Quilting Arts Magazine April - May 2017

DEAR FRIENDS AT QUILTING ARTS, Thank you so very much for choosing “Mood Indigo” for publication. It’s the first time I will get to see one of my quilts in print, but, hopefully, not the last! Thanks also for putting together such an interesting, informative, and beautiful magazine. Warmest regards, Michele Talarico Astoria, New York NOTE: Look for Michele’s piece in the gallery of Reader Challenge finalists on page 54 Want to see your artwork in our magazine? Check out the new Reader Challenge on page 74. DEAR QUILTING ARTS, I read with astonishment—absolute astonishment—the opening paragraph of your “Editor’s Note” in the February/ March 2017 issue. Under the subheading, “February in New England is not the most inspiring landscape,” the paragraph paints a picture of bleakness relieved only (but not redeemed) by the occasional sighting of a…

like many quilt artists, I began my fabric and fiber journey making traditional quilts using commercial fabrics and hand-stitched applique. As my journey continued, I began using less traditional methods and materials—trying out various fusibles, spray adhesives, and matte mediums. My art moved from hand-stitched applique on traditional quilts to machine applique on non-traditional works to glue-and-stitch collage. Currently, my landscape fiber collage series includes the use of commercial, hand-dyed, and painted fabric—plus whatever I add in. The “whatever I add in” is the secret ingredient, much like a special spice in cooking adds something mysterious and interesting to the dish. My not-so-secret ingredients are readily found household papers not often associated with stitched artwork—including, but not limited to: painted coffee filters, paper towels, dye catcher sheets, dryer sheets, baby wipes,…

some objects just call out for thread sketching, and feathers are some of them. With thread and free-motion stitching, you can render a feather in a way that emphasizes its lovely texture, delicate tendrils, and exquiste contours. Trace my illustration of a feather onto an interesting hand-dyed fabric to get started or draw your own feather. Using very lightweight thread is key to achieving the delicacy of the lines, which makes the feather look so realistic. MATERIALS • Hand-dyed cotton fabric in a dark color • Batting (I used low-loft, 100% cotton.) • Cotton backing fabric • 50wt or 60wt white cotton thread (I used Aurifil™ Cotton Mako 50.) • 30wt-40wt variegated thread to coordinate with the hand-dyed fabric • Chalk pencil • Light box or brightly lit window • Masking tape • Pins or basting spray DIRECTIONS 1. Draw your own…

LITERARY HEATHER GIVANS What’s better than walking into a room filled with books? Opening up folds of fabric filled with books! This collection reflects literary classics such as Moby Dick and The Boxcar Children with recreations of rich cover patterns and piles of books haphazardly stacked. Text graces some prints, and others are scattered with library checkout cards. Each fabric excites exploration and whimsy. windhamfabrics.net ART QUILTS INTERNATIONAL: ABSTRACT & GEOMETRIC BY MARTHA SIELMAN Martha Sielman’s latest book is a stunning collection of work highlighting the depth and breadth of art quilts within the theme of abstracts and geometrics. Featuring in-depth interviews with 29 artists, full and detailed images of hundreds of quilts, and gorgeous galleries sharing the work of 95 additional artists, this book is a must-have for the serious art quilter and collector.…

Fiber Transformed is a collective group of six fiber artists, all living and working in Virginia. The group meets monthly to share and discuss their work. Mary Beth Bellah founded Fiber Transformed in 1995. She decided to expand her network to include others who approached their work from an art and professional perspective. Over the past 20 years, membership has been fluid, but what has remained true is that it attracts people who are committed to their own, individual style and expression. Current members are Jill Kerttula, Lorie McCown, Wrenn Slocum, Lotta Helleberg, Mary Beth Bellah, and Jill Jensen. Mary Beth Bellah My work is about communication and expression—what I’m thinking and what I want to share. Sometimes it may be frivolous or goofy and sometimes it is outrage or concern. I’m agnostic when…

i love collecting anything vintage, including dolls, furnishings, and tin tiles used in ceiling construction. Many years ago, I found a use for my ever-expanding collection of vintage tin tiles (I own more than 100!) by transferring the embossed designs to fabric. I started by placing wet, plain cotton tightly over the rusty tin tiles and painting the fabric to reflect the unique design of the tile. I was pleasantly surprised—not only was I creating a cool piece of fabric, but it was also one-of-a-kind reproduction of the vintage tile. I have experimented with this transfer process on countless tin tiles in addition to other high-relief architectural pieces such as wrought iron, funky clay pots, and garden stepping stones. Use this technique to customize the project to your needs and location. What about…