Artist Spotlight part 2: Inspired to Quilt

I told you last week how much I admired Melanie Testa as an artist and as a friend. This week I want to introduce you to her book, "Inspired To Quilt." The title is appropriate as her book is truly inspiring.

I purchased my copy from her at the International Quilt Festival in Houston last October and spent a lovely and very early morning flight home perusing it. I blogged about that morning here. That page also shows a little sketch copied out of her book.

In the interest of full disclosure, Melanie and I were both contracted to write our books through Quilting Arts at about the same time. Now the gushing - I must say that the books they have put out recently through Interweave Press are beautifully laid out. I love, love, love the layout and the general lush and beautiful look of "Inspired To Quilt."

Now I'm one of those people who will get completely involved in the imagery of a book like this. I "read' my magazines by flipping through from the back and absorbing the pictures. I love good photography and great layouts and graphic design. And I am completely enchanted by Melanie's artwork.

Let me tell you now about some of the more in-depth reasons why I love this book and think you will too. Melanie's gentle and encouraging nature comes shining through in her writing. (Yes, I DID finally read it.) I love that she urges the reader to experiment and play as they try out each of the  processes in this technique oriented book.

There are step by step instructions for working with dye, for printmaking, stamping, stenciling, and dye painting. Melanie walks you through her process one layer and page at a time. She shows you how she begins with sketched ideas, creates layers of cloth and imagery in cottons and sheers and stitching. You are carefully guided through her construction process as images are built and cloth is added and taken away and embellished until the composition is completed. She goes even further to the back of the textile art, explaining finishing techniques and edge finishes.

If you are a project person there is something in "Inspired To Quilt" for you too. I think Melanie's Pretty Purses are absolutely sweet. Other projects include a Sewing Holster, Merit Badges, and Artists Trading Cards.

So, I strongly encourage you to get a copy of this book. Take a look at the Inspired to Quilt FaceBook Fan Page to read an ongoing discussion about the book and to join in reader challenges.  

And finally, remember that both Melaine and I are working on a textile postcard to give away to lucky commenters on our blogs. She is introducing me to her readers on her blog if you want to pop over and say hello there too.  Any comments on my posts that feature Melanie are eligible for the drawingso go back and leave a comment for last week and pop in the next two weeks as well.

Do you want to hear something amazing? We both sent each other dyed and printed fabric - without telling each other what it was and guess what!?! We both sent fabric printed with the SAME thing - ginkgo leaves. Now THAT is serendipity!

Showing Your Work: part 1 - the jury process

It takes a lot of courage to put your work in front of a judge or juror, or so I've been told. I've done it many a time and paid good money for the privilege. Why? Because I want people to see my work. Some artists might create their work entirely for their own pleasure, happy to let the art live in a closet forever, but I haven't met them yet. Most of us have a message to send with our art - even if that message is as simple as "smile."

Do I find it scary to submit to the jury process? No - but not because I think my art is great or because I always get into the show. This year I've been accepted to two out of four of the shows I've entered. Part of my "courage" is having seen enough jury processes that I know what is involved. Part of it is that I am able to emotionally let go of my work once it's done. Let me explain.

In a juried show artists submit either images or the actual artwork, and a juror chooses which out of all the submissions will be in the actual exhibit. Jurors are usually professionals in the art field; established artists, gallery owners, professors, curators.

You fill out a form, you pay a fee. It's not unreasonable. It costs money to advertise the show, to staff the exhibit, to pay the juror. Most of the shows I've worked with just barely break even.

What happens on the other end? Imaging receiving hundreds of files, some of which might actually have followed the guidelines in the prospectus. You've already answered what feels like hundreds of Email questions and helped people format their files or simply restated what is already written in the entry guidelines.

All of the entries are now organized into a slide presentation and you have prepared numbered sheets for the jurors. The most common process that I've seen goes like this: A full and detail image for each entry is shown on the screen either side by side or one after the other. Most of the time the jurors will be shown a quick run through of all of the entries so that they can get an idea of what they are looking at. If the show has a theme the jurors might be told what it is and to please try to find pieces that adhere in some way to that unifying idea. Sometimes the jurors are given free reign to choose whatever pieces they think will make a wonderful exhibit.

The next run through is usually silent but takes more time. Each juror looks carefully at each piece and simply writes down "yes" or "no." At the end of this run the jurors compare notes and any piece that has unanimous rejections are, well, rejected. Harsh? Not really. There are many, many reasons pieces are rejected that have nothing to do with the quality of that particular piece. 

I'm sure the most frustrating reason for rejection is poor photography. When the jurors cannot see the artwork clearly it is impossible to judge it. Having anything at all showing in the background of the photograph is distracting. I remember on photograph in particular where the piece was pinned to a piece of bright purple foam core set on an easel. You could see half the living room and the jurors couldn't tell if the purple was part of the quilt or not. Truly, if you present your work in the the most professional manner possible it will make a huge difference. Your work IS your best effort is it not?

Now things get difficult. After the rejected images are deleted from the pool the jurors once again view the pool, this time either meticulously rating each piece, or conversing with their colleagues to come to an agreement on the final selections. There is a good bit of cajoling, campaigning, and compromising that goes on here.

Reasons for rejection at this stage? Numerous. The theme could be "Trees" and they reject the artwork depicting fishes and candy canes. The pool of entries might lean towards abstract and one photo-realistic piece, no matter how spectacular, just isn't going to create a cohesive show. Perhaps these particular jurors love politically challenging pieces whereas another set of jurors might shy away from them.

You see, it really is simply the luck of the draw. There are so many factors that go in to the process that there really is no guarantee that you will be accepted into a show even if your work is truly wonderful. There are things you can do to raise your chances of being accepted.

1 - Research the show - what type of artwork has been exhibited in past shows?
2 - Research the juror - find out what other shows the juror has put together and what they look like. What kind of artwork does the juror make if he or she is an artist.
3 - Take the best possible photographs of your work possible. Neutral backgrounds. Good light. Focused!
4 - Follow the instructions on the prospectus to the letter! Do not expect the organizers to resize your images or accept late entries.

Here is a short list of articles and a book that can help you with the tasks above.

Shoot That Quilt by Andy Baird and Holly Knott
A wonderful tutorial on how to digitally photograph your quilt including plans for building your own nifty light stands. Yes, it can be done!

Digital Essentials by Gloria Hansen

This wonderful book clearly explains how to prepare your digital files for entry.

Judge and Jury: what to expect when entering art shows by Annie Strack
A very good overview of the entire process and a bit of a tutorial on how to choose your shows and maximize your chances of acceptance.

A list of art-quilt shows to enter compiled by yours truly
Listed by entry date, includes title, website/prospectus, show dates and shipping windows.

And finally - cut the apron strings. Let your babies grow up and venture out into the world on their own. Make enough work that all your hopes and dreams are not riding on one piece. Put your heart and soul into the work while you are creating it and then release it. A rejection of your work from a show is NOT the same as a rejection of you as an artist.

Look for more on this topic over the next month or two. I'd love to hear your experiences, opinions, and suggestions. Have you been involved in a jury process that worked differently? How do you think it can be improved?

Art + Quilt: Claude Larson

I am continually impressed with the beautiful work of the emerging artists who are working their way through "Art + Quilt" and am always thrilled to be able to share their work with you. Here is another series of exercises studying actual texture - removing color as an element and concentrating on the way different textures interact with each other.

Claude has mounted this piece on cloth covered stretcher bars. I think it's a very professional presentation don't you? Small scale textile pieces need a little oomph when it comes to presentation and lifting them off of the wall with some sort of frame gives them just that. Nobody is going to mistake this beauty for a potholder!

Claude says,

"I just loved the neutral color texture exercise so I got into a small series of three pieces.  I figured the fabrics and embellishments were already picked out so - why not run with it.  Now I understand why artists work in a series.  It's so much easier if all the goodies are right there in front of you and you get into a groove.  I haven't put the off white stuff back into it's respective places because I don't feel completely done with it yet.  It's snowing and as a teacher I am hoping for a snow day so I can start my "Winter White"  #4"

Congratulations Claude for having created some lovely pieces and thank you for sharing them with us.

One of the things I love so much about textiles as a medium is the layering of the elements. Cloth has both an actual texture and a visual pattern/texture. Our cloth becomes shape and the lines of our stitches add even more texture.

Chocolate and the American Quilter's Society Show

Working, working, working.
Well. 
Mostly.
I'm very distractible.

When I have a writing assignment I tend to find every little other thing that needs to be done. I do the dishes, I answer my Email. Today I just had to get up and take ten minutes to put together my favorite brownies. Then of course I had to take a picture and share with you.

Peppermint Brownies
2 squares unsweetened chocolate
1/2 cup margarine or butter
2 eggs
1 cup sugar
1/4 teaspoon peppermint extract
1/2 cup flour
dash salt
1/2 cup chopped walnuts (optional)


Melt butter and chocolate. Beat eggs with sugar and extract. Fold in chocolate, flour, salt, nuts. Bake in a greased 9x9 pan at 350 for 20-25 minutes. Cool. (yeah right!)


Icing
1 teaspoon vanilla extract
2 tablespoons margarine, softened
1 cup powdered sugar
1/2 teaspoon peppermint extract
1-2 tablespoons milk
drop of green food coloring
Mix, adding just enough milk so it spreads or drizzles. Spread on cooled brownies - or not if you simply can't wait.

So. Now that THAT is taken care of; there are still spots available in some of my classes at the American Quilter's Society show in Paducah, Kentucky in April. 

JUST FOILING AROUND is a favorite. Are you attracted to gittery, sparkly, shiny stuff? Do you have a sheet or two of foil hanging around that you haven't quite figured out what to do with yet? "YES!" I hear you say? Then you will love this class. I mean, really, really looooooove this class. Oh, and just to whet your appetite - we also play with painted Wonder-Under.

class number 6504 Just Foiling Around: Wednesday, April 21, 2010  5:30 pm to 8:30 pm

PHOTOS ON FABRIC teaches my favorite solvent photocopy transfer technique and more. I'll have samples and demonstrate the properties of different commercial ink-jet photo-fabrics. This one is all about easy.

class number 6509 Photos on Fabric: Saturday, April 24, 2010  8:30 am to 11:30 am

It would be lovely to see you there! Let me know if you have any questions. Tell your friends!

Artist Spotlight part 1: Melanie Testa

I would like to introduce you to an artist whose work I greatly admire. 

Still Life

I have had the pleasure of spending time with Melanie Testa on two separate occasions; as we taught at the International Quilt Festival in Houston last year, and when we filmed our Quilting Arts DVD Workshops. She is simply delightful as a person and I find her artwork to be beautiful, layered with meaning and texture, and intriguing. She is one who thinks and cares deeply both about her art, about other people, and about the world around her. Her laughter lights up a room and lifts your spirit. Her artwork draws you in and takes you on a journey. 

I hope you will enjoy getting to know her as much as I have.

Lyric: What is your story, how did you become an artist?

Melanie: I have wanted to be an artist since I was a child. I remember watching TV and being riveted when I saw imagery of Andy Warhol walking the streets of New York. My mom used to sew her own clothing and I remember watching her pin a wool plaid skirt pattern out and knew the side seams would not match if she were to proceed, so I stopped her. Then a friend of hers asked if I would like to make a vest, it was a cute little vest and it had hand sewn ribbons bordering the inside front edge. It won a blue ribbon at the fair. I also won a blue ribbon for my Sugar Collection, but that is another story.

So when I was 19, I took a traditional quilt making course at the local Handcraft Center. I fell head over heels for fabric, really I fell in love with conversational prints and vowed to go to art school to become a Textile Designer. It took about 8 years for me to settle down and focus enough to make that a reality. I was accepted into the Fashion Institute of Technology as a 27 year old adult student. I was married and lived two hours outside the city, but we worked together and made it work. My husband has always been quite supportive of me and my creative efforts.

Once I was out of college and had some creative tools under my belt, I took some workshops by well known surface design artists like Jane Dunnewold and Ann Johnston. Making what I had learned into an expression all my own is, of course the adventure of a lifetime.

L:  Was it something you wanted to do from a young age or did you take a more circuitous path? Do you have any training in basic design?

M: I was able to afford two years of schooling at F.I.T and do have an associates degree in Textile/Surface Design. The education I got from F.I.T was more of a technical schooling. I was taught to put things in repeat, to paint flower and to weave. My real education came as a result of being a Vintage Poster Restoration Artist. I restore posters by Talouse-Lautrec, Alphonse Mucha, and interestingly enough, Andy Warhol. I took this as an opportunity to evaluate drawing and painting styles and I learned to mix paint to exact specification. 

Still Life In Time

L:  Do you consciously think about the elements of art as you create?

M:  No, I do not. I work intuitively. I think the basic tenets of art making are well and deeply ingrained at this point that I am not really aware of what I am doing at all. I can slow myself down to describe it when asked.

L:  What are your fears as an artist and how do you face/overcome/talk yourself out of them?

M:  My fears. 

That my art isn't good enough. Isn't this everyone's fear? And I don't think this is a bad thing. If my art isn't good enough, if I didn't hit the 'right' note, then I still have room to grow, to dig deeply into what I am trying to get at. It is sort of zen, when you think of it this way, as though the very thing you strive to do sits, as if a seed, within what you are doing right now. Being an artist is really about fostering that seed, prompting new growth.

Next week I'll introduce you to the lovely book that Melanie has written. It has been an inspiration to me over the past several months. And here is something special. During the month of March Melanie and I will collaborate on a small work of art - a textile postcard. At the end of the moth it will be given away to a lucky reader, chosen from the comments on each of the four posts that feature Melanie and her work. You may post each week  and have an even better chance of winning this postcard. Perhaps next week I'll give you a little peek at what we are starting.

Citrasolv Photo Transfer Tutorial

The work I do as a mother involves a lot of delayed gratification. When I escape to the studio and put on my artist's hat it can be nice to see some instant results. Solvent photocopy transfer is one of my favorites. You need only a photocopy, fabric,  Citra-Solve®, and a few seconds of elbow grease and viola!

The good people who produce this environmentally friendly cleaning product have included an ARTISTS' PAGE on their website. I'm honored to have been included among other textile artists I admire such as Jane Davila and Jane Dunnewold.

I encourage you to take a peek over there - lots of interesting things being done. It makes me think that I have some experimenting to do. Dissolving pages from National Geographic magazine? Hmmm. Wonder how I can do that on fabric.

Want to join me in a little playtime? Here are the instructions for moving the ink from a photocopy onto paper or fabric. Wear gloves and work in a well ventilated area. The stuff is much more pleasant than the paint stripper I used to use but it IS still a solvent.




Materials:

• Citra-Solve®  (find where to buy it here)
• Cotton ball
• Metal spoon
• Non-porous smooth surface
• Masking tape
• Fabric or paper of your choice
• Photocopy

Directions:
1. Find a copyright free black and white image. I love to use vintage family photos.
2. Make a photocopy of the photo, sizing it no larger than 5" x 7".
3. Cut away the background if it detracts from or competes with your image.
4. Draw in any lines that need emphasis or add in some fun scribbles. Maybe Grandma always wanted a tiara or your puppy looks great in polka dots! You can digitally manipulate the photo as well.
5. Make a final photocopy. (Note: Inkjet prints DO NOT work with this method.)
6. Tightly tape a piece of fabric or paper to your glass or non-porous surface.
7. Tape the photocopy face-down on your paper or fabric. Don't let the tape cover the image.
8. Dampen the cotton with Citra-Solve® and squeeze it out. Rub it on the paper until you see the ink show through. It should be barely damp - too juicy and your image will bleed and blur.
9. With the back of the metal spoon, rub, rub, rub hard and like crazy in all directions. You are moving the ink from the paper to the fabric.
10. Pick up one corner of the paper and peek. Look for spots that haven't transferred yet then put the paper back down and rub some more in that spot.
11. Toss the paper in the trash and let the solvent evaporate.
12. Feel free to play around with the image. Color it in with colored pencils, ink, paint or whatever you have on hand. Be creative! Have fun!

The only tricky part is finding a photocopier that works. If you are using Citra-Solve® (the other orange solvents I've tried have not worked) and you are rubbing and nothing is happening it is most likely the copy that is at fault. I test any copy I make right at the copy center. Dampen a cotton ball with the Citra-Solve® and stick it in a little zip-loc bag in your pocket. Make one photocopy then place it face down on another piece of paper on the counter, dampen with the Citra-Solve® then rub it a bit with the scissor handles on the counter, the back of your thumbnail, whatever you have there. If it's going to work it will work right away. If not, no amount of rubbing will work. Find another copy center. Don't leave the bag in your pocket too long. The solvent will eventually dissolve through the bag although it won't really hurt your clothes. (Ask me how I know!)

If you'd like to see it instead of just read about it I demonstrate the technique along with a lot of other fun techniques in the Quilting Arts DVD Workshop "Surface Design Sampler Platter."

Here is a link to the first of several Tutorials on how to Photoshop your images.

Art+Quilt: Quilter Beth - actual texture

Is it acceptable to call someone that is working through my book a "student" even if I haven't had the privilege of meeting her in the classroom? I sincerely hope so because Quilter Beth is doing some absolutely beautiful work and I'm so glad she's sharing her it with the world.

These are her ACTUAL TEXTURE exercises from chapter two in Art + Quilt in which one creates a composition with neutral colored fabrics with as many different textures as possible. It is an exploration in moving outside of the box - getting away from our comfortable quilter's cottons. Seeing new possibilities in our materials as well as in our own artistic sensibilities. 

Beth says, "Since I come from a traditional quilting background, I have seldom used fabrics other than smooth cottons in my pieces. I found myself really enjoying the feel of these various textures. I also liked "pushing" myself to come up with ways to add texture through embellishments. I think the multiple textures (and the play of light off these textures) make the pieces much more interesting."

Please click on these pictures to take a closer look at the fascinating materials she's used. There are rubber drawer liners and straw hat brims. Her compositions are well balanced and thoughtfully done. She's given each of her materials thought and care. What beautiful pieces.