Innholdsfortegnelse for 38 i Today's Quilter

Fresh back from a gloriously sunny weekend by the Cornish coast, one of the delights of my time away was the beautiful roses that were blooming all over the town we were staying in. So, this issue’s cover star quilt that’s filled with roses and buds made my return to reality just that bit easier. Who wouldn’t want to be surrounded by this gorgeous flower, be it in real life or a fabric version? Blue and white has always been a classic colour combination, so it’s no surprise that Alice Caroline chose it for her stunning Liberty quilt. Inspired by Chinese wallpaper and china patterns, this timeless design will turn any bedroom into the most elegant of spaces. And the calming shades should also ensure a peaceful night’s sleep. Sticking…

FOR THOSE OF you lucky enough to have seen the 1718 Silk Patchwork Coverlet in person, you’ll know that this icon, which is one of the earliest known dated patchworks, is a masterpiece of construction. Pieced over papers in a mosaic style, the 69 blocks have inspired quilters for years with their designs and the skill it must have taken “EH” to construct without all the modern conveniences we have today. If you’ve not had a chance to view the Coverlet in person, however, 2018 is your lucky year. Not only is it the tercentenary of the piece, but it’s being displayed in several locations across the country. If you’re in the South West, do head to The American Museum in Britain, located in Bath. On loan from The Quilters’…

Angela discovered her love of sewing as a teenager. After working as an Art Director in advertising for over 20 years, Angela has recently made her passion for sewing into a profession. As a designer, she is heavily influenced by architecture and nature, appreciating a painterly-style textile as well as a perfectly pieced geometric quilt design. To get in touch with Angela about her classes, you can email her at: angelaattwood@sky.com AngelaAttwoodTextiles 20% OFF PRE-CUT FABRIC! USE CODE TQ3820* BUY THIS KIT! See this project demonstrated live on air by Angela Attwood on 24 July 2018. • Live on Freeview 73, Sky channel 687 • Online at www.sewingquarter.com • You can catch up the show on www.youtube.com/sewingquarter Offer available until 5th September. *OFFER VALID FOR NEW CUSTOMERS ONLY. ONLINE ONLY.…

You will need • Twenty (20) different fabrics ranging from light blue to dark blue – ¾yd of each* • White background fabric – 3¼yds • Binding fabric – ½yd • Backing fabric – 4¾yds • Batting – 90in square • Batting for appliqué panel – one (1) 40in square • Bondaweb – 2yds Finished size • 82in square Notes • All seams are ¼in unless otherwise stated. • Always press seams towards the darkest fabric. • WOF = full width of Liberty fabric, which is 54in. • As the quilt has been made in many shades of blue, rainbow colours have been used in the diagrams for easier fabric identification. • We advise cutting one set of block fabrics at a time, to avoid confusion. • * This is…

Nicola Dodd has been quilting since 2010 after chancing upon a quilting website and becoming hooked. Having designed all her working life – as an architect and as a garden designer – the temptation to start designing quilts was irresistible and she established her pattern company, CakeStand Quilts, in 2015. She now has a successful blog, where she enjoys sharing tutorials, and is a regular contributor to the Moda Bakeshop. www.cakestandquilts.com cakestandquilts @nicolajdodd…

HELP! Help! I find it difficult to decide what width a border should be. Do you have any guidelines? Try this… We’ll look at this in more detail next month. However, in most cases, the main guide is that the border’s size shouldn’t overwhelm the design or draw attention away from more intricate pieced areas (unless you plan to fill the border with lovely appliqué or showcase quilting). I find it helps to choose a size that is proportional to the blocks being used, for example a quarter or a half of the block size. I photocopy the fabric I plan to use, print it out and cut it into strips to try out a border size. I lay the photocopied strips along the edges of the quilt centre to…

Sharon Keightley is a self-confessed lover of vintage and reproduction fabrics, and her favourite thing to do is appliqué, mixed with piecing. Sharon loves experimenting with unique fabric styles, and adding her own historical vision into her design work. She runs classes teaching the various methods she uses to create her appliqué and paper piecing projects. She shares her designs on her website, Sharon Keightley Quilts, as well as sharing as many tips and information as she can on her blog posts. www.sharonkeightleyquilts. comsharonkeightleyquilts…

You will need • Selection of scrap fabrics – 2in square minimum • Two (2) pieces of longer scrap fabric for stems – ¾in x 7in minimum • Batting – 9in x 13in • Backing – 9in x 14in • Hanging sleeve – 7½in x 3½in • Stencil or mask – e.g. TCW157 Stencil Flower Frenzy by The Crafters Workshop* • Fabric paint – dark grey or colour of choice (available from good art stores) • Stencil brush or firm paintbrush • Fusible web • Decorative threads (optional) • Appliqué templates (see Templates section) Finished size • Approx. 8in x 12in Notes • Seam allowances are ¼in throughout. • Press seams open, unless otherwise instructed. • Appliqué templates are supplied without seam allowances. • RST = right sides together. •…

SHOPPING ACCESSORIES Aurifil Liberty London’s The English Garden: The Quilting Thread Collection www.quiltdirect.co.uk  0182 281 0877 Milward Ruler Racks groves@stockistenquiries.co.uk Sew Easy Foldable Mat www.sewandcraft.co.uk FABRIC COLLECTIONS Love Story by Riley Blake; Rustic Romance www.eqsuk.com  0116 271 0033 Love me, Love me not; So Darling! www.lewisandirene.com BOOKS Moda All-Stars Mini-Charm Quilts; A Cottage Garden www.roundhousegroup.co.uk  0127 360 3717 Fifty Little Gifts www.searchpress.com  0189 251 0850 The Splendid Sampler 2 www.thesplendidsampler.com Wabi-Sabi Sewing www.sewandso.co.uk  0800 013 0150…

“The serendipitous discovery of a previously undocumented, early patchwork coverlet in 2000 has had a significant effect on the growth of interest in British quilt history.” – Bridget Long I remember seeing the Coverlet for the first time when it went on display at the opening of The Quilt Museum and Gallery in York in 2008. It was displayed on a plinth in a small room adjacent to the main hall. It was so much more vibrant than I had imagined and its energy seemed to fill the room. My eyes darted from one block to another, discovering hearts, tulips, animals and bird motifs and finally resting on the centre block with the initials “EH” and the date 1718. The expanse of time from when the quilt was first created,…

Susan Briscoe is a quilter, designer, author, tutor and purveyor of fine Japanese fabrics. She teaches patchwork worldwide and is an expert in Sashiko and Japanese textiles. A graduate of UCW Aberystwyth, she began quilting after working as an Assistant English Teacher on the JET (Japan Exchange Teaching) programme in Yuza-machi, Yamagata Prefecture in Japan in the early 1990s. Susan’s affection for heritage quilts can be traced back to her early days of quilting in North Wales in the 90s, when her stash consisted of Liberty and Laura Ashley fabrics, and lightweight chintz used for home decor. She created quilts using the materials that she had available, inspired by sampler books and traditional blocks. The Quilts of the British Isles by Janet Rae and Quilt Treasures, The Quilters’ Guild Heritage…

Seventeen years ago, Senior Conservator Frances Lennard (now Professor Lennard) at The Textile Conservation Centre, was approached by The Quilters’ Guild to give a consultative report on the extent and cost of conservation treatment for the 1718 Silk Patchwork Coverlet. The Coverlet had just been bought at auction and, as many quilt historians have commented, the timing was perfect as there was growing interest in exploring and understanding quilt-making traditions in Britain and worldwide. Things have changed somewhat since the conservation of the Coverlet. The Textile Conservation Centre closed in 2009 and its successor, The Centre for Textile Conservation and Technical Art History, was established at the University of Glasgow in 2010. Karen Thompson and Frances Lennard moved north, taking up new roles in what has since become a thriving…

“Having read The 1718 Coverlet by Susan Briscoe and viewed the replica quilt at The Quilters’ Guild headquarters in York, I knew I had to do something to celebrate its 300 year anniversary. Over the past two years I have worked with a number of students as they’ve made their own individual tribute quilts based on the original coverlet, and many will be displayed at this year’s Festival of Quilts. I knew that making a large quilt was not possible for everyone so, inspired by extracted blocks from the book, I designed this smaller scale project. I chose fabric from the Oakshott fabric range, which was no easy feat as there are so many lovely rich colours to choose from. The bright, fresh colours will make it a true work…

Nicola Dodd SUMMER SPRIGS Turn to page 52 for Nicola’s charming design inspired by a vintage Laura Ashley print. The buds and stems seem to dance across the quilt top. Sharon Keightley STUNNING SIMPLICITY We hope you enjoy making this take on the Nine-patch block as much as Sharon did (page 67). Her mixture of fabrics means it’s a fab stashbuster. Lesley Brankin TRY SOMETHING NEW Unify fabric scraps in this mini design with paint and stencils for a contemporary look. Turn to page 79 for Lesley’s tips and tricks.…

STUDY GROUP Under the covers The British Quilt Study Group (BQSG) is a specialist group of The Quilters’ Guild of The British Isles who carry out and publish research in all aspects of quilt-making. 2018 is their 20th anniversary and, to mark the occasion, they have a dedicated exhibition at the Festival of Quilts on the theme “Our Quilt Heritage”. The exhibition will look at quilts, their history and different ways of finding out about them. If you’d like to get involved, why not join the BQSG and visit their seminar, which is being held in Cardiff on 26th-28th October. The programme includes a mix of papers and presentations, including one by Kate Smith whose journey in quilt research all started with an intriguing note from Mrs D M Tilburn,…

“I did all the sums and worked out that if I made each row from a certain number of geese, they should fit perfectly. Did it fit? Of course not!” When I was developing my collection of 6in blocks for the retreats shared with Judi Mendelssohn, I included an arrangement of Flying Geese, which I had designed some six or more years ago. The pattern, with its instructions, was originally for a standard 12in block. It was made to promote a clever ruler that would cut the centre triangle and side pieces from strips of fabric really accurately and quickly. This time around, when I wanted to use that original design in the set of baby blocks, the scale was much smaller, so I substituted the origami-style Folded Flying Geese…

Linda Clements is a leading technical quilting expert, editor and writer who, for 25 years, has worked on many fabric and craft titles for David & Charles and other leading craft publishers. Among the many quilters who have trusted Linda to ensure their books are both accurate and reader-friendly, are Lynne Edwards MBE, Susan Briscoe, Pam and Nicky Lintott, Pauline Ineson, Mandy Shaw and Lynette Anderson. Linda’s own book, The Quilter’s Bible, is the must-have guide to patchwork, quilting and appliqué, and includes everything she has learnt working with the industry’s best designers. For Today’s Quilter, Linda is working with the team to select practical and creative techniques. She will then go in-depth, exploring the methods, taking them from the basic premise to their full technical and creative potential. You…

The things I see and encounter when I travel to far-flung places have a profound effect on me,” enthuses artist Pat Archibald, “and my responses are what I translate into my textile work.” Pat’s taste for life-changing travels took hold when she set herself a millennium challenge to climb Africa’s highest mountain, Mount Kilimanjaro in Tanzania. The experience not only fuelled her imagination, resulting in a new style of work, but it also kick-started her career as an artist and teacher. “I’d ventured a long way out of my comfort zone,” Pat says. “It gave me a huge confidence boost and really fired me up to achieve something, and that spilled over into my creativity.” An unexpected effect of the climb was how it changed Pat’s appreciation of colour. She…

“What do you do with your ever-growing stash of fabric scraps? One of the things Today’s Quilter contributor Katharine Guerrier does is to ‘share’ them with her friends, albeit on behalf a good cause. Visitors attending an exhibition at the Minerva Arts Centre in Llanidloes, Wales, are invited to take part in a lucky quilt dip, the proceeds from which go to support the work of the locally-based The Quilt Association. For this to be a successful venture the organisers need to receive regular donations of A4-sized quilts. Katharine’s challenge to her fellow ‘Stitched Together’ colleagues was to take a handful of unseen scraps and create a quilt to donate to the Arts Centre. Since making and donating my original quilt I have made a second one, using the remaining…

The 1718 Silk Patchwork Coverlet is the earliest dated patchwork in Britain and is part of The Quilters’ Guild Collection. It was bought at auction in 2000 but before that it was in the possession of the Brown family in Aldbourne, Wiltshire. It consists of two layers and so it is referred to as a Coverlet. The papers in the top layer have not been removed. The Coverlet is constructed from mosaic patchwork (also known as English paper piecing or EPP). The letters “EH” and the date 1718 are worked in mosaic patchwork on a block located near the centre of the Coverlet. The main fabric used is silk and the backing from patches of recycled linen. Soft X-ray analysis of sections of the Coverlet was carried out by the…

Once a month for the last three years, patchwork and quilting teacher Joy Edgington has been helping quilters to discover the heritage, and techniques, behind the creation of Britain’s oldest dated patchwork, the 1718 Silk Patchwork Coverlet. In recognising the importance of the Coverlet in our quilting history and its approaching tercentenary anniversary, Joy was remarkably prescient in her decision to launch her regular Block of the Month class, as many of her 25 students have completed their tribute quilts and these will go on display at a dedicated gallery at the Festival of Quilts this summer. The introduction of Joy’s classes followed the publication of Susan Briscoe’s 2014 book The 1718 Coverlet, which has been instrumental in raising the profile of this important quilt around the world. There has…

The founder of the Textile Conservation Centre, Dr Karen Finch OBE, passed away earlier this year. She founded the Centre in “grace-and-favour” apartments at Hampton Court Palace in 1975. There, she established the three-year postgraduate diploma in textile conservation validated by the Courtauld Institute of Art. In her obituary, Professor Frances Lennard acknowledged that this was “a huge step forward in the training of textile conservators and a qualification held by many of us working in the field”. The Textile Conservation Centre moved to a new building at the University of Southampton in 1999. Following its closure by the University in 2009, the textile conservation programme was incorporated into the new Centre for Textile Conservation and Technical Art History, established at the University of Glasgow in 2010. The new Centre…

THE QUILT DOWN THE RABBIT HOLE If, like us, you love quilts with a dash of whimsy and buckets full of charm, look no further than Sarah Fielke’s Down the Rabbit Hole. Full of dazzling colour and varied techniques, each border draws us in and has the eye dancing so much it’s hard to look away. Originally designed as a Block of the Month project, this pretty pattern is now available as a book download, which includes access to tutorial videos and a Facebook group so you can jump right in and work at your own pace. www.sarahfielke.com THE SHOP FARROW & BALL Heritage paint company, Farrow & Ball, have long been a source of colour inspiration for us at Today’s Quilter. Their timeless hues can be found in our…

“The precision and flow of a Monkey Wrench block has always been one of my favourites. When invited to design a quilt for the launch of the beautiful Rustic Romance range of fabric, I immediately saw roses, and a modified Monkey Wrench was my starting point. The deep red and soft pink florals of this collection are kept modern by strong accents of grey. I wanted the design to reflect these tones with a delicate, round and floral look but with a contemporary, geometric twist. The subtle, lace-like florals I chose for the border would also work beautifully as a backing.”…

First choose the size of block that you want – it’s always twice as long as it is wide when finished, so try getting your hands around the technique with a 3in x 1½in finished block. If this proves too large for you, the smaller version I’ve included here will finish up as 2½in x 1¼in. 1 To make one (1) Folded Flying Geese unit, cut a rectangle of the centre Goose fabric 3½in x 2in (smaller version cut 3in x 1¾in). From the Background Sky fabric, cut 2 (2) squares each 2in x 2in (or 1¾in x 1¾in for the smaller version). 2 Take one (1) cut rectangle of Goose fabric and fold it in half with the right side facing outwards (Fig 1). 3 Place a square of…

You will need • Selection of coloured print fabrics for the Nine-patch blocks – ¾yd • Selection of light prints for Nine-patch and Flying Geese blocks – 2yds • Grey/brown fabric for inner border – ½yd • Selection of gold/yellow prints for Flying Geese blocks – 1›yds • Large purple floral print fabric for alternate block – 1yd • Large red floral print fabric for setting triangles and corner triangles – 1yd • Backing fabric – 76in square • Batting – 76in square • Binding fabric (brown/yellow stripe) – ½yd Finished size • 68in square Cutting out 1 From a selection of coloured print fabrics, cut as follows: • One-hundred-and-forty-four (144) 2½in squares. For each of the sixteen (16) blocks, cut five (5) squares of the same fabric for the…

Designing isn’t an instant process with ideas coming fully formed off the top of your head, so be prepared to work at it. Try using different design processes as this may help you to pull your thoughts together into a cohesive form. Think about the effect you want to create and then consider which technique/s will work to achieve that. When making, if you reach a point when you aren’t sure what to do next, stop for the day and reflect – you need to be absolutely sure that the next step you make is the right one. If you aren’t sure how to quilt your top, take a digital image, print it out in colour at A4 size and slip the print-out into an A4 poly-pocket. You can use…

Multi-award winning textile artist, Lesley Brankin, has been drawing, painting and stitching her entire life. A former magazine editor, author, needlework and quilt pattern designer, and teacher she now largely makes work purely for her own enjoyment and creative fulfilment. Inspiration for her innovative work is drawn from a wide range of sources including, but not limited to, travel, architecture, family history and the natural beauty of the Malvern Hills where she lives. www.lesleybrankin.com  @lesleybrankin…

BUDS & BLOOMS ROSE CENTRE FPP TEMPLATE ACTUAL SIZE Includes seam allowances SCRAPPY FLOWERS PATTERN LAYOUT ACTUAL SIZE SCRAPPY FLOWERS APPLIQUÉ TEMPLATES ACTUAL SIZE PLEASE NOTE : Appliqué templates do NOT include seam allowances BLOCK OF THE MONTH APPLIQUÉ TEMPLATES ACTUAL SIZE Includes seam allowances MIDNIGHT BLUE PATTERN LAYOUT PLEASE NOTE: Layout is for reference purposes only and is NOT to scale. For the full pattern template visit our website. Thank you for making this project from Today’s Quilter. The copyright for these templates belongs to the designer of the project. They work hard to create projects for you to enjoy, so please don’t re-sell or distribute without permission. Please do not make any part of the templates or instructions available to others through your website or a third party…

We are delighted to present this souvenir supplement of Today’s Quilter celebrating the tercentenary of The 1718 Silk Patchwork Coverlet, arguably the most iconic piece in The Quilters’ Guild Collection. Its unique design, beautiful fabrics and exquisite workmanship make it visually stunning, but it is the date – 1718 – worked in mosaic patchwork in the centre of the piece, that assigns it international significance as one of the oldest known dated British patchworks in existence today. Its importance in the timeline of patchwork and quilting history cannot be underestimated. Extensive studies, research and professional conservator analysis into its construction and materials have provided valuable insight into the practice of the craft in the early eighteenth century. The 1718 Coverlet is a truly inspirational piece. The complexity of shapes in…

We caught up with Susan Briscoe, author of The 1718 Coverlet to find out about her experience of writing the first comprehensive block-by-block guide to making the Coverlet. In 2014, working together with The Quilters’ Guild, Susan Briscoe authored the only book that’s been written about the 1718 Silk Patchwork Coverlet, showing how all the individual 69 blocks were made. Her book was a natural progression from the extensive research that had been published in Quilt Studies in 2003 (the Journal of the British Quilt Study Group) and the significant work done by Pauline Adams, Tina Fenwick Smith and all the volunteers who contributed to the making of the Replica Coverlet (see Introduction). Before diving into the actual techniques section (both traditional and modern), Susan wanted to set the scene…

Quilt Song premieres on Friday 19th October, 2018, at the Old Rep Theatre, Birmingham, exactly 100 years to the day from the premiere there of Abraham Lincoln, the play by John Drinkwater from which much of the text for the opera is drawn. Woven around the assassination of Lincoln are the stories of Rosa Parks, John Drinkwater himself, the bus driver James Blake, on whose bus Rosa took her historic stand against racism, and the boatman who ferries passengers across the River Styx. Mixing historical fact with fantasy, fabulous choruses, and beautiful solos, the opera blends musical styles and stories in a quilt-like fashion. Booking is open and admission is free. There will be a second performance of the opera on Saturday 20th October at 19:00. www.oldreptheatre.co.uk To find out…

“The number of blocks required seemed quite daunting at first, but this was put into perspective after thinking about the person sewing by hand in silk fabrics 300 years ago.” “Looking at the construction of the 1718 quilt and interpreting it using modern techniques made an interesting and rewarding project.” THE 1718 BLOCK OF THE MONTH Once a month for the last three years, patchwork and quilting teacher Joy Edgington of Pastures New Quilting has been helping quilters to discover the heritage, and techniques, behind the creation of Britain’s oldest dated patchwork. Her students have done her proud and many of their replica quilts will be heading to the Festival of Quilts this autumn. Here’s a sneak preview… CONTEMPORARY DESIGN Second year students from the School of Art, Design and…

A FRAMED SQUARE WITH CORNERSTONES Original patchwork blocks • 24, 26 (see page 24 in The 1718 Coverlet) Block size • 4½in square Original method • Mosaic patchwork Modern method • Machine patchwork Original method 1 Cut out and baste all pieces. 2 Oversew two (2) border strips to opposite sides of centre square. 3 Sew a cornerstone square to each end of two (2) border strips. Sew to block centre, lining up corner squares. Modern method 1 Cut four (4) 15/8in squares, four (4) 15/8in x 2¾in strips and one (1) 2¾in square. 2 Machine sew two (2) border strips to opposite sides of centre square. 3 Sew a cornerstone square to each end of two (2) border strips. Finish the block by sewing to block the centre, lining…

You will need • Fat Eighths OR fabric scraps in at least 15 different colours for the blocks and Prairie Points • Backing and hanging sleeve – ¾yd • Bondaweb for appliqué – ½yd • Fusible interfacing – ½yd Finished size • Approx. 13½in x 35in Notes • Seam allowances are ¼in throughout. • Press seams to one side, unless otherwise instructed. • Templates shown in the book Cutting out and tutorial steps 1 Make two (2) of A Diagonally Quartered Square (page 36) in the first colourway. Joy used Bergen and Cornlily for this block. 2 Make four (4) of A Diagonally Quartered Square in a different colourway. Joy used Cornlily and Outback Rust. 3 Make four (4) of A Framed Square with Cornerstones (page 32). Joy used Ruby…

Joy Edgington is a quilt designer from Birmingham who loves teaching a wide range of classes aimed at both beginners and improvers. Her favourite class sayings are “greater accuracy” and “attention to detail”. Joy likes to apply modern techniques with traditional designs as she embraces the diversity of patchwork and quilting. She is also a guest designer on Sewing Quarter and has been a Project Linus Coordinator for 14 years. www.pasturesnewquilting.com PasturesNewQuilting sewwithjoy…