Explore & Escape - Today's Quilter Magazine - Issue 71

THE NO. 1 QUILTING MAGAZINE WITH GORGEOUS PROJECTS & EXPERT ADVICE NEW SERIES! Join us in welcoming Sarah Ashford ISSUE 71

GEOMETRIC GEM Let large-scale prints shine in this diamond design

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T SEN I A L G U ES E ID

Serene stitching

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NEW FROM THE OLD

Incorporate this design principle into your work

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TESSELLATIONS

USE PRECISE FPP TO CREATE A CALMING COASTAL SCENE

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CAROLYN FORSTER’S HAND-PIECED RECREATION OF A BELOVED QUILT

SEW THE SEEDS MACHINE OR HAND SEW THE HYACINTH BLOCK BY KAREN STYLES PIECE TOGETHER P A TEAPOT!

A twist on TRADITIONS CAROLYN FORSTER

Sarah Hibbert reveals how to give a fresh slant to traditional quilts through fabrics used plus unexpected quirks!

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Meet the team Editor Fiona Lawrence Deputy Editor Laura Pritchard Art Editor Rachel Bullen Production Editor Jessie Doughty Senior Digital Editor Zoe Williams Features Editor Anne Williams Technical Consultant Lin Clements

Contributors Sarah Ashford • Heather Audin • Carolyn Forster • Lynne Goldsworthy • Diane Morrison • Tina Prior • Davina Rungasamy • Karen Styles Photography Immediate Media unless otherwise stated.

Write to us Today’s Quilter, Immediate Media, Eagle House, Colston Avenue, Bristol, BS1 4ST or email: todaysquilter@immediate.co.uk

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PRODUCTION Production Coordinator Ian Wardle Production Manager Rose Griffiths/Louisa Molter Production Director Sarah Powell

WELCOME! And just like that, here’s the first issue of 2021! After the year we all had in 2020, plus the wonderful but often slightly crazy time that is Christmas; with food, family and general festivities, we thought we’d fill this issue with some serene sewing projects to ease us all into the new year. And nothing calms me more than being beside the ocean. So, I fell in love with Diane Morrison’s Foundation Paper Pieced coastal scene the minute the idea was shown to me. Displayed in a hoop in the magazine, it would look equally as striking mounted in a frame in your home. Carolyn Forster’s Lover’s Promise quilt, in soft shades of blue and cream, is another great project to take your time over and enjoy the process – all hand pieced, the results are gorgeous. Our cover star quilt is one for showing off your favourite fabrics (we have so many, we don’t know where to begin). Lynne Goldworthy’s design will have you digging in your stash for the perfect colours and prints.

Plus, enjoy a cuppa with our Vintage Teapots quilt! We’d also like to welcome our new columnist, Sarah Ashford, who will be writing over the next year about the connections quilting brings into our lives. So, here’s to a year filled with happiness, health and lots of sewing!

LICENSING Director of International Licensing & Syndication Tim Hudson

PUBLISHING Publishing Director Liz Taylor liz.taylor@immediate.co.uk Managing Director (Craft) Kerry Lawrence Managing Director (Bristol) Andy Marshall Chief Executive Officer Tom Bureau Printed and bound by William Gibbons Distributed in the UK by Frontline

BUYING Paul Torre • Karen Flannigan

Fiona Lawrence Editor

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Immediate Media Company Bristol Limited (company number 05715415) is registered in England and Wales. The registered office of Immediate Media Company Bristol Limited is at Vineyard House, 44 Brook Green, London W6 7BT. All information contained in this magazine is for information only and is, as far as we are aware, correct at the time of going to press. Immediate Media Company Bristol Limited cannot accept any responsibility for errors or inaccuracies in such information. Readers are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this magazine. If you submit unsolicited material to us, you automatically grant Immediate Media Company Bristol Limited a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk. Although every care is taken, neither Immediate Media Company Bristol Limited nor its employees agents or subcontractors shall be liable for loss or damage.

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In this issue, we’re delighted to feature…

Carolyn Forster

Diane Morrison

Sarah Ashford

FABULOUS FPP

NEW COLUMN

SEWN BY HAND

New to the TQ designer family, Diane has created a piece (page 47) inspired by trips to the west of Scotland and the Isle of Harris.

Taking up residence on the pages of our mag, Sarah introduces herself on page 31 and tells us what to expect in the coming months.

Master curves and set in seams in Carolyn’s design, based on a tattered quilt she owns. Turn to page 34 to find out more!

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34 53

Recreate a much-loved design with a new twist in an array of vintage prints

Create a quintessentially British piece that’s ready to display in your home for spring

HAPPENING NOW 07 INSPIRED BY… A touch of colour & whimsy 15 FRESH PICKS 20 SHOW AND TELL

GREAT READS 31 CREATING CONNECTIONS Join textile artist and designer, the magnificent Sarah Ashford, as she kicks off her brand-new column

DON’T MISS AN ISSUE! Make sure you receive every issue of Today’s Quilter – delivered direct to your home address.

Turn to page 28 for great subscription offers.

42 DESIGNER PROFILE Anne Williams chats with quilter and designer, Sarah Hibbert, about her modern twists on old traditions

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90 THE QUILTING ARCHIVES Discover the hexie beauty, Eleanor Skinner’s Carpet Patchwork, with Curator of The Quilters’ Guild Collection, Heather Audin

WORKSHOPS 63 ESSENTIAL GUIDE Take a masterclass in tessellations with our resident quilting expert, Lin Clements 73 BLOCK OF THE MONTH Sew the fourth block in Karen Styles’ Rippon Lea BOM – Hyacinth

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Fresh picks: All the latest quilting news

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13 times a year (monthly, with Christmas issue in November) by Immediate Media Company Bristol Ltd., Eagle House, Colston Avenue, Bristol, BS1 4ST, United Kingdom. Distributed in the U.S. by NPS Media Group, 2 Corporate Dr., Suite 945, Shelton, CT 06484. Periodical Postage paid at Shelton, CT and additional mailing offices.

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MEASUREMENTS NOTE Either metric or imperial measurements (sometimes both) are included in each project, as per the designer’s preference. Converting measurements could interfere with cutting accuracy. Follow the same units of measurement throughout; do not mix metric and imperial. Read the instructions all the way through before cutting any fabric. Always make a test block before embarking on a large project.

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The latest Block of the Month

Today’s Quilter – February 2021 (ISSN 20593230) (USPS 020-750) is published

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EXPLORING TESSELLATIONS T

Sew a calming seascape scene that reminds you of a favourite coastal getaway

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Show off your favourite fabric collection in a menagerie of twinkling diamonds

In conversation with Sarah Hibbert

PROJECTS

PLUS

20 CASHMERE DIAMONDS Our elegant cover quilt is a striking, warm design by Lynne Goldsworthy, made up of a trio of dazzling diamonds

03 WELCOME Fiona chats about what’s in this issue

34 LOVERS PROMISE Hand piece Carolyn Forster’s nostalgic design, inspired by one of her own beloved quilts!

47 CALM WATERS Stitch Diane Morrison’s nautical, postcard-perfect scene, great for displaying in your home 53 VINTAGE TEAPOTS Fall in love with Tilda’s World’s gorgeous, floral teapot beauty

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12 YOUR GIFT An incredible bumper supplement of appliqué templates!

28 SUBSCRIPTION OFFERS Try our free trial of our digital subscription!

71 DIRECTORY Quilting suppliers at your fingertips 78 NEXT MONTH A sneak preview of issue 72 79 TEMPLATES For the projects

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INSPIRED BYâ&#x20AC;Ś A touch of colour and whimsy

Images Š Martingale

Dive into your scraps and find all your favourite colours & prints

THE BOOK

SCRAP SCHOOL Scrap School by Lissa Alexander, published by Martingale, is available from 1st February. Ask your local quilt store or buy it for $27.99 from www.shopmartingale.com

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Following the popular Sisterhood of Scraps, author and designer, Lissa Alexander, has gathered more talented designer friends to share a dozen scraptastic quilt designs, like the Ombre Butterscotch Baskets design shown here. Find tips and tricks for colour selection, what fabrics to mix, plus, what makes a scrap quilt sing to help you make the most of your fabric stash! And, if you use up your scraps, you have more room to buy new fabrics, bonus!

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a t o u c h of c ol o ur & wh i msy

Add a whimsical touch of magic to the world, one block at a time!

THE PROJECT

To buy the pattern book (29.95 ) or individual PDFs of each block (7 ), visit www.etsy.com/uk/ shop/ easypatchworkSHOP or www. easypatchwork.de

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ENCHANTED PAPER DOLLS Owner of easypatchwork, Karen Ackva, has created Enchanted Paper Dolls, a 64-page pattern book with full-size Foundation Paper Patterns (FPP) to make 12 unique 12in angels, fairies and princesses. You can mix and match all colour-coded segments of the figures to create your own individual dolls as well. All patterns are scaled at 100% so no resizing is needed. The pattern also includes one wall quilt with a scalloped edge, perfect for the little people in your life who love a bit of magic!

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Images Š Karen Ackva

I N S P I R E D BY l

NEW 2021 Block Of The Month Club ONLINE NOW!

ENGLISH PAPER PIECING TEMPLATES & SUPPLIES www.sewandquilt.co.uk 01736 362253

I N S P I R E D BY l

a t o u c h of c ol o ur & wh i msy

Images © Lola Design Ltd

Brighten up any room with artwork featuring colours you love

THE COLOUR

SPLASHES OF YELLOW Beside the Bumble Bee print, we love the quirkiness of this Indian Runner Ducks art print (£20), both are available from www.loladesignltd. com

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Pantone has announced ‘Illuminating’ and ‘Ultimate Gray’ as its colours of the year for 2021. “Two independent colours that come together, conjoining deeper feelings of thoughtfulness with the optimistic promise of a sunshine filled day.” So why not add a pop of yellow to your decor and look forward to brighter days? The easiest way to do this is through a piece of artwork. And nothing makes us think of yellow more than a bumble bee, like this joyous creature from Lola Design (£20)!

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A DV E R T O R I A L l

Ca nAcDV e rER RT eO sea RIA r ch L lU e qs K

Creating a lasting legacy Sew the pieces together now that will beat cancer for future generations by pledging a gift in your Will to Cancer Research UK

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hen you sew a quilt, you put in time and effort to create something for the future.

Hopefully, your hard work is enjoyed now, but also passed down through your family to be enjoyed by future generations to come.

Cancer Research UK’s pioneering work into the prevention, diagnosis and treatment of cancer has helped save millions of lives. Work like gene editing. This is a type of genetic engineering where DNA is inserted, deleted, modified or replaced in a living organism. It’s an essential tool in research and has allowed scientists to make impressive recent advances against cancer, including the development of certain immunotherapies, where our body’s own immune system is genetically edited, boosting it so it can fight cancer. But none of this would be possible without support.

Over the past 40 years survival has doubled, thanks to the great progress research has made. However, the hard fact is that 1 in 2 people in the UK (born after 1960) will get cancer in their lifetime. That’s why Cancer Research UK is working hard to keep making breakthroughs and continue

the research that saves lives. Cancer Research UK wants to accelerate progress and see 3 in 4 people surviving cancer for 10 years or more by 2034. The charity’s strategy is to prevent more cancers, diagnose them earlier, develop the best therapies and ensure that each patient receives the best treatment for them.

Gifts in Wills fund a third of Cancer Research UK’s research and without them the charity wouldn’t be making the headway it is against cancer. That’s why Cancer Research UK are so grateful to all the amazing people who help in this way. The charity pledges that its researchers will do all they can to continue to make the breakthroughs that will one day beat cancer. This is research that will make treatments kinder, less disruptive and, ultimately, will save lives. But to save lives tomorrow, it needs your help today. Pledge right now to leave a gift in your Will to Cancer Research UK and you will make a real difference to future generations.

Together we will beat cancer

To find out more, request a free Gifts in Wills Guide. Call 0800 077 6644 or visit cruk.org/willsguide Cancer Research UK is a registered charity in England and Wales (1089464), Scotland (SC041666), and the Isle of Man (1103) and Jersey (247).

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Your cover gift

BUMPER BOOK OF TEMPLATES We’ve created an anthology of over 200 shapes, perfect for any of your appliqué projects!

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ppliqué is one of those wonderful techniques in quilting, where you can add interest, texture or just fun to any design by adding shapes here and there, or really anywhere. It’s also a wonderfully mindful activity that whiles away the time!

This collection, covering 12 themes, which include occasions, craft, seaside, botanicals and plenty more, means you can create fabulous scenes or add a shape or two to individual blocks, with spectacular results. Also included is a section on the different types of appliqué techniques you can use incase you want to brush up on your skills. Plus, there’s a handy section on how you can resize the shapes, This will make it easy for you to pick and choose which shapes you want, and how big or small you want to use them!

So, put on a cup of tea, sit back and page through our anthology of shapes. Then pick the ones you want to use in your next project and get creative. These shapes are also great for embroidery – simply transfer the shapes to your chosen fabric and start sewing. Or why not use them as a basis for quilting templates to add interest to borders, blocks etc... the possibilities are endless!

LET US KNOW! Drop us a line – an email, letter, tweet or Facebook post – letting us know about your quilting. Whether it’s a new project, treasured heirloom, favourite fabric or imaginative mood board, we’d love to see what you’ve been up to and hear your stories!

WRITE TO US Today’s Quilter, Immediate Media, Eagle House, Colston Avenue, Bristol, BS1 4ST. EMAIL: todaysquilter@immediate.co.uk

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TRENDS Quilted jackets

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Images © Art Gallery Fabrics

If you’ve been on social media recently, you’d have noticed that gorgeous quilted jackets are popping up all over the place. Featuring a multitude of designs, they are the perfect way to show off some blocks you’ve made or, deep breath, cut up a whole quilt and use it instead of fabric. Art Gallery Fabrics have been showing off the beauties shown here, like the Boucle Jacket featuring Luna & Laurel by AGF Studio (above), the AGF Denim Jacket featuring a star block (right), and the Harmony Jacket featuring Legendary by Pat Bravo – modelled by the designer herself (left). As there is nothing better than wrapping up in a warm quilt on a cold day, we couldn’t think of a better idea than being able to wear warm quilts while out and about! www.artgalleryfabrics.com

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FRESH PICKS From toolbox essentials to the latest fabric collections to obsess over, here’s a selection of hand-picked books, materials and accessories we know you’re going to love!

MAG N ET MAG I C

Grabbit Magnetic Pincushion, Lavender The last thing you want to be worrying about while becoming entranced in your quilting process is wandering pins that you have to chase across the table before they get lost behind your sewing station. That’s why we think you’ll love this lovely, lavender magnetic pincushion where your pins will stay put. Even when you do find yourself accidentally brushing a pin off your surface, you can simply turn it upside down and wave it close to the floor to pick up that pesky stray (minus the hoovering and crouching down!) £13.50

www.sewandquilt.co.uk

PERFECT PRINTS

GARDEN INSPIRATIONS From designer, Jane Alison, comes the stunning Garden Inspirations collection for Henry Glass fabrics, featuring gorgeous pastel florals that will have you longing to be outside among the plants.

The collection also includes further positivity and affirmation in the form of panels and hexies adorned with inspirational sayings and floral motifs to make a quilt that reminds you every day to be joyful. www.eqsuk.com

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FRESH PICKS l

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YO U R N E W H O B BY

PUNCH NEEDLE EMBROIDERY FOR BEGINNERS It’s a simple technique inspired by rug hooking that involves nothing more than a punch needle – it’s like a normal sewing needle, but with a handle and the eye of the needle at the stabbing end! It can be used on any loose-weave fabric using either yarn, fabric strips or embroidery thread/floss, and creates a textured, raised finish that’s soft to the touch and beautiful to look at. The easy-to-learn technique and repetitive action makes this the perfect mindful pursuit, and projects from wall hangings and cushions to children’s toys, bags and purses can be worked up quickly and easily with minimal effort. Lucy Davidson’s imaginative designs are stunning and will appeal to anyone with an eye for clean, contemporary design! All the techniques you need are described at the start of the book, with information on how to hold the needle, how to start and finish a thread and how to achieve a variety of interesting textures and colour combinations. There are then 12 projects to try, all accompanied by charts, written instructions, a full-size template and beautiful photographs of the finished pieces.

Punch Needle Embroidery for Beginners Lucy Davidson

ONE-STOP SHOP

Great British Quilter We’re sure many of you are already huge fans of our new columnist, Sarah Ashford, but here are a few reasons why we think she’s even more fantastic.

From quilt patterns, bundles, enamel pins, project pouches and more, Sarah’s shop is bursting with quilt-y goodness to brighten your day and fuel your creativity. www.greatbritishquilter.com

£10.99

www.searchpress.com

SHINE BRIGHT

The gift of Klassé Do you have a textile, quilting or sewing enthusiast in your life that deserves a treat? Perhaps it’s you! This premium gift set from Klassé is sure to go down a treat with the lucky recipient! Featuring a coordinating set of 8.5in high quality, stainless steel dressmaking scissors and a holographic retractable 60in tape measure, all wrapped up in a beautiful zippered storage pouch, the Klassé set is presented in a lovely window gift box to give it that extra special edge. £25

groves@stockistenquiries.co.uk

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T H E L AT E S T N E W S

FREE QUILTERS’ GUILD MEMBERSHIP FOR YOUNG PEOPLE! The Quilters’ Guild is giving all young people aged 5 to 18 free Young Quilter membership as part of its commitment to inclusivity and ensuring a vibrant future for patchwork and quilting in the UK! Educational charity, The Quilters’ Guild, began in 1979 with a vision to promote patchwork, quilting and appliqué, and one way it hopes to ensure the continuance of these crafts is by inspiring a new generation of quilters. Sewing and quilting is both fun and creative and is proven to benefit mental health, so what better skill to help try to pass on to the younger generation.

With their free membership, young people can access sewing classes and online learning, as well as a dedicated website, which provides learning opportunities and projects, plus a regular newsletter full of articles, ideas and projects for them to try at home. Quilters’ Guild President, Sheri Warren commented; “It is so important to teach young people these useful life skills and craft activities are known to be good for mental health. Offering all young people aged 5 to 18 free access to Young Quilters membership enables us to be totally inclusive and helps encourage artistic talent.” Young quilters will also be given the chance to showcase their talents by entering national competitions hosted

by The Quilters’ Guild, enabling them to grow as quilters and make new likeminded friends.

A new initiative is the ‘SewPal’ scheme whereby young quilters can create sewn postcards to send to each other and make friends with other young people who share their hobby – ideal for times such as these.

We as quilters know that sewing and quilting are heavily transferable skills, ones we treasure for life that prove useful time and time again. Sewing and quilting requires concentration and good hand-eye coordination, which aids cognitive development and helps to improve fine motor skills. It also fosters patience and attention to detail and focussing on a sewing task is stress-busting and relaxing. Perhaps, most importantly of all, sewing boosts self-confidence and gives people huge pride and a sense of achievement. What’s not to love?

If you have a young quilter-to-be in your life, you can find out more about the free Young Quilter Membership with The Quilters’ Guild by emailing: yqpl@quiltersguild.org.uk.

TO YO U R D O O R S T E P

Frills and Froth Subscription Boxes!

If you subscribe to Today’s Quilter, you’ll know the warm and giddy feeling you experience when the latest issue drops through your letterbox.

That’s why we were delighted when we heard about Frills and Froth’s new subscription boxes! By subscribing to this dreamy service, each month you will receive Liberty fabric, paper templates and more quilting goodies straight to your doorstep.

There are two types of boxes to sign up for; one being ‘A Taste of Hexies’, a hexagon EPP box that’s perfect for beginners, in which you will receive four Liberty fat-eighths, paper hexies and more! The other box, ‘Feast of EPP’, is as the name

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suggests, an even bigger monthly subscription box with more fabric and more surprises! Inside, you will find six Liberty quilting cotton fat quarters (perfect for building up your stash), one-hundred paper templates, instructions on how to baste and sew your pieces together, thread and more! Immerse yourself this year in the mindful craft of EPP, taking your mind away from what is happening outside and getting lost in sewing.

Limited amount of boxes are available as each box is packed carefully by Andy or Shelley of Frills and Froth. Boxes are be dispatched on the 7th of each month, and can be cancelled at any time.

A Taste of Hexies £16 per month Feast of EPP £35 per month www.frillsandfroth.com

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Join in and be part of our community

SHOW & TELL The only thing better than putting the finishing touches to your latest quilt is showing it off! So let’s see what you’ve been up to this month…

WRITE TO US Today’s Quilter, Immediate Media, Eagle House, Colston Avenue, Bristol, BS1 4ST EMAIL: todaysquilter@ immediate.co.uk

A burst of colour

Quilting for good!

During the summer lockdown, several members of our quilting group, Barn Quilters, decided to try their sewing hands at the Dancing Chickens and Flying Pigs wall hanging by Hatched and Patched. They all enjoyed the new challenge and here is the result! Donations from fellow quilters, family and friends raised £535 for a local dementia unit in The Sanctuary Care Nursing home, Oxfordshire. Staff at the unit hope to put the money raised towards an electronic, interactive unit for their clients.

Sue, via email We’re amazed at the skill and love that’s gone into this quilt. Well done to the whole team!

My friend asked me to make her a patchwork circular tablecloth. I hadn’t made such a large circle before, so I adapted Lynne Goldsworthy’s mariner’s compass quilt from issue 44 of Today’s Quilter. The centre is also by Lynne, taken from another TQ supplement. My friend requested bright, citrus colours, so I hope she likes it! I certainly loved making it. It looks very complicated, but Lynne’s instructions are brilliant, and after spending quite a long time cutting out, the piecing was very quick.

Carol, via email What a brilliant and talented friend you are, Carol! We hope your friend loves it!

A happy palette I have just finished my lockdown quilt, made with guidance from the I’ve Got Sunshine project from issue 61 by Sarah Fielke. I was hugely helped by the wonderful Kate from Calico Kate, who sent me the fabric when I couldn’t get there in March. It pops with colour and was a pleasure to sew!

Suzanne, via email What a delightful quilt, Suzanne! This has definitely brightened our day.

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Essential skills This is my cosy trapunto lap quilt! I have been working on this particular skill for a while, and Lin Clements’ brilliant Essential Guide in issue 66 on the subject was a great help!

I really enjoyed making this quilt.

Lynn, via email Gorgeous work, Lynn, the detail in your trapunto is just mesmerising!

A shelf of so many stories...

I was inspired to do this wallhanging when I first saw Julie Yates’s project in issue 40. Lockdown provided the opportunity to get stitching it – I had been planning it for a long time, saving selvages etc.

I titled it ‘Me on the Bookshelf’. It shows all my hobbies, special gifts from my son and daughter and niece. The china is actual size and represents part of my collection, along with the teapots. The books also have significance. Every item on the quilt has a story behind it! It was made to measure, and I certainly had great fun making it. I had it quilted by a lady named Jean at my local wool shop. The quilting really brought it to life. Thank you to Julie for the project and to Today’s Quilter for a fabulous magazine.

Anne, Ludlow Wow Anne! Your work is incredible.

What a charming and personal piece!

A sumptuous sampler As a relatively new quilter, I have learnt so many skills and methods from this project, Lynne Edwards’ mini sampler quilt from the supplement to issue 65 – thank you! I added four more blocks as I wanted the finished quilt to make a bed runner. I am so happy with the result, imperfections and all! Thank you for such clearly explained patterns.

Jane, via email We’re sure Lynne would be so proud of this beauty.

In ode to 2020 This was my ‘Lockdown Quilt’. I persevered through the extraordinary and unprecedented spring and summer we had, keeping myself sane through gardening and, of course, quilting! I really enjoyed sewing it and I am pleased with the result. Today’s Quilter always inspires me, and I’m gradually becoming more ambitious with my work.

Sue, Scottish Borders Lovely work, Sue! We’re so glad that you have found comfort and inspiration in Today’s Quilter over the strange and troubling year we’ve had. Happy quilting and stay safe!

Todaysquilter

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Todaysquilter

Todaysquilter

Todaysquilter

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TEMPLATES PROJECT

CASHMERE DIAMONDS Show off your favourite fabric collection in a trio of uniquely pieced diamond blocks that dance across this magnificent quilt.

Designed and made by LYNNE GOLDSWORTHY

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TEMPLATES PROJECT

CASHMERE DIAMONDS You will need Q Single-sashed diamond prints – one (1) fat quarter each of four (4) prints Q Double-sashed diamond prints – yd each of two (2) prints Q Outer borders of double-sashed diamonds prints – 1yd each of two (2) prints Q Chequerboard diamond prints A – one (1) fat quarter each of two (2) prints (red and blue) Q Chequerboard diamond prints B – one (1) fat quarter each of four (4) prints (to alternate with red/blue) Q Background fabric – 2yds Q Binding fabric – yd Q Backing fabric – 4 yds Q Batting – 80in square Q Diamond and triangle templates – see Templates section

Finished size Q Approximately. 65in x 72in

Cutting out You may wish to use Fig 1 to plan your own fabric placement for this quilt – or refer to the flat shot on page 27 if you would like to follow Lynne’s layout. The red lines show the separation of diagonal rows.

Throughout the piecing of the quilt, take care in the cutting and piecing of any directional prints so that motifs are the right way up in the final quilt.

1 BEHIND THE QUILT

REGAL SYMMETRY “The fabrics I used in this quilt are the luxurious Cashmere by Sanderson for FreeSpirit Fabrics. Sanderson has been designing fabrics, mainly for home decor use, since the 1930s. Known for their use of large floral designs, they have been used for sofas, cushions and curtains in our houses for years and years. This line has mainly large-scale prints, so a large-scale design enables those motifs to be shown to their best without being cut up too small, and this pattern would work well with any large-scale prints. Three different diamonds are alternated throughout the quilt and the prints scattered across the quilt to keep the eye moving around the design.” – Lynne Goldsworthy

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From each of the four (4) prints for the centres of the single-sashed diamonds, cut four (4) SS Diamonds and two (2) SS Triangles using the templates.

2

From each of the two (2) prints for the centres of the DS Diamonds, cut twenty (20) DS Diamonds and five (5) DS HalfDiamonds using the templates (again taking care to orientate directional prints correctly).

3

From each of the two (2) prints for the outer borders of the DS diamonds, cut twenty-one (21) Join us at www.gathered.how/todaysquilter

Fabric used Q Cashmere by Sanderson for FreeSpirit Fabrics www.freespiritfabrics.com Q Batting: 279 Cotton Mix 80:20 from Vlieseline www.vlieseline.com/ en/ Q Threads: Aurifil 50wt for piecing and 40wt for quilting www.aurifil.com Q Basting: Odif 505 spray from www.odifusa.com

Notes Q Seam allowances are in, unless otherwise noted.

Q Press after each seam and press open, unless otherwise instructed.

Q Press all fabrics well before cutting.

Q WOF = width of fabric.

Q BKG = background.

Q DS = double-sashed.

Q SS = single-sashed.

TECHNICAL TIP You might find it helpful to print or photocopy the layout image and mark off the columns as they are pieced.

1 in x WOF strips. Subcut these into forty (40) 7 in, five (5) 8 in and forty-five (45) 10in lengths.

4

From each of the main two (2) A prints (red and blue) for the chequerboard diamonds, cut twenty (20) Quarter Diamonds and ten (10) Quarter Triangles using the templates.

5

From each of the four (4) B prints to alternate with the red/blue chequerboard diamonds, cut thirteen (13) Quarter Diamonds using the templates.

Fig 1

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6

Cut the BKG fabric into forty-five (45) 1 in x WOF strips. Subcut 23

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into the following lengths: Q Eighty (80) 5in x 1 in.

Q Ten (10) 6in x 1 in.

Q One-hundred-and-sixty-two (162) 7 in x 1 in.

Q Eighteen (18) 8in x 1 in.

Q Eighteen (18) 9in x 1 in.

Q Seventy-two (72) 10in x 1 in.

Fig 2

Fig 3

Making the diamond blocks

7

Sash the SS diamonds (block 1) using the 7 in BKG strips on the sides then the 10in BKG strips on the top and bottom. After sewing on each pair of strips, trim off the ends of the strips following the edges of the diamonds (Figs 2-5). Make sixteen (16).

8 Block 1 - make 16 Fig 4

Fig 5

Sash the DS diamonds (block 2) using the 5in BKG strips on the sides then the 7 in BKG strips on the top and bottom, trimming after each round as before. Make forty (40).

Block 2 - make 40 Fig 6

Block 2 half - make 10 Fig 7

9

Now add the second round of sashing using the 7 in print strips on the sides, then the 10in print strips on the top and bottom (Fig 6).

10

To make the half-diamonds down the sides of the quilt, sash the DS half-diamonds with the 6in then the 7 in BKG strips. Then

TECHNICAL TIP Diamonds and triangles have bias edges, which are easy to stretch and distort if not handled with care. Try to cut these shapes with as many edges on the straight grain as possible.

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add the second round of sashing using the print 8 in and 10in strips.

(Fig 7) Make five (5) for each side.

11

Sew the quarter diamonds into pairs then sew those pairs together to make each of the chequerboard diamonds (block 3).

When sewing two (2) diamonds together, slightly offset the seam ends, as shown in Fig 8. Make twenty (20).

12

Sash the chequerboard diamonds using the 7 in BKG strips on the sides then the 10in BKG strips on the top and bottom (Fig 9).

Fig 8

Fig 9

Block 3 - make 20

Fig 10

13 Fig 11

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To make the chequerboard triangles along the top and bottom of the quilt, sew quarter triangles to two (2) adjacent sides of a quarter diamond (see Figs 10 and 11). Make five (5) for the top and five (5) for the bottom.

14

Sash the triangles from step 13 and the cut SS half-diamonds with the 8in and then the 9in BKG strips (Fig 12 on page 26).

15

See Fig 13 for quilt top assembly. The diamonds 25

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will be sewn into vertical diagonal columns. Refer back to Fig 8 when joining diamonds.

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Once the columns are all assembled, sew them together, again following the layout, taking care to match the seam intersections.

Quilting and finishing

17 Fig 12

Sew the two (2) pieces of backing fabric together along the long sides using a in seam.

Press seam open.

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and quilt top. Lynne used Odif 505 spray for quick and easy basting.

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Quilt as desired. Lynne freemotion quilted an all over stipple design using a cream Aurifil 40wt thread.

20

Sew the binding strips end to end using diagonal or straight seams as preferred. Fold and press in half, wrong sides together, along the length. Bind the quilt, taking care to mitre corners.

Make a quilt sandwich, basting together the backing, batting

Fig 13

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P R OJ E C T l

Meet the designer 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

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lilysquilts

c a sh m e r e d i a m o n d s

Lynne’s striking design in its warm and earthy colourway will add a touch of elegance to any room in your home

@lilysquilts

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Creating Connections INTRODUCTIONS AND INSPIRATIONS For her very first column, quilter, designer and teacher Sarah Ashford talks about the importance of coming together

H

ello! It’s lovely to be here, and I’m so looking forward to inhabiting these pages of Today’s Quilter for a while. The plan is to explore the theme of connections and the many different ways in which quilts and the quilting community bring us together. There will be lots of musings and quilting chat thrown in for good measure too; there’s nothing I love more than talking about the craft to a receptive audience – it gives me much pleasure to connect with you about our shared passion!

As I am writing this, we are currently in the second UK lockdown and I’ve not met with my quilting friends in real life for many months. No doubt it will have been the same for you too. With Guild meetings cancelled, The Festival of Quilts cancelled and 2020 being the year we all stayed at home, I thought it seemed timely to explore how quilting connects us, even though we can’t physically be together.

First of all though, I’d like to introduce myself properly. As you can see from the photos, I love bright

The Up and Away Baby Quilt was Sarah’s first Foundation Paper Pieced Pattern

colours, fresh, modern prints and fun designs. I enjoy creating simple foundation paper designs as well as regular piecing, and when time allows, I love English Paper Piecing too. My go-to quilting style is walking-foot quilting or big-stitch hand quilting. I love both in equal measure, so it is usually aesthetics and available time that help me make the decisions on my projects.

I’m lucky enough to have quilting as my career; from teaching it, writing about it, selling patterns and

“I love bright colours, fresh, modern prints and fun designs”

l y glitter viny these hand e shop Sarah sells lin on r he hes in project pouc

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recording podcasts, it gives me such joy to immerse myself in creativity every single day. But it hasn’t always been that way.

For several years I was a primary school teacher, and with a heavy workload, long hours and two small

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C R E AT I N G CO N N E C T I O N S l

i ntr od u ct i o n s a n d i n sp irat at i o n s

The stunning, rainbow toned Back to Basics Fabric Collection for Dashwood Studio

children, the opportunities for quilting were few and far between. Leaving school-teaching behind and immersing myself full-time into the quilting world was a leap of faith; one I’m grateful I was able to take, and I can honestly say I haven’t looked back.

Learning the ropes It goes without saying that quilting is my passion. Isn’t it for so many of us? Once we start on that creative journey of collecting fabric, cutting it up and sewing it together again, it’s pretty addictive!

Playing with fabric and thread has been something I’ve done since the age of about seven, when I stitched a sampler at school and knitted a scarf for my teddy bear.

Cross stitch was an easy go-to project as a teenager and I studied textiles at GCSE and even made a ballgown.

This was back in the 90s, when sewing wasn’t cool and social media didn’t exist. All my friends were acing it on the netball court and all I wanted to do was sew.

I had no one to share my love for sewing with, but I didn’t care, I persevered anyway.

Fast forward to 2009 when my daughter was born and I made my first quilt for her. Yes, I could use a sewing machine, but I had no idea about rotary cutters, rulers and mats. I purchased some fat quarters, muddled along and finished her quilt, and from that moment I knew I wanted to learn everything I could about quilting. The obsession had begun!

In 2010, I signed up for a City & Guilds Level 3 Certificate in Patchwork and Quilting, via distance learning. At the time, learning in this remote way was

“Playing with fabric and thread has been something I’ve done since the age of about seven” quite a new concept. Oh how times have changed! Many hours were given to study, research, experimentation and development and I loved every minute of it. I then decided to start a little business making personalised bunting for children’s bedrooms. I cut out more triangles than I care to remember, and made custom bunting for many of the households in Jersey, where we were living at the time. In the end, demand for the bunting took over and I never managed to finish the course, but I will Sarah’s Sweet Heart of Min e baby quilt features a beautiful rain bow of Liberty Prints

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C R E AT I N G CO N N E C T I O N S l

Sarah loves adding hand quilting to her projects with 12 weight Aurifil thread! Her thread collection, The Great British Quilter Thread Box (inset), is available to purchase on the Great British Quilter website

always be grateful for the foundation it gave me, and the confidence to explore ideas and push my creativity in a way that I never would have done on my own.

My first step into a career in quilting came through creating quilts and patterns for magazines. I also love to write, and I’ve written for publications in the UK and US. Quilting has afforded me many wonderful opportunities to travel too; the highlight being my annual trip to America to QuiltCon, the annual Modern Quilt Guild show. How lucky I was to go to Austin, Texas at the end of February 2020, just before the lockdown properly began!

Virtual connections Social media has been instrumental for me getting to know other quilters, designers, retailers and people in the industry. It was through Instagram that I started the annual Great British Quilter Instagram Challenge, where hundreds of quilters join in each year, responding to prompts set each day. From there, it led to an Aurifil thread box collection, a fabric collection and another Aurifil thread box, this time for hand quilting. Most recently I’ve launched the Great British Quilter website, and I’ve been hosting the Great British Quilter Podcast for the past 18 months too, interviewing quilt pattern designers, retailers and industry professionals.

I also sell PDF quilt and small project patterns, glitter project pouches and teach workshops. Teaching has been a great way to connect with other quilters, and having a

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i ntr od u ct i o n s a n d i n sp irat i o n s

s school-teaching background has really helped with this.

For 2020, much of the teaching has been online, but I’ve F been lucky as even though several of my real-life teaching commitments were cancelled, I managed to innovate, persevere and explore new avenues to share my skills.

Working from home and being in lockdown has really highlighted how important it is that we connect and stay in contact. When times are tough, we need one another more than ever. Which is how the theme of connection for this column first came about. Next month I shall look in more depth at the quilting community, both in real life and online and the things we do to strengthen those wonderful connections.

I’ll also be sharing some tips too, so that you can more confidently join in with the online fun, if you’ve not done so already. In the months after that, I’ll think about connections to quilting in other ways, such as with family, life events, the past, and nature, to name but a few. Who would have thought sewing fabric together could join us in so many ways! A quilt really is so much more than the sum of its stitches. I can’t wait to explore the theme of connections further and share my thoughts and findings with you.

Wishing you a very happy new year, let’s make the very best of 2021.

Sarah www.sarahashfordstudio.com www.greatbritishquilter.com @sarahashfordstudio @greatbritishquilter

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REPRODUCTION QUILT

LOVERâ&#x20AC;&#x2122;S PROMISE Put a fresh twist on an old classic in chintzy, floral prints by combining just three shapes in mesmerising rows.

Designed and pieced by CAROLYN FORSTER Quilted by THE QUILT ROOM

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REPRODUCTION QUILT

LOVER’S PROMISE

You will need Q Assorted cream fabrics – 3 yds in total Q Blue fabric(s) – 2 yds in total Q Border fabric – 1 yds Q Binding – yd Q Backing fabric – 4 yds Q Batting – 78in x 87in Q Templates (see templates section)

TECHNICAL TIP The following figures will give you an idea of how many shapes you will get from a single fat quarter: Q Shape A: six (6) Q Shape B: twenty-eight (28) Q Shape C: thirty (30) Q QST: thirty-six (36)

Cutting out

1

From your cream fabrics, cut one-hundred-and-twelve (112) 6 in squares. Trim to shape using template A.

2 BEHIND THE QUILT

INSPIRED BY THE PAST “This quilt is based on an old and tattered quilt that I own. It is an unusual pattern, and the closest designs I can find to it in books name it Lover’s Chain or Lover’s Links. I loved the design of my old quilt and was keen to make one myself. I had not intended it being a hand-pieced quilt but, as it turned out, it was the only way I could make it work.

“Apart from the curves, all of the other stitching is set in seams. It looked to be a daunting task, but I set about it stage by stage in small manageable units, after all, one bite at a time and you can eat an elephant! This would be a lovely quilt to hand quilt, and outline quilting would work well too as you can do it all in one direction by skipping through the batting from shape to shape. Equally a cross hatch grid following the seams of the quilt would work either by hand, big stitch or machine!” – Carolyn Forster

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From your blue fabric(s), cut the following: Q Ten (10) 5 in squares, subcut into quarter-square triangles. You will need forty (40) for the outside edges.* Q Two (2) 3in squares, each subcut into two (2) HSTs. You will need four (4) for the corners.* Q One-hundred-and-twenty (120) 2 in x 5in rectangles. Trim to shape using template B. Q Ninety-one (91) 3 in squares, this is shape C.*

3

From the border fabric, cut eight (8) 6 in x WOF strips. Remove the selvedge and join to a continuous length. Press seams open. Then, measure and cut two (2) 6 in x 683 in strips and two (2) 6 in x 72in strips (we advise doing this after your quilt top is assembled in case your sizes differ).

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Finished size Q Approx. 72in x 80in.

Notes Q HST = half-square triangle.

Q QST = quarter-square triangle.

Q WS = wrong sides.

Q RS = right sides.

Q *These shapes are only needed for design option 1.

4

From the binding fabric, cut eight (8) 2 in x WOF strips. Join to a continuous strip with a bias join, trimming the seam allowance to in and pressing open. Press WS together along the long length.

5

For the backing, cut the fabric into two (2) equal lengths, remove the selvedge and join together along the long sides. Press the seam open.

Assembling the rows There are two (2) layout options for this quilt and you will need either two (2) or three (3) shapes, depending which you choose (Fig 1).

See Fig 2A and 2B for the options.

Carolyn used option 1.

B A

C

Fig 1

6

Take one (1) of each shapes A and B and pin together along the curved edges. Pin the ends and the middle first, then ease the rest of the curve and pin in place (Fig 3A and

Fig 3A

Fig 2A Design option 1

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Fig 2B Design option 2

Fig 3B

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3B). Pin into the seam allowance as shown. Stitch section A to section B, RS together, with A uppermost (Fig 4), starting and stopping in from the edges. Make fourteen (14) pairs per row (Fig 5), eight (8) rows in total.

7

Stitch the pairs together. Then, stitch these into sets of four (4), and so on until the row is complete.

8

When complete, add an extra B section to the outside edge of each row – these outside edge curves will be trimmed straight when the border is added to the quilt top.

Fig 4

Fig 5

9

For layout option 1, as Carolyn has made, you will add C squares.

Set in a C piece to the bottom ‘v’s of each of the first seven (7) rows (Fig 6). Press seams, as in Fig 7.

10

To the top side of the first row, set in thirteen (13) blue QSTs, and then a HST for the corners at each end.

11

On the final row that will make up the bottom edge of the quilt, also add the QST and HST pieces along the bottom.

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Fig 6

Fig 7

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Now stitch the rows together, setting in the rows as you go along, pressing after each row is complete (Fig 8 and Fig 9). If you have chosen design option 2, note how the rows are staggered so that the right angles tessellate.

TECHNICAL TIP For more tips on hand-piecing, visit: gathered.how/sewingand-quilting/quilting/howto-hand-piece-patchwork

l o v e r â&#x20AC;&#x2122;s p r o m i se

Adding the borders

13

Trim the quilt edges straight, cutting off the excess at the edges in beyond the points.

14

Add the borders, stitching the sides on first. Press away from the quilt. Repeat with the top and bottom borders, pressing and trimming as before.

Fig 8

Quilting and finishing

15 16

Layer and base with the backing and batting.

Quilt as desired â&#x20AC;&#x201C; Carolyn quilted hers with an all over design on her machine. Once quilted, bind and label.

Fig 9

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l o v e r â&#x20AC;&#x2122;s p r o m i se

Meet the designer Carolyn Forster has been sewing, making patchwork and quilting for well over 20 years, and teaching for many of those years. You can find her quilts in a range of books published by Landauer Publishing (USA), and Search Press (UK). She blogs at www.carolynforster.co.uk or you can follow her stitching inspiration on Instagram. To get in touch with Carolyn about her classes and talks, you can email her at: carolynforster@hotmail.co.uk www.carolynforster.co.uk Carolyn Forster Quiltingonthego

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Will you follow Carolynâ&#x20AC;&#x2122;s choice to use aesthetically harmonising prints or go entirely scrappy to create a jewel-toned beauty?

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DESIGNER PROFILE l

sa r a h h ib b e r t

Serendipity: This improv quilt was the first quilt Sarah had accepted into QuiltCon, the Modern Quilt Guild’s annual juried show, in 2017.

It is pieced from hand-printed designs, that were selected entirely at random, with new elements added to each side, technically ‘filling in the gaps’, until the desired size was achieved

designer profile

SARAH HIBBERT Anne Williams chats to quilt-maker Sarah Hibbert about her modern twists on old traditions...

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sa r a h h ib b e r t

Far left, Taliesin Leaves: This design is based on the traditional block known as Maple Leaf. Here, Sarah has combined warm prints and plains with calm neutrals. A few mirrorimaged blocks and some ‘negative-space’ leaves add a modern twist to a classic pattern

Image © Anne Williams

Left, Happenstance I: Set against the neutral hues of the background, the bold quarter-circle patches simply pop in this Drunkard’s Path style quilt

C

Images artist’s own

alm hues and a minimalist aesthetic imbue Sarah Hibbert’s quilts with a sense of elegance and serenity. Sarah says, “Many of my designs have their roots in long-established patterns, but I hope my fabric selections, simple compositions and unexpected quirks give my quilts a fresh slant on old traditions.”

Sarah has huge appreciation for heritage quilts, with a soft spot for those made by the Amish. Once regarded as folk art, these striking American quilts are now widely considered to be fine examples of abstract art. Indeed, art and design have long fascinated Sarah.

Ab Above, Serendipity S di it II: II This Thi improv i quilt il features several traditional elements, such as Half-square Triangles, Flying Geese and Drunkard’s Path units. This piece was accepted into QuiltCon 2018

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Log Cabin, detail: For added interest, in this block, Sarah has stitched a row of cross stitches and a row of cross stitches with a French knot in the central square

“My father was a graphic designer and he was also passionate about art. When I was a child, he often took me to galleries and exhibitions. It opened my eyes to the wealth of visual creativity, though I was especially drawn to the clean simplicity of modern designs, particularly works from the Bauhaus. My father also knew people like Lucienne Day, an influential textile designer renowned for her progressive work in the 1950s and ’60s. So I was instilled with a love of art and design from a tender age – and I just adored the fabrics,” Sarah says.

However, no-one in the household sewed and it was as a young adult in the mid-1980s that Sarah first picked up a needle and thread. “I did a one-term sampler quilt course and loved it,” Sarah recalls. “This led me on to joining a local group, Peartree Quilters, some 35 years ago. I rarely do workshops, but quilters are terrific sharers and I’ve learnt so much from this group.” She also belongs to London Quilters, a group of 90 plus members of various skills and levels, which has encouraged her to find her unique style.

But Sarah’s real turning point was joining the Modern Quilt Guild (MQG) around five years ago. Each year, in early spring, this global guild, which was founded in America, hosts its annual convention, QuiltCon, which alternates between the east and west sides of the States.

“Reading the preview about their upcoming show in Savannah on the south-east coast, I decided to go. And as I was travelling all that way, I thought I’d try entering a quilt. I was absolutely delighted when Serendipity (see page 42) was accepted,” Sarah tells us.

The show bowled Sarah over. “The quilts were fabulous and the atmosphere was great. It’s a very Instagram-based event and people were posting quilts and tagging their makers, and connecting with each other too, so there was

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Image © Anne William s

DESIGNER PROFILE l

DESIGNER PROFILE l

sa r a h h ib b e r t

a real buzz. I’d been making modern-style quilts for years and it was a revelation to discover this vibrant community. I love that I’m now part of it.

I’ve been to QuiltCon every year since and have been lucky enough to have quilts accepted each time. But, more importantly, it’s a chance to get together with a group of international friends I’ve made through the event. Sadly, this year’s show will be virtual due to Covid-19, but hopefully we will all see each other again in Phoenix in 2022,” Sarah says.

A MODERN MAKEOVER Sarah’s love of heritage quilts shines through in her modern interpretations. Most of her pieces are block-based, with Log Cabin and Drunkard’s Path being favourite influences. But Sarah likes to add a few well-judged twists, such as placing a few ‘rogue’ logs in her Log Cabin blocks, or inverting a block here, putting one on its side there or taking part of a block out into the border.

But it’s typically the fabrics themselves which spark an idea. “Some of my friends think I’m a bit dotty, but I talk to my fabrics and these

‘conversations’ have the greatest impact on my work. So a statement print might tell me it needs to be featured in a large Drunkard’s Path block so it can sing, whereas a subtler motif may ask to be placed in a less stand-out patch like a central square in a Log Cabin block,” Sarah says.

Once she’s established what her key fabrics want, Sarah jumps straight into making. “I know what type of blocks I’m going to make and the size the blocks will be, but that’s the only planning I do. I don’t know which other fabrics I’ll use, how many blocks I’ll make or how large the quilt will be. That evolves as I go along,” she states.

Her go-to technique is machine piecing.

“My happy place is joining two pieces of fabric together and seeing what they do to each other.

It’s just so exciting,” Sarah remarks. If a curve proves impossible to piece, she will turn to handworked needle-turn appliqué, but only ever as a last resort.

Unusually, Sarah’s fabric of choice is linen.

She explains, “I fell for some Japanese prints that happened to be linen. I don’t like mixing fabric weights, so I bought plain linens to go with them.

Above left, Macaroons: This quilt is the first of Sarah’s collagestyle quilts, which have all developed from paper collage studies. The circles really zing against the charcoal background. This quilt features on the publicity material for The Festival of Quilts 2021 (Longarm quilted by Christine Perrigo) Above right, Collage No. 57: This striking abstract piece is based on one of Sarah’s paper collages. Sarah machine quilted it using a quilt-asyou-go method

Sarah has been quilt-making for over 30 years. After many years of making traditional quilts, she is now known for her minimalist modern designs, mostly constructed from linen fabrics. She has had quilts accepted into several of the Modern Quilt Guild’s annual juried competition QuiltCon, with an unprecedented five quilts accepted in 2019. Also in 2019, her quilt Reflections (see page 45, top left) was acquired by The Quilters’ Guild Museum Collection, one of the first modern pieces to enter their Collection.

You can follow Sarah’s quilting and paper collage work on Instagram. @quiltscornerstone

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@cornerstonecollages

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Images artist’s own

Meet the designer

DESIGNER PROFILE l

sa r a h h ib b e r t

Happenstance: The assorted prints and varied orientations add lots of visual interest to this gentle-hued Drunkard’s Path style quilt

Above, Reflections: The lovely Japanese linen prints are a strong focal point in this simple design of triangles. It is now part of The Quilters’ Guild Museum Collection. Sarah says, “I have been a member of The Guild for almost as long as I’ve been quiltmaking and I’m just so chuffed to have a piece in their Collection” Below, Handquilting in progress on a blue Log Cabin quilt. Sarah likes simple designs and is quilting each log with rows of aligned running stitches

Once I started working with these fabrics, I was smitten. It isn’t possible to get points as crisp as you can with cotton, but that doesn’t worry me as I love the end result. And linen is such a joy to hand-quilt – another happy place. The feel of thread going in and out of the cloth is just wonderful. I rarely use anything else now.”

One task Sarah isn’t keen on is basting, but luckily her mother-in-law, June, is happy to step in. She says, “June used to be a seamstress and she hand-tacks my quilts with such meticulous care. It’s important this step is done well as I like to throw basted pieces over the back of a sofa where I can look at them and wait for them to tell me what they want – yes, I talk to my quilts too. Sometimes, they hang around for months, or even years, before quilting begins, so the layers need to be secure.”

Inevitably, Sarah’s quilting patterns are restrained. “I don’t want the stitching to obscure the fabrics or the pieced design. My aim is to just sprinkle the quilt with a little something extra,” Sarah says.

NEW DIRECTIONS Recently, Sarah has been experimenting with collage-style pieces. These developed w from taking part in the 100 Day Project, an annual online event for which participants ccommit to 100 days of exploring their ccreativity and sharing their work on Instagram ((#The100DayProject).

Sarah says, “The idea is to choose ssomething you can do quickly. Since childhood II’ve collected paper cuttings, snipping out things like attractive shapes or colour o ccombinations, so I cut one-hundred 8-inch ssquares from card and every morning I spent

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10 to 15 minutes making a paper collage”.

A few of her collages struck Sarah as being ideal to scale up in fabric and thread, and Macaroons (see page 44, top left) was the first of these pieces. A diversion from her usual style, Sarah wasn’t sure how to quilt it. However, she had seen and admired work by American longarm quilter, Christine Perrigo, at QuiltCon. So she asked Christine if she would quilt it.

Christine agreed and has since quilted another two of Sarah’s collage pieces. “We each make suggestions and then come to a joint decision as to what quilting we think will work best, so the final design is a collaborative outcome,” Sarah comments.

Collaboration, sharing and friendship are all things Sarah loves about the quilting world. She says, “I make quilts simply because I adore fabrics and being creative with them. But I also cherish being part of a wider quilt-making family, and in this strangest of times I treasure that more than ever before.”

THE FESTIVAL OF QUILTS At this year’s The Festival of Quilts, Sarah has a solo gallery – ‘Sarah Hibbert’ – which will showcase a selection of her recent work.

Especially in these uncertain times, do make regular visits to the Festival’s website for up-to-date information about this summer’s event The NEC, Birmingham 29 July – 1 August 2021 www.thefestivalofquilts.co.uk

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FOUNDATION PIECING PROJECT

CALM WATERS This stand-alone block employs clever use of colour and precise Foundation Paper Piecing to recreate a familiar coastal scene.

Designed and made by DIANE MORRISON

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FOUNDATION PIECING PROJECT

CALM WATERS

You will need Q Scraps of fabric in differing shades of green, blue, grey and sand Q One (1) scrap of white fabric Q One small scrap of red or other contrasting fabric Q Templates (see Templates section) Q Embroidery hoop – 9in (optional)

Finished size Q Approximately 10in square.

Preparing the templates

1

Cut out the paper templates along the dashed outer edges. You will have six (6) sections labelled A-F.

2

Lay out your templates as shown in Fig 1, but don’t join them yet. This is the mirror image of the finished block.

Choosing fabrics

3

You can use Fig 1 and the list below to help you plan your colour scheme. To give the sea depth, Diane suggests choosing five (5) blue fabrics ranging in shade from dark to light. Use the dark blue for the deep sea (section D1) and choose lighter shades as you move towards the shore (Fig 2). To help you plan fabric placement, the colours Diane used are as follows:

TEMPLATE A Croft house Q A1: dark beige Q A2-A3: white BEHIND THE QUILT

COASTAL TREASURE “This pattern was inspired by my trips to the West of Scotland, the Isle of Harris in particular. On Harris, you can turn a corner to find pockets of sandy beaches with turquoise seas reminiscent of tropical paradises. The only giveaway that you are in temperate Scotland is the changeable weather, which only adds to the charm of the island. I had to include a croft house in the landscape as they are such a recognisable and characterful feature of the Hebrides, with their squat shape and a thatched roof sitting low like a heavy fringe. Although, for me, this pattern represents the Hebrides, you can change the colours of the sea, hills and beach to create a scene reminiscent of your favourite coastline.” – Diane Morrison.

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Land Q A4-A8: mid green Q A9-A10: darkest green

TEMPLATE B Land Q B1 & B3: mid/dark green Q B2 & B4: sky blue

TEMPLATE C Land Q C2-C3: darkest green Q C1 & C4: sky blue

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Notes Q FPP = Foundation Paper Piecing.

Q Seam allowances are in throughout.

Q Seam allowances are indicated by dashed lines on templates.

Q Press your fabric before sewing and press each seam after sewing.

Q There is no need to pre-cut fabric when Foundation Paper Piecing, trimming is done while piecing the sections.

TEMPLATE D Sea Q D1: darkest blue Q D2-D6: dark blue Q D7-D11: mid blue Q D12-D16: lightest blue Q D17-D21: light blue Beach Q D22-D25: mid sand Q D26-D29: light sand/beige Land Q D30-D31: grey Q D32: mid green

TEMPLATE E B C

A

D

Boat Q E1: white Q E2, E3, E5 & E6: red Q E7-E9: white Beach Q E4, E10, E11, E12, E13, E14, E16 & E17: mid sand Q E15 & E18: light sand/beige

TEMPLATE F Beach Q F1: light sand Q F2-F4: grey Q F5-F7: mid/dark green E F

Fig 1

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Fig 2

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4

When you have settled on the fabric colours and positioning, write the colours or names of the fabrics on the template pieces as it is easy to get them muddled. Now you are ready to begin sewing.

Making the sections

5

Piece the sections in numerical order using your preferred FPP technique, trimming each fabric piece to size after sewing.

Fig 1, with right sides facing the table. Now you can join the sections together.

8

Sew the sections together in alphabetical order: Q Sew section A to section B (Fig 3).

Q Sew section AB to C. Q Sew section ABC to D. Q Sew section ABCD to E. Q Sew section ABCDE to F. Fig 4

10

6

Square up the block by trimming the edges to make them straight.

When each section is complete, trim the excess fabric and remember to leave the in seam allowance. If you are careful, at this stage, it will be easier to align and sew the sections together later â&#x20AC;&#x201C; so itâ&#x20AC;&#x2122;s worth taking the time to make sure your fabric covers the seam allowance fully and is trimmed correctly.

Finishing touches

11 Fig 3

Assembling the landscape

7

50

Arrange the sections in their correct positions, as shown in

9

After sewing the sections together, you should have a block that is about 10in square, as shown in Fig 4.

Now that your coastal scene is complete, you can add extra details with embroidery. Give the croft house a traditional style door and windows and add texture to the sea and beach with a variety of embroidery stitches including French knots and chain stitch (Fig 5). To add character to the

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P R OJ E C T l

rowing boat, backstitch lines along its length and give it depth by narrowing the gaps between the rows of stitching towards the back of the boat. You can also embroider a name on your boat (Fig 6).

c al m wat e rs

TECHNICAL TIP Diane recommends ensuring that there is strong contrast between the main features of the landscape – this helps to keep the different areas of the image distinct so that they do not merge into one another.

12

You may choose to display your project in a frame, embroidery hoop or finish it as a mini quilt.

Foundation paper piecing tips Here are some of Diane’s top FPP tips to help you get your Calm Waters project just right!

Fig 5

Q If you find you have some bulky seams, press the seam so that it is warm, then place a heavy object on it to set the seam as it cools.

Q Diane prefers to rip the paper off a section just before sewing sections together as she finds it easier to press the seams with the paper removed.

Q If you are having trouble lining up the sections, try this: Take the sections you are joining and place them with right sides together.

Arrange the sections so that the two places where the edges of the sections meet are in from the fabric edges, as circled in Fig 7. Sew the sections together

with a in seam allowance and you should find that your sections line up perfectly!

Q Use solid colours or batiks for an easy life – there is no “right” side so less chance of making errors!

Section A

in

Section B Fig 7

Fig 6

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c al m wat e rs

Meet the designer Diane Morrison, who live in Roslin, Scotland, has been sewing quilts for the last eight years and found her passion for foundation paper piecing in 2017. Since then she has been designing and publishing patterns as Etive & Co. You can find her range of beautiful FPP patterns through her website and follow her on Instagram where she shares her work and projects. Diane also has her own Youtube channel where she shares tutorials to help you hone your FPP skills! www.paperpiecing.co.uk @etive_and_co

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Dianeâ&#x20AC;&#x2122;s serene piece calls upon a variety of skills that culminate in a beautiful wallhanging to truly treasure

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PICTORIAL QUILT

VINTAGE TEAPOTS This quintessentially British-themed quilt has us dreaming of summer’s filled with street parties full of bunting, scones, friendship and, of course, tea!

Designed by Tone Finnanger for TILDA’S WORLD

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PICTORIAL QUILT

VINTAGE TEAPOTS You will need

TECHNICAL TIP Where a long eighth or long quarter is given in the ‘You Will Need’ list, you could use fat eighths and fat quarters instead.

A fat eighth is around 10 in x 18in and a fat quarter is around 21in x 18in.

Q Fabric 1 (Bonnie red) – yd Q Fabric 2 (Nancy red) – yd Q Fabric 3 (Billy Jo red) – yd Q Fabric 4 (Shirly teal) – yd Q Fabric 5 (Shirly dove white) – yd Q Fabric 6 (Medium Dots, red) – yd Q Fabric 7 (Shirly red) – yd Q Fabric 8 (Nancy teal) – yd Q Fabric 9 (Pen Stripe light blue) – yd Q Fabric 10 (Tiny Star light blue) – yd Q Fabric 11 (Crisscross light blue) – yd Q Fabric 12 (Paint Dots light blue) – yd Q Fabric 13 (Tiny Dots light blue) – yd

Preparation

1

This quilt is made up of three (3) different teapot blocks – Block 1 (in two (2) different colourways), Block 2 (in four (4) different colourways) and Block 3 (in two (2) different colourways). The teapots are arranged in rows, separated by narrow sashing strips. Narrow rows of Flying Geese blocks are used like

Fabric 1

Fabric 2

Fabric 3

Fabric 4

Fabric 5

Fabric 6

Fabric 7

Fabric 8

Fabric 9

Fabric 10

Fabric 11

Fabric 12

Fabric 13

Fabric 14

Fabric 15

BEHIND THE QUILT

VINTAGE TEAPOT JOY “This is the perfect quilt to have on display for when friends drop by for a cup of tea. There are three different teapot blocks in pretty prints all sitting on bunting-edged shelves. A fresh solid fabric is used for the background and this lovely sky-teal colour contrasts beautifully with the pictorial blocks.” – Tone Finnanger

Fig 1

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Q Fabric 14 (Dottie Dots light blue) – yd Q Fabric 15 (Solid sky teal) – 3 yds Q Backing fabric – 3 yds Q Batting – 60in x 82in Q Binding fabric (Pearls yellow) – yd

Finished size

15 9

12

1

Block 1A

6

10

2

Block 2A

Block 1B

Q 52in x 74in

Fabrics used Q Bonnie, Nancy, Billy Jo, Shirly, Medium Dots, Pen Stripe, Tiny Star, Crisscross, Paint Dots, Tiny Dots, Dottie Dots, Solid

by Tilda. www.tildasworld.com

13

12

7

Block 2B

Block 2C

Notes Q Use a

3

11

in seam throughout.

11

Block 2D Fig 3

14

4

5

8

F Block 3B

Block 3A

Make three (3) of each in the fabric indicated by the number

F

G

H

G

I

J

L

A

K

E

C

N

D B

Fig 2

M

E

Quilt layout

bunting between the teapot rows.

The fabrics used are shown in Fig 1 and the quilt layout in Fig 2. The different colourways for the teapot blocks are shown in Fig 3.

2

For the print fabrics for the teapot blocks, follow the measurements for cutting out the pieces in Fig 4, Fig 5 and Fig 6. Seam allowances are included in these measurements.

3

All teapot blocks use Fabric 15 as a background. Cut now if desired, putting them in labelled piles (or cut the pieces as you make each block).

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O A

Fig 4

Block 1

A – 3in x 3 in B – 1 in x 4 in C – 1 in square D – 1 in x 4 in E – 1 in square F – 1in x 1 in G – 2in x 1in

I – 4in x 1in J – 3 in x 1 in K – 2 in x 9in L – 2 in x 1in M – 7in x 9 in N – 1in x 5in O – 1in x 5in

H – 1in square

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A – 14in x 2in B – 3in x 2 in

A

C – 1 in x 4 in D – 1 in square

H

G

I

E – 1 in x 4 in

H

F – 1 in square

G

J

G – 3in x 1 in H – 2in x 1in

B L

O

L

I – 1in square J – 4in x 1in K – 9in x 7 in

D

F

L – 2 in square

Q

T S

M – 3in x 1in N – 4in x 1in O – 3in x 3 in

E

K R

P

C

P – 2 in x 3in Q – 2 in x 1in R – 1in x 4in

F

S – 2in square

S

Q

T

T – 1 in square U – 3in x 2 in

B

L M

Fig 5

U

L M

N

Block 2

H

G

I

A – 3in square

H

G

B – 1 in x 4 in

J

C – 1 in square

A

D – 1 in x 4 in E – 1 in square

O

F – 3in x 4in G – 1 in x 1 in H – 2 in x 1in

E

C

T

Q S

I – 1in square J – 5 in x 1in K – 7in x 9in

D

L – 2 in square

K

R

P

B

M – 2 in x 1in N – 3 in x 1in O – 3in x 3 in

E

S

Q

P – 2 in x 3in

T

Q – 2 in x 1in R – 1in x 4in S – 2in square T – 1 in square

U

F L

L M

Fig 6

56

U – 3in x 4in

N

M

Block 3

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v i nt a ge t e a p ot s

Making a Block 1 Teapot

9

Each Block 1 is made the same way, but in two different colourways (see Fig 3). Fig 4 shows the layout of the block, with the letters indicating the cut sizes of the fabric pieces. When you have cut all the pieces for one (1) block, lay them out in the different sections of the block as best you can.

10

Follow Fig 7 for sewing the spout. Create a triangle on a corner as follows. On the wrong side of a C square mark a diagonal line.

Place the square right sides together with piece B, matching the top edges.

Sew along the marked diagonal.

Trim excess fabric in away from the sewn line and press the corner outwards. Repeat this process with piece D and two (2) E squares.

A

C B

E D E

A

Fig 7

Use the cut sizes given in shaded grey on Fig 4, Fig 5 and Fig 6. Cut the fabric in WOF strips, then subcut into the sizes needed.

Cutting out

4

From Fabric 15, cut thirty (30) 1 in x 10 in vertical sashing strips.

5

From Fabric 15, for the Flying Geese blocks, cut one-hundredand-eighty-two (182) 2 in squares.

6

For the Flying Geese blocks, cut as follows: Q From Fabric 1 – sixteen (16) 4 in x 2 in rectangles.

Q From Fabric 2 – twelve (12) 4 in x 2 in rectangles.

Q From Fabric 3 – twelve (12) 4 in x 2 in rectangles.

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Q From Fabric 4 – twelve (12) 4 in x 2 in rectangles.

Q From Fabric 5 – twelve (12) 4 in x 2 in rectangles.

Q From Fabric 6 – nine (9) 4 in x 2 in rectangles.

Q From Fabric 7 – nine (9) 4 in x 2 in rectangles.

Q From Fabric 8 – nine (9) 4 in x 2 in rectangles.

11

Now sew units B/C together with unit D/E/E. Take this pieced unit and add the two (2) rectangle pieces A to the top and bottom, and press. Set aside.

12

G

7

Cut the backing fabric in half across the width. Sew together along the long side. Press the seam open and trim to a piece about 60in x 82in.

Follow Fig 8 for sewing the lid. Sew pieces G, H and G

F

H

G

J

8

From the binding fabric, cut seven (7) 2 in x WOF strips. Sew together end to end and press seams open. Press in half along the length, wrong sides together.

Fig 8

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together in a row and press. Add piece I to the bottom of the unit.

Now sew piece F to the left-hand side of the unit and piece J to the righthand side, and press. Set the unit aside for the moment.

13

Follow Fig 9 for sewing the body and handle. Sew pieces K and L together and press (Fig 9A).

Sew pieces N and O together and press (Fig 9B). Take unit K/L and, on the wrong side, use an erasable marker to mark the in seam allowance all around. On this unit, also mark a diagonal line from corner to corner of the seam allowance (not the outer corners of the shape). On the right side of piece M, mark the in seam allowance. On piece M, mark a dot 2 in away from the top right-hand edge of the fabric, as shown on Fig 9C. Mark another dot at the bottom right-hand side, on the in seam allowance corner.

triangle outwards. To complete the body and handle, sew unit N/O to the right-hand side.

15

To assemble the block, follow Fig 10. Sew the lid section to the body section and press. Now add the spout section and press neatly.

The block should be 10in x 10 in at this stage.

Fig 10

16

Make three (3) Block 1A in total. Repeat the process and change fabrics to sew three (3) x Block 1B â&#x20AC;&#x201C; see Fig 3 for fabrics used.

Making a Block 2 Teapot

17

Each Block 2 is made the same way, but in four (4) different colourways (see Fig 3). Block 2A is described in detail here. Fig 5 shows the layout of the block, with the letters indicating the cut sizes of the fabric pieces. When you have cut all the pieces for one block, lay them out in the different sections of the block as best you can.

18

For the teapot spout, use pieces B, C, D, E and F, and

L N

K O

Fig 9A

Fig 9B

2 in

K/L M

in Fig 9C

14

Place unit K/L right sides together with piece M, angling the narrow unit, as shown in the diagram, so the dots match up at the top and bottom. Pin in place, then sew along the marked diagonal line (you can sew to the edges of the fabric). Trim excess fabric in away from the sewn line and press the

58

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P R OJ E C T l

then follow the same basic process as described for the Block 1 teapot (Steps 10–11).

Q

19

For the teapot lid, use pieces G, H, I and J, and follow the same basic process as described in the Block 1 teapot body (Step 12).

P

20

Q

For the body, follow Fig 11 – take piece K and four (4) L squares and create triangle corners on the larger piece, using the same technique described for Block 1 (Step 10). For the base of the teapot body, sew two (2) of the M pieces to the sides of an N piece.

Press and then sew this to the bottom of the teapot body.

L

v i nt a ge t e a p ot s

S R

S

Fig 12A

Fig 12B

T O

T

L Fig 12C

K

L

L

U

Fig 12D

A

22 M

N

M

Fig 11

21

To make the handle, follow the sequence in Fig 12. Start by sewing the two (2) Q pieces to the top and bottom of the P piece. Press and then add piece R to the righthand side of the unit (Fig 12A). The corners S and then T are created using the same technique described for Block 1 (Step 10) – follow Fig 12B and Fig 12C. Finally, add piece O to the top of the handle and piece U to the bottom and press, as shown in (Fig 12D).

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To assemble the block, follow Fig 13. Sew the spout section and the handle section to the body section and press. Add the long strip of piece A to the top of the block.

The block should be 14in x 10 in at this stage.

23

Make three (3) of Block 2A like this in total. Repeat the process and change fabrics to sew three of Block 2B, 2C and 2D – see Fig 3 for the fabrics used.

Making a Block 3 Teapot

24

Each Block 3 is made the same way, but in two (2) different colourways (see Fig 3).

Block 3A is described in detail here.

Fig 6 shows the layout of the block, with the letters indicating the cut

Fig 13

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sizes of the fabric pieces. When you have cut all the pieces for one (1) block, lay them out in the different sections of the block as best you can.

25

For the spout, use pieces A, B, C, D, E and F, and follow the same basic process as described in the Block 1 teapot (Steps 10-11).

26

For the lid, use pieces G, H, I and J, and follow the same basic process as described in the Block 1 teapot (Step 12).

27

For the teapot body and base use pieces K, L, M and N, and follow the same basic process as described in the Block 2 teapot (Step 20).

28

For the handle, use pieces O, P, Q, R, S, T and U, and follow the same basic process as described in the Block 2 teapot (Step 21).

29

To assemble the block follow Fig 14. Sew the lid section to the body section and press. Now add the spout section and the handle section and press. The block should be 12in x 10 in at this stage.

30

Make three (3) Block 3A in total. Repeat the process and change fabrics to sew three (3) Block 3B – see Fig 3 for fabrics used.

Making the Flying Geese rows

Q Fabrics 5 and 15 – make twelve (12) 4 in x 2 in units.

Q Fabrics 6 and 15 – make nine (9) 4 in x 2 in units.

Q Fabrics 7 and 15 – make nine (9) 4 in x 2 in units.

31

Fig 14

60

There are seven (7) rows of Flying Geese units in the quilt – Row 1 is repeated four (4) times and Row 2 repeated three (3) times. Use print fabrics 1, 2, 3, 4, 5, 6, 7 and 8. Each of the Flying Geese units is made the same way, as Block 1 to create the corner triangles. For each unit, use one (1) 4 in x 2 in rectangle of print fabric and two (2) 2 in squares of solid Fabric 15.

Follow Fig 15 for the sewing stages.

Each unit needs to be 4 in x 2 in unfinished. Make a total of ninety-one (91) units, in the following fabric combinations.

Q Fabrics 1 and 15 – make sixteen (16) 4 in x 2 in units.

Q Fabrics 2 and 15 – make twelve (12) 4 in x 2 in units.

Q Fabrics 3 and 15 – make twelve (12) 4 in x 2 in units.

Q Fabrics 4 and 15 – make twelve (12) 4 in x 2 in units.

Fig 15

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P R OJ E C T l

Q Fabrics 8 and 15 – make nine (9) 4 in x 2 in units.

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Quilts From Tilda’s Studio by Tone Finnanger Designer and creator of the Tilda brand, Tone Finnanger, shares 14 beautiful quilt projects perfect for using up scraps of your favourite Tilda fabrics. £16.99 www.davidandcharles.com

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Lay out the Flying Geese in the order shown in Fig 16.

Note that there are four (4) different units – Unit 1A and 1B, and Unit 2A and 2B. Sew the units together as in the diagram. Repeat the process to make the number of units stated.

Assembling the quilt

33

34

Sew the units together into Row 1 and Row 2, as shown in Fig 17. Repeat, so you have four (4) of Row 1 and three (3) of Row 2.

1

2

v i nt a ge t e a p ot s

Lay out the first row of teapot blocks as in Fig 18.

Arrange the 1 in x 10 in vertical sashing pieces in-between the blocks

3

4

7

8

and at the ends of the row. Sew the row together. Now follow Fig 2 carefully to sew the rest of the rows, changing the positions of the teapot blocks as shown.

35

When all the teapot rows are sewn, sew the Flying Geese rows between each teapot row, and at the top and bottom of the quilt.

Ease the rows to fit together neatly, making sure you pin well. Start with Flying Geese Row 1 at the top, then Row 2 and alternate, as in Fig 2.

Press to finish.

15 Unit 1A – make eight (8)

Unit 1B – make four (4)

Quilting and finishing 5

6

36

Make a quilt sandwich of the backing fabric, batting and quilt. Quilt as desired. Square up the quilt, before trimming excess batting and backing.

Unit 2A – make six (6)

37

Use the prepared double-fold binding strip to bind your quilt. Add a label and your quilt is now finished.

Fig 16 Unit 2B – make three (3)

Unit 1A

Unit 1A

Unit 1B

Unit 2A

Unit 2B

Row 1 – make (four) 4 Unit 2A

Fig 17

Row 2 – make (three) 3

Block 1A

Block 2A

Block 3A

Block 2C

Fig 18

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ESSENTIAL GUIDE Exploring Simple Tessellations In the past, quilts were often sewn using one-patch blocks to create tessellating patterns.

These repeating designs are also a good way to use up spare fabrics

“Tessellation is used in our work more often than we realise and in this month’s guide we focus on some easy shapes to create these interlocking patterns.”

– Lin Clements Join us at www.gathered.how/todaysquilter

63

ESSENTIAL GUIDE l

si m pl e t e ssell at i o n s

WHAT IS A TESSELLATION?

T

essellating patterns are all around us – in tiles, carpets, wallpaper and fabrics, to name but a few examples. A tessellation is a repeating shape that fits together perfectly, filling a surface with no gaps or overlaps. The interlocking pattern is often made up of identical positive and negative shapes. The individual shape, whatever it may be, is often called a ‘tile’. In fact, the word tessellation comes from the Latin word ‘tessella’, which is a small, square tile used in Roman mosaics.

The base shape in a tessellation may also be called a

Fig 1

Cell

Fig 2

64

Examples of simple cells, with their tessellating patterns

Tessellating pattern

‘cell’ and the simplest cell of all is a square. Fig 1 shows some examples of cells and the tessellating patterns they create. These shapes are often called one-patch blocks in patchwork. Fig 2 shows examples of cell shapes that do not tessellate, because, as you will see, they leave unfilled gaps.

In last month’s Essential Guide, we saw how the clamshell pattern creates a tessellating design, so this month we will look at other simple tessellations and give instructions for sewing some easy shapes. We also share two blocks that tessellate attractively.

This classic blue-and-cream quilt by Carolyn Forster is a perfect example of a tessellated design, where the equilateral triangles form an interlocking edge-to-edge pattern. The quilt was first shown in Issue 8 of Today’s Quilter

Examples of cells that do not tessellate

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ESSENTIAL GUIDE l

USING MORE COMPLEX CELLS Tessellating designs can be achieved with very simple shapes, such as those shown in Fig 1, but we can also create more complex designs by using cells with more varied shapes. In this article we will look at two such designs, as well as the sewing techniques for tessellating triangles and diamonds. Over the years, many tessellating quilt designs have been featured in Todayâ&#x20AC;&#x2122;s Quilter, so if you are a collector of our magazine, then you will be able to refer back to the instructions for these quilts.

For the sewing instructions, we will describe how to sew tessellating triangles, as in Fig 3, and tessellating diamonds as in Fig 4. We will then describe how to make a T block and arrange it to form the tessellation shown in Fig 5. Finally, we will look at a more complex cell, which when sewn together with similar cells, creates an amazing block that I call Jigsaw (Fig 6). The credit for this cell goes to Jinny Beyer, from her fascinating book, Designing Tessellations. This book is particularly valuable if you are a designer, as it not only contains a wealth of information on tessellations and symmetry, but also gives advice on designing your own tessellations.

Another recommended book is Christine Porterâ&#x20AC;&#x2122;s Tessellation Quilts, which is full of information, ideas and attractive projects.

si m pl e t e ssell at i o n s

Fig 3

Pattern created with tessellating triangles

Fig 4

Pattern created with tessellating diamonds

Fig 5

Pattern created with tessellating T blocks

Fig 6

Pattern created with tessellating Jigsaw blocks

A whole block is used as a cell here, made up of two different units

A strange-looking cell creates this block

TECHNICAL TIP When using more complex cells, or using a whole block as a cell, consider using symmetry to increase your design possibilities see Troubleshooting, page 69, for more advice.

This table mat was made with a tessellating pattern of diamonds and triangles.

This is a useful project to make as it not only allows you to use up leftover fabric scraps, but also lets you try the technique of sewing triangles and diamonds. The fabrics are arranged from dark to light across the mat.

You can find the diamond and triangle templates in the Template section

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65

ESSENTIAL GUIDE l

si m pl e t e ssell at i o n s

SEWING TRIANGLES A useful reminder of working with equilateral triangles can be found in the Essential Guide shown in Issue 60. Triangles can also be sewn together in diagonal rows, in a similar way to diamonds (below).

1

Begin with two triangles (Fig 7A). Place them RS together, with all edges aligned and matching the points at the top and the bottom.

Sew the in seam (Fig 7B). Press the seam to one side (Fig 7C).

2

Take the next triangle and place it right sides (RS) together with the unit just sewn. This time match the points at the top (where thereâ&#x20AC;&#x2122;s no dog ear) and offset the new triangle at the bottom by in (Fig 7D). Sew the seam and then press to one side.

Fig 7

Sewing triangles together

A

A

RS

Take the next triangle and place it RS together with the unit just sewn. This time match the points at the bottom (where thereâ&#x20AC;&#x2122;s no dog ear) and offset the new triangle at the top by in (Fig 7E). Sew the seam and press to one side. Continue adding triangles in this way.

Aim for a straight line across the top and bottom of the unit keeping the in seam allowance above the triangle points. Sew the rows together (Fig 7F). When all rows are joined, trim the side edges straight, leaving a in seam all around.

C

C

Match points at top and bottom

RS

WS

D

E

D

WS

RS

3

B

B

E Align points here Offset new piece here by in

Offset new piece here by in WS

Align points here

Aim for a straight line

F

SEWING DIAMONDS Diamonds are best sewn together in diagonal rows. The sewn look will appear as Fig 8A, where the points of the diamonds are trimmed off later to create a rectangular piece.

1

Take two diamonds (Fig 8B) and place them RS together, offsetting them by in, as shown in Fig 8C. Sew them together with a in seam.

Press the seam to one side (Fig 8D).

Fig 8

A

Sewing diamonds together

A

Proposed design before trimming

B

C

2

Add the next diamond in the same way, offsetting as before to maintain a straight edge. Press the seam. Continue adding diamonds until the diagonal row is complete. Repeat to sew more rows, changing the number of diamonds needed to suit your layout.

3

To sew the rows together, you can begin with the first two shortest rows, or two longer ones nearer the centre of the design and work outwards from there. Fig 8E shows two of the longer rows. Place two rows RS together, offsetting them by the distance shown in Fig 8E. This larger offset is necessary if you want to end up with the staggered pattern shown in Fig 8A (as used for the tablemat on the previous page).

Sew the seam and press. Repeat with all rows until the whole piece is sewn. Now trim the edges, leaving a in seam all round Fig 8F.

D

E WS

Begin this row one diamond up from the row beneath

F

Offset row here by in RS

66

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ESSENTIAL GUIDE l

si m pl e t e ssell at i o n s

SEWING A TESSELLATING T BLOCK The T block is a well-known patchwork block that creates an attractive reverse-image tessellation, with one T the right way up and the other T upside down (see stitched sample, below). There are various ways to make the block, but I have chosen the simplest, which uses two different sizes of half-square triangle (HST) units. Measurements are given for a 6in finished block (6 in unfinished), but you can change these if you wish.

1

Start by making the large halfsquare triangle unit, using a twoat-once method and starting with cut 5in squares of two different fabrics.

Pencil mark the diagonal line on the wrong side of the lightest square. Place or press the two squares RS together, with all outer edges aligned. Pin the squares together and sew in away from the marked line on each side (Fig 9A).

2

4

Press the stitching and then cut the units apart on the marked line (Fig 9B). Open out each unit and press the seam (open or to one side as preferred). Trim each unit so they are 4 in square (Fig 9C). You need one per block.

Follow the stages in Figs 10Aâ&#x20AC;&#x201C;D to sew a block together. Match seams neatly where needed and press at each stage. Sew the blocks together into rows, making sure the blocks all face the same way. Now sew the rows together, matching seams, and press (Fig 10E).

3

Make the smaller HSTs in the same way but start with 3in cut squares.

Trim the units to 2 in square. You need five units per block.

Fig 9

A

B

C

Fig 10

A

B

C

D The T block is easy to make and creates satisfying rows, with a pattern accentuated by the contrast of dark and light.

At its simplest the block can be just two colours, or you can make a scrappy version using collections of darks and lights. This sample is 18in finished and uses nine blocks.

It would work well for a large floor cushion

E

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67

ESSENTIAL GUIDE l

si m pl e t e ssell at i o n s

SEWING A JIGSAW BLOCK The cell for this block features in Jinny Beyer’s book, but I devised a way to make the block using simple techniques. Measurements are given for a 5 in finished block (5 in unfinished), but you can change these if you wish.

1

The block is made up of two different units – one central quarter-square triangle (QST) unit and eight corner square units. For the QST unit, start with squares cut at 3 in – two dark green, one mauve and one lime. Pair up a dark green and mauve and make two HST units. Trim to 2 in. Do the same with the dark green and lime pair. Take one of each HST and reserve the other two for another block (Fig 11A).

Fig 11

A

B RS

2

Mark a diagonal line on the wrong side of one of the HSTs, with the line going in the opposite direction to the seam, as in Fig 11B. Place the HSTs RS together, with the diagonal seam going in the same direction but with opposite fabrics facing. Align all edges and pin together. Sew in away from both sides of the marked line. Cut the units apart, press and trim each unit to 2 in square (Fig 11C).

WS

C

3

To make a corner square unit, cut a lime square 2 in and a dark green square 1 in. Follow Fig 12, placing the small square RS together with the large square, aligning two edges. Mark a line across the diagonal of the small square and sew along this line. Trim off excess in from the sewn line and press the triangle outwards. Make eight units like this for one block, in the colour combinations shown in Fig 13.

4

Lay out the nine units for the block as shown in Fig 14, taking care to get the colours in the correct places. Sew the block together into three rows and press. Now sew the rows together and press. Check the block is 5 in square.

Make more blocks as required.

Fig 12

RS WS

Fig 13

Make two of each Fig 14

This stitched sample is made up of four blocks, which I’m calling Jigsaw. The blocks are arranged to form a pattern in the centre, but there are other ways of laying out the blocks, so it’s worth experimenting to see what you can come up with – see Troubleshooting, page 69

68

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ESSENTIAL GUIDE l

si m pl e t e ssell at i o n s

EXPLORING SIMPLE TESSELLATIONS – TROUBLESHOOTING Trying tessellating layouts can be the start of an exciting journey.

Here are answers to some questions about this design approach.

Help! I’ve tried one-patch blocks and now I’d like to try layouts that are a bit more complicated. How do you get started using symmetry?

Try this… Tessellation and symmetry go hand in hand.

Symmetry is a system of repeating parts of a design and turning, moving and/or mirroring these parts in such a way that they create a pattern. Rotational and mirror symmetries are a good place to start as they can be used to create varied designs. The Jigsaw block described opposite on page 68 can have different layouts achieved by symmetrical ‘motions’ of the block. Fig 15 shows the block used in four different ways. Fig 15A shows the block repeated in a 4x4 layout, all in the same plane.

Fig 15B shows alternate blocks rotated 90-degrees.

Fig 15C shows three out of four blocks rotated to create a same colour motif. Fig 15D shows the block made once and then again as a mirror image. This pair is then made again and rotated 180-degrees.

Fig 15

A

Help! I like the idea of trying to use mirror images, but is there an easy way to produce an image of a mirrored block?

Try this… I use an Adobe drawing program called Illustrator for the design work that I do, and a design drawn in that program is easy to rotate and mirror image (reflect). You can also use Word to draw a design and reflect it (sometimes called ‘flipping’).

The design can be flipped vertically or horizontally. Fig 16 shows a T block flipped in two different ways.

If you have a computer and printer, you can also photocopy an image or block from a book or magazine and use your printer to flip the image before it is printed. Printers vary, so you will need to consult your manual.

Another way of flipping an image is to stick it to a bright window, rightside down, and then draw the image from the back of the paper, which will produce a reverse image.

B

C

D

Fig 16

This pretty quilt by Carolyn Forster uses a tessellating Apple Core block, rotated alternately 90-degrees. The quilt was first shown in Issue 25 of Today’s Quilter

About the designer 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,

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Original design

Design reflected vertically

Design reflected horizontally

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 can cut out and keep this section to build your own bespoke technical handbook.

ESSENTIAL GUIDE NEXT ISSUE: UNDERSTANDING COLOUR Next month we look at the characteristics of colour and how different combinations can enliven our work

69

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BLOCK OF THE MONTH l

r ip p o n l e a

Rippon Lea BLOCK OF THE MONTH NO.4

HYACINTH Designed and made by KAREN STYLES

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73

BLOCK OF THE MONTH l

r ip p o n l e a

+\DFLQë EORFN

You will need

T

his month, we will be making another variation of a 12in Star block. This block has an Evening Star in the centre, surrounded by Flying Geese units.

Cutting out

1

From Fabric A (background), cut two (2) 5in squares and eight (8) 2 in squares.

2 3 4

From Fabric B (blue), cut two (2) 5in squares.

From Fabric C (purple), cut eight (8) 2 in x 4 in rectangles.

From Fabric D (pink), cut one (1) 4 in square and eight (8) 2 in squares.

74

Making the block

5

Using a sharp pencil and ruler, mark a line diagonally from corner to corner on the wrong side of the eight (8) 2 in background squares and eight (8) 2 in pink squares.

Q Fabric A (background fabric 1) – 5in x 20in Q Fabric B (blue) – 5in x 15in Q Fabric C (purple/dark pink) – 2 in x WOF Q Fabric D (pink) – 5in x 15in

Finished size Q 12in square

6

Place one (1) background 2 in square onto the corner of a 4 in x 2 in purple rectangle with right sides together.

7

Machine stitch along the pencil line (Fig 1). Repeat with the

Notes Q ‘You will need’ is for one block, make two (2) for the quilt using the main block, variation block, or one of each.

Q HST = Half-square Triangle

Fig 1

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BLOCK OF THE MONTH l

remaining three (3) rectangles and background square.

8

Rotary cut in from the stitched line to make a seam allowance, then press open to form a triangle corner.

9

Repeat steps 6-8 with the other corner. Make four (4) of these Flying Geese units.

10

Repeat these steps with the 2 in pink squares and remaining 4 in x 2 in purple rectangles to make four (4) more Flying Geese units.

11

Mark a line diagonally from corner to corner on the wrong side of the two (2) 5in background squares.

12

Pair one (1) background 5in square with one (1) blue 5in square and place right sides together.

Machine stitch a in seam either side of the pencil line in both directions (Fig 2). Make two (2).

13

14

Piece together the Flying Geese sections and HST units with the pink 4 in square in the centre, as shown in Fig 3. Your

r ip p o n l e a

fabric placement will then create a small Evening Star in the centre of this block.

+DQG SLHFLQJ Optional templates have been provided in case you would like to hand-piece your blocks (see Templates section). Below are the basics for hand piecing.

For in-depth tutorials, visit: www.gathered.how/todaysquilter

Preparing templates

1

Cut one (1) of each A-D templates from template plastic or card, as accurately as possible.

Draw around each template onto the wrong side of your fabric with a sharp pencil or fine pen.

3

Make sure you add a in seam allowance around all edges of each shape before you cut them out.

4

Fig 2

5 6

From Fabric D (pink) cut one (1) template D square and eight (8) template C triangles.

Piecing by hand

8

Pin your shapes together and stitch along the pencil lines with a small running stitch starting and stopping each seam with a couple of backstitches.

9

2

Rotary cut through the middle of the squares along the pencil line and press to one side. You will now have four (4) HSTs units. Trim each of these HST units with a rotary cutter to an accurate 4 in square.

7

Cutting for main block

For the Hyacinth blocks, first piece together Flying Geese units by piecing one (1) triangle B and two (2) triangle Cs together to make a rectangle (Fig 4).

10

For the HST units, piece a background template A triangle and blue template A triangle to make a square.

11

Assemble the block following the machine piecing instructions and Fig 3.

From Fabric A (background), cut four (4) template A triangles and eight (8) template C triangles.

From Fabric B (blue) cut four (4) template A triangles.

From Fabric C (purple) cut eight (8) template B triangles.

Fig 4

Meet the designer Karen Styles has been quilting for more than 20 years and is the owner of Somerset Patchwork in Melbourne, Australia. Her online store specialises in antique reproduction fabrics from the 19th century and features quilt designs also inspired by that era.

Karen has taught throughout Europe, the USA and Australia for several years and can be found at many international show events too. karen@somersetpatchwork.com.au karenatsomerset karenatsomerset Fig 3

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75

BLOCK OF THE MONTH l

r ip p o n l e a

POLLINATE AND PRUNE

Spring pink colour

V A R I AT I O N B L O C K

Karen has made this variation block with different fabric placement, which draws the eye to different elements of the pattern. Instead of purple, she has also used a second shade of pink. In the main block, the blue print has the

76

most contrast, so the corner triangles are what draw the eye. In the variation, the dark pink is dominant, highlighting the â&#x20AC;&#x2DC;arrowsâ&#x20AC;&#x2122; pointing to the middle. We love how one block can create two different designs.

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NEXT ISSUE On Sale 18th February

HEXIE HEIRLOOM Soothing and repetitive, create an abundance of hexies to stitch this rustic one-block wonder

*Please note, gift and contents may be subject to change

TEND TO YOUR GARDEN Kick off your Spring sewing with Victoria Carrington’s symmetrical beauty

KEEP THE WARMTH IN Sew up a matching set of a door stop and draught excluder featuring one of our favourite places in stitch; the magical quilt shop!

Step into your Spring sewing!

Stitch the fifth instalment of Karen Styles’ Rippon Lea BOM! • Sally Ablett stuns with her mesmerising design • Join Lin Clements’ masterclass in understanding colour • Learn all about designer Christine Green’s work with recycled fabrics Your gift! Log Cabin Hexagon tool set!

Issue 72 on sale 18th February 2021 78

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TE M P L ATE S All the templates you’ll need from issue 71...

LOVER'S PROMISE HAND-PIECING TEMPLATES ACTUAL SIZE Includes seam allowances.

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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 illegal. We appreciate your help.

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CASHMERE DIAMONDS BLOCK TEMPLATES ACTUAL SIZE Includes seam allowances.

QUARTER Quarter Diamond DIAMOND

DOUBLE-SASHED DoubleDIAMOND Sashed Diamond

QUARTER Half Quarter Diamond TRIANGLE

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SINGLE-SASHED Half Single SashedTRIANGLE Diamond

Half Double Sashed Diamond

DOUBLE-SASHED HALF DIAMOND

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D OW N LOA D T H E S E T EM P L AT ES F UL L S IZ E Visit our blog: www.gathered.how/ todaysquilter today!

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FOR YOUR STASH CORNWALL

DEVON

STEP BY STEP A shop in the heart of North Devon, catering for the beginner and experienced quilter alike. Online shopping now available via our website.

11-13 George Arcade, South Molton, Devon EX36 3AB

COAST & COUNTRY CRAFTS & QUILTS Hundreds of Beautiful Fabrics, Felting Supplies & Kits, Luscious Linens, Trimmings, Embellishments, Threads, Patterns & Books From Around the World, Sewing Machines, Workshops & so much more! Open Mon - Sat 10am-4pm (closed bank holidays). 01872-870478. coastandcountrycrafts.co.uk

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Beautiful selection of fabrics, notions and wadding.

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Tues, Thurs and Sat.

Stockists of quality cottons, cotton jersey, denim, linen, ribbons, haberdashery and sewing gifts amongst others.

Shop In-Store or On-Line for our fabulous fabrics from Liberty, Makower, Lewis and Irene, Lynette Anderson, Timeless Treasures, Nutex and more! Open Tuesday - Saturday.

The Hop Farm Family Park, Maidstone Road, Paddock Wood. Kent TN12 6PY. 01622 296510. purple-pixie.co.uk.

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LAKE DISTRICT

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DYMOND’S QUILTING Patchwork fabrics including some Moda, sewing notions and accessories. Aurifil and Mettler threads. Classes and workshops.

Coming soon - Long arm quilting.

FOBBLES

Dymond’s Quilting @ Jonathan’s Alterations and Crafts. 20 Anchorsholme Lane East, Cleveleys. Lancashire.

Specialist Patchwork Shop in the Lake District offering mail order service and shopping by appointment for your convenience.

01253 854561 jonathandymond.co.uk

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NORFOLK

LINCOLNSHIRE

TEMPTATIONS Everything you need for Patchwork and Quilting.

Hundreds of quality cotton fabrics, wadding, haberdashery, Brother Sewing Machines.

temptationsbentham.co.uk NORTH WALES

L & C FABRICS We stock a vast range of 1000s of quilting and dress making fabrics. Haberdashery, Workshops, classes and a sewing retreat. Free customer car park at the rear of the store.

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SHERINGHAM Fabulous fabrics, notions and haberdashery for all your patchwork & quilting needs & yarns, beads, books and more!

24 Church Street, NR26 8QS

owltreecrafts.co.uk

Please visit our NEW WEBSITEthequiltingbee.co.uk, or feel free to pop by our shop in Llandudno!

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PEMBERTONS

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PELENNA PATCHWORKS

Everything for the Quilter, fantastic selection of machines, cabinets, habby, fabrics & notions. Friars Street, Stirling. psmc.co.uk

Tailored to meet your personal needs whether you are a seasoned sewer or buying your first machine.

An independent sewing store in Chapeltown, Sheffield, stocking a range of fabrics, including Michael Miller, Riley Blake and Tula Pink.

01786 462 993

01387 249 580

handmadehappyhare.com

pelennapatchworks.co.uk

SUFFOLK

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WEST WALES

SEW & SO’S

THE COSY CABIN For all your Quilting needs.

A large range of fabric, notions and workshops. Free parking, all on one level.

CHALK HILL BLUE FABRICS

CALICO KATE

Lockdown or no lockdown we are always here for you. In person, by phone or through the website! sewsos.co.uk

01986 896147

thecosycabin.co.uk 01284 811222. IP28 6QU

Supplier of patchwork fabrics, threads, waddings and notions. Find us on Facebook.

01903 230008 Chalk Hill Blue Fabrics

Online shop stocking hundreds of patchwork fabrics & quilting tools – use code TD1000 for 10% off your first order!

“A Patchworker’s Paradise” 36 High Street, Lampeter, SA48 7BB

01570 422866 calicokate.co.uk

WEST YORKSHIRE

THE FABBADASHERY A truly delightful selection of high quality fabrics to meet all your sewing needs.

Weekly sewing & craft workshops close to the historical Piece Hall.

The Fabbadashery 10-12 Clare Rd Halifax HX1 2HX. 01422 647574

thefabbadashery.com

NEW , s of free patterns Step-by-step tutorials Video guides

Discover easy-to-follow patterns and tutorials for crochet, knitting, sewing, quilting, papercraft and stitching with the brand new website for makers everywhere.

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I N S P I R AT I O N l

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The Quilting Archives WITH CURATOR HEATHER AUDIN OF THE QUILTERS’ GUILD

ELEANOR SKINNER’S CARPET PATCHWORK his piece was created around the start of the 20th century when hexagon mosaic patchwork was a popular style. The patchwork was often made using rich and fashionable velvets and silks as showcase parlour items, or constructed from more practical printed cottons, which used up scraps left over from day dresses and blouses.

But this hexagon piece is a little different… The richly coloured velvets are thick, upholstery-grade fabrics with a high pile. Some of them have been embossed with a heated metal roller stamping a floral design on the surface, and in-between the rows of velvet are hexagons of carpet.

Despite the thick fabrics (which must have been difficult to sew), the hexagons have maintained their shape. This attests to the skills of the maker, who must have had both a strong needle and a sturdy thimble! The piece itself is heavy and small, measuring 147.5cm x 168cm. It is backed with canvas and a further covering of Turkey Red printed cotton, which, not surprisingly, has torn and split due to the

T

weight it supports. Given the dimensions, the fabrics and the weight, we are left wondering if it was meant for the bed?

The floor? We are not entirely sure.

It was made by Eleanor Skinner (née Pratt), who was born around 1871, and lived with her parents, husband and son at 89 Lowther Street in York. She married Henry Skinner in 1896, who is listed as a chocolate confectionery cocoa maker in the 1901 census.

The photograph (see left) of Eleanor and her son, George, was probably taken in the narrow backyard of their house in the early 1900s. It is likely that Henry worked for Rowntree’s, who acquired a large site for expanding their factory just a few streets away from Lowther Street on the corner of Haxby Road in 1890.

Lowther Street and its surrounding area was characterised by working-class terraced housing and was home to many confectionery workers from Rowntree’s. The size of this patchwork is certainly ideal for placing in front of a fire in a small Victorian terraced living room, and would have added a rich and warming décor to the room.

To learn more about the fantastic work of The Guild or to become a member, head to their website www.quiltersguild.org.uk and follow them on social media! www.facebook.com/QuiltersGuild @thequiltersguild

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Images courtesy of The Quilters’ Guild Museum Collection

Eleanor Skinner and her son, George

The Quilters’ Guild Museum Collection 1890-1920 | 147.5cm x 168cm

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BUMPER BOOK OF TEMPLATES AN ANTHOLOGY OF SHAPES FOR EVERY APPLIQUÉ PROJECT

200+

SHAPES TO USE IN APPLIQUÉ & EMBROIDERY

Inspire and create!

• Hundreds of original shapes • 12 different themes • Appliqué techniques • Resizing tips and more...

Supplement to Today’s Quilter

WELCOME

*Calls from landlines will cost up to 9p per minute. Call charges from mobile phones will cost between 3p and 55p per minute but are included in free call packages.

This anthology of appliqué templates was compiled by our talented Deputy Editor, Laura, and Designer, Tina Prior, and we think it’s just fantastic. With 12 themes, covering occasions, nature, craft (possibly our favourite) and so much more, we are sure you’ll find the perfect template for whatever project you are making.

And with our handy guide to resizing, you can go as big or small as you want, making them adaptable to your needs. The shapes are also great for embroidery, so if you want to add a special touch to any of your quilts, why not trace a design, get out some thread and add a pop of interest? So get comfy, open up the pages and find a template that is perfect for you! Enjoy!

Fiona Lawrence Editor

Editor Fiona Lawrence Art Editor Rachel Bullen Deputy Editor Laura Pritchard Production Editor Jessie Doughty Contributors Lin Clements, Tina Prior, Davina Rungasamy Advertising Manager Penny Stokes Production Coordinator Ian Wardle Printed in the UK. Supplement presented with Issue 71 of Today’s Quilter magazine. © Immediate Media Co. Not to be sold separately.

To subscribe to Today’s Quilter call 03330 162 154* or go to www.buysubscriptions.com

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CONTENTS

40

32 20

12 24 TUTORIALS 04 GETTING STARTED Set off on the right foot and get down to important pre-sewing prep 06 RESIZING TEMPLATES Make sure your shapes are just right for your quilt; it’s all in the planning!

07 APPLIQUÉ TECHNIQUES A 101 in appliqué methods to help give your skills a refresh

26 20 BOTANICALS Choose from a variety of flowers and leaves to create a garden in stitch

TEMPLATES

24 FOLK ART Create beautiful Scandi-themed quilts with traditional artworks

12 LANDSCAPE & VILLAGE Create beautiful community scenes full of houses, schools and gardens

26 OCCASIONS & CELEBRATIONS You’ll have plenty of shapes up your sleeve for all manner of celebrations

16 VASES & VESSELS Plenty of pretty bases to house your floral appliqué shapes

32 SUMMER SEASIDE Eternalise your favourite coastal destination in fabric and thread!

18 BANNERS, BUNTING & BOWS Perfect for creating stand-out labels and signs for your quilts!

34 WOODLAND & WILDLIFE Adorn your latest make with a family of woodland creatures

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36 CHILDREN’S STORYTIME A host of once-upon-a-time characters complete with a fairytale castle 38 IN THE HOME A teapot, a cup, a book, a bicycle, a houseplant, a friendly paw and more!

40 SEWING & HABERDASHERY Sew a gift for a loved one that encapsulates their favourite hobby!

42 ALPHABET & NUMBERS Add initials, names or dates to make a quilt really personal!

44 BONUS! EMBROIDERY DESIGNS By Jessie Doughty 3

TUTORIAL l

gett i ng st a r t e d

Getting started

APPLIQUÉ SUPPLIES H

ere are all the types of fabrics, threads, tools and needles you’ll need to be on top of your appliqué game. Depending on your preferred method, you will need some or all of the following supplies.

Fabric

Thread

Appliqué is perfect for using up scraps or making a dent in your stash. For turned-edge techniques avoid anything heavy or easy to fray – 100% cotton is ideal. For fusible you can try different fabrics such as wool or felt.

Generally, it is best to choose a background fabric that is paler and less patterned than the appliqué fabrics as it can show through otherwise.

Unless you are looking for a contrasting blanket stitch edge, choose thread colours to tone with the appliqué fabric. This may mean you need a few different colours for your project.

Choose a fine thread, silk is popular, to help create invisible stitches for handstitched appliqué. Invisible thread might be a good choice for hidden machine top stitching – though this cannot be used in your bobbin.

Scissors You will need two pairs of scissors, one designated for paper and the other for fabric. For maximum control when cutting fabric shapes, use a small pair of scissors which cut right to the tip. If they are serrated, even better. Duckbilled scissors – designed especially for appliqué – have a guard, which means you can cut away the top fabric without cutting into the background.

4

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TUTORIAL l

gett i ng st a r t e d

Fusible web This product acts like a sheet of glue.

When placed between two layers of fabric, it will fuse them together with application of heat from an iron. It helps prevent fraying and will adhere shapes to a background, though these will still need stitching in place.

Freezer paper Freezer paper is similar to grease proof paper in baking – it has a paper side and a waxy side, which will melt to adhere temporarily to fabric. It is easily peeled away and leaves no residue. Generally a piece can be used 2-4 times and it can be doubled up to create a sturdier edge.

Other useful supplies

Needles

Marker

Needles for hand-sewing come down to a personal preference, but fine needles will help glide through the fabric and have more control in picking up just a few threads of the appliqué patch. Many quilters like a Sharps (a thin needle with a round eye) but our preference is a Milliners 9-11 needle, which is similar but with a longer shank. Note: needle length and thickness decreases as the number increases (a larger number = a smaller, thinner needle). For basting, any hand sewing needle will be fine.

You will need a pen or sharp pencil for transferring templates onto plastic, card or freezer paper. A removable/ non-permanent marker will be important for a lot of appliqué, such as for positioning guidelines or when the right side of the appliqué fabric needs to be marked.

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Q Template plastic or card is useful for creating stronger templates that can be used multiple times.

Q Appliqué paper is similar to freezer paper, but dissolves in water so doesn’t need to be removed.

Q A damp toothpick or cuticle stick can help with turning under raw edges.

Q Appliqué pins are very short and great for attaching small pieces as they will not stick out.

Q Use any old/cheap thread for basting – a contrast colour makes it easier to find these stitches at the end.

Q A lightbox is useful for tracing and transferring shapes and patterns onto fabric, particularly if they are dark or heavily patterned.

5

TUTORIAL l

r e sizi n g t e m pl at e s

Enlarge and reduce

RESIZING TEMPLATES B

eing able to enlarge or reduce templates yourself is very useful. It means that you can use templates from different sources together, or give a single template many uses. For example, you might use a motif as an appliqué template and then resize it and use it again as a quilting or embroidery template in the same project.

When reducing or enlarging a template, a percentage is used to describe the amount by which the shape has been changed – a number under 100 means it has been reduced; a number over 100 means it has been enlarged.

Three easy percentages are: Q 75% (three-quarters of the original size) Q 50% (half the original size) Q 200% (double the original size).

Maths made easy

How to change a template’s size There are two main ways of changing a template’s size – by photocopier and by computer, scanner and printer.

If using a commercial outlet, take the original image (or a tracing of it) to the operator and ask for the template to be enlarged or reduced to the percentage you want.

A home computer, printer and flat-bed scanner are very useful for enlarging and reducing. Once the template is scanned and ready to print, use your printer to select the correct scale. Printers vary a little in their operating instructions but generally the process is as follows:

Enlarging (see Fig 1) Measure the original image in millimetres – if it’s not square, measure the widest point. Drawing a box around it is useful. Measuring in millimetres will make the maths easier to do on a calculator (but the imperial is given here too, for reference).

Let’s say the image is in (19mm).

1

Select ‘print’ and when the printer dialog box opens, then select ‘page set-up’.

2

Click the ‘scale’ icon and then key in the enlargement or reduction percentage (scaling ratio) you want.

3

Check that the template will fit on the A4 page to be printed (‘preview before printing’) and then print. Check the size is correct and adjust if necessary.

This method means you can print a template in a few sizes to ‘audition’ the best fit for your block.

6

RESIZING FORMULA

Use the following maths to work out what the enlargement percentage should be.

1

Space available x 100 Image size

A Measure the original image at its widest point (= 19mm)

19mm ( in)

B Measure the space the motif has to fit into – if not square, measure the narrowest point (= 57mm) 57mm ÷ 19mm = 3 3 x 100 = 300 So enlarge original image by 300%

2

Now calculate what size the image has to fit into. For example, you may have made a 2 in (70mm) square block ( finished size) and want the appliqué motif to fit into this with a in (6mm) margin free all round, so let’s say your usable space is 2 in (57mm) square.

3

Divide the space available by the original image size, so 57 ÷ 19 = 3. Multiply this by 100 to find the enlargement percentage, so 3 x 100 = 300%.

So, the original image needs to be enlarged by 300%.

Reducing The same formula also works for reducing templates.

For example, you may have made a 4 in (114mm) square block and want to shrink a 6in

57mm (2 in)

Fig 1

Enlarging a template

(153mm) appliqué motif to fit into this with a small margin all round.

Let’s say your useable space is 4in (100mm) square.

Divide the space available by the original image size so, 100 ÷ 153 = 0.65. Multiply this by 100, so 0.65 x 100 = 65. So, reduce the original image by 65%.

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TUTORIAL l

techniques

Appliqué

TECHNIQUES ppliqué templates can normally be used for a wide range of appliqué techniques, the two most popular ones being fusible web, or raw edge, appliqué and needle-turn appliqué. Here, we will walk you through these, and a few others, so you can find your favourite. The main thing to remember is that no seam allowance is needed for fusible web appliqué, but a seam allowance is needed for turned-edge appliqué methods.

In appliqué, many motifs consist of more than one shape and some of the shapes need to overlap, so templates are needed for each part. The general rule is to apply the templates in a backwards order, so fuse or stitch in place those pieces that will be in the background of a design, working forwards. If using needle-turn appliqué, the parts of the design covered by other parts will not need to have the seam allowance turned under.

A

Raw edge/ fusible appliqué

Lin Clements uses a simple blanket stitch to appliqué this sweet shape

Q Great for complex shapes.

Q Creates a flat, clean look.

Q Quick and easy method.

Q Stitch by hand or machine.

Q Iron required.

Q You will need a fusible web product.

Q No seam allowance necessary.

1

Take your chosen template shape and roughly cut a piece of fusible web large enough to cover it.

2

On the paper side of your fusible web, draw around the template edge. Note, you may need to flip the template if it isn’t symmetrical.

7

Stitch around the edge of the shape to secure in place. This can be done with free-hand machine embroidery, top stitching close to the edge, or blanket stitching by hand (see example above) or machine, depending on your preferred look.

3

With paper side up, fuse the web to the wrong side of your chosen scrap of fabric. Usually this will take a few seconds, but be sure to follow the manufacturer’s instructions.

Fig 2

5

Peel away the paper on the reverse (Fig 2) of the shape. If it’s hard to get hold of at the edges, you can score the paper with a pin or needle.

Fig 1

4

Allow the piece to cool. You can now cut out the shape along the marked line (Fig 1).

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6

Position the shape on your background fabric as per your design. When you are happy with its location, use the iron to fuse in place as before (Fig 3).

Fig 3

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TUTORIAL l

techniques

Needle-turn appliqué Q Traditional method.

Q Stitching is by hand.

Q Good for simple to medium complexity shapes.

Q Ideal for sewing on the go.

Q No additional products or tools necessary.

Q You will need to add seam allowances.

1

Use the template to mark the shape onto the right side of the appliqué fabric with a removable marker.

Wherever possible, position the template so the shape is as much on the bias as possible – this will make edges easier to turn under.

4

Start on a long straight edge bringing the needle up under the appliqué, and take a couple of backstitches to secure. Fold under approximately a thumb’s width of fabric so that the edge of the fold follows the marked line. Press and hold in place with your thumb.

Fig 1

5

Bring the needle up through the very edge of the fold (Fig 1).

Stitch directly back down into the background fabric at 90-degrees to the appliqué edge, right next to where you came up. Take 2-3 more stitches in the same way. Aim for about 10-12 stitches per inch.

2

6

3

7

Cut out the shape with a very scant in seam allowance all round. For very small shapes, you could reduce the allowance to in, or trim back to this as you work.

Pin the shape to the background.

Using regular sewing thread, baste with a running stitch in inside the marked line (or the same distance as your seam allowance).

Sweep the next part of the seam under with your needle so that the fold continues to follow the marked line, and press and hold with your thumb. You can refine the edge by pushing and pulling the fabric with your needle.

Continue making a few stitches before sweeping the next section of seam under as you work around the shape (Fig 2 and Fig 3).

Fig 2

Fig 3

Needle-turn appliqué can really make a project pop, as seen on this work by Jo Colwill

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TUTORIAL l

techniques

Inside-out appliqué Q Creates a turned edge – a similar look to needle turn.

Q Good for circles and simple shapes.

Q Stitch by hand or machine.

Q Iron required.

Q You will need a lightweight interfacing or fabric.

Q You will need to add seam allowances.

1

From each of the chosen fabrics and the interfacing, cut a piece larger than your shape template, at least in around all edges.

2

Place the right sides together, with the interfacing uppermost. Position the template on the top and draw around the edge.

Fig 1

3

Pin the two (2) sides together and stitch all around the edge following the marked line (Fig 1). This can be done by machine or hand.

4

Cut out, adding a in- in seam allowance all around. The smaller the piece and the more acute the curves, the smaller you will want your seam to be.

5

Clip into any concave curves around its edge, taking care not to cut through your stitching.

Victoria Carrington creates bold, beautiful shapes with inside-out appliqué

the shape right side out through this hole. Roll out the edges and push out the curves and points of the shape until you get a smooth edge. You will not need to stitch the gap closed.

appliqué fabric showing on the wrong side – this will ensure the interfacing won’t protrude from the edges and be seen at the front (Fig 3).

Fig 4 Fig 2

6

Carefully cut a slit through the interfacing side only (Fig 2). Turn

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Fig 3

7

Press well with the iron. Make sure there is a slight margin of the

8

Slip stitch in place by hand (Fig 4) or top stitch close to the edge of the shape by machine.

9

TUTORIAL l

techniques

Make sharp outlines for your shapes with simple freezer-paper templates

Freezer paper appliqué Q Creates a turned edge – a similar look to needle turn.

Q Good for most shapes.

Q Stitch by hand or machine.

Q Iron required.

Q You will need spray starch and freezer paper.

Q You will need to add seam allowances.

1

Mark the template shape on the dull side of some freezer paper.

Cut out the shape and iron it onto the back of your fabric.

4

Begin to turn the sections of seam allowance over the edge of the freezer paper and press into place with the point of the iron. Continue in this way, following the freezer-paper’s edge carefully (Fig 3).

Fig 1

3

Spray a little spray starch (about three short squirts) into the lid of the can. Using a paintbrush, paint a little liquid starch on one area of the fabric’s seam allowance (Fig 2).

5

Unfold one small area of seam and remove the freezer paper. Press the seam back again. Alternatively, the paper can be removed after stitching in place, through a slit in the background fabric behind the shape.

2

Cut out the fabric shape with a in seam allowance all around.

For very small shapes, you could reduce the allowance to in, or trim to this later. Make snips in the fabric in the areas where the seam turns sharply inwards (Fig 1). Don’t cut right up to the freezer paper, but instead snip about / in away from it.

10

Fig 3

6

Slip-stitch in place by hand or top-stitch close to the edge of the shape by machine.

Fig 2

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TUTORIAL l

Making stems and vines Often you will want to incorporate stems and vines into appliqué designs.

Note: If you are doing raw edge appliqué, stems can be created in the same fusible way described on page 7.

techniques

Bias bars come in a range of widths to help you achieve a uniform strip

Method 1 A bias tape maker is a useful tool and comes in a range of sizes. Cut a bias strip of fabric, twice the width of the finished stem.

1

2

With wrong side up, feed the end of the strip through the bias tape maker. You may need an awl or pin to help move it through. Make sure the folds are even and pin the end to your ironing board.

3

Gently pull the tool along the strip, pressing the folds in place with the iron as you go (Fig 1). The raw edges are now evenly turned under (Fig 2).

Method 2 Cut a strip along the bias of your fabric, twice the width of the finished stem plus in. So, if you want a in finished stem, cut your strip 1in wide. You can use a piece of string curved around the pattern and then measured, to work out the length.

1

may like to use a bias bar for a sharper result – these can be bought in a variety of sizes, see above and Fig 3.

3

Roll the tube with your fingers so that the seam sits on the back of the strip. If you have a narrow stem, you may need to trim the seam allowance back to in or less, so the

raw edges will not be seen from the front. Press well with the iron.

4

Place the stem on the background fabric, coaxing into a curve with pins or temporary tacking stitches.

5

Slip stitch in place along both edges with matching thread.

2

Fold the strip in half lengthwise, wrong sides together, and stitch into a tube with a scant in seam. You

Fig 1

Fig 2

The heat of the iron will help encourage the fabric around tight curves Fig 3

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11

A P P L I Q U ร T E M P L AT E S l

l a n d sc a p e s & v ill a ge s

/DQGVFDSHV

9LรงDJHV

LARGE STAR / SUN

MOON TALL STAR

SMALL STAR FIVE POINT STAR

SUN

FOUR POINT STAR

12

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A P P L I Q U Ã&#x2030; T E M P L AT E S l

l a n d sc a p e s & v ill a ge s

RAINBOW

CLOUD 3

CLOUD 4

FENCE

HOT AIR BALLOON

CLOUD 1

CLOUD 2

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13

A P P L I Q U Ã&#x2030; T E M P L AT E S l

l a n d sc a p e s & v ill a ge s

TREE 2

TREE 1

TREE 3

TREE 4

TREE 5

TREE 6

CAR

LARGE HOUSE / SCHOOL

14

TECHNICAL TIP Mix and match trunks and foliage to create varied trees. Design your own village with unique houses featuring different architectural details!

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A P P L I Q U Ã&#x2030; T E M P L AT E S l

l a n d sc a p e s & v ill a ge s

CHIMNEYS

WINDOWS

DOORS

PATH

HOUSE 1

HOUSE 2

HOUSE 3

CHURCH

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15

A P P L I Q U Ã&#x2030; T E M P L AT E S l

va se s a n d v e ssel s

Vases & Vessels

URN PLANTER

VASE 1

VASE 2

BASKET

16

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A P P L I Q U Ã&#x2030; T E M P L AT E S l

va se s a n d v e ssel s

FRUIT BOWL JAR

BOUQUET

VASE 3

TECHNICAL TIP Fussy cut fabrics to create ornamental designs on vases. Checked prints can create woven effects for baskets. Use colour value to create depth and 3D effects.

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BOTTLE

17

A P P L I Q U Ã&#x2030; T E M P L AT E S l

b a n n e rs , b u nt i n g & b o ws

Banners, Bunting & Bows TRIANGLE SHAPE

SHIELD SHAPE

PENNANT SHAPE

SQUARED SHAPE

SCALLOP SHAPE

BANNER SHAPE

BUNTING

18

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A P P L I Q U É T E M P L AT E S l

b a n n e rs , b u nt i n g & b o ws

SQUARED BANNER

CURVED BANNER

BOW 1

BOW 2

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WAVY BANNER

PLEATED BANNER

TECHNICAL TIP Add your own messages with embroidery – the banners and pennants would make stylish quilt labels.

19

A P P L I Q U Ã&#x2030; T E M P L AT E S l

b ot a n i c al s

Botanicals

FLOWER 1 FLOWER 2

FLOWER 4

FLOWER 3

FLOWER 5

FLOWER BUD

20

FOUR-LEAF CLOVER

four leaf clover

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A P P L I Q U Ă&#x2030; T E M P L AT E S l

b ot a n i c al s

TECHNICAL TIP For very narrow or small shapes, baste a rectangle of fabric covering the whole outline and work in small increments trimming to in and stitching down.

LILY PADS

LOTUS VINE

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21

A P P L I Q U Ã&#x2030; T E M P L AT E S l

b ot a n i c al s

LEAF / FLOWER

IVY VINE BRANCH 1

A LE F1

LEAF 2

BRANCH 2

BRANCH 3

BRANCH 4

22

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A P P L I Q U Ã&#x2030; T E M P L AT E S l

b ot a n i c al s

TECHNICAL TIP Use this empty tree as the base for a family tree project. Add leaves and names as it grows.

LEAF 3

LEAF 8 LEAF 4

LEAF 7 TREE

LEAF 5

LEAF 6

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A P P L I Q U É T E M P L AT E S l

fol k a r t

Folk Art TECHNICAL TIP Make a symmetrical design by flipping templates over.

When positioning appliqués, add more guidelines if needed.

Measure distances with a ruler too, to ensure symmetry.

FLOURISH 1

FLORAL 1

FLORAL 3 FLORAL 2

FLOURISH 2

DALA HORSE HEART

24

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A P P L I Q U Ã&#x2030; T E M P L AT E S l

fol k a r t

SPRIG

BIRD

FLORAL 4

LE

A

F

FLOURISH 3

FLORAL 5

FLOURISH 4

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25

A P P L I Q U É T E M P L AT E S l

o c c a si o n s & c el e b rat i o n s

2FFDVLRQV

&HOHåDWLRQV

SNOWFLAKE 1

CHRISTMAS WREATH

TECHNICAL TIP Use embroidery stitches to add small details such as faces, thin lines, tiny circles, decorative patterns or just to add a bit of sparkle and pizzazz.

CHRISTMAS TREE SNOWFLAKE 2

CHRISTMAS CRACKER

26

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A P P L I Q U Ã&#x2030; T E M P L AT E S l

o c c a si o n s & c el e b rat i o n s

STOCKING SLEIGH

CHRISTMAS PUDDING

SNOWMAN

REINDEER

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A P P L I Q U Ã&#x2030; T E M P L AT E S l

o c c a si o n s & c el e b rat i o n s

HEART 1

CUPIDS BOW AND ARROW

HEART 2

HEART 3

HORSESHOE

HEART 4

LOVE BIRDS 28

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A P P L I Q U Ã&#x2030; T E M P L AT E S l

o c c a si o n s & c el e b rat i o n s

EASTER EGGS

CHICK HEN EASTER BUNNY

COCKTAIL GLASS

ENGAGEMENT RING

CHAMPAGNE FLUTE

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29

A P P L I Q U Ã&#x2030; T E M P L AT E S l

o c c a si o n s & c el e b rat i o n s

STORK FOOTPRINT TECHNICAL TIP Beware!

Fusible webbing can be a nightmare if you fuse it to your iron. Always keep the paper side next to the heat to avoid a sticky mess.

CUPCAKE BALLOON

STRAWBERRY

CAKE

CANDLE

30

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A P P L I Q U Ã&#x2030; T E M P L AT E S l

o c c a si o n s & c el e b rat i o n s

BAT

CROW HALLOWEEN PUMPKIN

APPLE

CANDY

PEAR

COW

SHEEP

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31

A P P L I Q U É T E M P L AT E S l

su m m e r se a si d e

Summer Seaside

ICE CREAM ICE LOLLY

BEACH HUT ANCHOR

BEACH CABIN SPADE

TECHNICAL TIP In needleturn appliqué, use a dampened toothpick to sweep under inner points and fraying edges.

32

BUCKET

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CURVED SAILING BOAT

A P P L I Q U Ã&#x2030; T E M P L AT E S l

su m m e r se a si d e

SUNGLASSES 1

SAILING BOAT

PORTHOLE SAILING BOAT

SUNGLASSES 2

CRAB

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LIGHTHOUSE

33

A P P L I Q U Ã&#x2030; T E M P L AT E S l

w o odl a n d & w il dl ife

Woodland & Wildlife TECHNICAL TIP Using a piece of card as a template and gathering the stitches around it will give you a really good edge for circles and gentle curves. Sequins can be used to make really tiny circles.

Anything smaller will look great as a French Knot.

BUTTERFLY 1

OWL

BUTTERFLY 2

autumn leaf AUTUMN LEAVES

TOADSTOOLS

34

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A P P L I Q U Ã&#x2030; T E M P L AT E S l

ER 1

FE AT H

ER

3

he

FEAT H

w o odl a n d & w il dl ife

ER

2

FOX

FE AT H

SQUIRREL

HORSE

STAG RABBIT

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35

A P P L I Q U É T E M P L AT E S l

c h il d r e n’s st o r yt i m e

&KLOGUHQV 6Wè\WLPH

GINGERBREAD

ROBOT

castle

CASTLE

RED RIDING HOOD / GOLDILOCKS

THE LOCH NESS MONSTER 36

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A P P L I Q U É T E M P L AT E S l

c h il d r e n’s st o r yt i m e

TORTOISE

HARE DRAGON

dragon

WOLF

wolf

BEAR

fairy FAIRY TECHNICAL TIP Place a piece of leather or oil cloth under your appliqué fabric and, using a straightedged tracing wheel, mark the seam allowance. This will create a crease to make turning an edge under easier.

TEDDY

BLIND MOUSE

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37

A P P L I Q U É T E M P L AT E S l

i n th e h o m e

,Q ëH +RPH UMBRELLA

CAT

CACTUS

BICYCLE

MILK BOTTLE

WOOLLY MITTENS

CLOCK

BOBBLE HAT

38

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A P P L I Q U Ã&#x2030; T E M P L AT E S l

i n th e h o m e

WHEELBARROW

TEAPOT

CUP AND SAUCER

tea cup

PAW

WELLINGTON BOOTS

SUN HAT

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BOOK

book

39

A P P L I Q U É T E M P L AT E S l

se w i n g & h a b e rd a sh e r y

Sewing & Haberdashery THIMBLE

SCISSORS TECHNICAL TIP When hand sewing, always use the thread as it comes off the spool, because it provides smoother stitching and less tangling. By threading the needle first, and then cutting the thread, you don’t lose track of which end should be knotted.

LARGE BUTTON

SPOOL

IRON

40

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A P P L I Q U Ã&#x2030; T E M P L AT E S l

se w i n g & h a b e rd a sh e r y

MEASURING TAPE

SE

A

M

R

IP

PE R

SAFETY PIN

SMALL BUTTON

SEWING MACHINE

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41

A P P L I Q U Ã&#x2030; T E M P L AT E S l

al ph a b et & n u mb e rs

Alphabet & Numbers

42

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A P P L I Q U Ã&#x2030; T E M P L AT E S l

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a l ph a b et & n u m b e rs

43

(PåRLGHU\ 'HVLJQV Finish your appliqué projects with these sweet embroidered phrases.

We love chain stitch or whipped backstitch for cursive text.