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- SUSAN BRANDEIS (WILCHINS) Top
- RALEIGH, NC
- The Cumulative Surface
- (All Levels/Machine needed)
- In this workshop you will apply successive layers of color, pattern and image to fabric surfaces. The emphasis will continually be on that word "successive". We will use appliqué, combined ia a collage fashion, and embellished with hand and machine stitching and beading , to build up dense , intricate and mysterious surfaces. Day 1: Basic techniques of appliqué and reverse appliqué. Day 2: Building up a surface. Day 3: Basic techniques of embellishment. Day 4: Embellishing the surface. Day 5: Individual collages.
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- Supplies: Variety of fabrics: (1/8 yd pcs. sufficient) in a combination of solids, different structures and types, hand or resist dyed, hand or industrially printed, etc.; variety of sewing machine, quilting, and embroidery threads; hand embroidery needles, beading needles (recommend #9or10 sharps), extra sewing machine needles; pins, thimble, hoops, fusibles, beads and trims, fabric markers, etc.
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- Susan Brandeis (Wilchins) holds an MS from Indiana University and an MFA from the University of Kansas. She is Professor of Design at the School of Design, North Carolina State University. In 1991 and 1996 she received artist's fellowships from the North Carolina Arts Council. Her artwork has been pictured in leading publications in the field and has been exhibited throughout the United States and in Canada, Japan, Columbia, the Netherlands, the Phillipines, and in the 14th Biennial of Tapestry in Lausanne, Switzerland. You may see other works in The Art Quilt (Levin '97); Fiberarts Design Book I,III,IV,V (Lark Books); The Surface Designer's Art (Lark '93); Surface Design Journal (Winter 92; Spr 91, 87; Fall 89,84); Ontario Craft (Fall92); Celebrating the Stitch (Taunton Press 91); Southern Quilts: A New View (EPM Publ. 91); Textilforum (Sept '91, 86; Mar '87) ; Fiberarts Nov '89; American Craft Oct '89.
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- THERESE MAY Top
- SAN JOSE, CA
- Applique and Mixed Media Quilts
- (All Levels)
- (Sewing Machine with Satin Stitch)
- Translate drawings into fabric using machine appliquÇ. Explore
the use of acrylic paint, squeeze bottle paints, buttons and beads
as embellishment. Allow yourself to break down the barriers to
creativity. Let mistakes be transformed into discoveries.
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- Please read The Artist's Way and/or Vein of Gold by Julia Cameron,
Putnam Publishing Group, NY, before class and begin journaling
(not to share); feel free to call Therese with questions (408)
292-3247. Journal, pens, 18x24 paper, markers, 1 yd unbleached
muslin, fabric (solids, prints, black, white), thread (lots, various
colors), iron, batting, acrylic paint and medium, squeeze bottle
paints, bristle brushes, beads, stuffing. Please bring one of
your creations to share.
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- Therese May has made art quilts since 1965 and has exhibited throughout
the US, Europe and Japan. She received prizes in Quilt National
'85 and '95. She was commissioned in 1991 to do two 14 x 14 quilts
for the San Jose Convention Center, CA. Her work is published
in THE ART QUILT and AMERICA'S GLORIOUS QUILTS. She has taught
at Arrowmont School of Arts and Craft, Cleveland Institute of
Art, Cabrillo College, University of Minnesota Split Rock Arts
Program, as well as for many quilt guilds.
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- ERIKA CARTER Top
- BELLEVUE, WA
- Working in Series
- (All Levels)
- This workshop continues the exploration of personal imagery, but goes on to explore the theory behind working in series. It is not required that students have taken my Personal Imagery in Art Quilts class. Students will work on a series of small fabric "sketches" and practice talking about their work. Many short exercises provide the opportunity to experience the value of working on a subject from many perspectives. This is a process workshop versus product workshop. Developing confidence in making intuitive decisions for personal expression will be emphasized. By working in a respectful, supportive atmosphere, students will be encouraged to do innovative, personal work.
Inspiration: Come with at least one subject/idea in mind you wish to explore. (This could be a curiosity about your current desire to work with lines, circles, etc.)
If possible, read Shaun McNiff's Trust the Process, An Artist's Guide to Letting Go (published by Shambhala), Chapters 1 and 2 before coming to class.
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- Author of Erika Carter: Personal Imagery in Art Quilts, published
by Fiber Studio Press in 1996, her work is widely exhibited in
Visions, Quilt Nationals, AQS, and many shows nationally since
1984. She serves as a leader in artquilt associations in her region.
Erika safely encourages students to do innovative, personal work
by providing a respectful, sensitive, supportive atmosphere.
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- VELDA E. NEWMAN Top
- NEVADA CITY, CA
- "Creating Realism" Random Line Design
- Intrmd/Advcd
- Fee: $10 paints/lab items
- (Sewing Machine optional)
- Further a personal artistic statement while learning techniques
developed by Velda for her spectacular designs. With inspiration
from nature using definitive shapes of fruit, flowers or bugs,
create a unique wallhanging. Experiment with fabrics to produce
nature's wide range of textures and colors; explore the use of
bleach, ink work, paints and pencils on fiber and develop an original
design using an overhead projector, layering design process with
patternmaking. At a copy center reduce your drawing or photo to
anything smaller than 9"x 9" and have it made into a black and
clear transparency sheet before class. Bring both original and
transparency. We will use household bleach. If this presents a
problem, bring mask or gloves for your comfort. You will use fabric
pens, brushes, 6 yds Pellon TRU-GRID, 12" or larger quilt hoop,
template plastic and fabrics that relate to your drawing and its
background (medium to darks, some lights, black and white, hand
dyed great.) Include twelve 1/3 yd pieces for samples.
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- Velda Newman's large scale nature designs, have been exhibited
in the United States, Europe and Japan. Published internationally,
her work is in public and private collections. See THREADS Magazine
#41, "Velda Newman: A Painters Approach to Quilt Design", 1996.
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- JUDITH DINGLE Top
- TORONTO, CANADA
- Three Dimensional Quilts - New Vocabulary / Old Language
- (Intermediate to Advanced)
- (Sewing machine)
- For quiltmakers or fiber artists interested in developing the quilt beyond its traditional form and function by experimenting with surface relief, three dimensionality and non-traditional materials. Through samples, demonstrations, slides and discussions, participants will be encouraged to explore and reinterpret three important quilt-related design concepts and techniques such as piecing, layering and the orientation of repeat images within a structured format. The use of mixed media elements (ex: paint, screen, paper, wire, etc.) to replace or complement the traditional thread and cloth, 3-D surface relief techniques, methods of attachment and concepts regarding a "constructed" quilt will be our focus.
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- Participants will develop their ideas and processes through exercises and samples. A small work, experimental in nature, will be produced. Day 1: Discusss quilt block/repeat unit and layering in quilt design. Traditional/historical references and contemporary interpretations. Day 2: Discuss surface relief and embellishments in relation to the quilt block. Day 3: Grid and means of attachment in quilt design. Day 4: Assembling the quilt construction, and fabrication techniques. Day 5 Discuss mounting, installation or hanging artwork.
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- Supplies: We will be working with new ways of interpreting the quilt block, the grid and layering/attaching the quilt construction together. Some supplies you might use are fabrics, mylar, flexible plastics, wire, screening, nets, organza, wooden dowels, rods, multiples of collected objects (such as buttons, electronic parts, snaps, zippers), beads, paint and sewing equipment. Let your imagination run wild and have fun collecting. A more detailed list and information follows with registration.
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- Judith has exhibited her art quilts since 1978 in Canada, USA, Europe, Japan and New Zealand and won Quilt National '89 award for "Most Innovative Use of the Medium." Her work is in many public, private and corporate collections such as Museum for Textiles, Toronto, National Museum of Civilization, Ottawa, Canada and Rolex Watch. Judith has lectured and taught extensively for 17 years, providing a supportive atmosphere for development and exploration. Her work was published in New Quilts: Interpretations and Innovations, the Surface Design Journal, Vol. 20, #1 and most recently, The Art Quilt by Robert Shaw.
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