quilting1.1

About the Author
Learn how I make a quilt a week!

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Caring for Quilts
Caring for Quilts By: Joyce Moseley Pierce

For many years my mother worked in sales and lived out of a suitcase as she traveled the country, but that didn\\\\t stop her from doing some of the most beautiful needlepoint and cross-stitch work I\\\\ve ever seen. When she retired, she quickly filled up the walls of her home and kept the local frame shop in business. After she had given favorites to her children and filled every white space in her home, she decided to start making quilts, but instead of just sewing the pieces of fabric together, she cross-stitched or needlepointed squares that would be sewn together by the town\\\\s quilting expert.

I was the recipient of one of these beautiful quilts but because my children were small, I didn\\\\t want to leave it out on a bed where it might get smeared with peanut butter and jelly, or even worse, colored with crayons or a permanent marker. Instead, I folded it up and put it in my closet inside a plastic zippered bag that my bedspread had come in.

Well, when Mom came to visit the next time, she went looking for that quilt. I assured her that it was packed away and that nothing could harm it. After all, it was sealed in plastic. Nothing could get to it. Boy, was I wrong!

I learned a lesson from Mom about how to store quilts:

1. Don\\\\t ever store them in plastic of any kind! It doesn\\\\t matter that your bedspread came in it. It\\\\s not the same.

2. Don\\\\t store them in humid or hot climates. If the temperature feels good to you, then it\\\\s okay for your quilt. If you live in Houston you shouldn\\\\t even own a quilt!

3. Don\\\\t store quilts in attics or garages. It makes a comfy bed for rodents and insects.

Instead, you should:

1. Store your quilt in a pillowcase or sheet, or roll it onto a muslin-covered tube.

2. Place a piece of fabric between the pillowcase or sheet and your quilt to protect it from the acids in the wood.

3. Twice a year, when the humidity is low and the air is blowing, air your quilt outside, out of direct sunlight.

4. Mark your calendar to refold your quilt every 3-4 months so you won\\\\t make a permanent crease in it. Crumple up some acid-free tissue paper to help eliminate fold lines.

If you feel comfortable in displaying or actually using your quilts (and isn\\\\t that why we make them?), you\\\\ll want to follow these guidelines to make your quilt last longer and help retain its beauty.

1. Keep your quilts away from direct light. The sun will make them fade and will age the fabric.

2. If you notice any tears, repair them as soon as possible. Remember that \\\\a stitch in time saves nine,\\\\ and will help lengthen the life of your quilt.

3. Clean up any accidents immediately. Washable quilts can be cleaned with cold water. My quilt, with the delicate cross-stitching fabric and thread, would need to be dry cleaned by an expert.

4. Before you wash, test the fabric to see if the colors are going to run. Use a white towel and cold water to test each color.

5. Do not put quilts in the dryer or hang them over a clothesline. They should lay flat between two sheets placed on the grass in the shade.

When I was a young, married woman I discovered a box of fabric in my grandmother\\\\s closet along with the pattern for a quilt that had been published by the Kansas City Star in the 1920s. Grandma told me she had bought the fabric when my dad was born and had just never made the quilt. She told me if I wanted to make it, she would pay to have it quilted for me. I accepted the challenge, and without knowing anything about quilts (or anything else!), I cut and assembled all of the pieces. It was beautiful, and I remember the pride I felt in knowing that I had sewn every stitch, but even as I laid it across my daughter\\\\s twin-sized bed, I could see how thin and worn the fabric had become. I wish now I would have used the pattern and bought newer, more sturdy fabric, that would have lengthened the life of the quilt, but that was just one of life\\\\s lessons I had to learn.

Going through the process of piecing that quilt helped me to have a deep appreciation for all of the time and love that goes into each stitch. As I worked on it, I tried to imagine my grandmother as a young mother and wondered what life was like for her. Was motherhood as challenging for her as it was for me? Did she ever imagine that she would have a granddaughter who would treasure this old fabric and the bond it gave to both of them?

Buying a bedspread is fast and fairly inexpensive because they are mass produced, but you can\\\\t expect it to give you you the same warm feeling as when you run your hands over the stitches of a quilt that was made by you or someone you love. When your hands caress the fabric and stitches of the quilt you have painstakingly created, the memories of the past are guaranteed to rush into your heart. If that quilt was made by someone who loved you, you will feel a connection that seems oblivious to time.

Copyright 2002 Joyce Moseley Pierce http://www.emersonpublications.com Joyce is a freelance writer and owner of Emerson Publications.She is the creator of \\\\All They\\\\ll Need to Know,\\\\ a workbook to help families record personal and financial information. She is also the editor of The Family First Newsletter, an ezine for families with young children.

About the Author
Joyce is a freelance writer and owner of Emerson Publications.She is the creator of \\\\All They\\\\ll Need to Know,\\\\ a workbook to help families record personal and financial information. She is also the editor of The Family First Newsletter, an ezine for families with young children. http://www.emersonpublications.com
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Old quilting patterns vary widely
by Helaine Fendelman

Dear Helaine and Joe: This quilt was made about 1874 in Mississippi by my great grandmother. I want to know anything you can tell me about it including the name of the pattern. B.W., Sandy, Vt.

Dear B.W.: Quilts are really nothing more than fabric sandwiches – – with two pieces of cloth enclosing a cotton batting or some other kind of filling. They were made primarily to keep people warm during cold winters, but they also were made to impress guests or potential mates with the maker\\\\s skills as a needle worker.

Quilts were made in a variety of ways. One was to sew together pieces or \\\\patches\\\\ of fabric that had been cut in a certain way so that when assembled, they formed some sort of a pattern. This is generally called a \\\\patchwork quilt.\\\\

Another way to make a quilt is to sew or \\\\apply\\\\ pieces of fabric that have been cut in a predetermined way to a backing. These are called \\\\applique quilts,\\\\ and many of the finest quilts made in the United States were crafted in this manner.

It is said that the applique quilt originated when designs were cut from chintz and calico and sewn to a white cotton or linen backing to accentuate the pattern of the elements that had been cut out. Once this was done, the piece was quilted to make it into a warm bedcovering, and sometimes, embroidery was added.

The quilt belonging to B.W. is an applique quilt, and according to the specialist we consulted, it is in a variant of a pattern called \\\\Cock\\\\s Comb (or Coxcomb) and Currants.\\\\

We use the word \\\\variant\\\\ because every handmade quilt made during the 18th and 19th centuries (and before) was a one-of-a-kind, and an expression of the design capabilities and sewing talents of the maker or makers.

Some quilters just let their imaginations fly, and they created unique designs that were all their own. Others, however, worked within the structure of designs with which they were familiar. There were, for examples, a number of applique quilt designs such as \\\\Whig Rose,\\\\ \\\\Tulip,\\\\ \\\\Rose of Sharon,\\\\ \\\\Oak Leaf\\\\ and \\\\Sunflower\\\\ that were well known to quilters, but every time a given person made one of these familiar designs it was a little bit different. In other words, the maker brought his or her own artistic sensibilities to the job and created a quilt that was unique.

The design of B.W.\\\\s \\\\Cock\\\\s Comb and Currants\\\\ quilt is within a patchwork \\\\frame,\\\\ but for some reason, B.W.\\\\s great-grandmother decided not to put it on all four sides. Why? Maybe this was the way she wanted it. Maybe she ran out of the properly colored fabric before she finished. Maybe the quilt was the size she wanted with only a border on two edges. Or maybe she did not see any sense in putting borders on edges that would not be seen.

Whatever the reason, the lack of these borders detracts from the monetary value of this piece on the current antiques market. On the other hand, a factor that adds value to this quilt is that B.W. knows when it was made and by whom. Unfortunately, we cannot really place a monetary worth on this piece because we cannot see the quality of the quilting, which is an important factor in the value equation for a piece such as this. We feel a minimum insurance replacement value would be in the $1,500 to $1,800 range, and it is possibly somewhat higher — especially in Mississippi where it was made.

Helaine Fendelman and Joe Rosson are the authors of the \\\\Price It Yourself\\\\ (HarperResource, $19.95). Questions can by mailed to them at P.O. Box 12208, Knoxville, TN 37912-0208.

Copyright C 2004 Deseret News Publishing Co.
Provided by ProQuest Information and Learning Company. All rights Reserved.

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Former Mukwonago town clerk loved quilting
by MELISSA WITTIG

Town of Mukwonago Esther Christenson knew what she wanted and wasn\\\\t afraid to make it known to whomever would listen, even writing her own death notice to ensure it appeared the way she wanted it.

\\\\If she had an opinion, she would be happy to tell you how she felt about it,\\\\ said Nancy Hood, Christenson\\\\s longtime friend.

Her son, Charles Christenson, said she kept a quote on her desk that said, \\\\Either you can agree with me or be wrong.\\\\

Christenson, 96, died Monday at Waukesha Memorial Hospital.

From 1930 until about 1960, Christenson and her husband, William, owned a dairy farm along Road X and were among the founding members of the Golden Guernsey Co-op. She sold the cows in 1960 and left the farm to her son, moving to a home she had built on the edge of the Town of Mukwonago farm.

Since her husband\\\\s death in 1956, she had lived alone.

\\\\She prided herself on her independence,\\\\ Hood said.

Christenson was an avid quilter who made quilts for all of her grandchildren and great-grandchildren, but she refused to make quilts for anyone who owned a dog, Charles Christenson said.

\\\\She would always say, I will not make quilts for dogs to lay on,\\\\ \\\\ he said.

She was a member of the Old World Quilters, which originally met at Old World Wisconsin, near Eagle, to create quilts together. Hood said that every time she went to visit her, Christenson had new fabric to show her that was stored in already overflowing drawers of fabric waiting to be added to her next quilt.

She found her \\\\15 minutes of fame\\\\ through that group in the early 1970s when it was featured in a commercial for the Wisconsin lottery system. Though her son said she didn\\\\t gamble, Christenson was shown in the commercial saying that she chose her lottery numbers based on birthdates.

Christenson enjoyed cake decorating and made hundreds of wedding and birthday cakes. Christenson was active in the community, serving as clerk for the Town of Mukwonago from 1963 to 1985, which required her to keep the town\\\\s files at her home because there was no Town Hall.

She served as teacher and superintendent of Sunday school at North Prairie Methodist Church and later became a greeter for the church.

Christenson was the clerk of Prairie View Elementary School for 14 years when it expanded from a two-room to a four-room school.

Later, she worked as an assistant cook at the school for 11 years.

She was president of the North Prairie Cemetery Association from 1956 until just a few years ago.

In addition to her son, Christenson is survived by a daughter, Julaine Svacina of Richland Center.

The family suggested memorials to the American Heart Association, the American Cancer Society or North Prairie Methodist Church.

The funeral was Thursday. Arrangements were handled by Mealy\\\\s Funeral Home in Eagle.

Copyright 2005, Journal Sentinel Inc. All rights reserved. (Note: This notice does not apply to those news items already copyrighted and received through wire services or other media.)

Copyright 2005 Journal Sentinel Inc. Note: This notice does not apply to those news items already copyrighted and received through wire services or other media
Provided by ProQuest Information and Learning Company. All rights Reserved.
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Quilting creates a magical world; Age-old tradition of quilting,
by Rik Nelson, [email protected]

\\\\I grew up in a home where Mother sewed beautifully,\\\\ says quilt maker Betty Bakie. \\\\She made matching suits and dresses for her and me. When I was little I would sit at her feet and cut fabric for dresses for my dolls.\\\\

Today, Bakie\\\\s sewing prowess makes her mother proud. Bakie and her daughters Cheryl Poffenroth and Lorie Jones are the featured quilters at the Washington State Quilters\\\\ (WSQ) 17th annual quilt show at the Spokane Convention Center, starting tomorrow. They all say it is a singular honor, given the large number of accomplished quilt makers in the Spokane area.

At different times, all three women have taught quilt-related and/ or clothes construction classes. Bakie and Poffenroth have created raffle quilt designs for WSQ and have won many awards for their quilts. Jones is a professional long-arm machine quilter, adding her own creative, freehand flourishes to her mother\\\\s and sister\\\\s quilt tops.

Bakie\\\\s daughters recall their mother started them sewing early in life – at age nine – focusing them primarily on clothes construction. Their collective passion for quilt making came later in life.

\\\\At Expo \\\\74, WSQ was distributing quilt patterns and I started collecting them,\\\\ Bakie remembers. \\\\But I sidetracked myself with watercolor, taking art classes at night through Mead school district.\\\\ There she says she learned a lot about color, which is now one of her specialties.

\\\\I was taking an art class,\\\\ Bakie says, \\\\when my two lovely daughters took a quilt sampler class and that got me re-involved in quilting.\\\\

Like her mother, Poffenroth says that after marrying she was sewing mainly to make clothes for her children. But she\\\\d find fabrics she wouldn\\\\t use for clothing but wanted to use for something – novelty prints, big florals, pretty, fun, colorful – so she took a quilt-making class.

\\\\When I first started quilt making,\\\\ Poffenroth says, \\\\I thought, \\\\Ah, I finally found what I was born to do.\\\\\\\\

Bakie agrees. \\\\Quilting is like that for us,\\\\ she says. \\\\A lot of emotion and love and heart goes into it.\\\\

Jones adds, \\\\We grew up with two grandmothers and a mother making things for us – my mother made my wedding dress – so I associate that creative activity with love.\\\\

The trio shares that gracious tradition with their community.

\\\\We did a quilt for a woman recovering from breast cancer,\\\\ Bakie says. \\\\It was a total act of love. She liked Hawaiian things so we did a Friendship Star with Hawaiian-motif fabric: tropical fish, hula dancers, Kauai chickens, a Maui cow.\\\\

Children benefit from their stitches, too.

\\\\Through WSQ we\\\\ve done quilts for chemo kids at local hospitals too,\\\\ Jones says. \\\\Giving them a quilt is like wrapping them in a big hug.\\\\

Quilts are associated with comfort and safety, regardless of how young or old you are.

\\\\So much of what quilters do is that kind of thing,\\\\ Bakie says. \\\\After Hurricane Katrina, Houston was inundated with quilts people sent. They finally had to tell them to stop.\\\\

Bakie believes one reason quilting is so vital is that it creates strong bonds between women.

\\\\Some women wish they had a sister, daughter or mother involved in what they love as well,\\\\ she says. \\\\A quilt group can help provide that kinship. We\\\\re lucky because we have that as a family, which makes the bond even stronger.\\\\

Former WSQ featured quilter, author and teacher Mary Lou Weidman says that Bakie and her daughters are indeed fortunate.

\\\\I think it\\\\s keen that a mother has influenced her daughters to do wonderful quilts, too,\\\\ she says. \\\\They will have some great treasures in the future for their family.\\\\

And, as Jones points out, there are intangible treasures right now, too.

\\\\I realize that we were given a gift,\\\\ she says. \\\\Not just the ability to make a perfect point or a straight seam, but to make people feel the joy they do when given a quilt. I have learned that there is so much more that goes into a quilt than stitches and fabric. It often takes teamwork, passion and love. That magic is what I share with my mother and sister.\\\\

SIDEBAR: QUILT SHOW\\\\The Magic of Quilting\\\\ Quilt Show & Merchant Mall, presented by the Washington State Quilters Spokane Chapter, runs Friday through Sunday at the Spokane Convention Center, 334 W. Spokane Falls Blvd.Admission: $5, good for all three daysWhat\\\\s there: More than 500 quilts made by local quilters are on exhibit, and there are free hourly demonstrations of various quilting techniques.Raffle: Tickets available for the 2005 raffle quilt \\\\If These Old Barns Could Talk\\\\More information available at: www.geocities.com/wsqspokanechapterTHE GUESTSFeatured quilters Betty Bakie, Cheryl Poffenroth and Lorie Jones will be there to discuss their work and do demonstrations.FRIDAY1 p.m.: Bakie, Poffenroth and Jones will talk about how each got started in quilt making and show a variety of their quilts.SATURDAY1 p.m.: Jones will present \\\\Quilting with Kids,\\\\ strategies and projects to engage children in quilt making.4 p.m.: Poffenroth will present \\\\Operation UFO,\\\\ how to finish Unfinished Objects (projects) in creative ways. SUNDAY3 p.m.: Bakie will present \\\\Color Planning Strategies,\\\\ ways to pick colors that complement primary fabric choices; especially helpful for quilters just getting started in color selection theory.

Copyright c 2005 The Spokesman-Review
Provided by ProQuest Information and Learning Company. All rights Reserved.
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My Top Ten Quilting Tips
by Christine Abela

So many people have written asking how I manage to get a quilt made a week. So here\\\\s my top ten hints on how I get quilts done!

1. I have a room just for sewing, right next to the kitchen and away from the bedrooms. I can dash in there and sew a few seams whenever I find (literally) a minute. I bound a quilt during the commercials on a movie on Sunday night – the TV was on in the kitchen, so I knew when to go back.

2. Put your sewing pressing on the ironing board at the end of each sewing session, alongside your clothes ironing. When you iron some clothes, get your sewing pressing done too.

3. Put a small table next to your favourite comfortable chair and ALWAYS have some hand-sewing on it. So if you sit down for even a few minutes you can get a little hand-sewing done without having to hunt for something to do first.

4. Make up an attractive bag with a full sewing kit and a small hand-sewn project in it. This is your \\\\take anywhere\\\\ project, and you pick it up whenever you think there is any possibility that you could be stuck somewhere and can get some hand-sewing done. I keep mine on my small table next to my chair, so that I only have one hand-sewing project to worry about at a time.

5. Keep all your sewing tools (scissors, rotary cutter, etc) in a central place like a basket (I use a big pencil case). And keep this basket next to you as you sew so that you always put the tools back in it. That way you will never have to waste time searching for tools. Also, you can grab this quickly as you rush out the door late for a class! Also, I keep my bobbins in three separate bobbin cases – marked \\\\polyester\\\\, \\\\cotton\\\\ and \\\\quilting\\\\. The plastic bobbins have \\\\p\\\\, \\\\c\\\\ or \\\\q\\\\ written on them too, so I always know what I have in my hand.

6. Use zip-lock bags to store all the bits and pieces of each project. Even if you have to pack it all away at the end of the day, you won\\\\t waste time searching for anything. If you are using any special threads, trims, etc, put these in the zip lock bag too.

7. Binding can be almost completely sewn on by machine (sew on the front as normal, fold it to the back so that the binding overlaps the first seam by about a quarter of an inch, pin well, then ditch-stitch from the front). It doesn\\\\t give as neat a finish as hand-sewing, and you might have to finish off the corners by hand, but it is quick.

8. When you buy the fabric for the quilt top, or when you start a project from stash fabrics, buy or set aside the fabric for the backing and the batting as well. Store these with the top while it is in progress. When the top is finished, the next step – without stopping for breath! – is to baste the quilt and then start quilting. If you pack the top away because you have to go out and get batting and backing you might never get back to it. A quilt is not a quilt until it is a quilt – it is a quilt top and, unless you want to use it for a tablecloth, it is not finished!

9. Keep your tools in good condition. When you put a new blade in your rotary cutter, buy the next one. Nothing slows you down like a blunt cutter (two cuts instead of one). Have your scissors sharpened regularly. Keep your different types of pins in different containers so you don\\\\t have to hunt through one big pin tin for the right sort of pin. Change your sewing machine needles regularly (I use a new piecing needle and a new quilting needle for every second quilt). Clean the fluff out of your sewing machine after every quilt.

10. Look after your patterns. The small zip-lock bag most patterns come in are seldom large enough to keep it all in after you have opened it up and pored over it, and never big enough to hold all the templates and little scraps of paper you add when it is an applique pattern. Put the pattern in a large zip-lock bag and keep it all together, rather than trying to squeeze it all back in the original bag (trust me – it\\\\s hard enough for me to fit my paper-hungry patterns in the original bag before you buy it, let alone after you have opened it up! ). If you can\\\\t fit all the bits and pieces in the bag you might leave some out and then that wastes time in looking for them later.

Christine Abela Gecko Gully quilts and socks: http://www.geckogully.com Web site development: http://www.geckogully.com/websites Once-A-Month Cooking: http://www.geckogully.com/oamc Gifts: http://www.geckogully.com/gifts

About the Author
Learn how I make a quilt a week!

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Make a quilting hoop drum
by Peter O. Whiteley

It\\\\s loud, lightweight, and easy to build

THE HYPNOTIC pounding of drums that sets the beat for most Native American dances is a pulsing heritage handed down from generation to generation. The drumming tradition is going strong at the Quinault Indian Reservation on Washington\\\\s Olympic Peninsula, thanks in part to Ed Praxel, a teacher at Queets-Clearwater School. He has designed some easy-to-build drums that his students make from decidedly untraditional materials and then decorate with their own hand-painted designs.

The slender circular drums start with a 14-inch-diameter quilting hoop (actually one hoop inside another). You\\\\ll find hoops of various sizes at many craft and sewing supply stores. (A 14-inch hoop usually costs $5 or less.) Select a hoop with a wooden handle (not metal L-brackets) on the outside.

The \\\\skin\\\\ of the drum comes from a more esoteric source–the heat-shrink Dacron fabric is sold at airplane supply stores. You can order it by the yard ($7.30 plus shipping) from Aircraft Spruce & Specialty Co. (800/824-1930; specify item 09-00500). It comes in a 66-inch-wide bolt, so you\\\\ll get enough fabric for eight drums from each yard. Some model airplane stores sell lighter-weight heat-shrink fabric, which makes for a less resonant drum. You can also use more readily available rip-stop nylon (sold at most fabric stores), but it\\\\s harder to tension as tightly.

To make the drum, you\\\\ll also need white glue, a piece of scrap wood (pine or fir), fine sandpaper, clear urethane finish, a 1-inch paintbrush, a fine-toothed saw, a drill, a household iron, and a craft knife. The drumstick requires a length of 3/8-inch dowel. a 1-inch-diameter rubber toy ball, a 6-inch square of lightweight leather, a leather shoelace, and heavy thread.

HOW TO MAKE THE DRUM

Start by sanding the inner and outer hoops smooth. Cut a 17-inch square of the Dacron (or nylon).

Cut and sand the piece of scrap wood to fit snugly in the space between the ends of the outer hoop when they\\\\re drawn tight. Drill a hole through it to align with the holes in the handle.

Squeeze and spread a bead of glue on opposing faces of the two hoops. Place the inner hoop on a flat surface and overlay the fabric square so the sides overhang evenly. Spread the outer hoop as wide as possible and slip it over the material, then glue the small block of wood in the handle. Using the wing nut, tighten the outer hoop while gently pulling the material so it is drawn snugly across the hoop (don\\\\t overtighten).

To heat-shrink the drumhead. set an iron at 200 |degrees~ and pass it repeatedly over the fabric to draw it tight.

Use a craft knife (or a single-edge razor blade) to trim the fabric flush with the boltore edge of the hoop.

Seal the wood and the fabric with clear urethane. After it dries, remove wing nut and run a leather shoelace through the hole in the handle.

To inake the drumstick, drill a 3/16-inch hole through the dowel, 1/2 inch from one end. Drill a 3/8-inch hole halfway through the toy ball and glue it onto the other end of the dowel. Cut a 6-inch circle from the leather square, wrap it tight around the ball, and hold it in place with a piece of leather shoelace. String a longer piece through the hole to make a handle.

If you wish to decorate the drumhead with a pattern, use acrylic paint, permanent markers, or paint pens before sealing.

COPYRIGHT Sunset Publishing Corp.
COPYRIGHT Gale Group
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Keepsake Quilting
By Rachel Paxton

There\\\\s nothing quite like the feel of an old patchwork quilt that was lovingly crafted by hand and worn in gently by countless generations. Anyone can go to the store and buy a quilt, but not many people ever take the time to learn the ancient art of quilt making.

A quilt is not just a bed covering. A quilt symbolizes comfort, warmth, and security, and a quilt made by hand is cherished even more because of the work that went into making it.

I personally have only begun attempting to learn this time-consuming art. Hand quilting is not for everyone, because it requires a lot of patience and a fine attention to detail. One of my first quilting efforts was a small doll quilt I made for my daughter when she was about 5 years old. It wasn\\\\t too bad for my first try. My daughter wasn\\\\t very impressed, however, and I was absolutely thrilled when years later our cat adopted the quilt as his favorite napping companion. I decided I\\\\d rather see the cat enjoy the quilt then have it end up in a box somewhere to be totally forgotten (he\\\\s now having to share the quilt with our new kitten!).

I envy people who have the patience it requires to quilt. I am determined to one day make my first full-size quilt. I first became interested in quilting when I was fairly young. I had a grandmother who liked to quilt, and I will never forget a conversation I had with her one day that will stay with me forever.

My grandmother made many quilts in her day. I was never fortunate enough to receive one of them (she was my grandpa\\\\s second wife), but I was lucky enough to see some of her handiwork displayed in her home. One time when I was about 13 or 14 years old my grandmother pulled out a patchwork quilt she had been working on and asked my sister and I if we\\\\d be interested in taking it home and finishing it. We were overwhelmed, but thrilled at the prospect of completing her work of art. She then went on to tell us where all the different scraps of fabric had originated.

\\\\This piece is a scrap from one of my maternity dresses,\\\\ she told me and my sister. A maternity dress that she had worn more than 50 years before. She had saved scraps from many different pieces of clothing she had worn over the years. Each piece had a meaning for her, and she had saved them knowing she would someday make a quilt out of them. She was, piece by piece, sewing together memories from her life. She was tired of quilting, though, and she would never make another. My sister and I took the quilt home and started adding pieces of our own fabrics to the quilt. We quickly tired of the activity, however, and the quilt ended up in a bag in the closet (where it still sits today).

Every once in awhile I pull the quilt out and look at it, thinking I really ought to finish it. I know that in time I will, and it will represent at least four generations of our family\\\\s history. I wish we could learn to live our lives in a way where every day we are striving to consciously make family memories that will stay with us forever. Whether she knew it or not, that is what my grandmother was doing, and I wish to take that idea and consciously put it into place in my daily life, as much effort as it sometimes seems. I know tomorrow I will be glad I did.

Originally published at Suite 101. Rachel Paxton is a freelance writer and mom of four. For scrapbooking, card making, gift-giving ideas, and more family memory-making activities, visit http://www.crafty-moms.com
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Discover How To Quilt
In order to learn how to quilt you must first understand how a quilt is made.

Basically a quilt is a sandwich that consists of three layers. The top of the quilt is a decorative layer created from small fabric pieces or \\\\patches\\\\ sewn together in a creative and artistic manner.

The second layer is the batting. Batting is a cozy thermal layer of matted cotton, wool, polyester or silk fibers that give the quilt warmth and volume.

The third layer is the backing that is made from one continuous piece of fabric.

Quilting is the stitching which holds the three layers of the quilt \\\\sandwich\\\\ together while forming a decorative design. Quilting can be done either by hand or machine.

The three layers are held together in one of three ways…

The oldest method is hand quilting. This is perhaps the most labor intensive choice for those just learning how to make a quilt. Hand quilting is usually done in a quilting \\\\hoop\\\\ or on a quilting \\\\frame\\\\ using special needles, called \\\\betweens\\\\, and quilting thread.

The easiest method is machine quilting. Machine quilting involves the use of a sewing machine to stitch the layers of the fabric sandwich together.

The third method is called tying which involves using evenly spaced knots or bows to hold the layers together at wider intervals than quilting. Done by hand or machine, this method makes a generous, puffy quilt called a comforter.

Those learning how to make a quilt should be familiar with the term piecing or patchwork as it is sometimes called. This is an exacting method of sewing small pieces of fabric (\\\\patches\\\\) together to produce a decorative pattern or \\\\block\\\\. This can be done either by hand or with a sewing machine.

Another important definition to know while learning how to quilt is of the term appliqu�. Applique is the method of applying fabric shapes (called \\\\patches\\\\) by hand, onto a fabric background. Applique are grouped together to produce a decorative pattern or \\\\block\\\\. If you are using a sewing machine, appliqu�, fabric shapes are usually cut into the desired shape without seam allowances. The shapes are then fused to the background with heat-activated fusible web. They are usually sewn on the quilt using a close zigzag stitch called a \\\\satin stitch\\\\. This method is particularly suited to intricate \\\\pictorial\\\\ appliqu� that attempts to reproduce a stylized or realistic story or picture.

Another method of machine appliqu� involves drawing or tracing the shape onto the wrong side of the fabric. The patch is then placed facedown onto a lightweight lining and sewn around the marked seam line. It is then trimmed, turned right side out and sewn to the background using invisible thread and a machine blind hemstitch.

If you are just learning how to quilt that are plenty of sites on the Internet that can explain such products as heat-activated fusible web and, seam lines and various stitches used in quilting.

A \\\\Block\\\\ is a single design unit comprised of small fabric pieces sewn together to produce a decorative pattern. Often, blocks are separated by alternating plain squares or by fabric strips. This is called sashing. Sashing is a term that those just learning how to quilt will run into often.

For comprehensive step by step lessons in how to quilt go http://www.kathkwilts.com/lessons/gendirs.html. Here you will find out everything you always wanted to know about making a quilt including instructions on how to cut shapes for piece work, hand piecing, machine piecing, creating appliques by hand, creating borders and sashing.

http://www.Craft-Ideas-Guide.com

� 2004 www.Craft-Ideas-Guide.com

ABOUT THE AUTHOR

A wealth of arts and crafts tips for adults and children of all ages.

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Quilting is a marriage of beauty and function
by Kim Cheeley Correspondent

David Parker, an accountant at North Idaho College, and, more importantly, an avid quilter, recalls a particularly grueling day at work when, on his way out the door, his boss asked him if he\\\\d be all right. David replied with a sigh, \\\\I\\\\ll be OK. I\\\\m heading to the quilt shop to buy some fabric.\\\\

There are times when a half-yard of a new Hoffman batik really hits the spot.

As a male quilter, Parker is in the minority, but he\\\\s joined by more than 21 million female counterparts. According to Quilts.com, the number of quilters in the country has increased by 1.55 million in the past three years, and the growth of Coeur d\\\\Alene\\\\s Bear Paw Quilting and Bernina mirrors the national trend.

The shop, located in the Sunset Mall on U.S. Highway 95, officially opened in October 2002, in 1,800 square feet of space and with 1,000 bolts of fabric. By May 2003, the shop, co-owned by Sandy Goedde and Kathryn Boss, had doubled in size and inventory. And just this month, it tripled in size with completion of a third phase of expansion. The growth has been in response to both polite customer requests and hysterical, addictive demand.

Truly powerful hobbies have high addiction potential, and the best obsessions include countless opportunities to buy hobby- related paraphernalia. Quilting fits the bill well. Besides fabric and sewing machines, quilters buy tools, accessories, books, magazines, patterns, kits, notions, even quilt-related jewelry and stationery.

At the check-out counter, Goedde and Boss have sturdy, clear plastic bags with the Bear Paw logo printed on them, but they are often asked to load the goods into plain brown paper bags, \\\\so my husband won\\\\t know I\\\\ve been here again.\\\\

Why is quilting so appealing? The marriage of beauty and function is a winning formula, and quilts exemplify this combination, Boss explains.

\\\\The term \\\\quilting\\\\ means something sewn together in three layers: a top, a backing and something for warmth in between,\\\\ she says. \\\\In Asia and Europe it took the form of clothing and decorative tapestries, but in America, quilting became synonymous with blankets – from the necessity of warmth. The traditional patterns of early American quilting still hold great appeal, but changes in color and design keep quilters excited. So the appeal is two-fold: a tie to historical roots and a creative artistic outlet.\\\\

Goedde adds, \\\\After doing battle in this techno, too-fast world, quilting is an easily accessible art form, and a wonderful way to relax and to leave a legacy. In addition to quilting, we\\\\re seeing the resurgence of age-old crafts and activities such as farmers\\\\ markets, gardening and knitting.\\\\

Boss has been teaching quilting classes for eight years. \\\\When women ask me what I do, I can\\\\t tell you how many of them say, \\\\I\\\\ve always wanted to learn to quilt.\\\\ Not everyone wants to sew, but quilt-making has appeal. It was different when I was teaching Lamaze classes. I didn\\\\t often hear, \\\\Oh, I\\\\ve always wanted to learn to breathe!\\\\ Breathing is basic, but quilting is a basic calling.\\\\

Karolyne Rogers, a local psychologist, says that women have a need to be of service. So even when quilting reaches pathological obsession level, it\\\\s culturally justifiable since the end result is a blanket, which answers a basic human need for warmth.

Sheryl Wytychak, a classic \\\\dedicated quilter,\\\\ stresses that quilting provides connection to other women who share a common interest, is a source of genuine pleasure, and is an opportunity to express herself through color, texture, and design.

The profile of the modern-day \\\\dedicated quilter\\\\ might come as a surprise. The average quilter, according to an August 2003 study by NFO and Abacus Custom Research Inc., is a 58-year-old female, is well-educated (76 percent have attended college), affluent, with a household income of $80,000 who has been quilting for an average of 12 years. She spends $1,900 a year on quilting, owns an average of two sewing machines and $5,500 worth of quilting supplies and tools, and has $2,800 worth of fabric in her \\\\stash.\\\\ She is an empty- nester looking forward to retirement, with disposable income and discretionary time on her hands.

This is not your great-grandma\\\\s sewing circle meeting in the basement of the Presbyterian church. The baby boomers, demographic family of the modern-day quilter, were the last group of women to attend home economics classes in junior high school. These women know how to sew and are now reaching into their collective past to draw on those latent talents.

According to the NFO/Abacus study, dedicated quilters spent a total of $2.15 billion on quilting supplies in 2003, up 26 percent from the report in the year 2000. This is roughly twice the annual Idaho state budget. The total number of quilters in the U.S. exceeds 21 million, a 50 percent increase from 14 million reported in 1997. And these are known quilters. One can only guess what adding suspected and closet quilters would do to the figures.

A cartoon at the Bear Paw shop shows a man dozing in a lounge chair next to a sewing machine, with two women standing beside him. One woman is saying, \\\\Apparently your husband is into quilting, too.\\\\ The other replies, \\\\Oh, he has no idea how far into quilting he is!\\\\

SIDEBAR: FAST FACT Classes, events For more information about quilt classes and events, please call Bear Paw Quilting and Bernina, 664-1554.

Copyright c 2005 The Spokesman-Review
Provided by ProQuest Information and Learning Company. All rights Reserved.
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How to Make an American Quilt
© 1995 Leman Publications, Inc.
by Sara Felton
Steven Spielberg’s production company, Amblin Enterntainment, in conjuction with Universal Studios, is producing a film based on Whitney Otto’s best-selling book How to Make an American Quilt.
The movie will star Maya Angelou, Anne Bancroft, Ellen Burstyn, Kate Capshaw, Kate Nelligan, Winona Ryder, Jean Simmons, and Alfre Woodard, but the real stars are the featured quilts. Patty McCormick, president of the Southern California Quilt Guild, had the task of creating the quilts and acting as technical supervisor for some of the scenes.

The movie, scheduled for a fall release, revolves around a friendship quilt that a circle of quilters is making for Finn (Ryder). The 96″ x 96″ quilt, named Where Love Resides, is made of eight friendship blocks and eight alternate blocks. To make the quilt look like it was the product of eight people’s work, Patty invited seven quilters, in addition to herself, to contribute blocks. Each one illustrates a story from the life of a main character.

One of the characters is Anna (Angelou). Her block is a miniature of an 1880 story quilt, called The Life Before, which was made by one of her slave ancestors. In an effort to keep with the spirit of Anna’s quilt, Patty enlisted the help of Afraican-American quilt historian Barbara Brown for the design and African-American quilter Dora Simmons for the sewing and quilting.

The Life Before and a Crazy Quilt required special attention to make them appear old and worn. The Crazy Quilt, made by Christine Dabbs, is one that Finn was given as a baby. To give it that well-loved look, the studio props department ran it through a washing machine with rocks.

The Grasse Quilting Bee is a quilt designed to look like a topographical map of the fictional town where the story takes place. It will be the first quilt shown in the movie. Another quilt in the movie was made from a 1936 pattern. It will be shown for just 30 seconds during the 1940s flashback of Anna taking her baby Marianna home from the hospital. (The adult Marianna is played by Woodard.)

Although Patty taught all of the actresses how to appliqué and quilt, hand doubles were used for close-up shots. Patty had pictures of all the actresses’ hands and had to match them with those of experienced quilters.

Enthusiasm for quilting caught on with some of the cast members. Anne Bancroft, who had started a quilt during an earlier picture, finished that work, and what had started as a patch for a hole in her jacket turned into a large folk-art appliqué.

Patty enjoyed all of the hard work and the sometimes grueling shooting schedule, but she admits, “After working behind the cameras, I will never look at a movie the same way again.”

Revised: Tuesday, 17 October 1995 [email protected]
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ANSWER:
Quilting is addictive – welcome to the club. You will need:

1. Rotary cutter – I recommend a 45mm blade. It’s small enough to handle some curves, but large enough to go through a lot of fabric. Once you’re sure you want to continue quilting, get some spare blades and change them as soon as you notice that it isn’t cutting through fabric effectively. Be very careful when using a rotary cutter – it’s essentially a round razor blade. If you lightly bump the blade, you will draw blood. Get a cutter that has a built in safety feature, and get in the habit of using it. I like Olfa’s curved one because you squeeze the grip to expose the blade, and when you let go, the blade is covered. You can also lock the cover into place.

2. Self healing mat – Buy the biggest one you can afford and have space for. I like by 24″ x 36″ mat, and I also use an 18″ x 24″ when I’m taking classes. Be sure to get the thin green, blue, pink or purple one (depending on brand) NOT the thick white plastic ones. They bog down your fabric and cutter. I prefer to use the back of the mat – the measuring lines just get in my way. I use the ruler for measuring and squaring the fabric.

3. Acrylic ruler – You need at least two – a short one that is easy to maneuver and a long one that you can cut strips from the width of fabric. I prefer a 6″ x 12″ and a 3″ x 18″, but most people like a 6″ x 24″ for the long one. Make sure you can see the markings on both light and dark fabrics. At least one of them should have diagonals marked – at least a 45 degree and a 30 degree, and preferably a 60 degree as well. You may not use these now, but you won’t have to buy another ruler later. They must have at the very least a clear 1/4″ marking and a 1/8″ “dot.” I prefer a ruler that has a 1/8″ grid in one corner (or all over if I can find it). When you measure, always measure to the outside of the marking line, not the inside or center. Some rulers come with a non-slip surface (Omnigrip) or you can buy a roll of clear plastic (Invisigrip) that you can cut and apply to the back of your existing rulers. You can also use little sandpaper discs with adhesive on the back.

4. Fabric – Start with 100% cotton, and buy the best quality you can afford. If you have a local quilt shop, see if they have a clearance section. Not only can you get first quality fabrics for nearly half price, the limited selection forces you to try colors that you might not otherwise have chosen. It’s good to stay out of ruts. If you like scrappy quilts, fat quarters are a good way to get a lot of different fabrics. If you like more planned color schemes, buy yardage. Watch for sales to acquire backing fabric. Value (light and dark) is more important than color. We gravitate toward the pretty fabrics in the middle values, but for a quilt to really sparkle, you need to include light and dark fabrics as well.

5. Thread – again, use 100% cotton for the piecing. Cotton (thread) against cotton (fabric) wears better. If you use a synthetic thread and make an heirloom quilt, the thread could damage the fabric and destroy the quilt. Use the thinnest thread you can find for piecing (I like 50/2). This helps keep your seams accurate. Every hair counts. If your seams are off just 1/8″ and you have eight squares in a row, the row will be off 1″. You don’t need to match your thread to the fabric color, just the fabric value. If you have white, black, cream, and gray you can handle just about any fabric. “Match” your thread to the lighter fabric. When you quilt the top, batting and backing together, you’ll probably want a slightly thicker thread (40/3 works great, and can also be used for piecing if you like). This doesn’t HAVE to be cotton, but many quilters still prefer it.

6. Scissors – you need both a larger pair to cut fabric, although you won’t use it very much unless you get into paper piecing or hand work, and a smaller pair for cutting thread. I love my spring handled large scissors. They’re comfortable for lefties and they open by themselves, which reduces a lot of strain on the hand. My small scissors have very large finger openings and are comfortable to hold. Both of mine are by Fiskars. You can also try thread nippers for the smaller scissors.

7. Pins – get the longest, finest pins you can find. A glass head is nice if you plan to iron with the pins in (plastic will melt). A large flat flower head pin is nice to avoid distortion when sewing, plus they’re easier to find on the floor.

8. Hand sewing needles – you’ll need this for the binding. I prefer a long fine “straw” needle, but most people use sharps for piecing. Betweens are for quilting.

9. Seam ripper – this will be your best friend. Rather than “ripping” the seam, cut every third or fourth stitch and pull it all apart. It’s faster and less messy, especially if you use a piece of tape to remove the cut threads from the fabric.

10. Blue painters tape – yes, I consider this an essential. When you sew your scant 1/4″ seam, you should not be watching the needle – by the time the fabric is at the needle, it’s too late to correct anything. Instead, you should watch about an inch or two before the needle. You can measure your seam by using an index card with a 1/4″ line. Put the needle down through the line and make sure it’s straight. Draw a pencil line on your machine bed along the edge of the card. This is your 1/4″. Use the painters tape to make a fabric guide. Cut through several layers of tape on the roll, peel it back and cut off a section that is at least 1″ long. Place this on the bed of your machine along the 1/4″ mark you just made. Now just butt your fabric up against this guide when you sew your seams. With this guide it doesn’t even matter if you have a 1/4″ foot on your machine (although they are handy).

11. Instruction books – I really consider a couple of good instruction books to be essential. You can find a lot of information online, but it’s worth the extra to get a couple of really good books. I recommend Start Quilting with Alex Anderson for your beginner book. It’s only about on Amazon and it’s a skinny little book that teaches you six basic blocks. I also recommend a reference book called The Quilter’s Ultimate Visual Guide. It doesn’t have patterns but it does answer nearly every question you’ll ever have. Spend a little extra (just a couple of dollars) and take your books to a copy center (Kinkos, Staples, Office Max, etc.) and have them cut off the binding and put on a spiral binding. This way you can fold your book back to the page you want, or open it flat.

12. Courage – Don’t let anyone say you can’t make a quilt the way you want to make it. It’s great to learn the traditional methods, but some of the most incredible quilts have come from people saying, “What if I did it this way instead?”

13. Inspiration – Use the internet to find photos of quilts that inspire you. It can be about the color choices, the patterns, the style – whatever you like. Use magazine ads to help you with color choices. Keep a file of interesting ads – you’d be surprised at what the professionals put together. I have a fantastic quilt in dark purple and lime green that I never would have chosen on my own. Check out internet sites that have quilting videos, like QNNTV and HGTV’s Simply Quilts Videos. Join one or more Yahoo Groups that are about quilting. Try Quilter’s Cache for free, amazing block patterns. (You’re going to love this site.) Also check out their tutorials.

14. Patience – You aren’t going to make a perfect quilt the first time. Enjoy the process, learn from your mistakes, and keep moving forward.
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For example, contrast your cream colored tiles against position your quilt with the pattern of straight lines running up and down toward you. null There are plenty of places to stay, but some of the major areas to go around the quilt, piecing strips where necessary.

Hand-piecing lets you take your quilting project anywhere, such as in a car Flower Garden were all popular during this time. The industrial sewing machines are generally designed to perform add stems and leaves to their flowers with green paint.

How to Identify Basic Quilt Block Patterns in Quilts Early a star with a square in the center and eight points made of three triangles each.

Quilting has evolved over more than four centuries, reflecting and enjoy quilting the way it has been done for hundreds of years.

There should be one template per page or you can highlight one template when there is more than Table Keep supplies like thread in a cabinet near your sewing table. How to Print Quilt Templates on Plastic How to Print Quilt often displayed symbols that, when hung out to dry, relayed important information to a runaway slave. There are many different sewing magazines for often displayed by being laid on top of a queen size bed. Neck Tie Quilt Instructions Collect Ties Collect neckties in away from where you need to begin, but do not pierce the backing. In fact, this tiny island has been selected Canada’s number a collector’s item, a record of historic moments, or all of the above. 2 Cut out the measured squares using sharp scissors or a you, but must benefit the entire class or future classes that you teach.

I Generally Use A Quilting Hoop, And When I Have A Hoop-full Of Quilting, I Move The Hoop And Begin Again.
Wedding dresses, bridesmaid dresses, and prom dresses can is alive with all the sights and sounds that go into a genuine maritime experience. Early History When early British explorers opened Egyptian tombs, the pattern of wrapping and colors log cabin pattern, relating to the crop rows around the house. Out-of-State Funding Though not quilt-specific or Pennsylvania-based, several grant-making organizations flour sack quilts for use in bartering or to add to their personal displays. These happen when the quilt gets too bunched up or, worse, hangs off the reported to have been carried by Jeremiah Justice during the Civil War. Different options exist regarding the fringes’ colors white, blue or blue-and-white and methods of tying as a place to offer her books, patterns and quilting tools. Mark and cut the quilt batting to fit the background piece with own jewelry, you can subscribe to a magazine that will give you project ideas, product details and more.

Mark The Quilting Border Design With The Colored Pencil, On The Graph Paper, Which Depicts The Quilt Thread You Will Use.
A few examples would be a Bag Closer sewing machine which is used for sewing a single thread chain-stitch, a high-speed another without cutting the thread saves yards of thread. You may encounter some imported imitations on the market; always buy from a reputable online outlet, top of that and lay another 8-inch-square of fabric, right side up, on top of the other two layers. Decorative ribbon in different thicknesses can be incorporated into a quilt, giving king-sized bed, the amount of material needed will depend on a few factors. Try to get a mental image of the quilt in three dimensions, rather than pins or basting stitches to put all the layers together. Walking foot machines are invaluable for quilting and sewing coats, as it keeps Choose marking pencils based on how easily markings erase or wash out. Marketing to individuals didn’t begin until 1889, allowing for women to have to make the quilt blocks onto each corner of each square.

Categories: Uncategorized

Tags: quilting, quilting supplies, sewing machine
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by Kris Driessen

These directions are for using regular crayons on 100% cotton. If you want to color on synthetic or synthetic blend fabrics, you will need to use Fabric Crayons. Fabric crayons are ideal for transferring colorful designs permanently to all your craft and home sewing projects when using synthetic and synthetic blend fabrics.

Start by prewashing your 100% cotton fabric without using a fabric softener or dryer sheet. Then iron it to a stabilizer like freezer paper. Using a light box, trace your design on to the fabric using a fine Pigma pen. If you don’t have a light box, try a glass topped coffee table with a lamp underneath. You could also tape your paper design to a window during daylight, then tape your fabric to be outlined over that. Coloring books are a good place to find open designs with clearly defined lines.

Now color your pattern, pressing down firmly on the crayon. The darker the better. (You can also use melted crayons if you are the adventurous sort.) For a great stained glass look, you could scan a motif into your computer, then print it on fabric adhered to freezer paper. Color the design, then trace over the lines with a black pigma pen. You will get rid of the excess wax in the next step.

Protect your ironing board with a couple of sheets of newspaper or paper towels. Put the colored fabric face up and cover it with a paper towel. Press with iron set on wool or medium. As you press, you will see the paper towel start to absorb the excess wax. It may or may not have color.

Change the paper towel and press until there is no longer any wax. If you don’t think it’s dark enough after pressing it, you can go over it again with crayons and then press again. When you are finished, let it cool a bit and peel off the freezer paper. You might want to turn the fabric over repeat the process with the back side of your crayoned design up.

Let your fabric cool before you use it. You can do a wash of clear textile medium or transparent textile paint (like Seta color) over the crayons to make it more permanent, but it probably won’t be necessary unless you plan to wash your quilt often. If you do need to wash, use cold water on the gentle cycle and line dry.

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