What’s it worth? Part 2 – A Bigger Picture

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Last November I dashed off a blog post about calculating the value of a handmade quilt. At the time, it got modest attention, but in January the post saw a flurry of views, most of them coming from Pinterest, and a week later, Ravelry (it seems that this question applies to more than just quilting in the world of the handcrafted item). And then a week or so ago, it exploded across Facebook, resulting in a landslide of comments coming to my inbox.

Thank you! I loved reading what you had to say.

This is something I’ve thought about deeply over the years I’ve been making quilts, and by the responses from so many people, I’m far from the only one. Many of you wrote to tell stories of the times you were offered a pittance for the beauties you’ve made.

We have some obvious passion here, so let’s have a dialog about this. I’m really interested in your thoughts, and I want to use this social group-think to advance my perceptions, and so that I can be part of what turns the tide to a higher regard for what we do.

So first of all – a couple of ground rules. By DIALOG, I mean a well-reasoned conversation of give and take, where we address the concepts rather than nit-pick people’s grammatical prowess (or how homely their dog is). I am, after all, inviting you into my house for a chat, and in my house we play nice in disagreement. I find myself wanting to say up front that OF COURSE I don’t speak for everyone (how on earth could I?) and OF COURSE my generalizations don’t apply to everyone (how on earth could they?) And for the record, OF COURSE I’m a feminist – as in a person who will fight for the rights of women (aren’t you?) and OF COURSE I’m not uptight about profanity! And that said, if you hate what I write, please just quit reading and unsubscribe – no fanfare needed. Please don’t be the person who keeps watching porn so they can keep protesting how terrible it is!

So let’s begin!

I recently read a wonderful quote about complaining… don’t complain – either fix it or let it go. I’m not willing to let go of the idea that we can elevate the perception of the value of a quilt (and for the sake of ease I’m going to use “quilt” instead of “handcrafted item” but feel free to substitute what works for you – my intent is inclusive). So how do we fix this?

I think we have several perceptions to work on – external and internal – and by that I mean what others think of what we do, and what we think about it ourselves. 

So in the world of external perceptions, it seems that people think what we make does not have the value of a living wage. And when we try to claim that wage, there is outrage and disbelief, and even smack-down – like we have no right to even ask for payment. How did we get to place where we will pay a plumber $40 an hour, and deny a quilt-maker $5 an hour?

I think part of it is good old fashioned patriarchy: the guys got to set the rules about men’s work having a higher value a while back and the mostly female craft world is still playing by them. Some of us willingly, the rest of us because that’s often still the playing field available. Men in general don’t seem to have an issue with monetizing things – for example: a friend told me about the time she got into jewelry making. She made some beautiful earrings, and showed them to her husband, saying wouldn’t this be a cool gift for so-and-so? Her husband immediately asked where she was going to sell them. Women in general have not been cultured to think this way, and many of us still need to drop-kick the idea that earning good money is a sordid affair.

Another part is the availability of cheaply made goods – stuff that comes from overseas, made for barely subsistence wages in developing countries. We’ve become used to a $6 T-shirt, and a $100 bed-in-a-bag (sheets, pillowcases and comforter, all Martha-matchy-matchy). The general public is so removed from a truly handmade item that they have no frame of reference. A quilt is a quilt is a quilt, right? While we were getting used to the low prices, we got used to the lack of quality – the T-shirt lasts only a season, the bedding maybe two or three before the colors are out of fashion and the fraying begins. And thus spins the wheel of planned obsolescence and consumerism (and this is such a huge topic that I’ll just poke it and move on rather than disappearing down that particular rabbit-hole today!)

These factors also weigh on our internal perceptions. In a culture that has bred a disregard for the work made by women, we’ve adapted to the discomfort of this particular pot of boiling water like the proverbial frog.  And in a lot of cases, we’re not being held down by the old rulebook as much as we’re pushing our own heads under the bubbles. How many times have you seen a woman give away something too cheaply? How many times have you been told by a woman that what you made isn’t worth what should be charged? How many times have you thought “She’s asking WHAT for that?” and walked on to the next booth?

I’m treading carefully here because, like many of you, I’ve given my time and fabric to some wonderfully worthy causes. I believe in the karmic value of these gifts, and I can’t imagine how the world would look without the thousands of quilts (pillowcases/knitted hats/etc) made by the big hearts and nimble hands of We Who Make Stuff. These are specifically not the quilts I’m talking about, though I do wonder if the fact that we give these so freely doesn’t hurt our cause.

I am talking about the fact that many women don’t value the work of other women. We secretly roll our eyes at prices we feel are uppity, rather than honestly calculate what it took to make it. We don’t support other makers by paying a fair price for what they make – instead we think, hell, I can make that at home, forgetting that it’s not just the materials in the price tag but the creativity and hours of construction too. Of course you can make it cheaper – you’re not charging yourself for the time. We guilt trip our friends who skip the charity sewing day into feeling like they grew horns and a tail for choosing to sew on something of their own instead. We photocopy patterns to distribute amongst our group, rather than honor the effort it took to get it into our hands by buying a second copy. We cave when someone barters us down, not because the barter is fair, but because we’ve been told that looking like we have a spine is unattractive. We hush our friends into caving too. As guild program chairs, we grumble that the speaker who would like to stay in a hotel (rather than a member’s home) is a bit big for her pantyhose. Just last week I got asked to lower my teaching price for a guild I’m told can well afford me (and I know from research that my price is hardly out of line).

On my original post, quilt appraiser Bill Volckening commented “Quiltmakers are intelligent enough to know how to produce cost-effective quilts for the realm of commerce, should they wish to do that, but they don’t seem to wish to do that.”

I concur that we women are incredibly smart and creative in our business endeavors. But I would argue that making the quilts cost effective is the only part of the equation (and before you pillory Bill, it was not the only point he made – go read up before your fingers leap to the keyboard). There’s only so much money to be saved on materials and only so much time to be efficiently squeezed unless we think that creating a different breed of sweatshop is a good thing. The root of it is a bigger game… we have to UP our own perception of worth, and we have to UP our support of others that are doing the same, and BE SUPPORTED in this by ALL, men and women both. That cost-effective price that Bill speaks of needs to go UP, up far enough to support the making of the quilt, and it can’t all be done on the shoulders of efficiency and sale fabric.

So I go back to my original call of action… keep records to accurately calculate your price. State and own your worth. Make sure your under-informed customer gets some the education as part of the transaction. And even if you have to settle for less, do it less often, and never without the lesson. I get that we can’t change this all in a weekend, but I bet we can up the game together.

And I really, really would love to read your thoughts!

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Image credits here and here.

An insane day of traffic! – UPDATED – with comments turned on!

Update at 9pm: I did this original post from an iPad, and forgot to turn on the comments – OOPS! Guestimates are welcome until noon CA time on Tuesday March 26 2013 – and I will choose two winners to make up for goofing this up! ~ Sam

And another update! To clarify… I will count the insane Monday PLUS Tuesday till noon!!

Well, well, well! There’s been an incredible flurry of traffic coming to the site today! It started building over the weekend, and has launched like a rocket today.

It seems that you, my fab followers, have been rabidly sharing the post I wrote back in November, on how I calculate the value of a quilt.

And many of you have left great comments furthering the conversation about the fact that what we make has value beyond the mass produced. The dialog has been wonderful, and I appreciate that it has all been so respectful ( not always the case in the blogosphere!)

The number of views was over 1000 when I got home from early morning yoga, 1500 when I headed out for the day a couple hours later, and it just headed over 3500! It’s nuts, I tell ya! Insane! I’m tickled beyond description!

So let’s have some fun with this, shall we? Leave a post below with your estimate for the total views for today. I’ll look at the numbers tomorrow morning, and whoever guessed closest gets some Sassy Buttons in the mail. So lets play!

 

Comments now closed!

Filling the well – more process

Last week I experimented with a different way of working… instead of just working one thing to the end of a logical step, I tried giving several important things a spot of focus in the same day. When I work one thing at a time it feels like other things may begin to rot from lack of attention. I start to get unfocused on what I’m doing because I’m worrying that the neglected children on my to-do list are getting up to something naughty – and such lack of focus usually makes for some type of mess (an over-looked commitment, sewing through my finger…)

So I attempted to inch the major tasks forward all at the same time, and the result was that I was even more scattered. A great experiment in process, but in the end, not one that fit me well. Remember what I say about process – it’s the one that works for you that counts!

After a couple of days of feeling like a juggling clown, I was ready to take to the couch with an attack of the vapors, and possibly a box of chocolates (I would have gone to See’s, and had them hand-pack my favorite dark morsels – hellooooo Dark Chocolate Butterchew!). But instead, I decided to fill my mind instead of my tummy – and I headed for the Getty Center.

It would be easy to list the downsides* to living in Los Angeles, but being close to several world-class museums is not one of them. As they change their special exhibitions often, you can bet that on any given day there is more new art to look at than you can handle. This particular day was bright and sunny, the perfect day for refilling the well.

Refilling the well. Sharpening the saw. Feeding your head. When you live a life of creative output, there must be a balancing input. Yin and yang, circle of life, field and fallow. If we don’t occasionally feast, we will hit creative famine. Finding inspiration is a necessary part of artistic endeavor, and it is critical to your creative well-being to make this just as important as any other task in the studio.

Image courtesy of the Getty - Vermeer's Woman in Blue Reading a Letter

Image courtesy of the Getty – Vermeer’s Woman in Blue Reading a Letter

My reason for choosing the Getty was the young lady above, visiting our fair city for six very short weeks. She is Vermeer’s Woman in Blue Reading a Letter. I was fortunate to be among sparse crowds as I absorbed the painting’s mysteries, and spent about 20 minutes just looking deeply at the work.

She is lovely. While I’m picky about the realistic painting I like, every Vermeer I’ve had the privilege of getting my nose up to has taken my breath away. It’s not just that the painting technique is sublime, it’s the immediacy of moment that he captures. They feel as un-posed as Cartier-Bresson’s street photography, and they are so very enigmatic. Who is she? What’s in that letter? Is it good news or bad? I love getting lost in the questions a work asks me. (The Getty asked their blog followers to write the opening line of the letter).

And then there are the technical marvels. The tiny flecks of light added to the studs on the chairs to give them dimension. The myriad shades of blue – and not just in her jacket. They are deep, dark, bright, shiny, sunny, airy… how many ways can you use a blue? They are in the chairs, the finial, the walls, the cloth, even reflected into the envelope on the table. There is tension in her hands, and a slight parting of her lips. Is it a gasp of surprise? An exhalation on the cusp of despair? Vermeer allows us the room to craft our own story for her.

After my time with the lady, I re-visited a few favorite pieces, and then ate my lunch in the gardens while getting some sunshine on my skin. Head filled with ideas. Tummy filled with healthier fare than those chocolates. Heart filled with beauty. Art always makes things right in my world.

*And then I hit the traffic filled freeways to get home :-)

PS – Vermeer’s legendary Girl with the Pearl Earring is at the De Young Museum in San Francisco until June 2nd (first time out of Holland in 30 years). I’ll be making my way there soon!

Quarter inch, SCHMuarter inch!

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Ah, the quarter inch seam allowance. The holy grail of quilting. Love or hate it, embrace it or ignore it – it can be friend or foe. For those of you who do most projects with a healthy dose of improv, this puppy might not be high on your list of things to master. But if you make things that need to fit together, getting a grip on it is a good thing. Master it well and you’ll never have to worry about it again.

Any time you add mastery to your craft, you get more room in your creative practice to play rather than fight with your skills or tools. No matter how much improvisational piecing you do, it will never hurt you to have a reliably accurate 1/4” seam in your arsenal.

Like most of us, I got my first intro the the quarter inch seam via a piece of carefully placed masking tape in my first quilting class. Which, once I had removed it to reload the bobbin, never got back to exactly the same place again. Harrumph.

I struggled with this on my old Kenmore until I bought my first Janome machine, which came with an exciting little widget called a Quarter Inch Foot. It has a flange down the side of the foot (see below). I was prepared to never miss the corners of a block ever again, expecting the heavens to open and harps to thrum, but alas… it didn’t make a perfect seam no matter which needle position I used – I was always a thread under or over. Bah.

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So I grumbled about this to my quilt teacher, the fabulous Marilyn George. Marilyn was a wonderful teacher for newbies – utterly unflappable and full of humor – and full of all sorts of solutions as only a seasoned quilter would be. (Marilyn… all of this is *still* your fault!).

So Marilyn tut-tutted, and pulled a funny little foot out of my box of bits. “Behold the Adjustable Blind Hem Foot,” she said. I had ignored this foot because I thought it was for hemming pants, and I knew now that once I started quilting, such mending was supposed to be beneath me.

It’s an odd looking foot… it has a rolly wheel on one side (the adjustable bit) and a pretty healthy bumper that helps hold the edge of the fabric straight. After a few seams of fussing it into EXACTLY the right place and a dab of superglue on the wheel to stop it from moving, I had the perfect quarter inch foot – and I’ve been using it for some 20 years across three different Janomes!

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And that big bumper extends further forward of the needle than the flange of the other foot, so I get my fabric aligned straighter and earlier as it approaches the needle. Having the bumper also means I don’t have to keep an eagle eye on my fabric wandering past the edge of the type of foot that doesn’t have a flange. This makes not only for accuracy, but for some serious speed too (helloooo efficiency!). Yes, I know… we’ve talked about this… it’s not all about how fast you can go. But if you can go faster with more accuracy, you get to make more stuff. And I really like making more stuff.

So here are some hints on how to set this foot up:

1. First find the Adjustable Blind Hem foot for your machine style. They tend to come standard with the higher end Janomes, and aren’t too expensive at all for the lower ones ($18 on Amazon at the moment). I imagine that all brands have one – or might have a foot that will clip to the Janome version. There should be a rolling wheel and a bumper.

2. Move your needle position to the LEFT, and roll the bumper about a 1/4” to the RIGHT of the needle. Now take a look at the set up, and make sure that your feed dogs are somewhat centered between the two. If they aren’t close to center, they could pull the fabric sideways – but we’ll be testing this so get close to centered for now. Use a ruler, and set up the space between the needle and bumper for a hair less than a 1/4” (that hair is taken up in the bend of the fabric at the seam when you press it open, so always start just under).

3. Accurately cut some swatches of fabric that are 1 1/2” wide, and 2 1/2” long. Make at least a dozen as we’ll be playing with some tiny adjustments here, and we don’t need to play with the seam ripper at the same time – ripping them apart can make them distort, so let’s use fresh swatches for this exercise.

4. Sew 2 of these swatches together along the 2 1/2” side. Press closed to set the stitches, and then press open.

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5. Place the ruler over these two pieces, and make sure that the result is a piece that is EXACTLY 2 1/2” wide.

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6. If it isn’t EXACT, adjust the bumper and sew two fresh swatches until you get it. While you are doing this, make sure that the fabric is tracking straight through the feed dogs. If it isn’t, then move the needle position and bumper together and re-test.

Don’t be discouraged if this takes a few goes. It’s worth it. Cut more swatches if you have to.

7. Now that you have it… one final test: sew 4 swatches together. This shows the accuracy better… one thread off on one seam might not show up but across three will be quite visible. Again, adjust and re-test until you are happy.

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8. Put a drop of superglue on the wheel, and make note of the needle position. If you have a label maker, this is a good time to write that needle position on a label and stick it to your machine.

9. Go make a nice cup of tea (or your fave beverage). Sit back and admire your handiwork. You won’t have to re-do this until you buy your next machine!

To finish, or not to finish? Part TWO

Yesterday, I gave you permission to abandon unfinished projects that you are no longer engaged with, and I promised you a look at the UFOs in my studio. So here they are, along with my plans for them:

First up – the Birdie Quilt. My housemate loves birds, and so last year I started this quilt for her when she retired. We kid around about putting birds on things, so this was part joke and part celebration of her impending freedom from the corporate grind. It stalled in the studio because it wasn’t needed for the cover of a pattern, or for a store sample (these get done first due to their urgency), but mostly it stalled because quilting is not my fave part of the process. I also stall here when I can’t figure out how to quilt it, or it’s big enough to need serious wrangling under the needle – I tend to put these aside for a more inspirational or courageous/oodles-of-patience day. As for the Birdies… I got it finished last week, and I’m happy to report she loved it!

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Next up – a Halloween swap. I used to throw legendary pumpkin carving parties, so I have an insane collection of pumpkin carving patterns. My mini group from years back decided to use these patterns as applique inspiration, and so we all swapped “carved” applique on orange backgrounds. I honestly can’t remember when we did this, but my guess is at least 10 years ago, if not 15. I moved forward a little on mine by getting them pumpkin shaped and appliqued onto backgrounds, but now they are stalled.

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I’m lacking inspiration on how to set them all together, and I know that I really want to add a bunch more different styles of Halloween blocks and imagery to the pile – so much more planning and designing are in order. In my head this will be a sort of epic, once-in-a-lifetime type of project, so I don’t mind that it’s still waiting, but I just wish I had a few epic ideas. It also has incredible sentimental value to me, not just because several dear friends are represented in the blocks, but because I appliqued for it. I don’t like applique at all (I consider it to be a four-letter word twice over), and yet I fought through it to participate with my friends.

So I consider this a “finish but not now” project – one with no set deadline. I’ve had one other long term UFO like this – a paper-pieced lone star project that I carried around for 16 years… I only worked on it when I sewed at friends’ homes, and it eventually got done! Your version of this might be a hand-work hexagon affair that will build over the years into a heirloom keeper. As I write this, I’ve decided to take it to my minigroup at our next meeting and ask for some input. I might even start taking it to sewing days.

And so to the third project – a Star-in-a-Star block. I took this workshop in January 2003 (I still had the receipt in the project bag!) so this a ten year UFO!

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I got these 4 blocks done, and have another 3 sets chosen but the problem with this one is that I don’t like my fabric choices. I chose a rather controlled palette of hand-dyed fabrics as the base, and I thought they looked good until I saw my housemate finish hers out of an explosion of colorful batiks:

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I have pulled this project out so many times over the last few years, only to put it back in the drawer because I just don’t love it. I want the quilt above, not mine! I’ve been advised to do a table runner, but I don’t like them or use them. I looked at piecing it into the back of a quilt (my usual M.O. for random bits) but instead I think I will give it away to someone who loves it more than I do, along with the pattern and extra bits.

So if you’d like to own my Star-in-a-Star UFO, please say so in the comments and I’ll pick a random winner on Monday (01.21.13)

Since the beginning of the year, I’ve pieced the tops and back for two more quilts (they await quilting, my usual stall place!) and have pulled fabric for three more. Such is the life cycle of the studio!

To finish, or not to finish? Part ONE

UFO Permission Slip

So how goes your UFO pile? It seems that every quilting and crafting blog I’ve read this month is exhorting us to make this the month, if not year, of finishing the unfinished projects. I was inspired by the first couple of excited blogs, but by the 20th, I just wanted to take to the couch with a cup of tea and some seriously unimportant reading matter. And a plate of cookies because I haven’t yet resolved to lose a ridiculous amount of weight this year either.

I’m all for finishing… as you can imagine, Miss Efficiency here doesn’t like the clutter of UFOs! I tend to be serially monogamous to my projects so I don’t have many UFO’s around. I can look you in the eye and tell you I had 3 UFO’s at the beginning of the year – don’t hate me! And for the record… if it’s a planned project, as in I have the fabric but I didn’t start cutting yet, it is not a UFO by my definition. It can’t be unfinished if I haven’t started it!

I will show you the 3 UFOs tomorrow, but in the meantime, let’s have a chat about what can be done about UFO’s in general.

I think there really are two main categories – UFOs you are still interested in, and UFOs that you no longer love. On the “still interested” side there are many tricks and games to play in order to get yourself to do them, but really, find a way to make a list (that makes sense to you) and just get going on it. Really. Just do it, and reward yourself heartily at each milestone of completion, no matter how small the milestone or the reward.

The other side of the drawer is reserved for the stuff you no longer love. You started it, and for whatever reason, you stalled. Perhaps you hated a fabric choice, and it’s too far gone to fix. Perhaps it was a workshop for a technique that you now know you’ll never, ever, ever do again. Perhaps the boyfriend that you were going to give it to is no longer in the picture (and seeing the fabric doesn’t bring back any good memories). Whatever the reason, it no longer moves you, and is taking up space in your sewing room and on your list of things to feel crappy about.

So let’s get rid of them, shall we? Think about it…. if you were to kick the scrap-bucket tomorrow, and look down upon your friends and family as they attempt to sort through your UFOs, what would you see? Would they see things you love, or things you hate? What if a long lost cousin grabs for that set of mismatched baskets from a block swap in the 80′s and mistakenly thinks this represents you? And fights through putting them together with their awful seam allowances (and doubly awful fabrics), imagining that this honors your memory? Hardly.

Why put yourself through finishing something had no longer inspires you or has value in your life? You really don’t need to struggle through these things, wearing the quilting equivalent of the hair shirt. If you can let it go, you can make mental and physical space for new things.

First, try to give them away. As the saying goes, one person’s trash is another’s treasure. Take them to your guild or offer them to your quilty pals, and someone will probably want to take them home. It doesn’t matter if they stall in a friend’s UFO pile because, let’s be honest, they’re no longer in yours!

Second – look for the places that welcome donations of quilting supplies to make projects for people in need. If your guild doesn’t have an ongoing community service gig, Project Linus is always a good place to start, and there are many chapters with quilt store affiliations that let you do an easy drop off.

Last option – chuck it. Toss it out. Snip it into little pieces for fun (or if it was the ex-boyfriend project, for catharsis). Give it to the kids to glue into collage. Burn it ceremoniously. But get it out of the house.

There. Doesn’t that feel better? Out with the old so there’s room for the new! And if anyone asks, tell them you had my permission!

On giving up “perfect”

‘Tis the season! Yes, the season of tinsel and holiday muzak, of cookie bakes and frenzied shopping excursions. And the quilt store where I work is not immune from the insanity… there have been a lot of folks rushing in with parts of a project in hand, looking for one more fabric, or help on how to get the bumps to lay flat. Two things are afoot as they hurry through the door… the first is the time crunch, and the second is what I call “perfection panic.”

So first let’s talk about time. Of course we are hugging the deadline. Of course. The time we left to do our projects got squeezed by all the time we left for other stuff getting squeezed by life in general. It always takes longer. Just like home improvement projects… double the time estimate and triple the $$ or is it the other way round? But like it matters – time is a squeeze so we need to just breathe and do the next possible step, and then the next, and so on. We’ll get there. And even if it’s late, let’s take a moment to frame some perspective… we are making a handmade treasure here as a GIFT*, and surely the handmade part of that earns us some grace. Late is just that… LATE. That’s it. Nothing more. A late gift is not going to cause a tragedy (and if it does you need to hang out with nicer people). So add a little of your favorite holiday beverage to some perspective and keep on stitching!

And so let’s tackle perfection. First of all, no matter where you are on the scale from newbie to pro, the thing you’re going to make ALWAYS looks better in your head. There is always a disconnect between how rockin’ your imagination thinks it’s going to be, and the skills your hands can actually perform. And the only thing that makes the gap smaller (note that I don’t say disappear because it never will) is patootie-in-the-chair time: the skills that we use to make our treasures improve with practice, practice, practice. So everything you make is a testimony to where you are on the curve of improving your skill.

Yes, I know. You’re not sure you want this testimony of what you think is your lack of skill to head out of the house to grace your mom-in-law’s couch. Or your best friend’s family room. Or your sweet kiddo’s play space. But truly, it belongs there. It is a manifestation of the very best you have to give TODAY, and that is a huge, important thing.

These pieces are milestones, without which we can’t look back to see how far we’ve come, baby. Case in point, a certain purple quilt I made in 1990 for my friend Karen. It was, I think, the 4th quilt I ever made. A modest strip rail fence with six fabrics shading from light gray to a dark blue-violet.

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All but one of the fabrics were from Jinny Beyer’s Color Palette collection (the hot thing at the time), and I was so incredibly proud of myself for picking all six of those fabrics in under three hours. It was quilted over puffy polyester, in the ditch (sort of!) without a walking foot (so full of little pleats) and it had a (probably poly-cotton) sheet on the back. Making it octagonal was a huge stretch, and even though I made actual bias binding for it, I had no idea how to get around corners that weren’t ninety degrees, so they’re a weird sort of tight.

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Was it perfect? Not even close. But it was what I had on the day, and Karen reminded me again yesterday, when I asked her for some pix, that I gave it to her lovingly and enthusiastically, and that it still gets used and means just as much to her as the (so much more accomplished yet still nowhere close to perfect) one I made for her last year.

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Like many of us, I’ve spent far too much of my life caught up in trying to be perfect. It took a mighty health thump in chest to get me to give up that game. We can’t ever be perfect, and so we may as well just be a wonderfully flawed best that we can be. It makes for far more interesting quilts, not to mention a far more relaxed life.

For a while there, while I was in the perfection trap (and plotting to destroy any evidence to contrary), Karen was actually afraid to lend that early quilt to me to show at a talk in case it never came home. But now I know better. It isn’t about how great your seams are (unless you are sending it to competition – but that’s another opinion for another day). It’s about trying to do the best you can, and giving it with affection, respect, enthusiasm, love, and celebration. All of this matter so very much more than a stitch outside of the ditch.

You know dang well that you will plan another quilt for another day, and that it will have a few less of your old errors as your skills get better, and probably one or two new ones as you stretch up to a new technique you haven’t tried. See… there you go… practicing again – bravo!

So there you have it – Sam’s formula for combating “perfection panic.” Aiming to improve without aiming for perfection. Sounds like insanity, right? No, I think it’s actually a playbook for living.

*GIFT: noun

1. something given voluntarily without payment in return, as to show favor toward someone, honor an occasion, or make a gesture of assistance; present.

And MORE process: Scraps

Taking care of a fabric stash is easy, but what do you do with your scraps? How small do you go? And how can they be stored?

I used to keep boxes of them, but eventually just quit doing that because I just don’t seem to use them in the way that I work. They would pile up in tubs and bags, which bothers the side of me that hates messy space. But then I would feel bad about tossing them – surely someone could take this fabric so that I don’t have to put it in a landfill!

This year it all fell into place for me… I finally have a process for scraps that seems to flow well for me. And that’s the most important part about YOUR process…. it has to flow well for YOU.

First up – off come the selvages (man, that word looks weird… being a Brit, I prefer selvedge, but for clarity we’ll go with the American spelling :-). They go into the Adva Bag. Adva is a friend who makes lovely things out of them, like this sweet little birdie:

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Every time I see one of her selvage projects I think, waitaminute! I should be keeping them! I should make these cute things! But then I realize that I won’t actually do it – it really is not my way of working. So off to Adva they go, and besides… sometimes I get something cute back, like my birdie! Check out that ORANGE tail. It truly is mine!

Next, I have a staging area… I put all my scraps into a bin until it overflows (or I need to fiddle with something while I’m procrastinating something else).

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These are chunks that are big enough for me to want to fuss with. When I get around to cutting them, I will cut them into 2.5″ strips of any length, and file them in the strip drawer:

IMG_2924The strips are sorted into Solids, Batiks, and Everything Else. Being as I often design with strips, these make for excellent raw testing material for working out ideas, and as I culled them from scraps, I have few reservations about chopping into them to figure something out.

The bits that are too small for strips go into my Megan Bag. Megan is a friend who does quilted portraits (you can commission one on Etsy) and things like this:

crumbrunner2That then get turned into things like this:

Picking up the pieces

Megan made this by using tiny pieces as her “sew-on” and “sew-off” scraps on her machine. Every time she sews something, she pieces scraps together until she has blocks, and then pieces the blocks, and so on.

I’m in awe…. I tend to be serially monogamous to my projects and just can’t wrap my head around sewing bits for this while making blocks for that. So it’s great that Megan loves this kind of fussy because now my scraps have somewhere to go.

And then there is the stuff that is just too scrappy for Megan. That goes into the Barbara Bucket.

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This is a re-purposed red licorice tub, ready for the shreds, threads, and bits of batting that I trim when squaring up fabric and quilts. Barbara uses them to stuff pillows for a local homeless shelter.

I see all three ladies at least once a month at a minigroup meeting, and happily distribute the bags of things I no longer keep. It makes me so happy to know that, even though my process doesn’t make use of such scraps, they go somewhere useful!

Fabric Crush – Sam I Am!

FINALLY!!!!

I plan to buy yards of that ORANGE-on-ORANGE “I am Sam I am” print. And I must have pajamas out of something with the eggs motif. Oh, how I like these, Sam I am!

Kim at TrueUp spotted this at Houston Market (how on earth did I miss it???). Because her pix are prints and not headers, my guess is that we’ll see it sometime next year. I’ll be waiting!