The stitched line either outlines shapes or may be manipulated into a texture. As artists, quilters use a wide array of surface design techniques on the primary surface – dyes, paints, collage, piecing and their multitude of specialised forms. plus stitched lines without batting, or ‘embroidery’. This can then be enhanced with additional layers and further hand or machine stitching to producing the low relief quilted surface. The choice of an appropriate quilting design is one of my things – even people who spend a lot of time and effort on the surface design can reduce the overall impact with thoughless quilting treatment. Finding nspiration for appropriate quilting design is one of my concerns – I blogged about it oct 7th, http://www.alisonschwabe.blogspot.com

And please do write a book. I would think that you could do it in a few days.

It was one of those long low things put out by Chrysler and Jer wore those English-style motorist’s goggles and gripped the wheel with an evil grin.

leave those railings, eh? Might do that — haven’t gotten to them yet. I always have to worry about the silk sagging where it’s not stitched, so I’ll ponder on it.

A shiny sports car is precisely what we are all about, right????

Kim, I looked at your blog. How do you intend to go beyond the text-book, class note approach? You have done a lot of ground work but text-wise, the notes are pretty much what has already been done by Ann Johnston and David Lauer. I’d venture to guess that your instructor was working directly from Lauer.

Thanks, Connie, — if you have any insights into charcoal and conte and how they inform the quilted line (and vice-versa), I’d love to hear it.

Wonderful. Love the railings in your last piece and would ask that they remain unstitched.

Dreamed last night that you and Jer had gone out and bought a big shiny sports car.