, oss, hand stitching, tiny seed beads, ds, and an itsy-bitsy charm that says, ays, `Made With Love.' This may be teeny but it is very useful beside de my sewing machine and perfect to slip into my bag for little, on-the-go go projects. ts.”

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KE Y C KELLY CLINE LLAWRENCE, AWR RE KANSAS 66"" x 66"" x 2" HEIGHT

““This This pin pincushion was created using a vintage vintag ge Battenburg lace hankie corner placed d on o red dupioni silk. It was freemotion motio on quilted on my longarm, then beaded beade ed and filled with crushed walnut My inspiration is to use heirloom shells.. M linenss from fr another generation. I believe repurposing, to bring them from their in rep pur drawers and closets and out where dark dra d they can c be enjoyed by all!”

“Six-“Six-sided Star Pincushion” P incu u ST STEPHANIE TEPH H DREHS LOCKPORT, LOCK CKP NEW YORK 4" DIAMETER DIA A

“Thee iin inspiration for this pincushion was an aantique nt Native-American pincushion. constructed of velvet on top, cotton It is co o fabric fabr bricc oon back, glass seed beads, and cotton co otton beading thread. It is stuffed with walnut w alnu ut shells.”

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KIM BERRY-ROGERS MCHENRY, HENRY, ILLINOIS 5" DIAMETER

“My pincushion n was inspired by the sea. Stitched on linen using silk and cotton perle, le, mohair, velvet, beads, and crystalss on a wool base.

Stuffed with wool, ool, walnut shells, and lavender.”

“Pandemic ndemicc Pie-cushion” ushion”” ANN DILLER R DAYTON, YTON, OHIO O 2¼" x 3¾" x 2⅜" HEIGHT T

“During this difficult year, I found d solace in crafting a piecee of comfort comforrt food with materials rials from myy stash. This ‘cherry pie’ e’ is made of o free-motion stitched d velvet with h coffee-dyed cotton batting atting needlee punched with wool for the crust. crustt.

It is finished with seed stitches stitches, s, ‘whipped cream’ lace,, and stuffed d with seeds..” h flax seeds

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“Alpaca “Alpa aca Sewing Kit” VICKIE CLO CLONTZ KERNERSVILLE, KERNER RSV NORTH CAROLINA 3½" x 5" 5" x 4" 4 HEIGHT

“I do a lot l of o felting and teach at fiber arts shows where there tther are often the cutest alpacas, so I thought though ht it would be fun to needle-felt an alpaca pincushion! pincush hion I’m calling it ‘Alpaca Sewing Kit’— pack a sewing kit? I needle-felted his get it: I’I’llll pa head, neck, neck and little tail and made the actual pincushion pincush hion body from a felted wool sweater with wool fibers, and then I attached his stuffed wit neck with needle-felting. I used a colorful fringe n ne ck wi ith n around trim m aro oun the side of the pincushion and added adde ed a woven wo band across the top that can hold a tape t measure, little scissors, seam ripper, or whatever wh hatteve one would like to keep handy. Small black beads bead were the perfect life-like eyes. I love way the w ayy he turned out! I hope you enjoy it as much aas I eenjoyed creating it.” mu

“Buffalo “Buffaalo oH Hair and Pima Cotton Pincushion” Pincu ush hio SHONI MA MAULDING AULLD FROM THEE FL FLATHEAD LA INDIAN RESERVATION SAINT IGN IGNATIUS, IGNATI MONTANA 5¾" x 4½" x 1¾ ¾" HEIGHT

“From my stud studio, d I see the National Bison Range in western w we stern Montana Montta and my favorite animal, the buffalo.

Among American Amon Am ong Ameri ic Indians, the white buffalo symbolizes hope. pincushion is made from brown buffalo h ho ope. My My pinc cu shedded ssh hed e ded d hair fr ffrom a local friend’s herd, 100% organic pima cotton from p pim ima cotto on fr ro friends in New Mexico, Czech glass beads, crochet be b ead ads, croc chett thread, and recycled wool. I cleaned mud m mu ud and grass grasss from the buffalo hair, washed it, and then needle felted the th en need dle fe el the base shape. The white buffalo pima is p ima cotton co otton n felted onto the buffalo hair. Stuffing i pima cotton. is cotton n. Blanket stitch closes the pincushion; backstitch b ba ckstitcch is a fframe. The green thread represents the which land whi la ich thee buffalo roams on; the blue thread is the sky. The beadss represent three of the four directions. In white 1933, a w hite bbuffalo was born on the Flathead Indian Reservation Reserv vation on n the Bison Range. He died in 1959, with and displayed at the state museum his body bo ody preserved preseer Helena, As a child, I went many times to in H elena, Montana.

Mon n Medicine. ssee ee Big Medici n In 2020, a white buffalo calf was born south of Missoula, Misso o Montana.”

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CHERYL RYL GOODWILLIE GOODWILLIE KANSASS CITY, MISSOURI MISSOUR RI 4" DIAMETER ETER x 4" HEIGHT T

“The purple coneflower neflower bud, also also known as echinacea, a, is the inspiratio inspiration n for my pincushion. native ushion. This nativ ve prairie plant with th a bumpy center centeer and daisy-like petals is importan important nt for the wellbeingg of butterflies an and d bees. Additionally, made ally, it’s often mad de into herbal teas to strengthen th the he immune system. m. For this project,, I used silk dupioni, a color-rich fabri fabric ic whose bumps and imperfections ad add d to its beauty. The flower petals hav have ve machine worked d thread sketching; sketchingg; the center ‘cone’ is filled with handhand dworked French knots. ts. The pincushion pincushion has polyfill stuffing weighted ng and a weighte d bottom stability. ottom for stability y.”

“Pin-Pippin” KIM JOHNSON MADISON, ALABAMA 1¾" x 8½"

“Inspired from a man’s silk tie. Wool dress dyed from the tie. Thread, embroidery floss, beads, Mod od Podge®. This can be wrapped around the wrist so your pincushion is always handy.”

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LIN ELM ELMO MILFORD, CONNECTICUT MILFO 4½" x 3" 3 x 4" HEIGHT

“The p play on words of a ‘Piñata Pincushion’ brought to mind a colorful sewing brough celebration. A wire frame was constructed celebra covered with fleece. Hand-painted and co Evolon®—a high-tech microfiber that Evolon may be cut but will not tear—perfectly simulated traditional tissue paper. The hat simulat saddlebags were hand sewn from felt and sad embroidered with two strands of floss. and em sponge A sp spon base was covered with batik fabric and felt flowers and trimmed with upholstery braid. braid d. The T overall effect is one of playful joy. the Let th he party begin!”

““Spring Springg is in the Air” JA JANICE ANICE LEVENSON LEVENSON CANTON, C ANTON N, MASSACHUSE MASSACHUSETTS 5½" x 3½"

“My sewing sewing machine face faces conservation land in my backyard. in the Northeast, it can look a bit bare and dreary.

During winters w Nor days ahead, both literally and I guess I was w inspired by better b figuratively. figurative ely. I added the red re cardinal for a pop of color and then I Native American tribes believe the cardinal is a found out ou ut that some Nati good fortune and sun; so I guess that was an symbol associated asssociated with go appropriate appropria ate choice. I tried a few new techniques on this piece. I knit together to create the grass texture at the bottom. I strips of fabric f the first time—to create the tree. did a bit of o thread painting—for paintin I used raw-edge raw w-edge appliqué and quilting on the tree trunks, which I tthought th ought gave g them a nice rough edge. It is stuffed with fiberfill.”

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“Poke in a Pig” JANET ROOT KENDALL, L, NEW YORK 7" x 5" x 2½" HEIGHT

“Inspired by 25 recycled ecycled wool, crazy quilt stockings ngs I made for my family for Christmas, mas, I decided to make a pig pincushion. ncushion. ‘Pig in a poke’ lead to ‘poke poke in a pig.’

Then ‘poke’ wass a crossword puzzle answer, and the next day’s puzzle’s title was Chauvinist Pig. How could I not? ot? The actual pincushion is a needle-felted dle-felted yarn ball covered with needle-felted roving.”

PAT M. CARPENTER R GREEN GREENEVILLE, NEVILLE, TENNESSEEE 3" x 4" x 4" HEIGHT T

“It was my husband’s idea to create creatte the donkey image,, and I needle dle felted the donkey with wiith merino wool. Thee donkey’s’s mane is from black eyelash yarn and thee tail is black satin felted atin ribbon with felt ted wool. Hooves aree black waxed cording. A sarape on o the donkey’s backk is made from cotton otton with fabric selvedge used as thee fringe. The donkey key stands on a green wool felt oval that has been embellished llished with h hand embroidery and d buttons. This was my first attem attempt mpt at needle felting.”

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SUE M MATTSON EVERETT, WASHINGTON EVER 3¾" x 4¼" x 4" HEIGHT

“I’m sure s my 25 years living in Alaska influenced my decision to create a sodinflue roofed log cabin pincushion featuring Log roofe ro Cabin Ca abin blocks on three of the walls. I used turkey tur rke work, French knots, and seed stitch to create cr reate the mossy, grassy, sod roof. The walls aand nd roof r are stiffened with Peltex®, which is easily pierced by pins, and the cabin is stuffed with gground walnut shells.”

CATHY C AT CALLAN ARLINGTON, A RLI WASHINGTON 7¾" x 6"

“My inspiration was to make a 1940s-looking pincushion. The 1940 center is from an actual 1940s-era cente table runner that I cut up to use. I love the ’40s fabrics because they are happy prints to me. I embellished it happ with hand embroidery, some beads, and llace. The outside fabrics are 1940s-style reproduction fabrics. I 1940 filled it with crushed walnut shells.”

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MICHELE O’NEIL KINCAID NCAID D STRAFFORD, NEW HAMPSHIRE SHIREE 5¼" LENGTH x 2½" HEIGHT EIGHT T

“My inspiration is the crystal crystal duck ash tray. I’ve been planning anningg to do this for a while, butt I had d to move my studio space ace too the upstairs bedroom to makee room for my 95-year-old mom m to stay here until she has as herr two vaccine shots; her safetyy took precedence. Hand-painted ainted d cotton and hand-marbled fabricc for the wings. Stuffing is crushed ushed d walnut shells.”

ELLEN N ANDERSON ANDEERSON MOSSYROCK, WASHING WASHINGTON GTON EIGH HT T 1¾" x 4" x 1¾" HE HEIGHT

“So many lichens, so little time. me. Liche Lichens ens are arre one of my favorites in nature ure and I greatly great g tly enjoy the challenge of interpreting erpretingg them m in fabric and thread. Thiss one is stuffed stuffeed with felted wool batting ng and covered covereed with painted stabilizer. The he lichens aree a ed combination of painted and heat-stressed d heat-stresse Timtex™, felt, and polyester w er fabric. A few beads are included. The standing ns tanding lichens lichen are machine stitched white te d and thee whit fruiting body (apothecium) cium) is tthread hreaad dipped in PVA glue and then wr wrapped rappeed around a knitting needle until dry;; I the then en slid it off the needle and attached the he tached it to th lichen. All attachments were sew sewn with th wn wit invisible d.” nvisible thread. th hread

SHELLEY SHELL LEY GREENE FORT ATKINSON, NSON, WISCONSIN W 4¼ ¼"" x 4¼" x 2" HEIGHT

“Inspired by a square box, vintage vintaage wooden spools, and my lovee of needlepoint, need dlepoint, this pincushion also incorporates orates favorite favvorite fabrics and buttons and is accented with braided cord and nd rickrack.”

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“D “Dragon Dra Guarding Her P H Pearl” JANITA CLAIRMONT JJANIT SEATTLE, SSE EATT WASHINGTON 66" DIAMETER DIA x 3⅝" HEIGHT

“My p “My “M pincushion was created with crazy-quilt stitching sstit tch on wool, beading, beetle wings, and silk ribbon. The ‘pearl’ is a piece of peau de ssil lk rib soie silk.” sso oie si

KATH KATHERINE DOSSMAN BELTON, TEXAS BELTO 44" x 44" x 4½" HEIGHT

“ am always inspired by my koi “I ffish. I used thick paper covered in cotton fabric for the framework ccotto ffor each ea section. Freehand cut fish embellished with Angelina fibers, eembe metallic paint, and free-motion meta stitching. Embroidery, beading, and sstitch stuffed uffe with polyfill.” sst

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FROM THE

Part 3

INDIGO DYE PARTY Familiar folds and clamping techniques

by Candy Glendening

t

his is the final installment of our series exploring indigo vat dyeing. Here we will focus on a particular type of shibori

called itajime. Shibori is a Japanese word meaning ‘shaped resist’ and itajime is translated as ‘board clamp,’ so itajime shibori generally involves fan-folding a piece of fabric into a triangular, square, or rectilinear shape and then tightly clamping the resultant stack between a pair of ‘boards’ before dyeing the bundle.

MATERIALS • Indigo dye kit (sometimes called an •

• • • • • • • • •

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indigo tie-dye kit) Several large squares or fat quarters of off-white linen/cotton blend fabric, prewashed, dried, and well pressed (I use 18" x 22" pieces of Essex.)

Multiple sizes of spring clamps or C-clamps Spring clothespins Pairs of flat geometric shapes (See note.)

5-gallon bucket with lid Dishpan-sized container Long stirring stick or paint stirrer Long gloves Plastic sheeting to protect the work surface Gentle detergent or dishwashing liquid (Dawn® works well.)

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Optional • Skimming tool like a slotted spoon • Flat plastic container or plate NOTE: For this article, I used three pairs of shapes—circles, triangles, and slim rectangles—in my dyed samples but the choice is yours. Plexiglass shapes made expressly for itajime can be found online or at well-stocked retailers and are relatively indestructible. Cut wood shapes can be used but won’t last as long as plexiglass. The key is: the shapes in a pair must be exact ‘twins’ in order to obtain predictable results.

CAUTION: C A All supplies and tool used for dyeing must be tools dedicated d di to non-food use.

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When the bundle is dipped into the indigo dye bath, the fabric under pressure from the boards and clamps will resist the dye penetrating the fibers; the more intense the pressure, the less dye can penetrate and the lighter the fabric will be. The exposed edges of the bundle will become indigo blue, the deepness of which will be determined by how many times it is dipped in the dye bath.

DIRECTIONS As we’ve said in the first two articles in this series, indigo dyeing takes planning. Follow the kit manufacturer’s instructions to prepare the indigo vat in the 5-gallon bucket.

This should be done at least 1 hour before dyeing—the day before is even better—and the lid placed on. The bath made with a kit can dye many fat quarters (at least 12–16).

The lid will minimize oxygen exposure to the dye, so the vat can remain active for weeks if your dyeing plans get pushed back.

Gently move the vat to the dyeing location at least 15 minutes before dyeing so any sediment you may have stirred up returns to the bottom of the bucket. If you are not working outdoors, protect the floor of your work area along with the surfaces.

Fill a dishpan-sized container with water and place it close to your work area.

Refer to Candy’s Part 1 article in the October/November 2020 issue for tips on working with the indigo vat.

Prepare the fabric 1. Fan fold the fabric evenly into a

long rectangle, either in thirds or fourths. Press the edges well.

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figure 1 TIP: Precision is your friend. The resulting folded stack should be the same width along the full length.

2. Starting at one short end, fan fold

a shape—we’ll work with a right triangle in this example—and press. (figure 1) 3. Flip the fabric over and fold

another triangle. Continue this process of flipping and fan folding down the entire length of the fabric. Press the folds every 2–3 folds.

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FROM THE N NOTE: NO Squares and equilateral triangles also work well when wh fan folding for this technique.

4. Soak the folded fabric for a few minutes in a dishpan of

water that barely covers the bundle. The fabric must be wet throughout.

Clamping Cl 1. Gently remove the folded bundle from the bin of water

and press firmly to remove excess water.

TIP: TIP P: Cl Clamping the resists around wet fabric bundles rather than dry bun bundles ndle ensures a crisper pattern, with less of the dye creeping under the edges edg of the clamped shapes; the water that is already in the fabrric resists fabric r wicking of new dye.

2. Pla Place one of a pair of shapes on the top of the bundle and

pla its matching shape on the bottom of the bundle. After place ensuring that the shapes oppose each other and are where ens you u would like them to be, use 1–3 clamps to hold the shapes sh ha in place. (figure 2)

figure 2

figure 3

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This Thi Th his is pa ppattern patt tter ern was created byy clamping p g with several clothespins p to create smaller areas off resists.

3. Alternatively, placing several clamps or spring clothespins

along the edges of the bundle—without a shape under them—will create several smaller areas of resist, rather than the large area under the clamped shape.

remove the bundle from the dye bath, allowing excess dye to drip gently back into the pot, and then set the bundle aside on a protected surface to oxidize. (figure 3) The color of the fabric will change from green to blue.

3. After oxidizing for 20–30 minutes, plunge the bundle into

Dyeing

a bucket of clean water to remove exterior indigo crystals.

1. Open up the vat and with the skimming tool, skim any of

the ‘flower’ (bubbles of dark blue crystals floating on the surface of the dye). Place those bubbles onto a flat plastic container or plate; you can return them to the dye bath when you’re done, to be reduced and used in later dyeing sessions.

2. With gloved hands, dip the bundle into the vat and gently

swish it back and forth under the surface. Riffle the loose edges of the bundle to encourage dye penetration to the inner folded edges. After 30–60 seconds of swishing,

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4. Repeat Steps 2 and 3 with the bundle until you are happy

with the depth of color.

NOTE: The fabric will dry to a lighter color than it is when wet.

5. After a final few minutes of oxidizing, remove the clamps/

shapes and open up the bundle. You may find the inner layers still show an unreduced, green form; if so, allow more time for that to oxidize to blue before proceeding.

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FROM THE

Familiar Folds

More exploration It’s amazing how many different combinations you can create with just a few simple folds and resist shapes.

I’m still experimenting!

See the illustration “Familiar Folds” for many other ideas of folding fabric bundles and then clamping them.

The large shapes on top of the ‘fabric’ represent the plexiglass resist pieces; the smaller shapes represent clamps and clothespins placed directly on the fabric without resist pieces.

Equilateral 2

Equilateral 1

Equilateral 3

Finishing Wash the fabric in a washing machine on a hot, delicate cycle using a small amount of dishwashing liquid or a gentle detergent that does not contain bleach. After drying in a clothes dryer, the fabrics are ready to use in your work.

Square 3

Square 1

Square 2

Right 1

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Right 2

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Right 3

Modern Logs by Christa Watson

THE FOLK SCHOOL CHANGES YOU.

Engaging hands and hearts since 1925. Come enjoy making crafts and good friends on 270 natural, scenic acres in western North Carolina.

JOHN C. CAMPBELL FOLK SCHOOL folkschool.org BRASSTOWN

1-800-FOLK-SCH NORTH CAROLINA

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Don't Throw it Out ...

Use it Up!

Put that leftover dye to good use

MATERIALS For socks • White bamboo socks and footies (I buy these at Dharma Trading Co.)

by Beth Schillig

• Long plastic gloves

i

• Soda ash

lot. Although the dyes most of us use are relatively safe and

• Pre-mixed and leftover Procion® MX dyes

non-toxic when mixed and used according to the directions,

• Empty 1-gallon container (I use a clean,

the leftovers should be handled with care and disposed of

love hand dyeing and dye lots of fabric. But there is

• 5-gallon buckets for soaking the socks

always leftover dye ... sometimes a little, sometimes a

recycled milk jug.)

• Urea

properly. The best thing is always to use up what you mix.

• Plastic containers (I use lidded, shoebox-size

Hmm, what to do with the surplus dye? I came up with a

containers and put 2 pairs of socks and 1–2 pairs of footies in each container.)

couple of ways—even one that uses very small amounts—to

• Squeeze bottles

keep going until the dye runs out, wasting very little and

• Apron, gloves, respirator or dust mask

eliminating disposal headaches!

Optional • Safety pins • Electric blanket For quilt labels • Pretreated, preprinted quilt label (I use EQ Printables, 240-thread count cotton lawn in warm white, and follow the manufacturer’s instructions.)

• Soda ash water • Pre-mixed and leftover Procion® MX dyes • Small container and plastic spoon for each

color • Sheets of plastic to put on top and bottom of label • Old credit card or hotel key • Very lightweight interfacing (I use Easy Knit™

by Pellon®.)

CAUTION: C A Always wear a dust mas mask and gloves while working with pow powdered dyes and chemicals. All tools used in this process must be dedicated to non-food use.

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DIRECTIONS Hand dye bamboo socks Looking for a great gift idea or a way to earn some extra cash at your guild events? Hand-dyed bamboo socks and footies are easy, fun, and addicting to create! I dye LOTS of socks in a session—usually 40–50 pairs at a time. This is a great way to use up ‘older’ dye that may not be the best for your hand-dyed fabrics or just leftovers from a dyeing session.

NOTE: If you don’t have enough leftover dye or just want more colors, see “Mix It Up!” for the ‘recipe’ to create new dye solution.

1. Create soda ash water and set

aside; see “Mix It Up!”

2. Soak the socks/footies in plain

water in a 5-gallon bucket to get them good and wet.

TIP: I pin the footies together in pairs.

They’re harder to sort and pair up in the final step than the socks. You can pin pairs of socks together, too, but I find it fun to pair them up later!

3. Wring out the excess water by

hand and place 2 pairs of socks and 1–2 pairs of footies in each plastic shoebox.

TIP: I crumple them around a bit to get the best effect. (figure 1) 4. Put on the plastic gloves. Place

figure 1

individual colors of mixed/leftover dye in separate squeeze bottles.

5. Squirt liquid dye on the socks.

Squiggle the dye around, squirt in rows, get creative. Smash the socks down with your fists or fingers and/or massage the dye to get into the socks. Let them sit for 15 minutes. (figure 2)

figure 2 Process photos courtesy of the artist

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TIP: I usually dye one side and then grab the bunch of the socks, carefully flip them over, and add more dye to the other side.

6. After 15 minutes, pour about 200 ml (a little less

than a cup) of soda ash water over everything and press the socks down.

7. Put the lids on the plastic shoeboxes and set them in

a stack. They should soak—or ‘batch’—overnight.

TIP: I put an electric blanket over the boxes. The heat aids in the batching process.

8. After batching is complete, dump the contents of the

boxes in a sink and rinse out the soda ash water/dye solution. Place the socks in a 5-gallon bucket of cold water and let soak for a short time, maybe 15–30 minutes. (I often do some cleanup during this time.) Wring by hand and place in a second bucket of clean, cold water. This second dunk is called a ‘cold soak’ and helps remove excess dye.

TIP: The cold soak does not have to be a prescribed length of time. It can be as short as 30–60 minutes or longer. The beauty is the socks can sit in cold soak for as long as you need until you can get around to doing the washing. If that is overnight or even more than a day, I do not think it will hurt anything.

9. Wring out the excess cold water and then wash the

Mix It Up! Soda ash water recipe 1. Mix ½ cup soda ash and 1 gallon of warm water in the 1-gallon

container and shake well.

2. Label the container.

NOTE: The soda ash mixture will last indefinitely at room temperature.

To create more dye solution 1. Set out the squeeze bottles and remove their tops. Write the color

on masking tape and label each bottle.

TIP: I often add the date, too. Excess dye can remain refrigerated for many weeks but will lose strength over time.

socks in a washing machine using the hottest water you can—ideally, 140 degrees—to remove all excess dye particles. I usually run them through 3 wash cycles.

2. Add 2 teaspoons urea, 5 grams of dye powder (about 1

teaspoon), and 240 ml (about 1 cup) of slightly warm water to each bottle.

3. Reattach the top and shake well until everything is dissolved.

10. Machine dry. Have fun pairing up the socks and

sorting out all the luscious colors! This is one of my favorite parts—I love playing with the colors.

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Flat Dyeing Quilt Labels I have created quilt labels with my printer using pretreated inkjet fabric sheets for years but, all the while, I was never totally happy with the white or ivory background. Now I print my label and use a small amount of leftover dye solution to add color. I also make fun ‘signs’ with favorite sayings and quotes using this same technique; these I piece into or appliqué onto my quilts.

figure 3

figure 4

1. Beginning with a pre-printed label, soak

it in soda ash water for a few minutes; just as you if you were dyeing fabrics.

2. Gently wring out and place the label right side up on a plastic surface.

3. Put a small amount of water in a small container and add a few drops of liquid dye. You do not need much dye for this! If the dye is too dark, you will not be able to read the text. Spoon a tiny bit onto a test fabric scrap and add more dye if you want it a bit darker.

4. Using the plastic spoon, drip this diluted dye over the fabric. (figure 3) You can add multiple colors if desired.

Allow to puddle a little bit or use an old credit card to smooth the dye.

NOTE: If the plastic surface has creases in it, this will show in the finished label. It can add a mottled, unique effect. I have found that “what you see is what you get.” This label will not fade or lighten much as you are using such a light value of the dye.

5. Put another layer of plastic over the

label and let it sit for at least 1 hour.

6. Rinse in cold water to remove the soda

ash and any dye particles that are loose.

Rinse in warm water, then hot water.

figure 5

TIP: Since it is so small, I use a sink and hold the label in my hands; no need to run it through the washing machine. Iron to dry.

7. If using your creation as a label, fuse a

very lightweight interfacing onto the back to give it stability. Trim it to size and apply binding or fuse it directly onto the back of the quilt. (figure 4) 8. If making a sign for appliqué, apply fusible to the back, cut it to size, and fuse in place. Appliqué around the edges with monofilament thread, using a tiny zigzag stitch (I use a 1.5 width and 1.5 length). (figure 5) Signs can also be trimmed and pieced into your work.

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PHOTOS COURTESY OF THE SOCIAL JUSTICE SEWING ACADEMY

THE

REMEMBRANCE PROJECT An opportunity to grow and learn

by Sara Trail and Laura McDowell Hopper Leader of the SJSA’s Junior MQG and member of the Chicago MQG, respectively

f

ounded in 2017, the Social Justice Sewing Academy (SJSA) is a youth education

program that bridges artistic expression with activism to advocate for social justice.

Through a series of hands-on workshops with youth in schools, prisons, and community

“It has changed me; deepened and broadened my respect for and hope for all humanity.”

—Anonymous quilter involved with The Remembrance Project

centers across the country, SJSA empowers youth to use quilts as a vehicle for personal transformation and community cohesion to become agents of social change.

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Photos courtesy of the artist unless otherwise noted ed d

SJSA was founded with a focus on youth—students make quilt blocks about social justice, and adults engage by volunteering to embroider the student designs. But after the increased activism for racial justice in 2020, SJSA’s founder Sara Trail envisioned a new way to engage adults in the quilt community. The SJSA Remembrance Project connects quilters with people in their communities who have been unjustly murdered by community violence. After researching the person they are paired with, quilters create a 20" x 24" block in their memory which becomes part of an activist art banner.

Quilters who participate in this project are encouraged to hold the murdered person’s memory close, as 78

well as educate themselves about the systemic injustices that impacted that person’s life. The project and process highlight a life that mattered. It is an intensely personal experience that combines education, emotion, and creativity. The Remembrance Project creates an opportunity to grow and learn, not simply donate to a cause and feel that the work is done. To date, nearly 200 quilters have participated with, sadly, an endless need for block making volunteers. As one participant wrote, “It has changed me; deepened and broadened my respect for and hope for all humanity.” Here, four members of the Modern Quilt Guild share their deeply personal experiences of making blocks for SJSA’s Remembrance Project.

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Building Empathy Between Communities MQG board president Heather Kinion was nervous about making her Remembrance Project block. Choosing the right design weighed on her—she didn’t think she could create a portrait and was hesitant to add personal details since she was a stranger. After she was assigned Ronald Johnson who was killed by officers in the Chicago Police Department, she learned about the remembrance hashtag #ronnieman and how he was remembered as “the dog man” in his neighborhood. “It was very heavy. I felt a huge responsibility,” Heather said. “I really wanted to honor him.”

Heather took her inspiration from Johnson’s love of dogs. “I envisioned a

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kind of big showy funeral wreath, but with fussy cut fabric dogs instead of flowers,” she said. “I was happy with the final design, with his name and his hashtag, and all the dogs honoring him.”

As a leader in the modern quilting movement, Heather calls fostering “a more equitable quilt community” a touchstone of her role in the MQG but is concerned that some quilters will resist positive change in our community. Her hope is that SJSA’s work and the Remembrance Project will open their eyes. “I hope this project brings people who see these blocks closer to seeing violence statistics as human beings who leave behind families, loved ones, and communities,” she said. “I hope that the impact of them seen together helps people visualize the damage this violence does to our communities every day and brings more people to the cause of eliminating it.”

Tree of Life “My empathy for mothers of Black children lost to gun violence drove me to sign up to make a block,” said D.C. MQG member Lisa Rice. As a Black mother herself, Lisa said that learning about 18-year-old DaVonte Friedman’s murder in a triple shooting was difficult to process. She described feelings of empathy, grief, pain, anger, and disillusionment as she made a block in his honor. “I’d like people to learn that DaVonte Friedman was just getting started in life and that he had great potential,” she said. “To die at 18 is unfathomable.”

After testing a Tree of Life quilt pattern by designer Karen Kehl, Lisa knew that was what she wanted to make for her block. “One day, it struck me that DaVonte’s tree of life would have fewer leaves and branches than the one I’d just completed,” she said. “As the mother of a 27-yearold man, that hit me really hard.”

She hopes more modern quilters get involved with SJSA and the Remembrance Project. “At our core, I believe modern quilters are more open to experimentation in what had become a very strict discipline in some quarters. We bring freedom of thought and expression,” Lisa said. “I believe any artist—quilters are artists—advances justice by bringing awareness. Each uses their platform, social media for many, to publicize the work we do in support of justice in general, and SJSA specifically.”

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An Armful of Blankets When Philadelphia MQG member Amanda Colyer signed up to make a block, she was assigned A.J. Jones, short for Amazing Joy, who will killed during a robbery at age 20. She read as much as possible about him, including that he reportedly used his dying breaths to encourage his friend—who was also shot—to survive. She also learned that Jones was recording music at a local studio prior to his death, and Amanda decided to use that as inspiration for her block. After visiting a Nashville concert letterpress poster producer, she designed her block based on the shop’s music poster aesthetic.

After listening to a podcast with Jones’ mother Trina, one image stayed in Amanda ’s mind and impacted her final design. “She recalled an overwhelming compulsion to bring blankets to the morgue, such was her grief and worry that her son would be cold as he lay alone on the examination table,” Amanda said.

“The many layers of fabric proved challenging to wrangle, and after all the attention I spent on A.J.’s face to depict him as accurately as possible, the detail of the folds in his shirt were tempting to crop out or simplify,” Amanda said.

“But the more I looked at them, the more they reminded me of the folds in an armful of blankets, grabbed in haste by a mother in the throes of grief, rushing to care for her beloved son.”

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When Words Aren’t Enough “The folks we are paying tribute to and how the quilts will be used and displayed are what matter here,” said Tara Faughnan. Her block honors Eula Mae Love who was killed by officers in the Los Angeles Police Department in 1979, leading to the first murder by police to result in an investigation of excessive force. Tara hopes that viewers will keep their focus on the subjects of the quilt blocks, not on their makers, particularly because it can be challenging to find information about the lives of the people honored.

“I was saddened that information on her death was the only history of Eula Mae I could find, as I wanted to honor her life as well,” Tara said. “I thought about who she might have loved, what might have made her laugh, what hopes brought her from Louisiana to California. In the end, it was all speculation.”

Tara and many others who have made blocks for the Remembrance Project encourage conversations as a first step to becoming more inclusive. “Don’t be silent. Have the conversations about injustice, even if it’s only with yourself,” she said.

When words aren’t enough, actions like learning about systemic violence and becoming an advocate for your community can go a long way.

“Quilts can speak all on their own,” Tara said.

To sign up to make your own block for the SJSA Remembrance Project, visit sjsacademy.org/the-sjsaremembrance-project.

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Snippet Scrolls Showcase your scraps in style

by Ana Buzzalino

a

while ago, I was sitting in my studio thinking about things. Then, I looked down and my eyes

focused on the bucket I have under my table full

MATERIALS

of the bits, scraps, and leftovers from project after

Makes a 2½" x 40" scroll

project. This bucket is like a time machine. When I

• Bits and pieces/scraps leftover from

upend it into a plastic bag, I can

other projects, any size and color • ⅛ yard backing fabric (See note.)

• Bits of lace, ribbon, or other flat

remember what I was doing at the

ephemera • Center ‘baton’ to mount the strip onto such as a large wooden spool or bobbin, a dowel with embellishments on each end, even a small rolling pin

time. I have a couple of these bags

Optional • Fabric glue pen or a glue stick • Temporary fabric adhesive • Beads and charms • Paper • Stamps • Paint NOTE: When choosing a backing, remember that it will be seen when the scroll is rolled and unrolled; use something nice. I like to use home dec fabric as it adds a bit more structure to the final rolled up piece. Scrolls can be any length and width—I have created scrolls 1½"–5" wide and several feet long. 2½" x 40" is a suggested place to start.

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see the layers of past projects and I

and every so often, I go into one of them and rummage around looking for something in particular. I cannot bring myself to throw all these little pieces of my quilting history away.

This time though, the scraps made me think of photos I have seen of snippet rolls—collaged, long and narrow strips of decorated fabric incorporating piecing, appliqué, embroidery, embellishments, and more, all wrapped on a spool or stiffen fabric center like a scroll. Some were colorful, some elegant, some planned, some random. All beautiful in their own right. Ooohhh, the possibilities …

These rolls are wonderful vehicles for scraps of fabrics, snippets of lace, bits of ribbon, even leftover blocks. But they can be more than that. They can be places to showcase memories, special ephemera, photos, old family recipes—the sky is the limit!

I decided to give it a whirl, my style. Come along as I walk you through my steps on how I created some of these rolls and scrolls.

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“The one that started it all” • 175" x 3"

DIRECTIONS Create the base 1. Cut a strip of backing fabric 2½" x 40". Place the strip wrong side

up on a piece of newspaper and spray very lightly with temporary fabric adhesive; this will hold the collage pieces in place before sewing. Remove the strip from the paper, discarding it, and place the strip on a work surface.

NOTE: Alternatively, use a fabric glue pen or regular glue stick and a light hand.

2. Gather the bits and scraps of fabric you plan to use for the collage.

3. Place a few pieces of fabric at a time on the backing fabric, wrong

sides together, creating a base or background collage. (figure 1) Cover about 10" of the strip before stopping to sew.

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To Trim or Not to Trim Trimming the strip after sewing on the fabric bits is a personal choice and design decision—you can trim the collaged fabrics even with the backing strip or you can leave the edges ragged and free-form.

“The tiny one” • 24" x 1¾" 4. Sew down all edges with a zigzag

stitch. (figure 2) NOTE: I usually sew with a neutralcolored thread; one that generally matches the collage pieces. An alternate design decision would be to use dark or bold colors to highlight the sewing.

NOTE: To make a longer strip, cut additional lengths of backing fabric, sewing them together along the short ends.

by placing more bits of fabric, lace, yoyos, buttons, beads, etc.

You can also glue small pieces of paper to it, such as old stamps, ticket stubs, etc.

This is by no means a comprehensive list—use your own creativity and precious items to make a truly personal snippet scroll.

• Add pieces of lace, small appliqués, buttons, and other ephemera to the strip, sewing by hand.

6. Whether the strip has been trimmed

• Alternatively, sew on bits of mostly

5. Continue collaging and stitching

fabric, 10" at a time, until the strip is fully covered.

figure 2

One consideration: If you plan to wrap the snippet strip around a bobbin or something similar, a ragged edge will make it more difficult to wrap the roll neatly.

or left free-form, zigzag along the long edges of each side of the strip to secure the collage.

Embellish the strip You can leave the snippet strip as is at this point if you love it, or add more to it

solid fabrics by machine, interlocking and angling into new designs.

• Use paint and rubber stamps to stamp designs on the fabric, as in “The one that started it all.”

• Add hand-stitching, beads, buttons, and charms, as in “The tiny one.”

“Dreaming of an English Garden” 57½" x 3¼"

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Display options

The Making of ‘Time for Tea’

Photo courtesy of the artist

Be creative when displaying these rolls. Look at the theme of each snippet scroll and create something that will add to their meaning: I used a wooden bobbin, an antique glass doorknob, or a small wooden spool belonging to my grandmother.

How about a rolling pin for a scroll including favorite recipes?

I placed “The one that started it all” in a glass display with a cloche. (figure 3) If you want to keep them rolled, use a piece of coordinating or contrasting torn fabric to wrap around the roll, or tie a piece of beautiful ribbon around the roll. Try leaving the scrolls on a table and inviting guests to play with them.

“Time for Tea” was made a bit differently. I sewed together leftover teacup blocks—made over 22 years ago!—with thin strips of flowered fabrics between them, like sashing. I continued until all the teacup blocks were used. I pressed the seams toward the flowered fabric. Then, I layered it with cotton batting and free-motion quilted with straight lines and 50wt cotton thread (no backing fabric was used at this step). Next, I trimmed the strip to get rid of the extra batting.

figure 3

The backing was prepared by sewing strips of fabric to the desired length.

After trimming, I transferred images of various packets of tea using TAP™: Transfer Artist Paper.

I sewed some raw-edged fabrics in between to make it more interesting; another small tea/coffee cup made it to the end of the strip, and then, layering it right sides together, I sewed around the edges, leaving one end open to turn it inside out.

The final touch was to hand-embroider the word “TEA” with a back stitch and a 12wt variegated blue thread. It is wrapped around an antique wooden bobbin.

“Time for Tea” • 95¼" x 45⁄8"

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SH W Join us for this

virtual event Sept. 9-11, 2021 Interactive Educational Presentations Live Vendor Mall Inspiring Quilt Exhibits Live Presenter Q&A Community Quilt Projects

By QUILTERS, For QUILTERS

quiltshow.com

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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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Make Your Own

Marbled Fa bric Basics and Beyond

by Melissa DeLisio

m

arbling has been around for centuries and continues to be popular today. While some patterns and techniques

can be very complex you can also achieve beautiful results as soon as you start marbling. You can create unique, one-of-a-kind fabrics perfect for quilting, mixed-media art, and clothing. The fabrics can be used as they are or embellished with thread painting, embroidery, or beading. Some art quilters might be familiar with introductory techniques of marbling using food coloring and shaving cream—all the way to the beautiful end papers seen on vintage books. This technique bridges the gap between those two examples by showing how marbling your own fabrics is accessible and fun.

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Quality matters For this process, you get the best results using high quality materials.

Fabric should be tightly-woven to give the best results, but does not need to be prepared for dyeing (PFD).

Carrageenan quality makes a huge difference. I recommend using blender type carrageenan which provides the smoothest surface and the tightest lines when you ‘paint’ on top of it.

Textile paints float well on the water as do silk paints, but you should avoid acrylics.

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MATERIALS • 1½–2 yards white 100% cotton

fabric* • Alum sulfate • Carrageenan (sizing), blender type • Blender (designated for non-food use) • Textile paints such as Jacquard® Dye-

na-Flow® and PRO™ Chemical & Dye • Marbling brushes made from broom straw • Shallow tray deep enough to hold ½"

liquid* • Plastic sheeting to protect work

surface • Plastic containers to soak/rinse fabric • Newspaper strips

D IRECTIONS The day before you plan to have a marbling session, gather the materials and prepare the fabric for marbling.

It is important to work ahead so the alum-soaked fabric has time to dry.

1. Prepare 1 gallon of alum according to the package directions. Place the fabric neatly and as flat as possible in the alum solution, completely submerging it. Soak the fabric for 15 minutes (more might damage the fabric over time) and then hang it (avoiding wringing or squeezing) to dry. When the fabric is dry, lay it flat until you are ready to marble.

2. Using a blender reserved for

Optional • Combs/rakes & stir stick • Kodak Professional Photo Flo 200

*NOTE: Precut the fabric into pieces 3"–4" smaller than the inner area of the shallow tray.

non-food use, prepare 1 gallon of carrageenan ‘sizing’ according to the package directions. Let the mixture stand for several hours or overnight in a refrigerator, allowing the bubbles to dissipate.

Marble the fabric 1. Pour the mixed carrageenan into

the shallow tray. Drag a strip of newspaper lightly over the surface from back to front to break the surface tension.

2. Select 3–5 paint colors including

black. Dip a marbling brush in the black paint (I recommend always starting with black) and lightly sprinkle the paint onto the surface of the carrageenan by holding the brush in one hand and gently tapping it with the other hand. (figure 1) Add a second color in the same way. Continue sprinkling additional colors until the tray is ‘full.’ You’ll notice that with each sprinkling of paint, the design will start to emerge. You will likely create a traditional ‘stone’ pattern if you leave the paint undisturbed on the carrageenan.

CA All tools and CAUTION: sup supplies should be dedicated to non non-food use only.

figure 1

figure 2 88

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NOTE: A tray is considered ‘full’ when there is no additional room for paint.

Adding more paint at this point will make it sink to the bottom of the tray.

3. Pick up opposite top and bottom

corners of a piece of fabric and place it carefully onto the surface of the paint. (figure 2) Carefully poke down any part of the fabric that is not touching the surface. The fabric will lie on top of the carrageenan and absorb the paint quickly.

4. Pick the fabric up and rinse it

gently in a tray of clean water. (figure 3) When the fabric is removed, the paint will permanently adhere to the fabric and will not bleed or smudge when you touch and rinse it.

5. While the fabric is in the clean

water, immediately clean the surface of the carrageenan by scraping it with newspaper strips.

You may need to do this several times to remove the majority of the paint left behind. (figure 4) NOTE: It is normal for a small amount of paint to sink and remain in the tray.

6. Gently wring out the printed fabric

and hang it to dry. Once the fabric is dry, iron it on a cotton setting.

This marbled fabric is washable in cool water with a gentle detergent on a gentle cycle.

figure 3

Variations for beginners Once you’ve mastered the stone pattern, you’ll want to experiment with different designs. Here are a few options: • Make a ghost print After you’ve removed the fabric from the surface of the carrageenan in step 4 (and before cleaning the surface with newspaper strips) you’ll notice there is still a design in the tray.

Add more paint near the edges

figure 4 keeping the center area open and then marble the next piece of fabric.

The resulting image is the ‘ghost’ print and usually has an interesting, open central design. (figure 5)

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• Move the paint with combs Before placing the fabric in a full tray, drag or swirl a stick, rake, or comb through the paint. (figure 6) Lots of variations can be made by moving the paint in different directions. (figure 7)

figure 6 figure 7

NOTE: Drag tools through the carrageenan carefully and do not touch the bottom of the tray to prevent stirring up any paint that has collected there.

• Move the paint with canned air A simple squirt of canned air can move the paint in interesting directions. Use short bursts and be careful you don’t splatter the liquid and paint in all directions! (figure 8)

Want to learn more?

Watch Melissa demonstrate her marbling techniques on “Quilting Arts TV” Series 2700 and 2800 available at quiltingartstv.com or your local PBS station.

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Notes for Marbling Success •

Alum: Treating the fabric with alum improves the vibrancy of the color and also ensures the fabric will retain its color through numerous washings.

One gallon of alum will treat approximately 2 yards of fabric.

Leftover solution can be stored at room temperature and used within 3 days.

•

When soaking fabric in alum, the container should be large enough that the fabric can be laid flat without wrinkling or scrunching. Wrinkled fabric is more difficult to marble and once it has been ‘alummed,’ it should not be pressed with a hot iron. Alum-treated fabric should be marbled within 24– 48 hours and stored at room temperature.

•

Carrageenan: This product, also called sizing, is made from seaweed and creates a viscous surface for the paint to float upon. Unused carrageenan can be stored in the refrigerator for approximately 7 days. One gallon of carrageenan will print approximately 2 yards of fabric. Continue to add carrageenan to the tray, as needed, to maintain a depth of ½".

•

Tools: You can make your own marbling tools! The brushes I use are made from plastic broom straw held together with rubber bands.

My combs are either inexpensive wide hair ‘picks’ or rakes created from wood and finishing nails.

•

Paints: Black paint is almost always the first color I apply. It allows other colors to ‘spread’ evenly and concentrates the next colors applied.

• •

It’s always better to sprinkle paint on lightly—adding it in layers—rather than applying large drops that may sink.

figure 8

Not all paints or colors (red is particularly tricky) float/spread well on the surface of the sizing. If the paint is not floating/spreading, add 1–2 drops of Photo Flo to the paint and stir. Continue to add Photo Flo a drop at a time until paint floats/spreads as desired.

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Fiber Fusion Make ethereal free-form compositions from scraps

by Donalee Kennedy

q

uick to create from your leftovers, these unique ‘Fiber Fusion’ pieces can hang anywhere in your home or make nice gifts. They put to good use the saved bits of threads and other fibers

you’ve been hanging on to. This is also a perfect group project for a gathering of artist friends or family, and the results will surprise you—no two are alike!

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DIRECTIONS Create the Fiber Fusion 1. Cut 2 pieces of pressure-

sensitive, water-soluble stabilizer approximately the size of the gallery wrapped canvas.

2. If you want the piece to be a

specific shape, mark it on the stabilizer with a permanent pen, along with a dot in the center.

NOTE: I often make a circle just an inch or two smaller than the canvas.

Marking the stabilizer is a reminder to keep the stitching within that space and that I don’t need to extend it beyond that line.

3. Pull out your collection of

cherished fabric bits, scraps, yarns, ribbons, cheesecloth, lace tulle, wool roving, foil, and any leftover threads. Use a variety of colors, textures, fiber types, and values.

4. Peel apart the layers of stabilizer

and place 1 sheet sticky side up on the work surface.

NOTE: If the stabilizer is not tacky enough, lightly spray it with temporary adhesive.

5. Place the fibers on the stabilizer in

a pleasing design. If you traced a shape onto the stabilizer, position within the shape. I often start with a yarn loosely spiraled at the center and work my way around but there are no rules. Just make it your own! You can snip the fibers, pool them in place, or let them fall randomly. Fill the shape for a dense composition, or leave some open space to allow the canvas to peek through for a more airy effect.

NOTE: As you layer the fibers, keep in mind that the things you put down first will be toward the back of the final composition. However, you can later decide to flip it over, of course— your artwork, your choice.

6. Place the second piece of stabilizer

on top of the fibers. Finger press the layers together, making sure they are secured.

MATERIALS • Fabric bits and scraps to collage such as ribbons, cheesecloth, lace, tulle, wool • • • • • •

roving, foil, leftover thread scraps Pressure-sensitive, water-soluble stabilizer (I used Floriani® Wet N Gone Tacky.)

80/12 Topstitch needle Gallery wrapped canvas (I used 8" x 8" x 2⅜" 10 oz. cotton.)

Acrylic or craft paint 1" paintbrush Clear-drying matte gel medium

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Improv with Intent Although this is an improvisational technique, there are some aspects about the project that are chosen intentionally.

7. Free-motion stitch the layers together with an

all-over design, making sure to catch the loose threads and fibers with the stitching. The amount of stitchingg determines the densityy

•

Before you begin, choose the size and shape of the gallery wrapped canvas. The finished piece should fit within that measurement.

•

The composition is created with layers of fibers, so the first things you lay down will be in the back of the composition.

•

Colors and textures make the composition sing! Don’t shy away from adding pops of colorful fibers to the top layer of the composition for contrast and interest.

•

Thread choice when stitching the piece together should be intentional.

Do you want to see the thread or should it blend in with the composition? The choice is yours.

of the finished piece. I usually start near the center dot and spiral my way out, and then go back into the center with overlapping swirls.

I pay special attention to the edges to create an ‘irregular lace’ edge with some threads hanging off. (figure 1) 8. Trim away any excess stabilizer and rinse well

with room temperature water. This may take 15–20 minutes and goes faster if you massage the piece a bit while it is soaking. Roll in a towel to wick away as much water as possible.

Lay flat to dry.

9. Add any desired hand stitching or

embellishments at this time.

figure 1 figure 94

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3. Within the marked line(s), brush

Prepare the canvas 1. Paint the sides and top of the

canvas with an acrylic or craft paint. Allow it to dry completely.

2. Place the Fiber Fusion composition

on the canvas. Lightly make small pencil marks on the canvas about ¼" inside the edge and remove the composition from the canvas.

TIP: If my composition has lots of open areas, I lightly mark those, too, and try not to paint the gel medium in those spots.

on a thin coat of clear-drying matte gel medium or glue where the Fiber Fusion will be placed.

4. Finger press the Fiber Fusion down

on the canvas and into the gel medium. Place a medium weight on top to apply gentle pressure for a few hours.

NOTE: The piece can also be attached to the canvas using a felting needle or sewn directly to the canvas by hand with a sturdy needle.

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Want to learn more?

Watch Donalee demonstrate this technique on “Quilting Arts TV” Series 2800 available at quiltingartstv.com or your local PBS station.

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Art by Susan Brubaker Knapp

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Interpreting ‘Isolation’ A gallery of work from Cloth in Common

b

ack in May of 2019, when the members of the international artist

collective Cloth in Common selected ‘Community’ as its two-year overall theme, we had NO IDEA of the extent to which our communities worldwide would be impacted by Covid-19 between then and now.

Photos courtesy of the artist unless otherwise noted

Catherine McDonald of New Zealand presented us with the prompt ‘Isolation’ in October of 2020, and we had two months to respond with fabric and thread. Having been isolated for several months by then, we made a group decision to expand our small artistic community by having each of our members invite a fellow artist to play along with us for just this one prompt.

As always, the responses were wildly varied.

Interpretations emerged anywhere from solitary confinement in prison to safe haven at home; quiet focus on artwork to family separation; adaptive evolution to self-awareness; hope to loneliness among the elderly; shrinking horizons to domestic violence; what has been shelved to masked silence. We appreciate the thoughtful and skillful contributions of our guest artists, and their enthusiastic willingness to join us in our journey.

The pandemic is an event that has affected us all in many ways. It continues to change our individual daily lives and our relationships with one another. Making art has been a therapeutic tool for helping us to process what is happening in our world, especially when we get to do it with friends.

—Karol Kusmaul

Refuge

“My studio feels like a true refuge of peace, calm, light, and color in this time of isolation. I imagined a patched 40" x 22" and pieced world of darkness and jagged edges surrounding my refuge. Being there and making art gives me TERRY GRANT • BEAVERTON, OREGON peace and hope for better days.”

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Living in the Bubble 40" x 38" REGINA MARZLIN ANTIGONISH, NOVA SCOTIA, CANADA

“During the pandemic, we were isolated and stayed within our own close family or friend bubbles. The colorful bubbles represent the sheltered spaces in which we lived our everyday lives and concentrated on keeping ourselves and others safe.

Though some days were bleak, others were just fine.”

We Are All Connected 40" x 45" ELFRIEDE GROOTEN DALEN, THE NETHERLANDS Guest of Sandra van Velzen

“In 1835, the naturalist Charles Darwin’s voyage led him to the Galápagos Islands.

He discovered finches whose beaks looked different from island to island.

By being isolated per island, the finches developed beaks that helped them eat nuts that grew there. In time, several different species originated, to a current total of 13.”

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Locked Up Nation 40" x 45" LISA JENNI • REDMOND, WASHINGTON Guest of Regina Marzlin

“The impact of the Coronavirus on our nation, communities, and private lives has been earth-shattering. Physical distancing and mask mandates were first—travel restrictions followed soon. This really ‘hits home’ as we have family overseas, while the Coronavirus has been wildly bouncing around due to the lack of cooperation.”

Still Life is Good 43" x 35" HYUNJOO CHO • SOUTH KOREA Guest of Eunhee Lee

“We live in our own space. Nevertheless, we have relationships and can communicate with each other. I have connected people together with thread, including me. If we continue to expand our communication thread circles, we won’t feel as isolated. I don’t want to give up HOPE.”

Forgotten 40" x 35" JEANNE MARKLIN WILLIAMSTOWN, MASSACHUSETTS Guest of Deb Cashatt

“I imagine that the worst isolation is solitary confinement.

Approximately 80,000 people in U.S. jails and prisons are in solitary confinement. That means they are held in their cells for 22–24 hours a day for three months or more. Some are in solitary for years. The psychological effects are horrible.”

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Alone Together 40" x 25" PAULA KOVARIK MEMPHIS, TENNESSEE Guest of Karol Kusmaul

“Though I am most content when isolated within my studio, I reserve time for connections that are vital for my wellbeing. Gathering to share food and news glues us together. We soften raw edges to build a stronger community.

For now, there are empty seats around our tables.”

Isolation: Transformation 40" x 26" MERRILYN GEORGE OHAKUNE, NEW ZEALAND Guest of Catherine McDonald

“The Puriri moth’s life cycle can be an analogy for life; the chrysalis being the place of isolation and transformation. Quiet contemplation helps to reflect and make changes to transform lives of all creatures. Hand dyed, rusting, stenciling.”

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On the Inside Looking Out 39" x 39" JENNY BOWKER • CANBERRA, AUSTRALIA Guest of Lisa Walton

“When the first cases of Covid-19 were diagnosed in March, Australia started to shut down. My horizons retreated and I started to look at the small vistas I created inside—flowers and the items I arranged with them that meant something to me.”

Isolation 40" x 37" DEB CASHATT CAMERON PARK, CALIFORNIA

“Individual pieced blocks, in isolation, were mundane. Together, in a community, they’re vibrant. Fading the blocks in and out reminded me of this time of Coronavirus. Our communities work to reduce the number of cases; we let down our guard, come out of isolation, and the virus hits us again.”

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Isolation 40" x 34" DOERTE-INA LIEBING BORNA, GERMANY

“The term ‘isolation’ has gained enormous importance and frequency in our present life. We have no knowledge about what isolation does to us, what longterm consequences it has, especially to the children. I would like to show the ambivalence of the term and to bring it into the wider context of biology.”

Alone in the City 40"x 40" CATHERINE MCDONALD PREBBLETON, NEW ZEALAND

“Visiting New York City, I thought about the bright lights and the thousands of rooms just in one view and wondered how many were in their room that night sitting alone, wondering what life was about and missing their loved ones.

What stories did they have to tell?”

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Isolation in White 40" x 30" MIKIKO TAKASE • GUNMA, JAPAN

“A pandemic isolated mind looks like a white landscape. Similarly, when I get Creative Solitude older and can no longer participate in society, I will see the same scenery.

40" x 29" If isolation is unavoidable I hope to enjoy it.”

GISELA NICKBAKHT • GELSENKIRCHEN, GERMANY Guest of Doerte-Ina Liebing

“Pandemic time is a real challenge for many people. Still, isolation has not necessarily been that negative if we take the chance for creative solitude.

Creativity develops slowly, sometimes out of boredom. Ideas grow in your mind, come up from the dark, and get through the mental ‘iron bars.’”

Focus 40" x 33" KAROL KUSMAUL • INVERNESS, FLORIDA

“How I love the days when I am left alone to work on my art. It feels like everything else just goes away when one is involved in creating.

Thank you, Catherine, for prompting me to make an image of something I LOVE doing.”

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Mysteries of Solitude and Joy 40" x 27½" MARTHA RESSLER HAMBURG, PENNSYLVANIA

“I chose a photo by Jay Ressler of an abandoned playhouse built by his uncle. I altered the color and had it printed on fabric. Then cheerful colors called to me, and I added some improvisational piecing.

There have been positives about staying home, and the piece reflected my positive feelings.”

Photo by Jay Ressler

Lockdown 40" x 25½" HENRY JAMES ‘JIM’ HAY TAKASAKI, GUNMA, JAPAN Guest of Mikiko Takase

“The pandemic has stolen narrative. Bits of cloth are fretful, empty, alone. They huddle together. Others stand in rigid opposition. Rows pile up and slowly start to mirror each other. Black cloth brings definition and releases intention. Isolation falls away.”

To learn more about Cloth in Common, visit clothincommon.com

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Out of Troubled Waters Come Bliss 40" x 35" TINA WILLIAMS BREWER PITTSBURGH, PENNSYLVANIA Guest of Martha Ressler

“An inspiration born from forced isolation recalls my high school memories of solitude and spirituality. Reflecting on the notion of the guardian angel and the melodies of Rodgers and Hammerstein’s ‘You’ll Never Walk Alone,’ as well as my fellow West Virginian, Bill Witherspoon’s ‘Lean on Me.’ The melody has become my muse.”

Reproductive Isolation 40" x 28" SANDRA VAN VELZEN • THE NETHERLANDS

“Each of us finds our own way to cope with isolation. In 2020, we all lived in our own cage, as represented in the middle part. Now we are moving to something that is a bit like the way we used to know the world, but with some new boundaries.”

Photo by Nadia Brewer

Down the Street 39" x 39" LISA WALTON • SYDNEY, AUSTRALIA

“It has been estimated that domestic violence has increased dramatically during this period of Covid-19 and lockdowns. It would be bad enough living with an abuser but being trapped in a house for weeks on end would obviously exacerbate any tension and send your life spiraling out of control.”

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RevampedPLASTICS

by Vivien Zepf

MATERIALS • Wax or parchment paper (See note below.)

a

• Iron

negative impact of discarded plastics

• Piece of batting, used dryer sheet, or other iron plate cleaning cloth

on the health of reefs and wildlife in

• PFD (prepared for dyeing) fabric

and around oceans. I’ve been searching

• 6– or 8–pack soft drink rings

• Paints suitable for printing

s an avid nature lover and scuba diver, I’m saddened by the

• Gelatin plate for printing (I use a Gelli Arts® Gel Printing Plate.)

for ways that I might be able to keep

• Brayer, sponges, foam brushes, or other preferred printing tools

plastics out of the oceans entirely. My

• Sewing machine fitted with a Jeans/Denim 90/14 size or Universal

play and experimentation has paid off.

80/12 needles • Walking foot • Painter’s tape • Cotton fabric in lengths cut longer than the ring sets

NOTE: I have the greatest success using wax paper for this technique—it adds additional texture to the pressed plastic and peels off easily—but care must be taken to clean the wax residue off of your iron and protect the ironing surface. Parchment paper works, too, without the ‘waxy’ concerns but the finish is flatter.

I’d like to introduce you to a relatively unexpected material: 6– and 8–pack soft drink rings. Though it may not seem to be a material well suited to quilting, don’t be intimidated by the wonky, thick plastic.

These plastics can be incorporated into your artmaking process in many ways and with little effort.

“Tangled Web” • 34½" x 12" 106

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DIRECTIONS Prepare the plastic 1. Cut 2 sheets of wax paper at least 2"

longer than the plastic rings. Layer the rings between the sheets of wax paper.

Set an iron at a low temperature— such as silk or wool—and gently iron over the wax paper and rings in a circular motion. The rings will succumb to the heat and flatten. Stop ironing when the entire ring set is flat.

NOTE: Sometimes a little plastic residue comes off the heated wax paper. Consider protecting your ironing surface with parchment paper or a cloth.

2. Wait for the wax paper to cool a

bit and then carefully separate the sheets. Peel off the flattened plastic rings. They are ready to use! Save the wax paper sheets; they can be reused many times.

Print with the rings 1. Protect your work surface with

plastic sheeting.

2. To use the rings as a mask and create

a monoprint, apply paint to the gelatin plate surface with a brayer.

Use the flattened rings, either whole or cut into bits, as you would any other printing tool and press into the paint. Place fabric on top and make a print, pressing with your hands or rolling with a clean brayer. Remove the fabric and set aside to dry.

3. Remove the rings from the gelatin

plate and press fresh fabric onto the plate for a ‘ghost’ print. Press the removed rings on another piece of fabric to make a print.

TIP: The pressed rings have a lovely texture from the wax paper and the heat that will be revealed during the printing process.

4. To use as a stencil, use sections or

an entire flattened ring set, applying paint with sponges or foam brushes to the PFD fabric through the ring

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holes. The rings can be used over and over again. Wipe them off after each use or let paint accumulate on their surface, which adds another dimension to the quality of the prints you make.

TIP: I often use both the monoprint and stencil techniques together, layering to create a more complex surface design.

5. Consider setting aside some of the

paint-laden rings to be used at a later date. If left to dry for a week, the paint will adhere to the surface of the rings and can be used as is (they will only come clean with rigorous rubbing in water). Now you have a new colorful element that can be incorporated into your artwork. The same holds true for fabric markers.

Draw, doodle, or write on the ring surfaces and let them dry for a week.

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Use in a quilt The soft and pliant rings can be used in sewing ing projects. Before starting, consider how you’d like ike to use the rings in the design: As part of a composition ion in a way that allows you to cut around the ring, through the entire quilt, and thus creating a hole? As a link between elements? Once you decide, cut the rings to suit your design.

TIP: Use a cutting tool that’s reserved for plastic only. Like paper,r, plastic rings can dull a rotary cutter blade and scissors.

1. To use the plastic to create a ‘hole’ in a composition—

like “Octopus Garden”—cut fabric at least ½" longer than the ring segment. (The width of the fabric will vary based on your individual project.) Turn over a generous ¼" fold of fabric from front to back, all along the side that will abut the plastic. Press. Repeat the process for all lengths of fabric that will abut the plastic.

NOTE: Never iron directly on the plastic rings. They will melt and make a mess on your iron.

2. Place the folded fabric wrong side up and place the

plastic segment on top, overlapping the edge of the plastic with the cut edge of the pressed fabric. You should have at least ¼" of the plastic atop the fabric.

3. Use painter’s tape to secure the plastic in place on the

back of the fabric. Turn the fabric right side up and topstitch closely along the edge of the folded fabric, capturing the plastic underneath. A walking foot will help offset the slipperiness of the plastic. Remove the painter’s tape.

“Around the Produce Aisle” • 12" x 20"

Playing with Plastics Learning about the potential hazards of 8–pack carriers to wildlife started my exploration into finding ways to incorporate the plastic rings into my artwork. It also got me thinking of other items I routinely dispose of or recycle that might pose a threat. The ‘aha’ moment came when I unsuccessfully tried to wash a produce label off a piece of fruit, and then discovered I couldn’t really cut through it when I sliced my avocado. It was a tough little sticker.

That did it. I started to set aside all my produce stickers and to put them onto fabric squares. I secured all my sticker-covered fabric with liquid matte medium to keep the tiny labels from falling off as they were handled.

I’ve started to create artwork using these colorful squares and have painted over a few—they make an interesting substrate. They are featured in the circle centers of my quilt “Around the Produce Aisle.”

I also collect the pulls that seal milk cartons; the ones that look like soda-ring cousins. The pulls are easy to cut apart or stitch through and I’ve used a few as embellishments in my work.

There’s still a lot to learn, but I’m looking forward to experimenting further with these new materials.

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T Avoid putting the tape too close to the TIP: d edge where the stitches can catch folded it. Painter’s tape is difficult difficult to remove if it’s ay gum up your been stitched through and may needle as well.

4. Repeat this process as necessary,

trimming the excess fabric to the desired size. Note that the folded fabric edge gives you a clean edge and eliminates the need for pressing these topstitched seams.

plastic. When finished, turn the quilt over and cut away the batting and backing fabric from the interior of the delineated sections, taking care not to snip the plastic.

TIP: Carefully slide the scissors under the plastic ring segments, using gravity and your fingers to create a gap.

5. To create a compositional hole,

layer the top, batting, and backing fabric for quilting. From the top, straight stitch around the sections incorporating plastic. (The center of these areas will become the holes.)

Continue quilting the rest of the quilt, avoiding all the areas with

OPTIONAL: Entire ring sets can be used as links between finished composition sections. To manage the strain of joining parts of a larger composition, consider using a lightweight interfacing in lieu of batting. By doing so you’ll give the

Want to learn more?

Watch Vivien demonstrate this technique on “Quilting Arts TV” Series 2700 available at quiltingartstv.com or your local PBS station. overall composition needed support and structure.

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studio style Add these items to your quilter’s tool kit, stash, or library COLOR WHEEL ENAMEL PINS THE GRAY MUSE

Enamel pins are all the rage as a fashion statement, for trading, and for personal proclamations. These large and beautiful pins are even more—the top dial spins so they are also functional color wheels!

Be sure to wear this pin for color guidance the next time you head to the fabric store—and to turn some heads. At 2" diameter, each has two pins/pin backs to keep it secure on your garment or tote.

(Locking pin backs for extra security are available for a small additional charge.) This unique shop has tons of fun pins in a wide price range to delight crafters/artists with tiny replicas of art supplies and fun quotes. Also in the inventory are stickers, magnets, keychains, and more.

$17.99 each • thegraymuse.com

THE ULTIMATE GUIDE TO TRANSFER ARTIST PAPER LESLEY RILEY

Prolific and inspirational artist, educator, innovator, and author Lesley Riley continues to inspire art quilters and mixed-media artists everywhere. She introduced Transfer Artist Paper, aka TAP, as a way for artists to incorporate photos on fabric and the rest is history. Now improved, TAP continues to inspire Lesley to create. This is her third book sharing insights and projects utilizing this versatile material! There are specific reference to a number of different substrates (wood or glass, anyone?) and how to use TAP on them including ‘What to Know’ and ‘What to Watch For’ tips for each material. This is truly the definitive text on everything TAP.

$21.95 • C&T Publishing • ctpub.com

HARMONY GHAZAL RAZAVI

This beautiful collection by FIGO design director Ghazal Razavi is understated elegance. The fabric is 55% linen/45% cotton which means it looks like amazing linen and behaves like cotton when sewing quilts or garments (there is a beautiful top on Instagram in this delectable fabric!). We love the natural, earthy tones of this collection and imagine how well it will go with ... well, everything!

figofabrics.com

POLISHED MARBLE MIRNA EVERETT

This organic, textural line of fabric by Mirna Everett for Paintbrush Studio is an art quilter’s dream. A wide range of colors? Check. Different values? Check. How about a little glitz?

Check. There is so much potential in this collection for naturescapes—we see mountains, sky, oceans, fire, gardens—and manmade items, too, such as pottery, concrete, and so many other possibilities. We can’t wait to test this versatile group of fabrics in our next project.

pbsfabrics.com

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GET CREATIVE WITH

Series 2800 is Here!

Join host Vivika Hansen DeNegre and her guests for a brand new season of Quilting Arts TV! Each episode explores unique techniques demonstrated by experts. 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 QuiltingArtsTV.com.

Want more art quilting? Get the full season AND a yearly subscription to Quilting Arts Magazine for just $49.99. For more information visit QuiltingArtsTV.com.

Thanks to our sponsors

Snappy SCRAPPY ’Scapes w

by Colleen Ansbaugh

hat inspires your art quilts?

For me, inspiration often strikes when taking a walk and observing my surroundings very closely.

I give myself permission to visually explore in new ways, which can promote creativity. As a self-taught artist, I find landscapes captivating.

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Scheduling both studio work time and periods for play is important.

Occasionally, ‘play time’ is watching Saturday morning cartoons, where the use of wild color combinations invokes movement and keeps the viewer’s attention. While watching cartoons, I squint my eyes, taking in the changing background colors. My goal is to incorporate that same sense of spontaneity and color usage in my landscapes.

In addition, I want to free myself from using a ruler and premade designs.

That means letting go of perfectly straight lines, embracing irregularity, and working improvisationally. Making decisions regarding shape and line with scissors or rotary cutter means processing information in a different part of the brain. This type of risk taking is fun. Using bits and pieces of fabric, I recombine them into new shapes and color combinations to create fabulous vistas. If I don’t like it, I toss it and try again. That is the beauty of using scraps!

I work with wool in these small, 6" x 6" landscapes. Wool is a forgiving material that can be stretched or shrunk with steam.

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From left: “Snow Patch” “Lily Bog” “Fall Over” “Ice Break”

e

MATERIALS • Sketch pad and drawing tools

Create the composition tion

• Wool scraps, recycled

scarves/sweaters, silk or velvet fabric (See note.)

• Batting, 6½" square • Fabric-safe marker • Yarn for outer edge • Perle cotton, #8 and #5, for

embroidery and outer edge accent • Embroidery needle Optional • Inspiration photo • Beads, ribbon • Wrapped canvas or frame and mat NOTE: Recycled wool sweaters and scarves that have been felted by washing in hot soapy water and machine dried can be used.

1. Select a photograph as inspiration piration

or compose a landscape from om memory. Create a basic sketch tch outlining the composition. The goal is to identify the general ral placement of shapes; leave out the details. Keep the sketch h extremely simple. (figure 1)) 2. Assemble scraps into piles

of dark, medium, and light colors. Separating colors byy n value will assist in decision making. Remember, dark colors recede into the background, light colors advance and come forward.

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Get Outside: Tips for observation When searching for inspiration, be sure to look everywhere. Up, down, sideways. Tilt your head and peer around. Look at tiny things and big things.

What captures your attention—tall buildings, trees, a sunset? Take in the entire panorama.

Try stepping back from an obvious attraction and squint. Blur your vision to take in the entire thing.

Allow your creative spirit to play. Let colors begin to mesh together.

The same panoramic view can take on an entirely new, fresh perspective with a different point of view.

TIP: Plaid and houndstooth weaves are especially fun to use and can add 3. Referring to your

sketch, determine the horizon of the landscape and make a placement line on the batting with pins or by drawing with a fabricsafe marker. Free-hand cut the sky and another main background shape. Place the pieces on the batting and stitch in place. A buttonhole or zigzag stitch is an attractive edge treatment.

From top: “Spring Night” “Night Light” “Sand Dune”

Process photos courtesy of the artist

an unexpected splash of color and texture.

figure figure 2

NOTE: The batting is slightly larger than the final 6" x 6" composition to allow for trimming in a later step.

figure 3

4. Free-hand cut 1 shape at a time and stitch in place. Continue

positioning shapes to cover all areas of the batting. A slight overlap of the component shapes will help avoid any batting from appearing between the shapes. (figure 2) TIP: If you miss a spot, simply add another layer and continue creating.

If you stitch something down and don’t like it, try adding embroidery on top for a different look. Textural stitching can add visual interest. Wool edges can be left raw and often allowing the edge to ravel adds visual interest. Turning edges under is not recommended as this increases bulk.

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5. Once the main shapes are in place, review the

Tips and Tricks of Working with Wool A final press makes a big difference. Press and steam the work from the back side, placing the right side down onto folded bath towels or a felt pressing mat. Pressing from the back side allows the stitching to come forward, toward the viewer. If the art is pressed with the iron directly on the front, the stitching can be flattened into the wool, and the wool may take on a shiny appearance.

Sourcing wool can be a fun adventure on its own. Check out the fabric store’s cut yardage bins for end-of-bolt finds. Thrift and resale stores often have gently used coats and jackets that can be cut apart. Wool will overdye beautifully and make fabulous colors for landscape quilts.

If you are working with recycled sweaters or dimensional wool, sew carefully as the knitted loops may catch in the foot of the sewing machine. A clear plastic glide or cupped foot is helpful, if available for your machine. Some felted sweaters may be too thick to fit under the sewing machine presser foot but can be hand sewn.

composition for areas that may need highlighting, darkening, or additional details. I added trees in the mid-ground and used yellow wool and recycled lace in the foreground for the bog. (figure 3) Hand or machine stitch all elements.

TIP: As the composition advances, the entire piece may stretch slightly. If this happens, press from the reverse with steam, reshape and let cool, and then continue creating.

Finishing 1. Trim the composition to 6" square. Round the

corners.

TIP: Rounding the corners makes it easier to add yarn in the next step. I use a coin as a guide.

2. Zigzag heavy yarn around the outer edge,

stitching around the perimeter several times.

The yarn makes a frame around the landscape.

For an accent, insert perle cotton between the composition and outer yarn edge; zigzag in place.

This gives the illusion of a double matted frame. (figure 4) 3. Add additional hand embroidery, ribbon, and

beaded embellishment, as desired.

4. Mount the completed artwork onto wrapped

canvas, frame it, or hang as a small quilt.

fifigure gure 3

figure 4 figure

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jump start

YOUR ART

COOL IT!

by Lyric Montgomery Kinard

h

ave you ever spent so much time trying to

get everything just right as you create a work of art, that you simply despair of ever finishing? It’s time to Cool It! Take a step back, loosen up, and make some ‘bad art.’

MATERIALS • 5" x 7" piece of stabilizer, felt, batting, or paper to use as a base • Fabric scraps and a glue stick or pre-fused fabric scraps • Timer

Optional • Color wheel • ‘Start Your Art: 48 warm up exercises to jumpstart your art’ card deck 116

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Spend a little bit of time with just a few materials and freely explore and engage with an idea, not ever expecting it to be perfect or even good. Calling it ‘bad art’ before you begin releases fear and inhibition and allows you to grow.

Not only is making bad art fun, it can also be an incredibly valuable learning experience as you pay attention to your thought processes and analyze your outcomes. Many times, these moments of free-flowing creativity help you find solutions to the design problems you are facing in your ‘real’ art.

I invite you to join other QUILTING ARTS readers as we delve into a multi-part series to develop a deeper understanding of color theory and to play freely. In this second installment, I will introduce you to a color concept to explore as you develop a better sense of how you—as a unique and individual artist—relate to color.

Q U I LT I N G A RT S ® M A G A Z I N E

The Cool It! Color Prompt The goal of the following prompt is to learn how color temperature affects your work.

Colors have temperatures that are both literal and relative. The wavelengths of warm colors such as yellow, orange, and red are longer so your eyes see them before they see the shorter wavelengths of blue, purple, and green.

Warm colors are usually found on the yellow/orange/red side of the color wheel. They often appear to advance or come forward in your vision. They have intensity, heat, visual excitement.

Cool colors often come from the blue/green/purple side of the wheel.

They remind you of soft, cool things like distant mountains, water, and sky. They tend to recede from your vision.

Can you create compositions that are equally balanced between warm and cool colors? Can you learn to understand colors in relationship to each other so that a color that appears to be warm in one composition might appear cool in another setting?

DIRECTIONS

Tips for Play Keep these tips in mind as you work with this exercise.

Hold tightly to the idea that …

•

Playing without expectations allows you to learn quickly.

•

Time spent exploring and learning a concept is vital to your creative growth.

Begin the exercise 1. Gather a bunch of mostly solid

scraps in as many colors as you can find. This is a great time to use your ‘uglies.’ Sort the materials into two piles, one cool and one warm.

TIP: You can play in this exercise using fabric, colored paper, markers, paint, or any medium you choose.

2. Choose a small size to work with—I

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Let go of the idea that …

• •

You need to make something pretty.

You are trying to be perfect and get it right the first time.

base for the design exercise. Use felt, batting, stabilizer, or even paper.

3. Give yourself a 15– or 30–minute

time limit and stick to it. Don’t try to rework and perfect the composition.

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jump start

YOUR ART

Don’t fuss about getting it absolutely right. If you find the spark of a new idea, you can always set the timer again and play with that idea in a new composition. Set the timer and go!

4. Create a background for the

composition using only cool colors.

Use more cool colors to create foreground shapes in a playful composition. Now add one warmcolored shape as a focal point or main idea.

TIP: Pay attention to the overall visual balance of the exercise and try not to let the warm color completely outshine the cools.

5. Freely explore the concept of warm

and cool colors. Think as you play.

It’s entirely acceptable to purposefully make a huge mess of the exercise as an antidote to your perfectionism.

6. When the timer goes off—stop. Step

away and take a breather before you come back and learn something from what you just experienced. Notice I didn’t say what you just ‘made.’ See “Analyze Your Project” for other thoughts and ideas for thinking about your work.

relationship between warm and cool colors by trying out these options.

1. Create a focal point with a cool color entirely surrounded by warm colors.

2. Make one color appear to be cool in

one exercise, and warm in the next.

How does this work?

3. Create another composition with

Analyze Your Project After the timer goes off and you’ve finished the exercise, look at your composition to figure out what went ‘right,’ and what didn’t.

Some things to think about:

equal visual balance between warm and cool colors. How much of the cool and how much of the warm colors do you need in order to keep equal balance between the two?

•

How large does a warm-colored shape need to be before it overbalances the rest of the cool composition?

•

Is it easier or more difficult for you to work with warm or cool colors?

Final thoughts and options

•

Do you know if you have a marked preference for warm over cool or vice versa? If you do, why?

•

Which colors appear to recede and which advance?

•

How does the warmth and coolness of a color effect the balance of a composition?

• You have ‘permission’ to change this exercise any way that suits you.

It’s your time and your personal exploration as an artist. Own it, realizing what you need to learn is unique to you.

• Use this exercise with a group of art friends. Try exchanging your ‘bad art’ halfway through the allotted time and completing someone else’s exercise.

Remember the goal is to learn—not to make ‘good art’—so evaluate each group member’s results talking only

Feel free to throw your bad art into the bin. The object itself isn’t really worth th h anything except as a reminder of what you learned. You could journal about what you’ve learned, noting any insightss you gained in the process. If you work on a muslin or other smooth white base you u can also take notes directly on the back of the study, recording what worked, what didn’t, and why. Fuse the pieces and nd keep the study in a notebook.

Be positive and kind to yourself, imagining you are your own favorite teacher.

about color relationships, not whether it’s good or bad.

• Cut more bases and repeat the exercise multiple times.

In the next article in this series, we will explore the ‘drama’ of a triadic color scheme.

Challenge yourself If you choose to keep playing, you can deepen your understanding of the 118

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Artwork by Sarah Ann Smith

the

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the last word.

BY

I have the greatest table in my studio. It has a glass top that I can’t ruin. Everything washes off it with ease. The metal frame the glass sits on leaves an empty gap that runs along the length of the table. This serves as a groove to run my scissors in when squaring up fabric, kind of like the groove on the table in fabric stores.

When at my mom’s table I can get lost in that creative zone. Yes, that’s right, my mom’s table. She gave it to me many years ago when she moved south. It’s been at the center of all my fiber art projects ever since.

My mom passed away last year and this table has helped me cope with my loss. You see, my mom was very creative and after she retired, spent several hours a day painting floral designs on wooden bowls and other wooden objects that she would find at thrift shops. She valued the gift of creativity and was thankful to have it be a part of her days. She always loved hearing about what I was making and was endlessly supportive and encouraging. We often talked about how those of us that have a passion to create are the lucky ones.

You know how sometimes you ask yourself, “What am I going to do with all of the stuff I keep making?” This, as the pile gets deeper and deeper on the bed in the extra bedroom. Well, 120

MARIE SHIRLEY-JONES

“Indigo Meets Rust” • 22" x 22" • Marie Shirley-Jones

my mom kept giving my five siblings and me all of her beautiful art until one day she decided we each had enough.

For about a month she didn’t do any painting, as she felt she had no reason to do so. She missed it and her days felt empty and long. Then one day she came up with a grand plan. She went back to the thrift stores and found wooden objects to paint. She enjoyed painting them just like before, but when finished she took them back to the thrift store! After some time passed she said, “Whenever I go looking for bowls to paint on, I don’t see my painted bowls on the shelves.” I told her, “I’ll bet the workers snatch them up as soon as you drop them off!” She was so happy to once again have a reason to paint.

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The creative process is so valuable to our mental and emotional state of mind. We aren’t all going to get to have our fiber art on gallery walls, but we must still create. The benefits are worthy, and so what if they’re piling up in the other room!

You can see why my table is important to me. I feel like my mom is with me on my creative journeys. She’s giving me support and encouragement as I think of her when working at OUR table.

Haven’t you been quilting long enough to start thinking about your own creative legacy? Submit your complete essay (up to 800 words) along with a low-resolution image to qasubmissions@goldenpeakmedia.com with “the last word” in the subject line.

Q U I LT I N G A RT S ® M A G A Z I N E

Quilt.

Listen.

Create!

“Springtime at Fern Hill“ by Susan Brubaker Knapp

Tune into the Quilting Arts Podcast Join Susan Brubaker Knapp and Vivika Hansen DeNegre as they explore the beauty of contemporary art quilts and their makers!

Each episode covers all things art quilting with techniques, inspiration, exhibition opportunities and stories from quilters within the community.

Listen and learn with each season.

New episodes stream every month...Tune in now!

Learn More at QuiltingDaily.com