A Workshop with Velda Newman by
Velda E. Newman Velda makes large, colorful, sensuous quilts reminiscent of the style of artist Georgia O’Keefe. Her quilts are voluptuous, with shapes and textures inviting tactile exploration. How does one keep one’s hands off her quilts? In this book she generously shares her vision and techniques. She shares how she usually starts the creative process by considering the effect of color on mood and emotional response. She next focuses on shape and texture. She describes very specific methods of converging color, shape and texture, the essential components of her vision. The chapter describing these techniques specifically instructs reverse machine appliqué, tucks, shape and texture stitching, cheesecloth texture, painting and the use of water color pencils, crayons and pastels. With each of these techniques, she gives detailed instructions for making a practice or sample piece. I am especially attracted to her use of reverse appliqué for texture and shape. Her use of hand painted cheesecloth is very attractive and suggests a plethora of uses. Most of the book is devoted to projects designed to utilize the techniques described so far. The seven projects are the lemon study, melon study, basket sample, shell study, tulip study, hollyhock sample and trout study. The instructions for each study are clear and quite detailed. The drawings and photographic illustrations are very helpful. Completion of these studies would add very useful skills to the repertoire of most quilters; skills that would contribute in one way or another to most quilt styles. I would love to have the time to methodically work through each of the studies and take on the workshops. I’ll make time for the melon study. What she does with cheesecloth is wonderful. Melons will look the same to me. I consider this book to be very good value for the cost; especially since the techniques are ones that could be acquired by quilters with a moderate skill level. The information is presented in an accessible format and the book is unlikely to become a dust collector. These techniques are exciting; to be sure, but keep in mind many of them are only suitable for the short term. If you are interested in making quilts and wall hangings that will retain their appearance for the next generation, some of the products that she uses must be avoided. For example, recent research indicates that spray adhesives will yellow the fabric and distort color over time; check http://www.quilts.org/QIQAFall03SpecialRep.pdf. Also, water-soluble colored pencils, crayons and pastels will fade. They are not permanent. For permanence, stick to oil pastels and pens and markers made specifically for fabric. She does suggest working with them on a sample piece first and I second that. I did just that and found that even products claiming to be permanent faded with washing. The above issues seem to me to be serious ethical considerations when offering work for sale. People spending money for a work of art should be able to expect more permanence in the appearance unless informed that this is not the case. Review by Diana Norris
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