In the current issue of The Professional Quilter, Scott Murkin discussed the need for quilt judges to maintain currency as quilters add new surface techniques to their work. Here is an excerpt from that article:

An increasing number of formally trained artists have moved into quilting and textiles as their primary medium. At the same time a large number of quilters who started in a more traditional vein are exploring new techniques in their work. Because of these trends, quilt show judges are faced with a wide and varied selection of surface design techniques that they must evaluate on the judging floor. Learning the fundamentals of these techniques and how they are assessed has become one of the ever-expanding tools in the quilt show judge’s toolbox.

Surface design refers to anything the artist does to change the fabric either before or after the quilt is constructed, but is also sometimes expanded to include things added onto the surface, such as threadwork, couched fibers and sewn-on objects. Each of these will be addressed in turn.

A variety of paints can be applied to fabric with nearly infinite techniques and widely differing results, depending on decisions made by the artist. There are paints made specifically for textiles, but many traditional artists’ paints, such as acrylics and oil paint sticks, can be successfully adapted for use on fabric. While not technically paints, even the pigments from crayons can be transferred to fabric and made permanent. Paint can be brushed on, splashed on, applied through a stencil, stamped on with commercial or home-made stamps or found objects, or applied by screen-printing, among other techniques. Many artists are also using inks and thickened dyes in many of the same ways that paints are used. Paint can be applied to fabric before any sewing begins; it can be applied to a pieced or appliquéd quilt top; or it can be applied to the finished quilt, often exaggerating the effect of the texture of the quilting stitches.

When judging the painted quilt surface, the judge is primarily considering issues of design, deciding if the artist has used the paint as an effective accent or the primary design element. The formal principles of design, such as unity, variety, balance, contrast, proportion, scale and rhythm are evaluated, as well as the emotional impact of the image.

You can read Scott’s complete article in Issue 108 of The Professional Quilter. If your subscription is not current and you need to renew, or you want to start a new subscription, here’s a link to our order page

Quilt Challenge
Sharyn Craig and Pamela Mostek
Martingale & Co.; $21.95

Everyone loves a challenge, and that’s the premise that started Sharyn Craig and Pam Mostek on this book. Pam made a set of Wonky Log Cabin blocks and challenged Sharyn to see what she could do. And, the magic began. From there they set up eight challenges and each completed a block with specific design and color guidelines. They were joined by other quilters in each challenge. Some of the challenges include Black, White, and Red Allover, which uses black, white and red as the color and the basic Nine Patch as the block; and The Color Purple, which uses the same purple fabric in all the quilts and the Rail Fence block. The variety of quilts is wonderful. Pam and Sharyn also include tips and techniques.

Here’s a link if you’d like to add it to your library.

Many aspiring pattern designers ask themselves: Should I publish my designs as patterns, the kind commonly packaged in plastic bags? Or should I publish books, staple-bound or with a spine? In the Summer issue of The Professional Quilter, pattern designer Kay Mackenzie took a look at this topic. Here’s an excerpt from her article:

Patterns and books both have their places in our wonderful world of quilting. For starters, an idea may lend itself better to one or the other. If the design’s instructions will fit on just a few pieces of paper, then a pattern seems a natural choice. If your idea is concept-driven, then perhaps a book is a better fit. Maybe you’re simply drawn to the aesthetics of one and less than attracted to the practical aspects of producing the other. Maybe one is a more natural expression of your creative juices.

Though patterns and books share some common aspects, in a lot of ways they’re different animals when it comes to getting them done. And, any time you’re thinking about getting into publishing, you’ll need to do a good bit of research. Here are just a few of the things to consider when you make your decision.

• With books, unlike pattern printing, you’ll have to decide in advance how many copies of your book to print. It’s a guessing game! Larger runs equal less cost per copy. But if you print too many, you may be stuck with cartons of books that you can’t sell. If you print too few,  you can always reprint, but the cost per copy is more, making your profit margin smaller.
• Once the books are back from the printer, they’re good to go – no assembly required. You will, however, want to check them over. (Ask mehow I know that.) The trade-off is that you will need to have enough storage space on-site for all of the cartons or pay for off-site storage. The cartons must be protected from dampness, so don’t use the garage!
• Patterns will need to be assembled so you’ll need labor – either your own or some kids’ – to fold and stuff them. Patterns need lessstorage space than books because you can print them you go.
• Distributors are a major chunk of how things work in our quilting industry, and for this discussion this refers to the quilt-shop trade.(The bookstore trade is a whole other issue and worth researching if you decide you want to do a book.) You do want to sell to industry distributors, and here’s a thought about how that relates to books vs. patterns. While exceptions exist, distributors might prefer that you have a line of patterns before they will consider picking you up. Books are considered on their individual merits, so one well-made book can be submitted to distributors.
• Brush up on typography and page design principles. Don’t include too many typefaces on a page and avoid overused fonts. A couple offantastic books that will set you straight are The Non-Designer’s Design Book and The Non-Designer’s Type Book, both by design guru Robin Williams. And, think to the future. Develop a distinctive, branded look for your pattern line.

You can read more of Kay Mackenzie’s article in the Summer issue of The Professional Quilter. If your subscription is not current and you need to renew, or you want to start a new subscription, here’s a link to our order page.

Storm at Sea Quilts
Wendy Mathson
C&T Publishing; $24.95

I’ve always been drawn to the Storm at Sea block and the optical illusion of waves it creates. While the traditional coloration is most often blue, the block lends itself to endless design possibilities. Wendy Mathson offers her unique piecing technique to produce accurate units for the three pieced units used to create the Storm at Sea block: a diamond-in-a-rectangle unit; a large square-in-a-square unit and a small square-in-a-square unit. Wendy calls the square-in-a-square units Big SIS and Little SIS and has created a set of acrylic tools called Quilters’ TRIMplates (short for trimming templates) to accurately cut the units. While it is possible to cut and sew the units without using the templates, they offer advantages for producing accurate block units. The book includes six Storm at Sea projects, a gallery of inspiring quilts, options for border treatments and design grids to copy to work on your own designs. You’ll have fun creating your own designs.

Here’s a link if you’d like to add it to your library.

Simple Stained Glass Quilts
Daphne Greig and Susan Purney Mark
Krause; $24.95

Daphne Greig and Susan Purney Mark began creating their Too Easy Stained Glass patterns in 2003, and they wrote this book as a result of customers wanting more of the duo’s stained glass quilts. Their concept is “too easy,” since you create the leading from a single piece of fabric and fusible web rather than creating yards of bias. The book includes 20 projects ranging from pillows to wall hangings to full-size bed quilts and includes full-size patterns for the leading. I was intrigued by many of the designs, particularly one that leaded half a tree and the Hillside House projects where the leading was the framing of a house.

Here’s a link if you’d like to add it to your library.

Quilting Your Style
Leah Fehr
Martingale & Co.; $26.99

A prom dress adventure in a dressing room – you’ll have to read the book to learn the story – led to Leah Fehr’s understanding of trying out different sewing techniques and evaluating options. In Quilting With Style, she shares a variety of embellishing techniques, including ruffling, beading, yo-yos and couching, on five-inch blocks. You can use the individual blocks in a sampler quilt as she did in the “The Dressing-Room Sampler” or use the techniques in the nine included projects or a project of your own design.

Here’s a link if you’d like to add it to your library.

Quilted One Block Marvels
Carolyn Sullivan
American Quilters’ Society; $22.95

The book’s title does not do justice to the actual marvels inside. Australian Carolyn Sullivan teaches you how to design your own block from elements in architecture or nature and then turn repeats of that block into quilts. She focuses on three types of symmetry – repetitions, rotations and reflections – to create the seemingly endless quilt design variations. Once you understand the concepts, you are free to make your own quilt or make one of the 12 that the book includes.

Here’s a link if you’d like to add it to your library.

Pat Sloan
Leisure Arts; $14.95

Are you looking for a project to celebrate the change of seasons in a couple of weeks? Look no further. Pat Sloan has 14 joyful table runners, wall hangings, lap quilts and bed quilts to inspire you. She shares her inspiration for each design and includes both appliqué and pieced quilts. For June she offers her “Scrappy Heart Quilt” and for July her “Ocean Waves Quilt.” And I love that the July project is done in Independence Day colors. Since I’m off to the ocean in a few weeks, I might have to take along one of the these to do.

Here’s a link if you’d like to add it to your library.

Flora Botanica
Barbara Brackman
Kansas City Star Books; $24.95

The Spencer Museum of Art at The University of Kansas maintains an extensive collection of art, including about 180 quilts. In 2008 Barbara Brackman curated the exhibit Quilts: Flora Botanica. This book showcases the 27 quilts in that exhibit and examines the source and symbolism of each. The exhibit also included reproductions of quilts made by the Kaw Valley Quilters’ Guild. The book includes directions for making five of those quilts.

Here’s a link if you’d like to add it to your library:  http://tinyurl.com/FloraBotanicaBook

Ann Hazelwood
American Quilters Society; $12.95

This terrific little collection of tips is broken into sections for the quilter as a student, tools, designing and working styles, stash savvy, techniques, quilting, finishing touches and show etiquette. You’ll find something to use or pass along. But the best advice, as Zena Thorp says, is “remember that it is YOUR quilt.”  Here’s a link if you’d like to add it to your library.