Innholdsfortegnelse for Winter 2022 i Quilting Arts Magazine

ART QUILTERS are known for breaking rules, pushing boundaries, and dabbling in unconventional materials and methods as they manipulate fabric and thread. The extent of that exploration is vast, as I discovered while compiling the articles for the following pages. I can honestly attest: This has been one of the most thought-provoking issues in my 10-year career as editor. Why? Because in planning articles, interviewing several contributors, reading and re-reading draft articles, and finally reviewing images for more than 100 preliminary pages, an underlying theme became apparent. What began as a broad topic—Exploring the Intersection of Art and Science—morphed into a deeper understanding: Science not only intersects with art, it also informs, influences, and enhances the art we make. Starting with the tools we use (from nerdy spreadsheets to useful…

What are you working on now? How has Quilting Arts inspired or educated you? What new techniques or influences are you exploring? Correspondence we receive is considered property of Golden Peak Media and letters may be edited as necessary for length and clarity. Pinterest pinterest.com/QuiltingArtsMagazine Facebook® facebook.com/QuiltingArts Twitter™ twitter.com/QuiltingArts Golden Peak Media QuiltingDaily.com QAfeedback@goldenpeakmedia.com Subscription Address Changes and Inquiries: quiltingarts@emailcustomerservice.com…

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

As most fiber artists know, the intensity of color in any hand-dyed fabric is dependent upon how much dye was used in proportion to the amount of fabric being dyed. In order to create a reproducible intensity of color, those variables can be controlled. The measurement of color intensity is referred to as On Weight of Goods (OWG); it’s a number that is a percentage of the dry weight of the fabric being dyed used to calculate the weight of dye powder used to dye that fabric. The values of OWG range from 0.1% (the palest of pastels) to 8% for the darkest of the dark. An OWG of 4% is usually enough for a vibrant, full-strength hue; I rarely increase beyond this value unless I want black or a…

RUNNING STITCH This basic quilting stitch is an easy over and under stitch for tacking and embellishing. Vary the length of the stitches and don’t worry about keeping them even. CROSS or ‘X’ STITCH Make 1 running stitch, make another crossing over it at right angles. These can be different sizes or vary the distance between them. STARS These are like the cross stitch but use 3 stitches crossed over each other to form 6 points or cross 4 stitches forming 8 points. Again, size can vary. BACK STITCH This stitch forms a continuous line rather than the dashed line of a running stitch. Make 1 stitch forward, then bring your needle up one stitch ahead, now bring your needle back and go down the hole of the first stitch.…

Use a piece of masking tape and a ruler to mark the first straight line. (figure 3) Sew with the edge of a walking foot against the tape. For subsequent lines of stitching, align the edge of the foot against the previous line of stitching and stitch a second line. Continue in this manner until the entire piece has been stitched. Return to where you began stitching and working from the center out, sew a line of stitching in between the previous lines of stitching. To finish, add another line of stitching in each remaining channel.…

“I was raised in a small community within the apricot orchards of the San Francisco Bay area, before it became known as Silicon Valley. My mother was a diverse artist who enjoyed sewing and my father was an inventor. I attended Sierra Nevada College, where I received a Bachelor’s Degree in Fine Arts in 1995 with a concentration in painting. After graduation, I struggled to find my way as a painter in an art world that was rapidly converting to a digital platform I was never trained for. I focused on family instead; I had two children and moved from northern California to northern Idaho. My interest in textiles began in 2010. I added a room onto my new home in northern Idaho. The room had open rafters and exposed…

How many fabrics should I use? To achieve a look of subtle, flowing color I recommend using 20–25 fabrics. How do I assign fabrics to temperatures? The simplest method is to take your location’s average annual range of temperatures and divide it by the number of fabrics you plan to use. If you live in Chicago, with a wide range of temperatures, that might mean 5° per color. In San Diego, where year-round temperature is more consistent, it might be 2° per color. How much fabric do I buy? That depends completely on your design. If you’re worried about running out, choose fabrics that can be easily reordered. For my hexie quilt, I purchased ½ yard of each color and had fabric to spare. Another option is to go scrappy…

Hello Quilting Arts, I have been reading Quilting Arts with enthusiasm for several years and I’ve been quilting for over 45 years. In the Fall issue, I found articles that remind me of quilts I have made and it brought back pleasant memories. The crane in Sue King’s article (and on the cover) reminds me of a quilt I made of a duck. Also, many years ago I made a quilt for my parents’ golden wedding anniversary, which I remembered when I read Victoria Gertenbach’s “Story Fragments” article. My latest landscape quilt, celebrating the seasons of the Toggenburg region of Switzerland, is in line with the issue’s theme of celebrating the natural world. Thank you for your magazine. Brigitte LüthiEbnat-Kappel, Switzerland Dear Quilting Arts, I had just received photos (from…

Jenni Barry’s work uses a technique derived from a Japanese art called kimekomi. She combines the painterly quality of Impressionism with the warmth of complex quilting. Jenni teaches her technique in workshops, where her mission is to help students kindle memories of loved ones, places, pets, and more. jennibarryart.com Rebecca Cartwright is a quilt artist living in the Chicago suburbs who loves to blend elements of modern and traditional quilting in her work. Since she was diagnosed with a progressive muscle disease in 2010, quilting has been a source of both comfort and creative expression. She shares her quilting adventures and lived experience with disability on Instagram. @rebcartwright Jane Haworth is a quilt artist, teacher, and memory quilt maker. Originally from England and now living in Northern California, Jane embraced…

IN THE GRAND SCHEME OF THINGS, we see the world around us from a singular frame of reference. Whether we share a bird’s eye view as we peer out a jet window over farmland or peek at living cells through a microscope’s lens, our perspective is unique. What do we miss by having one perspective? What do we gain by changing our point of view? We challenge you to create an 8" × 10" vertical quilt referencing a place you’d like to visit—maybe somewhere you’ve been in the past, have on your travel bucket list, or even exists only in your imagination—and look at it from a different angle. Above, beneath, close up, in retrospect … you decide—it’s your personal perspective! Rules 1. Create a quilt based on the theme…

in the evenings, I like to keep my hands and mind busy by hand stitching. As the sun sets, I gather my fabrics, some thread and other supplies, and begin creating. Stitching these small, layered blocks helps me relax but also encourages me to concentrate. This creative activity stimulates my mind enough to prevent slumbering on the couch. Where did these blocks originate? I make many custom necktie quilts and when I strip down the ties, I end up with a pile of the stabilizer found inside. I originally thought it was a coarsely woven cotton but through research I learned it is called interlining, a brushed wool that prevents ties from distorting. It is textural, neutral, and totally beautiful. I hate throwing away quality materials and decided to include…

After you have a good-sized stack of blocks, now what? The quilt “Crazy Covid Stitching,” made during the pandemic, is almost entirely hand stitched and includes many of these small blocks, bits and bobs, plus a few treasured cyanotype prints for good measure. • Arrange the blocks on a background. Since your blocks may not all be the same size—what’s the fun in that anyway?—snug them together casually, add small scraps to fill in here and there, let the background peek through, and embrace the imperfect, handmade quality of your creation. Pin to the background and sew, using some of the same stitches in the blocks. • Add feature fabric, recycled blocks, or whole pieces of treasured fabrics such as cyanotypes. Next, secure them to the background with coordinating thread.…

I often attach my stitched pieces—the ‘quilt top’—to a birch board; thus, I do not bind or face them like I do with a quilt. I sometimes fold the quilt top fabric around the edges of the board and secure on the back for a cleaner look. This technique also works on a gallery wrapped canvas. TIP: When mounting in this fashion, I often do not include a backing fabric—I just work with the batting, scraps, and a base fabric. • Cover the board with a layer of matte medium. (figure 5) TIP: Make sure the edges and corners are well covered if you intend to fold the edges to the back. • Center the collage on top and press gently. Do not stretch. (figure 6) • Flip the collage…

In the Fall issue, we presented a survey, asking our readers and followers on Facebook and Instagram: How are you inspired by nature? We had over 50 respondents answer this question. Most chose multiple options, with almost half of the respondents choosing the combination of Walking/hiking, Photographing/sketching, Vacationing/traveling, AND Reading about/studying. Several folks also checked ‘Other’ and provided fascinating comments. We share a few below. “The fact that one living thing in nature is dependent on another for survival is fascinating. It’s proof that we are all on this planet together and must help one another live our very best lives, and do so with grace and kindness. What better way to share this message than with the art of quilting?” “I live in a rural area and every day…

kathy Suprenant recently retired as Professor Emerita from the Department of Molecular Biosciences at the University of Kansas to become a full-time quilt artist. We spoke via email about her art, her science background, and how they intersect. CATE PRATO: You call yourself an ‘upcycled scientist.’ What do you mean by that? KATHY SUPRENANT: I have to admit that ‘upcycled scientist’ doesn’t make a lot of sense, however the term ‘retired scientist’ suggests to me that I cease to function as a scientist and educator. Instead of withdrawing from science I found another outlet for my curiosity and creativity, a scientist who makes art, upcycled not recycled. CP: What drew you to textile art—specifically quilting—as opposed to painting, ceramics, or some other art form? KS: I seriously thought about going…

Candy records her experiments on spreadsheets in order to calculate and track the variables for each version of fabric and eventually replicate the color at a later date. In addition, the information allows her to evaluate each step of the process and decide which variable to change—such as the amount of black dye to add—for the next step of the experiment. Her spreadsheets are organized, thorough, and specific to the way she approaches dyeing. If you are interested in recreating a color experiment in your own dye practice, consider setting up a spreadsheet and record your own set of variables. Remember, to replicate a color you’ll need accurate measurements and good notes! To see Candy’s spreadsheet for the color palette from this article, scan the QR code on page 49.…

While filming my classes, I worked through a number of my own challenges. Some were easier to overcome than others. • Identifying Camera Angles Different techniques require different angles that are most helpful to students. In a normal class environment, you might be limited to one perspective, but video offers the ability to combine several perspectives to enhance the learning experience. Finding the best one for each technique was challenging. • Keeping it Real Talking to a camera without an audience is a huge shift from in-person teaching! In real-life, teachers read the audience and adjust the content as we go—helping students work through challenges or providing waypoints to reach for mini lessons. A prepared video format must be more organized. Normally, I would be very comfortable talking to students…

during the pandemic I needed some structure, some focus, as the days rolled by in a jumble that was both strangely peaceful and utterly fraught with the unknown. To bring meditative mindfulness into my week and to calm the muddle of my monkey mind, I began creating small 11" × 14" fabric collages. I called them “Timestamps” because they captured a moment in time and place where I stopped and observed something brilliant, something delightful, something surprising. At first, I made the quilts without starting with a sketchbook, but I began to realize there was an opportunity to explore design concepts more closely and examine my own visual decision-making process more deliberately by sketching and note taking. It became a workbook titled “Delightenment”—where I recorded experiences of enlightenment and delight—and…

Use scraps. I love to use up scraps of fabric and recycle other textiles, so using the tie interlining was essential. What can you incorporate into your work from digging through your scrap basket? Embrace the fray. I create raw-edge fabric collage quilts where embracing the fray of the raw edges is encouraged. Be free and have fun—cut, layer, and stitch without turning edges under. Reuse and recycle. You may need to trim as you go along; as you create more of these ‘off-cuts,’ consider including them in a new block. Serendipity is what we are trying to achieve here. Limit the number of decisions to be made and do not look for perfection. This will keep you more productive. By limiting the color palette, for example, you are forced…

i couldn’t sleep one night last year during the worst of the pandemic. You know how it is … brain in overdrive, unable to slow down. I finally gave up and got up around 2 a.m., went to my studio, and turned the desk light on. The neighborhood around me slept and all was quiet. I felt cocooned in the light. White and neutral fabrics sat in a basket by my chair. On my table were remnants of another piece I had worked on. Pieces of blocks, trimmings; small, pieced units. Odd blocks too beautiful to discard. All full of memories and too small or odd-shaped to piece together. I thought of cleaning up to start fresh in the morning, but all those small pieces of fabric were asking to…

ADVENTURES IN IMPROV QUILTS CINDY GRISDELA On her way to guiding readers to create an improv quilt, artist and author Cindy Grisdela provides tons of helpful information on color selection, design concepts, workspace set-up, and more—hinted at by the subtitle, “Master Color, Design, & Construction.” She provides guided exercises to whet the appetite and open the eyes of readers—and a treasure trove of her own work to inspire and motivate future improv-ers. $27.95 • C&T Publishing COLLABORATE WITH MOTHER NATURE JANE DUNNEWOLD Jane Dunnewold’s latest book explores botanical printing with a heat press and, boy, will you be inspired! The book is a how-to for creating amazing prints on paper, fabric, and other substrates. The photography is plentiful and beautiful. This is sophisticated stuff, to be sure, yet Jane provides…

• Do what you need to be confident in your design. With a One Patch quilt, block choice is key. Look at examples, do a mockup, or make sample blocks to get a sense of what your quilt will look like. This is one kind of quilt where it’s difficult to switch gears once you begin. • Start and stay organized. Being organized makes it easier to keep up and finish the quilt. Create a key with temperatures and swatches, store precut pieces in labeled bags, and make a chart to record daily temperatures and blocks completed. • Love your fabrics. The middle temperature fabrics are especially important because you will use them a lot when transitioning into and out of seasons. • Accept that you will fall behind. Almost…

i first met Olivia in 2001 at a quilt show in Paris. The Editions de Saxe (a French publishing company that specializes in books on creativity, including quilting) had organized a quilting contest in which she had participated. This was her first time participating in an event like this; when she discovered she won ‘Best of Show’ she become very emotional and I will never forget her tears of joy! Over the last 20 years, Olivia has established herself as a very talented artist expressing herself through different art forms—quilting as well as mixed media, paper, and ceramics. So much about her is a paradox: looking at her frail appearance, it’s hard to imagine her driving a big motorcycle, wielding a chainsaw, playing squash, and going home to play a…

There are many free online color tools—such as Adobe Color or Canva’s Palette Generator—that allow you to upload a color photo and pull out some of the main colors. Search for “color scheme creator from image” but be warned, they are too much fun to play with! They are not, however, a substitute for training your own eye to truly see colors as they are used in a work of art. As you upload an image to the tool, you will see the main colors in the scheme pulled out and placed on a color wheel. Rarely do they fit into a nice, neat color scheme but you can pick out main colors and see if they are opposites/complementary or near neighbors/analogous and begin to understand how they relate to…

For weeks I sewed together small pieces of colorful fabric, each piece building on a center forming a block known as Log Cabin. Some parts grew lighter as they moved from the center and others grew darker. Yellows moved from the lightest lemon to the deepest ocher. Reds transitioned from peachy orange to muted rose and on to rich maroon. Block after block, I sewed and positioned them so the colors danced together, and when sewed together they formed a whole cloth with a brilliant center framed by waves of increasingly darker color. My daughter is leaving home for college. This quilt is what will keep her warm at night. As I sewed pieces of golden batik to the colors of fire etched with black, I thought what a comfort…