Tag Archives: Power

Happy Holiday!


In my last post I mentioned I’ve been busy. ūüôā Besides doing a lot of guild work, I’ve also taken four classes so far this year. Two of the classes were for quilting. I took a paper piecing class through a local quilt shop, Cotton Creek Mill. One of the owners, Tara, gave a one-on-one lesson that taught me enough I could paper-piece the triangle border on a red and white quilt. The other class was a workshop offered by my guild by a visiting presenter. I made two blocks using her pattern and am using one of them¬†as part of a fidget quilt for a dementia patient. (Mine is not as pretty as the one in the linked post.)

The other two classes were through the community college continuing education group. One was a linoleum block printing class and one was block printing on textiles. Besides learning some techniques, this was the most fun thing I did in those classes:

Jim and I will be hiking on Saturday and spending Sunday with family. I hope you have a great weekend, too!

Transforming the Past | Transforming the Future

[A post I shared two years ago.]

Four bulbs brighten my studio, giving ample light to work by. Yet as I press, cut, and sew, shadows darken the corners. The shadows hide spectres, whispering my name, nudging my attention their way. I turn, blinking. Sometimes I see nothing; sometimes I catch a glimpse of days gone by.

The spectres buzz quietly, muttering just under my hearing. Like lines of poetry, their words swirl slowly in the air, finally pushing their way into my consciousness. Many of the words are names, but the names all have their own stories, each story a memory.

The spectres and their memories arise as I pull pieces¬†from my stash. Made from new fabrics and old, yardage and scraps, quilts are more than shape and color. A¬†quilt becomes a¬†literal scrapbook, full of memories both happy and sad.¬†Each shadow of the past is firmly stitched in, just as Peter Pan’s shadow was re-attached with a few snug stitches.¬†In this quilt a memory of shop-hopping with friends; in that a fabric used in a grandson’s baby quilt. As I include scraps from older projects¬†in new ones, the memories continue to build.

Most remembrances¬†are happy. The¬†creamy background of¬†two quilts¬†celebrates¬†graduations for Son and his sweetheart. Besides the celebration, I remember finishing Son’s quilt during a very dark time, and sadness permeates the remaining scraps.

Similarly, the finely etched toile of a wedding quilt lives on, despite the death of the groom’s¬†fianc√©¬†prior to their marriage. The beauty of the fabric does not hint of the ugly parts of the story, but the spectres remember and whisper tales¬†as I work.

Creating a quilt transforms shapes and colors, wild ideas and rigid planning. The metamorphosis converts old fabrics and new¬†into a new form, more than the sum of its parts. Those parts include the spectres’ stories. Research has shown that good memories can supplant bad. I need no scientific proof to know it is true. With each new quilt and each new brighter¬†memory created, the darker ones lose their power. That fine toile carries death, rejection, and pain. But when the same toile is matched with joy, with new thoughts and happy circumstances, it throws off its shadows again.

The full complexity of life shows in my quilts. Happiness is woven with sadness, birth with death, weakness with strength. The contrasts give vitality to the whole. If you know how to read my quilts, you can read those stories, too. We step into a new year, not knowing the stories that will be written in it, or written on our quilts. But the beauty will come from remembering the past, in all its dimensions, as well as in creating something positive for the future.



Who Is Your Worst Critic?

Here is another re-run post for you to ponder. I’ll be offline for the next several days. In my absence please feel free to comment on the post, to each other… I’ll look forward to seeing your discussion when I get back.


Who is your worst critic in general?

Who is your worst critic about your quilting or other crafting?

What does that critic say to you about your quilting or crafting skills and talents?

Do you believe that critic from an intellectual standpoint?

Do you believe the critic from an emotional standpoint?

If the critic is right, do you care?

If the critic is wrong, do you care?

If you care (and want to “improve,”), is there something you are willing to do to address the criticisms?

If you don’t care (or don’t want to “improve,”) is there something you are willing to do to address the critic?

Does the criticism affect your desire to try things?

Who is your biggest fan?

How do you know?

What can you do to get more positive feedback from that fan or others, including yourself?

Will you show up, be big, regardless of the feedback?

Will you listen to this talk by¬†Bren√© Brown, about the critics in your creative arena? It’s about 20 minutes. I found her affirming and inspiring.

Be Powerful. CREATE!!

I first published this two years ago, and had linked it on my personal Facebook page. Today Facebook “memories” brought it back to me. I thought it was worth sharing again.¬†


In my class on making Design-As-You-Go medallion quilts, students choose their own center block and borders, one decision at a time. As the quilts develop, the students engage and encourage their classmates in making skillful choices. All the quilters in that class are very experienced and talented. But not all of them design for themselves regularly.

Last night I received an email from one of my spring students. Sarah said, “I feel so liberated after taking your class.

Her ability to create, to design for herself, allows her to become more of herself. Liberated. To be herself. She is more powerful. And I believe we all have that power.


I had a long discussion about art and creativity with my friend Ben recently. I asked Ben, “Why is art-making so rewarding? Why must we make art — write, play, sing, act, paint, quilt, arrange flowers — ? How are we transformed by the creative process?”

Within a much larger answer, Ben said,

I think we are least destructive, even within ourselves, when we are most creatively fulfilled. Isn’t this where we separate ourselves from all other animals? In the ability to create what was not there before? In new and totally unique ways? Doesn’t creative exploration create new and different creative pathways within us? Don’t we thereby become more than we were before?

I think we are most true to our natures when we create, when we engage creatively. …

I think it is rewarding because we are doing what we are meant to do. Growing, learning, trying, failing, succeeding, exploring and expanding our natures.

We are expanding our natures. In my response to him, I agree with his summary and explain my personal experience.

I find creation to be powerful. My tagline on my blog is “Be powerful. CREATE!” I mentioned when we visited in July about my work to regain my personal power after my illness. And I have found that expression through writing and designing, and transforming ideas and colors and shapes into tangible objects is one of the primary ways [for me] to build power.

I keep pushing my personal boundaries of what I can do. That growth makes me more powerful and MORE OF THE PERSON I AM.

A book I read several years ago by Anna Quindlen is called Object Lessons. One of the things that struck me most when I was finishing the book is how the characters, through the period of the novel, all became more themselves. NOT that the book revealed that, but that their true selves were more revealed to other characters and even to themselves through the story. They became themselves.

And funny, I just dipped into the first of the novel on Amazon and I find a passage I hadn’t remembered, don’t remember as being part of the theme of the book, about the 12-year-old girl main character. The passage describes being in school and told by the nun to write an answer to the question “who are you?” The girl wrote “I am still becoming who I am.”

That’s how I feel. … my quilting work has taken off in ways I never would have anticipated. And that also has been creative growth, which has pushed my other personal growth in new ways. Mostly, perhaps, I’ve become more willing to try other things that are different or “hard,” even if not in the realm of creativity.

All I know is that creation helps me become myself. And becoming myself is powerful.

We all have creative power within ourselves, though we express it in different ways. It is a power of transformation. We transform materials, notes on a page, our thoughts, ourselves. We transform others as we reach out to them to teach or encourage. As we exercise that transformational power, it gets stronger. We become more liberated to be our true selves, revealing layers even we did not know were there.

You can become more powerful, too. Be powerful. CREATE!

How Much Are Those Placemats Worth?

On Facebook today, a friend’s page fielded a question about where to find placemats. The person asking wants a set of placemats and a Christmas tree skirt to go with a quilted table runner she bought in 2003. Several people chimed in with help, some of them suggesting she buy fabric and have someone make placemats for her.

The question and the suggestions made me wonder how much a set of four quilted placemats is worth. I broke it down like this:
Four placemats are ordered
Each placemat measures 12″ x 18″
Placemats are made in a 4 x 6 layout of 3″ finish squares

Overhead, administrative, and marketing expenses are negligible
Total overhead cost = $0

Batting and thread are negligible expenses
Fabric is $12/yard
Backing fabric required is 1 yard
Top fabric required (for variety) is at least 6 fat quarters, or 1.5 yards
Binding required (2.5″ wide cut) is .75 yards (due to shrinkage, straightening, etc.)
Total yardage required is 3.25 yards
Total yardage cost is $39
Total cost of materials = $39

Labor cost is $20/hour
Fabric is purchased and washed, but not otherwise prepped by the buyer
Top fabric is pressed and cut into 96 3.5″ squares
Top fabric is arranged into pleasing layouts
Top fabric is stitched into 4 12″ x 18″ finish tops
(Pressing continues throughout stitching process)
Backing fabric is pressed and trimmed into 33″ x Width of Fabric rectangle
Binding fabric is pressed and cut into 2.5″ wide x Width of Fabric strips
Binding fabric is joined to create 280″ long binding strip
Backing fabric is pinned on longarm quilting frame leaders
Batting is cut to size
Batting is loaded on frame, pinned along top edge
Two placemats tops are pinned on to complete sandwich
Thread is wound
Machine is threaded
Machine is tested
Two placemats are basted in place
Two placemats are quilted partway
Two placemats are advanced on the frame (rolled forward)
Two placemats are finished with basting and quilting
Next two placemats are positioned and basted in place
Next two placemats are quilted partway
Placemats are advanced on the frame
Placemats are finished with basting and quilting
Project is removed from the frame
Project is trimmed into 4 separate placemats
Binding is applied to back of each placemat
Binding is machine-finished for each placemat
Total time for 4 placemats is 5 hours
Total labor cost = $100

Total materials and labor = $139
Total cost per placemat = $34.75

Wow. Would you pay $34.75 for simple pieced-squares placemats? I sure wouldn’t. You could argue the time involved or the appropriate labor charge.¬†Let’s take the labor charge to zero. Will you pay $10 each for your placemats? That’s still a lot. But arguably it’s too low. I didn’t include any of the overhead costs, by assumption; I didn’t include the costs of batting or thread; I didn’t include any profit.

A set of handmade quilted placemats is not trivial in value. The notion of “buy a few yards of fabric and find a seamstress … ” as one person suggested, minimizes the value of a maker’s time. I make placemats occasionally, for myself and my children. It is a good gift. But it’s another example of a quilted item with much more value than most people are willing to pay.

If you’d like to read my posts on quilting as a business, you can find them here:

Quilting for Pay — The Longarm
Conversations with Artists
Price vs. Value of a Quilt, Part 1
Price vs. Value of a Quilt, Part 2
You Should Write Patterns
“It Feels Weird Asking for Pay”
Pay for Quilters (And other Crafters and Artists)
You Should Sell Those: A Play in Three Short Scenes, With Commentary

Cotton — Where Does Your Fabric Come From?
Cotton — What Happens After Harvest?
Cotton — Weaving Fabric
Cotton — Batik Production
Cotton — Printing Designs