dawnpdx

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About dawnpdx

  • Rank
    Newbie

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  • Website URL
    http://www.artistryinquilts.com

Profile Information

  • Gender
    Female
  • Location
    Portland, Oregon
  • Interests
    Gardening, Photography, Yoga and all things made by hand.
  1. It is two artist (craftswomen) coming together to make a quilt. I'm not just hired for a service, I'm hired for my artistic abilities (especially with custom work) and believe Makers should sign their work. I stitch a motif or initials on the quilt as well as the piecers initials (with permission), and have learned to be upfront with why I do this. Most of my clients are proud that we collaborated on their project. The one client who just yesterday complained wants me to be invisible. We are sorting out what to do. It might be if I use a pantograph or design board I won't sign. If it is my original designs I will sign. I'm still deciding on what to do. It is sad (and a product of how society views women's work?) that she doesn't see me as a craftswoman or artist but only as a service for hire. I disagree. I think we women need to claim our craftsmanship and art especially when hired to collaborate on a project.
  2. I would attach a label or stitch a consistent motif (logo) or my initials in a corner. Currently I stitch my initials in a corner, as well as stitch the piecers initials in another corner. I'm thinking of also adding in the date next to the piecers initials. I do this especially when using my own quilting designs in free-motion. What I have learned to do is to be upfront with my clients that I do this and why. We are craftswomen/men not just a service for hire. Not only does signing validate two quilters coming together to make a quilt, but historically quilts signed are more valuable and tell a story better then those not signed. My neighbor is a woodworker and attaches his name to each piece a customer commissions him to make. He is proud of his work, and yes the piece was paid for by someone else, but the mark of a artist & craftswoman tells the story of who made it. I know it is tricky because it is two people coming together to make a quilt and at the end of the day, the one who pieces the quilt, own the quilt. Yet.... the other maker needs to be acknowledged as well. I guess this brings up another question......how do we as quilters and also quilters for hire value our work? How does society value what we do? For too long women have undervalued their handwork. It was (is?) seen by many as only domestic goods and not as the art it is. It is time for us to not be so invisible. Something to think about. Good luck.
  3. Linda, What did you say to Becky regarding attaching a label to a customers quilt? Other guidelines (rules) I would add... Sign your free-motion work and make sure your clients are aware you do sign. Especially if you just spent the last 5 days doing heirloom free-motion quilting on a customers quilt. Artist sign their work and we are collaborating on a piece. We are not only providing a service, we are craftwomen/craftmen. Don't under price your craftsmanship. When we low-ball our pricing, we hurt everyone in this artistic field. Yes... have a intake form that requires a signature approving the basics - batting, thread choice, size and estimated cost, etc. Take lots of notes on what the client wants and read the notes back to the client to verify. Ask permission (or ask the question on your intake form) before posting a clients quilt on your website, blog or FB/social media pages. The other side etiquette for customers is a great list. Hmmm... I'll need to think about what to add. Thank you for starting this conversation.
  4. Do you stitch your initials or some type of symbol on your customers quilts when completing a heirloom free-motion or free-motion edge to edge quilt? All artist sign their work but in this case we are collaborating with a other artist (the quilt top artist) when working on their pieced tops. Currently if I'm quilting a customers quilt using my own quilt designs, I stitch a few initials in the corner. If I'm quilting a customers quilt using a design board or pantograph, I'm conflicted on what to do. Thanks and I look forward to having this discussion.
  5. Norah/Debbie, If Norah decides to pass on your IQ, I would be interested. I have a 2006 Millie I would like to equip with a computer. Thank you.
  6. Hi, I'm VERY interested. I'll email you separately. What is most important is that I can fit this to my 2006 Milly and will need to check with APQS tomorrow. Being able to integrate my own designs into my work, as well as use patterns for clients quilts, is key. Where are you located please? Thanks. Dawn from Portland, Oregon
  7. Thank you ALL for all your comments and advise. What a great group. I was so nervous to start this project I kept myself away from the studio all day yesterday.... and that was before reading your posts. Ha. Well, being a newbie (only 18 quilts under my belt) I think I'll approach with naive confidence and channel all of you (and my Grandma's) into the project..... I'll know more today as I start to work on it. I spoke with the client yesterday and she wants new life breathed into this quilt to give to her daughter. I'll let you know what I do.... Thanks again.
  8. Hi, I need some advise. I have a 1970's quilt that I'm leaving in tact (pillow-case construction), removed the ties, fixed tears and holes, and will use in the quilt top position on my Milli. I'm adding in a new cotton backing with a Hobbs 80-20 batting between. The med loft old polyester batting is in tact. My customer wants her old quilt to have a new look, more warmth (doesn't like wool batting), is not interested in doing ANY handwork, and has a limited budget. This seems like the best option. Has anyone done a project similar to this, and please, any pointers? This will be quite a learning experience. Thanks.