Hawaiian City Garden

Royal Garden At Waikiki - Honolulu //-- Customer Support | Member Sign In Book Online or Call Toll Free: 1-888-782-9722 Mon-Fri 9:00am - 12:00am EST • Sat-Sun 9:30am - 11:00pm EST BookIt.com Member Sign In BookIt.com Members sign in here to view booking details, print vouchers, make changes and more. Booking ID: Email Address: You know what to do: Check In Enter your arrival date. '; Cal.ArrivalId='ARR_DATE_HM'; Cal.DepartureId='DEP_DATE_HM'; gDivId='CalDiv'; Cal.OpenCal(this);" onclick="Cal.Desc=' Enter your arrival date. '; Cal.ArrivalId='ARR_DATE_HM'; Cal.DepartureId='DEP_DATE_HM'; gDivId='CalDiv'; Cal.OpenCal(this);" Check Out Rooms 1 2 3 Adults 1 2 3 4 5 6 7 8 Children 0 1 2 3 4 5 6 Room 2 Adults 1 2 3 4 5 6 7 8 Children 0 1 2 3 4 5 6 Room 3 Adults 1 2 3 4 5 6 7 8 Children 0 1 2 3 Book On-line or Call Toll Free (888) 782-9722 - or - (866) 276-8861 ( en espanol ) BookIt.com™ Travel Guides Hawaii Travel Guide Hawaii Attractions Hawaii Restaurants Hawaii Shopping Hawaii Nightlife Hawaii Articles Royal Garden At Waikiki Located just steps away from the excitement of Waikiki, the Royal Garden at Waikiki hotel awaits your arrival. Star Rating On a quiet tree-lined street just off the Ala Wai waterway, the hotel and its expansive tropical gardens combine European elegance with Hawaii's tropical appeal. The Royal Garden at Waikiki features elegantly appointed guestrooms and suites in a variety of dcor with quality amenities, including Internet access in most guestrooms and all suites. The spacious accommodations, exceptional service, and the outstanding Shizu restaurant, make this hotel an unparalleled Royal Experience. Gracious and intimate best describes this distinctive Waikiki garden hotel. From the moment you set foot in the rich Italian marble lobby, you are embraced with abounding elegance. The attention to detail in this perfectly located Pacific paradise leaves little to be desired. The Royal Garden at Waikiki offers guests an award winning restaurant, a cascading waterfall, pools and whirlpools, High Speed Internet available in most of the rooms, Concierge Services, and much more! Whether your travel is for business or pleasure, the Royal Garden at Waikiki will make your stay in the Hawaiian Islands a memorable and Royal Experience. Location Located just steps away from the excitement of Waikiki, the Royal Garden at Waikiki hotel awaits your arrival. Address 440 Olohana Street, Honolulu HI 96815 Toll Free Bookings (888) 782-9722 (866) 276-8861 ( en espanol ) Quick Links Photo Gallery Rooms & Rates User Reviews Maps & Directions Nearby Attractions Amenities • Jacuzzi/Hot Tub • Business Center • Elevator • Exercise Facility • Lounge/Bar • Outdoor Pool • Sauna • Concierge Desk • Handicap Access Elev. • Restaurant • Wedding Services • Kids Stay Free • Dry Cleaning Service • Wake-up Service • Parking (Nominal Fee) • 24 Hour Front Desk • Ice Machine • Tiki Bar Details • # of Floors: 25 • # of Rooms: 140 • 03:00 PM Check In • 12:00 PM Check Out BookIt.com Photo Gallery of Royal Garden At Waikiki Prev Royal Garden At Waikiki Next Click on thumbnails to enlarge. Back to top BookIt.com Rooms & Rates at Royal Garden At Waikiki Standard Hotel Room One King, One Queen or Two Twin Beds. All rooms have balcony and either City or Pool Views, located 6-11th floor. Deluxe Hotel Room One King or Two Twin Beds. No balcony, either City or Partial Ocean Views, located 18-25th floor. One Bedroom Exec Suite with Kitchenette One King or One Queen Bed. Standing balcony only, either City or Partial Ocean Views, located 20-25th floor. Upgraded furnishing, large luxury livingroom and kitchenette.. Back to top Attractions Near Royal Garden At Waikiki honolulu 3 Miles University Of Hawaii 3 Miles Pearl Harbor-Uss Arizona Memor 11 Miles Bishop Museum 6 Miles Polynesian Cultural Center 35 Miles Hanauma Bay 12 Miles Waimea Falls Park 36 Miles Makaha 36 Miles Hawaii Convention Center 1 Miles Hnl-Honolulu Airport 9 Miles Distances shown above are provided by the property for comparison purposes only. Back to top Recent User Reviews of Royal Garden At Waikiki Be the first to review Royal Garden At Waikiki! Write a Review Overall Experience: 1 2 3 4 5 Quality: 1 2 3 4 5 Value: 1 2 3 4 5 Cleanliness: 1 2 3 4 5 Staff Efficiency: 1 2 3 4 5 Staff Friendliness: 1 2 3 4 5 Will Return: Yes No Your Name: City: State: Email: Comments: Back to top BookIt.com Maps & Driving Directions to Royal Garden At Waikiki [Content for browsers that don't support iframes goes here] Back to top More BookIt.com Oahu (Honolulu, Waikiki) Hotels Castle Waikiki Shore Ocean Front Condominium ResortQuest Pacific Monarch formerly Aston Pacific... Waikiki Parc Hotel ResortQuest Waikiki Sunset formerly Aston Waikiki ... Hawaii Polo Inn and Tower Holiday Surf Hotel - 2 Blocks from Waikiki Beach Sheraton Princess Kaiulani ResortQuest Waikiki Beach Hotel formerly Aston Wai... 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Holiday Inn Waikiki ResortQuest Waikiki Sunset formerly Aston Waikiki ... Holiday Surf Hotel - 2 Blocks from Waikiki Beach Royal Garden At Waikiki Marc Diamond Head Beach Hotel Royal Hawaiian Marc Suites Waikiki Sheraton Moana Surfrider Marc Waikiki Royal Suites Sheraton Princess Kaiulani Ocean Resort Hotel Waikiki Sheraton Waikiki Ocean Tower Hotel at Waikiki Beach The New Otani Kaimana Beach Hotel OHANA East Turtle Bay Resort OHANA Islander Waikiki W Honolulu Diamond Head OHANA Maile Sky Court Waikiki Gateway Hotel OHANA Waikiki Beachcomber Hotel Waikiki Marina Resort at the Ilikai OHANA Waikiki Malia Waikiki Parc Hotel OHANA Waikiki West Waikiki Sand Villa Hotel Back to top About Us | Privacy Policy | Terms Of Use | Add Your Hotel | BookIt.com Cities © 2006 BookIt.com. All Rights Reserved. | Florida Seller of Travel Registration #ST33468 Your Booking ID was provided to you via email when you completed your booking and also appears on your BookIt.com Lodging Voucher. Please enter the email that you used when you made your booking. 3.0 Star Rating Midlevel accommodations balancing comfort, style and services.

Hawaiian Quilt Collection [

Collections - Special - North American Indian and Native Hawaiian About special collections North American Indian and Native Hawaiian Quilt Collection [ click here to see samples ] Native quilters in the Hawaiian Islands and on the North American continent have long used colors and designs distinctly their own to make quilts which function in ways both similar to other cultural groups as well as in ways that have specific tribal or pan-Indian meanings. Quilts have been used in nearly every Native community for everyday purposes such as bed coverings, shelter coverings, infants' swing cradles, weather insulation, and providing a soft place to sit on the ground. In some communities, quilts are also used to honor individuals, in ceremonies, and in a variety of activities that strengthen community life. Native peoples in the Hawaiian Islands and North America have always had many indigenous traditions of textile production and use; the materials and skills of quiltmaking had many precedents in these communities. When commercially-manufactured cloth and steel needles became available to native peoples, it was not surprising that, adept at similar craft forms, they quickly picked up quiltmaking. Native needleworkers continually combine or replace old materials and technologies with new. Finger-woven animal pelt blankets have been replaced by wool blankets and quilts, hides replaced by cotton fabrics, and awls and needles replaced by sewing machines and rotary cutters. The initial conveyance of quilting skills to Native peoples occurred in the nineteenth century with the establishment of mission schools and churches in Native communities. Numerous references in missionary diaries and letters, mission records and newsletters, and oral histories point to the substantial influence that Christian denominational mission churches and schools had in introducing quiltmaking to Native peoples. Through both formal instruction and in the context of affiliated women's social groups, missions promoted Euro-American domestic arts, including quiltmaking and other forms of needlework. Whether Mennonite missions on Hopi land, Mormon missions in Utah and Nevada, Quaker mission schools in Pennsylvania, or Catholic missions in frontier outposts, these Christian evangelical and educational efforts were instrumental in introducing and sustaining interest in these crafts. Within Native communities, quilts are often used to mark rites of passage or special occasions and to honor individuals for their special achievements or contributions. At naming ceremonies, quilts are given to friends and family in honor of the loved one being named. Students graduating from high schools or college are given quilts as a sign or recognition of their academic accomplishments. Athletes winning competitive events are given quilts for their physical achievements. Veterans returning from military service are honored with quilts to thank them for their bravery and personal sacrifice. Any one who has contributed significantly to his or her own, family's or community's well being is honored, either by being given a quilt or having quilts given away on their behalf. Production techniques (patchwork, appliqué, quilting, tied work), material preparation (batting, recycling cloth), patchwork patterns, quilting designs, and quilt names were shared among Native and non-Native quiltmakers. Yet choices of patterns, construction techniques, materials, and names often are tied to Native or tribal identity. Native artists adapt the beadwork, rug weaving, and basket weaving patterns of their cultural heritage of their own experience into their quilts. Color choices often reflect the Native quilter's close spritual ties to the natural world. Many times Native quilters, irrespective of their own tribal background, will select printed fabrics that incorporate Southwestern or pan-Indian imagery, such as eagles, running horses, or motifs from or resembling those of Navajo rugs. Of all the discrete collections of the MSU Museum's quilt collections perhaps the most important is the collection of North American Indian and Native Hawaiian quilts. Several museums have one or a few samples of Native quilts and a handful of museums have quilts specializing in the quilts of one culture or tribe (for instance Native Hawaiian or Lakota Sioux) but no other musuem in the world has a collection that not only represents the breadth and diversity of Native quilting in North Amercia but also is accompanied by documentary information resulting from historical and ethnographic research. There are a number of reasons why Native quilters have been so little known to those outside their families or communities and that museums have so few examples in their collections, but perhaps the chief reasons were that it is an art form that has appeared so extensively in everyday life and that it was primarily the result of indigenous cultural contact with outsiders. Considered commonplace and perceived firmly tied to a European rather than a Native artistic tradition, quilts, unlike other Native arts, were historically not collected or studied as items of ethnographic, aesthetic, or marketplace value. In addition, most quilts made within Native communities were made for everyday use; even those made and given in ceremonies were intended for everyday use. Thus, there are few extant historical quilts in either private or public collections. The first Native American quilt acquired by the Michigan State University Museum was one documented in a Michigan Quilt Project Discovery Day in 1985. The quilt, made c. 1920 by Margaret (or Anna) David, an Odawa quilter, from Peshawbestown, Michigan has distinctively Woodland Indian floral motifs in the corners and sides of a traditional Star quilt pattern. It was donated by a non-Native family who had acquired it from its maker. Subsequent research has uncovered five more quilts done in this style and has revealed that the quilter was probably affiliated with a group of women who quilted together in the basement of the Church of the Immaculate Conception in Peshawbestown, Michigan, a community where Ojibwa and Odawa had long resided. Additional research by museum staff on Ojibway, Odawa, and Potawatomi quilting resulted in the collection of narratives, photographs, and quilts documenting the long-time engagement in quilting by many Native women in the region. Working in tandem with the Smithsonian Institution's National Museum of the American Indian, Atlatl (the national service organization for professional Native artists), and many tribal museums as well as quilters, collectors, and other scholars, the Michigan State University Museum staff continued to document Native quilting traditions throughout the United States and Canada. These efforts have resulted in the exhibition "To Honor and Comfort: Native Quilting Traditions" that toured to major museums across the nation, a smaller version of the exhibit that is touring to tribal museums, a publication, and the collection of well-documented quilts and related materials at MSU. -- by Marsha MacDowell [excerpt from Marsha MacDowell, ed., Great Lakes,Great Quilts. Concord, California: C&T Publishing, 2001] GLQC Home About GLQC Collections Exhibits Programs Publications Internships/Volunteers Quilt Index On–Line Newsletter Virtual Quilt Sponsors/Endowments Links Quilt Care Site Info Contact Us

HAWAII CRUISE HAWAII RENTAL

Hawaii Cruise - Discount Hawaii Cruises and Reviews HAWAII VACATIONS HAWAII VACATIONS LOW HAWAII AIR AIR FARE QUOTE HAWAII PACKAGES HONOLULU HOTELS OAHU CONDOS MAUI PROPERTIES KAUAI BIG ISLAND MOLOKAI 5 STAR HAWAII HOTELS ALL INCLUSIVE HAWAII HAWAII CRUISE HAWAII RENTAL CARS HAWAII HONEYMOONS HAWAII GROUP TRAVEL LAS VEGAS HAWAII ACTIVITIES PRIVACY POLICY WHY CHOOSE US? TESTIMONIALS WAIVER HAWAII TRAVEL Hawaii Cruises CRUISE HAWAII LIKE NEVER BEFORE!! 7 DAY CRUISE OF THE HAWAIIAN ISLANDS NO MORE FANNING ISLAND OR PASSPORTS! NEW!! PRIDE OF AMERICA Experience the flavor of the U.S. while enjoying the Aloha Spirit of the Hawai`i crew on board thisexciting new ship PRIDE OF ALOHA Pride of Aloha 7 day NORWEGIAN WIND Norwegian Wind 10 day Hawaiian cruises M ore than 2000 miles from the nearest major land mass, the Hawaiian Islands form the most isolated group of islands in the world. Palm-fringed beaches, tropical sunsets, Polynesian luau's, glowing volcanoes . . . there's something for everyone in Hawaii. Hawaiian cruises are the ultimate "island-hopping" adventures, affordably taking you from one tropical Hawaiian Island to another while experiencing the WERE YOUR NUMBER 1 SOURCE FOR HAWAII CRUISING!! Two new ships have been flagged to do inter island cruises. Cruise in Hawaii has never been so exciting!! HAWAIIAN CRUISES. We offer Hawaiian island cruising packages and personal friendly customer service and all bookings are done by trained professional travel agents located here in the State of Hawaii. * Required -- Hawaiian Cruise Quote Form Fill out this form to get a custom quote e-mailed to you from one of our cruise specialists! When would you like to travel? Month of? Early Mid Late Jan. Feb. Mar. Ap. May June Jul. Aug, Sept. Oct. Nov. Dec. 2005 2006 Adults Child Cruise lenth 1 2 3 4 1 2 3 4 0 7 10 11 Cabin Type Cheapest available Inside Outside Outside Oceanview Outside OV w/balcony Air fare Ship preference Cabin size Total traveling Albany, NY Albuquerque, NM Allentown, PA Alliance, NE Amarillo, TX Anchorage, AK Applleton, WI Aspen, CO Atlanta, GA Austin, TX Bakersfield, CA Baltimore, MD Bellingham, WA Billings, MT Birmingham, AL Bismark, ND Bloomington, IL Boise, ID Boston, MA Bozeman, MT Brookings, SD Buffalo, NY Burbank, CA Burlington, IA Burlingtonm, VT Carlsbad, CA Casper, WY Cedar Rapids, IA Chadronm, NE Charleston, SC Charleston, WV Charlotte, NC Charlottesville, VA Cheyenne, WY Chicago-Megis Field, IL Chicago-O'Hare Chico, CA Cincinnati, OH Cleveland, OH Colorado Springs, CO Columbia, SC Colombus, OH Cortez, CO Cresent City, CA Dallas/Ft. 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Hawaiian Quilt Collection [

Collections - Special - North American Indian and Native Hawaiian About special collections North American Indian and Native Hawaiian Quilt Collection [ click here to see samples ] Native quilters in the Hawaiian Islands and on the North American continent have long used colors and designs distinctly their own to make quilts which function in ways both similar to other cultural groups as well as in ways that have specific tribal or pan-Indian meanings. Quilts have been used in nearly every Native community for everyday purposes such as bed coverings, shelter coverings, infants' swing cradles, weather insulation, and providing a soft place to sit on the ground. In some communities, quilts are also used to honor individuals, in ceremonies, and in a variety of activities that strengthen community life. Native peoples in the Hawaiian Islands and North America have always had many indigenous traditions of textile production and use; the materials and skills of quiltmaking had many precedents in these communities. When commercially-manufactured cloth and steel needles became available to native peoples, it was not surprising that, adept at similar craft forms, they quickly picked up quiltmaking. Native needleworkers continually combine or replace old materials and technologies with new. Finger-woven animal pelt blankets have been replaced by wool blankets and quilts, hides replaced by cotton fabrics, and awls and needles replaced by sewing machines and rotary cutters. The initial conveyance of quilting skills to Native peoples occurred in the nineteenth century with the establishment of mission schools and churches in Native communities. Numerous references in missionary diaries and letters, mission records and newsletters, and oral histories point to the substantial influence that Christian denominational mission churches and schools had in introducing quiltmaking to Native peoples. Through both formal instruction and in the context of affiliated women's social groups, missions promoted Euro-American domestic arts, including quiltmaking and other forms of needlework. Whether Mennonite missions on Hopi land, Mormon missions in Utah and Nevada, Quaker mission schools in Pennsylvania, or Catholic missions in frontier outposts, these Christian evangelical and educational efforts were instrumental in introducing and sustaining interest in these crafts. Within Native communities, quilts are often used to mark rites of passage or special occasions and to honor individuals for their special achievements or contributions. At naming ceremonies, quilts are given to friends and family in honor of the loved one being named. Students graduating from high schools or college are given quilts as a sign or recognition of their academic accomplishments. Athletes winning competitive events are given quilts for their physical achievements. Veterans returning from military service are honored with quilts to thank them for their bravery and personal sacrifice. Any one who has contributed significantly to his or her own, family's or community's well being is honored, either by being given a quilt or having quilts given away on their behalf. Production techniques (patchwork, appliqué, quilting, tied work), material preparation (batting, recycling cloth), patchwork patterns, quilting designs, and quilt names were shared among Native and non-Native quiltmakers. Yet choices of patterns, construction techniques, materials, and names often are tied to Native or tribal identity. Native artists adapt the beadwork, rug weaving, and basket weaving patterns of their cultural heritage of their own experience into their quilts. Color choices often reflect the Native quilter's close spritual ties to the natural world. Many times Native quilters, irrespective of their own tribal background, will select printed fabrics that incorporate Southwestern or pan-Indian imagery, such as eagles, running horses, or motifs from or resembling those of Navajo rugs. Of all the discrete collections of the MSU Museum's quilt collections perhaps the most important is the collection of North American Indian and Native Hawaiian quilts. Several museums have one or a few samples of Native quilts and a handful of museums have quilts specializing in the quilts of one culture or tribe (for instance Native Hawaiian or Lakota Sioux) but no other musuem in the world has a collection that not only represents the breadth and diversity of Native quilting in North Amercia but also is accompanied by documentary information resulting from historical and ethnographic research. There are a number of reasons why Native quilters have been so little known to those outside their families or communities and that museums have so few examples in their collections, but perhaps the chief reasons were that it is an art form that has appeared so extensively in everyday life and that it was primarily the result of indigenous cultural contact with outsiders. Considered commonplace and perceived firmly tied to a European rather than a Native artistic tradition, quilts, unlike other Native arts, were historically not collected or studied as items of ethnographic, aesthetic, or marketplace value. In addition, most quilts made within Native communities were made for everyday use; even those made and given in ceremonies were intended for everyday use. Thus, there are few extant historical quilts in either private or public collections. The first Native American quilt acquired by the Michigan State University Museum was one documented in a Michigan Quilt Project Discovery Day in 1985. The quilt, made c. 1920 by Margaret (or Anna) David, an Odawa quilter, from Peshawbestown, Michigan has distinctively Woodland Indian floral motifs in the corners and sides of a traditional Star quilt pattern. It was donated by a non-Native family who had acquired it from its maker. Subsequent research has uncovered five more quilts done in this style and has revealed that the quilter was probably affiliated with a group of women who quilted together in the basement of the Church of the Immaculate Conception in Peshawbestown, Michigan, a community where Ojibwa and Odawa had long resided. Additional research by museum staff on Ojibway, Odawa, and Potawatomi quilting resulted in the collection of narratives, photographs, and quilts documenting the long-time engagement in quilting by many Native women in the region. Working in tandem with the Smithsonian Institution's National Museum of the American Indian, Atlatl (the national service organization for professional Native artists), and many tribal museums as well as quilters, collectors, and other scholars, the Michigan State University Museum staff continued to document Native quilting traditions throughout the United States and Canada. These efforts have resulted in the exhibition "To Honor and Comfort: Native Quilting Traditions" that toured to major museums across the nation, a smaller version of the exhibit that is touring to tribal museums, a publication, and the collection of well-documented quilts and related materials at MSU. -- by Marsha MacDowell [excerpt from Marsha MacDowell, ed., Great Lakes,Great Quilts. Concord, California: C&T Publishing, 2001] GLQC Home About GLQC Collections Exhibits Programs Publications Internships/Volunteers Quilt Index On–Line Newsletter Virtual Quilt Sponsors/Endowments Links Quilt Care Site Info Contact Us

Hawaiian Bed Spread

HAWAIIAN QUILTING FROM HONU HALE Search: The Web Tripod Walk the Line Share This Page Report Abuse Edit your Site Browse Sites « Previous | Top 100 | Next » HONU HALE Quiltmaking PUTTING IT ALL TOGETHER WHAT YOU WILL NEED Your quilt top is now finished. Most quilters pull out basting threads as they applique but if any remain, this is the time to remove them. Isn't it beautiful and aren't you proud of yourself? You should be. Now you are ready to assemble your quilt. Batting can be bought by the yard in fabric stores but it is far easier to buy seamless sheets in the size you need. They are available in everything from Crib (45"x 60") to King (120"x 120") size at Variety stores, some fabric shops and of course from quilting supply stores and catalogs. There are some excellent on-line resources for telephone orders, eg. Hancocks or Keepsake Quilting; see LINKS page. Most quilters use polyester batting but pure cotton and poly/cotton blends are also available. Batting thickness is largely a matter of personal preference. The thinner the batting, the easier to quilt and the smaller your stitches will be. A very thick batting can result in a quilt which is too heavy to use as a bedspread, particularly in a warm climate. It will however, make a quilt which is "puffier" and more sculptured in appearance. There are definate differences between brands of batting and you may want to check out several different ones. Hobbs Polydown is a good, all-purpose choice used by many quilters. Backing: Remember that third large square of fabric you set aside months ago. Now is the time for it to come out of hiding to become the back of your quilt. If you didn't do it before, press it exactly as you did the other squares; lengthwise into halves, then into quarters, then eighths. ASSEMBLY For this step, you will again need the large flat surface -- several tables or the floor -- which you used to lay out your quilt face prior to appliqueing. Just as you did then, spread the fabric for the back of your quilt flat and fasten at the edges. Over this spread your sheet of batting making sure it lies smoothly, covering the entire back of quilt. Finally, (at last), spread your quilt top over the other two layers matching folds in face and back. Be very sure that the fabric grain in both pieces runs in the same direction. If it doesn't, quilting will be almost impossible since the "give" in fabric differs with grain direction. Check around edges of layout to make sure the fabric layers match at center folds and corners. Some adjusting and smoothing will almost certainly be necessary. Batting will probably protrude beyond edges. It should, you can trim it later. Using long quilters' pins, fasten edges loosely together. Starting in the center, pin all layers together, first along fold lines including diagonals, then securing layers with more pins about 12-14 inches apart throughout the quilt. There is no need to measure, just be sure all layers are firmly pinned. Finally, unfasten from surface, pin edges neatly and trim off surplus batting a few inches beyond edge of quilt. Your quilt is now ready to be moved to a table for basting. BASTING You now have an assembled quilt, pinned together and draped over a table. Start at the the center,(tired of that - OK - the "PIKO" ) with a long basting needle and regular sewing thread, preferably white. Taking large stitches, 11/2-2 inches, baste along the fold line through alllayers, to one of the outside edges. Take 2-3 loose stitches to end thread. Return to the center and repeat, basting to opposite edge. Now, move out 10-12 inches from center line which you have basted. Starting at center fold,( not quilt center), again baste out to both edges, parallel to previous basting. Measuring and placing pins to insure a straight line may be helpful but is not essential. Continue this process on both sides of quilt, working in opposite directions from center fold.Smooth out any surplus fabric on either face or back, as you go. When you reach the edges,parallell to your basting lines, place your last row of basting approximately where you want your finished quilt edge to be. Ideally, this line should be an equal distance from all outside edges of your pattern. In reality this may not be quite so, try for fairly equal. At this point your quilt is basted in one direction. Turn it around and do exactly the same thing going in the opposite direction.The finished result will be a grid of neatly basted squares which will hold all parts of your quilt together as you work. Trim all outside edges 3-4 inches beyond edge of basting. Part of this surplus will eventually go inside your quilt binding. The rest allows for adjustments and can be trimmed off later. TRANSITIONS This is another step which has gone rather quickly. If you belong to a quilt club and were lucky enough to have had help from other quilters, it probably took only a few hours; if you are working alone, a day or two. At this point, many experienced quilters choose to start a second quilt. The reason is simple, while quilting on one they are appliqueing on the second. This introduces an element of variety into the work and eliminates any possible boredom which may result from looking at the same quilt every day for months on end. Of course anyone who decides to do this is clearly hooked on Hawaiian quilting. Believe it or not your quilt is now more than half finished. From here on you will be working with the fully assembled quilt as you master the fine art of quilting. Did you spread it out on a bed yet to admire? If you didn't, by all means do before you continue. Honu_Hale@yahoo.com Index Page 6 Quiltmaking -- Getting ready to quilt. Page 1 Homepage Page 2 Tradition Page 3 Quiltmaking -- Starting your Quilt Page 4 Quiltmaking -- Moving Ahead Page 7 Quiltmaking -- Quilting at last. Page 8 Quiltmaking -- Still Quilting Page 9 Quiltmaking -- Finishing your Quilt. Page 10 Pictures Page Page 11 Patterns Page Page 12 Links Page Page 13 A Quilter's Comments