TAFA: The Textile and Fiber Art List

Showing posts with label Donna Hussain. Show all posts
Showing posts with label Donna Hussain. Show all posts

Thursday, February 12, 2009

Donna Hussain's Sewing Circle: Exploring the Art Quilt



This past fall a group of my quilter friends met to form a new sewing circle to focus on the creation of art quilts using chapters in Art Quilt Workbook by Jane Davila and Elin Waterson for reference and inspiration. While the women at the meeting were accomplished quilters, most were traditional quilters with little experience making art quilts. Everyone wanted to learn basic design skills used by artists who focus on quilting as their medium of expression. And all wanted to experiment with composition and the addition of different types of materials to our quilts. A group of art quilt novices, we thought, would provide support and encouragement as we challenged our creativity and learned new quilting techniques.

After much discussion at our organizational meeting we agreed on the following:

  • We would study a chapter of Art Quilt Workbook each month, and each make a small quilt (9 x 12 inches) using techniques described in the chapter. (The small art quilts below are the results of my exercises.)
Symmetrical Balance (attempted)

  • At meetings we would discuss the chapter and display the small quilts we had designed and sewn. We would also watch the video that accompanies the text, do exercises at the ends of the chapters, and invite members to do technique demonstrations at our meetings. We hoped that each member of the group would complete eight to ten small quilts by the time we reached the last chapter of the text.
Depth

  • The circle would be open to everyone, quilters and non-quilters, quilt guild members and non-members. Should the membership grow, we planned to form additional circles with the same agenda, giving members the freedom to choose which group they wanted to attend.
  • We agreed that individual quilters would choose a theme and/or color scheme to give unity to their series of 9 x 12 inch art quilts. I chose India as my theme because I have many appropriate fabrics in my stash.

Found Objects (Indian coin, mirrors, tikka)


Here is a report of our progress after four chapters, four meetings.

We have two groups with a stable core membership in addition to others who join us on occasion. Many of the women have difficulty meeting the target of one small quilt a month; many have their own interpretation of the 9 x 12 inch size restriction. Some members are free spirits whose quilts evolve and stray from their original intent. When completed their quilts have no reference at all to the assigned book chapter. My quilts start with a brainstorm. Later, after my quilts are completed I try to find a chapter in the book to fit. But all of us are having fun exchanging ideas, learning new skills, admiring each other's work, sharing snacks, and making new friends.

Isn’t that what quilting is all about?

Fabric Collage



California quilter, Donna Hussain, has exhibited in major quilt shows around the country, authored books, and is a regular contributor to Fiber Focus. Click on her name to see all of her past articles.


The photo shows Donna with her husband, Pascha.
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Monday, January 12, 2009

Teaching Quilting in India by Donna Hussain

Main building, Nasr School
Hyderabad, India

A few years ago I received an invitation to teach quilting at Nasr School in Hyderabad, India. The invitation came from my husband’s cousin, Begum Anees Khan, the school founder. Starting with a small nursery school in the 1960's Anees slowly added students, extended the curriculum, built classrooms, and acquired property to expand the school. Today Nasr School enrolls over three thousand students from preschool through high school on five Hyderabad campuses.


Classroom building, Nasr School



Students on the way to school.
Hyderabad, India

Although I have taught quilting here in the States, I questioned my ability to teach abroad. Would familiar quilting supplies be available in India? What level of quilting should I teach? How long would I need to stay abroad to make my teaching worthwhile? Anees was at a loss for answers to such questions since she had no quilting experience herself. “Just come,” she wrote. “Once you are here we can figure out how to proceed.”

Despite my misgivings, the challenge of teaching in India was too enticing to resist. In early January 2006 my husband and I flew to Hyderabad for a seven week stay. We became part of Anees’ family living in her home on school grounds. I taught hour and a half sessions of beginning quilting twice a week to a class of 12-14 year old girls. I also taught quilting to two groups of women, mostly teachers, two afternoons a week. I had a busy social schedule as well: formal house calls to all of my husband’s relatives, dinner parties, weddings, and other family celebrations.

Morning assembly at Nasr School


Primary school students


High school girls, Nasr School


Classroom at Nasr School

Twenty-seven girls signed up for my quilting class. The sewing classroom was large, but sparsely furnished. There was a small teacher’s desk, eight “new” treadle sewing machines for my quilting classes, and benches for the students. I asked for the addition of six large tables, bulletin boards, and irons and ironing boards, a request immediately granted because of my relationship with Anees.

Quilting classroom


Students at work

Unfortunately, the “new” treadle sewing machines were a disaster, at least in my classes. Most of the girls needed instruction in their use and time to practice on the machines. Since the treadles were easily jammed with thread and inoperable most of the time, I taught them how to piece and quilt by hand.

Cranky treadle machines

I brought plastic rulers, cutting mats and rotary cutters to India in my luggage. Before my departure from home I debated whether to do so. It seemed reasonable to teach students the easiest, most accurate ways of measuring and cutting fabric. But would it be wise to teach the use of tools unavailable in the Indian market? Hyderabad is a city of seven million so I thought quilting tools might be for sale in the city if I could only find the right shop. A relative spent hours and hours driving me around the city to look for the tools with no success. Fortunately, most of the girls in my class said that they had relatives living the Middle East, England, and United States who could send them quilting supplies on request. I donated the tools I brought from home to the school on my departure.

In driving around the city I also looked for cotton or wool batting like we have in the States. None was found. However, I did find a thick polyester batting that might be used if split. In one small shop I met a quiltmaker who was doing hand quilting for a client using layers of thin rubber sheeting as batting. I used flannel for batting in the small quilts I made while in Hyderabad.

In winter months Hyderabadis like to sleep under soft full-cloth bed quilts that are filled with cotton held in place by rows of large hand-sewn stitches. The cotton is so light and fluffy that workers in shops where the cotton is sold wear masks to protect their windpipes and lungs from fuzz in the air. When dirty from use, the quilts are taken apart, the used cotton fill is discarded, and the fabric sandwich is washed. The fabric is then refilled with cotton at a shop.

Shop for cotton fill used in bed quilts.
Hyderabad, India

Once classes started, I taught the girls to measure and cut fabric, and how to sew together quilt blocks. We focused on four- and nine-patch blocks and those that included half-square triangles. The girls then practiced how to assemble a variety of quilt blocks using paper and fabric cutouts. It was my expectation that they would then choose a pattern and start making a small patchwork quilt top in class using fabric brought from home. To my disappointment few girls actually started a quilt project. Instead of learning the final steps in quiltmaking by doing, the girls watched me demonstrate how to add borders, batting, and binding, and hand-quilt with a hoop.

Members of my adult quilting class.
Hyderabad, India

My classes for adult women were much more successful. All of the women had sewing experience, and all wanted to learn as much as possible about quiltmaking before my return. While some of them wanted to make quilts for their families, most were teachers who carefully took notes in class hoping to pass on knowledge of quiltmaking to students of their own. The women didn’t want a slow-paced class that allowed time for practicing new techniques in the classroom. They preferred that I spend all of the class time introducing new material. At the next class they would bring me samples they had sewn at home to show me that they had mastered the skills that I had demonstrated in class.

My husband and I enjoyed our stay in India. On my return, however, I keep reviewing my experiences including all of the teaching mistakes I had made. I could have done better. Last Fall my spirits were bolstered by an e-mail Anees sent to me with pictures attached showing girls in Nasr School uniforms sewing patchwork blocks onto school tote bags. None were my former students…my girls must be nearing high school graduation by now. However, Nasr School’s sewing teacher was in my adult class.

Girls sewing patchwork
Hyderabad, India

California quilter, Donna Hussain, has exhibited in major quilt shows around the country, authored books, and is a regular contributor to Fiber Focus. Click on her name to see all of her past articles.


The photo shows Donna with her husband, Pascha.


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Saturday, December 6, 2008

"A Day of Hope" by Donna Hussain

A Day of Hope, A Quilt on Voting and Iraqi Women
by Donna Hussain

My quilt, A Day of Hope, pays homage to the women of Iraq who walked long distances to polling stations on January 30, 2005 to vote for a Transitional National Assembly, the first step in the democratization of their country after the fall of Saddam Hussein. The women then spent hours waiting in line to cast their ballots. In spite of the danger of suicide bombings and mortar strikes to disrupt the voting, Election Day was a day of celebration for Iraqi women. They had gained the right to vote and a promise that twenty-five percent of the Assembly seats would be filled by female candidates under the electoral system of proportional representation. Women were filled with hope that the election would lead to a future of peace and stability.

Sadly, the Transitional National Assembly failed in its attempt to establish a government acceptable to all factions in Iraq. Iraqis still live with violence and chaos, their dreams of peace blown to smithereens. However, the women and their Election Day hopes should be remembered. Perhaps embers of that hope still kindle in their souls. I sewed A Day of Hope to support this hope and to honor the women for their bravery, spirit, tenacity, and endurance.

My quilt depicts the women standing in line waiting to vote at the polls. (Males had separate voting lines.) Their faces are from photographs of Election Day that were printed in the newspaper. I scanned the cutout faces into my computer, then printed them on fabric that was ironed onto the waxy side of freezer paper.

Women in Line, Detail of "A Day of Hope"

For their clothing, I draped the women in three-dimensional shawls, black abayas, and burkas. Groups of Iraqi women usually have babies in their arms or children at their sides. On Election Day, however, they left the children at home given the threat of terrorism. I had a long internal debate whether the quilt was self-explanatory or needed a sign to explain the story line to viewers. If a sign had been posted at the polls it would have been written in Arabic. For the benefit of quilt viewers I chose an English sign instead: Women, Line Up Here To Vote.

The most challenging part of making A Day of Hope was the patchwork wall mosaic behind the women. The pattern of the mosaic was drawn from a book of Islamic geometric patterns. The problem was to figure out an easy way to sew the design.

After study, I determined that the pattern consists of three quilt blocks: a solid square, a block with an X, and a connecting block.
Three quilt blocks

The basic pattern is two rows of blocks. Row 1 has alternating X blocks and connecting blocks. Row 2 has alternating solid blocks and connecting blocks. Note that the connecting blocks in Row 1 have vertical deign elements. In Row 2 the connecting blocks are turned so that the design is horizontal.
Mosaic pattern


I always try to find easy ways to sew blocks. My solution for the X block is as follows:
  • Draw an X block on paper the size of your choice.
  • Cut a plastic template the size of your X block drawing. Place the template over the drawing and mark the center square on the plastic.
  • Sew a patchwork block with a simple cross. The center square should be the same size as the center of your template. Measure your drawn X block from corner to opposite corner (for example, six inches) Each side of your patchwork cross block needs to be that size. (six inches square).
  • The final step is to lay your plastic template on the sewn cross block as illustrated. Use your rotary cutter to cut along the sides of your template.
Making the X block

After sewing together the blocks of my mosaic design I used gold trim to outline and accentuate the patchwork patterns. The trim adds to the complexity of the mosaic design, creating a pattern of its own.
Trim pattern

Quilt trim

Once the mosaic was completed, I made the arch that frames the mosaic. I drew the arch with a compass on freezer paper, then cut out the center to create an arch pattern for the quilt. (Refer to my Bismillah: The Making of an Islamic Quilt post for detailed instructions on making and using arch patterns.) Arches

Then I ironed the waxy side of the pattern onto background fabric so I could mark the shape of the arch on the fabric. Unfortunately the gold fabric I wanted to use was purchased for a previous project. There was very little left so I had to piece small leftover sections together, a task that was complicated by the vertical stripes in the gold design. I always seem to have problems like this when I quilt. I start the sewing with a rough idea, but make most sewing decisions, like color and scale, on the fly. If only I planned ahead……

To complete the quilt, I added a patchwork frame to the arch, appliquéd the women figures to the bottom of the quilt, and sewed on borders.
Quilt arch

For the quilt back I used a light tan-gold fabric that unfortunately showed my machine quilting stitches to a disadvantage. To cover my double stitching and hide thread knots I sewed little gold beads, seemingly at random, on the back. I didn’t expect to fool the judges, but thought they might not make the effort to find mistakes to criticize. To my surprise one judge wrote, “How nice to find decorative beads on the back.”

A Day of Hope has been very well received. It has been accepted in a number of juried national quilt shows, including the International Quilt Festival in Houston, the AQS show in Paducah, KY, the Pacific International show in California, and received an Honorable Mention at the National Quilt Extravaganza XIV in Harrisburg, PA.

The quilting compliment I cherish most came from my high school English teacher, now in his eighties, whose wonderful paintings have political messages. After I sent him a photo of A Day of Hope he wrote that he was so inspired that he has taken his easel out of storage and is painting again.

California quilter, Donna Hussain, has exhibited in major quilt shows around the country, authored books, and is a regular contributor to Fiber Focus. Click on her name to see all of her past articles.

The photo shows Donna with her husband, Pascha.

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Thursday, November 13, 2008

How To Machine-Quilt A Large Bed Quilt On A Home Sewing Machine by Donna Hussain

After seventeen years of use and abuse, the bedspread in our master bedroom, one of the first quilts I made as a novice quilter, was worn out. The fabric was beginning to tear weakened by cuddling, washings, sunlight and age. Even my husband, who was fond of the quilt, agreed it was time for a new quilt on our matrimonial bed.

Most of the quilts I sew are baby quilts or art quilts. I own a domestic sewing machine that serves me well when sewing small projects, but cannot handle the bulk and weight of a large quilt. I find it almost impossible to quilt by machine in the center of a large bed quilt since my sewing machine does not reach more than twenty-four inches from the quilt edge with ease.

My Limits on Machine Quilting

That is why I decided to adopt a quilt-as-you-go strategy for making our new queen-size bed quilt.


Donna’s New Quilt-As-You-Go Bed Quilt

I explain this process in the paragraphs that follow. I am introducing a methodology for machine-quilting, not giving directions on sewing a quilt with a particular block size or pattern. You customize the details. You choose the block design, the size of your quilt blocks, your color palette, and the dimensions of your finished quilt. The advantage of the quilt-as-you-go method is that it enables you to machine-quilt a large quilt on a domestic sewing machine.


Directions for Quilt-As-You-Go

  • Sew quilt blocks together to make a small quilt top measuring no larger than 48 inches x 48 inches.

  • Add batting and back fabric to this small quilt top and do the quilting by machine in a pattern of your choice. But leave unquilted a seam allowance of one half inch on all four sides of the quilt top. You will need this seam allowance when you later add blocks to enlarge the quilt.

  • Trim the batting one inch larger than the quilt top. Trim the back three inches larger than the quilt top. Trimming the batting and back will stagger the seams when you add more batting and back fabric to enlarge the quilt top.

  • The next phase is to add a section of quilt blocks rows, batting, and back fabric to the quilted top. This new section should not extend the measurement of the quilt top by more than 24 inches. Remember, it is hard to machine-quilt more than 24 inches from the quilt edge when using a home sewing machine.
Adding a Section to the Quilt Top

  • First sew the new block rows to the quilt top. Be sure to fold under the margins of the batting and back before the stitching begins so that they will not be caught in the seam.

  • Then add a new section of batting that is slightly larger that the block rows you are adding. To do so, first fold back the added blocks so that the batting of the quilt top is exposed. Fold back the small margin of back fabric as well. Then butt the new batting against the edge of the batting in the quilted top. Be sure both sections of batting lie flat. Baste together these batting sections by hand using the stitch illustrated below.
Basting Pattern for Joining Batting Sections

  • Add an additional section of back fabric. The back fabric should be slightly larger than the added block rows.

  • Then trim the batting (one inch larger than the new block rows), and back fabric (three inches larger) as you did when making the original small quilt top.

  • Machine-quilt next. To avoid puckers while machine-quilting I suggest that you first lay your quilt top on a bed. Place an ironing board at the foot of the bed and lower the board to bed level. Pull the new patchwork section and new batting onto the surface of the ironing board, but allow the back fabric to drop to the floor between the bed and ironing board. The bed will support the already quilted portion of the quilt.

  • Smooth the added section of blocks and the added batting to remove puckers. Iron the two layers together. The ironing will create enough friction to hold the two layers together while you turn over the quilt. (The new blocks are now face down with the batting on top.)

  • Now pull the back fabric onto the ironing board to cover the batting. Pull the back tight and smooth the fabric with the iron. Pin-baste the new section, then machine-quilt the layers together using the pattern of your choice.
Repeat these quilt-as-you-go directions each time you add a section to enlarge your quilt top.

Enlarging a Quilt Top

When your new quilt has been enlarged and machine-quilted to the size of your choice, finish by adding a binding. The queen-size quilt I made for our master bedroom using the quilt-as-you-go strategy is huge (102 inches x 141 inches) because I wanted the sides to reach only a few inches above the floor and a pillow tuck. I just kept enlarging and enlarging the quilt top with new 24” sections until finally satisfied with the look of the quilt when placed on my bed.


California quilter, Donna Hussain, has exhibited in major quilt shows around the country, authored books, and is a regular contributor to Fiber Focus. Click on her name to see all of her past articles.

The photo shows Donna with her husband, Pascha.


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Monday, October 27, 2008

The Making of a Quilt: The Book of Kells by Donna Hussain

Illuminated Manuscript from Ireland, The Book of Kells

The image above, a portrait of John the Apostle from the Book of Kells, was my inspiration for making the quilt below.

Quilt by Donna Hussain: The Book of Kells

The Book of Kells, a national treasure of Ireland, is an illuminated manuscript of the four Gospels of the New Testament transcribed by Celtic monks ca. 800. The text is written on folios of calf vellum that are richly decorated with Christian iconography, intricate interlacing patterns, and figures of humans, animals, and mythical beasts. The Book of Kells was my inspiration for developing a way to draw knotwork designs and sew them with bias tubes on fabric. My article on this website, Interlacing Designs for Quilt Borders, September 26, 2008, is an introduction to this process. But my ultimate goal was to render the Apostle John from the Book of Kells in the fabric of a quilt. I realized that I could not replicate the masterwork of the manuscript illumination but hoped to simplify the portrait of John and pay homage to the religious themes and symbolism found in the manuscript.

When planning my quilt I could not arbitrarily assign a finish size. There were practical constraints to consider when sewing the interlacing designs within the four cross blocks in the border of John’s portrait. Two variables would affect the block size: the width of bias tubes chosen for the knotwork, and the pattern scale. I had to make several sample blocks to test these parameters before I settled on the best size to make the cross blocks for my quilt.

Interlacing Design in the Crosses

This knowledge enabled me to draw the entire quilt border on a large sheet of graph paper and to visualize the size of the center space where John’s figure would be placed. The graph paper I use is Drafting & Design Fade-Out Vellum from Clearprint, a firm you can access on the internet at http://www.clearprintpaper.com/. I buy a roll of 36 inches x 20 yards, l000-4. This last number means that my graph paper of choice has four squares to an inch. A roll of twenty yards lasts me for about five years of quiltmaking.

I next decided on my color palette (purples, blues, and greens) and selected fabric for the quilt. The decision on the background fabric was difficult to make so early in the project. Fortunately, my choice, a soft pink print, proved to be fortuitous. I also made a decision to appliqué John’s figure to the center of the quilt after I had sewn the background and border blocks together. I chose this assembly method in order to ensure that the border blocks were symmetrical and squared.

Assembly Map of Border Blocks and Background

All of these preliminary steps took months to complete. In spite of the fact that I still had to design John for the quilt center I decided to take a break. So I stowed the graph paper design and quilt fabric on a closet shelf. Normally I work on one quilt at a time and finish all of the quilts I start to make. Taking a break was a risky strategy for me, but served me well.

Several months later, reinvigorated, I took a class from Judy Mathieson, who teaches the drafting of mariner’s compass blocks and their paper-piecing. I wanted to learn her techniques in order to design and sew John’s halo. Since my halo is only a partial circle and John’s head covers the center I did not have to worry about sewing accuracy. Novice makers of mariner’s compass blocks often create a “volcano” in the center because of their lack of sewing precision.

Once the halo was sewn I was ready to draw John’s portrait. I tried and tried but never could get his proportions right. Fortunately I have an artistic son who came to my rescue and drew John’s outline to scale. I first made John’s head with curly hair and a beard as in the illuminated manuscript. Then I added big eyes and mouth. The result astounded me. My John looked so compassionate. Elated, unsure how that happened, I now had confidence that the time and effort I was spending on the quilt was worthwhile.

John’s Head and Halo

From the onset of the project, I planned to use purple fabric (for majesty) for John’s clothing. Instead of the voluminous robes in the manuscript, I decided to make a serape sewn with bargello strips. I changed the awkward position of John’s manuscript arms with arms I found in a book of medieval costumes. When people ask me why the index finger on John’s left hand is pointing, I have to admit there is no good reason, except that the hand was at the end of the arm that I chose.

Because the Book of John in the New Testament was written by the Apostle, John is usually portrayed holding a book and a pen in religious art. Instead, I placed a flagellum in John’s right hand. A flagellum is a liturgical fan that was used in the early Irish Catholic church to scare away evil spirits from the alter. Illustrations of flagella appear throughout the folios of the Book of Kells.

The Book of Kells Quilt, Detail: Liturgical Fan

Perspective was not well understood in the ninth century when the Book of Kells was being transcribed. So it doesn’t matter whether viewers of my quilt have difficulty telling whether my John is standing or sitting on the couch. The monks were also weak in anatomy. Look at the position of John’s legs in the manuscript. His knees are forward and his feet facing sideways. I copied this feature and added some whimsy by placing John’s feet on a balance.

The striped second border was added last. I also embellished the quilt with beads and charms but used them sparingly on John's figure in respect to his vow of poverty as a disciple.

California quilter, Donna Hussain, has exhibited in major quilt shows around the country, authored books, and is a regular contributor to Fiber Focus. Click on her name to see all of her past articles.

The photo shows Donna with her husband, Pascha.


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Friday, September 26, 2008

Interlacing Designs for Quilt Borders by Donna Hussain

Most beginning quilters focus their creative energies on the patchwork or appliqué centers of their quilts. By the time their quilt blocks are stitched and sewn together they are tired of sewing the quilt top, eager to start the quilting phase. However one last quilt-top task remains: the addition of borders. A common border solution is to frame the quilt top with four border strips of matching fabric. But does this border add visual interest and enhance the beauty of the quilt? Sometimes yes, sometimes no. If not, what other options are there?


Traveling Star of the East By Donna Quartier


I am always looking for innovative ideas for borders. At quilt shows I walk down the aisles focusing on the borders of displayed quilts to collect border ideas. My scrapbooks of quilt pictures are a helpful resource when deciding on borders for a new project. A number of years ago I started a collection of interlacing patterns that I found in Islamic and Celtic art books, planning to sew these designs with bias tubes onto the borders of my quilts. Once my interest in interlacing designs was piqued I began to notice the patterns on jewelry, fabric trims, engravings, picture frames, fine china, greeting cards, and kitchen tiles.




However, I had to be able to draw interlacing patterns before I could sew them. The drawing was challenging until I realized that each pattern is a single motif repeated over and over again. Since I could not reproduce the symmetry of the patterns with accuracy when drawing freehand, I developed a grid structure for drawing the designs.

Sample drawings of patterns.

Click on the images to see the type more clearly.





Interlacing designs drawn on paper can also be drawn on fabric. By sewing bias tubes over the design lines the patterns can be sewn to border fabric. In 1998 I published a book on this subject, Interlacing Borders: More Than 100 Intricate Designs Made Easy published by Martingale Company. Included are directions for making bias tubes and for sewing the patterns, including how to start and stop as well as tips for sewing angles, curves, crossovers, and corners. Unfortunately this book is now out of print but can still be purchased either new or second-hand on the Internet.



Interlacing Borders by Donna Hussain


Here are some quilts that illustrate how interlacing border designs can enhance the borders of quilts. Some of the quilts are mine. Others are quilts made by Sacramento friends who allowed me to add interlacing borders to their quilt tops for publication in the book. Fortunately, I own the book’s copyright so can legally reproduce these photos.



Photos of Quilts


Starburst Fun By Joyce Reece



Forest Light By Donna Hussain



Twinkle, Twinkle, Little Hearts By Candy Kraft



Leaves in the Wind By Cynthia Moseby



Rainbow Weaving By Elizabeth Lonnquist



Fourpatch Plus By Donna Hussain


Quintessential Quilter's Round Robin
By
Ouida Braithwaite, Nancy Barrow, Donna Hussain, Kit La Due, and Sandy Ross



California quilter, Donna Hussain, has exhibited in major quilt shows around the country, authored books, and is a regular contributor to Fiber Focus. Click on her name to see all of her past articles.

The photo shows Donna with her husband, Pascha.




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