Dana Lynch

Dana Lynch

MS38654-001

Dana Lynch

Amy Milne

April 28, 2011

Empty Spools Seminars

Paducah, Kentucky

Eleanor Wilkinson

Amy Milne (AM): This is Amy Milne and I am interviewing Dana Lynch in the parking lot of the Circuit City in Paducah, Kentucky, which is housing the exhibits for the American Quilters’ Society show here in Paducah. I am interviewing Dana for the Quilters’ S.O.S.--Save Our Stories project, a project of The Alliance for American Quilts. First of all Dana, let’s talk about the quilt that you brought in today. Just tell me about it.

Dana Lynch (DL): I made this quilt in 2007 and I took a workshop at the National Quilt Museum with Ricky Tims for three days in July of that year. This is the first quilt that I ever drew on a small piece of paper and then in the class we were instructed as how to enlarge it and the process of making it. We started with that drawing and made our patterns from that. Then all of the appliqué is drawn originally. The name of the quilt is Cesto Di Fiori Rhapsody, which means Flower Basket Rhapsody. It’s 52” square. It’s made with hand-dyed fabrics which Ricky has in his company in Colorado. All of the fabrics are cotton, hand-dyes. They’re gold and green and reds and browns. The whole idea of this quilt was that the flower baskets are in the corners of the quilt and the flowers fall into the center from the baskets. So I would say that this is the first quilt that changed my way of quiltmaking.

AM: What do you mean by that?

DL: Before that I used mostly patterns from other people, but I tended to always want to do something a little different to them, even when it was a pattern. So this gave me an opportunity, I think Ricky said in class one day, ‘It is the things that are made--

AM: It’s all right, you can edit it afterwards.

DL: Okay, I lost my train of thought.

AM: You can come back to it. You can also add it later.

DL: Okay. I will do that.

AM: So you had done patterns, how many quilts had you made before this one?

DL: Oh, probably twenty-five [beeping sound.] It had been mostly baby quilts. I did a lot of paper piecing. I did a couple of quilts for my daughter’s teachers along the way, her kindergarten teacher, her second grade teacher and third grade. I did a few quilts for family members. The main quilt I had done before this one was with the Dear Jane project. [laughter and loud talking from outside car, continues.] It was in 2000 and so that was my first large quilt to actually make.

AM: But, this one is important because it sort of represented a change in the way you approach quiltmaking?

DL: Absolutely. Yes. Because it showed me that I could, indeed, draw something besides a heart. [AM laughs.] And that’s what I always said. ‘Oh, no, I can’t draw anything more than a heart or a simple flower.’ But you can and if you see the defined areas where you want to put it and you just kind of think about what you want the quilt to look like, it just kind of happens. It was really amazing, that process.

AM: Had you been a person who drew in a sketch book, or anything like that before this?

DL: No, not before this, and on this quilt all the appliqué came from things like this; this I saw on a picture and this leaf and this leaf was in the rug in my den.

AM: Oh, wow. [beeping sound like equipment backing up, continues.]

DL: And this flower was on a picture and it had a split, so I just added this piece in it. So everything came from seeing it on other places on this one.

AM: When you took the workshop, did you know what his technique was? Or what lead to you seeking out this workshop which then caused this big shift in the way that you make quilts?

DL: Well, I had gone to a lecture that Ricky did in Paducah that year, a few months before the workshop. That was my first time to be exposed to this technique. After the lecture that day I went straight to Office Depot and I bought a ream of paper and an electric pencil sharpener and a dozen pencils and I drew like fifty something of these sketches in the hotel that week. Actually, this is the very first one I drew. So when it came time for the class then I took my favorite ones with me.

AM: And the first one you drew is this one?

DL: Is this one.

AM: Oh, this one, the images for this quilt. How neat. I didn’t realize that’s one of the things he teaches is about drawing, the elements and the appliqué. How cool. And then, has this quilt been exhibited?

DL: It has. He did a book about the process of making Rhapsody quilts and then he did six of Indian Issues and this is in the third issue, Baskets and Flowers and so it’s pictured as one of the quilts in there. Then he also does a pattern in each book of baskets and flowers. But this is one of the featured quilts. Then it hung in the Paducah show in 2008.

AM: Wow. And is it one that you still own? You’ve got it with you so obviously you haven’t sold it.

DL: Yes, I still own it. It hangs in our house. AM: Let’s talk about your process now. Is this [helicopter flies over.] quilt typical of what you’re doing now with your quiltmaking, in terms of technique, images, style?

DL: Yes, and I don’t make very many quilts. I stopped to do smaller items like the contest for The Alliance, for two years. Those take several weeks, but the one I’m working on now, I’ve been working on for a year and a half. And the process is, I drew for a long time. We were busy in our home and our family during times and so I would only draw. Then I worked on the appliqué and drawing it and cutting it for four or five months. Then I put it on the quilt. It took six months to do that. And, so, it’s to the point of being ready to quilt now.

AM: What do you like about this kind of, that you’re designing it, versus following a pattern? How has it been different for you?

DL: It’s very liberating, almost, in my mind, because before I always felt like, and I don’t want to say anything that would belittle the fact that people follow patterns and kits, and anything like that, because that’s beautiful. I think every quilt is beautiful. This is just a way to express myself more. It fits into what’s going on in my life. All of my quilts that I’m making at the time, they have a story that weaves into what I’m doing in life. So I think this allowed me to do that more than following a pattern.

AM: What was going on in your life when you made this quilt?

DL: This quilt was just the fact that I discovered a new way to do something and this quilt made me feel like it just flowed and that it was like an opening-up time, almost. I was just ready to do, to learn whatever I could. I just wanted to soak in everything I could about this new process. And that’s still how I feel. I think it is a continuous learning process. I don’t ever want to think I’ve learned enough.

AM: That’s really neat. Are there any quiltmakers in your family?

DL: Yes, there were. My grandmother was a quiltmaker but all of the quiltmakers in the past in my family were just simply utilitarian quiltmakers out of whatever they had. I have one quilt that she made and then we have about four quilts that my husband’s great grandmother made. Those are from about the turn of the century [1900.]. They’re probably what I would consider really pros-quilts. They’re still utilitarian in some way, but they’re very matched and they are very intricate patterns more so. Nothing Baltimore Album or anything like that. They’re all pieced, but we have those four. My mother was not a quiltmaker. She is a seamstress and still is, but not a quiltmaker.

AM: So who taught you to quilt?

DL: I’d love to have been for several years when my daughter was small and I would go to the quilt shops to buy the fabrics for her dresses because it was different than the normal, other stores. So, I always tell myself that when she reached school age that I would learn to quilt and so I did. I started going to a local shop and I signed up for a class and made a Christmas table runner that was a Quilt-As-You-Go project, so that was my first kind of thing to do, and then I did a few classes, just various classes at the shops. The paper piecing was something I really loved from the beginning, and hand appliqué. I did a twelve-month Piecemaker’s class on hand appliqué. I didn’t finish it, but I learned a lot and I finished portions of lots of the blocks. So, that was my first, initial classes in different parts of it.

AM: Have you ever taught, yourself? I mean taught a class yourself?

DL: No, I have not.

AM: Do you have any interest in doing that?

DL: No, not really. I think I would like to share it with everybody but I’ve never really thought about teaching. I spoke about Dear Jane a couple times, when I was doing the Dear Jane project, I spoke to a couple of guilds and just shared my story of making that.

AM: When did you do that?

DL: From January first of ’98 until May 22 of 2000. That’s when I finished it.

AM: Explain how that works, for people that don’t know how a Dear Jane quilt works.

DL: Dear Jane is a quilt from 1863. She lived in Bennington, Vermont, and she made the quilt during the civil war. It has 169 center blocks, all of which finished four and a half inches. It has 57 pieced triangles and 58 plain triangles in the four corners. And some of the blocks have 60 and 70 pieces. The whole quilt has 5,602 pieces. It’s like 169 little quilts in one. That’s kind of how I looked at it and I decided, it was my first large quilt to make, and I decided if I squared every four and one half inch square, that when I put them all together, it would be right. And that’s how I approached it from the beginning. I just looked at every little block as its own project. And it worked.

AM: Where is that quilt, now?

DL: It’s hanging in a gallery in Canada at the moment.

AM: How did it get there? What’s the connection?

DL: Mat Sparrow opened, he’s a machine quilter and designer in Edmonton, Canada, and he opened a gallery in February of this year. He put out the call for quilts to be in the gallery and so I sent it.

AM: Oh, neat. Have you always done machine work with quilting or have you done hand piecing, hand quilting? Now it looks like you’re doing machine pieced, machine quilted. Has that always been the case?

DL: I love hand appliqué. Hand quilting is not something I do very much, but hand appliqué I learned from the beginning and still I like to have a project of that of some kind. But, mostly machine work. I think that’s probably my preference, and will be in the near future, anyway.

AM: What’s your studio like?

DL: It’s my favorite room in the house. It’s nine feet by ten feet and it’s full. And it has all my favorite things and it looks like me, I think. I love it. I have a design board on the left of where I sit that has all of the pictures and inspirations of what I’m thinking about, little quotes, little pieces of mail, my name with ceramic letters, just a lot of things like that. Then, the name of my studio is Open Heart and so this year at Valentine’s Day my husband gave me a ring of open hearts to signify the studio, because I told him once I name it, I said it’s very important to me to name this studio. I spent a lot of time last year naming it because I felt like it represents who I wanted to be for the rest of my life. I told him, I said, ‘Once I name this studio I’m never changing it and so it will always be this.’ And so I was very excited about the little ring that he gave me to wear. I told him I would wear it forever.

AM: What a sweetheart. How much time do you get to spend in there in your studio, working.

DL: A lot. A lot. I work outside the home two weeks each month and then I’m at home for two weeks and I spend most of the time in there. At this point, he works at night and so I’m in there from about six in the evening until midnight or one in the morning every day.

AM: Have you started doing commissioned work or do you sell your work?

DL: No, I’ve never sold my work. I would be open to that in the future but I [beeping like equipment backing up, continuing.] have not done that. I not only quilt in the studio, I also do heirloom sewing orders, about, probably, sixty or seventy garments a year. I do those in order to go to retreats, go to quilt shows, whatever I choose to do that year, extra.

AM: Heirloom sewing like clothing? What does that include?

DL: I sew for little boys and it’s made with Swiss batiste, French laces, that type of sewing.

AM: Oh, wow, like Christening garments?

DL: Christening garments, wedding garments, lots of Easter. They buy a lot at Easter time. Christmas.

AM: When you’re in your studio and you’re making work it’s for you? Well, you do challenges, contests. You’ve done our contest, for us two years in a row. You kind of set the goals?

DL: Right. Right. The sewing orders, I don’t say that I enjoy them the most, but they are a means for what they’re for. I just try to look at it that way. They’re beautiful. They’re beautiful in the beginning. The fabrics are beautiful. I love to work with fabrics and touch fabrics. That’s how I tell myself this is going to make me be able to go to Paducah and Houston [Texas.] and to retreat in Colorado, or whatever I choose to do. So it’s good.

AM: That’s a great way to organize it, have something in there that’s paying for the things that you really want to do. [small plane flies over.] How does quiltmaking impact your family? I know your husband’s really supportive. What does your family think of all this?

DL: I’ve quilted since my daughter was six and I’ve sewn all her life and so she kind of thought that’s what everybody did. When she started going to sleep overs when she was about, maybe, eight, nine, ten, you know, eleven, twelve, all those years, she discovered that none of her friends’ mothers did this and she said, ‘They all watch TV. I thought everybody sewed like you do.’ She was very surprised to find out that everyone doesn’t really have a hobby and so she understands, I think, as the years have passed, [traffic sound.] especially now when she is twenty-two. She is starting to see the benefits that it really has on somebody’s life to have a hobby like this. To say in words the support of my husband, that would not be possible because he is just so understanding and so supportive and wishes that I could go to a quilt show every month if I wanted to. He said, ‘I wish you could go to all these quilt shows all the time.’ And he really does. We are sitting here at this quilt show here today and he is coming today to see the quilts and to just be here for a couple of days. And to look at machines with me.

AM: What a guy. Have you ever used quiltmaking to sort of carry you through a difficult time [papers shuffle.] or does it have that kind of emotional connection or something to occupy you, to distract you?

DL: [beeping continues.] It does have the emotional connection, especially the last few years. We have a wonderful life, a wonderful marriage, a wonderful home, but life gives us things that we don’t expect, sometimes, or we don’t plan, sometimes, and the last couple of years our son-in-law has been in a wreck for a year, and my father passed away and my aunt passed away all in the same week. And she was like a sister, and I don’t have siblings, so she had been like the only sister I ever had, and they passed away five days apart, in 2010. So the new quilt that I’m making really went through a lot of times with our daughter and then our son-in-law being in a wreck and my husband changing jobs after thirty years and then my father passed away and my aunt died. It was almost like a breath of fresh air every time I came back to the studio after being gone for all these different events. There was a long, drawn-out situation and so that quilt, that’s ready to quilt now, the name of it is Beautiful Darkness, because it gave me a way to find beauty in times that really weren’t happy for a few months in a year there, two years. I think it proved to me that you really can do that, if you look for it. Even in the times that aren’t the happiest there can be beautiful things and I think it will always remind me that I found something beautiful to do. [unidentified sound outside car.] during those times. It looks like light coming through darkness. It’s made from a ceiling and that’s what that ceiling reminded me of before any of these things ever happened and I saw the picture of it. It’s been just a very special quilt. I will look forward to the day that I can share the story of it and I just want people to see it. I hope that people can because it’s beautiful and it glows. It’s not beautiful because I made it, necessarily, the fabrics are beautiful and the colors are beautiful and when you look at it you can just see the light in it.

AM: How important is it to you that people that see your quilts also know the story of it? How do you want to impact them?

DL: It’s really very important. I would like for people to be able to imagine a story when they see my quilts. Everybody won’t know the personal story but I would like the titles of my quilts and then what you see through that title to kind of be able to think of a story. So that’s why it’s so important to name them right.

AM: Because you do spend a lot of time and effort to name your quilts. I think that’s really neat. And you label all your quilts I imagine, [papers shuffle.] because I did see a label on this one. Do you ever give any of your quilts away to family members? You said you’ve made quilts for your daughter’s teachers.

DL: Yes, and I did lots of baby quilts for about a five or six-year period. Then I’ve given my mom one and my aunt one and a couple of our good friends I’ve done one for. I did one for a wedding but the last few years it’s been more about, probably since about 2007, it’s been more about trying to see who I want to be, really, as a quiltmaker. I kind of took some time off to just learn about myself and try to expand on those things.

AM: Yeah, because this isn’t a bed quilt that we’re looking at. It’s a wall quilt.

DL: We love it. It hangs in our home above our sofa and we love it being there.

AM: [papers shuffle.] Tell me about quiltmakers that have inspired you. When you sort of reached this [unidentified sound.] milestone of making quilts, figuring out what quilts you wanted to make, it was through a workshop with Ricky Tims, how has he inspired you?

DL: Ricky inspires me to know that I can have an open frame of mind and that I can always see the world in a different way. He really talks to people about knowing their dreams and realizing their dreams and not just thinking, ‘Well this is just a dream and I can never do this, or I can never be this.’ [traffic sound.] He really pushes people and talks to people, and I think he pulls things from your heart and from beyond your heart, that are possibly covered up by the every-day life and by the years of life that happen to us all. It’s easy to loose sight of those initial wonderful pure first dreams that you ever had. I think he’s just somebody that really allows you to look inside yourself. At least that’s what he did for me and I think he’s done that for thousands of others that he’ll never even know. I tell him many times that you’ve touched lives that you’ll never know. He’s very humble about it. He’s very heartfelt about everything he does and says to others. I think it’s truly in his heart and his mind to touch the lives of others in what he does. That’s what he did for me and doing that it opened me up to think that, ‘I can do that.’ Maybe I can see parts of me and do things that I never thought I could do and he says that everybody is creative and that you just have to allow yourself to be that. People are creative on different levels. I tell him that he has more creativity in his little finger than I will ever have, but that doesn’t mean that I am not creative. It just takes a little more effort for me. And I think you have to be willing to look for that.

AM: Are there any other quiltmakers or styles of quiltmaking that really knock your socks off?

DL: I’m really drawn, also, to very traditional things. I like things that look a hundred years old, that are a hundred years old. Alex Anderson is a real inspiration to me, too, just because all these years she has always told the story of the traditions of quiltmaking. She does beautiful traditional work. She does branch out into some other things and into her art side and into her creative side, quite often. But, she always has a beautiful story to tell and a very strong story about traditional quilts. I think that she has touched the lives of many people through that. I think it’s just a beautiful thing.

AM: I’m going to ask you, after this question, about the community that you belong to and to describe that because I think it’s really specific. Well, maybe not specific to the quilt world, but really an interesting way people are connecting [unidentified sound.] with quilt world, but do you belong to any, or have you belonged to any sewing groups that get together locally? Do you belong to a guild?

DL: Yes. I do. When I was in the quilt shop looking for fabric for my daughter in 1996, it was a new quilt shop and she had some pamphlets on the counter and they were for a guild forming and it was close to where I live, so I thought well, I’ve been wanting to learn to quilt so I think I’ll go. So, I went to the first meeting. There were twenty-five people there and that’s been fifteen years ago. Now we have about a hundred members. It’s called the Uncommon Threads Quilt Guild. It’s in Memphis, Tennessee. It’s a great guild. I’ve gone, for the most part, the whole fifteen years.

AM: And we should say, I don’t think I said at the beginning that you’re from Olive Branch, Mississippi, although we’re doing the interview here in Paducah at the AQS show, so that people can know where you live. And that’s how far from Memphis?

DL: It joins Memphis, so it’s in the northern tip of Mississippi.

AM: Tell a little bit about your group, the community that you belong to, sort of the on-line community, what’s the name of the group? WAGS?\

DL: Oh, no, the WAGS are local.

AM: Oh, tell me about the WAGS group.

DL: The WAGS I met through our guild and we met fifteen years ago. There are five of us and we have shared life for fifteen years. We’ve traveled to Paducah probably ten of those years, together. There are two of the other WAGS here this year and we’ve had births and weddings and deaths. I think just about all of us have lost a parent. It’s just been wonderful; it’s gone far beyond quilting. We’ve done many quilting projects together. We go away every year, now, at the first of February we go to a state park for five or six days. That’s kind of our new tradition. We’ve done it four times, now.

AM: For camping?

DL: We stay in a lodge, our cabin, mostly a cabin, usually on a lake.

AM: Do you want to say what WAGS stands for?

DL: Sure. WAGS stands for Whip-Ass Girls. And I told them when they named our group that, that I could not be called that all the time and so I was going to be the wonderful angel of God. Well, they don’t think that’s true, but I do. [AM: laughs.]

AM: But you can repeat it.

DL: And so I hold to that. I can repeat it, and I hold to that ‘till this day. But they say that I’m the WAGgiest of all. I don’t think that’s true. [AM laughs.]

AM: So you belong to the WAG group, but then you also have an incredible network of people across the country that you’ve met on-line. Tell about that.

DL: I do. My first experience on line was through the Dear Jane project. That was just a list where you would just talk back and forth in a group. And, then, I met a lot of them at the end of the project one year, about 250 of them and we had all made our quilts separately, but made them together and the most valuable thing that I have from that is one of my very dearest friends in the whole world and her name is April Mathess and she lives in Portland, Maine. We met in May of 1998, we met on-line and so we just became wonderful friends. We have seen each other four times and I’ve gone there and she’s come here and so I talk to her almost every day and so it’s just a wonderful part of my life. [beeping.] Her sons were two and three and now they’re fifteen and almost sixteen.

AM: How cool.

DL: So it’s a great thing. That was a wonderful experience. I have a lot of good memories from that and a lot of good friends from it. Then through the years I did several things on line, but not a lot until 2007 when The Quilt Show website opened with Ricky Tims and Alex Anderson and it is called TQS; that’s the shortened version of it, thequiltshow.com and it is a place for on-line quilters. Its motto is to make it a way of life, and it truly is that. It has about 70,000 members, now. I became involved the very first day it opened. I joined early that morning and I had just found it a few months before and I waited, anticipated; they didn’t tell who the other person was going to be, with Ricky, until the day it opened. It was a surprise that it was Alex because she had shortly before that been on Home and Garden channel on TV for eleven years and so this was a new venture for her and they started it. And I’ve heard them, often, say that they did not expect it to become the family that it is. They expected it to be a place for quilters to learn and join together and have shows with guests, with national guests and they expect it to be all those things but they did not expect the family that it would become. I would say that ninety percent of the closest friends to my heart are on that site. I’ve met many of them in person at the quilt shows, many of them. We share a life. It’s proven to me that you can more deeply learn someone from their heart than even on a daily basis, and because you surely do learn people on there because you learn who they are, sight unseen. You’re not prejudged and you don’t prejudge. You don’t know what anybody looks like, sounds like, until you meet them or happen to talk on the phone to them, maybe. It’s just a real different sense of friendship. It’s a very deep friendship that can be made.

AM: Do you think that you would have had that opportunity if it had not been for this on-line, you know, the growth of the internet and then the TQS starting up?

DL: Oh, no, not at all. It’s a wonderful thing. I think I could have done it in a smaller way on other sites and I think there’s a lot of groups of on-line friends on many sites. I just happen to feel like the TQS one is the most special one and it’s just unbelievable. I just made a quilt with eight of the ladies and we worked on that together for six months and we’re all over the country and Norway, and the quilt is called a fractured quilt, or a panel quilt and it was a picture of water lilies on a pond and we increased it to 40, 4 x 64 and split it into eight panels and then we shipped the paper patterns of the panels all over the country. We each did out panel and then it was joined back together by a lady and then I just finished quilting it this week. And I shipped it to the next lady who will bind it and then it will be shipped to another member who will photograph it. We plan to try to enter it in the Houston show this year, [AM whispers, oh wow.] in the group category. It doesn’t have a name, yet, but we’re voting on many ideas but the stories that come from that project are endless. It was a beautiful thing to be a part of. I’m very, very thankful and I can’t wait to see all of the ladies who will all be in Houston this year, and the eighth one, who none of us have met, will be there as well. And she actually took the photograph, the original photographs.

AM: Wow. I could ask you this question, it seems like you have close relationships with a lot of other quilters. You’ve really have cultivated a lot of friendships on line. Are there any common themes that you see running between the quilters that you know, like challenges that they’re faced with now, maybe other than just wanting to get it all done?

DL: I think the biggest challenge that anybody seems to be faced with now is time. It’s almost like there was several years there that everybody was running in a thousand directions, and they still do, but it seems that I’ve noticed in the past, probably two or three years, really, people want to get back to doing something that pulls them back into just appreciating life. I think quiltmaking gives people an appreciation for life. Maybe you can just do it and not think that way, but I don’t know it would be possible. I can honestly say that there’s never a day that passes that I’m not very appreciative of what I’m doing. I do not take it for granted. I will never take it for granted. I want to encourage other people not to. I want to share what I do. That’s the story I would like to give above anything in the world. Don’t ever, ever take it for granted, because it is a precious thing to get to be. It’s not just a little hobby.

AM: I think that’s so true. I think you said that your quilt that you entered in our contest last year was the first one you had quilted.

DL: Yes, it was the first thing I had ever quilted. I had quilted a couple of samples and little pieces that I have at home, but it’s the first thing I had ever quilted to enter anywhere or be anywhere.

AM: So it’s amazing to me to see how rapidly you have, you’re pretty prolific. You get a lot turned out.

DL: I like to work on several pieces at one time. Sometimes I think I try to do too many pieces at one time and I don’t do any. [laughs.] But, I have a lot at all times, but I haven’t made as many quilts, I don’t think, as a lot of my friends. But, I stopped along the way and studied a lot and read a lot about them, and tried to learn. I have tons of samples. I have over a hundred sandwiched fat quarters that I practiced my quilting for a year and a half on my machine, because I was not naturally good at it. The first time I went to Ricky’s retreat and I told him I really wanted to learn to machine quilt and I couldn’t do it. I just didn’t have the feel for it and he said, ‘You go home and you draw for two weeks, get a ream of paper and just draw just quilt designs and things and circles and shapes and feathers and just draw, draw, draw, fast, for two weeks and don’t sew.’ So he said at the end of two weeks you’ll see a difference and he was right. That’s what I did. I drew a whole ream of paper, for two weeks, so I have all that. So then for the next year and a half or so, which brings us to about now, I have about a hundred sandwiches that I practiced and it’s better. It’s a learning process and I’m not a natural with it, but I love the progress that it’s made and I can see a difference. So, that’s what matters.

AM: You worked really hard at it. You went about it like a serious project.

DL: It’s like the quilt I’m making now. When I made this quilt I purposely drew all curves. There’s no set in points. The only four points on the quilt come to the edge, because I don’t like set in points. I didn’t want to do them. I didn’t intend to ever do them. The new quilt I’m making has 56 and I couldn’t figure how to round them. It just needed to have the points. So I got some samples and I did 24 set-in points on just little scraps and just practiced and so by the time I did 24 I could do them and so I did my 56 and they’re okay, so now I know [AM laughs.] how to do a set in point. [laughs.]

AM: Is there anything that I haven’t asked you that you want to talk about?

DL: I don’t think so. No, that pretty much covers it all.

AM: Oh, good. Thank you so much, Dana Lynch. This has been a great interview.

DL: You’re welcome. Thank you so much for having me.

AM: Oh, you’re welcome. We are finishing up and it is what time? Nine twenty [p.m.] on Thursday, April 28. Thank you, so much.