My name is Charlotte, sometimes known as Ms Lottie, occasionally as The Slightly Mad Quilt Lady. This is my blog, where you'll find me writing a lot about my quilting and textile arts and a little about my family's life in a small seaside town in New Zealand. Haere mai!

Friday, November 16, 2018

Credit Where Credit is Due

Dragon Applique Quilt made by Charlotte Scott.  Pattern availabe for purchase at AotearoaQuiltDesign on Etsy

Amongst seasoned quilters, it is the expected norm when showing photos of quilts from a show or exhibition, to also share the makers details, and designers and quilters as well if they are different from the maker.  When professional organisations, such as SAQA (Studio Art Quilts Associated) call for photos for a catalogue, they also ask for the photographers name if it wasn't the artist.

But in the more casual arena of hobby quilters and the uninitiated non-quilting masses who visit quilt shows, it is quite common to see a whole slew of 'eye-candy' shared on social media, without the similtaneous sharing of makers and/or designers and quilters details.

Big can of worms.

As an artist, if I share my quilt in an exhibition, it's disappointing to then have it shared willy nilly across the world without people knowing who made it.  And yes, I say across the world, because with social media, we truly do have a global audience for anything we share.


But it's not just hurt feelings.  Many artists rely on teaching or lecturing or book sales to make a living.  If their work is being shared without credit, how will people know which quilters they want to ask to their guild to teach or what books they want to buy?  How can they dig deeper to find out more about an artist they admire, if they don't know who the artist is?

It's also contributing to copyright infringements.  If Jane shares a photo of a 'lovely quilt' that she saw at her local show, Mary sees it on Facebook and shares the post, Mary's friend Lily, who doesn't know Jane, sees it and shares it too.  Several shares down the road, perhaps to Instagram, then to Pinterest, Louise sees the 'lovely quilt' and decides she wants to make one too.  What she doesn't realise (because Jane never shared the details of the maker or designer) is that this is a quilt made from a commercial pattern that is offered for sale by a small-business designer.  Louise copies the design and makes her own 'lovely quilt'.  Louise would have preferred to buy a pattern (the hard work already done for her) but she didn't know who made it or designed it.  She puts the quilt in her local show.  The small-business designer misses out on a pattern sale, and when Louise's quilt is judged, the judge happens to know that this is a quilt from a pattern, which Louise has not credited and so Louise is penalised.


The great thing about all of this is that it's really easy to share details of the makers!  Digital cameras and phones are the perfect tool.  You can take a snap of the quilt, then immediately take a snap of the quilt label.  Share them both!  Even better, write the name of the maker etc in the caption of the quilt photo and then ALSO share the photo of the label.  Then no one has any excuses that they didn't know the maker's details.

Artists can protect themselves to some degree by adding a watermark across their photographs, but this will only protect those photos that they share themselves.  We need to rely on the community to also do the right thing.


But I think the show organisers need to help the community do the right thing too.  The last big show I went to did not have an photography policy advertised, or if it did, it was not obvious enough for me to have noticed.  It would be very easy to have a notice posted that says simply that photography is allowed, but that makers must be credited if photographs are shared in the public domain.

Quilts Inc, who run The International Quilt Festival in Houston, have clear photography rules in their brochure, which state:  "You must include an artist credit and note that the photos were taken at International Quilt Festival. This helps us protect the rights of quiltmakers."  That's a pretty straightforward statement that would be difficult to misinterpret, but it would also be helpful to have it prominently displayed at the entrance and in several places around the exhibitions. 

And back to the community, if we see people sharing photos of quilts without crediting the relevant artists, we need to gently educate them.  I belive that most of the uncredited sharing is due to basic ignorance of this issue, rather than disregard and malice, so be calm and pleasant in your education!

There are many more aspects to the discussion on sharing and copyright that I haven't covered, but I think this is the important tip of the iceberg.  With so many recent and upcoming quilt exhibitions, and the ever increasing reach and use of social media, it's an issue that needs more discussion.

Brenda Gael Smith, of Serendipity Patchwork and Quilting, has a much deeper knowledge of copyright than me and has kindly pointed me in the direction of a short article by Austin Kleon called 'Credit is Always Due' and also the relevant section of the NZ Copyright Act 1994 that deals with sharing work for the purposes of reporting current events, or for review.  Both are well worth a quick read.

So please, give credit when sharing other peoples work, encourage others to do the same, and don't share work if you don't know who made it.

Saturday, November 10, 2018

3rd and Final Lot of Auckland Festival of Quilts 2018 Photos



Robyn Croft's quilt is an excellent example of how effective a simple, repeating motif can be.  Can you see how she has two sections of blocks with warm backgrounds and two sections of cool backgrounds?  It looks very carefree, but I'm sure she spent hours carefully arranging and rearranging blocks on her design wall.



Another carefree looking quilt!  Made by Chris Behersing, I just loved this for it's unique fun factor!  The eclectic fabric choices and offbeat grid add to the jaunty, upbeat feel.



Another repeating block design quilt, this house quilt was made by Rosalie Lange using Marti Michel templates.  I've always wanted to make a house quilt.  I think it would be the perfect quilt to snuggle under watching a movie.  And the dark backgrounds appealed to me on this quilt, along with the mostly dark house walls that give the light coloured windows a warm, inviting aura.



There's a bit of a theme of repeating blocks in this post.  This Southwind design made by Donna Cumming to commemorate her friend has an interesting overlaid grid effect.  Donna has used silks and these and the saturated colours give a richness to the quilt.



I want to post an alternate question.  Do traditions only gain meaning by repetition - because that is how they became traditions in the first place?

Robyn Rognstad has used interesting fragments and a wide variety of fabrics but has managed to get them all to play nicely with each other in a thoughtful and harmonious way.



We can contrast that with this next quilt, also by Robyn.  It likewise combines fragments and varied fabrics but in a more complex and lively way, which creates a totally different feel to the quilt.



Jenny King uses a Jen Kingwell design to put together a very different looking quilt.  I'm always drawn to unique looking blocks and this one, combined with the masculine patterned fabrics and the particular blue and tan colour scheme, has a Japanese feel.  This quilt also had a completely different look when viewed from a distance (when we were having lunch in the cafe) compared to being viewed up close; very clever.




Another Jenny, and another unique looking quilt.  I love large applique, although you'd think from most of this post that my penchant was for repeating blocks!  I think this is a beautifully balanced design by Esther Aliu and Jenny's clever use of similarly toned background fabrics for the wall and the window give interest without overwhelm.



Black and white fabrics combined with brights can often make a harsh colour palette, but I think Kathleen Janes has managed to avoid that pitfall.  The use of heavily patterned black and whites so that they almost have a grey tone from a distance, and secondary colours, such as pink instead of red and a greeny yellow instead of a primary yellow, contributes to the success.

Well, that's about all the photos I have.  I haven't shared the Best in Show by Norma Slabbert, but I think it's been shared enough already.  Congratulations to all the prize winners and thank you to everyone who entered quilts.  Without quilts, there is no quilt show!

Thank you to all the organisers and the volunteers on the day.  Without the hours and hours of time you've put in, there would be no quilt show.

Thank you to the judges, it's hard work evaluating people's pride and joys, you don't get a huge recompense and you never please everyone.  The judged will never know the ins and outs and how much time you spent debating and comparing and trying to give every quilt a fair assessment.

Thank you to the vendors. You're all smiley and helpful and contribute to making the show a fun place to visit.

And a big thank you to the sponsors.  Without you I'm sure the show wouldn't happen, and I'm positive the prizes wouldn't be nearly so exciting!

At this point, the official photos of the winners are not up on the Auckland Guild's website, but you can see previous years winners, and I'm sure the 2018 photos will be up soon.

See you all next year!

Tuesday, November 6, 2018

2nd lot of Auckland Festival of Quilts 2018 Photos


In this selection of quilts from the Auckland Festival of Quilts 2018 (see here for my first selection), I'm going to post quilts that I personally found interesting.  I'll try and explain what appealed to me for each one.  And first up, above, is one of the Community Quilts raffle quilts.  Maker unknown (to me at least.)  I love this simple block that makes a really great secondary design, it's cool when I have to stand and figure for a moment to work out where the actual block is!  Plus I enjoy colours that I wouldn't normally use.  I bought a ticket, but no one's rung me yet...



Ku Bailey has cleverly taken the archetypal fairy woodland scene, and made it resonate for her and her moko (grandchildren.)  With moko kauae (traditional chin tattoos), native insects and birds, tuna (eel) and a reflecting moon, there is plenty to 'I Spy'.  Such a lot of work, and super successful.



One Above Another by Karen Robertson is a delightful non-traditional sampler.  I like variation within a theme, so to see the circle motif chosen then changed up in so many way attracted me.  And the subtle colour palate works so well too.



Robyn Rognstad is one to watch.  I've seen her work over the last few FOQ's and there is no one else with quite such a quirky, innovative style and who approaches themes in quite the same way.  The soft pink girliness of this quilt contrasted with the stereotypically revulsed vulture and bat is so good. Spot the intestines!



I had to include this quilt!  Made from the Pacific Stars Mystery Quilt pattern that I designed for Carol's Quilts.  Kathy has made it her own with a few pieceing alterations and her own colour choices.  Her quilting - her first large scale attempt at free motion quilting using her own templates - adds wonderfully to the theme.



Dear Jane.  There are good ones and there are bad ones and there are boring ones.  This is a good one!  Lovingly pieced in modern colours and fabrics by Margaret Reid.  And so wonderfully quilted by Rebecca Owen, who I believe is Margaret's daughter.


There were several themed exhibits alongside the main show.  One of them was by the Marsden Material Girls and their summer challenge, which this year had been 'Zip It'.  I thought this was the most fabulous, delightful interpretation!  Can you spot the zips on the two corn cobs? Brilliant!



This quilt was by Robyn Croft, which I would never have guessed because it's not the colours I've come to know her for.  But I suppose the repeating simple block motif is something Robyn often uses.  Apart from the interesting colour scheme, the clever use of the quilting lines by Judi Schon, combined with the offset nature of the blocks gives an amazing movement to the piece.  You can see it in the photo, and trust me, it's enough to set off slight vertigo in real life.  Awesome!

I've got even more quilts to share, but this is getting pretty heavy with photos, so I think I'll save the rest for one last FOQ post another day.

Sunday, November 4, 2018

Auckland Festival of Quilts 2018 Photos

I always try and make a trip down to Auckland for the annual Festival of Quilts.  Being the biggest guild in the country, along with being a non-juried exhibition, makes it a large show with lots of variety.  Then there are the vendors of course....!


My stitching group girlfriends often carpool because it's about a four hour drive one way.  That kind of journey is always better with company!  We stop for breakfast on the way, and this time we stopped for dinner too.  Doing the trip on a Friday meant we hit the weekend exodus traffic on our way home, so we were late enough that everyone was feeling peckish and we were still more than an hour from home.

One of my other good quilting friends, Suz, from 'All the Good Ones are Taken', couldn't make the show this year. I suggested that I do a blog post specifically of quilts that I thought might appeal to her.  She thought that would be fun, but man, was it hard!  Walking around the show thinking, "Would she like this one?" "How about this one?" "What about the colours in this one?" I don't know that I hit the nail on the head, but I gave it a go anyway.



Originally, I thought the pieced third border (the one before the last border with the large blocks) of this quilt by Diane Colquhoun, might appeal to Suz, but then I realised it's actually paper pieced and then appliqu├ęd - not really her thing!  But the overall quilt might appeal, although she would change the colour scheme.



Suz has an interesting mix of modern and contemporary traditional style.  I thought this Denise Schmitt pattern, made by Alison Dobson-Bonney, might appeal, but once again, with her own colour scheme: think greys, greens, duck egg blue....




With the quilt above, Jenni Scott won Best Amateur, which nets her a nice sewing machine from Bernina!  I can't see Suz making all those tiny pineapple blocks, but I think the colour scheme would appeal and the mix of piecing and applique.



I think this Sarah Fielke design, made by Sue Flego, would appeal.  There would be a few of the applique blocks that Suz would alter to suit, and once again the colours would be different.



I reckon with a big of a change of colour scheme, this quilt by Tracey Roberts has Suz written all over it!  Although I'm not sure how she feels about Dresden Plates....



I'm not partial to Lone Stars, and I can't remember whether Suz is, but these little ones set in a grid with the applique, really appeal.  And I just noticed that it's also by Tracey Roberts.  



Another Sarah Fielke design, this one made by Rebecca Bishop.  I have another friend who made this quilt, but in a totally different colour scheme and with a few alternations to some of the borders etc.  It was just as stunning!  I could see Suz making this design too.



I love this quilt!  So if I love it, then Suz should too, right? ;-)  I think the chance to use lots of favourite scraps would attract Suz.  I love Tish's choice of scraps and her setting is quirky and fun.



I don't know why I didn't get a full photo of this fun quilt by Carolyn Van Wonderen, but it was probably because I was so enamoured with the quilting.  Suz, check out those feathers by Rebecca Owen!  Yummo.

Right.  That's my selection for Suz, let's see what she thinks!  Next post I'll have some other quilts that caught my eye.