Spotlight: Melissa Averinos

This is part of an occasional series of interviews with interesting artists and craftsmen.

Listening to Melissa Averinos talk about escaping into her art as a teenager, it’s easy to imagine her as the quiet girl with paint on her jeans and a sketchbook perpetually in tow.
“I was always doing art, ever since I was little,” she says. “In my early years, it started with just drawing and doodling, then I started doing more paintings.”
She fondly recalls the support her father gave her burgeoning hobby, from buying supplies and books to keeping her work.  “My dad had stacks of my drawings that he kept, and that was great,” she says.
Averinos began exploring fine art painting in high school, including a period of self portraits. She describes those four years as a creative experiment, which also included collages. “It was kind of a form of therapy,” she recalls.
The Cape Cod, Mass., native says her work has always provided an emotional outlet for her, particularly through a medium called visual journaling.
“I would take a blank book and just write some but mostly putting down color, scraps — anything,” she says. “I would spend hours at it a day to keep myself breathing and focused. It was very therapeutic and necessary. It doesn’t always come out pretty but that’s not the point.”
Averinos admits her art journal is not a part of her daily creative life right now but “when times are tough, I know it’s a good tool for me. It’s like a playground, a place where I can just go and be kind of unfettered and not worry whether it’s marketable or it’s pretty.
“It can just be whatever it needs to be.”
For many years, Averinos pursued art solely as a hobby. She describes herself in those days as “an artist on the inside,” while her days were spent operating an embroidery machine, stitching logos and the like on apparel. The solitary nature of her work forced her to take action and admit to her boss that she needed to do something else within the company — or find another job. The move paid off: the company had been considering adding an in-house art department instead of outsourcing its screenprinting and embroidery work. The only problem? The job required working with vector graphics programs on the computer.
“All I knew how to do on a computer was check email and maybe look online a little bit,” she says. “They said, ‘we think you can do this.’ I didn’t know I could learn anything new but they believed in me and I trusted them.”
Averinos’ employer gave her the tools and support to learn Adobe Illustrator, and soon found that she had a new medium for creating artwork. As her skillset grew, so did her confidence — as well as her portfolio.
Her first forays into commercial artwork involved the tabletop industry, and one of her designs was purchased for use on a vase. “It was a lot of work and a lot of pounding doors, and little payoff.”
Averinos struggled to make an income from her design work while she held a string of day jobs. A Craigslist ad seeking a vector artist caught her eye one day and soon led to selling some designs to a print house for use in the apparel industry.
“Victoria’s Secret ended up buying some of my designs and made pajamas out of two prints,” she says.
Each minor success, however, was trumped by other rejections. By early 2007, Averinos admits she began contemplating giving up her artistic dreams.  She decided to take another chance and submit her work to FreeSpirit Fabric.
“I had looked into FreeSpirit when I was looking into tabletop stuff,” she says. “I liked how they promote their artists, liked the other artists with them and I liked that they take chances.”
The gamble paid off and FreeSpirit licensed what now is known as Sugar Snap. Cinnamon, pink, aqua, yellow and cream play together in bold swirls, strips and squiggles. The line debuted at the International Quilt Market in October, which included an appearance by Averinos on the streaming podcast aired from Market by Boutique Cafe.
The line began shipping soon after Market’s close, and Averinos says she’s enjoying seeing how her work inspires others.
“It’s the best!” she says. “Fabric isn’t cheap, so to know that someone saw it and spent money on it is really exciting to me and really gratifying. I take it as a huge compliment.”
Averinos appreciates the chance to become part of someone’s childhood memories, as well.
“I remember stuff my mom made for me when I as little,” she says. “My heart kind of does jumping jacks when I think about it, to think someone who’s a little girl now has my fabric in a jumper her mom made for her is really exciting.”
Read a little more about Melissa Averinos, her artistic inspiration and her sewing endeavors on the Trendy Textiles blog.

Spotlight: Lila Tueller

This is the latest profile in an occasional series spotlighting interesting crafters, artists and designers.

Lila Tueller epitomizes the term “mompreneur.” The bubbly mother of seven has juggled a busy family life with a booming boutique sewing business for some time and recently added the titles of fabric and pattern designer to her resumé.
“For years I had been sewing boutique items and selling them on Ebay or in real boutiques and also paintings, mostly watercolors I did,” says Tueller, who recently became a grandmother for the first time. ” I didn’t want to be always tied to my sewing machine, filling orders for people. I like sewing but it got to be a real chore.”
Tueller shared her frustration with a niece who also is a part of the boutique sewing community. She, in turn, encouraged her aunt to look into designing fabrics. Tueller invested in a Wacom tablet and some software, and started designing.
“I thought, ‘I’ll just try this; it may go nowhere.’ But I did it and I took (my portfolio) in and walked around fall market last year,” Tueller says.
While several companies expressed an interest in licensing her work, Tueller ultimately chose to work with Moda. “They didn’t have (anyone designing) the style that I had at that time,” she says. “I didn’t want to be in competition in the same company.”
Her first line for Moda, Woodland Blooms, is an earthy palette with colors like Spice, Henna, Sprout, Rosewood and Sky. The prints feature bold floral interpretations much like a walk through the woods, which obviously influenced Tueller’s designs.
“I have a little camera I take around with me and take pictures of things: flowers growing in someone’s garden, curtains, cool damask from Europe, tiles in the floor,” she says. “Nature, especially, is my biggest inspiration. I like looking out the window and seeing colors in nature together and say, ‘that’s my next colorway’.”
She’s already been working busily on the next two fabric lines to be released by Moda, although she only hints at what’s to come. “I’m really excited about my next line, Spring ’09, and thn one I’m working on now is Fall ’09 and that one I’m even more excited about,” she says.
Little could Tueller have expected that her association with Moda would lead to her next venture: designing patterns.
“Right before (spring quilt) market, I got a phone call from one of the people at Moda, asking if I wanted to put patterns out to go with the fabric,” she recalls. “I said yes, not realizing it was going to be a lot of work. It freaked me out!”
Tueller quickly dove into pattern creation but admits the learning curve was a bit steep. Her first three patterns — Funked-Out Peasant Blouse, Funked-Out Apron and The Bohemian Bag — are available now. A fourth pattern, a quilt, is coming soon.
Looking back on the past year, Tueller admits she had no idea how much of an impact her new creative ventures would have on her life.
“I think it is more work than I expected, absolutely, and my husband would agree,” she says. “It kind of takes over your world, especially at first when you’re trying to learn everything and do everything right.”
That doesn’t mean she hasn’t enjoyed the process.
“It’s the ultimate creative experience, to be able to sew with fabric I’ve designed. I can’t tell you what it does to a person,” she says.
Of course, managing a household of nine people has helped her stay organized and keep both her business and family running at full speed.
“I think a lot of it is that I have support not just from my husband but my kids,” she says. “I don’t want the kids to suffer for it and I really try to divide up my time. I do a lot more of my work late at night, from 10 (p.m.) to 4 (a.m.).”
Her husband, kids, extended family and friends have all lent a hand with carpools, meals, babysitting and housework when she’s been working to get designs out the door. There’s also some trading off that gets done, she admits.
“You can’t do everything and not have something suffer,” she says. “You let a lot of other stuff fall by the wayside that’s not that important to you. I don’t care if my dishes are done 24/7 but my daughter does, which is really nice of her.”

Copyright 2008 by Mary Abreu. All rights reserved. Please do not copy without permission.

Spotlight: Erin McMorris

This is the first profile in an occasional series spotlighting interesting crafters, artists and designers.

For someone who spends a large percentage of her time around fabric, Erin McMorris admits she’s little more than a recreational sew-er.
“I sew but I sort of sew organically,” she says via phone from her Portland, Ore., home. “I don’t know how to read patterns. Quilts, I don’t like precision so I do a lot of blocks but they don’t line up. I feel like I know how to sew for me; to show anybody else is just terrifying.”
That means a lot of pillows and skirts created by pinning them on her body before stitching them up. “It’s all for me,” she says with a laugh.
McMorris may be a relatively new name in the world of fabric design but it’s hardly new territory for her. The graphic designer and illustrator grew up literally surrounded by fabric and the quilting industry, thanks to her mother, Penny McMorris of Electric Quilt.
“I’ve been around (the industry) my entire life,” she says. “When I was growing up, I always knew I would do something with design. … But I never even knew about textile design.”
Instead, she studied graphic design, a path that “very much fit me.” It wasn’t until a friend was taking a textile design course that McMorris realized it was the work she was meant to do.
“I knew right away it was the right thing for me,” she says.
Much of her career has been spent selling her work for use by other companies. Jo-Ann Stores, Lands’ End, The Land of Nod and Target are just a few of the major retailers who’ve bought her designs for use on their products. She admits there’s a certain excitement that accompanies seeing her work when she’s out shopping.
“It never gets old. I just love it!” she says.
Her enjoyment extends to the creations made by others with the two fabric lines she’s created for FreeSpirit Fabric (part of Westminster Fibres), Urban Gardens (2007) and Park Slope, which has recently hit stores.
“It’s such fun for me because … you don’t have any expectation what people are going to do with it,” she says. “I get really excited about that.”
While some of the shapes in Park Slope are somewhat evocative of her previous line, the range has a completely different feel from her first consumer fabrics.
“I went a little conservative,” she says of Urban Gardens. “I hadn’t done this before. With Urban Gardens, I was trying to do something not really true to myself.”
It’s a stark contrast to her feelings about Park Slope.
“I really feel like the line is very me,” she says. “I try to do things different each time to keep myself interested, as well.”
The foundation piece for Park Slope is the Poppy Dot Floral, a print McMorris actually lived with before expanding the line.
“I had printed it on fabric myself and made some things,” she says. “People were looking at it and commenting, asking if they could buy it. When it was time to do my second line, I knew where the other shapes — the organic feeling — was going to come from.”
For McMorris, that means starting with a hand-drawn sketch that is then scanned into the computer and expanded upon, using Adobe Photoshop and her Wacom tablet. She admits it’s a slow process.
“It takes me forever!” she says. “I don’t work on it continuously; sort of bits and pieces here and there.”
In the interim, she works on other designs for sale and licensing. All told, she estimates it can take her six months to complete the design work for a fabric line. “I swear, I don’t know how people do all these lines,” she says with a laugh.
She’s already hard at work on her next line for Free Spirit, although “I’m afraid to say what it looks like right now,” she says. “I’m still liking what I see. It’s a little retro but the colors are brighter this time as well.”

Copyright 2008 by Mary Abreu. All rights reserved. Please do not copy without permission.