Blazing Trails in Quilt Making

Evolution of Techniques, Materials and Topical Themes in Quilt Making

Tallahassee Lassie II

Tallahassee Lassie II by Marilyn Dillard, 1991

In the on-line Pittsburgh Gazette, Sept 2, Mary Thomas has  written a perceptive and refreshing analysis of the incredible transformation of the art of quilting from the traditional quilt to the latest in surface treatments of quilted art pieces as she reports on “Rooted in Tradition: Art Quilts From the Rocky Mountain Quilt Museum”.

Rather than the typical review of a quilt exhibition, Mary gives us a balance of historical perspective on quilting traditions and how quilting in the past 20 years has evolved in entirely new ways. Mary describes the quilts she viewed and provides readers with insights on how 20 years of changes in techniques and treatments are re-interpreting every aspect of traditional quilting. Contemporary quilt makers want to to express political, cultural and personal  references in their art quilts.
Mary Thomas’ article, (begins below) will likely become a classic review of the ongoing evolution of quilt making. Continue reading

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Illusion Quilts – Wheel of Mystery

Winding Ways, or Wheel of Mystery Quilt Pattern Inspiration

Intimidating curved seams are usually the reason quilters are hesitant to tackle quilt patterns such as Wheel of Mystery or Double Wedding Ring.

Several notable quilters have published how-to books to make the curved seam process simpler. Nancy Elliott MacDonald devised a one pin technique that she explains in her book, Winding Ways Quilts. Shown at left is a simple graphic version from the book that clearly shows the 3 template shapes for this pattern.

Nancy’s Fireworks, below right, contrasts excitement when compared with the calming effect created by the maker of the photo left Wheel of Mystery.

Helen Marshall has written  Wheel of Mystery Quilts: Surprising Designs from a Classic Book.

Color planning and patch layout are critical to creating the mysterious effect of intertwining circles. A design wall of some sort is necessary to avoid errors that would mean tiresome ripping and resewing or an otherwise spoiled visual effect. carriebee has generously provided this layout photo on Flickr. Read her blot post on the planning process.A few years ago John Flynn designed a Wheel of Mystery kit for Benartex from the Triple Dyed Bali Batiks collection, which is what carriebee describes in her blog post.

The two photos below demonstrate features I like to see in illusion quilts – a focal center of interest. Even more intriguing is a layout suggesting one or more secondary visual wheels of mystery.

For enthusiasts of this type of illusionary pattern, and for quilters who like to draft new and unusual versions of conventional quilt patterns, a distorted view would be very exciting to create.

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Never Never Give Up Quilting

Quotations by Leading Quilters to refuel your inspiration

Helen Kelley

Helen Kelley

Helen Kelley on being inducted into the Quilter’s Hall of  Fame, July 2008,
“These are the life lessons you and quilting have taught me:
Love your craft.  Be proud of tiny stitches.  Respect tradition.  But learn something new, try something hard, make a new tradition.  Then pass it on the next generation.
See things with different eyes.  Look for the small treasures.   Find the happiness and solace in your work.
Share your passion. Quilt with a friend, or friends, or many friends.  Be generous  with your time, your advice, your praise, your ideas, your fabric.   There is joy in giving something from your heart.  It comes back to you many-fold. Don’t obsess over the stuff that doesn’t matter. Tell your story.  Embellish it a little.”

Mary Emma Allen, quilt historian and author of children’s books,

“Quilting is one of those arts which forms a common bond among quilt makers around the world and, once in the blood, is an activity a quilter can never give up.”

Jean Ray Laury

Jean Ray Laury

Jean Ray Laury, quilter inducted to Quilters Hall of Fame, 1982,

“Quilt makers today are recapturing the spirit and the essence of early American quilts. Creativity and inventiveness make it possible to modify and rejuvenate the old approaches and techniques. If we can retain the structural integrity of the traditional quilt, (strong, durable and beautiful) and add to it a contemporary approach in color and design, we will achieve a quilt which merges past and present.”

Patricia Mainardi, author of Quilts: The Great American Art, 1987,

“Women have always made art. But for most women, the arts valued highest by male society have been closed to them for just that reason. They have put their creativity instead into the needlework arts, which exist in fantastic variety wherever there are women, and which in fact are a universal female art, transcending race, class and national borders. Needlework is the one art in which women controlled the education of their daughters, the production of the art, and were also the audience and critics… The contrast between the utilitarian necessity of patching and quilting and the beautiful works of art which women made of it and the contrasts between the traditions of patchwork and quilting as brought to America and the quilts made here from colonial times to the present, give ample evidence that quilts are The Great American Art.”



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Toys as Quilt Art Inspiration

Treasure Chest of Inspiration in a Toy Box

marbles

2D or not 2D, by just.luc

Smooth surfaces, bright in color, shiny, intriguing, stimulating

Across cultures and throughout history, children have had toys to amuse, share, nurture and enrich their lives. A toy is an entry to a world of imagination – a gift of love.

These Flikr photos show the universal characteristics of playthings: smooth edges, bright colors, visually engaging, basic geometric shapes.

Maybe the photos will stimulate you to design and sew a new art quilt. If you give the quilt to a child, the journey of its creation is definitely worth sharing with him or her.

If you need to make a gift, these 10 photos will inspire you to think of something original and personal. Continue reading

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Antique Amish Quilts and Modern Art Styles

Creativity Unleashed

Were some of the well known and widely admired artists of the 20th century subconsciously influenced by the graphic impact created by Amish quilters from the 19th and 20th centuries, many whose work was not recorded and who remain unknown?

crib quilt

crib quilt, c. 1930, maker unknown

Warhol

Andy Warhol, 300 SL Coupe

Continue reading

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Series Quilts and Gallery Displays

What do Gallery owners, Museum curators and Commercial buyers look for in a body of art work?

Part 2 of “Making Series Quilts”, (Part 1)

Art professionals selecting an artist based on his/her body of work are looking for a group of art pieces that are cohesive. The goal is to display a collection of work that is recognizable. In the case of gallery owners and commercial agents, they have a better opportunity to make a sale when several choices are available.

judy choate

Judy Choate, acrylics artist, at the James Ratliff Gallery, Sedona, AZ

What are the characteristics of a consistent or identifiable style? Continue reading

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Amazing Amish Stereogram Quilt

Quilting Traditions: The Art of the Amish

is showing at the Dairy Barn Arts Center in Athens, OH until Sept. 6, 2010.

The 60 quilts are from the collection of Tom and Marsha French and showcase the design and sewing skills of Amish quilters from Indiana, Pennsylvania and Ohio. The quilts were made between 1880 and 1950.

geese on pond

Geese on the Pond

Continue reading

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Aerial Perspective Effect – Telling Up from Down

Shade Values in Quilt Making

Positioning the “light source” from the upper left corner is a standard convention among map makers. (Odd, because the sun almost never shines from this geographical position.)

Even following this standard, sometimes the eye gets confused, as shown in this map of The Abyss, Grand Canyon National Park. Is it a canyon or is it a ridge?


The Abyss, Grand Canyon National Park


For most people, centuries of art work using the orientation of upper left light, have ingrained the convention of placing shadows in the lower right. Continue reading

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DMC Embroidery Thread # 3607

the lipstick chorus line

I have to admit, I’m suspicious of this color.

Wary, even though I’ve come to use it a lot.

For one thing, if my daughter were going to the prom,

I would not select this fuchsia for her gown.


On the other hand, she might.


I mean, here we are, the kind of folks

who button up the house by ten,

having guaranteed

that the dog has been walked

that the cat has come in

that the African violets have been watered

that the basement lights are off.


And all the while we are doing our duty,

tucking in the little ones and saying our prayers,

3607 is out at the roadhouse,

dancing the Monkey with a man named Earl!


What do you do with a color like this?

Lock her up?

Take away her ankle bracelet?

Make her enroll in data-entry?

No, you old stuffed shirt, just let her be,

soaring on her wings of neon

to the lipstick chorus line.

from The Very Stuff, by Stephen Beal

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Create Harmony and Balance with Lemon and Magenta

Experiment with Maverick Colors in your Art Quilts

Choosing prints and solids to construct balanced blocks of the palette colors- Part 3 of 3

Part 1 -Maverick color palettes and “mother fabrics”

Part 2 - Unrestrained colors pack drama into your art quilts

Have you decided on the accented analogous scheme yet? The following examples are an interesting study of 3 similar palettes, each one having the same accent color. The difference is that the analogous colors vary in range from close together, separated more and farther apart. (as indicated by the little white and black dots) The widest separation gives the most drama.

Do you still want to use that mother fabric? Continue reading

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