Another Choice Issue

The latest issue is on the streets! We are particularly proud of Ireland and our quilters in this issue. There’s a huge amount of quilting being seen in the mainstream. We’re so excited as we report about it all.

Bigger still, and more vast than most subject matters, science is partnering with quilting!! We are so excited to work with our Fair City, chosen from so many European cities, and named City of Science for 2012. In celebration of Dublin City of Science 2012, we want to see science in your quilt. Check out our Science in My Quilt competition. It is early days, sponsors are eagerly signing up and offering prizes (more than €3000 in value), so get creative, grab your lab coat, pick your instrument and come out with a really inventive and creative quilt!

That’s just one article out of so many in this issue.

Last issue, our tutorials were a big hit. Who doesn’t want to learn more?

In this issue, we provide a tutorial for some elegant polishing to a quilt. Our feature quilt required this particular feature so it was easy enough to have the makers of the quilt prepare the tutorial. Once the proof reader went through the paces, we had volumes of tips, tricks and guidelines for our scallop border tutorial. Mass is good, but the need for appropriate presentation and structure reminded me of an online tutorial I once read on a blog:

32 Steps To Do Scallop Borders.
Janey Mac! But it only took me 20 steps to make the quilt top!

1. Experiment Always a good start!

2. See Step 20. Do I bother with Steps 3-19?

3. Consider not doing scallops and do an ordinary edging. Grand! Let’s not do it afterall!
4. …

Options. It is all about the options, right?

Behind Behind the Scenes

Hello!
Is there anybody out there? Just nod…ah forget it…
The Boss (Sherry) is away, so I’m here at the computer in the office with Kevin beavering away in the Other Office. I DO hear a keyboard being used, so…
Oh yeah, I’m Dermot and what I know about quilting is about equal with my left boot’s
understanding of Quantum Mechanics. To me, Jacob’s ladder is a very scary movie. Good to meet you! There. I confessed and I feel much the better for doing so. I’m a quilting ignoramus!
Why work at a quilting magazine, then? Well, let me stop you right there. I don’t work at A quilting magazine; I work at THE quilting magazine in these here parts. A small but important point, no? As for writing, filing, processing adverts and subscriptions, proof reading and making a damn fine mug of coffee (if I do say so myself), I LOVE it!
Lately, however, odd things have been happening. Our beloved Lauren has transferred to Dublin, Sherry is more out of office than in and even my wife and son are visiting a sick relative…..I’m keeping a very close eye on Kevin. Abandonment is a terrible thing!

Never mind, minor mental issues aside, the weather here is pretty spectacular for this time of year. Usually by this time, small animals have been kicking at my back door and making with the whinging and wailing but this year? Let’s just say that it’s never good for one’s self esteem to have a hedgehog, four Thrushes and a Robin turn their noses up at the usual scraps and nuts left outside for them. And one would get funny looks if one should chastise said ingrates with a stout stick.
Better leave it at that. Wonder what Sherry will think of me invading her blog like this?
Hmmm!
So, any of you looking for a half-decent, house trained office worker?
Hello……?


Dermot

What I Heard at the Houston and Dublin Show

We've finally returned from two shows back to back. The week before last we exhibited at the International Quilt Festival in Houston and this last week we exhibited at the Knitting and Stitching in Dublin.

What an interesting stretch of days. What a tiring stream of days.
I am very fortunate that we could take part and I'm delighted that we successfully exhibited at both. This week we finalise the latest issue, so it is such a productive month!

My thoughts in this post were to summarise the two shows individually, and of course in comparison.

The Houston show was immense. Naturally it is dedicated to quilting, so everyone shares one love. Apparently the attendance numbers were down, the isles quieter than past years. As a first-time exhibitor, this was not as obvious to myself. Four years I have been traveling to Houston (three as nonexhibitor) and not once have I made it to see the quilts on show. One year, I will find some stolen time and I will check out the quilts on display. If you have been to either Houston Market or Festival, you will understand the overwhelming amount to see and do in a short span of time.

The Knitting and Stitching show in Dublin continues to grow each year. This year it arrived later in November and I wondered if the miss of school break would make a difference in the crowds. School's in session, and yet, the isles were still crowded. In fact, it would appear some schools made the tour so children did not miss out. As a 'knitting and stitching' event, there was a great mixture of craft enthusiasts. Unlike at the Houston event, I did have help in Dublin and I was able to chat with customers and vendors alike. I also saw the incredible display of quilts--many marking the 30th anniversary of the Irish Patchwork Society.

With a great showing of vendors (Oakshott, Van Gogh, multiple Irish quilt shops). The first thing I learned from the vendors was that the mixed crowd (knitting and stitching) was increased work for them. Even at our booth, we realised the impact of non quilters with the many queries for the nonexistent pricing our quilts on display. Several non-stitching visitors were confused as to what product was being sold, whereas quilters were well educated on a quilt booth's wares.

Interested readers were ample at both shows, making our attendance well worth the effort.
As both shows happened one after another, I amused my travel times both in car and plane comparing the two events. Perhaps unfairly.
The Houston show caters to a full blown industry of quilters. The Dublin show is for craft enthusiasts. Both shows had education and workshops and so the biggest difference was in the vending. And, of course economics played a role as well, but in general, I could see finances being a distinct concern for the people of both continents.

There were no beginner quilters in Houston--no one outting themselves to me, anyway. Whereas in Dublin, from the nonquilting crowd, the beginners were out and proud; so many folks wanting to learn patchwork, wanting to find quilting teachers.

The quilters in Houston were finding a new affection for embellishing and creating art quilts like those that European quilters do so regularily.

Finally, other marked differences are simply summed up in two words: customer behavior. For fear of getting into trouble, but for want to share my amusement, I leave it with you to guess which clientele carries which attribute:

In one show among the upbeat and happy, there were some weirdos. The ones that know no personal space, those that ramble on about nothing, those that leave you wondering, "what was that all about?"

In the other show among the upbeat and happy, there were some contrary. The ones with a sour puss, the ones that gripe as if you are forcing them to buy, the ones that leave you wondering, "what was that all about?"

In truth, it doesn't matter which is which, I've come to learn that the same resolution is true for both of them. I listen. Because he/she is my customer. I listen. If I can do something to help them, I will. I listen, because they want to be heard.

Isn't that we all want?

Obedient Yet Perplexed

One of the most important aspects of being an editor is protecting copyright. Funny enough, often this copyright rarely is for me nor Irish Quilting's material.


We promote quilting and we share information. Irish Quilting is a window into the Irish quilt lifestyle, as well as it is a window into the quilting world for those in Ireland.


My expertise is in writing and managing content and a team--not in patchwork nor techniques--this is one of the bigger misconceptions of my job. It is however, correct to say, that my primary focus is to surround myself with expert patchworkers and quilters. And, it is their copyright material that is my top concern.

Can I print it? Is it ok with them? Does the content convey accuracy and relevance?

Whenever quilts are submitted, I find myself repeating..."we CAN ask". Irish quilters, new to the quilt business, frequently say, "it isn't original, it can't be used". As a business focused on promotion of quilting, I urge exploration and compliance. From Eleanor Burns in America to Annie Downs of Australia, we have been permitted to print copyright material other than our own. I like to believe these professionals believe in the same promotion of quilting. However, as proprietors of unique property, it is only correct they be given credit and compensation as they wish. And yet with such righteous entitlement, there has yet to be an owner of copyright material say no.


However, we have had a professional deny permission after the fact. Oye vey. Permission was given in writing--as it should, which makes the encounter sour more. Making matters worse, this copyright is for 'technique'--a gray area in itself.


Before print--we know this particular professional and her views--we sought written permission, despite that many would argue whether technique is even covered under copyright. The professional has since surfaced exclaiming permission extended only to a photo of the quilt. A photo? A photo of a quilt made by a technique that is purportedly covered under her copyright? Now, why would I do that? Only print a photo of quilt that was made with one person's design and another's technique? The quilt design is not hers and lordy, I haven't the heart yet to tell the original designer about the professional's absent mindedness...did I mention, initially, the professional originally denied ever writing to me. I had to send a copy of her own correspondence back to her! Oye vey.

Meanwhile on other places on earth, there are oodles of creators replicating works. The TV is bursting with these 'Ink' reality shows--every episode the artist is inking some Disney or Harley Davidson tat. And just the other day I watched a restoration show where the artist refurbished a Hershey's candy dispensor, logo and all. The artists are accepting payment for these works and, you know, the Discovery channel is writing them a check.

I wonder, who is minding those copyrights?


At the very least, they should mention copyright and how it's handled--it would make those of us, obedient and tortured in compliance, feel better.

Just Imagine

A beautiful Irish quilt on the horizon.

That's the cover of our next issue and it's coming soon!

(don't you just love that chair?)

Designs of Another Time

Has anyone else have preconceived notions about antique Irish quilts?

Much as quilting's history in Ireland has been distinctly without a business angle (as in America's patchwork growth and background), my intrepretation was narrowly constructed of quilts that were created out of need and necessity. Some years ago I viewed quilts made of wools and heavy textiles--100 years old stitching recorded the worn remnants of soldiers' uniforms.

Completely sterotyping a persona without more consideration or creativity, I pictured patchworkers of the Irish 1700s and 1800s with little or no design zest, piecing together remnants for warmth and practicality. Fabulous Ulster quilts with red applique dabbled in creativity but without presence, my mind files the olden Irish quilts as ultimately, a utiltarian need.

Last Monday, a viewing of quilts greatly broadened my notion of long ago Irish quilts and their creators. With special permission and guidance, four 1700-1800's quilts of Dublin's Collin Barrack's Museum lie before us. (Unfortunately there was no photography allowed.)

Two quilts were of hexagon piecing. Among six smaller hexagons circling one, great care and design was obvious as it was a multitude of design within designs. This hexagon piecing was clearly a product of fussy cutting, a kalidescope design. In a conceited effort to validate my earlier intrepretations, I do think the size of hexagons, ie., 2" shapes, were inherently scrap fabric in a time when quilting fabric was indeed remnants. However, the creators of these intricate designs and thoughtful coordination of prints and patterns certainly elevated their 'scraps' into contention with any of today's designers' work.

I had the pleasure of viewing these antique quilts with Cathy from City Quilter and we both were really impressed as several prints within the fabrics stood out with familarity. It was amazing to see how perfectly matched are today's designers' reproduction fabrics. Several prints, I felt, were dead ringers for Jo Morton's designs--or at very most, a great-great-great aunt of Jo's!

The shaped edges of the quilts were tidy hexagons kept together with aged, yet still invisible, whipped stitches. In continuing awe we also saw several 'bed covers' covered in colourful embroidery.
Imagine how this impeccible stitching was done in a time without electric lighting!
Honestly seeing these quilts really changed how I visualised quilters in 1700 Ireland. Really, once upon a time they were doing a necessary task--now I can very nearly hear design details shared among these creative ancestors.
Just imagine a time with no rotary cutters, no fusible web, no lamps. These quilters were amazing, nothing short of magicians!

Fulfilling Quilters' Quest in Ireland

Our industry is small in Ireland, so when I see the quilting forces working together, it is a great thing!

Check out Karen's blog--Karen is a regular contributor for Irish Quilting and for several other publications. Her designs are always colourful, clean and new for inspiring experienced quilters and beginners. Today she blogs about Quilters Quest, an Irish quilt shop in Belfast Northern Ireland.
She's even doing a great giveaway. Be sure to visit her blog and visit Quilter Quest online.