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Do you ever find yourself wondering what may happen to your artwork after you die?  Morbid as it may sound, I do.  I came across a website for the Senior Artists Initiative and was pleasantly surprised with the guidelines offered.  While the site is geared towards seniors, there is some helpful information for any artist.  Visit the Publications page for articles such as “What do inheritors do with artwork?” and  “Where there’s a will, there may be a Monet.”  Most helpful is the “Guidelines for Senior Artists.”  It’s a collection of articles and advice, nothing too lengthy or extensive, but it covers topics such as writing a will, will substitutes, planning techniques for lower tax liability, and more.   If you’re looking for some guidance on where to begin, the site offers some.  For me, it’s a start.

“It’s about Time –  2009”

I’m mega aware of time.  Am I wasting it?  Packing enough interest into my hours?  I never feel like I’m utilizing my time as well as I could.  And I’m very aware of time ticking by. I often play games with time.  For example, if I’m in a situation that I don’t want to be in (like, getting a root canal), I tell myself “this time tomorrow all of this will be a memory.”  Or if I need to get something done that I don’t feel like working on, I use a timer and tell myself to work on it for 20 minutes and then stop.  I’ve also long since stopped wearing a watch because I tend to time things.  Sick, I know.

On a good note, however, I also like photographing clocks, especially capturing the time that the image was taken.  As a result, I have a cool collection of clocks from all over the place.  The small quilt above (10 x 10″)  was created from a digital collage of clocks.

After I printed the image on cotton, I then overpainted areas for some extra interest.  When quilting this, I sort of overdid the area on the left.  It bugged me.  Rather then tossing it,  I decided to cover it with a sheer fabric.  I then tacked it down with additional quilting.  It calmed the area enough, keeping the focus on time and stopping me from tossing it.   I’ve a bunch more collages in this series.  One is ready to be quilted, and another is a larger, strange version that I may or may not make.  We’ll see if I have the time.  <smile>

This is my 2007 Journal Project, displayed at the International Quilt Festival in Houston, Texas and, I believe their sister shows in Chicago and Long Beach.   It’s called “Know Way Out,” a play on words as many of the pictures in the collage are various exits and ways out.

I took the photographs for this piece while in England and in France.  The bottom image was taken through the plane windows as the plane was descending into Birmingham airport.  The sheep was in a field probably in Worcestershire.  On the far right is a picture from  the Gare du Nord in Paris, the middle is from a tube station in London, and the far right is from a subway exis area in either Paris or Lyon.

The blue that frames the image is painted tyvec that was then burned.  While I burned some of it before stitching it down, I burned the edges after stitching it down — and I did this *very* carefully.

In this you can see lots more images collaged together.  I do think there is so much going on that much is lost in the small 11×14 inch format of the quilt.  The excitement of collaging the images together was quickly dulled by my disappointment of the overall finished piece.  It was too late to toss it, as I was down to the wire on the deadline.  So I finished it and sent it off.

I do have all of the various files that made up this piece, and I think about doing another version, removing some of the layers altogether, and printing it either on large textured paper or again on fabric, but in a larger format – maybe 24″ wide.  We’ll see.  I did learn a valuable lesson in this piece:  Sometimes less is more.   Another day I’ll post my 2008 piece.

© thr3fold, Laura Kemshall, Linda Kemshall and Catherine Nicholls

Isn’t this cute?  It’s a FREE pattern from for a bag called “Hands On.”  I had to share this because (1) it’s such a cool project; and (2) because I received some email after posting a note on the Quiltart list about a book/magazine called thr3fold.  Thr3fold is a series of 52 page book/magazines filled with articles, projects, and inspiration geared primarily to textile/quilt artists.  It’s written by Laura Kemshall, Linda Kemshall, and Catherine Nicholls.  Thus far there are three thr3fold books available.  I purchased mine for the past couple years while at the Festival of Quilts show in Birminham, UK.  But it’s also available from their website. Each sells for £17.95, with another £4.50 for postage (about $33.50 which is actually several dollars less than last year because of the exchange rate change).  If you have the extra funds, it’s a real treat.  The publication also includes a CD with a lengthy PDF (generally in the range of some 50+ pages) that expands on the various articles in the print publication and includes series of video demonstrations.

Speaking of the video demonstrations, note that the free pattern also includes a video.  Windows users, you’ll have no problem watching.  It uses Windows Media Player to work which sadly means it’s problematic for Mac users.  I’m trying some work-arounds and if/when I get this resolved, I’ll post.  Even without seeing the video, I still recommend downloading the pattern.

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December 13th update:

If you’re using a Mac and cannot view the video, install the Flip4Mac plugin from Microsoft:.
The free version works fine.

This is the fifth in my Blushing Triangles series.  It is 12″ x 12″ mounted on canvas and made for an invitational exhibit curated by Judy Dales and Kim Ritter. This geometric design started as a digital painting, and each version I’ve made is a different coloring, recolored using the airbrush tool in Photoshop, and by hand coloring the inkjet print on silk with D’uva pastels.  The piece is heavily machine stitched.  It’s a funny thing that I now enjoy such heavy stitching, but I find it very enjoyable — that is, when the machine is not misbehaving.

Now, the bad news, at least for me.  D’uva pastels are no longer being made.  They haven’t been made in some time, but I had a good supply and didn’t realize they went the wayside. This stinks.  The pastels were designed to be head-set.  Then they were permanent.  I used them on many of my quilts.  I’ve done a search on Google and am buying up what I can find.  Although, who knows, maybe a new, better product will appear on the market.  I also have D’uva watercolors.  They are very cool.  They are mixable, erasable, and once heat-set becomes permanent.  But, alas, they are no longer being made either.  If anyone knows of a source that is still selling the pastels, let me know!  Thanks.

Sorry about the copyright plastered on the image, it’s a bit obnoxious, I know.

I wasn’t sure if I’d make it here today, considering it IS a work day.  But, I decided to go for it.  I’m very glad that I did.  Everyone in the class did some amazing work …

Benedicte …

Sherryl …

Rayna …

Judy …

Colleen …

Randy …

Janet …

Christine …

Jan had one jaw-dropping piece after the next …

This was one of Jan’s little experimental pieces.

Jan explained a few more techniques, this one being direct painting onto a wrapped piece.

It was dye bath mixing time — when everyone put their gloved hands into the bucket to swish around the dye water making sure the dye wasn’t settling on the bottom of the pail and instead was getting onto the fabric.

Then all of the fabric dunked in the dye would sit quietly until the buzzer went off and the next round of mixing started.

An assortment of some of the clamps, clips, and other mark-making devices.

Here are some of my fabrics.  I like the darker purples areas of this more so than the lighter areas, but I like how the light area looks like a set-in block.

While I have no idea what I’d do with this one, I do like it and consider it one of the better ones that I dyed.

This was a pole-wrapped piece using a lot of string.   I meant to be more careful with my wrapping, but I was running out of time to make the last dye bath so I did a fast roll.  Even so, I like how it turned out.

Here are some of the other fabrics I dyed today that I’m happy with.

All in all, it was an excellent class.  Jan was very organized yet relaxed in her approach.  She gave each student a folder with class notes that included an overview of the techniques covered in class.  She also provided us with a fabric swatch set made from the various dye baths made during the class along with its recipe.

Bottom line:  If you have an opportunity to take a class with Jan, go for it!

It was day two with Jan Myers-Newbury teaching shibori techniques at The Newark Museum. I’ve been fortunate to be hitching a ride with Jan, Judy Langille, and Colleen.

Jan is demonstrating wrapping a wide rope with fabric.

I know I should be paying attention, but the reflection on the window behind Jan kept grabbing my attention.  I had to photograph it.  Reflections of shibori … now there’s a patterned design!

The unwrapping of some of the stitched pieces we did as homework.

I didn’t make this lovely …

But I did this one.  The center area was stitched during the evening (well, night, since it was a late one).  The stitching was done in three circles and then drawn tightly before dunking into the dye bath.

More fabric wrapped on poles and dunked into dye baths.

I wish I could say both of these are mine.  But, nope.  The top is Randi’s and the bottom is part of Colleen’s.

One of the studios we work in was filled with looms …

and lots of colorful yarns.

These are direct dyed fabrics without soda ash.  Tomorrow they will be wrapped and dunk into dye baths.  The results should be interesting.

Now, my dilemma.  Tomorrow is day three, but tomorrow is also a work day.  Hmmm … what to do, what to do.

Today was day one of a three day workshop on Shibori techniques taught by Jan Myers-Newbury at The Newark Museum, in NJ.  Of the nine people in the class, one came from Arizona and another from outside of Boston.

The lighting in the studios at the Museum was great.  But, enough with taking photos in the pretty lighting.  It was time to learn what Jan was there to teach – shibori or methods of making a variety of patterned marks on dyed fabric.  First we did a variety of folding and clamping techniques.

These are some of the first fabrics to come out of the dye bath made with folds and clamps.

More examples.

Jan then explained pole wrapping techniques.

After everyone did their wrappings, the poles were put into the dye buckets.

And here are some of the first examples of pole-wrapped fabrics coming out of the dye bath.

Jan continued explaining various string and pole wrappings …

showing finished examples …

while explaining stitch techniques for more patterns.

The class continues tomorrow.!

I wasn’t able to attend the International Quilt Festival show in Houston, Texas this year.  However, Lisa Ellis graciously took some photos and sent them to me!

This is Blushing Triangles 4, which won 1st place in the Digital Imagery category.  I’m thrilled and humbled to get this award!  I’ll post more images of this quilt in my gallery section.  It’s hard to see the quilting in this piece, but the entire thing is covered in thread.

Lisa also sent this image showing a couple of my quilts and my new book, Digital Essentials” that is featured in the Electric Quilt Co. booth.

I feel a zillion miles away from all of the excitement in Houston, but I’m very grateful to get the photos.

I received a package from the American Quilter’s Society today.  Wow — cool surprise!  My quilt, Blushing Triangles 3, which won the Best Wall Quilt award at this year’s show, is the 2009 March pinup!

A couple years back, I did have a quilt in their weekly calendar.  I sent the quilt to them to photograph, and I was surprised out dark it was (I am a fuss pot).  I am very pleased with this calendar.  Wow!

Here are the four dried and ironed pieces of fabric that I painted yesterday.

These two are particularly close, which is great if I need to use them together for a quilt back.

When I finish ironing, I like to roll it the fabrics onto a tube or cardboard bolt. In this case, I painted about 11 yards. Much of it looks similar so they will stay together on the roll.

Painting over Commercial Fabric …

I have a lot of commercial fabric that I’ve bought over the years, and I hardly use any of it anymore (except on the back of experimental quilting pieces — the stuff I use when working out a design). Periodically I give piles to my sister-in-law.  Otherwise, I like to paint over it.  It works for nearly everything —  sunprinting, monoprinting, airbrushing, and so on.  Generally whatever I’m doing to white fabric (in this case painting), I’ll consider trying on commercial fabric.  Here’s what I do:

I look for pieces that are about two yards (or more), and I look for light prints (great for overpainting). It takes just a quick eyeballing of the shelves to spy a couple contenders. Because I didn’t prewash them, chances are there is some sizing (probably dust too) on the fabric. To help remove it, I immerse the fabric in a sink filled with boiling water (yes, I boil it in a teapot) and stir it with a wooden spoon.  It’s also very helpful to add some soda ash and some Synthrapol.  Some fabrics have a brownish gunk that comes out. These fabrics didn’t seem to have noticeable gunk. After 5-10 minutes, I pour cold water into the sink so that I can ring out the water. I then toss it into the dryer.

Next I make my way to the garage via stepping over Buddy who was sunning himself on the deck.

I still have plastic down from yesterday, and it has a lot of dried paint on it. When I start painting on new fabric, I am aware that the paint from the plastic will get onto the new stuff. If I don’t want that to happen, I rinse down the plastic. Since I’m primarily working with the same colors I did yesterday, I leave it. The less I have to wash of anything, the better. Also, be sure you have lots of water around so that you can rinse your brushes as needed.

Get in the habit of saving any type of decent jar, especially if it has a lid. The jar above on the right is from a Philosophy body scrub. As an aside, you haven’t tried their bath scrubs, lotions, and potions, give them a try. They have interesting, practicably edible scents — pumpkin pie, sugar cookie, coconut frosting. My favorite is Gingerbread Man, which is what the jar is from above. I haven’t seen it lately, and I think it’s a holiday scent only around at that time of year. Okay … the point is to save those jars!  Otherwise, I’m basically doing what I did yesterday.

Our old starter house had a fantastic, full basement that was perfect for painting ad dyeing fabric. It had high ceilings, tiled floors, paneled walls, and several rooms including a laundry room with a big double sink. I use to put wooden boards on Rich’s pool table and paint. I had lightweight insulation boards with fabric drying all over the room, and sometimes I hung pieces to dry over his various weight lifting bars (which didn’t particularly thrill him, but a little paint on his weights isn’t going to hurt!). As a result, I painted, dyed, and airbrushed (airbrushing I did in the back yard) a lot of yardage over those years in that basement.

When we moved into our new home (which certainly isn’t new anymore), we were very happy with the main living area but we both made faces at the basement. It’s not a full basement, it doesn’t have utility sinks, and it’s too nicely finished rather than practically finished. In other words, it had polite-looking rooms with sofas and TVs. We wanted rugged, practical rooms for fish tanks and weights and paints and dyes. Initially we both felt reluctant to use it the way we did our old one because neither of us wanted to mess it up. Eventually we ripped out the rugs and installed tile. Out went pretty and in came a creative mess. Even so, it’s still not a good space for painting a lot of yardage. I generally only work on smaller pieces, paint on digital prints, or sometimes will paint a 1 or 2 yard piece if I move stuff around to make room for it to dry. I learned that the best way for me to paint yardage, is to go into the garage.

Some miscellaneous painted pieces.

I have a new piece that I want to quilt, but I realized I don’t have enough fabric for the backing.  It’s not that I don’t have enough fabric, mind you.  I’ve an embarrassing amount that I’ve collected over the years.  Yet, low and behold, for years I’ve been using fabric that I’ve painted for my quilt backs.

I generally paint about 10-12 yards of something neutral — generally gray with tinges of other colors.  It’s time for a new batch.  I find this coloration works for me, as it goes with nearly everything and it keeps things simple. I use it for about 75% of my quilt backs.  My mission this weekend was to paint.

First I go through some supplies. I am generally looking to see what accent colors I want to use, as I know I’ll primarily be using black.

It doesn’t take long for my dog, Buddy, to come downstairs and check out what I’m doing.

Notice the paint spots on the floor? You can just image what happened to the lovely wall to wall rug that was once in that room!

I select a Deka black (yes, I know Deka fabric paint isn’t available anymore, but I still have some), a Jacquard turquoise, and two Stewart Gill colors. I have a box full of Stewart Gills paints and highly recommend them.
I use house paint brushes to paint large pieces. I do so because I’m not painting detailed images. Instead, I’m painting sweeping strokes to cover large areas. I like house paint brushes better than foam brushes as they tend to fall apart too quickly. However, I never know when I may need them for something so I generally buy a bag full when Michael’s has them on sale 20 per dollar. I use a heavy plastic to paint on. I get it from Walmart’s fabric department. It’s sold on a roll and used for covering furniture. It’s very inexpensive, under a dollar a yard, and because it’s rolled, it’s flat (unlike the folded plastic I use to buy from Home Depo). While many do not like painting on plastic, I do. I like the different unexpected results from the paint pooling in areas.

First rule of painting in the garage is the same as the second and third rules:
Keep paint far away from the motorcycles!

My method for painting fabric for backing is very straight forward.  I mix a large batch paint and water.  I know many people have reasons for not using water.  However, I get great results with it and haven’t had any problems with it over the years.

I start by pouring paint into a jar (in this case I’m using an old Versatex paint jar). I then add water to dilute it, often using more water than paint. Many prefer using Golden’s paint extender for fabric. While I use it for some applications, I like diluting with water for this method because I tend to paint in layers which I think of as washes of color. Often it’s very time consuming, and some pieces can take me days to finish because I’ll paint, let it dry, paint again, let it dry, and so on. Because this is for quilt backs, I generally only paint once.

I start by misting white fabric (I’m using two kinds — the last of some Test Fabric 400M, which is in the picture, and some Robert Kauffman PFD fabric that I bought from Debra Lunn some years ago).  Then it’s simply a matter of painting the diluted black onto the fabric. I tend to scrunch it up the fabric and paint it in a blob (hence the house brush). After I finished with one color, I’ll then add accents of another or even a third color. In this case, I added turquoise accents. (The gloves are off … I couldn’t leave them on while taking a picture!)

Before it is dry, I open it up and hang it on a line to dry.

Once it’s dried, I iron it, and then I rinse the fabric with water.

I then put it in the washer and run the spin cycle. It then goes into the dryer.

Tomorrow I’ll post the ironed pieces (no ironing tonight!).