Fabric Vine

patterns • decorating tips • fiber art • culture

Issue No. 1

Quilting and design ideas for inspired minds

Celebrating the return of

NOBU FUJIYAMA with the Crane Dynasty Collection available Now

The age old tradition of textile artistry passed down through the generations continues with this limited edition group.

Look inside to tour the Crane Dynasty Gallery‌

www.konabay.com

NOBU FUJIYAMA Crane Dynasty Collection

EXOT-06 Scarlet

CRAN-12 Tan CRAN-11 Tan

EXOT-06 Black

CRAN-10 Brown ACTUAL SIZE (see full design on next page)

The new Nobu Fujiyama Crane Dynasty collection introduces us to the elegantly attired women of the court. We can imagine the exquisitely embroidered silk robes and graceful accessories.

We join them in the serene courtyard complete with well cared for cranes which symbolized immortality in early Asian mythology.

CRAN-13 Tan

CRAN-10 Brown • 24� repeat CRAN-14 Tan

EXOT-06 Tan

EXOT-06 Green EXOT-06 Blue

NOBU FUJIYAMA Crane Dynasty Collection

EXOT-06 Gold CRAN-12 Indigo

CRAN-10 Indigo • 24” repeat

CRAN-14 Indigo

EXOT-06 White EXOT-06 Indigo EXOT-06 Scarlet

CRAN-10 Indigo ACTUAL SIZE

CRAN-11 Blue

EXOT-06 Green

CRAN-13 Indigo

contents

Vol 1 Issue 1

quilts Quilts for Any Season Four easy quilts in seasonal colors

18

Serene Wall Quilt

32

Let It Shine Crib Quilt

44

Brighten up a little one’s crib

Stitch n’ Wine Wall Quilt Express your favorite words of wisdom

61

Travel Tote

83

Versatile Fabric Collage Create one-of-a-kind fabrics

Tone It Up Quilts

104

Bring a burst of color to any room

120

Garden Escape Quilt

136

features Jenny Bugs Quilt Shop Coming soon to a quilt show near you

14

What Types of Wine Glasses Do You Really Need

96

Wine Bottle Light An easy and chic DIY project

101

Special thanks to:

Used exclusively and recommended by Asian Fabric™

8 fabric vine 2014

departments Publisher’s Note

10

How To Use the Magazine

11

Book Review

55

Travel Red Mountain

Food Japanese Comfort Food

68 92

What I Did With My Kona Bay Fabric

115

General Instructions

146

Guess Who is in the Wine Business?

Here’s a hint...

He has been bringing you beautiful fabric for over 20 years. Read all about it on page 80

2014 fabric vine 9

publisher’s note

As I write, I am flying back to Seattle after showing our newest fabric releases in the Kona Bay Fabrics booth at the International Quilt Market in Houston.

Kona Bay Fabrics has been exhibiting at Quilt Market since 1991. We always enjoy getting together with quilt shop owners, entrepreneurs and quilters.

For many businesses in the quilting industry—big or small—it is THE event of the year. Two days after Market, Quilt Festival, which is the nation’s largest quilting consumer show, begins. Both shows elicit delight in many.

Kona Bay Fabrics made several exciting announcements at Market that I can’t wait to share with you now...

Asian Fabric magazine, of which tens of thousands have come to know and love over the years and continue to download for free, has now changed its name to Fabric Vine magazine. Our main reason for making this fun, new change is that Kona Bay Fabrics has evolved from being solely a producer of high quality Asian fabrics.

Over the last several years, Kona Bay Fabrics has successfully expanded into a multitude of design categories. In particular, our Tone It Up fabrics have become a favorite for those looking for stylish tonal prints covering a kaleidoscope of colors that can work with almost every quilt and craft project. Thank you for making our Tone It Up tonal fabrics so popular!!

Secondly, after having a presence in the beautiful and scenic Pacific Northwest since 1993, I have watched with amazement the growth of the Washington wine industry. I have longed to be a part of this amazing, and very tasty trade, and now—I am.

Later this year, our new endeavor Trellis Gate wines will be launched. I am going to incorporate my passion for fabric and quilting with my new love for the Washington wine industry.

Perhaps, not so subtly, you’ve seen recent issues of Asian Fabric magazine make references to Washington wine. Fabric Vine magazine will be our effort to not only showcase our Kona Bay Fabrics but to enjoy a journey together with you as learn more about the emerging Washington wine industry.

10 fabric vine 2014

I have been blessed and am very, very fortunate in having made a new friend in Charlie Hoppes.

Charlie owns Fidelitas winery and has garnered fame as an award winning winemaker. He has produced a 100% cabernet from hard to obtain and highly desired Red Mountain grapes for Trellis Gate and I cant wait for it to come out of its barrel aging later this year!!!

Please make sure you read all about our wine and our new endeavor on page 80. Because I feel a special kinship with quilters, it is only fitting and right that our very small limited production of less than 300 bottles be offered first to my friends and supporters. I look forward to letting you know very soon how to obtain our premier Trellis Gate wine.

I hope you are already signed up to receive the Kona Bay newsletter. If not, please do so by going to our web page at http://www.konabay. com. This is where we will be making our special announcement about the wine as well as our usual information about our fabrics.

I hope you will enjoy our fun-filled first issue of Fabric Vine. We appreciate all the support you have granted Kona Bay Fabrics and Asian Fabric magazine!

Mahalo and aloha!!!!

Douglas (Textile Samurai) Eagleson Publisher • douglas@konabay.com http://www.facebook.com/pages/Kona-Bay-Fabrics-SeattleBay-Fabrics-and-Asian-Fabric-Magazine/106593046936?ref=ts

Make the most of Fabric Vine patterns • decorating tips • fiber art • culture

Issue #1 2014 • VOL 1 ISSUE 1

Issue No. 1

Quilting and design ideas for inspired minds

Publisher douglas Eagleson Quilt designer & EDITOR Georgie Gerl ggerldesigner@

comcast.net Facebook: Georgie Gerl Designer

SPECIAL CONTRIBUTORs Marijke van Welzen ASSISTANTS TO PUBLISHER Doris Eagleson 1923–2010 Cheryl Hamai Brittany Eagleson Simpson

Subscriptions Kona Bay Fabrics www.konabay.com 15812 NE 83rd St Redmond, WA 98052 800-531-7913

advertising and editorial inquiries

Share it with a friend 1. Click here and choose a method to share.

2. Follow prompts.

Use the easy links As you scroll over a page, active links will be highlighted in blue.

This enables you to connect to additional pages and download additional patterns.

Print pages You must log in and download the publication before you are able to print.

1. Click Share and then choose the light gray Download link below.

2. Open the .pdf to view and print pages as you wish.

Eagle Publishing www.PublishingPeople.com 328 E. Indiana Ave Spokane, WA 99207 866-638-1115 Editor and associate publisher Vicki Dar nwwoman@mac.com graphic design www.tyann.portfoliobox.me

Kona Bay Fabrics © 2014

Subscribe for FREE— It’s easy!

1. Go to www.konabay.com 2. Click on “Subscribe” 3. Complete the information

Fabric Vine™ is produced six times a year

by Eagle Publishing for Kona Bay Fabrics.

The magazine accepts no responsibility for unsolicited manuscripts or artwork; they will not be returned unless accompanied by a stamped, self-addressed envelope. © Kona Bay Fabrics. All rights reserved. No piece, in part or full, may be reproduced without permission.

2014 fabric vine 11

downloadable patterns from Asian Fabric —$3.99 ea w w w.konabaygifts.com

Asian Fabric back issues —$5 ea

eco friendly insulated hot/cold bags —new designs!

A quilt shop that might be just down the street Jenny Bugs Quilting opened for business in Plano, Texas in 2010. It was the beginning of a new adventure for Ken Pens, the owner. Little did he know, the adventure had only just begun. In 2012, Jenny Bugs made a bold move. They closed the store and embraced a new business model for Jenny Bugs Quilting—one that has proven successful and exciting.

For Ken Pens, this wasn’t the first big transition in his life. He already had a long standing career in the steel industry. After his retirement, one meeting led to another and before long he found himself in the quilting business. Ken shared with amusement, “Now I talk to my customers about yards of material instead of tons.”

After closing the storefront, Ken hit the road. He had found that he loved the quilting business but that a different business model was more suitable. Ken covers many miles every year attending shows in several states as a vendor. Typically, Jenny Bugs loads the truck and takes in the neighborhood of 300 bolts to a show.

Ken maintained a 1,000 square foot warehouse in Plano, Texas where they store fabric, all the display equipment, the truck and all the odds and ends the business requires.

14 fabric vine 2014

Asian themed goods are a primary focus with the balance leaning towards detailed and elegant designs. Many of their fabric selections have metallic accents. 90% of their sales come from cut yardage. Pre-cuts are popular, too.

Their roll packs of 40 —2 1/2” strips go fast. The main fabrics they sell are from Kona Bay Fabrics, Kaufman, Moda and Timeless Treasures although they do have a sampling from other companies as well. To round things out, they also carry some notions, books and patterns.

Ken’s sister, Pegg y, and niece, Michelle, help him a great deal at the shows. Peggy also makes the display quilts you see at the shows. As if Ken isn’t busy enough, he also has an ETSY storefront—JennyBugsQuilting. Visit the ETSY storefront for an idea of what they carry or to buy if you can’t make a show.

We know what you’re all wondering.

Can the man that made the transition from steel to fabric make a quilt? We had to ask. “I have made a quilt but it most certainly is not show quality,” was Ken’s response. There is no doubt, though, that Ken has built a fun and successful quilt business. Seek them out. You won’t be disappointed.

These are the shows Jenny Bugs attended in 2014. They’ll be posting 2015 on ETSY as soon as they have their schedule mapped out.

Oklahoma City Winter Show-Oklahoma City, OK Jefferson Texas Quilt Show, Jefferson, TX Rusty Barn Show, Phoenix, AZ AQS, Phoenix, AZ Rio Grande Valley, McAllen, TX Bear Creek Show, Keller, TX Dallas Quilt Guild Show, Dallas, TX AQS, Paducah, KY Green County Quilters, Tulsa, OK Common Threads, Wichita, Kansas Arlington, TX. Quilt Show, Arlington, TX Irving Quilt Show, Irving, TX Ada Oklahoma Show. Ada, OK Bonham Quilt Show, Bonham, TX Mesquite Texas Quilt Show, Mesquite, TX Plano Quilt Guild, Plano, TX AQS, Grand Rapids, MI. Wisconsin Quilters, Madison, WI AQS, Chattanooga, TN Ozark Piecemakers, Springfield, MO Colorado Quilting Council, Longmont, CO Houston International Quilt Festival, Houston, TX Contact Ken at jennybugsquilt@gmail.com for information on show locations.

2014 fabric vine 15

click quilt for free pattern download

Quilts for Any Season Designer: Georgie Gerl This quick-to-make quilt in seasonal colors is a great size to take to the beach, picnic in the park , football games or keeping you warm by the fire on cold winter nights.

00 fabric vine 2014

2014 fabric vine 00

Fun at the Beach Cutting Chart & Material List

Fun at the Beach Quilt 61” square

material list Backing #w yards Batting 67” x ^&” Use flannel or lightweight batting for beach throw or regular-weight batting for lap quilt.

Cut strips as indicated in chart then cut smaller pieces listed from these strips Featuring fabric from the Happy and Tonal Collections First Cuts

Fabric Name, Placement & Yardage

Fabric A HAPP-01 Blue Background

! !

Next Cuts

@)2” x $@” ! @)2” x !%2” $ ^2” square !)2” x $@” $ !)2” x &2”

Fabric F JETS-01 Cream Background

Fabric B HAPP-04 Blue Stripe

*

!2” x $@”

$ @ @

!2” x @&2” !2” x !!2” !2” x #2”

Fabric C HAPP-05 Blue Stripe

Fabric G BUBB-01 White Background

!) !2” x $@”

Fabric H SWIR-04 Cream Background

s yard

!8 yards

& @w” x $@” Fabric D $ !2” x @)2” @ !2” x $@” SWIR-04 Indigo Stripe & Binding Note: If strips do not measure 42” after

Fabric I BRAN-01 Beige Background

selvage is remove then cut four !2” x $@”strips.

Fabric E HAPP-04 Yellow Stripe

20 fabric vine 2014

&

@2” x $@”

*

#” x $@”

!

@)2” x $@” $ $ !)2” x $@” *

@)2” x #2” @)2” x @2” !)2” x #2”

@)2” x $@” $ @

@)2” x #2” @)2” x @”

*

#” x @&2”

d yard

2 yard

2 yard

Next Cuts

q yard

!8 yards*

d yard

First Cuts

Fabric Name, Placement & Yardage

@

#” x $@”

#

!2” x $@”

$ $ @ $

#” x !!2” #” x #2” !2” x @)2” !2” x !)2”

!

!

w yard *Extra yardage will be needed if “Fussy Cutting” Fabric A pieces amount needed varies depending on motif area selected.

Let’s Begin These easy to construct quilts are fast to make—you can use thin batting or flannel for a lightweight picnic throw or regular-weight batting to make it into a lap quilt.

Before you begin read all instructions. Referring to project Cutting Chart, cut First Cuts strips as indicated in chart then cut smaller pieces listed under Next Cuts from these strips. Refer to General Instructions (pages 146-147) for Accurate Seam Allowances and Assembly Line Method to construct this quilt. Use a 4”-wide seam allowance throughout this project. Press seams in direction of arrows as indicated in each diagram.

Making the Quilt

1. Referring to cutting chart, cut all strips and pieces listed in chart then follow steps below to stitch, press, and cut accent quilt stripes in a variety of fabrics.

2. Sew remaining !2” x $@” Fabric B strips together end-to-end to make one continuous !2”-wide Fabric B strip. Press. Cut two !2” x ^)2” Fabric B strips.

3. Sew !2” x $@” Fabric C strips end-to-end to make one continuous !2”-wide Fabric C strip.

Press. Cut six !2” x ^)2” Fabric C strips.

4. Sew @2” x $@” Fabric F strips end-to-end to make one continuous @2”-wide Fabric F strip.

Press. Cut four @2” x ^)2” Fabric C strips.

5. Sew one !2” x @&2” Fabric B strip between two #” x @&2” Fabric G strips as shown. Press.

Make four. @&2”

#”

!2” #” Make $

6. Sew one ^2” Fabric A square between two units from step 5 as shown. Press and label Vertical Rows 1 and 7. ^2”

^2” Make @ Vertical Rows 1 & 7

7. Sew one !2” x !)2” Fabric E strip between two !)2” x #2” Fabric H pieces as shown.

Press. Make four. !)2”

#2” !2”

#2” Make $ 2014 fabric vine 21

8. Sew one !2” x @)2” Fabric E strip between two @)2” x #2” Fabric H strips as shown.

Press. Make two. @)2”

#2” !2” #2”

Make @

9. Arrange and sew together two units from step 7, two !)2” x &2” Fabric A pieces, and one unit from step 8 as shown. Press. Make two. !)2”

!)2”

&2” Make @

10. Sew one unit from step 9 between two 1!2” x ^)2” Fabric C strips as shown. Press and label Vertical Rows 2 and 6. ^)2”

!2”

!2” Make @ Vertical Rows 2 & 6

11. Arrange and sew together two @2” x ^)2” Fabric F strips, one !2” x ^)21” Fabric B strip, and one !2” x ^)2” Fabric C strip as shown. Press. Make two and label Vertical Rows 3 and 5. ^)2”

@2” !2” @2”

!2” Make @ Vertical Rows 3 & 5

12. Sew one !2” x @)2” Fabric D strip between one @)2” x @2” Fabric H strip, and one @)2” x #2” Fabric I strip as shown. Press. Make four. @)2”

@2” !2” #2” Make $

22 fabric vine 2014

13. Sew one 1 ! 2” x !!2” Fabric B strip between two #” x !!2” Fabric E strips as shown. Press. Make two. Sew one !2” x #2” Fabric B piece between two #” x #2” Fabric E pieces as shown. Press. Make two. !!2”

#2”

#”

#”

!2”

!2”

#”

#” Make @

Make @

14. Referring to center section of diagram below, sew one ^2” Fabric A square between two units from step 13, one of each variation.

Press seams toward Fabric A. Make two. Sew unit from this step between two units from step 12 as shown. Press. Make two.

Make @

15. Sew one @)2” x !%2” Fabric A piece between two @)2” x @” Fabric I strips as shown. Press. @”

!%2”

 facebook.com/KonaBayFabrics

@”

@)2”

2014 fabric vine 23

16. Sew unit from step 15 between two units from step 14 as shown. Press and label Vertical Row 4.

Vertical Row 4

17. Referring to diagram below and quilt layout to arrange and sew vertical rows together from steps 6, 10, 11, and 16. Press.

Finishing the Quilt 1. Cut backing fabric piece into two equal pieces. Sew pieces together to make one ^&” x *)” approximate backing piece. Press and trim backing to measure ^&” x ^&”.

2. Refer to General Instructions (pages 146–147) for Finishing the Quilt. Layer and baste backing, batting, and quilt top together. Hand or machine quilt as desired. Refer to Binding the Quilt and bind as desired.

24 fabric vine 2014

Before you Begin

Cutting the Fabric

This quilt is made slightly different than the Fun at the Beach quilt, read information on this page prior to cutting and making the quilt.

The Harvest Time quilt uses two different Fabric A pieces and the large square is cut smaller than listed on chart to allow for a Fabric D border.

Harvest Time Quilt • 61” square

• From q yard Fabric A piece cut one !*2” x !#2” and four ^2” squares. From the a yard Fabric A piece cut four !)2” x &2” pieces.

• For Fabric D cut seven @w” x $@” strips for binding and cut four !2” x $@” strips for stripes and center block border. From !2”-wide strips cut six !2” x @)2” strips and two !2” x !#2” strips. Note: If strips do not measure $@” after selvage is remove then cut six !2”-wide strips instead.

Fabric Name, Placement & Yardage

Fabric A RFOR-01 Harvest & Green

Background

q yard & a yard

Fabric Name, Placement & Yardage

Fabric F MOVE-01 Taupe Background

q yard

Fabric B SHAD-26 Grass Stripe

Fabric G EXOT-06 Gold Background

2 yard

d yard

Fabric C FANC-01 Rust Stripe

Fabric H SHAD-22 Brass Background

s yard

!8 yards

Fabric D MUMM-01 Gold Stripe & Binding

Fabric I RFOR-01 Gold Background

d–-! yard

w yard*

Fabric E BRAN-01 Gold Stripe

2 yard

Backing #w yards Batting 67” x ^&” *Extra yardage will be needed if “Fussy Cutting” Fabric A pieces.

• Cut remaining fabrics as listed on Fun at the Beach (page 20) chart.

Sewing the Quilt

1. Sew one !*2” x !#2” Fabric A piece between two !2” x !#2” Fabric D strips. Press seams toward Fabric D. Sew this unit between two !2” x @)2” Fabric D strips. Press. Use this unit in place of @)2” x !%2” Fabric A piece in Fun at the Beach quilt instruction.

2. Refer to Fun at the Beach Quilt instruction on pages 20– 24 to make this quilt.

2014 fabric vine 25

Before you Begin This quilt is made slightly different than the Fun at the Beach quilt , appliqués are added to Fabric A pieces prior to sewing the quilt together.

Read information below prior to making the quilt. Refer to Fun at the Beach cutting chart (page 20) to cut all strips and pieces.

3. Refer to layout below and on page 19 to arrange and fuse appliqués to Fabric A squares and rectangles. Finish all appliqué edges with machine satin stitch or decorative stitching as desired.

4. After Fabric A units are stitched refer to Fun at the Beach Quilt instructions on pages 20–24 to make this quilt.

Winter Wonder Quilt • 61” square

Adding the Appliqué

The instructions given are for Quick Fused Appliqué Method for other methods refer to General Instructions (pages 146–147) for Appliqué Technique. Note: It is recommended to use removable stabilizer on the wrong side of the fabric when machine appliquéing. This will give stability to the piece, even stitching, and prevent puckering of fabric. Optional: If desired snowflakes can be embroider by hand or machine. For hand embroider trace snowflake designs on Fabric A pieces using a removable fabric marker.

1. T r a c e a l l S n o w f l a k e Patterns, two of each design (pages 27–29) on paper side of lightweight fusible web leaving 2” space between pieces. Cut approximately 4” away from trace line.

2. With fusible web paper-side up, fuse to wrong side of fabric scraps following manufacturer’s instructions. Cut on traced line.

26 fabric vine 2014

Fabric Name, Placement & Yardage

Fabric A SHAD-21 Navy Background

Fabric Name, Placement & Yardage

Fabric F BUBB-01 White Background

!8 yards*

q yard

Fabric B BRAN-01 Gold Stripe

Fabric G SHAD-24 White Background

2 yard

d yard

Fabric C SNOW-1 Gold Stripe

Fabric H HAPP-04 Blue Background

s yard

!8 yards

Fabric D SHAD-24 Indigo Stripe & Binding

Fabric I MIKO-03 Blue Background

d yard

w yard

Fabric E SNOW-01 Blue Stripe

2 yard

Snowflakes Assorted Scraps Lightweight Fusible Web 1! yard Backing #w yards Batting 67" x ^&"

Winter Wonder Quilt Make two of each snowflake Trace Line

2014 fabric vine 27

Winter Wonder Quilt Make two of each snowflake Trace Line

28 fabric vine 2014

Winter Wonder Quilt Make two of each snowflake Trace Line

2014 fabric vine 29

Before you Begin This quilt is made slightly different than the Fun at the Beach quilt read information below prior to cutting and making the quilt.

Spring is In the Air Quilt • 61” square

Cutting the Fabric

The Spring is in the Air quilt uses two different Fabric A pieces.

• From the q yard allover butterfly print cut one @)2” x !%2” and four ^2” Fabric A squares.

• The panel squares will be cut into smaller sections, four !)2” x &2” pieces. The remaining two panels can be made into pillows to add a decorative accent to the room.

• Cut remaining fabrics as listed on Fun at the Beach (page 20) chart and follow instructions to make the quilt.

Fabric Name, Placement & Yardage

Blocks

Fabric F FANT-03 Cream Background

q yard & 1 Panel

q yard

Fabric A FANT-02 & 01 Magenta

Fabric B FANT-04 Magenta Stripe

Fabric G FANT-04 Cream Background

2 yard

d yard

Fabric C FANT-04 Purple Stripe

Fabric H FANT-04 Green Background

s yard

!8 yards

Fabric D EXOT-06 Green Stripe & Binding

Fabric I FANT-03 Yellow Background

d yard

w yard

Fabric E EXOT-06 Purple Stripe

2 yard

30 fabric vine 2014

Fabric Name, Placement & Yardage

Backing #w yards Batting 67” x ^&” Note: Fantasy Butterflies fabrics will be available at quilt shops in Feb. 2015.

On view now through December 21

“Art Quilts from the John M. Walsh III Collection”

Lay of the Land by Valerie S. Goodwin, 54" X 84" triptych

Rio Hondo by Katie Pasquini Masopust, 40" X 60"

A once-in-a-lifetime chance to see the stunning exhibit!

Featuring 54 quilts from the Collection (the most ever seen in a single setting), this exhibit includes works from masters of the art quilt like Michael James, Therese May, Terrie Hancock Mangat, Nancy Crow, Linda Colsh, Velda Newman, Susan Shie, Arydyth Davis, and Robin Schwalb.

Don’t miss out!

140 West Colorado | La Grange, Texas 78945 | Phone 979-968-3104 | Fax 979-968-6010 www.TexasQuiltMuseum.org 2014 Asian Fabric 00

Designer: Georgie Gerl This serene fabric panel will become an artistic element in the creation of a tranquil room setting.

Serene Wall Quilt Cutting Chart & Material List Serene Wall Quilt 51” x 66” Featuring fabrics from the Serene Collections.

Note: The wall chart doesn’t have a Fabric J this is only used in the complimentary Serene Bed Quilt instructions available at www.konabay.com.

material list Backing #4 yards Batting %&" x &@" Cut strips as indicated in chart then cut smaller pieces listed from these strips Fabric Name, Placement & Yardage

Fabric A NOBU-86 Indigo Background

!3 yards

First Cuts ! @

!)" x $@" #2" x $@"

*

@2" x $@"

!

Fabric B NOBU-80 Indigo Feature Panel

!

!2" x $@"

Next Cuts @ $ $ $ $ $ $ @ @

!)" x !)2" #2" x &2" #2" x ^2" @2" x !@2" @2" x $2" @2" squares @2" x @" !12" x ^2" !2" x @2"

!*2" x #&2"

! @

@ @

Fabric E NOBU-86 Taupe Panel Border

@ @ $ $

!2" x #(2" !2" x !*2" !2" x ^2" !2" x $2"

!

@2" x $@"

$ @ $

@2" x $2" !2" x #2" !2" x @"

Fabric H

!

$2" x $@"

Accent

@ $

%

$2" x *2" @" x @2"

!2" x $@"

^ !

@w" x $@" !2" x $@"

w yard

!

!" x $@"

@ @ $ * $

!2" x !)2" !2" x *2" !" x #2" !" x @2" !" x !2"

Fabric J NOBU-86 Blue Border Accent

@

#2" x $@"

$ $

#2" x !!2" @2" x $2"

#

%2" x $@"

! #

@" x $@" !2" x $@"

@ @ * *

%2" x #%2" %2" x !%2" @" x $2" !2" x !!2"

a yard Fabric G NOBU-83 Taupe Accent

8 yard

Fabric I

(yardage varies depending on motif selection)

Border & Binding

#

NOBU-86 Dark Taupe

!%2" x %2" %2" x !)2"

!2" x $@"

@ $

!2" x #(2" !2" x #2"

3 yard Extra fabric may be needed for “Fussy Cut" pieces; amount varies depending on motif selection and fabric repeat.

34 fabric vine 2014

!2" x $@"

*2" square $2" squares

(yardage varies depending on motif selection)

s-w yard

Next Cuts

%

Fabric F NOBU-84 Blue Accent Border

2 yard

3-2 yard

Fabric D NOBU-82 Black Border Feature

First Cuts

NOBU-84 Light Taupe

! panel Fabric C NOBU-81 Indigo

Fabric Name, Placement & Yardage

3 yard Fabric K NOBU-85 Indigo Outside Border

d-!8 yards

Let’s Begin Before you begin read all instructions.

Referring to project Cutting Chart, cut First Cuts strips as indicated in chart then cut smaller pieces listed under Next Cuts from these strips. Refer to General Instructions (pages 146–147) for Accurate Seam Allowances and Assembly Line Method to construct this quilt. Use a 4”-wide seam allowance throughout this project. Press seams in direction of arrows as indicated in each diagram.

4. Sew one unit from step 3 between two #2” x &2” Fabric A pieces as shown. Press.

Make two.

72”

#2” Make 2

5. Sew one @2” x $2” Fabric A piece to one @2” x $2” Fabric G piece as shown. Press.

Make four. $2”

@2” @2”

Making the Quilt

1. Sew one #2” x ^2” Fabric A piece to one !2” x #2” Fabric E as shown. Press. Make four. #2”

72”

Make $

6. Sew one $2” x *2” Fabric H piece between two units from step 5 as shown. Press. Make two.

82”

^2”

$2”

!2” Make @

Make $

2. Sew one !” x !2” Fabric I piece to one !2” x @” Fabric G piece. Press. Make two. Sew one unit from this step between two !” x 1@2” Fabric I pieces. Press. Make two. !2”

!”

!”

!”

@2”

@” Make $

7. Sew one unit from step 4 to one unit from step 6 as shown. Press. Make two. Sew one unit from this step between two units from step 1 as shown. Press. Make two.

Make $

3. Sew one !2” x @2” Fabric A piece to one unit from step 2 as shown. Press. Make two.

Make 2

@2”

!2”

Make @

Make 2

2014 fabric vine 35

8. Sew !*2” x #&2” Fabric B panel between two !2” x !*2” Fabric F strips. Press seams toward Fabric F. Arrange and sew together two !2” x #(2” Fabric E strips, two !2” x #(2” Fabric F strips, and unit from this step as shown. Press. !2” !2”

9. Sew unit from step 8 between two units from step 7 as shown, checking orientation of units prior to sewing. Press.

!2” !2”

#(2”

10. Sew one unit from step 2 between two @2” Fabric A squares. Press. Sew one !2” x ^2” Fabric A strip to unit from this step.

Press. Make two. ^2”

@2”

@2”

!2”

@2” Make 2

Make 2

11. Sew one $2” Fabric C square between two !2” x $2” Fabric F strips. Press seams toward Fabric F. Sew this unit between two !2” x ^2” Fabric F strips as shown. Press. Make two. !2”

!2”

^2”

Make 2

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12. Sew one !2” x #2” Fabric G piece between two !” x #2” Fabric I strips as shown. Press.

Make two and label Unit 1. Make two. Sew one @2” x @” Fabric A piece to one @” x @2” Fabric H piece as shown. Press. Make four and label Unit 2.

Unit 1

Unit 2

!” !2” !”

@2”

@”

#2” Make 2

@” Make 4

13. Sew one Unit 1 between two of Unit 2 as shown. Press. Make two. Note: One unit will be turned 180º when assembling the quilt.

Check orientation of center unit prior to sewing pieces together.

Make 2

14. Sew one unit from step 11 between one unit from step 10 and one unit from step 13 as shown. Press. Make two.

Pattern by Cheryl Kuczek of Paradiso

Make 2

15. Sew one unit from step 14 between two @2” x !@2” Fabric A strips as shown. Press.

Make two. @2”

@2”

 facebook.com/KonaBayFabrics

!@2”

Make 2 2014 fabric vine 37

16. Sew one *2” Fabric C square between two !2” x *2” Fabric I strips. Press seams toward Fabric I. Sew this unit between two !2” x !)2” Fabric I strips as shown. Press.

!2”

!2”

!)2”

17. Arrange and sew together two !)” x !)2” Fabric A pieces, two units from step 15, and unit from step 16 as shown. Press. !)”

!)”

!)2”

18. Sew @2” x $@” Fabric A strips end-to-end to make one continuous @2”-wide Fabric A strip. Press. Measure units from step 9 and 17 through center from top to bottom (these measurements should be the same. Cut three @2”-wide Fabric A strips to that measurement.

Note: Fabric A strips should measure @2” x %#2”, if measurement varies from this then cut three strips to appropriate measurement you obtained for rows. Sew rows together. Press. @2”

@2”

@2”

%#2”

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19. Measure quilt from side to side. Cut two !2”-wide Fabric H strips to this measurement. Sew to top, and bottom of quilt. Press seams toward border.

20. Sew !2” x $@” Fabric H strips end-to-end to make one continuous !2”-wide strip. Press. Measure quilt through center from top to bottom, including borders just added. Cut two !2”-wide Fabric H strips to that measurement. Sew to sides of quilt and press.

21. Sew one #2” x !!2” Fabric J strip between two !2” x !!2” Fabric K strips as shown. Press. Make four. Sew one @2” x $2” Fabric J strip between two @” x $2” Fabric K strips as shown. Press. Make four. !2” #2” !2”

@”

@2”

@”

$2" !!2" Make 4

Make 4

22. Arrange and sew together one %2” x !)2” Fabric D piece, two units from step 21 (one of each variation), and one %2” x !%2” Fabric K pieces. Press. Make two. Referring to layout sew units to top and bottom of quilt. !)2”

!%2”

%2” Make 2 Top & Bottom rows

23. Arrange and sew together one !%2” x %2” Fabric D piece, two units from step 21 (one of each variation), and one %2” x #%2” Fabric K piece. Press. Make two. Referring to layout, sew these units to side of quilt. Press. !%2”

#%2”

%2” Make 2 Side Border rows

Finishing the Quilt 1. Cut backing fabric piece into two equal pieces. Sew pieces together to make one %*” x *)” approximate backing piece. Press and trim backing to measure %*” x &@”.

2. Press backing and quilt top trimming all excess threads. Refer to General Instructions (pages 146– 147) for Finishing the Quilt. Layer and baste backing, batting, and quilt top together. Hand or machine quilt as desired. Refer to Binding the Quilt and bind as desired.

2014 fabric vine 39

click quilt for pattern download

click quilt for free pattern download

Let it S Crib Q

Designer: Georgie Gerl Son, daughter or grandchild they light up your life like the brilliant sun shining on the water, bring the shining light of love to your little one’s crib.

Shine Quilt

Let’s Begin This project uses a simple piecing technique with a machine appliqué large sun over the water with waves lapping near the shore. Before you begin read all instructions and use a 4”wide seam allowance throughout this project.

Making the Quilt

The instructions given are for Quick Fused Appliqué Method for other methods refer to General Instructions (pages 146–147) for Appliqué Technique. Note: It is recommended to use removable stabilizer on the wrong side of the fabric when machine appliquéing. This will give stability to the piece, even stitching, and prevent puckering of fabric. Note: It is easier to sew appliqués to Fabric A (sky) prior to sewing the quilt together.

Let it Shine Crib Quilt Cutting Chart & Material List Let it Shine Crib Quilt • 46” x 61”

material list Backing @d yards Batting %!" x ^^" Appliqués Sun Center 3 yard Large Rays 2 yard

Small Rays 3 yard Small Rays 3 yard Lightweight Fusible Web ! yard Stabilizer ! yard

Fabric Name, Placement & Yardage

Fabric A Happy-04 Blue Sky Fabric B SHAD-10 Teal Distant Water

First Cuts

@s yards @

#2" x $@"

3 yard

@ $2" x $@" Fabric C SHAD-08 Aqua Mid-Water a yard @ @2" x $@" Fabric D LAIR-05 Blue Shoreline Water 4 yard Fabric E SWIR-04 Ivory Sand

@

%2" x $@"

2 yard

^ @w" x $@" Fabric F BUBB-01 Orange Binding & Large Rays 1 ! yard

46 fabric vine 2014

1. Cut Fabric A piece into two equal pieces.

Sew pieces together to make one $&” x *)” approximate Fabric A piece. Press and trim backing to measure $&” x $*”. After appliqués have been sew to center of unit piece unit will be trim to measure $%2” x $^2” (step 4).

2. Referring to Let it Shine Patterns on pages 48–51, trace patterns aligning placement lines to make whole templates. Using these templates trace all sun elements and waves on paper side of lightweight fusible web leaving 2” space between pieces. Cut approximately 4” away from trace line.

3. With fusible web paper-side up, fuse to wrong side of fabric following manufacturer’s instructions. Cut on traced line.

4. Refer to layout on pages 44 and 46, to arrange and fuse sun appliqués to $&” x $*” Fabric A piece Tip: For easy placement of sun on fabric use an appliqué pressing sheet, page 147, to make appliqué units. Finish all appliqué edges with machine satin stitch or decorative stitching as desired. Square unit to measure $%2” x $^2”.

8. Refer to layout on pages 44 and 46 and steps 1–4 instructions, to arrange, fuse, and sew waves to unit from step 4. Press.

9. Sew unit from step 4 to unit from step 8 to complete the quilt top.

Finishing the Quilt

1. Cut backing fabric piece into two equal pieces. Sew pieces together to make one %!” x *)” approximate backing piece. Press and trim backing to measure %!” x ^^”.

2. Press backing and quilt top trimming all excess threads. Refer to General Instructions (pages 146–147) for Finishing the Quilt.

Layer and baste backing, batting, and quilt top together. Hand or machine quilt as desired. Refer to Binding the Quilt and bind as desired.

5. Sew #2” x $@” Fabric B strips end-to-end to make one continuous #2”-wide Fabric B (Distant Water) strip. Press. Cut one #2” x $%2” Fabric B (Distant Water) strip.

6. Referring to step % to sew $2”-wide Fabric C (Mid-Water) strip, @2”-wide Fabric D strip (Shorline Water), and %2”-wide Fabric E (Sand) strip. Press. Cut each strip to measure $%2” length.

7. Referring to layout on pages 44 and 46, arrange and sew together #2” x $%2” Fabric B strip, $2” x $%2” Fabric C strip, @2” x $%2” Fabric D strip, and %2” x $%2” Fabric E strip.

Press.

2014 fabric vine 47

Trace Line Placement Line

Let It Shine Crib Quilt

Large Sun Ray (Top)

AppliquĂŠ Templates reversed for Quick-Fused Method Trace pieces aligning placement lines to make a whole pattern piece.

A Make 8

(Top) B 48 fabric vine 2014

Large Sun Ray (Bottom)

A Small Sun Ray (Bottom) B Make 8 (four of each color)

Let It Shine Crib Quilt AppliquĂŠ Templates reversed for Quick-Fused Method Trace pieces aligning placement lines to make a whole pattern piece.

Trace Line Trace Line (hidden under appliquĂŠ) Placement Line

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Trace Line Placement Line

Let It Shine Crib Quilt Trace twice aligning placement lines to make a whole 10� circle template.

50 fabric vine 2014

Large Wave

C

C Make 4

Bottom

Top Trace Line Placement Line Trace pieces aligning placement lines to make a whole pattern piece.

D

Small Wave

Make 5 (one will be cut to fit in layout)

Let It Shine Crib Quilt AppliquĂŠ Templates reversed for Quick-Fused Method

2014 fabric vine 51

Butterfly Fantasy

click quilt for free pattern

Watch for more information about the just released book, Fabric Play, in the next issue of Fabric Vine. Plus, we’ll be giving away copies…

Author Deanne Moore

Don’t miss out—Subscribe Now

book review

by Vicki Dar

Complex Cloth

A Comprehensive Guide to Surface Design

Although not a recent release for The Patchwork Place, the copyright reads 1996, the lessons to be learned in Complex Cloth are timeless.

The artist and author, Jane Dunnewold, is recognized internationally for her efforts to educate creative souls around the globe about surface design.

What comes to mind when you think of ‘surface design?’

It can mean different things to different people. “The world is 2014 fabric vine 55

a miraculous and fascinating place, and ideas for surface designs are everywhere,” Jane, our author, explains. “You may make wondrous cloth based on what you learn in this book (Complex Cloth), but if your eyes are newly opened to the world around you, we will have both succeeded beyond these limited pages.”

Are you one of the many fabric enthusiasts who love the look of batiks and rich tonal fabrics?Fabric motifs come and go and seem to have a limited timeframe where they are the prevailing favorite.

The subtle beauty of rich tonals is not one of them. Few of us, though, may have considered creating our own textiles whose depth and complexity would offer the

56 fabric vine 2014

perfect mix for our next project.

Think again. Complex Cloth will not only inspire you, it is like a class in a book complete with a thoughtful teacher who brings years of teaching experience and artistic application to the table. The fee is only $29.99 and you can go back and repeat any class lesson again and again. One hundred sixty pages filled with knowledge equals extreme value. You will not only be prepared to create your own fabric, you will be anxious to start.

Jane starts with two pages titled, “Organizing Your Work Space.” Here, we are assured, regardless of our work space limitations, we can be successful. Even if you have the good fortune of possessing

designated studio space with all the bells and whistles, the tips shared are worth reading.

Make sure you don’t pass over page 14 and 15, “Fabrics,” before you get started.

As Jane notes in the first paragraph, “The fabric you choose for creating complex cloth has a great deal to do with the success of failure of your project.” Critical information, indeed. As a matter of a fact, you’ll want to read the book through before you do anything.

Moving on, I particularly liked Jane’s simple but thorough “Glossary of Color Terms” on page 16. If you’ve ever found yourself questioning how something so cheerful can be so maddening, I suspect color may have been the source of your frustration. The book, art schools and many wise artists suggest getting a color wheel— this is the time to go with the majority.

Combine a color wheel with Jane’s glossary and you’ll be ready to be your creative color best.

Throughout the book, you’ll enjoy well chosen, mindful, full color photos which inspire, demonstrate and document. It’s surprising how the right photo can elevate your level of confidence when venturing 2014 fabric vine 57

into the unknown. Complex Cloth met the challenge of offering the right photo with gusto. Once you’ve browsed the photos, you won’t be able to put the book down.

Brent Kane is the resident photographer at Martingale. His skill in capturing the essence of a project that translates so well into a printed photograph is phenomenal.

The first thing I do with Martingale/ Patchwork Place titles is scan the photos.

Kudos Brent!

Three paths to complex cloth are addressed—Applications, Processes and Accents. Any of these implemented alone can be beautiful. Combined, the paths creatively converge placing you in the intriguing realm of complex cloth.

First, we delve into Applications which include Stamping, Stenciling and SilkScreening Basics. What you learn in these twenty-five pages have filled many a book.

In the case of Complex Cloth, this is only a small percentage of what is yet to come.

Each topic provides clear, concise stepby-step instructions. As you move through the lessons, Jane entices you to journey on by showing examples of stunning pieces of complex cloth she has created.

Processes, the next section, is where

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Jane picks up the pace and jumps into the heart and soul of complex cloth. “A mature cook usually has a few basic recipes—triedand-true favorites that can be altered, adjusted, and seasoned into a host of dishes,” says Jane, “You will use a similar approach to create complex cloth.” I love this comparison.

The lessons for learning the six various processes fill the bulk of the book. Once you’ve learned and practiced everything from dyeing to resists to transfers, it

almost feels like you should be able to apply for a certificate of mastery. Your knowledge base will have expanded greatly from when you began.

The author continually makes us aware that safety measures should be heeded. It is easy to want to forge ahead neglecting precautions when we’re feeling masterful.

Don’t.

One benefit of an experienced teacher is that they are able to anticipate where we will struggle and be prepared to assist

us. I am reassured by the Troubleshooting sidebars that accompany some of the more daunting exercises of originality.

The last section, Accents, caps off an extensive learning curve by touching on embroidery and beading. As you’ll see in Jane’s examples, a few simple stitches and well placed beads can take a project to a whole new level. Although these topics are not covered in depth, they are a good reminder of the value of investing that extra little bit of time to make your project shine.

2014 fabric vine 59

JaNE DUNNEWOLD Jane Dunnewold is a professional artist and teacher. She is the author of Complex Cloth: A Comprehensive Guide to Surface Design and Art Cloth: A Guide to Surface Design for Fabric, as well as several other self-published books. She teaches internationally and in her personal space, Art Cloth Studios in San Antonio, Texas. Visit her website at complexcloth.com.

Dunnewold wraps up her treatise on complex cloth with Studies and Explorations.

Here, the end is the beginning of your journey. The author suggests that we begin by making samples of each of the processes.

Guidelines for ten different projects help us tackle the task of organizing and making samples. Jane notes that the projects are drawn from a class she teaches.

Find Complex Cloth at your favorite quilt shop or bookstore. It is also available at www.shopmartingale.com. The print version sells for $29.99 or the eBook is available for $19.99. I am a big fan of eBooks in certain instances.

60 fabric vine 2014

In this case, I suggest saving to spring for the print version. This is a true reference book that you will want to refer to again and again. In addition, I would be hesitant to have my tablet on the same table where I’m working with liquids.

Let the education and fun begin!

Stitch n’ Wine Designer: Georgie Gerl

Wall Art

“Stitch n’ Wine” or any phrase can be used to express your words of wisdom or sentimental feelings.

2014 fabric vine 00

Stitch n’ Wine Material List

Stitch n’ Wine 9" x 12"

4. Trace leaf patterns (page 64) on paper side of lightweight fusible web leaving 2” space between pieces. Cut approximately 4” away from trace line.

5. With fusible web paper-side up, fuse to wrong side of fabric scraps following manufacturer’s instructions. Cut on traced line.

material list Background* !$” x !&“ Backing !$” x !&“ Batting !$” x !&“ Stretcher Bars (” x !@“* Assorted Fabric Scraps Photo Fabric sheet for printers Lightweight Fusible Web Staple Gun and Staples Optional: Beads, Buttons & Ribbons *Fabric and batting need to be 4-6” larger than stretcher bars (depending on frame depth), piece will wrap around frame and attach to back with staples.

Picture Hanger (optional)

Making the Wall Art 1. Refer to page 66 to print message on photo fabric sheet using home printer. Note: Photo fabric paper comes in either sew-in or fusible either will work for this project. If you decide to use a photo transfer sheet instead, template provided may need to be a reversed image for the process read manufacturer’s instruction for printing requirements. (Optional: phrase can be embroidered if desired.)

2. Cut center heart-shape out of photo fabric from step 1. Fuse or sew piece to background fabric, centering design..

3. Referring to Placement Guide on page 65 and using a light box or window trace design elements for curves and leaf placements using removable fabric marker.

62 fabric vine 2014

6. Refer to photo to arrange and fuse appliqués to background fabric. Finish all heart-shape and leaf appliqué edges with machine satin stitch or decorative stitching as desired.

7. The rest of the background will be odd shape pieces to create a mosaic effect. Note: Now is the time to determine your design preference for fabric placement do you want an all-over fabric mosaic, shades of one color, bands of color etc. After selecting fabric fuse fusible web to back of fabric scraps prior to cutting pieces.

8. Refer to project photo and step photos (page 63) to cut odd-shaped pieces from fabrics placing them on background fabric, once final placement is confirmed fuse sections in place following manufacturer’s directions. Note: Leave space between fabric pieces letting the background show this will give the appearance of grout.

9. Layer and baste backing, batting and top together. Match thread to background fabric, quilt using an all-over meandering stitch to secure all appliqué edges in place.

10. Add any embellishments if desired at this time prior to attaching the piece to frame. Refer to Mounting Fabric Tip Box to attach piece to stretcher bars. Attach picture hanger if desired.

Mounting Frame Art Diagrams shown for a square same process for rectangles. Tyann could please add the text as shown

Center & trace frame on background.

toproject the left.slide interlocking stretcher bars (9�

1. For this and 12� for this project) together checking square my measuring from corner to corner, adjust if needed. Staple at corners to secure in place.

Staple stretcher bars at corners

2. Place quilted unit wrong side facing up and center stretcher bars on top of unit. Pull fabric around bar, staple in the middle of each stretcher bar making sure quilt is taut. Turn unit over to check block placement.

Adjust placement if needed.

Create border first

3. After checking placement continue working from center, stretching and stapling quilt, stopping at corners.

Fill in background with fabric odd shapes.

4. Pull corner tight and check front to make sure there are no ruffles. Fold excess fabric at 90 angle, crease and form corner. Staple tightly to back, repeat for all corners.

Add hanger to back of bar. Note: Panels can be finished using binding strips if stretcher bars are not desired. Cut quilt to desired size before adding the binding.

2014 fabric vine 63

Stitch n’ Wine Appliqué

templates reversed for Quick-fused Appliqué

Phrase Options

Beach Bag/Tote Curve Template to trim bottom bag corners

Photo fabric transfer printed directily on purchase fabric product.

or

Trace words directly on fabric using removable fabric marker, embroider by hand or machine.

Photo shows a machine satin stitch, adjust stitch width as you stitch.

64 fabric vine 2014

2014 fabric vine 65

Trace Line Placement Line

Placement Guide

Use template on page 66 to copy phrase on photo fabric sheet if using photo transfer sheet image may need to be reverse depending on product. Read manufacturer’s instructions prior to printing phrase.

Use image below to trace vines and leaf placement on unit.

Stitch n’ Wine 66 fabric vine 2014

Mikoto II available now

Red Moun

A Hotspot in More Ways T

68 FABRIC VINE 2014

travel

ntain

Than One

O

ne of the more recent additions to Washington state’s viticultural regions is an absolute gem. Known as Red Mountain, this renowned grape growing region benefits from close proximity to the Tri-Cities of Richland, Pasco and Kennewick. This combination of outstanding wineries, hot in the summer and temperate in the winter weather makes Red Mountain the ideal place to spend a vacation.

The Red Mountain American Viticultural Area (AVA) (http://www. redmountainava.com/#) was carved out of the larger Columbia Valley AVA in the southeastern corner of Washington. With a sandy loam soil that boasts plenty of calcium and good PH levels, the grapes that grow here are rich and flavorful. Air drainage is excellent and vines are able to root especially deep. An average growing season of 180 days requires irrigation, as only about six to eight inches of rain fall on Red Mountain each year.

Fortunately, the Yakima, Snake and 2014 FABRIC VINE 69

Columbia Rivers converge nearby so there should always be plenty of water for years to come.

You’ll find Red Mountain in the midst of scenic Benton County. The mountain itself, which might more accurately be called a sizable hill, takes its name from the native cheatgrass, which turns a dark red every spring. It’s an arid, desert climate, and the lush vineyards offer a welcome respite from the naturally dry countryside. The views here are gorgeous. Many of the tasting rooms provide visitors with an opportunity to enjoy the landscape while sipping on an award-winning Merlot or Cabernet Sauvignon.

In fact, famous wines are one of the main reasons that people make the journey to Red Mountain. Three of Quilceda Creek Vintners Cabernet Sauvignons received a coveted grade of 100 from Robert Parker’s publication, internationally respected The Wine Advocate, over the space of several years. Quilceda does not have a tasting room on Red Mountain but they do have an established estate vineyard on Red Mountain.

Red Mountain enjoys an enviable and surprising reputation for an AVA that

70 FABRIC VINE 2014

was just established in 2001. Of course, enterprising grape growers had been in the region long before that. It all started back in 1975 with Jim Holmes and John Williams. They planted 12 acres of grapes that year—the first Red Mountain vineyard. Little did they know…it was history in the making.

Kiona Vineyards (http://www. kionawine.com) has grown to 250+ acres and is a must do when visiting Red Mountain. It’s still owned and operated by the Williams family. Their line up is sizable by Washington standards, with whites, reds and more. The current tasting room which opened in 2007 replaced the humble, original site in the founders basement. It is an architectural beauty and a testament to the rewards of hard work, risk taking and talent.

Holmes went on to establish the respected and award making Ciel Du Cheval vineyards (http://www. cielducheval.com). Their grapes have been sourced and used by talented winemakers to produce hundreds of award-winning wines.

Many of the Red Mountain vineyards are family affairs where day-to-day operations are still managed by the people who own and work the land. That’s part

of what makes it such a pleasure to visit the tasting rooms throughout the AVA. The numerous wineries and vineyards are fascinating and diverse enough to justify a multi-day visit. You will want to check tasting room hours and days ahead of time.

Hedges Family Estate (http://www. hedgesfamilyestate.com) is popular thanks to a lovely setting and outstanding wines. The tasting room is designed after the French Chateau style. It’s a surprisingly fitting style for the surrounding landscape. Be sure to bring a picnic lunch to take full advantage of the blooming gardens in the summer.

You won’t have to travel far to get from 2014 FABRIC VINE 71

one winery to the next. Perhaps about a mile separates one from the others. You will want to drive, though, both because of the terrain and the fact that you’ll no doubt be buying your favorites as you taste.

Although a relative new comer on the Red Mountain scene, Cooper (http:// www.cooperwinecompany.com) is another must-do winery where the folks are passionate about their wine. As you turn onto the trail featuring the wonders of Red Mountain known as Sunset Road, you’ll notice the Cooper red barn that houses the tasting room. The greeter’s name is Bud and he’ll usually be there to welcome you when you step out of your car. He stands about 2 feet high and looks a lot like a chocolate lab. Follow him—he knows the way to the tasting room.

72 FABRIC VINE 2014

There’s a good chance you might even get to meet Neil Cooper, affectionately known as Coop. He’s the man behind the plan. If you’re lucky enough to find him in the tasting room, he can give you amazing insights into the vintages you’re enjoying.

Ask about their 2012 Carmenere. The oldest planting of the Carmenere varietal on Red Mountain is part of the Cooper Estate Vineyard. All of the Cooper wines are consistently delicious and will not disappoint. The plan is working.

Last but not least is Fidelitas (http:// fidelitaswines.com). Fidelitas and it’s down-to-earth winemaker/owner extraordinaire, Charlie Hoppes, holds a special place in the heart of Kona Bay. We’ll get to the reason why (see sidebar) but first—let’s talk wine. Launched in

2000, Fidelitas wines show strongly on the side of red varietals exhibiting deep flavors exacted from educated experience, innate ability and some of the finest fruit in Washington.

Hoppes has sourced grapes from the best of the best vineyards as he built his business. In 2005 he looked to begin planting his own Cabernet Sauvignon on Red Mountain. Although he will still venture off the mountain for fruit from two of the state’s top vineyards, he is focusing on building his brand based on Red Mountain and it’s unique terroir of this small AVA. In addition to Fidelitas, Hoppes is a winemaker and consultant for several other wineries. Winemaking is his business and he has mastered it. Don’t miss the opportunity to try wine mastery

if you visit Red Mountain. Bring a lunch and take advantage of the seating on the patio. It’s as close as you can get to dining in the vineyards. Fidelitas also has a tasting room in Woodinville, on the Western side of the state.

We’ve touched on only handful of the wineries but there are over 15 in the Red Mountain AVA. Plan to visit as many as you can. If you happen to be flying Alaska Airlines into Washington Wine Country (Yakima, Tri-Cities and Walla Walla), be sure to look into their Taste and Tote program. The free membership eliminates tasting fees at all the wineries we’ve mentioned and more. Plus, you’ll be able to ship your first case on Alaska flights without any baggage fees.

While it would be easy to spend a week simply enjoying one Red Mountain 2014 FABRIC VINE 73

winery after another, there is a host of other things to do in the region. The nearby ‘Tri-Cities’ (http://www.visittri-cities. com) of Richland, Pasco and Kennewick are relatively small but still boast a surprisingly rich mix of restaurants and hotels. You’ll find a few bed and breakfast options on Red Mountain itself. However, these are not particularly diverse, and they tend to fill up quickly. If you want more lodging options, look to the Tri-Cities.

Throughout the three cities, you’ll find recognizable chain hotels. Some have been extensively remodeled in recent years as the wine industry continues to grow, and there are options ranging from the super economical to the luxuriously well appointed.

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photo by Jackie Johnston

Also worthy of consideration are some of the area’s independent, locally owned hotels. Kennewick’s Clover Island Inn (http://www.hotelkennewick.com) is particularly notable. It’s located right on the Columbia River waterfront, offering spectacular views. This hotel is also a good choice because of the Crow’s Nest, an upscale yet relaxed eatery offering the finest in local cuisine. You can also borrow a free bike from the property to explore the Sacajawea Bike Trail, a 24 mile circuit that goes right by the hotel and offers a grand tour of the river.

If cycling isn’t your style, the Tri-Cities region has plenty of other active pursuits to explore. With three rivers in the area, spending time on the water is always

a popular choice. Pleasure boating and swimming are relaxing pursuits. Others might want to try a high speed jet boat tour or windsurfing on one of the rivers.

Anyone looking for a pastime that won’t involve getting wet might want to consider birding. The area boasts no fewer than eight National Wildlife Refuges, which makes birding a guaranteed winner in the success department. Plus, the weather is mild all year, so people can indulge a passion for the hobby at any time.

With 300 days of sunshine, we’d be remiss by not mentioning golf. The selection of courses—ranging from relaxing to character building—are notable. Most will find the value a pleasant surprise as well.

2014 FABRIC VINE 75

The Tri-Cities area also has a rich cultural heritage. Of particular note is the White Bluffs Quilt Museum (http:// www.whitebluffscenter.org) in Richland.

The facility serves as a Regional Textile Arts Center and supports crafting organizations throughout the region.

Visitors can tour exhibits at the museum and perhaps participate in a class. Be sure to reserve some time to browse through the offerings at the store. Check the museum’s website before you arrive to see if there are classes that will be occurring during your visit.

In nearby Kennewick, you can visit the East Benton County Historical Society Museum (http://www.ebchs.org). It boasts a wide range of artifacts devoted to agriculture and transportation. Local

76 FABRIC VINE 2014

Native American tribes are highlighted with exhibits of stone tools and petroglyphs. For a fascinating experience of a different sort, visit the Columbia River Exhibition of History, Science and Technology. Diverse exhibits explore the region’s involvement in the beginning of the atomic era, the many roles taken on by the Columbia River and the wildlife that call the Red Mountain area home.

Shopping is another popular pursuit.

Kennewick’s Columbia Center Mall ((http://www.simon.com/mall/ columbia-center/stores) is centrally located and features a surprisingly deep mixture of shops and eateries.

Each of the three cities also boasts distinctive downtown areas. Pasco has a vibrant farmers market and hosts

numerous special events throughout the year. Historic downtown Kennewick (http://historickennewick.org/discoverdowntown-2/shop/) has many fun, eclectic boutiques not found elsewhere.

Visit the Basin Department Store and a few of the many antique and collectible shops. Make certain that 101 West Kennewick Avenue is on your itinerary.

This converted movie house now hosts many interesting stores, a wine bar and the Kennewick Coffee Company. The Richland Parkway is the perfect place to discover local stores and restaurants. It also hosts the city’s farmers market, and is definitely worthy of a visit.

With so much to explore, you’ll need hearty meals to keep your energy up.

Fortunately, the Tri-Cities are loaded

with wonderful dining options. Some of the best come with a view as well as a diverse menu. Anthony’s at Columbia Point in Richland (https://www.anthonys. com/restaurants/detail/anthonys-atcolumbia-point/)f is one of the better upscale choices in Richland. It features gorgeous views and sits right on the river.

Some patrons arrive by boat, mooring at the adjacent marina. Lunch and dinner are served every day, using locally sourced seafood and produce.

Do you love cheese? Then make sure Cheese Louise (http://www.cheese-louise. com) is on the list. Not only a restaurant with cheese themed foods—the likes of Fresh Feta Salsa, 12 Cheese Mac and Cheese or an Apple and Brie Panini— Cheese Louise carries a sizable selection of domestic and imported cheeses for purchase. Add to this, great local pickled items, jams and sauces, a fantastic selection of local wines and live music on occasion. What’s not to love?

In Pasco, give Magills (http:// magillsrestaurants.com) a try for its authentic comfort food. This fun and fabulous restaurant is open for all three meals every day. Breakfast is served all day. Try the amazing smothered hash browns. The bacon waffle and breakfast taquitos are also imaginative, must try choices. Later in the day, you won’t want to miss out on the delectable burgers and the impressive varieties of mac and cheese.

They have mac and cheese pans in ten togo varieties that serve 8-10 people—a clue to just how popular they are.

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If you’re craving authentic Mexican experience and tacos plus first rate, spot on service, check out Kiko’s Tacos (http://www.yelp.com/biz/kikos-tacoskennewick) in east Kennewick. The building is a quaint throwback to Mexico and the tacos are real deal as in absolutely delicious. Tacos are part of the name but the menu includes all the Mexican

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standards. The chef here knows his way around a tortilla. In a hurry? They even have a drive through window.

Here’s another option worth a mention in the Kennewick hole in the wall category. Whether you love hot dogs or wonder why other people do, Between the Buns hot dog restaurant (http:// betweenthebunshotdogs.com/Home_

Page.php) deserves consideration. Esquire magazine rated this little gem the 3rd best place in the US to get a hot dog in 2013. If you’re a hot dog aficionado, chances are one visit won’t be enough. There is just too much weiner goodness to experience.

The Red Mountain AVA has that rare combination of scenic vineyards and award winning wineries that sing country roads all within a short drive to an area where visitors can also discover local history and culture and experience second-to-none dining experiences in not one but three great little cities. Clearly, Red Mountain and the nearby Tri-Cities is a wonderful place to plan a relaxing retreat and learn more about Washington wines.

photo by Megan Neer 2014 FABRIC VINE 79

Kona Bay Fabrics Leader Announces His First Washington Wine Charlie Hoppes, Wine Boss, is the Winemaker

H

oppes is known by many as the Wine Boss. Boss here should be defined as, “Chief Commander of Excellence.” And so begins the Kona Bay connection.

Douglas Eagleson, who has stood at the helm of Kona Bay Fabrics for the last twenty plus years, has enjoyed discovering the Washington wine industry the last few years. The Kona Bay offices are in Redmond, Washington, only minutes away from Woodinville wine country where over 100 wineries and tasting rooms represent every appellation in Washington state.

After traveling around the state to explore several of the thirteen Washington appellations and meeting one of it’s most celebrated winemakers—the legendary Charlie Hoppes—Eagleson began to dream about introducing the world to Washington wine. He decided to start with the folks he knows—quilters and sewists around the globe like you.

“We began by sharing some of what we learned in Asian Fabric,” shared Eagleson,

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Trellis Gate 2012

Red Mountain Cabernet Sauvignon © Kona Bay Fabrics

“The response was positive and the more I learned about the Washington wine industry, the more intrigued I became.”

Long story short—Eagleson’s first venture into the wine arena—Trellis Gate, an exquisite 100% Red Mountain Cabernet Sauvignon, made by Charlie Hoppes and his team, will release later this fall.

“It is so exciting to have the first Trellis Gate release crafted by one of Washington’s favorite sons and winemakers,” noted Eagleson, “I can’t imagine a better collaboration scenario. Charlie has been in the wine business as long as I’ve been in the fabric business”.

Charlie’s professional winemaking education began at the University of California, Davis—known worldwide for it’s prestigious viticultural and enology program. After graduation, he returned 2014 FABRIC VINE 81

to Washington state to embrace the agricultural region he had come to love growing up.

Before starting Fidelitas, Hoppes was recruited as winemaker for a handful of Washington wineries, including his last stint with Chateau Ste. Michelle, who produces upwards of 2,000,000 cases a year and who has, yet again for the 20th year, been named as one of the top 100 wineries in the world for the by Wine & Spirits Magazine.

Hoppes is not without his own recognition as well. In 2013, he was named Winemaker of the Year by Seattle Magazine’s Washington Wine Awards.

After deciding to step out on his own, he was quickly called upon to make wines for other young Washington wineries who knew of his successful history making award winning wines.

Fortunately, for Eagleson and his Trellis Gate label, he’s still in the business of helping others achieve their winemaking dreams.

Charlie Hoppes has grown his Fidelitas brand and distribution while continuing to hone his winemaking skills. Today, Fidelitas has two beautiful tasting rooms in Washington--the original on Red Mountain in Eastern Washington and the second in Woodinville, Washington just a few miles up the road from Kona Bay Fabrics.

His estate vineyard is producing fruit and plans are being made for planting additional acreage he has acquired.

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The Fidelitas mission statement sums it up— Fidelitas is Faithful to bordeaux grape varieties, Loyal to modern craft winemaking techniques, and True to Washington’s Red Mountain terroir.

Fidelitas and wines for several other wineries are all crafted at the winemaking facility Hoppes has established in the nearby Tri-Cities community of Richland. Hoppes, without a doubt, has perfected the recipe for delectable wines but he has also assembled an amazing team of people that each bring special talents to the winemaking table.

Trellis Gate, we’re proud to announce, is the newest bottle of Red Mountain Cabernet on the table. Naturally, the first folks Eagleson has decided to share news as exciting as this with are the people that have made Kona Bay Fabrics a success—people like you.

The first Trellis Gate label features a painting from the Nobu Fujiyama Limited Edition Crane Dynasty fabric collection many of you will recognize. The back label notes the collection name and the association with Kona Bay Fabrics.

The wine is set to be available for the upcoming holiday season.

If you’d like to be notified when it’s available, send us an email at douglas@winefromwashington. com. Put “Trellis Gate” in the subject line. It’s an exciting new path and we’d love to have you join us on the journey.

Tr a v e l To t e Designer: Georgie Gerl Wanting to get away for a quick weekend escape or traveling to a dream designation carry this tote with its custom pockets holding all your essential travel items.

Travel Tote Chart & Material List Travel Tote 1

Let’s Begin

18" x 19" (approximate) material list

Batting

Backing/Lining (can use assorted fabrics) @ yards (read Let’s Begin for cutting sizes) Grommets Package of 8 (machine washable) Hook and Loop tape, buttons or snaps (optional)

@)" x !*" two @)" x !$" two @)" x &" two %" x ^!" one @w" x %)" one !" x &@" one

Fabric Name, Placement & Yardage

Fabric A SHAD-09 Ivory Tote Base

First Cuts

Next Cuts

!

!^2" x $@"

@

!^2" x !*2"

! @

!!2" x $@" %2" x $@"

@

!!2" x !*2"

! @ !

!@2" x $@" $2" x $@" !" x $@"

@

!@2" x !*2"

@

!" x !*2"

s yard Fabric B JETS -01 Blue Large Pocket & Trim

w yard Fabric C MOVE-01 Yellow Pocket, Handle & Trim

w yard Fabric D JETS -01 Navy Trim & Tote Sides

w yard

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1! @

!#" x $@" #2" x $@"

@

!#" x !*2"

Before you begin, read all instructions and use an accurate 4”-wide seam allowance throughout this project.

Referring to project Cutting Chart, cut First Cuts strips as indicated in chart then cut smaller pieces listed under Next Cuts from these strips. Outside tote pockets can be custom to your personal needs adjusting pocket division for personal items for example, cell phone, tablets, books, suntan lotion etc.

Note: If leaving a pocket as a single pocket (no pocket divisions) it is recommended to add a closure like hoop and loop tape, snaps, tabs or buttons.

Backing/Lining fabric will show on the inside of tote use one fabric or assorted fabrics and cut the following pieces: for base fabric lining cut two !*” x @)” pieces, for side fabric lining cut one %” x ^!” piece (sew strips together to obtain this measurement).

Batting pieces are cut larger than fabric pieces and trimmed after quilting.

If desired batting can be trimmed to fabric size prior to quilting.

Making the Tote

1. Fold one !@2” x !*2” Fabric C piece in half lengthwise wrong sides together and press. Make two ^4” x !*2” Fabric C folded pieces.

2. Insert one @)” x &” batting piece between Fabric C folded piece (step 1) making sure batting is next to folded edge. Top stitch close to folded edge, add additional quilting as desired. Trim batting to match unit. Make two small pocket sections.

Folded Edge

Make 2 (Trimmed pocket unit shown above)

3. Fold one !” x !*2” Fabric C strip in half lengthwise wrong sides together and press.

Place one folded 2” x !*2” strip on one !!2” x !*2” Fabric B piece with raw edges matching and folded edge in toward center as shown. Stay-stitch in place. Make two.

6. Layer and baste @)” x !*” backing, @)” x !*” batting, and one !^2” x !*2” Fabric A piece together. Quilt as desired. Trim backing and batting to match Fabric A. Make two for tote base.

7. Pockets can be custom fit to personal needs steps 7 and 8 describe procedure, make pocket dividers quantity and width as desired.

Sample shown below--one large pocket will remain as one large pocket with no divisions, small pocket is divided into three sections.

Measure and mark small pocket with division lines using fabric removable markers. Place small pocket on top of large pocket matching bottom and sides edges. Stitch on mark lines and edge-stitch along small pocket sides and bottom edges to hold unit in place. Note: Pocket divisions on small pocket all need to be done prior to sewing unit to base fabric.

Fold

Make 2

4. Sew one !#” x !*2” Fabric D piece to one unit from step 3, aligning raw edges making sure Fabric C is sewn in seam allowance.

Make two. Fold unit in half, wrong sides together, aligning raw edges Fabric D will extend approximately 2” from Fabric C/D seam line as shown in step 7 pocket top section of diagram.

Customize pocket size Shown above one large pocket (blue) with three smaller pockets (yellow)

5. Insert one @1 )” x !$” batting piece between one folded unit from step 4 with wrong sides next to batting. Quilt units as desired. Trim batting to match unit edge. Make two.

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8. Sample shown below—large pocket divided into two sections, small pocket left as one pocket (no divisions). Place one large pocket on top of tote base unit from step 6 as shown. Press. Measure and mark pocket divisions, stitch on marked line. Place small pocket unit shown from step 2 on top of this unit matching sides and bottom edge. Edgestitch close to side and bottom edges. Add hook and loop tape to small pocket if desired.

Note: If large and small pockets are to have the same division then place large and small pocket on base unit and stitch a continuous line through all layers.

Customize pocket size Shown above two large pocket (blue) sewn to white base

Add one front pocket (yellow) sew in place close to outside edge.

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9. Using an 8” plate or Beach Tote curved template (page 64 Stitch n’ Wine appliqué page) trace curve at bottom corners as shown. Trim on marked line. Make two.

Trace curve shape on bag’s bottom edges Cut on traced lines Make 2

10. Sew two #2” x 42” Fabric D strips endto-end to make one continuous strip. Press and cut strip to measure #2” x ^)”. Layer %” x ^!” backing piece, batting, and Fabric D strip, wrong side of fabric against batting. Quilt as desired, trim batting and backing to match Fabric D edges.

11. Referring to photo below, sew side unit from step 10 to one tote section right sides together, match strip to tote unit top and side edges. Using a 4”-wide seam allowance sew strip to tote section, one end will extend pass tote top edge. After sewing trim excess side strip to match tote section. Sew remaining tote section to unit. Press.

12. Using a straight stitch, sew a little ways away from seam line toward the outside edge. Using a serger, or sewing machine zigzag stitch to finish seam edges. This will secure seams and finish edge to prevent raveling when tote is washed.

13. Sew two %2” x $@” Fabric B strips together to make one continuous strip. Measure the circumference of tote along top opening and add 2” to this measurement for seam allowance. Cut %2”-wide Fabric B strip to this new measurement (includes seam allowance). Fold strip lengthwise wrong sides together and press and unfold. Sew Fabric B strip ends together using 4” seam allowance. Refold and place @w”-wide batting strip close to fold lines, trim batting to fit.

14. Sew top band to tote, double stitch using a straight stitch, and finish seam edge with a serger or zigzag stitch.

15. Referring to manufacturers instructions add grommets to tote as shown. The shower curtain grommets that we used needs no additional tools and is machine washable easy to add to piece. Note: A small zigzag stitch can be added around cut circle if desired before adding grommets (as noted in photo no zigzag stitch were added to the top trim holes in the project we made).

Add grommets following manufactuer’s instructions.

16. Sew two $2” x $@” Fabric C strips end-to-end to make one continuous strip. Cut handle strip to measure $2” x &@” .

17. Fold handle strip in half lengthwise wrong sides together and press to create a center fold line, unfold strip, insert batting next to center fold line mark, and refold strip.

Center press line

Sewing top band

18. Weave handle strip through grommets as shown. Sew handle strap ends together and refold and press. Topstitch 8” away from folded edge on both side of handle to finish tote.

Weave strap through grommets.

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click quilt for free pattern download

click quilt for free pattern download

Japanese Comfort Food

F

all is upon us. These two simple but delicious meals are perfect for a cool fall day. Being one of his favorite meals, the Textile Samurai suggested we share his recipes for Tonkatsu and Katsudon.

The tonkatsu is used in both meals. Plan ahead and make extra tonkatsu and rice for a quick meal the next day. Tonkatsu is a western style fried pork cutlet. Katsudon is one version of the Japanese donburi.

In Japan, rice bowls—donburi, are made

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with a variety of meats.

A Washington Tempranillo or Spanish Rioja wine would pair well with your Tonkatsu dinner. Looking to try a new wine? Brian Carter Cellars is just up the road from Kona Bay Fabrics in Woodinville, Washington. We suggest trying their 2010 Corrida made with 62% Tempranillo grapes blended with four other varieties to make for an easy to drink red.

Spanish-Style Red Blend —Tempranillo 62%, Graciano 12%, Merlot 11%, Cabernet Sauvignon 9%, Grenacha 6%. Click image for more info.

Tonkatsu This tasty gem can be help you put dinner on the table in 30 minutes or less. Plus, the leftovers (make extra or there isn’t likely to be leftovers) can be used for a delicious lunch or dinner the next day.

instructions Cut the edges of the chops to prevent curling. Pound the pork chops to tenderize and flatten to a”. Sprinkle both sides lightly with salt and pepper.

ingredients

Dredge chops with a light coating of flour. Dip in egg and then Panko. Press to make sure the chops are covered in breadcrumbs. Set aside and let chops rest on a plate.

4 boneless pork chops All-purpose flour for dredging Salt and pepper to taste 2 eggs lightly beaten 2 cups Panko breadcrumbs oil for deep frying ¼ head of cabbage shredded Tonkatsu sauce (see recipe)

Heat the oil to 350°. Deep fry chops to a golden brown, approximately 5-7 minutes.

Drain the chops on a rack or paper towel. Cut into w” slices and serve with sliced cabbage and tonkatsu sauce. Add a scoop of steamed white rice and you have a meal everyone will love.

The tonkatsu is often set on a bed of the cabbage but we’re providing a recipe for a light Japanese dressing if you prefer to serve it beside the tonkatsu.

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Tonkatsu Sauce Tonkatsu sauce might be the Japanese equivalent of western bargecue sauce. It brings fried pork cutlets to life.

ingredients /3 c ketchup

1

2 Tbsp Worcestershire sauce 1 Tbsp soy sauce 1 Tbsp mirin 1 Tbsp white sugar 1 Tbsp brown sugar 1 tsp mustard 1/ 4 tsp garlic powder Combine all ingredients and mix well.

Light Japanese Salad Dressing ingredients 1 c mayonaise 4 Tbsp Rice Vinegar 3 Tbsp Sugar 3 Tbsp Sesame Oil 2 Tbsp Soy Sauce ½ tsp Garlic Powder Combine all ingredients in a blender.

Blend well. Refrigerate and serve cold.

Regrigerate any unused dressing.

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Katsudon This recipe is an excellent way to use leftover Tonkatsu and rice. It is the quintessential Japanese comfort food. The recipe is for a single serving. have a ready-to-go gift in the freezer. The alcohol content will be very low but it will not be cooked out in our recipe so it may be omitted. It’s delicious either way!

ingredients instructions Mix together the dash, soy sauce, miring and sugar.

1 c warm, cooked Japanese steamed rice 1 Tonkatsu, cut into ¾” slices 1 small onion, sliced thin ½ c dashi soup stock 1 Tbsp soy sauce 1 Tbsp mirin 1 tsp sugar 1-2 eggs, lightly beaten 1 Tbsp cooking oil 2 green onions, sliced thin

In a small frying pan with a lid, saute the onions in the oil until they start to turn translucent. Add A sprinkle of seaweed flakes (optional) the dash mix to the pan and bring to a boil. Turn down to a simmer.

Add the sliced Tonkatsu on top of the onions without mixing.

Pour the beaten eggs over the top. Sprinkle sliced green onions over everything. Cover pan and cook until egg is set.

Place the rice in a bowl and slide the pan fixings on top. Add seaweed sprinkles and serve immediately.

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What Types of Wine Glasses Do You Really Need?

by Madeline Puckette

T

here are a gazillion different types of wine glasses

out on the market. So, what should you buy? Discover what glassware fits your wine drinking habits and what the best options are to build a proper wine glass set.

Check out this cool chart on the different types of wine glasses. Identify the different styles so that you can better decide what to buy based on your needs.

ďƒ¨ Free Wine Glasses Chart: click to enlarge

The Difference Between Crystal and Glass Stemware Crystal is glass with lead monoxide in it and, depending on what country you live in, can vary from 1% (in the US) to 30% (in Europe). Many glassware manufacturers also make leadfree crystal glassware with zinc and magnesium oxide which also refracts light. Using lead or lead-free crystal for wine glasses is popular for two reasons. For one, the minerals causes the glass to have light refraction which gives stemware a sparkle. Secondly, the inclusion of minerals in glass makes it sturdy enough to be spun very thin.

Regular glass doesn’t shine the same way as crystal but it is more affordable and also tends to be more durable.

You Only Need Two Types Starting a wine glass collection? Go super basic and get a set of 6 red wine glasses and a set of 4-6 Champagne flutes. Take my word for it; that’s all you really need.

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Questionaire: Which Type of Wine Glasses Should You Buy? Answer these questions honestly to figure out what kind of stemware to buy.

• Do you ever handwash special kitchen tools such as knives?

• Do you have places to store tall wine glasses?

• Do you enjoy a glass of wine almost every night?

• Do you wash your dishes after dinner?

• Do you take pleasure from cleaning and organizing your kitchen or bathroom?

• Do you have safe areas that are off-limits from kids?

If you answered mostly “No” Owning crystal stemware will drive you insane. Instead, get glassware or stemless crystal glasses. These will be easier to maintain and won’t give you a conniption if they break. You can also wash them in the dishwasher.

If you answered mostly “Yes” You are neurotic enough to keep crystal glassware clean and sparkly. You should look into getting a set of 4-6 matching crystal wine glasses that you can use for years to come. Learn how to wash wine glasses by hand

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Madeline Puckette

Madeline Puckette is a musician and graphic designer gone wine geek. During her days at art school, she took a liking to wine, spending her days studying music programming and nights enjoying a bottle of Côtes du Rhône.

Madeline started Wine Folly on December 25, 2011 with her two best friends. The inspiration for Wine Folly was based on an observation she’d made while serving. Basically, people want to know more about wine but they don’t know where to start. The goal of Wine Folly is to share wine knowledge in a way to encourage and inspire new drinkers.

Since starting the site in 2011, Madeline has probably written over 200,000 words on wine. Her personal education includes advanced seminars, tastings, and traveling to wine regions of the world.

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Wine Bottle Light Amanda Wright from witandwhistle.com shares an easy & chic DIY project The holidays will be here before you know it.

Amanda Wright created this ingenious project to use a wine bottle she and her husband acquired after a wine tasting. It’s a great way to preserve memories or a thoughtful gift.

How to:

1. Rinse out your wine bottle and remove the labels (if desired).

You’ll need: an empty wine bottle a drill safety glasses and gloves (just in case the bottle breaks) ½″ glass drill bit masking tape short strand of Christmas lights (with a plug only on one end)

2. Place a piece of masking tape on the bottle where you want to drill the hole for the cord. The tape keeps the drill bit from slipping.

3. Put on your gloves and goggles and start drilling.

Don’t apply too much pressure or you could break the glass. The drilling takes a long time. I spent about 30 minutes drilling the hole. Be patient!

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4. Once your hole is drilled rinse the glass shavings out of your bottle, and let the bottle dry.

5. Carefully feed the strand of Christmas lights into the hole you drilled. TaaDaa!

Amanda Wright is an illustrator extraordinaire.

From humble beginnings as a graphic designer, she has built a very successful company of her own—Wit & Whistle.

The company offers a variety of products, including greeting cards, notebooks, tea towels, pillows and more. Amanda is the creative genius behind all the designs the products feature. You can purchase items directly through her site witandwhistle.com or at stores (listed on the site) around the globe. Be sure to check out her blog for a peek at the inspiration behind her product success.

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Creating your own unique fabric

Designer: Marijke van Welzen Create one-of-a-kind fabrics from your treasure stash incorporating your creation into wearable clothing, bags, quilts, and other decorative items for the home to the amazement of family and friends.

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Versatile Fabric Collage

Front

Back

material list Pattern-Purchase a pattern with no figure darts and few Interfacing or Muslin

The instructions will cover making a wearable piece but this technique works great to create your own fabric collage to incorporate in quilts. Read all instructions prior to making your project.

Batting (if desired)

Marijke would love to see your creations using this technique—send your photos to address below and check out her other projects for inspiration.

serparate parts a kimono or raglan sleeve works fine.

Purchase enough to cover 1� larger on all sides for each pattern piece.

Lightweight jacket use middle-weight non-woven interfacing thin loft creates a nice drape wool for extra warmth

Assorted Fabrics (read Auditioning Fabrics section page 107) Treads-Assorted colors, weight, varigated, and metallic Additional items listed on pattern Fabric Glue

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www.art2wearblog.blogspot.com mvanwelzen@art2wear.info

Auditioning Fabrics The process begins by auditioning the fabrics, deciding which fabrics and colors to be use in the project. Marijke selected fabrics with an Asian theme, hills, cranes, Koi fish, Geisha panel, selecting some fabric in contrasting colors, scale, and design then pulled coordinate colors out of fabric stash to add interest to the finished piece.

Layout fabric selections on table review it and add additional fabric as desired. Add a little bit of sparkle using gold fabric, fibers, fabric paint, beads, and sequins to the grouping.

Table with final selection

Preparing the Interfacing (Base) The interfacing, muslin or batting will be used as a base to sew all fabric pieces together for the instruction interfacing, muslin or batting will be refer to as Base.

1. Remove pattern and roughly cut out each pattern piece.

2. Fabric will be sewn to Base, during this process the fabric unit may shrink. Place a pattern on the Base and cut 1� larger than pattern’s cut line on all sides. Repeat for all pieces.

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Detail Tips

Fabric Glue Stick

Paperback Fusible Web

For single small motif elements use fabric glue to hold pieces in place.

Select flower area, with paper-side up, fuse to wrong side of fabric scraps following manufacturer’s instructions. Cut out shape and remove paper from back of flower.

Fabric Glue

Select flower area

Placing Motifs on Base Cut along flower outside design edge.

Paper removed

Flower placed on unit

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Have fun placing the different elements on the base fabric pinning, gluing, and fusing to unit. Marijke wanted a fish to be engulf by the water so she cut the fabric and slide the fish underneath the water. Check the units from a distance is the composition balance, color placement, directions of motifs some tricks to use; set work on the floor and step further away, put the work upside down, look at it in the mirror, or take a picture.

Sewing the Pattern Units Fabrics are added like a puzzle, sometimes a piece fitting easily while others take time.

In the pattern seam area use a similar piece of fabric and background color.

1. Cut large and small pieces even single flowers from fabric taking advantage to motif designs.

Checking fabric color along seam edges

Single flower selection

2. Layout fabric pieces from the back to the front covering the Base fabric pinning them in place. For intricate flowers use a paperback fusible web, with paper-side up, fuse to wrong side of fabric scraps following manufacturer’s instructions. Cut out motif along outside edges. Use fabric glue to adhere tiny pieces to unit.

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3. While laying out the fabric pieces check negative areas between the shapes for their overall effect. Refer to Detail Tips, for detail photos of technique. Prior to sewing check unit fabric placements, are all items going in the right direction, color balance, and coverage of base fabric piece. After satisfied with overall effect fused items that used fusible web following manufacturer’s instructions.

5. If you want the piece to be wash often for example a coat, it is recommended to wash the separate units first, in washing machine using cold-water setting. Wait until lining has been added and decorative stitching complete then wash units using cold-water setting.

After reviewing piece notice fish are upside down rotated fish !*)0 before stitching.

4. Stitch loose shapes down around fabric outside edges using matching threads and a straight stitch. Note: Decorative stitching, painting (if desired) and embellishments will be added later. Wait to use gold thread till lining has been added to wearable piece or for quilt project use gold thread during the quilting process.

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Marijke Creation of a Coat Use this technique for wearable projects.

After filling out all parts of the design with fabric with lots of stitching it is time to add the lining. Marijke recommends polyester satin lining she selected a red and she prewash it using a color catcher sheet since it was a bright red.

1. Cut lining to matching units size placing unit and lining pieces wrong sides together.

Note: Units are still larger than pattern templates.

2. Using gold thread, stitch outlines to motif area through all layers. Marijke used a red thread in the bobbin and gold on top she didn’t want the red to be seen from the front or gold on the back, adjust machine tension to achieve this stitch.

3. If a mistake occurs improvise, Marijke wanted to add some green stitching to piece but forgot to change the bobbin to red, which shows on the lining side. Instead of removing the stitches she just added some green in other areas so it became a planned accent to lining.

3. Follow pattern direction to sew pieces together.

4. Try on coat to check size, transition of designs from one side to the next if an area is to abrupt stitch additional motif elements to the quilt. Mauijke added flowers here and there, black fabric paint, beneath the fish she added brownish painstik to make the blue water softer. If an area has some pieces not stitched properly add more stitching.

Finishing the Seams 1. Pin paper pattern onto appropriate units and cut out each pattern on cut line.

2. Using a machine zigzag stitch or serger, stitch all edges to create a finish edge, shows in step 3 photo.

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5. The easiest way to finish the hem is with bias tape (make it or purchase a wide bias tape). Stitched to the front, fold over edge and hand stitch to lining.

6. Neckline and front are finished with a piping forming a collar at the back. Add additional embellishments as desired.

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ART2WEAR Marijke van Welzen The Netherlands

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Our guest contributor visits us all the way from The Netherlands. Marijke van Welzen makes wearable art; clothing and accessories with a story to tell, under the label of art2wear. “Textiles,” says van Welzen, “lends itself to infinite possibilities of expression.” She loves the tactile aspect—feeling different textures such as soft, rough, hairy, smooth and more.

She works intuitively. One inspirational tool she has found useful are Mandala drawings. Marijke likens her creative process to meditating. “It’s amazing what grows under my hands,” she shares.

There was an early introduction to textile crafts. Marijke’s mother was an accomplished knitter. Making handicrafts and drawing was an integral part of home life. As a teenager, she used curtains and hand-embroidered tablecloths, her grandmother has made, to practice sewing clothes.

Today, Marijke leads a very hectic life.

She is a middle school teacher three days a week. Her art helps her keep the balance in her life, giving her a creative way to escape the everyday situations that arise and relax her mind. “I am inspired by art, other artists, fabric, fibres, fashion, people fairy tales and the natural world,” shares Marijke. The many elements and techniques she incorporates into her creations make it easy to see how her multi-faceted sources of inspiration play an active role. When you first look at an intricate and complex van Welzun work of art, it’s hard to fathom how she even begins to bring all the pieces together.

Marijke participates in many contests whose themes she finds inspiring. This is often where the process begins. She

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contemplates the contest theme and then moves on to research. Research might involve reading articles and browsing through images. Then, the work begins.

“It works like a kind of puzzle where I find one piece and then another and another until I’m finishes,” notes Van Welzeun, “I never know exactly beforehand what the end result will look like”. In some cases, some time may pass in between finding the right pieces. It is not unusual for it to take a couple months to complete a single coat.

Van Welzun incorporates a variety of surface design techniques into her work. She might start with tiny pieces of fabric or felt and build from there.

Beads, ribbons, lace and more often find their way into a piece. One of her favorite techniques is to use colorful machine threads to “paint” her designs. With her work constantly evolving, Marijke continues to experiment with techniques and materials. Many of her pieces are commissioned and tailor made to suit the client. All of her garments are exquisite and unique.

When asked to recall the best advice she ever received, van Welzen is quick to say, “Try to do some art every day, even if it’s only for an hour.” She’d like to pass the wisdom on to anyone with creative inclinations. Always anxious to share her knowledge, Marijke teaches workshops in her studio. She is also available on location. She will be teaching a 5-day workshop in Australia in 2015. Visit http:// www.art2wearblog.blogspot.com to learn more about Marijke and see more of her textile creations. Marijke van Welzen and her art pieces have a story to tell.

What I Did with my Kona Bay fabric  projects from our readers 

There are 2 ways to submit— all the e e s o t warding e r y r e v ics and r b It is a f r u ways o by you! d e creative t u c e s are ex pattern s who ha e n o y r to eve designs r u o Thanks y f s all! photo o u a s d e r e i r p a s sh in ur work o Y . s u with

1. Email: asianfabric@mac.com 2. Mail:

Fabric Vine Magazine Editor 15812 NE 83rd St. Redmond, WA 98502

www.konabayfabrics.com



Laura Rosko Minneapolis, MN

Enclosed is an article and pictures that we hope you will find suitable for publication in your Fabric Vine.

The story is about how Patricia Cox and I enjoy our relationship while using Kona Bay fabrics in our hand-appliquéd Asian quilts.

Your designs and fabrics just “speak” to us.

Pat has been a national and international quilting teacher for 40 years. I have been stitching for many years but found appliqué just four years ago. Quilting require solitary work, or course, but we have found extraordinary pleasure in working together.

We hope our relationship and imaginative use of ideas will inspire others to collaborate.

Our submission tells the story.

Dual Personalities How two quilters interpret ideas differently Laura’s Story

“Good morning. Do you answer to Pat or Patricia?” I asked that Fall Saturday morning. She answers to both, I learned of Pat Cox, my new appliqué teacher. Many years of stitching had made me comfortable with a needle, but I had not yet encountered applique quilting. So began our first meeting as teacher and student.

Pat started our group of beginners with the basic appliqué shapes and soon encouraged us to select a project that she would patiently instruct us to finish. I’ve been working on Pat’s designs ever since, learning about colors, values, textures, shapes, sizes and applique techniques as we go along.

We have had particular fun with Pat’s Asian designs using Kona Bay prints for Asian effect and other fabrics as appropriate. She has the designs of fans, butterflies, fish, cranes and others often in her sizable drawing stash, and she draws others as we need them. We sometimes use the same patterns with different fabrics or different patterns with same fabrics. Patterns mean for tops might end up as quilting designs. In every case, we pleasantly surprise each other with very different quilts.

Three or so years and many classes later, we continue or Asian quilts and I, with her help, expand my experience to other types of projects. Pat knows the answers to all my questions not only because she reads and travels but because she has taught all aspects of quilting in a wide variety of settings and countries. She tells wonderful stories about textiles and quilts and their histories. She simply loves quilts and their makers.

I am fortunate to have found my favorite kind of stitching and an international treasure all at that same first meeting—I, the perpetual student, and she, a teacher, friend and mentor.

Color Movement In stores now

Designer: Georgie Gerl A galaxy of stars burst forth in an array of color that brightens any room setting.

Tonal Bed Quilt • 63” x 88” Fabric Name, Placement & Yardage

First Cuts

Next Cuts

!

Fabric A JETS-01 Cream !@ Blocks 2, 3 & 4 Background & Border @ # yards $

&s” x $@” @ * %2” x $@” * !^ $w” x $@” * !^ $” x $@”

&s” squares* !2” x %2” %2” x *4” %2” x ^2” $w” x &w” $” x &w”

Fabric B PASS-05 Cream Gold Blocks 1, 5 & 6

&s” x $@” $ $ %2” x $@” $ * $w” x $@” $ * $” x $@”

&s” squares* !2” x %2” %2” x *4” %2” x ^2” $w” x &w” $” x &w”

&s” x $@” @ * % %2” x $@” * !^ @ $w” x $@” * $ $” x $@” !^

&s” squares* !2” x %2” %2” x *4” %2” x ^2” $w” x &w” $” x &w”

&s” x $@” $ $ %2” x $@” $ * $w” x $@” $ * $” x $@”

&s” squares* !2” x %2” %2” x *4” %2” x ^2” $w” x &w” $” x &w”

!4 yards

! # ! @

Fabric C MOVE-01 Taupe Blocks 2, 4 & 5

@ yards

Fabric D FEAT-01 Beige Blocks 1, 3 & 6

!4 yards

This quilt features fabrics from the Tonal Collections Fabric E MOVE-01 Yellow Stars

!

! # ! @

* Cut each &s” square in half once diagonally to make two triangles from each square. #

$” x $@”

@$

$” squares

2 yard

@ #” x $@” * @ @2” x $@” * ! !2” x $@” @ @

Fabric G MIIKO-03 Apricot Blocks 1, 4 & 6

! $” x $@” @ @4” x $@” ! !2” x $@”

! @

$ *

$” x ^w” #” x %2”

$” x $@” #” x $@”

2 yard Fabric L JETS-01 Green Blocks 3 & 5

$ @2” x $@” !^ @2” x (”

2 yard Fabric M MOVE-01 Teal Block 6 & Binding

@ *

* #” x $@” @w” x $@”

# x %2”

! @ @

^w” x $@” $ #” x $@” * @4” x $@” * $

$” x ^w” #” x ^2” @4” x &2” !2” squares

#

#” x $@”

#” x ^2” #” x %2”

@ @ !

#” x $@” * @4” x $@” * !2” x $@” @ @ $

#” x %2” @4” x &2” !2” x (2” !2” x &2” !2” squares

@ @ @

#” x $@” * @2” x $@” * @4” x $@” * $

#” x ^2” @2” x (” @4” x &2” !2” squares

! @

$” x $@” $ @4” x $@” * $

$” x ^w” @4” x &2” !2” squares

! yard Fabric N DRAG-01 Blue Blocks 1, 3 & 4

q yard Fabric O BRAN-01 Blue Blocks 3 & 6

* *

2 yard Fabric P JETS-01 Blue Blocks 1, 3 & 4

Fabric R BLOS-03 Blue Blocks 2 & 5

! $” x $@” $ @ #” x $@” * @ @2” x $@” *

$” x ^w” #” x ^2” @2” x (”

Fabric S BRAN-01 Teal Blocks 2 & 5

@ !

#” x $@” * !2” x $@” @ @

#” x ^2” !2” x (2” !2” x &2”

$” x $@” #” x $@” !2” x $@”

$” x ^w” #” x ^2” !2” x (2” !2” x &2”

@ Fabric T @ JETS-01 Teal Blocks 2, 5 & Border &

#” x $@” * @2” x $@” * !2” x $@”

#” x %2” @2” x (”

! @ !

Batting &!” x (^”

122 fabric vine 2014

@4” x &2” !2” x (2” !2” x &2” !2” squares

$” x ^w” @4” x &2” !2” x (2” !2” x &2” !2” squares

2 yard Backing %3 yards

* @ @ $

Fabric Q JETS-01 Navy Blocks 1, 4 & 6

$ * @ @ $

s yard Fabric I MIKO-03 Moss Blocks 2, 3 & 5

@ @4” x $@” ! !2” x $@”

3 yard Fabric K BRAN-01 Green Blocks 2 & 5

Next Cuts

#” x %2” @2” x (” !2” x (2” !2” x &2”

2 yard Fabric H JETS-01 Gold Blocks 1, 4 & 6

Fabric J DRAG-01 Green Blocks 2 & 3

First Cuts

2 yard

2 yard Fabric F MOVE-01 Orange Blocks 1, 4 & 6

Fabric Name, Placement & Yardage

$ * @ @

s yard

2 yard

a yard

d yard

Cut strips as indicated in chart under 1st Cuts then cut smaller pieces listed from these strips.

Tonal Lap Quilt • 63” x 63” Fabric Name, Placement & Yardage

Fabric A JETS-01 Cream Blocks 2, 4 & Border

@4 yards

Fabric B PASS-05 Cream Gold Blocks 1 & 3

!4 yards

First Cuts

! &s” x $@” @ $ ( %2” x $@” $ * 1! $w” x $@” $ * @ $” x $@”

&s” squares* !2” x %2” %2” x *4” %2” x ^2” $w” x &w” $” x &w”

&s” x $@” @ $ %2” x $@” $ * $w” x $@” $ * $” x $@”

&s” squares* !2” x %2” %2” x *4” %2” x ^2” $w” x &w” $” x &w”

&s” x $@” @ $ %2” x $@” $ * $w” x $@” $ $” x $@” *

&s” squares* !2” x %2” %2” x *4” %2” x ^2” $w” x &w” $” x &w”

&s” x $@” @ $ %2” x $@” $ * $w” x $@” $ $” x $@” *

&s” squares* !2” x %2” %2” x *4” %2” x ^2” $w” x &w” $” x &w”

! # ! @

Fabric C MOVE-01 Taupe Blocks 2 & 4

!4 yards

Fabric D FEAT-01 Beige Blocks 1 & 3

!4 yards

This quilt features fabrics from the Tonal Collections Fabric E MOVE-01 Yellow Stars

Next Cuts

! # ! @ ! # ! @

* Cut each &s” square in half once diagonally to make two triangles from each square. @

$” x $@”

!^

$” squares

@ #” x $@” ! !2” x $@”

* @ @

#” x %2” !2” x (2” !2” x &2”

a yard

@ !

@4” x $@” !2” x $@”

* @ @ $

@4” x &2” !2” x (2” !2” x &2” !2” squares

@

#” x $@”

*

#” x %2”

@ @2” x $@” *

@2” x (”

3 yard Fabric K BRAN-01 Green Blocks 2

Next Cuts

3 yard Fabric L JETS-01 Green Blocks 3

3 yard Fabric M MOVE-01 Teal Binding

&

@w” x $@”

! @ @

^w” x $@” $ #” x $@” * @4” x $@” * $

$” x ^w” #” x ^2” @4” x &2” !2” squares

@

#” x $@”

#” x %2”

@ @ !

#” x $@” * @4” x $@” * !2” x $@” @ @ $

#” x %2” @4” x &2” !2” x (2” !2” x &2” !2” squares

@ @

#” x $@” * @2” x $@” *

#” x ^2” @2” x (”

!

$” x $@”

$” x ^w”

!

!2” x $@” @ @

!2” x (2” !2” x &2”

@ ^

@2” x $@” * !2” x $@”

@2” x (”

w yard Fabric N DRAG-01 Blue Blocks 1, 3 & 4

q yard Fabric O BRAN-01 Blue Block 3

*

3 yard Fabric P JETS-01 Blue Blocks 1, 3 & 4

Fabric Q JETS-01 Navy Blocks 1 & 4

2 yard

Fabric G MIIKO-03 Apricot Blocks 1 & 4

! $” x $@” @ @4” x $@”

$ * $

$” x ^w” @4” x &2” !2” squares

a yard

Fabric R BLOS-03 Blue Block 2

$

4 yard

Fabric H JETS-01 Gold Blocks 1 & 4

@ #” x $@” * @ @2” x $@” *

#” x ^2” @2” x (”

Fabric I MIKO-03 Moss Blocks 2 & 3

Fabric S BRAN-01 Teal Block 2

8 yard

2 yard ! $” x $@” @ #” x $@”

2 yard Backing $ yards

Fabric J DRAG-01 Green Blocks 2 & 3

First Cuts

2 yard

a yard Fabric F MOVE-01 Orange Blocks 1 & 4

Fabric Name, Placement & Yardage

Batting &!” x &!”

$ *

$” x ^w” #” x ^2”

Fabric T JETS-01 Teal Blocks 2 & Border

s yard Cut strips as indicated in chart under 1st Cuts then cut smaller pieces listed from these strips.

2014 fabric vine 123

Paper-Pieced Tips This is a great technique to sew odd angles or shapes, elongated points or triangles. Paperpiecing is the process of placing fabric on the wrong side of printed pattern, align two pieces of fabrics right sides together, flip stack to the other side and stitch on marked lines. Refer to construction steps for detail instructions.

Tools and Supplies

• Sewing machine for paper-piecing use 90/14 needle, stitch length set at 18-20” per inch (or 1.5) and use an open-toe presser foot. For piecing project together go back to normal settings and presser foot.

• Rotary ruler and rotary cutter • Optional: Add-a-Quarter ruler

• Paper--lightweight copy paper or Carol Doak’s Foundation paper works best but regular copy paper will work as well.

• Scotch tape for pattern repair • Card stock or a file folder

• Flat-head pins (example flower-head pins)

• Iron

Making the Copies Make one copy (patterns on pages 130– 133) checking accuracy of pattern to state size noted on pattern (in red). It is important that size noted on pattern and printed pattern match in order to complete this project successfully. If size varies adjust copier to achieve the measurement listed on pattern then print the appropriate number of copies for each. We recommend making a few extra for testing fabric selection, placement and if an error occurs while sewing the unit. Print all copies from the same copier to avoid

124 fabric vine 2014

distortions. Home printer setting should be set so paper-pieced patterns are at 100% do not fit page to printer margin.

Important: Trim about 2 ” away from outside pattern trim line. Pattern will be trimmed later after all fabrics have been sewn to unit on trim line.

Cutting Chart The fabrics for the Bed and Lap quilt note which blocks the fabrics are used in but doesn’t list the paper-piece number on chart due to lack of space (Pillow chart shows actual paper-pieced number). All patterns have the fabric size marked for each section refers back to quilt layouts and block diagrams on page 133 for fabric placement guide.

Instructions

All paper-pieced units are sewn in the same matter follow step instructions to make units. Do not remove paper from units till all units are sewn together into blocks.

Making the Paper-Pieced Units

Make twenty-four copies for each paperpieced pattern using Carol Doak’s Foundation Paper, lightweight copy paper or normal copy paper. Set sewing machine stitch length to 1820 stitches per inch or 1.5. It is recommended to make one unit first to test fabric placement especially when sewing angle pieces together.

All step photo diagrams show sewing PaperPieced Pattern C together.

1. Place wrong side of fabric on blank side of printed pattern, centering appropriate fabric over section #1 area. Pin using a flat-head pin, keeping pin away from stitch lines. If necessary hold pieces up to the light to make sure fabric extends past section #1 shape.

2. Flip paper and fabric unit to paper printed side, align card stock on line between sections 1 and 2 and fold paper along stitch line. Align ruler 4� away from paper folded edge and trim fabric. Photo shows both Add-a-Quarter ruler and rotary ruler.

2014 fabric vine 125

3. Unfold paper, place section #2 fabric right sides together on section #1 fabric matching cut edges. Turn paper printed side up, being careful not to displace fabric on back, sew through all layers using a short stitch length.

Begin and end stitches 4” beyond stitch line.

Press.

126 fabric vine 2014

4. Repeat process to fold, cut and sew in numerical order additional fabrics to make a whole unit. Trim all units on outside pattern line, square unit to measure either ^2”or $”square. Do not remove paper at this time wait till after all blocks are sewn together.

Refer to diagrams below to make twenty-four of each unit, four of each combinations.

Paper Pieced Pattern A

Paper Pieced Pattern B

Make 24 ^2" square Label Unit A

Make 24 ^2" square Label Unit B

Paper Pieced Pattern C

Paper Pieced Pattern D

Make 24 ^2" square Label Unit C

Make 24 $" square Label Unit D

Making the Blocks Refer to block layouts on Paper-Pieced Pattern D (page 133) for fabrics used in each block.

1. Sew together two of Unit D matching fabrics as shown. Press. Make twelve, two of each combination. Sew two matching units together and press. Make six, one of each combination.

Make 12 (two of each combination) Make 6 (one of each combination)

2. Sew one unit from step 1 between two !2” x &2” Fabric F, G, I, J, P, or S strips as shown. Press. Sew this unit between two !2” x (2” matching Fabric F, G, I, J, P, or S strips.

Press. Make six, one of each combination. &2” !2”

!2”

!2”

(2”

4. Sew one !2” x %2” Fabric A, B, C or D strips to one !2” Fabric G, J, N, P, Q or R square as shown. Press. Make twenty-four, four of each combination. !2” %2” !2” Make 24 (four of each combination)

5. Sew one unit from step 4 between one Unit A and one Unit B matching background fabrics. Press. Make twenty-four, four of each combination.

Make 24 (four of each combination)

6. Sew one unit from step 3 between two matching units from step 5 as shown. Press.

Make six, one of each combination.

!2” Make 6 (one of each combination)

Make 6 (one of each combination)

3. Sew one unit from step 2 between two Fabric A, B, C or D triangles. Press seams toward triangles. Sew two matching triangles to remaining sides of unit. Press. Make six, one of each combination. Square unit to measure !#2” square.

Make 6 (one of each combination)

Make 6 (one of each combination) Square unit to !#2” square

2014 fabric vine 127

7. Sew one unit from step 5 to two of Unit C matching background fabrics. Make six, one of each combination.

Make 12 (two of each combination)

8. Sew one unit from step 6 between two matching units from step 7 as shown. Press.

Make six blocks, one of each combination.

Block measures @%2” square.

3. Measure quilt through center from top to bottom, including borders just added.

Cut two !2”-wide Fabric T strips to that measurement. Sew to sides of quilt and press.

4. Referring to steps 2 and 3 to join, measure, trim, and sew %2”-wide Fabric A strips to top, bottom, and sides of quilt. Press.

5. Cut backing fabric into two equal pieces.

Sew pieces together to make one *)” x (%” approximate backing piece. Press and trim backing to measure &!” x (%”.

6. Referring to General Instructions (pages 146–147) layer and baste backing, batting, and quilt top together. Hand or machine quilt as desired. Bind quilt as desired.

Making the Lap Quilt

Note: Block 3 uses Fabric B instead of Fabric A for the background.

Make 6 (one of each combination) Block measures @%2” square

9. Remove paper from wrong side of blocks.

Assembling the Quilt

1. Referring to layout arrange and sew three rows with two blocks each. Press seams in opposite directions from row to row. Sew rows together and press.

2. Sew !2” x $@” Fabric T strips end-to-end to make one continuous !2”-wide Fabric T strip. Press. Measure quilt from side to side.

Cut two !2”-wide strips to this measurement.

Sew to top, and bottom of quilt. Press seams toward border.

128 fabric vine 2014

1. Refer to Making the Blocks steps 1-9 to construct four blocks using assorted fabrics.

Sew two rows with two blocks each. Press seams in opposite directions. Press. Sew rows together. Press.

2. Refer to Assembling the Quilt steps 2-4 to join, measure, trim and sew !2”-wide Fabric T strips and %2”-wide Fabric A strips to lap quilt.

3. Cut backing fabric into two equal pieces.

Sew pieces together to make one 72” x 80” approximate backing piece. Press and trim backing to measures 72” x 72”.

4. Layer and baste backing, batting and quilt top together. Hand or machine quilt as desired. Bind quilt as desired.

Making the Pillow 1. Refer to Making the Blocks steps 1-9 (pages 127–128) to construct one block using assorted fabrics. Sew block between two !2” x @%2” Fabric T strips. Press seams toward border.

Sew this unit between two !2” x @&2” Fabric T strips. Press.

2. Layer batting between pillow top and lining piece. Hand or machine quilt as desired. Trim batting and lining even with pillow top.

3. On one long edge of @&2” x !^2” Fabric T backing piece fold under 4” to the wrong side and press. Turn under an additional 4” and press.

Stitch along folded edge. Repeat for other backing piece.

4. Place quilted pillow top and two backing pieces right sides together matching raw edges and overlapping backing pieces (finished hem edges toward center). Using a 4”-wide seam sew around all edges, clip corners and turn right side out. Press. Insert pillow form.

Option: Making a Pillow Form

Measure pillow top prior to quilting and cut two pieces of fabric to this measurement. Using 4”-wide seam sew around all edges leaving a 4” opening for turning. Stuff pillow to desired fullness with polyester fiberfill. Hand stitch opening closed.

Note: To make pillow flange sew !2” from pillow’s outside edge. Insert 24” pillow form.

Tonal Pillow • 27” x 27” Fabric Name, Placement & Yardage

First Cuts

# %2” x $@” Fabric A JETS-01 Cream Background PP-A & B #2 & 5, PP-C #2 & 3 ! $w” x $@” @ $” x $@” 1 ! yard Fabric D FEAT-01 Beige Center Triangles

a yard

PP=Paper-Pieced

!

Next Cuts

$ * $ $ *

&s” x $@” @

%2” x *4” %2” x ^2” !2” x %2” $w” x &w” $” x &w” &s” squares*

* Cut each &s” square in half once diagonally to make two triangles from each square.

Fabric E MOVE-01 Yellow Stars (PP-D #1)

$

$” squares

Fabric J DRAG-01 Green Center Border

!

!2” x $@”

6 yard

@ @

!2” x (2” !2” x &2”

8 yard Fabric K BRAN-01 Green PP-C #1

$

$” x ^w”

@ @2” x $@” *

@2” x (”

@

#” x $@”

*

#” x ^2”

@

#” x $@”

*

#” x %2”

!

$” x $@”

4 yard Fabric L JETS-01 Green PP-A & B #3

3 yard Fabric N DRAG-01 Blue PP-A& B #4

3 yard

Paper-Pieced This is a grea elongated p process of pl pattern, align flip stack to Refer to cons

Tools and Su *Sewing mac stitch lenth s open-toe pre back to norm *Rotary ruler a *Optional: Ad * Paper--light tion paper w well. *Scotch Tape *Card stock o *Flat-head pin *Iron

Making the C

Make one cop noted on pat on pattern complete thi copier to ach then print the recommend tions and if an from the sam setting shou 100% do not

Important: Tri line. Pattern fabrics have b

Cutting Char Fabric O BRAN-01 Blue PP-D #2 & 3

3 yard Fabric P JETS-01 Blue PP-A & B #1

@

@4” x $@” * $

@4” x &2” !2” squares

3 yard Fabric T JETS-01 Teal Border & Backing

Cut strips as smaller pieces ! @&2” x $@” @ @ @

@&2 x !^2” @&2” x !2” @%2” x !2”

! yard Batting & Lining #!” x #!”

27” Pillow Form or 24” with a 1 1/2” pillow flange

The fabrics fo blocks the fab piece numbe shows actual the fabric size layouts and b

OR Optional Pillow Form ! q yard-fabric will not show polyester fiberfill

Instructions

All paper-pie follow step in paper from blocks.

2014 fabric vine 129

^2"

5 Make 24 copies for Bed Quilt

$””” x &w”””

Make 16 copies for Lap Quilt Make 4 copies for Pillow

3 @2””” x (”””

^2"

4

2

#””” x ^2”””

%2””” x ^2”””

This quilt uses a variety of fabrics to achieve a scrappy look. To aid in the fabric placement the cut fabric sizes are listed for each section.

1 @4””” x &2”””

Paper-Pieced Pattern A Permission to photocopy Paper-Pieced Patterns pages 130–133 is given by Kona Bay Fabrics and Fabric Vine Magazine to successfully complete the Tonal Star Quilt. *Make one copy checking accuracy of pattern to state size noted on pattern (in red). It is important that size noted on pattern and printed pattern match in order to complete this project successfully. If size varies adjust copier to achieve the measurement listed on pattern then print the appropriate number of copies for each. Print all copies from the same copier to avoid distortions. Home printer setting should be set so paper-pieced patterns are at 100% do not fit page to printer margin. *We recommend making a few extra copies for testing fabric selection, placement and if an error occurs while sewing the units together. *Print all copies from the same printer/copier to avoid distortions. *Trim 2” away from outside trim line. Pattern will be trimmed later after all fabrics have been sewn to unit.

130 fabric vine 2014

Paper-Pieced Pattern B ^2" Make 24 copies for Bed Quilt Make 16 copies for Lap Quilt

5

Make 4 copies for Pillow

$” x &w”

3

@2” x (”””

^2"

2

4

%2” x ^2”””

#””” x ^2”””

1 @4” x &2”””

This quilt uses a variety of fabrics to achieve a scrappy look. To aid in the fabric placement the cut fabric sizes are listed for each section.

2014 fabric vine 131

Paper-Pieced Pattern C ^2" Make 24 copies for Bed Quilt Make 16 copies for Lap Quilt Make 4 copies for Pillow

3 %2””” x *4”””

^2"

2 $w” x &w”””

1

$””” x ^w”

This quilt uses variety of fabrics to achieve a scrappy look. To aid in the fabric placement the cut fabric sizes are listed for each section.

132 fabric vine 2014

$"

Paper-Pieced Pattern D

3

#””” x %2”

$"

This quilt uses a variety of fabrics to achieve a scrappy look to aid in the fabric placement the cut fabric sizes are listed for each section.

2

#””” x %2”””

1

Make 24 copies for Bed Quilt

$” x $”

Make 16 copies for Lap Quilt Make 4 copies for Pillow

Block 1 D G

A

H

Q

Block 2

R

N P

P D

K

S

H

R B

A P

F

E

Uses Fabrics A, C, F, G, H, N, P, & Q

Block 6 B

L

E

Uses Fabrics A, D, I, J, L, N, O & P

Block 5 C

G

O

J

E

Uses Fabrics A, C, I, J, K, R, S & T

Block 4 Q

K

S

E

Uses Fabrics B, D, F, G,H, N, P & Q

H

L

N

C F

N

I

J

B

C

A

T

I

Block 3

F

O

Q D

I

T

E

Uses Fabrics B, C, I, K, L, R, S & T

G

M

E

Uses Fabrics B, D, F, G, H, M, O & Q 2014 fabric vine 133

click to view entire catalog

Designer: Georgie Gerl Large art panels are cut into smaller panels creating this garden quilt showcasing red and blue flowers on a field of white.

Garden Escape Quilt Cutting Chart & Material List Garden Escape Quilt 62” x 62” Featuring fabric from the Serene and Jet Stream (red border) Fabric Collections

material list Backing #d yards Batting ^*" x ^*" Cut strips as indicated in chart then cut smaller pieces listed from these strips Extra fabric may be needed for “Fussy Cut" pieces; amount varies depending on motif selection and fabric repeat.

Fabric Name, Placement & Yardage

First Cuts

Next Cuts

Fabric Name, Placement & Yardage

# # # !

$" x $@" #" x $@" @" x $@" !2" x $@"

* !@

$" x !@2" #" x &"

!@

Fabric F NOBU-83 Red Accent

!2" x @2"

4 yard

# Fabric B NOBU-84 Lt. Taupe Border Background !

^2" x $@"

@ $ !^

^2" x !*2" ^2" x !*" !12" x @"

Fabric G NOBU-83 Indigo Accent

Fabric A NOBU-86 Cream Background

! yard

!2" x $@"

w yard $

Fabric D NOBU-80 Red Art Feature

$

Fabric H JETS-01 Red Border

*2" x !%2"

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!

$2" x $@"

$

$2" squares

!

$2" x $@"

$

$2" squares

*

@2" x $@"

^

@2" x $)2"

!!

!2" x $@"

& &

@w" x $@" !2" x $@"

$ ^ *

!2" x !@2" !2" x #" !2" squares

w yard Fabric I NOBU-84 Blue Accent Border

*2" x !%2"

@ panels

a yard

Next Cuts

14 yard

Fabric C NOBU-80 Indigo Art Feature @ panels

Fabric E NOBU-83 Taupe Accent

First Cuts

q yard @

$2" x $@"

(

$2" squares

Fabric J NOBU-86 Indigo Accent Border

! yard

Let’s Begin Before you begin read all instructions. Referring to project Cutting Chart, cut First Cuts strips as indicated in chart then cut smaller pieces listed under Next Cuts from these strips.

Refer to General Instructions (pages 146–147) for Accurate Seam Allowances and Assembly Line Method to construct this quilt. Use a 4”-wide seam allowance to sew this quilt.

Making the Quilt

1. Sew one @2” x $@” Fabric H strip between two !2” x $@” Fabric I strips as shown. Press.

Make two. Cut strip set into twenty-six @2”-wide sections. !2”

@2” !2” Make @ @2”

Make 2 Cut @^ segments

2. Sew one $2” Fabric E square between two segments from step 1 as shown. Press. Make nine.

Sew one $2” Fabric F square between two segments from step 1 as shown. Press. Make four.

Unit 1

Unit 2

$2”

$2”

$2” Make (

$2” Make $

3. Sew two *2” x !%2” Fabric C panels between three of Unit 1 from step 2. Press. Make three, using either Fabric C or D panels as shown. !%2”

!%2”

*2”

Make # (one of each combination) 2014 fabric vine 139

4. Sew one @2” x $)2” Fabric H strip between two !2” x @2” Fabric A pieces as shown.

Press. Make six. !2”

$)2”

!2”

@2”

Make ^

5. Sew one !2” x #” Fabric J piece between two #” x &” Fabric A pieces as shown. Press. Make six. &”

!2”

&”

#”

Make ^

6. Sew !2” x $@” Fabric I strips end-to-end to make one continuous !2”–wide Fabric I strip.

Cut strip into six !2” x $@2” Fabric J strips. Arrange and sew together two units from step 4, two Fabric I strips from this step,New and one step 3 as shown. Press. Sew this unit page 140unit step 6from diagram between two units from step 5. Press. Make three. $@2”

!2”

!2”

Make #

7. Sew one !2” x !@2” Fabric J strip between two $” x !@2” Fabric A strips as shown. Press.

Make four. !@2”

$”

!2” $” Make $

8. Sew two units from step 7, two of Unit 2 from step 2, and one *2” x !%2” Fabric D panel as shown. Press. Make two. !%2”

*2”

Make @

9. Sew @” x $@” Fabric A strips end-to-end to make one continuous @”-wide Fabric A strip.

Press. Measure unit from step 6 and step 8 (measurement should be the same). Cut two @”wide strips to this measurement.

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10. Arrange and sew together two Fabric A strips from step 9, three units from step 6, and two units from step 8 as shown. Press. @”

@”

$&2”

11. Sew one !2” Fabric J square between two !2” x @” Fabric B pieces as shown. Press. Make eight.

12. Sew one $2” Fabric G square between two units from step 11 as shown.

Press. Make four.

@” !2” @” !2” Make * $2”

$2”

Make $

13. Arrange and sew together two ^2” x !*” Fabric B pieces, two units from step 12, and one ^2” x !*2” Fabric B piece as shown. Press. Make two. !*”

!*2”

!*”

^2” Make @

14. Sew !2” x $@” Fabric J strips end-to-end to make one continuous !2”-wide Fabric J strip.

Press. Measure unit from step 13 and cut two !2”-wide strips to this measurement.

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15. Sew one unit from step 13 to one !2”-wide Fabric J strip from step 14 as shown. Press.

Make two. Referring to layout sew unit from step 10 between units from this step. Press. ^!2”

!2” Make @

Finishing the Quilt 1. Cut backing fabric piece into two equal pieces. Sew pieces together to make one ^(” x *)” approximate backing piece. Press and trim backing to measure ^(” x ^(”.

2. Press backing and quilt top trimming all excess threads. Refer to General Instructions (pages 146–147) for Finishing the Quilt. Layer and baste backing, batting, and quilt top together. Hand or machine quilt as desired. Refer to Binding the Quilt and bind as desired.

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142 fabric vine 2014

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nd Shadowla Col lect ion Q u i lt s

n Yenter gned by Jaso Fabric desi ie Gerl rg eo G by ired Quilts insp

Be sure to pick up the original Shadowland Collection Quilts book—remade quilts with new cutting instructions will be made available for download. Must purchase book for instructions.

general instructions

How-to Help You! Before You Begin We recommend washing and pressing your fabric prior to cutting it into strips and pieces. To help prevent fabric from fraying in the washer, clip corners at a 45 degree angle removing a small triangle piece.

Achieving a Perfect Block Accurate Seam Allowance Use 4”-wide seam allowance for all projects in this magazine unless otherwise stated. If seam allowances differ as little as z” assembling blocks will be difficult, especially when incorporating several block designs in a quilt. To check your seam allowances follow these steps.

Half Square Triangles

without breaking threads, continue this process to stitch additional units. Cut sections apart, press and continue with next step.

Fussy Cut This process is the selection and cutting of a particular motif pattern which is featured in a cut piece. Remember to center design and always allow for seam allowance.

Simple Triangles This is an easy way to make triangles from squares.

Step 1 Draw a diagonal line on the wrong side of fabric square that will become the triangle. This will be your stitch line.

Step 1 Cut three 12” x 6” pieces of fabric from assorted scraps. Sew pieces together to make one 32” x 6” piece.

Press.

Step 2 Center strip should measure 1” x 6”. If piece measures differently check to see if seams have been pressed flat. If the piece still differs cut new strips and adjust seam allowance until you achieve the perfect stitch.

Pressing Press using steam or dry heat setting.

Always use an “up and down” motion since a side-to-side motion can distort the block or unit.

Assembly Line Method Use this method when making multiple pieces or blocks.

Step 2 Place marked square on fabric piece shown in construction step matching raw edges. Sew on drawn line and trim 4” away from stitching.

Fabric A- 2 2" x 2 2" Fabric B- 2 2" x 6 2"

Step 3 Press seams as indicated in construction diagram. Measure sewn piece to check accuracy.

Tip: There is a waste factor with this technique but you can stitch an additional 2” away from stitch line.

Cut piece between stitching saving the smaller version for some future project.

Diagram 3

Step 1

Position pieces right sides together, stitch unit.

Step 2 Align and sew the next unit

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FABRIC VINE 2014

This technique differs from the Simple Triangle method; you will be making two triangles at one time.

Step 1 Draw a diagonal line on the wrong side of one fabric square. Place marked square and one corresponding square right sides together. Sew a scant 4” away from drawn line on both sides, cut on drawn line, and press.

Fabric F- 2 2" x 2 2" Fabric D- 2 2" x 2 2"

Square to 2” Make 2

Step 2 Measure unit and trim as indicated in construction diagram.

Applique Technique Quick Fused Method This method joins fabric to each other with the use of fusible web. There are many types on the market and you will need to refer to manufacturer’s instruction for specific requirements. If quilt does not require laundering you can use heavy-weight fusible web and follow steps 1-4. If your quilt will require laundering use lightweight fusible web and follow all steps. Remember that appliqués when pressed to background fabric will be a reverse image from patterns provided.

Step 1 Trace all appliqué pieces on the paper side of lightweight fusible web leaving 2” space between pieces.

Cut approximately 4” away from traced line.

Step 2 With fusible web paper side up, fuse to the wrong side of fabric scraps following manufacturer’s instructions.

Step 3 Cut on draw line. Remove future project

paper backing, a thin film of adhesive will remain on fabric.

General Instructions

Step 4 Referring to project photo, position and fuse all pieces of one appliqué design at a time onto background.

Tip: An Appliqué Pressing Sheet is very helpful when there are many elements to a design. Place your pattern (reverse image from pattern provided) under the pressing sheet as a guide.

Arrange pieces on sheet and press following manufacturer’s instructions.

Allow piece to cool, remove appliqué unit and arrange on background to fuse unit in place. If the piece is not cooled, the fusible web could remain on the sheet instead of the fabric.

Step 5 If using a machine, cut a piece of stabilizer larger than appliqué area and pin to wrong side of fabric.

Stabilizer is used to achieve an even stitch. Using a satin stitch, blanket stitch or other decorative stitching to secure appliqué in place. Start stitching from the background to the foreground. Option: use a hand embroidery stitch instead.

Hand Appliqué If project specifies quick-fuse you will need to reverse all patterns and add 4”- wide seam allowance. The steps that follow will add the seam allowance after pattern is traced onto fabric.

Step 1 Make a template of all pattern pieces and indicate where pieces overlap.

Place template on right side of selected fabric.

Step 2 Trace around template using a removable fabric marker. This will be your turn under guide. Cut out shapes approximately 4” beyond traced line.

Step 3 When layering and positioning pieces always work from the background to the foreground.

Step 4 Enter from the wrong side of applique shape bringing the needle up on the traced line. Using the tip of the

needle turn under a small portion of the fabric along trace line and secure with thumb. Using a blind stitch, stitch along folded edge to join piece to background.

Stitch is hidden under fabric.

Option 1 Step 1 Position binding away from corner leaving 8” free of stitches and aligning raw edges with the edge of the quilt. Sew using a 4”-wide seam.

Step 2 Stop sewing 4” from quilt top

Blind Stitch

Finishing the Quilt

edge and backstitch. Clip threads and turn quilt. Fold binding up at a 45 degree angle to create the mitered corner as shown.

Diagram 1

Backing fabric and batting should be 4”-8” larger than the quilt top. Press backing and quilt top trimming all excess threads from quilt prior to basting.

Step 1 Lay backing right side down, batting and quilt top (right side up) on top.

Step 2 Backing and batting need to

Step 3 Fold the binding back down aligning top fold with edge of quilt and matching raw edges. Start stitching 4” Diagram 2 for all corners. from quilt edge. Repeat

be taut prior to basting quilt. Start in the center and work out toward edges. You can hand stitch, pin or use a specialty tool to baste quilt together.

Step 3 Check batting instruction for quilting requirements. Hand or machine quilt as desired. Remove basting.

Binding the Quilt Two options are given for binding the quilt. For both options trim batting and backing 4” beyond raw edge of quilt, this will give fullness to the binding. Sew binding stripes end-to-end to make one continuous strip. Fold and press binding strips in half lengthwise with wrong sides together. To reduce bulk when joining strips, cut ends at 450 angle and sew together as shown.

Step 4 Determine length needed for binding strip ends, trim and sew ends together. Stitch binding to quilt. Fold binding to back of quilt, a diagonal fold will form at the corners. Hand-stitch binding to back of quilt.

Option 2 Step 1 Measure quilt through center from side to side. Cut two binding strips to this measurement. Sew to top and bottom of quilt matching raw edges with edge of quilt. Press binding away from quilt top.

Step 2 Measure quilt through center from top to bottom including the binding just added. Cut two strips to this measurement and sew to sides of quilt. Press.

Step 3 Fold top and bottom strips to the back and pin in place. Repeat for sides. Hand-stitch binding to quilt.

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