Quilting Arts Magazine Fall 2022

FOLLOW YOUR ARTISTIC PASSION 50AgorgReoTus+ FALL 2022 | ISSUE 115 QUILTS Artwork by Ann Houle Put Your QUILTINGDAILY.COM Creativity to Work • Initiate an Artist’s Residency Program • Launch a Solo Show • Update Your Studio Space • Develop Your Artistic Legacy ...we’ show you how





editor’s note IT’S TAKEN A LIFETIME, but at this and composition from a painter, to equivalent of convening at the office point in my artistic journey it feels explore transparency with a glass water cooler—has so much appeal. like I’ve tried my hand at nearly every blower, to discuss art history with a Artists need these spaces to gather art or craft. Yes, that’s an exaggeration, portrait painter, and to throw a pot and talk about art, think about art, but when you consider I was born or two with the guidance of a skilled and live the creative life. What a gift with a needle in one hand, a pencil in ceramicist. Along the way, I would to work in a creative melting pot. But the other, and inherited the tendency share my specialty: manipulating how can those of us who don’t work to hoard art supplies from my mom, fabric and thread to create in a communal setting make that the only crafts left on the list involve compositions nuanced with texture happen? large equipment and fire (no weaving and meaning. Wouldn’t that be fun? or welding in my future!). Some of For many art quilters, the answer the artists featured in this issue of I was able to live that dream is to intentionally explore options in QUILTING ARTS share my passion for surreptitiously recently. In preparation small groups, share their art with the delving into multiple art forms, while for my interview with Jane Davila public, or even work in a different others are more single-minded in and the feature on her workspace setting. This issue of QUILTING ARTS their approach. Whichever category (page 10), I visited her studio and MAGAZINE touches on some of the you fit in, I’m sure you’ll agree: every was ‘wowed’ by the depth and breadth ways communities are built and the time you test the waters in a different of artistry I saw over the course of a individual’s artistry is enhanced. medium, you learn something new. few hours. Working in a shared space Sometimes spreading the love of an with dozens of other artists results art form is done on a very personal It is for that reason that I yearn in an energy that is impossible to level—such as by Mel Beach’s HeARTs to set up a quilting studio in a recreate on your own. The serendipity are for Giving project (page 42)— shared workspace with artists who of meeting up with another artist at while other times the impact is from work in different genres. I would the communal slop sink—an artist’s a more formal approach. You’ll learn love to learn about perspective “Transfusion in TWO PARTS” by Catherine Wahl Smith was on display at Quilt National 2 2021. FALL 2022 | QUILTING ARTS® MAGAZINE

Jane Davila's studio boasts a cozy corner for contemplation and community building. about the long history and impact option can be a game-changer for Love these hearts? Consider making your of Quilt National, one of the most some artists. own for our new Reader Challenge! Details prestigious art quilt venues in the are on page 82. world; explore new artwork from QUILTING ARTS has been a big part Haven, a SAQA Global Exhibition of the greater fiber community since 3 making its debut at the 2022 its inception more than 20 years ago. International Quilt Festival, Houston; As we delve deeper into new quilting and get some practical advice about trends, uncover past treasures, and showing your work (page 84) from explore opportunities for personal artists whose experience has led to artistic growth, we’re so happy our great success. readers are along for the ride. Every issue brings a sense of hope that with In addition, if you are ready for our art, we can learn more about a more introspective experience ourselves and our world—and create that will help you hone your skills, an artistic legacy in fabric and thread. consider applying for an artist Thank you to all of the artists who residency. And if you haven’t applied made this issue a reality! in the past or if that artist residency you applied for didn’t pan out, you Best, do have options. Sue King shares her experience with a focus on self- Vivika Hansen DeNegre, Editor directed residencies (page 21). This FALL 2022 | QUILTING ARTS® MAGAZINE

EDITORIAL MARKETING & ADVERTISING DIRECTOR OF CONTENT, QUILTING Vivika Hansen DeNegre MARKETING Denise Gibson MANAGING EDITOR Kristine Lundblad AD SALES ACCOUNT EXECUTIVE Lisa Buelow EDITORIAL ASSISTANT Megan Reece [email protected] (800) 726–9966 | (715) 257–6021 CREATIVE AD COORDINATOR CREATIVE DIRECTOR Kay Sanders Kerry Jackson PHOTOGRAPHY Molly Stevenson unless otherwise noted CHIEF EXECUTIVE OFFICER CHIEF CONTENT OFFICER VP, STRATEGY Jeff Litvack Kate Lee Butler Andrew Flowers CHIEF SALES OFFICER CHIEF MARKETING OFFICER NEWSSTAND SALES Farrell McManus Kim Greenlee Scott T. Hill [email protected] Fall 2022. QUILTING ARTS® MAGAZINE (ISSN 1538-4950) is published quarterly by Golden Peak Media, 4868 Innovation Dr., Fort Collins, CO 80525-5576. Periodical postage paid at Fort Collins, CO, and additional mailing offices. Canadian return address: Bluechip International, P.O. Box 25542, London, ON N6C 6B2, Canada. EDITORIAL COMMENTS OR CONCERNS: [email protected] QUILTING ARTS MAGAZINE, 500 Golden Ridge Rd., Suite 100, Golden, CO 80401 BACK ISSUES: Quiltingdaily.com/go/QA-issues SUBSCRIPTIONS: To subscribe to QUILTING ARTS MAGAZINE, renew your subscription, or change the address of your current subscription, contact: QUILTING ARTS MAGAZINE, P.O. Box 37869, Boone, IA 50037-0869, 1-800-406-5283 (U.S.), 1-386-246-0105 (international), or by emailing [email protected]. POSTMASTER: Please send address changes to QUILTING ARTS MAGAZINE, P.O. Box 37869, Boone, IA 50037-0869. SHOPS: If you are interested in carrying this magazine in your store, email [email protected]. ERRATA: Visit QuiltingDaily.com/errata if you suspect a problem. We invite previously unpublished manuscripts and materials, but Golden Peak Media assumes no responsibility for unsolicited manuscripts or other materials submitted for review. Our submission guidelines can be found on our website at QuiltingDaily.com. The editor reserves the right to edit, shorten, or modify any material submitted. Entire contents of this issue copyrighted 2022 by Golden Peak Media and contributing artists. All rights reserved. Readers are welcome to make copy/copies of any pattern(s) included in this issue for their own personal use. Other reproduction, in whole or in part, including photocopy, is prohibited without expressed written permission of the publisher. Artwork in this issue of QUILTING ARTS MAGAZINE is for inspiration and personal use only. QUILTING ARTS MAGAZINE is not responsible for any liability arising from errors, omissions, or mistakes contained in the magazine, and readers should proceed cautiously, especially with respect to technical information. QUILTING ARTS MAGAZINE does not recommend, approve, or endorse any of the advertisers, products, services, or views advertised in QUILTING ARTS MAGAZINE, nor does QUILTING ARTS MAGAZINE evaluate the advertisers’ claims in any way. Printed in the USA. Copyright © 2022 Golden Peak Media VISIT US ON THE WEB: QuiltingDaily.com 4 FALL 2022 | QUILTING ARTS® MAGAZINE

16 contentstable of 31 Cover art by Ann Houle departments design & stitch in profile & gallery 2 EDITOR’S NOTE 42 HEARTS ARE FOR GIVING: THE I 10 SHOW US YOUR STUDIO 6 IT’S YOUR TURN FOUND A QUILTED HEART PROJECT Jane Davila 8 ABOUT OUR CONTRIBUTORS 41 CALL FOR SUBMISSIONS Create stitched and embellished tokens to 16 ARTIST PROFILE: ANN HOULE 82 READER CHALLENGE ANNOUNCEMENT give away Vivika Hansen DeNegre Give a Heart, Get a Heart Swap Mel Beach 21 ARTIST RESIDENCIES 84 MINDING YOUR BUSINESS 48 FROM SKETCH TO STITCH TO COLOR More inspiration: Design your own program WITH INKTENSE PENCILS Show Your Work Ana Buzzalino Sue King Susan Brubaker Knapp 52 FROM SKETCH TO STITCH REVISITED 27 HAVEN 88 STUDIO STYLE Applying bold texture to colorful A SAQA Global Exhibition gallery 112 THE LAST WORD wholecloth quilts 59 42 YEARS AND COUNTING Shoni Maulding Ana Buzzalino The history of Quilt National 79 89 DYE TRANSFER SHEETS Linda Chang Teufel Part One: Rolled dye fabric bundles 68 BOWSERS AND WOWSERS Margarita Korioth Results from the ‘Pop Art Pets’ Reader 108 GOSSIP BACKGROUNDS Challenge Use handwriting and paint to customize 93 READER CHALLENGE INVITATIONAL your work GALLERY: PART 2 Margarita Korioth 65 get more online Want more from this issue? Use our new QR code! To scan the code, open the camera app on your phone or tablet and point the camera at the code. Once your device recognizes the code, it will provide a link that will take you directly to this issue’s home page containing additional bonus content plus an interview with the cover artist. If you prefer, you can access this page by visiting QuiltingDaily.com/ quilting-arts-magazine-fall-2022 FALL 2022 | QUILTING ARTS® MAGAZINE 5

it’s your turn The response to this survey got us thinking—our readers are such a creative bunch with so much to share, why don’t we regularly ask them their In early July, we asked QUILTING ARTS thoughts?! readers a question on Facebook: Starting with this issue, we’ll be asking a question, providing a prompt, How do you document or capture inspiration or soliciting particular tips—and we’d love to receive your thoughtful for your art quilts? responses. Photos of your work are welcome, too—just 1 or 2 per response, though, please. A. I draw in a sketchbook. A selection of the answers and photos we receive will be printed on the It’s B. I take still photographs. Your Turn page in the Winter issue. Here’s this issue’s question: C. I take video. D. All of the above! Which non-fiber artist inspires E. Other (please explain) your work and why? Survey Says... “A Sunday Afternoon on the Island of La Grande Jatte” by George Seurat Please send your responses to [email protected] with Over 2⁄3—about 68%—of respondents ‘IYT RESPONSE’ in the subject line by October 7, 2022. said B; they take still photographs. “I love We look forward to hearing from you! taking photos of angles and odd shapes. I Best wishes, like to catalog them for inspiration when the Editorial Team working on a piece,” said Marianne Frasca- Troccoli. The next highest percentage of respondents—about 16%—said they use multiple techniques from the list and it was too difficult/impossible to choose just one! “D plus Pinterest,” said Sally Gould Wright. Next, at 11%, was A; they draw in a sketchbook—but one artist also said, “I like to say I sketch it out and plan the shapes and colors but, really, I wing it. Makes for some interesting results!” Thank you for your candor, Darlene Jenah. Lastly, at 5%, was E/other—One of the methods shared: “I write about it,” said Carol Scott. Thank you to all who participated in this survey! We love to hear from Pinterest Twitter™ you, our readers. pinterest.com/ twitter.com/QuiltingArts QuiltingArtsMagazine What are you working on now? How has Golden Peak Media Quilting Arts inspired or educated you? Facebook® QuiltingDaily.com What new techniques or influences are you facebook.com/QuiltingArts [email protected] exploring? Subscription Address Changes and Inquiries: [email protected] Correspondence we receive is considered property of Golden Peak Media and letters may be edited as necessary for length and clarity. 6 FALL 2022 | QUILTING ARTS® MAGAZINE

QUILTING BY CINDY CAREYYou spend hours upon hours selecting fabric and perfecting the QUILTING BY CHARLENE SMITHpiecing for your quilt tops. QUILTING BY CHRISTINE PERRIGOWhether you quilt them yourself or take them to a longarm quilter, be sure they are quilted on a Gammill. Gammill provides the highest quality products and services to HQVXUH\\RXUTXLOWWRSVDUHÀQLVKHGZLWKWKHVDPHOHYHORIFDUHDQG precision you put into them. %HFRQÀGHQWLQWKHTXLOWLQJ\\RXFKRRVH gammill.com QUILTING BY KAREN MARCHETTI QUILTING BY SHARON BLACKMORE QUILTING BY JODI ROBINSON

about our contributors Shoni Maulding grew Margarita Korioth is Susan Brubaker Knapp uses up in commercial a fiber artist and quilt wholecloth painting and fusible appliqué beekeeping and is avid instructor living in and techniques to make art quilts from about managing for teaching online classes from her home studio in Chapel Hill, North pollinators. In 2012, she Tennessee. She is always Carolina. She is also a photographer, received a lifetime achievement award for seeking new ways to convert cloth into art. author, teacher, host of “Quilting Arts TV,” hitched horsehair from the Academy of Her recent work features surface design such and co-host of the Quilting Arts Podcast. Western Artists. Her current passions are as dyeing, stamping, silk screening, and creating multi-medium buffalo art and stitching with a focus on lettering on fabric. susanbrubakerknapp.com hunting for vintage Army blankets to honor Margarita’s work has been featured in her American Indian uncles who were national and international publications and veterans. she has appeared on “Quilting Arts TV.” hitchedhorsehair.com margascrafts.blogspot.com Linda Teufel is currently a member of Sue King developed a WANTED: the 2023 Quilt National committee. She deep passion for the retired as publisher and founder of Dragon outdoors in early childhood. You and Threads, which produced textile arts books. Having served as Artist in Your Work With a BFA in Fashion Design, Linda is Residence at numerous proficient in all the needle arts from sewing national parks and other public lands, her Quilting Arts Magazine is and quilting to knitting. Photography is also a textile pieces celebrate the nation’s cultural always looking for fresh voices, passion and Linda has exhibited her work in and natural resources. As a retired clinical beautiful images, and artwork the several shows. She lives in Columbus, Ohio, social worker, the concept of person in the represents the diverse and ever- with her family. environment is important to her and a changing art quilting scene. If you central theme of her textile work, have a dream to see your name Mel Beach is a San Jose, representing historical figures as well as the and bio on this page, reach out to California-based quilt artist, flora and fauna with which they coexist. teacher, and lecturer. She us! Learn more on page 41. loves to create and play suekingarts.com each and every day. Mel especially enjoys stretching her creativity Ana Buzzalino is a through the completion of five 100-Day fiber and mixed-media Projects that involve rolling dice to explore all artist, surface designer, new design possibilities. Her award-winning teacher, and lecturer. Her quilts can be seen on her website. love of layers and texture combine in her original work. She achieves melbeachquilts.com results using a combination of monoprinting, hand-painting, free-motion stitching, and Jane Davila is a fiber artist, printmaker, hand-stitching among other techniques. Her and designer in coastal Connecticut. Most work has won numerous awards at national days she can be found working from her and international shows. Ana is currently loft studio in a renovated corset factory—a teaching online from her studio in Calgary, magical place of color, light, and a hundred Alberta, Canada. years’ worth of pins in the floorboards. anabuzzalino.com janedavila.com Want to see your name in our pages? Check out our submission guidelines at QuiltingDaily.com/submission-guidelines 8 FALL 2022 | QUILTING ARTS® MAGAZINE

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SHOW US YOUR STUDIO Photos by Daniel Recinos Jane Davila - Metro Art Studios Bridgeport, Connecticut by Vivika Hansen DeNegre do you brake for “Open Studio” signs? Maybe you have been collecting studio inspiration for years as you drive by abandoned factories and dream of initiating an urban renewal project. Or you might fantasize about working in a space filled with light, room for a gallery shop, and close proximity to dozens of other creatives. That description fits many artists. However, making those dreams a reality takes years of dedication, hard work, expertise in everything from interior design to negotiation to grant writing, and a whole lot of good karma. 10 FA L L 2 0 2 2 | Q U I LT I N G A RT S ® M A G A Z I N E

Meet Jane Davila, a mixed-media 11 and quilt artist whose new studio is a precious pearl within the shell of a once-abandoned three-story corset factory in Bridgeport, Connecticut. The background of the building was a big part of the appeal for Jane. “There used to be 500 women working in the factory daily—cutting fabric, sewing, lacing, packing, and doing everything. I think about those women when I’m walking up the stairs to my studio, when I’m wandering in the halls looking at the art on the walls, and most especially when I’m working in my studio.” If only those walls could talk! The stories would be incredible. The walls may keep secrets, but the floors do not: there are tens of thousands of pins and needles in the cracks between the floorboards. “It definitely feels natural to be sewing in such a place!” says Jane with a chuckle. As the primary organizer who spearheaded the project, Jane was able to choose her space for the qualities that were important to her own priorities. Her 800-square- foot studio has two separate work areas. The main room is her primary creative space, including an area for sewing, teaching, storing books and materials, and even a cozy corner for sitting and stitching in the sun. The adjoining storage room is long and narrow, perfect for messier tasks such as woodworking and furniture building. Jane says her studio is, “the ‘quintessential artist loft’—a big open space with 11-foot-high ceilings, white walls, old wood floors, and eight giant windows.” Those windows are an incredible asset and add so much light and beauty to the space. “I adore the entire vibe of my studio and the building it is in! FALL 2022 | QUILTING ARTS® MAGAZINE

“Having three Having worked on it with my own two hands wanted.” She built the studio with her own long years to makes it even more special.” Jane notes ideal specifications for the perfect creative dream about the renovation took more than three years environment. “It isn’t often that you can start from conception to earning the certificate with a totally raw space and make it just as my completed of occupancy. “Many of us artists occupying you want it.” studio, play with the building put in considerable sweat equity to help get it finished faster and keep costs Having an organized workspace is floorplans, and down. We added sound insulation between important to her, and everything has its design the space studios, we painted walls, we scraped old place. “Because I work in a variety of in my head gave caulk, and we even sanded the 150-year-old mediums—art quilting, printmaking, mixed me plenty of time maple floors. Because of a small slip of a knife media, surface design, interior decorating, to figure out what that resulted in a cut and stitches, I can say as well as some woodworking and frame exactly I wanted.” that blood, sweat, and tears have gone into making—it’s important to me that my this project and getting to now enjoy the supplies are organized.” And water? There fruits of this labor is sweet indeed.” are two slop sinks across the hall from her studio so the artists on her floor have easy Every bit of Jane’s space has a function, access for cleaning up. That shared space, and each corner is light, bright, and inviting. along with gorgeous wide hallways running “Having three long years to dream about shotgun through the center of each floor, also my completed studio, play with floorplans, allows for serendipitous meetings with other and design the space in my head gave me artists and opportunities to hang her current plenty of time to figure out exactly what I artwork for public view. 12 FA L L 2 0 2 2 | Q U I LT I N G A RT S ® M A G A Z I N E

A Little Bit of 13 History Jane’s studio, part of Metro Art Studios, is located in the historic Crown Corset factory building in Bridgeport, Connecticut. The three-story building has been meticulously renovated to accommodate fine artists in 38 studios. The Crown Corset factory, built in 1907, manufactured corsets, hoop skirts, and other foundation garments. The 500 mostly female workers of the factory walked out in August 1915, joining a strike of garment workers in Bridgeport that led to all American workers having an 8-hour work day. The creativity and productivity of the building lives on with the vibrant and thriving arts community that now resides within its walls. Learn more at metroartstudios.com. To help keep herself organized, she has set up working zones for specific tasks. One area is for sewing, one for design, one for printmaking, one for cutting, one for painting, and one for staging and photography. “I hate spending time searching for things when inspiration hits or a deadline looms.” Having a space that reflects her taste and aesthetic is a joy. “I knew the second I saw the raw space nearly four years ago (with boarded-up windows and no walls) that my studio would have a lavender tufted velvet sofa. It’s ridiculously girly and I love it. It’s also the perfect space to curl up and do hand beading, sew a binding down, or page through a magazine.” Even though she had years to plan and execute, there are still a few things she’s working on. “I have a few more projects to complete before I think I can call my studio done. One is to make a large ironing surface. Right now, I use a small tabletop ironing board and have to pull it out to use it, so it’s not super convenient. I’m always thinking of how I can make my workflow easier and more efficient. If things are organized, that means less time searching and more time creating.” FALL 2022 | QUILTING ARTS® MAGAZINE

With so many projects and interests, Jane rarely slows down. The building hosts eight open studio events each year where the public is invited to visit each studio, browse the fine art gallery on the first floor, and purchase art in the soon-to be opened gift shop. So much activity! In addition, she loves to share her space with others. “Pre- Covid I offered in-person workshops in my studio, and I hope to again in the future. I tend to think of my studio as my personal ‘design lab.’ I try out interior design ideas for clients and create vignettes of my work with my furniture to show potential buyers what art would look like in their home or office. I also create textiles to make into pillows to sell and then stage them for photographs. For example, I took one of my block-printed surface designs and printed it as wallpaper on Spoonflower. I applied the wallpaper to a section of one wall so it showcases not only my surface design but the art hanging on the wall.” As with any long-term project, Metro Art Studios is a work-in- progress. The 38 artists host gallery openings and open studios to attract new clientele to this bustling urban center, plans for an inviting art garden featuring murals and sculptures by local artists and outdoor performance space are in the works, and the studio rentals have a waiting list. And as for Jane? She’ll continue to work, create, and flourish in the community she created and nurtures. “I tend to think of my studio as my personal ‘design lab.’ I try out interior design ideas for clients and create vignettes of my work with my furniture to show potential buyers what art would look like in their home or office.” 14 FA L L 2 0 2 2 | Q U I LT I N G A RT S ® M A G A Z I N E

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Photos by David Reese unless otherwise noted artist profile Photo by Ben Kaatz Ann Houle 16 MONTEREY, CALIFORNIA by Vivika Hansen DeNegre every artist hopes their work makes an impact on the viewer and leaves them with something memorable that transcends that first impression and keeps them engaged long after that first encounter. If you stand in front of a collection of Ann Houle’s recent quilts for more than just a fleeting moment, you’ll recognize that quality in her work. There is more to them than meets the eye. On the surface, their subject matter could be summarized in just one word: sports. This series captures athletes in action as they glide over the ice, push their own personal limits on the field, or excel on the court. However, that simplification doesn’t do them justice. FALL 2022 | QUILTING ARTS® MAGAZINE

Left: “Strike One” • 34\" × 24\" Below: “Fencers” • 61\" × 24\" Ann’s artistry is showcased by capturing that as a child she wanted to live on a “At the root, I am the universal emotion of the moment that houseboat in Sausalito and work as an trying to convey defines the game. “It’s really not about the actress at the American Conservatory a heightened sport,” she says, but a pivotal moment or Theater in San Francisco. “I was also a kid moment of time choice being made in a split second. Ann that stood for long minutes in front of the that the spectator channels the glimmer of passion the athlete display of embroidery floss at the five-and- can latch on to and experiences and the spectator senses into a dime store trying to decide which delicious feel. Excitement? unified composition of fabric and thread. Each colors I would choose; which of course, Uncertainty? piece revolves around a sense of concentration when I took my purchase home, were Tension? I want and intensity, while depicting either a pause in never enough. And I didn’t know how my pieces to be the activity or a burst of movement. to embroider.” emotional and show movement, “At the root, I am trying to convey All that changed as she grew up and while they are a heightened moment of time that informs the work she is now producing in visually static.” the spectator can latch on to and feel. her studio. “Some dreams were achieved— Excitement? Uncertainty? Tension? I no houseboat in Sausalito, alas—although want my pieces to be emotional and show living in beautiful Monterey is a close movement, while they are visually static.” second. I have learned to do embroidery and Ann’s work is breathtaking in its simplicity, needlework and I did become an actor for a paring down each scene to its essence. time. I loved the inner work of uncovering Her goal is not to record a specific event and developing the psychological and or document an individual athlete’s career. emotional life of each role and then finding “I don’t want the work to be about the the most effective physical gesture or tone of individual or particularly about the event; voice to convey the character.” Clearly, her I want it to be about the moment and the powers of observation and empathy were feelings each scene evokes.” honed by those experiences on the stage. So how did this passion for art, sport, “After acting, I became a drama therapist emotion, and quilting collide? Ann notes and marriage and family therapist. I wrote FALL 2022 | QUILTING ARTS® MAGAZINE 17

my thesis on the use of theater/psychodrama in learning psychological/intellectual exploration, and emotional self-defense; how combining emotional intensity with content into the fabric of the quilt.” physical action produces power and strength.” These, too, are themes that can be seen in her work. As an artist, she So, how did this series of art quilts, The Athletes, come layers pieces of cloth together to tell powerful stories about to pass? “It took years,” Ann explains. “I started collecting a single point in time that can be the turning point of a images in my head 10 years ago and didn’t do anything competition. As a therapist, “I spent my professional life with them except think. I was frightened—unsure I could working with the stories that people tell about themselves, translate them into quilts.” When she did start the series, trying to uncover or untangle the psychological plots so the first five pieces each took about a year to complete. that the stories became about resiliency, strength, and Along the way, she experimented and honed her skills. choice rather than confusion, limitation, and defeat.” “It has been a learning process about courage for me, and about going for what I wanted and not getting stuck. I Over time, Ann became a quilter with a passion for adore doing this and it is no longer a chore or a source of color, shape, and texture. “Today I gaze at bolts of fabric anxiety. Now it is an adventure. with the same mouth-watering lust as I did in front of the floss display as a child.” When she started quilting “What I didn’t know in the beginning was that you in the mid-1990s, she learned her craft in the midst of a need to keep at it and it gets better. With each quilt, I ask progressive and daring group of women from the Oakland what my challenge should be the next time. ‘What if I add and Berkeley area who were (and still are) expanding more detail? Change the background?’ In two years, if I quilting into personalized art. “I always saw quilts as art keep asking questions and experiment, my work could and a medium for personal expression.” While she loves look so different.” beautiful, traditional-pieced quilts, and frequently will make quilts in that style, “I stretch myself most when All the experimentation and hard work has paid off. I find a way to infuse the influences of drama, story, She hung her first solo show at Bay Quilts in Richmond, California, in the summer of 2022, and recently launched a website. But for Ann, it is all about the work. Up until this “Charging the Net” • 73\" × 22\" 18 FA L L 2 0 2 2 | Q U I LT I N G A RT S ® M A G A Z I N E

“Multiple Bicycles” • 43\" × 28\" FALL 2022 | QUILTING ARTS® MAGAZINE 19

point, “I’ve stayed out of doing shows because this is a “Hurdlers” • 33\" × 24\" very intimate art that I do for me and my friends. In some “Short Track Skaters” • 40\" × 25\" ways, I feel like I stumbled upon this. I have enough skill “Ski Jumper” • 31\" × 19\" now to do this.” For Ann to feel her quilts meet the mark, there has to be a confluence of beauty in both the form of the bodies and the tension of the psychological moment. To create each scene, she researches by spending a considerable amount of time watching the sport on television and taking numerous photos of the screen for reference. “I need to understand where the crux is … where’s the turning point in the action?” In the planning stage, she combines different elements from those images to compose her final piece. (No computers involved! This is hands-on work.) Lastly, she adds—or more often removes—details until the beauty and essential moment of each sport is revealed. Close examination of her work reveals that Ann often relies on the viewer to fill in the details of her composition. In other words, it is striking that her compositions are elegant and simple yet reveal so much about their subjects. “One of the things I struggle with is what level of detail to include: I want each image to pop on its own, but if I take out too much, it is bland.” With each new piece she learns and experiments with ways to add the detail either with fabric choice or stitching. “I love to use ombre fabrics with a gentle gradation in the sky or for background. They create interesting shadows.” For instance, “ ‘Solo Cyclist’ (the quilt on the cover of this issue) uses just one fabric on the road. For the details I collaged shreds of fabric to get the right color.” After completing the composition, she covers it with netting to pull the piece together. “The netting reduces the contrast, making the piece more unified as one surface.” Ann will tell you she’s not doing anything unique— after all, many art quilters work with raw-edge appliqué and create compositions that inspire awe and introspection. But after a lifetime of gathering images, working through the process of creativity, and examining the meaning behind decisions made on the stage, in a marriage, or on the track, she’s crafted a unique body of work that speaks volumes about the human condition. “Art,” she says, “is always about the stretch and the reach, and figuring out what you’re trying to say.” And that is where her unique voice speaks loud and clear. To learn more about Ann Houle and her recent solo show, visit her website at annhoulequilts.com. 20 FA L L 2 0 2 2 | Q U I LT I N G A RT S ® M A G A Z I N E

Artist Residencies More Inspiration: Design your own program by Sue King Photos courtesy of the artist Photos courtesy of the artist is there ever such a thing as a truly creative idea? Several years ago, Above: Sue was deeply I decided to up my game and apply to some high profile, more inspired by the Bighorn competitive artist residency programs. I was not surprised and only a little Mountains of Wyoming disappointed when I was not selected. during her stay. Then I began to question why a selection committee should determine 21 my worthiness as an artist and decided I would design my own residency and have an amazing experience anyway! A year later I was astonished to learn another artist doing the same thing, renting a fishing cabin in Florida for a month each year to make art. Recently I came across a second artist creating her own residencies at various scientific institutions by persuading administrators of the value in promoting their scientific missions through the power of art. FALL 2022 | QUILTING ARTS® MAGAZINE

Sue stayed in a Forest Service cabin in the You can do it, too, if you are self- Bighorn Mountains of Wyoming during an motivated. Here’s how—and why. artist residency. The wood stove performed double duty—keeping her warm and drying A self-directed artist residency is her cyanotype prints. just what it sounds like—a residency designed by you to meet your own During her stay, Sue set up specific requirements, interests, her sewing machine in front and needs. It provides the artist of a window overlooking the with control and freedom from the constraints of a traditional artist Bighorn Mountains. residency, as well as a wide choice of locations and duration of stay. Formal Above: Sue King, right, and Elaine residencies are highly competitive, O’Neil created a self-directed artist require a lengthy application process, an application fee, and more—as I residency together in Maine. wrote in my article in the Summer Right: Sue’s exposed upcycled, 2022 issue of QUILTING ARTS. Formal cyanotype-treated textile dries in the residencies come with strings sun after being rinsed in the sea. attached, like requirements to give public presentations and provide the organization with a piece of artwork. Some artists find it uncomfortable to leave their partners and families behind or find residencies too long or too far away. This is all remedied by designing your own. There are a few basic things to consider in the process. Unless you are able to utilize grants or alternative funding sources, you will be paying for your residency yourself. Depending on your requirements, this could be anything from a pricey cottage rental to camping in a National Forest. Secondly, you will forego the cachet of listing a high- profile residency on your resume. I have started adding my self-directed residencies to my resume anyway, going back to the notion that the experience has inherent worth regardless of how it transpired. Space and the ability to engage in the messiness of making art may be a challenge in a self-directed residency and should be considered in advance. While I have run across some B&B listings that include a studio, this is 22 FA L L 2 0 2 2 | Q U I LT I N G A RT S ® M A G A Z I N E

rare. Is there an outdoor space for you to work? A local and this cabin had that. I brought along a small portable studio space you could rent? Can you find a way to contain sewing machine to quilt a large prairie-themed textile piece your artmaking with the use of drop cloths, etc., or could during my stay. Outside, a large picnic table was perfect for you create work that will not damage the property where making cyanotype prints of the short-grass prairie plants you are staying? collected on site, then printed on the silk skirt of an old wedding dress. Water for the process was hauled up from While pleasant, residencies—even self-directed ones— the creek, all the while keeping an eye out among the are different from vacations; but what is the difference? willows for wandering moose and black bear. The main determining factors are having a plan and setting achievable goals for your residency. Artist residencies often offer a sense of community for artists who would otherwise spend a significant amount Creating new experiences, trying out new techniques, of time alone in the studio. When you design your own, and exploring new ways of being and working promote how will you create community? I invited two other artists growth and are critical to a successful residency. What is it to stop in and share the space with me for short periods like to engage in this novel way of experiencing the world of time. One brought watercolors and her dog and we during such a residency? While I’m not an ‘expert’ on congenially chatted while she painted, I quilted, and the them, I have created two self-directed residencies and have dog snored in front of the fire. A second artist brought quilt learned quite a lot. blocks to piece and acted as my de facto art assistant. She helped me carry heavy five-gallon buckets of water up from My first self-directed residency took place in the National the creek, protected the processing cyanotypes from the Forest Service cabin I rented in the Bighorn Mountains of constant Wyoming wind with large chunks of strategically Wyoming. It was created on the spur of the moment and placed firewood, and hiked with me in Crazy Woman had two easily achievable goals. The cabin had no indoor Canyon. Most of my time, however, was spent alone sewing plumbing, so I brought my own water for drinking and in front of the window, watching weather patterns at play on cooking. There was a well-maintained outhouse in the back the mountains. Rain, snow, fog, brilliant sunshine, and wind with spectacular views, I even spotted moose from this were my constant companions. I achieved both of my goals particular vantage point. The cabin sported a wood stove in awe of the land that inspired my work. and a nice supply of split wood for warmth. There was one ‘nicety’ that I could not do without, however—electricity— “Tidal: Frenchman Bay” • 15\" × 21\" “Sea Alchemy: Tidal Pool” • 22\" × 28\" FALL 2022 | QUILTING ARTS® MAGAZINE 23

My second self-directed residency was more complex Carolina, asked me if I would apply with her to a residency and focused on a project with numerous goals and on an island in Lake Superior, I was all about it. We outcomes that were mutually agreed upon in advance. This produced a proposal focused on the liminal space between one was even more gratifying than the first. I had been land and water, as well as the space between our individual dreaming of a collaborative residency with another artist art practices. We worked collaboratively on the laborious for quite some time. application via email. Joint applications are twice as much work because each artist must apply separately and each Collaboration can free artists from old habits and must pay an application fee. When we received notice bring unpredictable and sometimes surprising results. It we had not been selected, we learned nearly 1,000 artists is energizing and requires vision, compromise, trust, and had applied for the five available slots. We immediately the willingness to say ‘yes’ to something that neither artist switched gears and decided upon a joint self-directed could have imagined alone. So, when friend and fellow residency in Maine. textile artist Elaine O’Neil, from Hillsborough, North During the residency, we each camped on a private Sue’s sketchbook tract of land on Frenchman Bay and utilized the project shows plein air proposal and goals we previously created for the Lake paintings created Superior residency as our template. Since I had only visited Maine once as a child, Elaine acted as my guide. with graphite We quickly fell into a daily routine of ‘doing something and ink applied different.’ Each morning we drank coffee in Elaine’s with handmade camper and reviewed and adjusted our goals for that day. This was followed by a brisk three-mile hike through paintbrushes. woods and shore before finally settling down to the day’s work. We actively ventured out of our comfort zones— Three-dimensional textiles from Sue’s “The Ships at Sea” series • 8\" × 9\" × 4\" Sue’s artist cohort Elaine O’Neil is shown drafting a pattern for artwork intended for “The Ships at Sea” series. 24 FA L L 2 0 2 2 | Q U I LT I N G A RT S ® M A G A Z I N E

“The Pull of the Moon” • 61\" × 10\" Sue’s Quick Tips while also feeling like children at play on the SUIT YOURSELF Self-directed artist residencies are a viable beach. We made plein air paintings and sketches, alternative to traditional residencies. If you have experienced crafted paintbrushes from found materials and rejection, faced extreme competition, or felt constrained by the then painted with them. We wrote a daily haiku, expectations of mainstream residencies, designing your own may explored tidal pools, and dried and pressed be worth considering. seaweed. To enrich the experience further, we perused bookstores and bought titles on local PERSONAL INVESTMENT This style of residency is self-funded. history, Indigenous peoples and the plants and Take some time to prepare a budget that includes housing, animals of the area, and visited art galleries. We transportation, food, and supplies. This will guide your choice of were warmed by driftwood fires on the beach location, type of housing, and length of stay. at night and were awed by the stars twinkling over the ocean. Loons, eagles, and seals were our IN CONTROL The self-directed residency allows the artist to take companions. Most of all, we learned how to work control of the entire process. The ability to select a location based together as artists. on personal preference is especially compelling. Would you feel inspired residing in a fire tower in Montana, a bungalow in Key Six months later, we reconvened in Ohio to West, a treehouse in Vermont, or an apartment in Rome? All are complete a large-scale installation piece. In the possible when you design your own residency. evenings, we drank wine and retrospectively reviewed and analyzed our residency, discussing SEEK FLEXIBLE SPACE Actual studio space may be hard to come how it had affected each of us and our respective by in rental properties. Is there a room suitable for your work, can art practices, as well as what we had learned you protect the space with drop cloths, modify your work to be about ourselves and the land that sustained us. less messy, work outside, or rent a studio during your stay? Think Having achieved all of our goals, we decided our outside the box. project was worth sharing with others. We set two additional goals: to create a joint exhibition entitled BE EQUIPED Draw up a list of the art materials and equipment “Holdfast”—an honoring of place, Indigenous you will need during your stay. Consider the ease of transporting wisdom, and the need to preserve the habitat of these items to your residency. Will you need to rent a sewing disappearing species that define all that is special machine upon arrival? Is there an art supply store nearby your and iconic about Maine—and to author a small location? Can you use natural materials and make some of your book about our residency and resulting artwork. own materials in situ? While your self-directed residency may not COHORTS, YES OR NO? Should you go alone or with a partner be as involved as ours was in Maine, the beauty or family members? Some artists are ill at ease going it alone at of designing your own is that it can be whatever traditional residencies, however, this decision may have some bearing you imagine, from learning a new technique to on the success of your residency. Will you have the time and space creating a whole new body of work. It can take to get the most out the experience with family and pets along? place in the mountains or the desert, on the Consider devising a plan to keep everyone entertained and happy seashore or in a thriving metropolis ... anywhere while you are creating. your heart can sing. FOCUS ON ART Artist residencies are substantially different than Adventure and creativity await. All it takes to a vacation. Make yours a true residency by designing a project or get started is intention and a plan. setting goals for yourself in advance. Take the time to review these goals each day, translating them into a work schedule. Make sure to leave time for contemplation and relaxation each day. GET OUT OF THE HOUSE For the fullest experience—explore. Go for walks. Visit galleries. Learn about the local history and culture, and try new foods. You will feel enriched and your creativity may be influenced in surprising ways. CHALLENGE YOURSELF Decide to say yes to experimenting with new techniques and taking small risks to invigorate your art practice. VALUE THE WORK Consider adding your self-directed residency to your resume. Although it may not have the same cachet as some well-established traditional programs, your experience has value and is worthy of citation. FALL 2022 | QUILTING ARTS® MAGAZINE 25

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Photos courtesy of SAQA Haven A Studio Art Quilt Associates Global Exhibition IT WAS A GREAT HONOR and pleasure to be the juror of the envisioned. I hope the collection is both representative and SAQA Haven exhibition—and also a huge responsibility to thought provoking in this way. select a group where each piece has its strong individual voice while still making a coherent whole. It was a privilege to see so many great artworks and it was really difficult to narrow the 255 entries down to 40 exhibition Each selection starts a dialogue between the entrant and pieces (of which 13 are featured here). I hope the challenges the viewer as the artist interprets the theme. In this case, this presented to each artist—that lie both in innovation of was how each entry responded to the theme ‘Haven’—how expression and techniques—is reflected here and that the it represented a safe place to heal, regroup, rest, or retreat; exhibit demonstrates both depth and breadth. or how a place to create a haven for others in need was —ESZTER BORNEMISZA, JUROR FALL 2022 | QUILTING ARTS® MAGAZINE 27

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Cathédrales des 100 lunes Grasshopper Path ANNE BELLAS • 34\" × 46\" • NANTES, LOIRE ATLANTIQUE, PAOLA MACHETTA • 45½\" × 29\" • TRIESTE, ITALY FRANCE Studies exist showing the decrease of the population of insects. This is the second of my “cathedral series.” I was long fascinated Agriculture’s extensive practices pose a threat to insect species that by the approximately 1,000-year-old cathedrals which surround are fundamental, such as the pollinators and many others. Safe us in France, and last year came this urge to transpose the haven for insects remains in places that have no practical scope for irradiating spirituality emerging from these exceptional humans. Where are the uncontaminated grasslands? Places for a buildings. In the Middle-Ages, cathedrals were the only ‘haven’ grasshopper to jump freely, caressed by the wind, without the need for whoever was trying to hide—from the king, from armies, to zig zag between invisible threats? This zig zag path inspired the or from justice. Even criminals were given this right to haven quilt composition; “Grasshopper Path.” To have a safe grassland as long as they stayed inside the premises, no one was allowed area, protective action is required. This quilt is dedicated to the site to catch them, even less to force them out. Nowadays, they named Magredi—which means ‘skinny grassland’—located in the are still a haven for those who want to pray or to meditate. northeast of Italy and protected by the European Union, thanks to I imagined this ‘haven’ cathedral during a serene and peaceful the action of World Wide Fund for Nature (WWF). In the Magredi night, with the 100 moons giving light and life to it. I used zone, a ban prohibits any alteration action by humans. Even mostly complementary blues and oranges to express the night grasslands can be a safe site. atmosphere. Cotton fabric and batting, polyester thread; modern improv patchwork, tiny Self-dyed and screen printed cottons; machine pieced; machine quilted. leafy piecing; walking foot quilting. FALL 2022 | QUILTING ARTS® MAGAZINE 29

Hillside Gems Winter Blues JAN SOULES • 41\" × 33\" STEPHANIE SHORE • 27½\" × 36½\" • LEXINGTON, MASSACHUSETTS ELK GROVE, CALIFORNIA Winter Blues is part of a series made during the darkest part of the pandemic. This remnant of a building found along the During that time, I had been meeting with friends in a grove of trees. The grove and back roads in Uta, captured my attention on the light I could see through the canopy of leaves became metaphors for safety a road trip a few years ago. I can envision it and security and my hope for a return to joy. I began the piece with an abstracted as a safe haven for animals on a cold winter rhododendron leaf drawn at multiple scales. I chose the rhododendron leaf because night or a place for a weary traveler to rest of the undulations and indentations that would permit other leaves to be visible his head in a bygone era, roaming the nearby underneath after layering. To enhance the effect of a profusion of leaves, I used hand- hills. It may have been used simply to store painted fabrics that I stamped or sunprinted with leaf shapes and stenciled more hay or animals. I will never know, but it is fun leaves with Pitt Pens. I cut away parts of the appliquéd leaves to create an implied to speculate! sashing. The resulting grid-like structure evokes a feeling of the stability I so longed for at that time. Commercial and hand-dyed fabrics, threads for couching, paint; pieced and fused, painted, thread Cotton fabrics dyed, painted, sunprinted, monoprinted, stamped, and stenciled with fabric paints; painted; machine quilted on a domestic machine. Inktense blocks, chalk pastels, inks, and Pitt Pens, pieced, fused, appliquéd. 30 FA L L 2 0 2 2 | Q U I LT I N G A RT S ® M A G A Z I N E

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Blue Fern NOELLE EVANS • 48\" × 48\" • HILLSBORO, OREGON My breathing slows and senses expand in the shadows of the forest where sword ferns blanket the forest floor. As I walk the trails, the chatter in my head fades away like fog in the morning sun. Small birds and woodland creatures scurry for cover under the interwoven, thatched fern fronds. While I find tranquility here, the gracefully arching fern fronds that dance in the breeze provide shelter to the small woodland inhabitants that survive by hiding from the owls, hawks, coyotes, and other predators that frequent the forest. Reliable, resilient, ubiquitous, the sword fern is an enduring haven all year long. I am the steward of this forest. It was here long before me and will, hopefully, remain long after I am gone. In the meantime, it is my responsibility to maintain and protect the trees, the sword ferns, and the habitat this forest provides to so many creatures. Commercial and hand-dyed cotton fabrics, cotton, trilobal polyester, wool/acrylic, and metallic threads, satin ribbon, pieced, appliquéd, reverse appliquéd, couched; machine quilted and hand quilted. 32 FA L L 2 0 2 2 | Q U I LT I N G A RT S ® M A G A Z I N E

Daytime Dreaming KAREN SUNDAY SPENCER • 51\" × 55\" • PORTLAND, OREGON Daytime Dreaming highlights the organic nature of my hand-dyed fabrics with a flowing peaceful design suggestive of our natural world. Cotton fabric, fiber reactive dyes, hand-dyed fabric by artist; machine pieced and quilted. FALL 2022 | QUILTING ARTS® MAGAZINE 33

Line Dance: Tree Ring Patterns, var. 25 Once Loved BARBARA J. SCHNEIDER • 72\" × 31\" • WOODSTOCK, ILLINOIS ALISON KING • 38\" × 24” • COCHRANE, ALBERTA, Line Dance: Tree Ring Patterns, var. 25 is an interpretation of a photo CANADA taken while walking and observing in the forest. The forest is where Once someone’s haven, once someone’s home. I feel most at home and at peace. I love to walk, look, smell, touch, I am always intrigued by the memories and stories and just be there. I think about all that is happening below my feet, that these abandoned farm houses tell. I wonder above my head, and everywhere around me. Being in the forest feeds who lived there, what life was like, when they left, my soul as well as my eyes. This interpretation from a photo of a tree and why? I appreciate the character that remains, stump is about the passage of time, the beauty of nature’s creation often entering to find remnants of a past life— even after the tree has toppled to the ground and the many details children’s wallpaper, an old oven, a broken down that we never stop to see. There is always more for me to learn and cradle. Things that reflect a home, a refuge, and a observe in the forest. place that was once loved. Cotton front and backing, flannel batting; artist photo digitally manipulated and Photographic elements on canvas, repurposed and new printed through online service, heavily thread painted. fabrics; free-motion stitching. 34 FA L L 2 0 2 2 | Q U I LT I N G A RT S ® M A G A Z I N E

Once Loved, detail FALL 2022 | QUILTING ARTS® MAGAZINE 35

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Sprouting Nest SHIN-HEE CHIN • 27\" × 42\" • MCPHERSON, KANSAS PAT BISHOP • 40\" × 30\" • SHAWANO, WISCONSIN Cultural context has most shaped my work as I have spent half You would think that a bird’s haven is its nest; at least that my life in South Korea and the other half in the United States. would be true for the baby birds, maybe not so much for their I have had equal exposure to two vastly different cultures. In parents who make it a haven for their babies. This piece was my years of dealing with issues of a bi-cultural lifestyle, art has based on one of my photos. It was the middle of winter and I helped me reconcile the conflicting nature of two different would never have seen the nest otherwise; it would have been cultural worlds, serving as a ‘haven’ to a stranger from a different hidden well by the bush it was in. shore. My worldview has been shaped by my experiences as a woman, a mother, and an immigrant; my work is an effort to Hand-dyed recycled linens and other fabrics/commercial fabrics, fused and draw connections between my inner life and the world beyond. machine quilted. Rayon, recycled blanket, polyester, linen thread, perle cotton thread; random weave and stitch. FALL 2022 | QUILTING ARTS® MAGAZINE 37

Writing the Next Word Anxiety Shield: Vigil BOBBI BAUGH • 42\" × 42\" • DELAND, FLORIDA HELEN GEGLIO • 34\" × 48\" Safe harbor is a gift that women are able to give to one another. I am deeply grateful SOUTH BEND, INDIANA for the counsel of strong women who have provided a landing place for me when my In a time of pandemic and social upheaval, journey required it. Shelter from the storm need not be a place; it can be a person. we can take refuge in the protective Now, the group of women in my writing group provide me weekly refuge. I am qualities of slowly making stitches by hand, learning again the strength to be found when women depend on each other. creating a shield from sleepless nights and circular thinking. Acrylic paints and mediums, cotton muslin, sheer polyester, felt, eco-felt; monotype printing, stenciled surface design, direct painting, transfer of original photo to muslin, drawing, collage Cotton, wool, buttons; raw-edge appliqué, hand construction, machine assembly; machine quilted. embroidered and stitched. 38 FA L L 2 0 2 2 | Q U I LT I N G A RT S ® M A G A Z I N E

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Readers are Leaders CLARA NARTEY • 54\" × 65\" • WEST HAVEN, CONNECTICUT Haven is leaving your troubles behind and being caught up in a good book which takes you miles away from everything you know. This young boy in the piece is in his safe haven. His relaxed posture, his leg over the chair, speaks to his state of mind and how safe he feels in that moment of time. Inks, cotton, polyester, felt, hand-drawn digital art printed on fabric; thread painted. 40 FA L L 2 0 2 2 | Q U I LT I N G A RT S ® M A G A Z I N E

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. Visit QuiltingDaily.com/ submission-guidelines-quilting-daily for our submissions guidelines. Questions? Email [email protected]. Counterclockwise from top, 41 artwork by Jane Davila, Ana Buzzalino, and Ann Houle FALL 2022 | QUILTING ARTS® MAGAZINE

HeARTs are for Giving The I Found a Quilted Heart Project 42 FA L L 2 0 2 2 | Q U I LT I N G A RT S ® M A G A Z I N E

Create stitched and embellished tokens to give away by Mel Beach i lost my creative mojo last October and I tried to find it by tidying up my studio. When I uncovered a pile of fat quarter quilt sandwiches from my virtual teaching demonstrations, I simply could not toss away all that stitched texture. I set them aside and continued to organize my various supplies. Later that evening, I awoke with a game plan to upcycle all those quilt sandwiches and play with my newly organized supplies throughout November—I called it 30 Days of heARTs Giving. This new, daily, creative project brought me joy as I revisited some of my favorite art quilting supplies and techniques already on hand to embellish one or more stitched heARTs each day—and to also create joy by sending these little fiber art pieces out into the world anonymously as part of the I Found a Quilted Heart Project. These hearts are small, portable, and make for quick finishes—perfect for a daily project, especially with the approaching winter holidays. Over the course of November, I embellished 75 hearts and sent more than 50 of them out into the world to brighten someone’s day. I hope to inspire you to add more joy into the world by creating one or more of these stitched and embellished hearts using some of your favorite supplies and these simple steps. FALL 2022 | QUILTING ARTS® MAGAZINE 43

MATERIALS DIRECTIONS provide options to fit a variety of spaces on the quilt sandwiches. • Stitched quilt sandwiches 6\" and Prepare the stitched larger heARTs 3. Use a fine-tipped pen or marker to trace the heart templates onto • Template material (plastic or 1. Gather and prepare quilt quilted areas of the sandwiches. recycled cardboard) sandwiches that are 6\" or larger. These markings will be trimmed later. (figure 2) • Pen or fine-tipped marker TIP: This is a perfect project for all those free-motion quilting practice sandwiches NOTE: Pick and choose favorite • Sewing machine with free-motion and/or sections trimmed from your quilted sections or aim to trace as many capability projects. Take the opportunity to fill any hearts as will fill the stitched areas. gaps with additional quilting and consider • Assorted embellishment supplies introducing a contrasting thread color for 4. Topstitch 1⁄8\" or more inside the (see list) visual interest. Try incorporating some marked perimeter of each heart favorite free-motion fillers motifs. (figure 1) using a slightly shorter-than-your- • Parchment paper/silicone pressing usual stitch length to secure the sheet 2. Make a few heart templates. If free-motion stitches along the drawing your own with cardboard, edges. (figure 3) Optional start with a 4\"–6\" square and fold • Six-sided die it in half. Draw a half heart shape 5. Carefully cut out each heart by along the fold line and cut through cutting just past, but not through, • Dimensional fabric paint (I used both layers to create a symmetrical the stitched outlines. (figure 4) Tulip Puffy Paint as it has a fine- heart template. Having three or tip applicator and is available in a more heart shapes and sizes will variety of colors and sizes.) • Downloaded and printed IFAQH tags Thingies figure 1 figure 2 and Doodads Process photos courtesy of the artist Add some of these items to your embellished hearts: • Fused fabric scraps • Mark-making supplies (paints, stamps, pens, and markers) • Sheer fabrics • Embroidery threads • Yarn and ribbon/trim • Beads • Buttons and sequins figure 3 figure 4 44 FA L L 2 0 2 2 | Q U I LT I N G A RT S ® M A G A Z I N E

Four Pro Tips for a Multi-Day Project like 30 Days of heARTs Giving • Prepare the stitched hearts before the • Take a before photo so start of the project so you can focus you can capture the on embellishing one or more heARTs transformation into an each day. embellished heART. • Prepare extras so you can pick and • Invite your family and choose which hearts to use with your friends to join the fiber fun. favorite embellishment techniques. Bring a few stitched hearts and This will also provide the option to embellishment supplies to share at your embellish more than one heart each next guild meeting, retreat, small quilt group, day. (figure 5) or any gathering. Ask your family and friends to help sow some of the finished heARTs in their communities or along their travels. figure 5 Embellishment fun experiment with a variety of materials 2. MARK-MAKING SUPPLIES Some and techniques. of my favorite mark-making Now it’s time to play with your techniques included stamping with favorite supplies and techniques to Here are the dice assignments I acrylic paints, ArtFoamies stamps, transform the stitched hearts into used during my 30 Days of heARTs and Lego bricks; doodling/coloring little works of heART art. Explore Giving project but I encourage you with gel pens; and coloring with your studio and make a list of your to create your own dice assignments markers. favorite embellishment materials and using your favorite supplies. techniques. See if you can organize them into five or six groups with 1. FUSED FABRIC SCRAPS Cut out 3. SHEER FABRICS Layer tulle netting similar properties and applications. and fuse to create a variety of and/or organza to create subtle In my previous article “Roll the Dice: designs. You have the option to color shapes. Up Your Game and Take a Chance” finish with machine and/or hand in the Spring 2021 issue of QUILTING embroidery. 4. FIBERS Use perle cotton threads ARTS, I outlined how and/or embroidery floss for adding using dice stretches my hand-embroidered stitching or cut creativity to explore apart the heart and stitch it back new design possibilities. together. Other options include For this project, each couching fibers. day I rolled one die and the number that 5. BLING Hand stitch beads, buttons, landed up determined and/or sequins to the hearts. Other which supplies I would options include using/adding incorporate into my metallic pens, foils, Angelina heART project. It added fibers, and anything else that a playful element to my sparkles and shines! project and provided encouragement to 6. ARTIST’S CHOICE Choose your favorite supplies or techniques! FALL 2022 | QUILTING ARTS® MAGAZINE 45

Finishing Tips edge with a machine satin stitch or figure 6 method of your choice. Here are some ideas and finishing Join the fun techniques to complete your works of • Once the edges are dry or the piece heART art. We are so enthralled with Mel’s is completed, add a hanging strip heART project and her infectious • Some of the hand-embroidered/ using embroidery floss or ribbon enthusiasm that we have designed plus a tag. If you plan to send our own version of the heART beaded hearts may benefit from it as part of the IFAQH project, project as a reader swap for the fusing fabric onto the backside to be sure to download and print Reader Challenge of this issue— conceal and secure the knots and their tags and/or include only the make a heart, get a heart! Read the stitches. Start with a piece of fused information as directed on the details on page 82 and get sewing! fabric that is slightly larger than IFAQH website. the heart. Use parchment paper or a silicone pressing sheet to protect I hope you experience great the iron and surface when fusing joy creating these stitched and onto the backside. Let cool and embellished heARTs; they make trim to the edge. wonderful gifts for friends and family or consider sending them out into the • Finish the edge with paint. Tulip world as part of the IFAQH project. brand’s Puffy Paint/Dimensional fabric paints have a fine-tip applicator that works great to apply a thin line of paint all around the edges. (figure 6) Prop up the heart on a small jar or container to air-dry overnight. Alternatively, finish the The I Found a Quilted Heart project (IFAQH) Want to learn more about spreading love with your work? Per their website, “The IFAQH community of volunteers place small, quilted hearts around the globe to brighten the day of a stranger.” New volunteers can visit the IFAQH website to access resources for participation: the IFAQH printable tags, rules, and examples of good places to sow hearts. The stories posted to their website and social media channels are very touching and well worth following. For more information, visit ifoundaquiltedheart.com. 46 FA L L 2 0 2 2 | Q U I LT I N G A RT S ® M A G A Z I N E

You love to quilt... we have your inspiration! FALL 2022 | QUILTING ARTS® MAGAZINE 47

sketfrom ch stittco h to COLOR with inktense pencils by Ana Buzzalino Editor’s note We love how Ana’s work has evolved and changed over the years. This article first appeared in the August/September 2013 issue of Quilting Arts and featured instructions that focused on adding color 48 to a wholecloth quilt. Those bright colors and dark-stitched sketch lines are as gorgeous today as in years past! But hold on to your hat—since then, Ana has taken this technique further by intensifying the background texture of her current pieces with rich stitching and complex designs. We’ve included both articles in this issue so you can follow Ana’s progression and learn from her intriguing approach to enhancing wholecloth quilts with color and stitch. FALL 2022 | QUILTING ARTS® MAGAZINE