Archive for the ‘texture’ Category
For over 13 years this piece has been known privately as “Ode to the Fire Goddess Pele” as a result of my time in Hawaii. It’s official title is Gaia 2: Beginnings. Our biggest problem has been that it was meant to hang on it’s own, but we were unable to figure out a simple – and not intrusive – hanging system. So for the last year, since we have been showing our work in Vermont, we’ve talked about mounting the piece – somehow. Here’s the story of the creation of the original piece.
That led to me deciding to completely redo the piece – ev.er.y.thing. It took two weeks of night time by the television to get all the machine quilting pulled out. In the 13 years since this was finished my machine quilting skills are SO much better. I will say that my original tension was so bad that in many places all I had to do was pull a thread and I had many many inches come right out.
My new plan is to requilt it, change the edging, mount it on a large piece of black fabric, quilt the black fabric, and then add a sleeve. I need to have all this accomplished by May, as I plan to enter it into the “Abstraction” show in Saranac Lake this summer.
Right now I have 12 strips still with serged edges. I found a FABULOUS piece of red and gold fabric in my stash, and (hoping I have enough) I will put the binding on over the serged edges. It looks really good so far.
A close-up of the original weaving with the serged edges.
This piece will also have a new name: Revolution. More on that as I get further along in the quilt.
This was a big year for showing our work – many more options and acceptances than most of our time in Arizona. We taught a beginning marbling class at BluSeed Studios in Saranac Lake, NY, and in the process of chatting, we became part of their arts curriculum grant project. I’m really looking forward to this activity; I miss the days of working with The Kennedy Center to bring integrated arts into the classrooms in the Chittenden East School District in Vermont.A lot of great memories from the conferences, and then great memories from arts work within the district (need to do a blog post and reflect on the work we did….)
A couple of pictures from our Saranac Lake class, followed by an individual machine quilting class I did for a fellow artist who wanted to expand her techniques. Mary Hill is a mixed media artist, with vibrant work.
We spent Vermont Open Studios sharing space with Mary over Memorial Day Weekend. LOTSSof great discussions on marketing!!
Plus, since May I have been working on an interactive teaching manual for the ebook Interactive Edge of the Sea. This takes all I have worked on in curriculum in 40 years of teaching and brings it together for teachers, with a modern update on using all forms of new assessment and social media within the classroom. My hope is that this manual becomes a template for other disciplines, as there are a lot of useful interactive teaching techniques – and everything is correlated to current educational standards. A labor of love with my second mom, Betty Hupp. Here’s the cover:
We are just about done with final edits, and after the first of the year it heads off to coding. I have a lot of links to check to be sure they all work!
Bunches of shows…..here are pictures of our small pieces at Sweet Grass Gallery in Williston, VT for the month of November.
There’s still more…..stay tuned!
A lot of smaller work was started, finished, and revised this year – part of the need to create more pieces, and part to experiment with new ideas. We also tried more framing (pretty successful) and mounting on canvas (very successful, and not that all expensive). The biggest issue seemed to be people didn’t know what to do with small wall hangings or table-toppers. By framing them we are leading our customers to see the piece on a wall, looking like artwork. This is also working well for galleries and stores with small spaces.
The “Chocolate Box” piece on the left was done some 18 years ago as part of a challenge on the QuiltArt list to create an 8 x 8 piece with the theme of “brown.” I pulled all kinds of browns from my stash, including some marbled fabrics, and then I zigzagged them together with the idea of creating a “Whitman’s Sampler.” I have always thought it looked very cute. I rediscovered it this summer, adding batting and backing, variegated thread in a more prominent zigzag, put on a binding, and mounted it on fabric. Lots of good feedback on the piece.
Another piece that saw framing was a small piece of marbled poly-satin that a friend (Suzan Drury of Saltwater Systems) added glitter to at least 10 years ago. Loved it, but it didn’t translate into something someone would want to buy – so on a whim I added batting and backing and then quilted it – thus “Pond 3” – a favorite topic. I learned to do sand dollars as part of a tutorial from Lori Kennedy (theinboxjaunt.com), so you will see clam shells, sea urchins, and sand dollars throughout the small piece. It looks quite striking. One thing I learned in the framing process was to move to lighter-colored frames to keep a piece from feeling constrained.
this year saw the debut of a new series – “Leftovers.” The idea for this came about when we would clean the marbling tray after a session. There were wonderful designs of leftover paint as we emptied the carrageenan. We started saving some small pieces to capture to designs – all of which are very organic and “earth strata.” Two pieces made their debut at Phoenix Books in Essex as part of a rotating display of work by the Essex Art League. There are LOTS more to come – all of which need me to stare at a piece for a while to determine how it wants to be stitched. They are all simply framed and look almost like photographs.
Before stitching on From Above:
Ultrasuede marbles wonderfully. Over the past couple of years we have been doing yards of this for Bead My Love to sell at the various bead and gem shows. We get to keep a few pieces for ourselves, and this year I finally attacked quilting one – with some interesting lessons….the fabric feels like suede, but it doesn’t translate to a puffiness when quilting (note to self: use extra batting for the next piece). Also, the various colors didn’t show well, which is why I went with Superior Threads New Brytes yellow – a thicker thread. this is a 12 x 12 piece of ultrasuede. Introducing “Partly Sunny, Chance of Storms.”
One more piece – we also started marbling flowers and leaves from the silk flower sections of the craft stores – another way to use up left-over paint in the marbling tray. Here’s “Autumn,” a collage of some marbled silk leaves. Covered canvas, 8 x 10 inches.
More next time as I continue to review the year. Comments welcome!
It has been a banner year for art – especially in the making of art. When I stopped to reflect, I realized we created more this year than any other year – some big, many small, and all taught us something! I’m doing several blog posts, since I don’t have pics for a bunch of gifts – awaiting the jpgs in the email….
Yesterday was the presentation of a commission for dear friends of ours. It was supposed to be for their anniversary in September, but just didn’t happen….Once knee surgery was over and I could move around fairly easily, I set to work. The marbled fabric had been done since April, and I had been mulling designs since then. It was time….
I started working with the Chinese symbol for “family,” and after just this first littyle bit, I have even more appreciation for the art quilts of Kathy Nida. This involved tracing the symbol, determining which side would be “up” when ironing onto the front of the fabric, adding WonderUnder, and then making sure it actually worked – especially since I had a limited amount of the fabric choice for the symbol. First success.
Next was creating the pattern for the side panels, loosely based on a table runner by Lonnie Rossi and definitely made my own. Same issues with being sure of right and wrong side, since there would be two panels, and the designs would mirror each other. Much angst – especially on the choice of the background – I had a peach silk that worked with the overall colors, but looked terrible with the small pieces actually on it. The fabrics were extra marbled fat quarters that didn’t make the cut in terms of main color, but they were all complementary.
I put off for the longest time doing the zigzag satin stitch and then discovered that the fabric frayed very easily. A lot of adjustment, sharp pointy scissors, and FrayCheck got me through this section.
I had one panel completed and then started on the second panel. It probably would have been easier doing them both at the same time, but I wanted to be sure the idea could be executed before I was completely committer.
The request was for some apple blossoms quilted into the design – originally to be on the border….but it worked out differently. I Googled images of apple blossoms and determined a free motion pattern, and then began. As long as the petals had ragged edges, the pattern worked.
Lots of flowers over both panels – really liked how subtle the patterns are.
Checking to see if the three panels really do work together….
Time to square off and do the binding – the side panels had a LOT of ironing as they were becoming distorted. Note to self – allow more edging next time around…..
Preparing the canvas for mounting the panels. We have started mounting much of our work on canvas frames covered with a complementary fabric. Much sturdier, easier to hang, and people seem to view them more as “art.”
Thinking it’s going to work…….each side panel is three 8 x 8-inch canvases, mounted together and covered.
This next piece I started when I lived on Nastar, which has to be 18 years ago – it was part of a Block of the Month project for our online customers. This was September/October, but when I finished it, it had a VERY noticeable bulge from bad ironing – in two separate places.
Took both borders off, made a new sandwich, and then sewed the borders back into place to hold the top for quilting. I did a lot of work with new patterns from Lori Kennedy and her Craftsy classes.
There are amazing motifs, and Lori’s technique of doodling them first works like a charm. Here are some pics of patterns:
Lori’s Twist, which I can finally understand how it’s done – parallel lines up and down and everything looks perfect. My bubbles and straight-line quilting. An example of quilting the marbled fabrics.
LOVE the leaf motif – now I have several in my bag of tricks – way easier than it looks! New motif in the turquoise – an exaggerated swirl.
A better look at the orange peel (I know it as a cathedral windows variation) and the swirl.
Lessons learned –
- I want to be able to do what Judi Madsen does with the negative space and have one pattern rather than several, depending on the space.
- STILL love the colors in this quilt!
- Markers help cover up tension issues from a different color bobbin thread.
- The back doesn’t have to be all one color, especially if you’re having tension issues from two different weights of thread.
- Outside (final border) can be very simple.
It is SO GOOD to be back at the sewing machine! In order to get the groove back, I have been working on this really adorable baby quilt that my friend always coordinates for pregnant teachers at her former middle school. In this one, people completed blocks to represent a piece of children’s literature, and then for the baby shower, the folks bring the actual books to start the child’s library. Great idea!!
Here’s some pics of the finished quilt……learned a lot, as I always seem to do. Next time I am doing squares, I will back them with a stabilizer. The last quilt I did like this I was able to quilt in each of the squares to get them to lay flatter. Next time….but look at the textures in these squares!
This is the “before.” Nice and flat, virtually no texture. I remember when I went to Road to California a couple of years, I noticed everything was machine-quilted within an inch of itself. Both hubby and I thought, just because you can doesn’t mean you should fill it up with machine quilting.
That was before I started with the 2012 free motion quilting challenge with SewCalGal and got hooked…..I’m talking seriously hooked. Now it’s not about the quilt top for me, it’s about the quilting. There are seven different quilted motifs in this quilt, and I LOVE IT! It is so much more interesting than if I had just done quilting in the ditch and stippling. Yes, at least 10 hours of fmq in the quilt, and a lot of bobbin thread, but did I say I LOVE IT?
So here are some of the “after” pictures. For some reason the blue wave fabric looks to be black and white, and it isn’t. I used Superior Silk Kimono thread in the triangle backgrounds, the outside black border, and the final border. Magnifico by Superior for the bubbled in the corner triangles, Rainbows by Superior in the border of blue waves, and Bottom Line by Superior in the bobbin and in the black backgrounds of the stars. I guess you could say I really like Superior Threads….
I LOVE THIS! I used the color adjustments in Photoshop to try and bring back the blues – this is pretty true to the actual colors. The maroon strips in the center are done in a cathedral square pattern. I gridded all the light blue triangles for the texture – I was only going to do the center panel but I fell in love with the effect. The bottom light blue triangles are done with a MAgnifico blue thread in bubbles – I was aiming for a stars at night over the ocean effect.
The ironic thing here in this picture is the bottom right corner is the one I picked out all the thread on – what I call the “war-zone” corner. The blue stars themselves have bubbles quilted into the with a Rainbows blue.
The wave fabric here has one of Leah Day’s fillers in it called Ocean Currents. I happened to be on her blog one day and said yup, that’s the one.
This quilt is for my yoga instructor, and so in one corner I did a free-motion “third eye” chakra symbol.
Now for the back….WHICH I LOVE LOVE LOVE – the texture is amazing!!
Note to self – time for some smaller quilts……….
In November I got a package of 8-inch squares from my maid of honor of many years ago. Her daughter was now pregnant, and could I take her work at put it together? I remember Shelby starting these squares the first time we made it back to Vermont in 16 years. Anything for my friend of oh-so-many years!
Kathy and I go way back – and I have promised many times to keep some of our more interesting escapades from her three children (which means a WHOLE LOT of interesting stories are sealed). But I think taking me in the Big Bird costume we built for our play stuffed in the front of my VW for Halloween dinner at KFC is probably pretty harmless. Oh, if only we had digital cameras then……a moment in history gone forever……(and that chicken wire frame did a lot of poking…..)
So on Tuesday I finished the quilt, took pictures, packed it, and shipped it off, where it should be arriving today, two weeks ahead of the baby shower. Here she be –
Shelby wanted an ocean theme, so the blue is an underwater scene, left over from another quilt project. Love this fabric, and in the light it is even more gorgeous. The border is a stencil of fish, and the two empty blocks (which is the only thing I would revisit if I were to do this again) is some free-motion quilting in a blue Fantastico from Superior Threads.
So much fun to do!! Now for the next quilt in line, for my yoga instructor…gotta get it done while it’s still cold enough to use!
Last September my yoga instructor Susan asked me to do a series of chakras for her home, which is also her yoga studio. She had the idea to have the chakras around three sides of her “great room,” so she would be surrounded by their energies. I had previously done a small 10 x 10 inch thread-painted root chakra, and that one led to this new idea.
We debated about size, because the wall space is quite tall. Using the floor tiles as an estimate, we decided each would be 24 inches square – wrapped around four 12 by 12 inch canvases that we would put together.
First challenge – choosing the fabrics. I wanted to purchase them all at the same time for consistency. I had thought about the Stonehenge line of fabrics, but the LQS was out of them. Susan found some hand-dyes that were what I call true crayon colors. It was a beautiful vibrant rainbow. This was when I first realized some of the attributes of the chakras. Second challenge – creating the patterns. I wanted the thread-painted chakra to finish at 20 by 20 inches, because that would give me enough fabric for wrapping the canvas. So I worked with a set of patterns from the Net and created a master set for approval. We tweaked some changes with the edges to better increase some of the symmetry. It is now the end of October and I am ready to start – I think.
In trying to explain to the copy folks at Office Depot that I wanted my design blow up to 20 inches by 20 inches, eventually we got a 24-inch-square canvas, with a 20-inch design on it. I had copies made as patterns.
Once I had the pattern, I traced over it and then pinned the tracing paper onto the fabric sandwich. Speaking of fabric sandwiches, it too close to five hours to get seven sandwiches prepped: ironing the fabric (I cut each yard into a 30-inch square), matched it with low-loft batting, and found some unused fabrics for the backings. Then they all sat over a chair for a while.
Finally around the end of November I started the actual sewing. I pinned the tracing paper carefully to the fabric sandwich and, using washable thread, I outlined the pattern. Tearing off the tracing paper took a very long while….
For the Root chakra, I decided to do some bobbin work with a gold thread. I was so-so pleased with the results, but not enough that I was going to continue with the bobbin work. Each of the other chakras used satin stitch on the major elements and a lot of free motion patterns for fillers. The chakras got progressively better in their sewing….until the last one – same elements but a much simpler design.
I thought about redoing the Root chakra, since it didn’t seem to fit with the others. But the more Susan and I talked about how these were developing, the more I liked the first and the last. As I worked on them, I added more quilting elements that added to the design. I used colors in the same family as the background fabric, with hopefully enough contrast. Up close they were all looking gorgeous. From a distance, they faded away. That bothered me for a while, but I realized as I was working on them that everything in the design was meant to be meditative. Up close, you could lose yourself in the design. From a distance, the more you looked the more your saw.
Susan summarized it pretty well. The root chakra is our beginning, and it can be very shaky and unsure. We develop from there, with whatever impurities becoming who we truly are. The crown chakra, the seventh, is the Divine, and as such doesn’t need to be ornate. The Divine in us can be very simple and beautiful.
So here they are, in order.
(Have to find this one – will update……)
I learned a lot. There are some stitching patterns I would change. I would probably use a much lighter background fabric and have the stitching pattern show more. Yet they move in complexity, much like the chakras do. I one I am missing is the one I think is the best design, yet in viewing it, the design seems very faint. The more you look, the more you see. This is also the chakra that is my weakest, so I find that fascinating. My yoga instructor is extremely pleased. The room is surrounded by color and it just vibrates. And she says she can easily meditate on whichever one she wants or needs. A very happy conclusion.
The Textile and Fiber Art List is nearly 500 members! Three years as an organization this past January, thanks to our founder Rachel Biel, who is just an amazing motivator! Check out a few more profiles of very talented folks.
“I create one-of-a-kind wearable art by re-imagining gently used clothing and re-purposing them into new creations. Driven by my passion for textiles, I choose garments based on their color, texture, and quality. After cleaning and processing my finds, an organic design process occurs while exploring color and textural relationships. Gradually a new garment emerges as I cut and fit pieces together. It’s almost like playing with paints or crayons while anxiously waiting to see the finished result. My former life as a custom dressmaker and my life long love affair with arts and crafts has brought me to this new creative place of free-style sewing. I look forward to making more accessories and perhaps children’s garments.” Brenda Abdullah Designs.
“Caryl Bryer Fallert is internationally recognized for her award winning art quilts. She is best known for her organic, curved seam designs, her scintillating use of color, and her multilevel illusions of light and motion. Her attention to detail has earned her a reputation for fine craftsmanship as well as stunning designs. In 2000 Caryl was selected as one of the 30 most influential quilt makers in the world, and her quilt Corona #2: Solar Eclipse was voted one of the 100 Most Important Quilts of the Twentieth Century. She was chosen for the Bernina Leadership Award in 2003 and in 2004 the readers of American Quilter Magazine voted her “All American Quilter.” She is the 2006 recipient of the International Quilt Festival Silver Star (lifetime achievement) Award. Since 1983, Caryl’s work has been exhibited extensively throughout North America, Europe, Japan, and the Pacific Rim. She has had ninteen solo exhibitions, including a 1992 exhibition in Tokyo, Japan, and a 2000 exhibition in Burlington, Ontario, Canada. Caryl is the only three-time winner of the coveted American Quilters Society Best of Show, Purchase Award. She was the 2009 International Quilt Festival Best of Show winner, and her quilts have also been awarded Best of Show in more a dozen other national and international exhibitions. In 1986, Caryl received the Masterpiece Quilt Award from the National Quilting Association. She has received the Master Awards for both Contemporary Artistry (2002 & 2006) and Machine Artistry (1997) from the International Quilt Association and Best Machine Workmanship from the American Quilters Society (2004 & 2009) and the Quilting the Quilt national exhibition (2003). Caryl has authored two books, and numerous workshops on CD-ROM. Her quilts have appeared in hundreds of national and international publications, including the covers of the 1987 and 1991 Quilt National Catalogs. Caryl’s work can be found in public, museum, corporate, and private collections in twenty-two states and seven foreign countries. Collections include: The Museum of Art & Design (NY,NY), Illinois State Museum, National Quilt Museum, International Quilt Study Center, Wilmette (IL) Public Library, Bradley University Library, Glendale (CA) Civic Center, Fidelity Investments Inc., Sprint, and Fritz Gegauf A.G. (Switzerland). In addition to her commission work, Caryl reserves time to create a body of very personal, experimental quilts.” Bryerpatch Studio.
“I started weaving free form sculptural basketry back in the 80’s and 90’s. Along the way I learned paper making, wet felting and explored one of a kind teddy bears, dolls and rabbits.
I learned how to embroider and quilt from my Grandmother and have had the pleasure of taking quilting classes with Jane Sassaman, Carol Doak and Lyric Kinard.
I am currently dyeing fabric with fiber reactive dyes as well as using India Flint’s Eco Dyeing techniques with silk and wool.
I learned to spin art yarn 4 years ago and have studied under Jacey Boggs and Lexi Boeger and have washed, dyed, batted and spun so much yarn that I finally had to learn to knit!
Add all of this up and you have a very eclectic, diverse and multi faceted fiber artist! I hope you will check out my links and share in my current adventures as I use my hand dyed and recycled fabrics to create gorgeous playclothes that make you look and feel creative yourself!” Calamity Kim.
“I am an artist and a tailor. I make eclectic quilted clothing and wall hangings for office/home decor. I have been sewing and quilting for many years and hope to keep the tradition of quilting long into the future. I hope to keep heirloom quilted clothing alive into the future of wearables and hope to maintain quilting techniques for generations to come.” Calico and Old Lace
“Cameron Taylor-Brown has immersed herself in the worlds of fiber, education and commerce since the 1970s. She studied fiber art at the University of California, Berkeley with artist Ed Rossbach and textile design at the Philadelphia College of Textiles and Science. She worked in New York City as a stylist of upholstery and home furnishing fabrics, taught textile design at the Philadelphia College of Textiles and Science and worked as an exhibition curator. Since 1985, Taylor-Brown has lived in Los Angeles where she maintains a studio and is active in several arts organizations. She was a founding board member of the Textile Group of Los Angeles and a past President of California Fibers and Designing Weavers. She recently founded ARTSgarage, a new textile resource center in Los Angeles.” Cameron Taylor-Brown
Membership is open and is a DEAL for what you receive and for the future potential of this organization. Here is the link for membership.
“I believe a work of art bears the stamp of individuality and the national bearing of its creator when it springs from inner self and is devoid of any pretensions. Being from India, a country with an extremely rich heritage of Art and Culture, I have always had a deep-rooted attachment to traditional art forms of India and owe some of my stylization to the captivating traditional patterns and the rich array of colors. Adapting to Western Styles and techniques, combining them with my lifelong fascination for ethnic arts around the world, have all been a melting pot for me to create a multicultural ‘canvas’. I got my BFA from the International University, Visva-Bharati at Shantiniketan in India founded by the poet, writer, painter, musician, educationist, philosopher, Nobel Laureate (Literature) Rabindranath Tagore. The education at this unique university, during my formative years as an artist, have had a profound influence on my life, mind and my creative abilities. In my everyday life, my escape, my retreat, is my creative power of Art. My work is indigenous to my inner self, and is a place of solitude, passion and contemplation for me. The final offering is the culmination of a series of wordless conversations between me and my artwork. The subject matter of my work is drawn from my own life experiences, trips, thoughts and surroundings. My art is like a journey for me through the passage of time honored techniques, traditions and influences in an endeavor to produce art for everyone to appreciate. I feel like my journey has just begun and I have a long way to go…” Boisali Biswas
“Botanical Colors is the online site for selling high quality, vibrant natural dyes and supplies. Natural dyes are the ancient textile colorants that were used by cultures all over the world before synthetic and petrochemical dyestuffs were developed in the mid-1800s. The colors are beautiful, rich and glowing and each color can be linked to a fascinating tale of discovery, ritual and use by different peoples throughout history. Every color in the natural dye palette has a story. Botanical Colors strives to offer the finest environmentally sound natural dyes for textiles, paper, wood and other natural materials. We have personally dyed thousands of pounds of fibers with natural dyes and continue to be excited and thrilled by the amazing beauty of these colorants. Every purchase of our natural dyes benefits a small producer or community and helps maintain a traditional way of life. Botanical Colors
“I am french, living in Marrakech since 2004 and I became an important wholesaler of carpets and rugs from Morocco ; I am specialized in the vintage berber rugs called boucherouite ( www.boucherouite.net) and the white carpets and wedding blankets ( BENI OUARAIN, AZILAL, HANDIRA ) ; I export all over the world to the trade and art galleries but also to private people.” Boucherouite Rag Rugs
“I’m an art quilter. My quilts are small to medium in size, perfect for interior decoration. I’m always interested in selling and exhibiting my works. I also have a few collections of bags, ornaments and textile jewelery. Yes, I’m open for commissions too.” Bozena Wojtaszek
Braid and Stitch
“Back in the 70′s, sewing was not really a lucrative venture then, and dress makers in Ghana really never made that much money which led me to focus more on schooling to become a Journalist. After moving to America I discovered that Art and creativity paid a lot here if you had the right market audience, but it actually took me a lot more years to follow my childhood dream. The current works on this website depict a lot of Africa. I love the vibrant colors of African fabrics and how they pop to the eye, most of my quilts tell a story, and a lot of my story’s represent my African heritage which I carry with me every where I go, I feel when a quilt does not tell a story no matter how simple it might be it really does not have value, since quilts of old were sentimental pieces. My quilts sing and dance a lot to the viewer, and have lots of character and dimension as well as a very unique look which are the differences my choices of fabric make. Beading and painting really accentuate my work. At Braid and Stitch we are open to make commissioned art quilts, specifically to fit a buyers description, dimensions and taste, no works are ever made the same in order to promote uniqueness in our work. In the near future there will be a wearable art line which will be in Ethnic vein.” Braid and Stitch
The Textile and Fiber Art List has been down for a while, with massive server problems. But now, it’s time for more eye candy to warm the rest of January!. Enjoy – be sure to visit these great artists!
“I am a professional artist passionate about making painted quilts. My painted quilts are a hybrid of the fine art techniques of painting and collage with the stitching techniques of quilting and embroidery. My painted quilts have been commissioned for hospitals, universities, corporate spaces and private homes throughout the United States. As a child I learned one true thing: making art made me happy. That is still true today. The solitary aspect of studio work is my daily meditation, and the problem solving that art making requires has kept me interested over the years. My aim is twofold; to create a beautiful work of art that will reconnect the viewer with the beauty of the natural world while referencing the tactile/textile memories to home, family, community and women’s work; the very essence of ‘quilt.'” Bernie Rowell
“I spent many years studying embroidery, textile art and calligraphy in the UK but it wasn’t until I came to the USA that I was enabled to really present my work to the public. Thankfully it was well received and this lead to me doing a lot of teaching throughout the USA and abroad. My inspiration comes from architecture, travel, colors, fabric literally anything that is out there can inspire me. My long term goal is to produce more work for exhibition. I am a mixed-media artist and have been widely published in many national and international magazines. I am the author of “Mixed Media Explorations”. I have made several appearances on PBS Television and have released several tutorial DVD’s.” Beryl Taylor
“I’ve made my living as an artist my entire life. After graduating from the Rhode Island School of Design with a major in ceramics, I founded a custom tile manufacturing business in Los Angeles. I ran it for 18 years, and sold it to move to New Mexico in 1994. Since my move to the high desert, I have gotten more involved in fiber art, and exhibit in shows nationally and internationally. I work with children in general art lessons on a regular basis, and also conduct workshops with adults. Spending nearly 20 years in the manufacturing business taught me to be inventive with the use of materials and processes. This is something that I continue to explore in my fiber work, combining many different woven and non woven materials to produce my visions. I have many sources of inspiration as well, from the colorful, rocky landscape in which I now live, to the fantastic and amazing world of scientific imagery. I am represented by Gallery 101 in Collinsville, Connecticut, USA.” Betty Busby
“My career has been centered around creativity. I have been a freelance copywriter in Houston for 35 years, but I have always drawn, sewn, and kept up a healthy craft addiction. With the recent downturn in all business comuunications, I have had time to concentrate on the visual part of my passion.I am drawn to natural subjects — plants, flowers, animals, insects — and my style has been described as modern and clean. Most recently I have been working with pen and ink drawings, due to an almost overwhelming addiction to screen printing. I absolutely love everything about the process — the smells, the textures, the mystique of it all. I do limited edition prints periodically, but the bulk of my time is spent creating what I call “domestic art.” Why can’t everything be beautiful? That is the question that originally led to the Beyond Her collection. As a lifelong artist and crafter, I found myself looking for high quality, everyday objects that were actually a pleasure to see and to use. I start with original art – watercolors in the early days, and now or pen-and-ink drawings – which I imprint onto various surfaces, primarily beautiful papers and heritage fabrics. Products include stationery and office products . . . napkins and dishtowels . . . pillows and mugs . . . tee shirts and scarves. The raw products are carefully chosen – I am always on the hunt for natural fabrics, good sizes, practical designs, great styling, sturdy construction, unique textures. We use small local shops for any outsourcing; most products are either imprinted or assembled by hand. The name? It comes from the passion that drives this small business. It truly is . . Beyond Her.”
“I am Dutch, but have been living in Brisbane, Australia with my family since March 2007. I started quilting in 2006, when I was expecting our third son. After a year of making quilts for my children I slowly moved into the ‘art quilt scene’. An online screen printing class in 2009 has heavily influenced my work, as has the fact that my oldest son joined a gymnastics club around the same time. My series of screen printed sports quilts is still not finished! My online shops are Blue Jacaranda, on Etsy and on MadeIt (Australian), where I sell my original designs hand printed on canvas, art cards and ACEOs. I also design and sell fabric on Spoonflower.” Blue Jacaranda
Enjoy these wonderful artists!
I am having so much fun looking through the profiles on The Textile and Fiber Art List. It is pretty amazing the collection of world-wide artists and the work everyone is doing. The wealth of talent is so worth spending time admiring the art.
“Independent textile artiste Ariane Mariane creates “fiber art to wear” in her French atelier near Paris. She makes outstanding and eco-friendly garments and accessories of high quality.
Each item is handmade mostly by nuno felting. Only the smoothest merino wool, finest fabrics (silk, linen, and cotton) and best fibers are employed.
Her joyful line of unique and one of a kind pieces are meant to dress unique, special and individual women – women for whom fashion is an art and a statement.” ArianeMariane
“I am a Canadian artist in Calgary, Alberta, working primarily with textiles. I’m curious, eccentric and just a little opinionated. Surrealist in thought, Fauvist at heart, eclectic, explorative and absurd, I use hand and machine techniques to illustrate idiosyncratic stories and integrate hand dyed and “found” fabrics in my work.I am learning to respectfully collect a history with stitch, incorporating meaningful text and a Slow Cloth philosophy, believing that personal expression is instinctual when you listen to yourself truthfully. I am fascinated by the workings of the human body, and the microscopic world, interpreting them in unconventional ways.” Arlee Barr
“I began to work with fibre in the 80’s (painted fabrics), and, when I was taught to crochet, toward the end of that decade. After a basic lesson in making chain looped crystal pouches, I taught myself,
thru learning other stitches, and made my first hat by accident. Friends and customers, at my weekly market stall of Hand Painted clothes, were soon requesting me to make them a similar hat. And so I became a Beaniologist be default……… I have since become a regular contributor at The Alice Springs Beanie Festival, in Central Australia every June, which is quite cold in our winter. Once a travelling nomad around this country, I am now making other fibre creations, more suitable to this sub-tropical region on the east coast of Australia, just south of Brisbane, Queensland. I would love to connect with folk in the Northern Hemisphere, where my thermal hats would be ideal. I am spending time needle felting landscapes onto evening stoles and other wearable or useable items. I am passionate about nature and live in a spectacular extinct volcanic caldera, where the views and weather inspire me to create.” ArtNomadix
“When I was 17 years old I discovered someone weaving on an inkle loom. Fascinated, I set out to learn this craft. The local library had a book which included plans for building a loom. My father helped me make one and off I went. Decades later, I am still weaving on inkle looms. Blogging gives me the opportunity to share my weaving adventures. Etsy is a great community of handcrafters and artists of all varieties and has been a wonderful outlet for selling my work and meeting other creative folks.” A Spinner Weaver
“In my past life I was an art quilter. Now I am a web and graphic designer that likes to be around other artists. I create unique, functional websites, custom designed and hand-built with clean XHTML, CSS and Flash. All my websites are fast-loading and search-engine friendly that impress visitors. Aside for web design I also specialize in graphic design for print creating company logo and identity packages, advertisements, book covers and layouts and brochures. I have had working experience in this field for four years. Visit my website to see my work.” Aynex Designs
Enjoy your perusing of all these talented folk!
Ever since we started marbling in 1993, people have asked us “What do you do with the fabric? It’s too gorgeous to cut in to.”
We’ve made lots of quilts, both traditional and art-quilts so that folks can see how marbled fabric can fit into a quilt or wearable garment. That got us started, but there was always the feeling that we could be doing more with the fabric itself. A friend took a fat quarter to “play with,” and the following week she came back with a gorgeous piece of completely quilted marbled fabric….simply by following the line of the pattern.
Well, that was truly the beginning of taking marbled fabric and really working with it in a quilt. My first attempt was to work with a freeform pattern, just following the lines of the pattern. This uses the stone pattern, as well as a beginning chevron pattern, both of which are easy to follow.
This piece, “Gaia 1: Interdependence,” used a free motion foot, as well as a regular basic stitching foot. Because the strips are relatively narrow, and the batting was thin, I chose not to use a walking foot. Your mileage may vary; if you are comfortable with a walking foot, by all means use one. I find I almost exclusively use my regular foot and my free motion foot.
Here is an example of quilting a line using a regular foot. I like having the even stitches, which I don’t always get with my free motion quilting (and no stitch regulator….).
You can have a great piece of marbled fabric, but sometimes it just needs something. I’m finding that more and more…it is an addiction…..
You need a piece of marbled fabric. We’re starting with a freeform pattern, made by creating the stones by dropping paint on the carrageenan bath. Then using a stylus, we swirl the paint around the whole piece. This gives us the effect you see here. This also involves the first very basic marbling pattern, the very organic-looking stone. From this pattern, using a variety of different combs and rakes, you can get very complex patterns. But let’s start with this pretty basic pattern.
When you have a marbled pattern, look at it closely for lines that lead to other sections of the pattern. This is a different type of free motion quilting. You aren’t deciding the whole quilting schema, like in most regular quilting; you are just analyzing and deciding where you want to go with your thread. A pattern like this one has gentle curves to it, unlike more complex marbling patterns. This is a good one to start with.
Using this next picture, see how you can travel from one end of the pattern to another. Once you’ve studied a pattern, you can decide if you will do individual sections or travel across some pattern lines to do a new section. With this first marbled pattern, you have several possibilities. You can outline the little stones. You can follow most of the curved lines. You can do a combination.
Some marbled patterns are pretty intense, and you end up doing a lot of quilting in very small areas. These take more control, but the results are fabulous.
You have some decisions to make at this point: backing, batting, thread choices. I chose a green cotton for the backing so it would play off the green in the marbling. I used a left-over piece of Fairfield cotton low-loft batting, and Superior Thread’s Bottom Line in the bobbin. I chose a white thread, because for the purposes of this tutorial I wanted you to see the design aspect on the back. You get some very interesting quilting effects on your backs.
When I put my pieces together, especially if they are small, I spray baste top and bottom to the batting. For larger pieces I also use safety pins.
All of these are various threads from Superior. I am a bit of a thread snob, as I only use Superior Thread and needles (their titanium needles are pretty amazing). Ever since I did the School of Threadology in St. George, Utah, I have been hooked on their threads…and I NEVER have thread break. The threads above are Rainbows, Brytes, and Art Colors.
I thought this bottom thread, Bryte, would work the best, so that’s what I started with. I thought the dark green would emphasize, but not be obvious.
I checked my tension, according to Dr. Bob’s thread guide for Superior Threads. Then I picked a place to start the free motion, did about an inch, and checked my tension again.
You can see how I just followed the basic line of this first swirl. I usually pull my threads to the back and tie them off or bury them, depending on how the piece is going to be used. With the next photo, you can see how I chose another swirl and followed that particular curve.
You can move around the fabric and pick different areas to quilt, but if you are going to quilt the whole piece, continue quilting out from the area where you started.
I also decided to change colors of thread, as I wanted something lighter to accent the pattern. Don’t hesitate to do this if you feel it will add to your design.
In this next example, I have changed thread color again, and this time I am outlining the smaller circles. The circles are part of the “stone” pattern, which is the first layer of paint in developing a marbling pattern. The circles take more control in your free motion, but you get great results in texture. You will want to plan your “traveling” stitch as you move from small circle to small circle.
Every now and then take a look at your back. Check for tension, secure your knots, and just admire the developing design. I used white in my bobbin because I wanted you to see the actual stitching on the back. You may choose something else, but the backs of marbled quilting can look spectacular.
Hopefully you will enjoy this technique. Email us with questions, and we are always interested in seeing your finished projects. To get you started, you can order fat quarters in this swirl pattern at a discount from us. Just email email@example.com, and tell us you want the quilting special fat quarter for this tutorial, and give us an idea of the three or four colors you would like. Cost is $6.00 per fat quarter, plus $2.00 shipping and handling, up to three fat quarters.
Keep in mind that this marbled quilting works best if you have some definite contrast with your color choices.
Copyright 2012 by Linda Moran and Marble-T Design, LLC. You may NOT reproduce this handout/post in any format without express permission from the author or Marble-T Design, LLC.
As we approach the holiday season, you owe it to yourself to check out the Textile and Fiber Art List – amazing, wonderful handmade items, perfect for gift giving. Most TAFA members have Etsy stores, and you can shop till you drop. You will be astonished at the collection of creativity here.
“I’m drawn to a few subjects in nature that I find perpetually intriguing by themselves and my voice is whispering a tribute to the incredible beauty in both the subtle and violent forces of nature, only touched by the hand of humans on rare occasions. I’m obsessively drawn to trees, rocks, all forms of water, and animals; I portray these subjects as if they were asking to me to reveal their messages to the world. My fiber pieces are dramatic portraits of Earth and I hope to draw the viewers into these scenes to share the exhilaration I feel and to cherish the wonders of the place we call home.” Angel Fire Designs
“I make contemporary art quilts that use color, fabric and the traditions of quiltmaking to create abstract landscapes of the prairies of the Midwest where I grew up, the hills of western Massachusetts where I now live and vistas of my imagination. Each quilt represents a different moment in time and space. Frequently I am exploring the concept of horizons–that place of the potential where the sky and the earth seem to meet. I am constantly pushing the designs of my quilts while maintaining a distinctive style and a simple technique.” Ann Brauer
“After many years of teaching and advising students on campuses including Stanford and the Universities of Wisconsin and California, budget cuts left me without a classroom. Finally, I could focus full time on my inherent artistic interests – dyeing and weaving yarn.
Today I design and weave one-of-a-kind textiles using traditional looms, respecting and preserving an ancient form of art. I have four looms in my home studio and use only natural fibers: cotton, silk, tencel (fiber made from wood), bamboo and soy.
I have been teaching weaving at Women’s Wisdom Art, a program to help women heal through art, since early 2009. But, alas! the program is closing and going the way of many art programs these days. I had to find a home for the looms and did so at Craftology (http://craftologystore.com/class/weaving-beginner-intermediate/) where I will be able to continue teaching. My goal is to teach as many people as possible the joys of weaving!” Ann Robinson Textiles
“I have been working on several series for the past couple of years and have seen my work progress through the use of more than one medium in a piece. In many ways this has broadened my outlook and led me to new paths and different views. In the ‘Fossil Series’ I have combined textiles and encaustics which has offered me a whole new variety of textures and subtle form. To get the maximum benefit from this medium I use both the wax and the acrylic resin forms of encaustics. On the other hand, in the ‘Moon Shadow Series’ I have chosen a totally different approach. Here, I have combined needle felting and acrylics. The results are very different, but no less pleasing. It is exciting to be able to express myself in these two very different, mixed media approaches to art.” Anni Hunt
“My mother’s Slovenian culture was always an inspiration for me: embroidery, folk costume, woven carpets. After living with indigenous dot paintings I began to create narratives from buttons, which I call assemblies. Button work and woven tapestry are my two modes of self expression. In both, autonomy is important; colour, texture and luminosity are emphasised. During my 30 years of textile work I have been able to express my personal development, images of my family migration to Australia post World War Two, and most recently my consciousness of living on a planet with dwindling, threatened resources.” Anton Veentra Textiles
More next week! Take your time and explore. There is so much to see and learn about!