It ain't over yet...

I was so thrilled to hand over the quilt to my friend J. to be quilted. The "memories" project, formerly known as the "dead-guy" quilt. After lugging his clothes around for five years and finally cutting them into rectangles last winter, after picking a pattern where I could use quilting cotton to control the stretch and sewing my strips and putting 30 squares together at last, I had decided, since I had two more of these things to do, that I would let J do the quilting of it, that I had "done my time."

But alas, it was not to be.

Seems the stretch is bogging down her longarm quilting machine. Even though she's doing free-motion stippling on a Gammill, she says the foot is still stretching the fabric and pushing it along. She's tried every way she can think of.

She thinks I'll have to tie it.

I know there's a solution, a way to have it quilted, but I don't know if I'm prepared to go there, after all the time I've put in (for free) and have yet to put into this project.

It's called hand-quilting. Now mind you, hand-quilting this puppy would be hell on earth - the fabrics are all different thicknesses, but the range is mostly from exta-thick to fluffy.

It would be extremely difficult to needle.

What is this part of me that longs to pass thread through 3 layers, be they as thick as seven? Why is it that I don't feel that a tied quilt is good enough?

I don't know.

I only know it ain't over yet.

First of Three (Borg Designation?)

And here it is, at last, the first of three quilts to be made from the clothing of a gentleman who passed away about five years ago.

This one is for his son, J, who at the time was a student in elementary school when I experimented with teaching quilting. When his father died, he told his mom to contact me about making them quilts from daddy's clothing.

I have a soft heart (and a shortage of common sense), plus I hadn't a clue as to how difficult this project was going to be, so I said yes.

I lugged that clothing with me through two moves before finally cutting it up into rectangles last spring. I knew stretch would be a problem, so I took my time finding a pattern that would help me control the stretch. As you can see, there are four 9-patches in each block. Those are the fabrics cut from clothing. Separating them, is sashing made from proper quilting cotton, and around that are two rows of sashing. The inner row varies in width because the 9-patches vary in size, but the outer row of sashing is a consistent size, which made sewing the rows together much easier than it could have been!

Naming these quilts is going to be a challenge in itself. Had there been only one, I could have called it "Memories of Dad" or something like that. But I've got three of these things to name. And believe me, it's been called every name under the sun already! And no, I'm not going to give them Borg designations, tempting as that might be for such an avid Trekkie!

I'll think of something.

Curtains

So the new curtains are up. Two of the three panels have to be hemmed, and we have to do a trip to Ikea to pick up one (1) curtain hook and about eight little roller-thingies that go in the special track.

But I didn't run out of fabric, I didn't sew any panels upside-down, the pattern is straight horizontally and the patterns line up vertically.

Whew!

I wish I had just a bit more fabric to make a deeper hem, but hey - at least they'll all be the same length!

I was trying to figure out where I learned about curtain tape - the one that makes the three gathers every so many inches. I can't remember actually doing them before, but I did know how the tape works. I'm thinking that perhaps I watched my Grandma or my Stepmom make them, because I there are no curtains like this in my memory banks.

This project took all my skill to match the patterns. If I hadn't learned to quilt I wouldn't have been able to line this stuff all up. It was a little scary only having three inches of fabric left over, but measuring and re-measuring helped keep panic at bay. It's a lot easier to make sure a pattern is straight over little five-inch squares than over 207 inches!

Now on to Christmas, and back to quilting in the new year. May yours be happy!

Just call me Betsy

While we've been on strike (day job) a couple of interesting quilt opportunities have come my way.

The first was our guild's quilt show, which was well-attended and fun. This is the first year I wasn't racing in with my quilts at the last second, and I must say, it was a welcome change. I still had to take way too much time off from strike duty to finish in time, but at least I WAS in time for once!

Boyfriend and I have agreed that I should do more quilting between shows and less just before shows. Sound medical advice!

This year I stayed at the show both days. Till the last dog was hung, so to speak. I visited with members of the guild and visitors to the show. I ate way too many of the treats set out with the coffee and tea. I took the time to really look at the show itself.

Participation is fun. I felt relaxed for a change, not all strung out like when I would only drop by for my shift working this table or that one. So I've made a mental note, it's easier to be there for the entire show, beginning to end, than it is to run back and forth frantically trying to fit in a couple of hours here and there.

The other experience had to do with the strike. I kept musing how on earth I could create a quilt that would benefit the members of the union. I thought, what about a quilt with all 1700 of our names on it? Where would such a thing hang, and how would it benefit anyone? I thought of making a quilt that could be raffled off, proceeds going to the union. Of course, quilts are not made in a day, and nobody wanted the strike to go on that long...

I finally spoke up and asked around at strike HQ, and the captain asked me if I could make a flag. The only flags we owned were for the umbrella organization, PSAC (Public Service Alliance of Canada). There weren't any for our union. And 'bing!' I immediately set to work.

The project used every scrap (no pun intended) of knowledge I possessed, and not only with fabric. In my day job, I'm theoretically a graphic designer. I get to play with lovely high-end software like Illustrator and Photoshop on a daily basis. And to do this project required all my know-how.

The union logo is complex, full of curves, and unfortunately also full of areas that are less than 1/4 inch wide, even at maximum size for a flag that one person could conceivably carry.

This was problematic because I needed some way to align the pieces with each other once I had had cut out the pattern. So I devised an alignment grid which I superimposed on the logo, then subsequently painstakingly cut apart each of the grid's lines and grouped them with the pattern piece.

Here you see the pattern with the grid.

Then I moved all the pattern pieces around so I could print them out without having pieces split over separate sheets of paper. Which looked like this....

See all those teensy little lines? Yes, they very nearly DID drive me absolutely crazy!

(By the way, those of you with particularly sharp eyes will notice that there are pieces missing from the pattern, which I only noticed myself when I was trying to put it all together. Yes, I missed some.)

Once I'd accomplished the technical feat of getting the pattern printed complete with alignment grid, I began the process of adding the seam allowance, spray-basting the pattern to the fabric (polyester - it had to be lightweight and dry quickly), and adding stablilizer, in this case a tear-away paper, before finally cutting out the pieces. Yay!

That's when I realized some of the pieces didn't have 1/4 inch to tuck a seam allowance underneath. Oh. Okay, I guess it's raw-edge appliqué for those bits.

My raw-edge method is to use a 1mm stitch around the outer edges of the piece, and go around 2 or 3 times. Then I satin-stitch down afterwards, and hope for the best.

The raw-edge technique is also how I did the lettering, since none of the serifs had 1/4" for a seam allowance. (Serifs are the little ornamental bits of the letters, little feet that stick out from the edges.) Since we're dealing with a logo, it's sort of like a trademark, you have to make it look exactly like the printed version, no changing the letters to a simpler font without serifs.

Oh, and by the way, I couldn't make an exact match with said font while I was setting it up in Illustrator, so I had to trace the letters. This is pretty tedious, and in order to get smooth curves it took all my skill. The trick is to use as few points as possible along a curve, but that is a topic for a technical blog, not a quilting one!

Okay. I got the pieces cut, then removed pattern and seam allowance of the stabilizer in order to press the seam allowances of the fabric to the back. Then replace the pattern on the piece, because the pattern had all the little lines on it telling me where the piece went in relation to the other pieces.

Then hand-baste everything in place, because for sure I would need to see it all together and make adjustments so that the circles stayed circular, etc. We are talking about flimsy pieces of fabric here - no matter how much stabilizer you use, it's going to bend, curves will flatten out with handling, etc.

I had to reposition about five of the pieces before I was satisfied with the arrangement. Then I satin-stitched around everything.

It was while doing this satin stitching that I had my humorous thought. All through the week that I'd been working on this project I'd been saying things like "Just call me Betsy," after Betsy Ross, the lady who made the first American flag. I was muttering under my breath as I was slowly getting round the edges of the pattern, her famous line, "Shoot if you must this old, grey head, but spare your country's flag!" when my humorous thought hit me.

It was probably a lot more like this:

"Well, you're gonna have to shoot me, punk! Because the only way you're getting your filthy mitts on my flag is OVER MY DEAD BODY!"

I convulsed around my sewing room laughing out loud to myself for a while, then had to phone my friend L, who is an American and a quilter, and who would understand exactly how that was much more likely to have been the sentiment expressed by the old, grey head! Forget the noble-sounding line! Anyone who has put so much into a quilt would probably stand in the way of a musket ball to prevent damage to it!

We're a passionate lot!

Oh, and here's a pic from the picket line.

Getting Registered

Yesterday I took the quilt I made for my daughter to the Quebec Quilt Registry. My Daughter gave me a funny look and asked "why do you do that?" I was dumbfounded.

Years ago, no one even knew that a woman had lived unless she made and signed a quilt. In an age when women were not taught mathematics, they were creating these incredibly complex geometric patterns out of used clothing and scraps of fabric gleaned from various sources. Creating art.

I answered my Daughter that it was like getting a piece of art catalogued.

I know that I would love to be able to find out who made the one quilt I have left to me from my grandparents' house in the country. The house burned down years ago, and I just happened to have brought this lovely quilt home with me. Nobody in my family knows who made it, and it's not signed. I like it because it reminds me of the country house where I spent my summers when I was growing up. But if there had been a quilt registry, I might be able to find out who had made the quilt, and what the inspiration was.

I was informed that the Registry's information is kept in a database at Concordia University, and that there are actually students using some of the information for their theses!

The registration was an incredibly detailed experience. They measured how many stitches to the inch my hand-stitching was! Apparently I sew a respectable eight stitches to the inch! I didn't know that. They listed all the details I had forgotten about. Quarter-inch border stitching, row stitching... They measured the size of the blocks, listed each color.

I told the story of the quilt to at least three different groups of ladies. When my Daughter was born, I received a congratulatory card with a picture of this lovely giraffe nibbling at the leaves on a tree. I made a crayon enlargement of the card, framed it, and it hung on her wall as decoration for years. When she asked me to make her a quilt, I immediately thought of the giraffe. So I found a pattern called "Tree of Life" for the tree and machine appliquéd the giraffe on top. I hand-quilted the Tree - it, with the giraffe, became the central medallion of the quilt.

I had asked Daughter what colors she wanted, and she said pink and purple. So around the central medallion it is a dark pink, and row by row the colors get lighter till it's white, then purple begins to appear in light tones, and it finally ends in dark purple at the borders.

I call the quilt "Transitions" because of the color transitions in the quilt, and because both Daughter and I were going through major life changes while I was making the quilt.

But there is now a new meaning for the name Transitions for me. While the quilt was being photographed, one of the most famous of the ladies came and had a good long look at it. Adair Schattler is one of Canada's "Who's Who!" of quilters. She's won so many awards, I wouldn't know where to begin.

She pronounced my quilt "lovely."

I was on cloud nine! This would be the equivalent of Steven Spielberg telling you you're a good actor, or Margaret Atwood telling you you're a good writer! Adair Schattler told me my quilt was lovely, and therein lies my new interpretation of "Transitions:" I feel I have arrived as a quilter, transitioned from inept struggler to actual quilter now.

A kind word really does go a long way!