We had our first meeting in person in over a year!  The theme of the meeting was technique demos from some of our amazing members. We met at one of the member's house and got to see the beautiful pool project she's been working on.

Tracy Visher

“The Hole Megillah”

 Tracy demonstrated an interesting way to create a raised, covered and backed cord “ring” that is pushed through a hole you cut in your quilt (GASP…what?!). Tracy calls herself the “mad scientist” and is always trying out-of-the-box approaches and techniques. This one as was inspired by Betty Busby’s work. The basic technique is to cover a rope ring with stretchy medical tubing that has been dyed. A piece of fabric is placed behind the hole in the ring and attached. The ring is pushed through the hole that has been cut through the quilt top and batting and secured. It looks really cool!!!

                        

Jan Reed

Creating Smooth Transitions

Jan showed us how she uses colored pencils and oil pastels to soften the transitions of color or value between objects or pieces of fabrics in her work. She demonstrated on a fused piece-in-process that depicts colorful rocks that are under water. Jan uses her fingers and sometimes brushes to blend the added medium with the fabric and the results are stunning. It was clear that this is a skill that requires much experimentation and practice. Jan is a master.

Jane Haworth

Mono-printing Botanicals using a Gelli Plate

Jane demonstrated a technique for making mono-prints with a gelli plate using plants and leaves. She has been experimenting making these on fabric so they can be used in her quilting and they can be made even more easily using paper. Jane uses various acrylic paints, a gel plate, and stiffened fabric (she sprays it with Terial Magic) to create layers of color and pattern. The designs produced are unpredictable and serendipitous and it is great fun to see what happens. The resulting fabrics are great to cut up and use in collage work.

Shelli Fried

Bury Those Threads…Easy Peasy

Shelli passed out needle, thread, and fabric to get everyone hands-on. Most people were new to this super-easy way to bury thread ends or pull stray threads, yarn, etc. through to the other side. The technique uses the loop created by putting a doubled thread through a needle. The threads to be buried are captured in the loop and are pulled through along with the needle. Hard to explain – easy to do. If you missed it, ask Shelli.

We're still not meeting in person, although we're getting close.  But Zoom does have its advantages.  We had a wonderful meeting yesterday with a presentation by Sandra Mollen.  Her topic: Rock, Water, Reflection.

Sandra showed us a variety of beautiful quilts she has created using rocks, water, and reflection. She broke her presentation into four sections: Photos, Fabric, Process, and Machine Quilting.

The first category was Photos: There are many ways to search for a suitable photograph online: Facebook Pixabay, social media, or websites. Sandra stressed that you must always get permission in writing from the photographer in order to use it as your own subject matter, unless you are using a service like Pixabay or Shutterbox and then you need to check to make sure it is copyright free.  Or if you are confident in your own photography skills, you can use your own photos. Once you have decided on a photo, there are many methods to modify or enhance your subject in preparation for your artistic interpretation, three of which are: Photoshop, Artisto, and Photo Reflection—Water Effect which is her main choice.

Fabric choice was Sandra’s second topic. Her go-to’s are batiks and her own hand-dyes. She showed several of her luscious hand-dyed fabrics and batik over-dyes that she uses. She also has a great stash of commercial fabrics that work in tandem with her own fabrics. In addition, to get just the right dimension/shading/color, Sandra enhances her fabrics with inks and paints, specifically Tsukeniko inks and pens. She prefers the inks over paints as they do not change the hand of the fabric.

Category three was Process. Her method is to find an image and get it enlarged to the size of the finished quilt (she uses Vistaprint). And make sure to copy the photo in color. Next, trace the shapes, cut them out, and choose a starting point and go for it! It’s just that easy…for her!!

Sandra’s final category was Machine Quilting. She showed close-ups of her quilting, which she does on her trusty Bernina, and the quilting is as detailed as her landscape (or animal). Choosing the correct batting is an important element, depending on how tightly you plan to quilt your scene. And planning out your quilting in advance is essential for overall success. Her go-to batting for water in particular is Thermore as it is thin enough to ensure her quilts will lay flat when finished. Wool batting is used if she wants more loft.

After this fabulous presentation, we are all now ready to start our own landscape or animal portrait using some of these techniques. Thank you, Sandra, for sharing your well-honed skills with us. Your work is beautiful and you are truly an inspiration.

Show & Tell

The Mother Weeps by Tracy Visher 
22"x34.5"

Artist Statement:  I have read and seen much information about the melting of the ice caps and glaciers and the impact of this activity on the rise of ocean waters around the globe.   This was my way of expressing my concern about global warming. I used batik fabrics, metallic threads, Inktense ink blocks, hot fix crystals, cotton batting.  I challenged myself to try to depict the brightness of sun and the cold of water and the ice. As the ice edges have melted and softened, it was a challenge to show that but still have translucency and a feeling of the frigid temperatures.

 

 Mountain Art Quilters had our first reveal of 2021 today.  Due to ongoing covid restrictions, we did it via a zoom meeting.

Challenge "Elemental" 

'Fire' by Holly Miner
20"x30"

Artist Statement:  The Four Elements, Earth, Air, Fire and Water are a interpretation of Elemental. I am one of four, Sophia Day, Sue Marshall and Robi Holmen who wanted to do a group challenge and use improvisational design. We used our birthdays to figure out who would do which element. Each of us started with a piece of special hand-dyed fabric provided by Sue as a color inspiration. Everything else is regular quilting cottons and batiks. 80/20 batting. Quilted with Microquilter and Sew Fine. I did color in some of the white dots in the smoke area with Sharpies and Tsuneko inks. I enjoyed collaborating with my friends. Also, thanks to Robi, I learned a new technique for making a better facing.

'Air' by Sophia Day
20"x30"

I chose the element for my zodiac sign; air. 4 of us decided to do the 4 elements; fire, air, water, earth, based on our zodiac signs.  We each started with a focus fabric to decide the colors. The materials were Commercial cotton, hand dyed cotton, aurifil thread, 80/20 batting. We choose a common fabric for linking curved lines to tie the quilts together.  We also each added some fabric from the other elements to tie ours to theirs.  The only criteria we had was improv, which is new to all of us. Getting our lines to match across quilts was challenging.  I think if we did this again, we should have stricter requirements to tie the quilts together.

 

'Its Essential' by Sue Marshall
20"x30"

Artist Statement: I really feel parts look like water to me. Sophia M, Holly M, Robi H and myself decided to challenge ourselves with a group quilt project, using “Elements” as the topic.  We went with our zodiac signs to pick who got which element.  Inspiration for water, trips to Lake Powel, fishing at Lake Oroville, boating at Lake Tahoe, even walking the NID on our property to the water we drink everyday, just about everywhere. I used commerical, batiks, hand dyed fabrics (some I even did just for this project).  So that was new for me to do on my own.  Thread – Superior King Tut, variegated white/gray/blue, So Fine for the bobbin and Glide gray. We met twice to help with how to make our pieces cohesive.  Came up with a plan for connecting lines at specific points and pieces to be improv pieced.  We also share some fabric to bought the same fabric for the line segments.  The biggest challenge for me was getting the lines at specific locations and getting inspired for how to tie the pieces together.  I also tried to incorporate colors from neighboring pieces into mine.  I figured the water would reflect it’s neighbor.  

'Beautiful Earth' by Robi Holmen
20"x30"

Artist Statement:  This is made as a group challenge to depict one of the four elements; fire, air, water and earth.  This is my own design, from head, to hand, to paper, to fabric.  I used mostly batiks, a few silks and some cottons.  A couple of fabrics were stitched diagonally with metallic thread.  80/20 batting and wool were used to give the agricultural plots dimension.  I was intimidated at first to join three very accomplished improvisational quilters.  The four of us met to determine connecting points in using the tan fabric.  I drew a few different designs on vinyl with dry erase before the final design.  

'4 Elements' by Holly Miner, Sophia Day, Sue Marshall, Robi Holmen

'Earth Alchemy' by Shelli Fried
28"x40"

Copper, silver, and gold are elements created by our planet that are hidden in the earth until we find them and bring them into the light. I looked at the Table of Elements (my interpretation of the topic) and thought these would be fun to play with. This challenge topic spoke to me because I have been collecting fabrics that represent some aspect of nature and its beauty and mystery. The design evolved significantly. It started as one big piece of layered strata meant to set off a piece of felted wool I created. It sat on my design wall for three weeks while I tried to figure out what wasn’t working. Finally, I cut the piece into three panels and flipped the middle one upside down. The felted piece no longer worked so it will show up somewhere else in the future. I planned to have the piece hang freely without a background and then realized that meant it could end up against a background that didn’t support the design, hence the black…I used commercial fabrics, batiks, metal chains, silver cord, Angelina, gold lame, stone beads, Superior thread, beading thread, black cotton batting, Eileen’s Tacky Glue, E6000 glue. The first major challenge is mentioned above in “Inspiration.” The second relates to the silver panel. After attaching the chains and seeing the panels together I discovered that the silver chain blended into the panel background and was lost at a distance. I experimented with adding glittery beads, reflective paint (that actually wasn’t), and glitter glue. Finally, the second row of chain was added and the silver cord doubled to create more weight and presence. I am happier with it now although from a distance the copper and gold chains still stand out more. The reflections from the silver chain only works well in very good light. This was a great learning opportunity for me and a great experience in letting a piece evolve over time while staying open to possibilities.

'Earth Alchemy' Close Up

'Earth Alchemy' Close Up

'Earth Alchemy' Close Up

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'Diminishing Returns' by Joan Dyer

27.5"x41"

Artist Statement:  I just started piecing the blocks and developed the design as I went along.  I used hand dyed fabrics, scraps from my stash, polished cotton sashing and borders.  I made this for my friend and tax consultant, who has given me so much help over the last couple of years.  This is back to basic square blocks, and a straight setting - where my quilting began 30+ years ago.

Challenge "New to Me" 

'Memories of Tuscon' by Maria Bower
29.5"x32.25"

Unable to get a good, sharp pattern from the metal wall art piece, I decide to scan the piece except it was too large for my scanner.  I took the piece to G.V. Blueprint and had them scan it and print it out on white cotton fabric. Years ago (when we wintered in Tucson for 11 seasons) I purchased the galloping horses piece that had an interesting rusty appearance.  My goal was to use it to make a quilt using the metal it as a pattern.  I used a cotton batik that I purchased in Tucson years ago (no fabric company name on fabric). Cotton batting, 5 colors of Arc Embroidery thread. Quit has a raw edge and an colorful backing.  I quilted the entire background free motion changing colors of thread to match the fabric and then fused the horses, flowers and plants that I fussy-cut.  I have a lot of flower and plant fabric that I purchased over the years for art quilts.  If I don’t have the right color need I use marking pens to change the color or enhance details.

Challenge "Speak Up" 

'Suture' by Tracy Visher
20"x20"

I used two different methods for adding text to this piece. One in the embroidered statements in the red and blue sections and I printed on organza for the words in the center. I was deeply troubled by the sentiments and behavior on both sides of the political divide during last fall’s elections. This was brought home 10-fold with the January 6th activities at the White House. I fervently wished for a way that America could find their way back to one more tolerant country. The label says it all: 

Suture

noun

a: a uniting of parts.

b: the seam or seam-like line along which two things or parts are sewed or united.

How does our nation heal now? The divide between passions and ideologies is wide and ragged. It will take time, with many steady hands and open hearts to repair this great and tragic wound.

I used PFD cotton for background. Various cottons for red and blue sections. Embroidery thread. Printing on Organza. Finding a method that would “ read” for the text on the cotton prints was difficult. Most printing methods were too faint so I ended up embroidering (lots more work!), I burned the edges and sealed them with matte medium, which I also used to stiffen embroidery thread for the “sutures” across the center. This quilt led me to participate in the Violet Protest project which will send 8” quilt squares to every member of congress this fall, urging unity vs divisiveness.

'S.T.F.U.' by Michelle Peerson
11"x13"

Whenever I had to listen to him talk (which was a little as possible) my head was screaming S.T.F.U.  I used Commerical and hand dyed fabrics. Steam-a-seam 2 lite, Superior thread.  This was a good little piece of therapy.

Wildcard Challenge "2020" 

'Word Soup for 2020' by Trish Morris-Plise
19 5/8"x19 5/8"

Artist Statement:  My inspiration was thinking about the words I heard on a daily basis in 2020. I used PFD fabric, cotton batting, cotton thread and acrylic paint.  When I sat down to ponder 2020, words came to my mind.  So many words that described feelings and emotions.  I don't think I could have picked one to focus on.  Focus?  Oh that's a 2019 word.  The measurements of this quilt is a statement about 2020 also.  This quilt fits the subject as it accurately conveys my emotions and feelings and the words I heard most frequently in 2020.

'2020' by Diana McKeever

20"x20"

Artist Statement:  I think this quilt speaks for itself.  2020 was a difficult year that made many of us want to scream.  The first thing that popped into my mind when I saw the topic 2020 was Edvard Munch's, "The Scream".  I borrowed the face from his painting, then depicted the things that made me want to scream.  I used cotton quilting fabric, steam-a-seam2, felt, colored pencils, a toilet paper roll, a disposable mask and cotton batting.  The wavy gray background represents waves of dark painful things that kept hitting us in 2020.  Specific items are depicted in arrows that are painfully sharp - shortages in the stores, the election, "peaceful" demonstrations, George Floyd, the coronavirus, and forest fires.  It is quilted with red dollar signs and red 2020s representing both individuals and businesses that went into the red.

'Who's That Masked Singer' Side 1 by Sue Serrano
20"x20"

'Who's That Masked Singer' Side 2 by Sue Serrano
20"x20"

Artist Statement:  This quilt is 20” x 20” and it depicts happenings in the year 2020. The inspiration was the song “Both Sides Now” and the year 2020. I used commercial cotton fabric (and a small strip of black satin); cotton and rayon threads. This small rendition of 2020 depicts that everything is not always as it seems on the surface and it might be too easy to get caught up in appearances or what seem to be initial “facts” that often turn out to be incomplete or inaccurate. Webster defines the phrase “both sides” as one “used to refer to the people who support a position together with the people who support the opposing position”. Giving myself 20 days to complete it, I wanted to create a piece that reminds viewers that we can support each other on both sides and perhaps come to an agreement, somewhere near the middle. The song, “Both Sides Now” has always been a favorite of mine. The title of the quilt alludes that the masked singer could either be Joni Mitchell, composer of the song, or Judy Collins, the first to record it; both have bright, blue eyes.  It could be either, and neither answer is wrong. The quilt is actually double sided wherein the flip side might convince you that the masked singer is indeed Joni Mitchell, composer of “The Big Yellow Taxi”. But that could just be an illusion. The allusions on the back side (as opposed to the ‘illusions’ on the front side) are as socially current today as they were in the 60s. While DDT has been replaced with Round-up, parking lots are still everywhere at the sake of living trees/plants/humans. The Truffula tree that The Lorax (written by Dr. Seuss—who has been canceled) tries to save in his community is just as important now as the foliage Mitchell sang about 60 years ago. And in the end, “It’s life’s illusions [that] I recall. I really don’t know life at all”. So, the question begs--who is that masked singer? My biggest challenge here was keeping the references to 2020 at a minimum and not getting carried away with the poetry of the song(s) and allowing it to become the focus rather than the support. That was sort of solved by using both sides; the music will always be the focus for me.  The second biggest challenge was how to finish this quilt with the open border. Initially, the entire left side was “open” but that proved too much for me, so I left just a small portion open. I found the fabric an appropriate background for the quilted text and symbols, reminding me how we often talk over one another.  In the end, I think my favorite part of the quilt is my big yellow taxi! Besides the fact that it was fun creating it, it is rich in symbolism. 

 On March 23^rd, we had a very enlightening and entertaining presentation by our own: Tracy Visher.

Armed with not one but two glue guns, she played the infamous Annie Oakley, disguised as an art quilter, for almost an hour and hit her targets right on every time!

She demonstrated several ways to use a glue gun to make art that can be transferred to cloth. Basically, you draw out your “pattern” on parchment paper, let it sit and cool for a few minutes, pull it off the parchment and voila! You have your own stencil to use as you please. But you don’t actually place the stencil on your fabric and leave it there as a design element (perhaps you could??). First you need to “frost” it with paint and then transfer the painted image onto the fabric—or as Tracy pointed out, place the fabric over the painted glue stencil for a more accurate rendition of your design. And later, you can add to the stencil if it seems that something is missing or askew. Just use that glue gun again and draw more marks on the original glue glob.

Tracy showed us several methods of getting color onto the stencil: 1) Maribou fashion spray, 2) Acrylic paint brushed onto the stencil, 3) Inktense blocks (be sure to liquify beforehand), and 5) alcohol inks—which were a flop.

Other options for adhering the painted stencils to fabric were:

1)      create your own wood or lucite block for ease and repetitive use of said stencil;

2)      glue the stencil on to a cheap ceramic tile (which makes it reuseable);

3)      adhere your stencil to a glass bottle and paint it from there;

4)      4 place stencils on the bottom of a muffin tin for a series;

5)      You can also make a rubbing with shiva paintsticks or crayons (make sure to let them dry adequately).

So much fun. And So many ideas to play with! Thanks, Tracy.

It was a beautiful day yesterday for our monthly meeting and Show & Tell.  We had a program for this meeting, facilitated by MAQ members Tracy Visher and Shelli Fried. It was an exploration of sources of inspiration and the link to creativity. Research was shared that reinforces the understanding that inspiration is a whole body experience. There are things we can do to open ourselves and engage our senses, bodies, hearts, and minds to create the condition for inspiration and creativity to flourish. From the program, here’s a great quote from Katrina Pfannkuch: “The only difference in the quality of personal creative expression among any of us is how open or closed we are to allowing creative energy to flow through us, and stepping up to own the gifts that are uniquely ours.”

We had 3 quilts to share for Show & Tell:

"Challenge Accepted" by
Tracy Visher
31.5" x 34.5"

"Challenge Accepted" closeup.

Tracy took a class during “Craft Napa” from Irene Roderick called “Dancing With the Wall”. It was her first improv quilt class.  Materials used were Bella solid cotton. cotton/wool batting.

Her two weakest quilting skills are piecing and quilting. That explains a LOT about why she is an art quilter vs traditional quilter, and ergo the name of the quilt! She was intrigued by the sample Irene showed for the class in its description. Tracy had been interested in improv and had re-read some books she had, so she was seriously thinking about diving in. This pattern seemed more “artful” than any improv design she had ever seen. She began the quilt in the class with 2 yds of 2 colors. It became a love/hate thing she just could not stop working on. She decided to quilt every bit of the blue fabric in a spiral design.  She sewed across seams where she felt like it and was able to make what she thought was an interesting second pattern on the quilt surface.

"Legal Eagle" by Stephanie Bennett-Strauss
86" x 94"

"Legal Eagle" closeup

"Legal Eagle" closeup

"Legal Eagle" closeup

"Legal Eagle" closeup

Stephanie made this quilt for her husband of 39 years.  He is an Attorney, and has immensely enjoyed the wildlife around our home in Lake Wildwood. Although he has admired most of my quilts throughout the years, this is the first I have made explicitly for him. He LOVES it! Stephanie is an Art Quilter by nature, following her own whims and the guidance & suggestions that her fabrics give her as she works. Most of her artwork is play, and therefore helps to keep her sane and balanced. Thank you for looking.

She used mostly cottons, pieced, quilted free-hand on her gammil Longarm; the Cougar image by Sherrie Spencer was printed with her permission onto fabric by her inkjet printer, then protected with a sealer.

"Transom" by Michelle Peerson
25" x 25"

"Transom" closeup

This quilt was inspired by a photograph taken by Sherri Lynn Dobric Burke.  It is approximately 25” x 25”.  Michelle loves that it appears so abstract, it is actually the transom, or back of a Chris Craft boat with the reflection in the water. It is printed on fabric and thread painted.

 Our December meeting is traditionally a Holiday potluck.  This year we had to settle for a festive zoom meeting with Holiday head wear and sweaters and Christmas trees/quilts in the background.  But we did continue the tradition of having Show & Tell be any non-art quilt project members wanted to share. It was very special seeing how creative our members are in other arenas.

Karle deProsse shared a sweatshirt she finished.  It was started many moons ago.  She covered the sweat shirt with black and white fabric and colored the flowers with crayons, shading the flowers as they are in her garden.  It was heat set with waxed paper.

Kate Grant shared her handbag. She has been wanting to use some of her tapestry weavings in new ways and was particularly interested in trying one as a panel on a purse.  For the purse,  she used the basic instructions for making a tote but modified the size, pockets, and strap and added a zipper to close the top. Lots of fun!

Lynda Lasich shared a "Coat of Arms Shield" quilt she is working on.  Traditional wool applique on metallic linen from Britex.  Her plan was to have this piece look like a coat of arms.  The linen was already metallic, and wanting a metallic border to represent metal was key to the appearance desired.  She was sorely disappointed as that fabric was contemporary on a tradition center field and didn't work.  Having invested in four yards of the grunge, she needed to come up with how to use it  Oil Shiva sticks and embossing blocks were the answer.  One the border was painted and seven days of drying time elapsed, she could heat set the border.  Once her fractured right arm heals, she will sew the painted binding on.

Marylee Drake and Lynn Tubbe shared quilts from a group project.  They all brought Christmas fabric to share & cut the paisley drops with an AccuCutter.

Marylee Drake shared 3 more Holiday quilts.  Over the River was hand embroidered.  The redwork and pinwheel quilt has a lot of beading and custom quilting.  The snowman was made using shapes from AccuCutter dies.

Norma Keeley shared 2 quilts.  Her Christmas quilt was Block exchange with friends of a friend. Each of them made 16 blocks to send to one another. The blocks sat in her UFO collection until this year during COVID when she finally put them together into a quilt. Circles 2 is another UFO quilt.  Hand appliquéd circle blocks made a number of years ago and finally put together.  Fussy cut circles. Hand quilted. The background of the blocks are Cherrywood fabric.

This was a Sierra Sisters round robin garment exchange.  Michelle beach themed, Karen Polli -Guatamala themed, Sue Serrano - fish themed, Jane Haworth - Art apron, Marylee Drake - Susan Sproul inspires apron, Sharon Rizzato - bling coat , Shelli Fried - Fall themed coat.

Sharon Rizzato showed us in-progress photos of Pandemic Clay Craziness. With SIP she was able to cohort with three families who were all working from home and practicing safety. 

Additionally,  With the canceling of all vacations for the next two years, they decided to put in a pool. 10 years ago they made clay dolphins for her sister in law’s pool.   Thus they decided to make 3 sea turtles for the bottom.  The collaboration of artists took on a life of its own and all the pool walls soon had tile murals.   

Her Daughter in Law Denicha Rizzato and good Friend Jammie Hurl, along with Sharon herself were the clay artists   Her husband, son and granddaughter drew the critters. 

5 months, 2 days per week,  8 hours per day x 3 people plus additional people contributing— They logged at least 1,000 hours of art work.   This project helped keep their creativity and sanity during this difficult time.   Pandemic pride!! 

Shelli Fried shared a baby quilt, a dresser runner and a tablecloth.  The baby quilt was made from a panel and was quilted by Kris Volker of Lincoln CA. The table cloth was made from batik fabric imported from Ghana.The cat dresser runner fabric was purchased from Villa Rosa Designs in Grass Valley. Also quilted by Kris Volker.

Stephanie Bennett-Strauss shared 3 quilts.

Sue Marshall shared her "Quilty Queen".  She has been watching Alex Anderson on TQS.  She gave them a challenge to do an Avatar art quilt.  This was a fun project. Made her look at my fabric in a new light.  She called her “Quilty Queen”, and felt it was appropriate since it was supposed to be fantasy.

Tracy Visher shared 2 quilts. 

Bacterium Delirium:  This started off as an abstract exploration. I tried out lots of different techniques and found I was attracted to the tension between the very linear background the the circular foreground elements. As I worked along, I was thinking a lot about the news and the global germ warfare we have all been fighting. I was thinking that while 2020 has been focused on surviving Covid, 2021 will still hold our attention as the vaccines arrive and we stew about who has and has not or who can or cannot get vaccinated. It is as if we are just continuing our obsession with germs and bacteria. The quilt seemed to me to be what one might see under a microscope, when looking at the virus or it's treatment. I named the quilt after our global preoccupation with the topic.

The "Be Merry" quilt: I have a space in my entryway for an up to 45x45' quilt. I decided I'd like to add a little ho, ho, ho to that area. I looked at images online and saw and idea I liked. I made up a pattern and used a bunch of Christmas fabric scraps I had. Of course my sewing machine decided to start pulling grease through the bobbin at the point I was doing white on white stitching so the whole project go sidelined for 2 weeks while I had my machine serviced. I wasn't very Merry at that point! 

Trish Morris-Plise shared two wall hangings:  "Toes on the Nose of Autumn".  This is a computer altered photo, and had it printed on cotton fabric.  I took it about 6 years ago while out on a walk.  I came across a large pile of fallen leaves and just wished it was so big I could jump into it!  Unfortunately all I could muster were the toes of my shoes in the middle of the small gathering of leaves.

"Last Drop of the Day".  This fire season has been one for the record books.  It is still alive and well in December 2020.  The piece is based on a photo taken by a local photographer.  I saw it on Instagram, contacted him and he sent me the photo as well as gave permission to use it.  The sky has been painted.  The Sutter Buttes raw edge appliqued and the smoke in front of the buttes was mimicked with tulle.  The trees were made using Donna Greenwald's technique of Confetti.  I will be going to a new home in the not to distant future.

Ginny Lee shared a stained glass project she did with a very good friend of hers.  It used left over stained glass and copper, glued onto a mirror.