Innholdsfortegnelse for 46 i Today's Quilter

How can it be February already? Time seems to fly past quicker and quicker each year, although I am happy that winter is drawing to a close and spring is on the horizon. This time of year always inspires me to look at my stash and have a little spring clean – and by this I mean pull out long-forgotten fabrics, “ooh” and “ahh” over my rediscovered treasures, before neatly folding and packing them away again. Somehow, I never seem to work through my stash… Luckily, in this issue you’ll find plenty of projects to repurpose those scrap fabrics. Lynne Goldsworthy’s magnificent Vintage Medallion quilt sings with a rainbow of traditional colours, which is perfect for using up a range of textiles. Victoria Carrington’s gorgeous star block design is sure…

MAKE NO MISTAKE… just one look at this beautiful row-by-row quilt filled us with the joys of spring and we know you’ll love it too! Taking the kitchen garden as her theme, Nicola Dodd has created a quilt that tells a gardener’s tale of planting and harvesting – a study in self-sufficiency for all would-be allotmenteers. But never fear, you can enjoy the delights of watching your garden grow from the comfort of your own home, and no need to don your wellies! In full colour and with detailed instructions, this pattern has everything you need to complete this quilt and more. Nicola has crammed her versatile design with tiny details, hand embroidery and clever piecing techniques for a fabulous project to keep you busy. You can make the whole…

You will need ■ Various green and yellow fabrics (small prints) – Eight (8) Fat Quarters ■ White fabric – One (1) Fat Quarter ■ Batting – 20in square ■ Backing – 20in square ■ Binding – Two (2) 2½in x WOF strips ■ Templates (see Templates section) ■ Template plastic or card Fabric used ■ “Garden Delights II” by In the Beginning Fabrics. Available from www.thecornerpatch.co.uk Finished Size ■ 18½in square Preparing the templates 1 Before starting, label your yellow and green fabrics from 1–8 and mark on the pattern which fabric you want to appear where. 2 Trace the templates (see Templates section) and label them with the corresponding letter. The thick line is your sewing line, the thin line is your seam allowance. If you prefer to…

If your background fabric is light in colour and the master copy is made with a strong drawn line, you might not have to trace the outlines onto the background fabric. Instead, after preparing and cutting out all the pieces for the design ready for assembly on the background, place the master copy on the ironing board and pin the background fabric right side up over it on the board. If you can see the shapes on the master copy clearly through the fabric, use these as a guide for positioning each piece of appliqué on the background and ironing it in place. Beware! Fusible webs are a disaster if transferred by a hot iron to the base of the iron or ironing board, spreading nasty black marks where you…

You will need ■ Fabric A (background and sashing) – Twenty-four (24) Fat Eighths ■ Fabric B (border and binding) – 1½yds ■ Assorted coloured fabrics for appliqué and frames – approx. 1½yds in total ■ Batting – 60in square ■ Backing – 60in square* ■ Appliqué pattern (see Templates section) ■ Template plastic Finished size ■ 52½in square Fabrics used ■ A selection of Andover fabrics by Di Ford-Hall and Edyta Sitar, available from www.cottonpatch.co.uk Notes ■ Main instructions based on Lou’s quilt (blue colourway pictured on page 63). ■ Seam allowances for piecing are ¼in throughout. ■ Seam allowances for appliqué will need to be added before cutting out. ■ Press seams towards the darker fabrics. ■ *You may need less backing fabric if you piece it with…

“The design brief for this quilt was to create a secondary pattern using two different star blocks. When I drew the design out, the secondary pattern had a striking lattice effect. Having chosen quite a pale colour palette, I found that I’d lost some of the impact of the secondary pattern. I then had to rethink my strategy on the quilting to enhance the blocks. I discovered that buttons and hand quilting gave it an antique look, which changed the design completely. This project really proves that, as a quilter, you sometimes need to adapt your original idea as your quilt grows. “If you want to make this quilt and create a strong secondary pattern, I’d suggest using dark colours and a pale background fabric. Use paler colours to make…

“Working on a quilt that you can take around with you makes the process fast and fun. As the blocks accumulate, it’s a nice idea to keep them together so that they are ready for when you want to start quilting them. I love making a matching bag for the quilt-as-you-go designs, and this simple pattern is quick to stitch and has endless uses. Heavier fabrics, like the cotton linen blends and Bark Cloth, or even vintage fabric finds work well, and I use dress weight or patchwork cotton for the lining.”…

The beginning of the year is often when discussions about upcoming quilting events begin, looking at how these will be organised and what might be done differently to give long-running events a new lease of life. We spoke to Helen Worthington, who runs Chorley Patchwork Dragons and Walker Fold Stitchers of Bolton, after learning more about the Celebration of Creativity exhibition that she organised in September 2018. It was the first time that both groups had exhibited, and Helen was keen to add something new to the mix when considering how best to present their work. The Patchwork Dragons meet at St George’s Church Hall in Chorley, Lancashire, which is also the meeting place for St George’s Watercolour Painting Group. Helen was struck by how much talent and creativity was…

You will need ■ Various prints in garden hues – Twenty (20) Fat Eighths ■ Dark purple solid – 5½in square (for Row 3) ■ Grey-brown solid – ¾yd ■ Dark green solid – ¾yd ■ Mid-green solid – 1¼yds ■ Light green solid – 3½yds ■ Sand solid – 1¾yds ■ Off-white solid – 2yds ■ Binding fabric – ¾yd ■ Backing fabric – 5¾yds ■ Batting – 80in x 100in ■ Templates (see Templates section) ■ Dark grey, mid-green, pink and red embroidery floss ■ ¼in bias tape maker ■ Template plastic/card Finished size ■ 72in x 92in Fabrics used ■ “Bird Pond” by Tilda, available from www.sewingquarter.com ■ A range of fabrics from “Bella Solids” by Moda, available from www.modafabric.co.uk ■ Backing fabric – “Nest Birdy Hop”…

Cutting out 1 From a selection of print fabrics, cut as follows: ■ Two (2) 4½in x 6½in pieces (orange). ■ Two (2) 4½in squares (purple). ■ Two (2) 2½in x 4½in pieces (red). ■ One (1) 4½in x 6½in piece (light). 2 From the mid-green fabric, cut two (2) 2¼in x 18in pieces. 3 From ½yd of sand fabric, cut as follows: ■ One (1) 1in x WOF strip. Sub-cut into one (1) 1in x 18in piece. ■ Five (5) 2½in x WOF strips. Set aside three (3) for horizontal sashing. Sub-cut the remainder into four (4) 2½in x 4½in pieces and eighteen (18) 2½in squares. ■ Two (2) 3½in x WOF strips. Sub-cut into eight (8) 3½in x 8½in pieces. ■ Two (2) 3in x WOF strips. Sub-cut…

Cutting out 1 From a selection of print fabrics, cut as follows: ■ One (1) 6½in x 8½in piece and one (1) 1½in square for the rhubarb forcer (orange). ■ One (1) 4½in x 6½in piece and one (1) 1½in x 2½in piece for the spade (green). ■ One (1) 2½in x 4½in piece for the robin breast (red). 2 From the dark green fabric, cut one (1) 1½in x WOF strip. Sub-cut as follows: ■ One (1) 1½in x 2½in piece. ■ Three (3) 1in x 6in pieces. ■ One (1) 1in x 4in piece. 3 From the grey-brown fabric, cut a 6½in x WOF strip. Sub-cut a 6½in square. From the rest, cut as follows: ■ Two (2) 1½in squares. ■ One (1) ½in x 10in piece. 4…

Lynne Edwards BLANKET STITCH BEAUTY Lynne has shared her poinsettia blanket stich design with us (page 48). Made using one blocks in three sizes, you’ll love the effect! Lisa Kerr & Louise Lott FABRIC PLAY Inspired by blocks in their collection, this design duo have created two whimsical quilts sure to delight on page 63. Jane Alcock HAND SEWN MINI Step into spring with Jane Alcock’s hand-pieced mini (page 35). The colourful quilt was inspired by a fabric range that sings with fresh seasonal hues.…

STITCH GUIDE New from Clover This versatile stitch guide is cleverly designed to be used in a variety of different ways to achieve a neat, accurate and consistent seam width. The guide can be used for intricate curves and on larger projects, as well as accurate top stitching on a variety of projects. The pack includes a clever graph sheet to help you position the guide in a parallel line on your machine before positioning the Stitch Guide. The guide will stick to metal or plastic surfaces and can be easily peeled off afterwards, without leaving any residue. They can be re-used and come in packs of two, so you can extend the length of the guides for larger projects. We recommend watching the how-to videos on the Clover website…

Slimline 3 Table Lamp Thanks to its slim design and easy-to-use clamp, the Slimline 3 Table Lamp won’t take up much space on your sewing desk, but will still spread bright light over a large area. The third generation of this lamp offers four different levels of brightness, and its flexible joints mean that you can place it anywhere around the table and still angle the light towards your WIP. And as it also uses LEDs that won’t get hot, you can sew under it for as long as you need to perfect your piecing. Slimline 3 Table Lamp, £135 (RRP) Floor version also available: Slimline 3 Floor Lamp, £180 (RRP) Wafer Lightbox When it comes to fussy-cutting and FPP, the Wafer Lightbox is a quilter’s best friend. Its ultra…

“This design started with an old quilting magazine that was passed on from a friend who was clearing out her stash. It was a symphony in sepia and a reminder of how far the craft has come. I filed the magazine away as a fond memento of earlier times, but the cover image of a large appliqué poinsettia block lingered in my mind. The block was very like a stencil, with each piece floating on a background square. I had no idea where I would take the design when I started. I just made one block, found I was hooked and kept going… “The flower design is featured in three different sizes. There are nine large blocks in the main quilt that alternate with a smaller version. The edging triangles…

“Create a very different look to normal piecing with the easy technique of puffed patchwork.” – Lin Clements WHAT IS PUFFED PATCHWORK? Puffed patchwork is an attractive technique that is over 150 years old. It is sometimes called biscuit patchwork because the stuffed shapes resemble biscuits. The technique creates a quilt that is warm and snuggly, with a different look to normal, flat machine piecing. It has a plump and tactile quality that you just have to squeeze. The method creates a soft and pillow-like texture that is ideal for children's play mats or comfy surfaces for pets. The technique is easy to do and although it is normally stitched by machine it can be worked by hand too. Essentially, one square of fabric is sewn to a slightly…

“This design was inspired by an antique quilt block from our collection. We’ve drawn elements from the block, and, in our usual way, created two very different quilts in a whimsical version of a more traditional pattern. “We used a selection of our favourite fabrics, and this is the perfect design to use yours up too – from 19th-century reproduction prints, to 1930s’ contemporary bright colourways. Cora Lyn is a scrappy quilt, so raid your stash and in the way of old quilters, make do. If you don’t have enough fabric, substitute. This is your quilt and the most important part of making a quilt, in our opinion, is to have fun. You could even share the journey with your quilty friends and see just how individual each quilt can…

Hawaiian Quilts: Traditions and transition by Reiko Mochinaga Brandon and Loretta G.H. Woodard, University of Hawaii’s Press. Design Your Personal Hawaiian Quilt (book with DVD) by Janice Lee Baehr and Nancy Lee Chong, Pacific Rim Quilt Company. This title is available from www.pacificrimquilt.com, where you can purchase patterns and kits. www.poakalani.net : This Hawaiian website aims to promote and preserve the art of Hawaiian quilting. Patterns can be purchased from the website.…

You will need ■ Background/light fabric – 20in x 22in ■ Blue fabric – 12in x 10in ■ Sand fabric – 12in x 10in Block size ■ 12in finished (16in with frames) Notes ■ Fabric quantities are for the vintage block only (see page 83). For fabric quantities for the frames, see issue 42. ■ This block of the month is hand-pieced. For detailed instructions of this technique, see issue 42, or the tutorial on www.todaysquilter.com Cutting out 1 From the background/light fabric, cut as follows: ■ Four (4) pieces using template A. ■ Four (4) pieces using template B. ■ Four (4) pieces using template D. ■ Four (4) pieces using template DR. ■ Four (4) pieces using template F. 2 From the blue fabric, cut as follows: ■…

I always think spring is an exciting season: after the dark and cold of winter, the days are getting longer and there’s even a flicker of gentle warmth in the sun. The birds are busy feathering their nests and in the garden, tiny snowdrops and crocuses are poking their heads above the soil. Our exclusive row-by-row garden-themed design by Nicola Dodd is a real celebration of the season, with two projects to make from the pattern. With 36 pages of instructions and templates, there is also a handy guide to all the techniques required included. There’s a wealth of detail in the design to enjoy, including a cute robin, pretty heritage seed packets with hand embroidery embellishment, an apple tree laden with apples and even a ladder to reach them.…

“I didn’t have a particular fabric collection in mind when I designed this quilt, but I wanted the prints to reflect the glowing colours of the vegetables and flowers, with lots of greens, oranges, reds and purples – and Tilda’s ‘Bird Pond’ fitted the bill perfectly. I augmented the prints with solids, with a rich purple for the centre of my red cabbages, and a range of green tones for the leafy vegetables and beanstalk. For the seed packet labels, you could fussy-cut some of your favourite fabrics – a quick look through any heritage seed catalogue will inspire you to be inventive with colours. You could also get creative with the layout. An individual row – with the addition of a border – would make a lovely table runner…

Cutting out 1 From print fabrics, cut as follows: ■ Two (2) mid-green, one (1) sage and one (1) light green 5½in square. ■ One (1) mid-purple and (1) light purple 5½in square. ■ Four (4) 1½in x 6½in lilac strips. ■ Four (4) 1½in x 4½in lilac strips. 2 From the mid-green fabric, cut two (2) 1½in strips. Sub-cut into six (6) 1½in x 6½in pieces and six (6) 1½in x 4½in pieces. 3 From the grey-brown fabric, cut three (3) 1¾in x WOF strips. Sub-cut as follows: ■ Six (6) 1¾in x 8½in pieces. ■ Six (6) 1¾in x 6½in pieces. ■ Twelve (12) 1¾in squares. 4 From the light grey fabric, cut two (2) 1¾in x WOF strips. Sub-cut as follows: ■ Four (4) 1¾in x 8½in…

Cutting out 1 From a selection of print fabrics, cut as follows: ■ Two (2) 2½in squares, two (2) 1½in x 6½in pieces and two (2) 1in x 4½in pieces from orange print fabric. ■ Two (2) 2½in x 4½in pieces, two (2) 2½in x 3½in pieces and one (1) 2½in x 3in piece from sage green print fabric. ■ Three (3) 2½in x 4½in pieces and two (2) 2½in x 3½in pieces from teal. ■ Two (2) 5½in x 8½in green print pieces. 2 From the light green fabric, cut one (1) 2½in x WOF strip. Sub-cut into three (3) 2½in x 4½in pieces and two (2) 2½in x 3½in pieces. 3 From the dark green fabric, cut one (1) 3½in x WOF. Sub-cut into: ■ One (1) 3½in…

Cutting out 1 From light green fabric, cut one (1) 27in x WOF strip. Sub-cut into nine (9) 2½in x WOF strips, join to one (1) length and set aside for the outer borders. From the remainder, cut two (2) 4½in x 8½in sashing pieces. 2 From the binding fabric, cut nine (9) 2½in x WOF strips. Assembling the quilt top 3 Join the rows together, alternating the backgrounds as shown in the Assembly Diagram. 4 Assemble the top and bottom borders with a bean and flower block and a 4½in x 8½in light green sashing piece between them. Add two (2) bee blocks to the ends, pressing seams away from the centre or open if preferred. Make two (2). 5 Join the side borders to the centre, pressing the…

QUILTING Spring Quilt Festivals Displays by well- known quilters, plus retail therapy. 22nd-24th February, Harrogate Great Yorkshire Showground, Hall 2, Harrogate, North Yorkshire, HG2 8NZ 8th-10th March, Duxford Imperial War Museum, Cambridge, CB22 4QR 29th-31st March, Exeter, Westpoint Exhibition Centre, Clyst St Mary, Exeter, EX5 1DJ www.grosvenorshows.co.uk Clifton Quilters Exhibition Until 23rd February, Bristol Exhibition of wallhangings, quilts and other stitched items. Westbury-on-Trym Methodist Church, 46 Westbury Hill, Bristol, BS9 3AA Admission: £3.50 Contact: info@cliftonquilters.org.uk Round the Corner Quilters 23rd February, West Midlands Exhibition of quilts. Warwick Room, Shirley Institute, Church Road, Solihull, B90 2AX 10:00-16:00 Admission: £3.00 Contact: roundthecornerquilters@binternet.com The Spring Knitting & Stitching Show 28th February-3rd March, London Workshops, shopping and competitions on the day. Olympia London, Hammersmith Rd, London, W14 8UX www.theknittingandstitchingshow.com Kaffe Fassett’s Quilts in America…

As I was flicking through issue 44 of Today’s Quilter, I was delighted to see a lovely picture of my Reflections of Parracombe quilt in the Show & Tell section of the magazine. I discovered that the reader, Mary Burn, had chosen my design to be her very first quilt. It isn’t the easiest of patterns, so a big pat on the back Mary, it looked brilliant! I always think that the main criteria for success when making a quilt is determination. Anyone can make a quilt if they really put their mind to it, especially with a little help and support from their friends. And it brings a huge sense of achievement when you finish a rather challenging quilt too. At the start of each day, I make a…

I’ve always been interested in our quilting heritage, and more recently, the history of The Quilters’ Guild. This was mainly due to my involvement in the Talking Quilts Oral History project, as a member of the Project Committee. The project was conducted over three years from 2014-2017 and collected the stories of today’s quilters through a series of interviews, some of which I was fortunate enough to conduct. During this time, I came into contact with some of the early members of The Guild in Scotland, and I also read the transcripts of many other early members from other regions. I met Audrey MacDougall from Dunoon, who won a Churchill Fellowship in 1984 to explore “Instruction of Colonial and Fashionable Needlework” in the USA. Audrey was a key member of…

The central design is made of thirteen (13) squares, nine (9) with the large poinsettia design (Block A) and four (4) of the small design (Block B). The blocks are arranged on point (that is, with the four (4) corners turned so that they point north, south, east and west). Eight (8) large triangles are needed around the edges of the quilt (triangular Block C) and these have a section of the large poinsettia appliquéd on them (Fig 1). The eight-sided quilt is then edged with strips of the flower fabric and a final border added, which features the medium sized design (Fig 2).…

I can’t tell when I’ve added enough stuffing and often find the work is too flat. Is there a way to gauge this? Should I weigh the stuffing? Try this… Stuffing always settles and packs down after a while and it is a little difficult to tell how much to use, but don’t worry about it too much, just allow a bit more than you think you need. Poke the stuffing into the bottom corners. Pin the gap closed and “roll” the stuffing towards the seams. Press the puff flatter with your palms if it’s too thick and bouncy and then see what the effect is. Add more stuffing or remove some if need be. If you have sewn up your puffs completely and joined them with other puffs and…

“This block is a real gem. The more you look at it, the more it looks like a cut gemstone. There are so many different options for fabric placement and each time the block looks great. It has a lot of pieces but, with careful planning, it’s easy to keep track. As far as the stitching goes, it breaks down into two separate sections, which then come together in the final stitching. This is a block that looks overwhelming to start with, but is easily broken down into manageable sections. “When cutting the fabrics, look out for chances to use some fussy-cutting skills, as I have done in the turquoise colourway.”…

SHOPPING ACCESSORIES 279 Cotton Mix 80-20 Wadding www.ladysewandsew.co.uk 01491 572528 40wt and 50wt Aurifil thread www.aurifil.com Clover Stitch Guide; Glorious Kantha thread box www.thecottonpatch.co.uk 0121 702 2840 The Kaffe Collective thread box; Glorious Handwork thread box www.sewingquarter.co.uk Quilters Bias Bars www.woolwarehouse.co.uk 01926 882818 FABRIC Flower Garden Gatherings; Susanna’s Scraps 1830-1875 www.modafabric.co.uk 0120 921 1610 Garden Delights II www.thecornerpatch.co.uk 01785 859360 Monsoon www.makoweruk.com 01628 509640 BOOKS 350+ Quilting Tips, Techniques & Trade Secrets www.searchpress.com 0189 251 0850 Step Back in Time www.amazon.co.uk Quilt Big: Bigger Blocks for Faster Finishes www.sewandso.co.uk 01453 762895…

A row-by-row quilt can look like a daunting challenge, with the amount of different skills needed in order to stitch the design. Nicola Dodd’s clever techniques, however, ensure this row-by-row Half-square Triangles To make a pair of Half-square Triangles (HST), choose two (2) contrasting squares of fabric and mark a diagonal line on the back of the lighter print. Pin, right sides together, to the darker print and stitch ¼in away from each side of the marked line. Cut along the line and press both HSTs open, pressing towards the darker fabric. Trim as directed in the individual row instructions (Fig 1). design comes together much quicker than you might think. Nevertheless, we’ve compiled this useful guide to help you master the basics. So, keep these instructions close at hand…

Cutting out 1 From print fabrics, cut twenty-three (23) 2½in squares in three (3) matching sets of five (5) and two (2) matching sets of four (4). 2 From the off-white fabric, cut two (2) 2½in x WOF strips. Sub-cut into twenty-two (22) 2½in squares. 3 From the grey-brown fabric, cut four (4) 1½in x WOF strips. Sub-cut into ten (10) 1½in x 6½in pieces and ten (10) 1½in x 8½in pieces. 4 From the mid-green fabric, cut one (1) 4½in x WOF strip. Sub-cut into eight (8) 4½in squares. 5 From the dark green fabric, cut two (2) 4½in x WOF strips. Sub-cut into twelve (12) 4½in squares. 6 From the sand fabric, cut seven (7) 2½in x WOF strips. Sub-cut into twenty (20) 2½in squares and six (6)…

Cutting out 1 From assorted prints, cut five (5) 4½in squares. Cut a 6½in orange print square. 2 From mid-green print fabric, cut two (2) 2½in squares. 3 From light green fabric, cut one (1) 6½in strip. Sub-cut as follows: ■ Two (2) 1½in x WOF strips. Sub-cut into five (5) 1½in x 6½in pieces and ten (10) 1½in x 4½in pieces. ■ One (1) 3½in x WOF strip. Sub-cut into five (5) 3½in x 6½in pieces. 4 From off-white fabric, cut one (1) 15½in strip. Sub-cut as follows: ■ One (1) 3in x WOF strip. Sub-cut into: – Two (2) 3in x 7in pieces. – One (1) 1in x 2½in piece. – One (1) 2in square. ■ Five (5) 2½in x WOF strips. Set aside three (3) for horizontal…

Cutting out 1 From five (5) different prints, cut two (2) 2½in x 10½in pieces. 2 From another five (5) different prints, cut two (2) 2½in x 4½in pieces and two (2) 2½in squares. 3 From an orange print, cut two (2) 4in squares and four (4) 2in squares. 4 From the mid-green solid, cut one (1) 30in x WOF strip. Sub-cut into five (5) ½in x diagonal WOF bias strips (these will be approx. 42in long). Cut one (1) of the resulting triangles into 2½in wide strips (on the straight grain) and sub-cut into thirty-five (35) 2½in x 4½in pieces. 5 From the grey-brown solid, cut one (1) 4in x WOF strip. Sub-cut into two (2) 4in squares. Trim remainder down to cut four (4) 2in squares and four…

You will need ■ Green print – 4½in x 8½in ■ Orange print – 4½in x 6½in ■ Purple print – 4½in square ■ Pink print – 2½in x 4½in ■ Light blue print – 2½in x 4½in ■ Off-white scrap fabric – 2½in x 4½in ■ Lining fabric – 9in x 20½in ■ Background fabric – 1yd ■ Fusible batting – 22in x 24in (refer to step 3 for sizes) Cutting out 1 From the background fabric, cut as follows: ■ One (1) 12½in x WOF strip. Sub-cut as follows: – One (1) 12½in x 20½in lining piece. – One (1) 8½in x 20½in. – One (1) 8½in x 1in. ■ One (1) 4½in x WOF. Sub-cut into: – Two (2) 4½in squares. – Two (2) 3in x 7in.…