QA Freemium-HowToQuilt v3

8/6/2019 QA Freemium-HowToQuilt v3

http://slidepdf.com/reader/full/qa-freemium-howtoquilt-v3 1/21

how to quilt: 4 ree projects to learn how to make a quilt 1Q u i l t i n g A r t s . c o m

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how to Quilt 4 free projects to leArn

4

How to Quilt:

4f p

la h ma a Q

1 Transformation: From CraftySilk Flower to Sheer Sensationpeggy holt

2 Creative Self-portraitsyvonne porcellA

3 Take 2: Two Quilt Artists Share TheirUnique Approaches to a Fishy SubjectjAne DávilA AnD elin wAterston

4 Stitched Layers: journal quilts fromcanvas, gesso, fabric, and paintpAtriciA gAignAt

1

2

3




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Quilt making doesn’t have to be complex,

with hours o cutting, piecing, and sewing

tiny seams. In this ree ebook, How to Quilt:

4 Free Projects

to Learn How

to Make a

Quilt, you’lllearn how to

make a quilt

rom abric

scraps, crat-

store fowers,

even canvas

and paint! At

the same time,

you’ll receive

basic quilting lessons or making a quilt

binding, plus machine quilting, and abric

using. You’ll even learn how to make a quilt

in two dierent ways using the same themeand dimensions.

In “Transormation: From Craty Silk Flower

to Sheer Sensation,” Peggy Holt shows how

to make a quilt using sheer abrics and

How to Quilt:

4 free projects to leArn

how to mAke A QuiltEditorial dirEctor Pkey B

Editor ce c

P

cv vc

division art dirEctor l d

PHotograPHErs ly seKy s

Poj d fomo fo p-

o d po oy. Quilting rts

Magazine o pob fo y -by fom o, omo, o

mk od h Book, d

d hod pod oy, p-

y wh p o h fomo.

w pmo o pho-

oopy y p pbhd h

fo po oy.

fowers, rom choosing the materials to

designing, quilting, and binding.

Yvonne Porcella gives a lesson in how to

make a quilt that refects you and your

personality in “Creative Sel-Portraits.” You’ll

learn about used appliqué, making a quilt

sandwich, and how to bind a quilt.

Friends and requent collaborators Jane

Dávila and Elin Waterston show how,

armed with the same parameters or how to

make a quilt, two people can come up with

completely dierent designs.

And Patricia Gaignat reveals how to make

a mixed-media journal quilt using canvas,

paint, machine stitching, hand stitching,

and embellishments.

In How to Quilt: 4 Free Projects to Learn

How to Make a Quilt, you’ll learn how tomake a quilt that is a unique work o art, as

individual as you are.

Warmly,

Pokey Bolton

Editorial Director

in your life

put more

800.406.5283 ( U.S. & Canada)

760.291.1519 (International)qa.Quilting Arts M AgAzine

®, P.O. Box 469087, Escondido, CA 92046-9350

Quilting ArtsMAgAzine® x ideas , textiles, and techniques

related to embellished and contemporary art quilting . id,

y’ d dg ,

step-by-step d, gg

gy, d motivation dvg y y,

v.

o w e r !

f r om

sketch t o

embellish wi t h

ob jects

Stencil , stamp , & stitch a quilted g ar denMak e flor al quilt collag es f r om dig italimag ery

Cr eate a w ildflow er ar t quilt

Doodle y our w ay to an ar t quilt

P. 44

P. 20

P. 68




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Y v dy gg gg . a i dd

g bd d b , i d dy g, vgd ;

b bd . a i dd b, d d d, bggg b

. s, , i bgd y i d d . i , , d

i y ’ ddg b. B y d ?

The background or“Serendipity” is a small piece I made usingRicky Tims’ harmonicconvergence technique. Iwas urther inspired by a abric line called Estrellaby Valorie Wells or FreeSpirit Fabrics®. Thecolors o the convergence piece and the abriccomplemented each other perectly, and I had a perect piece o rainbow-

colored chion that pulledit all together.

aa from craftY silK flowEr

to sHEEr sEnsationBy Peggy Holt

AdApted froM

Quilting Arts M AgAzine

f All 2006




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p y

d d i d

yd g b. i d

d g b

d d

g y by d b

. s i g

, d b d

.

my d dvd

f b

bgd d v

. t g,

b f. w dg g

, bg

f g y y d i

i d d

b bgd b d

. w vyg ,

d f

b, d - g

f dg, i d d

g x d

y f .

t y

, d bgd—yg v d

b y y d’ . t

bgd dy

d b y

b y. a,

d d b. lg-

. Y y

bgd d d

v , y y dd

g d d bgd. e

. rb

bgd by v

v.

DirectionsNote: These directions are or quilting

on the longarm machine, but with some

modifcations, the process should be

just as un and eective on the domestic

machine.

1. ug bv gd,

bgd d d z

y . t bg d

bg d b 3 4

g d.

2. ld d

. p bgd

d d

bg y, b . i y g

d , y-b

y.

3. a

bg . t d b

a word about the materials…i dd d

b b

bgd d .

Bd f, i dd

ag® b, b y dd’

vy . (i’

y, g. myb d

b.) t v

f d v

d d

g , i dd’

v, b

v v i

d d

vy b. Y d

b dy d dd

x bgd.

m a t e r i a l s

•Background abric – cut to size or pieced background o your choice(“Serendipity” is approximately 28"square.)

•Backing abric and batting – eachapproximately 3–4" larger on allsides than your background abric

•A piece o chion, several incheswider than the background abric

•Selection o silk owers tocoordinate with the background

•Fibers, yarns, or other simple

embellishments•Temporary abric-adhesive spray

•Thread

•Fusible web

onal

•Beads, rhinestones, crystals




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d. p

y bgd.

t y y

bgd,

b . t

d b v d y bgd; y d

g x

y g. (i d

d.)

4. s y

f d vy z

d ; v y d

. i v d g,

bg b

d . t

. Y

b . Y d b

, d d bb,

, d v . t

d v,

g .

5. d b d g

b y. i y

g g , y

d y b

b g dg,b y g d

y bby v

y-b

. o y v g

g, y v

f. rg

dd

y y. t y

b b d

v d b

g. D’ b b . i

y

Above let: A square o batik background abric(cut to the nished quilt size) is laid on top o batting and backing abric (underneath), bothcut about 3 inches larger all around.

Let: A layer o chion is stitched to one end o the abric sandwich to hold it in place.




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y x , y y

d y-b .

i y g g yd, b dvd

y . t

dy. D’ g dd

b .

6. m- g

f d

b. a f;

dd d, v,

bgd . t gd

y x

y d. a y ,

d d.

tip: I manipulate the chion with my

let hand and “drive” with my right. The

hopping oot tends to push the pleat out

o the way; I ound that it worked well

to leave pockets o space unquilted with

excess chion in those areas. Then I

would come back in and quilt over that

excess abric, thus creating the pleating.I tried pinning some o the pleats in

place with a modicum o success. The

chion tends to take on a lie o its

own, pleating where it will, and this

adds to the serendipitous nature o this

technique. With a little planning, you

can quilt this in one continuous stitch

line without stopping, backtracking as

necessary.

BinDing & finishing1. ug gg b b,

1" g

d y .

The silk fowers (stems and leaves removed) are placed under the chion and later stitched.

note i y g d

, i d gg

y -b, d g

g. Y d v

y y

. i

v d d

, y v

x

b y.




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2. g ’

, b

.

3. c 1" d d 1"

g g d y .

4. .

o g

, y dd

b. Bd, ,

d y dd zzzz d ,

b b, y

y. l .

Peggy Holt is a mixed-media art quilter.

The quilt is urther embellished with stitching

over and around the fowers, enhancing theirshape and creating “leaves” and “tendrils” withthe thread.




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o dy by dy, i bg

y -. i d

24-- b

12 d

i d dd bd.

a i d, y - bg

dv d y, d

By yvonne PorcellA

sv y g i dd ’ d g g

ld sy, d , d vv 12--

-. ty g y dy. i d

d x- , d-éd --

e xb, d i d y x b ,

, d . qg by y g-, -

, d i g y . s -

d .

a sElf- Portraits

“ D o g D r e a m i n g ” • 1 2 " × 1

2 "

AdApted froM


suMMer 2005




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i d d d

dg i d pb.

a i d , b, d

d ,

dg fd vy y, d

y. i vyxg z i d dg

dy. t 24- z

d dd dy dd

bd d g, d

dg. s g

i v dd z

12-- bd.

mg dy

vy dg, , v

x. e bg

x

bd dy, b i y

, b

. sz vy

7" × 9" g.

i- b bbg bdd

b .

o b bdd, b

y dg

. g

-g g. i dd y

x. i

d b

vy b b i bg.

t g g ,

v, d x .

i d’ v d

b i g g. i bg by g

dd z b d b

b. i g dy d

i g g

g b, b g

d, i dy . i v

y v d

b 3

g d

bgd, d d

.

preparing

the faBrics1. b b. u

y , , d

b b b d b.

2. c b 61 ⁄ 2" × 18"; d.

3. c b b 6" × 17" (wd

ud® dd d b

17").

4. h b b (g

d ) g

d b. a g

b d b .

5. c bgd b 13" × 13"

dd z; b x

b gy

d d

d z.

6. c bgd

z.

face pattern1. u g .

i y dd-

,

b .

t

g .

c

. o b bd d y

.

2. t d

. rb v

b d

b b. s z

bgd. ug b ,

v d

b d

m a t e r i a l s

•5 yards paper-backed usible websuch as Wonder Under ®

•

Pencil, sketch paper •Pins

•Fabric scissors, paper scissors

•Iron and ironing board

•Rotary cutter, 16" × 24" mat and6" × 24" ruler

•Piece o abric to protect ironing board rom usible glue

•Permanent abric marking pens,multi-colors (I use Sharpie® FinePoint.)

•Artist tracing paper 11" × 14"•Fabrics: selection o bright, colorul

abrics such as cotton prints anddots; silk abrics or added texturesuch as dupioni and taeta

•Background abric, single color or small print

•Muslin to match size o background

•Thin batting

•Backing abric

•Sewing machine with satin stitch

unction•Sharp sewing machine needles

•Threads to match abric colors

•Package o Sticky Back® Velcro®

•2"-wide wooden slat, length o fnished quilt

•2 small eyelet screws

onal

•Fabric spray mount (505, 3M, etc.)

•Selection o beads or buttons

•Beads, rhinestones, crystals

A close-up o the eye area o “Dog Dreaming.”




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dvd d

. (s “Dg

Dg.”)

3. t vd

d, ,

b g dg.

4. t g

. t d d d b

b .

Note: The abric choice and shape o the

nose may have to be re-cut ater other

eatures are auditioned and beore the

fnal using.

5. eyb, yd, d yb

b d d .

6. t vd dg

d d

dg g.

7. m b 1 ⁄ 2" b

d .

8. c b , , g . . . v y

d.

9. t d

g - d

b , , f, v,

, , dg, v

gd by .

fusing the shapes to the BackgrounD1. ly bgd -

v . c

z bgd.

u d d b vg

bgd

.

2. w d y dg,

v d bg

bgd.

Y y v

“Rosie” • 71 ⁄ 2" × 91 ⁄ 2"




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, y, .,

y x vd yg

g v vy d b.

s 10

d.

3. ex b d

, b

b d ddg

b.

stitching1. p g

bd bgd. t

bz g.

o y y

vb bz.

2. cg y g

d

.

3. s d

g

d d . u

g bbb d b.

4. t d

-y . ty

vy d

by g

yb d d

g

.

5. a g d

, v bz

b. s bz

d .

making the Quilt

1. ly d v bg d bg.

2. cg g

d g g .

3. s d y

bgd.

“Petals” • 71 ⁄ 2" × 91 ⁄ 2"




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4. p y g

y dv. (rv

, y bg,

, , v, v

bg, y bg,

bg, .)5. o g

g; 1 ⁄ 2" y

g

bgd d. Vy

g

. a

d d .

s ,

d v

. g

, g d

b d d g

b y

g.

6. add bd bgd

dd x, dd. (s“Dg Dg.”)

BinDing the eDges1. u y , , d

g 4 dg

d d d

z g.

2. dg bdg. c 2 b 11 ⁄ 2"

d by g d

.

3. p ,

g d g. sg ,

by , 1 ⁄ 4" dg.

s g d d.

4. p v dg,

g v b

. d d dg 1 ⁄ 4" d . d d

v g

bdg, g b

d ; . s

dd dg by d .

t dg d

b f d

b dg .

5. c 2 11 ⁄ 2" d b

2 g db d .

6. r 3 b 1"

bdg d d.

s d 4. d

d bdg v

dg d bdg.

s d by d bg dd dg

d b.

hanging the Quilt1. c sy B® V® gy

dg

.

2. rv bg

d d 1" b

bdg . a

24 .

3. c 2"-d d

g 1" d

dg . sd

dg . s 2

y f

dg d b

3⁄4" dg. ax

d V® d .

4. p d V®

b

V® d . t

g, 2 g

d

y d .

Learn more about Yvonne and her art at

yvonneporcella.blogspot.com.

tips • I you have a abric already used

but the print or color isn’t quiteright, use multi-colored permanentpens or abric marking pens tochange the color.

• I the color o the satin stitching istoo light, use the same marking pensto darken the stitches.

• To remove unwanted usible glue,place a piece o tracing paper over the spot and re-iron. This willtranser the glue to the paper.

• I a shape moved in the using process and needs to be removed,try ironing it again and pulling theshape o while it’s still hot. Re-useanother shape, but cut it slightlylarger to cover any letover bits romthe piece you just removed.

• Think outside the box on proflequilts. These should be unny; unkyshapes work very well.

• Use realistic abric prints such asoods to make a “what’s on mymind” humorous quilt.




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a

2two Quilt artists sHarE

tHEir uniQuE aPProacHEs

to a fisHY suBjEct

a , j d i y b —

dd . i dv,

d b,

z , d gd, y

. e y d b .

t , dg x, d d

b dvdy ’ v.

By JAne DávilA AnD elin WAterston

AdApted froM


februAry /M Arch 2007




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Jane’s fishi y

b . ag

y d

dv ,i b

g . i

y b

d d dd

y. t gv

g d

’

d.

a i

y xg

g

b. o

gy (:

bbg), d

j g d

gy d

g . i

bb , d

b d i

.

Directions

1. ug by,

y

y, y ,

z .

t

b bdd g

by g by

gy d d.

tip: Be careul not to blend multiple

colors too much, you may end up with

“mud”!

2. r d by v

, y vg .

ug ,

y ( g d by

m a t e r i a l s•Rubber replica fsh

•Acrylic paint

•Foam brayer and inking surace

•Fine paintbrush

•Pre-washed abric or printing

•Fabric or background, collage, andbacking

•Paper—origami, mulberry, rice(printed or plain)

•Embroidery oss or linen thread•Thin sturdy batting like Warm &

Natural®

•Sewing machine

•Sewing threads

•Pins

•Scissors

w d d

b, b b

d v. w

v g- : j’

d, , d -;

dy d, bd, dg-. e

g dg , b

dv y. j

, y g

v, g d g

. my g v

yg , bbg d

fg d d v v

d g y .

g, d

, g

b. w ddd

z , 8" × 10" d

, b d

gd. w d ddy,

g ’

b d. h

d .




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d ). mv d

. ly

-d b v

d, g y g, b

b ’ ,

y d vy. o, …b .

sy b d

d dy. Y d

- b g

g. w b/ dy,

b d y

y. s

. w

’ dy dd b

. add

“g” d d d ’ g.

tip: You may wish to add more detail

to the dry print with colored pencils or

paint. Consider metallic paint or mica

powders like Pearl-Ex® or the sheen

that real scales have.

3. a d d dy,

b

d .

ug y gd,

g d yg .

4. c bgd b 1⁄2"

g b d y

d d z. u

g d ; y d’ v

,

d v g. t

.

5. o y’ y y

, dg

d v vyg

b bgd. ly

bgd, bg, d bg

d , ,v vg . i

bd

gd y

d i dg dg

i d’ v d

d y d

(g i’ vy gd ).

6. o bgd d,

dd x (

bgd) d

. c ddg

. i y g

y i gd

b i d’

d dd

i’d v i éd d d. i g

d d- g

d g

y.

7. a

y g,

dd d g g

d. t

xggd, g, b, d

xy . t y

g,

y d d

, g

z (

, ).

8. t z d

dg by g d

. add g-y

bdg d b d

d g d.

elin’s fishs i v d d , i

ddd b

b g

. i d sv p,

xd x ddd , y

.

Directions

1. d d y . i

d , b

d (i d

!), d v

i d i d.

2. t y g- b

d y dg

g g bx by g

dg d b d. i

d b b y g b gy v

g d , gv

, x. i

d

b d g

bgd b.

3. sbz y b by g

z g d.

t v b

dg g

p.

4. ay p dy,

dg d d y

. (a v

p

v g dyg

. t p, y

y y




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g gy b

.) i d y

v g, g

y dg, g

d bdg

b dd. s z d p

d

d d d

, i y

d dd.

p, ,

dyg ; i

dy dy vd

dgg g.

5. w d,

b g v

bgd. i y b

g by g bg b

d bg 1" 2" g

d b. t

bg f,

bg bg,

d yg b,

gg , gg,

yg, d dg. i

y d,

y b .

i d d

by , v . i

y v d

g d,

b d y

(

) i

y dg vy . i

v d -z . i , y

b bbd

g d

zz! t y

b b

d ; y v

g , b i y

g.

6. a dy, ,

d wdud

b .

7. c d dg, vg

b 1⁄4" bgd

b g, d

y b g

bgd.

8. t d

,

m a t e r i a l s

•Shiva® Paintstiks® (iridescentcharcoal, iridescent pearl white,iridescent copper, and black)

•Pre-washed abric or painting surace (such as a batik)

•Freezer paper

•Iron

•Scrap o WonderUnder ® (big enough to ft under the fsh)

•Baking parchment or similar toprotect iron

•Scraps o abric or collage

•Backing abric (about 10" × 12")

•Warm & Natural®

batting (about 10" × 12")

•Sewing machine

•Scissors, pins, rotary cutter,and threads




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- d

d dg b d.

t dg

g, v ,

ggg v

y g yg.i v

g; i g b

fd d zd. i

g y, i

.

9. w g ,

z (

) d dy

3 d

dg.

10. p d dg y

. t b

yg d dd

xd bg.

o d

dvd d db

y. w

g g z d

v d x

, d

, , d .

w b d

g g, b j’

g d b

d , g

d y , y

bd bg,

d ,




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zdy

y y .

w d dd x ,

b d g

b a

. j d d-

vd g k

g’ d

g, d d

by d

c

g. i d b d

c

, , d g

.

ty x y: gb

d d g b,

y d

.

Learn more about Jayne and her art

at janedavila.com, and about Elin at

elinwaterston.com.




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i d v

bgd. t g

y d y.

i d g b d

d d y ggg

g g v g

ggd d. w

y d g,

g i’d d dd

bg g g.

t g x d b

d dy

g.

Directionsi d v bgd

i d . i d

y

. t vd b

, i dd g

.

d a

journal Quilts

from canvas, gEsso,faBric, and Paint

i

bg d d. i xg

v, g, d . i g bggd d i gy

g d bdd , b

, dg xd. sdy d .

“May 27 #2” • 11½" × 12½"

By PAtriciA gAignAt

AdApted froM


october /noveMber 2009




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1. t d v

. i d 12" ×

12" . tg v

g dg.

tip: Clip the edge with scissors to make

the ripping process easier. Gather up anythreads that come loose and save them

or another project.

2. t 3 4 ;

y

z. r-b

g g ,

g by d. i d

b d d g zgzg, gy vg

dg. i d’

ggdy d . D

y v

.

3. cv v

g, vg

g. p dy.

c

d vy .

D g

d , gv

, g

.

4. w g y

dy, v y

, g b. u

g

d . u v

, b d’ gz v

.

5. ug g ,

d d y

-g . l

d. t

y v. l dy.

6. add y g .

Y z

, dbd,

-bg . u

g y , g, . ag,

d

g .

7. D g vy

. B d d

b d . i

d gd d b

g .

Note: One o the positive aspects o

using raggedy, sewn-together canvas is

that it doesn’t become too precious. It’s

okay to toss it around and pile things ontop. I it gets marked up, that just adds

more texture and interest.

8. ( g) b

d bb

v. t b i

vy d d d

bg,

g, bgd i’d d. i

g ,

b i d d d b y d v

bgd.

a , i

d .

t gy . i b

, i d

z- b

bgd d d

g b. t

d.

9. add y d g

b, y . t

b g.

B i ’

b d d y

, d b i v

b d v g, i

d dg gd

g d v

b bgd.

10. D g

d bgd. i d

yzd g b

d d

g, g

v g.

m a t e r i a l s

•Uncoated artist canvas

•Gesso

•Acrylic paints

•Foam (or other) paintbrushes

•Oil sticks/pastels

•Permanent markers

•Pencil

•Stamps and stamp pads

•Freezer paper or cardboard or making stencils (or use purchasedstencils)

•Crat knie

•Fabric remnants, including pieces

or the backings•Ribbon

•Fusible web

•Sobo® glue

•Matte medium

•Mark-making tools (skewers, a ork,credit cards, or other)

•Scissors and/or rotary cutter andcutting mat

•Needle and thread

•Embroidery oss

•Buttons, beads, and other embellishments

•Pellon® Peltex® ultra-frm stabilizer

•Iron

onal

•Sewing machine




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tip: To hasten the drying time o the pigment ink, iron it, making sure to have

a cloth between the ink and iron.

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Learn more about Pat at

reclinerart.posterous.com

QA Freemium-HowToQuilt v3

Documents

Transcript of QA Freemium-HowToQuilt v3