FALL 2013

J OURNAL

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T HE I NTERNATIONAL Q UILT A SSOCIATION FALL 2013

The 2012 IQA JUDGED SHOW Third Place—Art, Abstract – Small Category sponsored by

Benartex, Inc.

C H R O M AT I C F E AT H E R S # 1 ( 3 0 " x 3 0 " ) by C ARYL B RYER FALLERT-G ENTRY of Paducah, Kentucky, USA. Original design.

con tents J OURNAL OF T HE I NTERNATIONAL Q UILT A SSOCIATION

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letter from the president If you have been to Houston, do you think the show appears via a Harry Potter-like magic wand? Nope. Stevii Graves pays tribute to the unsung heroes who made the IQA and other quilt exhibits possible.

iqa board ballot Find out who is running for positions on the IQA Board and cast your vote via e-mail, snail mail, or fax!

2013-2014 teacher’s directory IQA members who are also teachers from around the country (and Canada!) are open for instruction! Find out how to contact them here.

quiltapalooza Part IQA fundraiser, show and tell, and part party, Quiltapalooza is back in Houston again this year. Find out how its falling on Halloween inspired the “Ghoul’s Night Out” theme.

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winners gallery— art, pictorial See photos of real and lifelike looking, works in this category make people say things like…“That’s a quilt??” See the winning entries from last year’s judged show, and read what the artists have to say about them.

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festival perks

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the iqa files: barbara oliver hartman

Going to Houston for the International Quilt Festival? Read about all the advantages, perks, and free stuff that your membership gets you.

The Texan talks about how her Southwestern heritage influences her work, when her ADD actually aids her quilting, and why she is super careful about not sewing her own finger!

on the cover I M A G I N I N G I N D I A (49" x 56") by PAT H OLLY of Ann Arbor, Michigan, Original design. The 2012 IQA Judged Show. Second Place – Innovative Appliqué. Category sponsored by EZ Quilting by Simplicity Creative Group.

L E T T E R BOARd Of dIREcTORS

vice president finance Brenda Groelz vice president membership Linda Pumphrey vice president public service Susan Brubaker Knapp secretary Pat Sloan treasurer Marti Michell founders Jewel Patterson (1910-2002) Helen O’Bryant (1914-2005) Karey Bresenhan Nancy O’Bryant

jOURNAL STAff editorial director Nancy O’Bryant editor Bob Ruggiero

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P R E S I d E N T

Dear members, There is the smell of fall in the air. No, I’m wrong, it is the smell of quilts in the air!

president Stevii Graves vice president education Vicki Anderson

f R O M

It must be time for all quilt lovers to migrate to Houston to see beautiful quilts and tempting vendors. Have you ever wondered how all that gets put in place? The past few years I have gone to Houston several days before the start of Quilt Market (the trade-only show which precedes Festival) to help with set up. I have discovered that quilts and vendors are not set up by waving a magic wand. During set up, quilts are removed from a locked, secure storage area one box at a time. Quilts are not pulled from boxes willy-nilly. Each quilt is catalogued as it is taken from the box, then hung according to a floor plan. The “hanging crew” has years of experience and care for the quilts as if the quilts were their own. At the same time, electricians are tweaking the lighting for each quilt, signs are being placed, and plants are set in place. Meanwhile, on the other side of the Convention Center, the vendor floor is equally busy. Walking a straight line is impossible because of crates and piles of merchandise in the aisles. Vendors are there in casual clothes hanging quilts in their booths, stacking product on tables and applying pricing stickers. This takes place after they have fabricated merchandise hanging systems, covered poles with fabric sleeves, and transformed a blank booth into a space worthy of a decorated magazine photo shoot. Showtime and everything is quietly in place thanks to an army of dedicated workers. You will never know their names, hear them lecture, or take a class from them, but without them, there would be no show. Thank you, thank you worker bees! See you in Houston! Sincerely,

writer Rhianna Griffin design and production Hunter-McMain, Inc.

Stevii Graves, President The International Quilt Association

IQA’s Facebook Page! www.facebook.com/internationalquiltassociation

INSTRUcTIONS fOR VIEwING THE IQA dIGITAL jOURNAL ON A TABLET OR SMARTPHONE: for iPad/iPhone: •Both devices can now read direct pdf files. •Adobe Reader X is available in the app store for iPad, iPhone and iPod Touch. http://www.adobe.com/products/reader-mobile.html •The pdf can be sent as an attachment on an e-mail. •Once the recipient receives the e-mail, he/she can download the attachment, then click it to open in the iBooks app. •iBooks is a free app for the iPad/iPhone that is available through the App Store for the iPad/iPhone. •The pdf can be added to the library in the iBooks app, then viewed on either the iPad/iPhone. for Android/Blackberry: •There are several apps available for devices that use the Android operating system. •Adobe Reader X is available in the app store for Android. http://www.adobe.com/products/reader-mobile.html •Aldiko Book Reader can be used for an Android device, www.aldiko.com •Kobo for Android, Sony Reader for Android, Amazon Kindle Reader for Android, Barnes and Noble Nook for Android are also available. •Mobipocket Reader 5 is available for Blackberry users. www.mobipocket.com www.goodereader.com contains many of these apps that can be downloaded for devices other than the iPad/iPhone.

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ballot box

candidates for your 2014 iqa board

Our annual meeting, the Lone Star Quilt Conference, will be held at 5:15 p.m. on Thursday, October 31, during International Quilt Festival/Houston, in Ballroom C at the George R. Brown Convention Center. This is the time of year for some official IQA business. We elect some of our Board Members, and have three positions open this time. The Nominating Committee presents the following candidates for membership vote: Stevii Graves, President Stevii running for her second term in this position. She has been involved with quiltmaking since 1975, and has been a juror and judge for competitions throughout the U.S. She is the judging coordinator for Road to California, is a past President of the California Heritage Quilt Project, served as President of Quilt Visions, and on the boards of several quilt guilds. Her quilts have been featured in numerous periodicals and exhibitions. “I have been President of several large quilt organizations, but the organization I am most passionate about is IQA. I believe that as a quilt judge, I am in a good position to help guide this organization as it continually refines quilt competition rules and categories to meet the changes in the quilt world,” she says. “The IQA membership is fortunate to have a board made up of women actively involved in the quilt industry. We all have unique experiences and I value working with the board. I look forward to future interactions with the Board and the membership.” Victorian Findlay Wolfe, VP of Public Service Victoria Findlay Wolfe is a New-York-City-based quilter, fabric designer, teacher and author, Founder of NYC MOD quilters, and Bumble Beans BASICS, a community program that brings quilts to those in need. She is also a Board member of the Quilt Alliance. Born and raised on a farm in Minnesota, she credits her quilting influences to her grandmother’s double knit Crazy quilts that kept her warm, growing up. Her biggest supporters are her husband and daughter. “Most of what I do is community based through quilts. So, naturally, I wanted to be on the Board to work with fabulous volunteers who help put on this amazing show! Giving back, and donating my time to a profession I love, fills my soul,” she says.

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“I want to encourage new quilters to keep on sewing, sharing and giving...never forgetting to keep learning about the traditions of quilters before us.” Sandra Leichner, Secretary Sandra has been involved in professional quilting for 12 years, winning numerous major awards in international quilt competitions, and has authored a book and many articles for national quilting publications. She is an international appliqué instructor, and also an experienced quilt and art judge. Sandra’s illustrating talents have also led to a successful pattern and design business. “IQA has always stood for a high caliber of talent and quality. I am eager to work with the board to help retain and build upon this solid reputation amongst quilters worldwide,” she says. “I hope my in-depth experience in professional competition both as an entrant and as a judge can add insights that will benefit and add to the show experience for the membership.”

Please detach or photocopy and e-mail via scan to [email protected] (with the subject line “IQA Ballot”) or fax to 1-713-781-8182 or mail to: IQA Ballot, 7660 Woodway, Suite 550, Houston, TX 77063 USA; or fax to 713-781-8182. (We must receive your ballot by October 22.) As a member in good standing of the International Quilt Association, I hereby cast my vote for the following nominees: President:

n Stevii Graves

Other ____________________________________________

Vice President of Public Service:

n Victoria Findlay Wolfe

Other ____________________________________________

Secretary:

n Sandra Leichner

Other ____________________________________________

_________________________________________________________________________________________________________Member’s Name (printed) _______________________________________________________________________________________________________________Member’s Signature

Note: If you are nominating a write-in candidate in the “Other” column, please make sure that you have received their consent before filling in their name.

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2013-2014 iqa teacher directory cALIfORNIA Peggy Martin 13415 Sawtooth Rd. San Diego, CA 92129 858-484-1412 [email protected] www.peggymartinquilts.com author, quilt designer, paper piecing Jenny K. Lyon 9693 Wexford Circle Granite Bay, CA 95746 916-214-1490 [email protected] http://quiltskipper.com machine quilting Jennifer Rapacki 3851 Les Maisons Dr. Santa Maria, CA 93455 805-264-5504 www.jenniferrapacki.com author, quilt designer, fabric weaving, Photoshop Elements for quilters, Electric Quilt, inkjet printing on fabric cOLORAdO Christine Hause 4444 Morrison Rd. Denver, CO 80219 303-727-8500 [email protected] www.christinehause.com author, miniatures, Crazy quilts, embellishments, Certified Brazilian Embroidery instructor & lecturer

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cONNEcTIcUT Karen Eckmeier 19 South Rd. Kent, CT 06757 860-927-4201 [email protected] www.kareneckmeier.com author, quilt designer, collage + layered topstitching

GEORGIA Nancy Mahoney 1354 Lake Crest Dr. Sparta, GA 31 www.nancymahoney.com author, machine appliqué, foundation paper piecing MASSAcHUSETTS Pat Delaney 59 Crabtree Lane Abington, MA 02351 781-871-3125 [email protected] machine quilting, quilt designer, machine appliqué, color classes SOUTH cAROLINA Marilyn Wall 320 Harbor Dr. West Union, SC 29696 864-718-7244 [email protected] www.marilynwallfiberartist.com computer manipulation, typographic portraits printed on fabric VERMONT Pamela Druhen 108 Vine St. Northfield, VT 05663 802-485-9650 www.pameladruhen.com [email protected] quilt designer, fabric painting or dyeing, color & composition for landscape

wASHINGTON Maggie Ball 10598 NW Byron Dr. Bainbridge Island, WA 98110 206-780-1437 www.dragonflyquilts.com author, bargello, template-free kaleidoscopes, Quilters Without Borders Mongolian Outreach wIScONSIN Lisa Binkley 1117 Woodbridge Trail Waunakee, WI 53597 608-849-8148 [email protected] www.lisabinkley.com embellishments, bead & thread hand embroidery and design Betty Ekern Suiter 901 Coronada Dr. Racine, WI 53402 262-639-4575 www.bettyekernsuiter.com hand quilting, hand appliqué, quilt designer, trapunto cANAdA Gail E. Thomas 3107-25th St. Vernon, BC VIT 4R2 250-545-9364 www.gailthomasart.com fabric painting or dyeing

join us for quiltapalooza! a

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f you’re attending International Quilt Festival in Houston this fall, we hope you’ll join us for this year’s Quiltapalooza event, Thursday, November 1, from 6:30-8:30 p.m. Enjoy a fun-filled evening, all while helping raise funds for the non-profit IQA. Tickets are $33, and include dinner and a beverage…plus your chance to win one of many fabulous door prizes! And since this year’s event falls on Halloween, we’re celebrating a Ghoul’s Night Out, with a spectacular costume extravaganza! We expect to see wads of witches, gaggles of goblins, and a zoo-full of zombies. Be at your most creative when putting together your costume as there will be a contest with prizes for the choicest. Will you be chosen most Ghastly and Gruesome? Perhaps Classically Comedic? Or will your costume be Beautifully Bizarre? The judges will award these and more as you parade your party attire. (Costumes are strongly encouraged but not required.)

Snatch your dinner box, find a seat, and participate in a frisky game of Fishing for Fabric (you can never have too much fabric, right?). Then get ready to laugh out loud while participating in the Nasty Needle Threading Competition (we’re not talking size 12’s here). As always there will be scads of surprises, dozens of door prizes and plenty of quilters and friends to frolic with. Some amazing raffle items round out the evening’s excitement. Be there and support the International Quilt Association with this annual fundraiser. A boxed meal and beverage included. Cash bar also available. Sign up for Quiltapalooza on-site at the Quilt Festival Enrollment Desk.

Prizewinners at last year’s “Fascinating Fascinators” Quiltapalooza challenge!

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winners gallery

Art, Pictorial

fIRST PLAcE P E L I C A N PA R A D E ( 6 2 " x 4 3 " ) by J OANNE B AETH of Bonanza, Oregon, USA.

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cATEGORY SPONSOREd BY AccUQUILT

Artist’s Statement: “Great flocks of white pelicans arrive in April, and they remain to nest and fly south in the fall. I used many colors of thread to enhance the design and blend the colors. Each bird has approximately 50 pieces.” Original design.

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his quilt was inspired by the huge flocks of white pelicans which migrate to Baeth’s area every spring and stay to nest and raise their young. “They are frequently seen swimming and flying to the many lakes, rivers and bird refuges,” she says. “‘Pelican’ is a popular name in the communities. In fact, the pelican was the mascot for the high school that I attended.” Baeth became interested in art quilts about 10 years ago after many years of traditional quilting. And she finds

inspiration in her natural surroundings in southeastern Oregon. “The high elevation deserts and forested mountains change with each season, and there are many lakes, rivers, and wetlands nearby,” she offers. “And I decided to create pelicans because they are often viewed at the Klamath Basin National Wildlife Refuge. I have taken many photographs of this scene, standing on the Oregon and California border, and looking south towards Mt. Shasta.”

For this project, she fused all of the many pieces of fabric, including the 50 tiny pieces on each pelican. She painted the sky, and inks were used to shade the pelicans. Intensive machine quilting using many different colors of thread helped to blend, shade, and highlight. “Using pinks, oranges, and purples was a fun change from the colors I usually use when creating scenes in nature,” she sums up.

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Art, Pictorial

SEcONd PLAcE MABEL-1952 REO (42" x 36.5") by S USAN C ANE of Canaan, Connecticut, USA.

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Artist’s Statement: “This quilt was created from a photograph taken by my husband. The smaller pieces are cut from ultrasuede, and I used a small amount of paint for some of the lettering.” Original design, inspired by a Katie Pasquini Masopust workshop.

“M

abel was the first antique truck my husband and I bought together. He took many photos of it that I kept tucked away, because I knew one day I wanted to attempt to make a quilt using one of them,” Cane says of this work.

And after taking a class with Katie Pasquini Masopust, she learned how to create patterns using all of her techniques. It was just luck that she had the Mabel photo with her, thinking that perhaps she could do something with it during the class. Sure enough it became a “fractured” Masopust-learned design, taking about two years to actually complete. Cane was a graphic designer who learned how to sew at a very young

age, spending most of her adult life working with art and fabric. Her husband is a truck driver, and his hobby is restoring antique trucks. “One thing we discovered early on in our relationship is that our two passions intermingled in so many ways. We started traveling about the Northeast where we live, to explore the wonders of the antique truck shows,” she says. “I soon discovered that there was almost always a quilt show nearby. I was very intrigued with the beautiful patterns and designs that were being created with fabrics of all shapes and sizes.” She was also inspired by her mother’s newfound interest in quilting and watching Alex Anderson on TV.

Cane says her favorite technique is edge-turned machine appliqué. “I use a tiny zigzag stitch made with monofilament to hold my edges until I can go back and machine quilt over the top,” she offers. “I adore making pictorials. And I strive to make them look as life-like as possible.” Cane also feels that Mabel is the most visually pleasing and best technical work she has ever done. “She really taught me to look at my quilting in a whole new way,” Cane says, speaking of ‘Mabel’ as a person. “And because she has been so widely appreciated in the quilting community, it gives me the confidence to take my next quilt to hopefully, an even higher standard than she is.”

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Art, Pictorial

THIRd PLAcE HIDDEN TREASURES (32" x 24") by D AVID TAYLOR of Steamboat Springs, Colorado, USA.

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Artist’s Statement: “My second hummingbird quilt! This one depicts two baby birds sitting in their tiny nest. The original photo was taken by my friend, Sandy Corbin, who brought this image to my workshop with the quilters in Mission Viejo, California. Sandy graciously allowed me to use her photo to create this little wall quilt.” Original design, based on photo by Sandy Corbin.

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uilting can be a cutthroat world—even between an instructor and one of his students. “Sandy [Corbin] actually took the photo of a hummingbird nest off the deck in her backyard,” Taylor offers. “She was going to work on the image in the workshop, but I coerced her into letting me create it. She had to find a different photo for me in a hurry, and I felt a little bad. But now that the quilt has won some awards, I feel better!”

And, because it was a picture of two baby hummingbirds, Taylor kept the quilt size similarly small. “This is one of my smaller quilts. I usually work a bit larger,” he says. “The size of the appliqué also helps with the illusion of size. The baby birds were created with a lots of small pieces of fabric, and each leaf or frond surrounding them were created from just one or two pieces of fabric.”

first quilt was a collaboration with her, where he was “forced” to learn appliqué. But now, he’s found his own distinctive style. “I adapt photographs into quilts using hand appliqué and machine quilting,” he notes. “I create my own patterns using enlargements of the photographs, and creating appliqué shapes by structure, not color. I then carefully select each fabric to blend the colors.”

Taylor was introduced to quilting by a friend, Madeleine Vail. In fact, his

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Art, Pictorial

HONORABLE MENTION GEORGIA ON MY MIND (49" x 46") by N ANCY B ROWN of Oakland, California, USA.

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Artist’s Statement: “Somewhere on the island of South Georgia, penguins carefully walk through resting elephant seals to get to their nesting grounds.” Original design.

rown would like people to know one thing about her: She loves penguins. And elephant seals.

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Still, Brown’s quilt is not exactly what it seems upon first glance, or so she’s been told.

“When I read that in some areas of Antarctica, penguins and elephant seals share beaches during the breeding season, I thought that such a scene would make an interesting quilt,” she says of this effort.

“When first viewing this quilt, many people see penguins running between ‘rocks,’” she laughs. “It is not until they get closer that they notice that the rocks have eyes and are actually elephant seals!”

“The penguin nesting areas are further in on the beach, so they must walk or run in between the elephant seals as they go back and forth between their nests and the ocean where they get food.”

Brown grew up with quilters on both sides of her family, including a great uncle that made quilts and other sewn items for a living after a farming accident. But those relatives were no longer alive by the time that she was born.

So she learned to quilt after her mother took a class and showed Brown how to appliqué. That was over 20 years ago, and she has been appliquéing ever since. “All of my quilts are hand appliquéd, hand quilted, and machine pieced. My appliqué is done with needleturn,” Brown says. “I know that there are faster methods, but I enjoy the process of handwork. I make animal-themed quilts because I love animals and think that they are important parts of this world.”

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Art, Pictorial

HONORABLE MENTION BELLES FLEURS (67" x 41") by M ARY A RNOLD of Vancouver, Washington, USA.

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Artist’s Statement: “This was inspired by a painting that I did when I was much younger and with my mom’s help. She was a talented artist who has inspired much of my work since her death 12 years ago. It took awhile to complete as I figured out how to quilt the background in a way that pleased me.” Original design.

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elles Fleurs was a labor of love. As with all of the quilts in this series about my mom, I thought about her as I was creating each flower and arranging them on the background,” Arnold says.

Arnold was very much influenced by her mother, an oil and watercolor artist. This quilt is one in her series called “A Journey with Mom,” and is an interpretation of a painting that used to belong to her. “I thought how proud mom would have been if she could have seen all these quilts I have made. I would have loved to have heard her comments about the painting, how it came about, and hear her thoughts about my ‘remake’ of this treasured little painting.”

Arnold also notes that this project marked the first time that she made such complicated flowers, each one made individually and then sewn to the background as a completed flower. “I like experimenting with the pictorial quilt format and changing my ‘style’ to suit the look I am after for each quilt,” she continues. “This one is a bit of a hybrid between a traditional quilted still life of a bowl of flowers and the look of a painting achieved with fabric.” The background and bowl were hand painted for her by a Portland hand dyer named Jeanette Viviano, who has custom dyed fabric for some of her quilts.

Arnold has been quilting seriously since 1992 after taking a class with Lorraine Torrence. “I remember showing my husband my finished quilt and saying, ‘I have found what I want to do for the rest of my life!’” she recalls. “I had no idea how prophetic those words were at the time, and how much joy and satisfaction I would receive through quilting.” Though she started out as a traditional quilter, her style has definitely evolved into art quilts, with a special emphasis on pictorial quilts. And as someone who has been drawing and painting most of her life, she sees it as a natural progression.

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Art, Pictorial

HONORABLE MENTION TEXAS HORNED LIZARD (63.5" x 44") by C AROL M ORRISSEY of Double Oak, Texas, USA.

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Artist’s Statement: “Horned lizards—or horny toads as we Texans call them—were plentiful when I was a child growing up in Dallas. I haven’t seen one in at least 50 years, but sometimes I dream about them.” Original design, inspired by a photography by Shawn Billerman (done with his permission).

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his, um, beautiful creature comes straight out of Morrissey’s past and is a familiar sight to many residents of the Lone Star State. “Like many Texans who grew up in the ‘50s, I get a little wistful when I think of how plentiful the Texas horned lizards were. They are a threatened species, gentle little creatures who are comical looking and defenseless,” she recalls. “Fortunately, due to conservation efforts, they are making a comeback.” The lizards were also playthings to a young Morrissey. “I grew up in Dallas,

and it was easy to find them in the summer. We believed we could ‘hypnotize’ them by holding them on their backs and gently rubbing their bellies. They’d go all limp and sleepy,” she recalls. “I’d put one in a shoebox with some sand and grass and a dish of water and then give them some ‘red ants,’ their primary food source. After a few hours, I’d turn them loose. Although they were probably pretty happy about the room service!” Morrissey came by quilting naturally as her mother, grandmothers, and great-grandmothers were all quilters. But she didn’t make her first one

until she was in her 30s. That’s when she made a “pretty awful” baby quilt for a friend’s first grandchild. When she quit her job as a legal assistant in 2001, she started quilting a lot more, and then started her own pattern company, OCarol, a nickname from high school. “This quilt has an unusual subject matter, as quilts go, and it has been fun and interesting to observe people looking at it at quilt shows,” she adds.

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The 2013 Quilts: A world Of Beauty judged Show Sponsors

$102,800 in non-purchase cash awards Note: Click on a company’s logo to visit their website

The Handi Quilter® Best of Show Award

$10,000*

The Founders Award International Quilt Festival

$7,500*

The World of Beauty Award eQuilter.com

$7,500*

(two prizes this year)

The Robert S. Cohan Master Award for Traditional Artistry

The Fairfield Master Award for Contemporary Artistry

$5,000*

$5,000* ! EW or N ns o

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The Pfaff Master Award for Machine Artistry

The Baby Lock Master Award for Innovative Artistry

$5,000*

$5,000*

The Superior Threads Master Award for Thread Artistry

$5,000*

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*These prizes also include airfare to and hotel accommodations for Quilt Festival.

The Future of Quilting Award Omnigrid

$1,000 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-Miniature

Art-Naturescapes

Art-Painted Surface

Art-People, Portraits, and Figures

Art-Pictorial

Art-Whimsical

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Digital Imagery

Embellished Quilts

Group Quilts

Handmade Quilts

Innovative Appliqué

Innovative Pieced

Merit Quilting – Hand

Merit Quilting – Machine

Miniature

Mixed Technique

Traditional Appliqué

Traditional Pieced r!

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Wearable Art

Judge’s Choice $250 each

Viewers’ Choice $500

Honorable Mentions $50 ea.

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festival opportunities Exclusive Quilt festival Houston perks for IQA members! This year’s fall International Quilt Festival will take place October 31November 3 (with Preview Night on October 30 and classes beginning October 28) at Houston’s George R. Brown Convention Center. IQA members who attend will have special opportunities that no one else will! Here’s a rundown of what your membership entitles you to that no one else receives. IMPORTANT NOTE! The Lone Star Quilt Conference, IQA’s annual membership meeting, will take place on Thursday, October 31 from 5:30-6:15 p.m. in room 310ABDE of the George R. Brown Convention Center. Come hear your Board discuss IQA news and plans and meet the new officers while being eligible for an exclusive prize. Also, those who attend and have tickets for Quiltapalooza will be the first through the doors for that event, which immediately follows!

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• One Day’s Free Admission IQA members get one day’s free admission to International Quilt Festival. Just present your membership card at the door. If you have forgotten or lost yours, a roster will be available at the Volunteer Check-in desk, second floor above Hall D. • VIP Preview Only IQA members and Festival enrollees admitted, 5:00-7:00 p.m. on Wednesday, October 30. Show your membership card at the door. • Preview Night: International Quilt Festival Immediately following the VIP Preview, International Quilt Festival opens to the general public for a special Preview Night showing, 7:00-10:00 p.m. IQA members can also attend this for free with your membership card. And Preview Night does not count toward your free day’s admission! • IQA Winners’ Circle Celebration Quilts, quiltmakers, and $102,800 in prizes make IQA’s Winners’ Circle Celebration the place to be from 6:008:00 p.m. Tuesday, October 29, at the third floor ballroom in the Brown Convention Center. The excitement is

See the top winning quilts before the general public at IQA’s Winners’ Circle Celebration. Photo by Kim Coffman. in the air as all winners for the judged show are announced live. You can also meet the corporate sponsors, enjoy photos of the quilts on screen, and then see the winning quilts themselves and visit with many of the lucky winners. IQA members can attend free. Important Note: If you have not pre-enrolled, show your membership card at the door. If you have a friend who is a non-member, they can purchase their ticket at the special IQA table set up in front of the ballroom before standing in the line to get into the auditorium. IQA members who are winners in the Judged Show will have reserved seating, which will be roped off with signs near the front of the stage.

• Private Photo Op IQA members only have a special oneand-a-half hour opportunity, beginning at 8:30 a.m. Friday, November 1, to photograph Quilts: A World of Beauty and Festival’s other special exhibits (except those which prohibit photography) before Festival crowds arrive. Booths will not be open for shopping. IQA membership card required. Entry between 8:30-9:30 a.m. only through Hall D. OTHER IQA EVENTS • Quiltapalooza! See article on page 7. • Mini-Quilt Silent Auction IQA sponsors this auction of donated miniature quilts, spotlighting the work of members, previous winners, and guest artists. Proceeds benefit IQA’s programs. Stop by the IQA booth and bid on these collector’s items (Aisle G at the front of Hall D). • Raffle Quilt Touching Stars (pictured) by Helen Young Frost and others will be raffled off at 2:00 p.m. on Sunday, November 3. You need not be present to win. Tickets are $1 each and can be purchased at the IQA booth.

T O U C H I N G S TA R S ( 9 0 " x 9 0 " ) The 2013 IQA Raffle Quilt. Machine Pieced by Helen Young Frost; Hand quilted by Helen Young Frost, Carole Collins, Marianna Dodson, Deborah Gordon, Ann Mavko, Wanda Pinter, Catherine Skow, and Connie Stephens; and Machine quilted by Kris Neifeld. Photo by Mike McCormick. And if one of your friends is not an IQA member, she/he can still participate in all of the above events with you by signing up for a membership at the IQA table and receiving a temporary membership card.

That table will be at the top of the escalators in Hall D from 4:006:45 p.m. on Wednesday, October 30, and at the IQA booth in Hall D for the remainder of the show.

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iqa files: barbara oliver hartman o f

f l o w e r

m o u n d ,

t e x a s

IQA Journal: First, tell us a bit about your background. Hartman: I was raised in Yuma, Arizona, and moved to Texas in 1972. My parents were both talented artists/crafts persons even though they had other professions. My mother was a dressmaker who owned a small company. She sold Southwestern-style clothing to fine women’s clothing stores and boutiques in Arizona and California. My father was a gunsmith, and would work on rifles mainly used in hunting. Together, they owned and ran a sporting goods store for many years. Sewing, for me, was part of the daily routine, and I was not too fond of doing that as a kid. Our house was filled with fabric, thread, and lots of trims and notions.

BULLSEYE (51" x 54")

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Once grown, I would sew some for my girls, but did not start sewing seriously until I stumbled into quiltmaking over 30 years ago. I have been surprised over the years at how much stored knowledge I had of sewing and fabrics...it seemed to be ingrained in me.

IQA Journal: How did you get started quilting? Hartman: While my mom was a dressmaker, my grandmother made quilts. We would visit my grandparents in the summertime, and Grandma would always have a quilt on the frame—the old kind that you dropped from the ceiling. After dinner, she would lower the quilt, sew on it until bedtime, roll it back up and repeat the next day. Most of what she made was from discarded clothing and scraps. Once my kids were older, I was looking for a hobby of some kind, and remembered the quilts that my grandma made. I cherished the one she had given me after graduating high school, and that was far more interesting to me than making clothing or any other art/craft form. I bought a pattern at Wal Mart, and the rest is history. I began making my own designs, and within a year of starting, I was totally consumed and would spend every bit of time I had while not working my job and taking care of the family on making quilts. It did not take long for the full time job to go, and quiltmaking became what I did full time.

A couple of years after I began making quilts, I started meeting other quilters, discovered quilt shops and quilt shows, and joined the Quilter’s Guild of Dallas. The door swung open for me, and my life changed in a most dramatic way. It is hard to put into words the impact it has had on my life. I love the people, the quilts, the energy, the encouragement and acceptance, and the nurturing aspect. The quilt community is so incredible, and I am thankful every day to be part of it.

A COMPLETE UNKNOWN (45" x 45")

IQA Journal: Do you have a favorite technique or style? Hartman: For about the first 15 or 20 years, I hand quilted almost all of my work, and this was probably my favorite thing to do. Because I would sometimes spend all day, several days a week doing that, I developed carpal tunnel syndrome, and changes had to be made to my way of working. Most of my work is either pieced, machine appliqué turned under, or raw-edge appliqué. I also dye and paint a lot of my fabrics to use in my projects. I do all of my own quilting— mostly by machine these days—but do try to hand quilt from time to time and

ENERGY (52" x 53")

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Barbara Oliver Hartman

use hand stitching to add dimension to some designs.

F A L L I N G L E AV E S (41" x 41")

AUTUMN BLAZE (27" x 33")

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I make one of a kind wall pieces and work in many different ways. One thing I have not mentioned is that I am very ADD, so I find that working on several projects at a time and varying the type/style fits into how my brain works. Any idea that comes into my mind, I will give a try. Some are successful, some are not, and I am just fine with that. I do like good craftsmanship, and work very hard to keep that quality up and at the same time am constantly experimenting with new ideas as well as revisiting series that were started years before. I like the process to be fluid and like my work, to develop in an intuitive fashion that is not overthought or overworked. IQA Journal: Your work has a lot of Southwestern heritage influence. Hartman: Growing up in the Arizona desert in a border town was an interesting experience. I remember the beauty and simplicity of the art in the Native American community, as well as the vibrancy of colors used in the Mexican culture.

One thing that always sticks with me is the color of the desert. Some see no color at all, but to me, I love the colors and texture of the earth...sand and rocks, and then you see a beautiful plant or flower and it stands out. There is no clutter—just the necessities—and everything has a place and a reason to be there. Most of my quilts by today’s standards are quite simple. I love to use subtle and earthy colors, but at the same time am going through a red phase right now. Again, the ADD puts all options on the table! IQA Journal: Do you have any funny stories about your quilting? Hartman: There are so many, it is hard to pick one. The one that comes to mind is that lately, I have done so many of the impressionistic landscapes that take lots of time and are tedious. I don’t glue or fuse, so all the little pieces get sewn down and I use a small open-toe metal freemotion foot. I use a zig-zag stitch and free-motion sew.

IQA fILES

I started to regularly sew my finger. My husband says if I would quit watching TV and pay attention to what I was doing, it would not happen. He might have a point! Actually, the side of my index finger on my left hand is numb, so it doesn’t even hurt anymore. IQA Journal: If you had a quilting superpower, what would it be? Hartman: I wish it did not take me so long to get simple things done. Ten years ago, I could work the same amount of time and get twice as much done. I guess it is age creeping up on me, but it takes me longer to do everything. So the thing I would like to have is ability to work faster or have more time. IQA Journal: Tell us about your home studio set up. Hartman: Over the years, I have taken over the three bedrooms in the upstairs of our home. When we built our house 30+ years ago, our kids were at home, and I sewed on the dining room table and would have to pick up my projects almost every day. As the kids grew up and left, I took over their space one room at a time.

RED AUTUMN (41" x 45")

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Barbara Oliver Hartman

The main room that I use for a studio is a 12' x 14' room with a walk in closet filled with fabric. In this room I have my machine/table, computer, a full size cutting table, a wall of industrial shelving with fabric and TV, and two large design walls. The wall directly behind the sewing machine is wall-to-wall table with storage shelves and a large ironing surface. The computer is on my left and my sewing machine faces the wall with fabric/TV. It is like a cockpit. I have everything I regularly use at my fingertips. I can sew, press, access files, and check email without getting out of my chair. My multitasking is a blessing and a curse.

C O M PA R T - M E N T A L I Z E : A V O I D , D E N Y , I G N O R E (51" x 46")

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I also have a second room with a sewing station so that I can be working on multiple projects without switching one machine out. This room also has my drafting table and library. The third room doubles as a guest room and is used for quilt storage and I keep my quilt frame up with a quilt that is being hand quilted...which has not been getting enough attention lately.

IQA fILES

IQA Journal: What about your design process? Hartman: My design process varies. Sometimes, it will start with a doodle or sketch. Sometimes, I will be inspired by a color or a piece of fabric and will then design something to use it in. On these more planned projects, I make a full-size drawing and work from that. I have two large design walls so I can have multiple designs to ponder and space to audition fabrics and color combinations. One thing that has been interesting to me for the past few years is recycling scraps from previous projects. These tend to be more spontaneous and intuitive. Over the years, I have saved loads of leftover materials, and it is very rewarding to use them in a creative way and save them from the trash. I must say that I have great looking scraps. I will make some into pieced quilts or regular applique quilts, some get put into raw-edge projects, and when the pieces get very small, I cut them into tiny bits and pieces and make impressionistic-style landscapes.

W H AT ’ S B E H I N D ( 3 4 " x 1 2 " ) I call all these my reclamation projects and I love working “green.” IQA Journal: Finally, what are your expectations for the future? Hartman: I hope to continue my creative journey, and I know I have not done my best work yet. So every day, I am in the studio doing what I love to do and pushing myself to do better and grow as an artist. I cannot even express how much finding my way into quiltmaking has enhanced my life and my family’s life. It has made me a better person and has given me many wonderful friends. I am so lucky to have my husband, Bob, who has been so supportive and has given me the ability to pursue this great love...life is good!

R E C L A M AT I O N : F O R M AT I O N S ( 4 2 " x 2 4 " ) For more on Barbara Oliver Hartman, visit her website at www.barbaraoliverhartman.com

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The Southwest’s only quilt museum features... Changing exhibits in three spacious, high-

ceilinged galleries within meticulously restored 19th century buildings, winners of Preservation Texas and Main Street awards

A Museum store featuring quilt-themed products and artisan-created gifts

Quilts...History in the Making, a specially

designed 13x85 foot outdoor mural painted by a well-known Texas muralist

Grandmother’s Flower Garden, a period “town”

garden typical of Texas gardens between 18931930, planned to inspire creativity and contemplation

The Pearce Memorial Library and Material Culture Center, where research can take place in a quiet setting, and researchers can apply for a grant to conduct extended study (open by appointment)

Space for educational lectures and presentations OPEN Thursdays through Saturdays . . . . . . . . 10 - 4 Sundays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Noon - 4

•••

ADMISSION General . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $8 Seniors & Students . . . . . . . . . . . . . . . . . . . . . . . . . $6 Tours of 20+ when arranged in advance . . . . . . . $6

••• Please check our website for the museum’s holiday schedule.

140 West Colorado La Grange, Texas 78945 Phone 979-968-3104 | Fax 979-968-6010 [email protected] www.TexasQuiltMuseum.org

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The 2012 IQA JUDGED SHOW Honorable Mention—Art, Abstract – Small Category sponsored by

Benartex, Inc.

D O W N PAT ( 6 4 . 2 5 " x 7 4 . 5 " ) by PAT B UDGE of Garden Valley, Idaho, USA. Original design.

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The 2012 IQA JUDGED SHOW Honorable Mention—Group Category sponsored by

AQPS

THE JENNINGS HOMESTEAD (69.5" x 45") by S UZANNE M OUTON R IGGIO AND 26 MEMBERS OF THE M ILWAUKEE A RT Q UILTERS of Wauwatosa, Wisconsin, USA. Inspired by a photography by Teresa Jennings.