Do you think this block is called "The Devil's Puzzle?" Play the game and find out.



Angular No. 1 by Audrey Esarey won First PlaceNegative Space, sponsored by Coats & Clark, at QuiltCon 2020. TQS got the chance to talk to Audrey and she was kind enough to tell us about her design choices and how she made the quilt. Photos of the quilt are below the video.


Photos by Mary Kay Davis


Part 3 in BERNINA's series of Longarm Quilting for Beginners deals with threading and basic techniques.

A person new to using a longarm is always interested in the threading of the machine. Some longarms are a little different from others. Here they share with you how easy it is to thread their BERNINA Q Series machines. Both the Q 20 and the Q 24 thread the same way. The threading is all in the front, so there is no need to go to the back or reach all the way to the back.

Part 2 is a discussion about the frame and rails.

Part 1 gave you some things to think about if you decide to purchase a longarm on a frame. The later blogs will touch on basic techniques, feature highlights of the BERNINA Q Series and BERNINA Q-matic Longarm Quilting Automation System.


Click here for Part 3.

Click here for Part 2.

Click here for Part 1.


Alex Anderson's quilting tutorial on Piecing a LaMoyne Star with Diamonds will be broadcast LIVE Monday, Apr 27, at 10am PST, 1pm EST, and 6pm London time. The class will be recorded for later viewing (it's just more fun LIVE). Tell a friend and then chat during the LIVE. If you want to chat in the LIVE session, go to our homepage, scroll down and go to the playlist on YouTube. That way your chat will go to Alex.

Don't miss the Stay in Place special membership and see all the shows Alex talks about.






Quick as a New York Minute, this quilt can be finished in time for that last-minute gift. Sheila says she has, "Made so many of these fun quilts and have begun to think of them as my quilt “missionaries”, sent out all over the country to keep the babies warm!"

Watch Sheila in Show 2609.

NewYorkMinutebySheilaSinclairSnyder - 35 Pieces Non-Rotating

NewYorkMinutebySheilaSinclairSnyder - 99 Pieces Non-Rotating

NewYorkMinutebySheilaSinclairSnyder - 300 Pieces Non-Rotating

NewYorkMinutebySheilaSinclairSnyder - 35 Pieces Rotating

NewYorkMinutebySheilaSinclairSnyder - 99 Pieces Rotating

NewYorkMinutebySheilaSinclairSnyder - 300 Pieces Rotating

Original Photo: Kristin Goedert


Quick as a New York Minute, this quilt can be finished in time for that last-minute gift. Sheila says she has, "Made so many of these fun quilts and have begun to think of them as my quilt “missionaries”, sent out all over the country to keep the babies warm!"

Watch Sheila in Show 2609.  Get the Stay in Place 6 month special for $19.95 and Watch Sheila talk about this quilt.


Original Photo: Kristin Goedert


Three Easy Steps To Save This Lesson As A Pdf:
-Make sure you are logged in.
-Click on the small triangle next to the tool wheel in the upper right hand corner of the page (you'll find it above the Like button).
-Select the pdf. option. Wait a few minutes. It's a large file due to the number of images.
-Your file should appear with the title of the lesson.


What is Form, and how does it differ from shape? 

Geometric forms come with specific names to identify them and are usually man-made.

Organic forms are often irregular, asymmetrical, free-form, and associated with nature.

Form in the simplest of terms is a three-dimensional figure (i.e. cube, sphere, cylinder, cone, etc.). Form has length, width, and height. Think of it as something you can pick up, set something on, or casts a shadow. Form can bear weight due to it being three-dimensional, while two-dimensional Shape cannot.


Take a look at the two illustrations above. The house on the left is the shape of a house, while the house on the right is the form of a house. The house on the left cannot be lifted, create a shadow, or have anything placed on it. The house on the right can be lifted, cast a shadow, and can support a front porch roof.

Let's look at a few excellent examples of form depicted in quilting:

Apples by Valentina Maximova (Left) ; Heirloom Pumpkins by Susan Brubaker Knapp (Right)

Notice the shadow created under each apple in Valentina's piece as if there is a light shining on them from the top right hand corner of the quilt. Susan Brubaker Knapp's (Show 901: State-of-the-Art Quilting - Tradition Meets Innovation & Show 1709: From Pineapples to Photorealism) pumpkins seem to be pushing their way out of the quilt.

Seashells, Detail by Velda Newman

Seashells by Velda Newman.

Velda Newman
(Show 903: Realistic Imagery - How Does She Do It?), known for her oversized subject matter, expertly uses a combination of subtle hand painting and shading for this grouping of shells. But it is the machine stitching that emphasizes each shell's form and realistic hard edges.


Upon closer inspection, each individual three-dimensional cube of Marci Baker's (Show 1810: Quilting Tools & Techniques) Hollow Cube is actually constructed using a combination of diamonds and triangles.

     Hollow Cube, Detail by Marci Baker


Hollow Cube by Marci Baker.

Using thousands of printed photos that finish at 1" (below left), fiber artist Deborah Langsam (Show 1710: Conquering Abstract Fears) creates a three-dimensional portrait entitled Every Woman (below right).

                   Every Woman, Detail by Deborah Langsam


















Understanding space and form allows the quilter to manipulate patterns to create stunning effects. British quilt artist Peter Hayward shares how his love of optical illusion led him to create a unique interwoven design that combines color, shape, and form using a traditional quilt pattern. The resulting Lone Star Explores Space is truly a fool-the-eye experience.

Creating Illusion with Color
By Peter Hayward

(all images by Peter Hayward unless noted)    

            Lone Star Explores Space by Peter Hayward

   Radiant or Lone Star. JinnyBeyer.com



Lone Star Explores Space by Peter Hayward.

I began designing "Lone Star Explores Space" knowing that I wanted in some way to give the traditional lone star pattern a new 3D look. I am a big fan of the optical illusions that typified the Op-Art movement in general and the works of Victor Vasarely in particular. The key to success is the use of strongly contrasting lights and darks, that is what makes the shapes leap out at you.

I had already chosen the collection of ombre fabrics I knew I would need--it had to have a wide selection of pure colours with a slow and steady gradation. Though it might sound obvious, it is crucial for me to find fabrics I really like, to the point where I am actually prepared to modify my design a little to suit the requirements of the fabric if I have to. The collection was called "Pointillist Palette" by Debra Lunn and Michael Mrowka for Robert Kaufman.

Though the next stage in the process is not one I am aware of anyone else doing it is the absolute key for my computer-free technique. I photocopy the fabrics and though the quality of these photocopies does not have to be great, it does incur a small expense. This is, however, a lot cheaper than cutting up your precious fabrics and then wishing you hadn't!

Lone Star Explores Space, Detail by Peter Hayward

The basics behind the effect I am trying to create are relatively simple--the eye assumes that small and dark areas are further away than light and large ones. With this in mind I cut up the photocopies, stick the bits of paper back together and see what I think of the result. The early attempts almost always need several adjustments before I am happy that I am getting the maximum 3D effect in terms of the correct colour contrasts, both within an area and between neighboring areas. As a rule I like to place opposing colours next to each other to enhance the contrast.

At all times, however, it is important to bear in mind how you are actually going to make the quilt once it moves on from the design table. In my case, I had chosen to use interwoven strips of fabric, so there would be no point in coming up with some spectacular design that was incompatible with that technique of confection.

As well as contrast, my rather OCD mind enjoys symmetry and logic which means that once I find an effect I like, then I play around to achieve its opposite. Thus the orange and blue tubes that come out from the centre of the quilt are covered whilst the red and green ones are hollow. The left and right pyramids go up and up whilst the top and bottom ones start by coming up but then turn round and go back down. The spheres and crosses inside the corner boxes are actually made of identically shaped interwoven strips. The only difference is that the diagonal areas of the spheres are light whilst those of the crosses are dark.
Lone Star Explores Space, Detail by Peter Hayward.

The design process is actually my favourite so I don't mind that it takes me a long time before I end up with a full size version in paper. In the case of Lone Star, out of the seven months, which the quilt took from start to finish, I spent a full two on design. But I think they were far and away the most important two.


Practice Exercises: Op Art Hole and Checkered Sphere

Try your hand at making an optical illusion drawing following the instructions in videos by PIN KORO & VamosArt Drawing.

Click here for more topics related to The Art of Quilt Design program.


We continue our feature on quilts from the Studio Art Quilt Associates (SAQA) exhibit, Layered & Stitched: Fifty Years of Innovation, as featured at the Texas Quilt Museum. The exhibit is described as:

Studio Art Quilt Associates presents Layered & Stitched: Fifty Years of Innovation at the Texas Quilt Museum in Galleries I and III. These studio art quilts, dating from 1968 to 2016, represent the extraordinary range of talented artists working in contemporary quilt art. Featuring a balance of abstract and representational styles, Layered & Stitched includes several foreign artists, with a wide geographic distribution of makers in general. The curatorial vision of this exhibition embraces diversity and excellence, including three-dimensional works. Juried by Nancy Bavor, Director of the San Jose Museum of Quilts & Textiles; Martha Sielman, Executive Director of SAQA; and Dr. Sandra Sider, Curator of the Texas Quilt Museum, who says, "Jurying this spectacular exhibition was one of the highlights of my career! It is an amazing show of historic significance."

The exhibit has also been collected in a companion book as well, titled Art Quilts Unfolding: 50 Years of Innovation by Nancy Bavor, Lisa Ellis, Martha Sielman, and edited by Sandra Sider. The book is described as:

Published by Schiffer Books, Art Quilts Unfolding offers full-color images of 400 masterpieces along with engaging interviews and profiles of 58 influential artists, key leaders, important events, and significant collections. Organized by decade, an additional 182 international artists' works are featured.
An introduction by Janet Koplos, former senior editor of Art in America, and a conclusion by Ulysses Grant Dietz, emeritus chief curator of the Newark Museum, help us to understand the impact and the future of the art.
The exhibit will be on display at:
San Jose Museum of Quilts & Textiles: April 19, 2020 - July 12, 2020
Ross Art Museum, Delaware, Ohio: May 14, 2021 - July 2, 2021

Please enjoy the sixth quilt from the exhibition by Jenny Hearn.

Title of Quilt: Pele IV

Quilter's Name: Jenny Hearn

Photos by Mary Kay Davis


Terry S. Peart recently retired and began thinking about the changes in life as you go through different phases. Seasons is her interpretation of those changes reflected in light and color.

Seasons by Terry S. Peart won Third Place, Piecing, sponsored by Aurifil, at QuiltCon 2020.

Photos by Mary Kay Davis


Ricky Skypes with textile artist Pam Holland, who just made it home "down under". Pam unveils a portrait quilt that she has been working on of Ricky. It is made with four different types of cheesecloth, Tsukineko markers, and thread painting. They also discuss what she has been working on, now that she has some free time, including The Bayeux Tapestry.

Pam Holland visited TQS during our very first season, watch her in Show 110: A Quilter Connects with History.

Since this video was filmed, there has been an update on The Bayeux Tapestry. See below the video.


From Pam's Facebook page.

Hmmm. I've made a decision.

It's been a month of deliberation.

Many of you know that I have been working on my re-creation of the Bayeux Tapestry.
I've been researching, filming, writing and creating since 2005. It took me two years of research before I put a stitch to the fabric.
I have documented every stitch, every hour, every needle change, every thread, every lecture and event, and I made a decision not to let anyone see it until it finished.
Why? You ask.
I had a terrible experience once when I created a quilt and entered it into a show. A competitor tried to sabotage that quilt in the most horrific way, and unfortunately, I had to utilise the services of a criminal investigation to halt their attack.

Fortunately, the quilt stood on its own merits, it won many Best of Shows, and despite being offered vast amounts of money for it, I've gifted it to the Quilt Museum in Nebraska for all to share. So I don't own it any more.

After that, I decided not to enter a Quilt Show again or indeed share anything about the Bayeux.

This imposed isolation has changed my mind. So I'm going to share it as I complete it.
I will say that I have completed 70 of the 80 metres of it and I'm on the Homewood run.
It is a quilt, and it will be exhibited around the world on completion. I have promised that it will first feature in Houston, but many organisations of immense cultural importance have requested to present it.

In saying that, I have said and I will repeat it, that once completed I will no longer teach, but I will travel with the exhibition, it's probably the reason I've held back a bit over the past year!

Since being forced to stay home, I've explored many new ideas, and my decision had been made very clear to me as I work with passion on it every day.
It is unlike other projects I've done. I need to be "in the zone." to work on it and as the weeks pass I will explain the techniques and just what the "zone' means.

So there it is folks.

No photo description available.
(Photo by Pam Holland)

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