Innholdsfortegnelse for 74 i Today's Quilter

Signing off this issue, I have been looking through the photographs and noted that one furry, little fellow features several times. Like the rest of the world, the team at Today’s Quilter had to adjust to lockdown, and this meant trying to do photography while not being allowed to leave our houses. We are usually fortunate enough to go to beautiful homes to photograph the quilts, but the last year has meant that we needed a new plan. Thankfully, our wonderful Art Editor, Rachel, was up for the challenge! And, after rearranging her furniture several times, she took some gorgeous pics... many featuring Rufus the dog (you might have spotted him on the cover of Issue 73 as well). Rufus has been Rachel’s constant companion during lockdown, providing much needed…

“The Pickle Dish design comes in many variations. It usually contains interlocking circles and arcs made of triangles. It also usually consists of a large number of Y-seams, which can make it tricky to align perfectly. In this design, I have cut the block into quarters and then those quarters in half, so that the quilt is pieced in triangles. This avoids the need for Y-seams. I have added Harlequin Stars in the centre of the circles to add interest and scrappiness to the quilt. The two strongest colours in the quilt are the dark blue and the red, so I’ve used those to pull together the design by using the dark blue prints in the leaf shapes and the red prints in the triangles that group together at the…

You will need ■ Fabric 1 (Jumble Rose) – ¾yd ■ Fabric 2 (Jumble White) – 1¼yd ■ Fabric 3 (Jumble Gold) – 1yd ■ Fabric 4 (Chips White) – ¾yd ■ Fabric 5 (Primulas Periwinkle) – ½yd ■ Fabric 6 (Primulas Orange) – ½yd ■ Fabric 7 (Primulas Pink) – ¼yd ■ Fabric 8 (Mad Plaid Contrast) – ¼yd ■ Fabric 9 (Onion Rings Purple) – ¾yd ■ Fabric 10 (Bang Yellow) – ½yd ■ Fabric 11 (Bali Brocade Contrast) – 5yd ■ Fabric 12 (Geodes Gold) – ¾yd ■ Fabric 13 (Spot Melon) – ⅜yd* ■ Fabric 14 (Row Flowers Contrast) – ½yd ■ Fabric 15 (Paper Fans Delft) – ⅜yd ■ Fabric 16 (Guinea Flower White) – ⅝yd ■ Backing fabric: Fabric 17 (Lotus Leaf Lime) –…

“This quilt is a take on the classic Irish Chain layout, but with a twist: through creating mini Log Cabin blocks, as well as a nine-patch variance in the negative space area. The Log Cabins have been randomly positioned, with the placement of the centre block varied to give more movement to the quilt. While the different areas of the quilt have their own colour story, a variety of fabrics within them have been used to give a scrappy feel with an overall cohesive feel. It’s the perfect pattern to use up those buckets of scraps that you may have colour coded already. To finish off, I free-motion quilted with an organic swirl to complement the fluidity of the quilt.”…

“I love mixing up different patchwork techniques together and I absolutely love flowers and leaves, so this cute pillow was a fun project to design and make. I chose a soft palette of corals and aquas with accents of yellow and brown, which I hope will suit many interiors. I do like a rectangular pillow as an alternative to the usual square pillow as it gives some much-needed lumbar support, as well as a different sized ‘canvas’ to play with. The inspiration was the sort of window box you might see on a balcony, with as many different flowers as possible squeezed in. Of course, the flowers are in no way botanically correct as I usually design them first before deciding which flower they most look like!”…

Help! I get confused about what feet to use on my machine when quilting. Can you clarify please? Try this… Machine feet can be confusing, but for the sort of straight-line quilting we have been looking at in this article, you really only need to know about two feet – a quilting foot (sometimes called a ¼in foot) and a walking foot (also called an even-feed presser foot). QUILTING FOOT – this foot is used for piecing and quilting. The outside edge of the foot is positioned a ¼in from the needle position, so the edge of the foot acts as a guide. This foot is really useful if you want to do echo quilting. The foot may be metal or plastic and have a slightly different appearance, depending on…

You will need FabricAbackgroundfabric 1) – 6in x WOF Fabric B (cream) – 3in x WOF Fabric C (blue) – 5in x 15in Fabric D (pink) – 5in x 15in Fabric E (purple) – 3in x 22in Finished size ■ 12in x 12in Notes ■ Check all instructions for this block before cutting and piecing. ■ Templates A and B need to be cut with four (4) facing one way and the other four (4) reversed. ■ Template C and D are similar in shape and size to each other, but there are subtle differences between them. ■ I have included extra markings on each template that will help you to place them in the correct position. ■ Template E is symmetrical and can be turned around or upside…

Lynne Goldsworthy PICKLE DISH Turn to page 22 to make Lynne’s delightful quilt, featuring bright colours and a playful design that is sure to put a smile on your face! Jo Avery FPP & APPLIQUÉ BLOOMS Mix different techniques in Jo’s floral design to create the perfect cushion to decorate your living room or bed. Read more on page 61. Karen Lewis SERENE COLOURWAYS Enjoy some peace and quiet while sewing this serene quilt (page 55) in soft shades of blue and lavender!…

Lynne Goldsworthy from Lily’s Quilts is a modern British quilter. She has been sewing since she was a young child and, on a business trip to America, she fell in love with American quilts and tried her hand at the craft. Then life and family happened and she didn’t pick up another quilt for a few years, until she discovered Flickr, blogs and online shopping. She immediately ordered some pre-cuts, started her own blog and has never looked back. www.lilysquilts.blogspot.co.uk lilysquilts @lilysquilts…

As the name suggests, North Country quilts are produced in northern England, but it isn’t simply a designation of a place of origin. North Country quilts have a distinctive style that sets them apart from those made in other parts of the country. Wholecloths and strippies – quilts made of alternating strips of two contrasting fabrics – were both made prolifically in the region. But other types of quilts, such as patchworks and appliquéd pieces, were created too. Characteristic quilting motifs include flowing roses, feathers and twisted cables. Quilting flourished from the mid to late 1800s to the early 1900s. As well as domestic quilters, for some, the craft was a profession. For a fee, highly skilled ‘stampers’ would mark quilt tops ready for quilting and some developed a recognisable…

Sally Ablett has been happily making quilts for nearly 30 years. During this time, patchwork has developed from a hobby into Sally’s full-time job. She has a great deal of experience teaching courses and day workshops, and she gives regular talks using her own collection of quilts to demonstrate patchwork techniques and to pass on the tips and shortcuts she has learnt throughout her years of quilting. Sally does freelance design work, and she works with Lewis & Irene to design quilts and produce patterns that are used to showcase its new fabric collections.…

Karen Lewis is a screen printer, fabric designer, quilter and author living in Leeds, West Yorkshire, with her husband and three children, as well as much-adored Cockapoo, Scout. When Karen isn’t knee-deep in paint and fabric and designing for Figo Fabrics, she and Scout can be found out in the fields by their house. Karen teaches printing and textiles at workshops around the UK and overseas. www.karenlewistextiles.com@karenlewistextiles…

If hand stitching isn’t your thing, feel free to use raw-edge appliqué for the poppy and daisy using your machine and the instructions below: 1 Using the inner broken lines on your templates, trace pattern pieces on to the paper side of some fusible web. 2 Press fusible web, paper side up, onto the wrong side of your fabric. 3 Carefully cut out the shape using small sharp scissors and peel away the paper. Place on top of the right side of the background square, matching with pattern, and the fusible web facing background fabric. Press to adhere the shape to the background. 4 When all shapes are fixed in place sew a neat top stitch, blanket stitch or satin stitch close to the edge all around each shape.…

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.…

KALEIDOSCOPIC BEAUTY Create secondary patterns with clever block placement in Lynne Goldsworthy’s stunning design SCRAPS & STRINGS WEB Carolyn Forster’s delightful take on the traditional Stars and Spider Web design PET PORTRAITS Katie Essam shows you how to turn a photograph of your favourite furry friend into a fabric design Your Gift A 44-page supplement celebrating the beauty of Star quilts! Shining bright!  Sew Pam Lintott’s charming French Lace design using a Jelly Roll • Lin Clements shares tips for linear machine quilting • Block 8 of Karen Styles’ BOM series *Please note, gift and contents may be subject to change…

BLOCK OF THE MONTH BLOCK TEMPLATES ACTUAL SIZE PLEASE NOTE: Templates include seam allowances. HILLTOP MEADOW BLOCK TEMPLATES ACTUAL SIZE PLEASE NOTE: Templates include seam allowances. GARDEN GAMES BLOCK TEMPLATES ENLARGE 200% PLEASE NOTE: Templates include seam allowances. WINDOW BOX BLOOMS APPLIQUÉ AND FPP TEMPLATES ACTUAL SIZE PLEASE NOTE: Templates include seam allowances. 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 website, or copy it multiple times without permission. Copyright law protects creative work and unauthorised copying is…

THE BOOK KAFFE FASSETT IN THE STUDIO Take a peek behind the scenes with master colourist, Kaffe Fassett, in this new book from Abrams that offers an in depth look at his work and where he finds inspiration. Featured on the pages are also some of his greatest designs in the areas of needlework, patchwork and knitting, as well as some new patterns in each of these areas. So put on a cuppa, put your feet up and get lost in the wonderful world of colours! Kaffe Fassett in the studio by Kaffe Fassett (£30). To find out more, visit www.abramsbooks.com THE FABRIC COTTAGE BLEU While searching for things that could make her space calm and serene, Robin Pickens was drawn to the calming feeling of blues, from the light…

There’s nothing that gives me more joy than seeing the daffodils and tulips starting to bloom after a long, hard winter. With longer days, more natural light and new life all around us, it’s the chance to muse and embark on new projects with renewed enthusiasm for the year ahead. I’m so looking forward to sitting in the garden once more and feeling the warmth on my face as I work on some hand stitching. Happier times are ahead! I hope you had a chance to enjoy last month’s issue and my exploration of how we make and use quilts to celebrate our families and feel a closer connection to them. This issue, I want to expand on this further, and consider how quilts have also been made throughout time…

The Bowes Museum began collecting quilts in the 1930s and has now gained national recognition for the importance of its extensive collection, with pieces dating back to the 1700s. In 2000, the museum held the hugely successful show, North Country Quilts: Legend and Living Tradition. Following on from that, this new exhibition showcases some of the quilts added to the collection in the intervening two decades. North Country Quilts: In Celebration of New Acquisitions Until autumn/winter 2021 and online* The Bowes Museum, Barnard Castle, County Durham, DL12 8NP Produced to go alongside the exhibition, this 68-page book features each of the 25 quilts and associated items that will be on show. Full-page colour illustrations are accompanied by stories of how the quilts were made and by whom, as well as…

You will need ■ Fabric A (lavender) – ½yd ■ Fabric B (navy) – 1½yds ■ Fabric C (mustard) – 1¼yds ■ Background fabric – 2¾yds ■ Backing fabric – 75in square ■ Wadding – 75in square ■ Binding fabric – ½yd Finished size ■ Approx. 63in square Notes ■ Seam allowances are ¼in throughout. ■ Press seams open, unless otherwise instructed. ■ RST = right sides together. ■ WOF = width of fabric. ■ Wash and press all fabrics well before cutting. Cutting out 1 From Fabric A, cut forty-one (41) 3½in squares. 2 From Fabric B, cut the following: ■ Forty (40) 1½in squares. ■ Thirty-two (32) 3in squares. ■ One-hundred-and-sixty-four (164) 2½in x 3½in rectangles. 3 From Fabric C, cut the following: ■ Thirty-two (32) 1½in x…

You will need ■ Beige fabric for background – ⅓yd ■ Brown patterned fabric for base – 3in x 21in ■ Scraps of peach, coral, raspberry, yellow, pale yellow, aqua, pale aqua and brown patterned fabric for flowers, leaves and stems – each no bigger than 6in ■ Backing – ½yd ■ Removable pen ■ Matching thread for appliqué ■ Wadding (optional) – 13in x 21in ■ Binding – 5in x WOF ■ 12in x 20in cushion pad ■ Templates (see Templates section) Finished size ■ 12in x 20in Fabrics used ■ Spectrum Solids by Makower in shade Cappuccino for the background fabric www.makoweruk.com ■ 12in x 20in feather pad available from www.thefeathercompany.com Notes ■ If you can’t see the pattern lines easily through your fabric, try taping to a…

This fascinating and unusual piece is the only coverlet using the Inlaid or Intarsia patchwork technique in The Quilters’ Guild Museum Collection. This method of patchwork is often used to create very complex pictorial designs and uses shapes that are inserted into precisely cut corresponding holes in the backing fabric and stitched in place on the reverse with the smallest possible seam allowance. The coverlet is made from worsted wool, which does not fray and is therefore ideal for this method of construction. Extra details have been added in with embroidery, some of which is now missing. In contrast to many of our other domestic pieces which are most likely to have been made by women, Inlaid Patchwork was the preserve of the male professional, often created as showpieces for…