Guild Glimmers: Melody Johnson and the Fine Art of Fusing

by Reva Basch

Melody Johnson is no shrinking violet. Nor does she shrink from red, blue, green, yellow, orange or any other color of the visible spectrum. In her June 18^th presentation to PPQG members and guests, she admitted to having been labeled the “all colors all the time” quilter, but countered by showing examples of work in which she managed to restrict herself to shades of yellow and orange… with a touch of red… and, of course, a little bit of blue, green and purple for contrast.

Melody began as a painter and later fell into quilting, applying her painterly techniques in a succession of art quilts that became less pictorial and more abstract over time. With fellow-quilter Laura Wasilowski, she established Artfabrik, a hand-dyed fabric business that eventually threatened to take over her life. Today, Laura runs Artfabrik while Melody devotes herself to the pursuits she loves most – creating quilts, teaching workshops, and spreading the gospel of the Chicago School of Fusing (www.artfabrik.com/csof.html). Melody and three like-minded colleagues established this influential, semi-fictitious institution to champion the use of fusible web among quilters, as an alternative to traditional piecing. Re-fuse-niks may raise their eyebrows at the CSF’s no-sew approach, but the prestigious shows in which Melody has exhibited – including Visions, AQS, and Quilt National – and the awards that she’s won, have helped establish the legitimacy of her technique. Purists please note that Melody’s pieces are beautifully quilted, often with heavy, lustrous pearl cotton, by both hand and machine. Some are lavishly embroidered as well. One of her quilts graces the cover of the current (Summer 2004) Quilting Arts magazine, and her painstaking handwork is clearly visible there, as well as in the photographs that accompany her article, “Releasing the Creative Block.”

Guild meeting attendees were treated to a sampler of Melody’s creativity, energy, and wit. But workshop participants earlier that week got three full days of all Melody, all the time. It was a bonding experience. Most of us began by investing in at least a couple of lengths of the rainbow fabrics, in light, medium or dark values, that this colorful woman still dyes for workshops and her own use. The rainbow gradient on each piece made it easy to blend colors and create subtle, watercolor-y effects as well as dramatic contrasts. Is this the secret to Melody’s multi-chromatic success -- when you use all colors, everything goes with everything else?

As an artist, Melody pointed out, one way to build up a body of work with a unified and characteristic “look” is to create a series of related pieces. One way to accomplish that is to cue off a single, simple design, a basic block such as the “lollipop” featured in her Quilting Arts story. Stack contrasting fabric pieces (they don’t have to be perfectly, or even imperfectly, square), whack through them with a few simple rotary cuts, then re-combine the puzzle pieces from different blocks to create pleasing effects with color and value. Repeat the exercise, making essentially the same pattern of cuts in three different block sizes. When you’re happy with your arrangements, fuse each member of your finished block “family.” This is your creative working stock.

Now do some strip fusing, which is just like strip-piecing, but even easier: Cut long strips, overlap and fuse them together along the edges, then cross-cut and recombine. Finally, pick out a few pieces of spectacular fabric that’ll look great as is – you know, the parts you hate to cut into. Now you’re ready to combine the elements (along with any spontaneous fusion that you’re inspired to engage in along the way) in what will become either a “compound” block – destined to play a role in a larger piece – or a very small quilt unto itself.

An important aesthetic caveat: Don’t mix too many complex elements in a single quilt. Less is more. Use that yummy “plain” fabric you set aside to create expanses where your eye can rest. One refrain that echoed throughout the workshop at this point was “How many quilts do I have here?” If you think your design is too busy, it probably is. De-fuse or recut it and deploy the elements in different ways, including setting some aside – it’s hard, but you can do it -- for future projects.

The results of our efforts, live from the design wall at Gualala Arts, are on display at www.pacificpiecemakers.org/MelodyJohnson/melody.htm. Artist attributions are tentative at this point; if you recognize your work and want credit for it, please send me email identifying it by its position on the list and in the individual photo(s).

Melody” Quilting Arts feature illustrates her general approach. Try it out and see how swiftly and spontaneously you can create your own innovative designs. The possibilities abound. Instead of working on a modest scale, as we did in the workshop, with signature blocks roughly 2”, 3” and 4” on a side, start with larger blocks, apply the same techniques, and discover how quickly you can come up with a major, eye-catching wall hanging. Melody’s website, www.wowmelody.com, shows the kind of work to which you might aspire. (She came up with that domain name because “Wow, Melody!” is what she wants people to say when they see her quilts -- and you will.)

Melody generously shared many other practical tips for creating fabulous fused quilts. For example:

• Use Wonder-Under ™ exclusively, and buy it by the bolt. No other fusible web works as well.

• Fuse generous quantities of fabric in advance so it’ll always be at hand when inspiration strikes. Store your treated fabric in rolls, similar colors together.

• For easier and more precise cutting, remove backing paper before cutting into the fabric.

• Work with hand-dyes rather than commercially printed fabrics. The latter are often factory-treated with substances that interfere with fusing. To ensure permanence and avoid fraying, commercial fabrics must be sewn down as well as fused.

• Quilts don’t have to be square or rectangular. Let your design dictate the ultimate shape.

• Quilts don’t have to be large to have impact. Some of Melody’s are tiny ( 12” or less on a side) ; many fall into the 18” to 24” range.

Melody assembles and finishes her quilts using a technique that she calls “a pillowcase with an escape hatch.” This makes for a crisp, precise edge with no need for binding or for hand-stitching along one side.

• Start by fusing the finished quilt top directly to the batting. Remember, you’re working with already-fused fabrics, so the fusing is already on the back and ready to do its job.
• Cut the batting to the same size as the top.
• If you’re going to do any hand quilting, do it now. That way, the backing fabric will hide the knots completely.
• Cut the backing fabric to the same size as the top. Fuse a strip of Wonder-Under ™ to the wrong side of the backing, horizontally and near the top, about where the rod pocket (Midwestern for “sleeve”) will go. Leave the backing paper on for now.
• Cut a horizontal slit down the length of the paper, cutting through the backing fabric as well. Make the slit long enough to turn the quilt through later. This is your “escape hatch.”
• Place the backing on the quilt top, right sides together. Iron to remove any slack in the backing.
• Sew the quilt together along all sides.
• Turn the quilt right side out through the escape hatch. Use a collar turner to get to the corners. Press well.
• Remove the WonderUnder ™ paper and fuse the “escape hatch” closed. Sew your sleeve over the fused seam to conceal all evidence.

Workshop members asked Melody if she planned to write a book. “No,” she replied. A book, by its very nature, would feature old stuff, work she’d moved beyond. Besides, like any staunch member of the Chicago School of Fusing, she’d rather spend her time on more “pressing” matters.

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