The 2007 IQA JUDGED SHOWFirst Place, Art–Naturescapes

JOURNAL OF THE INTERNATIONAL QUILT ASSOCIATION

SUMMER 2008

INTERNATIONAL QUILT ASSOCIATION7660 Woodway Drive, Suite 550Houston, Texas 77063, USA

WOODLAND SIGHTING ( 41" x 44" ) by CINDY VOUGH

o f Ni cho lasv i l l e , Kentucky, USA

Category sponsored by JWD Publishing

Phot

oby

Jim

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JOURNAL OF THEINTERNATIONAL

QUILT ASSOCIATION

V O L U M E 2 8 N U M B E R 4

12Get a look at the winners in this category from last fall’s JudgedShow and learn how their makers used technology to createthese quilted artworks.

1416 iqa files: debra dankoLearn all about this talented artist and the way she combines herpassion for quilting with a love of gardening to create remarkablyrealistic floral art quilts.

center: 2008 iqaraffle quilt tickets

on the coverAUTUMN IN INDIANA (65" x 82") by PHIL BEAVER. The 2008 IQA RaffleQuilt. Photo by Jim Lincoln.

page 10 page 12 page 16page 4

The 2007 IQA JUDGED SHOWFirst Place–Innovative Appliqué, Large

Category sponsored by Mountain Mist/Leggett & Platt, Inc.

MISSISSIPPI BACKROAD TREASURES ( 91 " x 91" ) by JUDY SPIERS

o f Foxwor th , Miss i s s ipp i , USA

Phot

oby

Jim

Lin

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2 letter from the presidentCharlotte Warr Andersen discusses the process of commissioning theannual IQA raffle quilt and explains what makes this year’s effort,Autumn in Indiana, special.

3 author! author!Books by IQA members reviewed in this issue: Piecing the Piece O’CakeWay by Becky Goldsmith and Linda Jenkins; Mosaic Picture Quilts byPat Durbin; Painted Face for Beginners (DVD workshop) with BonnieLyn McCaffery.

4 celebrate spring! winnersCheck out photos of and read all about the quilts that won top prizes inthe 2008 edition of the annual spring Judged Show.

10They’re big in size and impact—see all of the winning quilts from thiscategory of last fall’s Judged Show.

winners gallery: computer-aided machine embroidery

winners gallery:art–abstract, large

2008 iqateachers directory

contents

B O A R D O FD I R E C T O R S

presidentCharlotte Warr Andersen

vice presidenteducationBobbie Aug

vice presidentfinanceJohn Flynn

vice presidentmembershipHazel Canny

vice presidentpublic serviceMarianne Fons

secretarySue Nickels

treasurerDixie McBride

foundersJewel Patterson (1910-2002)Helen O’Bryant (1914-2005)Karey BresenhanNancy O’Bryant

J O U R N A LS T A F F

editorialdirectorNancy O’Bryant

editorBob Ruggiero

writerRhianna White

design andproductionHunter-McMain, Inc.

Published quarterly by the International Quilt Association, 7660 Woodway Drive, Suite 550, Houston, Texas 77063, USA, Phone: 713-781-6882; Fax: 713-781-8182;E-mail: iqa@quilts.com; web site: www.quilts.org. Subscriptions available upon payment of membership dues: $25 for one year, $95 for three years, plus $13 per yearinternational mailing fee, or $10 per year North American mailing fee outside the United States. All U. S. issues sent bulk mail with forwarding and return postageguaranteed and address correction requested. All international issues sent air courier and first class air mail. Please send change of address to the IQA office.

L E T T E R F R O M T H E P R E S I D E N T

Dear Members and Friends in Quilting,

I thought that this month I would tell you all about the workings behind theInternational Quilt Association’s yearly raffle quilt. As I have discussed before,IQA is a 501(c)(3) non-profit organization. And despite what many believe, we donot receive ticket sale proceeds from the Festivals held in Houston, Chicago, orLong Beach. Most of our funds come from membership dues and show entry fees.But another big chunk comes from ticket sales for our annual raffle quilt.

John Flynn, our Vice President of Finance, is in charge of the raffle quilt; a job that entails searching for aworthy volunteer to make it, keeping track of its progress toward completion, and then its unveiling tomembers and quilt lovers. Anita Murphy did this job for many years, and had a wonderful way of coaxingand cajoling notable quiltmakers into spending a considerable amount of time and talent toward thiscause. For though IQA does give remuneration for the task of making the raffle quilt, it is not nearlyenough compensation for the hours and attention the makers spend on stitching up these wonderfulcreations, and we are very grateful that they are willing to take on the assignment.

Once an artist has committed to make a certain year’s raffle quilt, he or she then submits a design planto the IQA board. This takes place two years before that particular quilt is to be raffled. The board thenaccepts the design or makes suggestions for color changes or perhaps tweaking the layout.

One of the requirements for the quilt is that it must have several 5-pointed stars that stand straight up.(The star stands on 2 points, 2 points stretch outward like arms to welcome the world [to Texas] and onepoints to heaven.) The maker then has a year to complete the quilt. The quilt is then unveiled in all itsglory to the IQA board at the next year’s board meeting and then to members at the Lone Star QuiltConference general meeting. Ticket sales begin when the quilt is hung for public viewing at the SpringQuilt Festival and continue through all Quilts, Inc. events. Tickets are also made available for membersto sell in an issue of the Journal. The winning ticket is then drawn at 3 p.m. on the last day of fall Festivalin Houston.

This year’s raffle quilt, Autumn in Indiana, is by Phil Beaver and is featured on the cover of this issue.It is a gorgeous piece of art. This quilt is in Phil’s style that we have grown to know and love. The colorsare glorious and vibrant, the image breathtaking. The stars are even there—you just have to look for them.

Phil tells me this will be the final piece he will do in this very recognizable style of his, and then he will begoing in another direction. (We won’t hold him to this—artists are always allowed to change their minds!)So here is a tremendous opportunity for one of us to own a masterpiece—perhaps the last of its kind.But you won’t have a chance unless you buy a ticket (see the insert in this issue). I’m certainly going tobuy one, or maybe ten, or maybe fifty…

Warm Regards,

Charlotte Warr AndersenPresident, International Quilt Association

Copyright© 2008 by the International QuiltAssociation. All rights reserved under internationalcopyright conventions. No part may be reproducedwithout the express written consent of IQA. 3

b y a n i t a m u r p h y

Painted Face for Beginners(a workshop on DVD)With Bonnie Lyn McCafferySelf-produced$29.95

In this 80-minute DVD, Bonniegives you instructions on how tocreate a painted face quilt and

give it realistic-looking features,hair, and make-up. She goes slowenough for the “beginners” tohave time to finish one step beforeshe goes on to another.

An 8-page booklet with a colorface photo, grayscale face photo,step-by-step reminder, base hair

pattern, and finishinginstructions is included so youcan paint along with Bonnie. Itmay sound complicated, but asBonnie says, “You can do it!” �

If you are a current member of IQA and have written a book that you would like to submit for potential review in Author! Author!please mail it to: Anita Murphy, 3546 Ironwood Dr., Kountze, TX 77625-7085. Copies cannot be returned regardless of whether chosen for review or not.

Mosaic Picture QuiltsBy Pat Durbin64 pp.That Patchwork Place$24.95

If you’re like me, then you’veseen them, enjoyed them, anddreamed about making them—I’m talking about thosewonderful mosaic picture quilts!

And once you’ve read this bookwhich shows just how easy theyare to make, you’ll want to tacklethem too!

Pat tells the reader that on theseparticular quilts, you shouldn’tstitch anything until the“piecing” (actually, layering) iscompleted. And using tulle tohold down raw edges, you can

even sneak in some embellish-ments under the netting to makeyour picture pop even more.

And while it is a challenge tocoordinate up to 1,200 little 1¾"squares into a recognizableimage…it’s worth it! �

Piecing the Piece O’Cake WayBy Becky Goldsmith &Linda Jenkins127 pp.C & T Publishing$28.95

True to form, Becky and Lindahave written a book for both newand experienced quilters to readand learn from—and since it’sspiral-bound, it can lay flat or

stand up easily! It’s a piecingprimer with 15 skill-buildingprojects inside.

One of the book’s highlights isthe authors’ examples of howthe right choice of fabric colorscan make your quilt really sing,and the importance of contrastand value.

They also discuss picking theright tools and threads for yourproject, and the way to squareyour quilt blocks and set them onpoint. You simply can’t go wrongwith their complete outlines.

This book answers any questionsyou might have, and is a truequilting encyclopedia. �

author!author!

ARTIST’S STATEMENT: In Northwest Colorado, ranching is a way of life. My friend Jackie snapped aphotograph of this rooster on a farm last spring. He has such personality, I had to make a quilt of him.I thought the focus would be his white feathers, but upon completing the quilt, the old barn wood in thebackground captures a lot of attention. Original design based on photograph, used with permission �

BEST OF SHOWI A IN ’T NO SPRING CHICKEN (57" x 39") by DAVID TAYLOR of Steamboat Springs, Colorado, USA

ARTIST’S STATEMENT: I liketo give a contemporary spin totraditional patterns. Brightcolors and flowers that danceand glisten in the warm sunlightrepresent spring to me. Thisquilt attempts to capture thosesentiments. I feel happy whenI look at it. I hope you do, too!Original design using DresdenPlate templates �

ARTIST’S STATEMENT: It is such a thrill when my gardenplants begin to sprout. Welcome, spring! Original design �

SECOND PLACESPROUTS (36" x 44") by LAURA WASILOWSKI

of Elgin, Illinois, USA

ANNUAL SPRING JUDGED SHOW OF IQA

2008 Winners

54 continued on next page

THIRD PLACESPRING’S GREETINGS (53" x 38") by FRIEDA ANDERSON

of Elgin, Illinois, USA

ARTIST’S STATEMENT: Daffodils are some of the first flowersto herald spring in our region. The daffodils in my yard inspiredthis quilt. Original design �

FIRST PLACEDRESDEN DELITES (53.75" x 34.25")by JEANNE PFISTER of Kaukauna, Wisconsin, USA

celebratespring!

ARTIST’S STATEMENT: Thepetunias, marigolds, and berriesall grow in my garden. Thepetunias are stylized versionsof flowers in pots on our deck.Background quilting representstrellises and vines on the backfence. The center flower featuresa custom-made button withsterling silver dots. Thestrawberry stems are bobbinwork. Original design �

HONORABLE MENTIONPINK PETUNIAS (54" x 37")by SHIRLEY GISI of Colorado Springs, Colorado, USA

6 7

Celebrate Spring! continued

HONORABLE MENTIONCRAZY ABOUT SPRING (64" x 50") by LINDA STEELE

of Park Orchards, Victoria, Australia

ARTIST’S STATEMENT:Spring and Crazy quilting havea natural affinity. They bothappear as a chaotic explosion oflife and color across a range ofdiverse environments. AlthoughCrazy quilts are traditionallyhand embroidered, I have usedfree-motion machine embroideryin this piece to represent newbeginning. Original design �

A SPECIAL REPORT FROM IQAMEMBER GLORIA HANSEN

Editor’s Note: After a vote by the Board ofDirectors, The International Quilt Associa-tion has signed on as an organization inopposition to the proposed Orphan Worksbill. Here, IQA member Gloria Hansenexplains the basics of the bill and why thisis such an important topic to quilters andartists everywhere.

In 2005, the United States Copyright Officebegan studying the issues raised by “orphanworks”—“copyrighted works whose ownersmay be impossible to identify and locate.”

The purpose of the bill was to give librariesand museums a broader ability to commer-cialize archival works. The huge problemwith the bill, however, is that it appliesto any works. In other words, it wouldmake it easier for anyone to use anycopyrighted work after a “reasonablesearch” was made to locate the copyrightowner. If after such a search was madeand the copyright owner wasn’t located,then the work could be used without fear ofthe statutory monetary damages availableunder current copyright law.

Recognizing the enormous impact this couldhave on the visual art community, variousart and photography organizations gotinvolved and voiced their strong objectionsto their Senators and Representatives.On September 27, 2006, Rep. Lamar Smith(R-TX), the sponsor of the Orphan Worksbill (the Copyright Modernization Act of

2006, HR 6052), announced that he waswithdrawing it from consideration.

In early 2008, rumors were circulating thatthe bill might be reintroduced. After it waswithdrawn in 2006, most assumed it waseither dead or was too off base to have anyserious weight. Joanne Fink, a highly-esteemed illustrator and owner of LakesideDesigns in Orlando, Florida, told me thatthis is not the case. She explained that itis a very real threat because the MotionPicture Association of America, theRecording Industry Association of America,and the Association of American Publisherssupport the passage of the Bill.

On March 14, 2008, the U.S. House ofRepresentatives Committee on theJudiciary held the “Hearing on Promotingthe Use of Orphan Works: Balancing theInterests of Copyright Owners and Users.”Then, on April 24, 2008, H.R. 5889, theOrphan Works Act of 2008, and S. 2913, theShawn Bentley Orphan Works Act of 2008,were introduced.

Since several individuals were monitoringthe situation, the moment the bills wereintroduced, they began bringing togetherorganizations, artists, designers, photo-graphers, licensing businesses, and othervisual artists to oppose the legislation.Recognizing that this could potentiallyhurt many quiltmakers, (including many ofour members), the International QuiltAssociation joined the opposition list.

It is very important that visual artistsoppose this legislation. Joanne Finkrecently spoke to David Brog, former Chiefof Staff for Senator Arlen Specter. “He saidthat the ‘magic number’ of communications(phone calls, letters, e-mails, post-cards,etc.) is 1,000. He said that if an office getsover a thousand pieces of correspondence onone particular issue, they start to payattention. Our goal is to make sure thatevery Senator and Representative receivesat least 1,000 pieces of mail. Apparently,they do not all have to be from constituents,but it is better if they are.”

She also put together a succinct list ofreasons for opposing the bill, with whichIQA concurs. They include:

1. It changes the 1976 U.S. Copyright Act(enacted in 1978), and makes it virtuallyimpossible for artists to protect their work.It basically allows anyone to use a designwithout the copyright holder’s permission.

2. It requires artists to attempt to protecttheir work by registering it with a digitaldatabase system (possibly for a fee, inaddition to the copyright filing fee)—when no such system exists.

3. It eliminates statutory damages whereveran infringer can successfully claim anorphan works defense, thus eliminatingthe only tool the law provides to preventdeliberate infringement.

4. It allows for an infringer to create andcopyright a derivative work from theoriginal design.

continued on page 19

the orphanworks act

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8 9

1110

ego created her first quilt while pregnant with her firstchild—though because she resided in Guatemala at the time,she had no access to quilting classes or books, and was forced

to teach herself. Her original pieces, she says, were “very, verytraditional,” a style she has since traded for the unrestricted linesand patterns of the art quilt.

The inspiration for this quilt, in particular, came from a colorful,floral pattern on one of Rego’s blouses. For this work, however, shedecided to represent this design with a softer color palette and morefree-flowing lines. The entire surface was first fused and then placedon the longarm machine for quilting. And like most of her work,Rego says, this quilt was created without any drafting or measuring.

“If I have a specific design in mind and I feel that I need to practicebefore I get out the longarm machine, I’ll just draw it for a whileuntil I’m comfortable with it. But I don’t follow any patterns or drawanything ahead of time,” she explains. “I just think that it gives it a

much freer look, which I like more. I think that the really planned-out quilting is beautiful, but it’s just not for me.”

Overall, it took Rego close to three months to complete the work,which is not a great amount of time considering the quilt’s size—over seven feet wide by four feet tall. But according to Rego, thething that she most hopes people will take away from this work isthat there are many ways to create a quilt and no need to follow anyparticular rules. “And when they see it,” she says, “I hope that theyjust get a sense of joy and freedom.”

Artist’s Statement: “The idea for Chromatic Counterpoint camefrom a blouse I have, which is printed with big, colorful flowersreminiscent of the designs from the 1960’s. One day, when trying tocome up with an idea for a quilt, I looked at those flowers andthought how much fun they would be if I made them into a morefree-flowing pattern with softer colors.” Original design �

Art—Abstract, Large

Category sponsored by Hoffman California Fabrics

cannot imagine life without piecing,” Hire says. “I think ofpiecing as a requirement—especially when the moment isright and the juices are flowing. It almost becomes an altered

state. Food doesn’t matter, housekeeping certainly doesn’t matter,and I’m always grateful to my artist husband, Terry, whocompletely understands what is occurring.”

In fact, Hire says that she used “curvy, no-template” piecing—atechnique that she developed and will share in her upcomingbook—to complete her winning quilt. However, the design thatdeveloped out of Hire’s work on the piece strayed a bit from heroriginal idea and presented her with a unique challenge.

“The cart came before the horse with this quilt,” she explains.“Those nine little curvy quilts were created first and were to beinset into another larger curvy quilt. When the piecing for thenine smaller quilts was completed, I could not resist quilting andbinding them. So the next issue was deciding what to do withthese cute little things.”

continued on page 20

he inspiration for my art quilts comes from my gardens,”Chung says. “I hope to communicate the feeling that Iexperience when seeing a blossom’s beauty. A flower

represents life, death, and rebirth, and I try to convey thatmessage in my work.”

Her winning quilt, Pink Rose II, is no exception to her creativeobjective, representing a detailed view of the interior of a rosefrom her garden. It took Chung around two months, workingfrom eight to 10 hours a day, five days a week, to finish trans-lating a photograph of the flower into her quilted artwork. “Thecutting, piecing, and quilting processes are very time consuming,”she explains.

To create the quilt, she used a fusible interfacing on both thehand and commercially-dyed silk and then added appliqué witha small zigzag stitch using monofilament thread. The entirepiece was then quilted with the same thread and finished in thepillowcase method.

continued on page 20

THIRD PLACEPINK ROSE I I (72" x 54") by PAULA CHUNG

of Zephyr Cove, Nevada, USA

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SECOND PLACELOOSE CURVES (64" x 64") by DIANNE S. HIRE

of Northport, Maine, USA

FIRST PLACECHROMATIC COUNTERPOINT (88" x 48")by LESLIE REGO of Sun Valley, Idaho, USA

art-abstract large continued on page 20

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winnersgallery

12

ith this quilt, Stewart hopes she has proven the theorythat “just because a quilt was made with machines,doesn’t mean it was quick to make!” In fact, she used

close to 32,000 yards of thread to complete the work and the stitchcounter on her machine registered at just over 6,000,000 stitches.

When planning this quilt, Stewart decided that she wanted toincorporate as many different types of digitized machineembroidery as possible. “At first, I was going to use shades offabric to achieve the woven look of sashing,” she says, “but thenrealized that I could create my own ‘colored’ fabric with all-overstitching. From there, I decided that all color on the quilt wouldbe machine embroidery.”

She pieced together these areas of “colored” fabric to form thesashing, over which she added a green feather motif using a satinstitch. Stewart then used a machine-embroidered, free-standinglace to create the quilt’s border and close to 700 tiny flowers,which were attached after the quilting was finished. “Even thewide binding on the back and the hanging sleeve are machineembroidered,” she adds.

Though she has only been quilting for about five years, Stewartsays that she has always loved fabric and sewing. “Quilting is justthe most recent incarnation of that for me,” she continues. “I loveit when the pictures pop into my mind and I have to figure out howto make them work. There are so many challenges and so manythings that haven’t yet been done just waiting for me to do!”

Artist’s Statement: “This quilt was made from white fabric only.All color is from digitized machine embroidery. Four types ofmachine embroidery were utilized: all-over stitching (“colored”fabric), motifs (green feathers), quilting designs, and freestandinglace stitched on water-soluble stabilizer (lace border and tinyflowers).” Original design �

winnersgalleryComputer-Aided Machine Embroidery

Category sponsored by Oklahoma Embroidery Supply & Design

tell everyone that I started this as a wedding quilt for mygrandson, Alec,” Ford says of her winning piece. “Yes, I knowthat he was only two years old at the time, but when he’s

reached marriage age, I’ll be too old to do this kind of work.”

She explains that she has always loved Wedding Ring quilts, butfound piecing them to be a bit too tedious. So for her aptly namedquilt, Ford used “thread” to create her “wedding rings.” “Theembroidered version is a new twist on a time-honored pattern,”she says.

When designing the quilt, Ford used an embroidery digitizingsoftware to create the rings and tone-on-tone embroidery thatappear on both the front and back of the quilt. She used handappliqué to complete the swags and the back border, to which sheadded many small, embroidered fleur-de-lis motifs.

“And I love challenges, so I also made the quilt reversible,” shesays. However, before beginning work on this project, she had togo through two smaller prototypes in an effort to find the righttechnique for making the quilt reversible. The completed worktook around five months to finish, and includes both trapunto andfree-motion quilting.

continued on page 20

he inspiration for Mataev’s winning quilt came from thenotebooks of the great artist, inventor, and writer, Leonardoda Vinci, who left behind tens of thousands of pages with

notes and drawings. “His notebooks have always been fascinatingto me—more than even his paintings,” she explains, “because Ifeel that they say a lot more about the mind of the man behindthe brush.”

Though Mataev knew that she wanted the quilt to be a tribute toda Vinci, she had trouble in determining the specifics of the piece.She began with computerized machine embroideries of several ofda Vinci’s sketches, placing them on a background of yellowedparchment tones. From there, the quilt progressed quite slowly—“almost painfully,” she says. “It was a labor of love, but, boy, wasit a labor.”

The quilt top was pieced together in a mosaic style, using fabricscraps in different hues. The entire piece was then machinequilted and further embellished with more digitized machine-embroidered outlines of da Vinci’s works. As a final touch, Mataevsays, she added geometric shapes made of tulle.

continued on page 20

THIRD PLACETHE NOTEBOOKS OF A GENIUS (74.5" x 57")by HELENA MATAEV of Norwich, New York, USA

W

I

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SECOND PLACETHREADED WEDDING RING (70.5" x 82")by GERI V. FORD of Clinton, Maryland, USA

FIRST PLACEIT ’ S ALL THREAD! (54.5" x 66")by SUSAN STEWART of Pittsburg, Kansas, USA

computer-aided machine embroidery continued on page 20

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USA

ALABAMAFlavin Glover861 Ogletree Rd.Auburn, AL 36830334-821-7091www.flavinglover.comauthor, colorful patchwork,innovative Log Cabins,Denimania projects

Janet Jones Worley1935 Meadowbrook Dr., #1808Huntsville, AL 35803256-665-5814www.janetjonesworley.commachine quilting, author,quilt designer, miniatures

ARIZONALois Embree Arnold9825 E. Barley Rd.Florence, AZ 85232520-424-2231larnold222@cox.nethand quilting, hand appliqué,author, fabric painting or dyeing

Jean Biddick4513 N. Little Rock Dr.Tuscon, AZ 85750520-749-3022www.jeanbiddick.comauthor, miniatures,machine piecing

Linda GriffithP.O. Box 13114Tempe, AZ 85284480-755-3991www.organizedoption.comspeaker: “How to OrganizeYour Sewing Room”

CALIFORNIAPatt BlairP.O. Box 302Mt. Baldy, CA 91759www.pattsart.comfabric panting or dyeing

Pat Durbin6265 Eggert Rd.Eureka, CA 95503707-443-2047www.patdurbin.commachine quilting, author, quiltdesigner, mosaic picture quilts

Colleen Granger337 Point San Pedro Rd.San Rafael, CA 94901415-686-6067www.sewlittletimequilting.commachine quilting, author,quilt designer

Cathie I. Hoover7113 Carolina Ct.Modesto, CA 95356209-545-4188www.cathiehooverstudios.comquilt designer, embellishments,machine appliqué

Roberta Horton1929 El Dorado Ave.Berkeley, CA 94707510-526-5086www.robertahorton.comauthor, quilt designer,scrap/Amish/ethnic fabrics

Peggy Martin13415 Sawtooth Rd.San Diego, CA 92129858-484-1412www.peggymartinquilts.comauthor, quilt designer, paperpiecing (Quick Strip method)

Mary Mashuta1929 El Dorado Ave.Berkeley, CA 94707510-526-5086www.marymashuta.commachine quilting, author,quilter’s workspaces, color& design

Marcia Stein1472 Filbert St. #503San Francisco, CA 94109415-776-2962www.marciastein.comquilt designer, machine appliqué

Terry Waldron6160 East Morningview Dr.Anaheim, CA 92807714-921-1143terryannwaldron@earthlink.nethand appliqué, quilt designer,embellishments, art quilter

COLORADOMarci Baker204 N. Link Lane #7Fort Collins, CO 80524970-224-1336www.aliciasattic.commachine quilting, author,quilt designer, frustration-freetechniques

Barb Broshous4265 Hidden Rock Rd.Colorado Springs, CO 80908719-495-7666www.2Bara.comembellishments, three-dimensional floral appliqué

Annette Kennedy924 Hover Ridge CircleLongmont, CO 80501303-772-3745www.annettekennedy.comfabric painting or dyeing,fused appliqué

Christine M. Hause2674 S. Fenton CourtLakewood, CO 80227303-522-6866www.ChristineHause.comminiatures, Crazy quilts,embellishments, certifiedBrazilian embroidery instructor

FLORIDANancy Prince4000 Rouse Rd.Orlando, FL 32817407-977-0177www.nancyprince.comthread painting

Katharine Stubbs Ward1150 Coral WayRiviera Beach, FL 33404561-844-2115stubbswd@gate.netmachine quilting,embellishments, machineappliqué, thread painting

IDAHOJoyce Shoemaker24 S. 200 EastBlackfoot, ID 83221208-785-5936dblqbr@if.rmci.netquilt designer, fabric paintingor dyeing, AQS certifiedquilt appraiser

I LL INOISStephanie Nordlin1672 Candlewick Dr. SWPoplar Grove, IL 61065815-765-0498www.stephanienordlin.comquilt designer, wearables, fusedquilts (easy), luxury chenille

Sheri WoodP.O. Box 71Altona, IL 61414309-299-8007www.whiterobindesigns.commachine quilting, fabric paintingor dyeing

KANSASJeanne Poore8205 W. 91st St.Overland Park, KS 66212913-648-3963jepodesigns@everestkc.netmachine quilting, hand quilting,author, quilt designer

THE 2008IQA TEACHERS DIRECTORYLOUISIANANancy Hinds17 Pipes LoopCovington, LA 70435985-893-3954www.fiberartsstudio.commachine quilting, author, scrapquilts, quick machine techniques

MAINESarah Ann Smith17 Pleasant Ridge Dr.Camden, ME 04843207-236-6003sarah@sarahannsmith.commachine quilting, machineappliqué, quilting design,Hawaiian-style appliqué

MARYLANDLois T. Smith4821 Bel Pre Rd.Rockville, MD 20853LTSquilt@verizon.netmachine quilting, author,fabric painting or dyeing

MICHIGANKathleen GlynnP.O. Box 238Alden, MI 49612917-854-0801kathglynn@mac.comCrazy quilts, embellishments

Frances Krupka16100 Smokey Hollow Rd.Traverse City, MI 49686231-223-7196www.franceskacreations.comauthor, quilt designer,embellishments, wearable art

MISSOURIMarilynn Bilyeu9678 US Hwy. 160Spokane, MO 65754417-443-2363www.marilynnbilyeu.comauthor, take-along totes fromher book

Patti Buhler17600 EndicottKearney, MO 64060816-645-6414www.quiltedartsstudio.commachine quilting, quilt designer,fabric painting or dyeing,how to buy a longarm

Linda Carlson2509 Teal Lake Pl.Mexico, MO 65265573-581-8643www.lindacarlsonquilts.comhand appliqué, author,quilt designer, fabric designer

Kathy Kansier310 Parsley Rd.Ozark, MO 65721www.kathykansier.comhand quilting, hand appliqué,author, Crazy quilts

Shelly Pagliai31763 Intrepid Rd.Macon, MO 63552660-676-0606qcrossing@yahoo.comhand quilting, hand appliqué,quilt designer

NEBRASKAShelly Burge5701 S. 112thLincoln, NE 68526402-489-7141www.shellyburge.comauthor, miniatures, fabricpainting or dyeing, machinepiecing techniques

Jenny RaymondP.O. Box 12Gothenburg, NE 69138308-930-0104www.jennyraymond.comquilt designer, embellishments

NEW YORKEsterita Austin58 John St.Port Jefferson Station, NY 11776Esterita2@aol.comquilt designer, fabric paintingor dyeing, fusibles

Priscilla Kibbee11933 Washington St.Wolcott, NY 14590315-594-1046www.priscillakibbee.citymax.comembellishments, wearable art,art quilts

PENNSYLVANIABonnie Lyn McCaffery472 Rt. 739Hawley, PA 18428570-775-7118www.BonnieMcCaffery.comfabric painting or dyeing,embellishments

SOUTH CAROLINAPaula Brown60 Kimwood Ct.Aiken, SC 29803803-642-0746phbrown@bellsouth.netquilt designer, fabric paintingor dyeing, embellishments

TENNESSEECindy Blackberg833 Misty View Dr.Maryville, TN 37804865-977-0899www.cindyblackberg.comhand quilting, hand piecing,embroidery

Jan Wass162 Hiwonihi TrailVonore, TN 37885865-809-6317www.janwass.comauthor, quilt designer,Amish quilts

TEXASDea Heller9158 Garden Ridge Dr.Garden Ridge, TX 78266RHeller@satx.rr.commachine quilting, hand appliqué,bargello, perfect points

VIRGINIAKathy Lincoln5613 Tilia Ct.Burke, VA 22015703-426-2926www.kathylincoln.commachine quilting, hand appliqué,quilt designer, machine appliqué

Cyndi Souder4407 Ossian Hall Ln.Annandale, VA 22003703-978-1357www.moonlightingquilts.commachine quilting, fabric paintingor dyeing, embellishments,art quilt techniques

Priscilla Stultz3516 Cornell Rd.Fairfax, VA 22030703-591-5630www.priscillastultz.commachine quilting, quilt designer,embellishments, wearable art

WASHINGTONMelody Crust26530 Lk. Fenwick Rd. SKent, WA 98032253-859-0446www.melodycrust.comfabric painting or dyeing,embellishments, decorativethread, beads

Larkin Jean Van HornP.O. Box 1478Freeland, WA 98249360-341-4377www.LarkinArt.commachine quilting, author,embellishments, beadingon fabric

WISCONSINGayle BongN6628 Bowers Rd.Elkhorn, WI 53121262-723-7873www.gaylebong.comauthor, quilt designer, innovativepiecing w/30 & 60-degree angles

Patricia C. Barry5640 Tracy CircleRacine, WI 53402262-681-2000pat@bydesignquilting.commachine quilting, author

Wendy Butler BernsN6536 Shorewood Hills Rd.Lake Mills, WI 53551920-648-7576www.wendybutlerberns.commachine quilting, author,quilt designer, machine appliqué

CANADACarol Seeley1367 Leed Rd.Campbell River, BC V9W 5R3250-923-8875cseeley@oberon.ark.commachine quilting, hand appliqué,quilt designer, embellishments

16 17

IQA Journal: First, please tell us a bit about your personal background.Danko: I was born in Detroit, Michigan, and raised in rural suburbia showing horses,raising chickens, and owning a dog and cat. My parents were raised on farms, and itwas from them that I began to appreciate plant life. My activities with horses diversifiedinto calf roping and bareback bronc riding in rodeos.

I graduated from broadcast school and worked as an on-air radio personality and musicdirector. In that capacity, I emceed concerts and voiced over and produced about 1500radio commercials. I also worked in television commercials and industrial films. Duringthis time, I put myself through college, graduating with a degree in CommunicationArts. In 1989, I married Steve, who worked in the automotive supplier industry. Andshortly after, we moved to Indianapolis, Indiana, where I continued acting. We latermoved back to Michigan, where we still reside today.

IQA Journal: Have you always had an interest in art?Danko: I’ve always been a great fan of art and have been drawn to creative activities.I am attracted to the Impressionist artists such as Monet and Degas.

IQA Journal: And how did you originally come into quilting?Danko: I have sewn since I was a small child—my mom taught my sister and me howto create patterns and make clothes. This led to creating crafts and tailoring garments,which I entered and modeled in 4-H competitions.

My mom has been a quilter since 1976, but I didn’t start until 1991. She wanted tomake a bed quilt for my husband and me as a post-wedding gift, and wanted me to sendher pages from quilting magazines of patchwork patterns I liked.

The photos that I sent were of contempo-rary wall quilts, which she said she couldn’tdo because she was a traditional quilter,and had to like what she was working on.So that meant that I had to make our ownbed quilt. We had just moved to Indiana-polis where quilting is very popular—thereare many quilt shops in the area. I enrolledin a beginning quilting class, but never didfinish that first quilt or make one for ourbed. My mom did, though!

IQA Journal: You are probably mostrecognized for your floral quilts—howdid this develop and where do yourideas for these quilts come from?Danko: I’ve loved blooming flowers andgardening since my childhood, so it wasonly natural to go in that direction. Likemy mom, I have to really like what I amworking on. Wherever I travel, I seek outbotanical gardens and conservatories tovisit. I’ve taken literally thousands ofphotos, always looking for the ideal subjectfor my next quilt. Even my quilting stitchesare patterned after nature.

IQA Journal: And do you also like togarden, or are your flowers on fabric only?Danko: The inspiration for some of myquilts came from flowers I have growingaround my own home. Throughout thesummer months, I spend more timegardening than I do quilting, and I enjoymy large vegetable garden as much as myflowers. My husband is known as “Mr.Tomato” each fall because he takes ourbounty to work to share with friends—plus, he’s a redhead!

IQA Journal: What techniques do youuse to produce such realistic images inyour quilts?Danko: I start by deciding how to interpreta photograph into fabric art. In actual size,what you see is that all of the petals areof the same underlying form. But byenlarging a photograph, oversized imagesemerge that show the natural quirkinessand individuality of each petal.

I create depth of field using tone-on-toneprints and other textural fabrics that areover-painted with highlights and shadows.Emphasizing the details injects realism intothe quilt and brings it to life. Fusible webproduces a raw edge that allows me tocreate those details. Each quilt requiresdifferent techniques to bring it tocompletion. Instead of couching, I do a lot ofbobbin work on the front of a quilt to getthe thicker yarns embroidered.

IQA Journal: What are some of theother quilting styles with which youenjoy working?Danko: I am comfortable with piecing andtraditional appliqué and like using non-traditional quilt fabrics to achieve acontemporary result. An example wouldbe using African fabrics for a traditionalpieced patchwork.

TRUMPET LILIES (46" x 40")

the IQAfiles

DebraDankoOF GRAND BLANC, MICHIGAN

COLORADO WILDFLOWERS (69" x 58")

WINTER TREE (25" x 29")

IQA Journal: And what are some ofthe other techniques that you use inyour work?Danko: My quilts are made from hand-dyed, batik, and commercial cottons usingmany different techniques including machinepiecing, appliqué, and quilting, as wellas painting, photo transfer, embroidery,couching, and fused-fabric collage. As withmy cooking, in which I like to experimentwith different ingredients than that calledfor in the recipe, I also have a passion forsilks, sheer fabrics, heavier threads, andbeautiful yarns in my compositions.

IQA Journal: You have won awards formany of your quilts—do you have aparticular favorite and, if so, why?Danko: I enjoy beautiful and sumptuousfabrics, which is why a favorite would haveto be my quilt, Trumpet Lilies (see p. 16).It has a background of two layers of plumand purple hand-dyed, sheer silk organzathat contrasts with the patterned orangelilies heavily stitched with thick perlecotton yarns. The leaves have a center veinof one textural ribbon or thick yarn. All ofthe embroidery was accomplished bywinding the threads on the bobbin andworking on the reverse side of the quilt.

IQA Journal: Since you previously hadcareers as both a rodeo competitor anda radio broadcaster, are there ways inwhich this has helped you in yourquilting career?Danko: Quilting is a lot safer than gettingbucked off a horse—any mistakes I makein quilting won’t hurt quite as much! I’velearned not to be discouraged when some-thing doesn’t work out the first time. Getup and work at it again, perhaps trying ita different way. My broadcast backgroundhas been a help when I’m speaking in frontof audiences—like when I give lectures orteach a workshop. Quilters want to be witha quilter, be entertained, and understandhow I bring a quilt to life. �

18 19

SHOGUN DAHLIA (40" x 42")

PINK ORCHID (36" x 50")

For the second year, Martingale & Co. isproducing a calendar featuring works fromsome of the winners at last year’s “Quilts:A World of Beauty” Judged Show.

This gorgeous, full-color calendar featureswonderful photography of the quilts, aswell as brief articles about the artists andtheir quilted creations.

You can order your own copy beginningAugust 11. Just visit Martingale’s website at www.martingale-pub.com orcall 1-800-426-3126.

The calendar will also be for sale at theIQA table at the upcoming fall edition ofInternational Quilt Festival in Houston.IQA’s share of the proceeds go right backto the organization and help to fund theJudged Shows, grant program, and otheractivities. Get a copy of this great calendar!

IQA members whose workswill be showcased in the

2009 calendar are:Melinda Bula

Hollis ChatelainSally Collins

Caryl Bryer FallertMargaret McDonald &

Susan CampbellBarbara Newman

Paula PlatterNancy PrinceLeslie RegoCheryl See

Linda SteeleCindy Vough

Mariya Waters

orphan works act continued5. It leaves infringing works (and products

incorporating them) subject to seizure inother countries under the Berne Conven-tion for the Protection of Literary andArtistic Works (the international agree-ment governing copyrights to which theUnited States is a signatory).

Grant DiCianni, Vice President of TapestryProductions, states, “Currently we put therights of the creator first; operating underthe philosophy of ‘if it’s not yours, you needto ask permission or you can’t use it.’ Itworks that way with cars, land, money,ideas, etc. ... These bills are premised on theidea that there exists a universal right to

use copyrighted works unless specificallyprohibited, which represents a ground-breaking ideological 180 degree shift fromwhat this country has held onto for the pastseveral decades.”

Think of all of the people snapping photoswhile at quilt shows. Imagine if one of thosephotos ends up in the hands of someonewho works at a company that manufac-turers tote bags and similar items. Afterasking some questions, no one at thecompany can find out who owns the originalimage. Since a “reasonable search” wasmade, the company decides to use theimage on their products.

Now imagine that one of those products issold throughout the country at craft stores.If this legislation passes, the fear of asubstantial monetary judgment—such aswhat one could face if the registeredcopyright holder claimed infringement andwon—is nearly gone.

And, if the owner sees the items and triesto object to it, the offender would only haveto pay “reasonable compensation,” and notactual or statutory damages, nor incurredcourt costs, attorneys’ fees, or other expenses.

continued on page 20

iqacalendar

20

The 2007 IQA JUDGED SHOWFirst Place–Digital Imagery

Category sponsored by C & T Publishing

Phot

oby

Jim

Lin

coln

UNDER THE RAINBOW ( 42 " x 57 .5 " ) by DIANE RUSIN DORAN

o f G lene lg , Mary land , USA

art-abstract large (cont.)

Diane S. Hire continuedAfter putting some thought intoit, Hire opted to make the quiltwith an open backdrop, believingit to be as simple as connectingthe horizontal and verticalpieces. “But when that muchwas finished, the quilt implodedupon itself,” she says. Andthough she jokes that she had toenroll in an engineering class tofigure out what to do next, shewas eventually able to come upwith a solution and create anopen-weave quilt in whicheverything hung nicely in place.

Despite the complicated processof creating the piece, Hire seemspleased with the end result, andhopes that viewers enjoy its

explosive colors and unique, fundesign. “It only has a message ofjoy without being too serious,”she adds.

Artist’s Statement: “This is adouble-sided quilt. The frontcontains nine curvy-edgedsmaller quilts with sizes dif-fering, but approximately 12”by 12”. It was created with myno-template curvy technique.Six separate six to seven inchcurved strips appear to be wovenon the back whereas the samestrips on the front appear to bea colorful, curvy grid to whichthe nine smaller quilts areattached. Similarly, the exteriorfour strips hold the piecetogether as a boundary andframe.” Original design �

Paula Chung continuedAlthough Chung often usesother artistic methods, includingphotography and drawing, toproduce her fiber artworks, it isthe unique nature of the quiltthat truly fuels her creativityand enthusiasm. “I find an artquilt much more interestingthan other two-dimensionalworks,” she says. “Textiles,unlike paint, give a texture,luster, and depth that is uniqueto the medium.”

However, Chung says she oftenfinds that art quilters are viewedmore as craftsmen—“makers ofdecorative art, and not as trueartists.” She is especiallyappreciative, therefore, of thoseindividuals and venues thatencourage the acceptance of the

art quilt as a genuine artisticmedium. “This is an excitingtime for art quilters,” she adds.“We’re working in a new artform, with few limitations.”

Artist’s Statement: “My gardensprovide a source of inspirationand solace. My pieces try tocapture a blossom’s essence, itsenergy. Through the use of myphotographs, a very personalmessage is sought. In endea-voring to make the commonuncommon, I hope you will joinme in experiencing this flower’sbeauty.” Original design �

computer-aided machineembroidery (cont.)

Geri V. Ford continuedAmong the many things thatkeep her interested in quilting,according to Ford, are the fabric,the thread, and the technology.“I have been a computer geeksince I was a kid helping myfather at work—back whencomputers took up a warehouse-sized room,” she continues. “Ifind designs just about every-where I go and in everything Isee. I would have to live to be300 years old to complete all ofthe designs in my head!”

Artist’s Statement: “This quiltis a new twist on the traditionalDouble Wedding Ring pattern.It’s all done with thread and it’stotally reversible. I digitized

the embroidered rings and thetone-on-tone embroidery on thehand appliquéd swags and theembroidery on the back.” DesignSource—Double Wedding Ringand quilting patterns inspiredby Karen McTavish’s books,Mastering the Art of McTavishingand The Secrets of ElementalQuilting: Innovative QuiltingDesigns plus Trapunto Tips. �

Helena Mataev continuedThough it took her nearly a yearto complete, only a fraction ofthat time was spent actuallyconstructing the quilt. “Most ofthe time was spent trying tofigure out where I was goingwith it, and what should comenext,” Mataev explains.

And even when the quilt wascompleted, she says that she

still viewed it with mixed feelings.Though she didn’t consider thequilt good enough to win anaward, she was persuaded byfamily and friends to enter itinto the IQA Judged Show.While the quilt’s success mayhave come as a complete shockto Mataev, it made all of her“labor” worthwhile in the end.

Artist’s statement: “I got theinspiration for this quilt fromlooking at sketches from thefamous notebooks of Leonardoda Vinci. Computerized embroi-deries of Leonardo’s sketcheswere incorporated into theinnovatively-pieced top. Theproject was then machine-quiltedand additionally embellishedwith computerized machineembroidered outlines of hisworks.” Original design �

orphan works act continuedPresently, statutory damages arethe only tool copyright holdershave to prevent abuse. Withoutit, the door opens to unscrupu-lous individuals who see amarket to exploit the rights ofcopyright holders with little orno penalty.

As Joanne states, “The infringerwould discover that publishinguncredited (and therefore, effec-tively orphaned) images is arational, profitable businessdecision, which could, in turn,inspire other infringers. It is badenough that artists have to dealwith infringement issues fromChina and other countries—they shouldn’t have to dealwith it in America.” �