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ONLY £4.99


ONLY £4.99 August 2018





Stuart Hillard

Easy piecing for a fantastic finish

£425 OVER



1718 COVERLET The oldest surviving dated pieced coverlet reaches its 300th anniversary

Issue 295 £4.99 •


Just for you!







* Closing date for competition and giveaways is 31 August 2018

THE NATIONAL QUILT CHAMPIONSHIPS Be inspired by this year's winners

2 British Patchwork & Quilting JULY 2018




Joanna Kent Editor

Thank you for all your kind words and comments about our new look following the merger of P&Q and Popular Patchwork. It’s always nice to feel appreciated when all of the team on the magazine work so hard to produce such a packed issue every month for you. We like to think we feature a good mix of projects readers will want to make as well as having plenty of interesting articles for you to read. We love to hear about the things you’ve made and also like knowing what things you’d like to see in P&Q; we are a magazine made by quilters for quilters after all. Do please get in touch. This month’s projects include machine pieced quilts, English Paper Piecing and some simple appliqué. We’re starting a new Mystery Quilt from Stuart Hillard in this issue. We hope you join in with this project which will run over the next few months. I’ve seen the finished quilt and it is rather awesome! I designed my Watercolour Spirals quilt around using a Layer Cake, but you can also make it from a Jelly Roll. Naomi Clarke has another EPP project for you in Scandinavian Summer, featuring fabrics from Lewis & Irene. The Gibraltar Quilt is a relatively easy make, but can add a little bit of extra skill by using directional prints. If modern retro is your thing, then you’ll love the Retro Floral Quilt. And finally we welcome back Stuart Hillard’s Stashbusting. Look out for the team’s block in each issue too! I visited the National Quilt Championships at Sandown Racecourse for the first time as a visitor and what a lovely day out it was. Wonderful quilts, lots of traders to tempt you and beautiful views from the grandstand while you have your lunch. We also take a look at the recent exhibition by Anglia Textile Works. Helen has been out and about again visiting the 1718 Coverlet whilst it was on display at the American Museum in Bath and also managed to see Midsomer Quilting’s new premises in Let’s Go Shopping. Marijke van Welzen tells us about her First and Last quilts and we meet Dulwich Quilters in Introducing.

Helen Kent Assistant Editor

Joanna P&Q Magazine, P.O. Box 129, Monmouth NP25 9BF. Email You can also get in touch by visiting our social media sites. Share your thoughts, ideas and opinions on Patchwork & Quilting with others in out online community. @pq.mag

3 British Patchwork & Quilting JANUARY 14




British Patchwork & Quilting magazine


36 42 64 14 PROJECTS



14 WATERCOLOUR SPIRALS Piecing Joanna Kent



26 GIBRALTAR QUILT Piecing Michael Caputo 36 SCANDINAVIAN SUMMER EPP Naomi Clarke 48 MYSTERY QUILT Part 1 Stuart Hillard 56 RETRO FLORAL QUILT Foundation piecing and appliqué Collette Howie

FABULOUS FABRICS Fabrics to inspire

10 RETAIL THERAPY What’s in the shops and from suppliers 12 PRODUCT REVIEW See what our testers think of a new product 64 STASHBUSTING with Stuart Hillard 66 COLOUR ME QUILT ME Try out colour schemes and quilting designs for some of our projects

NATIONAL QUILT CHAMPIONSHIPS A review of this year’s show Joanna Kent


LET’S GO SHOPPING TO Midsumer Quilting Helen Kent


INSPIRED BY.... A review of Anglia Textile Works’ exhibition Khurshid Bamboat


THE 1718 COVERLET A closer look Helen Kent

84 GIVEAWAYS AND WINNERS Your chance to win!

PROJECT RATING: Where instructions are printed in blue, further details of the techniques are given, ‘In a Nutshell’


4 British Patchwork & Quilting AUGUST 2018





56 REGULARS 3 WELCOME From the desk of the editors

80 NEWS & VIEWS Keeping in touch

68 BOOK REVIEWS Recommended reading

82 WONDERFUL WORKSHOPS Classes for you

70 EXHIBITIONS What’s on

94 SHOW & TELL Your letters and quilts

72 WANDERING THE WEB Browse the Internet Chris Franses

96 ADVERTISERS’ INDEX A quick reference to find the advertiser you need

76 FIRST AND LAST My ‘quilts’ Marijke van Welzen

98 COMING NEXT MONTH A glimpse at what’s coming up


SUBSCRIPTION OFFERS Turn to page 74 for subscription details

TECHNIQUE 86 IN A NUTSHELL A guide to the basics of patchwork and quilting

78 INTRODUCING.... Dulwich Quilters Diana Jennings and Jenny Strong

You can also get in touch by visiting our social media sites. Find us on Facebook, Instagram or Twitter. We would love you to join us and share your thoughts, ideas and opinions on Patchwork & Quilting with others in our online community. britishpatchworkandquiltingmagazine




JUST FOR YOU // fabulous fabric


FABRIC This month we look at a selection of bright rainbow inspired fabrics!


Liberty specialists Alice Caroline are delighted to announce that they are launching their second exclusive Liberty fabric collection. Alice Caroline Garrett has been working with the Liberty design studio to create a stunning new range of fabrics, exclusive to Alice Caroline. The collection comprises of twelve beautiful and popular Liberty prints which have been recoloured to create a stunning Liberty Rainbow in dusty tones. This new collection has really pretty soft pastels that still have the hallmark of strong Liberty design and colour. They also couldn’t resist adding a rescaled Irma fabric in pretty pastel pinks and a Christmas Wiltshire.

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fabric bundle

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Liberty Rainbow is available exclusively from



Alice says ‘The exclusives we launched last year were so popular that I couldn’t resist working with the Liberty design team again. The rainbow theme means that the whole collection works really well together for awa y • g sewing projects and especially quilting.’ ve i

JUST FOR YOU // fabulous fabric


They are called near-solids but the Grunge collections, from Moda, are so much more than that! Grunge Basics lead the way in adding texture, colour and interest to every manner of creative project. Debuting with forty of Grunge’s most in demand shades, Grunge Seeing Stars provides a stellar geometric counter to the Grunge Spots. Mix them with prints and neutrals, solids and wovens... these Stars will surely shine however you use them! For stockist information visit


JUST FOR YOU // fabulous fabric


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8 British Patchwork & Quilting AUGUST 2018


fabric bundle

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For stockist information visit


Makower bring us this rainbow of English country floral designs in four palettes of Spring, Summer, Autumn and Winter shades. Small, detailed, multi directional designs work beautifully in miniature paper pieced hexagons but also work with any style of wa y • quilt block. Free quilt patterns are gi ea iv available on their website.

JUST FOR YOU // fabulous fabric


And now for something completely different. Lewis & Irene bring us a rainbow of colourful and funky geometric style designs. Tiny motifs work so well for patchwork and this collection will match any modern project. Dashed circles, tiny self coloured triangles and waves, half hexies and a multi hexagon pattern are scattered across the most popular colours. For stockist information visit


REGULAR // retail therapy


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The RRP is £8.85 to find your local stockist email

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Point 2 Point Turner ensures every point and curve in your project is perfectly formed. Ideal for collars, cuffs and pushing out seams. With a curve at one end and a fine point at the other you’ll also find this tool handy for feeding fabric through the sewing machine.

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Therapy Bringing you news of what’s available in our shops, online and by mail order. This month we take a look at some new products on the market.




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10 British Patchwork & Quilting AUGUST 2018

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This 136 page fully illustrated book has a convenient spiral binding that allows pages to lie flat. Written for EQ8 Windows and Mac users. The RRP is £24.95 inc. postage. To order visit or call 01763 288234


The small rack RRP is £8.60 and the large rack RRP is £11.75. To find your local stockist email



Say goodbye to hunting in drawers and work baskets for scratched templates and rulers with these new wooden racks from Milward. They are made from beautiful and durable beech wood and are the ideal solution for storing quilting rulers, making them quickly accessible and less prone to damage. The small rack has four slots and is 10cm x 25cm. The larger rack has five slots and is 10cm x 50cm. Milward products are available nationwide from haberdashery, knitting and craft stockists.

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w ay • g Learn quilt design tricks from ea i iv the EQ8 experts! This book will teach you to design with the most popular tools and features in EQ8 software. Each step-by-step lesson is like taking a class in your home. Perfect for EQ8 users at any learning stage — beginner, intermediate or advanced. Increase your knowledge of the tools and features, discover new tricks to help make your creativity a reality and then use all of this information as inspiration to plan and design your own amazing quilts!



11 British Patchwork & Quilting JULY 2018

REGULAR // product review


OF THE MONTH Grabbit Magnetic Pincushion The Grabbit Magnetic Pincushion is an industry-recognized tool for storage and access to sewing pins. The pincushion of choice for over twenty years, the unique attribute of Grabbit is its powerful magnetic field which sweeps up pins from a distance and aligns them in an organized pile. It is easy to grab a pin or throw one back on the Grabbit surface when you finish. Grabbit has a pleasing contemporary design with a shallow bowl surface to gather pins and a comfortable round shape to hold. It is supplied with fifty coloured headed pins.

We asked for some willing quilting volunteers via our Facebook page, to test out the product for us, review and record their findings. This is what they had to say… ‘The suction power on this pincushion is amazing, I added a few more pins to it and it still maintained the same power. I could just throw my pins whilst sewing and they landed on the magnet. I usually end up dropping a few pins whilst sewing, so after I had finished sewing, I just moved the magnet around the area I was sitting and it picked them all up. The colour of the magnet was great as it matched me and my decor to a tee.’ Sylvia Back

‘I love my Grabbit magnetic pincushion! It’s a brilliant product. I put it by the sewing machine (which matches very nicely, ta very much!) I just put the pins in that direction and they go on automatically without taking my eyes off my work. Also, when working on a large piece, I can wave the dish over the pins and they get vacuumed up! Easy peasy. It’s a good size and weight and easy to use in various sewing projects. There was lots of pins that came with the unit but plenty of space for more as well. It’s a small thing but very practical. I love it!’ Deepti Chauhan

‘I was very excited to be chosen as a product tester. I held my breath in eager anticipation as I opened the parcel left by the postman and I was not disappointed. I need to be honest and say that this is not the first time I have had a Grabbit pincushion, but this one is much better as it is my favourite colour – blue. This is a quality product and in my opinion the best version of these magnetic pin holders on the market. It has a good strong magnet which comes into its own when you drop your pins on the floor. Simply run the Grabbit along the carpet and the pins jump right back on. One other thing to say about the product is that it comes with some good quality pins. Definitely my new best friend. The only thing which could improve the product would be a cover so that you can take it with you to workshops and classes. I have found that an old plastic takeaway carton is a good holder for the pincushion when you are packing for a class. I am really happy with my blue Grabbit and my old one has found a place on my desk in the office to hold my paper clips.’ Angela Timbrell

‘There was space to hold long pins, small scissors and seam ripper. It’s useful to keep them in one place rather than hunting under fabric. I tested the durability and pushed it from the table onto carpet flooring. It remained intact and most of the pins stayed put. A fellow City & Guilds student uses it to keep her special needles in one place to tie in threads for quilting. My niece uses it when crafting for safety reasons because she has two dogs and it gives her peace of mind that the pins stay in place. I would recommend it because of all the reasons above…and because it’s a gorgeous red colour.’ Maria Fox For more information and details of where to buy the Grabbit Magnetic Pincushion visit or phone 0116 271 0033.

If you would like the opportunity to review a product for us visit our Facebook page and look out for our next product review post. @pqmag

12 British Patchwork & Quilting AUGUST 2018



13 British Patchwork & Quilting JULY 2018

PROJECT // watercolour spirals


WATERCOLOUR SPIRALS This is stylish quilt featuring fabrics from the Watercolour collection from Moda is a relatively simple quilt to piece, you just need to be super organised about keeping your fabrics in order. Designed and made by Joanna Kent Size: 74" square REQUIREMENTS

Block: 16" square


1 Watercolour Layer Cake* or 36, 10" squares

• • •

3½m Solid black 80" Square wadding (Full size) 4¼m Backing

*You can use a Layer Cake or a Jelly Roll for this quilt as we are cutting the Layer Cake up into 2½" strips. Only 36 coloured prints are needed from whichever pre-cut pack you use. See end of project for suppliers

14 British Patchwork & Quilting AUGUST 2018

PROJECT // watercolour spirals


PROJECT // watercolour spirals

illust. 1. First round of strips

a. Cross cut slice

b. Add 2½" x 4½" black rectangle


d. Cross cut joined strips


Cut across width of fabric 1. From solid black cut: eight, 4½" strips – border, twenty eight, 2½" strips, four, 2½" x 32½" strips – sashing, eight, 2½" strips – binding.

Work with one set of 10" strips at a time. Once you have made one block, it is easy to chain piece these blocks and make four at a time. It is also easier to sub cut 2½" black strips as needed rather than sub cutting them all in one go at the start.

e. Add pieced strip to complete first round of strips

3a. Cut one, 2½" x 10" strip from one, 2½" black strip. b. Take one, 2½" x 10" strip from fabrics 2 and 3 from your Layer Cake strips. c. Join strips together along their length in the following order L to R: fabric 3, fabric 2, black.


PREPARATION 1a. Open Layer Cake or Jelly Roll and choose thirty six fabrics from pack. Some prints can be repeated if necessary. b. Arrange fabrics in a pleasing colour spectrum. c. Sub cut each 10" square into four, 2½" x 10" strips. 2a. If using a Jelly Roll, it will be easier to sub cut each strip into four, 10" strips, rather than working with the WOF strips. b. There will be a small excess leftover from each WOF strip. 3. Keep strips in their colour order throughout the piecing process. Number them 1 to 36 if you wish.


Use ¼" seam allowance and press all seams open. illust. 2. Make three-strip strip set

a. Cross cut joined strips

c. Add 2½" x 4½" black rectangle

1a. Take one, 2½" black strip and sub cut one, 2½" x 10" strip. b. Join strip along its length to one, 2½" x 10" strip from first print. c. Press seam open. d. Cross cut joined strips into four, 2½" x 4½" rectangles, dia. 1 and illust. 1a.

EDITOR'S TIP Throughout the piecing of this quilt, accurate cutting and an accurate ¼" seam are essential to achieving the block design. 2a. Take black strip and sub cut two, 2½" x 4½" black rectangles. b. Add rectangles to next two sides of one, cross cut slice, illust. 1b and illust. 1c. c. Repeat for each cross cut slice.

Alternate direction of sewing strips together. If strips are all sewn together from the same end, they can end up being slightly wider at one end than the other. Alternating the ends counteracts this. d. Cross cut joined strips into four, 2½" x 6½" cross cut strips, illust. 1d. e. Add one, pieced strip to next edge of block to complete first round of strips, illust. 1e. 4. Block should measure 6½" square. 5a. Take one, 2½" x 10" strip from fabrics 4, 5 and 6 and join strips together along their length as before in the following order L to R: 6, 5, 4. b. Cross cut joined strips into four, 2½" x 6½" cross cut strips, illust. 2a. c. Join one, pieced strip to next edge of block, continuing spiral effect of coloured squares, illust. 2b.

illust. 3. Make four-strip strip set

b. Add pieced strip

16 British Patchwork & Quilting AUGUST 2018

a. Cross cut joined strips

b. Add pieced strip to block

PROJECT // watercolour spirals

illust. 4. Make four-strip strip set

a. Cross cut joined strips

illust. 5. Completing second round of strips

b. Add pieced strip to block a. Join square to end of black strip

6a. Take one, 2½" x 10" strip from fabrics 7, 8, 9 and 10 and join strips together along their length as before in the following order L to R: 7, 8, 9, 10. b. Cross cut joined strips into four, 2½" x 8½" cross cut strips, illust. 3a. c. Join one, pieced strip to next edge of block, illust. 3b. 7a. Add next pieced strip by joining one, 2½" x 10" strip from fabrics 11, 12, 13 and 14 together in the following order L to R: 11, 12, 13, 14. b. Cross cut joined strips into four, 2½" x 8½" crross cut strips, illust. 4a. c. Join one, pieced strip to next edge of block, illust. 4b. 8a. Take one, 2½" x 10" fabric 15 strip and sub cut strip into four, 2½" squares. b. Sub cut one, 2½" x 8½" rectangle from one, 2½" black strip and join square to one end of rectangle, illust. 5a. c. Add pieced strip to next edge of block to complete second round of strips. d. Block should measure 10½" square, illust. 5b. 9a. Take one, 2½" black strip and sub cut one, 2½" x 10½" strip and two, 2½" x 12½" strips. b. Add strips to next three sides of block, illust 6a to illust 6c. 10a. Make next pieced strip by joining one, 2½" x 10" strip from fabrics 16, 17, 18, 19, 20 and 21 together in the following order L to R: 21, 20, 19, 18, 17, 16. b. Cut one, 2½" x 10" black strip and add strip to opposite edge of fabric 16 strip. c. Cross cut joined strips into four, 2½" x 14½" cross cut strips, illust. 7a. d. Join one, pieced strip to next edge of

illust. 6. Add black strips

b. Add pieced strip to block

block, illust. 7b. 11a. Make next pieced strip by joining one, 2½" x 10" strip from fabrics 22, 23, 24, 25, 26, 27 and 28 together in the following order L to R: 28, 27, 26, 25, 24, 23, 22. b. Cross cut joined strips into four, 2½" x 14½" cross cut strips, illust. 8a. c. Join one, pieced strip to next edge of block, illust. 8b. 12a. Make final pieced strip by joining one, 2½" x 10" strip from fabrics 29, 30, 31, 32, 33, 34, 35 and 36 together in the following order L to R: 36, 35, 34, 33, 32, 31, 30, 29. b. Cross cut joined strips into four, 2½" x 16½" cross cut strips, illust. 9a. c. Join one, pieced strip to next edge of block to complete block, illust. 9b. d. Block should measure 16½" square. 13a. Make sixteen blocks in total. b. Note each coloured 10" Layer Cake strip will yield four blocks.

a. Add 2½" x 10½" black strip

b. Add 2½" x 12½" black strip

ASSEMBLY 1a. Refer to quilt layout and arrange blocks into four rows of four blocks. Note blocks are rotated to continue spiral effect. b. Join blocks together in pairs and then join pairs together to make four-block units, illust. 10. 2a. Take two, 2½" x 32½" black strips and join these between two, four-block units. b. Cut one, 2½" square from leftover black strip and join remaining two, 2½" x 32½" black strips to opposite sides of 2½" black square. 3. Join four-block rows to opposite sides of pieced black strip. 4a. Join 4½" black strips together in pairs. b. Sub cut joined strips into two, 4½" x 66½" strips and two, 4½" x 74½" strips. c. Add shorter strips to opposite sides of quilt top and longer strips to top and bottom edges to complete quilt top.

c. Add 2½" x 12½" black strip

COMPLETION 1a. Make quilt sandwich with quilt top, wadding and backing. b. Pin or baste layers. 2. Quilt as desired. 3. Double bind edges with 2½" black strips. 4. Add a label.


PROJECT // watercolour spirals

illust. 7. Completing third round of strips

illust. 8. Final round of strips

illust. 9. Final pieced strip

a. Cross cut joined strips

a. Cross cut joined strips

a. Cross cut joined strips

b. Add pieced strip to block

b. Add pieced strip to block

b. Complete block

illust. 10. Four-block unit


Want to make a wall hanging instead of a large quilt? A 5" charm pack will make four blocks!


Watercolour Layer Cakes, Jelly Rolls and complete kits to make this quilt top are available from The Crafty Quilter. To order visit or telephone 07971 505208

Quilt layout

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FEATURE // national quilt championships

Detail, ‘Silver Linings’



I had quite the novelty going to the National Quilt Championships held at Sandown Racecourse in Esher, Surrey at the end of June as a visitor; queuing up eagerly, ticket in hand. So often I am at a show as a trader that I miss this side of visiting a quilt show. The Sandown show is usually blessed with wonderful weather and this year was no exception and being able to sit in the grandstand in the cool breeze looking at your fabric purchases while you eat your lunch with a view of all of London before you, is another of the pluses to this established event. Where to start with all the wonderful quilts on display? I guess from the top with the Championship Quilt made by Lynda Jackson. ‘Silver Linings’ was a wonderful wholecloth quilt that Lynda had longarm quilted using a hand-guided longarm machine. The fabric was from the Radiance collection, a silk cotton mix and featured quilting designs she had created herself. Unsurprisingly, it also picked up the awards for Wholecloth Quilt and the Fran Jones Award for Hand-Guided Longarm Machine Quilting as well as being awarded first place in the Large Wall Hanging Category. It was also Jennie Rayment’s Judge’s Choice quilt. Wholecloth quilting certainly seems to be enjoying a renaissance at the moment with the talented longarm quilters out there. It’s such a shame photographing them at the shows is so difficult, so enjoy the detail shots showing the amazing work on Lynda’s quilt.

20 British Patchwork & Quilting AUGUST 2018

In fact Lynda had quite a show as her quilt, ‘Cappuccino Dreams’ was awarded the Overall Runner Up award as well as coming first in the Bed Quilt category. These are both no mean feats as the bed quilt and large wall hanging categories are often those that attract the most entries. ‘Cappuccino Dreams’ featured machine embroidered Jenny Haskins’ designs again on Radiance fabric. The quilt was also quilted similarly on Lynda’s hand-guided longarm. The theme for this year’s show was ‘Remembrance’ with many of the entries honouring the centenary of the end of World War 1. First place was awarded to Heather Brialey for ‘My Grandads Went to War’. Her quilt, which was inspired from family history research and her grandfathers’ records, featured calico painted with acrylic, Thermofax screen prints and stencilling amongst other art quilt techniques. Second

FEATURE // national quilt championships

Detail, ‘Silver Linings’

‘Silver Linings’, Lynda Jackson. Overall Champion, first place Large Wall Hanging, Wholecloth and Hand-Guided Longarm Machine Quilted awards

‘Dragoon’, Eleanor Johnson. Second place Theme, Computer-Guided Longarm Machine Quilted award

‘Cappuccino Dreams’, Lynda Jackson. Overall Runner Up, first place Bed Quilt

‘My Grandads Went to War’, Heather Brialey. First place Theme

RIGHT: Detail, ‘Cappuccino Dreams’


FEATURE // national quilt championships

‘Blooming Emma’, Kathy Dranse. Second place Bed Quilt. Traditional Patchwork and Rookie of the Year awards

‘Changed my Mind, Again’, Lynda Jackson. Second place Large Wall Hanging, Piecing award

‘Rainbow Splash’, Claudia Taeubert. Third place Large Wall Hanging

‘Untitled’, Lyn Stallybrass. Third place Bed Quilt Detail, ‘Blooming Emma’

‘Remember’, Sandra Pearson. Third place Theme

place went to ‘Dragoon’ by Eleanor Johnson, which was also awarded the Computer-Guided Longarm Machine Quilting award, with the quilting by Quantum Quilting. Third place went to ‘Remember’ by Sandra Pearson, another wholecloth machine quilted quilt.

‘Shibori Moon’, Jane Atwood. First place Small Wall Hanging

Returning to the Bed Quilts, second place was awarded to Kathy Dranse for ‘Blooming Emma’, which also won the awards for Traditional Patchwork and Rookie of the Year award which is awarded to a quilter for the first quilt they have ever entered into a national competition. This was a stunning quilt featuring paper piecing, hand appliqué with faux trapunto and longarm quilting by Kathy herself.

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Detail, ‘Remember’

A talent to watch for the future? Third place in the Bed Quilt category went to Lyn Stallybrass for her ‘Untitled’ quilt, a traditionally-quilted modern quilt. As already mentioned, first place in the Large Wall Hanging category was won by the Overall Champion quilt. Second place also went to Lynda Jackson for ‘Changed my Mind, Again’, which also won the award for Piecing. The quilt used a pattern designed by Jacqueline de Jonge but it was Lynda’s longarm quilting dilemmas that resulted in the name of her quilt as she changed her mind so many times on how best to quilt it. Third place went to another colourful quilt, ‘Rainbow Splash’ by Claudia Taeubert. Her quilt is a variation on Birgit Schuller’s ‘Splash’ quilt from Quilts UK in 2015, modified with Birgit’s permission and hand-guided longarm quilted by Birgit herself. It was also Lee Brown’s Judge’s Choice quilt. First place in the Small Wall Hanging category went to Jane Atwood for ‘Shibori Moon’, the self dyed fabrics were created by Jane at a Shibori Summer School with Janice Gunner and was machine pieced with both hand and machine quilting.

FEATURE // national quilt championships

‘Luskentyre’, Jean Boath. Third place Small Wall Hanging RIGHT: ‘For Ada’, Gill Cannon. Third place Cot Quilt LEFT: ‘Bali Botanicals’, Alison Stothard. Second place Small Wall Hanging

‘A Little Mermaid’, Susan Brown. Second place Cot Quilt

‘Two by Two, the Elephant and Kangaroo’, Joë Bennison. First place Cot Quilt RIGHT: Detail, ‘Two by Two, the Elephant and Kangaroo’

Second place was awarded to Alison Stothard for ‘Bali Botanicals’ which was hand appliquéd and based on Deborah Kemball’s ‘Floral Sampler’ design. ‘Luskentyre’ by Jean Boath took third place. Jean had transferred a panoramic photograph onto fabric and the quilt was embellished with machine and hand stitching. The Cot Quilt category was won by Joë Bennison for another wholecloth quilt on Radiance fabric. ‘Two by Two, the Elephant and Kangaroo’ also showcased how using different coloured threads can add dimension and interest to a wholecloth quilt. Second place went to ‘A Little Mermaid’ by Susan Brown and third place to ‘For Ada’ by Gill Cannon. In the Group Quilt category, first place went to Michele Moody, Brenda Connor and Gillian Thomas aka Grey Hares for ‘Boxing Hares’. Second and third places went to Pinewood Quilters for ‘Shades of Purple’ and ‘Floral Dance’ respectively. There were only ten quilts entered into both of these categories in total, something that could surely be easily rectified?

The Miniature Quilt category is perhaps a little more specialised in order to maintain the scale needed for miniature quilts, but it also attracted a single figure entry total. That is not to detract from the outstanding workmanship on show though. First place went to ‘Mystery Row Challenge’ by Margaret Morris; for instance those Suffolk Puffs were maybe a quarter of an inch in diameter! Second place went to Julia Gahagan for ‘Springtime Bouquet’ and third place to Joë Bennison for ‘Let the Geese Fly’. It was good to see more entries in the Under 16 Quilt category which was won by Imogen Wallis for ‘Bathed in Moonlight’ which was also Jane Petty’s Judge’s Choice. Second place went to ‘Free as a Bird’ by the GillyMac Saturday Morning Group and third place to ‘Baby Bear’ by Mei Hammond-Tse. All excellent pieces of work. However, sadly there were only a couple of entries in the Wearable Art category although Marijke van Welzen’s


FEATURE // national quilt championships

‘Boxing Hares’, Grey Hares. First place Group Quilts

‘Springtime Bouquet’, Julia Gahagan. Second place Miniature Quilt

‘Let the Geese Fly’, Joë Bennison. Third place Miniature Quilt LEFT: ‘Bathed in Moonlight’, Imogen Wallis. First place Under 16 Quilt ‘Mystery Row Challenge’, Margaret Morris. First place Miniature Quilt

‘Shades of Purple’, Pinewood Quilters. Second place Group Quilts

As is customary at competition shows organised by Grosvenor Shows, there were numerous other technique awards available including the award for Hand Quilting which was awarded to Andrea Stracke for ‘Rhodonite’ and the Machine Quilting award which went to ‘Slo-Mo’ by Pascale Michalski which was also awarded the award for Fabric Painting/Hand Dyeing and was Maggie Davies’ Judge’s Choice. The Machine Appliqué prize went to Claudia Scheja for ‘Tuscany Village’ and the award for Hand Appliqué went to Janet Stevens for ‘Flowers all Around’. The award for Art Quilts went to Margaret Ruffles with ‘The Last Sailorman’ and the Sampler Quilt to Lucy Paton for ‘In the Woods Contemporary Sampler’. Incidentally I think this was my favourite quilt at the show; such a different interpretation of a sampler quilt and it wasn’t until I looked at the image of her quilt on my phone that I realised the bottom left block was a pine cone! The award for Embellishment went to Frieda Oxenham for ‘Spring in the City’ and for My First Bed Quilt to Sanchia Vinall with ‘Flowers by Arrangement’. And finally Kim Shaw’s chose ‘Obsolescence to Obscurity’ by Anne Beare as her Judge’s Choice.

‘Floral Dance’, Pinewood Quilters. Third place Group Quilts RIGHT: ‘There are Snakes Lurking’, Marijke van Welzen. First place Wearable Art

‘Free as a Bird’, GillyMac Saturday Morning Group. Second place Under 16 Quilt

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wonderful jacket ‘There are Snakes Lurking’ was a worthy winner with the amount of skill and workmanship involved. Alison Stothard picked up her second award for second place with ‘Alison’s Bag MKII’.

‘Baby Bear’, Mei Hammond-Tse. Third place Under 16 Quilt

At the show this year there was also the Director’s Choice Beginners’ Challenge, a category sponsored by traders at the show with the winner being chosen by Roger Cooling, the director of

FEATURE // national quilt championships

‘Slo-Mo’, Pascale Michalski. Machine Quilting and Fabric Painting/Hand Dyeing awards

‘Tuscany Village’, Claudia Scheja. Machine Appliqué award

‘Flowers all Around’, Janet Stevens. Hand Appliqué award

Grosvenor Shows, to encourage more entries from beginner quilters. Roger chose ‘The Red Centre – Australia’ by Susan Wheeler as his favourite out of all those entered. Also on display were the results of the Twiddling & Fiddling Quilt Challenge sponsored by Jennie Rayment which was won by Jane Wheble for ‘Queen of Twiddles’ with ‘Apologies to van Gogh’ by Sue Cockroft in second place and ‘Indigo Blues’ by Susan Hankin in third place. There was such an array of talent on view, it is never easy to do all the quilts justice on the pages of a magazine so I would always urge you to visit a show whenever you can, not least to be able to appreciate the workmanship up close.

‘The Red Centre – Australia’, Susan Wheeler. Winner Director’s Choice Beginners’ Challenge 2018

‘Flowers by Arrangement’, Sanchia Vinall. My First Bed Quilt award

‘Queen of Twiddles’, Jane Wheble. First place Twiddling & Fiddling Quilt Challenge 2018

‘Spring in the City’, Frieda Oxenham. Embellishment award

‘In the Woods Contemporary Sampler’, Lucy Paton. Sampler Quilt award

‘Apologies to van Gogh’, Sue Cockroft. Second place Twiddling & Fiddling Quilt Challenge

‘Indigo Blues’, Susan Hankin. Third place Twiddling & Fiddling Quilt Challenge

The National Quilt Championships were held at Sandown Racecourse, Esher, Surrey from 22 – 24 June. The dates for next year’s show are 21 – 23 June 2019. For more information on the show, including how to download an entry form, visit The theme for next year is ‘Reflections’. Please note there will be new Beginner, Intermediate and Advanced/Professional categories introduced in the main open quilt competition next year.


PROJECT // gibraltar quilt


GIBRALTAR QUILT Playing with colours is a fun challenge when the pattern is on the simple side, but adding in some directional prints ups the level of complexity. Designed and made by Michael Caputo

Size: 60" x 66" REQUIREMENTS

Block: 12" square


Fabrics from the Mediterraneo* collection from Art Gallery Fabrics, or to your choice: •

1¼m Night Shell Blaze (MED-32611) – Fabric A

• • • • • • • • • • • • • •

75cm Cartographe (MED-32610) – Fabric B 50cm Violet Coastal Garden (MED-32606) – Fabric C 75cm Olive Foliage (MED-22602) – Fabric D 50cm Sand Frutteria (MED-32605) – Fabric E 50cm Gecko Trails (MED-32603) – Fabric F Fat quarter Bougainvillush (MED-22609) – Fabric G Fat quarter Nectar Honeycomb (MED-32604) – Fabric H Fat quarter Aqua Zanafi (MED-22601) – Fabric I Fat quarter Miele Honeycomb (MED-22604) – Fabric J Fat quarter Distressed Djulovi (MED-22612) – Fabric K Fat quarter Parchment Djulovi (MED-32612) – Fabric L 64" x 70" Wadding (Twin size) 4m Backing 50cm Cielo Coastal Garden (MED-22606) - binding

*See end of project for suppliers

26 British Patchwork & Quilting AUGUST 2018

PROJECT // gibraltar quilt


PROJECT // gibraltar quilt

illust. 1. Fabric B/G pieced rectangles

illust. 2. Fabric B/F pieced strips


a. Position fabric B square at end of strip

Cut across width of fabric 1. From fabric A cut: nine, 5" strips. 2. From fabric B cut: five, 3½" strips. Sub cut four strips into: sixteen, 3½" x 6½" rectangles, eight, 3½" squares, two, 4¼" strips sub cut into: twelve, 4¼" squares. 3. From fabric C cut: two, 6½" strips sub cut into: twelve, 6½" squares. 4. From fabric D cut: five, 3½" strips. Sub cut three strips into: eighteen, 3½" x 6½" rectangles, two, 4¼" strips sub cut into: eighteen, 4¼" squares. 5. From fabric E cut: three, 3½" strips. Sub cut two strips into: eight, 3½" x 6½" rectangles, four, 3½" squares, one, 4¼" strip sub cut into: six, 4¼" squares. 6. From fabric F cut: one, 3½" strip. Stripe should run along length of strip, six, 3½" x 12½" rectangles. Stripe should run along 12½" l ength.

b. Trim excess

illust. 3. Add fabric D/B HST units to opposite ends of rectangle


7. From fabric G cut: two, 6½" squares. 8. From fabric H cut: two, 6½" squares. 9. From fabric I cut: two, 6½" squares. 10. From fabric J cut: two, 6½" squares. 11. From fabric K cut: two, 6½" squares. 12. From fabric L cut: two, 6½" squares. 13. From binding cut: seven, 2½" strips binding.

dia. 1. Cross cut joined strips

Use ¼" seam allowance throughout 1a. Take two, 5" fabric A strips and join them to opposite sides of one, 3½" fabric D strip. b. Press seams towards fabric A. c. Cross cut joined strips six, 6½" cross cut slices, dia. 1. 2. Make second set of joined strips in same way to make total of twelve, cross cut slices. 3a. Make further set of joined strips with two, 5" fabric A strips and one, 3½" fabric B strip and cross cut into six, cross cut slices.

5” X WOF


dia. 2. HST units

dia. 2. HST a. Stitch ¼" units seam each side of line

3 1/2” X WOF D a. Stitch ¼" seam each side of line

A 6½"


Each strip set will need to be cut to 6 1/2” x 12 1/2” You will get six (6) from each WOF.

28 British Patchwork & Quilting AUGUST 2018

5” X WOF

b. Complete Complete units b. units

PROJECT // gibraltar quilt

Binding detail

b. Join two, 5" fabric A strips and one, 3½" fabric F strip and cross cut into four, cross cut slices. 4a. Take remaining 5" fabric A strip, fold and cut it in half to make two, 5" x 21" strips. b. Join these half strips to opposite sides of one, 3½" fabric E strip. c. Cross cut joined strips into three, 6½" x 12½" cross cut slices. 5a. Take twelve, 4¼" fabric D squares and draw diagonal line on wrong side of each square. b. Place squares right sides together with 4¼" fabric B squares and stitch ¼" seam each side of line, dia. 2a. c. Cut squares in half along diagonal line to make twenty four, D/B Half Square Triangle (HST) units, dia. 2b. d. Trim HST units so they measure 3½" square. 6. Repeat with remaining six, 4¼" fabric D squares and six, 4¼" fabric E squares to make twelve, D/E HST units. 7a. Take two, 3½" x 6½" fabric B rectangles and join them to opposite sides of one, 6½" fabric G square. b. Repeat to make a second pieced rectangle, illust. 1. 8. Make further six, pieced rectangles with remaining 3½" x 6½" fabric B rectangles and 6½" fabric I, K and L squares, making two of each colour combination.

9. Take 3½" x 6½" fabric E rectangles and join these to opposite sides of 6½" fabric H and J squares in similar manner to make four more pieced rectangles. 10a. Take two, 3½" fabric B squares and draw diagonal line on wrong side of each square.

b. Place one square right sides together with end of one, 3½" x 12½" fabric F rectangle. Note direction of drawn line, illust. 2a. c. Stitch along drawn line and then trim excess fabric leaving ¼" seam allowance, illust. 2b.

illust. 4. Assemble block

a. Add HST pieced strips to opposite sides of pieced rectangle

b. Fabric F blocks


PROJECT // gibraltar quilt

Quilt layout

rectangles of each slice matches the block it is adjacent to. c. Add 6½" fabric C squares between cross cut slices. 2a. Join blocks, slices and squares together in rows. b. Press seams for alternate rows in opposite direction. c. Join rows together to complete quilt top.


1a. Make quilt sandwich with quilt top, wadding and backing. b. Pin or baste layers. 2. Quilt as desired. 3. Double bind edges with 2½" binding strips. 4. Add a label. Enjoy!


The Mediterraneo collection of fabrics from Art Gallery Fabrics is distributed in the UK by Hantex. For more information about shops stocking the collection visit

CONTACT d. Repeat for opposite end of fabric F rectangle, noting angle of diagonal line, is in opposite direction. e. Repeat to make four pieced strips in total. 11. Make two pieced strips with remaining two, 3½" x 12½" fabric F rectangles and four, 3½" fabric E squares. 12a. Take two, D/B HST units and join them to opposite ends of one, 3½" x 6½" fabric D rectangle, illust. 3. b. Repeat to make twelve pieced HST strips in total. c. Add D/E HST units to opposite ends of remaining 3½" x 6½" fabric D rectangles in similar manner. 13a. Refer to quilt layout and assemble blocks by adding pieced HST strips to opposite sides of pieced rectangles, illust. 4a. b. Note orientation of pieced HST strips. c. Press seams towards squares. d. Make nine blocks in total which should measure 12½" square.

30 British Patchwork & Quilting AUGUST 2018

14. Make three blocks with fabric F pieced strips in similar manner, again noting orientation of corners of pieced sections, illust. 4b.


1a. Refer to quilt layout and arrange blocks into four rows of three blocks. b. Add 6½" x 12½" cross cut slices as sashing strips ensuring the centre

Michael would like to thank AGF for supplying the fabrics, the Warm Company for supplying the wadding and Aurifil for supplying the threads to make this quilt. Michael is a New Yorker living in North Carolina. When he is not quilting, he can be found teaching quilting or building things around his house. To see more of his work, follow him on instagram. @patchworkandpaper

31 British Patchwork & Quilting AUGUST 2018

MQ Team: Lynne, Julie, Sally, De, Birgitta, Chris and Nik

REGULAR // let's go shopping


Midsomer Quilting BY HELEN KENT

I had booked to do a workshop with Dawn Cameron-Dick down at the new location of Midsomer Quilting after they moved towards the end of last year and, as I loved their last place, I couldn’t wait to see if the move would bring many changes to what was a lovely quilt shop. My worries were unfounded. All the best of the old location has been moved to a fabulous property, close to the old place and, if I’m honest, it seemed easier to reach from the main roads. The whole of the ground floor of a barn conversion with plenty of parking awaited me when I pulled in on a very rainy day. Opening the front door to a welcoming glimpse of of fabric racks I was eager to get in. As you enter the main area there is a generous coffee area (with a biscuit barrel) I noticed! just off a permanent kitchen where tea and coffee is on offer all day. Oh, and in case you have too much tea, there are toilets.

natural light, helped by a large mirror which reflected what limited light there was (remember it was raining!) around the room. A clever touch. Their workshop list is certainly worth a look too with all sorts of things on offer.

To the right is a light workshop area, where I was to spend my day, separated from the shop by a glass wall. On the other wall of the workshop there were plenty of windows letting in

Various waddings are on a large rack at the end of the shop, where they can be pulled off the bolt, measured and cut along with another table and chairs to help make fabric selection

32 British Patchwork & Quilting AUGUST 2018

The main shop was like the Tardis. Every rack I walked past revealed more and more fabrics, a generous selection of threads and notions along with the largest selection of books that I have seen in any quilt shop. Remember the coffee area? Easy to pick up a book and have a browse with tea and biscuits!

REGULAR // let's go shopping

Workshop underway

Coffee area, workshop behind glass wall

All kinds of threads

Book selection

Large selection of notions



REGULAR // let's go shopping

Extra wide backing fabrics and waddings


easier and then there is the longarm machine. A separate room specifically for that purpose and bigger than the old location. They have had quilts from all over the world sent to them to quilt, from Korea and Nigeria to Egypt and obviously some from much closer to home. On average, they longarm a quilt a day with both Yvonne and Lynne being kept very busy!

Busy shop! And more fabric

I was surprised to learn, when chatting with De and Chris (yes, tea was involved) that they had been at the old shop thirteen years before the move and had been quite happy there. The owner of the building then suggested that he was considering selling up and, as these things sometimes happen, they were offered the new building just at the right time, almost as if fate had intervened. De used several terms which gave an insight into how she felt about the move; ‘serendipitous’, ‘had to do it’ and ‘new chapter’ to mention a few. I got the impression that they were quite apprehensive at the start but now feel as if they certainly made the right decision.

34 British Patchwork & Quilting AUGUST 2018

The move itself was done quickly, over a couple of days that they are normally closed without losing any days trading. De wanted me to mention how much they appreciated all the help and support during the move from all the regular customers, the teachers (Dawn and husband helped with the move) and staff, who ‘are all gems’, that made what she thought impossible happen. The team at Midsomer are in the photo at the top except Yvonne who was not present the day I visited but I got the impression they are just that, a team. In fact one of them travels from Weston Super Mare to work and another all the way from Bridport. A fair distance! Chris told me that only the week before they had a gentleman in the shop bragging at the distance they had traveled to get to MQ, they were from Weston Super Mare about 20 miles, when there was a lady in that day's workshop who had travelled especially for it from

REGULAR // let's go shopping

Toronto, Canada! They are regularly voted one of the top quilt shops outside of the United States. You may have heard about MQ’s 12" Challenge, where people who are associated with the shop; customers, teachers and staff, can enter a 12" square mini quilt based on a theme. This year the theme is ‘Think of a Number’ and Chris gave me a sneak peak at some of the first entries. I’m sworn to secrecy but they were very clever. The exhibition is held during November and they plan on exhibiting the quilts throughout the workshop area and around the walls of the shop. There is plenty of space to display the 120+ minis that they hope to receive and then sell. From doing this they usually raise over £3000 each year for their favoured charity, Dorothy House

Hospice. It’s an event to pop into your diary for sure. The one thing that struck me, as I was there for longer than we usually attend a shop, was that it was never quiet. There was a constant stream of people coming in, spending time having a coffee, selecting fabrics and generally enjoying themselves. One younger couple I noticed were there ages selecting what looked like fabrics for a nursery quilt. It was lovely to see people of all ages coming together in a relaxed atmosphere, not something I usually find in a quilt shop. Customer care is most important to them. And one last thing, the shopping bags are fabulous. So popular, you can join a workshop to make them! Can you tell I love this place? It’s how a quilt shop should be.

To sign up to Midsomer Quilting's newsletter, check out the workshops or order online visit Midsomer Quilting, The Hayloft, Manor Farm, Church Lane, Chilcompton BA3 4HP. Tel: 01761 239333

Shopping bags Longarm

Fabric selection


PROJECT // scandinavian summer


SCANDINAVIAN SUMMER This delightful quilt features fabrics from the Hann’s House collection from British fabric company, Lewis & Irene. Designed and made by Naomi Clarke Size: 37" x 55" REQUIREMENTS


Fabrics from the Hann’s House* collection from Lewis & Irene, or to your choice: • • • • • • • • • •

Fat quarter Hann’s House on navy (A276.3) Fat quarter Red Hann’s Floral (A278.2) Fat quarter Summer Flowers on yellow (A279.2) Fat quarter Shapes on light mushroom (A277.2) 75cm Mellow Yellow Bumbleberries (BB132) 1m Candyfloss Bumbleberries (BB130) 1¾m Hann’s Tree on red (A280.3) ** 160gsm paper Glue pen – optional 45" x 60" Wadding (crib size)

*See end of project for suppliers **This is sufficient for use on the quilt top, the backing and to self-bind the quilt.

36 British Patchwork & Quilting AUGUST 2018

PROJECT // scandinavian summer


PROJECT // scandinavian summer

illust. 1. Position paper pieces on wrong side of fabric

illust. 2. Basted paper pieces

illust. 3. Make honeycombs

ENGLISH PAPER PIECING 1a. Trace templates 1 to 4 given full size on Pattern Sheet onto paper as follows: template 1 – 144 times template 2 – 56 times template 3 – 30 times template 4 – 4 times. b. Cut out each template carefully on lines and number them. 2a. Place paper templates number side down on wrong side of fabrics and cut out adding approx. ¼" seam allowance around each piece, illust. 1.

EDITOR'S TIP Arrange templates as economically as possible.

38 British Patchwork & Quilting AUGUST 2018

a. From front

b. From back

b. Cut fabric pieces as follows: Hann’s Tree on red – eight, template 1 Hann’s House on navy – sixteen, template 1 Red Hann’s Floral – sixteen, template 1 Summer Flowers on yellow – sixteen, template 1 Shapes on light mushroom – sixteen, template 1 Candyfloss Bumbleberries – seventy two, template 1

Mellow Yellow Bumbles – fifty six template 2, thirty template 3 and four template 4. c. Fold seam allowance over each paper piece and baste either with tacking stitches or using a glue pen, illust. 2a and illust. 2b. 3a. Take one, print template 1 and pair it with one, Candyfloss Bumbleberries template 1 and join pieces together along long edge to create honeycomb shape, illust. 3. b. Pieces should be stitched together using a tight whipstitch sewing through the very edge of the fabrics and not the paper pieces within. c. Make total of seventy two pieced honeycombs in total. 4a. Arrange nine, pieced honeycombs in following order L to R: Hann’s House on navy Red Hann’s Floral Summer Flowers on yellow Shapes on light mushroom Hann’s Tree on red Hann’s House on navy Red Hann’s Floral Summer Flowers on yellow Shapes on light mushroom b. Note alternate pieced honeycombs are rotated by 180°, illust. 4a. c. Join pieced honeycombs together along side edge, illust. 4b. d. Make eight rows in total. 5a. Take one row and join eight, Mellow Yellow Bumbleberries template 2 squares and two, Mellow Yellow

PROJECT // scandinavian summer

illust. 4. Assemble rows

a. Arrange pieced honeycombs

b. Join pieced honeycombs

template 3 triangles to bottom edge of row, illust. 5a. b. Add second row to opposite edges of Mellow Yellow pieces, illust. 5b. c. Repeat until all eight rows have been joined together.

EDITOR'S TIP Once any paper pieces have been sewn and secured on all their edges, you can remove the paper pieces as you go if wished.

6. Square off top and bottom edges by adding one, Mellow Yellow Bumbleberries template 4 followed by eight, Mellow Yellow Bumbleberries shape 3 and one, Mellow Yellow Bumbleberries template 4, illust. 5c.

illust. 5. Assembly

COMPLETION 1. Press quilt top and remove paper pieces. 2a. Make quilt sandwich with quilt top, wadding and backing. b. Pin or baste layers. 3. Quilt as desired. 4a. If self binding quilt, trim excess wadding back to edge of quilt top. b. Trim backing leaving 1" excess on all four edges of quilt. c. Fold raw edges over and then fold over to front of quilt to self bind quilt.

a. Add squares and triangles to bottom edge of row

b. Add second row

c. Add triangles to square off top and bottom edges


PROJECT // scandinavian summer

Quilt layout

d. Alternatively double bind edges in usual manner. You will need to cut five, 2½" strips from your chosen binding fabric. 5. Add a hanging sleeve, if wished and a label. Enjoy!


To see more of Naomi’s work and to contact her, follow her on Instagram @naomialicec

Naomi would like to thank Gütermann, Hobbs Batting and Lewis & Irene for supplying the threads, wadding and fabrics used to make this quilt.


We have one pack of five fat quarters of fabrics from the Hann’s House collection to giveaway courtesy of Lewis & Irene. For your chance to win, please see the Giveaways page on page 84.

40 British Patchwork & Quilting AUGUST 2018

41 British Patchwork & Quilting AUGUST 2018

FEATURE // inspired by

‘Flemish Trees’, Cherry Vernon-Harcourt


Anglia Textile Works Exhibition


In 1997, Anglia Textile Works was formed and twenty years later, they are still exhibiting their work in various venues including their recent exhibition ‘Inspired By’ at Braintree District Museum. Members of the group were asked to take an object or two from the museum that would inspire them to make a quilt. There are seven members in Anglia Textile Works (ATW) and each has their own very distinctive style; which is one of the reasons why their exhibitions are interesting and worth seeing. Unfortunately renovations to the museum coincided with the dates of the exhibition, so it was a little awkward trying to get round it but I managed and, as Cherry Vernon-Harcourt was my ‘guide’, I was given a personal tour! Cherry had chosen a Flemish tapestry as one of her inspirations. Flemish tapestries are an example of the trade between East Anglia and Europe in the 16th and 17th centuries and the piece at Braintree was one of a set of five given to the town by the Tabor family. It is a very large piece and rather difficult to photograph. Cherry’s ‘Flemish Trees’ is on beige linen that has been mono-printed in blues (like the Flemish tapestry) over which she has applied seed stitching as well as some couched lines to denote the tree trunks. Indigo linen frames the entire piece and I thought it worked really well. Cherry took her inspiration for ‘Brighton Pier’ from a linocut

42 British Patchwork & Quilting AUGUST 2018

print made by Edward Bawden. I was lucky enough to see Cherry drawing the outline of the pier using a needle-nosed bottle with assurance and accuracy. She used Procion dyes on cotton sateen after which she machine quilted the piece. Cherry has a very gentle approach to her landscapes and this was very much apparent in both hangings. Two notable artists – Edward Bawden and Eric Ravilious made their home in Great Bardfield, Essex and their work had inspired quite a few hangings at this exhibition. Fay Allwood chose Ravilious’ ‘Wiltshire Landscape’ as inspiration

FEATURE // inspired by

Detail, ‘Winter Landscape’

‘Winter Landscape’, Fay Allwood

LEFT: Detail, ‘A Long & Winding Road’, Fay Allwood

RIGHT: Flemish tapestry which was Cherry’s inspiration for ‘Flemish Trees’

BELOW: ‘ Brighton Pier’, Cherry Vernon-Harcourt

‘Pools of Light’, Niki Chandler RIGHT: Detail, ‘Pools of Light’


FEATURE // inspired by

‘Essex Jugs’, Annette Morgan

‘Yellow Square Circle’, Niki Chandler

Detail, ‘The Old Schoolroom’, Annette Morgan

Detail, ‘On Yer Bike’ ‘Let the Light In’, Chrissy Leech

for her ‘Winter Landscape’. She screen printed and machine embroidered repeated marks on linen and made good use of the various embroidery stitches on her machine. She used them again, together with machine knitting and screen printing in ‘A Long & Winding Road’. Ravilious’ ‘Chalk Paths’ was her inspiration for this piece and both pieces had very interesting elements. Another member who used Ravilious and his Submarine Series as her inspiration was Niki Chandler. I found her work to be very different and had to chuckle about her reference to her S.A.B.L.E. collection; to quote Niki – ‘Stash Accumulated Beyond Life Expectancy’. I am certain most readers can empathise with that statement! Niki used a load of ‘stuff’ – drop cloth, dance netting, netting bags for lemons, along with mono-printing, appliqué and machine stitchery. She explains it far better than I could – ‘elements of mark making, colour created by layering and viewpoints created by circles of light illuminating a scene’.

44 British Patchwork & Quilting AUGUST 2018

RIGHT: ‘On Yer Bike’, Yvonne Brown

This was combined with ideas from her own simple monotype print series that explores spots of light and shadows. Both ‘Pools of Light’ and ‘Yellow Square Circle’ used the same colour combinations but the similarities stopped there. Her layering of net over the cloth gave great depth to the piece and her very detailed precise twin-needle stitching brought texture and interest to the pieces. I thought both pieces were clever but I kept returning to look at ‘Pools of Light’ because of the stitching and the apparent simplicity of the piece. It was very distinctive and quite stunning. Annette Morgan took a collection of jugs in the museum as her inspiration for her piece ‘Essex Jugs’. Antique linens had been appliquéd on to a French bedspring cover and hand quilted. I liked the way she used the old bedspring cover including the rivets and a piece of cotton dangling from one and thought the different coloured ticking gave it extra interest. I also liked that she embellished each jug differently – four the same size

FEATURE // inspired by

Detail, ‘Boneshaker’, Yvonne Brown

The bike in the museum which inspired Yvonne’s quilts

Detail, ‘Legacy’

and one much larger. ‘The Old Schoolroom’ was very different in content (I was unable to see the original school room due to renovations) but Annette had still used appliqué, machine and hand stitchery to great effect. Crittall Windows was founded over 150 years ago in Braintree and was, even today, the world’s leading supplier of steel windows. Chrissy Leech took their windows as her source of inspiration and produced ‘Let the Light In’ - eight separate pieces showcasing the windows. She used sheers in different colour ways but in gradations which worked really well. There were six small ‘panels’ bordered with black, using gradated sheers in different colours to great effect - three flat panels on either side of two curved windows. It sounds simple but I can imagine the initial thought process and design would have been quite the reverse. The end result is visually stunning. Yvonne Brown likes ‘burning’ and her piece ‘On Yer Bike!’ was no exception. Taking the old bike in the display window as her inspiration, she thermofax printed silk, machine pieced and embellished. She also used synthetic felt which she free machined and then burned with a soldering iron. I think she has been very successful in bringing together her strengths in the burning and the precise machining and also managed to convey a sense of fun with all the bicycle wheels which join the fabric squares together. ‘Boneshaker’ was a much more refined piece with thermofaxed prints of old bikes embellished with precise machine quilting.

‘Legacy’, Sara Impey

Detail, ‘Deconstructing the Quilt’, Sara Impey RIGHT: Detail, ‘Moments of Perfection’, Niki Chandler Detail, ‘Iris Recognition’, Sara Impey


FEATURE // inspired by

tulips galore! She had appliquéd tulips, stitched ‘kantha’ type tulips, used hand dyed silk and organza and done a little bit of ‘burning’ as well! It was colourful, joyful and very Yvonne. I also liked that the strips that comprised the hanging were not completely straight as that wouldn’t have looked right. Detail, ‘Tulip Time’ RIGHT: ‘Tulip Time, Yvonne Brown

Tambour Lace was an important industry in Coggeshall from the 1850s to the early part of the 20th century. Sara Impey has begun to collect and research Tambour Lace and one of her pieces ‘Legacy’ is in honour of this dying art. Sara used hand dyed cotton on which she free-machined text and motifs. I always admire Sara’s work which is always crisp and precise, conveying a message. ‘Legacy’ is slightly different from her other pieces on show because there is very little writing on a large hanging but what she has written is very powerful and I quote ‘We don’t know their names and can’t hear their voices but when we stitch we are picking up the threads of those who stitched before us.’ ‘Continuum’ was also dedicated to the women who made Coggeshall Tambour Lace and had a lot of writing but I felt ‘Legacy’ was the more powerful. Sara had other hangings on show – all very interesting and with her immaculate stitching. I found ‘Iris Recognition’ and ‘Deconstructing the Quilt’ interesting, disturbing and true to the message she was putting across. Sara was not the only artist who had other pieces on show. ‘Moments of Perfection’ by Niki Chandler comprised 800 immaculately pieced white folded geese – her nod to Agnes Martin. In total contrast was Chrissy Leach’s ‘BockingJaipur-Bocking’ that was abundant with colour inspired by Courtaulds. Annette Morgan had computer manipulated an image of the side of an old boat moored in an Essex estuary; ‘The Walkway’ was the result and I thought it was rather cleverly done, as was ‘Chalks, Flint & Jags’. Once again, Annette had screen printed and imagery printed on fabric that was machine pieced and quilted. Yvonne Brown has a passion for tulips which was apparent in ‘Tulip Time’ – it was

Fay Allwood had two more hangings; ‘From Crosby to Northumberland’ and ‘Russian Secrets’. For the ‘Crosby’ hanging, Fay had recycled a damask tablecloth, used paper resists and fabric paint and machine quilted the piece. The inspiration came from a poem written by a great friend. I found it very compelling and different to her other pieces. ‘Russian Secrets’ was slightly more complex and, as Fay writes, it might be even more relevant now than when she made it over six years ago. The text says ‘Russian Secrets’ and has paper images and text bonded on to cloth. I thoroughly enjoyed ‘Seeing Red’ by Cherry Vernon Harcourt which was inspired by Edward Bawden’s Braintree Cattle Market linocut. She had used all her own hand dyed fabrics and hand quilted the piece – simple it was but such a great piece as was her ‘Enough Blue Sky’ that showcased Cherry’s love for the Norfolk countryside and her mastery of the needle nosed bottle. Despite there being renovations and the fact that the inspirations were nowhere near most of the hangings, it was a really interesting show. Each member is an artist in her own right and they have made textiles that are true to them which is what we should all do. I enjoyed my time at Braintree and congratulate all the members of Anglia Textile Works. I look forward to seeing another exhibition in the not too distant future.

Detail, ‘Seeing Red’, Cherry Vernon-Harcourt

Detail, ‘From Crosby to Northumberland’

46 British Patchwork & Quilting AUGUST 2018

‘From Crosby to Northumberland’, Fay Allwood

The ‘Inspired By’ exhibition by Anglia Textile Works was held at the Braintree Museum, Braintree, Essex from 28 April – 2 June. For more information on the artists, visit their website

47 British Patchwork & Quilting JULY 2018

PROJECT // mystery quilt



MYSTERY QUILT Welcome to a new four part mystery quilt designed by Stuart Hillard. Stuart has used fabrics from the ‘Something Blue’ collection designed by Edyta Sitar for Makower/Andover Fabrics. While the quilt has a loose Christmas theme, use the fabric groups as a guide for choosing your own fabrics if you prefer. Designed and made by Stuart Hillard

Size: 60" square REQUIREMENTS

Block: 16" square


Fabrics from the Something Blue* collection from Makower, or to your choice: • • • • • • •

50cm Light Blue Bouquet (8822/W) 25cm Wedgewood Lavender (8823/B) 25cm Bisque Lavender (8823/L) 25cm Ocean Fresh Berries (8824/B) 25cm Parchment Fresh Berries (8824/L) 25cm Bisque Summer Field (8826/L) 25cm Delft Something Borrowed

• • • • • •

50cm Ribbons Flower Girl (8832/W) 25cm Ocean Princess Cut (8834/B) 50cm Ivory Princess Cut (8834/L) 25cm Burlap Ring Bearer (8835/N) 25cm Bows Ring Bearer (8835/W) 50cm Burlap Summer Field (8826/N) – inner border

• • • • •

(8828/B) 25cm Sky Peony (8829/W) 25cm Burlap Morning Glory (8830/N) 25cm Delft Maid of Honour (8831/B) 25cm Bows Flower Girl (8832/B) 25cm Taffeta Flower Girl (8832/L)

1.8m Dark Blue Bouquet (8822/B) – outer border 50cm Bows Veil (8833/W) – binding 70" Square wadding 4m Backing (8829/L) Foundation paper

• • • •

See ‘Tips for Choosing your Fabrics’ overleaf for more guidance if using your own fabrics.

48 British Patchwork & Quilting AUGUST 2018

PROJECT // mystery quilt










8826/N **















8832/B** DARK BLUE












**Fabrics used in the mystery quilt


PROJECT // mystery quilt

illust. 1. Unit B

illust. 2. Unit D


3. From Dark Navy (8824/B) cut: one, 2½" strip. 4. From Light Tan (8834/L) cut: one, 2½" strip. 5. From Light Tan (8832/L) cut: one, 2½" strip. 6. From Light Medium Blue (8829/W) cut: one, 2½" strip.

The mystery quilt is essentially a two colour quilt and you will need to choose light, medium and dark fabrics in your two colours. You will need:

UNIT A Cutting 1. From Dark Blue (8823/B) cut: one, 2½" strip, 2. From Dark Tan ( 8830/N) cut: one, 2½" strip.

Colour 1 (Tan) 3 x Light prints 4 x Dark prints


Colour 2 (Blue) 1 x Almost White/lightest print 2 x Light prints 2 x Light Medium prints 3 x Medium prints 4 x Dark prints 1 x Large Dark Floral

1a. Take 2½" Dark Blue and Dark Tan strips and join them together along their length to make one long pieced strip. b. Cross cut joined strips into sixteen, 2½" cross cut slices, dia. 1a. c. Slices should measure 2½" x 4½", dia. 1b.

1. Cut strips across width of fabric unless advised otherwise. 2. Use ¼" seam allowance throughout

UNITS B AND C Cutting 1. From Dark Tan (8835/N) cut: one, 2½" strip. 2. From Dark Navy (8828/B) cut: one, 2½" strip.

dia. 1. Making cross cut slices

dia. 2. Units B and C


Piecing 1a. Join 2½" Dark Tan strip to one, 2½" Dark Navy strip. b. Cross cut joined strips into sixteen, 2½" cross cut slices. c. Join one, 2½" Light Tan strip to remaining 2½" Dark Navy strip and cross cut into sixteen, 2½" cross cut slices. d. Join remaining 2½" Light Tan strip to 2½" Light Medium Blue strip and cross cut into sixteen, 2½" cross cut slices in same manner, dia. 2a. 2a. Take one of each cross cut slice and arrange slices into three rows, dia. 2b. b. Join slices to make one, unit B, illust. 1. c. Repeat to make eight, unit B in total which should measure 4½" x 6½". 3. Join remaining cross cut slices in similar manner to make eight, unit C which is a mirror image of unit B, dia. 2c. UNIT D Cutting 1. From Light Blue (8823/L) cut: two, 3⅜" strips sub cut into: twenty, 3⅜" squares. 2. From Light Tan (8834/L) cut: one, 3" strip sub cut into: ten, 2⅞" squares. Cut each square in half along diagonal to make twenty triangles. 3. From Light Tan (8832/L) cut: one, 3" strip sub cut into: ten, 2⅞" squares. Cut each square in half along diagonal to make twenty triangles.

a. Cross cut slices 2½"


a. Cross cut strips

b. Unit A

50 British Patchwork & Quilting AUGUST 2018

b. Unit B

Unit C

Dia. 3 Unit D

PROJECT // mystery quilt

4. From Light Tan (8824/L) cut: one, 3" strip sub cut into: ten, 2⅞" squares. Cut each square in half along diagonal to make twenty triangles. 5. From Dark Tan (8835/N) cut: one, 3" strip sub cut into: ten, 2⅞" squares. Cut each square in half along diagonal to make twenty triangles.

illust. 3. Section DEF

Piecing 1a. Take one, 3⅜" Light Blue square and join two, 2⅞" Light Tan triangles to opposite sides of square. b. Use two different Light Tan triangles. c. Add remaining 2⅞" Light Tan triangle and 2⅞"Dark Tan triangle to remaining sides of square to make one, Square in a Square unit, dia. 3. 2. Repeat to make twenty, Square in a Square units in total which should measure 4½" square, illust. 2. UNIT E Cutting 1. From Medium Blue (8834/B) cut: two, 2½" strips. 2. From Light Tan (8834/L) cut: two, 2½" strips. Piecing 1a. Join one, 2½" Medium Blue strip along its length to one, 2½" Light Tan strip. b. Make second strip set in same way. c. Cross cut joined strips into twenty, 2½" cross cut slices. d. Slices should measure 2½" x 4½", dia. 4. UNIT F Cutting 1. From Light Tan (8824/L) cut: two, 2½" strips. dia. 4. Unit E

2. From Medium Blue (8832/B) cut: two, 2½" strips. 3. From Dark Tan (8830/N) cut: two, 2½" strips. Piecing 1a. Take one of each strip and join strips along their length in following order: Dark Tan, Medium Blue, Light Tan. b. Make second strip set in same way. 2a. Cross cut joined strips into twenty, 2½" cross cut slices. dia. 6. Section DEF

b. Slices should measure 2½" x 6½", dia. 5. 3a. Take one each of units D, E and F and join units together to make section DEF, dia. 6. b. Make twenty, section DEF in total, illust. 3. Next month we will make more units for your quilt.


This mystery quilt designed by Stuart will run over four issues. To see more of Stuart’s work and to contact him, email or follow him on Instagram @stuarthillardsews

SUPPLIERS dia. 5. Unit F

The Something Blue collection is distributed in the UK by Makower UK. For more information on shops stocking the collection, telephone 01628 509640, email or visit their website


FEATURE // 1718 coverlet

1718 Silk Patchwork Coverlet - the 300TH ANNIVERSARY


You may know that the oldest surviving dated pieced coverlet has reached its 300th anniversary this year. Owned by the Quilters’ Guild of the British Isles it is rarely displayed due to its fragility but, because of the special occasion, they kindly loaned the coverlet to the American Museum in Bath before its planned visit to the Festival of Quilts in August. I was lucky enough to be able to visit the coverlet and see it in all its glory at the museum. The American Museum is based in Claverton Manor high on a ridge just outside the historic city of Bath. It is a wonderful location, nestled against a woodland, the views from the terrace are simply stunning on a gloriously sunny day. Unfortunately, during the bad weather this winter they experienced a water leak which drenched three floors of the historic building. After a quick readjustment of plans, Nas Alvi, the Marketing Manager, had the inspired idea of displaying the coverlet amongst the Folk Art collection, which suited it perfectly. He and Kate Hebert, the Chief Curator, kindly took time out of their day to show me around. It was bought at auction by the Quilters’ Guild in 2000 and went through a two year period of study and conservation and gives an estimated date for the many fabrics used in its construction. Made from mainly silks, there are over 120 fabric designs including some damasks and brocades, all handwoven which gives them a tighter weave than modern

52 British Patchwork & Quilting AUGUST 2018

machine woven silks. This explains how the maker was able to get sharper points with silks, whilst we would struggle to do the same today. Mosaic piecing was used, better known as English Paper Piecing, and some of the papers show writing, some of which you can see. The blocks are of varying size and are both geometric and figurative. Which brings me onto the main question that I, and many others have, concerning the coverlet. Who made it? We know that it was originally owned by the Browns family, a gentry farming family of Aldbourne in Wiltshire and they believed it to be a family heirloom. The maker has not only dated but also included her initials - EH. Having looked at the quilt in person it is natural to suggest that the maker was a skilled needlewoman. Beautiful stitches join the pieces of patchwork in a vast array of designs, sixty nine different blocks in total. It is backed in patched linens, also bearing the initials EH but is thought to have been originally backed with a green

FEATURE // 1718 coverlet

1718 Patchwork Coverlet *

silk as many such fibers were found in the seams. This may suggest that EH owned the quilt for some time, removing the original green backing and replacing it with her own, worn linen undergarments. The coverlet may also have had borders around it as was popular at the time, possibly with cutouts in the bottom corners to allow room for the bed posts. The many designs and fabric types that were used in the coverlet indicate that it came from what was possibly an

important family but the fabrics were not the finest available. Some were shot with metals, silver most likely, and it would have been stunningly colourful. Even after 300 years I was surprised at the colours in the quilt. The worst hit by the ravages of time were the blacks, some of which had fully rotted, leaving only threads in the seams to indicate where they had been. This was due to iron being used to fix the black dyes, causing them to degrade faster than the other fabrics.


FEATURE // 1718 coverlet

Detail of bird block showing sharp point and embroidered eye

Goose block

Central area showing tulip and flower blocks

Many designs were also used, and used cleverly, showing at least some sign of planning and preparation. This is supported by the transmitted light images taken of the quilt during restoration which shows folds and previous drafts of the patterns on the paper layer. Stripes were matched when joining into a single piece and there are examples of smaller scraps being pieced together to make large pieces to fit the blocks. The blocks, some of which are quite exquisite, hold information too. There are two cats, holding fish. (Her pets? You know how a lot of quilters love cats!) There are game birds, rabbits and deer which would have been more commonly used in households of that time. Flowers, some beautiful tulip blocks and hearts were also included. I think one of my favourite blocks were the bird blocks. Four baby birds seem to be asking to be fed, but the gaps between them are also birds in flight. A clever visual trick along the lines of the face/vase image I’m sure you’re familiar with. That must have taken some planning! Even the geese seem to be leaving the water for land with use of blue striped and green fabrics. Two other interesting figures are the rampant lion and unicorn which are also featured. This may not strike a cord today but, shortly before the coverlet was made, Queen Anne, under the Acts of Union, joined Scotland (the rampant lion) to England (the unicorn), and the joined realms became known as Great Britain. She died only four years prior to the coverlet's date in 1714 so this may have influenced the inclusion of these characters as it would have been an important occurrence of the age. The chance to visit the 1718 Silk Patchwork Coverlet was really one I couldn’t miss and I’d advise you to go too if at all possible as it is due to be placed into deep storage after the Festival of

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Quilts and will not be on display again for the next decade! There is also a book of patterns, along with the full story of the quilt, written by Susan Briscoe which you might find of interest. The full sixty nine blocks are documented with advice on how to make them in either the original or modern methods. In fact, the Quilters’ Guild are supporting a category in the Festival competition called the 1718 Challenge for quilts that replicate the 1718 Coverlet in some way. This should also be worth visiting and I am certainly looking forward to seeing modern interpretations of this historic coverlet. If you are quick you may still be able to see the Coverlet at the American Museum as it will be there until 29 July. Not only would you have a chance to see this piece of patchwork but they also hold a large collection of quilts, around 250, of which about 50 are on display at any one time. I try and go every year hoping that finally I will have seen them all. The American Museum makes for a great day out. Beautiful gardens, some of which are being redesigned in a large new project - The American Garden; a lovely Orangery Cafe and terrace where you can get a deserved refreshment and next year, a little bird told me that they will be holding another Kaffe Fassett display. There’s my excuse for visiting next year! * Images courtesy of The American Museum, Bath. The 1718 Coverlet is on display at the American Museum in Bath until 29th July 2018. It will then be displayed at the Festival of Quilts, NEC, Birmingham from 9 – 12 August 2018. For more information visit and

55 British Patchwork & Quilting JULY 2018

PROJECT // retro floral quilt


RETRO FLORAL QUILT This retro-style quilt features bold colours with simple appliqué.

Designed and made by Collette Howie Size: 36" x 50"

Block: 12" x 25"



1m Solid pink

• • • • • • • • • • •

1m Solid lime green 1m Solid aqua 50cm Solid navy 50cm Solid grey Fat quarter large-scale floral 50cm Stripe 50cm Solid orange 45" x 60" Wadding (crib size) 1½m Backing 1m Fusible web e.g. Bondaweb Foundation paper

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PROJECT // retro floral quilt


PROJECT // retro floral quilt

dia. 1. Block assembly


Cut across width of fabric 1. From pink cut: one, 8" strip sub cut into: four, 6½" x 8" rectangles, one, 5½" strip sub cut into: two, 5½" x 12½" rectangles. 2. From line green cut: one, 8" strip sub cut into: four, 6½" x 8" rectangles, one, 5½" strip sub cut into: two, 5½" x 12½" rectangles. 3. From aqua cut: one, 8" strip sub cut into: four, 6½" x 8" rectangles, one, 5½" strip sub cut into: two, 5½" x 12½" rectangles. 4. From orange cut: five, 2½" strips – binding.

FOUNDATION PIECING 1a. Trace foundation pattern given full size on Pattern Sheet twelve times onto foundation paper. b. Cut out each pattern on outer seam allowance line.

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2a. Take one pattern and cut piece of fabric from navy large enough to cover patch 1 on pattern plus seam allowance on all sides. b. Place fabric on unmarked side of pattern with right side of fabric facing you. Check it is covering all of patch 1 and when happy that it does, pin fabric in place. c. Cut piece of fabric from pink large enough to cover patch 2 plus the seam allowance on all sides. d. Place fabric right sides together with navy piece on unmarked side of pattern and holding pieces together along line between patches 1 and 2, flip pink fabric over to check it will still cover all of patch 2. e. When happy it does, place fabric right sides together again with navy and pin in place. f. Turn the pattern over to marked side and stitch along line between patches 1 and 2. Use a shorter stitch length than usual and start and stop stitching a couple of stitches beyond end of line at each end. g. Turn pattern over to unmarked side. Open out fabrics and finger press open. 3a. Cut a piece of pink large enough to cover patch 3 plus seam allowance on all sides. b. With printed side of pattern uppermost, fold pattern down towards you along line between patch 1 and 3. Trim excess fabric leaving ¼" seam allowance beyond fold. c. Place patch 3 fabric right sides together with fabrics on unmarked side of pattern, aligning edge of patch 3 piece with trimmed edge before opening out pattern again. d. With printed side of pattern uppermost stitch along the seam line between patches 1 and 3. Binding detail

e. Finger press fabrics open as before. 4. Press block and trim any excess fabric extending beyond edge of pattern. 5. Make a second foundation pieced block with pink and navy. 6a. Repeat to make two blocks each from navy and lime green and navy and aqua. b. Make further six blocks in same way but substituting grey for patch 1.


Use ¼" seam allowance 1a. Take one, navy/pink block and join one, 6½" x 8" pink rectangle to bottom edge of block. b. Add one, 6½" x 8" pink rectangle to top edge of one, grey/pink block. c. Gently remove foundation papers. d. Press seams. 2a. Join sections together and add one, 5½" x 12½" pink rectangle to bottom edge of joined sections to complete block, dia. 1. b. Block should measure 12½" x 25½". c. Make second pink block in same way. 3. Make two blocks each pairing lime green blocks and aqua blocks. 4a. Refer to quilt layout and arrange blocks into two rows of three blocks. b. Join blocks together in rows. c. Press seams for each row in opposite direction. d. Join rows together.

APPLIQUÉ 1a. Take stripe fabric and align 45° line marked on your cutting ruler with bottom edge of fabric. b. Cut along ruler. c. Turn fabric and cut several strips 2" wide along this cut edge to make bias strips.

PROJECT // retro floral quilt

7a. Remove paper backings behind floral motifs and position them as desired on quilt top. b. When happy with their positions, fuse in place. c. Add leaves to quilt top in similar manner. 8. Appliqué raw edges of appliqué pieces with small zigzag or other decorative stitch, illust. 1.


b. Pin or baste layers. 2. Quilt as desired. 3. Double bind edges with 2½" orange strips. 4. Add a hanging sleeve if wished and a label. Enjoy!


To see more of Collette’s work visit her website

1a. Make quilt sandwich with quilt top, wadding and backing. Quilt layout

illust. 1. Appliqué detail

2. Join strips together end to end with a diagonal seam. 3a. With wrong side of joined strips uppermost, fold down top edge by approx. 1/3 of width of strip. b. Press folded edge as you go. c. Fold bottom edge up by similar amount, ensuring raw edge is below folded edge of top edge. d. Press edge as before. e. If wished, tack folded edges to hold them in position. f. Alternatively, make bias strips using your preferred method. 4. Refer to quilt layout and arrange bias strips as desired on quilt top to create stems. As strips have been cut on the bias it is possible to create curves with them. 5a. Trace leaf template given full size on Pattern Sheet five times onto paper side of fusible web. b. Cut out roughly. c. Following manufacturer’s instructions, iron fusible web pieces to wrong side of stripe fabric. d. Cut out leaves carefully on lines. 6a. Choose several aspects of large floral print and cut piece of fusible web large enough to cover floral area. b. Turn fabric over and iron fusible web to wrong side of fabric. c. Turn fabric over to right side again and using floral design as a guide, carefully cut out floral motif.


FEATURE // masala bags

Quilted Masala Bags


India and spices go hand in hand. Spices are the essence of life here, so spotting a masala bag that was not only quilted but also antique, was like finding a jewel from Aladdin’s Cave. India has a huge tradition for patchwork and quilting. However, given the preponderance of other crafts which are more intricate, quilting is usually given a low priority or put on to the back burner. It is done but usually termed as a domestic craft and no one gives it a second glance. With competition from Pashmina, embroidery and brocade, quilting is considered a poor man’s option. I have developed a keen eye for textiles, especially quilted ones, since I started writing for British Patchwork & Quilting and one such sighting is the quilted masala bag of the Banjaras. Banjaras are nomads or gypsies and I have written about Banjara embroidery previously. I have had their old dowry bags pointed out to me but it was only recently that I realised how they had enterprisingly merged embroidery with quilting in their masala bags. India has some amazing places where one can pick up textiles. One of the best known and interesting is the old textile market near Janpath in Delhi. It is at the heart of Delhi’s Lutyen’s Connaught Place and is a treasure trove of textiles, especially vintage and antique. It is a bargainers’ paradise. The shopkeepers are Gujarati women. Maybe another time I can tell you more about the market, but suffice to say one can easily spend hours happily looking and browsing through the wares of these enterprising women. Of course the calling and aggressive selling happens, but it is in good faith and fun. It was here, on one of those cold days in December, that

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I had gone to the market to get out of the dreary winter chill and mood. The market is always a quick pick me up. So these three bags tied together as one, was a lucky find. The lady who sold it to me said they were ‘masala’ or ‘spice’ bags. It can also be used to keep odds and ends. The masala bag is also called kalchi in the local language. The bag was a set of three quilted bags that were stitched together as a single bag but each bag was a separate compartment. Simple yet innovative! It was further decorated with cowrie shells. Cowrie shell ornamentation is a vital part of the Banjara embroidery. They are supposed to bring good luck and are a mark of wealth

FEATURE // masala bags

remarkable photographs of exquisite products and has documented some of the stitches. As per the book, smaller quilted bags were used to store small items in the kitchen and for cooking. The concept of the use of embroidered textiles in homes especially in kitchens is rare. It is possible that since Banjaras are a wandering tribe things like masalas and tea were stored in bags as it was easier to cart and set up home anywhere. Newer bags made for the market use embroidery stitches though and not necessarily the quilted ones.  

The back of the quilted bags. Each bag is quilted separately and then joined together.

and a harbinger of the Goddess of Wealth. From another lady selling vintage textiles, I purchased two envelope bags. These I discovered after carefully sorting through a huge box of bags nibbled by tiny rats! Again these were decorated using cowrie shells around the edges. The bags were old, perhaps over 50 – 60 years old. The masala bag is about 45 years old. The biggest problem when studying Banjara embroidery is that there is very little documentation available. It is very difficult to document the stitches as each group uses its own repertoire of stitches. The Banjara population is spread all over the country; Andhra Pradesh, Karnataka, Madhya Pradesh, Maharashtra, Delhi and Mathura are some of the places where they can be seen. There are similarities though. The stitches used in quilting are very different from those in the embroidery. The quilting stitches see a combination of running stitches. It is very interesting how the women group the running stitches and form it to make attractive patterns. The patterns are beautiful and simply made using a running stitch.   A recent book which has attempted to study the tradition of Banjara embroidery is by Charlowette Kown and Tim McLaughlin. The book, ‘Textiles of The Banjara, Cloth and Culture of a Wandering Tribe’, has some

A red colour envelope shaped dowry bag. Smaller in size and decorated with cowrie shells.

FEATURE IMAGE from previous page: Variation of quilting stitches from the sampler, here they have been joined together to give a woven effect. Masala bags. The set of three bags, bundled together. The bags have edgings and the centre is decorated with cowrie shells in a clover shape.


FEATURE // masala bags

When opened, each bag is decorated with cowrie shells in the middle. These bags are 45 years old.

Detail of the quilting stitches used on the dowry bag. A number of variations of the running stitch bunching it together to form unique set of stitches has been done.

Envelope-shaped quilted dowry bag. The front has cowrie shells attached. The base is a basic brown colour vintage fabric. Whether it was new fabric that was used or an old fabric piece was recycled, is not known.

Detail of a sampler of running stitches made by Banjaras from Karnataka. It has three rows of quilting stitches. Running stitches has been attractively laced together.

The envelope bag is one of the prized possessions for dowries. The colour of the quilted bags are ochre, dull brown or dull red. Most are made in dull shades, probably made using old cotton cloth. They do not seem to be made in bright colours as with other embroidery. The envelope bags are made by several other tribal communities. It was usual to fill the dowry bags with gifts for the groom. These embroidered gifts were also practical and very sweet - a comb cover, a purse or for storing betel nuts. The dowry bag is made using old cloth and is thick, thus it is quilted using more than two layers of

62 British Patchwork & Quilting AUGUST 2018

cloth. The quilting is done using running stitch, what makes the quilting very attractive is the innumerable patterns formed using the humble running stitch. Running stitches are interlaced using closed stitches to form attractive patterning. These are known by different names like Kuddi Char Dora, Theen Dora, Thero dora. A sampler of stitches that I have has rows of these stitches worked beautifully. The running stitches are very close to each other almost like invisible dots. These are then joined together using running stitches in a number of shapes. The result is a beautiful mix of geometrical patterns. This is used on the quilted bags which are further decorated using cowrie shells, tassels and pom poms.   Today, if they are made at all, they are made more as token items given for the sake of custom. It is no longer the handwork criteria which the bride has to possess. Now in the era of modern technology, these humble hand embroidered items are usually forgotten. As a symbolic gesture they are made and also as products for the market and trade.

99 British Patchwork & Quilting

JUNE 2018

REGULAR // stashbusting

Stash busting WITH STUART

Join me each month as I share with you a block and quilt pattern to use your scraps and bust your stash! It’s time to stop hoarding and start using! This month’s block combines accurate strip piecing with making Half Square Triangles. I’ll give you the instructions and yardage estimate for one block. The rest is up to you; make it scrappy, save all the blocks to make a sampler quilt or if you really like a block, increase the yardage by the number of blocks you want and make a quilt!

WINDMILL IN THE FURROWS BLOCK Finished size: 9" square


Use ¼" seam allowance throughout 1a. Take 1" x 21" strips and join these together along their length to make a pieced panel measuring 3½" x 21". STUART'S TIP Alternate the direction of joining the strips to keep the panel straight.


• 6, 1" x 21" strips assorted grey/black and white/red fabrics • 6, 2⅜" squares assorted white fabrics • 6, 2⅜" squares red fabrics

64 British Patchwork & Quilting AUGUST 2018

b. Press seams in same direction. 2. Cross cut panel into two, 3½" x 6½" rectangles and two, 3½" squares.

REGULAR // stashbusting


Finished size: 45" square I’ve made sixteen blocks for my quilt design and arranged them in four rows of four blocks. Note by rotating alternate blocks you can create those larger pinwheel blocks at the intersections. I’ve framed the quilt centre with a ½" red border (cut 1" strips) and added a 2" black outer border (cut 2½" strips). Bind the quilt with red (cut 2½" strips).

Have fun with this month’s scrap busting project and don’t forget to share your versions with me by emailing stuarthillard@ and follow me on Instagram @stuarthillardsews

‘Windmills in the Furrows’ quilt

3a. Take 2⅜" squares and draw diagonal line on wrong side of each square. b. Place each white square right sides together with one red square and stitch ¼" seam each side of diagonal line. c. Cut squares in half along diagonal line and press seams towards red to make two, Half Square Triangle units which should measure 2" square. STUART'S TIP If you’re having trouble with accuracy, cut your squares slightly larger and use a square ruler to trim the HSTs to size.

d. Make twelve, HSTs in total. 4a. Take four, HSTs and join them together to make a pinwheel. b. Make three pinwheels in total. 5a. Arrange the pinwheels and strip pieced units together and join together in vertical rows. b. Join rows together to make block which should measure 9½" square.

We’d love to see your blocks too! Here is Helen’s block to inspire you. Share yours on our social media, or email a photo to @pq.mag @pqmag britishpatchworkandquiltingmagazine


REGULAR // colour me!

Colour Me,

Quilt me!

Want to try out different colour schemes for some of this month’s projects? Or maybe some quilting ideas? We’ve put together some layout diagrams for you to play around with.

Gibraltar Quilt Plan your colours

66 British Patchwork & Quilting AUGUST 2018

REGULAR // quilt planning

Scandinavian Summer Practice quilting designs


REGULAR // book reviews


Book Reviews

For details of how to enter this month’s giveaways, turn to page 84. Closing date for reader offers, unless otherwise stated, 31 August 2018

There are frequent question and answer sections together with detailed clear diagrams and arrows indicate the direction of the stitching. The distance between the lines must be consistent, filling an area will hide any minor mistakes. There are close-up photos and an encouraging good-humoured approach at each stage. We are told it will lead to confident complex quilting or ‘organised chaos.’ It is my Book of the Month. C & T Publishing Inc. 80 pages ISBN 13: 978-1-61745-520-9 £18.99



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to Give

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The quilts have bright bold circles, half circles and ‘exploding’ circles. They are designs for a brave experienced quilter.

68 British Patchwork & Quilting AUGUST 2018


w a y • giv

Wedges require precise cutting and accurate ¼" seams to complete a flat circle. The circles are appliquéd onto the background but some are ‘floating’ apart and must be appliquéd separately. Many wedges have bias edges and need careful handling. There are empty circles in the centres to avoid bulky seams meeting. The centres are filled with various shapes.

C & T Publishing Inc. 112 pages and pull-out sheets ISBN 13: 978-1-61745-498-1 £22.99


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A wedge is a portion of a circle, one end is wide, the opposite end is narrow. Special wedge rulers are recommended but templates are provided.


to Give

The meanders begin as curved lines, progress to loops, then swirls and echoing lines.


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It is a relaxed approach, drawing the designs first on paper, then ‘switching off your brain’ by not thinking about stitch size or speed but simply filling an area with meandering lines.


REGULAR // book reviews


The introduction is an excellent guide to patchwork and quilting equipment and techniques e.g. rotary cutting and chain piecing.

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to Give




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The instructions need careful reading, more detailed diagrams would make them easier to follow.

Search Press Ltd. 128 pages ISBN 978-1-78221-377-2 £12.99



These are advanced methods involving sewing and cutting, making long lengths of bias strips and sewing curved seams. It is suitable for an experienced quilter.

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Many of the projects use only one Layer Cake pack (10" fabric squares). It is a mixture of quilts and smaller items. Pincushions, dolls, a needle case and a runner can be made from the remaining scraps.


KATHY CARDIFF © 2018 A charming collection of small items with appliquéd wool felt flowers on a background of woven, not printed, cotton fabric. The realistic garden flowers are decorated with simple embroidery stitches. There is an interesting method for making the flower heads. The fusible web petals are assembled on non-stick parchment paper before being sewn onto the background. The attached sheets have actual size templates.

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to Give




Martingale 96 pages and 2 pull-out sheets ISBN 978-1-60468-849-8 £26.99


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It is a beautifully illustrated combination of embroidery, appliqué and quilting.



A fascinating account of the quilts made to commemorate Jane Austen’s bicentenary. The original plan was to have the central appliqué panel made by children at Chawton Village School with fifty panels surrounding it. Boxes were sent to quilters worldwide with design suggestions e.g. elopement in the novels, Regency gardens, Jane’s nieces, Sense and Sensibility etc.

There are small bags, needle cases, book covers and mats. The one quilt has nine appliquéd blocks, each 16" square, joined by sashing. y •g

a y • gi v




The project also included local people. The Fine Cell Work charity contributed blocks too. Eventually 250 volunteers were involved. They created so many blocks, a second quilt was made, The Admiral’s Quilt.

a y • g iv


a y • gi v



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to Give






Jane Austen’s House Museum © 2018 66 pages ISBN 978-1-5272-2068-3 £10

a y • g iv e

The quilts can be seen, together with the coverlet made by Jane, her sister and her mother, at the Jane Austen’s House Museum in Chawton, Hampshire.


Buy A Cottage Garden for £19.99 with FREE P&P in the UK. To order a copy visit and quote code COTTAGEPQ


REGULAR // exhibitions


UNTIL 3 NOVEMBER ‘Nos da – Goodnight!’ exhibition at The Welsh Quilt Centre, The Town Hall, High Street, Lampeter. Open Tue – Sat 11 – 4.30 (closed Sun/Mon but open Bank Holiday Mon. Check website for opening hours). New exhibition of wonderful Welsh quilts and samplers. Café and shop. Some disabled access and local parking. Admission fees apply, see website for details. Contact:


UNTIL 30 JULY ‘Fragments’ exhibition at Stockport War Memorial Art Gallery, Wellington Road South, Stockport. Open Tues – Fri 1 – 5, Sat 10 – 5, Sun 11 – 5. Exhibition of work by Helen Conway and Leah Higgins. Disabled access and town parking. Free admission. Contact:,


UNTIL 27 JULY ‘Baltimore and Beyond’ exhibition at The Barn, Cowslip Workshops, Newhouse Farm, St Stephens, Launceston. Open daily 10 – 5. A selection of hand appliqué quilts and wall hangings made by quilters in the South West reflecting 20 years of workshops with American quilt historian and pattern designer Patricia Cox, along with a selection of Baltimore quilts made for the 1998 Guild exhibition by Pat herself. Disabled access and parking. Free Admission. For directions visit Contact: Barbara Janssen 01392 214772,


20 – 21 JULY Abbey Quilters’ biennial quilt exhibition at the Abbey Row Centre, The Knowes, Kelso. Open 9 – 4. Exhibition of work, charity raffle, trade stand

70 British Patchwork & Quilting AUGUST 2018

and sales table. Disabled access and parking. Admission £3 which includes refreshment. Contact: Rineke Sangster 01573 229424,


21 JULY ‘The Quilters’ Fayre’ at the Old Barn Hall, Church Road, Great Bookham. Open 10 – 4. Exhibition of work, make and take workshops, traders, workshops (£4 - £5 per session to include materials, book on arrival). In aid of The Princess Alice Hospital. Free parking and disabled access. Admission £4 (husbands free). Contact: Patchwork Cabin 01372 459908

BUCKINGHAMSHIRE, MILTON KEYNES MK5 6AA 28 – 30 JULY The Patchwork People exhibition at the Westbury Arts Centre, Foxcovert Road, Milton Keynes. Open 10 – 3. An exhibition of quilts based on local landscapes plus quilts from the Patchwork People ‘Rumours’ challenge of 2017. Exhibition will also include a cascade of hand crafted poppies made in a variety of mediums. Refreshments, disabled access and parking. Donations to the British Heart Foundation. Free admission. Contact:


28 JULY – 28 AUGUST The annual ‘Summer Showcase’ at The Bramble Patch, West Street, Weedon. Open Mon – Sat 9.30 – 5 (closed Sun). Quilts from customers, students and Bramble Patch clubs including their 2018 Mystery Club project ‘Jewel Box’, the monthly block ‘Tiddly Om Pom Pom’ as well as delightful quilts from their Christmas block of the month, Bookshelf quilt project and the Traditional Gypsy Wife. The Contemporary Quilt Group of the Quilters’ Guild of the British Isles will also present pieces from the 2018 Members Challenge titled ‘Over the

Rainbow’. Parking and disabled access. Proceeds to Macmillan Cancer Support. Admission £2. Contact: The Bramble Patch 01327 342212


31 JULY – 4 AUG Flowerpatch Quilters’ 35th annual exhibition at the Central Methodist Church, Launceston. Open 10 – 4 (last admission 3.30). Exhibition of work with beautiful flower arrangements throughout the hall. Sales table, refreshments and raffle in aid of The Guide Dogs for the Blind Association. Disabled access and local parking. Admission £2. Contact: Anita 01566 86666


4 AUGUST – 8 SEPTEMBER ‘Minerva Quilts 18 - Summer Exhibition’ at the Minerva Arts Centre, High Street, Llanidloes. Open 10.30 – 4.30 (closed Sun/Mon). Summer exhibition of antique quilts from the Quilt Association plus contemporary work by Bethan Ash, Deborah O’Hare and Cwylt Cymru. Disabled access and local parking. Free admission. Contact:


6 – 31 AUGUST ‘A Creative Journey’, Edinburgh Festival Fringe exhibition at St Brides Community Centre, Orwell Terrace, Edinburgh. Contact the community centre for opening times. A collection of art quilts by the students of Pat Archibald inspired by each person’s creative journey. Disabled access. Town parking. Free admission. Contact: St Brides Community Centre 0131 346 1405


9 – 11 AUGUST ‘St Cynwyd’s Quilt Festival’ at St Cynwyd’s Church, Llangynwyd. Open 10 – 4. Exhibition of quilts and crafts both traditional and contemporary, quilt raffle and refreshments. Local parking and limited disabled access. Admission £3. Contact: 01656 739796

REGULAR // exhibitions



9 – 12 AUGUST The ‘Festival of Quilts’ at the NEC, Birmingham. Open Thurs – Sat 10 – 5.30, Sun 10 – 5. Europe’s leading patchwork and quilting event with over 300 exhibitors, over 350 workshops, talks and demonstrations. Various galleries and over 700 competition quilts. Refreshments, parking and disabled access. Admission fees apply, see website for details. Contact:


18 – 19 AUGUST Needles and Sins Textile Group’s fourth exhibition of quilting and quilt art and craft fayre at Cosgrove Village Hall, Cosgrove. Open 10 – 4. Trader plus assorted quality craft stalls, have a go at silk painting, home baked lunches and teas. Raffle in aid of Willen Hospice. Disabled access and parking. Free admission. Contact: Ruth Stokes 01908 563336,


24 – 25 AUGUST Plym Piecemakers exhibition at Yealmpton Community Resource Centre, Stray Park, Yealmpton. Open Fri 10 – 4, Sat 10 – 3. Celebrating 30 years with an exhibition of work, raffle, sales and traders’ tables. Refreshments and light lunches. Chinese Auction in aid of SSAFA Plymouth and Little Things. Parking and disabled access. Admission £1. Contact: 01752 880385,


25 - 27 AUGUST ‘Bank Holiday Bonanza’ at St Michael and All Angels Church, Lingen. Open 10.30 – 5. Lingen Stitchers and their sister group, Needling Along. Annual needlecraft exhibition of members’ work from the past year with a special display of sewing memorabilia collected by the Rev. Leigh Spicer. Light refreshments and charity raffle. Disabled access and local parking. Free admission. Contact: Maggie Flanders 01547 510040


25 – 27 AUGUST Phoenix Quilters’ quilt show at Trinity Church Hall, Union Road, Deal. Open Sat 10 – 5, Sun 12.30 – 5, Mon 10 – 4. Exhibition of work, raffle, tombola, sales and trader tables and refreshments. In aid of The Pilgrims Hospice and Talk it Out. Parking and disabled access. Admission by donation. Contact:


30 AUGUST – 1 SEPTEMBER ‘West Country Quilt and Textile Show’ at UWE Exhibition and Conference Centre, North Entrance, Frenchay Campus, Filton Road, Bristol. Open 10 – 4.30. Traders, galleries including Unfolding Stories III, demonstrations and workshops. Refreshments. Disabled access and free parking. Bus service from local station. Admission fees apply, see website for details. Contact:


31 AUGUST – 1 SEPTEMBER Ouse Valley Quilters’ biennial exhibition at King’s Academy (formerly Ringmer Community College), Lewes Road, Ringmer. Open 10 - 4. Display of work, refreshments, traders, tombola, sales tables and raffle in aid of Kangaroos, a charity enriching young disabled people’s lives and Kent, Surrey & Sussex Air Ambulance. Free parking and disabled access. Admission £4 (accompanied children free).   Contact: Penny Jones 01323 890925,


UNTIL 28 JULY ‘7 Diversify’ exhibition at Greyfriars Art Space, 43 St. James Street, King’s Lynn. Open 10 – 4. A media and textile exhibition. Disabled access and local town parking. Free admission. Contact: Pam Pols 01553 672653


REGULAR // wandering the web

Wandering the web


It only seems like yesterday but it is in fact over three years since we last went wandering the web in search of English Paper Piecing (EPP) so I thought, as it is still very much in vogue, I’d go wandering in search of it again. Last time I just concentrated on hexagons so I have branched out a bit this month and gone in search of other shapes as well, although nearly everything I found covered hexagons first. Of course you don’t have to use EPP for just hexagons, diamonds and Clamshells – you can do all your patchwork this way if you prefer. I’ve just scratched the surface of what is available – go and search for ‘EPP’ and add any other search terms of your choice and you will be surprised at how much you can find, especially if you go beyond the first page of results. introductory video with Sue Daley on the basics of EPP ( but she has a whole series of her own videos that are well worth watching if you want to learn all aspects of EPP from a master of the craft. Episode 1 of the ‘Shape Up’ series ( covers the tools required and looks at hexagons. Episode 2 ( covers diamonds and six-pointed stars while Episode 3 ( discusses equilateral triangles and fussy cutting. Episode 4 ( looks at piecing and how to appliqué them to a background. The final three episodes discuss curves – Episode 5 ( looks at curved edges in general, Episode 6 ( covers Clamshells while Episode 7 ( is about Applecores. One final video from Sue is her Top 10 Tips for EPP ( – these are covered in the other videos but here they are gathered together in one handy little clip.

So, what is English Paper Piecing (as opposed to ‘paper piecing’)? Both involve a paper foundation, but in EPP the fabric is folded around the paper shapes before stitching the shapes together. In foundation (or paper) piecing the fabric is stitched to the paper along pre-marked seam lines, the paper is then torn away – and the foundation needn’t be paper, it can be interfacing or a lightweight cotton or even fleece which (of course) is not removed. In this video from Craftsy ( Helen Stubbings gives a brief introduction to EPP and the shapes usually involved. It is really an introduction to her (paid-for) classes but, as an introduction to EPP itself, it is worth watching. Also from Craftsy is a blog post on why EPP has become popular again - Three years ago I said Sue Daley and Jen Kingwell were the names that cropped up again and again and that is still the case today. The Missouri Star Quilt Company have an

72 British Patchwork & Quilting AUGUST 2018

Jen Kingwell has a video on how to use EPP to make a Dresden Plate at as part of a series from the Fat Quarter Shop. While you are watching these YouTube videos have a look at the suggested videos in the sidebar as you will find many more that I haven’t mentioned here as there just isn’t enough room. Another ‘introductory’ video is from Man Sewing ( ) where Violet Craft demonstrates the basics of EPP using one of her very intricate designs. I found this a useful introduction as Rob Appell asks all the questions

REGULAR // wandering the web


The Craftypod Shop,

you would expect a complete novice to ask. Another site I found was the DIY Addict - - which gave a very thorough ‘what’ and ‘how’ with many useful videos, hints and tips – including an alternative to the traditional whipstitch. There are many step-by-step photo tutorials on websites and blogs – for hexagons I found the Sewing Directory very clear (, as was their tutorial on diamonds ( The Little Mushroom Cap website has some useful links for EPP – there was one for the different stitches that are used (, five different ways to baste the fabric to the paper ( and a page of links to patterns and kits ( I mentioned CD Designs last time but their page has been updated with new patterns from last time so it worth a revisit ( There are plenty of links to how-to pages and lots of free downloadable little projects. Some of the pincushion shapes are in the Tarquin books I have referenced at the end of this article. New UK website, UKQU ( has an increasing number of tutorials, hints and tips and patterns for EPP. One such is from Sewmotion on curved EPP ( Just use the search box at the top and search for ‘EPP’ or for ‘English paper piecing’ to find all the information. I mentioned Violet Craft earlier and you can find a list of her patterns on her website at Many of these are foundation piecing but there are several EPP ones as well and they are very unusual designs for EPP. More unusual designs can be found at Geta’s Quilting Studio - You can find free patterns on various websites and blogs, most of them involve hexagons of varying sizes though. Favequilts ( offers twenty downloadable patterns but all hexagons. Craftsy however has several free patterns and not just hexagons -, while AQS has a pattern for a Star of Bethlehem block - Crafty Pod has a round-up of EPP patterns at and the Quilting Company has a free downloadable pattern for a table topper using hexagons with other shapes at

Simple Simon & Co have an interesting idea for using the ‘kite’ shape on their blog ( and if you like making 3D objects two blogs have patterns for ball-shaped pincushions – using hexagons and pentagons at and just pentagons at Meanwhile Tales of Cloth started a hexagons and diamonds stitch-along earlier in the year, catch up here Sew Mama Sew has quite a few EPP patterns (although as they are tagged ‘paper piecing’ they are mixed with foundation patterns) but you can find them here - the first post is very useful as it discusses how to make your templates using the ‘draw’ feature in Word. Hillbilly Handiworks ( also has a links to places where you can buy or print your own papers and patterns. Fancy a challenge? Once you have mastered the pentagon ball and the hexagon/pentagon ball there a dozens of other 3D models you can make using EPP. You can make stars with diamonds (I saw a couple of pictures in my wanderings, but no pattern) but there are so many others. I found the Make Shapes books published by Tarquin - were a great source of inspiration. The books tell you to cut out and fold the various pages, but print the shapes out onto stiff card or paper and use these to wrap your fabric round and carry on... The shapes will need to be stuffed to hold the design when completed or you could use pelmet interfacing (especially the fusible stuff) which will give a rigid shape and can be left in – makes ideal Christmas tree ornaments. In fact it is worth exploring their books as there are several on tessellation – which of course is what EPP is all about – with some possibly new and interesting ideas to play with.

Photo © Alexandra Grablewski, excerpted from All Points Patchwork.


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Each month is jam packed with: • Inspiring projects for beginners, experienced (and those in between) • Hints and tips • Book reviews • Fabulous fabrics • Quilting show reviews • Meet and greet with the industry’s top quilters • Workshops and classes ... and so much more.


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Marijke van Welzen wearing ‘Ocean’

REGULAR // first & last


Marijke van Welzen For the month of August we hear from the fabulous 3D quilter, Marijke van Welzen, who is known for making art2wear, wonderfully tactile jackets and coats. I have always been creative. I used to draw and work with textiles as a child. As a teenager I made my own clothes from old curtains, but I never considered it art. Then I went to teacher training college, because at the time we couldn’t find another school where I could study (something with) textiles. My subjects were Textile Art and Crafts and English. Since about the year 2000 I’ve made art2wear. Colourful clothing, mainly jacket like tops and coats. The book ‘Textile Collage’ by Rosemary Eichorn inspired me to make my first art2wear jacket. Since then I made around thirty jackets and coats. I mainly use textile collage, raw edge appliqué, mixed with painting techniques and lots of thread sketching. My work tends to get larger and I need a bigger canvas to express myself.

76 British Patchwork & Quilting AUGUST 2018

My first jacket is ‘Ocean’. I made that in 2000 and I still wear it regularly. I love how some parts have discoloured, faded and have even worn out. Actually this adds to the look. I chose the theme ocean and collected fabrics around that theme. I used all sorts of fabric: denim, velvet, material to make bedsheets from, curtain fabric etc. On the inside I sewed a liquid filled plastic heart I found in the weekly market in my hometown. The liquid has long gone. In those days I didn’t know how to professionally line the garment, now I do and the insides look so much nicer. My last coat is ‘STILL*LIFE’. I made that in 2017. It is currently travelling for a year in the USA. I used the Mastery fabric by Hoffman from the Mastery digital print collection. When seeing this fabric it reminded me very strongly of the paintings

REGULAR // first & last

of Dutch and Flemish Masters of the 17th Century. I did some research on the subject matter. There is a fascinating website by the Dutch Rijksmuseum where you can find their entire collection. You are allowed to use the pictures for your own use and are even encouraged to make your own art utilising the pictures. The designers of this fabric must have used something similar as most of the flowers seem to have come straight from these paintings. When visiting Amsterdam I found a carpet in a trendy store and also used this as subject matter. Serendipity! That’s when I knew what I wanted to do. I started by collecting large artificial flowers, petals, leaves and more fabrics. It is as if my brain is tuned into the subject matter and then I find all sorts of things I can use. In the local weekly market I found two more digitally printed fabrics in the same style. While doing my research I noticed tiny insects in the paintings, would that have been by chance or on purpose? Furthermore there were all sorts of foods depicted. Very interesting indeed. I looked into the symbolic meaning of a couple of those and decided to use them in my coat. I had a lot of fun making this coat, adding all sorts of animals, fruit and even plastic insects. I made three different versions of a still life in the style of the old masters. One on the

Detail, ‘Ocean’

Detail, ‘STILL*LIFE’

‘STILL*LIFE’, back

back of the coat and two for the front. In some places the still life grew into something more natural with the branches and flowers or is it the other way around? The finishing touches include a collar, seam treatment and the lining.

‘STILL*LIFE’, front

This will definitely NOT be the last one I make!


FEATURE // introducing


Dulwich Quilters was founded in 1986 as a small group, meeting in each other’s houses and five of the founding members are still an active part of the group. Our numbers have remained at about twenty five until recently, when we have been able to meet in larger premises for workshops, talks and group sewing. As a result we have been able to welcome a number of new members who have brought new ideas and quilting techniques to the group, which is proving very stimulating. Meetings usually take place on the fourth Monday evening of each month and on the third Wednesday we meet to sew together and a member gives an informal talk or we have an all day workshop. Sometimes our workshops take place on Saturdays. Recently we welcomed Jan Hassard, who taught us a zig zag technique, and Lynda Monk, who helped us explore working with Tyvek and Lutradur. We look forward to a show and tell of the results of these workshops to the whole group!

78 British Patchwork & Quilting AUGUST 2018

Some of our members have exhibited quilts both internationally and at The Festival of Quilts. Our quilting interests are wide and varied, many of us also being members of the Quilters’ Guild specialist groups. Two of our members are also coordinators for Project Linus for King’s College Hospital in South London. Members and several outsiders give their time, generosity and expertise to make and donate quilts for the Paediatric ICU, Liver and Neuro wards. The prem baby unit has just approached us about making quilts to cover the incubators for their prem babies.

FEATURE // introducing

In 2016 Dulwich Quilters celebrated the 30th anniversary of the group by making a Pearl quilt and with a celebration lunch, inevitably including champagne! We have often had a Chairman’s Challenge but this year it was a Half Square Triangle challenge in groups using red, white and blue. The huge variety of results will be shown in our forthcoming exhibition. We hold exhibitions biennially in Dulwich, where a whole group quilt, or ones made in smaller groups, is always raffled in aid of a local charity, although in 2016 we chose the charity ‘Hands Up for Uganda’ as three of our members were brought up in Uganda. This year the exhibition will be held at Bell House, in the centre of Dulwich Village, on 15 – 16 September. This exciting new venue will provide a challenge to which our hanging committee is rising! It will also provide more space for the sales table and the all important tea room. This year the theme behind our group quilts was ‘recycling and thrift’. Three group quilts were made and the one chosen for the 2018 raffle is the ‘Leaf Quilt’ made by Elspeth, Linda, Brenda, Jean, Lola, Jenny P. and Marianne. It will be raffled in aid of a local branch of the Alzheimer’s Society. The other two quilts will be sold for the Time Bank in Paxton Green, which helps communities get together to help others, and SRA, a printing shop which employs and trains people with mental health problems.

2018 Raffle prize ‘Leaf Quilt’, Elspeth, Linda, Lola, Jenny P, Jean, Brenda and Marianne.

We look forward to seeing some of you at our exhibition. Photos courtesy of Khurshid Bamboat

‘Scrap Bag’, Caroline Wilkinson LEFT: ‘Pearl Anniversary’, 2016 group quilt Dulwich Quilters’ exhibition is being held on 15 - 16 September at Bell House, 27 College Road, Dulwich. Further details will be on our exhibitions page in September’s issue. In the meantime, further information can be obtained by emailing


REGULAR // patchwork & quilting news

All the latest trends and ideas


Do you have Patchwork and Quilting news, maybe some views you would like to share or a charity quilt that you or your group has made? Then, do get in touch email

‘Tree of Life’ Quilt from Netflix adaptation of ‘Alias Grace’ Book Club in collaboration with P&Q

with Arlene McLeish

By now, you’ve hopefully managed to read ‘The Quilter’s Apprentice’. Many of us will have started our quilting journey with a sampler quilt, which is what Sarah McClure makes whilst listening to Sylvia Compson’s stories. They’re a great way of practising new techniques, and even for experienced quilters, can be very enjoyable to make. My first quilt was made using Lynne Edward’s book and even though it was made with a colour palette that I would never touch now, I still love it dearly – it represents many hard hours of work and puzzling over instructions that at times seemed to be in a different language. I wish that I’d had someone like Sylvia to guide me, although I have to confess that I’m much more of a machine quilter than a hand sewer! The Book Club choice for August is a completely different type of novel. I thought that you may find yourself with some extra time over the summer and so have chosen ‘Alias Grace’ by Margaret Atwood. Now, this isn’t a light read – far from it - but please don’t let that put you off. You might already be familiar with the general story, as it’s been made into a television series, but there’s no substitute for reading the original text. It’s based on actual events in Canada in 1843, but Atwood has fictionalised many aspects and created new characters. However, please be warned that both the novel and the television series are violent and unsettling in places. Atwood has written this novel in a Gothic style and it’s narrated by Grace herself. A convicted murderer, she’s been hired out to work

80 British Patchwork & Quilting


as a servant for the prison governor and in order to have her pardoned and released, she’s questioned about what happened on the day of the murders, but she cannot recall anything. Through interviews with Dr Simon Jordan, a psychiatrist, Grace is encouraged to talk about her background and thus, we learn about what‘s brought Grace to the prison. The narrative can be a little confusing, as it’s not always clear whether Grace is speaking out loud or not, but as the novel progresses, it becomes clear that this is part of the ‘Alias’ of the title. You may well find yourself wondering who the real victim is. So what does this have to do with quilts? Well, quilts, patterns and quilting all play powerful roles in the plot. In Grace’s meetings with Dr Jordan, she is hand piecing blocks for a Log Cabin quilt and through discussing these, we learn more about her. Each of the fifteen sections is named after a quilt pattern, which may or may not relate to that section. I have to confess that I hadn’t heard of all of these and had to go and look some of them up, such as the fabulously named ‘Hearts and Gizzards’. But the quilts are not just part of the plot; they’re also powerful metaphorical symbols of the role of women. This is one of my favourite books, as it gave me plenty of food for thought for many weeks after reading it. I’ve looked long and hard to see if anyone has ever made a quilt based on this novel and I haven’t been able to find anything yet. If you’ve made anything that’s been inspired by this novel, I would love to see it!

REGULAR // patchwork & quilting news

Brighton Museum

Deadly Serious Sewing

Journal Quilt Challenge

Quilts UK, Malvern 2019 Grosvenor Shows have launched their themes for next year for both the Journal Quilt Challenge and Quilts UK. The Journal Quilts theme is ‘Through the Window’, which is an exciting idea to work on. Quilts UK theme for spring 2019 is ‘Batik Beauties’, again a popular idea which will hopefully bring us many beautiful quilts to look at next year. Get your thinking caps on and design and enter your quilts. For more information visit

West Country Quilt and Textile Show

The show season is fully underway and another one to pop into your diary is the West Country Quilt and Textile Show. Plenty of traders to tempt you along with the wonderful displays of competition quilts and groups such a Thames Valley Contemporary Textiles, The Quilters’ Guild of the British Isles Modern Quilt Group, UK Quilters United, Weston Quilters and Contemporary Quilters West, there is certainly something to tempt you. Running from 30 August – 1 September, full details of the exhibition can be found on our exhibition pages.

As part of the current Gilbert & George exhibition at Brighton Museum & Art Gallery a member of the Museum Collective is creating a Community Quilt. Eliph Hadert, the Artist-in-residence from July to September, is running a series of drop-in and outreach sessions for young people, families and adults. On Saturday 11 August, from 2 - 3.30 in the Museum Lab, you are welcome to see the artist stitching the quilt together with the help of other Museum Collective members. For further details visit


goes Plastic Free Craft4Crafters

Ticket Giveaway 15 pairs of tickets to be won


a w ay • g

aw ay • g



Held at the Bath and West Showground 18 – 20 October, Craft4Crafters has over 100 of the finest craft suppliers at the event. They also have well over 70 workshops and demonstrations with many guilds in awa y • g attendance. ve i




In the Mendip Hall this year they have Bath Quilters, South West Quilters, UK Quilters, Thursday Girls/North Somerset Quilters to name a few. As well as the quilt exhibition they will be exhibiting the amazing, and hugely popular, BrisWool which was shown at Bristol M Shed and attracted thousands of visitors through the door.

Backstitch, the haberdashery at Burwash Manor, has decided to make an environmental stand with a new packaging policy. The modern fabric and yarn shop champions ‘Brown Paper Packages Tied Up with String’. They’re not quite tied up with string but parcels from Backstitch will no longer use any plastic. As part of a commitment to reducing waste and environmental impact, Backstitch online customers will now receive their orders of fabric, yarn, patterns and haberdashery in recycled brown paper, ‘tied up’ with brown paper tape. The move has been welcomed by many customers and feedback is positive that the brown paper is not only strong and practical but also looks great. Alice Synge of Backstitch says ‘The attitude towards packaging has taken a real shift recently and we are really behind this move. We have noticed a very clear change in behaviour in our Burwash Manor store with customers usually refusing even a paper bag for their purchases. Like so many people we are really worried about the impact of single use plastics and know that postal packaging is a contributing factor. We are proud to have made this move to eliminate plastic from our packaging.’

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For more information visit: or for more information on BrisWool visit We have 15 pairs of tickets to the show to giveaway. For your chance to win, turn to our Giveaways page on page 84.


REGULAR // wonderful workshops


In this section of the magazine we highlight some of the patchwork and quilting workshops and courses on offer around the country. If you have a course that you would like to suggest, then please get in touch, email


14 AUGUST QUORN COUNTRY CRAFTS Not being lucky enough to have a caravan or motorhome, I have made these cushions for friends, who have more holiday time and are well received. Lovely cheery appliquéd designs and great fun to make! This one day workshop (10 - 4) costs £30. Tea and biscuits in abundance and 10% discount on shop purchases for everyone attending the workshop. For more information and to book this course visit or call 01509 211604. Quorn Country Crafts, Parkside Works, East Leake, Leicestershire, LE12 6JG



Come along and enjoy a day or two of friendship, food and stitching with these two talented ladies. Lynette and Jo are both designing brand new and exclusive little projects for you to work on. You will spend the day sewing with one tutor in the morning and then swap over and sew with the other one in the afternoon, so an excellent chance to learn different tips and techniques from each tutor, including appliqué and embroidery. Come along and enjoy this exclusive workshop, the price includes kits for both projects, tea and coffee during the day and a buffet lunch served in the barn. This one or two day workshop (10 - 4) costs £145 for one day, £250 for both days and includes kits, tea and coffee and a buffet lunch in the barn. For more information and to book this course visit or call 01566 772654 Cowslip Workshops Newhouse Farm St. Stephens Launceston Cornwall PL15 8JX See website for directions.

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JUNE 2018

JUST FOR YOU // giveaways


Visit our website and enter online.


Complete the relevant competition or giveaway coupon and send it to: Patchwork & Quilting Magazine, PO Box 129, Monmouth NP25 9BF. Please note the code for the giveaway coupon this month is WTS. Unless stated otherwise we are happy to accept photocopied coupons or hand written entries. Coupons for competitions and giveaways, from the same person, may be sent in a single envelope.

AUGUST 2018 GIVEAWAY COUPON To be received by 31 AUGUST 2018 ❏ Bloom fabric bundle ❏ ‘Stories in Stitches,

❏ ‘Cottage Garden’ ❏ ‘Free Motion Meandering’ ❏ ‘Wedge Quilts’ ❏ ‘Sew Layer Cake Gifts and Quilts’ ❏ Craft4Crafters tickets ❏ Liberty Rainbow FQ bundle ❏ Hann's House FQ bundle

Reimagining Jane Austen’s Quilt’ ❏ ‘Designing Quilts with EQ8’ ❏ Point 2 Point Turner ❏ Ruler Rack

Name: ............................................................................... Address: ........................................................................... ........................................................................................... Post Code: ...................................Tel: .............................. Email: ................................................................................ My favourite item (project, feature or regular) this month is: ...........................................................................................


…of the May Giveaways ‘Patchwork and Quilting’ Marion Inchmore, Cumbria ‘Patches of Blue’ Adeinne Tonner, Scotland ‘Cathedral Windows, New Views’ Dorothy Marriott, Buckinghamshire ‘Making Connections’ Suzanne Jackson, Hampshire ‘Constellations’ P Underwood, Derbyshire Jelly Monster Janet Norris, Cheshire Barry Page, Sussex

My least favourite item is: ........................................................................................... We require the information above so that we can contact you if you win, and send your prize directly to you. Please note that all entries are securely destroyed once the competition winner has been selected and their prize has been received.

General rules 1. One entry ONLY per person (photocopy, plain paper copy, email or online entry) is permissible per competition or giveaway selection. 2. The appropriate number of winners for each competition and giveaway winners will be selected at random from all correct entries received by the appropriate closing dates. 3. Unless otherwise stated, competition and giveaway winners will be notified of their success within a month of the closing date. 4. No correspondence will be entered into regarding any competition or giveaway. 5. The Judges’ decisions are always final. For full terms and conditions please see our website 6. Your data will be managed in compliance with GDPR law. Our privacy policy can be found at

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85 British Patchwork & Quilting AUGUST 2018

TECHNIQUE // in a nutshell



It is advisable to use 100% cotton fabric if the finished item is to be laundered. Ideally fabrics should be washed and pressed before using as this allows for shrinkage and colourfastness. To check a fabric is colourfast, dampen and lay it on top of a white cotton fabric and press. Check for any dye transferred to the white fabric. If the colour bleeds when the fabric is washed, rinse repeatedly until water runs clear and, if necessary, soak in a solution of 3 parts water to 1 part vinegar.

When piecing fabrics it is essential to press each seam as it is stitched. Firstly, press the seam flat on the wrong side before opening the pieces, to set the stitches. Then, on right side of the fabric, press both seams towards the darker fabric using tip of the iron and then press again on the wrong side. Seams can also be pressed open as this helps to distribute the bulk of fabric created when lots of seams meet at one point. Press rather than iron, preferably without steam. Spray starch can also be used.



These need to be accurately made from either rigid plastic or cardboard. The templates given on the Pattern Sheet are usually full sized. A seam allowance of ¼" is used in all projects unless otherwise stated. Refer to the Pattern Sheet for more information.

Squares, rectangles and other shapes can be quickly cut from strips of fabric using a rotary cutter, a self-healing cutting mat and a special cutting ruler. A rotary cutter has a very sharp round blade which must be shielded at all times when not in use.

APPLIQUÉ The technique of applying one or more fabrics to a background with hand or machine stitching. Always use a thread to match the colour of the shape to be appliquéd.  Hand appliqué  Also known as needleturn appliqué. The appliqué pattern can be traced onto the background fabric or an overlay method can be used. Draw around appliqué shape and cut out, adding an approx. ¼" seam allowance. Pin shape in place on background fabric and slip stitch down, turning under seam allowance with your needle as you go. Freezer paper appliqué  Cut freezer paper to exact size of design and iron shiny side of paper to wrong side of fabric. Cut out adding approx. ¼" seam allowance. Press seam allowance over the freezer paper to give a smooth edge. Pin in place on the background fabric and slip stitch almost all of the way round the shape, leaving a small gap. Remove the paper and complete stitching.  Machine appliqué  Apply fusible web to back of appliqué fabric before cutting out each drawn shape accurately, without a seam allowance. Fuse into position and use a zigzag, satin or buttonhole stitch to attach. 


Always cut away from the body and store cutter out of the reach of children. Cutting rulers come in a variety of sizes and are usually marked in inches with 1⁄8" increments. To straighten the edge of the fabric prior to cutting strips, fold in half with selvedges together and place on cutting mat. Place ruler on the fabric, at right angles to the fold and cut the fabric to give a straight edge. Place the cut edge of fabric to the left of the cutting board, if right handed (to the right, if left handed) then using the ruler, measure width of strip to be cut. Hold ruler in place and cut along edge of the ruler. Several layers of fabric can be cut at one time. Strips can then be sub cut into squares, rectangles, triangles and other shapes.

small, sharp pair of scissors to cut ¼" within marked line. Clip curves and corners as necessary. Using a thread to match top layer, use tip of your needle to turn under the top fabric to the drawn line of the design, dia. 1c. Slip stitch to bottom layer. Turn work over and trim away excess fabric, dia. 1d.  By machine Mark the design on wrong side of bottom layer of fabric. Sandwich fabrics as for hand reverse appliqué. Use a straight stitch and working from back of fabric, stitch exactly along line of the design. From the right side of fabric sandwich, use a sharp pair of scissors to cut as close as possible to the inside of stitched line thus removing the top layer to reveal the design. This cut edge can then be covered with a line of satin stitching. Reverse Appliqué dia. 1a

dia. 1b



dia. 1c

dia. 1d

This is the ‘opposite’ of appliqué, where a layer or layers of fabric are removed to reveal the design. By hand Cut two pieces of fabric and draw design on right side of top fabric. Pin the other fabric beneath top fabric, right side up, dia. 9a. Tack layers together approx. ½" outside drawn design, dia 9b. Use a

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TECHNIQUE // in a nutshell

Hand piecing a unit

Machine piecing a unit

Nine Patch

Flying Geese

dia. 5a

dia. 8a

sky fabric goose fabric

dia. 5b

dia. 2a

dia. 2b

reverse of sky fabric

dia. 5c

Chain piecing

dia. 8b Half square triangles

dia. 3. dia. 6a Four Patch

dia. 4a

dia. 6b

Quarter square triangles

dia. 8c

dia. 4b dia. 7a

PIECING   By hand Place two patches right sides together and pin at right angles to the seam. Sew the seam through your drawn lines using a short running stitch. Begin and end each seam at the seam line (not at the edge of the fabric) with 2 or 3 backstitches, dia. 2a.  By machine As patches already have ¼" seam allowance added, it is necessary to stitch with an accurate ¼" seam. This can be achieved by adjusting the needle position to give ¼" with a normal sewing foot, by using a special ¼" foot or by sticking a strip of masking tape to the throat plate ¼" away from the needle. Align patches and pin together at right angles. Stitch all the way from edge to edge, dia. 2b.  Chain piecing Pairs of fabric pieces can be sewn together, one after the other, without lifting the presser foot on the machine or cutting the threads. They are cut apart later. This saves time and thread, dia. 3. 

QUICK PIECING Chequerboard  To piece a Four Patch block with alternate coloured squares, cut two strips of contrasting fabrics. Place strips right sides together with long raw edges matching. Join strips together along one long edge

dia. 7b

with ¼" seam allowance and press seam towards darker fabric. Cross cut the joined strips into sections the same width as the original strips, dia. 4a. Take two of these cut units, rotate one so that the central seams lock together, place right sides together and stitch seam, dia. 4b. To piece a Nine Patch block, two different sets of three strips are required: • Set 1 two sets of dark, light and dark strips, dia 5a.  • Set 2 one set of light, dark and light strips, dia 5b.  After joining strips together and pressing seams towards the dark fabric, cut apart as described for Four Patch block. Arrange cross cut units and join together to make the block, dia. 5c.  Half Square Triangles  Cut one square from two different fabrics 7⁄8" larger than the finished size of the unit. Place squares right sides together and draw diagonal line on wrong side of one square. Stitch ¼" seam each side of this line,  dia. 6a. Cut squares apart along the drawn line, open out each pieced square and press seam allowance towards the darker of the two fabrics, dia. 6b. 

Quarter Square Triangles  Cut one square from two different fabrics 1¼" larger than the finished size of the unit. Place squares right sides together and draw both diagonal lines on wrong side of one square. Stitch ¼" seam each side of one diagonal line. Cut apart along both diagonal lines, dia. 7a. Press towards the darker fabric. Join these pieced triangles together in pairs to form two pieced squares, dia. 7b.  Quick Pieced Flying Geese  These instructions will produce a strip of Flying Geese blocks measuring 4" x 8",  dia. 8a. Cut one, 5¼" square of ‘goose’ fabric and four, 27⁄8" squares of ‘sky’ fabric. Draw diagonal line on wrong side of each of ‘sky’ square. Place ‘goose’ fabric square right side up on work surface. Pin one sky square, right side down, onto one corner and a second sky square on opposite corner, dia. 8b. Trim off corners where they meet in the centre. Stitch ¼" seam each side of diagonal line from corner to corner. Cut apart along the drawn line. Take one of the halves and place another sky square onto remaining corner, noting diagonal line on square is perpendicular to existing diagonal seams,  dia. 8c. Finger press the two sewn triangles out of the way. Stitch as before each side of line. Cut apart on drawn line to make two Flying Geese blocks. Repeat with other half to make four blocks in total.


TECHNIQUE // in a nutshell

Foundation piecing

ENGLISH PAPER PIECING A traditional patchwork method where the fabric is folded and stitched over accurately cut stiff paper shapes. The fabric is cut out with an added seam allowance and tacked, or glue basted with a glue pen, over the paper. The fabric covered shapes are then placed right sides together and overstitched with small neat stitches. On completion all of the tacking stitches and papers are removed. Hexagons and diamonds are often stitched in this way. 

dia. 9a


dia. 9b


3 1 5


7 WS


dia. 9d

dia. 9c

FOUNDATION PIECING This is a very accurate piecing technique where fabric patches are stitched to the reverse of a foundation block. It is particularly useful where sharp points are needed. Depending on the material used, the foundation fabric/paper can be either left permanently in place (e.g. lightweight cotton fabric or sew-in interfacing) or can be removed (e.g. foundation paper or stitch ‘n tear). Trace block design accurately on to the foundation paper together with the order of stitching of each patch, dia. 9a. The design will appear in reverse to that of the finished block. Fabrics are stitched to the blank side of the foundation pattern. It is useful to have a light source (e.g.window or lightbox) to help position patches. Seam allowances are trimmed down as the block is stitched so accurate cutting of the pieces is not necessary. Use a slightly smaller stitch than usual on your sewing machine, especially if the foundation is to be removed. Begin with patch 1 and cut a piece of fabric larger than patch 1 plus an approx. ¼" seam allowance on all sides. Place fabric right side up onto blank side of foundation pattern ensuring it covers patch 1. Pin in place, dia. 9b. Next cut a piece of fabric that will cover patch 2 plus seam allowances. Place this fabric right sides together with patch 1 piece, aligning the corresponding seam line. If wished and to help with placement of fabric, mark each

MARKING QUILTING DESIGNS Quilting designs may be marked before or after the quilt is sandwiched, depending on the method used. Various types of marking pencil are available. If the design is on paper, it should to be traced onto the quilt top before sandwiching, with the help of a light box or a window. Designs can also be traced from homemade cardboard templates or from commercial plastic stencils. Masking tape is useful for marking straight lines and is generally applied after the quilt has been sandwiched. Make sure that whatever method chosen to mark the design can be easily erased. Always test on a scrap of fabric used for the quilt. Do not iron over any marked areas as the marker may set in the fabric.

WADDING or BATTING This is the filling for the quilt and it is available in a variety of fibres from 100% polyester to 100% cotton plus mixtures and wool wadding. The type chosen will depend on whether the item is to be hand or machine quilted; whether a high or low loft is required and whether the item is to be draped over a bed or hung on a wall. ‘Loft’ refers to the weight and thickness of the wadding. Always allow at least 2" extra wadding all the way round the quilt as it will

88 British Patchwork & Quilting




dia. 9e

dia. 9f



end of the stitching line with a pin, dia. 9c. Pin fabric 2 in position. Turn foundation pattern over to printed side and stitch along line between patches 1 and 2. Start and finish stitching a few stitches beyond the marked line. Turn block over and trim seam allowances, dia. 9d. Open out fabric pieces so that right side of the fabrics is visible and finger press flat, dia. 9e. Continue adding fabric pieces in number order, making sure that final fabrics extend over the seam allowance around outer edge of the block. When block is complete, trim it to the ¼" seam allowance, dia. 9f. 

‘shrink’ as it is quilted. Open out the wadding for the creases to fall out and to allow it to breathe before using.

grid pattern as before and remove as you quilt. Alternatively the quilt sandwich can be tacked with a basting gun or spray basted.



The piece of fabric that will be on the reverse of the quilt should be of similar weight to the quilt top. A large quilt will need a pieced backing. It should be at least 3" larger than the quilt top to allow for shrinkage on quilting.

The quilting stitches hold the quilt layers together permanently once the tacking stitches have been removed.

MAKING THE QUILT SANDWICH Give quilt top and backing a final press if they haven’t been marked with a quilting pen. Polyester wadding should not be pressed as it becomes flattened. Lay backing fabric right side down on a flat surface and secure with masking tape. Lay wadding on top, smoothing out any creases as you go. Place quilt top, right side up, on top of wadding, matching centres of each layer on all sides. If hand quilting, tack or baste the layers together using a large tacking stitch. Start in the centre with a long length of thread and stitch to one edge; finish off with a back stitch. Return to the centre, re-thread needle and stitch to the other side. Tack in a grid pattern about 4" apart across the quilt. If machine quilting, use sharp or curved safety pins to hold layers together as tacking threads can get caught up in machine quilted stitches. Pin every 4" in a

Hand Quilting The size of the stitch is not important when hand quilting but the aim is to have even stitches on both the back and front of the quilt. Use a ‘betweens’ needle which is short and sharp. They come in a variety of sizes – 8/9 are slightly longer than 10/12. Experiment to find which is most comfortable for you and which takes the thread comfortably. A quilting thread is thicker than a regular sewing thread. Cut a length of thread approx. 18" long and make a small flat knot at the end just cut from the reel, to prevent knotting whilst stitching. Sit comfortably, in a good light and use a frame to support the quilt and also help keep the stitches even. To prevent creasing, never leave the quilt in the frame at the end of a quilting session. Always start quilting from the centre of the quilt and work outwards. To start quilting, insert needle into the front of the quilt, approx. ½" along the line from

TECHNIQUE // in a nutshell

Mitred Border

dia. 10a

dia. 10b

dia. 10c

BORDER Plain border A border can have butted or square corners, i.e. where one strip is joined to another to form a 90˚ corner. To measure fabric for a border, measure length of the quilt top through its centre. Cut side borders to this measurement and join to quilt top. Measure width of the quilt, again through its centre including the width of the border at each end plus ½" seam allowance and join to top and bottom edges of quilt. Mitred corner A mitred border has two strips with 45˚ ends, which are joined to form a 90˚ corner. Cut border strips the length of each side of the quilt, plus the border width each end, plus 1". When joining, begin and end stitching ¼" from corner edges. To make the mitre, fold quilt top right sides together, diagonally at one corner, dia. 10a. Place a ruler along diagonal folded edge of quilt top, through the last stitch in the border seam and across the border and draw a line. Align long raw edges of borders and pin together along drawn line. Stitch along the line from inner ¼" to edge of border, dia 10b. Trim seam allowances to ¼". Press open, dia. 10c. Repeat for each corner. If multiple borders are to be used, join these together first and treat as one piece before adding to quilt top and mitring corners. your starting point, bring it out on the top of the quilt at the beginning of the line. Tug slightly to bury the knot in the wadding. Make a small backstitch to secure the thread then take regular running stitches following the marked line, ideally 3 to 4 at a time. Place your non-stitching hand under the quilt to feel where the needle comes out each time and to guide it back through again. Finish by making a knot about ¼" from the surface of the quilt, take a back stitch and pull the knot into the wadding to bury it again. Machine Quilting  This can be a quicker method for quilting a top but it does take practice. For normal stitching, keep feed dogs raised and use a walking foot which allows the layers of fabric to pass through the machine without puckering or shifting. When stitching a more intricate design, it is worth spending time considering how to stitch as long a continuous line as possible, to prevent constantly starting and stopping.  Quilting in the ditch  Stitch along the seam lines around each block, preferably on the lower side of the seam, i.e. where there are no seam allowances. This will stabilise the blocks of a quilt. This can be done using a matching

BINDING Trim edges of the quilt so that all of the layers are even and the corners are square. For double fold binding, cut strips of fabric 2½" wide and long enough to go all the way round the edge of your quilt. Join strips as necessary with a diagonal seam. Fold joined strips in half along their length, wrong sides together and press. Starting at centre of one side of the quilt, place folded binding strip on top of quilt, aligning raw edges and machine stitch strip to the quilt. Stop stitching ¼" from the corner, backstitch a little and remove quilt from the machine. Fold the strip up at 45˚, dia. 11a and then back down to align it next to the adjacent quilt edge, dia. 11b. Pin and continue stitching. Continue in the same way around the quilt. For smaller projects, a narrower 1¼" wide single binding can be used. All bindings can be cut on the straight of the grain unless the edge of the quilt is curved, in which case a binding cut on the bias of the fabric should be used. 

Attaching a Binding

dia. 11a

thread or invisible thread. It is always sensible to practice on a replica sample of layered fabrics before beginning on the actual piece so that any adjustments to stitch length and tension can be made. Free motion quilting Use a darning or free motion foot and lower feed dogs. Reduce stitch length to 0 and remember to lower the foot, thus engaging the top tension. The speed at which the quilt is moved determines the stitch length. With practice, the benefit of this technique will quickly be discovered as the quilt can be moved forwards, backwards and sideways without having to be turned. Start quilting in the centre of the quilt and work outwards. Begin by putting the needle down into the quilt and bring up the bottom thread to prevent knotting on the back. There are various ways of dealing with the threads at the start and end of a row; some machines have a locking stitch that can be used or the ends can be left to be knotted and sewn in at the end. Tied Quilting Thread a needle with a long, unknotted length of perlé type cotton. Mark the quilt with pins to show the position of each knot, about every 4". Take a backstitch over the

dia. 11b pin and through all the layers, leaving a 3" length of thread. Make another backstitch over the first one, cut thread leaving the same length at the end of the stitch as at the beginning. Tie the tails of thread into a square knot (right over left, then left over right). Trim ends neatly to the required length. Repeat over rest of the quilt. HANGING SLEEVE  If a quilt is to be hung on the wall, it is necessary to attach a sleeve to the back of it. Cut a length of fabric 8½" wide equal to the width of the quilt minus 2". Turn under each short edge and stitch to neaten. Fold in half lengthways, wrong sides together and place the raw edges to the top of the wrong side of the quilt. Pin. This can then be machine stitched at the same time as the binding is attached. Slip stitch the folded edge of the sleeve to the back of the quilt.  LABELS  Always add a label to the back of a quilt as a record of who pieced and quilted it, where and when it was made and if it was made for someone in particular or a special occasion. The label can be hand written using a water resistant pen, or it could be hand or machine stitched. It is also possible to print labels from your printer.


90 British Patchwork & Quilting AUGUST 2018

Patchfinders Now at

159 London Road South, Poynton, Cheshire SK12 1LQ 01625 262518

Bigger, Better, Even More Choice!! Courses running all year

Julia & Emily Davis

Brittany, France Relax and quilt in the beautiful French countryside situated in the heart of Brittany. Full board sewing breaks with duration to suit individual or party. Long Arm Quilting Service Now Available

CONTACT LUCY ALLEN FOR FURTHER INFORMATION Quilting In Peace 1 Le Bodeuc 22230 St. Vran Brittany, France

Tel: 0033 296 561549 Mobile: 0033 617 111994 Email:

172 Spendmore Lane, Coppull, Chorley, Lancashire PR7 5BX Tel: 01257 794468 •

Just 10 minutes from M6 junction 27 Open Tuesday - Saturday 10.00am to 4.00pm Wide range of 100% cotton patchwork fabrics, waddings, threads and notions, Janome sewing machine accessories Regular workshops



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STICKY FINGERS 172 Spendmore Lane, Coppull, Chorley PR7 5BX Tel: 01257 794468 • e-mail: admin. Tuesday - Saturday 10am - 4pm Wide range of 100% cotton patchwork fabrics,waddings, threads and notions, Janome sewing machine accessories Regular workshops

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92 British Patchwork & Quilting AUGUST 2018

JANOME XL601 computerised sewign machine for sale. Two years old. Sale due to upgrade. Complete with soft carry case £250. Tel: 01352756312. Collection or arrange courier BERNINA 750 qe sewing machine. One very careful owner. Three & half years old, regularly serviced. Packed in original box. 9Mm feet and accessories: top end quality machine. Includes the Bernina Stitch Regulator. Soft cover with zipped sleeve. Built-In IDT - aka a Walking Foot. Automatic needle threader, and thread cutter. Dozens of utility, heirloom, satin, decorative stitches. Alphabet Fonts. Eleven styles of buttonholes and Colour Touch Screen. Jumbo Bobbins and LED nights. Slide on sewing table and a large detachable extension table. Instruction DVD's and Manual. Will Courier within the UK at buyers risk and cost. View in Lincoln. In excellent condition all round. Bargain price £1200. TELEPHONE: Joan 01522 426172. e-mail: WANTED: Kneeling chair without castors, 3-position prop (not screw adjustment). Can collect 40 mile radius of Gloucester or pay carrier cost. Any reasonable condition. Phone/text Angie 07909 680568. TOYOTA Super Automatic sewing machine. £40. Horn sewing machine cabinet. Cub Plus. Compact when closed. Light beech colour. Two storage boxes for threads accessories. Byer collects. Patricia £150. 01253 824718 Lancs BROTHER Innov-is 750 Embroidery machine. Not yet 3 yrs old. In Excellent condition with USB port, 3




hoops, recently serviced. Very well cared for. £425 ovno. Buyer collects. 01469 540129 near Immingham, Lincs FOR sale Horn 1927 light oak sewing cabinet, cutting table. Maximum storage for machine and overlocker. Excellent condition. Selling due to new sewing room. West Midlands, 01384 567441 £200ono BRITISH Patchwork & Quilting. Magazines from 1999 - 2013 free to anyone to collect. I also have many other magazines - contact for address. Tilt table and extension perspex table for bernina machine 170 aurora/artista machines compatible with 170. £25. Walking foot for aurora 440 or machine compatible £10. Fabric calculator £10. LINCOLN. JANOME 8900QCP Sewing machine 3 years old excellent condition for sale due to upgrade. All original feet. Plus many extras: Small binder foot, Acufeed ditch quilting foot, Acufeed open toe foot, Edge guide foot, Clear view quilting foot and guide set, Large quilt binder set, Ultra glide needle plate & ultra glide foot, DVD. Large quilting table and horn insert to fit Horn Superior cabinet £1050.00 Ono tel: 07796 614688 (Oxfordshire) FLOOR standing plastic quilt frame,113x80x79cm. Also two legs at 50cm to make sloping surface. £40. Buyer to collect. Harrogate/ Selby area or arrange transport. 01423 886821 FOR SALE Pfaff Creation Sensation Pro. This is a sewing and embroidery machine with a host of

amazing features including maxi stitches, ribbon stitches, cutwork embroidery and much more. This machine has done less than 60 hours stitching and is a bargain at £2250 ono. I have upgraded hence reason for Sale. For any further information email or phone 01227 721523. Kent. FOR SALE white singer featherweight vintage sewing machine model 221. all accessories including quarter inch foot and original book plus carry case. midlands area. £200.00. phone 01905 420481 JANOME 9mm Accessories/Feet. All band NEW IN ORIGINAL PACKAGING. Optical Magnifiers 3 Pack, Ultimate Ruffler Attachment Circular Attachment, Flower Stitch Attachment, Acufeed Open Toe, Special Bobbin case for free motion and bobbin work, Appliqué foot, 3-way cording foot, Beading foot, Ditch quilting foot, Piping foot, Pintuck foot, Ribbon/Sequin foot Clear View quilting & guide set Ultra Glide foot, Free motion couching foot set. The above totals an amount of £416, this can be checked through any Janome Dealer. I will take £250 for the lot including packaging and posting. Contact: joandwells47@gmail. com FOR Sale "Quilts UK Fabrications Magazine - First edition included


One to Twenty Eight. "Fabrications Quilting For You" Editions Twenty Nine to Seventy Four. All excellent condition Buyer Collect 01253790208 £50 Lancashire SINGER 14T970C Coverstitch sewing machine. Brand New still in unopened box. The cheapest on line is £579. Selling for £350 for quick sale. Contact Anne on 01425657008. Hampshire. PFAFF Creative 1467 German made in working order. Offers. Phone for details. 01458 851489. Somerset. BERNINA accessories. 36 metal bobbins for CB shuttle models £25 incl. postage. Edge foot 10 (great for stitch in the ditch) £15 incl. postage. Argyll 01852 500546. EASTMAN TAYLOR CL501 dual Overlocker/Coverstitch sewing machine. New, used twice. Still boxed. Cost £1000 last year will accept £525 for quick sale. Collection or will send via Courier. Contact Anne 01425657008 PFAFF PERFORMANCE 5 sewing machine, has had little use. £1250 ONO 01458 851489 HANDIQUILTER HQ Sixteen Longarm quilting machine plus table. Eleven feet. Laser light, ruler, table. £2000. Collect. 01430 801188. East Yorkshire. BERNINA Aurora 440QE. Newly serviced. Excellent condition. All accessories plus BSR and Walking Foot. Seweezi table. Inserts for machine and solid table top. £750. Buyer collect. Bromley, S London. 02084 625999 BERNINA1015 Swiss made sewing machine in excellent

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We will print your classified advertisment in the next available issue of Patchwork & Quilting Magazine. Classified adverts received after the copy date may be sell your data with/to third parties. Details you share with us will be managed as outlined in our Privacy Policy here held over for the following issue. We advise you to print clearly (capital letters) the text of your advert and indicate which section you would like your advert to Please visit for full terms & conditions. appear in. No responsibility will be accepted for misprints or printing errors. FREE Classified Adverts - To advertise in our Classifieds section, please send us your advert (maximum 30 words) to Classifieds, P&Q Magazine, P.O. Box 129, Monmouth, NP25 9BF, or email with 'CLASSIFIEDS' in the subject line. Please print clearly using capital letters in the coupon above and indicate whether the goods referred to are 'wanted' or 'for sale'. We will print your classified adverts in the next available issue, classified adverts received after copy date may be held over to the following issue. No responsibility will be accepted for misprints or printing errors.

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REGULAR // from you to us




At P&Q we always love to see readers’ quilts and projects and hear your thoughts and stories too. Please send in your photos, emails and letters - we will try to feature as many as we can. Write to P&Q Magazine, MyTimeMedia Ltd, P.O. Box 129, Monmouth NP25 9BF or email

STAR LETTER ROARING GOOD READ! For several years I enjoyed a subscription to P&Q until there came a point that I was running out of room to house my collection and decided to give it up. However, I still occasionally treat myself to a copy and peruse it with great pleasure. Imagine my delight, on purchasing the June edition, to see your dinosaur quilt as I recently made such a one for my seven year old grandson. I could not find a dinosaur fabric that I thought suitable so decided to go with silhouettes. Here again I had difficulties as, if I found an image I liked on a website, it was far too small when printed. Then I had a bright idea and looked for a child’s colouring book. What turned up was even better - a book of embroidery transfers! I traced the outlines I wanted onto bondaweb, transferred them onto black fabric and then appliquéd them onto panels to be included within the quilt. Noah loves green so I used that as the predominant colour in the background and he was delighted with the result. I have already made an owl quilt for his elder sister, am in the process of making a Sunbonnet Sue quilt for his younger sister, and, in the future, will need to come up with ideas for their baby brother. Perhaps I should renew my subscription! Chris Scott, by email.

To inspire Chris we will send her a copy of Baby Quilts for Beginners.

94 British Patchwork & Quilting


What a lovely story Chris. We love to hear what people are doing an how funny that you just finish a dinosaur quilt and we publish one. Here at P&Q we try and provide many different projects for all tastes and levels and it is really great to see your efforts and of course I would say renew your subscription! We’ve sent you a lovely book to help inspire your next baby quilt too! Helen

REGULAR // show & tell

STELLA PRIZE! I was so pleased to win a copy of the ‘Constellations’ book. A lovely book and projects for every month (always someone’s birthday!) I will enjoy making projects from the book. Thank you again. P. Underwood, by letter. I’m so glad you liked the prize you received. I thought it full of different and fascinating quilt ideas. You will have to let us see what you make. Helen.

HELP TO IMPROVE YOUR QUILTING Thank you so much for the book ‘Visual Guide to Patchwork and Quilting’, I’ve so far just flicked through it but there looks to be lots of interesting tips. I’m sure I’ll find lots of things that will improve my quilts! It was a lovely surprise. Marion Inchmore, by email It is always nice to receive something you weren’t expecting Marion. I find I am continually learning from all the lovely tips and hints we get from books and our own magazine. Enjoy your prize. Helen

ROLLESTONE ROAD QUILTERS CREATE FOR PROJECT LINUS A group of local patchwork quilters have been busy the last few months. Making patchwork quilts for babies in hospital. This is for a volunteer organisation called Project Linus UK. Project Linus was formed in 1995 by Karen Loucks in America. Making quilts for sick and traumatised babies, children and teenagers in hospital around the world. Rollestone Road Quilters meet once a fortnight in Holbury, under the guidance of Margaret Mahon. A total of twenty two quilts are ready for dispatch to local hospitals to add to the many being made across the country every month. Margaret Mahon, by email Margaret, thank you for sharing the good work that Rollestone Road Quilters have been undertaking. It is a popular and worthwhile charity which many of our readers provide quilts for. Keep up the good work out there! Helen

ABOVE: Barbara Russell, Beryl Hyland, Mary King, Margaret Mahon, Anne Thomson.

RIGHT: Ann Weaver, Ann Smith, Kathy Honey, Wendy Mould, Mary Stanley

You can also get in touch by visiting our social media sites. Find us on Facebook, Instagram or Twitter. We would love you to join us and share your thoughts, ideas and opinions on Patchwork & Quilting with others in our online community. @pq.mag britishpatchworkandquiltingmagazine @pqmag



PUBLISHED BY MyTimeMedia Ltd Eden House Enterprise Way, Edenbridge, Kent TN8 6HF Phone: 01689 869840 From outside UK: +44 (0)1689 869840 SUBSCRIPTIONS UK - New, Renewals & Enquiries Tel: 0344 243 9023 Email: USA & CANADA New, Renewals & Enquiries Tel: (001)-866-647-9191 REST OF WORLD New, Renewals & Enquiries Tel: +44 1604 828 748 BACK ISSUES 01795 662976 EDITORIAL Editor: Joanna Kent Assistant Editor: Helen Kent Email: CONTRIBUTORS Khurshid Bamboat, Michael Caputo, Naomi Clarke, Chris Franses, Sylvia Gorman, Stuart Hillard, Collette Howie, Diana Jennings, Helen Kent, Joanna Kent, Jenny Strong, Marijke van Welzen PRODUCTION Design: Alex Marshall Photography: Sharon Cooper ADVERTISING Account Manager: Angela Price Email: Tel: 07841 019607 Group Advertising Manager: Rhona Bolger Email: Tel: 01689 869891 MARKETING & SUBSCRIPTIONS Kate Hall Email: MANAGEMENT Chief Executive: Owen Davies © MyTimeMedia Ltd. 2018. All rights reserved ISSN 0268-5620 The Publisher’s written consent must be obtained before any part of this publication may be reproduced in any form whatsoever, including photocopiers, and information retrieval systems. All reasonable care is taken in the preparation of the magazine contents, but the publishers cannot be held legally responsible for errors in the contents of this magazine or for any loss however arising from such errors, including loss resulting from negligence of our staff. Reliance placed upon the contents of this magazine is at reader’s own risk. BRITISH PATCHWORK & QUILTING, ISSN 0268-5620, is published monthly by MYTIMEMEDIA Ltd, Eden House, Enterprise Way, Edenbridge, Kent TN8 6HF, UK. The US annual subscription price is 65GBP. Airfreight and mailing in the USA by agent named Air Business Ltd, c/o Worldnet Shipping Inc., 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA. Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send address changes to Patchwork & Quilting, Worldnet Shipping Inc., 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA. Subscription records are maintained at 3 Queensbridge, The Lakes, Northampton, NN4 7BF. Air Business Ltd is acting as our mailing agent.

SUNBEAM As we have learnt before, the Denver Post during 1931 published a new quilt in instalments. This beautiful series of patchwork blocks were created by Ruby Short McKim (1891 1976). Her quilt patterns were hugely popular and her family generously republishes her designs for quilters everywhere to enjoy. This block was also later published in the Chicago Tribune in July 1933 by Nancy Cabot. Obviously a popular block! The Sunbeam block has rays of light shining from a central square. It does require set in seams and would look stunning as an all over block quilt as well as the original sampler design, ideally in bright and cheerful yellows and oranges.

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