Quilting Arts Magazine Fall 2022

Process photos courtesy of the artist Derwent Inktense pencils and blocks provide an easy and versatile way to add vibrant color and interesting texture to fabric. Inktense pencils are highly blendable and come in a range of 71 colors. They can be applied wet or dry, and produce beautiful effects on fabric. Once they have dried, the colors become permanent and allow for layering to create even richer tones. I have used them to add a new dimension to my wholecloth quilts, and love the results. “Untitled” • 15\" × 16½\" • Sketch, photo, or drawing (Use your M AT E R I A L S • General sewing supplies own original work or obtain written • Derwent® Inktense pencils or blocks permission, if you use someone else’s • Fabric for backing and binding • Textile medium images.) • Batting • Rotary cutter, mat, and ruler • Safety pins or basting spray • Paper towels • Tracing paper or acetate • Thread • Sewing machine with free-motion Optional • Fine point black permanent marker • Eraser capability • White or light-colored fabric • Free-motion quilting foot • Fine point mechanical pencil FALL 2022 | QUILTING ARTS® MAGAZINE 49

DIRECTIONS Attach a free-motion quilting figure 1 foot to your sewing machine and Create a master pattern lower the feed dogs. figure 2 figure 3 1. Tape the photo, sketch, or 2. Stitch over the drawn lines, drawing to a larger piece of adding additional details as you paper to keep it from shifting sew. I try to move from one area and place a piece of tracing of the design to the next in a paper or acetate on top, taping continuous line, stitching more the corners to hold it in place. than once on some parts of the Using a fine black permanent design for added interest, similar marker, trace the main lines and to how you might sketch in your as many details of the image as sketchbook. Make some lines you can. (figure 1) heavier than others by going over the stitching line 2–3 times. 2. Photocopy the tracing, enlarging it to the desired size of your 3. Once your design has been finished piece. Once the image is stitched, decide whether or not enlarged, you can draw in more to quilt the background. When details, if desired. This is your quilting the background, switch master pattern. to a thread color that is as close as possible to the background Transfer the pattern fabric and use a simple quilting to the fabric design so it won’t detract from the quilted image. 1. Cut the base fabric 2\"–3\" larger than the size of the finished piece. 2. Using a light box or a window, Color the design tape the base fabric on top of the master pattern to keep it from 1. Use a small brush to apply shifting. Trace all of the lines textile medium to the area you onto the fabric with a fine point want to color. The area needs mechanical pencil and a light to be damp, but not soaked. touch. The lines should be just If you find the medium is too dark enough to see when you are thick, thin it with a bit of water. quilting. (figure 2) Working in small areas at a time to prevent the area from drying NOTE: I do not usually erase pencil before you can color it, color lines even after quilting, because each area with the main color they add to the whimsy of the piece. first and then add in secondary However, it is possible to erase colors for highlighting and lightly marked lines with an eraser. shading. (figure 3) Once you have blocked in the colors, use Quilt the piece a small brush and a bit of textile medium to carefully blend them 1. Using basting spray or pins, layer together starting from the center the backing, batting, and marked and working your way out to base fabric into a quilt sandwich. the edges, so by the time you 50 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

Thoughts on Thread • Use the same color of bobbin thread as the top thread. • I find that black thread is often too bold for my pieces, so I prefer to use charcoal gray. • I use 40-weight rayon thread on top, and usually an 80- or 100-weight bobbin thread, which means that I can load a lot of thread on the bobbin. This allows me to quilt for long periods of time without running out of bobbin thread. get to the edge of the design area, Tips for Using Inktense most of the medium has been Pencils & Blocks deposited and you reduce the risk of the medium getting outside of Inktense pencils are as versatile as watercolor pencils, but have a firmer texture. Once the stitching lines. Some bleeding the color is dry, it is permanent, so you can add other colors on top to create rich tones. may occur, but this adds to the serendipity of the technique. If an • The harder you press, the bolder the colors will be. area dries before you are finished • Color can be applied to dry fabric and then blended with textile medium, or to fabric blending, apply more color and textile medium until the desired that has been moistened with textile medium. Try both methods and see which result is achieved. works best for you. 2. Continue working until all the • Wash over dry color with a little water to get an ink-like effect. colored areas have been blended, • To keep the colors fresh, clean the tip of your brush when changing colors. remembering to clean your brush • Dampening the colors with a layer of textile medium makes them pop. when switching areas to avoid • Layering colors while the base layer is still damp makes the colors more vibrant. muddying the colors. • Some fabric mediums require heat setting to make the color permanent. Always NOTE: As you work, you may find that follow the manufacturer’s instructions to avoid disappointment. If there is any doubt, you want to deepen or lighten some make a sample and test it to see if the color washes off. areas of color. You have two options: you can work the area while the base 3. Once you are finished coloring color is wet, or you can wait for it to the quilt and it is heat set, square dry. Adding color while wet makes the up the quilt using the rotary colors more vibrant, but you run the cutter, mat, and ruler. Bind the risk of muddying them as they will quilt with a fabric of your choice bleed into each other. Once the color is and don’t forget to add a label dry, it is permanent, so you can wet it and a sleeve for hanging. again and the base color won’t lift. FALL 2022 | QUILTING ARTS® MAGAZINE 51

skferomtch stittoch revisited “Cherries Jubilee” • 13\" × 13½\" BOLDAPPLYING TEXTURE to colorful wholecloth quilts I f you have been following my work, you may know that I loooove free-motion quilting and try to find opportunities to use it often. You may wonder why since lots of people shy away from it. The short answer is—I have been doing it for a long time. When I started quilting over 35 years ago, there were no options other than to quilt your own tops. So I learned. And in the process, I learned to absolutely love it. by Ana Buzzalino 52 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

When the time came to make a across a favorite stencil that sparked M AT E R I A L S new set of work to color with Derwent an idea. Actually, in my mind it Inktense pencils, I had the idea to sparked a revolution! Why not use • White or off-white prepared for see how many different ways I could stencils to quilt the background? dyeing (PFD) cotton fabric quilt the background to add textural So that’s what I did. All kinds of interest. I started with straight lines possibilities. • Batting to make it look like wallpaper. Then I • Backing moved on to the grid pattern with the I’ll walk you through my process, • Basting tools (I use either Odif solid squares. All done, of course, in from marking and quilting the design, free motion. to designing a background, quilting it, 505® Temporary Adhesive or safety and finally adding color with Inktense pins.) And then, in the midst of looking pencils. • Fine pencil for something else altogether, I came • Derwent Inktense pencils • Textile medium (I use GAC 900 by DIRECTIONS 4. Choose a stencil design for the Golden®.) background texture. I usually • A design, your own or a copyright Get started quilt two different motifs in the free alternative background; one as the ‘wall’ and • Small containers for textile 1. Create a master pattern from a the other as the ‘table.’ Place the medium, water, etc. drawing or photograph by tracing stencils on top of the fabric and • Acrylic paintbrushes, several sizes a photo or sketch. Enlarge or resize lightly trace the motifs. (figure 2) • Plastic sheeting as needed. Print a copy and retrace • Stencils for the background designs the lines with a thicker marker TIP: Leave a ⅜\" (approximate) margin for • Fabric for facing or binding to make the design visible when trimming and binding especially if you do layered under the fabric. not want the design chopped off. Other all- NOTE: The batting and backing over designs can be quilted to the edge. should be 2\" larger than the top 2. Tape the design to a work surface fabric to make it easier to quilt all and tape the fabric on top. (figure 1) 5. Layer with batting and backing and the way to the edges of the fabric. baste. 3. Using a fine pencil and a light Why Use touch, trace all lines in the design. Inktense Pencils? Inktense pencils differ from standard watercolor pencils in that the colors are permanent once dry; so when a second layer of color is applied, the bottom layer will not lift. The colors will be vibrant and not muddy. They blend well, too. I love and work with these pencils a lot, so I have several sets. Generally, they are more expensive than watercolor pencils. Start with a small, multi-colored set if you are new to working with them or purchase them singly at many art supply stores and online. figure 1 figure 2 FALL 2022 | QUILTING ARTS® MAGAZINE 53

figure 3 figure 4 figure 5 “Apple and Blueberries” • 8½\" × 13\" Free-motion quilt the 54 foreground 1. Thread the sewing machine with charcoal or gray thread to imitate the lines created with a charcoal pencil in a sketchbook. Use a similar color in the bobbin. Prepare for free-motion quilting; place an appropriate presser foot on the machine and lower the feed dogs. 2. Stitch the foreground design using the pencil marks as your guide. Choose a starting point and try not to cut the thread until the entire design has been free-motion quilted. The idea is to purposefully over- quilt some areas of the design to end up with thicker and darker lines, as you would if you were sketching in a sketchbook. (figure 3) Free-motion quilt the background 1. Once the main design is fully quilted, change the top and bobbin to thread that matches the background and quilt the background motif you’ve drawn. Depending on the design chosen for the background, you may not be able to quilt in a continuous line and may have to start and stop and cut the thread. Sometimes, FALL 2022 | QUILTING ARTS® MAGAZINE

What is Textile Medium or Fabric Medium? I can join a few motifs together, figure 6 These words are used interchangeably but other times, I quilt each design and mean the same thing. individually. (figure 4) Color the design Textile medium is added to acrylic paints 1. Add more texture if needed to the There are two main ways to paint to turn them into fabric paint so they background quilting. Consider with Inktense pencils: wet or dry. It is become launderable. filling in some of the open spaces to like coloring in a coloring book: the create a ‘relief’ pattern, such as in the stitching lines are the black lines. The It’s a flexible, non-cracking medium that checkerboard background. (figure 5) criss-crossed areas on your design are will allow paints to penetrate the fibers The more densely you quilt a where the shading goes. Cover a work for permanency without bleeding, as it’s background, the more it recedes. surface with plastic sheeting. Arrange more viscose than water. your supplies so everything is at hand. (figure 6) Textile medium looks opaque but will dry clear. When you draw with the Inktense pencils on dry fabric, the colors After applying, let dry and heat set will appear quite dull, but they will according to the manufacturers’ become vibrant once you apply the instructions. medium. Test the colors on a scrap piece of fabric to see how they will act. (figure 7) Working on dry fabric 1. Apply color with the pencils, going from light to dark and blending as you go. The lighter you apply the color, the lighter it will be when the medium is applied. Blend the New to Free-motion Quilting? figure 7 • While this might not be the best beginner project, if you are adventurous go for 55 it. Here are some basic tips so do more research as needed before you begin free- motion quilting. • Use an open-toe presser foot. Some people like ones with a large, clear ‘bowl’ to see best. • Lower the feed dogs on the machine so you control the movement of the fabric. • Use quilting gloves or other products that help to gently grip while you maneuver the fabric. • Bring the bobbin thread to the top to avoid nests of thread in the back by taking one full stitch and bringing the needle to the top position and hold onto both threads as you start stitching. • Engage the needle-down feature, if available on your machine, so the needle stays in the work when you stop to reposition it or your hands. FALL 2022 | QUILTING ARTS® MAGAZINE

figure 8 figure 9 figure 10 colors as you apply them and too much medium and not enough. If you do Working on wet fabric avoid strong lines that will be not apply enough medium, the colors won’t difficult to blend. (figure 8) blend and you’ll ‘see’ the fabric. If you apply 1. With a small brush, paint the area too much at once, the colors will bleed into to be colored with textile medium. 2. With a small brush, take up a adjacent areas. The fabric needs to be damp, but small amount of textile medium not sodden. Work in sections and apply it to the colored area, 3. Place the brushes in a container of from the center out to prevent blending as you go. Work one water in between applications to the medium from bleeding into section at a time. (figure 9) prevent the medium from drying adjacent areas. on the brush. Dry the brush on a TIP: Start at the center of the area you paper towel before touching the 2. Carefully start adding color with colored and work your way toward the edges, medium again. the Inktense pencils directly onto carefully, so by the time you get to the edges the wet area. This allows the color there will be almost no medium and the to flow freely from the pencil. edges won’t bleed. There is a fine line between (figure 10) Troubleshooting the Process 3. Once the color is applied to one area, go back over it with a brush Fabric absorbs product more than paper, which means as soon as you touch the and a bit of textile medium to medium to the fabric it will suck it up. Sometimes you may notice that you have blend. Repeat as needed. a ‘halo’ where the medium has pushed the color to the side. To fix this, there are a couple of options: Finishing • Add a bit more of the color you applied as the base and carefully blend with the 1. Once all the color is applied to the quilt, let it dry for 24 hours to paintbrush. ensure it has set properly and is completely dry before proceeding • Let it dry and then apply more color to the area and more medium to blend. to the next step. Once the entire design has been colored with the first application of color, let it 2. Following the manufacturer’s dry—it will dry lighter than when wet. Look at the design and assess which areas directions, heat set the color. need to be recolored; you can then: Generally, this means using an iron on the wool setting and a press • Add more color to light areas. sheet or piece of muslin between • Add washes of different color to areas to enhance the color. the iron and your work to protect • Darken areas where the shading needs to be adjusted. • Repaint—areas with a lot of thread may need more color to prevent white areas from showing around the thread. 56 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

“Still Life” • 15\" × 9¼\" the quilt. Press and hold for about Ana’s Tips for Success 20 seconds in each area. • Use small amounts of textile medium at a time. You can always add more. If NOTE: Test on a fabric scrap to make sure you don’t scorch the quilt. the textile medium is too thick, thin it by adding water. 3. Bind or face the quilt and display it • Within a colored area, start by brushing the lightest area first and work your proudly. way to the darkest area of color. That will help with blending. Otherwise, you Get more online may move the darker color into the lighter area. Clean the brushes when moving from dark colors to light colors to avoid staining the light colors. Ana shot a fun video for • If you are not happy with the first application of color, let it dry. Once dry, the Quilting Arts readers to see color is permanent, so you can add layers of color on top without moving the her process of color underneath. free-motion quilting the foreground. She also • The textile medium will make the image stiff, which is ideal for a wall hanging. created an exclusive sample design for readers to download and try this If you prefer a softer feel, the stiffness will disappear after a washing. technique. To learn more, scan the QR code or visit quiltingdaily.com/ • You may find the pencils become hard if textile medium dries out on the end quilting-arts-magazine-fall-2022. (it looks like a plastic film). Simple sharpen the pencils to bring them back to their original state. • Derwent Inktense pencils do not carry the AP Non-Toxic label, so never suck on the pencils or touch them to your lips. Keep them away from children and pets. • You can also dip the end of the pencil into the textile medium directly and apply to your work for detail work like fine lines, dots, etc. • Rinse and clean the brushes immediately after working with the pencils. Letting the pencil dry on the brush will ruin it. FALL 2022 | QUILTING ARTS® MAGAZINE 57

Quilting Arts TV Series 2900 Available October 5 on QuiltingDaily.com! Join host Susan Brubaker Knapp and her many talented guests for a brand new season of Quilting Arts TV! Tune in for new techniques and fresh inspiration. Plus, download the FREE eBook with detailed instructions and tips featured on the show. Featured Artwork by Margaret Abramshe, Lea McComas, Susan Brubaker Knapp; and Quilting Arts community members Terry Aske, Susan Price, and Mary Jo Stipe. Want more art quilting? Get the full season AND a yearly subscription to Quilting Arts Magazine for just $49.99. For more information visit quiltingarts-tv.com. Thanks to our sponsors:

42 Y E A R S AND COUNTING The History of Quilt National by Linda Chang Teufel Photos by Gary Kirksey and Sam Girton every odd-numbered year, I eagerly await the summer drive to 6' of Chaos The Dairy Barn Arts Center in Athens, Ohio, to view some of the best contemporary, fine art quilts from around the world. It is 52½\" × 35½\" always a thrill to see these incredible works of art up close. JILL KERTTULA CHARLOTTESVILLE, VIRGINIA In 1979, fine-art quilt exhibitions did not exist. Three AWARD OF EXCELLENCE quilters—Nancy Crow, Françoise Barnes, and Virginia Randles— Purchase Prize sponsored by Aurifil plus many others, were having their entries rejected from quilt Original photography, custom-printed fabric, shows for not being traditional ‘bed quilts.’ These women created non-traditional commercial fabric, yarn, Quilt National as a venue that recognized quilts were to be batting; fabric painting, stenciling, hand admired hanging on walls and not necessarily made for beds. stitching, domestic machine free-motion stitching, trapunto. FALL 2022 | QUILTING ARTS® MAGAZINE 59

Fracas This genesis also coincided with a desire to save an historic dairy barn destined for destruction. The first show of 76\" × 55\" • KIT VINCENT quilts hung between hay feeders, concrete floors, and flies! OTTAWA, ONTARIO, CANADA Now the barn is a state-of-the-art gallery and arts center. BEST OF SHOW In 1980, soon after its founding, Hilary Fletcher Purchase Prize sponsored by Moda Fabrics became the steward of Quilt National—and how lucky they were! Hilary was so impressed and inspired by Cotton, silk; dyeing, monoprinting, painting, the 1979 collection, that she began working with The machine piecing, appliqué. Dairy Barn as a volunteer before being hired as Program Director in 1982. Hilary quickly became an integral figure 60 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

in the contemporary quilt world. Under her decades Another Year of leadership, dedication, and vision, she brought this exhibition in Appalachian Ohio to the prestigious, 77\" × 72\" • CÉCILE TRENTINI • EVANSTON, internationally acclaimed venue it is today. ILLINOIS Quilt National has progressed but is still rooted in its Cotton fabric, felt; reverse appliqué, machine piecing; beginning philosophies. Gary Schwindler, one of the first machine quilted. judges, said at the time, “American quilt making is now at a stage of experimentation and development as it prepares to take its place as a major form of artistic endeavor.” The show is much the same today, as it is consistently FALL 2022 | QUILTING ARTS® MAGAZINE 61

Up the Rabbit Hole #5 52\" × 51\" • VALERIE MASER-FLANAGAN • CARLISLE, MASSACHUSETTS Hand-dyed cotton and commercial black fabric; freehand cutting, improv machine piecing; machine quilted. displaying new forms, extending the definition of the about this one!’—that define the progressive nature of ‘quilt.’ Creating this exhibition helped to legitimize quilts this show. as fine art. One year there was a ‘quilt’ made of dried tea bags Over the past two dozen years of Quilt National loosely stitched together in a grid. In the 2021 show there biennials that I’ve seen, it’s easy to say which pieces were brown toilet paper roll cores cut into squares and are my favorites. They are usually colorful abstracts or stitched together … huh? Although my mind couldn’t representational work that I can easily relate to. But it’s comprehend this art, it was the judges’ forward vision the artworks that stop me in my tracks and make me that recognized the value in these quilts. Exhibiting question—‘What is this?’ … ‘Is this a quilt?’ … ‘Not sure these unusual quilts brings new conceptual ideas to the 62 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

Family Meeting 42\" × 35\" • KERRI GREEN • DALLAS, TEXAS Hand-dyed cotton, commercial cotton, cotton batting; machine piecing; machine quilted. attention of the community and validates quilt artists’ respect for time-honored quilt methods of piecing and reasons for challenging the current approved standards. patchwork while challenging the boundaries by creating This is the essence of Quilt National and where it shines. works based on artistic intent. Frequently, as in the history of fine art, there were In every exhibition, it is exciting to see how the artists styles that were unaccepted at first—such as Mondrian’s reflect what is important in their world and beyond. simplicity, Jackson Pollock’s splatter, not to mention Many of the quilts in 2021 had the themes of Covid life, the crazy later work of Picasso! Now quilters choose diversity, equality, justice, environmental, and social traditional and non-traditional materials and use forms concerns. Others were thought-provoking or purely other than the standard rectangular shape. They still hold artistic color studies and abstract design. FALL 2022 | QUILTING ARTS® MAGAZINE 63

Vivid Disposition The artworks in each exhibition are selected by a blind-jury process, meaning the jury members select the 43\" × 43\" • DIANE MELMS works based on images of the artworks without identifying ANCHORAGE, ALASKA information about the individual artists. There are always two jurors who are quilt artists and a third who is familiar Artist hand-dyed and commercial cotton with quilting or art in a related area such as a museum fabric, fusible adhesive, cotton/polyester curator or quilt appraiser. Each year, there are over 800 batting, cotton/polyester thread; freehand entries from all over the world. For the selection of the cutting, machine piecing, raw-edge machine 2021 exhibition, the judging was conducted virtually over appliqué, fused collage; machine quilted. a series of video calls and slideshow reviews. In previous 64 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

years, the jury met in-person over three days in Athens. Red January For hours, the jurors scrutinize the images on their computers, honing the selection to a few hundred before 47\" × 33\" • ROBBI JOY EKLOW they all ‘meet.’ OMAHA, NEBRASKA Together the three jurors review the images while they Cotton hand-dyed fabrics, perle cotton, polyester continue to hone it to approximately 100 possibilities. embroidery thread, wool batting, fusible web; fused They then begin discussing which should be in the final appliqué, couching; machine quilted. group—only 85 are selected to be in the show but there are 10 ‘reserve’ choices in case the submissions that arrive do not meet the specified qualifications. FALL 2022 | QUILTING ARTS® MAGAZINE 65

Transfusion in TWO PARTS The final step is to decide which quilts receive awards. I was privileged to watch the judging in person 72\" × 60\" • CATHERINE WAHL SMITH when I published the 2013 catalog and it was a long and CHAPLIN, CONNECTICUT arduous—but very interesting—process. Cotton thread, batting, commercial, and artist Quilt National is open for submissions from May hand-dyed fabric; machine piecing, improvisational to September in even years. Currently, prizes include four purchase prize awards—these winning quilts join slashing; hand quilted from back side. the Quilt National Collection at the International Quilt Museum in Lincoln, Nebraska, and their quilters win trips to teach in Japan—along with other cash awards. In the 2021 biennial, over a third of the artists were first-time exhibitors in Quilt National. For more information, visit quiltnational.org. 66 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

Quilting by Sunny Malesky THE FOLK SCHOOL CHANGES YOU. Engaging hands and hearts since 1925. Come enjoy making crafts and good friends on 270 natural, scenic acres in western North Carolina. JOHN C. CAMPBELL FOLK SCHOOL folkschool.org 1-800-FOLK-SCH BRASSTOWN NORTH CAROLINA FALL 2022 | QUILTING ARTS® MAGAZINE 67

Bowsers & Wowsers RESULTS FROM THE ‘POP ART PETS’ READER CHALLENGE a s a chapter of the pandemic seemed to close, we Our readers sure love their pets and we knew this were all able to reflect on how we got through it. challenge would hit a note. And boy, did it! Dogs, cats, For many, our pets took center stage—in good ways (love parrots, bunnies, chickens, and waaaay more visited our those hugs!) and, well, less-good ways (‘Rover, get out of mailbox. As always, our readers showed us their best work my Zoom call!’). There were so many quilty antics, we and it was tough to decide between all of the wonderful decided to have some fun and challenged our readers to entries. Thank you to everyone who participated! create a 12\" × 12\" Pop Art-inspired quilt featuring their pet and its unique personality. The ‘pop-artier’ the better! We are pleased to share this gallery and hope you enjoy the following pages of original art. 68 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

Kirby Bunny Bliss DOLORES FEGAN • STANFORD, LESLIE DEMASEK • NEW BERLIN, WISCONSIN KENTUCKY Exuberance! Our Daisy lived every day with fearless gusto. It was love at first sight for my This quilt was inspired by finding my daughter and Daisy, and she came up with all the plans for their activities together. When we lost glasses lying on a thread painting took her to a rabbit show, we learned she was a nearly perfect gray Dutch doe and in no time of Kirby at my sewing machine. I she wowed judge after judge to become a Grand Champion. Her athletic prowess won her opted to limit my color palette to Grand Champion ribbons for Rabbit Hopping—think bunnies coursing over hurdles—at every two plus black and white. This little fair. Pop Art is the ideal genre to capture Daisy’s enthusiasm with bright fabrics, sparkly threads, guy is very spunky, hence the dotted and shiny metallics. The words on the quilt are part of a song we would sing to her. Daisy lived a background and fun glasses. long happy life with a family that loved her. FALL 2022 | QUILTING ARTS® MAGAZINE 69

Spike the Cocka-TEA-l ELEANOR LEVIE • PHILADELPHIA, PENNSYLVANIA Our longtime companion and watch-bird greets us and lets us know when someone is arriving, but the true delight is that he whistles parts of several tunes. Spike’s cage is in our breakfast room, where we take tea and all our meals. So it’s appropriate that this Warholian tribute is made from my ‘trash-stash’ of foil-lined, plasticized food packaging—predominantly the envelopes that held single-serve tea bags. 70 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

Sour Puss LINDA GAROFALO CARMEL, CALIFORNIA I have a pure white Turkish Angora cat named Lily. She’s the sweetest thing except when she’s hungry. When that’s the case, she just sits and stares at me patiently— but with a grumpy expression—waiting to be fed. My Little Flower Child 71 PATTI LOUISE PASTEUR NEW BERN, NORTH CAROLINA I was pulling weeds in my garden one morning and realized many flowers were missing. Did a woodchuck get into the garden again? I saw my beagle hiding behind the tree and went over to check out what he’d been up to. Sitting at his feet were a dozen or more flowers! He hadn’t eaten them, just pulled them out gently. He looked at me with a guilty grin and I couldn’t help but laugh. I took the flowers inside and placed them in a vase so that both of us could enjoy them. Max has been gone for more than 10 years and a day doesn’t go by without thinking about the immeasurable joy he brought to our lives. This image was printed on cotton and enhanced using computer software. Machine and free-motioned stitched. Raw-edge appliquéd and collaged with bits and pieces of fabric. Novelty yarn and beads were added. FALL 2022 | QUILTING ARTS® MAGAZINE

Dosado, Herd Queen LIZ RADI • EATON, COLORADO Dosado, my Nubian goat, is queen of the goat yard. She is always willing to help out with chores around the farm! Fabric collage and thread painted. Finished with a facing. Polly and Cracker BARB INGERSOLL RALEIGH, NORTH CAROLINA Polly and Cracker were a pair of lovebirds that my young daughter acquired from a friend who had tired of them. They had a beautiful cage and everything they needed. Lovebirds are paired for life and these two were inseparable—they only had eyes for each other. They fed each other, groomed each other, chattered to each other endlessly, and sang songs that only they understood. Until one day they discovered how to open their cage and flew away . . . to find freedom and true birdy love. 72 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

Kodi 73 DEBBIE WATKINS • MONTROSE, COLORADO I look at this profile every evening after we eat our dinner as Kodi, our Lab, stares persistently at his human dad. His human dad caves every night and feeds Kodi his ‘dinner after dinner.’ Mirrored after Roy Lichtenstein Pop Art, I painted dots on dotted fabric and used other dotted fabric and yarn to create this appliquéd piece. FALL 2022 | QUILTING ARTS® MAGAZINE

Mr. Mao CHERRI ANN PEARSON • ORANGE, MASSACHUSETTS ‘Maoser’ likes to sit on me and look down on his humble subject. This look always makes me laugh. He is very proud of his beautiful, black mane that he grooms with great care. Hand painted on cotton fabric; commercial print fabric for background, vintage rick-rack; hand beading with glass seed beads, plastic beads, and sequins. 74 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

Mia LAURA GAMALERI • GENOVA, ITALY You’d like a calm, quiet, even a bit lazy dog, happy to obey its owners? If so, a Golden Retriever is supposed to be the correct choice. Mia, my dog, is a Golden, but greatly different from theory! She doesn’t walk, she runs. Always. If I calls her when I am outside, Mia returns immediately . . . or sometimes later, when she feels like it. At home she always stays near me, especially if I am in the kitchen. Mia eats everything: fruits, tomatoes, peppers, socks, underpants, towels, and, of course, all the flowers and plants on the balcony, especially cyclamen. She never barks, but often takes part in our conversations with resounding “uuuù” and “auà.” My quilt tells about all the joy, the colors, and hair—lots of hair—that she has brought into our lives as retired people. Penelope 75 ANELIE BELDEN VOLCANO, CALIFORNIA We gave our son little Penelope three years ago. She has been the joy in his every day. She loves to chase balls, run in the grass, and steal cuddles from anyone who is willing. FALL 2022 | QUILTING ARTS® MAGAZINE

Dreaming in Full Color ELAINE HENGEN GRAND RAPIDS, MICHIGAN When I thinks of Pop Art, I thinks of bright colors. As dogs can only discern blue and yellow, my dog Misty can only dream of seeing all of the beautiful, vivid colors in the world. Mittens, Buddy, and Baby Opie NANCY S. BROWN OAKLAND, CALIFORNIA This is a colorful tribute to my cat Buddy (in purples) and a memorial to Mittens, who lived across the street, and Opie, who once owned me. Hand appliquéd and quilted. 76 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

Hammy in Stitches 77 SHANNEN COLTER • WOODBURN, INDIANA Hammy is our seven-year-old Boston terrier, and as soon as I read the theme of this challenge, I knew I wanted to feature him in an art quilt. He is a charming and energetic part of our family, and he has seen me and my husband through some of the most difficult and joyous moments of our life together. His sense of humor and ever-present companionship easily win over neighbors, friends, and family, and his antics often leave us in stitches. He is truly a colorful character and our story would not be complete without him. FALL 2022 | QUILTING ARTS® MAGAZINE

Pumpkin Delight LIN ELMO • MILFORD, CONNECTICUT A very mischievous squirrel was seen savoring seasonal delights. She nibbled away on the pumpkin, bit by bit, basking in the warmth of the sun. Polka dot fabrics reference the printing methods that were used in the comics of the time; the graphic was one of the important elements in the Pop Art style. Fabrics were fused and black outlines were quilted for emphasis. 78 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

Leon NICKI ALLEN SPRINGFIELD, VIRGINIA Leon is my daughters’ dog. When I took the inspiration photo, he was still a puppy trying to sit for a treat. His personality is very colorful! RIP: Lady LESLIE PANFIL • RICHFIELD, OHIO This art quilt is inspired by our chicken, Lady. She lived to be six years old. The image used was taken the day before she flew over the rainbow coop. We knew her health was fading so we allowed her to free- range among the Spring blades of grass and flowers before her passing. FALL 2022 | QUILTING ARTS® MAGAZINE 79

DANG! CHERYL GOODWILLIE KANSAS CITY, MISSOURI My cat, Rusty, acts nonchalant. Despite this aura of coolness, he’s really rather dramatic, trying to fit himself in boxes and vessels too small for a tomcat his size. With these traits in mind, he seemed the perfect muse for a Roy Lichtenstein-style Pop Art quilt. I selected cotton fabrics— all with dot variations—as a nod to the Ben-Day process popularized by pulp comic books and found in much of Lichtenstein’s work during the 1960s. Food For Me? WENDI FLAHERTY SURPRISE, ARIZONA My Pop Art version of Lucy was inspired by Roy Lichtenstein’s paintings. I purposely chose flat colors and a cropped close-up of Lucy’s face to emulate Lichtenstein’s dramatic comic book style. Lucy is always very interested in food— especially if it isn’t hers!—so asking, “Food for me?” is high drama for her. 80 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

Max’s Balls SANDI BOND • SHUBENACADIE, NOVA SCOTIA, CANADA I usually create realistic portraits of our pets, so this challenge with its non-traditional techniques was out of my comfort zone. I used a Riley Blake precut roll of strips, hoping that the colors would work their magic. Our dog Max is obsessed with balls and always has one or two or three in his mouth! We spent a huge amount of time during the pandemic throwing balls for him to chase. He made the time pass quicker for us and encouraged us to get active and spend time outdoors, rain or shine, in our backyard. FALL 2022 | QUILTING ARTS® MAGAZINE 81

INTRODUCING OUR LATEST READER CHALLENGE GGetiaveHaHeaErtAswRaTp WE WERE INSPIRED BY MEL BEACH and her This challenge will be a great opportunity for all enthusiastic commitment to creating quilted involved to share their art with other readers in two ways: hearts as an artistic venture—and an altruistic one as A selection of the hearts will be published in the Spring well. And it seems like so much fun! Guessing that this 2023 issue of QUILTING ARTS MAGAZINE or online. Plus, all of project may also inspire our readers, we thought it would the hearts will be distributed and each Reader Challenge be fun to host a challenge that is also a swap. You create participant—whether published or not—will receive a a heart and send it to us—and we will send you a heart quilted heart created by another reader/artist. created by another artist participating in this challenge. An expression of kindness and art! Rules 3. Write your name and email address on an Half Heart index card and pin it to the back of the Template 1. Create a quilted heart inspired by or in heart. Optional: include additional social the style of Mel Beach’s “HeARTs are for media or contact information, if desired. This 7. Swapped hearts will be Giving” article (page 42) using the template card will not be photographed but it will be shipped to participants in provided here. Put your own spin on your included when we ship the heart to another February 2023. ‘heartwork.’ The completed heart—including participant. embellishment—must not exceed ⅜\" NOTE: By submitting your Reader thickness nor the entire package weigh more NOTE: Not all hearts will be photographed to than 3 ounces (including all enclosures). The Challenge entry, you confirm the originality completed heart must fit comfortably in a appear in the magazine. of your design and authorize Golden Peak #10 business envelope without folding or Media to publish your artwork in an upcoming jamming. Embellishment should not be sharp 4. Only one entry per person. Limited to U.S. publication and promotional materials, on enough to puncture a paper envelope nor residents. If you send more than one heart, we our websites, and in other e-media, as well harm anyone touching it. The heart should will consider additional hearts a donation and as possibly display it at shows. Golden Peak not be fragile but, otherwise, may be made they will not be returned to you or swapped. Media will not be held responsible for loss or with any materials, must consist of 2–3 layers, damage due to circumstances beyond our and be finished along the edges in some 5. In your shipment, include: control. fashion. A hanging ribbon is optional. If you have questions, contact us at • A brief written description of the [email protected]. NOTE: Your entry must be an original technique(s) you used to create the heart We look forward to seeing your work! plus your first and last name and complete design and be free of any text or images mailing address (separate from the card in protected by copyright unless you have the Rule #3), expressed written permission from the person or institution that holds the copyright and • The quilted heart (wrapped simply with you include that written permission with your tissue or in a small plastic bag; no additional heart. packaging, please), and 2. This challenge is a swap: Your heart will not • A self-addressed, stamped, #10 business be returned to you, however, we will send you envelope with $1.50 USPS postage attached. a heart created by another participant in the challenge. 6. The heart must arrive in our offices by December 2, 2022. Ship the package to: NOTE: This is not part of the I Found a Golden Peak Media/Quilting Arts Magazine ATTN: Heart Swap Reader Challenge Quilted Heart Project, which has different rules 500 Golden Ridge Road, Suite 100 for participation. Golden, CO 80401 82 Above: Work by Mel Beach FALL 2022 | QUILTING ARTS® MAGAZINE

The World of Quilting at Your Fingertips Subscribe to the top quilting magazines from Quilting Daily! DISCOVER NOW: • The Latest Quilting Trends • Fresh Scrap Quilt Patterns • Festive Patriotic Quilts • Time-saving Techniques ... and lots more quilting inspiration! SUBSCRIBE TODAY AT QuiltingDaily.com/Subscribe

myouirnbduinsginess Show Your Work by Susan Brubaker Knapp Viewers admire Darcy Berg’s “Violet,” which Photos courtesy of the artists won Best of Show at the Chicago Alliance of Visual Artist’s exhibit at the Beverly Art Center in Chicago, Illinois, in April 2022. you’ve shown your work at local and regional quilt shows— Beyond fiber or even the big national or international quilt shows. Now, maybe, it’s time to consider dipping your toes into the Darcy Berg, of Joliet, Illinois, finds art world by doing a solo or group show at an art venue. Why? at art venues, “People are more It can expose people outside of the quilt world to your work, appreciative of my artwork. They are and open doors to commissions and sales. Showing provides an curious about the workflow and the opportunity to grow, learn, and improve. And it can bring simple back story.” Ro Morrissey, of Bluffton, recognition—or validation—of your work as art. South Carolina, started out showing her art at a very traditional quilt guild on Cape Cod. Now, she exhibits at solo shows or with other fiber artists. 84 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

“I absolutely love it when folks come everybody is familiar with textile art. agrees. “Most of my work is three- up to a piece thinking it’s a painting Some people are seeing work like this dimensional and would not be and are shocked to see it is fabric. for the first time.” included in traditional quilt shows— This always results in conversation Not for the bed not even in many art quilt shows.” and often a sale.” Many art quilters and fiber artists The art world is different Patricia Gould, of Albuquerque, New Mexico, started exhibiting at decide that they have outgrown Many aspects of exhibiting at art quilt shows in 1993 and then moved traditional quilt shows. “I am a fiber venues can be eye-opening. “Opening to all-media fine art exhibitions artist and have not exhibited at a quilt receptions give you an opportunity in 2007. “Exhibiting outside the show for years,” said Jean Ann Mau, to see your work through the eyes traditional quilt world has been so of Marco Island, Florida. “I don’t of other people,” Clara Nartey, of much better,” she said. “I’ve gotten believe my work should be judged West Haven, Connecticut, points awards at fine art shows for artworks on the size of my stitches or any of out. “This can inform your work that got really weird comments from the other typical things quilt show going forward.” Caroline Higgs, of La quilt show judges.” About 75% of her judges look at. Because my work is Rochelle, France, recalls an interesting sales have been through galleries. not typical.” experience when she showed her Textile artist Marijke van Welzen, Some fiber artists who work work at a gallery on the coast, within of Vlaardingen, the Netherlands, primarily in three dimensions find a small center for three associations has exhibited widely in Europe and that their work is better suited to art linked to the natural environment. North America and has found “not venues. “I use wire mesh in the work “One of the most interesting and and it can be fragile,” said Diane richest conversations I had was with Núñez, of Southfield, Michigan. three lads who rolled in at the end of “In my experience, non-quilt the day straight from the beach with shows are much more cognizant their towels around their waists. One of packing, shipping, and display.” in particular asked very interesting Textile artist Andrea Finch, of and deep questions about how Chambersburg, Pennsylvania, I work.” Exhibiting at an art venue can also push you to grow as an artist and provide other amazing opportunities. “I find that getting ready for solo shows helps you to focus on your goals,” said Andrea Finch. Susanne Miller Jones, of Potomac Falls, Virginia, has curated A live ‘mannequin’ wears a quilted Andrea Finch with “Magnolia Grandiflora III,” which won three exhibits, and garment by Marijke van Welzen at Best of Show at her county’s Art Alliance Exhibition in 2019. had the opportunity to the 2019 opening of the Colors of meet Fred Haise from Winter exhibition, Flower Art Museum, Apollo 13 and Wally Aalsmeer, the Netherlands. FALL 2022 | QUILTING ARTS® MAGAZINE 85

Left: “Fly Me to the Moon” quilts hanging at NASA, January 2017. Susanne Miller Jones curated the exhibition. Below: Visitors examine Clara Nartey’s work in the “All Things Being” exhibition in the Crown Gallery at Metro Art Studios in Bridgeport, Connecticut, in early 2022. Cunningham from Apollo 7 when for any opportunity along with examples of previous “Fly Me to the Moon” quilts were that comes along. “I record all works, so that the curator knew hanging at NASA. the information into a spreadsheet I had the discipline to make the work file—title, size, artist statement, and I promised,” said Sarah C. Blanchette, Working toward this goal any other pertinent information. of Detroit, Michigan. “Curators want Having well-lit, in-focus, high-quality to see you in your work and this A good place to begin is by joining photographs is so important. The consistency and solid photographs are your local art group. “It’s the number photos you submit are often the only key. Good writing and a fully fleshed- one thing that I did that has made photos used in catalogs, websites, and out artist statement are also critical.” me not focused solely on the quilt social media.” world,” said Clara Nartey. Most art Networking is essential, too. groups require a portfolio review to Scout locations that might be good Sarah said, “I do a lot of exploration join, which provides a good reason options for your art and visit them of galleries and other spaces online to create a cohesive body of work in person. Do some research—most (mostly Instagram) and through open- that reflects your artistic voice. This places that regularly have exhibitions call websites like CaFÉ. I also receive is perhaps the most critical step in have specific guidelines that are recommendations from colleagues and getting ready for a solo exhibition. available online. Think outside the propose shows to galleries that I know usual galleries and museums—you will respect my work and mission. Clara used her membership in may find great options at coffee shops I always do my best to support the her local art group to exhibit in as and restaurants, botanical gardens, galleries by attending exhibitions, many venues as she could, alongside government centers, corporations, helping to promote shows on my the work of artists like ceramicists, libraries, bookstores, universities, channels, and building relationships painters, and sculptors. Exhibiting churches, airports, and medical with previous exhibiting artists and with a group is a good way to get facilities. Many venues schedule a the folks who work there. Community ready for exhibiting solo. “Being in year or two out, so plan ahead. building is a huge part of my practice that world gives you an opportunity to and life, and sometimes opportunities exhibit,” she said, “but also opens your Does the venue or exhibition come naturally through those eyes to what works and doesn’t work; require a theme? If so, make sure your interactions.” to a wider sense of what art is … and work fits the bill. Find out exactly what you can do with your art.” what is required for your application. Once you are committed, make “For my upcoming solo show … sure you continue to work on good It’s also important to get organized. I made sure to have one finished piece Andrea Finch works hard to keep her as an example for my application, portfolio current so that she’s ready 86 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

communications with the venue. on pedestals and discovered that the Her work is photo-based and explores “Discuss with the exhibition site curator hung them on the wall with quilting techniques, sculpture, and what they have in mind and which of very large binder clips. “I will now photography. She said one person your works they were drawn to,” said make sure I add information about actually kicked one of her pieces at an Andrea Finch, “and the size of the displaying.” opening reception to try to determine space; how many pieces they would what the piece was made of. like, sizes, timeframe, set-up and In exhibitions she’s curated take-down requirements, equipment, Susanne Miller Jones said, “Hanging How to price your work is commissions, openings, publicity, and systems vary widely, from none—the another issue to ponder. It’s generally anything else they expect of you and quilts were displayed on tables—to considered a no-no to price work you expect of them.” carpeted walls requiring Velcro on the differently at a gallery (which almost back to hang them.” Many galleries always takes a 30%–50% commission) How your experience use specialized hanging systems than what you sell it for yourself. might be different involving wires and hooks or simple Venues should be compensated nails in the wall. Textile artist Zara through commissions for what they Textile artists usually find exhibiting Zannettino, of Highbury, South are bringing to the table, including at an art venue to be very different Australia, Australia, said, “I have visibility and marketing. Fiber artist from a quilt show. Some venues require noticed that my pieces sell better if Renee Fleuranges-Valdes, of North you to hang or otherwise display your stretched over canvas frames rather Charleston, South Carolina, said, work. Others have curators who take than as wall quilts with rod pockets. “I once had a gallery owner tell me responsibility for this. Improvisational The purchasers simply understand they wouldn’t sell my work at the abstract quiltmaker Margaret Black, of this hanging method better.” price I had listed. At first, I thought Boswell, Pennsylvania, has experienced I had overpriced it until she explained “more respect in handling the work, Sarah C. Blanchette has mostly that no one would value it at that plus superior lighting, and professional exhibited outside the quilt world and price. So I asked her to price it for me. arranging” at an art venue. But Andrea said, “I always find it interesting how She did and it sold within five minutes Finch has found that she may need to in non-quilt exhibitions, viewers are in the opening reception. It was the educate curators about how to work always more apt to try and touch my most expensive piece sold during that with and exhibit textiles. Recently, work. I know that it is very tactile and exhibit. It really taught me a valuable she showed work with another artist sometimes hard to resist, but I always lesson about pricing my work as art that were designed to be displayed love seeing people sneak a touch versus as a craft form.” when they think no one is looking.” 5 Tips for Assembling Artist information Work for a Solo Show Darcy Berg: darcyberg.com • Work to establish your ‘voice’—your individual style that develops as Margaret Black: peggyblackquilts.com Sarah C. Blanchette: sarahcblanchette.studio you make choices as an artist. Andrea Finch: afinchsongcreation.com Renee Fleuranges-Valdes: quiltedartistrybyrenee.com • Consider working in a series based on a theme. This can help you Patricia Gould: angelfiredesigns.com Ro Morrissey: artquiltersofthelowcountry.com create a cohesive body of work. Susanne Miller Jones: susannemjones.com Clara Nartey: claranartey.art • Think about color schemes that will work well together in one space. Diane Núñez: dianenunez.com • Create pieces that are all the same size—or within a narrow size Marijke van Welzen: art2wearblog.blogspot.com Zara Zannettino: Facebook: Zara Zannettino range—to give the exhibit a unified feel. Resources • Give yourself enough time. You may need a year or more to create CaFÉ: callforentry.org work for a solo show. FALL 2022 | QUILTING ARTS® MAGAZINE 87

studio style Focus on your studio: add these items to your quilter’s tool kit and library Photos courtesy of Yamato Indigo INDIGO FABRIC PAINT KIT Brooklyn Haberdashery carries the most amazing products for fiber fanatics and hands-on handwork lovers. The kits, the tools, the practical objects are all beautiful and functional. This paint kit caught our eye as a different and welcome variation on the ancient art of indigo dyeing/painting. Perfect for the detail-oriented among us who want a bit more control than the frequently serendipitous pot of indigo dye, the revelation one can paint with indigo was huge. (Okay, it may be obvious to some but maybe not to all.) It contains everything but a paintbrush and natural-fiber fabric for you to get started—cotton and linen are recommended over silk and wool, however. My white canvas sneakers are calling out for a pop of blue! $36 • brooklynhaberdashery.com WINDSWEPT STONEHENGE leaf, branch, and veined rock prints. This soft, moody collection includes 12 fabrics from the lightest-of-delicate lights to strong, deep browns, LINDA LUDOVICO FOR NORTHCOTT FABRICS including a moody ombré print; a vibrant panel print that is 43\" x 24\"; and a 108\" wide backing selection with an ombré print as well. This versatile Linda Ludovico is a longtime fabric designer whose collections run from collection will spark many projects! bright and chromatic to rustic and earthy in a brushstroke. Windswept is part of the series called Stonehenge, with gradations of color and a northcott.com hand-dyed mottled quality. Windswept has that feel plus the addition of WELLNESS FOR MAKERS: A AQS 2023 QUILTART ENGAGEMENT CALENDAR MOVEMENT GUIDE FOR ARTISTS MISSY GRAFF BALLONE QUILTS CURATED BY KLAUDEEN HANSEN FOR AMERICAN QUILTER’S SOCIETY This book from Schiffer Publishing is a welcome guide for artists of many This lovely, spiral-bound engagement disciplines. Author Missy Graff Ballone calendar is a must for keeping yourself knows of what she speaks—as an artist, and your quilt projects organized. Each massage therapist, yoga practitioner, week’s calendar is paired with an inspiring and former physical therapy patient, she quilt photo and there is plenty of writing has found being kind to one’s body and room on each day. A variety of quilt exercising appropriately will lead to many styles is represented throughout—art, more healthy years of art practice. Missy’s modern, and traditional—to honor common sense tips on posture and gentle stretching may not be all quilts. At approximately 7\" x 9\", it is a perfect size to fit in a tote or new to some but her tips are deeper and more extensive as the book backpack to keep with you at all times. In the back of the book are moves along. There are tons of photos demonstrating proper body helpful pages where you can note details of projects made, goals set, alignment—and the opposite—and myriad tips to strengthen every machine maintenance done, and more to keep track of your quilty muscle. Quoting Missy: “If you take the time to care for your body now efforts for the year. AQS also has a stunning wall calendar for 2023 with through movement and massage, you are much more likely to improve a different selection of quilts (not pictured). the longevity of your practice.” This is a book we will return to again and again for enlightenment. $15.95 • americanquilter.com or many booksellers and quilt shops $22.99 • schifferbooks.com 88 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

Dye Transfer Sheets PART ONE: Rolled dye fabric bundles by Margarita Korioth I AM A DREAMER AND A MEDITATOR so it is not unusual for creative ideas to What is percolate in my head for a while . . . like this one. Thickened Dye? It all started when I was finishing a dyeing session and had extra thickened dye. Usually, I throw these leftover dyes randomly on a piece of fabric; Many fiber artists use dye in their sometimes already painted or plain white. work to add color to fabric. Most dyes are applied in liquid form and This time, however, I had a LOT of leftover dye. I asked myself a ‘what if’ are readily absorbed by the prepared question: Can I figure out a way to save this thickened dye and store it in a dry cloth. However, if you want to apply form for later use? the dye with different methods, such as printing, stamping, or Since the thickened dye was not activated—which means that no soda ash painting, then you may need to add had been added—there might be a way to store it at room temperature without a thickening agent for successful the need for refrigeration. Or what else could I do with it? surface design. Thickened dyes can be applied to fabric in many ways, And that’s when this idea popped into my brain! including with a paintbrush and By painting pieces of sheer 100% polyester fabric with the thickened dye through a silk screen. and letting them dry, I created Dye Transfer Sheets—just waiting for the next FALL 2022 | QUILTING ARTS® MAGAZINE 89

MATERIALS opportunity to show how full of color they were! I’ve been experimenting • 100% polyester sheer fabric (I use with these sheets for a while now. 10\" × 11\" pieces.) NOTE: In this article, I assume you Process photos courtesy of the artist • Natural fiber fabric (cotton, linen, do not have leftover thickened dye so rayon) the first few steps tell how to make it. If you do have leftovers you want to • Urea reuse, start at step 4 of the first section, • Sodium Alginate SH ‘Create the Dye Transfer Sheet.’ • Procion® MX Dye • Mask or respirator DIRECTIONS figure 1 • Small plastic cups and spoons for Create the Dye Transfer 4. Cut a piece of freezer paper as a mixing Sheet base; 2\" larger on all sides than the • Freezer paper polyester fabric. Place the freezer • Squeegee, scraper, or foam brush 1. Following the recipe in “Master paper on a work surface with the • Soda ash Recipe for Print Paste,” make one plastic side facing up. Position • Salt batch of print paste. the polyester fabric centered on • Plastic container that holds 2 cups top. Apply a generous spoonful of 2. To create thickened dye, use a thickened dye to the top edge of (I repurpose discarded 16–ounce small plastic cup to thoroughly the polyester and with a squeegee, containers from yogurt, cottage mix ¼ cup of print paste with ½ scraper, or foam brush, pull or cheese, etc.) teaspoon of powdered dye. paint the colored thickened dye • Measuring spoons and cups down the length of the fabric • Elastic bands TIP: After mixing a batch of thickened and toward the center. Continue • Detergent to wash dyed fabric dye, allow it to rest for 30 minutes before with more thickened dye (see (I use Synthrapol®.) using. This helps dissolve the powdered dye tips in “Color Choices + Painting completely. Tips”) and cover the polyester CAUTION fabric completely. Leave it to dry 3. If working with more than one undisturbed. Depending on the Use a mask when working with color, repeat step 2 for each humidity in your location, this can powdered dye. All supplies must be additional color desired. take up to 24 hours. (figure 1) dedicated to non-food use. NOTE: I used two colors in most of my samples. Why Use Sheer Polyester Fabric? Procion MX fiber reactive dyes were developed by the manufacturer to give color to natural fiber fabrics. They don’t dye polyester. Therefore, using polyester sheers as a carrier sheet is perfect—the dye can dry completely for later use but won’t stay on the polyester when it comes time to dye a natural fiber. The dried dye won’t be activated until it is in the soda ash water bath. In addition, since the dye does not ‘stick’ to polyester, I reuse the polyester over and over to create new Dye Transfer Sheets. 90 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

NOTE: If you are working with a Master Recipe for Print Paste 10\" × 11\" piece of polyester as I did, you will likely have enough thickened You’ll need a batch of print paste and some powdered dye to make thickened dye dye to paint 2–3 polyester sheets. for this project. Making your own art supplies from scratch is economical and fun. If you wish to do so, repeat step 4 Wear a mask or respirator when working with powdered dyes and follow other to create more bases with polyester noted precautions to ensure safety. fabric on top and continue painting. Makes approximately 1½ cups of print paste 5. Once dried completely, peel the Dye Transfer Sheet off of the • 1½ cups warm or hot water freezer paper base. Use the sheets • 3 tablespoons + ¾ teaspoon granular urea within 1–2 weeks—or sooner for • 1 tablespoon sodium alginate SH the strongest colors. The color will degrade and lose its intensity the Dissolve the urea in the water. Gradually add the alginate while mixing to minimize longer you wait to use the sheets. lumps. Continue stirring for 5 minutes to obtain a very smooth paste. Store in the refrigerator if not using immediately. TIP: These Dye Transfer Sheets may be stored on top of one another without sticking if stored in a cool, dry place. Heat and/or humidity will cause them to stick together and degrade faster. Roll a fabric bundle Next step: Use your Dye Transfer Sheet! 1. Cut a piece of natural fiber fabric 1\" larger on all sides than the Dye Transfer Sheet. Place the fabric on a work surface and a Dye Transfer Sheet on top of it. Roll both together, jelly roll-style, starting on one end. (figure 2) NOTE: The idea is to make a package figure 2 figure 3 where both fabrics are touching each other but at the same time you must the liquid and making sure it is leave room for liquid to travel inside submerged. Leave it to batch for it, so don’t roll it too tight. Close each a minimum of 6 hours and up to end with elastic bands. Again, not too 24 hours. Repeat with separate tight. (figure 3) containers and additional fabric bundles, if using. 2. Pour warm water into a 2-cup plastic container until it is about 3. After batching is complete, gently ¾ full, then add 1 tablespoon of squeeze out the water, unroll the soda ash and 1 tablespoon of salt. package, and voila—you will see Mix very well until dissolved. Place the rolled fabric bundle into the mixture, pushing it down into FALL 2022 | QUILTING ARTS® MAGAZINE 91

that all of the dye has transferred to the natural fiber and the polyester is completely void of dye. 4. Wash the fabrics in a gentle detergent and tumble or air dry. There are many ways to use these dyed fabrics in your work. In the Winter issue of QUILTING ARTS, Part 2 will show how to use a silkscreen and Dye Transfer Sheets to obtain positive and negative designs. Color Choices + Painting Tips It is more interesting to choose two colors to apply on each Dye Transfer Sheet but be careful not to create muddy colors. Start by using colors that are adjacent on the color wheel to create an analogous blend. Try this: 1. Place a spoonful or two of thickened red dye at the top and on the left ⅓ of the polyester fabric. 2. ‘Paint’ the dye down the fabric and some toward the center ⅓ of the fabric, adding more thickened dye as needed. 3. Apply thickened yellow dye to the right ⅓ of the fabric. Repeat step 2, causing the red and yellow dyes to blend in the center, creating orange. Feeling adventurous? Try different color combinations to find your favorites. For the samples in this article tangerine, grape, and scarlet were used because I already knew that this color combination plays very well together. 92 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

READER CHALLENGE I N V I TAT I O N A L Part 2 IN LATE 2021, we issued a special call for submissions to more than 100 artists whose work has been part of one or more Reader Challenge galleries in the recent past. They were invited to submit their best, original work from the past year—no larger than 18\" × 18\". We were so impressed and moved by the entries we received, we decided to feature our readers’ work in TWO separate galleries. In the Summer 2022 issue, we presented Part 1, comprising half of the selected quilts. We are pleased to present the rest of the quilts here for your enjoyment. FALL 2022 | QUILTING ARTS® MAGAZINE 93

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Hayden’s Golden Ratio Blue Heron in Silhouette 11\" × 18\" • CHRIS CLARK • DELAND, FLORIDA 15\" × 11\" • SALLY MANKE • ARCADIA, MICHIGAN I made a larger version of this quilt as a study of squares for an art quilt As a volunteer for the Grand Traverse Regional group I belong to. Having a minor in math, when I think of squares my Land Conservancy, I spend time each week leading thoughts immediately go to the work of the Italian mathematician Leonardo hikes, reporting on trail conditions, and just Fibonacci and his work on the relationship between numbers, squares, and strolling in nature. I’m missing my daily visit with spirals and what is known as the Golden Ratio. I used Procreate® on my iPad® my blue heron buddies at the conservancy marsh to create the design which I had printed on a polyester satin cloth. so I created this fiber version to hold me until they return in the spring. I coupled the herons with During a recent visit, my 12-year-old grandson wandered into my sewing my desire to experiment with the Japanese Notan room and saw the piece on the wall. He came out very excited and asked, silhouette technique. “Grandma, do you know what that is? It’s the Golden Ratio!” He had just studied it in school. I made a smaller version of the original to enter it in this challenge and named it after him. I probably won’t get to see him for another year but when I do, I will give this quilt to him. FALL 2022 | QUILTING ARTS® MAGAZINE 95

Heat Waves 12\" × 12\" • TERRY ASKE NEW WESTMINSTER, BRITISH COLUMBIA, CANADA I made this quilt for a challenge to use only shades of red and pink. I separated the curves with bias tape to provide value contrast and to accentuate the shapes. The extreme curves and vibrant colors generate the feeling of heat and energy, and remind me of last summer’s extreme heat dome. Into the Canopy 12\" × 17\" • LYNN KAMOLA AUBURN, WASHINGTON I have always liked looking up into a tree. The hard part of making it into a quilt was piecing the effect of leaves, sun, and sky. Perhaps this works. Tweet Tweet 17\" × 13\" MARGARITA KORIOTH COLLIERVILLE, TENNESSEE This mixed-media quilt is a graceful representation of my love for nature. It is one of a series showcasing my original techniques such as cheesecloth skins, graffiti, cold foil, and transfers on fabric. I feel we can use art to promote awareness of our beautiful planet! 96 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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Satin Doll 16\" × 16\" • KATHERINE STEWART WILSON • DISTRICT HEIGHTS, MARYLAND This quilt was inspired by the classic jazz standard “Satin Doll” written in 1953 by bandleader and composer Duke Ellington and his longtime collaborator Billy Strayhorn. 98 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