Innholdsfortegnelse for 65 i Today's Quilter

Can you believe it is August already? What has happened to this year? I know I keep saying this, but it really baffles me that half a year has gone past without me noticing. In a whirl of lockdown, it feels summer has just begun and we are already looking into the autumn months. But time stops for no man... or quilter, and every new season gives us the opportunity to make new designs and let our creativity flourish. Plus, of course, we have a great reason to buy fabric as new collections are released. That is why I was delighted when we received Jo Avery’s Double Wedding Ring quilt. I love the colours she has used, and the added appliqué details just take it to a new level. This…

Lynne Edwards, MBE, as many of you know, is one of the most liked and talented teachers around. And, having had a chance to meet her myself, I can see why. She exudes positive energy and is always willing to share her knowledge with anyone who needs it. So we were delighted when Lynne agreed to do this supplement with us, sharing 12 blocks she has been working on over the years. Each block is 6in, so you can mix and match to create your own unique sampler, or follow Lynne’s guidance and maker her stunning blue and white design. She has even rearranged the blocks in a different layout and colourway to show what can be done with these charming designs! Each block has detailed instructions with tips and…

1 Set up a clear, uncluttered space to take flat lay photos of your projects. I have a couple of wooden boards that I use for this, but a piece of white mounting card also works well. 2 Make sure you have a good natural light source. I take my flat lay photos beneath a large window in my sewing room and use a white mounting board behind the subject (parallel to the window) to bounce light back and balance the image. I also use a daylight bulb in the winter. I have a small stool I can stand on to get far enough above the subject. 3 Find some props for styling your flat lay. I have a basket of items I have collected from around the house to…

Many readers will be familiar with Lynne Edwards, her timeless designs and easy-to-follow patterns – and if you’ve been lucky enough to attend one of her classes or talks, you’ll also know how generous, warm and witty she is too. But how did Lynne’s quilt-making journey begin? I was thrilled to have the chance to find out more. MAKING A DISCOVERY Lynne first discovered the joys of sewing as a 19-year-old when she was studying at teacher training college in the mid-1960s. Lynne recalls, “I don’t know where it came from, but I became super-keen on fashion. Luckily, one of the other girls was studying textiles and she showed me how to dress-make. I really loved seeing what fabrics do to each other – how a group resonates as a…

“This month, we discover corded quilting, which is a wonderful method of creating texture and a 3D quality in our work.”– Lin Clements WHAT IS CORDED QUILTING? Corded quilting, sometimes called Italian quilting, is a method of quilting where channels are stitched, usually by hand, and then padded by running lengths of cord or wool yarn through them. The insertion of the cord into the channels of the design creates a raised look and introduces an attractive texture. The Italian connection is rather vague and may have arisen because centuries ago, some examples of the work came from Sicily. However, historic examples of this type of work are found in many European countries. Stuffed quilting or trapunto is similar to corded quilting in the sculptural effect created, but different shapes…

BEHIND THE PROJECT VINTAGE INSPIRATION “Since we started designing and making appliqué stained glass quilts in 2006, they have become our most popular patterns and workshops – this is our 13th design. Inspiration for these patterns has come from a variety of sources, including Art Deco and Art Nouveau stained glass windows and artworks by architects and artists such as Frank Lloyd Wright, Margaret and Charles Rennie Mackintosh, Piet Mondrian and others. Most of our stained glass designs are rectangular wall hangings. This pattern was the result of a desire to create a square cushion design, which required a template that would fit onto an A4 magazine page. The design was also created so as to require less than five metres of fusible bias binding and to be a relatively…

1 Lay a piece of fusible web (paper side up) over the boat and water sparkle templates (which have been reversed) and trace each piece separately. Roughly cut the pieces out with paper scissors leaving a small allowance all round. 2 Place the pieces paper side up on the reverse of your chosen fabrics and iron to fix in place. Now cut them out as carefully as you can on your traced pencil lines. 3 Peel off the backing paper. If this is tricky, scratch the middle with a pin and peel it away from there.…

One of my great patchwork passions is the Cathedral Window, and over the years this has extended to all things folded, curved back and manipulated.The technique for this block is a great Cathedral Window look-alike; all the effect yet easier and more stable. Each block is constructed from a large square of fabric for the centre, plus four smaller squares, which make up the corners of the block. An extra square of fabric is used to make the window, which is added to the block using the usual Cathedral Window method. An added interest is given by adding a rolled-back curve at each corner of the block. In case you are into even more miniature, the instructions are for two sizes: either the full 6in finished size or a smaller…

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 don’t want them. To guard against this, place a sheet of greaseproof paper or non-stick baking parchment paper on the ironing board before you start and use another sheet between the iron and the fusible web as you stick. I would recommend using an appliqué pressing sheet if you are going to do a lot of this type of work – well worth the money, as it makes the task so much easier. Press with a hot iron to stick the Bondaweb to the fabric.…

I have a big thing about floor tile designs re-interpreted as patchwork blocks. Not as pieced versions, but ones where the separate shapes are arranged with narrow spaces between them, just as they would be on a tiled floor where the pieces are set into cement (referred to in DIY shops as ‘grouting’, but that is such an uninspiring word, I always feel). I first made this little six-petalled flower design as a paint stencil many years ago. I regenerated it as a large appliqué to become part of a collection of patterns for my ‘Patchwork Set in Stone’ workshop. It has proved to be very popular with students, so I reduced it to fit the Mini Sampler block sizing, and I think it works really well in this smaller…

This is an adaptation of a block I found some years ago.The original was without any curved corners, giving the traditional angular look to the pieced flower. I softened it by changing the knocked-off corners to rolled-back curves (one of my current favourite looks, as if you hadn’t noticed). I kept the sharp angles of the pansy centre to give it some strength, but the outer petals all curve nicely like the real flower. The block is made in rows, so the flower finishes up leaning at a dangerous angle (Fig 1).To make sense, it needs to be turned on point with corners of background fabric added, as in Fig 2.This is the way it appears in my blue Sampler. If you plan to make your quilt with the blocks…

Because the flowers rotate around the centre in this design, it is not easy to place the pieces exactly in place. Use a light box to help with positioning if you have one, matching the folds in the background square of fabric with the dotted lines on the template. If you are not able to do this, try tracing the template onto thin tracing paper and then placing this over the background fabric, pinning it at the top corners to keep it in place on the fabric. You can then slip the appliqué pieces between the layers and position them exactly underneath the drawn shapes on the tracing paper.…

Amanda Little BUILDING CABINS Amanda has worked with a fabric collection to create her Half Log Cabin design on page 52. Grab some fabric you love and get sewing. Ann & Darren Mayner SKILL BUILDER New to Today’s Quilter, check out Ann & Darren’s gorgeous stained glass cushion on page 73, featuring reverse appliqué. Alison Wood BEAUTIFUL BARGELLO We love the soft shades Alison used in her quilt and cushion duo on page 38. Easier than you think, give this quilt style a try!…

A thrifty creation Hope you are well and keeping safe. I just wanted to share a photo of my 85-year-old mum, Eyke, who is still quilting even having just recovered from a spell in hospital. Here is her ‘Covid’ quilt in progress, made from odds and sods as she’s been isolating for the last three months. She does everything by hand apart from the edges, for which she uses a gorgeous, old Singer sewing machine. Phil, via email Thank you for sending in your mum’s quilt story, Phil! Eyke, your work is beautiful – all that hand sewing too! And what a stunning Singer you have. Woodland creature comforts One of my students, Vickie, who had no previous experience of quilting or embroidery, decided to make a quilt for her…

1 Place the fabric circle wrong side up on to an aluminium foil square that’s around an inch bigger than your fabric circle. Place the matching card template on top and carefully enclose it in the foil, pressing tightly all the way round. 2 Press very well, both sides of this foil packet, using your iron on the highest setting. Carefully (it will be hot!) unwrap your foil and take out your fabric circle. If required, you can carefully give your folded edges another press. 3 Using a spray starch before wrapping can also be helpful. You can use this method to prepare all circles and leaves. When wrapping the leaves, fold over one side first and enclose firmly before folding the other, this will ensure neat dog ears at…

The Sampler Quilt Book Lynne Edwards, 1996. Lynne Edwards’ New Sampler Quilt Book Lynne Edwards, 2000. The Essential Sampler Quilt Book Lynne Edwards, 2010. Each of the original Sampler Quilt titles contains instructions for 20 hand and machine techniques, the New Sampler building on the first title with a selection of more complex designs. In 2010, the books were updated into one volume – The Essential Sampler Quilt Book. All three titles are published by David & Charles. Check out the supplement with this issue where Lynne shows you a brand-new sampler quilt of twelve mini-blocks, each 6in square.…

Over the course of this occasional heritage series, we have chatted to quilt-lovers with a special interest in heritage quilts – collecting, caring for and studying them. In this final feature, Heather Audin, curator of The Quilters’ Guild Museum Collection, tells us what’s involved in looking after the quilt collection of an Accredited Museum. What attracted you to working with a museum collection? Even as a young child, I adored visiting museums and learning about history – I loved the subject so much I went on to do a degree in it. After graduating, I spent a year working in an archive, which is where paper-based records are stored. This confirmed that I’d prefer to work in a museum where artefacts are kept, ideally as a curator, as that involves…

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 & 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.…

Darren Mayner is an architect living in Derbyshire who started designing quilts when his wife, Ann, opened Quiltessential, a fabric and craft supplies shop in 2005. He has made only a few quilts, some of which have won awards, but he prefers to design quilts for Ann to make and teach. His patterns contain detailed instructions and are well illustrated with scale drawings. Darren also created and manages the Quiltessential website. Visit the website for more quilt patterns designed by Darren. www.quiltessential.co.uk @quiltessential www.mayner-architect.co.uk…

After completing a degree in fashion and textiles, Janet worked as a freelance designer for many years. Janet creates lively designs for quilts and stitcheries that combine her unique joint appliqué templates and free-motion drawing technique. As an experienced speaker and teacher, Janet regularly host talks and workshops focusing on the design process and creative techniques. She’s also written five books, including Freya and Fred, Hearty Good Wishes, A Field Guide, Home Quilt Home and The Wordsmith. You can get in touch with Janet by emailing her at: janet@janetclare.co.uk www.janetclare.co.uk Janeteclare…

Mel Giedroyc and Andy Bush were my constant companions through lockdown. I’d forgotten how much I’d missed the chat, the shared cups of coffee and the Tupperware boxes filled with home baking that emerge out of large patchwork tote bags when quilters get together, not to mention the serendipitous and random nature of the conversations that transpire as you fold, stitch and press. The day’s essentials are all there – friends, fabric, needles, stitch ripper, threads and homemade biscuits. Andy and Mel take the banter to a whole new level of hilarity and mischief; any podcast that can weave David Hasselhoff, Ziggy Stardust and the Magna Carta into mindful chatter is okay with me. “Quilting’s the new rock and roll. Put that in your pipe and vape it” It is…

This really easy star block floats on the background fabric, and the clever design means there is no danger of losing the star points in the seams. The larger version has been a favourite for many of my students, who love the way the star seems to hover freely on the surrounding background. The star is made from one type of fabric for the eight-star points, with a second fabric used for the centre square. The star is surrounded by background fabric, which plays a larger role in the design than is usual with star blocks, so take time to audition the fabrics for the star against the possible choices for the background. Finished block size ■ 6in square Fabric choices Choose three (3) different fabrics. You will need the…

To bring the smaller block (finished size 4½in square) up to size, a little frame with cornerstones must be added. Cutting out 1 To make one (1) block, cut the following: ■ From centre window fabric (C), cut one (1) 2⅞in square. ■ From the curved rolled edge fabric (A), cut one (1) 5in square. ■ From background fabric (B), cut four (4) 2¾in squares. ■ From the rolled-back added corners fabric (D) cut four (4) 1¾in squares. ■ From the chosen frame fabric, cut four (4) strips each 5in x 1¼in. ■ From the cornerstone fabric, cut four (4) 1¼in squares. Construction 2 Follow steps 2-17 of the 6in block. 3 Stitch a frame fabric strip to either side of the block. Press the seams outwards from the block.…

By machine ■ Many modern machines include a blanket-stitch in their selection of decorative stitches, and this works well around appliqué designs like this one. You need to set up a practice piece and try stitching around it to sort out strategies for getting around corners and negotiating curves. Machines vary in their stitches, so you need to get out the manual (oh, that old thing...) and follow any instructions given for using the stitch pattern. My machine has several features that I find invaluable for blanket-stitching, including the needle-down function and the knee-lift, so if you have these, try using them while doing your practice pieces. ■ If preferred, a simple zigzag stitch on the machine may be used to stitch around the designs. Or you can give a…

This block uses the origami-style technique of Folded Flying Geese to create this swirling design. It’s a really useful method when you would like the effect of Flying Geese on a small scale, as the design is not achieved by piecing, but by folding and stitching. Some of the seams contain more layers of fabric than we usually get in patchwork, so if you can choose fabrics that are not too thick it is helpful, as is the option of pressing seams open to reduce the bulk.This is when I often resort to my trusty steam iron to persuade the seams to separate and lie flat. Finished block size ■ 6in square Fabric choices Three fabrics are used for the triangular geese, which are arranged in a staggered row on…

This design uses an easy method for doing curved seams as appliqué rather than piecing. Two fabrics are used for the background curved shapes plus a third fabric for the centre circle. Fabric choices Just two fabrics make the background triangles, with the curved petals in the same two fabrics alternating on a contrasting triangle. The centre circle is added once the rest of the design is assembled, so a final choice of fabric for this can be made then. Just two (2) contrasting 7¼in squares are needed for the main fabrics, with a piece of fabric for the centre circle about 3in square.You will also need some freezer paper, spray starch, and the templates on page 24. Finished block size ■ 6in square Making the background design 1 From…

Tracing straight lines accurately is not easy. Instead of tracing paper, I use a piece of freezer paper slightly larger than the template and then use a sharp pencil to mark each of the corners of the shape with a pencilled dot (Fig 2A). Join the dots up using a thin school type ruler (Fig 2B). Trim the traced shape roughly to about ¼in outside the drawn outline. Iron the freezer paper waxy side down on to a piece of card – easier and more efficient than using glue – and finally cut out the exact outline through both freezer paper and card, using either scissors or a rotary cutter and ruler. Cut just inside the drawn lines as this keeps the measurements accurate to account for the very small…

BEHIND THE QUILT ALL SEWN UP “So now all the blocks are done and ready to be joined together to make the quilt. The keen-eyed amongst you will have realised that, although there are twelve different techniques, the final count of blocks is thirteen. This is because of the Two-for-One technique that is used for the All Cut Up Nine Patch blocks (page 14). I have used all thirteen blocks to make two very different quilts, which you can use as a guide for your own arrangement if you wish or, you may prefer to take the blocks as a starting point for your own design, adding more of the ones you like best, omitting others. It’s always your choice, and whatever seems best for you is what you do.…

THE BOOK JELLY ROLL QUILTS – THE CLASSIC COLLECTION Designers Pam & Nicky Lintott from The Quilt Room have created a collection of 12 quilt patterns for classic quilts made using Jelly Rolls. By using this fantastic precut, you can avoid (some) of the hours of cutting and preparation required for making a quilt and go straight to the fun bit – sewing. THE SHOP MOSNEY MILL Find a beautiful range of kitchen and homeware featuring the drawings of Emma Sutton, which are inspired by the abundance of nature and wildlife that lies at the heart of Mosney. We love this collection of china tea cups, mugs, jugs and tea pots, all featuring eye-catching Blue Tits nestled amongst the Cherry Blossoms. Complemented by soft blush pink, turquoise or denham blue…

In last month’s column, I talked about the early days of the online community and how we used photo hosting site Flickr to congregate in groups and swap mini quilts. Technology moves on quickly, and soon, Flickr fell out of favour with the cool quilters. For a while, Twitter was the next big thing, but it always seemed too ‘shouty’ for me. Pinterest started around this time too. Originally a bookmarking organisation tool, this also grew to be a place you could grow your profile, followers and influence. Others began using Facebook for more than just keeping in touch with family friends, and many still thriving quilting groups were formed there. I have to say that I have never bonded well with Twitter or Pinterest, and I still prefer keeping…

You may find it easier to work with shorter strip sets, both for the stitching and pressing and for the cutting of pieced strips from the strip sets. If so, cut each WOF strip in half before joining: your strip sets will measure approximately 21in long rather than 42in, and you will have sixteen (16) strip sets rather than eight (8), but otherwise proceed as instructed. This method may use very slightly more fabric, but there should be sufficient if you cut carefully according to the cutting directions. When cutting across the strip sets, it is important to keep the lines on your ruler lined up on the seam lines between the strips. If the cutting line starts to drift away from true after a few cuts, then you should…

Lynne lets us in on some of her quilt-y secrets Do you have a large stash? I have an enormous stash. I had a cull a few years ago but more has crept in as I can’t resist buying fabric I like – who can? What cut of fabric do you buy? Usually I buy half-metre cuts – rarely more than that as then you’re committed. If I run out then I have to be inventive and get more of something else, which can result in a richer quilt. What are your favourite colours? I’m well known for my dreary palette. I’m instinctively drawn to blues, greys, mauves and white – all soft, subtle shades. What are your favourite quilt-making tasks? I love measuring and cutting out, plus piecing. Doing…

Although museums’ doors are currently closed, you can still do your homework in preparation for when they re-open. 1 Many museums have excellent online databases so use them to establish which items interest you most. 2 Be aware that many objects are held in store, but you might be able to arrange an appointment with the relevant curator to view stored items, though this would have to be done well in advance. 3 Try to stay focused when requesting what you would like to see. As it takes considerable time to retrieve items from storage and to prepare them for a study visit there may be a limit on the number of pieces you can access. 4 As your visit will be the only time you will have with the…

SHOPPING ACCESSORIES Lovebirds’ Garden Quilt Pattern www.campbellsoupdiary.com Glide Trilobal Polyester No.40 ‘Military Gold’ www.habanddash.com BOOKS Kaffe Fassett’s Quilts in Burano www.kaffefassett.com Take Two Fat Quarters, Take Two Fat Quarters Home Love Your Creative Space www.searchpress.com Hoop Embroidery, Macramé www.gmcbooks.com FABRIC COLLECTIONS Summer Sampler www.eqsuk.com Trinkets 2020 www.makoweruk.com Oakshott www.oakshottfabrics.com Wonderland, Sunday in the Country www.freespiritfabrics.com…

"I wanted the sturdy working boats to feel a small part of an enormous sea. In the second block, curved piecing adds a sense of the currents, swells and roiling seas" You will need ■ Stripe Pearl – 17½in x 12½in ■ Ships Dark Ocean – 13in x 9in ■ Starfish Ocean – 15in x 4½in ■ Starfish Dark Ocean – 1½in square ■ Stripe Sand – 3in x 1½in ■ Seaweed Ocean – 9in x 6in ■ Seabirds Sand – 9in x 4½in ■ Seabirds Sky – 9in x 4½in ■ Seaweed Sand – 9in x 4½in ■ Cowes Sky – 9in x 4½in ■ Fusible web for appliqué ■ Templates (see Templates section) Finished size ■ 12in square Notes ■ Important note: the ‘You will need’ list is…

Cutting out For this block you will need eight (8) prints – Stripe Pearl, Seabirds Sand, Seabirds Sky, Seaweed Sand, Seaweed Ocean, Cowes Sky, Ships Dark Ocean and Starfish Ocean. Note: Remember to take great care with the print directionality in this block. 1 From each of the prints, cut two (2) 4½in squares. 2 From each square, you will need to cut a template A and template B piece. Take your time with this step to ensure you get the directionality of your fabrics correct. In Fig 1 you will see the sixteen (16) units that make up the block. The units in each row use two (2) different fabrics. Working on one (1) row at a time, take the two (2) 4½in squares of each fabric and using…

If you’ve ever been lucky enough to take one of Lynne Edwards’ classes or workshops, you’ll know she truly is a teacher at heart. Always willing to pass on her knowledge and help where ever she can, Lynne is a joy to be around and learn from. So we were delighted when the opportunity came up to showcase several blocks she has developed over the years in the classroom in a stunning mini sampler quilt. Of course, they feature all her favourite techniques, and you can hone these skills while working on the blocks in this supplement. In fact, that’s what Lynne wants – for you to learn a skill and take it with you as you create blocks and quilts in your own quilting journey. So, open up the…

If the block seems a little simple when compared with other blocks in the quilt, you might prefer to make a smaller version that is just as easy to construct, but finishes up measuring 4½in square. This then has a little border of strips and cornerstones to bring it up to the full unfinished size of 6½in (Fig 5). The construction of the block is exactly the same, just the measurements are changed. Cutting out 1 To make the block, cut the following: ■ From the background fabric, cut eight (8) 2in squares. ■ From the star centre fabric, cut one (1) 2in square. ■ From the star points fabric, cut eight (8) 1½in squares. 2 Follow steps 2-6 of the larger block to make the star-point squares. Each of…

This little retro nosegay of flowers is a design I love. I used it for a full-size quilt in my first Scrap Quilt book, and it still makes me smile when I see it. It also has to be a winner for me as it uses another of my favourite techniques: blanket-stitch appliqué. I love to stitch this by hand, but I’ve also used an excellent blanket-stitch on my sewing machine and the more I do, the better I get at it! This technique uses a fusible web, such as Bondaweb, to stick down the raw edges of the appliqué pieces onto the background fabric before stitching around the design with blanket stitch, so there is no needle-turning of the raw edges under as you stitch.The Bondaweb is used to…

This is another design that I have been teaching in its larger form for some years – I think it might be a forerunner of all those magic blocks that are so popular at the moment, where simple designs are made, cut up and then reassembled and transformed into amazingly complex-seeming blocks – all smoke and mirrors... I love them! So, this is a smaller version using that principal.The bonus is that you get two blocks as a result, a negative and positive version, and it’s quite an eye-opener to see how different fabrics work when placed with others in the two arrangements. Two simple nine-patch blocks are made, then cut up and the centres exchanged to create a pair of very different interpretations of the block. The extra seams…

To avoid the pins between the layers of fabric as you join the pieces together, you could use a fabric gluestick to keep the folded corners of the triangular goose in place on the background fabric instead of the pins. Restrict the glue to the very corner of the folded point of each goose. Most fabric gluesticks are quite wide in diameter and precision sticking of small areas can be tricky. I place the fabric on a piece of paper so that when I use the gluestick, most of the glue goes on the paper, with just the tiny bit that I want finishing up on the fabric.…

This simple, small version of the traditional Dresden Plate block has eight segments, each with a pointed edge – good to look at and easy to construct. Fabric choices Two fabrics are used alternately for the plate with a third fabric as the centre circle.The plate is placed on a square of background fabric to complete the block. Audition the fabrics to make sure that the alternating fabrics of the plate are equal in strength without one dominating too much over the other.You can do this by folding down both candidate fabrics to the same size as each other and arranging them side by side on the background fabric and looking at them all with half closed eyes. If one fabric dominates, it will step forward and wave to you…

This block is a curvy version of the traditional Churn Dash block. As you may have gathered by now, I am somewhat obsessed with adding rolled-back curves to a design to transform it from the usual angular pieced effect into a softer curvy version.This can be done to many traditional blocks by replacing the diagonal half-square triangles with the rolled back curve. Why not explore some of your own? In this Curvy Churn Dash block the four (4) corner half-square triangles (Fig 1A) are replaced by rolled back curves, giving a very different appearance to the block (Fig 1B). Finished block size 6in square Fabric choices One fabric is used for the design, which is placed on a contrasting background fabric. A third fabric makes the centre square of the…

If it is proving a nightmare situation to get all the blocks to exactly 6½in, just aim to get them all to the same size as each other. Then, when you add the little frames around each block, cut the strips of framing fabric in a measurement that matches your blocks rather than the 6½in width given in step 1 below. You may prefer an alternative way of cutting this set of strips accurately by first cutting a strip 6½in wide across the fabric from selvedge to selvedge and then placing that horizontally on a cutting mat and from it cutting pieces each 1¾in wide, as in Fig 3. If the batting is quite thick, I trim the batting in the seam allowance down as much as I can before…