r/.^f .'..

, ^r

?tt^W

ression
% the ®&>t SMm
Watetca&w

mill

SM .< -> .. ' «

 his collection of breath-

taking watercolor quilts

is Pat Maixner Magaret

and Donna Ingram Slusser's tribute to

all the quiltmakers who love creating

watercolor quilts from 2" squares of

multicolored fabrics.

Explore 74 watercolor-quilt impres-

sions that will inspire you to make your

own masterpiece. Glorious color photos

show the gradual movement from dark

to light, smooth color transitions, and

magical light sources in the style of

Impressionist painters.

Learn where these 61 quilt artists

get their ideas in the artist's statements

that appear with each quilt.

Determine how to translate your

ideas into a watercolor quilt. New and

expanded techniques from the authors

are included.

There are many

beautiful watercolor

quilts - but the best

are yet to come!

The authors' award-winning

Watercolor Quilts has sold more than

worldwide.
 atercolor
Impressions

9Ud Ataixttex Magwcet & Shntta Jngxam SIuaa&i

That

Place
facfinical Cditwt JCeviu Madman
Managing. EAitox fyey SAwtp
Copy CdUox 5ina Cook
PjioopteadeK £e*£ie PMUp*
2>e&ign tDvtecte* faty Petty,
Qouex A. Seat tDengnex tDattid QJnni&man
Production CLsM&tant SAean fBemb
PAatogxapAex Pltent JCane
'Jhotogiaphu CU&i&tant SUchand £ip*Aau

Watercolor Impressions
© 1995 by Pat Maixner Magaret and Donna Ingram Slusser
That Patchwork Place, Inc., PO Box 118
Bothell, WA 98041-0118 USA

Printed in Hong Kong

00 99 98 97 96 95 6543 21

No part of this product may be reproduced in any form, unless otherwise stated, in which case reproduction
is limited to the use of the purchaser. The written instructions, photographs, designs, projects, and patterns are
intended for the personal use of the retail purchaser and are under federal copyright laws; they are not to be
reproduced by any electronic, mechanical, or other means, including informational storage or retrieval systems,
for commercial use.

The information in this book is presented in good faith, but no warranty is given nor results guaranteed.

Since That Patchwork Place, Inc., has no control over choice of materials or procedures, the company assumes no
responsibility for the use of this information.

Miaaumi Statement

We are ded icated to providing quality pro ducts that

encoura ge creativity and promote self- esteem
in o ur customers and our employe 2S.

We strive tc make a difference in

) the lives we touch.

That I 'atchwork Place is an employee ou ned,

financially secure company.

Bace

Library of Congress Cataloging-in-Publication Data

Magaret, Pat Maixner,
Watercolor impressions / Pat Maixner Magaret and Donna Ingram Slusser.
p. cm.
ISBN 1-56477-116-4
1. Patchwork quilts. 2. Color in textile crafts. I. Slusser, Donna Ingram. II. Title.
TT835.M337 1995
746.46-dc20 95-32933
CIP
CONTENTS

Beyond Watercolor Quilts (Our First Book) 4 Our grateful appreciation to:
She staff at Shot Satchwoxh
From Our Mailbox 6 Place, Snc., fax theix guidance and
encauxagement, which in always
Work Spaces and Design Inspirations 8 given cheerfully,and graciously;
She quiltmahexs what*, cxeative
What's New in Visual Surface Texture 1
efforts and thoughts up peat in this
Booh;
Smoothy Fabrics 10
Siumamota, Japan, Jntexnational
Chunky Fabrics Exchange Section, fax pextnis-sian ta
11
usz theix quilt "G. Siivex Stuns
Transition Fabrics 13 Shxouyh 3t";
South Sjea Jmpoxts and JCatie

Creating Rowers 15 Ssiym, fox contributing fabrics to-

this project and fax giving- u> the

Sorting by Visual Texture 19 opportunity ta develop- oux inspira-

tions into, fabric designs;
Creative Expression— You Can Do It 20 Siaffman Qalifoxnia Sabxics, and
S S. Si Sextiles, fax contributing
Myths About Creativity 22 fabrics;
Chexul Qreenstxeet Swain of
Sources of Inspiration 27 Country Stitches, Qenes^ce, 3-daha,
fox hex Beautiful machine quilting,
Work or Play? 29 when Sat tan out of time fax hand
quilting.;
Planning a Specific Design 31
Our Eaxth fax nature's abundant
inspiration;
Where Do I Go from Here? 35
Sot's family (Stavid, Qraiy,
JVxite, and China);
Gallery 36
S)onna's family (£loyd, dlan,
JCirstin, Harry, and JVicole), who
Afterword— Thanks and Good Luck! I 10
have come ta appreciate iate-houx
Bibliography Ill meals, stacks of 2" sauaxes an
fuxnituxe, and weeds in the garden.
SJheir encauxagement has always
Been steadfast and sincexe.

Special thanks to:

Cinna and flood, fax cutting 2"

sauaxes when aux supply tan law.
OBby, £i£y, and Muffin, fax
helping us keep an txach.
BEYOND WATERCOLOR QUILTS
(OUR FIRST BOOK)

wo years ago we wrote Watercolor Quilts, which features Im-

pressionistic scrap quilts made from 2" squares of multicolored

fabrics. The watercolor technique is named for its similarity to

watercolor painting. The fabrics in quilts made with this technique gradually
move from dark to light, like a watercolor wash, and colors shift smoothly

from one to another.

The forerunner of the

watercolor quilt is the

Colourwash series made by

English quilt artist and au-

thor Deirdre Amsden. We

noticed that Deirdre's Im-

pressionistic style of using

small shapes to blend and

shade colors across the sur-

face of quilts was similar to

value studies we had made.

Our watercolor quilts went

in a different direction from

Deirdre Amsden's. We de-

veloped representational

ign themes,

al
 —
Sieuond WxdvtcoLvt Guilt* 5

block designs, used applique, and re-created blossoms in our work.

Since the publication of Watercolpr Quilts we have seen an explosion of

excitement about this type of scrap quilt. New quilters are attracted to the

watercolor style because of the ease of construction. Many longtime

quiltmakers, who have successfully mastered basic sewing and quilting tech-
niques, are looking for a new way to express their ideas and want to concen-

trate on the design process.

Whatever their experience level, quiltmakers around the world agree

making watercolor quilts is addictive. Once you get started you just can't stop

moving those little squares around on the design wall. As with a jigsaw puzzle,

you become obsessed with the search for the "perfect piece."

We wrote this book as a way of celebrating and thanking all quiltmakers

who are hooked on watercolor techniques. Watercolor Impressions also gives us

the opportunity to share more beautiful quilts.

To those who ask: Where do ideas come from? How do I take my idea and
run with it? How can I get those same beautiful results? How can I become an

artist? Stay tuned! We hope you find inspiration on every page.

Me wha wwhs with his hands h a tcdhwet:

Me who- woxfc> with hh head and hid hands h
a vtaftdman:
Me wha ww&6 with hid head and hJh hand* and

hh heard h an attfot.

Cluthax Unhnown
FROM OUR MAILBOX

e just love all the mail we receive —through the U.S. Postal Sys-
tem, on-line computer services, and electronic mail. We even

get messages on our telephone answering machines. Mail comes

to us from around the world, from students who have been in our classes and
from quilters we have never met. We see photographs of quilts in progress

and photographs of finished quilts. We delight in our mail and are happy to

share some of these quiltmakers' thoughts with you.

Terry Waldron wrote, "I would carry my design into different parts of the

house. While I was cooking or even grading papers, I wanted to be able to

sneak a peek now and then to make sure the fabric squares blended properly.
One night, I knew I'd passed into 'the outer limits' when I set my design wall
against the banister outside our bedroom so that I could see my design as

soon as I woke up."

Sandy Boyd wrote, "I design around a particular fabric or family of colors

or prints and let them tell me what they need. After a while, the groups of

prints in watercolor quilts have voices of their own and become quite bossy.

The whole process can be engrossing. One of my students suggested we start

a Watercolor Support Group because we were becoming compulsive!"
Watercolor quilts even go on vacation. After returning from a trip to Italy,

Julia Rosekrans wrote, "We took V/z" squares of fabric with us, intending to do

a watercolor project, but we were so busy sightseeing that the only time left

for playing with fabric was on a long bus ride from Florence to Sorrento.
 Alailfox 7

We taped interfacing to the bus windows and attached our squares with straight
pins." Julia cautions that the one hazard of working on a moving bus is that

you can experience a bit of motion sickness!

Helen Matthews sums it all up. "Watercolor quiltmaking is a great diet-

ing tool —you cannot tear yourself away from your design wall. The hours
slip by without a thought for anything else, and I keep thinking, TT1 just move

this here and then that there/ but then you can't stop, even for meals."
 ORK SPACES AND
DESIGN INSPIRATIONS

any quiltmakers have been inspired by the projects pictured in

Watercolor Quilts. Some made quilts based on those in the book,

while other quiltmakers used the photographs as inspiration

and then added their own twist to the design. In this book, there are three

quilts that depict picket fences. It is interesting to see that each artist brought

her own background, inspiration, and emotions to the project and expressed

herself in a different way.

We have seen watercolor quilts of all sizes. One miniature adaptation

featured x
/% finished squares. A real trea-
sure! At the opposite end of the scale

spectrum, watercolor techniques have

ijtlm qna been used to make full-size bed quilts.

You may ask, What is the best way to

design a large watercolor quilt? Most

~m '
design walls are not big enough to ac-

commodate huge quantities of squares.

i i i ;
i -

Many of the quiltmakers whose work is

——
-* 1
t 1
GHPr—
1
-

featured in this book encountered this

— — i

problem. Sylvia Richardson com-

1

mented, "Because I worked with over a

thousand squares, I was overwhelmed

at times. I solved the problem by work-

ing in sections, beginning with the picket

fence in the bottom half of the quilt.

L
 Spacer S. Jn&pixations 9

After completing the bottom half, I designed the top half." Sylvia's "Spring

After the Ice Storm (It Did Come)" is on page 73.

Other quilters have rigged pulley systems at one end of a large room.

Their design walls are attached to ropes and can be lowered to the right height

as they work on the design. When the room is needed for other purposes, the
wall can be raised out of the way. As an alternative, stepladders come in handy

when you need to reach the higher areas of your design wall.

It is amazing to hear about the emergence of computers into the quilt

world and especially the world of watercolor quilts. There are computer

bulletin boards and on-line fabric swaps and exchange groups. "CISter's Sun-

rise" on page 57 contains many squares from around the world, obtained via

a computer watercolor fabric exchange.

More and more, quiltmakers are using their computers to design water-

color quilts. Sherri Vaughn's "Ebb and Flow" on page 91 is an example. She

uses her computer rather than graph paper and pencil. Who would ever have
guessed that watercolor quilts would be part of the computer age?

Because of watercolor quilts, we can't even get a good night's sleep. We

dream about our designs, stay up late, and get up early in order to work on

them. Quilters have shown us projects depicting beautiful nighttime land-

scapes. They confess to staying up through the wee hours of the morning in

order to observe the lighting effects of the moon.

We know that no matter what kind of work space you have, how many

hours you dedicate to your quiltmaking, or what ideas and emotions you want

to convey, watercolor techniques are a great way to express yourself.

 —

HAT'S NEW IN
VISUAL SURFACE TEXTURE

n Watercolor Quilts we briefly discussed color and its properties

and gave a summary description of fabric-print design elements,

such as scale, line, contrast, and symmetry. Quiltmakers com-

bine these components in many variations to create visual texture.

While teaching watercolor classes, working with students, and making

more quilts, the importance of several concepts became evident to us. We now

discuss these concepts in detail in our classes. Visual texture is important to

the overall design of watercolor quilts. Fabrics used in watercolor quilts should

have different colors, contrasting values and intensities, a variety of scales,

and asymmetrical lines and designs. We have categorized fabrics into groups.
We define these concepts and describe how to use them below.

Smoothy Fabrics
Some fabric prints have an absence of design lines (marks or strokes),

which gives them a smooth appearance. Value and color changes in these fab-

rics are minimal, and most are light in value. We call these fabrics "smoothies."
When smoothy fabric squares are grouped in a design, colors blend, and

there are no lines to lead the eye from one square to another. Smooth design

areas of light value often create the illusion of a light source emanating from

within the quilt or from outside the design. The center of Pat's "Enticement

A Little Peek at Heaven" on page 96 is a good example of how smoothy fab-

>n produce a glow that appears to come from within the quilt.

create background or open areas with expanses of smoothy

 What') Sun 11

Smoothies

Chunhiei

_*V
fabrics. Eleanor Cole's "Cathedral on the Rhine" on page 83 demonstrates the

effective use of smoothy fabrics to create a backdrop for a design.

Chunky Fabrics
Fabrics that have distinct changes in color and value and that contain strong

design lines are what we call "chunkies." Chunky fabrics include all prints

that are not smoothies. Groupings of chunky fabrics have more visual texture

and a busier appearance than smoothy areas. The design scale of chunky prints

ranges from small to large.

Some fabrics have both chunky and smooth patterns. When these fabrics
are cut into squares, some squares will contain chunky design elements that

reach into the smooth area. Use these squares as "reachies." Use chunky squares

with medium- and large-scale flower petals to create blooms in a design.

12 What* Mew

Qmup Simitcvt 3j&xJUui&6 3AX}eihm

Watercolor designs are most successful when similar textures, values, and

colors are placed side by side. If a chunky-textured square is placed in the

center of many smoothies, it will stand up and shout, "Help, I don't belong

here," or "Hey, look at me. I stand out in a crowd." The same is true if a

smoothy-textured square is placed in the middle of a group of chunky-

textured squares. Remember, we don't want soloists in our watercolor quilts.

Every square is as impor-

tant as every other square.

Teamwork is the name of the

game. It is your job as the

quiltmaker to place each

player or square in a position

that creates harmony.

Q&ove: Motice (font a sqiuxxe

stand* out when its teoctwte ti>

different ptom that of. it*

neiafdioxi.

Sliaht: OR textwt&a, calo**,

ualueA, and tines Blend.
 -Ctnea can develop Between What'* Mem 13
tight and dwtk cvteai. Il&e
xeachy pafmas and ptecMe
fa&aa to wa/ec a Anuwth
Ouxn&itian.

Transition Fabrics

When smoothy and

chunky areas are placed next

to each other in a design, the

graded wash effect is lost, and

strong lines develop between

the contrasting areas. Use reachy fabrics to create a smooth, gradual transi-

tion between areas of contrast. Use freckle fabrics to create a rapid change be-

tween contrasting areas.

Reachy 5xrfbdcA

Reachies have a plain or solid-looking background, with lines and colors

printed on the fabric that resemble vines, branches, leaves, or flowers extend-

ing into space. When these fabrics are cut into squares, they give the subtle

appearance of something gently reach-

ing from one area into another. The back- Steacfuj, 5xdmc*

ground value can be light, medium, or

dark. (We use those with light values

most often, and we use the back side of %

reachy fabrics for a softer, muted effect.)

Watch for these fabrics and start collect-

ing them now.

Use squares of reachy fabrics to lead

the eye gradually from a smooth area to

a chunky area. Matching values as closely

as possible, place a reachy fabric so that

 .

14 What'* .V-eu.

its darkest side is next to the chunky area of the design and its lightest side is

next to the smooth area.

Place reachy squares

around the edge of a design

C£f^ ... element, such as a bouquet,

to suggest leaves or delicate

5Jtu addition baby's breath or ferns. In

of. xeacnu and
pteckle fafbticd Doreen Burbank's "A Well-
eliminated lined
Between tight Urned Respite" on page 77,
and dank
axeaa. reachies form a feathered

edge between the bouquet

and the background. Pat

Young's "Celestory Win-

dow" on page 99 demon-

strates how a feathered edge

can be used in designs where a garden area meets the sky.

Use reachies to give an impression of hanging or vining flowers. Donna's

"Rhapsody in Bloom" on page 36 looks as though wisteria blossoms hang

from a pergola in the upper right corner of the quilt.

$xecMz 3a(kiv>
Occasionally, the transition between light and dark areas of a design has

to be achieved within a short span. It is not always possible to produce a

smooth, graded wash effect in a small space. Use "freckle" fabric squares to

quickly make a smooth transition between extreme values. Successful freckle

both light and dark values and lines and colors that have a fair

-what appear to be "freckles." You can find freckle fabrics

 What'* A'tw 15

with light backgrounds and dark freckles, and others with dark backgrounds

and light freckles.

If you want to move from a dark area to a lighter area within your design,

place dark-background freckle

squares next to the dark area. Then

ffft^flj Eff^ffrffV'
'S
add light-background freckle squares

as you get closer to the lighter area.

As Pat worked on her "September

Spawn" quilt on page 94, she placed

dark-background freckle squares $xecMe

SxxfadcA

next to the solid-appearing dark area.

Then she added light-background

squares that had dark freckles on

them. The addition of a few reachies

helped to make a good transition to

the smoothy light area.

Creating Flowers
One of the most frequently asked questions in our workshops is, "How
do I create beautiful flowers?" In watercolor quilts, large flowers appear to be

made from squares that are all cut from the same floral print. In fact, we make
flowers by combining petals or parts of petals from a variety of fabrics.

Watercolor blossoms make use of a "trick-the-eye" technique. When

viewed up close, a flower looks like a group of squares with colors and pat-

tern lines that do not match. But when the flower is viewed from a distance,

the eye blurs and blends the individual squares. Instead of mismatched

fabrics, the viewer sees a pretty, Impressionistic blossom.

 K, What'* Xaii

Petal Sjofadc*

It is easy to create flowers when

you have a large assortment of

"petal" fabric squares that are al-

ready sorted. Buy fabrics that have

large floral motifs. One fabric often

has many different colors and flow-

ers printed on it. In addition, you

may find a fabric with several dif-

ferent contrasts —between colors,

values, and design lines. When you
S'jdai Sxrthicd
cut these prints into 2" squares, only

parts of the petals, leaves, and other fragmented images remain. They yield

an assortment of different petal squares, all from one fabric.

To make it easier to create flowers, sort the petal squares into categories

determined by the background value. We have boxes that contain a variety of

different-colored petals, all with light backgrounds. We also have boxes of

petal squares with medium and dark backgrounds. Within each box, the col-

ors of the background may differ, but their values are the same. Place petals of

similar colors next to each

other in each box. Don' t worry

about matching colors exactly.

<ted fiu
medium,
 What' 5 „Vew 17

Grtuuiqetnmt of, ffi£o4AXum

As you create flowers, think of nature. Any single plant has many similar
blooms. For example, on a single bush, several roses usually bloom at one

time. You can unify segments of a design by repeating a common bloom

throughout.

In Pat's "Enticement —A Little Peek At Heaven" on page 96, examine the

vining morning glories that appear to hang from the top of her quilt. She found

several fabrics with blue vining flowers and used them repeatedly to get the

effect she wanted. To add variety and dimension, she added squares cut from

other fabrics that contained similar blue vining flowers.

Once you start re-creating flowers it is hard to stop. It is like viewing time-

lapse photography in a real flower garden. No need to wait for seeding,

pulling weeds, or trimming spent blossoms —you have instant bouquets!

The following pointers will help you re-create beautiful flowers in your

watercolor quilts.

fRe-oieating, $Coamwm
The Background Values Must Be the Same

You can use a variety of background colors in one area, but make sure

they are all the same value. For example, in dark areas of your design you can

use petals that have black, dark green, and dark red backgrounds. In light

areas of your design, use petal squares that have light backgrounds. As long

as the background values are the same, the colors don't matter.

Generally, place the darker squares near the bottom of the design and the

lighter squares near the top. The darker areas "anchor" the design at the bot-

tom. An example of this effect is found in Pat's "Enticement— A Little Peek At

Heaven" on page 96.
/S WAat'A .Vem

Petal Colors Do Not Need to Match

When creating a blossom in your quilt design, the petal values and colors
should be similar, but do not need to match exactly. Slight differences in value

and color add texture and dimension to flowers, imitating nature. Highlights

appear in light portions of the blossom while another portion may be in shadow.

Occasionally, adding a petal from a completely different color family adds

just the right touch to your flower.

Use Petals Cut from Different Fabrics

For realistic flowers, use petal squares cut from different fabrics or from

different flowers in the same fabric. Often, when squares cut from the same

flower are placed next to each other, the new blossom looks flat and lacks

depth. When you want to create a special effect, or when it is necessary to use
several squares that have been cut from the same flower, place the squares

kitty-corner from each other. Fill in the remaining squares with similar-

colored petals from other fabrics.

S'^tali cut puun &ame {.abuc one placed

kitty-conne* to fxeak up xepetitum. Cheating, the fBtoAAXun't Outline

When designing a bloom, it can be help-

ful to picture the outline of the flower you want

to create. The outer edge of the blossom should

mimic the gentle curves found in real flowers.

Stetais cut puun same faiaxie and

placed Aide (tu Aide Look flat.

Sliahtlu different petal colox

adds dimension.
 What' 9 A'ew 19

This outline can be part of the design on the petal squares that you use, or

they can just be in the imagination of the viewer. If you use the design lines of

a floral print to create your outline, remember that the printed lines do not

have to match exactly. Also, lines do not have to match within the flower.

When viewed from a distance, the eye blurs and blends the outline and inte-

rior, filling in any imperfections. Outline quilting around blossoms adds di-

mension and further defines their edges.

Sorting by Visual Texture

In Watercolor Quilts we suggest that you sort your fabric squares by value.
After you have mastered value sorting, it is helpful to further sort the group-

ings. Place similarly textured fabric squares next to each other. Sort your squares

into groups of smoothies, chunkies, reachies, freckles, and petals. Sort the

chunkies into subgroups of small-, medium-, and large-scale squares. Sort the

freckle fabrics by background value. Sort petal squares by background value

and by the colors of the individual petals.

Chunky fabrics at tap.. Smooth fatbac* at Bottom.

Petal
fafbuca
with tight Petal faS*ic4
Peachy back- with dath &Jiechle

fahuo ataurub Soxted bu value and teatwte bachaxoundd fxibiio

 CREATIVE EXPRESSION
YOU CAN DO IT

ost of us long to express ourselves creatively. There is no single

way to be, or to become, an artist. Ideas, special moments, or a

particular mood or feeling can be expressed in many ways. The

artists whose quilts are pictured in this book have chosen to interpret their

inspirations using fabric. They have experienced the freedom of finding an

idea, exploring it, and expressing themselves.

The process of creatively expressing or interpreting an idea often seems

overwhelming. Actually, exercising creative expression is similar to playing a

5xrfbtic &amp£ea
in tnia section
musical instrument, such as the piano. Education and hours of practice are
one fiem the
Watexealox required to play the piano. It takes a commitment to learning techniques and
Jnypixationi
fine, which Pat working on exercises, scales, and arpeggios. The more you practice and use
and 'Donna
developed with your skills, the more confidence you gain. Knowledge builds on experience.
South Sea
Jsnpxvtti. Every time you learn a more difficult composition, you take risks. As you

make mistakes, you practice to cor-

rect them. Learning to interpret a

composer's ideas is part of the pro-

cess as well. Sometimes for fun or

for a challenge, you may try your

own ideas to make the music sound

different. Who knows, as you

"noodle around" on the piano one

evening, you might even compose

a piece of your own.

 V»'i

»
QxeaUtte £a>pxe&Aion 21

So it is with creativity in the

J?^
visual arts. Creative expression is

an ongoing process to cultivate

and nurture. To stretch and grow,

you must expand your horizons.

SO Try techniques that you have
dffi

never used before. Consider new

and unusual color schemes that

take you away from your usual

palette. Study themes and varia-

tions of themes that push your

mm ' 4 UmtSm <c

quiltmaking to the next

Practice. Try
level.

new solutions. If

you make mistakes, learn from

them. Or better yet, try to turn the

v4r
"mistake" into a design success. Be

^BO^L. flexible. Give yourself freedom to

explore a variety of ideas and to

build a repertoire of experiences. Take risks. Remember, one idea often leads

to another and another.

Focus on what you like. Give yourself permission to be creative in ways

that please you instead of trying to please others. Do not judge your work too
harshly. Think of the creative process as something you do, while at the same

time something that happens to you. You feel freer and come to understand

yourself better. You may experience emotions of joy (and sometimes frustra-

tion), but all the while you make new discoveries. The results are outward

and visible signs of the inner creative process.

* 22 Cteatiite Cxp-xoAien

Myths About Creativity

a ci).
'3'tn not a cneative p&u>on.

Too often we associate creativity with the word talent, and we see both of
these attributes as divine favors or inherited gifts that make certain people

better than others. The truth is, creativity and talent must be used in combina-

tion with other qualities, such as perseverance, commitment, education,

discipline, and dedication.

For many of us, creativity has been

dormant for a long time. It lives within each

of us, like an unopened present. Why not

untie the ribbons and remove the wrap-

ping? Give yourself the gift of rediscover-

ing and renewing your creativity. As you

allow yourself to be more creative in your

daily life, you will find it easier to be cre-

ative with your quilting endeavors. Think

about it —when you dress in an attractive

outfit, plan a pleasing menu for a party, or
arrange the pictures on the living room

wall, you are being creative.

"3 newt have a sudden flash of instant ok creativity,'

>>

Another preconceived notion is that creativity occurs in an instant with a

single moment of perception. In fact, there seems to be an ongoing inner

process that nurtures creativity. Reflection and contemplation are part of the

Dcess. Just as there are rests in music, we need to have moments of stillness
rselves. They are just as important as periods of activity. It
takes time for ideas to percolate. Sometimes our minds are full of
Qxeatute &xpxe&&ien

ideas that
23

*
sift, swirl, and blend. Usually, flashes of insight are small, setting off sparks of

creativity that give us a push forward. Once our imaginations are turned on,

we try new ideas. One idea often leads to another. Consider all the images,

ideas, impressions, and color combinations that fill your mind. Don't toss any

of them out yet. Give yourself time to consider them all and to refine the ones

you like the best. Eventually, the moment comes when you are ready to put

your ideas on paper or to follow your instincts and start working with fabric.

Analyze when and where you are most creative and productive. What

environment stimulates you? What time of day do the ideas flow most freely?

Does classical music help? Maybe your best ideas strike when you first awake,

as with Donna. Perhaps a brisk run with the dog rejuvenates those tired and

oxygen-deprived brain cells, as Pat has found works best for her. Maybe you

find that you have flashes of brilliance during a relaxing shower, as Pat does

(it's too bad graph paper is not waterproof). The point is, create an environ-

ment that stimulates and nurtures your creativity.

"3 can't get tnu idea* to- uwnk.

>>
>

*r i k *A *& : '«
It is easy to feel defeated when cre-

ative efforts do not turn out as planned

& 4m
•

or when the process is not going well. v* fa

Don't give up. Remember that mistakes

and discoveries are sometimes linked. Be h

flexible. Try some "what ifs" and experi- •

1
* *
ment with several different solutions to $ J5«

AA
a problem. Don't ignore that inner voice

that asks, What would happen if I try •- •

& 1
*-
* 24 Cteative L&pt&sAian

this? ... or that? If your efforts don't accom-

plish what you want, at least you've clarified

what doesn't work. If you can't identify the

problem easily, try different paths to reach

your goal. Sometimes the final product bears

little resemblance to the original idea. At other

times, a design seems to have a mind and will

of its own, so you may as well follow where

it leads.

Try being spontaneous. Watch for little

flashes of insight that make the light bulb go

on over your head. When the creative process,

chemistry, and luck are in harmony, and ideas

flow, the pieces of the puzzle come together,

and you can't seem to do anything wrong. You

are in "The Zone." Take delight in the free-

dom and amazing joy of these moments.

"My vieatwity, h 6tif£ed.

>>
f

As children, we experienced the freedom of art as play. We enjoyed ex-

pressing our creativity in many ways, including drawing, painting, singing,

and dancing. Creating was easy then because we were impulsive and gener-

ally had no constraints. Also, competitiveness was minimal. As we grew older,

many of us lost the joy we felt when we did something creative. We felt com-
pelled to do things that turned out "right," in order to meet some external

standard. We were disappointed and discouraged when our efforts didn't

measure up, and we feared judgmental remarks, including self-criticism.

Perhaps well-meaning adults told us to stop playing around, which suppressed
Cxeatiite Cxpne&Aien 25

*
our ideas, and encouraged us to spend our time productively. When we be-

came adults, creative playfulness was buried deep inside.

Expectations, real or imagined, are not conducive to creative expression.

Try changing your perception. We tend to think in terms of good or bad, right
or wrong. Instead, try telling yourself "my effort is different, not bad." Foster

your creativity by being open to new experiences and growth. Learn to make
projects that please you, instead of pursuing a direction that others perceive

as the "right way."

"JAe idea* and inAsphatien cute not tfk&ie."

It is interesting that when the creative juices are flowing, we become com-
pletely absorbed in what we are doing. At times like those, nothing can stifle

creativity. Meals are forgotten, irons are left on, and the dogs beg for attention.

Like writers and musicians, visual artists sometimes experience "creative

blocks." When you find your-

self bogged down in the middle

of a project, or find that you

have stared, for too long, at an

empty design wall or blank

piece of paper, waiting for inspi-

ration to strike, stop! Analyze

the situation. Are external con-

ditions causing distractions and

a loss of concentration? Are you

tired, or experiencing a lot of

stress? Have you criticized

* 26 Cxeatwe Lxp-xeAMon

yourself too much or set unrealistic goals? Try some relaxation exercises or

words of self-affirmation, which often help. Or take a break. Go for a walk or

call some friends, and invite them out to a movie or a bite to eat.

When a project stumps you, approach it from a different direction. For

example, tell yourself that "this project is not hard, it is just going to take

longer than I thought." Or decide,

"I'm going to experiment with vari-

ous options, mull them over, and

make a decision later."

"I may not get it right the first

time" is a good attitude to adopt. The

quiltmaking process should be fun

and playful, not hard work. Creativ-

ity cannot be rushed. Just because it

doesn't happen today doesn't mean

it won't happen tomorrow.

"Making, a utatexccla* quill fa

txunetning 3 cau£d neue* da"

Yes, you can! Many of the quilts

in this book are the maker's second

or third watercolor quilt. Many of the

pieces shown in Watercolor Quilts were

the maker's first watercolor quilt. The most essential ingredient is an adequate

sh of 2" squares, sorted so you can find what you want when you need it!

affirmation: "Making a watercolor quilt is something I am going

i it!
Sources of Inspiration
27

*
Exposure to a variety of stimuli

brings heightened awareness and in-

creased perceptions. Pictures and

ideas are stored in the mind, which

kindle design inspirations later.

First, observe the magnificence of

your surroundings. Act like a sponge.

Soak up images, impressions, and

sounds. Expand your power to see,

feel, and imagine by learning to use all five senses to their fullest — sight, sound,

taste, touch, and smell — to capture moments in time.

Our work is influenced by our love of the outdoors, animals, flowers, and

especially nature's color combinations and special effects. Watch a calico kit-

ten playing in falling snow. Observe the colors, highlights, shadows, and

values. Listen to snow scrunch as you walk through it. Feel the difference in

texture between a kitten's soft fur and a handful of snow. Just for fun, catch a

falling snowflake on your tongue or lie down and make a snow angel. Savor

the depth of encounters such as these, and from that you'll derive a broader

base of experience to express through your art.

We both love music, which inspires us in various ways. For example,

through listening, singing, or playing an instrument, we "see" and "feel"

inspiration, as well as "hear" it. We read books on art, gardening, nature, and
interior design. We study photographs and listen to poetry. We clip out pretty
or interesting color schemes and pictures from magazines and newspapers

and save them for future reference. We buy beautiful and interesting greeting
cards and never mail them. We have wonderful gift bags and wrapping paper
* 2S

we'll never use for their intended purposes, but the designs may someday
trigger an idea. Sometimes it seems we have an overabundance of inspira-

tional things, especially when the drawer labeled "Idea Files" won't close.

When choosing a theme or subject to explore, select something that inter-

ests you or relates to something you love. When you work with a subject you
like, the creative process is more enjoyable, the goal easier to achieve, and the

satisfaction greater. When you immerse yourself in an idea and the process of
designing and producing a quilt, you are more apt to make an effective, and

convincing, artistic statement.

The inspirations for the quilts in this book are as varied and diverse as the

artists themselves. Nature, architecture, music, photographs, books, poetry,

paintings, posters, memories, moods and feelings, special fabrics, a quilt show
theme, geometric shapes, an emotional or moving event, a moment in time,

and color schemes for rooms were all sources of inspiration. The makers of

these quilts followed their interests and instincts as they worked toward dis-

expression. They have communicated not only something

I heme, but something about themselves as well.

 Cteatwe &xpxe<sM<ui 29

Work or Play?
You can take numerous approaches to developing your ideas and visual

perceptions. Understanding how you work seems to help the creative pro-

cess. One way of working will bring out your best creative efforts and seem

like play; another work style will frustrate you, making creative expression

seem like drudgery.

The following descriptions are brief summaries of just a few ways that

people approach design and how they work to bring their design to life. Keep
in mind that you may use elements of each design method. Find and use the

techniques that allow you to experience the most freedom of expression.

Methodical (Lpypxaach

If you feel comfortable using pencil and paper and

prefer to have a detailed sketch or plan of your project,

you approach design methodically. You are likely to have

logical thinking skills. You work on an idea for several

sessions, planning and finalizing most choices and deci-

sions on paper. Then you begin to work on your

design wall, arranging fabric squares.

Pat works this way. "September Spawn" on page 94

was inspired by a trip to Alaska in the summer of 1994.

When Pat got home, she went to the library and re-

searched the salmon spawning process. She studied post-

cards and other artwork depicting the theme. Children's

books in particular provided simplified drawings and

illustrations of the fish. She first planned her design on

graph paper. Pat established where she would develop

 3C Qxeativz £acpxe&&ion

*p JT»

the dark and light areas of the quilt and where she
i
would place pockets of color. Then she went to her

design wall. She placed the salmon first, and then

filled in much of the background before realizing

that more salmon were needed. A master plan had

been established, but she modified the design later.

Jntuitwe (Lpfxaach

If you consider detailed design plans a waste of

your time, you probably have a more intuitive, spon-

taneous approach to design. You like to make deci-

sions as you go, possessing a freedom of spirit that

allows experimentation in the middle of a project.

Donna is one of these people. When designing

"Rhapsody in Bloom" on page 36 in her mind,

Donna's first inspiration was her love of music, particularly the piano. For

many months she collected visual ideas from music posters, books, maga-

zines, her flower garden, and other sources. One day, a flash of insight moved
one idea to the forefront and all the other collected images fell in place. Why
not place a grand piano in a garden setting to combine her love of music with

her passion for flowers? Donna played with her ideas as she placed the fabric

squares on her design wall. After completing the outline of the piano, she

filled it in by creating flowers. Then she developed the background and floral

areas to give the feeling of a lush garden.

We have noticed that Donna, using the intuitive approach, has to spend

more time refining her leas on the design wall than Pat does when she uses

Jicalapproac
 Qaa£-Ckiented CLppxoacA
Cxeatiue Cxptesaion 31

¥
Are setting and accomplishing

goals high on your list of priorities?

Goal-oriented people find it important

to their well-being to finish projects in

a timely manner. They like to have a

sense of order in their world. Pat used

to be one of these people, until she

started working with Donna!

fPjieceaA-Ckiented &pj)Maacfl

Do you enjoy the process of de-

signing and making the quilt as much

as finishing it? Can you leave a project

unfinished without carrying around

bucket-loads of guilt? If your answer to both of these questions is yes, then

you tend to be a process-oriented person, like Donna.

All of us have similarities and differences in our working styles. You need

to be flexible while working on emerging designs. Sometimes a project wants

to do its own thing, and you may need to make adjustments as you work.

There is no right or wrong way to design and create a watercolor quilt. Just

relax and let ideas flow and designs develop!

Planning a Specific Design

How does one plan a specific design? Some peop 1
i ve an intuitive sense

of what they want to accomplish and do not w cril with structured design

principles. Others need guidance and support to make their ideas become
"* 32 Cieatiue £jcp*^M<w

reality. We offer the following information for your consideration. If you have
a preferred approach, you have the freedom to step out on your own and

disregard this material any time you wish. Or you may decide to use all of the

suggested steps, but in a different order.

Our first rule is that it is okay to break the rules. The object of the design

process is to please yourself and communicate what you want to say. You may

work with paper and pencil, or you may go directly to your design wall and

begin working with your fabrics.

Step Cine — {Design SAapa

Decide the overall shape of your design. Do you want it to be square,

rectangular (oriented vertically or horizontally), or another shape?

Step Jmw- —Siy£e

Select a style to interpret

your idea. You will notice a

variety of quilt styles in this

book. Some designs based on

an image are faithful to the

composition of the original.

Others loosely interpret a

subject or theme. Some are

representational and depict

an object in a recognizable

manner. Others are abstract,

emphasizing color and line in

a nonrepresentational form.
 Creatine £xpMeAaion 33

*•
Still other quilts capture subjects, scenes, and figures with realism. The

symbolic style uses representational imagery or color to communicate ideas.

Think about your subject

and envision it in various

styles. Mix styles. There is no

right or wrong here. Try sketch-

ing your idea, expressing it in

different ways.

Step 5Jhne& —CampxMJUian

As you plan your design,

you need to be practical about

how much visual information

you can include. The charm

and beauty of most watercolor

quilts is their simplicity. This

means that your design need

not be an exact replica of your

inspiration or idea, but an in-

terpretation that conveys the

idea or mood. You may have to

eliminate some parts of the

design and simplify others.

Concentrate more on shadows,

highlights, and pockets of color rather than d se this method of

"emphasized simplification" to create a strong n.

Consider the spatial relationship between your focused subject (positive

* 34 Cxeative £apx£AAien

space) and the background (negative space). Is there too much of one and not

enough of the other?

Put movement in your design. To accomplish this, use curves or an undu-

lating arrangement. For example, balance the contrasts of light and dark

values, smooth and coarse textures, and cool and warm colors.

Anchor the bottom of the design. Use darker colors and chunkier textures

here to add weight. This is the way we see things in nature. Imagine standing
in your flower garden. The flowers in the beds at your feet have distinct de-

tails. You can see each leaf, and the earth around them is dark. Now look

across the meadow to your neighbor's yard and to the yard beyond that. Indi-
vidual blossoms and colors moosh together. Colors appear lighter, and you

see none of the individual details of flowers, leaves, and grass.

t a focus and V a ep the design simple. Do not try to put everything

quilt.
Where Do Go from Here?
I
Creative &x>pjieAAion 35

*
The quiltmakers whose works appear in this book have experienced

satisfaction and a sense of accomplishment by creating something that was

pleasing to them. They discovered things along the way, and they share a bit

about themselves with us. We look at their quilts and are in awe of their abil-
ity to make something so beautiful. Meanwhile, they look at their quilts and

see things they would change or do differently next time. We all learn from

our projects and our mistakes.

The creative process does not stop here. The more ideas we develop, the

more frequent and better our ideas become. We have not reached a plateau;

the top is still out of sight. There are many watercolor quilts out there yet to be
made. Have lots of fun while you plan and make them!
GALLERY

Rhapsody in Bloom by Donna Ingram Slusser, assisted by Lloyd Slusser, 1995, Pullman,
Washington, 52" x 57". Donna combined her love of music and flowers, creating a floral

interpretation of a musical theme.

dd a child, J tp&tt many, hawed practicing, the piano-. Jt fawn* the Ootid of mu love
of. music that flout* through, evexy day of mu life. GJhanh you, Mom
and Sad, (ok the
tppoJdunitu and you gave me. Qwidening, doth vegetable and floxal, keep* me in
gift
with natwie's beauty, a* 3 observe tvondxous changed and momentous happenings.
wed natwial to combine my twv love* in this quill. 5Jhe guilt's name is a play an
torn the title of one of. my favorite piano concetto*.
 Qtrtte-u/ 37

Water Lilies Through the Mist by Connie Darbellay, 1994, Calgary, Alberta, Canada, 15" x
50". This screen displays the combined artistic efforts of the Darbellay family. The hand-
dyed fabric side panels complement the beauty of the watercolor quilt in the center.

Mu dauahtex h a textile majox at ant college and mu hws&and enjoy* fuxnituxe

camtxuction, *a it deemed natwud fox the thxee of us to carnitine aux taientd and cxeate
a screen. 3 constxueted the quilted centex panel fixst sjo that mu daugntex could due
coexdinating fahxie fox the turn side panels.
38 QaUextf

Ruby Mountain Autumn by Ellen Krieger, 1994, Pullman,

Washington, 34" x 36'/2". Ellen will always be able to keep
the memories of a special trip alive with this landscape.

Q, to the ShdUf. Mountain* in Ateuada made a

tup
gteat impxeMum on me. 3 was ouesuuhelmed Iky, the
beauty, of. the cvtea, and 3 saw quilt pasAwilities eiwaj,-
whene. (Iftei alt, the nuxuntainsides utete natwud patek-
utoxk. When my, uvspvuxtionis Baaed on natwie, 3 usu-

ally take photographs. 3 use the photographs only to

temind me of. details.When 3 Begin wanking., the design
takes itsown shape and xe fleets overall impressions and
feelings xatkex than Becoming, a teaUstic xepxesentation.
 Qatlexy 39

Monet: Tulip Fields at Sassenheim by Marlene Kissler, 1994, Seattle, Washington, 67" x
51". For her first art quilt, Marlene beautifully interpreted Monet's landscape in fabric.

J had muMed ovex the idea of aieating a pictoxiai quilt using the coloxs and
pattern lines of fadxics, instead of seams ok applique, to cxeate an imaae. When 3 taw
a pictuxe of Monet's painting, it uispixed me to test tnu idea.
J look fox imaged with coloxs and shapes that intexest the eye. JAen 3 took fox
fahxics that have the same colox comhinations and shading neces&axu to. produce the
3
image, using J4 " finished squaxes.
4C (jaUety

Going Home by Drew Donnelly Benage, 1994, St. Louis, Missouri, 30" x 30". Drew took
the watercolor technique in a new direction by combining a batik panel with small
squares. The result is a beautiful tropical landscape.

When 3 fast saw. the 'Javanese Batik panel, 3 imagined a colowavash landscape
d it. 3 extended the utatex and mountains Beuond the panel, and used the ivnong
fa&ac squaws to complete the peach-coloned ska. 3 have Been involved in
tf

lothina design, dwestrnxxking, and tailoring since designing doll clothes as

i to quiltmahing in the late 1970s, and it has Become tnu pximawg
Tundra Swan by Ree Nancarrow, 1993, Denali Park, Alaska, 3l /i x 34". The Alaskan
x

swan is realistically portrayed in this scene. Applique and hand-stitched French knots
help to achieve the beauty of this magnificent bird.

3t wa* pun ate. an JtJJt Java handmade batik ant pond in thh project. 3
to.

a audi and then use technique* that matt ap^pmpniatehf and etftctwebf
usually, design
canueu what 3 want ta sou.
42 Qatlvty

Colorwash Module # I by Drew Donnelly Benage, 1993, St. Louis, Missouri, 15" x 20"
Beautiful pockets of color soften this geometric design.

J have enjoyed the geometric designs of SievuUe Qjmsden fox yeaxs and used a
iide pcom Shixiey JMy's "eoloxwa»h WoxMooh" fox this eccexcise. OMouah my
•e inspiration corned piom many souxces, J am matt often pxompied &y the
lemselves. WAen J took at fafixic, J immediately see a paxticulax style ox
uig and axxanging foioxic and colox axe my. fowoxiie pxvtts of the
•toce&s, so. watetcolox design* axe my cup of tea.
 Qailvty 43

Homage to Deirdre Amsdenby Lorraine Torrence, 1994, Seattle, Washington, 79" x 55".
Rich color combinations add interest to this geometric design.

J start my uuxtercolor quilt* with pencil drawinas in which 3 shade areas to. acute
an abstract composition. Siwung. the years of. making, these quilt* my. style has changed.
J have moved toward utorhing with intense color concentrations in different areas mother
than tiding, a muted, overall comhination colorwash a* J did at fast.
 44 qcdLvuf

Leaves Don't Fall. They

Descend by Carmen A.
Bubar, 1994, Denali
Park, Alaska, 48" x 62".
Carmen took the title for

her quilt from a poem

she heard ten years ago
in an adult education
class. The poem comes
to mind every fall as the
leaves begin to change
color.

Mq
image of fall
haves was easilq
tepHesented using
uuUe*cvlox-auilt tech-
nique*. QttheUvp of
the quilt <vte the shad-
<uvs you wou
tee as
faoh intoa txee full of
haves. Jn canViast, the
sunliaht Gachliaht* the
leaves as t&eu "come
winging."

ei
 Qattvtif 45

Spring 2OV2" x l8 3/t" Summer 20" x l7'/»"

Autumn 20 '/ Winter 19" x 19"

Vivaldi's Four Seasons by Susan I. Jones, 1994, Bellevue, Washington. Susan interpreted the music of
Vivaldi beautifully. She quilted these pieces with metallic threads and bound them with lame.

Cne of mq pexsonal quiltmakinq goals is to woxk in a sexies to eacptoxe a technique ox an idea

mane completelq. 3 also like to listen to cias^sicai music when designing and constructing a quill. 3
was enjoqinq Vivaldi's music when 3 discauexed a neatly complete "Sjyxing" on tnq design bound.
€uident£q, 3 woxk intuitutelq. Completing, the sexies did not take much moxe discipline ok conscious
thought, except fox emphasis on colon, and the quitting stitches. S^pxing. has tight Blossoms and Suds in
cleat, stxonq coloxs. Summex's blooms axe moxe open, slightlq faded, and taxgex. CLutumn's frountu
and fixe-coloxed foliage reflect the daxkening of the season. Wintex is all icq and cold coloxs, ovexlaid
with stfuexq icicle stitching..
46 QaUexy

My Rainbow Revisited by Lorraine Ashmore Campbell 1995, Orange, California, 25" x

37". Two sections intertwine to create this three-dimensional quilt.

i idea fax this design deemed ta Be a simple one, But it xequixed concentration.
traced* uduaUu dtwitd with a need ex pxoBlem. SJhen J move to. the fafaiiea
' h/xnd. JVjeoct, 3 utondex horn fax J can atxetch the udei. 5inaflq,, 3
tiion wi££ Be good enough.
 QaUext, 47

Motion by Marilyn Kay Bower, 1994, Seward, Nebraska, 38" x 38". Marilyn's design
focuses on curves. She selected many fabric squares individually and often specially cut
them to create the effect of movement.

(Zs a teaiist Landscape paintex, it is fun to kick aside, the boundaries of natwud
shape* and colons and eayy&dment with aksVtact forms and pwte colon*. J approached
this quilt in the Mime wau J begin mu paintings, staiting with a sextet of. e^eximental

ualue sketches. Shen J chase one sketch and VuuvsJfenxed it to gxaph pope*. (Is the
design begun to take shape, on the flannel boaxd, it siaxted to "talk" to me. 3 made
changes that then, of course, affected all the othex potts. JAis xequvted tedoing section*
J had previously, completed. Jt's a oteatwe process that is the same whethex the
medium is paint ok fab tic.
4S QaUety

Wear a Pink Ribbon by Elizabeth Purser Hendricks, 1995, Seattle, Washington, 41" x 50".
and applied silk organza overlays, thereby
Elizabeth transferred family photos to fabric
softening the images and making an effective personal statement.

SSxeatt cancex haunta the women on Both tide* of mu family.. 5Jhu> quilt evolved
while J woxhed on it. Bachgxound image of. a soft, floxal (bteadt deemed *jo
5Jhe (vaginal
!£ tutted to the watexcolox. ttule. 5Jhe imaged one of foot genexationd of women in mu

tilu, aevexal of whom have had Sxeadt cancex. Since mu mothex died of Sxeatt cancex

lemia twelve uewtd ago, it was puxticulaxlu difficult, at wed aa touching, fox
i hex. image. 5Jhe writing in the quilting help* tell the Auvtu.
 Qallexy 49

Water Lilies by Joan McDonough, Omaha, Nebraska, 36"

1994, x 36". Inspired by a Monet
painting, Joan's design reflects the same Impressionistic style.

J enjoyed euexu ttep of, the quittmahing pxaces*, puun choosing the fafbaa to.
quilting.6u hand. Wanking with coIok and the image* of the wutex lilie* in the pond
utaa xewwiding.
50 gallery

Like a Watered Garden by Terry Waldren, 1994, Anaheim Hills, California. 26" x 26".
Shaded borders around a center motif add depth and richness to this engaging design.

CUmoAt as important ta me ad inspiration is tnu fafixic collection. 3 don't own one

piece of. [auric that 3 wasn't completely in love with at the time 3 Sought it. 3xithucs
contain so- many. coloxs, movements, and suktleties that 3 l&se txack of. time when 3
study the interplay of one fabric with another and another and another.
3 woxk Best when 3 have "million* of ideas," so 3 peed tnu eye* and my mind with
as much information as 3 can. 3 have neve*, Been at a lo&s fox an idea. 3'm just
chronically shout of time to- use them all.
Mu creative pxoces* is one of extending and Bending what 3 see. Creativity is Based
on curiosity, wondering "why" and "what if." While making watexcolox quilts, 3
index if 3 can make (lowexs out of patterns that axe completely different puun one
She curiosity in making flowexs comes ptom really studying an autumn leaf
reens, reds, and yellows melting into one another and thinking, Could 3
iike that too.?
Northwest Movement by Karla Harris, 1995, Hope, Idaho, 43" x 43". Quilted by Wynona
A graded wash background that effectively uses only plaids sets the mood
Harris King.
for this folk-art design.

Jnfluenced 6u felh-axt quilt cuttlsl and teachet Mown £au Wiedman, J had made
manu haute Macks. 3 had na idea haw ta set them taqethex in oxdex ta complete the
project. 5Jhe idea a/ camvxnina mu haute blacks with plaids, which J have collected fa*
same time, seemed petfect. 3 Cave watencolox quilts because the stale seems ta enhance
so- manu desiqns.
52 tydtettf

Flower Garden by Ree Nancarrow, Denali Park, Alaska, and Karla Harris, Hope, Idaho,
1993, 5372" x 20'/2". Quilted by Wynona Harris King. Ree and Karla placed pieced flower
blocks, which Ree had won in a quilt shop-sponsored block exchange, on a lovely
washed background.

We get toaethex several timet a uewt to- woxk on joint project*. We (btauisuvtm out
way. through the normal pxohlems encountered when wonhing. through an idea. We
work at ieadt twelve Hours a day., nonstop, since oux time together, fa limited. We wank
either at JCarla's home in Jdaho or at Slee's in CUasha. JCarla's daughter quilted this
project, making it Vadu a family, affaii.
 Qailextf 53

Toklat Wolf Pack by Ree Nancarrow, Denali Park, Alaska, and Karla Harris, Hope, Idaho,
by Wynona Harris King. Combining representational pieced
1994, 101" x 66". Quilted
blocks with a watercolor background effectively portrays this theme from nature.

With only, a skaxt time to wank we toughed out the wolf, Mock and uegeta-
tagethex,
tion ateus with fxrfbacs. We wentowl xesycctive home*
ta — ffiee to- CUaska and JCwda

ta natthein Jdaha —
to make blocks. 5jwo month* late*, we act tagetkex to figwte out
horn ta put the Hacks tagetkex. (Sjux original intent did not include the wsc c/ wateicoiox
techniques; it just evolved as the mast effective wau ta make out statement.
54 (}alte%g

Sailing at Sunset by Cheri Farizel, 1994, Basalt, Colorado, 26" x 31". Cheri made a quilted
landscape with a wonderful palette of fabrics. It depicts Reudi Reservoir, which is a high
mountain lake outside Basalt, Colorado.

5Jhe tummex kefiwe J began this project, mu (kuA&and and 3 bought owe fatdt
suilhoat. 3 found mutelf. Caching mote, clo^elg at natwte while, (footing., noticing whewe
the utate% u> dwthest, hornthe. mountain* loch ptom the watex, and the different colon*

vl in a dumet. 3 alwxup have a wutewcolcK quilt in pxagxedA and take gxeat

'amhing on one design a tittle Bit at a time. £ochina fax new fabxia to.
talhing about the pHagxeoA with mg. fxuniig is at enjauable ad deehing
xe in a piece of. fabric.
 Qatt&uf .5.5

lewel Of the MiSt: A Lighthouse by J. J. Scheri, 1995, Eugene, Oregon, 52" x 29". J. J.'s love
of lighthouses is reflected in this seascape, which is a compilation of pictures as well as
scenes from her travels.

lighthouses fume, alwugs uttugued me. SJheu sumkolvze manu positive values, such
us secwtitg, guidance, and dedication to the safetu of. others.3 find that 3 make mu
Best vieations when 3 take the "Sack Gamer apjpxoach." 3 let idea* simmer at the Back
of mu mind without Letting, mu intellectual iide take oven, and
think loo hard about it.
3 hang the design where 3 will see it often during the dag. Cecasionallu, 3'U stop and
gaze, fox a few- moments. Cuentuallu, the creative pxoces* simmers long enough, and
then 3 knout what to da.
56 (faUetif

At Water's Edge by Michele Hartley, 1995, Enumclaw, Washington, 2V/i" x 2V/i" Quilted .

by Cheryl Greenstreet Swain. Michele was inspired by the peace and tranquillity she felt
when standing at the water's edge, surrounded by beautiful wildflowers. A particular
place of inspiration is Lake Mowich, in Washington state.

JMi quilt ytwtted with a feeling J had. 3 loadely outlined my. axea* of. coIok, and
then just let it {tow.
 QaUety 57

CISter's Sunrise by Marge Davis, 1994, La Vista, Nebraska, 72" x 45". Marge had long
wanted a view of an ocean landscape to remind her of what she saw on her honeymoon
in Northern California. This attractive Impressionistic seascape is the result.

dy 3 wwthed on thi* mutt, 3 thought a&out all the puend*3 have, made an the
Quitting. !hmun through CampuSeute 3nfoxmation Sexvice.ttmang aide* thing*, we
3 decided to
trade fahnic. 5xvt this quilt, include the fahtia puun each pewon with
whom 3 had traded dwdng the pent few months. 5Mt> made it a true memory quilt.
When 3 mentioned on the porum that 3 wad making thin quilt, 3 started xecewing
fahtic in the mail neatly, every day, along withwords of encouragement puun all the
other CJSten (owe name fox each other). Mu quilt included
pabric puun England,
Qastralia, Qermany, Canada, Jloland, 3taly, France, the Czech Republic, Japan,
Singapore, Jiali, South 3Corea, the Virgin 3s£ands, and nearly every state in the
United State*.
5S Qaltexy

Baskets Aglow by Darlene Harper, 1995, Kennard, Nebraska, 36" x 42". Placing traditional
quilt blocks in a watercolor setting produces a delightful effect.

3 wat wanking an a challenge pxaject fox which 3 needed ta make five block*. 3
pxidted the black* ta the next quiltex, wha set them tagethex. 3 decided to make five
identical Black* fan. myself, juit to- tee haw 3 would axxange them. 3 happened ta be in
uilt shop when the ownex letuxned fxom 3 ntexnatianal Guilt Mwtket in Stouttan.
(ntfuuiaim akaut a watexcalox quilt* exhibit the had teen thene wot cantagiaud.
d hex copy of "Watexcalox Guiltd" with me, and 3 wad inspixed ta ute mu
a watexcalox detting.
Four Seasons by Nancy J. Dudley 1994, Wilsonville, Oregon, 54" x 54". Nancy used the
watercolor technique of shading and combining floral fabrics within the traditional Star
blocks as well as in the background.

J pxefex to woth with a and shade the. dxawing with valued

design on quiph pxipex
of. gxau. J then go. to tnu fal'tic and choose a group of fabrics to use in the quilt.
slash
J need fleaci&iliUf fox watercolox quills, Because the addition of one fabric may set up
a colox change pox a iaxqe putt of the design. When working on watexcolox. quills, J
just go with the flout.
bC Qaltexg

Diamantine by Shirley Perryman, 1995, Cary, North Carolina, 53" x 5W. This design is a
composite of many Oriental rugs that Shirley saw while looking for furnishings for her
new house.

3 am in the pxocesA of. moving., and it has (ken a challenge to woxh in let* than

ideal conditions —ina small, dtvth apartment, with an improvised design wall and
fahric in packing Gooes. ShxpUe the inconvenienced, 3 ant encouraged that nothing can
stifle ma creativity. Sox this project, 3 was foxced to make a graphed sketch ahead of
time and stick to it. She guilt flowed together rathe* easily with all that planning.
£oohing back, 3 was puistrated that 3 could not just dive tight in and woxk with
fahric Cud not having to undo ana of. ma woxh was the payoff,.
 Qallexy 6/

Color Conspiracy by Jennifer Christeck, Mission Viejo, California, and Barbara Jennings,
Lake Forest, California, 1994, 48" x 48". Jennifer and Barbara are employees of Hoffman
California Fabrics. Although making quilts is not in their official job descriptions, for the
past three years Hoffman has asked them to make quilts for each trade show season.

(Zlthough we each have distinct stales, wanking taaethex encowuxges a s£nsc of,

expetimentation and commitment.

5M* quilt h owe fast watexcolox attempt. Afxitwuillu, we made the enthe qui£t with
Jiafpnan fxdhics. (Sjuk challenge to owiacIu&s wad to. use onlu fxuhics that had Been
xelegated ta the scnap Bin. SevcHal times each dag, we dug. tfvusugh the pile in the
sample department, xeOaeuing anuthing that might make a 2" finished sauwee. Clwc
fellow woxhexs laughed at us, until theu saw what we w&te doing, with all tk&sz Utile
Bittu scnapA. Jt was gneat fun.
62 Qattvut

Uncle John's Pond by Marca Davies, 1994, Port Townsend, Washington, 40" x 48". Marca
created pond and garden quilts by combining watercolor techniques with ideas from
author-teachers Judy Warren and Joan Colvin.

We Halted hoi (cwcp), which utete hotheted% hewn and laccoon*. We finally had
toawe the hoi to seme people who did not have these animal pHoftlenw. 3 made the
hewn quilt fox my. funiand, John, to be "hid pond."
 QaUva, 63

> \J*
^W-^r^*jR
&?4 1% w» **t^-

Gardeh Gate by Marca Davies, 1994, Port Townsend, Washington, 40" x 48". The companion
piece to "Garden Gate" is on the facing page.
64 Qatlety

PaSSione de Monet by Avis B. Caddell, 1994, Victoria, British Columbia, Canada, 53Y2" x
41 V2". Avis placed five elegant fans on a neutral background and surrounded them with a
graded wash border.

Clftct 3 made mu fvtat couple of. colouwwath pieced 3 found that 3 wanted to
colowauadh neatly, evexuthina! 3 alio wanted to faianch out piom 2" dquwiet. 3ox thh
ifuUt, 3 placed the completed fan* on mu denqn wail and moved them (wound until 3
3 cut out tome papet fan* to scale and
fined thevt position*. 5jc help with thi» pxoced*,
avtanaed them on a*aph pup>e*. 5ox the most pant, 3 completed the neuttal Bach-
atound with ninepatchei, with additional sxuuvtet placed hete and thene to fill in.
 Qatlexg 65

Victorian Fancy by Avis B. Caddell, 1995, Victoria, British Columbia, Canada, 51" x 76".
Avis developed the idea for this quilt as she worked on her first fan quilt, "Passione de
Monet," on the facing page.

Mu. challenge in making, thii second fan quilt was threefold. 5vu>t, 3 wanted to
vieate mote movement than in the final fan quilt. Second, J wanted to expeniment with
uwiiationi of the oniginal fan*. Clnd finallu, J wanted to vzpto*e ii£h painting and u&e
it in a quilt, ao J painted the dilk that was tided to ateate the flowing tiMon.
66 QaUety

On the Beach by Sharon Heslop Wiser, 1995, Pullman, Washington, 36" x 30". This
seascape highlights a love of travel and bird watching shared by Sharon and her husband.

CI dramatic sunset on a Beach, in California was the main svwvce a( uispiiatiati fat
this project. Cln another Beach in Ckegon, 3 fell in love with the (Sjptex Catcher with
pink lead and ted Bills. 3 tried to capture, in fabric, the glow of, the sun and the
their
on a wet Beach. 5Jhe subtle looh 3 wanted to achieve was elusive
reflection of the shy.
and 3 had to use the wrong side of. Brighter and darker sauares to yield the muted
coloring, and desired teocture.
3 enjoy, the soft Blending. 3 can ohtain with small sauares of fabric. Sometimes it is
when the colons Blend, and sometimes it is the designs ptinted on the fabrics that make

the pieces come together.

 QaUetg 67

Sunrise Surprise by Bernice Molmen, 1995, Salem, Oregon, 41 'A" x 4V/i". Influenced by a
heron design workshop taught by Joan Colvin, author of Quilts from Nature, Bee decided
to create a watercolor background for these birds.

SJhib quilt received its name because the project came about io. unexpectedly.. J judi
happened to. have all the tight foUwia fox the (wuLi and the background in tnu itaih.
Mence the twvpniie. 3 ant an enthusiastic quitter who. toves to. Viy neat thing*, and
wateHcolo* quilts have proved to Be an exciting, and joyous chaUenge.
6S QaUety

My View of the World by Laura Heine, 1991, Billings, Montana, 43" x 55". Color, texture,
and light all play an important role in Laura's quilts.

5M» quilt wat> inopixed &u a Camille JUoaovco. painting, "Women in a $ield."
(Uthaugh the quilt vetu different ptem the actual painting, the house* in the quilt
id

lu&ea in the tachgmund of the painting.. J added the lattice window, ad

hi, Because the quill didn't deem to. have, the depth J wad txuing ta
aehi<. window* made it wank.
A Rose is a Rose is a Rose by Laura Heine, 1990, Billings, Montana, 70" x m/i". Many of
Laura's quilts have a floral touch, which is apparent in her use of multiple images of roses.

3 ovuj, much A(m awtden id a aneat ind^pvaxtion in

love {tow&u>. the dummex. Afutwie
seems to- provide a huqe sawtce of. healing and stxenath in mu life.
70 qallety

La Puerta Azul (The Blue Door) by Joli Springer, 1994, Carbondale, Colorado, 37" x 37". Joli found a
piece of decorator fabric and used it to make the courtyard tree that arches over the blue door.

Shis quilt wat indebted By my. love of Southwestetn axchitectwte. husfiand Built awe stucco Mu
home, two uewts ago. Jtwoa dating awe itifo-xttiatien- gathering phot*, that J teamed the colox Mae u>

open used to- pcame window* and dooxs of, adobe homed and is thought to prevent evil spirits piom
the dwelling,
utided, dwting mu creative pnoces*, Bu maneed to communicate with whoevex will tee mu
it as a gift. J want to vteate in a%de% to shone and evoke thought*. 5Jhe watexcolox quilt
i path to a te-emetgence of, mu creative natwee. Jt has Been cwtatwe, and J am
'
Between quiltvis and theit wonk.
 qattvty 71

Copper Pot Impression by Joli Springer, 1994, Carbondale, Colorado, 38" x 57". The
copper-colored border defines the pot and lends an overall Asian flavor to the quilt.

Cxiginallu my. watexcolox quilts wexe ahstxact in natwte. Shis, ivas my {ixst attempt
at something pictoxial. 3t just emexged on the design uta££. 3 enjoyed cxeating the pvt
{vat; the cop^pex-caloxed s-quaxes seemed pxvUiculatly waxm. 5Jhe stem* and ftlosMWi
axeas developed easily, and afte* adding the cop^pex metallic bexdex, 3 was inspired ta
quilt the pat poxtion with capjpex metallic tfvtcad. 5Jhe quilting pxoces* was a petfect
outlet {ox my cxeatiue enexgy. 3 have long admixed the axt e/ watexcolox pxxinting
because a/ the fluid movement and sv$t images.
72 QalUxy

Summer Garden by Elise Miiller, 1994, Calgary, Alberta, Canada, 46" x 36". Elise's inspiration for this
idyllic scene came from photographs of gardens she found in magazines, cards, and other sources.

J wanted to. da a challenging project. J sought fxdmcs that would convey, the image of. the ganden

d in my mind, a qanden that mould invite the uiewex ta eaten.. Gutside the gate, one can only
'c coIwa, beauty, and peace the ganden ofletA those who wandex thnaugh. WxdencoloH. quilts
t« with an opportunity ta carnitine my Cave of. faxm and colax with my Cave of pafoiic.
 QaOexg 73

Spring After the Ice Storm Did Come) by Sylvia Gentry Richardson, 1994, Marion,
(It Virginia, 45" x 66".
Memories of picket fences and flower-filled baskets prompted this tribute to spring.

Jn ftelbauvuj. 1994 we had a devastating ice stonm in the Cast. Jt Ait owl mountain wtea the handest.
Jt left whole fonests without UeetapA, Slocked woods, damaged house*, and caused elecVacitg to Be off
fan daus. We wondeted if. thene was anything (eft to Bloom, but sprang did come in all its along! 3
all
Began this project with an image in my mind, a Bane design Boand, and many, faBnic sauaxes. J let the
faBnics do the "talking." J enjoued this "painte>tlu" project.
74 (jallexy

Summer Wreath by Ruby Stolz, 1994, Carbondale, Colorado, 43" x 51". Forty years of quilting, combined
with her painting background, attracted Ruby to the watercolor process. Combining many little squares is
similar to blending paints.

tied ta designa fiawex avtangement tiding, the Sioaanth cwute, But it toon Became evident that
wete taking one*, and a uweath Began ta emewge. binding faBma fox the fade-out
AaUenge, and J soon dheavexed that the leuewe tide* of the fafbdcd added a
 Qaltvtg 75

True Love by Connie James, 1994, Kent, Washington, 33'/2" x 35". This quilt is a romantic floral interpreta-
tion of two overlapping hearts, which Connie made to commemorate thirty-nine years of marriage.

3 just wait fxPt an idea to hit; then 3 ao to- monk. 3 usually concent>tate mate on the value of. the
pxint than the colox. Jiut this piece teemed to flow vettex when 3 wanked with colon in mind.
3 have given away, many. of my quilts. 3 designed and made this quilt often my husband asked
me to- make something fox the two of. us.
Colorwash Basket by Pat Under, 1994, Kila, Montana, 74" x 76". Pockets of color serve as a backdrop for
this lovely basket bursting with flowers. Collection of In The Beginning quilt shop, Seattle, Washington.

k» was an all-coniuming pnoject. 3 dxeamed admit it. 3 couldn't wait to Begin worthing on it
Bought and Begged fafkicd that contained just the tight colow. 3 Began with a value
lidn't have anu idea whete the colaw would lead. 3 find that dome quiltd, (ihe this

foea —theu just flow.

 Qattexy, 77

Well-timed Respite by Doreen Cronkite Burbank, 1994, Windham, New Hampshire, 58'/2" x 64". A large
number of floral fabrics with black backgrounds inspired Doreen to design the urn. The outer edge of the
bouquet is an excellent example of the usefulness of "reachy" fabrics.

3 was in the midst o<f woxhinq on quilts fox mu own Booh, using 5 " chwun sauaxes, when 3 was
qiuen "Watexcolox Cuults." 3 was s& intxiaued Su the wutexcolox idea that 3 put mu pxojects on hold
fox a week white 3 as^emhled this quilt tap. 3tence the name.
Siecause 3 was alxeadu woxhinq with 5 " squaxes, 3 just cut them into fouxths, tnahinq 2 " finished
sauaxes imtead of, the Vfz " finished squaxes the authoxs
tecommeaded. She pxoject tuxned out to 6e
somewhat taxqex than was pxactical, so. the imallex squaxes would have Been dettex. 3 dxew the uxn on
qxaph pupex, and ptam thexe the pxoject just "qxew" into this fioxal axxanqement. 3t was gxeat fun,
and mu tes^pite was indeed " well-uxned."
7S Qattvty

Sally's Tree by Helen Matthews, 1994, Eugene, Oregon, 42" x 30". Helen's first watercolor quilt expresses
her love of nature in all its beauty. Collection of Sally Weston.

Shis was mu fvu>t attempt at a wateHcolox quilt, which 3 made, at a suxpnJusc gift on the occasion
of a good ptiend's Bvdhdau. We. live among, the Vices in Oneaon, this watexcolo* depiction of. a txee
sxs-

deemed appxopsaate. 3 fume found enoHmoas pteedom in thinking and planning, watexcolox quilts.
3 am an CLudVuxUan who has lived in the United States fox manu ueaxs. 3 eaxhange ideas and
with mu sistex, £es*a Siegeie, who lutes in Qwstxalia. Same of oux exchanged faBxics found
this quilt. 5Jhe viewex will find small Qxvsbudiati animals, flowexs, and gum nuts tucked
•
 Qa££e^ 79

Mama Will Fix It by Karen Spriggs Bridges, 1994, Springfield, Oregon, 46" x 46". Karen named this quilt
for her mother, who helped make it possible for her to take a watercolor class. Also, as the mother of four
children, Karen herself is always fixing something that has been broken.

J have painted fax tnanu yewu>, usina a uwdety. of. media, But J have a£wau4 had a deep love fox
sewing and fa&ac. 5Jhe Sneneh JmpxeAAionht* have tana Been mu favanite painter, so the VuxnAiUon
piam painting to. quilting wan natwuxi.
ST QatUiy

A Tear for Laura by Maurine Roy, Edmonds, Washington, 42" x 52". Through
1993, the years, quiltmaking
has provided a means of expressing emotion. Maurine used her creative energy to find solace while
making this memorial quilt.

"CI Seat fox £awta" is call my

"thexapy quilt" fox my Little gxanddaughtex, £auxa
what 3
Michelle Qundexson, who was on dctoBex 25, 1993. 3 staxted utoxking without any definite
stillhoxn
idea. CLs 3 placed the sauaxes on my wotk wall, the design gxadually staxted talking, foxm. CLs my
quilt pxogxesAed, my pain began to ease. Somehow, walking with all those tiny pieces of fabxic helped
me to tesolue my feelinys.
3 think the most difficult paxt a watexcolox quilt is knowing when to stop. IJou just
of. making,
have always 6e one moxe sauaxe to teplace, one moxe to tuxn ouex,
to say, "that's it," fox thexe will
and one moxe way to change the effect. Once you step, into the woxld of quilting., you find thexe axe no
Limitations placed on uoux creativity ox the depth of goux feeling*.
Baptism by Anna Assink, 1994, Yakima, Washington, 28" x 23". Anna's use of trapunto and fourteen
dove in this reverent design. Collection of Philip Assink.
colors of metallic thread highlights the

Mu ninety -if cat -aid tnothex's xenewed interest in quitting, fowc geaxs ago was the impetus
Behind tnu passion to wa*h in this ant
faun.
3 staxted tnu design Bu placing different hues in each came*. Us J wanked tawaxd the iiahtex
hues in the centex, J visualized the dove descending. 5Jhe design eoopnes^ses a vidian of the Beauty, of
Baptism as it telates to tnu Christian faith. 5his was a gift to tnu son, who is a tninistet.
82 QaUettf

Alive in Christ by Dianne Schrader Picton, 1994,

Scribner, Nebraska. In her role as worship leader,
Dianne can wear this beautiful stole that not only
has religious significance, but exemplifies a
traditional women's art form —quilting. -I
Shis was mg. fast quitting, project. CL friend •6-X
encowtaged me to- Viu. a wateteotoH, quilt and
fwaiidhed the squwies. CLs 3 worthed with the
fa&acs, the project taoh on a iife of its own. 5Jhe
fixst night 3 wanked until 2 CL.M. 3 made this
stole fox the gxeen seanon of. the chwtch geax, the
Sundays 3t ewpnes^s&s changes
often. Stentecast. —
gxowth, Bla^Aoming, and gielding pout that axe. —
pwd of the Christian's iife in Qhxist.

f V

.•>*
 Qattvuf S3

Cathedral On the Rhine by Eleanor Kiser Cole, 1995, Pullman, Washington, 3V/i" x \Tli Eleanor used
.

broderie perse and applique techniques to create a stained-glass window in a lovely garden setting.

tywiing a cause on the Jthine SUvex, J noticed that evexg. little town seemed to have a cathetUal. One
cathedxal we visited had e.ipecially beautiful stained-glas* window*. When 3 decided to do a watex-
colox project, the beautiful stone cathedrals and thevt stained-glas* window* came to mind.
J slanted quitting, when J had gxcutdchiidxen. 3 have gone puun Being, just a giandmothci to what
tnu hushand calls "an addict." Me too is involved in quilting, now — as a cutter of. manu 2 " squares.
84 qalUxy

^^^^^^^H^A •**- "—

^.jPi ^'^ .
1 3
— .**%*%»

'^fe^ . 'Ht'jC IE

Cosmos Field by Yumiko Hirasawa, 1994, Yokohama, Japan, 64" x 58". Applique flowers enhance this
beautiful view. Quilts, flowers, and friends can communicate in any language!

.7 love the cat/no* flowers, etpeciallu fields of commas. J did not have tnanu flvHal-pmnt fabrics
able fox these ftl&sAioms, so. 3 used Ho^se-print fabrics instead. Even though J used gradations of, pinh
mas, the design looked Mea spring landscape filled with pretty,, unidentifiable flowers.
coamaa, 3 added appliqued 6lo4<soms. Mu
quilting lines tepxesent commas waving
 Gotten? 85

Morning Delight by Lloyd Slusser, 1995, Pullman, Washington, 36" x 36". Lloyd was inspired by the
made by his wife, Donna. He put his paints and brushes away, learned how to quilt,
watercolor quilts
and now uses fabrics as his art medium of choice.

5on thh punticulan project, 3 took a photoqnaph of a clump of Bumvoo gnowina in oun buchuand.
3hh is a plant that J'tn usuallu tnuina to eradicate. 5Ms yea* 3 just let it axoui. 3n the fall, it

developed beautiful colons, and 3 found them quite insftinational. CLs 3 wonhed on tnu piece, 3 could
not cneate with fxdhic the desiqn and colon* in the photoqnaph on in the pictwte in tnu mind. 3 kept
lewonkina the project, and one dau 3 finally let it have it* wau. 5Jhe bnown anea* staued the dame,
but sxum. pjocketi of colon and flonal impnes^sions emenqed. 5Jhe sounce of inclination [oohs nothina like
the finished quilt! Mu cneativitu seem* to come fnom mu close, ties with natune.
S6 QatUiy

Floating Diamonds by Jean Amsden, 1994, Cambridge, England, 32" x 28". Triangles cut
from unique mother of Deirdre Amsden,
fabrics melt into rich pockets of color. Jean is the
the originator of the colourwash technique.

3 wui a fcxt full of. tiny, ttianqles 6u Aomeone who did not know- what to- da
given
with them. 3
used white fadhic to. sepxviate the coioxed dhapet, oo. that the dhapet
would appeal ta float on the nvcfaee. 3 jwst tove pxtttexm, colon, and textile*. 3 wa4
txained at a ieientht 6ut diicovefted latex that 3 pxefex ant.
 fyMvty 87

&&&&*&&£

Sometimes I Do
Windows by Avis B. Caddell, 1994, Victoria, British Columbia, Canada,
52" x 43". Avis thought about doing a colourwash effect in the windows but decided to
"wash" the ledges instead. The design just seemed to beg for all the strips of fabric she
had already cut.

3 saw Judy, Mathiesxm's samples fo* hen, tittle Window* clad* at (Sxulting (tu the
Sound (in Sloxt Sawnsend, Washington) in SeptemSex 1994 and was ins^vted ta make,
this piece.

My ateatwe pstoees* seems to. change constantly., sjo 3 temain (lexiBle and just
enjoy what happens. Sxunetimes 3 do faixly detailed dxtuvings, using layexs of, Viacing
pope* sjO that 3 can altet ok add to a design. 3t also lets me Vty different shading and
colon options. 3ax othen projects, 3 wank on the design wall piom stwtt ta finish.
 J
88 (, «tfe*y

Variations on a Chum Dash by Barbara A. Minton, 1994, Benton City, Washington,

33Y2" x 33V2". Washes of color throughout the quilt highlight and add drama to this
traditional block design.

3 pound this technique to &e fun and spontaneous. 3 thotoagnli/ enjoued it. 5Mt
utui my, fatt effort, Out not mu Cant!
Reflections by Donna Ingram Slusser, 1991, Pullman, Washington, 43" x 43". Donna combined watercolor
techniques and a traditional design to give a contemporary feeling to this quilt.

3 am inVugued bu the idea of taking a traditional Mack and truing "what ifs" ta sVtetch design and
calm p^iMaies. J Gated this project an the Mrs. 33>ujan's Choice black. 3 ashed muself, "What if 3
enlarged the black and switched same of. the design elements around? WAat if 3 hied a palette of
analogous coloxs?" When the design was newdg complete, the Vuxnsyxvtencu effect became evident. 3t
was a delightful discovery.. 3 used mu hus&and's hand-pxunted fabric* in this guilt.
90 fyiltexu

Three Stars by Kathleen C. Pappas, 1994, Montrose, California, 35" x 28". Kathleen
combined her love of stars with a washed background to make her first watercolor quilt.

Mu souxce a/ In >phatwn fox this pxojectwas mu son's teaction to seeing, the Booh
"WMexcolox Quilts." Me laves Monet's woxh and (tinted that he would iihe ta have a
watexcolox quilt. 3 slanted with a sketch and added thxee stwts. Sheu xepxesent mu son
and his fiancee as two staxs soon to- 6e united as one. Mu feelinas fox them, seemed to
melt into mu woxh.
Ebb and Flow by Sherri Vaughn, 1995, Mukilteo, Washington, 28" x 28". Sherri wanted to
create a piece that had a strong graphic, contemporary quality.

3 shapes an the computet until 3 came up with a design 3

piaif utith aeometxic
like. 3 find that 3 became
puvstxated while dxawing an pupex, Because ideas come mane
quicklu than 3 can tecoxd them. Walking an the computet usually given me several
design choices, and when 3 can't decide among them, 3 ash fox anathex opinion. Sxune-
times 3 ash anathex quiliex, and sxtmetimes 3 ash mu husuund, who has an incredible
sense of. design.
92 tydUxg

Flowered Star by Kay Green, 1994, Redmond, Washington, 94" x 94". Quilted by Barbara
Walnut Creek, Ohio. Kay selected traditional star designs and used watercolor
Troyer,
techniques to make them. The blending of the floral fabrics softens the strong lines of the
stars.

3 Baaed the design an the Union (bang £nchc£ed Stat JiEack. J chase a fail £one
Siax fax the centet stax and made paxtial £ane Stat* fat the stax paints. J wanted the
cola* axadatian to change, ptam doth cotots at the center to tighten, colons, and then
Bach to daxk cola** at the oaten, points. Each side of, the pieced Bande* contains a Stat
Block at the center of a chain of JUnwheei Blacks. 3 used staphs teftauei ptam making
the Hone Stat to make the Binding.
Changing Views IV by Bonny Tinling, 1995, Vista, California, 93" x 93". Contrasting
pockets of warm and cool colors combine to give a luminous effect. Collection of Mary
Rose Mueller.

JMs h one of several uwihs that involves manipulation of. faunal design elements,

Audi a* hue., value, and line. Mast often J uuvtk paun a shaded ckawing. Jlathvi than
placing, colons on pupex, J modi puun coIoha that wte in mu head. Colon* one subject ta
change as J aa along.
94 (jaUexy

September Spawn by Maixner Magaret, 1995, Pullman, Washington, 50" x 60".

Patricia
Quilted by Cheryl Greenstreet Swain. Pat subtly portrays salmon swimming to spawn in
this quilt inspired by a trip to Alaska.

While waiting mg tan in CUadka in the tummex of 1994, 3 daux, fo* the fhdt time,
salmon ad then io&oniouiig letwined to theix spawning grounds to lag eggs, finally,
find tranquillity,, and then succunw. CMfo&utina this dimple get xemcvthaMe life pxoces*
overwhelmed me. J made thh guilt as a reminder that me mere never promised that life
mould 6e easu. ffiut if, lihe the salmon, we persevere through upstream currents, me
mill have peace at the, end of out. journeg.
 tyrtivat 95

Dream Garden by Patricia Maixner Magaret and Donna Ingram Slusser, 1994, Pullman,
Washington, 24" x 28'/2". A bed of pastel flowers spills into the background and borders of
this lovely garden. Collection of Nancy J. Martin.

Jt uta> fun fox us to carnitine awt cxeatwe effoxts ta make tAii quilt fox Afxutcy
Aiaxtin, awe puBlidtiex. We ted^pect each atfiex'a differenced and unique stales, wAich
allauii us ta capitalize an awt stxengtlis. 5Jhe design teflects Mxutca's lave of floxal
faSxics and pastel colaxs.
96 Qattety

Enticement— A Peek at Heaven by Patricia Maixner Magaret, 1995, Pullman, Washington, 55" x 44".
Little

Inspired by early morning walks, Pat used "petal" and "reachy" fabrics to create a summertime garden.

Mu life h greatly, inspired Bu natwte. Everywhere 3 look 3 see iittU miracles, all gifts from our
father in heaven and his earthly helper, Mother Afxuwte. 5Jhe Jitftle say*, "5or since the creation of
the world Qod's invisible qualities —
his eternal power and divine, natwte— have Been clearly seen, Being
understood ptom what has Been made ..." (Jtom. 1:2C)
3 see heaven in the flowers in mu gwtden, in the wildlife that scampers to find covet, and in a
Brilliant, sunlit morning sky. JMs quilt speaks to all of these.
 M
Tribute to January by Patricia Maixner Magaret, 1995, W/i x 43'/2 Quilted by Cheryl Greenstreet Swain.
.

Pat limited this pictorial representation to a palette of black, white, and gray.

3 l^cmite JVxUional JUvth a* a child, one of my Bafry-

xecently didcovcwed that while, living, in
dittviA wa* the daughtet of CUucl QAanw. 3 was
excited al<xud making a Black-and-white watexcolm
quilt, xeminhcent of QAanu'd photographs. She limited palette vaulted in a wintry look. 3 completed
the quilt tap on January S, which happen* ta Be my Bvdhday and that of Clvis JWesley. 3 included
Elvis (abac in this design. the mountain*.
3f. you look closely, you might tee him vetting on one of
9S Qailerg

Late Fall— Ketchikan, Alaska by Marcia Kenoyer, 1994, Ketchikan, Alaska, 3VA" x 40". This
quilt is a reflection of the colors and the atmosphere outside Marcia's window.

:Jhe idea of, a pictwie with fafbuc xeatig appealed to- me. Jhe qui£t was
painting,
"in p^ogves*" on my
wait po* about two- months. 3 spent one ok turn, (lowed each day
moving the pieces abound, and the ideas {.at the quilt floated and stinted in mg head
a££ dag Cong. J sometimes slatted oven,, walking in fits and starts.
 Qaitvtu 99

Celestory Window by Pat Young, 1994, Laguna Hills, California, 26" x 39". Pat's quilt derives its name
from its resemblance to a stained-glass window. A quilted vine grows toward the sky, adding depth
and texture.

,
Mu otiqiticd ui>pi\atkm was a quill pictwted on page 58 of- "Wxuwicaiox Quilti." Mu project had
a mind of, fo own, hawevet, and the tetutt h what it wanted ta Be. CU> the toying gee*, "J£ you don't
have what you want, want what you have." 3 fe£i in Cove with mu quilt. J look S'jotanoid photon
dwdng evetu dtep of, itd pHeatesA. She photo* proved ta Be UwaiuaMe. Sly ttudyina them, J saw wceat
within mu deiian that teauvted mate attention.
ICC QaUexy

Lions and Tigers and Bears by Kathleen Thomas, 1994, Albuquerque,

New Mexico, 36'/2" x 43". Kathy loves to use novelty fabrics in her
watercolor quilts, which explains the title of this piece. Inspiration photo
by Putnay Thomas.

3Jhe sauxce of. ins^pixation fox this project was the beautiful, uast, and
coloxful shy of. ACew Meocica, which is c/xeat fox hot-aix Ballooning. 3
wanted to cxeate something oxiginal and wad successful when 3 finally
stopped Caching at othex ideas and envixonments and tunned ma focus
towaxd my immediate saxxoundings.
3 woxk quichly, putting squares of faBxic on ma design wall. 3hen
3 spend a Cot of time >iewoxhing the design.
 Qativty 1C1

Daddy Lives in the Mountains by Sara Jane Perino, 1995, Pullman, Washington, 48" x 54". Applique and
watercolor techniques create the feeling of a silhouetted, wintry landscape on bright,
a moonlit night.

When dtwttina a quill, 3 fiv>l uhualize the finished project. 3 include ocenei 3 tee in ma wenudau
(ife inmu visualization and sketch them on auvph pxtpex.
Stomal thinas insyvied me to. make this quilt. 5Jhe cold and quiet c/ winter and the enoHmous ihu
uou see in the mountain*. Mu ton'd intent in the moon and mu family viewing, the moon tfviouah hid
telescope alao. inspired me. She homey utwtmth e/ loa caBins came to mind, at did my father, who
hue* in the Jtochu Mountains.
102 QaUvty

Around the Corner by Cheri Moland, 1994, Veradale, Washing-

ton, 30" x 30". Cheri's inspiration for this Impressionistic animal
was a black-and-white photograph taken years ago at
portrait
Yakima Meadows, a horse racetrack in Yakima, Washington.

3 tike, working with photon, taking, a moment at a memoxu

that has importance me, and (banging it Back to life with the
to-

uialeHcolox pxoeetA. Siiack-and-white photo* one the matt fun

because 3 can fill in colon* to ateate a mood.
3 dosed this quiiton one of manu photon taken dwang
fifteen uewvs of working with and training tacekoKses. 3 now
xun a small Basines* that specializes in haute blanket s and
equipment fox the honae-Hocing inducing.
In His Solitude by Judy Abdel-Monem, 1995, Moscow, Idaho, 42" x 41". Judy used a palette of fabrics to
make this intriguing interpretation of a painting by Georges Seurat, "Model in Profile."

3 design in mu head fUst. SJhen 3'm off ta the quilt dhap ta laoh at fatmcs and figwte out what
caioKi 3'm going ta use. 3lu the time 3'm teadu ta stunt, 3 have a pnettu goad idea ham mu guilt is

going ta taoh, although it doesn't aiwaui twtn out the waif 3

imagined it. 3 waxh with gtaph paprn,
and 3 design 6u Vaai and voiox until 3 get the taah 3 want. 3 iaue animals and 3 panticuiwdg
enjaued uicatpatating manu nauettu and safxvu prints inta thus guilt.
1C4 QaUeuf

lust Horsing Around in Sarasota by Maureen Carlson, 1994, Moline, Illinois, 53" x 65". Maureen's graded
washes, seahorses, and appliqued seaweed combine to create this enchanting underwater scene.

3 oeaatt this project with a sketch, afiet a visit to theMote Mwdne £aluixauwu in Sxvuvsata,
J&mda, to study, seahoxses. Men moved to mu J cut 2" sauwies ptom Mofpnan
flannel wall.
Satihs, lame, and mu own hand-. . I fafrdca. 3Jhe appliqued seaweed and amdet developed as the
niece pstogHe&sed.
Watercolor Study VII by Cami Smith, 1994, Edmonds, Washington, 58" x 42". Inspired by
a designfrom Colorwash Workbook by Shirley Liby, Cami made separate panels, then
combined them to complete the quilt.

CLs a mothex of. turn young, children, 3 often find mu cxeative time in shont, intex-
iupted segments. 3 always have stack* of. ant, flowex, and quilt &ao/ls abound. Study-
ing the pictwies id sxunetning 3 can do with mu children. 3 find that wutencolox guilts
ate easy fox me to- make because once 3 have the main design on mu wall, 3 can
switch small pieces axound and still attend to mu family.
IC6 QaOetg

I Beg Your Pardon ... I Never Promised You a Rose Garden by Beth Garrison, 1994, Sitka, Alaska, it/i
x 31 l
/z". Beth created pretty floral impressions based on memories of rose gardens and hydrangeas from
the Lake Quinault area of Washington state.

—
Watencolax guilts ate a stumg conbuxst to mu usual state. hold, geometdc, teminiscent of Ornish
quilts. J tike awaking, with small pieces afi watewcoioK falkics on a vertical swiface, much Cine wwthing
uiaui puzzle on a duting-worn taBle. 3 alsa enjoy, the intovplau c/ colon, and value. J sometime*
lawu> changing, fodhic smutches in one atea to see what the. overall effect might be..
 Qallerg W7

Picket Fence by Sandy Boyd, 1994, Glenwood Springs, Colorado, W/i" x 31". Sandy's
quilt captures emotions and memories in fabric, reaching out to help a community heal
from tragedy

Us J walked work on a particularly Beautiful morning last summer, 3 admixed

to
a (ovely, old -fashioned flower garden.J was inspvied to Vty to capture this tittle
awiden's humkle, peaceful pxettinesA. Soon after, a forest five threatened Qlenwood
Spxinas and fourteen uoung firefighter* last their, (met fighting the fine. Saddened
townspeople and Business owner* wane and displayed purple to honor, the firefighter*.
Mif quilt is an effort to eccpre&s the sadnes* that remained when the calm Beauty, of
our everyday lutes returned. Control h only an illusion, despite our efforts to set
limits, put up fences, plant Beautiful flower*, and make plans. £ife is a series of
individual events that take on meaning when seen as a whole, as watercolor quilt* are
collections of separate pieces that only take on shape when seen from a distance.
108 qallvty

Spawning Red Salmon by Ree Nancarrow, 1993, Denali Park, Alaska, 74" x (AVi\ Ree's
background in art helped her create this stunning piece. The idea of making a red salmon
quilt had been stirring in her mind for quite some time.

Wxdexcelox quilt* give, a tense, of depth and tyxice that ta unique. JnfUuenced Bu
Mwtawcet Millet's "Strip* that Si&zle" technique, J dewed strip* taaethex, cut them
inta triangles, and es^entialiu washed them actas* the surface of. the quilt fox the
Bachaxound. J cbteui the sxrtmen, Vtansfevied it to gxaph pxipex, and then constructed it

of, fahric squares containing apfvuvpxiate colon* and prints.

 Qatt&cy 109

A River Runs Through by Valerie C. Arcement and Ethel Howey, 1994, San Antonio, Texas, M'li x
It

54 'A". is an outstanding example of the

Depicting San Antonio's natural beauty, this original design
watercolor technique. It is a symbol of friendship between two sister cities. Owned by the city of
Kumamoto, Japan. (Photo by Bibb Gault, Bud Shannon/Photography, Inc., San Antonio, Texas)

Jiamamoto, Japan, and San (Intonia ate Jn ClctabeH. 1993 we Vuweled to Jiumamota
sistex cities.
to participate in a Museum. 5Jhe exhibit included ten quilts made Bu
quilt display, at the Citu CUd
individual members of the fyieaten. San (Interne Quild. jS\m>. Samiha Maeda, instxucuvt fox the
Jiumamota quilting, gxoup and dviectoH. of the exhibit, ashed as to oteate a special quilt to hang in the
new. Jntexnational tirade Exhibit Mall. Slack home, Valerie sketched a design. With the help of
seueial athex guild members, we wanked many, howvs during the next fowc months to complete the quilt.
Jt was presented to the mayo* of Jiumamota, yasumoto iJajiri, dwung of the center's opening cer-
emony in Septembex 1994. Membexs of the fyteatex San (Intonia Guilt Quild who wonked on the quilt
arte: tthel Mowey, Valerie (hcement, Qnna 5joon, Sfanna Semmes, Afxutcy Jdaexnex, £inda JCnieriem,

and Jean Jlowell. Jt was quilted oy £inda SleVtey Qaxlsan.

AFTERWORD-
THANKS AND GOOD LUCK!

he watercolor technique has been well received. We thank you

and everyone in the quilting community. We have enjoyed many

wonderful opportunities —to travel, teach, meet new quilters

far and wide, and see sights we never dreamed we would see.
Quilters are a great group of people, whether they live in large urban cen-

ters or in rural areas, whether they are beginners or have years of experience.

They are all eager to discover and learn. Most of all, they are willing to share

themselves, their time, and their talent. We are always inspired by our stu-

dents. We find their creative enthusiasm contagious and exciting, and we of-
ten learn more from them than they do from us.

In this book, there are many beautiful watercolor quilts, and the best are

yet to come. Expand your horizons, try watercolor techniques, and create a

quilted masterpiece.
 ///

Bibliography

Amsden, Deirdre. Colourwash Quilts. Bothell, Wash.: That Patchwork Place,

Inc., 1994.

Brookes, Mona. Drawing for Older Children and Teens. Los Angeles: Jeremy

P. Tarcher, Inc., 1991.

Colvin, Joan. Quilts from Nature. Bothell, Wash.: That Patchwork Place, Inc.,

1993.

Leland, Nita. The Creative Artist. Cincinnati, Ohio: North Light Books, 1990.

Magaret, Patricia Maixner and Donna Ingram Slusser. Watercolor Quilts. Bothell,

Wash.: That Patchwork Place, Inc., 1993.

Warner, Sally. Encouraging the Artist in Yourself. New York: St. Martin's Press,
1991.

Warren, Judi. Fabric Postcards. Paducah, Ky: American Quilter's Society, 1994.
 That Patchwork Place Publications and Products
All tin- Blocks Are Geese by Mary Sue Suit Quilting Makes the Quilt by Lee Cleland
All New Copy Art for Quitters The Beginning by Sharon Evans Yenter
//; Quilts for All Seasons by Christal Carter

All-Star Sampler by Roxanne Carter lima Sampler by Irma Eskes

'.v Quilts for Baby: Easy as A, B, C
Allele Antics by Mary Hickey Jacket Jazz by Judy Murrah by Ursula Reikes
Animas Quilts by Jackie Robinson Jacket Jazz Encore by Judy Murrah Quilts for Kids by Carolann M. Palmer
Applique Borders: An Added Grace The Joy of Quilting by Joan Hanson and Quilts from Nature by Joan Colvin

bj Jeana Kimball Mary Hickey Quilts from the Smithsonian

Applique" in Bloom by Gabrielle Swain
Applicptiir for Christmas by Tonee White
Appliquilf: Whimsical One-Step Applique
by Tonee White
Appliquilf" Your ABCs by Tonee White
Around the Block with Judy Hopkins
Baltimore Bouquets by Mimi Dietrich
Bargello Quilts by Marge Edie
Basic Beauties by Eileen Westfall
Bias Square® Miniatures
by Christine Carlson
Biblical Blocks by Rosemary Makhan
Blockbender Quilts by Margaret J. Miller
Block by Block by Beth Donaldson
Borders by Design by Paulette Peters
Botanical Wreaths by Laura M. Reinstatler
The Calico House by Joanna Brazier
The Cat 's Meow by Janet Kime
A Child's Garden of Quilts
by Christal Carter
Colourwash Quilts by Deirdre Amsden
Corners in the Cabin by Paulette Peters
Country Medallion Sampler by Carol Doak
Country Threads by Connie Tesene and
Mary Tendall
Decoupage Quilts by Barbara Roberts
Designing Quilts by Suzanne Hammond
The Easy Art of Applique
by Mimi Dietrich & Roxi Eppler
Easy Machine Paper Piecing by Carol Doak
Easy Mix & Match Machine Paper Piecing
by Carol Doak
Easy Paper-Pieced Keepsake Quilts
by Carol Doak
Easy Qui Its... By Jupiter.'®
by Mary Beth Maison
Easy Reversible Vests by Carol Doak
Fantasy Flowers
by Doreen Cronkite Burbank
Five- and Seven-Patch Blocks & Quilts
for the ScrapSaver by Judy Hopkins
Four- Patch Blocks & Quilts for the
ScrapSaver by Judy Hopkins
Freedom in Design by Mia Rozmyn
Fun with Fat Quartersby Nancy J.Martin
Go Wild with Quilts by Margaret Rolfe
Great Expectations by Karey Bresenhan
with Alice Kish and Gay
McFarland
Happy Endings by Mimi Dietrich
4", 6". 8". & metric Bias Square'
Shortcuts to America's Best-Loved Quilts (video)
Le Rouvray by Diane de Obaldia.
with Marie-Christine Flocard
and Cosabeth Parriaud
Little Quilts by Alice Berg. Sylvia Johnson.
and Mary Ellen Von Holt
Lively Little Logs by Donna McConnell
Loving Stitches by Jeana Kimball
Machine Quilting Made Easy
by Maurine Noble
Make Room for Quilts by Nancy J. Martin
Nifty Ninepatches by Carolann M. Palmer
Nine -Patch Blocks & Quilts for the
ScrapSaver by Judy Hopkins
Not Just Quilts by Jo Parrott
Oh! Christmas Trees
compiled by Barbara Weiland
On to Square Two by Marsha McCloskey
Osage Count}- Quilt Factoiy
by Virginia Robertson
Our Pieceful Village by Lynn Rice
Patchwork Basics by Marie-Christine
Flocard & Cosabeth Parriaud
A Perfect Match by Donna Lynn Thomas
Picture Perfect Patchwork
by Naomi Norman
Piecemakers® Country Store
by the Piecemakers
A Pioneer Doll and Her Quilts
by Mary Hickey
Pioneer Storybook Quilts by Mary Hickey
—
Prairie People Cloth Dolls to Make
and Cherish by Marji Hadley and
J. Dianne Ridgley
Quick & Easy Quiltmaking by Mary Hickey.
Nancy J. Martin. Marsha McCloskey
and Sara Nephew
The Quilt Patch by Leslie Anne Pfeifer
The Quilt Room by Pam Lintott and
Rosemary Miller
The Quilted Apple by Laurene Sinema
Quilted for Christmas
compiled by Ursula Reikes
Quilted for Christmas, Book II
compiled by Christine Barnes and
Barbara Weiland
Quilted Sea Tapestries by Ginny Eckley
The Quilters Companion
' by Pat Magaret and Donna Slusser
E. compiled by That Patchwork Place
The Quilting Bee
by Jackie Wolff and Lori Aluna
• BiRangle'' • Ruby Beholder™ • ScrapMaster
by Mimi Dietrich
Quilts to Share by Janet Kime
Rotary Riot
by Judy Hopkins and Nancy J. Martin
Rotaiy Roundup
by Judy Hopkins and Nancy J. Martin
Round About Quilts by J. Michelle Watts
Round Robin Quilts
by Pat Magaret and Donna Slusser
Samplings from the Sea
by Rosemary Makhan
ScrapMania by Sally Schneider
Seasoned with Quilts by Retta Warehime
Sensational Settings by Joan Hanson
Sewing on the Line
by Lesly-Claire Greenberg
Shortcuts: A Concise Guide to Rotary-
Cutting by Donna Lynn Thomas
Shortcuts Sampler by Roxanne Carter
Shortcuts to the Top
by Donna Lynn Thomas
Small Talk by Donna Lynn Thomas
Smoothstitch® Quilts by Roxi Eppler
The Stitchin' Post
by Jean Wells and Lawry Thorn
Stringing Along by Trice Boerens
Stripples by Donna Lynn Thomas
Sunbonnet Sue All Through the Year
by Sue Linker
Tea Party Time by Nancy J. Martin
Template-Free® Quiltmaking
by Trudie Hughes
Template-Free® Quilts and Borders
by Trudie Hughes
Template-Free® Stars by Jo Parrott
Through the Window & Beyond
by Lynne Edwards
Treasures from Yesteryear, Book One
by Sharon Newman
Treasures from Yesteryear, Book Two
by Sharon Newman
Trouble Free Triangles by Gayle Bong
Two for Your Money by Jo Parrott
Watercolor Impressions by Pat Magaret
and Donna Slusser
Watercolor Quilts
Woven & Quilted by Mary Anne Caplinger
WOW! Wool-on-Wool Folk Art Quilts
by Janet Carija Brandt
• Rotary Rule Rotary Mate™ • Bias Stripper Ruler

Many titles are available at your local quilt shop. For more information, send $2 for a color catalog to

Patchwork, That i hwork Place. Inc.. PO Box 118. Bothell WA 98041-01 18 USA.
»( 1
and location of the quilt shop nearest you.
Jtteet the OutAm*

ccomplished

quiltmakers and

teachers Pat Maixner

Magaret and Donna Ingram Slusser use

their skills to encourage and inspire

their students. Both are self-taught

quilters who began quilting in the early

1980s after retiring from other careers

and raising families. They have been

team teaching since

1987, and each brings

her own unique style

and methods to their

classes. Their work tDxutna

often combines traditional styles with

contemporary influences. They are the

authors of the best-selling Watercolor

Quilts, and Round Robin Quilts, a book

about contemporary friendship quilts.

For their latest project,

Pat and Donna are

collaborating with

South Sea Imports to

create a line of fabrics.

,
 ISBN 1-56477-116-4

9 '781564"771162