Art Quilting 101 with Wendy Butler Berns 01

Your Instructor

Session Overviews

Materials & Tools

Guest Artists

Projects & Techniques

Index

Credits

TABLE OF CONTENTS

WELCOMELet me introduce this course with my definition of an art quilt: A creative, joyous and spontaneous journey that touches the heart and soul through texture, color and design. Our quilted creations explore and express our feelings and ideas.

I look forward to exploring art quilting with you on Cra!sy.com. The Art Quilt continuum runs from those just straddling the fence of tradi-tional quilting to others creating completely avant-garde work, and ev-erything in between! Art quilts can incorporate traditional techniques, but many quilt artists challenge the traditional definition of the quilt. We innovate by applying art principles, using techniques like drawing, painting and sculpting, while working with the tactile richness of fabric and threads. Like all art, art quilts are individual, subjective expres-sions. I will take you through simple steps to prepare you for creativity and create a safe environment. I invite each of you to remember when we were in kindergarten, playing and experimenting in very spontane-ous fashion. Each of you will explore your own direction and find in-spiration that will charge your creative energies. So let’s begin playing and exploring!

Wendy Butler Berns

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Why,yes!It’s another quality course from…

Welcome

{ Detail from Springy Flowers 2 by Wendy Butler Berns }

Art Quilting 101 with Wendy Butler Berns 02Your Instructor

Wendy Butler Berns is an award-winning quilt artist who found her passion for quilting in 1993. Since 1997, she has taught and lectured about the art of quilting at conferences, guilds and retreats across the country.

Wendy’s original art quilts are noted for their bold use of color, unusual fabrics and a combination of unconventional techniques. Her quilts tell stories of people, places and journeys that have shaped her life. Her work has appeared in regional, national and international juried shows, including the International Quilt Festival in Houston, American Quilter’s Society show in Paducah, Ky., Mid-Atlantic Quilt Festival in Hampton, Va., and Pacific International Quilt Festival in Santa Rosa, Calif. She regularly participates in group exhibitions, has curated numerous exhibitions and has been honored with solo shows as well.

In October 2009, Wendy received the Jewel Pearce Patterson Scholarship for quilting teachers, awarded annually by International Quilt Market. Along with her book, Photo Album Quilts (Lark Books, 2008), she has contributed articles to such

publications as Quilting Arts, Quilters Newsletter, National Quilt Association Quarterly and Fons & Porter’s Love of Quilting.

Find out more about Wendy at wendybutlerberns.com

YOUR INSTRUCTOR

Art Quilting 101 with Wendy Butler Berns 03

IntroductionDo you know what an art quilt is? Meet your instruc-tor, Wendy Butler Berns, as she introduces you to the fascinating world of creating art quilts with original-ity, spontaneity and inspiration.

Getting StartedArt quilts are about playing – combining colors, shapes and textures. Wendy will walk you through what you need to create your masterpiece, from selecting background materials to applying fusible webbing to your design pieces. Then arrange, re-arrange and learn to play again on your quilt.

Thread EmbellishmentsIt’s time to doodle – not just on paper, but also with thread and yarn. You will be introduced to free-motion quilting, the process of adding pat-tern and dimension to your quilt with colorful and unique thread.

Thread TalkLearn the best thread to attach the design elements to your quilt. Then see the vast array of threads to add color, shine, design and glitter to your artwork. Wendy also talks about bobbins, needles and general troubleshooting while quilting.

Texturing IdeasGo beyond standard thread designs with yarn couch-ing and bobbin drawing that make your pieces pop. Create a collage to add interest and definition to a section of the quilt.

Principles of DesignWendy reviews some design principles to help you incorporate drama and interest into your masterpiece. She reviews the aspects of balance, unity and variety, and shows examples of how these are used in other artists’ work.

To Border or Not To BorderWendy gives you some guidelines on whether to add a border, binding or other finishing technique. Then follow her step-by-step methods to audition materials and square up the fabric.

Machine Quilting & BindingAfter you decide on batting and backing, learn tech-niques to machine quilt all the layers together. Learn how to prepare and attach the binding to your quilt. Finalize your masterpiece with a wall hanger and label.

Postcards & Finishing DetailsLearn novelty finishing techniques, such as yarn bind-ings and zigzag edging, while creating quilted postcards.

Session Overviews

SESSION OVERVIEWS

{ Geometric Explosion by Wendy Butler Berns }

Art Quilting 101 with Wendy Butler Berns 04Materials & Tools

MATERIALS & TOOLS

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Sewing machine with darning, walking,regular & zigzag feetFabric shearsScissorsBobbins to wind co!on, MonoPoly &colored threadsSewing machine needles – Schmetz Topstitch No. 90/14, Microtex No. 80/12 Several lengths of threadRotary cu!er & cu!ing boardRotary ruler, preferably 6 " ” by 24 ”Design boardIron & ironing surfaceTe#on press cloth

HANDY CHECKLIST

Mono$lament thread, YLI or Superior, clear and smokeMonoPoly threadCo!on, 40-weight rayon, metallic and decorative threads " yard each of several background fabrics" to 1 yard Pellon Décor-Bond No. 809 heavy fusible stabilizer Scraps, 6 to 8 inches each, of many values and pa!ernsIron cleanerWater-soluble stabilizer, Sulky Solvy or Superior %reads Dissolve" yard tulle, black or gray" yard backing" yard ba!ing

SUPPLIES

Art Quilting 101 with Wendy Butler Berns 05Materials & Tools

MATERIALS & TOOLSTips to Remember > A portion of these supplies will be used for yourpractice piece and a portion for your sampler.

> The more colors of thread you have, the more intricate your design can be.

> Start with empty bobbins.

> Try out MonoPoly thread in bobbins, too.

> For background fabrics, have tone-on-tone,solid and hand-dyed in an array of colors.

> For design elements, include light, medium anddark values; various scale prints; plaids, stripesand favorite fabrics from your stash.

> Fuse Wonder-Under onto the design elementsahead of time.

> In place of Wonder-Under, you can use Lite Steam-a-Seam II; it is slightly tacky and canbe pressed in place.

> Leave fusible protective paper on the back ofthe fabric to trace designs.

> In place of iron cleaner, a fabric softener dryersheet works to clean a hot iron.

> Heavier threads that only go in the bobbin:Glamour by Madeira; YLI Pearl Crown Rayon;YLI Candlelight; and Razzle Dazzle by Superior Threads

> For machine bobbin drawing: If your machineuses a separate bobbin case and you want totry the technique, you will need a second bobbin case for your machine. You will adjustthe tension. This is a larger investment you mayor may not be ready to make.

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Art Quilting 101 with Wendy Butler Berns 06Materials & Tools

ThreadsSuperior "reads%reads, bobbin drawing thread, needles, water-soluble stabilizer

All "at "read%reads including Auri$l co!on

YLI CorporationMono$lament thread, clear and smoke, many other threads

Sulky "reads and StabilizersRayon embellishing threads, many variegated threads. Check their store locator for your local retailer

Madeira "reads Bobbin drawing threads, rayon embellishing threads

Robison-Anton "readsI use their rayon threads. See store locator for your local retailer

Red Rock "readsOnline thread retailer

Art Fabrik Lovely hand-dyed threads for hand and machine stitching

WHERE TO PURCHASEOther ItemsEmbellishment Village Te#on/cra& press sheet, lots of fun specialty embellishments, iron cleaner

JoAnn Fabrics Ba!ing, Décor-Bond, Wonder Under and tulle by the yard; Solvy Water-Soluble Stabilizer

Quilter’s RuleRotary ruler I like to use

Freezer PaperLook in the plastic wrap aisle at your grocery store

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Art Quilting 101 with Wendy Butler Berns 07

REFERENCES & RESOURCESArt and Quilt: Design Principles and Creativity Exercises, Lyric Kinard (Interweave, 2009)

Color and Composition for the Creative Quilter, Katie Pasquini Masopust & Brett Barker (C&T, 2005)

Design Explorations for the Creative Quilter, Katie Pasquini Masopust (C&T, 2008)

Design Essentials: The Quilter’s Guide, Lorraine Torrence (That Patchwork Place, 1998)

Fearless Design for Every Quilter, Lorraine Torrence and Jean B. Mills (C&T, 2009)

The Quilter’s Book of Design, Ann Johnston (Second edition, self-published, 2008)

Materials & Tools

Art Quilting 101 with Wendy Butler Berns 08Guest Artists

As I indicated in my introduction, the spectrum of styles and techniques varies extensively. Since I have only touched the surface of the techniques that have allowed me to find my own voice, I invited guest quilters to send their work for you to see. Enjoy this amazing work and be inspired to explore the many different directions there are. My guests are colleagues I travel and teach with, who have been mentors to me throughout my journey. They are all masters of the techniques and processes they use. Have fun exploring their websites and blogs!

Art ClothMaggie WeissOne is figurative images on silk broadcloth in rusty earth tones with crows, created by dying & discharging using deconstructed silk screening and Thermofax silkscreens. The other is sueded rayon dyed in blue greens via screen printing and Thermofax silkscreening with abstract images.

Surface DesignLyric KinardThree Shells: Hand dyed, screen printed, foiled, hand stitched. This piece was inspired by the beauty and symmetry of the sliced shells that I found in my mother’s sewing kit. Many techniques were used in this simple composition using the beautiful linear forms of the shell print.

Rust: Dyed cloth. Synthetic organza is fused to the surface, then zapped with a heat gun to melt away parts and beaded. The textures of the natural world are a great inspiration for me. The complex process of decay can be beautiful. My interpretation with cloth and beads brings attention to the process of manmade materials returning to nature.

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Thread Painting & EmbellishingNancy PrinceUnder the Spreading… Thread painted and custom-painted background. The inspiration for the quilt came from a photograph I took. I loved the serenity of the area.

Painted SurfaceMaria Elkins Windblown: Hand painted wholecloth quilt, Tsukineko All-Purpose Ink, Jacquard Colorless Extender, fabric, gel pen. “Windblown” is a tribute to a dear friend who has stood firm and remained joyful despite the various challenges she has had to face in her young life.

GUEST ARTISTS

{ Under the Spreading... by Nancy Price }

Art Quilting 101 with Wendy Butler Berns 09Guest Artists

Multiple Techniques- Enhanced Photo ImageryDenise Tallon Havlan Little Juggler: Photo imagery enhanced with fabric paint, pen and Prismacolor pencils. Machine appliquéd and machine quilted. Her granddaughter is her inspiration for this piece, imagining her in a dance costume, thus a circus juggler.

Snapshot: Shannon’s Bantam - Photo transfer, textile paints, colored pencil, machine embroidery, hand and machine appliquéd, and machine quilted. Again inspired by images of her granddaughter. 2009 IQA Show in Houston, $5,000 Fairfield’s Master Award for Contemporary Artistry. This quilt continues to travel to many shows and has garnished numerous prestigious awards.

BeadingLisa S. BinkleyMidsummer Convocation: Machine pieced and quilted; raw-edge appliqué; hand embroidered with beads, buttons and silk embroidery thread. This quilt was exhibited in the 2010 fall quilt and flower show at Olbrich Botanical Gardens. “I love the colors and images that appear in this quilt. Dragonflies, leaves, flowers, and faces appear frequently in my work, and I think the faces in particular add a spark of ‘life’ to my fiber work that wouldn’t otherwise be there. I created the quilt to celebrate summer and also as a teaching tool for my bead embroidery workshops that I offer around the country. Part of what I tried to do with the bead embroidery in the quilt was to create a lot of variations on bead embroidery techniques including embellishing a set of six vintage lime-green buttons in six different ways.”

Hand-Dyed Fabric Frieda AndersonFrieda dyes fabrics in luscious colors using Procion MX dyes, then uses her own dyed cotton, silks and silk/rayon fabrics in her fused art quilts.

Hand Embellishment & MoreLaura WasilowskiKay’s Bouquets #2: Hand-dyed cotton fabric and thread, fused appliqué, hand embroidered and machine quilted. Laura hand dyes all her fabrics for her art quilts as well as luscious hand dyed threads. Her garden is an inspiration for so much of her work.

GUEST ARTISTS

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{ Kay’s Bouquets #2 by Laura Wasilowski }

Art Quilting 101 with Wendy Butler Berns 10

Hand Embellishment & More (cont.)Caryl Bryer FallertCorona 2: Solar Eclipse: Hand-dyed and painted, machine pieced and quilted, asymmetrical design. This is more a portrayal of my feelings about the power of the sun than an exact representation of what a scientist might see through a telescope. This quilt is in the permanent collection of the National Quilt Museum in Paducah, Ky., after winning the Best of Show $10,000 Purchase Award at the 1989 American Quilter’s Society Show. It was named one of the “Hundred Best Quilts of the 20th Century” at the 2000 International Quilt Festival in Houston.

Judy Coates PerezBlack and Bloom All Over: Techniques: Whole cloth painted cotton sheeting with Acrylic inks, textile paints, hand carved stamps, stencils with Shiva Paintstiks, printed tea bags adhered with gel medium, free-motion quilted. This quilt appeared in the International Quilt Festival, Long Beach, part of the Between the Spaces traveling exhibit. The year following the end of my marriage had some dark and difficult times (represented by black thorny weeds) but also in the space between there was growth, blossoming, renewal, light and life.

Illusion #46: This quilt is part of a series exploring the illusion of overlapping transparent triangles. The quilting was done with polyester topstitching thread, beginning with a series of horizontal and diagonal feathered plumes crossing the quilt from top to bottom. The feathers are quilted in lighter colored threads that contrast with the background, and the negative spaces between the feathers are quilted in concentric loops, with variegated thread that blends with the underlying fabrics.

GUEST ARTISTS

{ Corona 2: Solar Eclipse by Caryl Bryer Fallert }

Guest Artists

{ Detail from Black and Bloom All Over by Judy Coates Perez }

Art Quilting 101 with Wendy Butler Berns 11

DESIGN ELEMENTS DESIGN PRINCIPLESLineA thin continuous mark. A line makes the eye follow it. A tool to denote direction and movement.

ShapeA two-dimensional form distinguished from its surroundings by its outline. Shapes are created by contrast within their surroundings.

ValueLightness or darkness of color. Contrast. Despite the appeal of color it is the primary values that define the design’s composition.

ColorColor is what we see first and foremost. It provides the personality, sets the mood for our design.

PatternA repetitive design. It is created when the viewer is led to anticipate the same elements in the design. Scale within pattern is the relative size of one object to another.

TextureSurface and tactile quality of an object. Tactile texture is what one can actually feel. Visual texture is the appearance of texture, but no actual difference in surface can be felt.

BalanceVisual balance is grounded in our understanding of physical balance. Visual weight is created by size, value and placement of elements in the quilt design.

UnityCreating like elements and connections between them. This can be achieved throughout the design by repeating colors or fabrics, pattern or shape, or techniques.

Variety An element of the whole that differs from the rest. This can be achieved with change in line, size, color, value, texture or placement.

Projects & Techniques

Art Quilting 101 with Wendy Butler Berns 12

PROJECTS & TECHNIQUES

Projects & Techniques

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Embellishing with Threads

Facial Features: A variety of small scraps foreyelashes, cheeks & lipsEyes: 3 di'erent values of blues for open eye,one scrap for winking eye12”x 14” piece fusible stabilizer (Décor-Bond)Fusible web -" yard (I prefer Wonder-Under)

Backing: Fat quarterPaper for pa!ernCompassMeasuring tapePaper scissorsFabric shears

HANDY CHECKLIST

Presser FeetDarning foot, regular zigzag foot, walking foot

!reads40 to 50 wt. threads for embellishing, in rayon, co!on & polyester. Choose di'er-ent values that will contrast with your back-ground fabrics.Metallic threads (optional)Mono$lament threadBobbins with mono$lament thread &/or neutral co!on or rayonVariegated thread for zigzagged edging%icker yarns for couching (optional)

Notions80/12 Microtex Sharp needles90/14 Topstitch needles (if using metallic threads)

FabricsBe sure the fabrics you choose for your design elements contrast well with each other as well as the background fabric

Background fabric 12” x 14” Sun 6” x 10” large scrapMoon 6”x 10” large scrap

Art Quilting 101 with Wendy Butler Berns 13Projects & Techniques

Embellishing with Threads (cont'd)

PROJECTS & TECHNIQUES

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INSTRUCTIONSMake A Face Playtime with “Winkin & Blinkin”

What fun it is to play! As we engage our playful spirit, it challenges us to work more spontaneously, thus awakening the creative energies hidden inside us.

"Make a Face Playtime" begins as you work small, using mix-and-match design elements, fusible web and free- motion embellishing. Approx. finished size: 11” x 13”

Preparing Background

> I like to do a lot of embellishing across the body of my quilt top, so I prefer to do this extra free-motion embellishing on a quilt top that has been stabilized with a fusible stabilizer such as Décor-Bond. With this method, the extra stitching created with the doodling and embellishing only appears on the back of the fusible stabilizer and is then hidden when I layer the project for machine quilting. As long as the embellishing is not too dense, the fusible stabilizer is an alternative to using a hoop, and helps to reduce the puckering that occurs when doing denser embel-lishing stitches.

> Cut a 12-inch by 14-inch piece of background fabric and fusible stabilizer.

> Fuse the stabilizer to the back of the background fabric using a hot iron. Start in the center, moving the iron slowly to the outer edges (about 10-12 sec-onds per section or until you see the fusible adher-ing to the fabric) across the surface. Watch out for bubbles or puckers as you press. Also be careful not to touch the hot iron to the fusible directly.

Creating Facial Features with Fusible Web

> I have included several different facial designs for you to choose to individualize your design. Mix and match the facial design features to your liking. (Fig. 1 and 2)

> Trace the different parts of the facial features to the paper side of the fusible web. For design parts that overlap, such as the different parts of the eye, mouth, or sun and moon, add an extra 1⁄8 inch to accommo-date the overlap. (Note: When working with fusible web, your design will be reversed; it may be necessary to reverse the original design before tracing.) When completed, cut the traced sections out of the paper-backed web with a !-inch surplus all around.

{ Layout 1 }

Art Quilting 101 with Wendy Butler Berns 14Projects & Techniques

INSTRUCTIONS

PROJECTS & TECHNIQUESEmbellishing with Threads (cont'd)

> Next, using the manufacturer’s instructions, bond the paper-backed traced web designs to the back sides of the chosen fabrics with your iron. When the fusible is cool, cut the designs out directly on the traced lines and peel the paper backing off. Last, position fused design elements onto your stabilized background and iron the fused fabrics in place according to the manu-facturer’s instructions.

Embellishing with "reads > Now it is time to play with decorative threads, doodles and your darning foot or Bernina stitch regu-lator (BSR). I love adding extra dimension and texture to my quilts by incorporating many of the specialty threads, yarns and fibers available. I would describe my machine embellishing as drawing and doodling with my free-motion darning foot. Simple machine embellishing with threads enhances the facial features by creating a more pronounced line. See examples for ideas you can use to embellish the various facial features for your “Winkin’ and Blinkin” (Fig. 3).

> Use a Microtex 80/12 needle in your machine and thread it with a decorative thread that blends or con-trasts with your fused design elements. (Use a Top-stitch 90/14 for metallic and other shiny threads.)

> Prepare your bobbin with monofilament, a neutral color thread or similar thread color used in the top of the machine.

> Attach presser foot of your choice, or the darning foot for the free-motion embellishing.

> Refer to Machine Embellishing ideas featured in Fig. 3 (see page 17) to inspire you and try a few ideas of your own.

> Free-motion embellish each of the design elements as desired.

Couching with Decorative Cording & Yarn

Using yarn couched in place with a MonoPoly thread and a small zigzag stitch allows me to add more visual texture to my work. You can include this textural embellishment as well if you choose.

> Choose a yarn that compliments your project and place it over the edge of your fused design.

> Set the zigzag width to the width of the yarn and use monofilament thread in the top and bobbin of your machine.

> Prepare your presser foot. There are numerous presser feet choices you can consider using. You can use your darning foot, a couching foot or your regular zigzag foot for this process.

> Leaving a "-inch tail, zigzag in place several stitches, then slowly stitch the yarn in place. Continue stitching a few inches at a time, stopping to readjust the position of the yarn along the way.

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Art Quilting 101 with Wendy Butler Berns 15Projects & Techniques

PROJECTS & TECHNIQUESEmbellishing with Threads (cont'd)

> When you return to the beginning, cut the original tail off, and overlap the yarn about " inch and con-tinue to stitch another " inch. Trim off the yarn and zigzag in place to secure your stitches.

Layer & Machine Quilt

Once you have completed your embellishing, it is time to prepare the quilt for quilting.

> Steam your quilt top to smooth any puckering that may have occurred while embellishing.

> Square the edges of your quilt top.

> Cut your batting and backing about 1 inch larger than the quilt top.

> Pin baste with safety pins about every 4 inches.

> Stitch in the ditch around each of the design ele-ments using your darning foot No. 9, No. 26 or BSR. Once the three layers are secured with your stitch in the ditch around the primary design elements, you can remove your basting pins.

> Continue to quilt the background as desired.

What, No Binding? Quick Finishing Technique

Here’s a quick and easy edge finish for a small quilt.

> With your rotary cutter, trim all three layers flush with each other. You can either trim your little quilt with squared corners and straight edges, or with slight undulating curves along the edges.

> Set your machine to stitch width of 5.5 and stitch length of 1.

> Put on your machine’s walking foot No. 50.

> Choose a fun variegated thread that will enhance your project.

> Stitch all around the trimmed edge once with stitch width of 5.5 and stitch length of 1. Then stitch around the trimmed edge again with the stitch width of 5.5 and the stitch length of 2. This stitch will finish off your little quilt without using a formal binding!

Hanging Pocket and Label

Add a small hanging pocket at the top back of your little quilt for easy hanging. Do not forget to create a label with the quilt name, details about the quilt, your name as the quilter and date you completed the project.

An alternative project to consider with this design

Create two to four blocks and stitch them together for a larger wall quilt.

Art Quilting 101 with Wendy Butler Berns 16Projects & Techniques

PROJECTSMachine Embellishing – Taming those Threads

PROJECTS & TECHNIQUES

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Tools

Sewing machine in good working order. You need to be familiar with how your machine works!

Darning foot a must

A good pair of quilting gloves with grips on the $ngertips (Machingers size S or XS) can be helpful for gripping the fabric

NeedlesMicrotex 12/80 - I use this for all my piecing and machine quilting, until my thread starts breaking. Top stitch 14/90 - For specialty threads–metallics, hologram threads and some rayons. Heavier threads of 30- and 28-weight all need the larger eyed needle of the Top Stitch 14/90.

!reads

%e choices of threads on the market are endless. Beware: You will soon have a thread collection as large as your fabric stash.

!reads for embellishing

Egyptian long-staple co!on such as Auri$l or Masterpiece by Superior are wonderful for machine quilting and come in hundreds of colors. Most of these are 50 weight.

HANDY CHECKLIST

Rayon threads are beautiful but are not as strong, so work best on wall quilts. Most are 40 weight.

Trilobal polyesters have a lovely sheen to them. 40 and 30 weight.

Mono$lament threads: YLI Wonder or MonoPoly brands, clear and smoke

Sparkly threads: Metallics, Silver, hologram threads. Can be fussy. Stitch slowly and use the Topstitch 14/90 needle.

Bobbin threads: Co!on, rayon, mono$la-ment thread or Bo!om Line by Superior. To deal with tension issues, I most o&en use mono$lament thread in my bobbin or a color similar to my top thread in a co!on or rayon. I change top thread colors o&en, so with mono$lament in the bobbin, I do not have to change the bobbin thread when I change the top thread. When using mono$lament in the bobbin, wind slowly!

%reads for bobbin drawing: Most machines need a second bobbin case for these heavier threads. %reads for bobbin drawing include Glamour, Candlelight, Perle Co!on, Razzle Dazzle. Other threads and yarns to try are ones with a smooth surface, not too nubby – silk ribbon, embroidery #oss types or hand-dyed heavier threads.

Art Quilting 101 with Wendy Butler Berns 17Projects & Techniques

PROJECTSMachine Embellishing –Taming those Threads (cont'd)

PROJECTS & TECHNIQUES

Top Tension

You will need to fiddle with your top tension as you change threads, as each one will respond differently to each other. Keep a practice piece next to your ma-chine to test your tension and threads before starting on your project. Make notes as to what works!

Cross-Wound and Straight-Wound "reads

Threads that are cross-wound on the spool can stand up straight or lie flat on the spindle. Threads that are straight-wound on the spool must stand up straight on the spindle. That includes monofilament threads.

Stabilizing

For heavy embroidery/thread painting projectsIron your quilt top to Pellon Décor-Bond, a fusible stabilizer. It is not removed and becomes a fourth layer in your piece. It will offer enough support to prevent puckering for light to medium embellishing.Use an embroidery hoop in addition to Décor-Bond if you will be doing concentrated heavy embroidery in an area larger than 2 inches.

Practice Piece

Keep a practice piece next to your machine to test your tension and threads before starting on your project. The practice piece should be layered similarly to your project. Example: for embellishing, layer quilt top with Décor-Bond. If testing threads for quilting, then have a layered practice piece with top fabric, batting and backing fabric.

{ Fig. 3. See page 14 }

Art Quilting 101 with Wendy Butler Berns 18

INSTRUCTIONS> When working with small projects, I always lay out my fabrics " inch to 1 inch larger than the finished piece, so there is room to trim after the embellishing process and before I layer the project for quilting.

> Take background fabric and fuse Décor-Bond to the back to stabilize piece.

> Create design on the front of the background fabric. Use fused design elements or decorative threads. The sky is the limit to what you can create.

> Place the piece of batting on the back of the fused and decorated piece.

> With the little postcards, I do my thread embel-lishing and the simple quilting all as one step, so the next step is to do some simple embellishment of your design with complimentary threads. Not much is needed since the piece is so small.

> Next, use a piece of background fabric or another piece of Décor-Bond and place on the back. If using the Décor-Bond, it can be fused in place. If you are using a piece of backing fabric, simply lay it over the back. With this technique, the decorative stitching will be hidden behind the backing piece.

> Time to trim the little piece to the finished size. I trim to about 6 inches by 4 inches.

PROJECTSCreating Postcard-Size Tiny Art Quilts

PROJECTS

{ Three Pines by Wendy Butler Berns }

Background fabric, 4 "” x by 6 "”Décor-Bond Fusible Stabilizer, same size as abovePiece of ba!ing, same size as aboveBacking or a second piece of Décor-Bond, same size as aboveFused design elements or a design you wish to create on front of tiny art quilt%reads to embellish design

SUPPLIES

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Art Quilting 101 with Wendy Butler Berns 19

> For a quick finish, zigzag around the tiny quilt with a wide zigzag stitch and a fun thread. Set ma-chine to a width of 4 and a stitch length of just under 1. I use my walking foot for this process. This will not be a solid satin stitch, but I like a bit of space between my stitches.

> Stitch two times around little piece with the zigzag stitch set at your preferred width and length. I like using a variegated thread or one that complements the colors in the design. Use the same thread in the bobbin.

There are so many ideas to play with. Try a new tech-nique, experiment with a new thread, create little gifts for friends, practice your machine quilting, add embel-lishments such as yarn, beads, charms, etc. Enjoy!!

Another IdeaThis technique can be used to create tinier artist trad-ing cards the size of a business card. The finished size is 2 inches x 3" inches. Start with fabrics, batting and stabilizer approximately " inch larger all around than finished piece.

PROJECTSCreating Postcard-Size Tiny Art Quilts (cont'd)

Art Quilting 101 with Wendy Butler Berns 22Index

INDEX Introduction> About Wendy Butler Berns> The Craftsy Platform> What Is an Art Quilt?> Key Aspects> Originality, Spontaneity, Inspiration> Techniques> Design Principles

Getting Started> Learning To Play > Selecting the Background> Adding Fusible Web> Playing with Design

Thread Embellishments> Doodling with Thread> Free-motion Doodling > Moving with Thread> Your Practice Piece

Thread Talk> Thread Addiction> Bobbins and Such> The Point of Needles> Troubleshooting> Time to Play> 3-D Design Elements

Texturing Ideas> Couching> Bobbin Drawing> Collage with Water Soluble Stabilizer> Adding Tulle

Principles & Elements of Design> Aspects of Balance> Aspects of Unity> Aspects of Variety> Design Elements

To Border or Not To Border> Auditioning Borders and Bindings> Squaring Up the Fabric> Adding the Border

Machine Quilting & Binding> Quilt Batting> Machine Quilting Techniques> Preparing the Binding> Attaching Binding> Turning and Topstitching> Create Your Label

Postcards & Finishing Details> Yarn Binding> Postcards> Zigzag Edging

Art Quilting 101 with Wendy Butler Berns 23Credits

CREDITSInstructor:Wendy Butler Berns

Producer: Lynne Ida

Videographer: Joe Baran

Video Editor: Briana Boyer

Technical Reviewer: Laurie Pribbeno

Copy Editor: Lori Ozzello

Editorial Production: Lisa Greim

Graphic Designer: Nancy McLaughlin

Copyright © 2011, Sympoz Inc.

Mr. Fluffs says, “Thanks for playing!”