Innholdsfortegnelse for Issue 4 i Today's Quilter

Do you have a most loved season? For some, it’s Spring and Summer with the warm, longer days and new growth they bring. For others, Autumn heralds a palette of rich colours and the promise of cosy evenings by the fire. Winter isn’t such an obvious choice with its cold starts and long, dark nights – hibernation is tempting! However, Winter also brings with it the excuse to wrap ourselves in comforting jumpers and scarves, pour huge mugs of steaming hot tea and plan for the festive season. It’s also time to crack out all those fabrics in deep berry tones and Christmas reds. The burgundies, greys and browns that might have looked out of place in the sunshine now come into their own. Vintage sepia shades evoke nostalgia, and…

LET US KNOW! Drop us a line – an email, letter, tweet or Facebook post – letting us know about your quilting. Whether it’s a new project, treasured heirloom, favourite fabric or imaginative mood board, we’d love to see what you’ve been up to and hear your stories! IN ISSUE ONE we presented a souvenir supplement celebrating design legend Kaffe Fassett as he enters his 50th year in textiles. So I’m delighted that with Issue Four, we can bring you one of Kaffe’s self professed biggest fans – Amy Butler. Both Amy and Kaffe grew up in creative environments that nurtured their talents from a very young age and formed the foundation of a life-long love affair with textile design. Amy has shared with us her journey and a fascinating…

BRIGHT HEART This collection is rich and dramatic with deep inky hues. It was inspired by a trip to Mexico, where Amy was struck by how deeply the people are connected to their heritage and the natural world. SOUL BLOSSOMS Amy is utterly enchanted by India, and this is her interpretation of a modern passage through its floral delights. Influence of the culture, rich colours, amazing textiles and ornate architecture shines through.…

The single block cushion gave me a chance to really highlight the Improv Dresden by placing it on a plain background. I tried to ‘colourwash’ the fabrics from cool to hot. It was also a good way to use up any odd wedges left over from making the quilt! Though it is easier to make a regular circle centre it made sense to try and ‘improv’ this shape too by making it slightly oval. I love adding a little hand quilted detail by using perle cotton #8, and for the centre I used the cheese plant leaf motif from the quilt, as it ties the two items together. You will need • Eighteen (18) different scraps of fabric for wedges ranging from 1 x 3in to 3 x 9in •…

You will need • One (1) jelly roll or forty (40) 2 ½ in wide strips cut across the width of the fabric • Fabric for the background and setting triangles 2¾yds • Batting 65in x 76in • Backing fabric 65in x 76in • Binding fabric ½ yd Finished size • 57in x 68in Notes • This quilt requires the use of a Creative Grids Multi-Size 45/90 or a 45° Single Strip Ruler for making half square triangles from strips. If you are using another speciality triangle ruler, please ensure you are using the correct markings before cutting. • If you rotary cut you will need a good size mat and cutter. We use a mat that measures 18in x 24in and a 45mm standard cutter. You will need a…

IF YOU’VE BEEN following the quilt circuit in 2015 you will know that it’s been a great year for Kay Bell, a longarm quilter based in the Scottish Borders. In the last few months Kay has scooped up the Visitors’ Choice award at Festival of Quilts together with Coriene de Haas, as well as winning the Scottish Quilt Championships, for the third time running. Her winning quilt, ‘Subtle Differences’ also won the 2nd Place award in the Large Wall Hanging category at The Great Northern Quilt Show in Harrogate and a Judges Choice award from Sylvia Critcher. Sandie Lush voted it her “Judges Choice” at the Festival of Quilts. It looks like Kay is going to have to make more space for her collection of winning rosettes if this past…

This improvisational Log Cabin scrap quilt was inspired by several antique quilts in Åsa Wettre’s book Old Swedish Quilts, especially an early 20th century quilt from Habo. Although it isn’t obvious at first glance, it is made of blocks, which are assembled in groups according to their approximate size and trimmed to fit together. A few long sashing strips are used to even up sections to match the next before they are sewn together. The random effect is created by mixing up strip widths and abandoning the conventional light and dark arrangements usually seen in Log Cabin blocks. Each block starts with a 4¼in square in assorted fabrics and the varying strip width means scraps of many sizes can be used up economically. Susan named the quilt ‘Luleå Blockhus’ or,…

There's never been a more exciting time for modern quilters, and by modern quilter, I mean you! Love fresh fabric design in exciting colours? Smitten with graphic shapes and bold piecing? Yep, you're a modern quilter, and at Love Patchwork & Quilting we're so excited to be a part of your passion. Presented by the Modern Quilt Guild, QuiltCon is a must-visit show for anyone that loves the world of quilting. Featuring the leading names in the industry, your favourite authors and bloggers, top instructors and (of course) tons of shopping – it really is the event in the quilting community's calendar. We're delighted to bring you this opportunity to join us in Pasadena, California for QuiltCon West 2016 – we've put together a fantastic package with Arena Travel that…

“I love how the points of the star are mirrored in the tiny frilly flower print. Little touches like this add so much interest and personality to a block. This one sparkles!”JENNY FOX-PROVERBS, SENIOR EDITOR Ingredients • Assortment of three different print fabrics for the block units, maximum size needed 3¼in square • Machine sewing thread to tone with fabrics Finished size • 6½in square (6in once pieced into project) Notes • The star is rotary cut and machine pieced. • Instructions include a ¼in seam allowance. • Press seam allowances towards the darker fabric unless otherwise instructed. • The reference letters on the diagrams refer to the size to cut each piece and its placement within the block. If making several blocks, please consider your colour choices as you…

We all have a designer with whom we ‘grew up’. Someone whose career was just blossoming as we made our first tentative stitches on the sewing machine. For me, that person is Amy Butler. Although I had learnt to use a sewing machine at school, I didn’t take it up again until my first ‘proper’ job. In 2003, after four years as an editor producing craft books, I decided it was time to brush up my skills. Two things happened simultaneously – I discovered quilting, and I discovered Amy Butler. One of her first collections was the now classic Belle, and this was when I fell in love. Ever since, I have followed Amy’s career with awe and more than a little nostalgia. There is something about Amy that is…

 You have to commit to you time. Most folks feel that that is selfish, but that’s just the message we’ve been given via social programming. Even if you can give yourself two to three 30 minute sessions just for you, you’ll find you have more energy and balance in every area of your life. You can’t feel connected to others or give unless you fill yourself up first. When we block ourselves off from our creativity or down time we cut out one of the most important parts of being a human and having a fulfilling life. Your soul takes a hit every time you deny expressing your creativity. We all are creative and as humans we need that outlet to be happy. Start with small chunks of time and…

COLLABORATION ERIKA KNIGHT & ROWAN YARNS How many of us pick up knitting needles as well as sewing pins? It was inevitable that Amy Butler would find herself working with yarn in addition to fabric. Quilters are renowned for enjoying a spot of knit one, purl one, especially as the craft is so portable. If that’s you, then you will no doubt be familiar with the work of Erika Knight. Knitting is one of Amy’s great hand-crafting passions, so developing her own line of yarn and patterns came naturally; in fact she says it was also a dream come true! From the super soft 50% organic wool/50% organic cotton blend Belle yarns to the plush 100% Merino Wool Sweet Harmony yarns Amy has investigated textures as well as colour. The…

TRAVEL My travel choices with Dave reflect our passion for seeing and experiencing other cultures around the globe, and in finding ways to have deep connections with the people and places we visit. Often we are guided to beautiful natural places to soak in the vitamin D and the peace and quiet of nature but, in contrast, we also love the adventure of diving into a new culture in a country we have passionately wanted to visit for inspiration. I gravitate to countries that have an ancient heritage grounded in decorative art and colour as a means for life celebration like India, Africa and Asia. I also love travelling to historic sites and gardens in and around England and Europe for inspiration and to soak in the wonderful energy and…

Inspired by a traditional Rob Peter to Pay Paul block, which would usually require piecing fiddly curved seams, this quilt-as-you-go project was designed with efficiency in mind and is constructed a little more like a Cathedral Windows block. The large and vibrant prints of Amy’s Dreamweaver collection lend themselves to a larger block size, and are set in the design within ‘frames’ of coordinating solids for definition to really show them off. With a little time spent on prep, these large blocks sew together very quickly and create a striking quilt which can be flexible too. It’s double-sided, so you can use it either way round, depending on your mood. You can choose to leave the outer edges curved or finish up each block to make it square. You can…

Jo Avery TRADITIONAL WITH A TWIST Jo’s improv interpretation of the traditional Dresden Plate on page 20 is a joy to behold. There’s so much room for your own creative input! Jane Rae FEATURES EDITOR With an eye on spreading the quilty cheer this Christmas, Jane has put together a list of perfect gifts for quilters (or yourself!) on page 16. Carolyn Forster DESIGN CLASSICS Carolyn as come up with not one but three projects using the spool block, starting on page 78. Who can resist a sewing themed quilt?…

HAVE YOUR SAY Piecing together quilting history Do you remember making templates out of cereal packets, The Patchwork Dog and the Calico Cat, Beth Gutcheon’s The Perfect Patchwork Primer, and searching for fabrics, threads and books on quilting? What was your experience of what was happening in the 1970s, 1980s and 1990s? What are your memories of the ‘revival’ in the UK? How did you become a quilter? Pauline Macaulay is piecing together an account of the rise in interest in quiltmaking in the UK from the 1970s. She has been interviewing the ‘movers and shakers’ in the early days of the movement and would love to hear from you or your friends with your recollections of what was going on at that time. Email Pauline at paulinewmacaulayrevival@aol.com for more…

“This is our real area of creativity, and we need to be able to work organically until we are happy with the result.” We’ve all been there. In the book or magazine is a quilt we really connect with and know that we have to make. So, armed with a nucleus of fat quarters and half metres of fabric from our stash we plunge into the instructions. It says we need to cut 144 squares from fabric A. So we do it. Then we cut 56 pieces of fabric B and 64 of fabric C. The shoulder aches, the head is dizzy with measurements, but we are there. But once we start to stitch, we realise that fabric A isn’t right for that place in the design. We need to…

This is essentially a Nine-Patch block made from three fabrics, one for the background and one for the star points, with a third fabric for the centre square of the star. The bonus for this block is that all of the star points float on the background, so there is no risk of losing the points when the pieces of the block are joined together. Cutting instructions • From the background fabric cut eight (8) 3½in squares. • For the star centre cut one (1) 3½in square. • For the star points cut eight (8) 2½in squares . Construction 1 On the wrong side of each of the eight star point squares draw a diagonal line (Fig 1) or use the masking tape strategy described before. 2 Pin a star…

You will need • Thirteen (13) print fabrics – one (1) fat eighth of each • Plain blue background fabric, 20in x WOF • Backing fabric 20in x WOF • Lining fabric 20in square • 18in cushion pad • Sizzix Dies 659850 Bigz L Drunkard’s Path Quarter Circle and 659849 Bigz L Drunkard’s Path & Fan Background, or Drunkard’s Path template (see Templates section) Finished size • 17in x 17in approx. Notes • All measurements assume 42in usable width of fabric. • You are recommended to cut strips across the width of fabric (WOF) first and then sub cut these into the required number of units from each fabric as listed. • Use 1/4in seams throughout. • Fabric used is Nel Whatmore’s own collection, Orient. Cutting out 1 Using a…

You will need • Assorted dark print fabrics: 40in x WOF or sixteen (16) 2 ½ in wide strips • Light fabric: 40in x WOF or sixteen (16) 2½in wide strips • Woven checked fabric 37½in x WOF • Border fabric 1 30in x WOF • Border fabric 2 30in x WOF • Backing fabric 4yds • Batting at least 72in x 72in • Binding fabric 18in x WOF • Quarter-square triangle ruler or Template X (see Templates section) • Square ruler 7 ½ in or larger, or Template Z (see Templates section) Finished size • 63½in x 63½in Notes • Use ¼in seams throughout. • WOF = Width of fabric. • WST = Wrong sides together. • QST = Quarter-square triangle. • Width of fabric is based on 42in.…

Lynne Edwards MBE gets technical with piecing frames • Grow appliqué flowers with Carolyn Forster • Meet textile artist Philippa Naylor • Jane Rae recommends must-visit exhibitions for the new year Plus! FREE gift: Create heirloom quilts inspired by antiques Issue 5 on sale 7th January…

“Each fabric collection captures my inspiration in the moment. They are all unique but also have an energy and feeling in the style that is consistent with who I am and what I love. I thoroughly enjoyed creating and sharing each collection.” GYPSY CARAVAN When Amy started designing fabric for FreeSpirit, she had no idea how those prints would become such an important link to others. “They became a way for me to bring happiness into the world, both for me and for the people that sew with my prints. Our passions do indeed become our purpose. I feel very much in love with each collection and appreciate the gifts they have given me. There is a happy connection from one collection to the next. If you are in a…

Amy Butler’s Midwest Modern With 224 pages of lavish photography showcasing Amy’s fabric and design as well as personal spaces, collections, gardens and ideas that inspire them. Her husband, David, even got involved, taking all of the photos in the book! It’s a visual journal full of ideas and inspiration with something luscious on every spread! Published by Stewart, Tabori & Chang, £17.95. Available from www.amazon.com Amy Butler’s Blossom Amy Butler’s Blossom digital magazine – a biannual collection of everything that inspires her – is now available in print. This irresistible look-book compiles the first two issues of the magazine, and is brimming with photographs, fashion, art, patterns and written pieces that reflect Amy’s unique philosophy of life and style. It’ll capture the imagination of anyone in search of beauty…

THE QUILT AMISH WITH A TWIST II Nancy Rink is a talented pattern designer, dye artist and award-winning quilter. Her style is described as eclectic, and her quilts often feature intricate piecing and detailed appliqué designs – perfect for adding comfort and interest to a room. This king-size quilt made with colourful Centennial Solids from Marcus Fabrics, is just one of many show-stopping examples. Find more on her website. www.nancyrinkdesigns.com THE SHOP HOUSE OF FRASER Home is where the heart is, and at no time is this truer than during the winter months. Avoid the frightful weather and dress your favourite nook with patchwork cushions then pile on the quilts to create an inviting space to hibernate all winter long, with hot toddies, loved ones and your latest English Paper…

BLOCK PARTY Jo Avery’s new ‘Trip Around the Block’ cushion design is so sweet and uses fabrics from UK based Dashwood Studios. At just £12.99 it’s an ideal gift for a friend… and it’s easy to post. Full instructions and materials are supplied, all you need to complete your cushion is a 16in cushion pad. www.mybearpaw.com TABLE TALK DINNER DECOR The inspirational range at Calico Kate this season has been the Scandi 2 range from Makower UK. The panel, with its festive Scandinavian colouring, is ideal for a modern or a traditional home. Kate Hannon, from Calico Kate, designed, pieced and quilted the place mats and runner, which have been a delight to customers. She has combined it with two of the textured weaves from Makower UK and backed it…

I love making Dresden Plates and have tried all sorts of ways to vary them. One day I couldn’t find my Dresden ruler and wondered what would happen if I just cut the wedges free-hand in different sizes. Surprisingly, with the help of a little trimming, it worked! Originally I was going to use a traditional block layout for this quilt, but this proved too restraining for these unconventional Dresdens, which seemed to be trying to break free all the time! So in the end I used large stripes and a low-contrast effect between the background and the Dresdens.…

1 You need to use the finished size of the block as a starting point for calculating the width of the strips. The width of the strip must be half of the finished size of the block, plus the seam allowances, which in patchwork is ½in (¼in on either side of the block). So if the block measures 8in finished size, the strips must be cut 4in plus the ½in for the seam allowances, which is 4½in. Cut a strip of each of the two chosen fabrics in the width you need for your blocks – if you can, cut the strips parallel with the woven selvedge edge of the fabric, as it is less stretchy this way. I just cut one strip from both fabrics at this stage so…

New found passion I’m fairly new to quilting and patchwork, having started a course at our local library last year. I was hooked straightaway and have managed to make three quilts now and a few other smaller projects. I decided I wanted to make a wall hanging for my son’s partner, who is currently training to become a Deacon. I sent off for the pattern, called Ray’s of Hope, but having read and re-read the instructions I just could not fathom how to do it, I just didn’t know where to start. Luckily, my class tutor, Jane, came to my aid and I soon grasped the method and was on my way. I’m so pleased with the result and have also embroidered it with an inspirational verse from a psalm:…

I had an Oriental-themed bedroom when I was a child, with a giant 6-foot fan on my wall, so it’s a motif that immediately jumped to mind when thinking about quilt designs and the Orient. One of the main reasons I like to embroider my quilts is because my Aunty Jenny was in charge of restoration embroidery at Hampton Court for over 20 years, so I have very fond memories of seeing her sew, as she was my arty Aunt! The fans or Drunkard’s Path block echoes the theme of the Orient perfectly, plus the embroidery adds some colourful embellishment.…

You will need • Sixty-four (64) 4½in squares in assorted patchwork fabrics • Assorted strips in widths from 1in to 2½in (equivalent to approx. 2yds uncut) • Fabric for borders two (2) pieces 14¼ x 64¼in and two (2) pieces 14¼ x 68in ** • Backing fabric at least 4in larger than the finished quilt top *** • Batting at least 4in larger than the finished quilt top *** • Binding fabric ⅝yd to yield approximately 9¼yds of binding *** • Machine sewing thread to tone with fabrics • Perle #8 or similar thread for big stitch hand quilting • Fabric marker, tailors chalk or soft pencil to mark quilting guidelines (a metre ruler/yardstick or other long ruler is useful for marking the border) • A ‘design wall’ or space…

HELP!   I’m having trouble with HSTs as quite often the points get cut off. Try this… There are two main reasons for this. The first reason is that when sewing two HSTs together their triangle points weren’t matched up, so one ends up lower than the other – Fig 1A shows the correct piecing and Fig 1B the problem piecing. The second reason for cut off points is that when sewing a pair of HSTs to another unit the seam allowance available isn’t ¼in, so the stitching line passes through the top of one or both triangles. Fig 2A shows where the seam needs to be stitched if seams are pressed open and Fig 2B if seams are pressed to one side. Whenever you can, try to add the…

The fabric selection for this quilt was inspired by the woven plaid fabric that I used for many of the spacer blocks. I liked the richness of the colours and wanted to repeat that in the quilt blocks. By using an irregular check, when you cut the fabric up into squares you will get something different in each patch, which helps add to the quirkiness of the quilt. The mitred corners in the border carry on the diagonal theme of the block construction, but you could easily stitch square corners for a speedier and simpler finish.…

Fascinated by red and white quilts? Turn to page 14 to find out more about The American Folk Museum in New York’s long awaited publication of Red and White Quilts: Infinite Variety, which catalogues 650 quilts featured at their remarkable exhibition held in 2011. On permanent display within the American Heritage Exhibition at The American Museum in Britain, near Bath, this quilt is a poignant reminder of a dark period in history and yet it offers hope through the chalice-shaped motif symbolising redemption. This quilt was made by slaves on the Mimosa Hall Plantation in Marshall, Texas, for the use of the Anglican bishop of New Orleans (1855-1865). Each year, the bishop would tour the region’s cotton plantations to perform baptisms and marriages. After his departure, quilts made for his…

We find Amy Butler in her studio, where she does pretty much everything. “It feels awesome to be in that space,” she tells us – looking around, we have to agree. So let’s find out exactly what happens when Amy sits down to design. How do designing a single print, a collection of fabric and a quilt, differ? Are there any similarities? The similarities lie in the design process. I go through similar decision making steps to get to the very best design in all areas. They differ in that they require a slightly different attention to detail in terms of how I create with the raw materials or design elements to get to the end result. Paper and paint verses fabric and a sewing machine. The instincts and inspirational…

“I approach quilt design much like I would making a piece of graphic art. I start with a colour palette and print family and look for dynamic ways to create interesting combinations with the prints, sometimes also including a selection of solids or textural fabrics to complement the energy in the prints I’ve selected.” ORNAMENT Made using Cameo fabric, 54½in x 72½in* “This honey of a quilt uses only five prints with easy construction. The shapely ornament bobbles are the perfect size for showing off the decorative details and rich colours in my Cameo prints.” Amy chooses prints based on the scale of the blocks, or she will design the block to complement the print. Many of her designs are active and bold, so a simple block is often best…

Many years ago, Renaissance Ribbons owner and founder Edith Minne discovered her passion for French ribbons. Styles such as Jacquard, Brocade and Damask and Satin walk hand-in-hand with Amy’s fabrics that are inspired by the same rich textures and evocative heritage. “I am completely smitten with my collections for Renaissance Ribbons! My romantic designs are inspired by antique sari prints and ethnic geometric borders. I’m loving the mixable feel to the prints, which makes room for lots of possibilities and combinations, and the ribbons complement my fabric lines beautifully. I’m very proud to get to work with my lovely friends at Renaissance. It is such a pleasure, and the gorgeous quality and textural depth with their ribbon construction adds a whole new level of richness to my designs. Make sure…

How do the textiles and quilting of yesteryear influence your designs? I grew up surrounded by historical artwork, dishes, textiles and furniture. I have deep love for unusual vintage materials of all kinds because I was influenced by my eclectic upbringing. I know this has affected my design eye and that is why I’m attracted to vintage finds. I don’t have a particular era, I’m fascinated by cultures from all over the world and different time periods. I’ll be a student forever. There are unlimited sources for learning and inspiration and I let myself be moved by where I am in the moment, whether it’s a museum, flea market or in the middle of the woods. Life offers inexhaustible resources to delight us at all times. As you’ve developed as…