Quilting Arts

Last Chance to Enter the Fabric Quiz Giveaway!

Pippa E — Mon, 08 Feb 2010 21:38:00 GMT

Since the February/March 2010 issue of Quilting Arts has now been on the newsstand for a couple of weeks, I’ll be announcing the winners of Lyric Kinard’s fabric quiz this Friday (February 12^th) at 12 pm EST. So if you still haven’t read Lyric’s inspirational article, “From Disappointment to Diva,” and tested your ability to recognize her clever techniques for transforming ugly fabrics, now is the time!

If the chance to win some of Pokey’s screen printed fabrics and three jars of Lumiere textile paint isn’t enough motivation, Lyric’s heartening advice is in and of itself worth the read. We all have those less-than-perfect dyed fabrics that could use a little sprucing up and Lyric has some great tips for how to go about doing this. Personally, many of my earlier fabric dyeing attempts resulted in some pretty mediocre prints. In an act of optimism, I framed a few of them.

Believe it or not, these were some of the prettier ones of the bunch, and I have a whole lot more hidden away somewhere in my apartment. I’m too sentimental to throw them out, but they’re not attractive enough to work with. Fortunately, Lyric has given me hope that these rather dismal fabrics can one day be transformed into beauties.

Do you have any dye disasters of your own? Then check out Lyric’s article, fine tune your knowledge by taking the fabric quiz, and do some fabric makeovers of your own!

From Television to Textiles: An interview with artist and actress Lalla Ward

Pippa E — Fri, 05 Feb 2010 19:31:00 GMT

There isn’t normally a great deal of crossover between acting and art quilting, but textile artist Lalla Ward has crossed this unusual divide. Well-known for her role as alien Romana in the BBC television series Dr. Who, Lalla now devotes the majority of her time to fiber rather than film. And though she played an extraterrestrial on TV, Lalla’s art is very much focused on Earth—specifically, on its animal inhabitants. Her thread-painted pieces are currently on display at the National Theatre in London until February 14^th, but for those of you who can’t make the overseas trek, Lalla took a break from her many artistic pursuits to chat about her unique background in fiber arts and her fondness for the animals that she depicts.

How did you make the transition from acting to textile art?

I’ve always wanted to do art—actually, I don’t know why I went to drama school instead of art school. I think it was a test to myself; I was a very solitary person and hated doing things in front of others.

I’ve always drawn animals (and have illustrated books for my husband Richard Dawkins, an evolutionary biologist) but since I’m self-taught, I’m always looking for new ways to do things. About a year and a half ago, I read that you can draw with a sewing machine. The book said something about lowering your feed dogs—and I had no idea what these were. I had done some hand embroidery but I actually didn’t own a sewing machine.

I bought a secondhand machine which I loved because I didn’t need all those fancy stitches. First, I learned what zigzag stitch was and what feed dogs were, and then I started scribbling—and doing an awful job of it. I decided I needed to learn what I was doing so I went to a class that taught all the rules…but I realized that I’m so bad at the things that proper quilters can do: beautiful seams, geometric piecing, etc.

I realized this wasn’t for me so I got more and more into just scribbling with a sewing machine needle as you would a pen. I have found that very liberating. I just spend hours stitching shifting different bits of fabrics around. I listen to an awful lot of music, endless rock and roll—there’s often Pink Floyd in the background.

Do you think of your lack of technical training as a barrier or an advantage?

Most sewing books spend hours telling you what subjects you could do—that’s never been my problem. I always have a million ideas but, yes, I have to get better at the technique.

At the same time, I think it gives people hope that I am so self-taught. At my exhibit, I’ve left a seven-page outline of how I work and I included my email address. I told people to email me with questions—but to understand I’m a total amateur. I got so many emails, you wouldn’t believe it. I think that’s what encourages people; if I can do it, they can do it.

I go to quilt fairs a lot and I have one or two suppliers of fabrics that I particularly love—and all those people have been so nice to me; they all come to my exhibitions. I’ve found this to be a very nice and encouraging world.

Do you feel that you have established an identity as an artist, rather than an actress?

People always refer back to my acting. Dr. Who has a huge cult following—that was 30 years ago, but you never really lose that identity, which is fine; I don’t mind a bit. But I hope I’ve established myself a bit as an artist. I probably haven't as much with my fabric pictures, but having two exhibitions on that has certainly helped. My first exhibit was held last year, only three months after I got my sewing machine. It was to raise money for an endangered bird in Madagascar. I said I would do it, so I had to! It was a massive learning curve.

So all of your pieces now are thread painted?

Yes, I thread paint on a fabric sandwich: soluble stabilizer, a couple layers of organza, and then another layer of stabilizer. Sometimes I draw my drawing on the top layer of the stabilizer, but sometimes I draw directly with the sewing machine—I’m a bit foolhardy. I sew the entire animal with stitch, then soak out the stabilizer and trim around the edges. Then I appliqué the animal onto a background.

The subjects of your pieces are primarily endangered or rare animals and reflect a real interest in biology and evolution. Has this always been an interest of yours?

Yes, always—long before I met my husband. I read Charles Darwin when I was about 14 and I’ve always loved animals. My parents both worked in BBC radio, and people in broadcasting like to drink. They discovered that the one place you could drink on a Sunday and take your children was the bar at the London Zoo. So my brother and I used to fill our pockets with peanuts and maraschino cherries from the bar and go out into the zoo with no one else there. We knew the zookeepers so we would get the animals out and hold them—I have a picture of myself holding an enormous python. That’s where my love of animals started and now I love drawing animals, watching their movements, seeing how they live; they are endlessly different, beautiful, and interesting.

Your current exhibit is called “Stranded.” What does this title represent?

It represents both the strands of thread and the fact that all the animals are from islands. Island evolution is utterly fascinating because, by default, these creatures are isolated from other communities. You do get some very strange animals. I’ve traveled to Madagascar and the Galapagos islands (mostly tagging along with my husband) where the animals will just come up and sit in your lap while you sketch—they’re so tame.

Can you tell us about some of the other media that you work with?

I also paint ceramics. I have thrown pots but I’m not very good but I’ve discovered you can buy bisque-fired pottery and then paint it yourself. I have a kiln and do the second firing on my own. Again, this is another way of making pictures.

I have done some knitwear design and have two knitting books—sweaters with animals on them, mostly—but I didn’t make the actual sweaters. I prefer jumbling about and crochet is better for that.

Now, I’m keen to combine ceramics and free-motion embroidery to create an embroidered mat and a glazed bowl that would correspond. For instance, a blue glaze on the bottom of a bowl and then footprints embroidered on the mat. I have
another exhibit coming up next year, and right now that’s what I would like to explore for it.

When you try lots of different media, you hone in on the ones you’re happiest with: for me, it’s painting, ceramics, and drawing with my sewing machine.

Titles of the artwork (from top to bottom):

Hawaiin Honeyeater (extinct) Moho noblis Hawaii
Red and White Moth (unidentified) Borneo
Ring-Tailed Lemurs Lemur catta Madagascar
Clouded Leopard Neofelis nebulosa Borneo

Introducing "Save My UFO!" to QA TV

Pokey — Fri, 05 Feb 2010 15:02:00 GMT

Want your quilt-in-progress featured on Quilting Arts TV?

Do you have an unfinished art quilt (otherwise known as a UFO for UnFinished Object) that’s got you stumped on how to complete? Have you stuffed it in the back of a dresser drawer in the desperate hope that if left in the dark long enough, it’ll magically transform into something akin to a fine wine?

I’m here to help you. We are introducing a new segment to Quilting Arts TV:

“Save my UFO!”

Here’s your chance to have your unfinished art quilt featured on Quilting Arts TV—and to get advice from the pros on how turn your UFO into a masterpiece!

How to participate:

1. Upload a picture (gif or jpeg) of your UFO in the "Save my UFO!" Photo Gallery by February 16. **Note: You must be logged in on the site to see the upload option. If you are not signed in, you will not see the upload option appear on your screen.** Here is the direct link to the “Save My UFO!” Gallery:

http://quiltingarts.com/media/g/savemyufo/default.aspx

2. Share your story behind your quilt, what you had intended, and where you think you may have gone awry. We’ll select a few quilts for this next Quilting Arts TV taping (March 1-5, 2010).This series begins airing the end of June.

3. I will notify the artists that their UFOs were selected right here on my blog on Wednesday, February 17. Please note that if your quilt is selected it must be shipped to us and arrive in our office no later than Wednesday, February 24.

If we don’t select yours, don’t worry; we plan to bring more UFOs to successive filmings, plus have well respected quilt artists give you advice for your quilt right here in the Quilting Arts forums. And, by watching this new segment on Quilting Arts TV, we hope you’ll be inspired and encouraged to tackle your own UFOs.

We hope you’ll hurry up and post your UFO!

A Unique Twist on a Patchwork Quilt

Quilting Daily — Thu, 04 Feb 2010 13:02:00 GMT

Art quilters tend to stitch outside the box. Traditional squares and patches are not for them. But that doesn't mean that repetition and a sense of order isn't important. In fact, repetition is a key element in design. The concept of using a grid as a design element is classic--that's one of the reasons why patchwork appeals to so many people.

But art quilters are prone to turning "the classics" on their heads. That's what mixed-media artist Debbi Crane did when she created a nine-patch "quilt" of mixed-media collages. Debbi described her process in an article called "Get a Grid! Canvas Wall Art for Collectors of Odds & Ends" in the January/February 2010 issue of our sister publication, Cloth Paper Scissors®.

Debbi started this project as one 12" x 12" canvas, but soon discovered that if one piece looked good, a series looked even better. So she created a nine-patch wall "quilt" out of canvases, using paint, fabric, paper, and found objects. To make the piece cohesive, Debbi used the grid concept and repetition. Here are some of her tips for how to unify a piece like this:
Repeat a grid form within a larger grid form to help create a unified whole.
To keep the squares cohesive, use at least a smidgen of each of your main colors (in this case the deep red, brown, and latte of the painted frames) in each square.
Repeat design elements (such as circles and stripes) from square to square to make the individual pieces relate to each other. The viewer's eye can easily travel to each part of the work, resting on familiar colors or textures.

To add to the patchwork effect, Debbi incorporated some classic quilting elements, but gave them her own mixed-media twist. For example:

Debbi treated the entire piece as an enlarged nine-patch quilt block.
She painted the frame of the center canvas a deep red, as traditional quilters have used red in the center square of a quilt to represent hearth and home.
She tied the buttons on the lower left square in a similar way as hand-tied quilt patches.
The center "patch" is a stitched collage in the shape of an Ohio Star.
Aside from the canvases, all the other materials Debbi incorporated were those she had at hand, like quilters of old.

I think this is such a fun piece in that it not only marries traditional and contemporary quilting arts, but also combines mixed-media and quilting techniques--and helps find a place for all those fabulous found objects we like to collect.

Interview with Kathy York: our most prolific QA cover artist!

Helen Gregory — Tue, 02 Feb 2010 19:28:00 GMT

Kathy York’s work is like that of all the contributors to Quilting Arts Magazine – it never ceases to amaze and inspire me. I’ve been wanting to learn more about Kathy and her work, and with her quilt on the cover of the current issue, now seemed like the perfect time. In fact, it turns out that Kathy is our most prolific QA cover artist! Her work is featured on these covers:

February/March 2010 February/March 2009 April/May 2007

Here’s what I learned from Kathy.

Helen: To the best of my knowledge you are a full-time mom. How are you possibly so prolific? Do you set aside creative time every day? Please give us an idea of how you schedule your creative time.

Kathy: A number of years ago, I decided to think of quilting as my job. This attitude helped me justify (if only to myself) setting aside time on a daily basis for my art. I wrote down some goals and set to work. At that time both of my children were in public school and I had all day to work and late in the evenings. I also get part of the weekend to work when the kids are with their dad. My mantra is: never do chores if no one is there to see you! I try hard to NOT get caught up in errands and cleaning during the day because it chews up your time.

This year, things are different. I just started homeschooling my son. He has struggled for years in public school because he is autistic, and it was a bad fit for him. He has Asperger's, which is a high functioning form of autism. He is incredibly gifted but really difficult to work with. On his good days, he is engaged in learning and moves quickly through his required material. This gives him loads of time to “play” with the things he is interested in, like computer programming and building 3D models on the computer. On those days, I can actually work in the studio, on a much shortened time scale, maybe 2 hours a day instead of 4–6 hours. But it is amazing what you can accomplish in 2 hours a day, every day!

On his more difficult days, it takes every bit of energy I have to get him out of bed, moving, and trying to learn. It is emotionally exhausting for both of us. Every step is a struggle. Because we are self paced, we can take needed breaks. These days suck the creative energy right out of me and I have to let go of my expectations for the day. My new strategy is to keep a journal documenting my hours that I work. I am finding that if I write it down, it helps me utilize the small bits of time that used to get lost from constant distractions and interruptions. At some point, I will analyze the journal to see what's working, and what isn't, and then make a new plan.

Helen: Kathy, I have seen many of your quilts win prizes in national and international shows. How do you come up with your quilt designs? Do you design specifically with a show in mind?

Kathy: I must confess that I am usually surprised and always delighted to win a prize at a show. It's a really validating and confirming feeling! I usually get more ideas than I have time to make. It can be difficult to choose which one to make first. Some ideas come from life events, others start with the inspiration of something I have seen. Last year's quilt, “Building Up,” began with a found object—an irrigation stake shaped in a cross. I thought it would be perfect to make the inside of little windows with batik, and it worked! It just happened to coincide with my observations of new developments in Austin, Texas, where I live: lots of densely packed living spaces with contemporary colors and shapes. [“Building Up” won first place in the Art-Abstract, Small category in “Quilts: A World of Beauty,” the International Quilt Association’s annual fall judged show.]

I rarely design a quilt with a show in mind, though I am usually conscious of the size requirements. Some good advice I got once: make what you need to make, and a venue will appear. When I listen to my heart, I am happy making art.

Helen: Every time I look at one of your quilts (or even the tote bag you designed for Quilting Arts Gifts 2009/2010, I admire the fabrics. And then I read your comments and learn that you’ve designed the majority of the fabrics. So this leads me to wonder if you have a stash of fabrics you’ve painted, dyed, printed, or otherwise designed. Or do you design fabrics specifically as you work on a project – or is it a little of both?

Kathy: It can go either way. Sometimes, I get an idea for how something is supposed to look. I shop for fabric, but cannot find what I am looking for. Oh, yeah, and I tend to be a bit inflexible once I've decided how it “should” look. So I set out trying to determine how to make it look right. As in: I needed yellow scaly fabric for fish, but there wasn't any, so I had to make some. That time I put the scaly pattern with wax on a screen and printed with thickened dye. It worked! Other times, I use fusible and cut the shapes I need to create the picture. Yet other times I might batik a piece of fabric with an end goal in mind.

However, once I learned to batik, I sort of got....well, obsessed. I walk a lot and often find interestingly shaped objects. The first thing I think is “can I dip that in hot wax?” I have to laugh at myself, as my children already do! My curiosity gets the better of me, and I start to experiment. Then I do end up with a stash of fabrics as my brain races with ideas to use them for!

Helen: You have such a wonderful sense of color. And your palette is always so cheerful. Do you intentionally stick with a bright, cheerful palette?

Kathy: I have no idea where my sense of color came from or how I choose my color palette. I just know when it isn't right for me. I remember going to the International Quilt Festival in Houston for the first time and being completely drawn in to Laura Wasilowski's and Melody Johnson's quilts. Now when I enter Laura's booth, with Frieda Anderson, I feel right at home. It's the colors that create the mood I like.

I do know that using bright colors helps me create works that are sometimes darker in meaning for me. My quilt “Falling through the Cracks” [on the Quilting Arts February/March 2010 cover] started with jewel tones on a black background. It was hideous and sat on a shelf for a year. Then I switched color palettes and was able to jump into the project and get to work.

Helen: What are your favorite/least favorite aspects when making a quilt?

Kathy: My absolute favorite part is selecting the color palette! And fabrics! And then, sharing my inspiration with others. I love it when my work really connects with someone else and then they tell me about it. It is wonderful the way art starts communication.

The least favorite part is when my machine is acting up, or the day ends and I have to stop working.

The most difficult part is starting a new quilt and then letting it go when I have to ship it.

Send Me Your Letters

Pippa E — Tue, 02 Feb 2010 16:23:00 GMT

This new month also means a new issue of Quilting Arts hits the newsstands! If you don't already have your copy of the February/March 2010 Quilting Arts, don't waste too much more time. This issue features an array of art quilting techniques, ideas, events, and more. From machine stitching to surface design, business advice, and artist profiles, there's a little something for everyone. You'd be amazed by what Kathy York can do with a simple satin stitch, or how Robbi Joy Eklow manages to keep herself organized when entering multiple quilt shows.

Of course, we're always eager to hear your feedback so, once you've had a little quality time with your latest Quilting Arts, email me at peccles@interweave.com and let me know what you think. Which articles did you love and which ones just didn't do it for you? Why? Do you have any overall thoughts or impressions about the content and direction of our magazine? We truly value your feedback and keep it in mind when putting together future issues. And we want to hear it all!

Batik Made Easy: Hot Tips from Kathy York

Quilting Daily — Tue, 02 Feb 2010 15:00:00 GMT

I like to think I'm always open to trying new things, especially when it comes to surface design methods. But there was one technique I shied away from: batik. I loved the effects, but doing it myself always seemed so complicated and time consuming.

That was until Kathy York was a guest on "Quilting Arts TV" in Season 3 and demonstrated her easy and fun technique for creating batik patterns with found objects.

I had thought you needed special printing tools or good freehand painting skills to make your wax designs, but Kathy showed up with cardboard tubes, cookie cutters, and plastic-coated electrical wires. What? I was intrigued.

Here are some of Kathy's tips for making batik patterns with found objects:

Anything that won't melt and has an intriguing edge shape can make a batik design. Consider cardboard tubes, hardware (like bolts), cookie cutters, and napkin rings.
If a found object is too short to dip into the wax without burning your fingers, use a pair of metal pliers or grips to act as a handle.
Peel the coating off the end of cast-off electrical wires and bend the wire into a shape (spiral, flower, etc.). Then bend the rest of the wire up 90 degrees to use as a handle. (Sort of like an Easter egg dipper. In fact, you could use an Easter egg dipper as a stamp!) Dip the shape in the wax and apply it to the fabric.
Have a piece of spare cardboard handy to catch drips between the wax bath and the fabric.
In order for the wax to penetrate the fabric without ruining your work surface, suspend the piece of fabric you're working with (or a portion of it) over the top of an open cardboard box, secured with thumbtacks.
If you prefer a smooth, rather than crackled, effect, use a 1:1 ratio of paraffin to beeswax.
Once you use an object or pot for the batik process, do not use it again for other purposes, such as food prep. Work in a well-ventilated area and take precautions to avoid being burned by the hot wax or tools.

It was so much fun stamping the fabric and looking at the dyed samples Kathy brought with her. It's hard to make a "mistake." If you get a result you don't like, just over-dye it! To get the full effect of the results and see all her of Kathy's tips, be sure to watch Season 3 of "QATV."

(By the way, if you want to explore stamping with found objects and paint, instead of wax, take Belinda Spiwak's Found Object Stamping/ Printing Challenge posted on the Quilting Arts Community.)

Kathy is known for her bold, bright quilts with complex designs. But when you break them down, you realize she just makes the most of simple techniques. It's an eye-opening discovery.

In the February/March issue of Quilting Arts Magazine, now available, Kathy shows how to enrich your quilts with simple satin stitching. She addresses how stabilizing, thread, needle size, and tension all play a role in achieving perfect satin stitching and explains how to stitch around curves and join blocks. If you've ignored your satin stitch lately, Kathy's tutorial will have you grabbing your threads and a quilt sandwich to give it a whirl again.

P.S. Want to add color to your quilts with thread? Download a FREE PATTERN for the Crayon Quilt Thread Sketching Design by Susan Brubaker Knapp, featured in the February/March issue of Quilting Arts.

Introducing the Quilting Arts Community Spotlight: Janice Paine-Dawes

Pippa E — Mon, 01 Feb 2010 16:07:00 GMT

We’re kicking off the new month with a new online feature: the Quilting Arts Community Spotlight. These spotlights will give us the opportunity to focus in on the work of some of our talented QA Community members, to share the stories behind their pieces, as well as their experiences as art quilters.

Our first Community Spotlight features Janice Paine-Dawes and her vibrantly colored quilt, “Oda Pagoda.”

How did you become interested in art quilting? Do you have a background in the arts or traditional quilting?

I was a traditional quilter for many years, working on historically accurate quilts. In 1996, I got started on the road to commissions and selling work. I worked traditionally until I was diagnosed with Rheumatoid Arthritis in 2003. I threw away all my quilting supplies and went back to painting, thinking I would never be able to quilt again.

Then, about two and a half years ago, I discovered art quilting. It allows me to meld two-dimensional art and quilting on a manageable, smaller scale without stressing about matched seams and perfect stitches. I used to be able to crank out large quilts for commissions and art shows. Now, it takes me ten times as long to complete a piece due to my RA. Working on smaller art quilts allows me to complete a piece in a reasonable time frame.

Tell us a bit more about “Oda Pagoda.” What was the inspiration for this piece?

I belong to an online challenge group called Fast Friday Fabric Challenge. This piece started for Challenge #32, which was to use a grid or frame, an analogous, and a complement. I was not used to doing anything abstract, but thought I would give it a go with this challenge. The piece didn’t get its name until later.

How did this piece evolve as you were working on it? Did it go as planned or take you by surprise?

This wasn't intended to be as freely formed as it turned out. I began cutting hunks of fabric to fuse and then I was to go back and square them up for my design. As they fell on the background fabric, they started to look like something interesting, so I just went with it. I posted it to the challenge and everyone was nice with their critiques; it’s a wonderful group of artists.

But as this piece hung on my design wall, I kept thinking I could do more with it. I thought it had some good bones but was still pretty ho-hum. I started adding embroidery stitches and then beads, just to see if I could improve it. The more I worked on it, the more I liked it. Then it reached a point where the original square design just wasn’t working. Since it was experimental, I took a deep breath and cut the background abstract edges, somewhat following the design of the raw-edged appliqué pieces.

I love how you hung the quilt on chopsticks. What gave you the idea for this?

I am a collector of interesting objects and I love all things oriental. I had purchased a box of these mother of pearl inlaid chopsticks at a garage sale for a quarter. My daughter and daughter-in-laws have long hair and I thought they could use them as hair accessories. I decided that the quilt looked oriental after I had cut its edges; the box of chopsticks happened to be on my cutting table and I realized that they would emphasize this quality. The key was figuring out how to wrap the chopsticks to make the hanger and how to hang the quilt from them. It was only after this that the quilt got its name of “Oda Pagoda,” which came from my strange thinking that the piece was a visual ode to a pagoda.

It looks like you do quite a bit of hand stitching and embellishing. Do you have any favorite techniques?

If you had asked me this question a year ago, I would have answered differently. I used to try every new trick or technique that came along. But I feel my work has been evolving; I work very free-form but have scaled back to only a few techniques that work for me.

I do like the added texture of hand stitching and beading, but I still want whatever I add to leave no doubt that the finished piece is a textile. I try to let each piece speak its mind and go where it wants to go, rather than being forced into a square box. If it needs paint or embroidery, buttons, beads, or even chopsticks, that’s what it gets. It might live on the design wall for months before it’s completed.

Is there anything else about your work that you would like to share?

I am a huge fan of recycling found textiles. Some of the most interesting fabrics are found in thrift shops and at garage sales. Part of what I love about art quilting is that I can use pretty much anything I find without the quilt police telling me it isn’t all cotton or won’t hold up. That special fabric in a $2 blouse can be the perfect inspiration for a knock-your-socks-off piece. It’s fun to search for these things and makes art quilting affordable on a limited budget.

To learn more about Janice and her work, visit her blog.

My Tote for ToteTuesday (Fiberart for a Cause)

Pokey — Sun, 31 Jan 2010 16:13:00 GMT

In September 2006, I got a little personal on my blog and shared that my father had just lost his battle against lung cancer in my Bye Dad post. In rereading that entry, Virginia Spiegel at that time had raised $53,000 for the American Cancer Society with Fiberart for a Cause...and today she is closer to $200,000! This number is just astonishing to me, and speaks to her tenacity and the vast generosity of fiber artists from around the globe. Virginia recently announced her latest fundraising endeavor, ToteTuesday.

Here's what Virginia has to say:

It's the opening of ToteTuesday, Fiberart For A Cause's ONLY big fundraiser
in 2010. Our goal is $5000.

I have upgraded the list of more than 40 sponsored totes with more photos,
details, and links:

http://www.virginiaspiegel.com/blog/archives/4265

Each week in February and March, five to seven totes will come up for bid.

Stop by each Tuesday at 11a.m. CST to see if your favorite tote is available
that week. Then bid or be a champion supporter of the ACS and place a Go For
The Gold bid that secures the tote for you immediately.

ToteTuesday will be held on my blog. Information on how to bid is here:

http://www.virginiaspiegel.com/blog/archives/4374

I knew ToteTuesday was something I wanted to participate in, and so I made a tote I've called "Getting Graphic."

Using Kathy Mack’s “Winslow Market” tote pattern as published in International Quilt Festival: Quilt Scene, I combined some of my hand-dyed and screened fabrics with commercial fabrics with whimsical designs.

I've stuffed it with a number of things:

-A copy of our special issue: International Quilt Festival: Quilt Scene
-A copy of our super-sized special Winter issue of Cloth Paper Scissors STUDIOS
-Quilting Arts (Feb/March issue)
-Cloth Paper Scissors (Jan/Feb issue)
-QA TV Series 500 (13 Episodes)
-“Texture Transformation: Stitch, Alter, Recycle” with Natalya Aikens --QA Workshop DVD
-“Gelatin Monoprinting” with Rayna Gillman—QA Workshop DVD
-A fat bundle of my hand-dyed/ screened fabrics

My tote will be available this Tuesday, February 2, at 11:00 AM CST via Virginia's blog. If you're in the market for a tote and want to help the American Cancer Society, I hope you may be interested in bidding!

Editor's QA picks for January!

Pokey — Thu, 28 Jan 2010 22:13:00 GMT

We're introducing a new feature to the Quilting Arts Community...

Every month I will be cruising the site, noting what people are posting in the galleries and forums, and essentially looking to see how you--our cherished members--are utilizing our community. I will feature some of notable finds the last week of each month. Some of my picks might be helpful, some insightful or inspiring, and others downright humorous. I'll compile them into a single blog post, and award my #1 find something extra special. What's the featured offering this month?

How about a copy of Lyric Kinard's book!

My picks for January 2010:

6. Newbie Jumps Right In

Ranchquilter is brand new to the Quilting Arts community, and right away she shared a few of her pieces including this quilt. I am intrigued by her approach for this piece.

She writes,"This is one of my first art quilts done in the spring of 2009. I started with several photos of our longhorns, placed background fabric on a backing, stitched through a black and white photo of the longhorn, tore off the photo, then started placing fabric. I then thread sketched the details. Finally, I added batting and a backing and machine quilted, then put on a binding. After looking at it for some time, I added some shadows with markers. It is 8.5"x11"."

5. Sharing of an Ingenious Tip: Thrifty Stencil Material

Bhberman shared in the Photo Galleries a great use for those Avery Note Tabs you get at the office supply store.

BHBerman writes, "You may already know about this product but it is new to me. I received a sample of the AVERY NOTE TABS and realized the sturdy stiff repositionable plastic note tabs would make perfect stencil material. I cut this spiral stencil and applied it to this quilt with silver paint. You can wash it and reuse it and it doesn't lose its tacky back. I store them by sticking them to the side of my bookshelf. This one has been used many times and just washed. The quilt page (9x11) is a solvent transfer of the crow , a la Lyric's Surface Design DVD, then darkened with fabric paint, covered with a dryer sheet printed with a scan of three feathers. I hand carved stamps, thanks you Lyric- from Speedy Carve and used pearl paint. The dryer sheet idea came from Natalya Aiken's DVD, Texture Transformation: Stich, Alter, Recycle. I LOVE the look of these printed dryer sheets. A tip from me: Buy the precut FLAT freezer sheets she recommends and avoid the printer jam headache."

4. Sage Stitching Advice in the Forums

Over in the forums, there are some veddy interesting discussions taking place. One such discussion was introduced by our beloved Quilting Arts assistant editor, Pippa Eccles. Fresh from Harvard University and settling into the professional realm of editing quilt publications, Pippa's been interested in improving her quilting skills...and wondered if a glass of wine before sitting at the sewing machine might smooth out her free-motion stitching

She got a number of impressive responses, but I was mightily amazed by the depth (and length) of CKQuilter's reply. Have a look in the original thread for her full response, but to highlight a few of her points, CKQuilter suggests:

* Remember to breathe. I find beginners often hold their breath until reaching the end of a line of quilting - and if you can learn to continue breathing at a normal rate while sewing, your stitches will look better (and you won't be as blue).

* After you are getting happier with the stitches on a straight line, you will want to start trying curves. An easy way to start with something that is familiar to you, is to write your name. you don't have to dot i's, or cross t's yet. just practice your name. Don't make the letters too small. Make them round. You can write it on the fabric first, but it is better if you just go for it.If your stitches are too long, your curves will not be round. Try and move your hands smoothly and at as consistent a speed as possible.

*When sewing a curve - try not to stop and adjust your hands while on the curve - it breaks the smoothness of the curved line.

*If you want a sharp point - that is when you want to stitch up to the point - hesitate (or stop and reposition your hands), and then resume sewing - this makes a sharp point. If you try and keep moving around the point, you will blunt it.

*If you still have problems, remember to try and analyze what is wrong - change something and try again. reanalyze. It will teach you what to watch for.

3. Beautiful & Inspiring Work (#1) goes to...Butterfly! Inspired by Maria Elkins' "Making Faces" workshop, Butterfly created these quilt colorful quilt portraits. I am delighted with Butterfly's work and that she has been sharing so much of her art with us!

(Go have a look at Butterfly's photo gallery by clicking on the image below.)

2. Beautiful & Inspiring Work (#2)

My second pick in the photo galleries goes to Arlee. I am a fan of Arlee's work, and love her intricate stitching and the ethereal, ghostly effect in this piece.

Her accompanying poem:

a ghost had sat, wherever ghosts sit,
in the dark and fust and silence, and silently
embroidered old letters
words
looked like they had run in the rain ---------
and patched and beaded holes, burnt and torn and worn,
she he? pulled laces from old trousseaus and
unstrung beads
unravelled threads with no form left, a whisper of the silk,

a memory of shine still in the twilight

sussuration of bone needle and tiny mouseclick stitch

"Ghost Writing" 18"w x 16"l, compost dyed cotton with appliqued vintage laces. Hand and machine embroidery, reverse applique, beading, faced holes (pink for display background only)

#1. Humorous Cure for the Winter Blues

And the #1 pick for the month of January goes to someone who struck my funny bone. Since I have such a tough time with winter, I cleave to all things humorous. Feeling a little blue on a blustery, dark, and cold evening a couple of weeks ago, I stumbled upon this clip in the video galleries. It's a little bit ridiculous...and we are so thankful to.... drum roll... artl8dy for sharing it with us!

Meet Artl8dy and her frog puppet, "Poly Esther," showing us some fabric ATCs traded at a recent quilt show:

(Please visit the site to view this media)

Artl8dy, I will be contacting you to award you your grand prize.

Until next month, I hope everyone continues to share your insights, artwork, and thoughts on all things art quilting. We wouldn't be a community without you, and we hope that you are enjoying your time here!

Let the Entertainment Begin! Our Latest QA Reader Challenge

Pippa E — Thu, 28 Jan 2010 16:18:00 GMT

My Monday mornings recently became a bit less painful. You see, my three favorite TV shows held their season finales at the end of last year, which means I no longer stay up late on Sunday nights absorbed in the antics of: a serial killer, a womanizer, and a pathological jerk.

Yes, I have slightly odd taste in TV. Then again, we all have our kirky entertainment obsessions, which is why we decided that the latest Quilting Arts Reader Challenge, “How Entertaining!” should be an opportunity to celebrate whatever it is that entertains you: a favorite movie, TV show, or song. I know you have one—probably many, in fact—and I hope you’ll take on the challenge of translating one of them into fabric, thread, and whatever other material you see fit!

Naturally, I’ve been pondering how I would transform my own entertainment obsessions into quilts, and the possibilities are quite intriguing...

I always kicked off Sunday night with Dexter: a nice, normal guy by day and a serial killer by night. Brilliant. If you’ve never watched this show, I highly recommend it. Just check out the creepy intro scene:

(Please visit the site to view this media)

I’m not entirely sure what kind of quilt this would translate to, though I’d most likely have to find some kind of material for realistic fake blood (Dexter’s daytime job is as a blood splatter analyst, in case you were wondering). A blood-splattered quilt? I may have to take a stab at that (sorry, I couldn’t resist).

My Sunday nights then continued with a little comic relief from Curb Your Enthusiasm. Essentially, this show involves watching real-life Seinfeld writer Larry David act abhorrently and wind up in painfully awkward situations as a result. This is the least of his social slip-ups:

(Please visit the site to view this media)

I guess I could make a quilt of a skinny bald man… And, incidentally, doesn’t Larry’s wife, Cheryl, look like Pokey?

I ended my Sundays with Californication, which features the hunky David Duchovny as a charming but unfaithful ladies man who can't quite get his libido under control. Sorry, there’s no appropriate clip for this one—which means I probably shouldn’t use it as inspiration for my entertainment quilt either!

What are you favorite TV shows? Movies? Songs? I know you have them and I know you want to quilt ‘em out! Here are the details…

“How Entertaining” Reader Challenge

Has anyone ever said to you (with a straight face) that you should try out for “American Idol”? Perhaps you harbor a secret fantasy of strutting your stuff on “So You Think You Can Dance.” Or maybe you have a certain fondness (your friends might term it an obsession) for various movies, TV shows, or songs—so much so that you can recite entire scenes or verses? Well then it’s time for you to participate in our “How Entertaining!” Reader Challenge! We will show some of our favorite entries in future issues of Quilting Arts Magazine and even exhibit some at upcoming national quilt shows in 2010.

here’s how to enter

Make an 81⁄2" × 11" art quilt of vertical orientation that celebrates anything entertaining.
The entire quilt, including binding, must measure 81⁄2" × 11". It must be three layers and quilted, either by hand or machine or both; it must be bound or zigzag stitched closed and have a sleeve on the back.
Any embellishments must not protrude more than 1⁄2" from the quilt.
The entire quilt must weigh no more than 1 lb.
The quilt may be made of alternative fibers (such as paper), but it must be quilted, consist of three layers, and be either bound or closed along the edges.
Your entry must be free of any text or images that are protected by copyright, unless you have the expressed written permission from the person or institution that holds the copyright and you provide that written permission with your submission. It’s a good idea to steer clear of commercial imagery.
To be considered for the challenge, send two low-res (each less than 1MB) images of your entry (one of the entire piece and one of a detail) via email by Monday, May 3, 2010, to challenges@interweave.com, with the words “How Entertaining Challenge” in the subject line.Please include your name, email address, phone number, and a brief explanation of your piece.
Note: Please do not “zip” your files and be sure to send jpegs.
On Wednesday, May 5, 2010, Pokey will post the finalists on her blog at quiltingarts.com and they will also be notified via email.
If accepted as a finalist, your artwork must be in our offices no later than Friday, May 21, 2010, along with a flat shipping and handling fee of $15 (U.S. and Canada) or $25 (all otherinternational). This fee, which must be paid in U.S. dollars, covers the shipping costs, packing materials, and handling for the return of your entry.
The entire piece and all of its packaging must weigh less than 5 lbs. and fit into a standard shipping/mailing box (no larger than 12" × 4" × 14") or padded envelope.

Finalists should mail their entries to:

Quilting Arts Magazine
Attn: How Entertaining
Reader Challenge
P.O. Box 685
23 Gleasondale Rd.
Stow, MA 01775

Note: By submitting your reader challenge entry, you are authorizing Interweave Press LLC to publish your project in upcoming publications and promotional materials, on our website,and in other Interweave e-media, as well as to display it at shows. Interweave Press LLC will not be held responsible for loss or damage due to circumstances beyond our control. We reserve the right to keep and display your “How Entertaining!” art quilt until the week of November 15, 2010. We will be shipping the quilts back during the month of November.

Contact Pippa Eccles at peccles@interweave.com if you have questions about the “How Entertaining!” Reader Challenge.

We look forward to being entertained by your quilts!

Tips to Focus a Spotlight on Your Art

Quilting Daily — Thu, 28 Jan 2010 12:42:00 GMT

It seems that by the time we actually put up our new calendars in January, they're already filled with quilt show dates, deadlines, goals, and to-do lists. In fact, it's not unusual for each person on our staff to have three Quilting Arts calendars open on the wall at a time, each turned to successive months, giving us a 90-day look at what's coming up. (As an added benefit, we get to look at three fabulous art quilts at once!)

Of course, in this day and age, many people keep track of their appointments and deadlines on their computers. If you enter a lot of quilt shows, you will want to read award-winning quilter and Quilting Arts columnist Robbi Joy Eklow's article in the February/March issue of Quilting Arts. In "Organized Entries," Robbi explains how she sets up her computer calendar program for submitting to upcoming shows.

The displays and reminders not only make it easy for her to meet deadlines but to also make sure that she hasn't promised the same quilt to two shows at the same time. She's even able to calculate whether she has time to get a quilt back from one show before sending it off to the next. Robbi's tips for organizing your quilt show entries can be adapted to different computer programs, so if you enter more than one quilt show in a year, you should take a look.

I bet you have some organizational tips and tricks for entering shows, too. Share them with other quilters in the Forums section of quiltingarts.com. Just click on Magazine Discussion under the Forums menu.

Speaking of submitting your quilts, is this the year you'll approach a gallery to show your work? in the current issue, Jane Dàvila explains how to find gallery representation for your artwork. Jane offers information and advice about the different kinds of galleries, how to find a good fit, dos and don'ts of the initial approach, how to put together a portfolio, and what to look for in a contract or agreement.

Here is her list of dos and don'ts of the initial approach:

Check to see when the gallery is reviewing new artists' work
Be polite and professional
Include a SASE with your submission if you'd like it returned
Be easy to work with and show that you would be a good team player
Point out why you'd be a great addition to their gallery (for example, because you have a large mailing list or contacts at the local paper)
Be patient; allow about six weeks before you follow up on your submission

Don't

Be discouraged if your work is not selected--competition is fierce!
Send information unsolicited or show up with your work in hand
Submit to a gallery without doing your homework first
Start with a gallery far away; start locally instead

Maybe you can adapt Robbi's calendar organization techniques to submitting to galleries!

Challenges and swaps are fun to participate in and they're a good way to get your artwork into the public eye. But entering them also involves planning and deadline tracking--especially if you're the one in charge. For those who don't like long-range planning, Leilani Pierson (who leads a lot of challenges in her online fiber group) describes this quick and fun idea in the latest issue of Quilting Arts: A 5-day Quilt Challenge. This spur of the moment, seat of your pants challenge forces participants to be spontaneous. If you're prepared to go out on a whim, Leilani has tips for leading your own blind challenge.

On the other hand, if you prefer to take a more long-range approach, read about our own "How Entertaining" Reader Challenge--it's not due until May!

Whew! That's a lot to keep track of. Guess I better grab my calendar and make sure everything's written down.

Introducing the Minding Your Business Forum: An interview with Jane Dávila

Pippa E — Tue, 26 Jan 2010 20:30:00 GMT

At some point, many artists must confront the successes and struggles that come with balancing between the creative and practical aspects of their process. By now, most of you are probably familiar with Jane Dávila's regular Quilting Arts business column, which addresses the considerations that one must keep in mind when taking a career-oriented approach to art quilting, and the competencies and know-hows that this requires.

Given the wide variety of issues that arise when dealing with this topic--Jane discusses everything from establishing art resolutions to working with a gallery--we're excited to announce a new addition to the Quilting Arts community: a Minding Your Business forum (found under Art Quilting Topics) where you can discuss how you approach your art from a career-minded perspective and get advice from fellow artists. This is a great resource for those of you interested in the professional life of an art quilter; any topic is fair game, so go ahead and post any of your questions, advice, or thoughts on the subject.

And who better to kick off the discussion than Jane herself? Here, she talks about her experiences as a professional artist, and her thoughts on the business of making art.

Was there a particular moment when you started thinking of your art as a “business”?

Pretty much from day one! I married an artist, who comes from a family of artists, so it was natural to think of art as the way you earned your living. As such, it's a “business” with all of the promoting, paperwork, marketing, and more that goes along with that label. The examples I had in my husband, father-in-law, and brother-in-law were excellent in terms of having a pragmatic approach to art as a career. Being business-like about your profession affords you the opportunity to pay the rent or mortgage and put food on the table on a regular basis. The model of the starving artist toiling away in a lonely garret is romantic on paper, but is a terrible way to live!

How do you balance taking a business-minded and creative approach to your work?

Finding that balance is hard. I struggle with it every day. Both the business and creative aspects must be well tended to for your career to flourish. Sometimes the business side wins out and sometimes the creative wins out. If you neglect one or the other for too long, everything suffers. I try to set aside one to two days a week just for working in the studio and then fit in random hours in the studio the rest of the week, in and around business stuff. If you don't make the time to be creative and produce work, you won't have anything to promote or sell. If you produce wonderful work but don't market it, you won't be able to support yourself or even buy more supplies. It's a definitely a double-edged sword!

What tips do you have for portraying yourself as a professional artist?

Be consistent! Don't change prices according to venue. Create a signature look or style for all of your presentation materials (business cards, blog, website, postcards, etc). Remember that the people you deal with on the business side of art--publishers, gallery owners, or curators for example--are there to make a living too. Profit is not a dirty word, it's what allows all of us to prosper and to continue doing what we do.

What promotional mediums do you think are most important (websites, blogs, galleries, etc.)?

I think they all have their uses. As an artist, you have to decide where best to spend your time and resources. That said, if you don't at least have a website or blog, you are at a serious disadvantage compared to other artists. I use a combination of website, blog, direct mail, e-newsletters and social media (Quilting Arts forums, Facebook and Twitter) to promote myself and my work. Knowing what your ultimate goals are as an artist will help you direct your marketing efforts. For example, if you're interested in getting corporate art commissions, then working with a gallery that sells to corporations will be helpful. If you want to write a book, proposing articles to magazines and writing tutorials on your blog can get you there. Stepping back every few months to assess your goals and how and where you're promoting yourself can help you decide if you are getting closer to those goals, and if your promotional outlets are helping or if you need to re-direct or re-focus.

If you could give an artist one tip for establishing a successful career, what would it be?

I think the most important tip is to be true to yourself. Don't worry about what's "sellable". Don't try to change what you do to fit some idea of what the market will want. Create your own market. If you concentrate on what makes you and your work unique and special, you will be successful. When you are first getting started you have to experiment and try out a lot of different things--media, subjects, techniques, etc.--to find what makes your heart sing, where your passion is, and what works for you. Once you've found it, focus on sharpening your skills, building up a body of work, and presenting yourself in a consistent, professional way. That old saw by Thomas Edison that genius is 1% inspiration and 99% perspiration is absolutely true.

What would you consider to be the definition of a “successful” artist?

That definition will be different for everyone. If your goal as an artist is purely to communicate with an audience while making a living at it is irrelevant, then your definition will be different from someone who has to pay the rent with sales of their art. Both are valid definitions, no better or worse than the other. For me, a successful artist is one who creates work that fulfills the need to express oneself in as true and real a way as possible while earning an income to help support one's family.

Do you have thoughts or opinions on any of these questions, or other business-related subjects? Go to the Minding Your Business forum and let us know!

Sewing Our Wild Quilts: Our Inner Animal Challenge Finalists

Pokey — Tue, 26 Jan 2010 17:15:00 GMT

Our latest Reader Challenge "Let Out Your Inner Animal" left our editorial team, quite frankly, a little curious about our Quilting Arts audience. Seems many of you feel rather repressed by your status as homo sapiens, and if it were up to you, you'd be howling at the moon, channeling your inner tiger, rising to the commanding height of a giraffe, or proving to everyone that you are, indeed, the Queen Bee.

Kidding aside, we thoroughly enjoyed all of the entries that came in and will be posting all of the photos of your submissions in our Challenge Gallery the first week of April.

This decision to narrow the lot down to the following handful of artists to consider for print in Quilting Arts Magazine and travel to selected quilt shows was no easy feat. We truly are honored that so many people entered, and we hope that this humorous challenge helped to stave off the winter blues.

The following artists should send us their actual quilt entry, adhering to the challenge particulars. Please understand that we will not be able to publish all of the following artists, as we are constrained by page count; plus we need to see these quilts in person to better determine how they will appear in print. Having said that, we plan for all of the following quilts to travel with us at selected shows in 2010.

Congratulations to the following artists:

Clayton, Sue

Conley, Vicki

Cotter-Lemus, Kimberly

Hankins, Sandra

Hicks, Nancy

Hilbert, Jane

Hinkemeyer, Lisa

Mackay, Deborah

Manning, Sandi

McCall, Jeanelle

McCullough, Debby

Murphy, Roxanne

Pierson, Leilani

Pottmeyer, Terry

Schmold, Carol

Sharp, Linda

Watkins, Cindy

Weaver, Cami

Wisheropp, Lori

Zepf, Vivien

Thanks for playing along, everybody!

Creating a sense of movement+change.

MellyMells — Tue, 26 Jan 2010 15:15:00 GMT

Hello Good Reader!

I have been blogging on the Quilting Arts web site since it's inception in late April, almost nine months! This has been a great way to celebrate the release of my book, to connect with you, to create videos that show off my favorite techniques and to explore the world of quilting in its myriad forms. I have loved every minute of it. I've met great people and been able to see Quilting Arts and Cloth, Paper Scissors grow into a fabulous and supportive community. Beside thanking Pokey and the fabulous crew that she works with, this community is what it is because of you.

I have also been maintaining my personal blog, every-single-day! at melanietesta.com. It is time for me to 'move on home', as the saying goes. I hope you will continue reading my posts from there!

Thanks to all of you for being a part of this blog, for reading, commenting and posting images of the work you created as a result. You are the best.

---Melly

Especially for You: Six Issues of Quilting Arts on CD

Quilting Daily — Tue, 26 Jan 2010 14:24:00 GMT

I have an uncanny (some on my staff would say freaky) ability to remember exactly what artist's article appeared in which issue of Quilting Arts, going back to the very first issue nearly 10 years ago. And up until recently, I've been able to put my hand on the printed page more quickly than anyone else can look it up on their computer.

But now, with the debut of our first Quilting Arts Magazine Collection on CD, anyone with a computer can access all six back issues from 2008 and find exactly the article they need in no time.

Think of it: You can skip from poring over Hollis Chatelain's intensely thread-painted quilts in the December/January issue to learning how to apply the principles of digital design to your quilting in the June/July and August/September issues with just a few clicks.

You could zoom in on Margaret Applin's experiments with fabric, paper, paint, and collage journaling techniques in "Scrap Wisdom, Collage Journal Quilting" in the October/ November issue and then click over to a technique for combining needle felting with mixed-media techniques. Learn to carve your own stamps in the April/May issue and then zip over to the August/September issue and discover from Rayna Gillman how deconstructed screenprinting is a no-worry way to work with dyes.

The issues you see on the Quilting Arts Magazine Collection 2008 CD are exactly as they were printed in 2008, from cover to cover. They're electronic versions with easy-to-navigate tabs that let you find what you're looking for quickly and jump around within the magazine or between issues. You can scroll down to see the issue from beginning to end if you prefer, and even zoom in on the page to get a closer look at the stitching, surface design, and text.

The Quilting Arts Magazine Collection 2008 CD takes up less space than six printed issues, and it's an economical way to purchase back issues.

The only downside I can see is that I won't be the only one who can find past articles with lightning speed. But I can handle it.

Pokey unveils our new CD Collections!

Helen Gregory — Sat, 23 Jan 2010 15:26:00 GMT

One of my resolutions is to take (and post) more photos from our interactions around the office. Because we're most often busily working at our computers, the photo ops aren't plentiful, but I am keeping my camera close at hand for when the opportunities arise. So when Pokey ran into my office to show our latest arrival, I had to capture her enthusiasm. Here she is showing the new QA and CPS CD Collections - a full year's worth of issues on one CD! So, truth be told, I share Pokey's enthusiasm - it's pretty amazing to have all the 2008 QA issues on a single CD!

Show us your UFOs!

Pippa E — Fri, 22 Jan 2010 14:33:00 GMT

In the spirit of the New Year, I think it’s time for all of us to engage in a cathartic, quilt-related confessional. For the most part, we all start our quilts with the best of intentions. No one wants to waste materials, time, or precious quilting energy. But sometimes your inspiration slips away mid-project or another too-tempting distraction comes along, and before you know it, you’ve got a UFO.

Yes, we all have them—and for many of us, UFOs are guilt-inducing objects that make us feel like noncommittal and unproductive artists. But it has recently occurred to me that perhaps they're not really anything to be ashamed of after all. When I moved into my new apartment a few months ago, I left many of my UFOs behind, but soon realized that a studio without a few half-complete projects tucked in its corners is just a tad lifeless. It’s as if these unfinished endeavors continue to emit their creative juices, as if they’re in some transient state of becoming that makes them even more alive than those pieces which we have declared complete.

On that note, it’s time for all of you to share your UFOs with the Quilting Arts Community in the UFO Gallery! Just go to Photo Galleries, select Quilting Arts Challenges, and post a picture with the tag "UFO Gallery." You can share one, two, or several of your UFOs and tell us your thoughts on them. Do they make you feel ashamed—or do you proudly consider them badges of past quilting adventures? To view others' UFOs, click on the "UFO Gallery" tag on the right hand side of the page (in the "Tags" box) or underneath the photo of your own UFO.

Don’t be shy. To get the ball rolling, I’ll share one of my weirdest UFOs with all of you. It sits in this large tin on the floor of my studio:

A few months ago, my boyfriend cleaned out his closets and ended up with a large pile of Polo shirts that he no longer wears. I’m too much of a fabric junky to let anything fiber-related go to waste so I insisted on keeping them all. I washed them, ironed them, carefully cut them up into rectangles, and made big plans for some kind of funky Polo shirt collage (in retrospect, I don’t know what I was thinking). Here’s how far I got:

So my UFO is basically a pile of cut up fabrics—but I’ve grown to love it. I’m comforted by the thought that if I ever run out of projects (not that this has ever happened), it’s there for me to turn to—or, more likely, it won’t ever evolve beyond this point and that’s just fine too; a little reminder that we can’t win them all.

Create Easy Silk Heart Tags with Beryl Taylor

Quilting Daily — Thu, 21 Jan 2010 11:40:00 GMT

When I think of hearts, I immediately think of Beryl Taylor. And not just because she's such a sweet, warm-hearted person! After the fleur-de-lis, the heart is the motif I most associate with Beryl's mixed-media art. She punches them, paints them, stitches and beads them, and makes puffy heart embellishments out of silk, felt, batting, and cardstock.

With Valentine's Day less than a month away, I asked Beryl to share an easy yet heartfelt project with you, using her "Layer by Layer" method, as she describes on her Cloth Paper Scissors Workshop. She came through with these adorable tags that are made by layering pieces of silk onto hanging garment tags.

Sweet Heart Tags
By Beryl Taylor

I like to keep the tags from new garments to paint them and use them in my work. You can use them as is or alter them by painting over the text and graphics, cutting them to a different shape, or layering fabric over them.

Materials:

Hang tags (re-used from garments or new, plain ones)
Paint or gesso
Silk (squares and strips)
Craft felt
Beads (and/or sequins)
Hand-stitching supplies
Glue or gel medium
Ribbon or novelty fibers
Sewing machine
Hole punch (optional)

Directions:

1. Paint the tag with acrylics or gesso.

2. Cut a small square of felt to fit on the tag.

3. Cut a square of silk and lay it on the felt. Cut and lay silk strips on top of the square. Machine stitch over the silk pieces to attach them to the felt.

4. Hand stitch beads around the edge of the square.

5. Cut a piece of felt into a heart shape.

6. Cut a piece of silk slightly larger than the felt heart. Lay the felt onto the heart and turn the edge under.

7. Hand stitch beads onto the heart.

8. Hand stitch heart to the silk square.

9. Glue the finished square onto tag.

10. Make a hole in the top of the tag and thread the ribbon through the hole for hanging or attaching to a gift.

These heart tags are a festive way of using up those little scraps we love to hoard. And here's a tip I learned from Beryl while guesting on "Layer by Layer": Make multiples of each part of a piece beforehand, then you will have them ready to layer at a later time.

For example, paint a bunch of tags one day, stitch the silk pieces and felt squares another, make the hearts another day, and so on. You could also just make up a slew of beaded silk hearts and use them as embellishments on wall hangings, quilts, cards, bookmarks, etc.

We want to see how you use heart motifs in your art, too! Show us by uploading a picture to our gallery or by leaving a comment below.

Quilt Patterns

Pippa E — Wed, 20 Jan 2010 15:51:00 GMT

Quilt patterns are typically used by traditional quilters to create pieces based on a specific design, but contemporary quilt artists may also use patterns as guides to creating their work. Some quilt patterns are very precise, while others can be used as flexible guides to creating a work of art. Many art quilters also use patterns to create small projects, bags, wearable art, and other accessories.

Fabric Quiz and Giveaway

Pippa E — Wed, 20 Jan 2010 08:23:00 GMT

I'm sure that many of you will be inspired by Lyric Kinard's clever methods for turning fabric dyeing disasters into works of art in "Disappointments to Diva," on page 28 of the February/March 2010 issue of Quilting Arts. See if you've mastered her techniques by taking the quick quiz below (the answers are listed at the end). Then leave a comment and let me know how you did for a chance to win a bag of Pokey's gorgeous screen printed fabrics and three jars of Lumiere® textile paint! I will announce the winner on my blog at 12 noon EST on Friday, February 12th.

Tempting, aren't they? Now for the quiz:

1. To revive this once dreary fabric, Lyric:

a. printed the gingko leaves with one screen and the black and silver scribbles with another.

b. printed the gingko leaves with one screen, the black scribbles with a second screen, and the silver scribbles with a third screen.

c. printed the gingko leaves with one screen and painted the scribbles.

d. practiced writing her signature on it with permanent markers.

e. printed the ginkgo leaves with two screens and painted the scribbles.

2. To create this lovely patterned fabric, Lyric used:

a. one screen to discharge color, and another to print with brown paints.

b. one screen to print with brown and white paint, and to create ghost prints.

c. the contents of her three-year-old's peanut butter and jelly sandwich.

d. one screen to discharge color, print ghost prints, and print with brown paint.

e. one screen to discharge color and then print with brown paint, and another to print smaller ghost prints.

3. The motifs on this revitalized fabric include:

a. ghost printed instruments with wings, and a manuscript printed using one shade of brown paint.

b. a manuscript printed using different shades of brown paint and discharged instruments with wings.

c. ghost printed wings, discharged instruments, and a manuscript screen printed with different shades of brown paint.

d. discharged wings, ghost printed instruments, and a manuscript screen printed with one shade of brown paint.

e. a mutant instrument insect printed in two shades of white paint.

4. Lyric transformed this formerly unattractive fabric by:

a. immersing it in Kool-Aid^® and hoping for the best.

b. printing blue and green ginkgo leaves, and painting gold scribbles.

c. discharge printing ginkgo leaves and painting gold scribbles.

d. printing blue and green ginkgo leaves, and printing gold scribbles.

e. discharge printing ginkgo leaves, painting with gold paint, and printing gold scribbles.

(answers: 1. a, 2. d, 3. b, 4. e)

So, how did you do? Leave a comment for your chance to win some fabric and paint!

Hope and Help for Haiti: What’s a Quilter to Do?

Pokey — Wed, 20 Jan 2010 01:08:00 GMT

I’ve gotten email from a number of people asking if I know of a reputable organization that is coordinating quilt distribution to Haiti, and to be honest, at this time, I do not. As quilters, by nature, we want to use our skills to help, but at this stage things are so desperate and chaotic, so many people in need of rescue, food, water, and medical attention, it’s tough to think of anything else.

I am certain that over time, there will be a need for quilts to comfort those who have endured such incredible, mind-boggling, inconsolable loss. But right now, the people of Haiti need our help in more immediate, life-sustaining ways.

As soon as I am aware of massive efforts and outlets for quilts, I will share this information on my blog. But in the meantime, CNN has a page of reputable charities to send funds.

Our hearts and thoughts go to the people of Haiti, to those who have lost their lives, to those still clinging to life and in need of rescue, and to the rescuers who are working so persistently and tirelessly to finding them.

Here’s to Hope…

Surface Design Techniques

Pippa E — Tue, 19 Jan 2010 20:10:00 GMT

Surface design techniques can be used to create unique, original fabrics for your art quilts. Common techniques include fabric dyeing, painting, and printing, as well as digital image transfer. There are many different approaches within each of these categories: screen printing, immersion dyeing, stamping, and more. For inspiration and ideas, visit the Quilting Arts Surface Design Forum.

Sewing Techniques

Pippa E — Tue, 19 Jan 2010 19:42:00 GMT

Sewing is an integral component of the artistic process for nearly all quilt artists. There are many different types of sewing techniques that can be used, including hand stitching, hand embroidery, free motion machine embroidery, free motion machine stitching, thread painting, thread sketching, and more. Many artists use some or all of these techniques construct, embellish, and create imagery on their quilts. For inspiration and help with your sewing, visit the Quilting Arts Stitching Forum.

Embellishment Techniques

Pippa E — Tue, 19 Jan 2010 19:12:00 GMT

There are countless different techniques and materials that can be used to embellish art quilts, enhancing their texture, color, and overall design. Hand and machine stitching, gluing, fusing, and more can be used to add threads, beads, buttons, alternative fibers, and even unusual materials like plastic, foil, and found objects. Visit the Quilting Arts Embellishment Forum to exchange ideas and ask questions about embellishing your quilts.