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Art Quilt Maps: Capture a Sense of Place with Fiber Collage-A Visual Guide
Award-winning quilt artist Valerie Goodwin shows your customers how to transform the places they love―and places they've always wanted to see―into hypnotic art quilts. Readers learn step by step how to create fiber collages based on maps of their favorite real and imaginary places. The book features a large photo gallery of quilt maps by Valerie and her students.
·Innovative designs keep your customers' creativity engaged
·Fully illustrated guide covers a variety of basic mixed-media techniques
·Bundle this book with fabric paints and mediums, markers, and fusible web
·Innovative designs keep your customers' creativity engaged
·Fully illustrated guide covers a variety of basic mixed-media techniques
·Bundle this book with fabric paints and mediums, markers, and fusible web
96 pages, Paperback
First published August 1, 2013
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Displaying 1 - 11 of 11 reviews
December 5, 2013
I have thoroughly enjoyed this book, and am halfway through making my own art quilt map--I'm so excited about it I strongly expect I'll finish it in the next few days! Ms. Goodwin's book is not a traditional pattern book. You won't find specific directions to make a specific quilt here. Rather, you're led down a wonderful intuitive path of inspiration that empowers you to bring your own art to life using fabric, thread, paint...and whatever else you're led to use. Her suggestion about starting with a haiku was unexpected but proved to be just the foundation I needed to capture the feelings I wanted my map to convey. In fact, I continue to write a short free-verse poem a day related to my art quilt map, to make sure I stay in the proper mental framework while I'm creating. She does give plenty of information about how to create each step (tools and techniques) while still leaving plenty of room for your own creative process. I keep going back to read the book again--not because I don't understand, but because I simply love how she's put everything together and I enjoy her process. I have found myself more energized by this book than I have by a quilt book in a long time.
Read
July 21, 2018This is a 2013 book. I have had it for awhile, but put it in my bag a couple of weeks ago and have been carrying it around with the intention of reading it since then. I finally read it and wrote the review this week. I was inspired to put this book on my list after seeing my friend, Nancy's map quilts.
I am often skeptical of books that purport to teach art quiltmaking and improv techniques. While there are certainly things we can learn from books, I feel that the essence of learning these techniques is very hands on.
Thus, I was pleased to see the way this techniques were presented. This is not a pattern book. There are no projects included. Each technique is presented in a way that helps the reader learn a skill that will help them make their own map. I really like the layout of this book and applaud C&T for thinking outside their normal book template.
The book begins with an introduction (pg.6-7) talking bout her grandmother, learning to sew and the spark that started Goodwin on the quilt journey.
The next section, Mapping Out Ways of Working (pg.8-18) is really an extension of the introduction. It goes more in depth into what came after the intial spark. Valerie Goodwin talks about maps, why maps and other imagery that captures her attention. One of the things that inspires me is that she has chosen one type of image and is working through possibility after possibility. I think this is a great way to grow as an artist as long as the type of image, in this case the map, chosen is not too limiting in scope.
This book is lush with images. There are drawings, quilts, maps and other types of images on every page. Not only does this give the reader an idea of the work Ms. Goodwin has done, but it also shows the variety of maps and elements that can provide scope for inspiration.
This section talks a lot about Ms. Goodwin's process. She writes about starting with small sketches (pg.16) and how the sketches play out in the actual work (pg.15). We also get some history of maps, including a brief mention of the Nolli maps (pg.17).
This section is designed to teach how to look at things and get inspiration. I think inspiration: gathering it, putting pieces together and making something is one of the, if the, most important part of quiltmaking.
Yes, there is a section on materials (pg.19-22). Fortunately, the author doesn't going into detail about basic sewing supplies. She takes up the space with materials and supplies required for art quiltmaking, including transfer and stencil supplies, fabrics and stabilizers, painting and stamping supplies. The fabric listed are not just the usual quilting cottons. They include crinoline, silk organza, and drapery or kimono scraps.
After the supplies, we get down to business with the background layer. In the introduction to this section, Goodwin reminds us "as you work through the exercises and examples, remember that you are building a framework to create your own unique map art " (pg.23).
The following section talks about different layers - opaque layer (pg.24), painted layer (pg.25) and translucent layer, etc. Each of these is a practice piece, which the author emphasizes. She tells the reader generally what to do, but not exactly what to do. You will not end up an exact replica of one of the author's quilts, but you will end up with a satisfactory layer. In each exercise, there is plenty of information to be successful. There are examples of other backgrounds as well.
The background chapter is followed by the lines and shapes chapter (pg.28-38) - creating elements at the heart of the map.
Goodwin gives examples of different kinds of lines and shapes useful for this technique (pg.30). You will be familiar with them if you have ever looked at a paper map. This is the chapter where hand and machine stitching, stamping, applique', stenciling and other fun techniques come in. I like the gallery at the end of the chapter (pg.36-38). It is a feast for the eyes and full of inspiration.
Map haiku/visual poetry starts on page 39. This is the chapter where Goodwin suggests adding haiku or poetry to the piece (pg. 39). She talks about what haiku is (pg. 40), materials required and the design process (pg. 41).
Throughout the book, Goodwin reiterates lessons and techniques. In this chapter she writes "After you have design sketches, it's time to start the background. Refer back to Background Music. The first or background layer is the base layer or the Earth's surface. The subsequent layers make up the details of the map, such as roads, paths, landscaped areas, and buildings" (pg. 42). This smart because the maker needs a background before s/he can add any details.
This chapter had more step-by-step directions, though she does not tell the maker to use a certain fabric or color. She also follows the directions she gave earlier in Background Music so it is easy to move back and forth between sections to check details.
The haiku chapter also has a gallery (pg.46-48), which is such a great addition to the chapter. The pieces in the gallery illustrate the point of the chapter.
Fiber Art Travel Maps starts on page 49 and is described as a reminder of a trip or a wish to visit a certain place. In this chapter, the reader follows along with making a map quilt (pg.52-56). We see many images of steps in the process and get an idea of how the process looks in detail.
The important point of the chapter is the author's reminder that "It is important to think about what you want to express in a travel map" (pg.50), which I think is true for all art pieces. The artist doesn't have to send a message to the viewer and can explore, for example, the interplay of colors. Being clear about what you want to express makes a better design.
The chapter that begins on page 57nis about mapping personal memories. The images show Valerie Goodwin's memories, but also how she relates them to each other. Additionally, she discusses preparing them to be part of her artwork (pg.58-59). The focus of the chapter is design (hooray!) not technique (pg.58).
Valerie starts with words she and her sisters associate with the place. I like this brainstorming technique as I always formulate images in my head as I see words on a page.
This is a very personal process and the reader must extrapolate from the author's process to create his/her own process. The process of collecting is followed by design sketches (pg.60), prep work (pg.62) and creating the background layer (pg.63). The map piece (pg.64) is discussed as is finishing (pg.65-66), but not in a step by step or dogmatic manner.
The book finishes with two extensive galleries, one by the author (pg.67-81) and another by her students (pg.82-93). Both show the extensive possibilities provided by the techniques in this book. The work is extensive, varied and gorgeous. Valerie Goodwin has a definite Autumn color palette preference. W huh ile there are many black and white pieces in the student section, the works in color are very vibrant.
I am often skeptical of books that purport to teach art quiltmaking and improv techniques. While there are certainly things we can learn from books, I feel that the essence of learning these techniques is very hands on.
Thus, I was pleased to see the way this techniques were presented. This is not a pattern book. There are no projects included. Each technique is presented in a way that helps the reader learn a skill that will help them make their own map. I really like the layout of this book and applaud C&T for thinking outside their normal book template.
The book begins with an introduction (pg.6-7) talking bout her grandmother, learning to sew and the spark that started Goodwin on the quilt journey.
The next section, Mapping Out Ways of Working (pg.8-18) is really an extension of the introduction. It goes more in depth into what came after the intial spark. Valerie Goodwin talks about maps, why maps and other imagery that captures her attention. One of the things that inspires me is that she has chosen one type of image and is working through possibility after possibility. I think this is a great way to grow as an artist as long as the type of image, in this case the map, chosen is not too limiting in scope.
This book is lush with images. There are drawings, quilts, maps and other types of images on every page. Not only does this give the reader an idea of the work Ms. Goodwin has done, but it also shows the variety of maps and elements that can provide scope for inspiration.
This section talks a lot about Ms. Goodwin's process. She writes about starting with small sketches (pg.16) and how the sketches play out in the actual work (pg.15). We also get some history of maps, including a brief mention of the Nolli maps (pg.17).
This section is designed to teach how to look at things and get inspiration. I think inspiration: gathering it, putting pieces together and making something is one of the, if the, most important part of quiltmaking.
Yes, there is a section on materials (pg.19-22). Fortunately, the author doesn't going into detail about basic sewing supplies. She takes up the space with materials and supplies required for art quiltmaking, including transfer and stencil supplies, fabrics and stabilizers, painting and stamping supplies. The fabric listed are not just the usual quilting cottons. They include crinoline, silk organza, and drapery or kimono scraps.
After the supplies, we get down to business with the background layer. In the introduction to this section, Goodwin reminds us "as you work through the exercises and examples, remember that you are building a framework to create your own unique map art " (pg.23).
The following section talks about different layers - opaque layer (pg.24), painted layer (pg.25) and translucent layer, etc. Each of these is a practice piece, which the author emphasizes. She tells the reader generally what to do, but not exactly what to do. You will not end up an exact replica of one of the author's quilts, but you will end up with a satisfactory layer. In each exercise, there is plenty of information to be successful. There are examples of other backgrounds as well.
The background chapter is followed by the lines and shapes chapter (pg.28-38) - creating elements at the heart of the map.
Goodwin gives examples of different kinds of lines and shapes useful for this technique (pg.30). You will be familiar with them if you have ever looked at a paper map. This is the chapter where hand and machine stitching, stamping, applique', stenciling and other fun techniques come in. I like the gallery at the end of the chapter (pg.36-38). It is a feast for the eyes and full of inspiration.
Map haiku/visual poetry starts on page 39. This is the chapter where Goodwin suggests adding haiku or poetry to the piece (pg. 39). She talks about what haiku is (pg. 40), materials required and the design process (pg. 41).
Throughout the book, Goodwin reiterates lessons and techniques. In this chapter she writes "After you have design sketches, it's time to start the background. Refer back to Background Music. The first or background layer is the base layer or the Earth's surface. The subsequent layers make up the details of the map, such as roads, paths, landscaped areas, and buildings" (pg. 42). This smart because the maker needs a background before s/he can add any details.
This chapter had more step-by-step directions, though she does not tell the maker to use a certain fabric or color. She also follows the directions she gave earlier in Background Music so it is easy to move back and forth between sections to check details.
The haiku chapter also has a gallery (pg.46-48), which is such a great addition to the chapter. The pieces in the gallery illustrate the point of the chapter.
Fiber Art Travel Maps starts on page 49 and is described as a reminder of a trip or a wish to visit a certain place. In this chapter, the reader follows along with making a map quilt (pg.52-56). We see many images of steps in the process and get an idea of how the process looks in detail.
The important point of the chapter is the author's reminder that "It is important to think about what you want to express in a travel map" (pg.50), which I think is true for all art pieces. The artist doesn't have to send a message to the viewer and can explore, for example, the interplay of colors. Being clear about what you want to express makes a better design.
The chapter that begins on page 57nis about mapping personal memories. The images show Valerie Goodwin's memories, but also how she relates them to each other. Additionally, she discusses preparing them to be part of her artwork (pg.58-59). The focus of the chapter is design (hooray!) not technique (pg.58).
Valerie starts with words she and her sisters associate with the place. I like this brainstorming technique as I always formulate images in my head as I see words on a page.
This is a very personal process and the reader must extrapolate from the author's process to create his/her own process. The process of collecting is followed by design sketches (pg.60), prep work (pg.62) and creating the background layer (pg.63). The map piece (pg.64) is discussed as is finishing (pg.65-66), but not in a step by step or dogmatic manner.
The book finishes with two extensive galleries, one by the author (pg.67-81) and another by her students (pg.82-93). Both show the extensive possibilities provided by the techniques in this book. The work is extensive, varied and gorgeous. Valerie Goodwin has a definite Autumn color palette preference. W huh ile there are many black and white pieces in the student section, the works in color are very vibrant.
January 18, 2026
Beautiful and compelling, Valerie S. Goodwin's "Art Quilt Maps" is a five star reader experience. Each chapter is better than the next, progressing from deep explanations of technique to a crescendo of inspiration from the author's portfolio. Any author who starts out by thanking their grandmothers and aunties and concludes by kvelling over their students has my respect and admiration.
Several years ago I read an article about women who were crafting fiber art to visualize large data sets, specifically around climate change (Tempestry Project). I was hooked and have since been seeking out this melding of arts and sciences. Therefore, I was thrilled to come across "Art Quilt Maps" as Ms. Goodwin's background as a professional architect and mixed media artist was exactly what I was looking for. The wedding of cartography and quilting by a thoughtful storyteller and good teacher was a blessing of discovery.
Craft books have difficulty balancing art, history, personal storytelling, instruction, technique, and product. Ms. Goodwin excels at all of these. This book offers the right recipe for students of all levels, whether they are skilled quilters, seasoned mixed media artists seeking expansion into new techniques and modalities, or simply creatives seeking inspiration.
Here are some of my favorites elements:
- Chapter on using haikus as the basis for map making. The author shares a bouquet of thoughtful haikus that were well aligned with the scope of the exercise and purpose of the lesson
- Quilt entitled African Burial Ground was the first in the book to take my breath away
- Memory mapping: In the last instructive chapter, Ms. Goodwin creates a memory map using her childhood memories of her grandparents' homes in Alabama, employing all the resources that have been shared, into a work of art that will long resonate in my own creative process
Side note: I took so many notes.
Here are the chapters:
"Mapping Out Ways of Working" - tools and methodologies to get started
"Materials and Tools for Creating a Fiber-Art Map"
"Background Music: The Landscape Layer" - base layer of quilt
"Putting It On the Map: Techniques to Create Lines and Shapes"
"Map Haiku: Visual Poetry"
"Fiber-Art Travel Maps"
"Mapping Personal Memories and Landscapes"
"Gallery of Work By the Author"
"Gallery of Work By Students"
Learn more here: https://www.valeriegoodwinart.com.
Several years ago I read an article about women who were crafting fiber art to visualize large data sets, specifically around climate change (Tempestry Project). I was hooked and have since been seeking out this melding of arts and sciences. Therefore, I was thrilled to come across "Art Quilt Maps" as Ms. Goodwin's background as a professional architect and mixed media artist was exactly what I was looking for. The wedding of cartography and quilting by a thoughtful storyteller and good teacher was a blessing of discovery.
Craft books have difficulty balancing art, history, personal storytelling, instruction, technique, and product. Ms. Goodwin excels at all of these. This book offers the right recipe for students of all levels, whether they are skilled quilters, seasoned mixed media artists seeking expansion into new techniques and modalities, or simply creatives seeking inspiration.
Here are some of my favorites elements:
- Chapter on using haikus as the basis for map making. The author shares a bouquet of thoughtful haikus that were well aligned with the scope of the exercise and purpose of the lesson
- Quilt entitled African Burial Ground was the first in the book to take my breath away
- Memory mapping: In the last instructive chapter, Ms. Goodwin creates a memory map using her childhood memories of her grandparents' homes in Alabama, employing all the resources that have been shared, into a work of art that will long resonate in my own creative process
Side note: I took so many notes.
Here are the chapters:
"Mapping Out Ways of Working" - tools and methodologies to get started
"Materials and Tools for Creating a Fiber-Art Map"
"Background Music: The Landscape Layer" - base layer of quilt
"Putting It On the Map: Techniques to Create Lines and Shapes"
"Map Haiku: Visual Poetry"
"Fiber-Art Travel Maps"
"Mapping Personal Memories and Landscapes"
"Gallery of Work By the Author"
"Gallery of Work By Students"
Learn more here: https://www.valeriegoodwinart.com.
October 29, 2023
delightful and inspiring
October 7, 2015
If you are wanting to try some new approaches to your next art quilt, pick this book up. I love Goodwin's quilts -- handsome, evocative, definitely architectural as befits her day job. I'd love to give her ideas a try and would have welcomed a shorter exercise to get me going. As it is, the images and ideas will be percolating in my head for a bit before I can try them out -- which I will!
February 19, 2016
One of the best development books on creating art quilts. Valerie Goodwin not only shows step-by-step, but also talks about how to define a map, how to think up ideas and how to translate ideas into art quilts.
Her ideas translate easily onto paper, so don't let the fact you don't sew slow you down.
Many photographs, many how-to steps, tips, and inspiration from other artists.
Her ideas translate easily onto paper, so don't let the fact you don't sew slow you down.
Many photographs, many how-to steps, tips, and inspiration from other artists.
March 10, 2023
Fun and creative process with great details and examples
Making a map quilt wasn’t on my radar until a quilt guild presentation by the author led me to sign up for her workshop. I read this book in preparation and found it wonderfully detailed with lots of information and inspiring examples. It stimulated some ideas for me to use in the workshop and I am looking forward to it!
Making a map quilt wasn’t on my radar until a quilt guild presentation by the author led me to sign up for her workshop. I read this book in preparation and found it wonderfully detailed with lots of information and inspiring examples. It stimulated some ideas for me to use in the workshop and I am looking forward to it!
February 27, 2017
very interesting book .. Will have to try make one . map quilts would be something modern style quick quilters would like
January 1, 2025
The author's work is beautiful and the steps and techniques make for a great resources.
December 8, 2021
This was a short quilting book. I didn't really need to read the steps, but I was curious about the pictures.
October 6, 2023
Fascinating! Beautiful fabric usage.
This work is visually as surprising as it is beautiful. I have enjoyed reading and looking. I would recommend it to any traditional quilter.
This work is visually as surprising as it is beautiful. I have enjoyed reading and looking. I would recommend it to any traditional quilter.
Displaying 1 - 11 of 11 reviews