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.

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:

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.

God's Beauty

Jean wrote:

I was awakened at 6:30 this morning by the snow plow. I excitedly got up and in the dark went out on the porch and measured 1 1/2" of white, fluffy snow. I was instantly glad I was retired and didn't have to worry about going down the hill to Clark.

So I went upstairs to work on the borders which would complete the first narrow quilt top. The measurements, cutting and sewing went so smoothly, I was oohhing and aahhing as the quilt top came together.



It was getting light out so I raised the sheer shade of my sewing room window and just stared at the beauty outside. I felt so small.

Here I was so excited about the colors and patterns of the quilt top, thinking they were so beautiful, and here was grandeur out my own window.

I don't normally sew large quilts, so these quadriad quilts are large by my standards, but not by Tracy's, as she does queen size quilts without blinking. But looking at the snow on every single branch, I realized how small my efforts were by comparison. Here was beauty on a grand scale with exquisite detail and pattern that I could never match.

Still, I was involved in making something for God's dwelling place, and that is special in itself. Creating that quilt while being surrounded by God's beauty is both a humbling and inspiring experience.

Inspiration and Collaboration

Jean  wrote:

The center quilt awaits Steve. His fans, or rather his kaleidoscopes are anxious to meet him.

It suddenly occurred to me, that beside Nadelstern's workshop, I was looking at the inspiration for the quilt everyday. It was my living room rug!


And while I work on the center quilt (waiting for Tracy to finish dressing Steve and finding a suitable background) and the rose window, the 2nd narrow quilt pieces comfortably wait their turn.


I was talking with my Woodland friends Saturday eve over dinner at Playa Azul in Kalama, and telling them what a joy it is to work in this collaboration with a person who truly collaborates. It's easy for two people to try to control all aspects of a project instead of just doing their part. What a pleasant experience!

Though it has been referred to in a number of posts, here's a picture of the Stargazer Fabric - before it was turned into Swiss cheese!

Progress

Jean wrote:

I have the A strips finished and one G strip (outside edges of large quilt). I'm cutting "white" and it's going to be very close as to whether or not I have enough. I may not, although I have a teeny bit of blue left.

Which quilt do you want first to quilt? The rose window, the large quilt, or pieces thereof, or one of the narrow quilts? I've stopped working on the rose window for now, as it was so meticulous, and I needed to do something easier for a while.

Comment

Edited to change timestamp to move this comment up from the bottom of the postings. This will hopefully make it easier to find the most recent postings by allowing the reader to scroll to the bottom of the screen.

Jean wrote:

I'm honored to work with an artist - one who can paint and create quilt designs. I've had 7 years of art and can't really paint.   I can design and I can piece really well. But I'm not a good quilter or artist. That's why it's such a treat to work with Tracy.

Hmm. Sounds like a good formula for finding a husband.  Wish I knew that 30 years ago.

Art is Not a Competitive Sport

Edited to change timestamp to move post up from the bottom of the screen...

Tracy wrote:

I ran across this article (or rant, however you read it) about people thinking that their art isn't "good enough":

Art is Not a Competitive Sport

I am so fortunate to be working with my good friend, Jean.  She doesn't make me feel like I have to 'measure up' to her art, she's always willing to offer suggestions when I ask for them, and as we're working together-but-separately on this project, we're realizing how well we complement one another.

I am very fortunate, indeed.

And So It Begins

Welcome