The 2009 FALL IQA JUDGED SHOW First Place, Group

INTERNATIONAL QUILT ASSOCIATION7660 Woodway Drive, Suite 550Houston, Texas 77063, USA

GRAPE HARVEST (90" x 70" )by G I N A P E R K E S , LY N N D R E N N E N , and M A R I LY N J. S M I T H of Payson , Ar izona , USA

Category sponsored by Quilter’s World

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JOURNAL OF THE INTERNATIONAL QUILT ASSOCIATION

SUMMER 2010

The 2009 FALL IQA JUDGED SHOWFirst Place, Innovative Appliqué

Category sponsored by EZ Quilting by Simplicity Creative Group

INSTRUMENTS OF PRAISE (68 .5" x 68 .5" )by K AT H Y W Y L I E o f Whitby, Ontar io , Canada

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JOURNAL OF THEINTERNATIONAL

QUILT ASSOCIATION

V O L U M E 3 0 N U M B E R 4

contents

2 letter from the presidentPepper Cory speaks to quilt artist Scott Murkin about creating the 2010 IQAraffle quilt, Stars Over Texas, and his life as a husband, father, emergencyroom doctor, and serious stitcher.

3 author! author!Books by IQA members reviewed in this issue: Simple Strategies for Block-Swap Quilts by Lynn Roddy Brown; Threadwork Unraveled by Sarah AnnSmith; and Secrets of Digital Quilting—From Camera to Quilt by Lura SchwarzSmith and Kerby C. Smith.

4 winner’s gallery: celebrate spring! 2010

See the quilts that took the top prizes in the spring IQA Judged Show and meetthe artists who created these springtime-inspired artworks.

6 winner’s gallery: art, pictorial

They say that a picture is worth a thousand words, and these quilts from last fall’s Judged Show prove it! Read about the quilters who are stitchingbeautiful scenery.

11 2010 iqa falljudged show sponsors

See which industry leaders are supporting IQA with non-purchase cash prizesthis fall.

12 teachers directory

14 the iqa files:judy coates perez

Read about how this well-traveled artist combines a background in graphicdesign with a love of fabric and paint to create out-of-this-world wholeclothquilts. And find out how an unorthodox childhood and a habit of relocatingkeeps her inspired.

on the cover:STARS OVER TEXAS by SCOTT MURKIN. The 2010 IQA Raffle Quilt.Photo by Jim Lincoln.

center: 2010 iqaraffle quilt tickets

B O A R D O FD I R E C T O R S

president

Pepper Cory

vice president

education

Pokey Bolton

vice president

finance

Stevii Graves

vice president

membership

Bobbie Aug

vice president

public service

Brenda Groelz

secretary

Linda Jenkins

treasurer

Dixie McBride

founders

Jewel Patterson (1910-2002)Helen O’Bryant (1914-2005)Karey BresenhanNancy O’Bryant

j o u r n a ls t a f f

editorial

director

Nancy O’Bryant

editor

Bob Ruggiero

writer

Rhianna White

design and

production

Hunter-McMain, Inc.

Published quarterly by the International Quilt Association, 7660 Woodway Drive, Suite 550, Houston, Texas 77063, USA, Phone: 713-781-6882; Fax: 713-781-8182; E-mail: iqa@quilts.com; web site: www.quilts.org. Subscriptions available upon payment of membership dues: $25 for one year, $95 for three years, plus $13 per year international mailing fee, or $10 per year North American mailing fee outside the United States. All U. S. issues sent bulk mail with forwarding and return postage guaranteed and address correction requested. All international issues sent air courier and first class air mail. Please send change of address to the IQA office.

L E T T E R F R O M T H E P R E S I D E N T

Dear members,

What is there about raffle quilts? Generally, they’re the work of a committeeand are finished in a quick-as-you-can-sew manner. Sometimes, the colors ofthe average raffle quilt are wonderful. But sometimes, they look as if someonedropped all of the fabric into a blender and then stitched it in a day.

And then there is the extremely rare, one-of-a-kind raffle quilt made for loveand only, coincidentally, for money. The IQA 2010 raffle quilt, called Stars OverTexas by North Carolina’s Scott Murkin, is of this superlative quality (it’s alsoon the cover of this issue). I am especially proud of this quilt because Scottcomes from my home state. He and I recently talked about Stars Over Texas,quilting, family and job, and the love of stitching.

Although more men are joining the ranks of quilters, they’re still rare birds. Scott has been quilting forabout 10 years. He traces his love of sewing to a grandmother and great-aunts, plus another aunt whomade sought-after character dolls. He grew up around sewing. No, his wife Mary is not a quilter. Mary is ajewelry maker and knitter, and sells her work through art galleries. And since Scott and Mary made adecision to home-school their children, she also taught their kids Alissa and Grant while Scott went tomedical school and, later, got his day job. When Scott’s not quilting, he’s an emergency room doctor. Thoseskills could come in handy if a student has a rotary-cutter accident in one of his classes!

We focused on Stars Over Texas and what his goal was in designing this quilt. Scott replied, “Whensomeone sees the quilt, I don’t want them to label it and say ‘Oh, looks like a 19th century design.’ I wantedit to be timeless.” When I told him that the Feathered Star blocks were really showing off, I could hear himlaugh. “I love that pattern! Notice that they are five-pointed Feathered Stars and then there’s five of theblocks in a group, and five groups!” I knew that making the IQA raffle quilt had a couple of requirements,and one was to include a five-pointed Star of Texas block somewhere in the quilt. Obviously, Scott reads thedirections!

The clusters of Feathered Star blocks in Stars Over Texas float on a parchment-colored field. The quilt isframed by a graphic curvilinear border of sharp-toothed dark spikes. The final flourish frames the quilt aseither an art piece or makes a dramatic presentation on a bed.

I hope some lucky IQA member buys the winning ticket on this beauty. I’ve bought mine!

Sincerely,

Pepper CoryPresident, International Quilt Association

Copyright© 2010 by the International QuiltAssociation. All rights reserved under internationalcopyright conventions. No part may be reproducedwithout the express written consent of IQA.

For the first time at International QuiltFestival, we are offering finalists from the2010 IQA fall Judged Show the opportunityto have their entry digitally photographedby an experienced, trained photographer.

As many quilters know, getting a good,high-resolution digital image of a quilt isnot always an easy—or inexpensive—process. It requires a trained eye, costlycamera equipment, and excellent lighting.

Because the President and Executive Vice-President of Quilts, Inc., the parentcompany of Festival, are also co-founders of IQA, they are allowing Festival to offerthis service to IQA members at a veryreasonable cost, with all proceeds going to support IQA. Note: cost of images is non-refundable.

In addition, any finalist who takesadvantage of this offer will be granted

copyright-free use of the image. It can beused in a number of ways, including entryinto quilt shows or competitions, insuranceprotection, submission for books, or tocreate personal items like stationery orgreeting cards.

For additional information and to obtain aform, visit IQA’s website at www.quilts.organd look for the “Judged Show FinalistPhoto Opportunity” link on the home page.

3

b y s t e v i i g r a v e s

Secrets of Digital Quilting—From Camera to Quiltby Lura Schwarz Smith and Kerby C. Smith$27.95, 94 pp.C&T Publishing

This isn’t a book to leafthrough—it is book to be readfrom cover to cover. A digitalcamera, computer software and a printer, and the incredibleknowledge in this book are thetools needed to make stunningquilts. The technical part ispresented so that it will not

scare even the techno-peasants among us. Schwarz Smith,award-winning art quilter, and Smith, a National Geographicphotojournalist, share all theirprofessional secrets. There is anamazing amount of informationbetween the covers of this book. �

If you are a current member of IQA (or publisher of a current member) and have a book or DVD that you would like to submit for potential review, please mail it to:Bob Ruggiero, c/o IQA Journal, 7660 Woodway, Suite 550, Houston, TX 77063. Materials cannot be returned regardless of whether or not they are chosen for review.

Threadwork Unraveledby Sarah Ann Smith$28.95, 111 pp.American Quilter’s Society

Don’t buy this book if you aresewing-machine phobic! But ifyou do use a sewing machine,this book could become your newBFF. Smith covers it all, fromthread choice to needles totension. Then she gets down tothe real business and leads usinto the techniques of machine

appliqué and machine quilting,both marked and unmarked.This book needs to live next toyour sewing machine. �

Exclusive photo opportunity for Judged Show finalists!

author!author!

4

Baker began quilting in 1993 after retiring as a commercial artist. “I took a beginningquilt class at a local community college and was immediately hooked,” she says. “Thefirst quilts I made were traditional patterns, which I still enjoy making. But it wasn’t

long after I started quilting that I decided to apply my artistic background to designingpictorial quilts.”

In fact, today, Baker is known for her strikingly realistic pictorial quilts, almost all of whichshe makes to enter into local, state, and national competitions—“I like challenges,” she says.

Still, she adds, the most exciting part of making pictorial quilts is the creative process. “Theendless colors, textures, and patterns of the fabric inspire me. The techniques I use are any

BEST OF SHOWLET ’S ALL SPR ING FORWARD (50.5" x 43.5") by ROSALIE BAKER of Davenport, Iowa, USA

ANNUAL SPRING IQA JUDGED SHOW

2010 Winnerscelebratespring!

combination that will give me the resultthat I am striving for. My surroundingsinspire me. The pictures on my quilts are not only what I see, but what I want to see.”

The inspiration for this particular quiltcame from a 2009 frog calendar, whichfeatured a different photo for each day of the year. “The red-eyed tree frog wasfeatured quite a few times and was themost colorful of all the frogs,” she says. “I tried quite a few different frogs beforedeciding on the final composition of thethree frogs that are featured in the quilt,and I added the whimsical attitude to each.”

The entire leaf background was handappliquéd before the frogs were placed ontop. Because the leaves were so large,Baker says that she fractured them withdifferent fabrics to create form and texture,and painted them with emerald greenSetacolor transparent paint. Each frog washand appliquéd together as one piece, andafter the frogs were appliquéd in place, thebackground behind them was removed sothat no seams would show.

Artist’s Statement: “Red-eyed tree frogscome from the rainforests of CentralAmerica where spring is eternal. They aredefinitely one of the more beautiful speciesof frogs. The red-eyed tree frog’s image isoften used to promote the cause of savingthe world’s rainforests.” Original design �

5

Inspired by “old chintz designs and their profusion of flowers,”Kemball says that she has recently made a number of quiltsreminiscent of that style. “Up to this point, the flowers had been

more fantasy than anything else,” she adds. “I decided that I wouldtake the same idea, but try to design a quilt around botanicallycorrect spring flowers especially for ‘Celebrate Spring!’”

She began by taking photos of spring flowers from her garden andneighborhood, on which to base the designs of her appliqué flowers.“I really enjoyed the process,” she says, “and I really looked closely atsome of the flowers for the first time to ask myself, for example, whatis it that makes blossom so blossomy, and how do I transpose thatinto appliqué?”

Kemball also decided to create the quilt entirely with silks,something she had wanted to try for some time. She had to adaptsome of her usual appliqué methods in order to use the silks, butsays that it actually wasn’t as difficult as she had expected. “And Iwas really thrilled to find that, with silk, one can get spectacular

continued on page 10

Baeth explains that the inspiration for this—and many of herother quilts—came from a natural phenomenon that takesplace practically right outside her back door. “I live in a rural

area in Southeastern Oregon with wetlands, refuges, forests, andlakes nearby,” she says. “This amazing area is the largest migrationroute in the Pacific Northwest for over 300 species of birds.

“I am inspired by the wildlife and nature surrounding me and createart quilts that reflect this,” she continues. “I try to reflect naturalcolors that are present in nature as birds and other animals blendinto their surroundings. My goal is to create art quilts that resembleoil or water color paintings.”

For this particular quilt, Baeth began by photographing egretsduring early spring and then, drawing them. Once she beganconstructing them for the quilt, she used inks to lightly shade thebirds and to give them more dimension. And she used threadpainting to further enhance the birds once she attached them to the quilt.

continued on page 10

SECOND PLACEEVENING EGRETS (45" x 50") by JOANNE BAETH of Bonanza, Oregon, USA

celebrate spring! continued on page 8

FIRST PLACESPRING REV IVAL (33.5" x 53.5") by DEBORAH KEMBALL of Baie D’urfe, Quebec, Canada

6

the Great Blue Heron is a classic symbol of the PacificNorthwest. The elegant, shy bird can often be spotted near therivers and lakes that dot the region. Shapel obviously has

affection for the creature, since In Hiding is the fourth heron quiltshe’s made so far!

Shapel adds that this is the first piece where she painted most ofthe elements separately on PFD (Prepared for Dye) fabric, and thenappliquéd them to a gradated background, after which she heavilymachine quilted it. “I’m happy with how this technique has worked,”she says. “And I’m currently working on another heron piece!”

However, her happy journey into quilting actually started with atragedy. “I began quilting in 1993 because my dear friend, JeanettePeck, lost her mother in a car/train accident. Her mother was alifelong quilter and left a quilt in the quilt frame at the time of herdeath,” Shapel explains. “Jeanette inherited this quilt and wanted to know how to finish it. She asked me to join her in learning how toquilt.”

And while Shapel had sewn her own clothes during high school,neither she nor Peck had ever quilted. With the help of a mutualfriend (who just happened to be a quilter and a quilting teacher),they got started. And the rest of the story—as Shapel might saywith her fine feathered projects—is for the birds!

Artist’s Statement: “After telling my friend about my fascinationwith Great Blue Herons, I noticed her looking at me rather askew.‘They’re not so great if you have a koi pond!’ she said. Last summer,she found a Heron ‘fishing’ in her koi pond until not a single koi wasleft. This piece is dedicated to all the koi out there who are still ‘inhiding.’” Original design �

Art, Pictorial

FreeSpirit Fabrics

FIRST PLACEIN HID ING (38" x 75") by BARBARA SHAPEL of Washougal, Washington, USA

winnersgallery

7

this quilt is my attempt to share the essence of my faiththrough my art, “Parrott says. “Hopefully, my skills are stillincreasing and I may make more amazing quilts in the

future, but I will never make one that is more meaningful to me.”

The quilt was inspired by a tissue paper mural. “I was so movedby [the artist’s] work and felt that if I could capture it in fabric,the resulting quilt would be portable and a great way to share hisvision with a much larger audience,” she adds. “He graciouslygave me his blessing to try and even gave me some sketches towork from.”

Like many quilters, Parrott started sewing when her Barbie’swardrobe started looking shabby—though she doesn’t believe thatthe clothes she made from her Nana’s scrap drawer were much ofan upgrade! When her husband was in law school, she worked ata fabric store and attempted two quilts. She later took a “real”quilt sampler class in the early ’80s—though that project is stillonly half-quilted today!

continued on page 10

Melinda Bula has a secret to keep about this quilt. Andshe knows she can count on the IQA membership tokeep it for her. “Don’t tell my husband how much the

silk flowers in that arrangement cost!” she says. “And I don’t havea cat. I made him up, but he looks so cute looking up at the birds.My family named him Scrambles.”

There, now she’s gotten that off her chest. Bula was inspired by apeony bush, at a nearby garden center, that was sitting next tosome red roses. “The colors took my breath away,” she explains.“Whenever I have an emotional reaction to color, it’s usually asign that whatever affected me has to be recreated in fabric.”

As someone who has been playing with fabric and paint since shewas a little girl, Bula worked at a fabric store while studying artin college. She would take “trash” from the fabric store and makeart pieces with them. “I was studying conceptual art back then,and all my pieces had something to do with fabric and sewing.They still do.”

continued on page 13

THIRD PLACEBALT IMORE ALBUM VASE (60" x 81") by MELINDA BULA ofEl Dorado Hills, California, USA

SECOND PLACEMORNING HAS BROKEN (76" x 76") by PEGGY PARROTT ofLakewood, Colorado, USA

Art, Pictorial continued on page 9

“

8

Celebrate Spring! continued

HONORABLE MENTIONSIR FRANCIS (59" x 39") by DAVID TAYLOR of SteamboatSprings, Colorado, USA

sir Francis, the pig, is the latest effort in Taylor’s Colorado BarnSeries, preceded by an owl, a chicken, and a goat. “A lot of myfriends suggested a piglet,” he explains. “I had not thought of

doing that particular barn animal until I came across a delightfulimage that I thought would work.

Despite an obvious attention to detail in the quilt, Taylor says that itactually came together in a hurry. “Of course, I had nothing else todo during that time,” he adds.

He began—as he does with almost all of his quilts—by enlarging thephoto to make an “actual-size pattern” for the quilt. The barn woodthat appears behind “Sir Francis” was machine pieced together, andthe pig himself was hand appliquéd on top.

Funnily enough, working to accomplish the pig’s natural coloringactually presented a bit of a challenge for Taylor. “I can tell you thatthere was a lot of ripping stitches and replacing fabric on this piece,

continued on page 10

THIRD PLACECROCUS (60" x 55") by MAGGIE WEISS of Evanston, Illinois, USA

Weiss says that her quilt is meant to celebrate that “magictime of year” when the new growth of spring begins tomake its appearance. She chose to represent crocus,

specifically, because they are one of the first flowers to poke throughthe spring snow covering the flowerbeds in her neighborhood.

“Crocus began as a pile of hand-dyed silk fabrics!” she says. “Largerpieces were torn into rectangles and pinned to batting on my designboard. They were then arranged and rearranged until I combined thedifferent colors, shapes, and values to my satisfaction.”

To create the organic forms for the foreground of the quilt, Weissused photographs as reference, and cut the shapes directly fromblack organza and silk fabrics. Once each shape was auditioned andshe was pleased with the interaction of the foreground andbackground, all of the elements were fused into place and the entirepiece was machine quilted.

continued on page 10

9

the image captured in Meyer’s quilt is derived from aphotograph—taken by her husband, Roy—of their formerproperty on the edge of Richland Center, Wisconsin. After Meyer

promised her son that she would make him a wallhanging for hisnew condo, he chose the photo to serve as inspiration for the piece.“He was also the person who blazed the trail through the woods, thusthe name Blazing His Own Trail,” she adds.

The entire quilt was created using raw-edge appliqué. She also useda small bit of ink work to add shadows in certain areas of the image,but says that the effect of light in the quilt was accomplished largelythrough her choice of fabrics.

It took Meyer around 250 hours to complete the quilt—130 of thosespent on the free-motion quilting alone. Still, after hearing from anattendee who saw the quilt on display at the 2010 edition ofInternational Quilt Festival in Chicago, she was reassured that itwas time well spent.

continued on page 10

VIEWERS CHOICEBLAZ ING HIS OWN TRAIL (52" x 41") by ANN CROWL MEYER of Richland Center, Wisconsin, USA

HONORABLE MENTIONEVERYDAY BARNS & FAMILY FARMS (53.5" x 53") by KAREN HANKEN of Jacksonville, Oregon, USA

I’m intrigued by old buildings to begin with, and old barns areespecially distinctive,” Hanken says. “Their worn paint andtattered edges give each a unique character.” And while this quilt

was originally just about them, when designing the layout with herphotos, Hanken realized that the plowed and growing fields had asmuch a story to tell about the people who built them and thegenerations that have continued to use them.

In any case, creating this quilt at least brought her family closertogether. “I was still gathering photos when we went on a campingtrip with my mother-in-law,” she recalls. “Next thing I know the tripbecame a game of barn hunting! Everyone was looking for the bestbarns, and my husband had to slam on the brakes a lot!”

Hanken says that she has always loved fabrics and textiles, and firststarted incorporating them into paintings while in college. “I didn’tactually sew anything. I’d have my grandmother and later, my

continued on page 13

Art, Pictorial continued

“

10

celebrate spring! (cont.)

Deborah Kemball continuedthree-dimensional effects as lightbounces off it in a way it doesn’twith cotton fabrics.”

Still, it did present a certainunexpected—and, arguably,humorous—challenge. “Silk fraysand clings even more than usualloose threads from cotton fabrics,”Kemball explains. “During thetwo-month period that I wasworking on this quilt, I wasusually unaware that I wascovered with loose silk threads. Inever met a friend without themplucking silk threads off myclothing while we spoke!”

Artist’s Statement: “Springflowers from my garden[inspired this quilt]! Daffodils,narcissi, magnolias, lilacs, tulips,blossoms, and trillium on abackground of lilac-colored silkreminiscent of Easter make upmy ‘Spring Revival’ and cast offthe dull cloak of winter.”Original design �

Joanne Baeth continuedThe quilt’s background isconstructed of fabric pieces—some purchased, others handdyed—that Baeth fused intoplace. And the background treeswere augmented with additionalthread painting.

Baeth says that she began herquilting journey in the 1980s,when she made several bed-sizedquilts using traditional methods.But it was after she retired fromteaching that she really began totake an interest in the world ofart quilting.

“Exploring fiber arts and naturehave taken me on a journey that has allowed me to createartworks from fabric and thread,”she says. “It has been a wonderfullearning experience, and I’veenjoyed every moment of it!”

Artist’s Statement: “I amfortunate to live in a rural areathat is on the migration route for many species of birds. Theegrets arrive in early spring and are often seen in the fieldsand wetlands. My goal is tocreate an art quilt using fabrics,inks, and threads that resembles a watercolor painting.” Original design �

Maggie Weiss continuedBecause the figures included inher piece are abstracted versionsof the crocus, Weiss says thatthey aren’t always immediatelyidentifiable to the viewer. “Someobservers have seen Crocuswithout the title and believed itto be some other plant, vegetable,or flower,” she explains.

“It seems we see that with whichwe are familiar,” she continues.“If a viewer finds this piececompelling or intriguing, it issuccessful, whether or not theythink it’s edible (an artichoke) oraquatic (a water lily). A rose isstill a rose, and a crocus is still acrocus! No matter what someonemight see, the work succeeds ifthey can feel the joy, wonder, andenergy therein.”

Artist’s Statement: “Crocusblossoms provide hope andreassurance of warmer and morecolorful days ahead when theypush their way up through the

snow! Their arrival marks theend of our dark winter andheralds the onset of spring.”Original design �

David Taylor continuedas pink is a very hard color towork with—at least for me!” hesays. But Taylor made it work—pink fabric and all—and waspleased with the completed quilt.

“I love almost all of my quilts,”Taylor says. “And I want themall to make the viewer feel joyand a sense of wonder about theworld in which we live—especiallymy little part of the world herein Northwest Colorado.”

Artist’s Statement: “This quiltis the fourth in my series of barnanimals. I love visiting localranches here in NorthwestColorado in the springtime tomeet all of the new arrivals. Ilove the dirt on his nose!”Original design �

Ann Crowl Meyer continued“She saw the quilt at the showand was truly moved, as herrecently deceased daughter hadtaken a very similar photo,”Meyer explains. “This was herfirst trip since the death, butsaid that she felt as if herdaughter was with her uponseeing my quilt. I often askmyself why I go to so muchtrouble to enter, ship, and pickup my quilts at shows, but herkind words reminded me of why.”

Artist’s Statement: “I love theprocess of finding the perfectfabrics to recreate the scene,then bringing it to life withthreadwork and quilting. The

original photo and rock cairn isby my husband, Roy. The trailwas blazed by our son, Charlie,who will receive the quilt.”Original design �

art pictorial (cont.)

Peggy Parrott continuedThe bottom half of the quilt isParrott’s attempt to make thework her own. Using a style seenin Rebecca Barker’s paintings,she added blocks— sometimesknown as “Cross and Crown” or “Crown of Thorns”—inperspective, to lead the eye tothe scene at the top.

“Two things set this quilt apartfrom other works of mine,” sheadds. “First is that I painted thesky background—and I couldn’treplicate it in a million years.The other is that the back of thequilt stands on its own. Whenquilting from the front, I stoppedevery time I hit that line andchanged my bobbin thread sothat thread colors wouldcomplement the back as well asthe front.”

Artist’s Statement: “When Ifirst saw Hal Muller’s stunningEaster tissue paper mural “TheUltimate Victory,” I knew I hadto make a quilt based on his art.With his blessing, Morning HasBroken is my attempt torecreate, in fabric, what to me isthe most important morning inhistory.” Inspired by mural byMuller and used withpermission. Combined styleinspired by the paintings ofRebecca Barker. �

continued page 13

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The Handi Quilter®Best of Show Award

$10,000

The Founders AwardInternational Quilt Festival

$7,500

The World of Beauty Award$7,500

The Robert S. CohanMaster Award forTraditional Artistry

$5,000

The Fairfield Master Award for

Contemporary Artistry$5,000

The Pfaff Master Award for Machine Artistry

$5,000

The Maywood Studio Master Award forInnovative Artistry

$5,000

The Superior ThreadsMaster Award for Thread Artistry

$5,000

The Future ofQuilting Award

$2,000

$98,250 in non-purchase cash awardsThe 2010 Quilts: A World Of Beauty Judged Show Sponsors

Each Category Award Totals $2,000

($1,000 for first place, $700 for second, and $300 for third)

Art-Abstract, Large Art-Abstract, Small Art-NaturescapesArt-Miniature Art-Painted Surface

Art-WhimsicalArt-People, Portraits, and Figures Digital ImageryComputer-Aided Machine Embroidery

Group QuiltsEmbellished Quilts Innovative Appliqué Innovative PiecedHandmade Quilts

Merit Quilting – Computer Guided Merit Quilting – Machine Miniature Mixed Technique Merit Quilting – Hand

Traditional Pieced Wearable ArtTraditional Appliqué Judge’s Choice $250 each Viewers’ Choice $500

NEW

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and

Categ

ory

NEW

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sor!

NEW

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sor!

NEW

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Art-Pictorial

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UNITED STATESALABAMAFlavin Glover861 Ogletree Rd.Auburn, AL 36830334-821-7091www.flavinglover.comauthor, creative Log Cabin,geometric patchwork, pieced landscapes

CALIFORNIALiz Berg20397 Forest Ave.Castro Valley, CA 94546510-881-1763www.lizbergartquilts.comfabric painting or dyeing, design& composition for art quilts

Phyllis C. Binkley43723 Pioneer Ave.Helmet, CA 92544951-306-0919www.landscapeartquilts.commachine quilting, quilt designer, fabric painting ordyeing, embellishments

Cara GulatiP.O. Box 6640San Rafael, CA 94903415-662-2121www.doodlepress.comauthor, quilt designer, machineappliqué, curved seam piecing

Cathie I. Hoover7113 Carolina Ct.Modesto, CA 95356209-545-4188www.cathiehooverstudios.comauthor, quilt designer,embellishments, machine appliqué

Peggy Martin13415 Sawtooth Rd.San Diego, CA 92129858-484-1412www.peggymartinquilts.comauthor, quilt designer, foundationpiecing (paper piecing)

Susan Slesinger356 First St.Seal Beach, CA 90740562-598-4546sslesinger@roadrunner.commachine quilting,embellishments, fabric postcards(mixed media)

Marcia Stein1472 Filbert St., #503San Francisco, CA 94109415-776-2962www.marciastein.comauthor, quilt designer, machine appliqué

Sandy Turner5286 Pine Creek Ct.Santa Maria, CA 93455805-925-3250nqaslt@aol.comhand appliqué, quilt designer,designing with pictorial fabrics

COLORADOBobbie A. AugP.O. Box 9654Colorado Springs, CO 80932719-331-4848www.BobbieAug.comhand quilting, hand appliqué,author, quilt history

Christine Hause4444 Morrison Rd.Denver, CO 80219303-522-6866www.christinehause.comauthor, designer, miniatures,Crazy quilts

Annette Kennedy924 Hoover Ridge Cir.Longmont, CO 80501303-772-3745www.annettekennedy.comfabric painting or dyeing,pictorial, fused quilts

FLORIDANancy Prince4000 Rouse Rd.Orlando, FL 32817407-977-0177www.nancyprince.comthread painting

HAWAIICindy WalterP.O. Box 615Honolulu, HI 96809808-537-3677cindyquilter@aol.comhand quilting, author, fabric painting or dyeing, snippet sensations

ILLINOISFrieda Anderson1995 Murcer Ln.Elgin, IL 60123847-697-6557www.friestyle.commachine quilting, author, quilt designer, fabric painting or dyeing

Mary Deray217 W. Autumn Dr.Oakwood, IL 61858217-431-1598maryderay@sbcglobal.netsashiko Japanese embroidery

Kathy Downie10209 Covell St.Richmond, IL 60071815-814-1984www.downiedesigns.commachine quilting, miniatures,embellishments, quilt/wearableart pattern designer

MARYLANDRae Cumbie507 Anneslie Rd.Baltimore, MD 21212410-377-0706www.raecumbie.comembellishments, jacket fit &construction, art jacket design

MICHIGANFrances Krupka16100 Smokey Hollow Rd.Traverse City, MI 49686231-223-7196www.franceskcreations.comauthor, quilt designer,embellishments, wearable art

MISSOURIShelly Pagliai31763 Intrepid Rd.Macon, MO 63552660-676-0606shelly@prairiemoonquilts.comhand quilting, hand appliqué,quilt designer

NEVADAJanet Rice1140 Melody Morning Ct.Henderson, NV 89011702-567-3051janet.rice@yahoo.combeginning art quilts

NEW YORKEsterita Austin58 John St. Port Jefferson Station, NY11776631-331-3429www.esteritaaustin.comauthor, quilt designer, fabricpainting or dyeing, fusing design

Priscilla Kibbee11933 Washington St.Wolcott, NY 14590315-594-1046www.priscillakibbee.citymax.comembellishments, wearable art,Seminole patchwork

Anita Grossman Solomon412 E. 55th St.Apt. GNew York, NY 10022212-593-9044www.makeitsimpler.comauthor, innovative machinepiecing including paper piecing

NORTH CAROLINAPepper Cory203 First St.Beaufort, SC 28516252-726-4117www.peppercory.comquilt designer/historian,marking quilts, scrap quilts, Big Stitch/sashiko

THE 2010IQA TEACHERS DIRECTORY

art pictorial (cont.)

Melinda Bula continuedBula is also very clear on exactlywhere she comes down on theside of a sometimes controversiallabel about quilting. “As I travelthe country teaching andlecturing, I always hear fromquilters. ‘I don’t do art quilts.’Well, that makes me mad,because I consider all quiltsART,” she says emphatically.“You cannot tell me that abeautiful pieced or appliquédquilt from hundreds of years ago is not art. In those days,quilting was often the onlyvenue a woman had to expressher art and creativity. This quilt

is making that statement. It’s all art !”

Artist’s Statement: “Ienvisioned a woman relaxing onher settee catching up on herhandwork. She is in a BaltimoreAlbum class that meets once amonth. She is trying to finishher block before class on Sunday.The phone rings. She tosses herappliqué on the table by her sideand runs to get the phone. Shehas been waiting for this callfrom her son overseas. I startedthis quilt by making a silkflower arrangement and takingpictures of it. The lace tableclothwas a little tricky. I am makinga real Baltimore Album quilt

and thought one of the blocksfrom that quilt was the perfecttouch.” Original design �

Karen Hanken continuedhusband, do that part,” sheremembers. “In 1995, myhusband ended up dragging meinto the sewing machinebusiness. And the next thing Iknew, I was meeting lots and lots of quilters!” Still, she didn’tget started quilting herself until 2003.

On this quilt, she adds thateveryone comments on theborder. “This was, of course,inspired by those tattered slatsand fences,” she says. “While

working on my quilts, I amusually also thinking about howit will need to be finished. Theborders are like a picture framefor art—they can either make itor break it. I like to make thempart of it.”

Artist’s Statement: “Old barnsdot the horizon standing as iconsof a pioneering spirit. Most areremnants of a family heritage; ahistory of farming rapidlydisappearing to the invasion ofbig business and big agriculture.This quilt is a celebration ofthose buildings and thegenerations who have plowed thefields.” Original design �

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OREGONPeggy Gelbrich22022 NW Kutch Rd.Yamhill, OR 97148503-852-7452www.yellowhousequilter.comhand quilting, hand appliqué,quilt designer, traditional pieced quilts

PENNSYLVANIABonnie Lyn McCaffery472 Rt. 739Hawley, PA 18428570-775-7118bonnie@bonniemccaffery.comfabric painting or dyeing,portrait quilts, DotZy Doodles

Teresa Fusco2171 Elder St.Reading, PA 19604610-921-7959teresasquiltstudio@gmail.commachine quilting, machineappliqué

SOUTH DAKOTADenice KnappP.O. Box 117Webster, SD 57274763-458-5774www.redwagonquilting.comsashiko (hand and machine),binding/piping techniques,reversible quilts (quilt-as-you-go),scrappy techniques

TEXASCynthia England1201 Sunset Dr.Dickinson, TX 77539cynengland@englanddesign.com

Katherine Hunter12493 N. State Hwy 16Fredericksburg, TX 78624830-685-3436katehunter@huntercraft.comquilt designer, fabric painting ordyeing, embellishments, traveltheme wallhangings

VERMONTPamela Druhen108 Vine St.Northfield, VT 05663802-485-9650www.pameladruhen.comquilt designer, fabric painting or dyeing, piecing (machine),thread painting.

VIRGINIAKaren Lee Carter2124 Chamberling KeyVirginia Beach, VA 23454757-496-9847quilter@mac.comquilt designer, Crazy quilts,embellishments

WASHINGTONMaggie Ball10598 NE Byron Dr.Bainbridge Island, WA 98110206-780-1437www.dragonflyquilts.comauthor, quilt designer, bargello,Quilters Without BordersMongolian Outreach

WISCONSINWendy Butler BernsN65365 Shorewood Hills Rd.Lake Mills, WI 53551920-648-7576www.wendybutlerberns.commachine quilting, author,embellishments, picture imagemachine appliqué

Betty Ekern Suiter901 Coronada Dr.Racine, WI 53402262-639-4575www.bettyekernsuiter.comhand quilting, hand appliqué,quilt designer, fabric painting or dyeing

CANADAKathy Dunigan1372 Monks PassageOakville, OntarioL6M 1J5905-827-9739www.kathydunigan.comhand quilting, hand appliqué,quilt designer, Baltimore Album quilts

Daphne Greig903 Clayton Rd.North Saanich, BCV8L 5M3250-656-4314www.daphnegreig.commachine quilting, author, quilt designer, positive/negative design

NEW ZEALANDCamilla Watson4 Mizzen Pl.Whitby, Wellington502464-4-23-475-22watson.c.s@paradise.net.nzmachine quilting, hand appliqué,color & design, art quilts

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IQA Journal: First, please tell us a bit about yourpersonal and artistic background. Perez: I am originally from Maine, but also grew up inMassachusetts and Northern California. I lived in LosAngeles for many years, then Austin, Texas, and now,Chicago. In general, I am very adaptable and I appreciateexperiencing all of the different lifestyles.

I do not come from a family of quilters, but I have alwaysmade art and loved to sew, so combining the two just seemedlike a natural progression after making my first quilt.

I have a degree in graphic design from the Otis Art Instituteof Parsons School of Design. In my typography classes, wehad to perfectly render enlarged letters from specifictypefaces with egg tempura, ruling pens, ellipse templates,rulers, and paintbrushes. The technical precision requiredreally developed my eye and hand skills. Also, as part of mydesign curriculum, I took drawing and illustration classes.

I learned a lot about painting from my ex when we were inart school because his father was an amazing painter andhad taught him. The one thing I always tell people to keepin mind is that painting is primarily a skill—once you learnsome basic techniques, like anything else, the more you doit, the better you will get. I still feel like a painting novice inmany ways and would love to learn more, since I mainlyfocused on design while in school and now regret not takingmore painting classes. I never realized how much I wouldenjoy doing it.

ARBOL DE VIDA (58" x 58")

JudyCoates Perezof Chicago, I l l inois

the IQAfiles

I use a lot of my graphics training forcomposition and color choices when creatinga design, but one of the skills that I think Iuse the most is problem solving. As adesigner, you have projects with specificgoals that need to communicate an idea orfeeling, so finding the best way to do thatwith a limited budget or a number of otherrestrictions really makes you push beyondthe first obvious solutions to ones thatwould give you more bang for your buck, soto speak.

IQA Journal: How and when did youoriginally become involved in quiltingand textile arts? Perez: In high school, I spent all my timein the art and home-ec rooms, so I alreadyhad a foundation started there. But I didn’tactually make my first quilt until 1986.That quilt was made for the wall and hadsnakes, scorpions, and cacti all over it. Ihad no idea how to really make quilts, so Ijust started making them with whateverfabrics I had on hand and with the basicsewing skills used for garment making.

I became more serious about art quiltingafter moving to Austin in 1996 and joiningmy first quilt guild to meet people. Thatwas my best quilt education, because Texaswomen are serious about their quilts! Andthere were so many talented quiltersmaking gorgeous award-winning work, itcould not help but push me to improve myskills and create more interesting work.

IQA Journal: You are known forcreating beautifully detailed, paintedwholecloth quilts—at what point didyou begin painting on fabric? Perez: I first began dyeing fabric in 1992,when I couldn’t find orange fabric for a quiltand bought Ann Johnston’s book on dyepainting (entitled Dye Painting!). I reallyliked the idea of creating my own cloth formy quilts and having complete ownership ofthe creative process. In 1993, I stenciledfrogs with textile paint on a quilt and lovedthe look of it, so I began to paint more often

in my work. Eventually, I started toquestion why I was painting fabric and thenappliquéing and piecing it instead ofpainting it all in one piece, so I began towork in a wholecloth method and fell in lovewith that process.

IQA Journal: Your artworks representa number of themes and ideas—fromnature to mythology to more abstractconcepts—but many seem to share acommon whimsical element. Whatinspires your designs, and how havethey evolved over the years?Perez: I derive a lot of inspiration from mylife experiences and fascination with globalcultural traditions, folklore, and mythology.When I was 13, my family moved out of ourhouse in Massachusetts, put everything intostorage, and drove to Guatemala, travelingthrough the U.S., Mexico, and Canada—18,000 miles in all, in a 14-year-old car thatmy step-dad painted school bus yellow. Werented a house in Antigua, Guatemala, andmy mom and I spent time learning back-strap weaving from native women inGuatemala. Independently studying thearts, culture, and archeology of LatinAmerica was the best education I ever had.

I think that my unorthodox childhood ledme to think differently about life, my work,and not seeing limitations where othersmight. I also see the value of educationfrom life experience; there are alwaysopportunities to keep learning all aroundus, it is the only way we keep growing.

I have tried to instill this philosophy in mychildren too, and so many of my quilts havenature-inspired imagery that have comefrom things my kids were studying. Forexample, when we lived in Austin, my sonwas obsessed with fossils, which led to mymaking Primordial Sea. He was alsofascinated with lichen, which led to mypainting cotton batting to createdimensional realistic lichen on the surfaceof a quilt. GRAVEN IMAGES (50" x 79")

15

THERE’S A PLACE CALLED MARS…(37" x 62")

IQA Journal: Please walk us through the process—both creativeand technical—of creating one of your wholecloth quilts. Do you begin with a plan, or is the process more spontaneous?Perez: When I have an idea for a quilt, Isometimes think about it for a year or morebefore I start. Often, my work has unusualthemes or imagery, so I tend to think a lotabout the best way to communicate myidea—both technically and aesthetically.

While I am mulling over an idea, I begincollecting “scrap”—pictures of animals,plants, or figures to reference whenbeginning the design, as well as imagesthat may inspire the style, color palette,

or atmosphere of the piece. Because of my background in graphics, I use a lot ofcomputer programs that most people wouldgenerally not have, and rely on them formany aspects of the design process.

I work on large marker pads, drawing thedifferent elements of the imagery. Markerpaper is a lightweight semi-transparentpaper—heavier than tracing paper, butlighter than sketch paper—on which I like to start working on drawings. You can easily refine your images, placing them under a clean sheet of paper, andrework the design because it is so easy to see through.

I scan the various drawings and work in Adobe Photoshop, placing the differentelements on the page, sizing, rotating, orflopping things until I am pleased with thebasic layout. Then I transfer the file toAdobe Illustrator, size it up to the finalmeasurements, and print out the full sizecartoon on 8½" x 11" sheets, taping thepages together with clear packing tape—this makes a very strong cartoon fromwhich to work.

Next, I tape white PFD (Prepared for Dye)cotton sheeting with a high thread count tothe top of the cartoon and lightly trace the

design with a .5mechanical pencil.After the fabric ispainted, I Mistyfusethe whole top towool batting andspot fuse thebacking fabric to the batting withlittle pieces offusible web.

I think the quiltingis a very importantpart of the processand always try to

use it to enhance the imagery of the quilt,adding details or secondary imagery tocreate more visual interest.

IQA Journal: You also do a lot of workin mixed media. What are some of thevarious materials and techniques withwhich you have experiemented? Perez: I like to do mixed-media projects inbetween making big quilts. I find it is agood change in process because I tend towork more spontaneously with mixed media.

I have worked with various paints, inks,water soluble crayons, paint sticks, acrylicpowders, foils, and painting on transferpapers. Also, drawing and printing on teabags and adhering them and other printedpaper imagery to fabric, painting anddyeing cotton batting, felting wool roving,embossing and sewing metal, stitching andcollaging on canvas for small books, andusing heavy-weight interfacing to stitchthree-dimensional sculptural pieces. I amsure I am probably forgetting something,but basically, if I get an idea, I try it outand see what happens.

IQA Journal: Finally, we realize thatit’s a bit like asking you to choose afavorite child, but of your quilts, doyou have a particular favorite? And if so, why?Perez: That is a tough one, but I think I will always have a soft spot in my heart for Primordial Sea. Personally, Ithink squid are beautiful, as well as theluminosity of silk charmeuse. But morethan that, this was technically the mostdifficult quilt I ever made. One challengeafter another popped up in its production,and the fact that I was able to pull it off felt pretty miraculous! �

For more info on Judy Coates Perez, visit her web site/blog at:http://judyperez.blogspot.com/

MOON GARDEN (69" x 56")

PRIMORDIAL SEA (89" x 62")

16

The 2009 FALL IQA JUDGED SHOW First Place, Art-Abstract, Large

Category sponsored by Hoffman California Fabrics

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DISENTANGLE (86" x 68" )by R I TA S T E F F E N S O N of Urbana, Ohio , USA