Lost in space. Starting the collaboration,I felt a bit lost.
Collaboration of Physics and Art 1
My Collaboration of Physics and Art 1 began June 13, 2018. I am an art quilter and fiber artist. Physics PhD candidate, Benjamin Lehmann, University of California, Santa Cruz was my collaborator, (I have read far too many World War II books to not get stuck on the multiple meanings of the word, collaborate. I must get past that.) UCSC Physics professor, Stephanie Bailey,initiator of the idea,explained,
“This project aims to enable people to access and engage with physics through art and to think about the role physics plays in our lives and world at large.” I plan on blogging about our collaboration. I hope that it proves to be of interest.
The Artist’s Short Bio
Professor Bailey initiated the collaboration with a call of interest to local artists. I responded in order to connect more with the field of my daughter’s boyfriend. My own background is in the Humanities,History and Spanish. I started sewing in high school. Later I took up traditional bed quilting. About ten years ago, I initiated my foray into art quilts. In 2012, I retired from teaching elementary school.
Searching for the New
Since then I have been a full time art quilter. I never took physics in high school. Feeling ready to try something new,I really had no idea what I had signed up for. While being open to the experience, I didn’t know what to expect. What will I be able to create? Will the scientist be creating art as well? The timing for the project was compatible with my schedule. I was open to taking a new direction in my art. The plan is to complete the project with a show in January, 2019.
City Lights, a fabric art quilt
Imagining a Plan
At first,I considered which of my pieces might align best with “space shots”. Then I decided that the abstract pieces or fabric layering technique creating scenes would work best. I feared I would have problems coming up with ideas. Then at least I could fall back on what I had already done. While it feels safe to have ideas before I start, I want to keep my options open to be inspired to move in new directions.
This is the process that I could use. Imagine stars instead of jellies.
What Could I Do?
However, so many questions remained. How many pieces of art would be expected? How many other pairs of collaborators would there be? As if she heard my questions, Professor Bailey communicated a list of 15 local artists. I recognized several friends of mine on the list. Their work, painting and fused glass is very different from mine. I will focus on what lends itself to fiber. I will not be too concerned about completely a certain number of works.
Upon reflection, I am struck by the greater meaning of our collaboration. How do people of different points of view and experience come together ? How do we learn to work closely together? Ultimately, how can we learn to see the world through the eyes of someone different from ourselves?
Sea Dragons in the Golden KelpUnder the Shady Tree 27″ x 38″
Color! Texture! Movement!
Art quilts by Ann Baldwin May are all about color, texture and movement. Her inspiration comes from the natural world as well as from Mexican and Native American Influences. Motivation stems from how the materials play with one another. Her materials of choice are redirected fabrics from the San Francisco Design Center.
The artist’s portfolios includes abstracts, seascapes, landscapes and Mexican inspired fabric collages. Artist created fiber details, tucks or found objects add texture. Flowing quilting lines and curved line piecing creates movement . Techniques include curved line piecing, free motion quilting, and fabric layering.
Bio
Ann Baldwin May was born and raised in Palo Alto, California. She received her education from University of California, Irvine. She has a BA History,anElementary Teaching Credential, and a Masters in Teaching Spanish. Her first quilting class was in 1975. She retired in 2012. She worked 30 years as a bilingual teacher and Bilingual Resource Teacher in Watsonville, California.
Being an Artist
After making over 300 bed quilts, she turned her attention to art quilts. Ann is passionate about using repurposed materials often from the San Francisco Design Center. She has won several awards for her work. Five pieces were recently purchased by Kaiser Permanente for their Santa Cruz County facilities. Her work reflects her inspiration of materials, nature and her love and respect for the Mexican culture. Ann Baldwin May Art Quilts participates in the juried Santa Cruz County Open Studios Art Tour. Visit her studio and gallery in the Santa CruzArt Center, 1001 Center St. #4 Downtown S.C.
Organizations
Pájaro Valley Quilt Association (PVQA),a past president, secretary and parliamentarian. Santa Cruz Art League Pájaro Valley Arts Council Studio Art Quilt Associates(SAQA)-international art quilters organization New Fiber Group of Santa Cruz County
Winter Sunset greys,pinks and purple fabric in this abstract art quilt.
Abstract Art Quilt Work in Progress
Winter Sunset, An abstract art quilt with lavander,pink, and grey colors,the finished piece
Abstract Art Quilt Work in Progress, Winter Sunset
This work in progress shows the steps I follow to create an abstract piece of art. Designing my abstract art quilts begins with choosing a group of colors. Inspiration for this quilt came from the greys and pinks of a winter sunset. I pick the decorative threads that I want to work with. I choose fabric that fits into the shades of colors that I chose. This time I want the colors to blend together and hardly be noticeable. Look for the green marbled fabric I added for that purpose. Choosing mnaterials from my stash is my favorite part of the creaive process.
1. Yarn and decorative threads for couching.2.I begin to choose fabrics.
Couching Decorative Threads and Yarns
Couching decorative threads and yarns to a long strip of fabric is fun. I use little pieces that might otherwise be thrown away. Each person’s eyes will blend the colors together differently. Then I randomly cut up the strips to use as fabric. I place the fabric on the design wall. Then I move the pieces around until I like it.
Long strips of cotton with the threads couched on them.I cut up the long strips. They are ready to be used as fabric.I place them on my design wall.
Keep Colors and Textures Balanced.
Beginning to sew the pieces together, I keep my eye out to make sure that the balance of the colors and textures is good.
I start to add the other fabrics.8. I added more fabric.
I keep adjusting the fabrics adding and subtracting fabrics as I go. Until I get it just right in my eye’s mind.I begin sewing small pieces together.
I sew more pieces of fabric together.
I continue sewing pieces pieces together. Here you can tell that the pieces are getting larger.
An abstract art quilt with lavander,pink, and grey colors
I moved some other pieces around. Sewing together continued. I finished sewing or piecing the top together.. The quilt sandwich has the top, the batting and the backing fabric pinned together to quilt.
done
I use my wacky fun scribble quilting technique to quilt the three layers together creating an added level of movement. Scribble quilting is a technique I named. I move the quilt side to side while quilting with a walking foot.
Winter Sunset, An abstract art quilt with lavander,pink, and grey colorsthe finished piece
You may be interested in reading more at Studio Art Quilt Associates (SAQA) website.
Groovin High by Faith RinggoldTar Beach , an art quilt by Faith Ringgold
Faith Ringgold Quilt Artist
Sacramento, Calif –UPDATED December 22, 2017 –
On February 18, 2018, the Crocker Art Museum will bring to Sacramento Faith Ringgold: An American Artist. This exhibition features Ringgold’s famous story quilts. In other words, tankas, inspired by thangkas, Tibetan textile paintings. Also included are Ringold’s oil paintings, prints, drawings, masks, and sculptures. Furthermore, on view are the original illustrations from the artist’s award-winning book Tar Beach.
Harlem-born Artist and Activist
After a trip to Amsterdam’s Rijksmuseum in 1972,Harlem-born artist and activist Ringgold began working with textiles. After that,a gallery guard introduced her to Tibetan thangkas. Above, all,thangkas are traditional Buddhist paintings on cloth, surrounded by silk brocades. After returning home, Ringgold enlisted the help of her mother, a professional dressmaker.Importantly, Ms. Ringgold made politically minded thangkas of her own. Certainly,she sewed frames of cloth around depictions of brutal rape and slavery. In 1980, Ringgold crafted her first quilt. Again,with some sewing help from her mother. Ms. Ringgold created Echoes of Harlem (1980).Moreover,she portrayed 30 Harlem residents in a mandala-like composition.
Moreover,these works combined visual and written storytelling to explore topics. In addition, the underrepresentation of African Americans in art history stands out. Moreover, she explored her upbringing in Harlem. After that, the legacy of Aunt Jemima. According to the artist, the textile medium allows her political messages to be more digestible. “When [viewers are] looking at my work, they’re looking at a painting. Certainly,they’re able to accept it better because it is also a quilt,” she says.
A main motivation of mine besides making stunning art is to reuse materials. Pieces of yarn and decorative threads that some people may discard become unique design elements. I couch (zigzag) them on a strip of fabric, cut them and use as fabric. Yet, sometimes there are decorative threads that one just has to buy. There is one like that in this piece. The ribbon alternates rusty orange and green with 3D native inspired tied knots. Bring Your Bravery! Be Brave!
Choosing Colors- Be Brave!
Choose your color scheme. I recommend three to four colors. Sort hues from light to dark in the same shades. Be brave. Experiment with different colors on your design wall. Don’t be afraid to eliminate fabrics. Start with more material than you think you might need. Include one bright fabric that makes the piece pop.
Creating Details Bring Your Bravery! Be Brave!
Couch (zigzag) decorative threads on 5”wide strips of cotton. Try something new. Bring Your Bravery! Be Brave! Emphasize the art element of line by couching with thread that matches the yarn to make the sewing thread disappear. Double or triple the ply for a thicker line. Repeat four to six times using different colors and types of decorative threads. Couch the decorative threads fairly close together about 1/8-1/4 inch apart. Leave a 1” space on each side of the fabric strip. This gives you flexibility. You can always make it smaller.
Tucks add texture.
Bring Your Bravery! Be Brave! Tucks add texture. Fold a 12” length or longer strip of fabric wrong sides together to create a fold. Stitch 1/8” or 1/4” close to the fold edge. Choose your thread to blend into the fabric or to stand out as a design element. Make 3-5 tucks on the same strip of fabric. Remember to save room for the seam allowance on the sides. Press to lay flat. Cut up the strips into 4”- 8”pieces. Balance their placement on the design wall.
Temporarily Mark your Design Wall
Plan to make your finished artwork about 24”square. Mark with pins the approximate size of your finished piece on the design wall as a guideline. Remember when you are putting fabric on the design wall, the finished product will be smaller. Start with fabric pieces that are a bit larger.
Photo 2 Small strips are being sewn together.
Place the Pieces Randomly
So, you have assembled your own “fabric” with couched decorative threads and tucks. Now it is time to mix those fabrics with others on the design wall. Bravely put the pieces up randomly and start to move the pieces around to see what goes together. What fabrics jump out at you?
Photo 3 Almost all squared up.
Balance the Fabrics
Limit those to an odd number of them. Balance the different fabrics making sure that they are spread out evenly over the top. Beginners might choose to piece their top using straight lines up and down. Placing the pieces on a diagonal adds interest. A diagonal quilt will go past the guideline pins and be trimmed into a rectangular or square.
Show courage. Sew, cut and move fabric around the design wall. Keep cutting and sewing pieces together until it pleases you. The top doesn’t need to be totally finished to start to sew. Sew straight or curved line seams. Continue to sew pieces together into about 8” strips. Pin them to the design wall either in straight lines or on a diagonal. Allow time for this process. Trust yourself.
A “Painful” Time
This can be a “painful” time for an artist, if the piece isn’t coming together as one wishes it would. I find that if I don’t like a part, it gets more interesting after I cut it up and rearrange the pieces. Leave items on the design wall and return later to look at the piece with fresh eyes. Complete sewing the top when you are happy with it. Prepare the quilt sandwich and quilt. Scribble Quilting is fun and adds movement to your piece. Whichever way you quilt your piece, you will have an artful abstract art quilt as testament to your bravery.
About the Author
Ann Baldwin May lives in Santa Cruz, California. In 2012, she retired after teaching elementary school for 36 years. She has won several awards for her work. She participates in the juried Santa Cruz County Open Studios Art Tour from her studio in the Santa Cruz Art Center. May is a member of SAQA( Studio Art Quilter Associates). Contact her at baldwinmay49@yahoo.com or www.annbaldwinmayartquilts.com. Or visit her Etsy shop at annbmayartquilts.etsy.com
Directions for Curved Line Piecing-optional
Lay two pieces of 5” cotton squares on top of each other right sides up on the cutting mat. Cut a slightly curved line through both fabrics with a rotary cutter. There will be four pieces. The top of one fabric will fit the bottom of the other fabric like two puzzles pieces making the original square. Take those two pieces that fit together and sew right sides together with a ¼” seam. Only the part of the fabric going through the foot will line up to a ¼” seam due to the curve. Slightly adjust the top fabric as you move them both through the foot. Press open. This technique is very forgiving. You will be amazed at your curved line. Practice making curves of different widths.
Advice for Beginners
Let each person’s eye see the hues in their own way. Let go of controlling the way the colors mix together. The color of thread changes depending on the color of the fabric that it is sewn on. The color of the fabric is influenced by the color it is next to.
When I started making art quilts, I had a lot of experience sewing clothes and bed quilts. I would think of how a traditional quilter would do something and then I would choose to do it differently.
Consider expanding your stash to include a wider range of shades and hues.
Tips
It is imperative to be cautious with certain aspects of our lives, but cutting up fabric is not one of those times.
Create texture by including fabrics other than 100% cotton. While a variety of fabric adds interest, provide some solid fabrics as a needed resting spot for one’s eyes.
Include a bit of fabric that will pop. Shiny synthetics work well for this.
Supplies and Materials
Rotary blade, cutting matt, design wall(white flannel thumbtacked to the wall) sewing machine, batiks, found threads(decorative threads, yarns, rickrack, colored string, synthetic raffia), a variety of small pieces of cotton fabrics(fat quarter or smaller), fabrics of different textures (optional), thread, batting, cotton backing fabric, scissors, walking foot for quilting.
Georgia O’Keeffe: Art, Image, Style By Susan Flynn
Independent Streak
Georgia O’Keeffe’s independent streak started early. Her high school yearbook described her this way: “A girl who would be different in habit, style and dress. A girl who doesn’t give a cent for men and boys still less.”
A class photo seems to further this reputation as a woman determined to do things her way. Unlike her peers with a penchant for puffiness, O’Keeffe poses in a dress with fitted sleeves and cuffs. She wears her hair pulled straight back into a long ponytail. She does not style her hair in the trendy high pompadour with a big floppy bow.
Clothes designed by Georgia O’Keeffe
A World of her Own Design
With exacting detail and fierce intensity, Georgia O’Keeffe controlled how the world would see her. She orchestrated her life from the clothes she wore to the way she addressed a letter to the objects she placed on her mantle and finally, to the compositions of her paintings. —AUSTEN BARRON BAILLY, PEM’S GEORGE PUTNAM CURATOR OF AMERICAN ART
“For more than 70 years, Georgia O’Keeffe shaped her public persona. She defied labels. She lived life on her terms so that she could make the art she felt she was called to make.”
Never before Seen
Georgia O’Keeffe: Art, Image, Style, which opens December 16,2017 at Peabody Essex Museum(PEM)Salem, MA, offers a radically new way to consider an artist we think we know from her iconic paintings of flowers and Southwestern landscapes. Through 125 works, the exhibition expands our understanding of O’Keeffe by presenting her wardrobe,for the first time, alongside photographs and paintings.
Sections divide the exhibition by the time of her life. From her early years, when O’Keeffe crafted a signature simple style of dress. Then to her years in New York, in the 1920s and 1930s, when a black-and-white palette dominated much of her art and dress. Finally to her later years in New Mexico, where her art and clothing changed in response to the surrounding colors of the Southwestern landscape.She continued styling right up until her death in 1986.
Georgia O’Keeffe ‘s dresses
A New Way to look at O’keeffe
“We are able to explore Georgia O’Keeffe and her art though the lens of her self-fashioning and her self-presentation,” said Bailly, the exhibition coordinating curator. “We can recognize that her clothes and the way she dressed were their own authentic form of artistic expression.”
Her whole life was a work of Art.
Before working on the exhibition, Bailly said she had no idea that O’Keeffe made many of her own clothes. In fact, the renowned modernist artist was a gifted seamstress who favored simple lines, minimal ornamentation and organic forms.
“When you see how exquisitely she crafted linen tunics or silk blouses, you are going to be blown away,” Bailly said. “There is such understated simplicity and elegance to her designs. There is the beauty of the fabrics with the tiny little feminine details. You start to see similarities between the aesthetics of her clothes and her paintings. Without opening up her closet, you never would sense that her whole life was a work of art.”
Decades Ahead of Everyone
Georgia O’Keeffe was decades ahead of everyone. Today, social media makes it easy to curate one’s own public image. Scroll through your Instagram feed. You’re likely to encounter friends skilled at projecting their self-identified brand. O’Keeffee’s presented a unified aesthetic vision in every aspect of her life.
“I think people are really captivated by the fact that she maintained such a strikingly coherent style throughout her long life, “said Bailly. “Her ability to achieve creative and aesthetic excellence according to her vision in every aspect of her life far eclipsed her peers. Her remarkable personal style continues to inspire.”
Above all,human spaceflight inspires humans to create art in many forms.In addition,watch the video of a collection of fiber art quilts entitled Fly Me To The Moon. In addition,the show has been touring the country since late 2016. Moreover, many more stops are planned for the schedule. Subsequently,a group of those art quilts honored space travel was displayed at NASA’s Johnson Space Center in Houston in 2015. So this is in honor of the recognition of the 50th anniversary of the Apollo 1 fire. After that,the show’s curator, Susanne Jones comments on the artistic elements of some of the pieces. Ultimately,she notes the educational value of the exhibit to a nation inspired by space exploration.
Blue Collider Event Display art quilt in Stitching, CA
The ‘Space for Art’ column recognizes the inspiration from the interaction between space and art. This inspiration presents itself in many artistic forms. For example,creative artists present the story of space exploration.
Quilting adds a New Level
The world of quilting adds surprise and a new level to recent discoveries. Another whole world of fine art that I was completely unaware of. However, thrilled I am to have now discovered it. The space-themed quilts in particular hold much interest.
Finally,these are quilts created and sewn by fiber artists. In addition to fabric and thread, they also incorporate many forms of mixed media.This adds texture and dimension. Read the complete article here.
OCTOBER 13, 2017 BY MARCIA YOUNG (edited for space)
Georgia O’Keeffe and Textiles
First of all,the Peabody Essex Museum presents one of America’s artists in a new light. Georgia O’Keeffe: Art, Image, Style is the first exhibition to place artwork along side of her wardrobe. For example,these textile pieces have never before been shown. Similarly,there will also be photographs of the artist. This unique show is organized by the Brooklyn Museum and guest curator Wanda M. Corn. She is Professor Emerita in Art History at Stanford University. This exhibition is on view at Peabody Essex Museum from December 16, 2017 through April 1, 2018. Then it continues on its national tour.
For more than 70 years, Georgia O’Keeffe shaped her public persona. Above all, she defied labels and carved out a truly progressive, independent life. This was necessary for her to create her art says Austen Barron Bailly. Bailly is the organizing curator. Above all,O’Keeffe dressed as a way to unite her attire, her art, and her home. Fo example,her aesthetic legacy of organic silhouettes, few decorations and restrained color palettes continues to capture the popular imagination. Above all, it inspires leading designers and tastemakers of today.
Georgia O’Keeffe Style
Above all,Georgia O’Keeffe: Art, Image, Style includes 125 works. Furthermore,it examines how the famous artist carefully formed her public image. For example,O’Keeffe considered her clothed body as another canvas for her work,says Bailly. Similarly,the exhibition of O’Keeffe explores how she expressed her identity and artistic values. That is to say,O’Keeffe’s androgynous persona, feminist outlook, stark fashion sense and skill as a seamstress combine to create a new understanding of her role as an artist and an individual.
A Life Long Style
Throughout her life, O’Keeffe had strong opinions about how she wanted to look. It didn’t matter what the dress codes of the era were. O’Keeffe’s distinct aesthetic sensibility started young rebellion against feminine strict roles. In the 1920s and 1930s in New York, her black and white palette dominated much of her art and dress. Later years in New Mexico, her art and clothing changed in response to the Southwestern landscape. O’Keeffe sewed some of the clothes herself. Some clothes were custom made or bought off the rack. Always she consistently favored the simple lines and abstract forms that followed through her artwork and home design.
Read this interview about Cindy Grisdela,art quilter by Studio Art Quilt Associates(SAQA) too good not to share.
Art Quilter Cindy Grisdela
JourneysEndDetail-CindyGrisdela
SAQA: When did you begin making art with fabric? Do you work in other media as well?
GRISDELA: I started sewing when I was 10. My mother decided I was old enough to be trusted with her beloved Singer. I studied art in high school and college experimenting with painting, drawing, ceramics, sculpture and weaving.I made my first quilt in 1983. After seeing an article in a magazine of a queen size Trip Around the World, I wanted to make one. After that I was hooked. I spent a number of years making traditional quilts as a creative outlet while I raised my family. About 15 years ago, I got bored with following patterns. So I started seriously trying to make my own art in fabric.
Color and Texture
SAQA: What inspires you?
GRISDELA: I’m inspired by abstraction, color and texture. I enjoy playing with color and seeing how various colors and shapes interact. One of the reasons I create with fabric instead of with paint is the ability to add another dimension to my compositions. I can add texture with dense free motion quilting. The stitching is an integral part of the composition. It is not just a means to hold the three layers together.
SAQA: Have any artists or art movements influenced your work?
GRISDELA: I have a degree in Art History. There are always lots of influences rattling around in my head. I love Abstract Expressionism, especially the Color Field School of artists. Matisse’s cut outs are important to me, as are Klee, Kandinsky and Klimt. I’m also drawn to the work of Robert and Sonia Delaunay. Among quilt artists, I am indebted to the work of Gwen Marston who was an early influence.
SAQA: What techniques and materials do you use?
GRISDELA: I use hand dyed fabrics to create almost all of my current work mostly by Cherrywood Fabrics. I experimented with dyeing my own fabrics a number of years ago, but realized that’s not my skill. So I’m happy supporting others who do it well.All of my work now is created using improvisational piecing techniques and free motion quilting. I enjoy the dialogue that happens when I’m just cutting out colors and shapes intuitively. One decision leads to the next. It’s a little like putting together a jigsaw puzzle. Only I get to decide what the picture is going to look like. I do all my quilting without marking ahead of time or using a computer program.
A Lakeside Studio
SAQA: Where do you create?
GRISDELA: I have a studio in the basement of our townhouse. I look out on the lake while I’m sewing. It’s a very peaceful retreat. The commute downstairs is great too! I also have a shared space with nine other artists a short distance from my home. I’m the only fiber artist in the group. But it’s good to be around other creative people and share inspiration. I try to spend one day a week there.
Artmaking and Business
SAQA: How do you reconcile the artmaking and business sides of your creative life?
GRISDELA: That’s the tough part. For the last ten years I’ve been traveling extensively showing an selling my work at fine art and fine craft shows all over the country. I do about 12-14 shows a year. I also have an active blog and presence on Instagram and Facebook. I’m a regular contributor to the SAQA (Studio Art Quilter Associates)Journal.
I spend about half my time on the business side. This entails writing, applying to shows, keeping my website up to date, marketing, and other business. I like to spend time in the studio in the morning and early afternoon. That’s when I’m most creat I work on other business later in the day. I keep lists and work backward to make sure enough time is allotted to keep my inventory up for the shows. Sometimes I’m writing blog posts or marketing pieces on the road.
Publications
SAQA: Have you published books or been a guest on an art-related media program?
GRISDELA: I will continue doing shows. Probably not as many as I did in 2017. I’m doing a lot more teaching now to promote the book. It’s such fun to see a diverse group of artists come together for a day or more to explore their individual creativity. Each person’s work is different from the others and different from mine. We all bring our own personalities and backgrounds to the table.
I also have plans to work on a new series of larger improv quilts. The great thing about improv is there’s always something new to explore!
Long strips of cotton with the threads couched on them.
Introduction
Yarn Adds Texture to an Art Quilt
Use yarn to create fabric to add texture to an art quilt. I zigzag or couch multiple pieces of yarn on strips of 100% cotton. Then I cut them up and use the pieces as fabric in my art pieces. Decorative threads can also be used.
Yarn I inherited from my mother.
My First Inspiration
I have several small spools of yarn I inherited from my mother. Their bright colors attracted me. I don’t know what my mother had used them for. I wanted them for something,although I didn’t know for what. They languished in my studio for a long time before a perfect use came up.
My Second Inspiration
Several years back at a large quilt show, I saw a piece that had a large amount of yarn jammed on top into big blob. To be honest, I didn’t like effect at all. But it gave me the idea to use yarn in a more orderly fashion. I stumbled upon a way to create more texture for my pieces.
Materials
First, I chose the colors that I want to use in my art quilt. I go through my box of decorative threads and yarns looking for yarn with texture and complementary shade of color. Using a long strip of cotton fabric, 20”-40” long and 5” to 6” wide, I begin. Other backings like ribbon didn’t work well as it was slippery and was not easy to sew with. I zigzag(couch) the yarn to the cotton strip. I prefer to match the sewing thread color to the yarn as that the color of the yarn stands out more; the stitching appears invisible. But that is a personal choice one can make.
Suggestions
Don’t worry about the lines being straight. A thin piece of yarn can be doubled or tripled to become thicker . Vary your use of threads for texture. Remember to leave space for the 1/4″seam allowance. Don’t sew too close to the side edges of the cotton fabric.
Next,various strips of cotton with yarn and decorative threads zigzagged on them.Then,long strips of cotton with the yarn couched on them.
More Suggestions
Sometimes I keep the threads straight and sometimes I cross one thread on top of another. I like the movement this creates on my art quilts. Overthinking this process is not necessary. I find it fun and relaxing. If things don’t turn out as I would like then I can just save the piece for another project. After 5 or 6 pieces of yarn have been couched, then I randomly cut them into pieces to use as fabric.
Sometimes I use linen with a slight design on it for added texture.Finally,I cut up the long strips. They are ready to be used as fabric.
Conclusion It will be easy to find interesting yarns and decorative threads at flea markets or garage sales. There won’t be enough yarn for a scarf or a sweater but there will be more than enough for your couching projects.
Homage to a Dancer, one of the first art quilts I made.
Art Quilts and Bed Quilts
Homage to a Dancer, one of the first art quilts I made.
People ask how art quilts and bed quilts different. The answer is something that I have lived through. I started making bed quilts back in the 1970’s. In 2008, I made the transition to creating wall art. May I offer some generalizations?
Bed quilts and art quilts are made with the same tools; sewing machine, rotary cutters, cutting boards, see through ruler, a variety of feet for their machines. Many of the techniques are also the same. Both have three pieces sewn together,use applique tecniques, quilt by stitch in the ditch, and often include binding. Bed quilts generally have squares or blocks of fabric sewn together. Bed quilters prefer to use 100% cotton. It is the best fabric to work with. It lies flat and most importantly, it is washable.
Art Quilts are Wall Art.
When a quilter moves away from the necessity of washing their piece, a whole new realm of fabric possibilities open up. For me, foregoing the use of patterns also forged my way toward art quilts. I have been “scarred” by my pattern disasters. I flatly refuse to use them anymore unless it is my own pattern. But that only happens rarely. By not following anyone else’s ideas, colors, or materials, I have been able to create my own style.
Silk, linen, synthetics, yarn and decorative threads have become my go to materials. I am very focused on using redirecting fabrics and materials to keep them out of the landfill. I keep the smallest pieces of fabric to try and find a use for it instead of placing them in the trash. Of course, my first focus is on creating a beautiful piece of art that someone will want to live with.
