Dorine Douglas

Dorine Douglas

08/03/09

AZ85323-DAR001

audio

Dorine Douglas

Karen Musgrave

Dorry Emmer

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<title>Touchstone quilt: "Listen to the Drum"</title>
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<partial_transcript>This is Karen Musgrave and I am conducting a Quilters' S.O.S - Save Our Stories interview with Dorine Douglas. Dorine is in Avondale, Arizona, and I'm in Naperville, Illinois so we're conducting this interview over the telephone. Today's date is August 3rd, 2009, it is now 3:36 in the afternoon. We are doing this interview through the American Heritage Committee for the Arizona State Society of Daughters of the American Revolution.</partial_transcript>
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<synopsis>Douglas submitted her touchstone quilt to the Fiber Arts Contest sponsored by the Daughters of the American Revolution (DAR). The conditions for entry into the contest were that the item submitted be illustrative of American heritage and that the design be original. The central image of the quilt is a drum, as Douglas had looked at many pictures of armed forces up through the Civil War and realized that drums often appeared in those pictures. The drum is also the symbol of a DAR officer for the state of Arizona, and Douglas had a lapel pin with the drum on it, which she used as the model for the much larger image on the quilt. An image of the Preamble of the Constitution appears at the top of the quilt and other images associated with American heritage, such as the Log Cabin block pattern and stars representing service members living and dead, are shown elsewhere on the quilt. Douglas enjoyed making the quilt, although she made many mistakes that she had to correct. The quilt won first place at both state and regional levels and second place at the national level. Douglas displays the quilt in her sewing room and expects to give it to her daughter eventually.</synopsis>
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<keywords>Daughters of the American Revolution; Fiber Arts Contest of the American Heritage Committee of the Daughters of the American Revolution; Log Cabin - quilt pattern; Quilt shows/exhibitions; Awards; Quilt purpose - Challenge or contest entry; Design process</keywords>
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<time>205</time>
<title>Artist statement / Techniques</title>
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<partial_transcript>You had to write an artist statement. How was that experience for you?</partial_transcript>
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<synopsis>Douglas wanted her artist statement to include information about all the different symbolic elements in the quilt, so she had to plan it carefully. Douglas used a number of different quilt block patterns. She attributed specific meanings to some of them and said that the remaining blocks are based on simple patterns used prior to the middle of the nineteenth century. Douglas machine pieced most of the quilt, but appliqued the stars and the drum. She machine quilted, using diagonal lines that pointed in the direction of the drum. </synopsis>
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<keywords>Artist statement; Techniques; Fusible applique; Jacob’s Ladder (block pattern); Friendship (block pattern); Schoolhouse (block pattern); Machine piecing</keywords>
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<time>330</time>
<title>Quilt style / Interest in quilting</title>
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<partial_transcript>So is this quilt typical of your style?</partial_transcript>
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<synopsis>Douglas says that the touchstone quilt is not particularly typical of her style, mostly because she generally prefers to use patterns, because she "like[s] everything, to match or to be connected in some way...." Every so often, however, she does experiment a bit. Once she has found a pattern she wants to work with, she enjoys finding fabrics "that will blend and, and look well together, as well as add to the design itself." Douglas' mother had her start working on blocks for a Grandmother's Flower Garden quilt during the summer between fourth and fifth grade. Over the course of two summers, Douglas completed enough blocks for an entire quilt, but did not do anything further with it. As a wedding present for Douglas and her husband, her mother completed the quilt top and enlisted the members of her church women's group to quilt it. The quilt was damaged by being used as a baby mat by each of Douglas' three children and eventually had to be disposed of. Douglas did no more quilting for some time. Over the course of many years, Douglas collected sewing scraps and scraps from items of clothing from multiple generations of women in her family. From those scraps, she created a "Grandmother's quilt" [identified in the transcript as a Grandmother's Flower Garden quilt]. It was a gift for her daughter's fortieth birthday. Her daughter both uses the quilt and takes good care of it. The daughter can identify most of the fabric in the quilt.</synopsis>
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<keywords>Grandmother’s Flower Garden (quilt pattern); Family; Learning quiltmaking; Sewing</keywords>
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<time>543</time>
<title>Time spent quilting / Quilting techniques </title>
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<partial_transcript>How many hours a week do you spend quilting?</partial_transcript>
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<synopsis>How much time a week Douglas spends quilting depends on the projects underway. At the time of the interview, she is working on "throw size quilts" for three babies in her family and has set a deadline for herself of the end of the month. To meet that goal, she has been quiltiing a few hours every day. If she does not have a project of that type, than she typically spends only a few hours a week quilting. Douglas generally works on more than one project at a time. She becomes "anxious to do something else" while working on one project, so will take up a second project for a while and then return to the original project. She has other hand crafting hobbies that she does while watching television. What Douglas most likes about quilting is how relaxing it is. She loves to quilt, despite the occasional problem or difficulty, like having trouble figuring out which colors would work best in a piece or deciding to redo a block when she realizes she actually wants to do the block another way. She no longer does much hand quilting. </synopsis>
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<keywords>Techniques; grandchildren</keywords>
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<time>673</time>
<title>Creative process / Quilting dislikes</title>
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<partial_transcript>Tell me about your creative process. How do you go about, deciding what to do and how to do it?</partial_transcript>
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<synopsis>Douglas prefers to choose patterns where quilters can be relatively flexible in their choice of colors. In some patterns "the colors really need to be coordinated, and, in order to have a continuity in the way the pattern flows." In others, color coordination is much less critical. Douglas describes a mistake she made in putting together a Drunkard's Path quilt. She put one piece in one block the wrong way around. She did not realize that had happened, until after the quilting had been done. She sent the quilt to the intended recipients, anyway. She felt better about that mistake when she saw a Drunkard's Path quilt with the same error displayed in a museum, with a sign asking viewers if they could find the error. The part of quiltmaking Douglas likes least is assembling the quilt sandwich. Due to the lack of a more suitable surface, Douglas generally begins the process with the quilt on the floor and then moves it to the dining room table for pinning.</synopsis>
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<keywords>Use of color; Drunkard's Path - quilt pattern; Family; Quilt patterns</keywords>
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<time>796</time>
<title>Family relationship to quilts / Quilts for home use</title>
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<partial_transcript>How does your family feel about your quiltmaking? You mentioned your daughter loving her quilts.</partial_transcript>
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<synopsis>Both Douglas' daughter and granddaughter have done a modest amount of quilting, but she does not think that, to date, they have found it particularly enjoyable. Both of them work, so quilting is hard to fit into their lives. Douglas thinks, however, that that her daughter is likely to take up quiltmaking once she has retired. Douglas describes the quilt on her bed as having a "Hugs and Kisses" pattern. The blocks have X's and O's on them. The color scheme is yellow, beige, and cream. The quilt has stood up well to washing. A quilt is on her bed throughout the year, although she and her husband remove it overnight during the summer. Douglas reports that her family had not expected that her touchstone quilt would be competing against the projects of so many other people. Thus her relatives were surprised when she won, but they were also proud of her. She adds that her family has always paid attention to her different projects. </synopsis>
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<keywords>Family; grandchildren; Hugs and Kisses (quilt pattern)</keywords>
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<time>922</time>
<title>DAR chapter thinks of her winning contest / Studio space</title>
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<partial_transcript>So, what does your DAR chapter think of your win?</partial_transcript>
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<synopsis>Douglas' DAR chapter was thrilled that her quilt did so well in the DAR competition. She received a standing ovation from chapter members. She "was proud to be able to represent them in a good fashion like that." Douglas received a certificate for her win, which she hung up in her sewing room. That room used to be a bedroom, but she repurposed it after the children left home. Her sewing machine, two bureaus, a worktable, and a bookshelf are in her sewing room. She keeps fabric in the bureaus and on the bookshelf. Every so often, she cleans out fabric she does not anticipate using and donates it to a group that makes quilts to donate to charitable causes, such as Crisis Nursery [possibly Child Crisis Arizona (Crisis Nursery)]. She uses the scraps she produces while quilting to make 18 by 24 inch quilts to donate to a hospital's neonatal units. When the child is released from the hospital, the family keeps the quilt</synopsis>
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<keywords>Daughters of the American Revolution; Fiber Arts Contest of the American Heritage Committee of the Daughters of the American Revolution; Work or Studio space; Child Crisis Arizona (Crisis Nursery)</keywords>
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<time>1042</time>
<title>Quiltmaking advice</title>
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<partial_transcript>What advice would you offer someone starting out in quiltmaking?</partial_transcript>
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<synopsis>Douglas says that the most important advice she can offer new quilters is, "Don't get discouraged and buy a good seam ripper." In Douglas' view, errors are inevitable, but should not be demoralizing. In the event that a quilter is really unhappy with the way a quilt comes out, she recommends that the quilter "turn it over and use the back side." Generally, the reverse side is not particularly fancy, but the quilter still has a quilt that they have made. Douglas also recommends using appropriate tools of decent quality and gives several examples of useful tools. Douglas suggests that the beginning quilter use a pattern that is not at all complicated, but that they find appealing. Douglas talks about teaching nine other women to quilt, beginning with a Nine Patch quilt. She instructed them to each buy an additional yard of fabric, on the theory that people who are just starting to use a rotary cutter might have trouble cutting fabric with straight edges. Douglas reports that the class was a success, in that participants both liked the class and completed the project. One of Douglas' students subsequently made six quilts in close succession, after being widowed. The student felt that quilting was her way of dealing with this difficult period in her life and was pleased that she had learned the skill. </synopsis>
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<keywords>Teaching quiltmaking; Tools; Nine Patch (quilt pattern)</keywords>
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<time>1163</time>
<title>Using quiltmaking to get through a difficult time</title>
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<partial_transcript>Have you ever used quiltmaking to get through a difficult time?</partial_transcript>
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<synopsis>Douglas says that while she does not use quilting to get through difficult times as such, if she is in a low mood on a given day, she makes a trip to the fabric store to look at patterns and touch fabric. This makes her feel better. Douglas thinks family members having positive attitudes towards quilting are important for a quilter. Her husband is supportive of her work and thinks that it is high quality, even at times when she herself does not think so. She adds that sometimes she gets so involved in her work that she forgets to prepare dinner, and that can have the nice side effect of being a reason to go out to dinner. Douglas' patrilineal grandmother was a quilter. Douglas owns a Star of Many Points quilt that her grandmother partially completed during the 1890s. Douglas' grandmother passed it on to Douglas' mother, who also did not complete it and passed it on to Douglas. Douglas did not like the way the blocks were placed side by side, without sashing, so she took the quilt apart entirely. After cleaning and, as necessary, mending the pieces, she re-pieced the quilt, this time using sashing. The quilt won first place in a category for quilts worked on by more than one generation at her state fair. Douglas added a tag to the back of the quilt and gave it to her daughter. Douglas grew up in a house that was cold in winter, so her mother also quilted. According to Douglas, during each summer, her mother made a minimum of three quilts. Around the time she was five, Douglas begged her mother to let her help with quilting, until her mother came up with a task she could do. Her mother later told Douglas, after Douglas reached adulthood, that the mother had had to do the work that Douglas had done over again.</synopsis>
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<keywords>Family; Grandmothers; Star quilts; Star of Many Points (quilt pattern); Sashing</keywords>
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<time>1381</time>
<title>Teaching quiltmaking / Technology in quiltmaking</title>
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<partial_transcript>What did you like, uh, about teaching your group?</partial_transcript>
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<synopsis>Douglas liked teaching her group. She says that, for the most part, she is not particularly good at leading. That said, she enjoyed seeing her students' use of color as they worked on their blocks, as well as how happy they were to complete a block for the first time. Her goal was for her students to understand that they were capable of quilting. Douglas is more interested in whether a technique is the correct one to create the look she wants than in whether it is one she personally prefers. She tends to put blocks together from smaller pieces of fabric. Douglas likes rotary cutters, both for the speed at which a quilter using one can cut fabric and for the type of edge rotary cutters produce when the cloth is cut. When asked about other advances in technology, Douglas says that to her mind, the rotary cutter and the sewing machine are the two big improvements, even if not everyone recognizes machine quilting as authentic. Douglas thinks that machine quilting is more durable than hand quilting, assuming that the quilt will actually be used. She is less thrilled about long arm quilting, which she thinks makes the quilt too stiff, but she acknowledges that for prolific quilters, it makes sense for the quilting to be outsourced to a long arm quilter.</synopsis>
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<keywords>Teaching quiltmaking; Hand quilting; Machine quilting; Techniques; Long arm quilting; Technology in quiltmaking</keywords>
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<time>1561</time>
<title>Importance and challenges in quiltmaking</title>
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<partial_transcript>What do you think is the biggest challenge confronting quiltmakers today?</partial_transcript>
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<synopsis>Douglas thinks that the biggest challenge for quiltmakers is the expense. She sees this as a particular challenge in the context of the recession ongoing at the time of the interview. She specifically addresses the price of fabric and the importance of using cloth of a decent quality. Douglas recommends guilds for people getting started in quilting, as guilds teach, quilt for charities, connect their members socially, and are a place where quilters can ask questions and get answers. Quilting is important to Douglas, because she feels that she is giving part of herself to the recipient along with a quilt. It is also mentally stimulating and, due to the arrangement of her sewing room, requires her to be somewhat physically active as she works.</synopsis>
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<keywords>Quilt guild; Fabric</keywords>
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<time>1682</time>
<title>Quilt artistry </title>
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<partial_transcript>What do you think makes a quilt artistically powerful?</partial_transcript>
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<synopsis>Douglas thinks that color, in particular, the juxtaposition of different colors, is critical to the artistic power of a quilt. To her mind, an effective color combination can "be very bold or it can be something that is just so soft that it's very, very pleasing." She herself, prefers a softer look, so uses largely pastels, cream, and white. If, however, she is working on a project for someone else, she tries to gear her use of color to that person's preferences, even though she sometimes finds it challenging to do so. She adds that she has made so many quilts for relatives that she expects that some of them appreciate her work less than they used to. Douglas likes to quilt. She expresses a desire that not only her granddaughters and her daughter, but perhaps some of her male relatives, take up and enjoy quilting. Douglas is not particularly drawn to the work of specific other people, but does find that she is drawn to individual works when she goes to quilt shows, especially works that "took a lot of thought and a lot of planning and a good technique for putting it together." Douglas likes a variety of different types of quilts and does not have particular favorites as to type. </synopsis>
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<keywords>Use of color; Color palette; Family</keywords>
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<time>1844</time>
<title>Quilt shows / Remembrance </title>
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<partial_transcript>Which quilt shows have you been to?</partial_transcript>
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<synopsis>Douglas has been to quilt shows that are relatively local to her, including one that takes place at Saguaro Ranch and some in northern Arizona. She likes to go and likes browsing, but, for the most part, she does not purchase anything. She particularly likes finding a pattern she has made done by someone else using brighter colors. When asks how she wants to be remembered, Douglas says "Just so they remember me is the main thing." She would like people for whom she has done something to be aware it was done not out of obligation, but because of a desire to do those things. She thinks that passing a small part of oneself onto other people and leaving that small part when one goes is the maximum that should be expected of a person.</synopsis>
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<keywords>Quilt shows/exhibitions</keywords>
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<time>1933</time>
<title>Quilt shows</title>
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<partial_transcript>Do you plan to enter another quilt?</partial_transcript>
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<synopsis>Douglas says that, although a request has been made for her to submit another quilt, she is not sure that she will do so. As yet, she does not know what the topic of the event will be. She adds, "I'm not sure I could, come out as well as I did this time, and, and I figure I'm a little bit ahead of the game, now, I might just stay that way." Douglas was not able to attend the Continental Congress, so did not see her quilt displayed there. She would have liked to have gone, in part because she would have liked to see the quilt that came in in first place. She hopes that another chapter member, who did attend the Continental Congress and had planned to take photos, will have those pictures available to show people at the August meeting. ["Continental Congress" is the name of the Daughters of the American Revolution annual meeting.] </synopsis>
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<keywords>Quilt shows/exhibitions; Daughters of the American Revolution</keywords>
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<time>2002</time>
<title>Historical significance of quilts</title>
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<partial_transcript>What do you think makes a great quilter?</partial_transcript>
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<synopsis>A great quilter has to really love to quilt. That love will be evident in their work. They must also have a good color sense, as well as be able to adjust patterns in ways that make them look completely different, even though they continue to be the same pattern. Experimenting and trying out new techniques and approaches is critical, but so is "do[ing] what you do best." In Douglas' understanding, during the early 1900s, quilts, for the most part, conveyed stories. The neighbors of a woman moving from the east to the west would make her a quilt from individually-constructed Friendship blocks, as a reminder of her friends. Douglas thinks this sort of memento, made in order for the recipient to remember the maker is "a real good way to keep in touch." Douglas believes that her mother would have appreciated her quilts and says that her mother, in fact, did appreciate and used the "throw quilts" that Douglas sent her. Douglas' mother, in general, did appreciate other people's work and had, also, done considerable sewing herself. Douglas feels that using a gift is "the best honor you can give someone who makes something for you...."</synopsis>
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<keywords>Quilt purpose - Autograph or friendship; Friendship Blocks; Throw quilts</keywords>
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<time>2172</time>
<title>How quilts should be used / Anything else would like to say / First quilt memory</title>
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<partial_transcript>Well, how do you think quilts should be used?</partial_transcript>
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<synopsis>Quilts can be used decoratively in living rooms or bedrooms. Douglas displays some of hers on a quilt rack, rather than a wall. She hints at there being a number of other uses, but the only additional use she actually names is "to snuggle under on those days that you don't feel real good." Douglas expresses a desire to continue quilting and also to "pass on [her] knowledge to someone else...." Douglas' first quilt memory is of being reprimanded, because she made a quilt on her grandmother's bed dirty by jumping on the bed. The quilt pattern was Double Wedding Ring. This is the same grandmother who left behind a partially finished quilt, which Douglas re-did. Douglas says that she finds it hard to talk about her quilting, because she takes for granted things about her work that other people find special. She says, "I sometimes don't see what all the fuss is about, but, sometimes it's kind of nice to be fussed over, too...." Douglas expects to continue quiltmaking, but worries about reaching the point at which quilting becomes too physically difficult for her to do. If no one wants her quilts while she is alive, the survivors can get rid of them after her death.&#13;
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<keywords>Family; Grandmothers; Double Wedding Ring - quilt pattern</keywords>
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