Thank God



Tracy wrote:

Yes, there will be more pictures. We figured it out - there's about 90 square feet of quilt there (2x7, 6x7, 2x7 and 4x5'). It also took me about 90 hours of at-the-machine-with-my-foot-on-the-pedal machine quilting. We have all sorts of numbers (how many spools of thread, yards of fabric, etc.) that we'll share. Soon.

And I realize that I didn't finish the machine quilting description, leaving you at Step 2 or something like that. I'll add that, too, if you're really all that interested.

If you want to take the trip with us from the beginning, start ta-clickin' on the Week numbers on the sidebar over there on the left.

Oh, and if there's a design or construction detail that was NOT discussed ad nauseum and you actually WANT to know about it, feel free to ask. I have a little bit more free time now, doncha know.

I am NOT amused

Tracy wrote:

Ooohh, aaahhhh


AARRGH!


For those you who don't know what you're looking at, this is the backside of the bee-yoo-tiful and complicated quilting in the first picture. There was apparently a thread tension problem. Those bright spots are little and not-so-little loops of the front (and expensive) thread pulled through to the back. This is not good. I'll need to remove all of the stitching and re-do it.

Oh, and sorry if the second picture gives you motion sickness. I really WASN'T shaking with rage (or any other emotion)... though it occurs to me that it's been quite a while since breakfast...

March 15 is National Quilting Day

Jean wrote:

The narrow top is done. Including the embroidered corners. I've started the rose center and have tested an embroidered rose for the rose window corners. Also, the extra band is sewn to the big one and a piece of batting pinned in place at the side. You don't need it for the border quilting, so I just pinned.

National Quilting Day, huh? Well, my creativity will extend to the structural quilting on the narrow one. I'll drop it by on my way home from church - certainly not on my way there!

We will get them done - notice how I keep saying that. Between the sewing, putting them up, Easter vigil and then both services on Easter, I'm looking forward to Monday the 24th!!

God Deserves Some Bling

Jean wrote:

I love working with metallic thread - it looks so elegant, so I've been playing with design elements for the narrow quilt corners and the rose window corners.



The silver and gold design (above) is the Trinity symbol. The rose is something I'm just testing - rose, rose window - get it? It's always wise to test a design on scrap fabric. That print is not really going into the quilt.


I just finished my second 500 yard spool of black thread. And started a third.

Hanging Out? Watch Out for Security!

Jean wrote:

Hopefully, the quilts will be installed this Saturday, the 22nd. While the rose window quilt will be attached to a wooden frame with velcro and the frame permanently attached to the wall, this is an unusual installation to say the least. Still, if it's 14-18 feet up the wall, it probably won't be taken down weekly (or even annually) for cleaning.

The standard way for a quilt to get "hung" is to hand sew a 4" wide open sleeve across the top, preferably down an inch or two from the very top. The picture here shows another quilt with a rod through the sleeve. The sleeve is sewn with a pleat at one edge so when mounted, the quilt will hang flat and not curl over the rod.

The size is standard for quilt shows, where the quilts are hung on wide wooden rods. The sleeve also protects the cloth of the quilt itself from stains or abrasion from the hanging rod.

In our installation, the two narrow lower quilts will have a standard sleeve, while the center larger quilt will have two sleeves with an opening between them to allow for the rod to be supported by a center support as well as at both sides. We did buy good, heavy ¾" rods, so they should not bend or bow with time.

Okay, what's this about security? Well, believe it or not, there are quilt thieves. Hard to believe, isn't it? But some quilts are like art pieces - not simply a bunch of fabric and thread, any more than a painting is a piece of paper or canvas and paint. Color, design and workmanship determine the value of quilts, as well as age for antique quilts.

There is an entire quilt appraisal industry out there. An expert appraisal is needed for any insurance value beyond the replacement value of the materials. Time doesn't count with routine insurance such as replacement house insurance or insurance when being shipped. Time only counts when it's part of an appraisal value.
People occasionally maliciously damage quilts. A few years back, a vendor at the International Quilt Festival in Houston, TX - one of the largest and most prestigious in the country - threw bleach at a quilt, which, needless to say, damaged it and the surrounding quilts quite a bit.

Why? He didn't like the naked woman portrayed on the quilt.

So what do quilters do about security? At one end is nothing - a completely anonymous quilt that says nothing about the quilt, the quilter or when or why it was created. At the opposite pole is the insertion of a grain-of-rice size microchip into the quilt, just like the ones inserted under the skin of pets in case they get lost. We haven't done that - yet - as it involves purchase, insertion and registration.

Labels are frequently attached to quilts and can contain a variety of information - the quilters' names, date of completion and perhaps the occasion. Labels should be sewn to the quilt and then quilted through to prevent unscrupulous people removing the label!

We chose two types of labels:
Embroidered Label
The stitched labels will be part of the quilt backings except for the larger rectangular quilt, which has a very artistic label done by Tracy on the front.

Ever wonder what St. Stephen is pointing to in the wood carving? Tracy has solved that mystery!


So our labels are integral parts of the quilts themselves, hard to remove but not as informative as the microchips. As each microchip costs $38, and I'm not sure if the registration costs anything, that may be a future security measure.

Just thought you'd want to know how we are trying to protect your investment.

The Value (and Cost) of Quilts

Tracy wrote:

You're probably able to get a rough idea of how much time Jean and I have spent on this project. Our treasurer (and those she chooses to tell) knows how much most of the supplies cost.

The thing is, with an art quilt, there's also the art part. That's why Jean talked about professional appraisals. Yes, I know that you could just pop over to Linens ‘N Things or Wal-Mart to pick up a quilt for your guest bedroom, and you'll get (I assume) a pretty quilt that will last at least a year or so and it won't cost a lot of money.

But what if you want a hand-made heirloom? What if you have an idea of the intrinsic and historical value of a NON-mass produced quilt? Do you want art? Do you want the comfort of a 'snuggle-up' that is so lovingly created that you can feel it every time you wrap it around yourself or a loved one? (If that’s what you need, check out Jane Brunk's quilts. They're like hugs you can carry with you where ever you go - you can just FEEL the love.)

Okay,I might have gone off on a tangent there for a minute. Caryl Bryer Fallert, one of the premiere quilt artists of the 20th (and into the 21st) century, has a website that shows some of her quilts that are for sale or that have been sold. Go have a look, I'll wait (while you're there, notice the sizes and prices ::gasp!::).

Click Here to See the Art Quilts

A discussion with the artist about pricing is a serious eye-opener, in which she points out (among many, many other things) something obvious, but frequently forgotten: Skilled labor costs more than unskilled labor.

Wow. There I go again. Was there a point? Maybe not. Maybe it was to give you, dear readers, something to think about. Or maybe just an excuse to go surf the web a bit and see some pretty, pretty pictures.