Tip of the Week (Catch up 3) - Homemade Liquid Starch

It might not seem like a big deal, but the starch you use for quilting and appliqué can make a difference.  Liquid starch will leave a crisper finish than spray starch--highly desirable when doing appliqué, and makes your pieces stick together better when you're sewing, which means less shifting and less pinning.

Nearly all fabric is treated with sizing.  That's why it feels so wonderfully crisp in the store.  There is a difference between sizing and starch.  Starch is edible.  If you want to iron your fabric and store it, you should use sizing, which does not attract insects.  Liquid starch is hard to find, but easy to make.  You can make it from corn starch, or if you find a bottle of liquid starch, you can dilute it; it will last a long time.

Homemade Starch
1 pint cool water
1 tablespoon corn starch (preferably organic)

Dissolve the corn starch into water and put into a spray bottle.  You can use other starches as well,  (i.e., potato starch).  Regardless of what type of starch you use, make sure you shake it continuously for a couple of minutes before you use it to redissolve the starch.  You can make smaller amounts by reducing the proportion.  For extended storage, keep the starch in the refrigerator, but allow it to come to room temperature before use.  If you can find liquid starch such as Linit or Sta Flo, mix equal portions of liquid starch and water.  The liquid starch solution does not require refrigeration.

Two cups of liquid starch will treat three yards of fabric.

Tip of the Week (Catch up 2) - January 12- The Right Stuff for Appliqué

When doing appliqué, I've found that the tools make all the difference.  Here are some favorites:

Roxanne's Glue Baste-It

Roxanne's glue is not better than anyone else's but she is light years ahead of everyone with her dispenser, a syringe that gives you pinpoint (or more specifically, "needle"point accuracy.  I have been using this since I started quilting, and thank my first quilting teacher, Alison, for saving me years of trial and error.  It will wash out with soap and water, but will hold securely until you remove it.

Jeana Kimball's Foxglove Cottage Straw Needles Size 10

Needles are a very personal thing.  Many people recommend sharps or betweens for appliqué, but I find that I prefer straw needles, and of the straw needles I've tried, I preferJeana Kimball's needles.  They glide through several layers of fabric, and make needleturn easier for me.  They are, to quote Goldilocks," not too big, and not too small, just right." 

John James Gold'n Glide Appliqué Needles Size 10

I like this brand, size and type needle for the same reasons I love Jeana Kimball's.  The slight difference between this needle and Jeana Kimball's is that her manufacturing process means you have to pull the eye through the fabric, and his goes through the fabric without stopping at the eye.  I love them both.

Wonderfil Invisafil & YLI Silk Thread

For nearly invisible stitches, I use Invisafil® thread.  It is the finest (fine being a thread weight thing, not a quality thing, though the quality is wonderful too!) thread on the market, and your stitches will disappear.  They sell wonderful mini packs, so you can buy several colors at once. The slim spool means you can carry a few colors in a small pouch. I use this thread with a combination of YLI silk thread, which also sinks into your fabric.  Wonderfil is less expensive and has a wider variety of colors, important because you have to match the color of your appliqué piece (not the background).

Bobbinsaver
I've mentioned this item before as a great way to store bobbins.  It looks like a silicon donut, and I keep bobbins of Invisafil and silk thread in a Bobbinsaver in my appliqué organizer.  That keeps it portable, and ready to go when I'm ready to appliqué!

Tip of the Week (Catch up 1) - January 12

Since I owe you all quite a few tips, I'll be posting a few tips this week. As they are fresh in my mind, here is the first of a few appliqué tips:

Used fabric softener sheets are an amazing tool for appliqué, especially when you have curves and points.  The shrubbery  along the sides of my appliqué block pictured in my previous post, Have you ever seen a quilter cry? were done using this method.  Trace the applique form on the wrong side of your fabric; you might need to reverse your tracing.  With the fabric right side to the dryer, stitch around your tracing with using a 1/8" seam.  Cut a small slit in the fabric sheet and turn it inside out.  Iron the piece.  The sheets are extremely light;  you may choose to trim them close to the seam.  Position the appliqué on your block, then sew by machine or hand.

Have you ever seen a quilter cry?

Happy New Year! I love all forms of fiber art, but I am drawn to some more than others.  That said, my personal feeling is that if you limit yourself to the things you are comfortable with, you will not grow as an artist,  and you will be doomed to repeat 1,001 versions of the same piece.

Case in point:  last summer, I agreed to submit an applique block for the 2011 Empire Quilters Guild raffle quilt.  The quilt, Subway Series, is based on mosaics from various subway stations in NYC.  The quilt is the brainchild of an incredibly talented quilter and applique artist named Mary Cargill.  She opened up her home and stash to participants, and from what I've seen, the quilt will be a masterpiece.    I enjoy applique, but I have NEVER done an entire block of hand applique; it was always a single component, such as a flower, or  heart.  Nevertheless, I felt I ought to try, and with Mary's support, I gathered the fabrics for my block.  Fortunately, I have a large collection of fabric that was bought for portrait and landscape quilts.  The sky and mountains are batiks; the water, a fabric reversed; the tile roof, stone house, and windows were fabrics from my collection, as is the wood for the dock (to the right of the house). I painted another batik to give the impression of grouted tiles both surrounding the block and on the brick of the reflecting pool.  It took me many, many hours to complete the block; I changed the reflecting pool (in front of the house) and the roof shape and windows several times, often cutting out something I had just sewn.

Now for the crying part.  Happily I sent off my blocks.  Not wanting to spend a fortune to send it, but wanting to keep track of it, I took it to USPS and paid for delivery confirmation.  I am in the minority of people (based on comments I hear, even within my own household) who thinks the Postal Service does an incredible job for the price they charge.  We do not pay very much for our postage...if you think I'm kidding, send a postcard from abroad and convert the price to USD!  I am happy to see our postman, even though I don't often enjoy the bills he brings.  Imagine my surprise when nearly a month later Mary called to say she hadn't gotten my block, and the delivery confirmation had not been posted!  I spent most of the holiday dreading the thought of having to recreate this block.  Each day I checked to see if the delivery had been confirmed.  When yet another week had passed, and the delivery still had not been confirmed by either Mary or USPS,  I began to gather the fabrics again, with very little enthusiasm for the task, and on the verge of tears.

The story does have a happy ending; the post office did return the block as undeliverable, and simply for this reason:  the address was correct, but the last digit of the zip code was wrong, a 6 instead of a 5.  Had someone even bothered to look at my HANDWRITTEN LABEL, they would have seen that the address was correct.  Argggggggh...of all the !@#$%; stupid things. Holidays are a horrible time for the mail system, and that was USPS' reason why the package seemed to be returned to me via Pony Express; since it was not delivered, they could not update the status to delivered, and they don't have a status called  CRAZY POSTAL LIMBO. Not willing to trust my block through the postal service again, I brought it to NY, and was happy to see it included in the quilt top last Saturday.

Incorporating ubuntu...or How I Spent My Weekend

Desmond Tutu is one of my favorite people in the world.  Tiny in stature, but oversized in courage and heart, he still travels worldwide on his personal mission of social justice.  One of the recurring concepts in Rev. Tutu's talks is that of ubuntu, which means, I am because we all are.   Quite simply, it's a reminder that we are all connected in so many ways....six (or less) degrees of separation.  I think that is why the social networking sites are so popular; spending time with your computer used to be very isolating.  Sites like Facebook, Twitter, and MySpace bring us back to an essential necessity--to connect with other people, rediscovering ubuntu.  Meetup takes it one step further by bringing people with like interests together, face to face, the way people used to get together. 

This was an exceptionally busy weekend for me.  I am in the midst of preparing for three upcoming sales, a beading class I am teaching at Nubian Heritage Quilters, plus the demands of the new studio, Inspired ACTS.  These days times is more valuable than money.

On Saturday, I headed to an annual gathering of friends at the home of the sister of one of my closest friends.  This is the 20th such gathering, and we have come together over the years to talk about a wide variety of  things...sometimes it was a book, sometimes it was a topic---breast cancer, men, financial management.  It was, and continues to be, a bonding experience.  The hostess calls it Girl Talk, and I named one of my quilts after it.  A few years ago, my friend asked me to bring my quilts so others could see them.  The first time I did it, I sold a couple, and have brought them and sold a few ever since.   While it is not the purpose of the gathering, in essence it is, because it is about supporting and listening to each other.  I am thankful for both opportunities...the opportunity to join the circle of these loving, cherished women again, and the chance to share my art with them.  I am because we all are.

On Sunday, I headed to church, and reconnected with a former intern who will most certainly make an phenomenal priest very soon. Her sermons were magic, and I made some suggestions about how she could use post-its to accentuate the annotated bible she is allowed to bring for her priest license (my words, not hers!) exam.   She and I shared a moment last year where we saw exactly the same thing on someone's jewelry.  We didn't understand that the pin should read Obama 08.  I won't say what we saw....LOL!

I headed into NYC to attend the Empire Quilters Guild meeting.  Normally we meet on the second Saturday, but sometimes our meeting room at FIT is not available.  Our speaker was a friend of mine, the talented Sherry Shine, who displayed her amazing portrait quilts, shared her artistic journey, and explains her artistic process. EQG is not a traditional quilt guild by any means; they have a very broad definition of a quilt.  I would venture to say, however, that many of them had not seen work like Sherry's, which almost always features beautiful black women.  During her talk, Sherry also explained how a workshop with Rayna Gillman expanded her creative horizons, freeing her to use everyday items to create the backgrounds for her artwork.  I am because we all are.

I had to leave the guild meeting a little early to head uptown and support a fellow member of Quilters of Color Network of NY,  Edward Bostick. Ed has two very different quilting styles.  One style features traditional piecing methods, but with a stunning array of colors; the other style incorporates portraits of famous African Americans. In the pictorials,  Ed incorporates the artwork of Vincent Melbourne then adds colorful piecing elements.  Most of his quilts feature lovely quilting by Janice Jamison...more ubuntu!

My final stop was a lovely visit with my mother, who is in a long convalescent stay in Riverdale (NYC).  We talked and about my art and life, and she admired a piece I was embroidering.  It was one of the best visits in recent memory.  Throughout these connections all weekend, I was repeatedly thankful for each and every one of them; they enrich me personally, professionally, all parts of my whole.  I am because we all are, indeed, Rev.Tutu.

Weekly Tip: Taming Thread

I don't do lots of hand sewing, but when I do, I do a little bit of prep work to make it as easy and enjoyable as possible.  To make quilting thread tangle less and go through your fabric like butter, cut thread (many different colors, or a single color) to 18" lengths.  Place it on a piece of waxed paper, fold the waxed paper over the thread, then place the folded waxed paper between two pieces of parchment, or in a brown paper bag.  Iron with a warm iron.  To store up to ten threaded needles, untangled, and ready to sew, get yourself a Clover Dome Threaded Needle Case.  

Open House Event

The Inspired ACTS studio open house  in Harlem was a wonderful event yesterday.  We got a chance to share our space with fellow artists, friends and family.  The studio is a teaching studio, and based on the response, our hope of nuturing and sharing creativity will soon be realized.

I got a jump on my creativity efforts by building the table, design wall, and ironing surfaces in the studio.  Teresa, Chandra and I worked on the studio banner.  With our artwork and samples hung, the studio oozed with positive creative energy.  Our guests completed the picture.  I have a few pictures in my Picasa album.  I was busy with my hosting duties...explaining classes, tours of Workspace Harlem, etc.

Our schedule for November and December are done, as is our class descriptions.  If you'd like a copy, or would like to be on our e-mailing list, click here.  Put Class Info or Mailing List in the subject matter, and we'll take it from there.

The studio is open! The studio is open!

Folks who know me know that they can come to me and ask me how to do something, and if I know it, I'll be happy to tell, show, or teach them; if I don't know, I'll direct them to someone who likely does.  I've gained a lot of knowledge by asking, or traveling to shows and attending classes.  Everyone I've met has been generous with the knowledge, and it has helped me grow artistically.

Now it's my turn.  I am a part of a studio, Inspired ACTS, and I plan to use the studio to share the fiber arts and crafts I've learned over the years.  There'll be dyeing, surface design, traditional and art quilt techniques, wearables, accessories....who knows what else?  I'm learning new things every day!

The studio is located in Workspace Harlem, at 2340 Fifth Avenue between 141 and 142 Streets.  It's easily accessible by train or bus, and free parking is plentiful (by NYC standards).  The studio has ginormous windows providing natural light, plus great overhead lighting.  Our studio was once a science lab, and we have sinks in the room.  We have a large table, design wall, and ironing tables (you can't see the ironing tables from this angle).  On the design wall is a banner created by the three studio mates which will greet you as you enter the studio.  We're finalizing the class schedule, so please visit the site, and sign up for our email updates.

Weekly Tip: Tilting your Machine

I promise to post a photo over the weekend, but I think you'll get the gist of this tip without it.  Last week, at a workshop, one of the attendees chose to stand and sew because she could not see the top of her machine too well while sitting down.  You could purchase one of those tilt tables, which are great, but pricey, or you can use this trick that will cost you less than five dollars:  buy a couple of doorstops, and slide them under the back of the machine.   This will tilt your machine, and give you a better view of what you are sewing.

Studio Open House...You're Invited

On Saturday, October 31, Inspired ACTS will host an open house.  This artists' studio, housed in Workspace Harlem,  2340 Fifth Avenue between 141 and 142 Streets, is home to me, Teresa Vega, and Chandra Travis.  We are excited about our opening, and are looking forward to sharing our talents with other creative souls.  Our mission, as our name suggests, is to inspire our students to act creatively.  ACT also comprises our first initials--clever, aren't we?  We believe everyone, including us, can be more creative when in creative place, with other creative people.

At our open house, you'll get to see our studio, pictured above, and see some of the classes we'll be teaching.  In addition to classes, we'll be opening our studio space for people who need a place to get messy, such as Art Quilt and Dyeing playdates.  (Yes, adults need playdates too!)

What will we be teaching?  Surface Design, Hand Dyeing, Needlefelting, Fabric Collage, Altered Lace, Collographs, Adinkra & Taino Applique Quilt, Photo Transfer, Batik, Indigo, Discharging, Silkscreening, T-Shirt Quilts, Memory Quilts.  There will be some traditional quilting classes as well.  Classes have various skill levels.

Come join us on Halloween.  We'll have treats, no tricks!  Because of building security, you must RSVP, which you can do by clicking here, sending your name and email address.  We look forward to seeing all of our friends and fellow artists!

Weekly Tip: Channelling Einstein

A few years ago, I had the chance to attend the Einstein exhibit at the American Museum of Natural History.  I already knew Einstein was smart...a genius...but I also have come to believe he would make a helluva quilter.  He had a sense of playfulness and simplicity that would work marvelously in the fiber arts.

One of the things I learned is that Einstein did not use his substantial brainpower on just anything.  For instance, if you see photos of Einstein, you will notice that he is wearing virtually the same outfit.  Apparently, he bought several of the same item...the same jacket, shirt, shoes, socks...and simply rotated them.  He didn't want to have to think about something as ordinary as clothes.  I have to say this works a lot better if you are a man (even if you're not a genius)  in the early 20th century.

I have taken several of my tasks and "Einsteined" them.  In this I rarely have to think about these tasks, and it makes it easier for me to get them done.  Here is one that I use for sleeves. I will post other "Einstein tips" in coming weeks.

I sleeve all of my art quilts, and many of my bed quilts, specifically the ones still in my possession.  This is simply because I don't know which ones will be submitted for an upcoming show.  Yet, this is not the Einstein portion of this task.  Einstein helped with the process of making the sleeves.  What I do is take long lengths (perhaps 5 yards) of muslin, cut them to a 9" width, fold them in half, and sew a seam on the long end.  I then roll them around tubes, pin and rubber band them.  I cut the lengths I need, and I have ready to go sleeves that need only be attached to the top of the quilt, and turn the short edges in 1/4" and hem their short edges.  I then do not have to worry about what fabric I use for the sleeve.  I use the muslin no matter what fabrics are used on the rest of the quilt.  If I'm feeling extra creative, I can stamp or put Paintstik rubbings on the sleeve, but since it's not a part of the quilt that is likely to win or lose points for me during judging, I save my meek brainpower for other aspects of my quilting process.

On Being Flexible

Have you ever been in this situation?  You're with a group of people doing an activity, and something unplanned, and inconvenient happens.  How you do respond?

As the Program co-chair for Garden State Quilters, one of the responsibilities I share with Becky Dieckmann (my co-chair) is attending the workshops as the host.  The workshop was in my church's beautiful parish hall when all of a sudden, the irons blew the circuit. I'll tell you what I did as host in a minute, but my question to you is would you:

a) complain about not being able to work in a suitable space, but stay;
b) ask for your money back and go home;
c) stay and do what you can do until the lights come back on;
d) find a comfy chair and nap.

As the host, I tried to (unsuccessfully) find a circuit box with a tripped switch, then called someone to help.  I am happy, proud, impressed as hell to say the other ten people and the instructor chose (c).  While they could have done any of the other things, and justifiably so, they did what I would have done had I been on the other side.  There is a proverb, which is believe is Jewish in origin:  It is better to light a candle than to curse the darkness.  I have always loved this saying, but did not know I would understand it literally.

Many thanks are also due to the instructor, Didi Salvatierra, who was able to direct us to non-electrical tasks while we waited for the lights.  Everyone present possessed two important life skills which are necessary, but cannot be taught: flexibility, and a sense of humor.

Weekly tip: The Most Important Tool

Of all the tools in your studio, be it a kitchen corner, dining room table or studio, the most important one is YOU. Without it, that full-featured machine, the most wonderful gadget, the most perfect fabric is nothing.

Today's tip is one that will keep your most important tool from becoming overworked.  Use a minute timer wherever you sew and set it to 1 hour.   At the end of the hour, stand up, walk to the other side of the room, and do a minimum of these five "stretches".  (I'll post some more exercises later, but these are the basics).

1. Neck roll.  While standing, keeping your shoulders down, try to touch your right ear to your right shoulder, then look up, try to touch your left ear to your left shoulder, then drop your chin to your chest.  Repeat three times, then reverse directions.
   
2. Shoulder shrug.  Now is the time to bring those shoulders up toward your ears, then let them drop.  Do this ten times.
   
3. Wrist flex.  Put your right hand directly in front of you as if you are singing the Supremes' Stop! In the Name of Love.  I know you know the song, and the movement, too!  Use your left hand to gently flex the fingers back, until you feel the stretch in your wrist, and hold it for a few (that's three, people!) seconds.  Switch hands, and repeat the stretch with your left hand out and your right hand flexing your fingers.  Repeat three times for each hand.
   
4. Back flex.  This reminds me of the chant of young girls  (We must, we must, we must increase the bust!)  LOL!    With both arms extended in front of you, hands closed (as if you are rowing) keep hands at chest level and slowly pull your hands back (as if you are pulling the oars back).    When your hands are back, hold the stretch for a few seconds, then return to the extended position.  Repeat five times.
   
5. Eye Stretch.  While sewing, your eye muscles have been locked in a very near-sighted position.  To relax them, you need to focus on something in the distance.  This one requires a little preparation.  Either print an eye chart, or an inspiring quote and tape it in a place where you can look at it from across the room.  You may need to close your eyes (several times for me) to refocus, but keep trying until you can see the text.  If you have a window, focus on something outside in the distance.

Take care of your most important tool.  Maintenance is always cheaper, and less painful than repair.

The Trip to Oaks, PA, September 2009

Last month, I attended the Mancuso quilt show, PA National Quilt Extravaganza.  This show is in its third incarnation, having been at Ft. Washington, and Harrisburg before it.  I think the third time is the charm.  The show had a large number of quilts, and vendors to match with products to tempt quilters to shop.  Many of the quilts were mini-shows, for example, a group featuring quilts from SAQA, a show featuring the Hoffman Challenge fabric, a show featuring quilts made during WWII, and a show featuring international quilts.

Remember my weekly tip, ABC--always bring a camera?  Well the codicil to that is always make sure said camera is charged.  My camera died five shots into my adventure.  Luckily for me, I knew almost 40 other people present from my various guild activities, and found three who offered me their cameras.  Unfortunately, the uncharged battery demon also struck the second camera, but I managed to shoot the rest of the show with a third camera.  I finally have gathered all the photos.  You can see them by clicking here.  Many thanks to Sylvia, Wannetta and Josaine.

The best thing about quilting shows is meeting people.  I also belong to Yahoo Groups African American Quilters.  While we most often see each other online, from time to time we do get to meet in person.  In the photo is Jeanyne James,  whose booth featured extraordinary collectibles, ceramics, pins, and home decor.  I couldn't resist buying one of her beautiful pins.

I had hoped my next trip would be Houston, but without a Saturday stay, the cost has become prohibitive; I'll have to catch the quilts in Chicago!

Weekly Tip: ABC

My weekly tip is late, but timely.  Have you ever been walking somewhere and seen a dress and thought, "that would make a great quilt" or seen a background design on a pillow, a tablecloth and thought "that would make a great quilting design"?

ABC stands for:  Always Bring a Camera.  The camera will allow you to capture those ideas while they're fresh, even if you don't use them right away.  The world is full of vibrant patterns and textures, just waiting to be worked into one of your creations!  In a class or workshop, teachers or classmates will often allow you to photograph their pieces--not to be copied, mind you, but for inspiration.

The camera can also serve as a layout helper.  If you lay out your pieces/blocks/design on a design wall or table, you can use the viewfinder as a reducing glass, giving you a better perspective (specifically one from a distance).  You can photograph the layout, switch it around, and then compare several layout options simultaneously if you have a computer nearby, or consecutively if you don't, then choose the one you like best, and reconstruct the design by using the photo.

To show that I practice what I preach, here's my tale.  I recently accompanied a friend to an eye surgery appointment.  As I waited, I noticed the really cool texture of the carpet, as well as the groovy design on the chair upholstery. I pulled out my camera and took pictures, ignoring the quizzical looks from the other people in the waiting room.  I will create a Thermofax screen from the carpet photos--I deliberately took one on an angle--and I've already doodled the upholstery design in my sketchbook for FMQ.  (See my earlier post about the importance of doodling). I'll blog some more about the beauty of a Thermofax machine soon!

Tuesday Night Group: Bev & Friends, Happy Villages

In an earlier post, I promised to write about quilter Beverly's goddess doll collection, which is several hundred strong.  Beverly started making the dolls as a guild project, and by the time she stopped, she had made something like 300 of them....now she has the task of stuffing them.  Each one is different and has its own beauty, like people.  She brings them to our Tuesday night gathering, and if anyone is taking a break, or has come to a point where they can stop early, we help her with the project.  When she has finished stuffing them, she will be embellishing them with all kinds of features, ornaments, and accessories.

During the summer, we decided that on the fifth Tuesday, one of us would show the others how to do something...a technique or a mini-workshop.  The first one was lead by me, and the group chose Happy Villages.  Karen Eckmeier, the creator of Happy Villages, taught this at Garden State Quilters a while ago.  It is a wonderful fabric collage project, a great way of using scraps of all kinds of fabrics, and one of the most stress-free projects I've ever done.  The hardest part was convincing the group not to stress over how they laid out their backgrounds!  By the end of the evening, I think they understood why I kept saying, "it doesn't matter" over and over again.  You cannot mess up this project.  It would be fun to do with kids as well, as long as you trust them with scissors, or you could do the cutting for them.   A village can be completed in just a few hours.  We swapped fabrics and laughed throughout the evening.  Next week, we'll finish up the project, giving the group a chance to practice their FMQ skills on the quilt top. I took photos of the four villages.

Weekly Tip: Faux Needleturn Applique

You can take a used dryer sheet and use it to create easy needleturn-like appliqués.  Trace your appliqué motif, adding a scant 1/4” seam allowance onto the wrong side of your fabric.  Sew the dryer sheet and the fabric right sides together, using the traced line as your guide.  Press the piece flat and trim a 1/4” seam.  Carefully snip a 1” slit.  Use your judgment when clipping the slit; make it larger or smaller depending on the size of your piece.  Using the slit, turn the piece right side out, and press again.   You will have a beautiful faux needleturn piece, which you can stitch (by machine or hand) or glue to your background fabric.

Art Adventure on Riverside or It's A Small World, After All

Last night I went to the opening of Judy Langille's Torn Forms exhibit.  I first met Judy when I was stranded (although I guess it's not stranded if you're at home) by American Airlines last year on my way to IQF Chicago.  When it became apparent I was not going to my Thermofax workshop in Chicago, I looked around for local classes, and found Judy's class at the Newark Museum.  It opened up a completely different way for me to explore surface design, and I bought a Thermofax machine as a direct result of that class.

Judy has a wonderful eye for color and texture.  Her designs are simple and wonderfully complex at the same time.  To each element in the piece, she adds glorious textures.  The Treasure Room Gallery at the Interchurch Center offered a perfect background for her beautiful art.

The piece pictured on the right was my favorite.  My photo does little justice to the ethereal quality of the piece, which appeared to be a silk organza.  It floated above us, ever so slightly undulating--sheer beauty.  For me, it is an inspirational/aspirational piece.

I wished I had gotten a photo of Judy in front of one of her pieces.  By the time I caught up with her, I didn't want to interrupt her.  Fortunately, Rayna Gillman posted a photo on her blog.

Judy is teaching a Torn Paper and Textures workshop at the Newark Museum.  You can download the pdf by clicking here.  I've created a Picasa album for the evening.

It is a small world!  On my way to the museum, I ran into a neighbor/artist, Lisa, who was with another friend, Susan.  We are all so very connected, and I for one am thankful for it.  I love being around creative people!  In the photo, left-to right;  Rachel and I both belong to Garden State Quilters.  I met Rayna in person, (long after we met online) at a batik class; Sherry and I have a wide variety of connections.  Joan & I live in the same town.  Wonderful artists, all!

Rayna graciously offered me a ride back to NJ.  Rachel, Rayna, Sherry and I talked nonstop, finding that we had more friends in common.  We will likely take another art adventure together in the future.  Sherry gave me a lift back to my car, and I invited her to take a peek in on our Tuesday Night Group.  As I didn't have a machine with me, I helped another friend, Beverly, stuff some of the 300 goddess dolls she's made.  I will post a picture of Bev and her dolls soon.

On Men & Quilting

Over the last three days, two of them were spent with strange men.  (Bet that got your attention, didn't it?)  On Saturday, Empire Quilters welcomed David Taylor as their monthly speaker.  Last night, Garden State Quilters welcomed Mark Lipinksi as their speaker.

They had a number of things in common.  Both men were uproariously funny about how they came to be quilters.  Both men displayed a tremendous amount of hubris about their art, and are incredibly comfortable with doing what they do.  Both men have been so successful that they have given up their day jobs to pursue their quilting businesses full time. Both men are extremely personable, whether sharing a bag of caramel rice cakes, or schlepping bins of quilts.  You'd enjoy hanging out with them.

They had a number of things that differentiate them.  David's quilts are gorgeous, intricate portraits; his attention to detail rivals that of Jinny Beyer, Paula Nadelstern, or Jean Biddick.  David's beautiful quilts are wonderful portraits, snapshots of nature's beauty.  Mark's lovely quilts are seemingly more traditional; pieced, but using vibrant color schemes and patterns, which match Mark's personality.  I have a theory about this...keep reading. 

I wondered two things as I saw them both:  what drives a man to want to enter a world dominated (artistically, but not in the business side--again, keep reading!) by women?  One of the things I've observed is that male quilters seem to have a quicker route to superstardom; their uniqueness gives them a competitive edge.  I also notice that the men take huge leaps of faith, whether it's Mark Lipinksi starting Quilter's Home magazine, John Flynn creating his own tabletop quilting system, or Ricky Tims snapping up Alex Anderson for The Quilt Show.  I'm not hatin', as my niece would say, but I know equally talented women who are equally deserving of opportunities and accolades.

David's quilts are a result of what seems like thousands of careful choices.   For instance, if you see Keeping Watch Over Carlson Ranch to the right, you would not believe the pile (I think it was 38) of fabric used to create the piece.  All of his quilts have frequent changes in the top thread; he also changes the bobbin thread to match the top thread  Visually, the back of his quilts are nearly as stunning as the front, essentially two beautiful pieces of art. He sees the possibilities in photos, such as Sally at the Window, owned by Alex Anderson.  David's quilts have deservedly won awards at all the major shows.

Mark detailed his quilting journey, from first seeing Eleanor Burns and thinking, "I could do that!" to the present, where he is designing patterns, designing fabric, publishing Quilter's Home, and co-hosting an online show, Quilt Out Loud! . Mark said two things that struck a chord with me last night.  The first was that for a business whose primary audience is nearly 100% female, there are very few women in positions of authority in the quilting industry. It is an industry dominated by men who are making the rules, and setting the agenda.  When he said this, I thought of the fashion industry, constantly showing women who look like they haven't had a good meal in years, in shoes that we couldn't walk a block in, wearing clothes that weren't designed for average women.   We need to support the women in our business who support us.  Karey Bresenhan comes to mind, as does Pokey Bolton, and of course Alex Anderson.   They created their industries, blazing a trail for others to follow.  They continue to support and encourage quilters to value their work, and creativity.

The second dealt with issues of censorship, and Mark was incensed that guilds were rejecting member quilts from their shows because it might offend someone.  He distinguished this situation from a juried show, where the organizer has the right to accept or reject a piece for any number of reasons.  It made me think of the rapid  changes I have seen at quilt shows in general.  When I first went to shows, art quilts were the ugly stepsisters.  The quilts I saw were typically made for a bed, pieced, using commercial, floral prints and/or little color variety.  Carol Bryer Fallert's  and Hollis Chatelain's work were revelations.  More and more I am seeing an explosion of art quilts, using wildly varied techniques and a mixture of store-bought plus fabrics and embellishments you won't find on a quilt store shelf.  It's a veritable UNLEASHING of creativity!  Now the art quilts are beginning to win awards, and hang beautifully amongst the traditionals.

Now for my theory on Mark's fearlessness when it comes to color.  When I had a playdate with Rayna Gillman last week, we talked about the four guilds I have belonged to.  Two of them are large guilds mentioned above, and two of them are small, African-American guilds (Quilters of Color Network of NY, Nubian Heritage Quilters). I am also a member of an online African American Guild (African American Quilters Yahoo! Group).   Rayna asked me if I saw a difference between the two types of guilds, and I told her what I observed. First, since the African-American guilds are smaller, the group dynamic is more intimate, more friendly critiquing goes on, more information is exchanged.   I cannot say there is a cultural cause and effect going on, but in the African American guilds (both of which have members of all races and both sexes), there is an overt flaunting of the "rules".  They use patterns, shapes,  fabrics, and colors that are rich and vibrant, downright loud sometimes, and they work.  That sense of fearlessness, of only pleasing your self with your art/craft, is indispensable to any artist.  It is not something that most quilters start with, as they are typically matching textiles in clothes and use that as a guide when it comes to quilting.  Black women have frequently broken these rules.  As an example I offer Josephine Baker, Patty Labelle, Grace Jones, Tina Turner.  Mark's introduction to quilting was through an African American guild, and it still shows in his work.

Weekly Tip: Free Motion Quilting (FMQ)

My website has a tip each week which I cross-reference here.  This week's tip is about expanding your FMQ motifs, and jump starting your own creative brain.

Are you tired of doing the same patterns over and over on your fiber art?  In a class, I once heard a teacher comment that no one should ever do stippling anymore, now that sewing machines could be programmed to make the stitch.

There is an easy technique to train your brain, eyes, and hands to create new quilting motifs. It has several things going for it:  easy, portable, no fancy equipment needed.  In fact, you may already be using this technique subconsciously.

What is this magical technique?  Doodling.  That's right....doodling.  By doodling, you are commingling those right and left brain skills, training your brain, hand and eyes to make the motions and designs you use during FMQ.  Get a sketch pad, white board, or one of those Magic Erase boards--I may be dating myself here--the ones that have the sheet you lift to erase the page.  I don't use Etch-A-Sketch (TM) for this purpose simply because the motions are not the same.  The photos above are from my sketchbook.  Start with lines, loops, geometrics, then try flowers, leaves, butterflies, hearts, and so on.  Make your designs multidirectional.  Draw them facing left, right, upside down, diagonally; after all, that's how you'll be quilting them.  When using paper, I prefer a felt tip pen, but if all I have is a pen or pencil, I go with it.


In the past week, my friend Dorothy Hayes recommended  an awesome FMQ blog, Leah Day's 365 Days of Free Motion Quilting Filler Designs.  When you get there, bookmark it, then try doodling some of the designs.  After doodling them for a while, try quilting them, and I'll bet it will be easier!

Last tip:  keep a sketch pad or another pad of blank paper (the larger the better) and a felt tip pen with you at all times, and try to doodle something everyday.