Virtual Quilt Issue 10: tvq10

The
Virtual Quilt
A Newsletter for Online Quilters
Issue 10 • August 1996
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Inside this issue:
• Electric Quilt's Blockbase
• Quilter's Profile: Carol Doak
•The Traveling Quilter: 5 Portland Quilt Stores
• Paper Foundation Piecing
• Charms & Schnibbles
• Quilting on the Web
• About The Virtual Quilt
Software Review
electric quilt's
Blockbase
B
lockBase is the best thing to happen to quilt
blocks since Barbara Brackman.
The electronic quilt block library compiled by
The Electric Quilt Company is, in fact, based on Ms.
Brackman’s exhaustive hardcopy catalogue of quilt
blocks, “The Encyclopedia of Pieced Quilt Patterns,”
right down the block numbers that have been assigned
as part of her cataloging system. There are approximately
4,000 quilt blocks stored electronically in BlockBase,
available not just for viewing but for coloring, modifying, printing out as templates, and, if you own the companion software, Electric Quilt, placing in computergenerated quilt designs.
When you first start the program up you are treated
to a little animated show, with a quilt block spinning
around flying toward you, presenting itself on the screen
and then dissolving, with the BlockBase title soon on its
heels. It may seem silly to even mention these introductory theatrics, but the reason I do is that they can give
some users problems. When I first acquired BlockBase
I was using an older 386 computer, and certain of the
blocks would take FOREVER to perform their tricks
on my screen, making for considerable irritation on my
part. On faster machines, however, they are no problem.
After the introduction you are presented a screen
that is very familiar to users of The Electric Quilt software. The plain blank white screen with menus across
the top is a dead ringer for the EQ screens, and does the
same dumb trick of just sitting there until you tell it what
to do. My oft-repeated gripes against the basic EQ interface aside, at the heart of BlockBase is a simple but effective set of electronic file cards called CardFile. You
get to it by clicking on the Search menu.
The set of cards (similar to Windows’ electronic
rolodex) has colored tabs that have either the Brackman
The Virtual Quilt
numbers or the letters of the alphabet, depending on
whether you’ve selected the A-B-C or 1-2-3 button in
the toolbar in the upper right corner of the screen. The
CardFile button bar also lets you navigate forward and
backward through the stack, and to select the color
scheme in which you would like the blocks displayed
— Black and White, Historical series, or Contemporary
There are approximately 4,000
quilt blocks stored electronically
in BlockBase, available not just
for viewing but for coloring, modifying, printing out as templates,
and, if you own the companion
software, Electric Quilt, placing in
computer-generated quilt designs.
series.
Each card contains a small version of the quilt block
along with a name, a source, and cross-references to other
similar blocks in the stack. Name, source and related
block numbers are hyper-linked to other small screens
or cards that provide more background on the selected
block, including mini-texts on the historical published
sources of blocks. You can also click on small buttons in
the lower left corner of the card to display a larger version of the block, again in any or all of the color schemes.
This elegant presentation of the catalogue of blocks
would have been a worthy piece of software in itself,
but the folks at EQ have gone several steps further in
Page 2
devising a program that will allow you to actually use
the blocks to assist in quilt design. From the cardfile
you can copy any block to an EQ-style project and from
there open the EasyDraw module to color or modify the
block. The EasyDraw module is virtually identical with
the one in EQ2, with the same drawing grid and tools
for drawing both straight and curved lines.
Where EQ drew the line between BlockBase and
their quilt design program is at quilt layout. In order to
take a block from BlockBase and design a quilt with it
you must have The Electric Quilt (now in version 3.0).
The method of importing a block into EQ is not difficult, but it is a little bit awkward. You save the block(s)
you wish to use in an EQ project in BlockBase, close
BlockBase, open EQ, and open the project in EQ. This
usually involves telling EQ to search for the project in a
different directory on your hard disk, though it is possible (and desirable) to save all projects from both programs in a single shared directory.
BlockBase will also print out blocks as regular templates (complete with seam allowances), paper-piecing
patterns, and as black and white or color images. Printing is one of the weak points of The Electric Quilt
Company’s whole line of software, largely due to the
fact that it is written for a DOS environment and therefore EQ must produce printer drivers for all the new printers that continue to flood the market. If the program were
written for Windows or Windows 95, printer drivers
would be taken care of by the printer manufacturers. If
you have a fairly standard printer setup, you should have
no problems with BlockBase. If your printer is not one
recognized by the program, then you may have to contact the company for assistance in identifying the right
printer driver.
Besides quilt design, another popular use for this
quilt block catalogue is as a source of images for computer graphics design. All blocks in the library can be
exported to a standard .pcx format, and then from there
manipulated and converted to different formats in most
standard paint programs, like Paint Shop Pro.
Another amusing use for the program is as a
screensaver of sorts. The View function will randomly
display blocks on your screen, complete with animation,
at a speed you select. This can be a fun way to view the
available blocks and get inspiration for a new quilt.
The documentation for BlockBase is very welldone, consistent with EQ’s high standards. Not only is
the 285-page book a thorough and well-organized referThe Virtual Quilt
ence, but it is peppered with puzzles and challenges to
help the user learn how to use the program while being
entertained at the same time. In the back there are several appendices, which explain in detail the criteria used
in designating block styles and categories. The manual
is supplemented by the traditional EQ online help messages activated with the right mouse button.
Before winding this up I am going to grouse one
Electric Quilt's major competitors, Quilt-Pro and
Quiltsoft, are programming
for Windows. It's time for
EQ to get with the program.
more time about EQ’s stubborn allegiance to programming for the DOS environment. I know that there is only
one person programming at EQ, and perhaps in the crush
of upgrades and printer fixes and sales and marketing,
there doesn’t seem to be time to make a major shift to a
Windows program. The company’s attempt to adapt their
product to the Macintosh has been a disaster, and moving over under Windows/WIN95 would require a major
effort. However, with the growing popularity of WIN95
and the continuing free fall of prices on powerful
Pentiums, it is inevitable that people, especially new
users, are going to demand programs designed for current platforms. Already some complaints are being aired
about incompatibilities between the new EQ3 and Windows 95, and both of EQ’s major competitors,Quilt-Pro
and Quiltsoft, are programming for Windows. It’s time
for EQ to get with the program.
BlockBase
The Electric Quilt Company
1039 Melrose Street
Bowling Green, OH 43402
E-mail: [email protected]
Page 3
Quilter Profile
carol doak
C
arol Doak has been a quilter for 17 years, and a
teacher of quilting for nearly as long. She has
authored eight books on quilting, and has gained
a national reputation as an effective and entertaining
teacher. She has of late become something of a guru in
the very popular paper foundation piecing technique.
“I became involved in paper piecing by virtue of several coincidental
events,” Carol says. “I had just visited
a quilt guild on Cape Cod to present
workshops and they were having several small pineapple block rubber
stamps made for foundation piecing on
muslin. I placed an order for one. When
my stamp arrived in the mail, I stamped
my muslin square and made my first
foundation block. When I completed the
block, I was pleased with the precision.
But as a hand quilter, I felt I had just
made a pot holder because I would
never quilt through that extra layer.
“At about the same time, I was searching for a topic
for my next, ‘Tricks of the Trade’ column in ‘Quick &
Easy Quilting’ magazine. I drew a few simple trees, a
house and a boat using straight seam sequenced design
lines on graph paper and explained foundation piecing
on paper so that it could be removed. I experimented
with sewing machine needle size and stitch length so
the paper could be removed easily. The focus of the article was ‘Traveling Down a New Path.’ I wrote that if
you approached patchwork in a different way you might
discover new avenues that you would not have discovered using your routine method.” One of the results of
this curiosity about the technique is Carol’s three books
from That Patchwork Place, “Easy Machine Paper Piecing,” “Easy Paper-Pieced Keepsake Quilts,” and “Easy
Mix & Match Paper Piecing.”
Asked to comment on the current craze among
The Virtual Quilt
quilters for foundation piecing, Carol observed “I think
the popularity of paper-pieced designs comes from two
avenues. Many of the designs are different from traditional block designs offering exciting new opportunities; it is also a vehicle to create intricate or small designs that you would not attempt using traditional piecing methods. The second reason is that
paper piecing is a method rather than
an acquired skill. Both a beginner
quilter and a veteran quilter can produce
accurate patchwork blocks right from
the start. As a teacher, it is such a fun
technique to teach because the end result for the student, no matter what their
quilt experience level, is super.”
Although she is an experimenter
and innovator, Carol’s foundation is in
traditional quilts. She has a particular
affinity for medallion style quilts. “I
love medallion style quilts because of
the impact of the central focus and the
variety and opportunities offered in the borders. Although
I have made applique quilts, I guess I prefer to piece
quilts and often add just a touch of applique.
“Except for an occasional small project, I hand quilt
all my quilts and consider the hand quilting designs to
be just as important as the patchwork aspect. I believe
the texture and design opportunities of quilting are an
important part of a quilt and they are often considered
during the design process. My primary quilting style is
founded in traditional quilts but I enjoy making variations or new twists on these designs. I really enjoy secondary designs, unexpected surprises and a bit of nonconformity. I guess that means there is a bit of the rebel
in me. I love it when a quilt makes me smile because it
looks complex but is really simple, because it says something of value, because it expresses how I felt at that
time, or just because it pleases me.”
Page 4
Asked about
the origins of her interest in quilting,
Carol says it rather
took her by surprise.
“My introduction to
patchwork began
when our family
moved from Connecticut
to
Worthington, Ohio
in 1979. I was invited to sign up for
Birds of Paradise
patchwork vest of Yukata an Adult Education
Basic Quilting class
fabric by Carol Doak.
by a new friend and
neighbor. At first I resisted (I really didn’t like to sew!),
but I finally gave in and went because I thought it might
be a good opportunity to meet some new friends.”
There is a quilting tradition in Carol’s family, but
you have to go back a few generations to find it! “My
mom has never quilted. She once asked me how come I
waited until I left home to become so talented and accomplish so much. But, her grandmother made patchwork quilts. My mom inherited a few quilt tops from
her and I quilted them for her right after I began quilting. It was almost eerie as I worked on those patched
in love with patchwork designs immediately and couldn’t
get enough of it.
“Fortunately for me, the class I took gave me a good
foundation in patchwork design and empowered me to
do anything I wanted. I wanted to share my excitement
with others and empower them to express themselves. I
had never been a ‘stand up in front of others and talk’
type of person, so the
only way I felt comfortable was to do
my homework and
be prepared for class.
“I was always
searching for an
easier way to approach some aspect
of quilting or teach it
to others. I loved
coming up with
‘Tricks of the
Trade.” I’m sure that
my investment in being prepared to teach
others provided me with quite a bit more knowledge and
experience more quickly than if I had been quilting for
my own satisfaction. I soon discovered that I loved teaching others and watching them grow in their quilting.”
Carol’s career as a writer came along a little later,
but also had its origins in her early quilting experiences.
“My writing began with a request by a quilt magazine
“ I’m sure that my investment in editor to write a few articles about quilting. To me, that
being prepared to teach others was just another way to share my enthusiasm and teach
provided me with quite a bit more others.
“My first book, ‘Quiltmaker’s Guide: Basics & Beknowledge and experience more
yond,’
was really the result of students repeatedly sugquickly than if I had been quiltgesting that I should write a book. I heard that comment
ing for my own satisfaction.”
so frequently, that I finally decided that there was value
in at least writing down this information I had been teaching in my classes. I don’t believe I sincerely thought it
scrap quilts. I noticed bits of fabric that were patched would ever be published as a book as I never considered
carefully so the stripes matched in order to make a piece myself an author. The book proposal was accepted and
large enough for a small 2” square. Although I never published by The American Quilter’s Society. What I
had the opportunity to know my great grandmother, I wasn’t prepared for when the book was published and I
felt a sense of kinship and understanding as I worked on returned to teach my next Basic Quilting Class, was the
her tops.”
repeated question, ‘Is that in the book?’ My book gave
Carol’s teaching career began at almost the same students a sense of confidence to know that this infortime as her interest in quilting. “Believe it or not, I was mation they had just been presented was written down
asked to teach the class I took the following year. I fell with illustrations in a book they would have as a referThe Virtual Quilt
Page 5
ence.”
times), so you can proofread again. Once the text, illusCarol has now published multiple books through trations and photos have been integrated and proofed, it
That Patchwork Place, and I asked her to talk a little goes off to the printer for the birth of your book.
about the process of putting together a quilting book.
“Just like with any project, there are frustrations
“Well, first you have to have an idea or concept that you and joys. The frustrations come when you are sure you
are really excited about and committed to,” she said. “It have proofread something accurately and on the next
is sort of akin to selecting that wonderful fabric that you reading you find an error that you need to correct. (I’m
are going to cut up into thousands of little pieces and convinced sometimes they are invisible seeds and then
spend the next few years sewing back together again in they just sprout!) Again, kind of like birth . . . you don’t
a wonderful patchwork design. You are going to be work- quite remember these labor pains once the book is pubing with, dissecting and handling it a lot, so you better lished.
be committed to it.
“The joys come when you receive personable thank
“Once you have
you letters, pictures of
a concept, it needs to
quilts and e-mail from
be developed through
readers who are enjoyexamples, a book
ing your designs and
outline, sample writbooks or you watch a
ing style and direcstudent take what you
tions and proposed to
have presented and
a publisher. I usually
make it their own with a
begin with the quilt
sense of satisfaction and
designs and write the
accomplishment.”
directions. I make the
Speaking of equilts from the direcmail, Carol is an active
tions to proof them
participant in the Sewand to make sure they
ing and Quilting Forum
are clear. I am a vion CompuServe and has
sual learner so I rely
a website at http://
on lots of illustraquilt.com/Artists/
tions. For me, writing
C a r o l D o a k /
the text for books is
CarolDoak.html. She
easy. I just sit down
became acquainted with
with an outline so my
the online world as so
concepts are orga- Comical Country: A Carol Doak quilt.
many others have,
nized and let my finthrough a free software
gers do the talking on the keyboard. I tend to write just disk from America Online. “In traveling around the counlike I talk. My friends and workshop students have told try, I had been hearing more and more about ‘on-line
me often, “I can just hear you say that”. Next I work on quilt guilds.’ My husband’s new computer came
drawing the illustrations and [extensive proofreading] equipped with a modem and the ability to sign on AOL.
getting the manuscript ready to send to the publisher.
Being the curious type, I asked him to find the Quilt
“The time this all takes varies from book to book Forum for me so I could explore this high tech quilt
and from publisher to publisher. My first book took me world.
two years to write and about a year and a half to publish.
“My initial impression was that this was just like a
Some of my subsequent books were written in 6 months quilt guild but comprised of quilters from all over the
and published in 9 months.
U.S. There was lots of sharing going on. I enjoyed read“Once the manuscript, illustrations, directions and ing what was going on across the country and the ability
projects are completed, it is sent off to the publisher. to receive and respond to e-mail from friends and new
You will receive page proofs back, (usually several friends was fun. Since that time, the explosion of quiltThe Virtual Quilt
Page 6
related pages on the World Wide Web and other
avenues has been just amazing and wonderful.
Personally, I think today’s quilters are adapting
and using these high tech tools to do what they
did during the quilting bees . . . communicate,
inspire, share and provide fellowship. I use my
computer to communicate with quilters all over
the world.” Carol also uses quilt design software
(primarily Electric Quilt) to assist her in all of
her quilt-related activities.
Like so many traveling, teaching, writing
quilters, Carol credits her family for indispensable support. “My children have grown up with
their mom being a quilter. That means you don’t
walk around in your bare feet in our house! Today quilting is a full time (and then some) job
for me, but when my two sons were younger, I
taught locally during the winter months and sort
of took the summers off. As they grew and became more independent, I became more involved and began to travel more.
“I can remember when I was knee-deep in
my first book, my youngest son would call to
Garden Weave from the Mix & Match book.
me upstairs where I was working on the manuscript and ask, ‘Is this a make-your-own-dinner
night?’ My frequent affirmative replies resulted in his being a very good cook. Now, when he returns home from
college, I ask him, ‘What’s for dinner honey? Actually, I do get quite a bit of support and understanding from the
three men in my life. My husband has a good grasp of computers and has been extremely supportive. Last Christmas he surprised me with a scanner. My thank you went something like this: ‘I know I’m going to love it when I
figure out how it works!’
Figuring out how it works has been the hallmark of Carol Doak’s career as a quilter as she has not only taught
herself to be a quilter, teacher, and writer, but has taken the art of quilting beyond the old techniques and approaches into new territory.
The Virtual Quilt
Page 7
Molas & MOre
It has been a couple of issues since TVQ has done
any web page reviews, and in the intervening several
months the number of quilt-related sites, both commercial and non-commercial, has mushroomed. In this issue we will take a look at several of these new sites of
each type, and rate their content and presentation. We
use a simple five-star rating system, with five stars as
the best and one star the lowest score.
Another, completely non-commercial, site featuring molas “Molas and Maps” (http://www.borg.com/
~kunamolas/), is maintained by Bob and Elizabeth
Gibson purely for the sharing of their personal passions.
Molas are Elizabeth’s (she has a collection of more than
200, purchased while she and Bob were stationed in
Panama) and she shares the history and origin of them,
along with a generous selection of images (thumbnail
and full-sized) each accompanied by informative and
One of the nicest things about the new quilt websites entertaining narrative.
that are emerging is that they are increasingly giving us
easy access to techniques and artforms from “remote”
The Gibsons’ site, and the molas themselves, are
parts of the world. One of these is The Mola Art Website rendered more dramatic by the use of a black background
(http://www.midtown.net/~molas/), a site devoted to with yellow reverse text. The bright tropical colors of
highlighting the textile art of the Cuna or Kuna Indians the molas jump out at you from the darkness.
of the San Blas archipelago in the Caribbean off Panama.
Rating: Four stars
The mola technique, a type of elaborate reverse applique, is not used for quilting by the Cunas, but is found
mostly on clothing (mola means “blouse” in the Cuna
language) and small bags and other articles. It has been
adapted in the U.S. and elsewhere to quilting. The Mola
website is a simply designed and presented introduction
From the Gibsons’ site
to the art and the artists, with many brightly-colored I followed a link to the best
examples available for viewing both in thumbnail and of all the mola pages, Sherry
full-screen views. The colors are very vivid, and the scans Thorup’s “The Mola” (http:/
of good quality.
/www.igc.net/~thorups/
mola.html). Sherry uses the
The Mola Art Website offers a factual presentation same black background techwithout a lot of hype, but a sales pitch does sneak up on nique on some of her pages
you through one of the links, as the site sells molas made and is the most thorough in providing a wide choice of
by the Cooperative of Mola Producers.
viewing alternatives for an extensive mola collection.
She also provides a map of the San Blas islands and a
Rating: Three-and-a-half stars
description of the Cuna way of life, including their daily
forage for water on the Panamanian mainland. She gives
The Virtual Quilt
Page 8
a detailed rundown on the techniques and tools for making molas, and even provides a page of tips for mola
collectors. Her discussion of the mola art and culture is
erudite and very rich, and it will probably take you several visits to truly absorb and appreciate all she has to
offer. This site was named an NCSA Mosaic Top Five
Site of the Day.
Jinny that is updated monthly. The rest of the site is devoted to pushing Jinny’s new fabric line, her seminars
and classes, books and videos. There is of course nothing wrong with this, but I found the total slickness of the
site to be something of a turn-off. It is very hard to imagine Jinny canning the summer vegetables, “up to [her]
elbows in tomatoes, hot peppers, pickles, and jam” in
the midst of all this perfect html and self-promotion.
Rating: Five Stars
Rating: Two-and-a-half stars
Poakalani’s Hawaiian Quilting Page (http://
www.lava.net /~cissy/hawaiian/quilts/index.htm) is a
commercial site that has the feel of a personal website,
and a lot of information presented in a charming and
aesthetically pleasing way. Our hostess at this site is
Cissy, whose mother (Poakalani) and father (John) come
from a long quilting heritage. Poakalani makes quilts in
the Hawaiian tradition, despite the fact she was born with
only one hand, and John makes patterns, which the family has available for sale. Poakalani also teaches classes
in Hawaiian Quilting.
The site is studded with quilt blocks in the characteristic Hawaiian applique style, and there is a great deal
of well-written narrative on the Hawaiian quilting tradition and some superstitions that surround the craft in the
islands.
Cissy has about the softest sell of anybody on the
web, and her site is a sheer pleasure to visit.
Rating: Four Stars
“Have you been to
Planet Patchwork yet?”
“Planet what?”
“Planet Patchwork! It’s the new web site from the
makers of the Virtual Quilt!”
“Another quilting web site? Aren’t you bored to
death of those yet?”
The sell is a good bit harder at the new Jinny Beyer
Studio site at http://www.jinnybeyer.com, but the site
has the same high quality and elegance of presentation
that Ms. Beyer’s fabric line and other products have.
This professionally designed site by Inter-Look
Consulting makes ambitious use of frames, so you need
to be using the latest Netscape or Explorer to get the full
effect. Of non-commercial interest is a monthly quilting
tip, a single-quilt showcase, and a personal message from
The Virtual Quilt
“Planet Patchwork is different! It’s more than just a
collection of links -- they’ve got tons of original
content, including product and book reviews, contests and more! I even hear that they’ll be adding an
interactive mailing list and other cool stuff!”
“Wow! So what’s the URL?”
“That’s the easy part: http://planetpatchwork.com/”
Page 9
Portland, Oregon, is a medium-sized city set down
in the middle of the great northwestern evergreen
rainforest. Located in the Columbia River valley in the
northwestern corner of the state, the city and its suburbs
co-exist harmoniously with one of the most beautiful
natural landscapes in the world. Mt. Hood, Mt. St.
Helens, and other volcanic protrusions rise up suddenly
from the valley floor near the city, and the great broad
river rolls through on its way to the Pacific, about an
hour away. It’s breathtaking.
For a city of its size, Portland has an amazing number and variety of quilt and fabric stores. When I knew I
would be visiting there on business, I inquired on Quiltnet
for recommendations from residents and others knowledgeable of the city’s quilting resources, and within a
couple of days had mini-reviews and directions to nearly
For a city of its size,
Portland has an
amazing number and
variety of quilt and
fabric stores.
a dozen stores.
As in most metropolitan areas, the quilt stores are
mostly located in the suburbs. I had only one free afternoon when I had a car, so I tried to make the best of my
time visiting stores on the eastern and southern edge of
The Virtual Quilt
the city in places like Clackamas and
Milwaukie. The first store I sought out
was The Mill End Store (9701 SW
McLoughlin, Milwaukie), which brags of
having the largest selection of fabrics anywhere in America. Being a fan of Mary
Jo’s Cloth Store in North Carolina, I had
my doubts, but was ready to be convinced
as I found the store in a semi-industrial
part of town, next to a very clear and noisy
stream which went its merry way along
the edge of the parking lot.
The store is huge (purportedly more
than 70,000 square feet), and appears to
be a warehouse converted to retail space.
The ceilings are very high and open, with
large skylights admitting abundant natural light. There
are shopping carts by the front door and on the left two
velvet chairs and a table of magazines for those who
accompany shoppers but don’t wish to venture onto the
floor.
The layout is orderly, with a wide center aisle and
various departments on either side. It is not exclusively
a quilt store; it has large costume, bridal, upholstery and
other departments, with excellent choices in all of them.
Their costume department is one of the most awesome
with its selection of metallic knits, lames, and sequinned
fabrics.
The quilt department on the left as you enter bills
itself as such and has a good but not spectacular selection of cottons on small racks, arranged both by color/
theme and by maker. Watercolor prints, “Sunshine on a
Bolt,” (a very nice selection of that problematical color,
yellow), “Cute as a Button,” southwestern fabrics and
tropicals are among the categories, as well as a generous selection of RJR Quilters’ Cotton and a smaller selection of Nancy Crow’s line. There was a modest group
of holiday cottons as well.
One side room was devoted to the clearance of
flood-damaged items (proof that the gentle stream outside sometimes doesn’t mind its manners) and there was
a large notions department that looked somewhat neglected. The silk ribbon selection, for example, was completely picked over.
Despite (or maybe because of) the size of the place,
The Mill End Store was disappointing to me, in two areas in particular. While the selection of quilters’ cottons
was somewhat larger than you might find in a quilt store,
Page 10
it had no particular personality reflecting a judicious
buyer’s taste in fabric. It was a hodgepodge with the
overall feel of a Hancock’s store — something perhaps
for all comers, but not a place you would ever become
attached to.
The trade-off for the impersonality of warehouse
quantities and settings is usually a discount on the price,
but The Mill End Store betrayed no desire to give anyone a break. Nancy Crows ran from $7.00 to $9.50 a
yard, Hoffmans started at $6.99 and stopped about $8.99,
and RJRs ran $7-8.
Sadly, when I left the Mill End Store I didn’t feel
any particular desire to ever come back. Except perhaps
to visit the mallards who waddled across my path towards the creek as I returned to my car.
At the opposite end of the spectrum from The Mill
End Store, Country Dry Goods (2008 SW Willamette
Falls Drive, West Linn), south of downtown, is a tiny
shop that has a big personality. As the store’s name would
indicate, the emphasis is on country, and the small space
is jammed full of traditional and country fabrics, ’30s
reproductions, and lots and lots of plaids, said to be the
best selection in town.
The owners are fond of mini-quilts, and there are
many of them displayed around the store, mostly in the
“primitive” country style. The class list is generous, and
they have a good selection, for a small store, of books
and supplies. There is also a lot of imaginative packaging — packs of fat eighths and quarters — that allow
you to obtain samplings of the many charming fabrics
they sell. Prices are typical for a small quilt shop.
There is a friendly atmosphere in Country Dry
Goods, and the shop is obviously a labor of love. By
limiting its selection and style, the owners have succeed-
The fact that Josephine’s
doesn’t cater to quilters is very
much to quilters’ advantage,
because they aren’t trying to
buy cotton according to what
they think quilters want.
ing in making the shop that much richer.
Josephine’s Dry Goods (2nd Floor Galleria, 921
SW Morrison, Portland) is another example of the principle of “less is more,” in a way entirely different from
Country Dry Goods.
Josephine’s is not a quilt shop primarily, and its
selection of cottons is limited to two or three racks. Its
downtown location in an upstairs corner of the Galleria
probably makes it inevitable that its size be small and its
prices high, but quality, not price, is the issue at
Josephine’s. They carry very high quality silk, cotton,
wool and rayon fabrics, including the Liberty of London line, and also specialize in high-end notions, especially buttons.
The fact that Josephine’s doesn’t cater to quilters is
very much to quilters’ advantage, because they aren’t
trying to buy cotton according to what they think quilters
want. Their selections are based instead on their own
Portland, Oregon after dark.
The Virtual Quilt
Page 11
somewhat idiosyncratic tastes, and the cottons are among
the most unusual I’ve seen anywhere. I thought I had
seen every Hoffman fabric in my quilt shop travels, but
kept encountering design after design I had not seen
before. The shop owner is especially fond of fish designs, and I couldn’t resist bringing home several gorgeous yards of fish fabrics from a town that has a fish
fixation on its famous and threatened population of
salmon. They also had a large selection of cat fabrics.
Prices were in line with other small shops.
Because I was unable to visit more than these three
stores, I asked a couple of Portland area TVQ subscribers who sent me information to each review a store of
their choice for this article. Below are reviews of two
more stores, by Kathy Mudge and Terry Grant.
try Threads, a good selection of Christmas fabrics, and a
nice selection of 60" wide flannels as well as many others. She will be adding Barn Dance to the Country
Threads just as soon as they arrive. All fabrics are available by the yard or fat quarter. If what you want isn’t cut
as a FQ just ask; Dot or Betty will be quick to correct
the oversight.
Last winter during an extremely icy spell (for us) I
gathered myself together and slid to the store. I was
greeted with a cup of hot tea and had my coat taken so I
could browse to my heart’s content. Betty carries Market Spice Tea which makes me think of quilting even
when I’m not.
With 1500 bolts of fabric, the “B” isn’t the largest
quilting shop around, but certainly one of the friendliest. The Quilting B is open Tuesday through Saturday
from 10:00 AM to 5:00PM. Starting in September it will
THE QUILTING B
be open on Mondays also when Betty quits her other
CLACKAMAS, OREGON
job. The address is 15410 SE 94th, Clackamas, Oregon
97015, phone 503 656-2999. From Interstate 205 take
By Kathy Mudge
the Clackamas-Estacada exit. Immediately get in the left
lane and turn left at 82nd Ave. One block north around
The Quilting B celebrated its first birthday on July the bend turn right on Clackamas Rd. Go two blocks
2 and I hope it will be around for many more years. It is and turn left on 94th. The Quilting B is on your right.
located in Clackamas, Oregon, in the old grange building. How perfect for a country quilting store.
THE PINE NEEDLE
There are antiques in, under and around the fabric.
Betty Anderson is proprietor; her Mom, Dot, helps. While LAKE OSWEGO, OREGON
Dot says she doesn’t quilt, the beautiful blouses and
dresses made from the shop’s fabrics show she is an ex- By Terry Grant
cellent seamstress. Maybe she’ll get “hooked” yet.
Some of the patterns are for clothing so it is nice to
Last week when I went into The Pine Needle, in
see both model garments and quilts hanging in the store. Lake Oswego, Oregon, it was unusually hot for OrBetty and Dot are always interested in seeing my latest egon—nearly 100 degrees on the sidewalk, but inside
project and are quick to call to the other customers to the shop it was Christmas! All the Christmas fabrics,
“come see.”
patterns and books were on sale. In addition, their “piney”
motif and the profusion of elegant, unusual gift items,
mixed in with colorful fabrics, always makes this shop
feel festive and “Christmas-y” to me! This is a beautiful
Betty and Dot [the proprietors] are
shop. Owners, Geri and Priscilla, clearly know about
always interested in seeing my latest
display and merchandising and they have gone to great
project and are quick to call to the
lengths to make this spacious shop much more than “just
other customers to “come see.”
a quilt shop.”
When you visit The Pine Needle, prepare to spend
Betty has a good selection of books and notions. some time. It takes awhile to see everything. The day I
Handcrafts sit on ledges and on the cutting counter. Betty met my friend Mary there, we looked, then went around
offers a wide array of classes in quilt making, soft toys the corner to the Tillamook Dairy Ice Cream Shop for
and garments. Her fabrics include the full line of Coun- lunch, then went back to make our purchases. The fabThe Virtual Quilt
Page 12
rics are displayed by color and by style and are incorporated into groupings of books and teapots and elegant
napkins. Some are displayed on antique tables or cupboards, with beautiful fruit candles and gourmet jams.
There is a large candle section as well as the expected
sewing notions and trims. Throughout the store there
are wonderful jumpers and jackets and dresses with the
patterns to make them as well as sweatshirts, T-shirts,
and workshirts that form the basis for many of the
wearables. Those finishing touches and embellishments
are all there as well—ribbon roses, braids, charms and
the most amazing assortment of decorative buttons I have
ever seen, ranging from whimsical ceramic buttons to
porcelain and pewter that look like fine jewelry.
Dollmakers will find a wide assortment of materials and
accessories for dolls, including doll-size wooden skis!
If you think this doesn’t sound like a serious quilt
shop, a look at the beautiful sample quilts hanging everywhere assures you that they know all about quilting.
They offer a wide selection of quilt classes, taught by
the best teachers in the Portland area. In addition to a
huge selection of quilting cottons, they carry battings
and all the other things you need for quilts. This month
they are displaying quilts by customers—open to anyone. The quilts will be voted on and gift certificates given
to the favorites.
The Pine Needle is located at 429 First Street in
Lake Oswego, a lovely little town just ten minutes from
downtown Portland. Quilters visiting Portland will be
glad they took the time to find The Pine Needle.
Quilt Shop Service -- Discount Prices
Looking for a source for quilting notions and books at fair prices? Then check out PineTree Quiltworks.
PineTree offers attentive customer service and prompt shipping, accompanied by discounts of 20%!
PineTree carries an enormous selection of natural fiber and poly batts; applique aids; fabric and hand care
products; pencils and markers; templates and template plastic; needlecraft gloves; rotary cutters and related
supplies; rippers, clippers, snippers, and scissors; machine sewing needles; seven (!) brands of hand sewing
needles -- including Jeana Kimball's renowned Foxglove Cottage needles; basting systems; thread, including
Mettler and Gutermann cotton sewing and quilting, Tire silk sewing, and Sulky rayon, metallic, and sliver ...
and more. Though not listed in the catalog or on the web pages, PineTree sells books at 20% off retail; e-mail
title and author for price quote.
Look for patterns by applique patterns by Jeana Kimball, template-free patterns by Gretchen McKenzie-Clarke,
paper-pieced Mariner's Compasses by Lori Nixon, and paper piecing patterns by Jan Engan on the home page:
http://quilt.com/Pinetree, where you can also check out the rest of the catalog. PineTree will ship you a hard
copy of the catalog if you e-mail your name/address/city/state/zip to [email protected]!
Visa, MasterCard, and Discover are all welcome. PineTree is online to answer questions about quilting products
at [email protected].
The Virtual Quilt
Page 13
Paper Foundation Piecing
A Survey of Books and Periodicals On Paper Foundation Piecing
By Addy Harkavy
Since foundation piecing has been around for a long
time, and since it seemed like a good idea to offer a comprehensive review of books currently available or only
recently out of print, this review begins with a book published in 1992 and its sequel, and continues in roughly
chronological order.
Paper piecing is based on the notion that a paper
foundation that can be removed gives quilters the accuracy of foundation piecing without the disadvantage of
a cloth foundation that’s an extra layer through which to
quilt.
In 1992, Jane Hall and Dixie Haywood came out
with PRECISION-PIECED QUILTS USING THE
FOUNDATION METHOD. (Chilton, $17.95, 126
pages) This comprehensive book explores foundation
piecing in a rigorous, logical way, beginning with a review of foundation materials and techniques. From permanent foundations that include utility fabrics such as
muslin and batiste, to nonwoven interfacing to flannel
to fleece or batting, the authors move on to temporary
foundations such as paper, tracing paper, freezer paper,
and removable interfacing. Each foundation’s advantages
and disadvantages are explored, as are ways to mark
them.
This book is almost a handbook for paper piecing
techniques, as it explores single foundation piecing (English piecing) in which a foundation is attached to fabric patches, after which the fabrics may be whip-stitched
together. Grandmother’s Flower Garden quilts are a
wonderful example of this type of piecing. The authors
quickly move on, however, to pressed piecing and clearly
explain what became known as “flip and sew” piecing
to paper foundations.
Topics include string piecing, crazy piecing, the log
cabin family, other traditional patterns (including the
Mariner’s Compass), single foundation piecing, borders
and strips, and innovative uses for foundations. Each
technique is illustrated by a project one can use for practice. Four years after its initial publication, this book
would still be a fine addition to any quilter’s reference
library.
Jane Hall and Dixie Haywood continued to explore
The Virtual Quilt
foundations as a means of producing precise results and
in 1996 published FIRM FOUNDATIONS: Techniques and Quilt Blocks for Precision Piecing (AQS,
$18.95, 135 pages), a book that picks up where the previous one left off. Although in some ways duplicative
of the first book, this book, too, is a “must have” for any
quilter’s reference library. In this book, the authors show
how to tackle simple and difficult patterns to achieve
impeccable accuracy and discuss ways to make borders
and sashes that fit. They briefly discuss patchwork for
garments and move on to distinguish between permanent and temporary foundations, cover marking techniques and then they discuss piecing techniques. For
anyone who wants to learn and master top pressed piecing, under piecing, single foundation piecing, joining
curves, and hybrid foundation techniques, this book has
it all. Richly illustrated with finished quilts as well as
block illustrations and schematics, this book is a wonderful source of curved and straight-line foundationpieced traditional blocks and contemporary blocks.
Moving right along, Lesly-Clair Greenberg in 1993
published SEWING ON THE LINE: Fast and Easy
Foundation Piecing (That Patchwork Place, $15.95, 87
pages). Don’t be fooled by the fact that this book has
fewer pages; it’s no lightweight. Though this book covers many of the same topics as those previously discussed, stamping patterns on fabric, paper, and tear-away
stabilizer receive considerable attention, as do tracing,
using transfer pens and pencils, and photocopying for
pattern duplication. As implied b y its title, SEWING
ON THE LINE focuses on what has come to be known
as “flip and sew” paper piecing, in which the paper foundation is on top and the fabric to be sewn is on the botPage 14
tom. Stitching is, quite literally, on the line on the foundation. Projects include rail fence, log cabin placemat
and pincushion, miniature log cabin, collector’s vest,
pineapple, log cabin variations, square-within-square,
and Virginia Reel. Color photographs of finished quilts
provide inspiration; this book would be a nice addition
to a paper piecing library.
By 1994, Carol Doak had come
out with EASY MACHINE PAPER
PIECING (That PatchWork Place,
$19.95, 95 pages). Featuring sixtyfive quilt blocks for foundation piecing as well as photographs of blocks
and finished quilts, this book made
Carol Doak’s name synonymous with
paper piecing. It’s easy to see why. Introductory material provides tips on reproducing, enlarging, and reducing
block designs. Fabric grain is discussed, as is appropriately cutting fabric pieces. Further information tells
readers everything they should know
or have on hand before sewing and reviews the sewing procedure step by step. Sewing tips
are provided just to ensure success. Readers are really
ready to go by the time they reach the block designs!
Traditional, pictorial, and block designs are included;
hearts and cats are well represented! Last but not least,
Ms. Doak tells how to turn collections of blocks into
finished quilts. Subsequent books such as EASY MIX
AND MATCH PAPER PIECING and EASY REVERSIBLE VESTS have been equally good and offer
sufficient new information to be worthwhile acquisitions.
Shirley Liby has been prolific in publishing books
about foundation piecing. These are published by Graphics Unlimited and include PAPER PIECING PATTERNS, MORE PAPER PIECING PATTERNS,
EVEN MORE PAPER PIECING PATTERNS ,
LITTLE LANDSCAPES, PAPER PIECED A,B,C’
S AND 1,2.3’S. Priced in the neighborhood of $15.00,
each book begins with basic instructions and continues
with schematics. Although the books presuppose that
readers have a general idea of how to go about paper
piecing and though the books lack color photography,
the practical spiral binding makes these books easy to
use, and the variety of patterns should satisfy the most
avid paper piecer.
Although not specifically about paper piecing and
The Virtual Quilt
the topic of a previous review, Judy Mathieson’s
MARINER’S COMPASS QUILTS, New Directions
(1995, C&T Publishing $21.95, 96 pages) provides instructions for drafting Mariner’s Compasses as well as
tips for making paper foundations. I have made
Mariner’s Compasses according to Ms. Mathieson’s instructions and from them have made paper foundations
and have been pleased with the results.
Most quilting design programs
such as EQ enable quilters to print
paper foundations and to design and
color quilts made from them.
Last in this review, but by no
means least, a new publication for
foundation piecers has surfaced.
“The Foundation Piecer: The Pattern
Journal for Quilters Who Love Foundation Piecing” is an exciting 28page publication that provides
blocks, quilt ideas, good copy, and
general wisdom on foundation piecing. Each project lists materials and
foundations needed, followed by assembly advice.
Blocks’ piecing sequence is numbered. For subscription information, contact Zippy Designs: The Foundation Piecer, RFD 1, Box 187M, Newport VA 24128 or
phone 540 544-7153. ($30/year for six issues.) More
information can be found at their website at http://
www.other-world.com/ ftp/quiltersweb/zippydesigns/
index.html
In closing, paper piecing is fun and addictive, and
there are plenty of ways to explore it. Though outside
the scope of this article, commercially produced paper
piecing patterns for Mariner’s Compasses and other designs are available from a variety of suppliers.
Addy Harkavy lives in Maine, and runs Pinetree
Quiltworks, a retail and mail order discount quilt
supply house. Other reviews of hers are featured in
"The Quilting Consumer" at the TVQ website at
http://www.planetpatchwork.com/qconsume.htm.
Addy can be reached at [email protected] .
Page 15
CHARMS & SCHNIBBLES:
News Notes from All Over
SEATTLE TO HOST
BREAST CANCER QUILT SHOW.
TVQ thanks David Walker for providing the following:
Women’s Voices - Quilts of Caring, Seattle, WA
An October juried international exhibition of quilts related to breast cancer; October is National Breast Cancer
Awareness Month.
Exhibit Dates: October 1-27, 1996
Deadline for Entries: August 30, 1996
Jurors: Elizabeth Hendricks, Seattle-based quilt artist; Cathy Heffron, Trustee, Evergreen Hospice and Health
Care Foundation; Kathy Glowen, sculptor
Contact for Information and Entry Form: SASE to Elizabeth Hendricks, Studio 422, 3425 25th Avenue W,
Seattle, WA 98199, 206/632-4201
AMERICA ONLINE QUILT FORUM GETS NEW LOOK.
In the culmination of a long process of incremental improvements, the Quilt Forum at America Online in late July
unveiled a new graphical front end with icons for its many features, new threaded message boards, and other new
features. It has long been a complaint of AOL users that boards weren’t threaded, and the new arrangement will
allow easier and faster access to subjects of interest to AOL’s 3,000-plus quilters. Among the other new features is
a special area for TVQ where limited back issues and preview issues are available to AOL users. Access to the
TVQ area is through the Quilters’ Resources menu, under Computers and Quilting.
TVQ ANNOUNCES NEW WEBSITE.
In early September the TVQ website, Rob’s Virtual Quilt Page, at
http://www.tvq.com/ will be converted to a new site with the name
of Planet Patchwork. Planet Patchwork (http://planetpatchwork.com)
will be based on the same type of information now found at the
TVQ site, but with a new look, an exciting new approach, and much
new material. An e-mail announcement will be sent to all TVQ subscribers when we’ve got it up and running!
The Virtual Quilt
Page 16
STRIPS THAT SIZZLE, THE SEQUEL.
As some of you know, there is a review at the TVQ website of Margaret’s Miller’s 1992 book from That Patchwork Place entitled “Strips That Sizzle.” There has been much discussion of it and the techniques it teaches on the
net, and I’ve had a good deal of mail asking where a copy could be obtained. Unfortunately, the book is out of
print, but TVQ got some e-mail recently from Ms. Miller, with news of a new book and a request for info from
quilters who have already “sizzled”:
“Dear Rob: I am writing to you from my quilting friend Carole Green’s office in Juneau, Alaska—I am in Alaska
teaching for about two weeks.
“Carole told me that there was information on the ‘new’ book STRIPS THAT SIZZLE, my second book. Unfortunately, that book is out of print: even I, the author, no longer have any for sale.
“However, I am in the process of writing a sequel to that book, and would love to hear from your readers if they
have made a quilt using the Strips That Sizzle technique. They should email me at [email protected], and
I will let them know where to send snapshots.
“Thanks for the opportunity to make contact with quiltmakers out there who might like to have their work featured
in my next book!!
“Thank you, Margaret J. Miller”
NEW PRODUCT.
Anita Tinlin of Atlanta has recently come out with a line of paper goods for laser and inkjet printers that feature
quilt designs. These pre-printed “image” papers are popular with businesses, adding color to flyers and business
cards which can be overprinted with black ink.
“Recent I began to explore the feasibility of developing a collection of pre-printed papers featuring sophisticated
quilt images,” Anita says. “The idea occurred to me primarily because I wanted the papers for my own personal
use. But as I watched the activity at Quilt Festival in Houston last November, I began to realize that the number of
quilt hobbyists and quilt professionals who might also be interested in such papers is increasing as more quilters
use computers for design, word-processing and accounting, not to mention e-mail and access to the internet.”
Several quilt shops in the Atlanta area now carry her line, which she has developed in three different designs.
For more information on Anita’s “quilt image stationery,” e-mail her at [email protected].
FOR SALE
Design Plus
"Labels designed with quilters in mind."
Fabric LABELS for quilters and crafters
Large, colorful “Kimono Memory” quilt poster,
pieced kimonos alternate with sashiko embroidered blocks.
Published in “Japanese Quilts” book by Liddell
and Watanabe. Perfect for your sewing room, nice
enough for the living room. Send $15 (includes
postage and mailing tube) to: Marina Salume, 419
Correas Avenue, Half Moon Bay, CA 94019
The Virtual Quilt
Don't miss out! SUMMER SPECIAL pricing on
our mini "Care" labels for your quilts and quilted
crafts. These small care labels have been so popular
that we are extending this special at 40¢ each
through the end of August!
Also, see our Planet Patchwork Bazaar Listing for
information about our 1/3 OFF Sale! on all large custom labels. For information, e-mail Heidi at:
[email protected] in "Subject" line: TVQ-mini-care
label or "Subject" line: TVQ-1/3 OFF
Page 17
PSST! HERE’S HOW TO
ADVERTISE IN TVQ!
Our advertisers, both here in the newsletter and at the TVQ website,
have found TVQ to be an effective and economical way to reach thousands of online quilters. Ads in the newsletter are only $5 each (up to
100 words, inquire about longer ads) or 3 for $10, and there are also
attractive packages available which combine newsletter and website ads.
For more information e-mail [email protected] or visit http://
www.tvq. com/adcard.htm. We specialize in helping small quilting-related businesses gain exposure on the internet.
Don’t keep your business a secret... advertise in TVQ.
SCHOOLHOUSE
ENTERPRISES
NEW STASH
BUILDER'S SPECIAL
Have you had your "goose" today? If not, you
should e-mail Schoolhouse Enterprises with your
"snail mail" address for your FREE CATALOG
and Sample of Gridded Geese©! Gridded
Geese© is a unique paper foundation method for
mass-producing Flying Geese units (similar to the
half-square triangle papers, which, BTW, are
included in this catalog).
NEUTRALS
from Thread and Thimble
Their new catalog offers lots of Other Fun Stuff,
too, like their exclusive hand-painted wooden
Button Buttons. There are also affordable gifts
for quilters, like mini Kaleidoscope Pendants,
Hearts-a-Ticking Pin Kits, adorable Post-It® Note
Cubes, plus Feed Sack Gift Bags to "wrap" them
in! All major credit cards are welcome. We're now
FAXable, too: (609) 628-3048.
10 fat quarters of assorted white on white,
tan and brown fabric for $12.95 plus $3
shipping ($15.95 total).
No time for "snail mail" catalogs? Then visit the
Schoolhouse Enterprises web site
(http://quilt.com/GG)!
http://www.az.com/~karenm/thread.htm
The Virtual Quilt
Includes fabric from Kona Bay, South Sea
Imports, Benartex and Marcus Brothers.
Pictures of the fabric at my web site:
or e-mail [email protected].
Page 18
COMMENTS, QUESTIONS,
NEWS, IDEAS, BRICKBATS?
Like any news publication, TVQ is always hungry
for information about new developments in the area we
are trying to cover. If you have an idea for a story, or
want to tell the world about something you are doing
which relates to computers and quilting, we’d like to
hear about it.
We’d like news of new classes starting up to teach
quilt design on computers, or new approaches to that
teaching. New products, maillists, World Wide Web
pages, etc., are all fair game, and we’d appreciate any
tips you can provide. Send your tips by e-mail to
[email protected].
If you have a comment about an article, a complaint or a correction, we’re glad to hear that, too, and
may publish some comments as letters to the editor.
Again, these may be sent to [email protected].
The
Virtual Quilt
A Newsletter for
Computing Quilters
Editor and Publisher: Robert Holland, Decatur, GA
Copyright (c) 1996 by Robert Holland. All rights reserved. This file may not be reproduced in any form
except to be printed out for the personal use of the
subscriber without the expressed, written consent of
the copyright holder.
Graphics (c) 1996 by Mary Graham.
Layout and Acrobat conversion by C. Holland.
Land on the third quilt from the sun with a
Planet Patchwork T-Shirt!
If you want to be the first in your quilt guild to sport
a Planet Patchwork t-shirt like that shown at right,
you can order one now for our special introductory
price of $15, including postage.
These high-quality, all cotton tees (Hanes Beefy-Ts)
feature the distinctive Planet Patchwork quilted
earth logo in full color on the front, along with the
Planet Patchwork URL.
For more information on ordering, surf to:
http://planetpatchwork.com/tshirt.htm
AVAILABLE NOW AT A WEB SITE NEAR YOU.
The Virtual Quilt
Page 19
SUBSCRIBE TO TVQ!
If you would like to continue receiving this newsletter (the ASCII version) in your e-mail about every 6
weeks for the next year, all it requires is a small contribution of $5.00!
That buys you 8 issues in which you will find more
in-depth reviews of quilt design software, more profiles
of quilters, as well as profiles of online quilting communities. These features will be interspersed with news of
developments in the quickly changing and expanding
world of online quilting.
TVQ is also available to subscribers on the World
Wide Web. The graphically enhanced web version can
be seen at http:// quilt.com/VirtualQuilt/tvq.html. Future
issues will also be converted into Adobe Acrobat format.
To subscribe, fill out the form on this page and send
it with a check or money order for $5.00 made out to
Robert Holland, to 140 Ridley Circle, Decatur, GA
30030-1117. Be sure to fill out the form completely, including your e-mail and street addresses so if there is a
problem with your subscription (like bounced messages)
I can get in touch with you. An alternative e-mail address, if you have one, is also helpful. You will receive
an e-mail acknowledgment of your subscription when it
is received.
FOR THOSE OUTSIDE THE UNITED STATES:
I realize that obtaining money orders in US dollars can
be expensive in some countries. I have talked to my bank
and they will accept checks drawn on foreign banks for
deposit to my account. The checks MUST have an electronic routing number on them (the computer-style numbers at the bottom) and MUST be made out in US dollars. The amount will be debited from your account according to the exchange rate at the time of processing at
your bank. NOTE: Please CHECK WITH YOUR BANK
before doing this. Some will not allow it, and others will
CHARGE YOU A FEE, so be sure to check first.
Some enterprising folks have found that the cheapest way is to purchase and mail American currency. I
will accept cash, but cannot take responsibility for its
possible loss in the mails!
NAME.
MAILING ADDRESS
E-MAIL ADDRESS
ALTERNATE E-MAIL (if available)
Enclosed is $5.00 (check or money order made out to ROBERT HOLLAND) for 8 issues of TVQ, delivered as an
ascii file by e-mail.
The Virtual Quilt
Page 20