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Janelle Washington, a former fashion designer, discovered her passion for paper cutting when she participated in a project show-and-tell at her office. She quickly became fascinated with the art form and joined the Guild of American Papercutters to learn more. Washington found inspiration in Black history and culture, incorporating themes of identity and feminine beauty into her intricate paper-cut designs. She now runs her own fine art paper-cutting business and has had her work featured in prestigious institutions and publications. Washington's art stands out in the paper-cutting community for its unique perspective and storytelling. [Extracted from the article]

This article from Quilting Arts Magazine discusses the process of creating a message-driven quilt inspired by the work of activist-artist Corita Kent. The author combines foundation paper piecing and improv quilting to create a quilt that references Kent's bold, graphic designs while also incorporating pieced letters. The article also provides instructions for creating the quilt, including printing the letters, choosing fabrics, and stitching the letters together. The author emphasizes the importance of embracing the improvisational nature of the process and allowing for creative freedom. The article also provides information about Corita Kent's background as an artist, educator, and advocate for social justice. [Extracted from the article]

This article from Fons & Porter's Quick + Easy Quilts provides a step-by-step guide on how to do paper foundation piecing. The technique allows for the creation of complex and unique designs with precision. The article explains the process of piecing fabric on foundation paper, trimming seam allowances, and adding fabrics in numerical order. It also recommends specific products for the task and suggests watching a Sew Easy™ Lesson for further guidance. The article concludes by emphasizing that paper-pieced blocks or quilt tops will be extremely precise, even with unusual shapes. [Extracted from the article]

This article from Fons & Porter's Love of Quilting discusses the technique of paper foundation piecing, which allows for the creation of complex and unique quilt designs with precision. The process involves stitching fabric pieces onto a foundation paper in numerical order, trimming excess paper and fabric, and then sewing the paper-pieced units together. The article also recommends specific products for this technique and provides tips for removing the paper foundations once the units or blocks are joined. The article includes several color photos to illustrate the process. [Extracted from the article]

This article from Fons & Porter's Quick + Easy Quilts provides a tutorial on paper foundation piecing, a technique that allows for the creation of complex and unique quilt designs with precision. The step-by-step instructions explain how to sew fabric pieces onto a foundation paper, trim seam allowances, and join the paper-pieced units together. The article also mentions specific products used in the process and the fabric collections used for the examples. For further guidance, readers are directed to a Sew Easy™ Lesson available on QuiltingDaily.com. [Extracted from the article]

This article titled "I'M JUST KITTEN" is from Fons & Porter's Quick + Easy Quilts and provides a pattern for a cat-themed quilt. The pattern involves paper foundation piecing and partial seams, and the instructions emphasize the importance of using an accurate ¼" seam allowance. The article also includes a list of fabric yardage needed for the quilt and provides step-by-step instructions for sewing the quilt together. The author, Krisanne Watkins, is a quilt designer with over twenty-five years of experience. [Extracted from the article]

When all fabrics are added, trim excess paper and fabric along solid cutting lines. Fabric from Garden Glory collection by Maja Ronnback and Abstract Collage collection by Ampersand, both for Paintbrush Studio Fabrics. Products used: Havel's Self-Healing Cutting Mat, Havel's 6½" Fabric Ruler, Havel's 45mm Rotary Cutter, and Havel's ½" Straight-Tip Embroidery Scissors. [Extracted from the article]

This article from Quilting Arts Magazine discusses the use of copper mesh in fiber art to add dimension and texture. The author provides step-by-step instructions on how to incorporate the mesh into artwork, including preparing the motif and adding stitching. The article also includes tips for success, such as using tightly woven cotton fabric and a sturdy cotton thread. The author encourages readers to try using unusual materials and suggests doing a test before using them in a final art piece. [Extracted from the article]

Using 90/14-sized needle and a short stitch length so papers will tear off easily, stitch on line between two areas, extending stitching into seam allowances at ends of seams. When all fabrics are added, trim excess paper and fabric along solid cutting lines. Be sure fabric for section 1 is under that area and edges of fabric extend at least ¼" past stitching line. [Extracted from the article]

Products used: Havel's Self-Healing Cutting Mat, Havel's 6½" Fabric Ruler, Havel's 45mm Rotary Cutter, and Havel's 3½" Straight-Tip Embroidery Scissors. When all fabrics are added, trim excess paper and fabric along solid cutting lines. Fabric from Garden Glory collection by Maja Ronnback and Abstract Collage collection by Ampersand, both for Paintbrush Studio Fabrics. [Extracted from the article]

The article presents information related to paper embroidery. It is noted that it is easier to embroider the paper that feels like fabric. It is mentioned that paper is more fragile than fabric and cannot be hooped and presents a few unique challenges as an embroidery surface. It is stated that it is easier to design onto paper when the stitch count is lower.

Products used: Havel's Self-Healing Cutting Mat, Havel's 6½" Fabric Ruler, Havel's 45mm Rotary Cutter, and Havel's 3½" Straight-Tip Embroidery Scissors. Fabric from Garden Glory collection by Maja Ronnback and Abstract Collage collection by Ampersand, both for Paintbrush Studio Fabrics. When all fabrics are added, trim excess paper and fabric along solid cutting lines. [Extracted from the article]

One of the namesake founders of Fons & Porter, Marianne now devotes her time to various quilting initiatives, including the Quilts of Valor® Foundation and the Iowa Quilt Museum in Winterset, Iowa. SEW SMART™ TIP Draw the scallops on quilt top before quilting, and keep quilting design within the scallops. PROJECTS INTERMEDIATE FINISHED SIZE: 30" x 42" This adorable baby quilt is a timeless favorite from Marianne. [Extracted from the article]

Products used: Havel's Self-Healing Cutting Mat, Havel's 6½" Fabric Ruler, Havel's 45mm Rotary Cutter, and Havel's 3½" Straight-Tip Embroidery Scissors. When all fabrics are added, trim excess paper and fabric along solid cutting lines. Fabric from Garden Glory collection by Maja Ronnback and Abstract Collage collection by Ampersand, both for Paintbrush Studio Fabrics. [Extracted from the article]

When all fabrics are added, trim excess paper and fabric along solid cutting lines. Fabric from Garden Glory collection by Maja Ronnback and Abstract Collage collection by Ampersand, both for Paintbrush Studio Fabrics. Products used: Havel's Self-Healing Cutting Mat, Havel's 6½" Fabric Ruler, Havel's 45mm Rotary Cutter, and Havel's 3½" Straight-Tip Embroidery Scissors. [Extracted from the article]

The article explores the history and significance of the rotary cutter in the world of quilting. It discusses how the rotary cutter was invented and adopted by quiltmakers, leading to advancements in technology and changes in quilt culture. The rotary cutter is seen as a symbol of quilt making and has had a significant impact on the socioeconomic and cultural aspects of the quilting community. The article also highlights the emotional connection that quiltmakers have with their rotary cutters. [Extracted from the article]

Fabric from Garden Glory collection by Maja Ronnback and Abstract Collage collection by Ampersand, both for Paintbrush Studio Fabrics. When all fabrics are added, trim excess paper and fabric along solid cutting lines. Products used: Havel's Self-Healing Cutting Mat, Havel's 6½" Fabric Ruler, Havel's 45mm Rotary Cutter, and Havel's 3½" Straight-Tip Embroidery Scissors. [Extracted from the article]

When all fabrics are added, trim excess paper and fabric along solid cutting lines. Fabric from Garden Glory collection by Maja Ronnback and Abstract Collage collection by Ampersand, both for Paintbrush Studio Fabrics. Products used: Havel's Self-Healing Cutting Mat, Havel's 6½" Fabric Ruler, Havel's 45mm Rotary Cutter, and Havel's 3½" Straight-Tip Embroidery Scissors. [Extracted from the article]

Products used: Havel's Self-Healing Cutting Mat, Havel's 6½" Fabric Ruler, Havel's 45mm Rotary Cutter, and Havel's 3½" Straight-Tip Embroidery Scissors. Fabric from Garden Glory collection by Maja Ronnback and Abstract Collage collection by Ampersand, both for Paintbrush Studio Fabrics. When all fabrics are added, trim excess paper and fabric along solid cutting lines. [Extracted from the article]

When all fabrics are added, trim excess paper and fabric along solid cutting lines. Products used: Havel's Self-Healing Cutting Mat, Havel's 6½" Fabric Ruler, Havel's 45mm Rotary Cutter, and Havel's 3½" Straight-Tip Embroidery Scissors. Fabric from Garden Glory collection by Maja Ronnback and Abstract Collage collection by Ampersand, both for Paintbrush Studio Fabrics. [Extracted from the article]

Using fabric pieces that are larger than the numbered areas, place fabric 1 on the unprinted side of the paper, right side up. 3. With the paper on top, stitch directly on the pattern line between pieces 1 and 2, extending the stitching into the seam allowances at the end of the seams. DIAGRAM: FOUNDATION PAPER PIECING DIAGRAM: FOUNDATION PAPER PIECING DIAGRAM: FOUNDATION PAPER PIECING DIAGRAM: FOUNDATION PAPER PIECING DIAGRAM: FOUNDATION PAPER PIECING. [Extracted from the article]

Also, light threads will appear brighter on dark fabrics, and lighter on light fabrics, and vice versa with dark threads. I used a stand-alone thread stand to help the thread feed nicely, which is very helpful when using metallic threads as they like to curl a bit. For the bobbin thread, I used Wonder l DecoBob 80-weight (you can get this on a spool and wind your own bobbins); I also used this thread for hand-sewing the ornaments closed after stu ng. [Extracted from the article]

The article evaluates the Silhouette laser cutter and vinyl transfer paper machine.

PrimeWild Weed (detail; cut paper with tissue paper, 16x12) by Janelle Washington"IT FELT GOOD TO HOLD SOMETHING IN MY HAND THAT I WAS ABLE TO CREATE FROM A LIT TLE SHEET OF PAPER."—JANELLE WASHINGTONPHOTO (COLOR) [Extracted from the article]

2. Vary the thread colors and use multiple threads at the same time to enhance the stitching, if desired. TIP: Before stitching the edge, place a thin yarn or wool embroidery thread on the stitching line and catch it in the first row of zigzag stitch. • Yarn, thread and floss, sari silk strips. [Extracted from the article]

Mathieson continues to be inspired by the ongoing evolution of quilting as a hobby and enjoys the social opportunities quilting affords. FEATURES When she took up quilting, Judy Mathieson was already a skilled sewer, so she was well prepared. Mathieson loves fabric, and working with fabric is her favorite part of quilting. [Extracted from the article]

/ WATERCOLOR WORLD / One of the oldest watercolor societies in the United States, the Philadelphia Water Color Society (PWCS), celebrated its 120th International Exhibition of Works on Paper in 2020. As many watercolor societies have done, PWCS has had to make some accommodations this year due to the pandemic. [Extracted from the article]

• From fabric B and stabilizer, cut two 10" × 14" rectangles for the embroidered blocks and six 2½ " × fabric width strips for the dividing borders and binding. For the three-strip blocks, stitch one 2" × 42" fabric-A strip long edge to one corresponding fabric-E strip. Stitch one fabric-J strip to the opposite fabric-A strip long edge. Columns quilt this MATERIALS + 1 yard each of pink (A), light green (B) & white solid fabric (C) + ½ yard each of white print (D) & pink print fabric (E) + ½ yard of white & pink print fabric (F; see "Sources") + Fat quarter of pink & green print fabric (G; see "Sources") + Fat eighth of coordinating green & pink print fabric (H) + Fat quarter of green print fabric (I) + ¼ yard of blue print fabric (J) + 2 yards of green print fabric (K; backing) + 35" × 65" rectangle of quilt batting + 3 yards of 12"-wide tear-away stabilizer + 1 yard of fusible web + Thread: all-purpose, bobbin & coordinating machine embroidery (see "Sources ") + Rotary cutting system + Hand sewing needle + Temporary spray adhesive + Spray starch + Applique scissors + Six ½ "-diameter & six 1"-diameter decorative buttons (optional) + 2 pink crocheted flower embellishments (optional) + Three coordinating bird embroidery designs (approx. 5" × 7"; see "Designs") CUT • From fabric A and stabilizer, cut three 10" × 14" rectangles for the embroidered blocks, two 2" × 42" strips for the three-strip blocks and scraps as needed for the appliqués. [Extracted from the article]

Design & stitch art quilters frequently use unconventional materials in their work. In the past year alone, QUILTING ARTS contributors have expanded the breadth of materials they use to include such varied substrates as art paper, tulle, gauze, and even cheesecloth. End the quilting in the same hole you started quilting in, if possible. [Extracted from the article]

The article offers several exercises about color temperature using paper or fabric.

While these pictures have a stark clarity, Cauley is also adept at incorporating telling detail or rendering patterns to both increase the richness of the painting and carry forward the narrative of the picture. Acrylic on canvas, 30x24 Khadi acrylic on canvas, 30x20 CAULEY'S MATERIALS Surface: Fredrix Red Label canvas Paint: Winsor & Newton Professional Acrylics Palette: "My palette features mostly reds, oranges and yellows, and of those, all are cadmium in composition", says Cauley. OPPOSITE Sabrina & Alfie acrylic on canvas, 20x30 BELOW Bridget Reading acrylic on canvas, 20x30 OPPOSITE The Chill acrylic on canvas, 24x30 BELOW Billy acrylic on canvas, 24x30 Half. Empty. acrylic on canvas, 24x30 MEET THE ARTIST Matt Cauley was born and raised in Dallas, Texas. [Extracted from the article]

We all know the magic of adhesive tools in our sewing studio, but imagine a heat-activated bonding thread! Floriani Press N Bond Thread is an innovative thread that you can use in so many different applications. Embroidery takes so much more than just your machine and thread. [Extracted from the article]