I left Baltimore on Thursday, Oct. 23 and the trip got off to a good start. Do you know that the ladies rooms at the airport have vases filled with fresh flowers! I did touch them to make sure they were real, and it definitely gave my day a boost. Should have taken a picture.

Got set up some Thursday and continued on Friday morning. Here are some before shots of the hall. First up is the Superior Thread booth. Guess the crates are filled with thread! The second shot is the Michael Miller Fabrics booth, which in its finished state won one of the booth prizes.

Friday was filled with Schoolhouse, classes geared to shop owners to help them market products in their shops, and a variety of educational lectures. Friday night is Sample Spree, a hugely popular event. Here’s a shot of the masses of people waiting to get in. The spree opens at 8 pm and attendees get in in two waves. The first person was in line at 2:30 pm!

The show opened to the trade on Saturday morning at 8:30. It’s such a transformation from vast open spaces to small shops and displays. I saw several new notions. Anyone need a whacker? It’s a hammer to use to whack those pesky seams flat. And, everyone seems to be eating at the same bakery: lots of jelly roll, turnover and layer cake fabrics, books, patterns. Still fun decorator prints in bright colors, though I did notice some browns creeping back in. Overall, you can find colors that appeal to anyone’s desire. Plenty of people stopped by the booth during the show. Here are some shots.

Here’s Jake FInch, who is has a new book on Community Quilts with C&T and was just named Managing Editor for Mark Lipinski’s Quilter’s Home.

And speaking of Mark, he popped in, too.

Did some walking on the floor and ran into Jay McCarroll, Project Runway’s 2005 season winner. Jay has now designed two fabric lines for FreeSpirit Fabrics. You can see bits in the background of the photo.

I’m lucky to have area quilters loan me quilts to hang on display in the booth. One of those quilters is Kim Ritter. Here we are in front of her quilt “Trowel and Error.”

The last two issues of the The Professional Quilter included articles on blogs by Maria Peagler. Maria stopped into Market to make contacts and sales of her book Color Mastery that comes out in early 2009.

Ricky Tims also stopped by.

And, my booth was catty-corner across from Linda Taylor and she stopped in for a visit.

Since I’m the editor of The Professional Quilter, I know lots of the editors at other magazines. Jan Magee, editor-in-chief of Quilters Newsletter and I compared notes on the show.

We have a break between Market and Festival, starting back on Wednesday evening at 5 pm. I’m looking forward to seeing the quilts, something I save for Festival. More in a couple of days.

The Fall issue of The Professional Quilter includes a profile on Terry Atkinson. I’ve watched Terry’s business grow since I met her at her first Quilt Market in 1997. Her simple patterns have always been well-received by quilt shop owners and quilters alike, including the perennial best seller “Yellow Brick Road.” I wanted to know more about how Terry grew her business.

How did you come to quilting?
I made my first quilt in college for an art class project because I couldn’t afford paint. I had lots of fabric around the house. Later, I took an adult education class about quilting and began teaching quilting to my home ec students. I think the teaching skills translated into my ability to write easy-to-follow instructions.

What led to the business?
I was teaching quilting at a local quilt shop. Soon, my students asked to buy my class handouts, and I adapted my most popular class handouts for my first two patterns. Initially, the patterns were sold in local quilt shops. A pattern distributor picked up those first two patterns that year, giving the patterns exposure across the United States. In 1997 International Quilt Market was held in Minneapolis, and I exhibited for the first time, giving my patterns even more exposure to shops and distributors. They started to take over on a larger scale at that time.

One of your patterns, “Yellow Brick Road,” has been in the Checker Top 20 for seven to eight years. Why do you think it remains so popular?
“Yellow Brick Road” is a quilt that looks good in any kind of fabric. It’s fun to sew, and people like the fact that it uses up all of each fat quarter so there are no leftover scraps. Each time you make it it looks like a brand new quilt because it takes on the personality of the fabrics used. From what I hear, longarm quilters end up with lots of these to quilt for their customers.

You have 27 individual patterns and 14 books. How do you decide whether to issue a particular design as a solo pattern or as a part of a book?
For a pattern, we have only four pages of instructions, so a book provides more flexibility. The pictures are larger in a book as well, so sometimes I make the decision based on if the quilt would look better in a larger or smaller photo. I also will use books to showcase new fabric collections. And, if I want to work with a theme, I’ll go with a book. For example, Let’s Do Lunch, which came out earlier this year, includes a variety of table runners, napkin rings and a few totes. Most of the patterns have food-themed names.

To read more of the profile on Terry Atkinson, you can purchase Issue 105 or start your subscription here.

Mother Earth’s ABC
Sieglinde Schoen Smith
Breckling Press; $15.95

Fans of the award-winning quilt “Mother Earth and Her Children” will love this charming tale of the coming of spring and the transformation of a seedling into a zinnia. The book includes instructions for transferring each letter onto your own sewing project as well as the embroidery instructions. A wonderful gift for the holidays.

Here’s a link to order the book through Amazon.

I decided to name our teleclass series, and I picked PQ Café Business Series. I think listening to the conversations is perfect with a nice cup of coffee or, my choice, herb tea. Stop in the café next month when I’ll interview Ann Anderson about publishing patterns. Ann is a pattern designer and the founder of Quiltwoman.com, a pattern publishing company and distributor. Ann also published the wildly popular Publish Your Patterns!, the definitive guide to starting and running a successful pattern publishing business. Earlier this year Ann sold her business and today enjoys focusing on art and textile design. She also consults with designers about starting and growing a pattern business.

The teleclass is scheduled for Nov. 13 at 8 pm, Eastern Standard Time. Details are here.

Our last class resulted in 250 signups and a large number of purchases of the audio. Since so many people wanted the audio, it made more sense to include the audio free with the purchase of the class. That way, too, if you can’t make the class, you can still listen at your leisure, even with your cup of tea.

I’m still on a cloud after our teleclass on Tuesday evening. One of our listeners asked, “How do I type a standing ovation?” Thanks, Allison! It was our first of what I hope is a long series of teleclasses geared to serious or business quilters. Our first class featured a Q&A format with Gloria Hansen. Gloria’s latest book, Digital Essentials: The Quilt Maker’s Must-Have Guide to Images, Files and More, was just published in late September. The book is a wealth of valuable information and she shared lots of information on the importance of resolution, printing on fabric, working with images for slide shows, copyright protection of your images on the Web and more. I think our conversation is a great compliment to her book. We taped the conversation and it will be available next week as either an audio download or a physical CD. I’ll also have copies in Houston. And, thanks to everyone who stuck with us despite the technical difficulties. I know you’ll agree it was definitely worth it. And, thanks to Gloria for helping us kick off the series.

In the Summer issue of The Professional Quilter, David Nagle wrote about the importance of keeping good business records. Considering the current economy, I think it’s very important to have an accurate picture of the operational and financial effectiveness of your business. Without it, we can’t make good business decisions.

Part of recordkeeping is knowing how long to keep your records. (I tend to keep too much for too long, so David’s advice is helpful to me.) Here are his tips:

Generally, you need to keep supporting records of all income, expense and credit items that you claim on your tax returns for the period of limitations the Internal Revenue Service requires for those items. This is defined as the number of years after your return was due within which time you are allowed to amend your return
or to claim a refund or credit. The information below is a summary of the IRS guidelines:

1. For most tax returns filed on time with no tax due, keep supporting records for
three years after the later of the filing deadline, extension deadline or actual
filing date.
2. If you had income that you should have reported (but did not) that was 25% in
excess of your gross income, keep records for six years after your final payment
was made.
3. Keep all employment tax records for the later of four years after the employment
tax became due or was paid.
4. Keep records to support any deduction for bad debt loss for seven years.
5. In cases of someone required to file a return (and does not) or in the case of
fraudulent returns, the IRS requires records be kept indefinitely.I suggest that
after the period of limitations for your supporting records has expired, then you
make copies on CD (or DVD) before destroying them. Then, store the discs in a safe
off-site location.

Now, what do you do with all the papers you’ve purged after following David’s advice?
It will take me too long to put them through the paper shredder, so I’ll have a
box ready for the next free shredding day in my county.

To read more of David’s article, which includes specifics on what records to keep
and a sample recordkeeping system, you can purchase Issue 104 or start a subscription
here.

Quilts From the Selvage Edge
Karen Griska
American Quilt Society; $19.95

Who would have thought all those selvages tossed in the trash could make such beautiful quilts? Karen Griska takes the selvages, sews them to muslin foundations and them cuts them to size as squares, strips or riangles and creates quilts. They are fun and folksy, andn I know I won’t look at selvages the same way again.

Here’s a link to order the book through Amazon.

You’ve just finished your latest quilt, are proud of your accomplishment and want to show it off. You first share it with your family, then with your small quilting “bee” and finally take it to show and tell at your next guild meeting. For some quilters, this is enough. For others, it is not. Many quilters want to see how their quilts stack up against the competition, whether that is hanging the quilt in a local, non-judged show or entering it in a major juried and judged competition. In addition to gaining recognition for your quilts, you also educate other quilters and the general public about quilting and its standards. For local guild shows, this is often a primary reason for holding a show. Additionally, if your quilt is entered in a judged show, you can set goals for improvement based on feedback from the judges or your own comparison with winning quilts. And, of course, you might just win a prize, either a ribbon, cash ! or merchandise.

Impartiality in judging is important and one way this is done is through use of a panel of independent judges, usually three. Judges can be trained and certified by the National Quilting Association, or they can be trained through experience. They all adhere to similar standards of judging, although final results will be varied based on the individuals.

Judging can take place either before or after the quilts are hung, and each method has advantages. Judging quilts after they are hung allows the visual impact of the quilt to be better appreciated. Judging quilts before they are hung is usually faster, but visual impact takes second place to the ability to view the workmanship.
Judges often use scorecards or evaluation forms and either a point system, an elimination system or a combination of the two to evaluate the individual entries. The point system uses a predetermined maximum number of! points to judge specific areas, for example, up to 20 points for the color and design, up to 20 points for construction, up to 15 points for finishing, etc., with the total equaling 100 points. Each quilt is judged on its own merits, and the quilt with the highest total number of points is awarded the first place.

The elimination system, on the other hand, allows each judge to evaluate a quilt, make comments on its technique and offer feedback for improvement. If the judge feels the quilt should be held for ribbon/award consideration, it is put aside. If not, it is released from the competition portion. After the quilts are judged in this preliminary fashion, the held quilts are compared to others in its category and the winners are determined.

Neither system is perfect. Regardless, judges evaluate quilts against the same standards. Here are just a few of the commonly held standards that judges use:

General Appearance
• The quilt makes an overall positive statement upon viewing
• The quilt is clean and “ready to show,” i.e., no visible marks, no loose threads, no pet hair, no bearding, no offensive odors.
• The quilt’s edges are not distorted. This is easier to gauge when the quilt is hung.

Design and Composition
• All the individual design elements of the quilt – top, quilting, choice of fabric, sashes, borders, embellishments, finishing – are unified.
• The design is in proportion and balanced.
• Borders or other edge treatments enhance the quilt appearance.

Workmanship
• Piecing is precise, corners match and points are sharp.
• Seams, including those of sashing and borders, are secure, straight and flat.
• Quilting stitches are straight where intended and curved where intended.

As noted, judges consider certain “standards” when evaluating quilts — and the list is really quite extensive — but how do they decide which quilts are the prizewinners? And what is more important, design or workmanship? In the end I think it comes down to design, the quilt with the greater visual impact. But even the quilt with the greatest visual impact cannot rescue poor workmanship.

The Professional Quilter has an ongoing column geared just for judges, but it’s useful for those who are entering shows. The current issue’s column by Scott Murkin focuses on phrasing judging comments. You can purchase Issue 104 or can start a subscription here. We also offer two resources recommended for those in judging programs. You can learn more about The Challenge of Judging by Jeannie Spears and Judging Quilts by Katy Christopherson on our resources page.

A Quilter’s Diary
Mimi Dietrich
That Patchwork Place

Have you ever wanted to chronicle your life in a quilt? That’s exactly what Mimi Dietrich did in her 25-block sampler quilt. Mimi shows you how to use simple pieced and appliqué blocks to create a diary quilt. Break your life into 5- to 10-year segments and then select from more than 150 pieced and appliquéd blocks to tell the story. To guide you, Mimi has inspiring questions and themes to consider. To finish her quilt, Mimi created a label with a legend to the quilt, tracing each traditional block to the story on the quilt. This is a fun and creative way to savor parts of your or someone else’s life.

Here’s a link to order the book through Amazon.

Innovative Fabric Imagery
Cyndy Lyle Rymer and Lynn Koolish
C&T Publishing; $27.95

Every year we see more and more quilts with images that have been created with digital technology. In 2007, C&T sponsored an Innovative Fabric Imagery special exhibit at International Quilt Market and Festival in Houston. The majority of Innovative Fabric Imagery for Quilts features a gallery of more than 40 of the inspiring entries in that exhibit. The book also includes the basics of working with photos on your computer and 19 projects. The projects range from “Ocean Sunset” by Gloria Hansen, which features a large photograph printed in four sections, cut into squares and then fused on a background, ending up with an attic windows look, to “Gramsie” by Jeanie Sumrall-Ajero, which turns a photo into a kaleidoscope as the focal point of the quilt. The book is full of ideas to inspire you to put your computer and its imaging software to creative use.