{"id":647,"date":"2015-05-07T15:00:15","date_gmt":"2015-05-07T15:00:15","guid":{"rendered":"http:\/\/www.elizabethfram.com\/Blog\/?p=647"},"modified":"2015-05-04T18:58:03","modified_gmt":"2015-05-04T18:58:03","slug":"interpreting-the-surface","status":"publish","type":"post","link":"https:\/\/www.elizabethfram.com\/Blog\/interpreting-the-surface\/","title":{"rendered":"Interpreting the Surface"},"content":{"rendered":"

I first discovered the Surface Design Association<\/a> through their journal in 1996. The bold cover of that issue immediately grabbed my attention — a close-up of irregularly shaped, hand-dyed fabrics overlaid with a web\u00a0of machine stitching. The only words were the heading \u201cSURFACE\u201d\u00a0and the small subtitle \u201cQuilts\u201d.<\/p>\n

\"Journal\"<\/a><\/p>\n

Flipping through the pages,\u00a0 the breadth of articles and the quality of images hooked me right away.<\/p>\n

\"Fram<\/a>

Elizabeth Fram<\/p><\/div>\n

Having completed my first “art quilt” three years before, I was in full-on learning mode and constantly on the lookout for more information about other artists and potential processes.<\/p>\n

\"Kamenetzky\"<\/a>

Karen Kamenetzky<\/p><\/div>\n

Since I was just beginning to find my way as an artist, it was a thrill find a publication that was the product of an organization whose stated mission was “to provide leadership in the field of surface design by:<\/p>\n