98326

DateMon, 09 Nov 1998 121311 -0700

FromSharon Harleman Tandy <harleman@micron.net>

ToJeanne.Fetzer@integrityonline3.com

Jeanne, Jocelyn, and all QHLers,

Jocelyn is SO right, simply letting them know you _are_ a professional

will show them that you expect to be paid. Then all the other things to

say are ways of backing that up.

Other ways to find acceptance as a professional1. Look for your

state's Humanities Council, get their application for a Speaker's

Bureau. In Idaho, not-for-profit organizations that cannot afford

speakers can get mini-grants. They get the speakers, speakers get paid,

you get the professional listing. 2. Advertise--yellow pages, online

locally, leave fliers at museums, etc. Find the audience you want to

reach, find where to reach them.

Other QHLers, can you add to this list for Jeanne, me and the rest of

us? We are in a field where it's hard to get our names out there except

among ourselves. My grad. committee chairman asked me the other day,

"Who is your audience? If you write, who will be buying?" I had to say

that we are bookaholics, for the most part, and we buy from each other!

Been thinking about that and we have to find ways to stretch beyond our

own people. Sharon.

------------------------------

DateMon, 9 Nov 1998 135822 -0800 (PST)

FromMarilyn Maddalena <marilyn@crl.com>

ToQHL@cuenet.com

------------------------------

DateMon, 09 Nov 1998 203203 -0500 (EST)

FromJOCELYNM@delphi.com

On 8-NOV-1998 163935.3 Baglady111 said to JOCELYNM

> A new member of THE FEEDSACK CLUB posed a question that interested

>numerous people at dinner last night...what patterns would you use

>with the least amount of waste?? Naturally, no one wants to waste

>fabric..and especially feedsacks because they are vintage and there

>are no more being made...what pattern (s) would YOU use? Jane of THE

>FEEDSACK CLUB

Jane,

Presuming the feedsacks are rectangular, I'd think that any pattern

that's made up of squares or half-square triangles would be the most

efficient.

At first, I was thinking that smaller squares would be better, as you'd

be less likely to have some left over at the end of the strip. (that is, if

your bag were 28" long, you'd have 4" left if you cut 8" squares, 2" if you

cut 6", 3" for 5", but nothing left over for 4" squares). Then, I realized

that the smaller the square, the greater the proportion of fabric that's in

the seam allowances! So I'm not sure which way of 'wasting' fabric is

better. <G>

Jocelyn

--------------------------------

DateTue, 10 Nov 1998 222233 -0600

FromMary Waller <mswaller@iw.net>

ToQHL@cuenet.com

SubjectQHLSewing & Craft Museum in Morro Bay, CA

M

This came up on another BB, from Judy, the owner We have just set up a

website for Judy's Sewing & Craft Museum in Morro Bay, CA. The museum

has over 20 antique sewing machines, and has Featherweights on display

and for sale. The Museum also has many other sewing related displays ...

of finished work as well as sewing tools. You can check it out at

http//members.aol.com/JSewCraftM/index.html

Mary Waller, snowed in South Dakota, who has an article in the current

issue of The Professional Quilter, photo of recycled jeans Christmas

stockings in Traditional Quiltworks (same issue Alan's in), a quilting

tip in Sew Many Quilts, a couple of paragraphs in The Electric Quilt's

Floppy Gazette and a nice mention in Nancy Kirk's Quilt Heritage

Foundation News --- won't pay the mortgage or make me famous, but makes

me look more "professional" and pads the C.V.!

------------------------------

DateTue, 10 Nov 1998 213500 -0000

From"ROBERT J CARROLL" <robert.j.carroll@gte.net>

The first charm quilts date back to the 1860's. Most were made during

the late 1870's and 1880's. They were made throughout the following

decades, continuing through the 1930's, becoming popular in recent

years. They are usually made with one template but there are two and

even three template charm quilts. Typically all the fabrics in a charm

quilt will be different, although many quiltmakers would duplicate one

fabric just for fun.20

See Pat Nichols research paper in Uncoverings 1996 where she explains in

detail20

these rare and "charming" quilts. Laurette

-------------------------------

DateTue, 10 Nov 1998 230326 -0700

From"Jeanne.Fetzer" <Jeanne.Fetzer@integrityonline3.com>

To"Mary Waller" <mswaller@iw.net>, <QHL@cuenet.com>

Content-Transfer-Encoding7bit

Dear Friends,

Thanks for all your advice. I combined thoughts and decided that I could

volunteer for a few more items, but had a cordial visit with the faculty

member on the committee and suggested that work in 1999 needed to be on a

business level. I think that she not only understood my position, but

agreed. I have driven 90 miles each way to 3 meetings and will do one more.

In addition, by donating forms developed for the collection and offering

"free" advice, I think that the committe trusts me and knows that I also

respect what they are trying to accomplish. So thank you, once again. I

love reading the list each day.

One more comment like Sharon, I have returned to school - to finish a

bachelor's degree. I am finding the professors in the history department to

be very helpful. I would encourage anyone considering returning to school

to find faculty who will encourage the academic study of quilt history.

They are out there! The more of us doing such things will only add to our

professional status.

Jeanne Fetzer

------------------------------

DateTue, 10 Nov 1998 225647 -0600

FromLaura Hobby Syler <texas_quilt.co@mail.airmail.net>

ToXenia Cord <xecord@netusa1.net>,

"August, Rachel" <papillon@alaskalife.net>

CcQHL@cuenet.com

Hi Rachel,

In addition to Xenia's info, it is my understanding that a charm quilt was

comprised of 999 different fabrics and *1* repeat.

Laura

At 0933 PM 11/10/98 +0400, Xenia Cord wrote

>Hi, Rachel - my understanding is that the traditional charm quilt had

>only one pattern shape, and that all the shapes were cut the same size.

>I suppose that might be so the collector could carry her template with

>her, cutting fabrics from among her friends' stashes as she visited. I

>believe the strongest interest was in the last quarter of the 19th

>century.

>

>I suppose if you had a design with more than one pattern shape, but

>still limited in the number of shapes, you could call it "charm-like" -

>would that work? The charms I have sold have mostly been hexagons,

>lozenges, or squares.

>

>Xenia, in Indiana

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