Tenderness

So. That was a week that will go down in history.

Although I often contemplate the subjects for days, I always write my weekly newsletter the night before or the morning of actually sending it. I want these emails to be conversational—my musings about what's happening behind the scenes, what I'm working on and what I'm thinking. I strive to make them uplifting, encouraging, inspiring.

I'm drawing a blank on how to do that this week.

The last time I wrote anything political in my newsletter was at the end of June and although the majority of people who responded to that message chimed in with sympathetic feelings, I had some pushback from a small number of newsletter readers. "Keep politics out of your posts," someone wrote.

Perhaps that's wise advice for a business to follow.

But that's not staying true to my values.

I believe in equality and acceptance of others. I believe in the rights of the LGBTQ community. I support immigration. I'm concerned about the environment. I am against racism, sexism, misogyny and the spreading of hatred.

These are the values you will see reflected in my magazine.

As you look through the current issue #31, you'll see that this has been on my mind. I strive to include a diversity of perspectives—and often these stories are coming directly from you, my readers. If you're a reader of this newsletter or magazine and feel under-represented, I encourage you to submit your art and your stories. I'd love to hear from you. 

Earlier this year, I gave away 100 subscriptions to individuals who couldn't afford them otherwise. Today, I'm pledging to do that again, but this time to non-profit community-minded organizations within Canada and the United States. If you work for a non-profit or know of one that would benefit from receiving some quarterly bursts of colour, art and inspiration, please make your suggestions here.

(If you'd like to sponsor a subscription for a fellow reader, that option remains in the online shop.)

Actually, now that I've written this message I'm starting to feel a bit better. There's always something you can do!

(This message was originally emailed to recipients of my weekly newsletter on November 15.)

Last weekend to enter the Surface Pattern Design issue!

This example is by Catarina Guerreiro, a Portuguese print designer who submitted a nice selection of prints.

This example is by Catarina Guerreiro, a Portuguese print designer who submitted a nice selection of prints.

The Surface Pattern Design Guide call for entries closes on Monday, September 12 at midnight in Calgary. No exceptions! Don't wait until the very last minute, either, since your artwork needs time to upload to the system. The UPPERCASE + Windham Fabrics New Design Competition also closes then—to be considered for this contest, just click the appropriate box on the form.

Issue 31 is on press today! Mailing data will be finalized next week, on Thursday, September 15, so make sure you've subscribedrenewed or updated your address. (Don't forget to use the code "fallforit" for $15 off subscriptions and renewals.) 

Have a nice (pattern-filled?) weekend!

First look at fall...

The fall issue (October/November/December) is nearly done. Just some proofing and final touches and this baby is off to the printer. The cover is by Australian artist Amy Joy Watson who used watercolour-tinted balsa wood laced together with embroidery thread to cradle balloons in this piece entitled Pop.

Here's a closer view:

It's always a challenge to find or commission one iconic image for the cover, something that encapsulates the themes and ethos of the magazine. But what I love about this image is that it has a sense of wonder and of surprise... you can just imagine those balloons lifting and spilling forth from the exterior capsule. It speaks to both themes: performance and costuming/garment-making. The artwork is in the act of becoming. Whether those balloons spill out, pop or eventually deflate—there is a performance at work. And, to my mind at least, the threaded container is like a jacket of sorts, protecting what lies within.

I also love how the facets and folds echo the cover of issue 29. I try to have some repeated element or motif; this helps to keep them all part of the same visual family.

And the background pattern?

I started with a simplification of the form of Amy's sculpture, the centre balloons represented by a circle with a triangle base and cover. The horizontal lines were inspired by her linear threads and the spine pattern from issue 28. Finally, the dots represent the balloons, but also the holes within a button, my nod to the garment-making theme.

As ever, UPPERCASE is a labour of love. Please subscribe, renew and tell your creative friends!

Admit One

Dear Reader,

I scanned this collection of old drive-in movie theatre tickets for the fall issue. Aren't they pretty in their analog-ness? At a glance, they appear to be pretty much the same, but yet when you look at them individually they're full of quirks and moments of vernacular and typographic bliss.

I strive for this with each issue of UPPERCASE: to create something that feels familiar to its loyal readers, yet reveals new interests, unique details and fresh perspectives. The same, but different. 

After 30 issues, the challenge doesn't get any easier. If anything, it gets harder. Because I keep pushing myself to do things I haven't done before. 

Consider this: I am looking and searching and curating and evaluating visual culture on a daily basis for the magazine. I see a lot. And so in the magazine, I include things that really stand out. That spark my curiosity. People and subject matters that I am willing to invest my time and resources in getting to know.

In issue 31, the issue I'm designing currently, I'm exploring territory that challenges me personally. The general theme is "performance" and how it relates to the visual arts, craft and design. Whether it is performance art, theatrical sets and costume design, dance and movement—if I imagine my (introverted) self in some of these settings, I am really out of my comfort zone. But that's good. If I'm growing and learning and being inspired through this content, I know you, my readers, will too. Related to performance is the notion of costuming—how what we wear reflects who we are. (Or how we shape how the world perceives us through our clothing.) Garments and sewing clothes are another thread of exploration in this issue.

Creativity beyond yourself—creativity that tests your perceptions and expands horizons—now that's the best kind of inspiration.

Subscribe to UPPERCASE magazine.

Crimson Tate: Paper Obsessed

Heather Givans is the energetic force behind Crimson Tate. She's a quilt-shop owner in Indianapolis, fabric designer, quilt designer and maker. She's a fellow designer with Windham Fabrics, but I hadn't yet met Heather when I saw that she had tagged me in a somewhat strange Instagram picture a few days before this year's QuiltCon.

Once I met Heather in person, I realized that my fears of some bizarre internet stalking were unfounded. Turns out that the ransom-note style cutouts of faces were a fun little prop — during QuiltCon she put different pictures of fabric designers and quilters in one of the open pockets in her Letters from Home quilt displayed in the Crimson Tate booth and made with the UPPERCASE collection with Windham Fabrics.

Heather's fabric collection is also out now and UPPERCASE readers will love it. It's called Paper Obsessed and features designs and drawings inspired by notepaper, letter writing, paper airplanes and envelopes. It's very cute:

photos by Eric Lubrick 

photos by Eric Lubrick 

Above is the Letters from Home quilt in Heather's collection.

Heather writes, "Nothing is sweeter than a handwritten letter. The act of opening an ornately lined envelope only to find kind words from your grandma, mother, or friend is a treasure not soon forgotten. Create an heirloom quilt to mark milestones such as weddings and graduations, to honor those serving in the military, or to remember any special life event. A modern take on the signature quilt, Letters from Home is the ultimate love letter."

Her Look Book is really nice (I looked at it when I was working on my own, thanks for the inspiration, Heather!) The paper airplane motifs and quilts are clever, too.

Windham Fabrics is giving away a bundle of Paper Obsessed fat quarters on every stop of the Paper Obsessed blog tour! Heather is also including a pattern called the Correspondence Mini Quilt plus some Paper Obsessed swag.

Leave a comment below about how your paper and sewing obsessions combine. Make sure to include a link so that we can contact you. Comments close noon MT, July 25. 

July 12 Windham Fabrics :: http://windhamfabrics.wordpress.com

July 13 Heather Givans of Crimson Tate :: https://blog.crimsontate.com/

July 14 Sarah Sharp of {no} hats quilts ::  http://www.nohatsinthehouse.com/

July 15 Janine Vangool of UPPERCASE Magazine ::  http://uppercasemagazine.com/blog/

July 16 Karen LePage of Gentle Clothing :: http://onegirlcircus.com

July 17 Jenny Leisure / David Barnhouse of Crimson Tate :: https://blog.crimsontate.com

July 18 Heather Jones of Heather Jones Studio :: http://www.heatherjonesstudio.com/blog

July 19 Eric Lubrick of Eric Lubrick Photography :: http://oartooar.com

July 20 Annie Unrein of By Annie’s :: http://byanniecom.blogspot.com

July 21 Amanda Castor of Material Girl Quilts :: https://materialgirlquilts.com

July 22 Sara Lawson of Sew Sweetness :: http://sewsweetness.com/blog

July 23 Giuseppe Ribaudo of Giucy Giuce :: http://www.instagram.com/giucy_giuce

July 24 Karen McTavish of Karen McTavish Quilting Studio :: http://mctavishquilting.com/news

July 25 Kristen Wright of Two Blondes and a Sewing Machine :: https://twoblondesandasewingmachine.wordpress.com

July 26 Heather Givans of Crimson Tate ::  https://blog.crimsontate.com

Calling Card: Fairy Tale Summer

Carla Sonheim is a regular supporter of UPPERCASE magazine through her Calling Cards. She has a really fun class on offer that starts next week. Check out her terrific class video!

Fairy Tale Summer

Fairy Tale Summer — our last class of the summer* — begins this coming Tuesday, June 21! We are re-running an edited version of the year-long class from 2014, “Year of the Fairy Tale.”

Assignments will be modified slightly for the summer session for a “doable” class, but you will have forever access so you can revisit the lessons anytime (and do the full assignments if desired). This is the last time this course will run live.

Class dates are June 21 – August 11, 2016; we will illustrate 8 fairy tales, one each week; each fairy tale includes both a drawing assignment (Tuesdays) and a mixed-media assignment (Thursdays).

Just $149. Click HERE for details and to sign up!

P.S. Previous “year of” participants can join again at no additional cost… email me to get on the list: carla@carlasonheim.com. 

Fabric flowers by Laura's Sage Country Quilts

My life has been a blur since coming home from Quilt Market — I've been in full-on design mode and proofing mode to get issue 30 done. Which it is. Except for the whole printing, logistics and shipping part!

I met some nice and talented people at Quilt Market. I gave away some charm squares and there were also fat quarter bundles for sale, so now I'm starting to see what people are making. Fun!

I enjoyed seeing Laura Estes' sweet fabric flowers and I gave her a charm pack to play with.

"The Jumbo Coin Ruching Guide, TR700, designed by me and produced by Quilting Creations International is an acrylic tool used to mark 5 inch and 2 1/2 inch strips of fabric with a scallop line to stitch and draw up the fabric to form petals," she writes. "With the 5-inch charm squares, one scallop is marked on each of 19 or 20 squares, and as each petal is stitched and drawn up, they are joined together then formed into an approximately 6 inch bloom. The process is easy and fun for all skill levels, and there are some tutorials on my blog."

Craft Fair Apron

Inspired by an old apron with ample pockets found at a flea market, this modern take can hold your phone, cash and more. I call this my Craft Fair Apron since it would be handy if you're selling at a fair and need everything at hand.

The original apron was basically a strip of fabric with a fancy printed pocket sewn on. The ties are threaded through a sleeve along the top so you can were the apron gathered or pull it around for a more sleek effect.

For my interpretation, I used strips of different fabric to mimic the pocket motif.

I didn't want to line the pockets, but I also wanted them to be nicely finished since I'll be reaching in there for my phone and notebooks frequently. So with half-inch seam allowances, I ironed the extra in half and folded neatly under. Then top stitched. 

I like how it turned out. Maybe I'll just where it around Quilt Market to carry business cards and pins!

Quilt: Spines

Here’s an idea come full circle: a quilt design inspired by the spines of UPPERCASE magazine—the thing that inspired this very fabric collection in the first place! My son was my willing model for the Look Book—he even art-directed some photos.

The quilt was sewn by Heidi Pridemore of The Whimsical Workshop for the Look Book. Free pattern available at windhamfabrics.com. This design is fat quarter friendly.

Hey, where'd everyone go?

Quilt: Here and There Squares

One of the challenges in making the Look Book for my fabric collection was designing the quilts that were going to be made! I'm not a quilter (yet!) but I'm a quilter-in-spirit! Fortunately, my mom is an amazing quilter (and quick, too) so she was enlisted to help make this quilt design that I call "Here and There Squares".

I wanted to design a quilt that would include all of the fabric options in one quilt, with the exception of the two silver metallics, so I started to play around with contrasting the colours with the grey tones.

It’s fun to play with lights and darks, warms and cools. In this quilt design, squares pop and recede and play tricks with your eyes. 

This is a massive 96-inch square quilt. It was sewn and quilted by Bonnie Vangool. 

Free pattern available at windhamfabrics.com.

Put this quick project on your bucket (hat) list.

This is the simple reversible bucket hat, a free downloadable pattern from Oliver + S. Finley is a big fan of the colour red, so he chose the red and pink floral as one of the fabrics, the red chevron on the inside.

There are lots of great two-colour combos available in my UPPERCASE fabric collection.

I've never made a hat, but Liesl Gibson's instructions are simple to follow and that hat was easy to put together.

I made the largest size, but it is a little on the snug size, so I'll have to scale it up to make another... for me!

Download the pattern here.

Progress photos by me, finished project photo by Kirstie Tweed.

Make a Fabric Cover for your Typewriter (or sewing machine)

So anyone who knows me (or UPPERCASE) knows my fondness for typewriters. I call them the UPPERCASE mascots. So it was natural that I come up with some sort of typewriter and fabric project!

In fact, there's already a connection. If you look at the colours of my Royal Quiet DeLuxes and my fabric collection, they share a similar colour palette.

I decided to make a dust cover for a typewriter. You could quite easily adapt this process to make a cover for your sewing machine. 

Please keep in mind that I'm not a DIY blogger or writer of craft instructions (nor do I plan on becoming either—I've got way too much to do already!) When it comes to sewing and making crafts, my usual process is to look at a lot of similar projects and read their instructions. Then I put that all aside, head over to my own project and available materials... and wing it!

Knowing that my fabric projects would be shared online, I took photos along the way. Keep in mind that I was figuring it out as I went along. And when things got complicated I sometimes forgot to take photos since I was concentrating or busy being frustrated.

Here's my rudimentary sketch of what I planned to make. Two sides with interfacing to make them sturdy, and, in a contrasting colour, piping to define the edges.

I selecting my fabric to coordinate with my favourite turquoise Royal. I had already made bias tape for a previous project and decided to use the extra to cover the piping.

I put some kraft paper on my table and loosely traced the typewriter on its side, leaving generous amount of room for the keys and knobs.

Next, I refined the curves and overall shape and added some extra allowance so that cover wouldn't be too snug.

I cut my template and then two pieces out of fusible, fairly stiff interfacing.

I used the outline to determine the length of piping I'd need. Using a basting stitch, I covered the piping with my bias tape.

I cut the shape out of the fabric half an inch around the interfacing plus an inch or two extra at the base.

I measured the desired width of fabric needed to cover the machine. For its length, I used the piping as a guide for how much would be required. In both cases, I added some generous amounts on either end to allow for hems and just in case. (Remember, I was making this up as I went along!) I also fused more interfacing to the front panel to give it some shape.

Next, I sewed one side, piping and top together. This involved a lot of pinning. I've only used piping once before about ten years ago, so I didn't exactly know what I was doing. The curves were difficult! But I just pinned it as precisely as possible and then sewed it slowly to avoid any puckers. Then did side two. The inside's not pretty, but you don't have to see that when the cover is on the machine! (Besides, I was sewing this for the Windham Look Book, so some selective photography and cropping could solve any glaring problems.)

Once the sides were both attached, I put the cover on the machine and folded up the hem as required and stitched it. With some steaming and ironing, the cover turned out ok. It looked a little plain, so I decided to dress it up a bit. I've had this plastic turquoise buckle for some time, so it seemed of the right era to suit a typewriter cover.

And with the bow... voila!

If I were to make another cover (I've got a dozen typewriters!), I might omit the piping and just make a fabric flange or something a little simpler—but I do like that contrasting pop of colour!

The top two photos and finished project photos are by Kirstie Tweed of Orange Girl for the UPPERCASE collection Look Book. Process photos taken with my iPhone.

Quilt: Pickets by Cheryl Arkison

Calgary's pretty lucky to have quilt author and educator Cheryl Arkison. And I was fortunate that Cheryl generously offered advice on my design and colour selections as I made my way through the fabric design process.

Last November, I invited Cheryl (with her cute son!) to the studio to see the sample rolls that Windham Fabrics had sent over—and to select what inspired her to make a quilt for the Look Book.

She decided on a low volume selection of prints, including the metallic silver dots and alphabet, with hits of turquoise and red/pink/orange. Cheryl's the master at improv quilting, so I was excited to see what she would make!

The quilt is called "Pickets" and you can see the repeating vertical picket-like shapes throughout the design.

I love the variety in scale throughout. The details are gorgeous—it is quilted with a repeating U motif, as you can see in the photo above.

I highly recommend Cheryl's quilt books, particularly A Month of Sundays that is beautifully photographed around Calgary's Heritage Park. Cheryl chronicles her (many!) projects on the go on her blog, Dining Room Empire. You can also learn from Cheryl in person and online.

Detail photos and finished project photos by Kirstie Tweed of Orange Girl Photographs.

Q & A with Mickey Krueger at Windham Fabrics

Windham pins and a bundle of UPPERCASE fabric on display at QuiltCon earlier this year.

Windham pins and a bundle of UPPERCASE fabric on display at QuiltCon earlier this year.

Windham Fabrics is the quilt cotton division of a long-running family-run mill, Baum Textile Mills, which was founded in 1955. With a corporate history spanning so many decades—and changes of fashion—how does Windham balance traditional offerings with contemporary designs?  

Traditional designs and their history are of particular interest to me. My office is filled with 19th-century document fabrics and quilts that offer some of the most stunning surface designs. Like in fashion design, the tastes of those buying our fabric evolve and change over time. We deal with trends and changes in the mood of the marketplace the same as any other creative company. Considering our depth in designers and their varied styles, sometimes we follow those trends, and sometimes we buck them. We like to think that no matter what the sewist is interested in, Windham will have something that attracts them.

What are the hallmarks of a best-selling design?

This is a question that we constantly ask ourselves, but have yet to find a clear answer. Because of the nature of our business we are designing for so many end uses, which makes answering this question even harder. When considering traditional versus modern designs there are some basic differences in the aesthetic of what is popular. But even considering designs for the same audience we have seen what we think are home runs fail, and ho-hum designs become best sellers.

What is the best part of your job?

Although I do not consider myself artistic, I do love the design process. We work with so many designers, and the way a collection is developed is different for each designer. It is always satisfying to see a well-done collection receive critical as well as commercial success. This is best when the collection comes from a designer who might not be well known within our industry.

What qualities do you look for when sourcing new designers or surface pattern designs?

We have a customer base with divergent tastes, and a variety of needs. As a result we are always looking for designers offering something that we don’t already “have.” I suppose the designers that I look for are those who are true to their own aesthetic, but can still stay within the “bounds” of what we know our customers will find pleasing. While I am not afraid of taking chances with designers, I am still running a business and must prudently consider what we think will sell. For this reason I like to get my sales and design experts involved in the selection process because everyone brings something unique to the table.  

Display wall in the Windham Fabrics booth at QuiltCon.

Display wall in the Windham Fabrics booth at QuiltCon.

Are their specific trends in colour or motifs that you have noticed that are either ebbing or emerging?

I keep seeing clean lines, and simple motifs with generous use of negative space. With the help of the Internet, design proliferates very quickly. As a result, artists (and end users) pick up on trends very quickly, which can lead to a kind of sameness in design. The best designs come from those artists who can lend a uniqueness to a trend that separates them from the rest.

What is your advice for folks hoping to break into fabric design or to have their work licensed?  

Always be true to your own aesthetic, but don’t take for granted the needs of your client (or potential client). Be flexible, and be fast. If you are targeting a specific industry, learn a little about that marketplace, and present your designs in a way that the client will best understand in their own language.  

 

(This interview was originally published in the digital update version of the UPPERCASE Surface Pattern Design Guide, available as a free download when you sign up to the weekly newsletter. It was also published in issue 28.)