Quilting Arts Magazine Fall 2022

Spring Sparrow 99 15\" × 17\" • CINDY VOUGH • ASHBURN, VIRGINIA My love of nature inspires my art. In cold, snowy January, I look forward to spring, the subject of this quilt. I included a fictional sparrow among the wildflowers because I enjoy supporting birds by feeding them. Techniques include raw-edge collage, machine thread painting, and machine quilting. FALL 2022 | QUILTING ARTS® MAGAZINE

Brad 9\" × 11\" • JOANNA ELLIS • PARMA, OHIO My husband loves music and wears his headphones while working on projects around the house. This quilt is from a photo I took of him. I called his name, he turned toward me, and I took the photo. It is him with that sparkle in his eyes! I smile every time I look at the quilt. 100 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

Rusty Relic 132 101 13\" × 18\" • LAUREL OSTAPOWICH • ELFROS, SASKATCHEWAN, CANADA I was intrigued by this rusty relic when introduced to it this fall on our farm; it occupies a spot on a field we crop. I loved its texture, ambience, and testimony of yesteryear. As many vehicles are abandoned across the country it is also a reminder of the consumer society that we live in. This is a painted piece with Inktense and free-motion threadwork. FALL 2022 | QUILTING ARTS® MAGAZINE

Wild and Wonky Wonderland 18\" × 18\" • LIN ELMO • MILFORD, CONNECTICUT An abundant summer garden provides the perfect sanctuary for fantasy creatures large and small. The juxtaposition of wonky shapes, joyful colors, and repeating patterns give energy to the composition—it is a wild and delightful wonderland! Improvisationally pieced hexagons were cut to create many of the elements for this quilt. The pieced background was free-motion stitched before individual elements were fused in place. 102 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

Finding the Spring Ephemerals 103 17\" × 17\" • YOSHIKO KOBAYASHI • KATANO CITY, OSAKA, JAPAN I look forward to spring. It’s winter now and I cannot see the flowers hidden and sleeping in the ground. While I wait, I feel inspired by the coming season and am making a large quilt with a flower theme. Excited by this challenge, I stopped to work on this smaller quilt, using some motifs from the large quilt plus new ones honoring the spring ephemerals in the field. FALL 2022 | QUILTING ARTS® MAGAZINE

The Boys of Summer 16\" × 16\" • MARY ELLEN STRAUGHN • INDIANAPOLIS, INDIANA Crows and ravens are fascinating birds. While sometimes seen individually, they often travel in groups like a pack of teenage boys, loud and cavalier, looking for their next meal or maybe to meet up with others. I created this piece from the perspective of one individual on the ground watching the group in the sky as they fly past to an unknown destination. The fabric is painted and dyed, birds in the sky are drawn with markers, and the bird on the ground is heavily embroidered to show the feathers and facial detail. 104 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

Summer in Santa Fe 105 15\" × 17½\" • MARY JO STIPE • LAMY, NEW MEXICO The high desert of Santa Fe is alive with wildflowers in the summer. 2021 was an especially good year for sunflowers and cowpen daisies. This quilt commemorates that exceptional summer when swaths of yellow blooms seemed to flood the fields in the foothills of the Sangre de Cristo Mountains where I live. The quilt is improvisationally pieced primarily of batik fabrics with fused appliqué flowers and leaves, a few of which are three-dimensional. FALL 2022 | QUILTING ARTS® MAGAZINE

Can’t See the Forest for The Trees 13\" × 13\" • JERRI PENNEY • WYLIE, TEXAS In times of turmoil and uncertainty that are as widespread as in the past few years, it is easy to lose perspective. But calm reflection reveals the forest of world-wide events, though important, are less so for me than the ‘trees’ of enduring relationships with family and friends. This is most apparent when I am with my three young grandchildren, who are the playful bright spots amidst the competing forest. I made the trees whimsical and elevated them off the surface to bring them to maximum forefront for a 3-D effect. I choose to see the trees! 106 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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Gossip Use handwriting and paint to customize your work Backgroundsby Margarita Korioth t here is nothing more my own handwriting, but at the M AT E R I A L S exciting to an artist same time, refrain from it being too than a blank canvas—in my case, distracting. I planned to use this fabric • White fabric, 11\" × 20\" that’s a piece of white cloth. as a background and did not want it to (See “Which Fabric to compete with the focal point of the final Use” for tips.) I decided to create background fabrics artwork. for my flamingo silhouette quilts by • Freezer paper, 15\" × 24\" drawing letters and nonsense words. After a lot of experimentation, I came I mined my stash for a variety of paints up with the technique I was striving • Jacquard® No Flow and brushes—even sticks—to practice for. First, the fabric was covered with a Primer writing on the fabric. After all, I was chemical primer gel that prevents dyes drawing and lettering and needed some and paints from spreading. This allowed • Sponge paintbrush sort of ‘pencil.’ the lettering to be distinct and crisp, not ‘runny’ or bleeding. • Liquid fabric paint (I used My goal was to create a bold small, applicator-tip pattern by covering the cloth with bottles of Jacquard® Dye-na-Flow®.) FALL 2022 | QUILTING ARTS® MAGAZINE 109

For the ‘writing,’ a small, Tips for Adding Text applicator-tip bottle filled with liquid with Paint paint was the best tool; I wrote in script directly on the dried, prepared The best paints for this project are fluid, liquid paints that can be applied through a fabric. Once the writing was dry, narrow tip. I flipped the fabric over and used it from the reverse—this showed off the I used small bottles of Dye-na-Flow paints for this process. The bottles have small beautiful, muted lettering but made applicator tips, are ready to use, and can be purchased is sets with many colors. the text less legible, deemphasizing the actual words for a dramatic, more The bottles in these sets are small, however, and if you really love working with these artistic effect. paints, buy larger bottles of Dye-na-Flow—or other liquid paint of your choice—and refill the bottles. I call them Gossip Backgrounds because the words in reverse seem like Slightly larger applicator bottles can be purchased separately but, remember, you they’re keeping secrets or whispering want to be able to hold them like a pencil or other drawing tool so the bottle should to each other—you can write almost be somewhat sleek and easy to handle. anything! DIRECTIONS 1. Center the white fabric on the shiny side of the freezer paper. Carefully press the fabric without steam to adhere it to the freezer paper. TIP: As you near the unprotected edges of the freezer paper, use scrap fabric or paper to cover it and protect your iron from directly touching the shiny portion. 2. Pour one tablespoon at a time of the gel with the sponge brush, about what to write; just go with No Flow onto the fabric. Spread trying not to leave puddles. the flow. You will reverse the fabric Once the fabric is evenly covered for use in a project so the words Which Fabric with a coating of the gel, allow it will not be distinct or legible. to Use to dry completely. TIP: Keep the tip of the bottle touching the This technique is most successful—and NOTE: The freezer paper acts as both fabric when writing or making marks. When easiest—on a smooth fabric such as a stabilizer for the fabric and a barrier finished writing—or while contemplating quilter’s cotton, broadcloth, or other that prevents the paint from seeping the next word or doodle you want to high-thread count fabric. Save textured, through and ruining your work make—point the bottle tip toward the ‘bumpy’ fabric—such as linen or linen surface. Do not remove the freezer ceiling to prevent drips. blends and rayons—for a different paper from the fabric until all steps project or technique. have been completed and the paint 4. Let the paint dry. Remove the I use solids for my backgrounds but has dried. freezer paper. Heat set the paint, experiment with subtle prints, hand following the manufacturer’s dyes, or other suitable fabrics. 3. Start writing words and phrases instructions. The background onto the fabric with the tip of the fabric is now ready to use in your paint bottle. Don’t think too hard next project. 110 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

Watch every season with one subscription! Learn from experts you trust, anytime, anywhere! A video subscription to Quilting Daily TV gives you access to 2,400+ quilting episodes and videos. PLUS, 28 seasons of Quilting Arts TV are all included in one monthly price of $7.99! SUBSCRIBE AT QuiltingDaily.com/QDTV Artwork by Sue King

the last word. BY SHONI MAULDING Photos courtesy of the artist Recently, I That year, I made a quilt for the law enforcement and were told she must was at a Missing and Murdered Indigenous be with friends. Seven days later she was campground People (MMIP) work group for the found murdered. near Seeley Lake, Confederated Salish and Kootenai Montana, while Tribes (CSKT) on the Flathead Working with MMIP falls completely my husband Ron Indian Reservation north of Missoula, into my desire to make quilts with kayaked. He’s a Montana. Initially created as a purpose. water person. fundraiser for the group, it now hangs I’m not. I had in the CSKT Tribal Council Chambers For my home-based business I hitch an issue of QUILTING ARTS in hand. and is used as a backdrop for events. horsehair, a knotting technique of taking While at a local store I was asked, horsetail hair and primarily making “Are you a quilter?” My reply was, “I Creating this quilt was an emotional belts. Hitched horsehair, along with this am a wannabe,” but then I changed it experience and not what I expected. sporadic quilt making over the years, to, “I’ve made a few and talk about it My Northern Shoshone Indian mother’s gave me the confidence to ask the MMIP more than make them.” death from Alzheimer’s occurred as I group if I could create that quilt. I have It’s complicated. started working on it; this, of course, since created the banner shown here Around 1969, I made my first quilt influenced these emotions, too. Even that is used during parades, fundraising before heading to college—half-square as I write this, tears well up in my eyes events, and community outreach. This triangles and 6\" blocks with fabrics for the individuals and this group of banner also hangs in the Tribal Council from our farm feed sacks and clothes. Chambers. My limited knowledge resulted in loose- weave fabric fraying over the years. “Missing and Murdered Indigenous People Banner” • 96\" × 27\" (Recently, I sewed new fabric over those frayed blocks in boro fashion—or what missing and murdered people. Most I do I have ten lifetimes of ideas, which Ron calls Depression Patchwork.) not know. But I have heard their stories include fabric, buffalo hair, Pima cotton, Fast forward to the 1980s and ’90s or know people who know them. hand embroidery, beads, sparkly things, when I discovered Seminole piecing and and more … oh my! made quilts as gifts. In 2009, I sewed I thought of Jermaine Charlo from fabric to get rid of my small stash but this Rez, who disappeared in 2018 Am I a quilter? My answer now is an then discovered to ‘get rid of fabric’ I the night of my birthday. I feel forever emphatic YES. had to buy new fabric to complete the connected to her because of the date. project. Subsequent quilts followed off The issue of Missing and Murdered and on over the years. Or my friend Tina who lived in Indigenous People is a complex one. When I discovered art quilts, they the Deer Lodge Valley of Montana. Interested readers can find myriad fit my lifestyle and creativity. I have Tina was murdered by her husband. resources researching online. been dyeing horsehair since 1992. That She was Jewish and Gypsy. When I and QUILTING ARTS articles gave me mentioned Tina’s Gypsy heritage at Haven’t you been quilting long enough the courage to try indigo dyeing. This the first MMIP work group meeting, to start thinking about your own creative was followed by jam jar dyeing. I love the group members nodded their legacy? Submit your complete essay (up to the surprises these dyeing techniques heads, acknowledging that Tina was 800 words) along with a low-resolution image produce. Indigenous. to [email protected] In 2019, I thought about the with “the last word” in the subject line. direction I wanted my quilt making to And then there was the 8-year-old go. ‘Quilts with purpose’ popped into Blackfeet Indian girl who never came my head. I don’t want to just crank out home from school. Her parents phoned quilts. I desire a thought process led by creativity, including how to live my daily life, all of this with purpose. 112 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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