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A U S T R A L I A’ S F I R S T P A T C H W O R K M A G A Z I N E

Down Under

Quilters’ re u t n e v d A to JAPAN

 Flying Geese techniques to try Double-ikat Silk Issue 156, 2013

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Down Under

Issue 156 – 2013 Editor: Deborah Segaert Subeditor: Lorraine Moran Photography: Joe Filshie Styling: Georgina Dolling Designer: Colin McCulloch Advertising Sales: Nadja Kelly Tel: 07 3300 4022 SUBSCRIPTIONS Subscription Manager: Linzi Wilkinson Online: Tel: 07 3160 9940 PUBLISHING Managing Editor: Debra Hudson Associate Publisher: Gavin Burrell Finance Manager: Linda Constable Group Publishing Director: Rob Wilkinson Published by Practical Publishing International Pty Ltd. The style and mark of Down Under Quilts is used under license from Newlife Media Group Pty Ltd. See copyright and trademark notices on page 98. ISSN: 1448-7888. HEAD OFFICE AUSTRALIA Practical Publishing International Pty Ltd GPO Box 1457, Brisbane, Qld Australia 4001 Tel: 07 3300 4022 EUROPEAN OFFICE Practical Publishing International Ltd St Christopher House, Stockport Cheshire England SK2 6NG Tel: +44 (0) 844 561 1202 DISTRIBUTION Australia: Gordon & Gotch Tel: 02 9972 8800

Inside story


This is the second issue I have completed under the new publisher, and we have fallen into the groove very quickly. My new Managing Editor, Debra, is just great, and has been a big help with introducing new procedures as we have gone along. They do say ‘Two Debs are better than one!’ Don’t they? Well, we think that’s the case. I look forward to the exciting changes ahead – yes, there are plans! No, I can’t tell you yet. But, stay tuned, it’s all very thrilling. This issue welcomes in the New Year, 2013. By now Christmas is over, and hopefully you had some special time with your family and friends. Is it time to get back to sewing projects? Do you have a New Year’s Eve promise to finish off UFOs? Hmm, good luck with that! If you are like me, and starting new projects is much more appealing, then take a look at this issue’s four inspirational quilts and a quilted bag. We share the first part of a simply delightful hand-embroidered quilt, a quick, bold, large quilt – just perfect for favourite prints – a soothing one-patch quilt, and a cute Flying Geese baby’s quilt. While I was researching the lead story – Up & Away with Flying Geese – I became fascinated by the different techniques for making Flying Geese units, and so I decided to share five techniques with you – see page 52. They all have their merits, some have drawbacks, but take a look and see which technique suits you. Then, why don’t you make a Flying Geese quilt, this unit is so much fun to make and so versatile. Last issue I promised that I would share the story of our fabulous trip to Japan last November. It was my first visit, and Lynn’s third, and 14 other quilters travelled with us. The textile gods were smiling on us every single day, as was Mother Nature and the weather was just glorious. We saw so much and learnt traditional Japanese textiles techniques and shopped-until-we-developed Shopper’s Elbow! You can find out all about our Quilters’ Adventure on page 30. I hope you enjoy your armchair journey! Maybe you will even consider joining us on one of our 2013 Quilters’ Adventures, I’d love to have your company.

New Zealand: Gordon & Gotch Tel: +64 (0) 9979 3000 England: Comag Tel: +44 (0) 1895 433600 South Africa: Magscene Pty Ltd Phone: 27 11 805 502 Email:

Editor | 3

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Contents: Up & Away with Flying Geese


Flying Geese can be found travelling up, down, across or on the diagonal in rows, they can feature in block patterns such as Double T, Dutchman’s Puzzle and Railroad Crossing and they can appear flying in the round, or winging their way every which way through contemporary patterns.

Issue 156

Maples, Quilts and Ginkos


Lynn Hewitt and Deborah guided the group to many cultural centres, famous sights and textile and fabric adventures, travelling by airconditioned coach with an English-speaking local guide. Two of the major finds were Textile Town and an amazing museum in Tokyo that showcased historical pieces of pieced and patched clothing and blankets from the northlands of Aomori.

Warp and Weft


Cynthia Harvey Baker wonders how is it that people can achieve the beautiful patterns of Double-Ikat. How do they just ‘know’ how to tie-dye both the warp and the weft which, when woven, creates the design? She declares that it is a mystery; a living art.

Regulars 6 Snippets & Scraps 50 Diary Dates 58 Computer Quilting 65 Reflections 75 Quilting Mumma 76 In the Library

Subscribe now and save

29 Down Under Quilts 93 Down Under Textiles 96 Creative Expressions Down Under

HOW-TO Flying Geese


We share five different methods for making the Flying Geese unit. Each has its benefits and drawbacks, and it is up to the quilter to choose, and use, the technique that best suits them.

Exhibitions 20 Quilt Festival SA 60 NT Quilt Show 66 Queensland Quilt Show

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Vintage Sweetness – Part I



Sea Glass


Designer Shoulder Bag


Project Instructions

Vicki Tucek

Erica Spinks

Joshua’s Quilt Pam Jansen


Siobhan Rogers


Janelle Fischer



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Wangaratta Exhibitions Gallery holds a biennial Award for Contemporary Textile Art. Professional Australian artists working in any style of textile medium are invited to make an entry for consideration within a competitive assessment process. A judging panel will select a shortlist of finalists for the Award exhibition. Closing date for submissions is 22 March 2013. There is an $8000 Acquisitive Award. The selected entries will be displayed at Wangaratta Exhibitions Gallery between 1 June and 14 July 2013. Visit the website to download the entry forms.

Wangaratta Contemporar y Textile Award


7th Heaven or New Horizons? Whichever you prefer, as a quilter, you will find a superb machine under your hands. The Bernina 750 QE includes a meticulously-engineered free-arm with 10in (254mm) of space to the right of the needle. Expand your sewing options with a wide range of accessories. The Bernina 750 QE is equipped with the BSR function which keeps stitches consistent at variable sewing speeds. The BSR foot comes standard with the B 750 QE. The new heart of the Bernina machine features a novel, centrally-placed driver, which allows the B 9 Hook to run steady and quiet. The B 9 Hook sews high-precision stitches up to 9mm in width with speeds up to a 1,000 stitches per minute. And the bobbin has 80 per cent more thread capacity, allowing you to sew longer without interruption. Finally, the B 9 Hook is made of high-quality materials that allow the thread to run smoothly with consistent tension.

The new Horizon Memory Craft 8900 QCP by Janome combines the wide-open sewing space and speed of the top-of-the-line Horizon Memory Craft 12000 with the quilting features of the popular Horizon Memory Craft 7700 QCP. The MC8900 features 11in of work space to the right of the needle, sewing speeds of up to 1,000 stitches per minute, 9mm stitch width, and the innovative AcuFeed Flex™ fabric feeding system. The Horizon Memory Craft 8900 QCP comes with 270 built-in stitches, hundreds up to 9mm wide. These include more of the popular Play stitches, 11 buttonholes, three alphabets, and six Direct Select stitches. Navigation through all the choices is sped along through a combination of jogdial and button selection.

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deborah’s snippets Art Quilt Australia Celebrate

Art Quilt Australia will be a curated exhibition of innovative, contemporary art quilts to celebrate the centenary of the naming of the nation’s capital city as Canberra. Works will be selected that are inspired by, or reflect on ideas of people, place and nation. With the definition of a quilt as ‘a stitched layered textile’, the exhibition is open to all artists across Australia. It will be curated by Valerie Kirk, Head of Textiles at the ANU School of Art. Entries will be exhibited at Craft ACT Design Gallery in Canberra from 31 October to 14 December 2013. The closing date for entries is 19 July 2013, you can download Conditions of Entry and an Entry Form in PDF Format or word document from For further details, contact

International Women’s Day Internationally-recognised and well-loved, Pam Holland will be the guest speaker at the 2013 Maleny Magic Patchwork & Quilts annual homage to International Women’s Day. Originally a fashion designer, Pam has turned her creativity into quilt design, experimenting and attempting different modes of working with fabric and film. Pam’s topic at this celebratory lunch will be Quilts for all Occasions. Bev Perel, owner of MMP&Q says, “This is an occasion for women to come together and celebrate.” On the day there will be fundraising that will be directed to UN Women, the agency created to raise the profile of gender and women’s issues at the United Nations. You are invited to make a block to assist with raising funds. It should be 10 1/2in square finished, it can be any design, but must be made in the ‘women’s’ colours of purple, green and white. Visit MMP&Q website to find more information, contact details and an RSVP form.

Top Pressed Foundation Piecing Make this traditional pattern the easy way using foundation piecing in Sumiko Minei’s Top Pressed Piecing method. After pondering the difficulties some people have with the various techniques used – sewing onto foundations, upside-down, with fabric facing away – she developed the method she shows throughout this book, allowing fabrics to be sewn in a facing position Sumiko has also developed a method of piecing on paper foundations using embroidery software and an embroidery machine. Sumiko Minei says, "Double Wedding Ring is a

& S C R A P S

popular pattern, but difficult to draft; with this book you don’t need to draft patterns, just use the easy sewing technique. It’s an intriguing method, easy to do, and creates a marvellous result." Atusko Ohta, the editor of Patchwork Tshushin, (who has been a lovely friend to me and Down Under Quilts), translated this book into English to be published by AQS. She is very proud of her friend’s work, and this resultant book. Ask at your favourite patchwork store, online store or contact American Quilter’s Society to order your copy | 7

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Quilts 1700–1945 Comes to Brisbane! This exhibition explores more than 200 years of British patchwork and quiltmaking. The exhibition resonates with historical and cultural references that challenge the assumption that stitching is simply ‘women's work’ – every quilt has a hidden history: an unspoken story which is concealed within its layers. Exclusive to Brisbane’s Queensland Art Gallery (QAG), this exhibition

will comprise objects drawn from the extraordinary textile collection of the Victoria & Albert Museum, London. with additions from some of the UK’s finest regional museums and private collections. The exhibition also includes one of the world’s most important textiles, the Rajah Quilt 1841, from the National Gallery of Australia, sewn by convict women during transportation to Van Diemen’s Land. The exhibition will be on display 15 June – 22 September 2013, and is a ticketed event, for more information visit QAG website

Eastwood Patchwork Quilters Biennial Exhibition Make time in your diary to visit the 2013 Eastwood Patchwork Quilters exhibition. There will be an amazing collection of traditional, appliquéd, modern, contemporary, Japanese, picture, baby, children's, male, simple and art quilts - around 150 in total. The venue is Brush Farm House at Eastwood; a beautiful old house set high upon the hill with views down to the Parramatta River. As well as the quilts, there will be other textile displays, a number of vendors, and a fabulous craft stall with handmade items by members. This year the group is raising funds for The Special Olympics a worldwide movement that inspires children and adults with an intellectual disability to reach their personal best through regular (weekly) sport and competition. Giving them opportunities not only to develop physical fitness, but also demonstrate courage, experience joy and participate in a sharing of gifts, skills and friendships with their families, coaches and other Special Olympic athletes and the broader community. To aid the fundraising they have made two raffle quilts with the Canyon Star block. Each member was asked to make at least five blocks and were given blue fabric for the stars and a mix of green fabrics for the centre triangles. See page 50 for more details about the exhibition or contact the Exhibition Coordinator Robyn Shipton at 0412 314 754.

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A Stitch in Time An exhibition of Ruth Stonely's (1940–2007) quilts will be in display at the Queensland Art Gallery at the same time as Quilts 1700–1945 from the V&A. Stoneley was an inspirational figure, not only in terms of the expressive, innovative works she made, but as an active member of the Brisbane quilting and arts community, connecting with other makers through Patchwork Supplies, her Highgate Hill shop, and as a teacher to many local practitioners. While Stoneley came to quilting later in her life, only committing herself to her craft full-time from 1982, she quickly made up for lost time, making prolifically, and exhibiting widely in Australia, and internationally. This exhibition will showcase exemplary examples of Stoneley’s

Quilt: It’s not all sweetness and light 1983, Purchased 1988, Collection: Queensland Art Gallery

practice, showing her transition from early experimentations with the contained patterns of the traditional quilt through to the free-flowing,

abstract and expressive works she made in later years to reflect her feelings, emotions and ideas about herself and the people around her.

Dear Jane Exhibition 2013

In 2008 fifty members of AQA (Australian Quilters Association) took up the challenge to each recreate the historic Dear Jane quilt made by Jane A Stickle in 1863, following instructions and patterns from Brenda Papadakis’ book Dear Jane. AQA is inviting quilters who have made this iconic replica to share your completed quilt, even if you are not one of those 50 members, for a special, once-off display. Whether you are an admirer of quilts, a quilter or just enjoy an exhibition, this will be an exemplarily-grand show. The exhibition will be shown at Box Hill Town Hall from 8–11 February. See page 50 for more information, or visit the website at | 9

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Spreading Wings once again Wilma Simmons has initiated an exciting community fibre arts event to prepare for celebrating International Women's Day 2013, and Timeless Textiles Gallery of Islington, Newcastle, will be hosting free workshops. Spreading Wings is a series of workshops designed to create a collaborative fibre sculpture. The sculpture will be a bird (or a flock of birds) to represent the wings of change – giving momentum to the gender agenda (International Women's Day 2013 theme). At each of the workshops embellished and decorative fabric/textile/fibre items will be created to add to the sculpture. Participate in one, some, or all of the workshops. The workshops are free, but you will need to book your place. For more information, please contact Wilma at or to book contact Anne from Timeless Textiles Gallery by email or phone 02 4961 6660.

Mystery Quilt raises $75,000 for Charity! Leesa Seigele and Faye Packham headed up the third Mystery Quilt fund raising event in 2012, preparing 1000 kits to make up the Mystery Quilt. For those 1000 kits, there were 200,000 pieces cut from 3000 metres of fabric. The cutting, counting and packaging took many hours. Members of the Quilt Encounter committee have been raising funds for

Bedford over the past 20 years, with this event being the most successful. The proceeds from the sale of the kits, and a few other activities combined to raise a massive $75,000 for the Bedford charity. Bedford provides services to more than 1,800 people with disabilities or disadvantages across South Australia. Their focus is addressing people's needs in a caring and supportive environment.

Springwood Community Quilt Show The Springwood Community Quilt Show is now in its seventh year. Besides being a great showcase for the wonderful quilts being made in the Blue Mountains, west of Sydney NSW, the aim is to raise money for the Blue Mountains Rural Fire Service The guest quilter for 2013 Springwood Community Quilt Show is well-known mountain resident, Nerida Richmond Benson. Nerida has lived in Canada and the United States for many years and was inspired by the revival of quiltmaking in these countries. She returned to Australia in 1996 and has taken up residence in Leura. Many of Nerida's quilts reflect her time spent in Japan, visiting her daughter. Her love of Japanese fabrics and her

Nerida Richmond Benson with one of her quilts

skill in sashiko stitching are evident in many of her quilts. The Amish people and their beautiful quilts have also influenced her craft. In more recent years she has moved away from the traditional, geometric designs to more creative, abstract quilts. At times, these pieces of art incorporate her love of poetry and offer the viewer a story or an invitation to become part of the adventure of the quilt. She has created several quilts with pockets that contain small souvenirs from bushwalks in the local area.

Let’s Piece Geese! Check out the how-tos on page 52 to see five different techniques that you can use to construct the versatile Flying Geese unit.

2012 Friday Viewers’ Choice Dragon Fly by Lesley Prince


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Up & Away with

Flying Geese

Barbara Brackman’s Encyclopedia of Pieced Quilt Patterns dates the first FlyingGeese patterns ever published back to 1894, when the Ohio Farmer featured them on their ‘women’s pages’. Now, almost 120 years later, these simple units appear in traditional to modern quilts, and they are made with a variety of modern techniques.

Flying Geese (1838), 249cm x 244cm (98in x 96in), Sarah K Headley Photograph supplied courtesy of IQSC 12 |

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Triangle Quilt, 228.5cm x 228.5cm (90in x 90in), Cheryl Arkison | 13

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Pomegranate Trails, 94cm x 102cm (37in x 40in), Leonie Bateman Pattern and kit available from or phone 03 6228 3319

Flying Geese can be found travelling up, down, across or on the diagonal in rows, they can feature in block patterns such as Dutchman’s Puzzle, Railroad Crossing and Capital T (see diagrams of these three blocks on page 18), and they can appear flying in the round, or winging their way every which way through contemporary patterns.

You can mix and match sizes, as seen in Cheryl Arkinsen’s quilt, to obtain an eclectic look. Cheryl explains, "This was started as part of an on-line bee. I sent each participant a fat quarter of yellow fabric and some turquoise, white, and grey scraps. My only instructions were to make a Flying Geese block, where the geese

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Goose Chase, 175cm x 175cm (69in x 69in), Emma Jansen The fabrics available from Ballarat Patchwork

The name Flying Geese is derived from the triangular geese that fly up, or across, or down, a quilt. were any size, but all pointing in the same direction." Cheryl explains. When the blocks started arriving she got so excited that she quickly made up more blocks, adding to the size of the blocks already received to make them all 18in square. Cheryl concludes, "I think it was the fastest I ever made a quilt of this size!"

This quilt covers Cheryl's daughters at night on their queen-sized bed. "Even here in Canada they are hot sleepers so the quilt is preferable to a down duvet. That, or they just like what Mama made them!" In Pomegranate Trails, made by one of the talented duo from The Quilted Crow (Tasmania), Leonie Bateman, we see the | 15

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Noodle Box, 119cm x 119cm (47in x 47in), Chris Jurd Pattern available at Flying Geese units lined up in strips, and offset with gorgeous appliqué. When asked where she gets her inspiration, she explains, “Inspiration, for me, comes from a variety of things around me – old books, iron fretwork on buildings, plants and flowers in the garden; it seems everywhere I look I am inspired

and thinking about appliqué – particularly wool appliqué.” She designed and made this quilt in 2011. “This piece was inspired by old books that I have in my collection. Old books have beautiful embossing on them, particularly on the spines; hence the inspiration for this piece.”

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Pomegranate Trails was made as a wall-hanging, but it would also look good as a larger piece. Cotton fabrics have been used for the piecing and the background of the appliqué and the appliqué is done in The Quilted Crow’s felted, woven wools. Leonie says, “Woven wool is a beautiful medium to work in and once you've tried it we guarantee you'll be hooked!” Noodle Box, made by Chris Jurd, features foundationpieced ‘geese’ surrounding large-scale print block centres, which are sewn using the ‘Quilt-as-U-Go’ method. All 17 blocks were sewn and quilted and then joined with sashing. The noodle box border is also foundation pieced, then quilted and attached in the same manner. Chris says, “This was my first attempt at the QAYG technique and it has become a popular class project to showcase large-scale print fabrics, or even embroideries.” She also points out that, “Foundation piecing the geese and border onto a paper, or other foundation, guarantees no cut-off ‘noses’ on the geese and stabilises all those bias edges enabling lots of scrap fabrics to be utilised.” Sarah K Headley of Bucks County, Pennsylvania (USA), made her quilt in 1838 (shown on page 12). It is pieced by hand in cotton fabrics and the edges are what is known as ‘back folded over tucked in’ or Knife-Edge. It is a wonderful example of lined up ‘geese’ flying on the diagonal – a setting we don’t see often. The quilt belongs in the Ardis and Robert James Collection and features in the online collection held and maintained by the International Quilt Study Center and Museum*. Emma Jansen made Goose Chase to showcase the gorgeous new range of Liberty Lifestyle fabrics. These are classic Liberty designs printed on 100 per cent craft weight cotton, as opposed to Liberty's usual Tana Lawn which is a much lighter-weight fabric and not well suited to patchwork. Emma explains, "The blocks needed to be reasonably small in size as the fabric prints in the range are quite small

themselves, and the Flying Geese units seemed just the right size." The Quick-No-Waste Method of Flying Geese construction was used which makes for accurate, easy construction, and makes the quilt not as overwhelming as it may seem at first. "Lastly, the quilt seemed to need a frame and was finished off with a plain navy binding," concludes Emma. As evidenced by these quilts, Flying Geese is a widely used sub-unit in patchwork quilts. The traditional method of making Flying Geese consists of cutting one larger and two smaller triangles and then stitching a smaller one to each side of the larger one. The problem with this method is that you are working with bias (stretchy) edges and that it takes quite some time to cut each individual piece – although, some quilters enjoy the process of hand cutting small shapes oneby-one. The benefit of this technique is that it uses up small pieces from your stash. One of the specialty rulers on the market is created especially for cutting the triangles for this traditional method – enabling speedy cutting with a rotary cutter. it is up to the quilter to choose, and use, the technique that best suits them. A scrap quilter might want to put every thread of fabric to good use (traditional), while a quilter who likes quick results may forsake scraps for speed – and in turn waste a lot more fabric in methods that include working with squares and folding back, or the one-seam dimensional method. Then there is the paper-piecing method, which ensures the highest level of accuracy and uses small scraps deftly. Turn to page 52 to see five techniques for making Flying Geese units.

Each technique has its own benefits and drawbacks.


For your chance to win a copy of Elegant Quilts, Country Charm by Leonie Bateman and Diedre Bond-Abel of The Quilted Crow, send an email to deborah. with the answer to the question in the subject line, and your name and address in the email.

*The International Quilt Study Center & Museum is located in Lincoln, Nebraska USA. It houses the largest publicly held quilt collection in the world. The more than 3,500 items date from the early 1700s to the present. There are currently more than 25 different nations represented in the collection.Visit their website to see their collections at

The girls have donated a copy of their gorgeous book, plus a few other goodies from their shop in Tasmania. We will randomly choose a winner for each of the prizes and mail them to the happy winners. Here's the question... A 'gaggle' of geese is a group of geese on the ground. What is the collective noun for a group of geese in the sky?

Check out their store online

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South Australia Quilt

At the 2012 show more than 400 quilt items were displayed; 170 of them were entered into the judged show. From the 17 categories we share a few of the special awards and first-place winners.


Best of Show, Domestic Machine Quilting Golden Ivory, 234cm x 229cm, Rachelle Denneny I have always loved white/cream wholecloth quilts. A touch of bling was added with delicate gold free motion machine embroidery. Trapunto was used to enhance these sections and the quilting was then designed to fit around the embroidery without overpowering it. Quilted and free-motion embroidered on a Brother QC 1000.

Amateur – Predominantly AppliquÊ Tara's Garden, 154cm x 154cm, Val Giles I have used fabric markers and paints to depict some of the birds that come into our garden. Some of the flowers are real, some I dreamed up.

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Art to Wear Samsara Autumn, Isobel McGarry Kimono/coat 'autumn samsara series' constructed from discarded repurposed Japanese silk, mended, eco-dyed (India Flint inspiration) hand stitched with running stitch and appliquéd.

Best Hand Quilting, Traditional – Amateur – First Togetherness, 235cm x 235cm, Yvonne Jeffery-Angenios A hand appliquéd and hand-pieced quilt.

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Junior Member (to 12 Years) The Squares Dance, 90cm x 120cm, Briana Denneny 12 squares a-dancing, All day and all night long, The waltz, the tango and the cha cha cha, The charmander too. 12 squares a-dancing, In costumes pink and blue, With hand in hand they dance along, To a very cheerful tune.

Two person traditional Dragon Fly Magic, 225cm x 255cm Lesley Miller, Quilted by Elaine Kennedy Double Wedding ring quilt stitched for my daughter Rhiannon on the occasion of her marriage to Romm in July 2012 in Thailand. The quilt was stitched using modern Japanese fabrics and the rings laid out to create kaleidoscopes of black and white circles around the central points. | 23

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Warp and Weft:

Patola in Patan

Text and photographs by Cynthia Harvey Baker

1 Double-ikat, to me, is the most magic of textiles. I have been fascinated by its making for many years. How is it that people can achieve those beautiful patterns? How do they just ‘know’ how to tie-dye both the warp and the weft, which, when woven, creates the design? It is a mystery; it is a living art! It is now made in only three places of the world – India, Japan and Bali. In Bali it is made from cotton and is called Geringsing. In Japan, also made in cotton, it is called Kurume-Kasuri. The place where it was first made is India, where it is called Patola. I bought my first piece of cotton geringsing in the village of Tengenan on Bali, some 15 years ago. I bought my second,

2 a sari length of cotton patola, in the village of Narayanpet in India in 2000. Last year, I bought a second cotton piece in Tenganan and a cotton piece of Japanese kurume-kasuri from Sue Leighton-White. In August 2011, I went back to India to learn more. Making double-ikat in cotton is difficult enough, making it in silk, takes the skills to another level. Before I travelled to India I did some research. I knew from my reading that India was the ‘cradle’ of double-ikat. From the book Patolas and Resist-Dyed Fabrics of India I learned that the ‘‘oldest known historical evidence of the

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4 existence of patola can be found in the Ajanta frescoes. In Cave I, dating back to the 6th and 7th Centuries, we see ikat-like designs in the dresses of the females and the robes of the monks’’. From the internet I found out that although cotton patolas were still being made in villages in the centre of India and in the south, Patan was now the epitome of silk double-ikatmaking in India; that a company called Patan Patola was still making the textile in the traditional way; and that it was a family-run business owned by the world-renowned Salvi family. So I included Patan in my itinerary.

Patan is a small town 130 kilometres north of Ahmedabad, where I had gone to revisit the wonderful Calico Museum. I hired a car and driver from the Ambassador Hotel and we set off for Patan early one morning, having phoned Rahul Salvi to say that I was coming and would he please book me into a local hotel for the night. It was a three-hour drive along double highways, corrugated roads and finally a turn to the left and through country roads to Patan. Savan, a younger brother, came to meet us on his motorbike to guide us to the hotel. I took one look at the room, a palace it wasn’t! Dirty sheets, water | 25

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6 on the bathroom floor, mosquitos, one small window that wouldn’t shut and a noisy fan! Only one thing to do –– have a shower on tippy-toe, get something to eat in the restaurant downstairs, and get a rickshaw to Patan Patola. There, within the city walls we found the shop –– Patan Patola on Salvi Vas. I remembered from my reading that ‘‘the name Salvi is believed to have originated from the word ‘shal’ loom. Salvi, therefore, means ‘users of the loom’’’. I pushed a somnolent cow out of the way, knocked at Patan Patola’s front door and walked in.

I knew that Patan Patola had been awarded many important awards for their work. They had won National Awards in 1978, 1987, 1997 and 2005. Vinayak K Salvi had received the title of Shilp Guru in 2002 and the Master of Cloth Award in 2005. I expected an office with glass-covered desks and phones, and men in suits. I saw none of these things. There were Rahul and Bharat (uncle and nephew) at the huge loom in the middle of the room, both weaving. I was asked to wait as they finished a certain section on the silk sari length they were making. They gave me a pamphlet and I read, and learned, that...

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7 Images:

1. The prize-winning heirloom sari, made by Vinayak Salvi, it depicts soldiers in battle. 2. Rahul and Bharat Salvi weaving silk double-ikat sari. 3. They were weaving this old, traditional design when I arrived. 4. Braziers under the loom. 5. Silk is spun before being used in the tieing and dyeing process. 6. Bharat uses a pick. 7. This ancient piece is more than 100 years old. It features the same design as was being worked on the loom. 8. Designs are drawn out onto graph paper first. 9. This piece is over 40-years old, it was dyed with indigo and citrodora ‘‘Ancient folk-songs are sung in Gujerat praising the qualities of Patola. Like in Bali, the textile is a magic cloth which protected you in battle and from evil and bad health. To possess and wear Patola on holy occasions is considered to be a matter of pride of cloth of ma’a or mawa (Indonesian words meaning ‘created by God’) as it is considered so perfect that it could only have been created by the gods.’’ Ibn Battuta, the great Moroccan traveller, after travelling through India in the 14th Century, had given patolas to the court of China, gifts from India’s Sultan. Patolas were famous

from Sumatra to Samarkand and even as far away as Rome in the 15th Century. Patola is given to a bride as ‘some designs symbolise security'. Symbols of elephants, parrots, peacocks, jugs and humans are all considered to be ‘auspicious symbols of saubhagya (good luck). The feeling of good luck and security are imbibed in the Patola'. "The Patola is woven on a primitive hand-operated harness loom made out of teak and bamboo. The loom lies at a slant, with the left side being lower than the right. The bamboo shuttle is made to move to and fro through the warp and each weft thread is thoroughly examined and matched to each part of the warp. The process is labour intensive. It takes three to four months to prepare the tie-dye design. Two weavers always work together (like Bharat and Rahul were doing as I waited) and they weave about eight to nine inches a day. The sari could easily take five to six months to complete, depending on the intricacy of the design.’’ Finally, they had finished the required inches for the day. I walked over to the loom to look at the design and noticed there were small charcoal braziers underneath. ‘‘What are they for?’’ I asked. ‘‘They are to keep the silk pliable in the cold weather,’’ they said. As if silk wasn't difficult enough to handle through the tie-dying process –– it continued to be difficult to weave. These are Master Artists indeed. Then, among visitors coming and going (Indians were having a day out because it was Krishna’s birthday –– a holiday), Bharat and Rahul told me their story: The making of silk Patola was started in Jaina, a small town in Maharastra and then, in the 11th Century, it was taken to Patan by the Salvi family. It has been there ever since. What a wonderful heritage. And the Salvi family still maintain control of the whole process –– the tie-dying of the silk and the weaving. Passed down by father to son in all the centuries that have passed. Vinayak, Bharat and Rohit Salvi now run Patan Patola. Patan Patola is bespoke; ordered by the rich and famous of India. The silk comes from China and is bought in Mumbai. I saw silk that was yet to be dyed; it was lustrous. I saw the area where the silk was dyed in vats with natural pigments or synthetic as per the customer’s requirements. I saw the area where it was tie-dyed. I saw it being woven. It was all around me in an intimate space. The whole family knows how to tie and dye and everyone helps, including the women. I sat and admired the books of visitors’ comments going back generations. I was shown some of the beautiful pieces and the remnants of patola kept for years and years by the family. I was shown the incredibly intricate sari that won the Shilp Guru award for Vinayak K Salvi in 1997 –– depicting a story of a battle, fought long, long ago –– with soldiers and a huge elephant in the centre. I was aware that I was in a very special place where, for 900 years in Patan, generations of Salvis had worked making patola. | 27

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9 Unlike the double-ikat of Bali, the design of silk patola is drawn on graph paper beforehand. Thirty designs are traditional and there are 10 that are modern. Their names are wonderful and traditional. ‘‘Essentially the design in a patola is based on traditional motifs called ‘Bhat’. These designs include Narikunj, Paan, Phulwadi, Rasbhat, Chhabadi, Choktha, Navratna, Paanchphul, Sarvaryu, Laheriya, and so on. Flowers, animals, bird and human figures, and some of the designs are as old as the art itself." They sell their saris not only in India but also abroad to rich Indian families, who pay one and a half million to three million Indian Rupees on a wedding sari for the bride to wear and then kept in the family as an heirloom. Patan Patola’s work is also bought by museums around the world. I had had a really wonderful couple of hours. It was getting to be dusk. The cow was still blocking the doorway. I asked Rahul if there wasn’t another hotel. He said no, so I explained why I couldn’t stay overnight!

Eventually we found a man with a car who was prepared to drive me the 130 kilometres back to Ahmedabad, as I had let my driver go earlier. It was a long drive, we arrived around midnight, then the driver had to turn round and drive back. I saw to it that he had a meal and coffee, and then I went upstairs to my dry bathroom, nice air-conditioner and lovely clean white sheets. As I farewelled Bharat and Rahul, I asked about their dreams. ‘‘The family’s dream is to establish a museum for double-ikat from all over the world.’’ I asked about their business philosophy. ‘‘This is not a business’’, Bharat told me, ‘‘for us it is a tradition, never to be lost’’.

Bibliography Patolas and Resist-Dyed Fabrics of India, Mapin Publishing Pvt. Ltd., Ahmedabad, 1988.

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11/12/12 4:02 PM

Maples, Quilts and Ginkos

Text and photographs by Deborah Segaert

Our group at our first visit to a shrine Finally, I have been to Japan to see the internationally-renowned quilt show – International Quilt Week in Yokohama, and two other of my desires – to see the red and gold autumn leaves of the maples and the lime-green leaves of the gingko. Sadly, there weren’t many of the gorgeous colours of autumn as the summer had been hot and long and the weather was still mild. Although we did see more colours as we travelled further into the cooler climates of the mountainous areas. Lynn Hewitt and I were guest leaders on a tour organised by JTB travel. I had been invited to advise on a selection of textilerelated activities, and the wonderful folk at JTB put together an amazing collection of events, workshops and sightseeing for our

group of 16 over a two-week period, culminating in the ultimate – the International Quilt Week Yokohama. Lynn and I guided our group to many cultural centres, famous sights and textile and fabric adventures, travelling by air-conditioned coach with an English-speaking local guide. Two of the major finds for this itinerary were Textile Town and an amazing museum in Tokyo that showcased historical pieces of pieced and patched clothing and blankets from the northlands of Aomori. In between all that, we shopped a lot! I couldn’t believe how many wonderful things there were to buy. Normally I find souvenirs trashy and useless. Not so in Japan, everywhere

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we went I saw goodies that I simply had to have – from purses made with traditional fabrics, to scarves, incense, and carved Japanese dolls. I ended up with Shoppers Elbow, which is similar to Tennis Elbow, but involves the sport of spending money! To this day Kyoto remains the nation’s most important centre of traditional crafts, with many craft and textiles centres, workshops and museums. The powerful members of the Imperial Palace, who were patrons and practitioners of arts and crafts when Kyoto was the capital of Japan, between 794-1868, influenced the development of many popular art forms. Kyoto is surrounded on three sides by mountains, and the clear mountain water has proved significant in the creation of many traditional pastimes and textiles crafts. We visited the Nishijin Textile Centre, located west of the Imperial Palace. The museum is dedicated to the weavers who have produced elegant textiles for the imperial family and royal nobles for centuries. Silk weaving began in Kyoto in 794 and by the Edo Period (1600–1868) there were 5,000 weaving factories in the Nishijin District. At the textile centre we saw a woman weaving intricate jacquard silk designs on a large, traditional loom, a man embossing gold leaf onto fabric and a young woman transferring painted patterns onto paper for weaving designs, plus many Pebble garden at the Silver Pavillon hand-made kimonos and other items, as well as a fashion parade of gorgeous kimonos modelled by Japanese girls. We participated in a weaving workshop while we were there. I found it very relaxing, rhythmical and soothing, and it ended all too soon. We all come away with a delightful piece to remind us of our visit. Not far from our hotel we visited a textile and haberdashery shop, Yoshikawa. We don’t have anything like it in Australia, not even our large haberdashery stores compare. It was over-heated and stuffy, the shelves and aisles were crammed and absolutely brimming with a huge assortment of notions as well as good-quality patchwork fabrics, yarn and plenty of bag-making supplies. Bags are big in Japan, and we saw many kits to make a huge array of styles at the Quilt Show. Despite the heat and lack of space we all diligently sought out treasures.

Shibori masters showed us how to tie the fabric to resist the dye

To this day Kyoto remains the nation’s most important centre of traditional crafts, with many craft and textiles centres, workshops and museums. | 31

Embossing gold leaf onto fabric Another Kyoto textile speciality is Yuzen dyeing, where intricate multicoloured designs are printed onto silk fabric. The technique is used to produce beautiful kimonos, coats and haori (short coats worn with formal kimonos). This process isn’t, as the name would suggest, dyeing in a bucket, it is stencilling paint in numerous colours. We were all amazed at our final results when the leader applied the last, special layer! In Nagoya we visited the town of Arimatsu, the area where shibori began. Shibori or tie-dyeing, dates back to 1608. The streetscape has been maintained and the traditional beauty of Japanese architecture and old-time prosperity is now valued as a protected cultural heritage. Under the careful guidance of masters of shibori we participated in a shibori workshop. It would be impossible for us to be as capable as the ladies who taught us, but it was fascinating to be able to practise and therefore understand the basics of the technique. Our appreciation for the finished results of the masters, who still produce shibori silk in the area, increased dramatically. From Nagoya we caught the bullet train to Hakone, in the hills south east of Mt Fuji. Here we went in search of a traditional Japanese experience, including staying in a traditional Ryokan, sleeping on the tatami mat floor, experience an Onsen, and a traditional country meal, plus, see famous Mt Fuji! 32 |

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We all enjoyed the meal, some of us slept on the floor – myself included – and most of us tried, and enjoyed, the Onsen. Bathing naked in the natural mineral hot springs of the mountains area is said to be good for your health. Australians are a little reluctant to take their clothes off in front of others, but I found that with my glasses off (or even on – as they steamed up) I couldn’t see much at all. All I could discern was whether my companions were tall (assumed western) or shorter (assumed Japanese). Every now and then I’d pop them back on to check I was with the right group of women. In the mountainous area near Hakone we had the great pleasure of visiting a museum built by, and featuring solely the work of, Itchiku Kubota (1917–2003), a Tokyo kimono artist who specialised in hand-painted yuzen. Kubota developed his own form of tsujigahana, called Itchiku Tsujigahana, substituting contemporary silk crepe fabric and synthetic dyes. His works are on oversized kimono shapes, and each design was created over a period of 12 months. As we were leaving the museum, the sun came out after the morning rain, and there was Mt Fuji in all its snow-capped majesty. Framed by autumn leaves, it was magnificent. Leaving the peaceful hills of Hakone, we travelled to Tokyo by Bullet Train. Our first day in Tokyo included visits to cultural areas such as The Tokyo Tower and Imperial Palace Plaza, and we participated in a traditional Japanese Tea Ceremony at Happoen Garden.

Later that day we visited the Asakusa Kannon Temple and Nakamise Shopping Arcade where, you will be surprised to hear, I bought more goodies. While there we passed an intriguing poster, announcing an exhibition of Japanese Boro items. We jotted down the information in the hope to return when we had some free time. Next came the highlight of the tour, a visit to International Quilt Week Yokohama. What a textile feast this was. This visit, for me, was long awaited. I have dreamed of one day attending this event and seeing for myself the exquisite work that Japanese quiltmakers produce. I had been looking forward to this for a long time, I wasn’t disappointed, and nor were any of my fellow textile-loving travellers! As well as the main quilt contest – featuring about 200 quilts, we saw miniature quilts, Welsh Quilts from Jen Jones’ Collection, Portrait Quilts from California, SAQA Art Quilt Trunk Show and 20th Anniversary Quilts by 200 Japanese Artists. Three modern artists, Shoko Hatano, Sachiko Yoshida and Machiko Miyatani displayed some of their amazing work. We saw dresses from the 50th Japan Fashion Design Contest, quilts from Taiwan and Korea, Kaohagan quilts and various quilting group exhibitions. What’s more, the Merchants’ Mall had more than 200 booths – which we diligently inspected for any and all treats to be found.

Exhibits at the quilt show | 33

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Our last planned excursion was a self-guided trip to Textile Town; a mile-long street in nearby Nippori where more than 100 textile and fabric businesses line both sides of the street. Here we found many, many treasures; I purchased at least six metres of lovely, linen fabrics printed in Japan that will be perfect for bags and quilts. When we discovered we had at least half a day free on our last day we made the plan to locate the Boro exhibition. We caught the subway back to Asakusa, visited the local Information Centre, and with map in hand headed off for one last textile adventure. We discovered the museum adjacent to the temple we had visited. The ground floor was a cascade of quality, stylish textile- and crafts-related items. Through the back of the shop, and up the stairs, were the exhibits we were seeking. To say we were awestruck is an understatement. During our 13-day visit to Japan, we had seen many handmade items and learned some traditional techniques. What we hadn’t seen were any arcane textile items themselves. Here,

The streetscape of Arimatsu has been maintained.

Entrance to Itchiku Kubota Art Museum 34 |

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The town of Arimatsu, where shibori began, has been maintained in its traditional Japanese architecture and its old-time prosperity is valued as a protected cultural heritage.

This is my weaving

The Japanese Tea Ceremony Pavillon | 35

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We travelled to the mountain area of Hakone for traditional cultural experiences in a fastidiously set-out and documented display were items from the far north of Japan, the Snow Country of the Aomori Prefecture. Made from stiff, scratchy hemp cloth, they were tattered and torn, patched and stitched, practical items of bedding and clothes, including shoes, gloves and diapers. When I entered a room that displayed large Bodoko pieces hot tears stung the back of my eyes! These were old, tattered, and glorious! Traditionally Bodoko were laid out on tatami mats, over a bed of straw, for the whole family to sleep on. One Bodoko, made from layers of hemp and cotton scraps sewn down onto a worn hemp kimono base, was used during childbirth so the newborn might be blessed with the ancestral protection and life force passed down in the fabrics from generation to generation. Kotatsu Blankets are heater-table covers; charcoals were placed in an earthen pot which was placed on the tatami, the pieced and patched blanket was placed over it to trap and localise the heat, the warmed blankets were then used as coverlets at night. We left this building reluctantly; it was to be our last Japanese experience of the tour. Later that day we headed to the airport and home to Australia. Our experiences included the ancient and arcane, the modern and popular, all coveted and treasured and the amazing joys of being with like-minded souls who enjoy textiles, fabrics and all things handmade. The textile gods were smiling on us, and we were indeed fortunate to see and do so much, the memories linger on strongly in my mind.

There is always a huge quilt displayed hanging over the centre of the quilt show

If you would like information and/or an itinerary for the 2013 Quilters' Adventure to Japan, France or England turn to the inside back cover or email Deborah at

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14/12/12 12:14:19 AM

Vintage Sweetness – Part I This quilt features all the ingredients of the vintage charm of stitchery. With familiar embroidered images and subtle colours in the piecing it is a beautiful wallhanging that would suit many home decors. I did it with all the stitchery blocks first, and then I made all the pieced blocks. After I sewed them together and made the pieced blocks for the border and then appliquÊd the circles on. Then I sewed those borders on and it was ready to be quilted and have the binding sewn on. You could chose to do your embroideries on a different fabric rather than linen, but I think the linen lends that vintage charm! Created by Vicki Tucek Dimensions: 127cm x 127cm (50in x 50in)

The instructions to make this quilt appear on page 82 (printed version only) 40 |

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Sea Glass This is a simple one-patch design that features tumbler shapes, which are arranged randomly and then easily assembled in rows. This quilt suits a queen-size bed, but you could easily adapt the number of tumblers and rows to make a smaller version, if preferred. I’ve been collecting green and blue fabrics for some time and as soon as I saw some fabrics in the DS Quilts range by Denyse Schmidt, I knew I could incorporate those as well. The fabrics are the colours of the sea, hence the name Sea Glass. I wanted a low-contrast quilt. While some of the prints have white backgrounds, most read as either blue or green. These are very restful shades and perfect for a fresh summer quilt. Alternatively, this design would work beautifully as a scrap quilt. It could be made from 6½in charm squares swapped between friends. Created by Erica Spinks Dimensions: 239cm x 229cm (94in x 91in)

The instructions to make this quilt appear on page 85 (printed version only) 42 |

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Joshua’s Quilt I designed Joshua's quilt for a friend's third child – a third boy. Rather than be disappointed he wasn’t a girl, they were delighted that everything went well and that he was a happy and healthy baby. Flying Geese are fun to work with, especially if you use the ‘No Waste Method’ that has been around quilting circles for some years now, and this is the method I have used in this quilt. It means you don't have to deal with any bias diagonal seams as you make the geese, and it is my preferred method of making Flying Geese. I thought the Flying Geese would look good in a boy’s quilt as it is a strong design element, made stronger by using strong colours. This quilt, which is now much loved by Joshua, was made from fabric from my daughter Emma's stash, and being the owner of Ballarat Patchwork she has a very big stash. The colours are limited to red, green and blue fabrics and it is kept fresh with white as the background fabric. To finish off the quilt I chose a double pieced border broken with a ‘floating’ white border between. Created by Pamela Jansen Dimensions: 122cm x 152cm (48in x 60in)

The instructions to make this quilt appear on page 87 (printed version only) 44 |

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Bella I was lucky enough to be given a preview of Lotta Jansdotters new fabric range ‘Bella” before it was released earlier in 2012. I had followed Lotta Jansdotters work for sometime and liked the clean crisp white with large-scale simple designs. This quilt pattern is one that the students I teach love – its simple yet effective and a great way to show-off your favourite fabrics. It's also relatively quick to put together, which is great when you have an occasion looming over your head. You wouldn’t believe the amount of students that have two weeks ‘till so-and-so’s birthday… This quilt pattern could look very different depending on the use of colour and fabric scale – it’s a great one even for scraps. I found that if I had everything cut and ready to go it all pieced together very quickly. I had it professionally machine quilted for extra strength because I have four children who jump all over my bed and because this quilt is very white, it will need plenty of washing. For the same reason, I also attached the binding by machine. Created by Siobhan Rogers Dimensions: 229cm x 229cm (90in x 90in)

The instructions to make this quilt appear on page 89 (printed version only) 46 |

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Designer Shoulder Bag What fun it is to create handmade bags for yourself or friends and family. This one took hardly any time at all to sew up by machine, and the hand-stitching took an hour or so. I have used a sturdy printed linen for the lower bag outer and an ordinary cotton patchwork fabric for the upper part. The lining is also cotton. The handle is simply a length of gros grain ribbon, easy to find and easy to attach. The bag is a perfect size for your iPad (mine fits in nice and cosy) and you can shorten the shoulder strap by simply knotting it. Created by Janelle Fischer Dimensions: 28cm x 33cm (11in x 13in)

The instructions to make this quilt appear on page 91 (printed version only) 48 |

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Diary Dates

1–6 April Vine Patch Quilters Zion Lutheran Church, Murray Street Angaston Nerida,

19–26 May NEW SOUTH WALES 9–10 March Lioness Club of Shoalhaven Quilt & Craft Show St Michael’s School Hall, North Street, Nowra Delma 02 4441 5946 or Kay 02 4421 6514

Quilts @ the Coast The Northern Yorke Peninsula Quilters' Exhibition in conjunction with the Kernewek Lowender Cornish Festival Moonta Town Hall, George St, Moonta Astrid Zanker 0447 470 297,

16–17 March Evolution of Quilts Goulburn’s 150th Birthday and Rose Festival Mandelson’s of Goulburn, 60 Sloane Street, Goulburn Julie Woods,

12–14 April Wauchope Patchwork Quilters Biennial Quilt Show Wauchope Showgrounds 93 High Street, Wauchope Clare 02 6586 4681

13–14 April Dubbo Patchwork & Quilters Group Biennial Exhibition Old St Brigid’s Catholic Church, Brisbane Street Dubbo Sharon 0409 394 012

26–28 April Springwood Community Quilt Show Springwood High School Springwood Enquiries

3–5 May Eastwood Patchwork Quilters Exhibition 19 Lawson Street Eastwood Enquiries 02 9874 6749

QUEENSLAND 26–27 May Mountain Quilters' Club Inc Biennial Quilt Exhibition Peachester Hall, Peachester Di 07 5498 1123, Sherryl 07 5494 9351

VICTORIA 8–10 February AQA Dear Jane Quilt Exhibition Box Hill Town Hall, Whitehorse Road, Box Hill Pam Hammer 03 9873 4371

Until 16 February The Kimonos Journey: Function to Art Post Office Gallery, University of Ballarat Corner Sturt and Lydiard Streets, Ballarat

23 February – 7 April Golden Textures Contemporary Art Quilt Exhibition Central Goldfields Art Gallery, Neill Street, Maryborough 03 5460 4588

23–28 February

South Australia

Grampians Texture Halls Gap, Grampians 0428 825 971,

1–6 April

2 March

Yesterday, Today and Tomorrow Vine Patch Quilters' Biennial Show Zion Lutheran Church Hall, Murray Street, Angaston

Terang Quilters' Fellowship Biennial Show Presbyterian Hall, High Street, Terang Margaret 03 5592 1354,

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9–11 March

30 July – 30 August

Rochie Patchers Pieces ‘n’ Patches 10th Patchwork and Quilting Exhibition Shire Hall, Mackay Street, Rochester Kaye Clarke 03 5484 3470

Australia Wide Three Wanneroo, Perth Enquiries 03 5358 2731,

16–17 March Seachange Quilters of Barwon Heads Community Hall, corner Hitchcock Avenue and Ozone Road Barwon Heads

16–17 March Goulburn Valley Quilters' Exhibition Long Tan Room, Shepparton RSL Corner of Wyndham and Knight Streets, Shepparton Berni Magee 0400 235 167

INTERNATIONAL NEW ZEALAND 14–17 February The Craft & Quilt Fair Arena Manawatu, Palmerston North

29 March – 1 April Bendigo in Spring or Autumn Strathdale Quilters' St Andrew’s Church Hall Myers Street, Bendigo.

Until 1 April Rally: Contemporary Indonesian Art National Gallery of Victoria International 180 St Kilda Road, St Kilda

15–17 March Quilts Across the Ranges Western Quilters' Circle Annual Show Kelston Community Centre Corner Great North and Awaroa Roads, Glendene West Auckland

FRANCE 23 February – 7 April Inaugural Golden Textures Exhibition Central Goldfields Art Gallery Old Fire Station, Neill Street, Maryborough 03 5460 4588

24–27 April Pour l’Amour du Fil Nantes, France

THE NETHERLANDS 3–5 May Horsham Quilters' Quilt Exhibition Grains Innovation Park Natimuk Road, Horsham Faye 0427 821 510,

3–6 May Open European Quilt Championships Koningshof, The Netherlands

1 June – 14 July Wangaratta Contemporary Textile Award Wangaratta Gallery, 56 Ovens Street, Wangaratta 03 5722 0865

ENGLAND 8–11 August Festival of Quilts

NEC, Birmingham WESTERN AUSTRALIA JAPAN 16–17 March Bunbury Patchwork and Quilting Group Exhibition Quilt show and International Quilt Challenge Stirling Street Arts Centre, Stirling Street, Bunbury

Early November (Dates TBC) International Quilt Week

Yokohama, Tokyo | 51

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How – To

Making Flying Geese In each of the techniques we have used grey fabric as the ‘Geese’ – centre triangle, and a Liberty print as the ‘Sky’ – the two smaller triangles at either end. Each unit is made to 1½in x 3in finished size.

Traditional The original method used for making Flying Geese units comprised of one large and two smaller triangles. They were cut from templates and sewn along bias edges. This method means you can use small scraps. Then, as rotary cutters and rulers became popular the method of cutting quarter-square and half-square triangles made it quicker and easier. To determine what size square you need to cut to make the quarter-square triangles for the centre of the Flying Geese unit, add 1¼in to the desired finished width of the Flying Geese unit. To determine what size square you need to make half-square triangles, add 7/8in to the desired finished height of the Flying Geese unit. See photo 1. Therefore – to make a 1½in x 3in finished Flying Geese unit, cut a 4¼in square, cut it diagonally twice in an X to yield four triangles (geese). Cut four 23/8in squares diagonally in half to yield two triangles (sky) each.

Photo 1

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With right sides together, sew a small triangle to a short edge of a large triangle using a ¼in seam allowance. See photo 2.

Rectangle and Two Squares This method is good for piecing just a few units or if you wish to use different fabrics in each unit, as it makes one at a time. The formula for this method is to add ½in to the desired finished height and width of the Flying Geese unit. Therefore – to make a 1½in x 3in finished Flying Geese unit, cut a 2in x 3½in rectangle and two 2in x 2in squares. See photo 4.

Photo 2

Photo 4

Press the attached small triangle open, pressing the seam allowance toward the small triangle. In the same manner, join another small triangle to the large triangle. Press the small triangle open to make a Flying Geese unit. See photo 3. Create three more units the same from the cut triangles.

Rule a diagonal line on the wrong side of each square. To prevent the fabric from stretching as you rule the lines (along the bias) place 220-grit sandpaper under the square. Place a square at one end of the rectangle, right sides together, note the orientation of the ruled line. See photo 5.

Photo 3

Photo 5 | 53

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Stitch along the ruled line, as shown in photo 6.

Photo 8 Photo 6 Cut the excess triangle away ¼in from the sewn line. In photo 7 you see that the background triangle (grey) is left intact. This is optional. If you do not cut it off it creates bulk, if you leave it there it provides extra stability for the units. Press the small triangle open.

Stitch along the marked line. Trim the seam allowance to ¼in, as before. Press the triangle open, as shown in photo 9.

Photo 9

No Waste x4 Method Photo 7 Place the other square at the other end of the rectangle. Where the squares overlap at the upper centre this will be the point of the geese. This overlap allows for the seam allowance. See photo 8.

This method yields four of the same Flying Geese units at a time. It eliminates working with stretchy bias edges. You need one square the size of the finished width you desire the Flying Geese unit to be plus 1¼in and four squares that are the height of the finished unit you want plus 7/8in, see photo 10.

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Therefore – to make a 1½in x 3in finished Flying Geese unit, you would use a 4¼in geese square and four 23/8 sky squares.

Photo 12 Press out the seams of the two units. Line up another small square against the larger triangle, right sides together. Draw a diagonal line on the back of that small square. See photo 13.

Photo 10 Lay two of the smaller squares lined up with the top left and lower right corners of the ‘goose’ (grey), right sides together. Using a ruler and a sharp HB pencil, rule a diagonal line from top left to lower right, as shown in photo 11.

Photo 13 Sew a ¼in on each side of the marked line. Cut apart on the marked line again. Repeat with the remaining two pieces. Press the triangles open. See photo 14.

Photo 11 If you have an accurate ¼in foot, sew a seam either side of the drawn line. If your foot is not accurate, rule a line either side of the centre line and stitch the seams on the outer lines. Cut them apart on the marked diagonal, as shown in photo 12.

Photo 14 | 55

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Dimensional One-seam Flying Geese This method uses, or wastes, more fabric than other techniques. However, it's fast, simple and dimensional. You will need two small squares for the 'sky' and one rectangle from your 'goose'. See photo 15.

Keeping the sandwich together and aligned on the bottom and side raw edges, stitch a ¼in seam along one side, enclosing the fold within the seam, see photo 17.

Photo 15 Therefore – to make a 1½in x 3in finished Flying Geese unit, cut two small squares at 1½in x 1½in from the sky fabric. To calculate the rectangle (goose), add the measurement of your two smaller squares together and subtract ½in. 1½in + 1½in = 3in – ½in = 2½in. Therefore cut a 1½in x 2½in grey rectangle. Referring to photo 16, lay one of the smaller squares right side up. Fold the rectangle in half, wrong sides together and place on the small square. Align the raw edges of the rectangle with one edge of the small square. There will be a ¼in gap at the top where the fold is. Place the other small square on top, right side down.

Photo 16

Photo 17 Open one square out, as shown in photo 18. Then ‘unfold’ the centre piece to create the large triangle. The side points will come just to the edges of the small squares, and the raw edges will align at the bottom, and the tip of the 'goose' will fall into place naturally, press flat. See photo 19.

Photo 18

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Photo 19

Paper-Pieced Geese Sewing triangles and setting triangles can be tedious with traditional cutting and sewing methods; foundation piecing makes Flying Geese units quite manageable. Foundation piecing ensures accuracy, getting all those little triangles to be perfectly pointy and matched up with those in the next block. Paper Foundations Visit the Martingale website to find patterns to print for foundation piecing Flying Geese units. blog.shopmartingale. com and search paper pieced flying geese.

More methods – using Rulers there are a number of specialty rulers available to make cutting and trimming your blocks easier.

Wrights Easy Stars and Flying Geese Ruler Easy-to-use ruler for cutting triangles for flying geese units. Make nine geese sizes (2in x 4in to 6in x 12in). Make blocks from 4in to 24in. Ruler features 2-colour printing for use on light and dark fabrics. Package includes Ruler, step-by-step instructions and a quilt pattern. Flying Geese X 4 No Math Ruler 8¼in sq by Lazy Girl Designs Make perfect flying geese for any project in 12 different sizes as well as half-square triangles and quarter-square triangles. No math, no waste, no triangles to cut and no bias edges. Use with Lazy Girl LGD801 Flying Geese & More book.

Deb Tucker Wing Clipper This ruler creates the 10 most common sizes of flying geese, and the Wing Clipper 2 is for the in-between sizes. This ruler allows you to construct an oversized flying goose and trim it to perfect size.

Flying Geese Ruler from Marti Michell Use this ruler to make five sizes of Flying Geese units for blocks, borders and entire quilts. These rulers are sold online by Australian websites – Oz Quilts and Punch with Judy. | 57

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Print Uniquely designed Quilt Labels by Jan T Urquhart Baillie

You can make labels for your quilts easily in any word processing program on your computer. I will show you how to make a label in Microsoft™ Word™ 2010.


To change the border Click on the edge of the box, and right click. Choose Format shape. When the dialogue box opens, select Line Style. Click on Dash Type, and choose a dashed line. Change Width – at the top of the list – to 0.25 and click Close.

If you don’t have MS® Word®, you can download a free office suite called Open Office from the Internet. Search for free office programs in your web browser. I’ll start by showing you how to make a very simple text label. Make a template Start by opening a new document in Word®, or your word processor. Save the document as Quilt Labels. Then each time you want to make a new label, simply make the changes in your Quilt Labels document.

called Chapparal Pro Light, but you choose the one that you like best from the list on your computer.

Simple labels Click the Insert tab in the Ribbon at the top of the screen, and click Text Box.

When the box pops open, click the first style on the top left and the text box will be inserted. (See picture at top of next column.) Add your label text Enter what you want to write on the label. You can change the letter style by clicking the drop-down arrow next to the font name. I chose a script font

Using a dashed border I like to print a thin dashed border around my labels so that after they are printed onto my fabric, I can cut the label out adding a ¼in seam allowance. I then fold the label along that line and press, making a perfect rectangle for my label.

Printing the label You can use fabric that is especially made for use in a desktop printer, such as EQ Printables, or you can treat the fabric with BubbleJet Set. You can also use T-shirt transfer paper, following the instructions.

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Computer Quilting Using T-shirt transfers If you use T-shirt transfer paper you may need to reverse the label in the word processor document, or you can set the printer to Transfer Paper in the Printer’s setup box, and the printer will reverse the print for you. Follow the instructions Read the manufacturer’s instructions carefully before using any of the products mentioned, and follow the steps outlined for each type of fabric or transfer paper. Sew on your label Attaching the label is easy. Pin it in place on the back of the quilt, usually at the bottom left, and sew with a tiny slipstitch (appliqué stitch), making sure to only sew to the backing and batting.

Make the font pretty too To change the font colour, click on either the font color button – a big A with a red line under – or the text effects button, and choose a colour or effect.

More complex labels You can add pictures to your label and wrap the text around them. Or, even fancier, add a pretty patchwork border around the text. Choose Edit > Select all on your Quilt Labels page and press delete on the keyboard. Click Insert on the Ribbon, and choose ClipArt.

The Search for Clip Art dialogue appears at the right side of the screen. I typed in 'patchwork', and up came a pretty border. I clicked on that border and it popped into the page. Insert a new text box (as before) inside the quilt border, and type in your message.

Save and print Save your Quilt Labels document, and print on your choice of fabric, or T-shirt transfer paper. Add a seam allowance when you cut the label out, to make attaching it to your quilt back easier. You can do it! While these instructions are for Microsoft Word®, the same principles apply for most other word processing programs. Try designing a label, print it out and let me know how you go. I’d love to see the unique label you design. Have fun! See you next time.

Change the colour of the line to white, following the previous instructions for changing the text box formatting.

For more lessons go to: | 59

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Northen Territory Quilt Show Photography by Nancy Hall

Best of Show

Running Bear, Flying Geese, 167cm x 165cm (65¾in x 65in) Marney Leerson

I commenced this quilt in Lessa Siegele’s workshop in 2011. The centre geese and stars are the original design. I’ve addted the snowflakes and hand-appliqued the purple outside edge. The outside border I drafted and foundation pieced. I quilted it on a domestic Bernina 440. 60 |

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Professional Large Traditional Quilt Janes’s Roses, 206cm x 207cm (81in x 81½in), Elizabeth McCallum This is one of a series of quilts which I am making for either my sisers or sisters-inlaw. Jane is English by birth and reminds me of the beautiful flowers one sees in England. Quilted on my domestic machine. | 61

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Professional Large Non-traditional Quilt The Year of the Dragon, 166cm x 156cm (65½in x 61½in), Chris Knights This is the Year of the Dragon and suddenly the bright scale-like fabric I had bought in Canada had a purpose. It temporarily became a UFO. Then the need to finish it before we entered the Year of the Snake spurred me on! I did the machine quilting. 62 |

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Open Art Quilt La Fenetre, 62cm x 30cm (24½in x 12in), Marney Leerson I dyed and printed fabrics in a Dijanne Cevaal workshop this year. In this art piece I have used some of the fabrics and techniques I learned. | 63

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Open Small Quilt Any Technique Shades of Ugly,122cm x 122cm (48in x 48in), Rhyl Hall This is a UFO from about 10 years ago. I started making it to use up my ugliest samples and scraps but only made one diamond. I revisited in the last year or so and finished it! The fabrics don’t look so ugly any more. From Margaret Rolfe’s and Judy Hooworth’s 'Spectacular Scraps'. Machine quilted on my domestic machine.

Open Mainly Appliqué Blue Garden, 146cm x 95cm (57½in x 37½in), Rhyl Hall I started making blue blocks but wanted to hand applique as well, so designed a quilt to combine the two. I’ve enjoyed the process over a couple of years. Machine pieced, hand appliquéd and embellished, and quilted on my domestic machine.

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Ref lections


Do you want to ensure you sew regularly? Have your quilt projects piled up, without much progress being made? Join a sewing group that meets on a regular basis – you’ll either finish all your outstanding work or simply have great days chatting with friends. Either way, you’ll win! Locking in dates to go sewing has definitely helped me advance my quilt projects. I now try to attend two set sewing days a month – different groups, with one on Saturday and the other on Sunday. They are not classes (although I often learn something) and are not structured (although some might argue the days are organised around delicious lunches). We simply arrive, sew and talk. Hand stitching is the go for me because I prefer not to take my sewing machine. To pack a small bag of necessities for my current hand-stitched project is quick and easy and simple to transport. It doesn’t take up much space at the venue and can easily be moved when lunch arrives (very important). However, being able to pack my project means that I have to prepare my work. Usually, that requires selecting and cutting fabrics. I’ve found that if I don’t have a date to aim for, I lose focus at this stage and find a different task to do. With set dates for meetings, I am motivated to get organised. I’m reluctant to call it a deadline (that sounds too much like work) but prefer to think of it as a goal.


Hand sewing while talking with friends is a perfect way to have a conversation. No one worries if the discussion stops and starts, as concentration is needed while I stitch a challenging seam, or scramble on the floor for a dropped needle. Everyone around joins in the talk while they place their fabric pieces or thread their needles. There is nothing private here. Confidences are shared and problems solved. The world’s peacemakers really should consult us sometimes – we have great ideas. It really does amaze me, though, how much stitching I achieve at these sewing days. If you take away the time it takes to eat and the time between greeting each new arrival and watching show-and-tell (and generally gazing around), there’s probably at least four hours of stitching taking place. That’s a lot of progress! Do you regularly go to sewing days? Find a local group through your friends or state guild, or perhaps ask at a local patchwork shop. If you can’t find a nearby group on a day that suits, start your own. You just need a venue with good light (we go to the pub) and good coffee (important to the group’s wellbeing). Cake helps, too, of course. However, it’s the regularity of the dates that I find important to keeping my sewing moving along towards that great achievement – a finished quilt.

Hand sewing while talking with friends is a perfect way to have a conversation. No one worries if the discussion stops and starts, as concentration is needed while I stitch a challenging seam.

Read Erica’s blog at | 65

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Queensland Quilt Show More than 320 quilts were entered into the annual guild members’ show in October 2012. We share a selection of the special award prizes and a few of the first prize winners from the 16 possible categories. Photographs by Susan Winship

Best of Show Carnival, 220cm x 220cm, Joanne Johnson The traditional Dresden Plate was my inspiration for this quilt. Fabrics used are 1800s reproduction. Pieced, appliquĂŠd and quilted by hand. 66 |

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Best Secondary Student Moths in Flight, 81cm x 66cm, Tegan Lawson Original design inspired by Annemieke Mein, for my HSC project. Tea-dyed background, painting, embellishing, 3D leaves and moth. | 67

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Best Hand Quilting My Welsh Try, 194cm x 194cm, Janet Wood A traditional Welsh design using modern fabrics. Welsh quilts are normally quilted as a wholecloth with the plain side on display. I chose the North English tradition of quilting. The quilt is reversible. 68 |

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Best Wall Quilt, Pictorial – First Purity of the Heart and Soul, 66cm x 108cm, Marilyn Hawkins My daughter-in-law’s photographs inspired this quilt. Batiks were used to create the base design of the flowers. I have thread painted the surface, using mainly 40-weight embroidery threads. Each flower was backed with wool wadding and quilted before stitching onto the background, which was quilted separately. The large water lily pads are synthetic organza. | 69

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Pieced – Non Professional – First Ruffled Flowers and Baskets, 222cm x 222cm, Jill Beban Quilt has been machine pieced and hand appliquéd. Domestic machine quilted with free-motion feathers. This was done as an outline BOM, the quilting was very challenging. 70 |

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Textile Art – Non Professional La Forest, 131cm x 153cm, Marilyn Hawkins Natural leaf-dyed panels of calico and cotton are combined with home-dyed, batik and commercial fabrics to create my own special walk in the forest. The quilting designs are predominantly extended and exaggerated leaf outlines.

Pictorial – Professional Kimberley Treasure, 96cm x 128cm, Di Mansfield The gift of an A4-sized drawing done by a friend (Jan Rutherford) inspired this piece. Initially it saved my sanity, as I hand quilted it in countless hours spent visiting my husband in hospital, and subsequently it nearly drove me mad. | 71

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Appliqué – Professional My Rose of Sharon, 167cm x 167cm, Jan Munn My version from The Rose of Sharon Block Book by Sharon Pederson. It’s a very old pattern and one I am fond of and have used before in appliqué. All hand appliquéd and hand quilted. 72 |

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Small Quilt – Non Professional Several Times Around the Block, Rowena Lawson, 136cm x 136cm Inspiration came from photographs I’ve taken of tiled floors in Melbourne and Sydney and wrought ironwork in Brisbane, and followed encouragement and advice from Michele Hill in classes on drawing and design. Machine appliqué, piecing and quilting.

Threads for hand & machine patchwork, appliqué, quilting, embroidery & lace. Aurifilforhas colour matched Threads hand & machine thread to quilting, fabric. patchwork, appliqué, embroidery lace. idea! What a & good We have the thread for you!

At All About Sewing we stock only the best sewing machines. HuSqvArnA viking, JAnome. We are the only stockists of Pfaff on the Central Coast.


We offer classes 6 days a week, with 12 regular classes each week. There is something for everyone, from Beginners to Advanced.

This quilt was made by shop tutor Leanne Harvey

Ask for cotton Mako’ Ne 50 for accurate foundation piecing everytime

Choose Cotton Mako’ Ne 40 for great machine quilting results every time

Dressmaking l Patchwork & Quilting Machine Embroidery l Junior quilters Also ‘5D software’ classes – all available at affordable prices. The Central Coast Modern Quilt Guild meets here once a month.

Just brought a new machine … ? Not a problem, come and learn how to use it and get the best results with one of our experienced tutors before you start a class. So … if you love sewing as much as we do come and visit our store today, we look forward to meeting you. Shop 1 193-199, Pacific h’way Charmhaven NSW 2263

02 4393 2200

Aurifil threads distributed in Australia & New Zealand by Always Quilting

401 Waverley Rd, Malvern East, Vic

Wholesale enquiries always welcome Ask for the collection boxes at Tel: 03 9569 2272 | Email: your local patchwork store.

Distributed in Australia & New Zealand by Always Quilting 401 Waverley Rd, Malvern East, Vic Tel 03 9569 2272 | Email: | 73 04_AllAboutSewing_duq154.indd 1

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Exotic fabric and unique tools for the creative quilter


Tel: +64 21 774 972 Email: WILLEE DISTRIBUTORS LIMITED

TRADE-ONLY SUPPLIERS OF: X Blocks | Tulis Textiles Fabrics Phillips Fiber Art Products | Tucker Tools

PO Box 150, Ruakaka 0151 Tel: +64 9 432 8511 Fax: +64 9 432 8515 Mob: +64 21 774 972 Email: Web:

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quilting mumma Time drifts by ...

Ally Nicoll “To a quilter, our sewing machine is the single most important item of equipment that we use.”

When you’re doing something that you love, time stands still. You get lost in the moment and nothing else matters. For me, this happens when I am stitching. I sketch my design, choose my fabrics, sit at the machine and the hours just drift by. It’s so important to use a good machine; in fact I have seen several ladies become so disheartened when their projects don’t turn out the way they had planned. More often than not – it is simply because their machine doesn’t have the features they need. To a quilter, our sewing machine is the single most important item of equipment that we use. I use mine on a daily basis, I have been sewing on a Janome machine for the most part of my quilting career. For the past 12 months I have been sewing on a Janome Horizon 7700 – and it is simply a joy on which to work. But I jumped at the chance to stitch on the new Janome Horizon 8900 QCP! There is one obvious change with the current model – the front of the machine is now grey rather than red, but it is a beautiful machine to stitch on! I love that this machine has a huge throat space – 11in! And this means

that quilting a larger quilt is so easy on this machine! The Acu Feed Flex feeding system makes light work of getting through your quilt sandwiches – it’s so smooth – the machine just glided through my quilt! There are 270 built-in stitches, a 9mm stitch width and a one-step needle plate converter. But the thing that I love so much about the machine is the speed, up to 1000 stitches per minute!! One of my favourite features of this machine is when you are piecing a quilt – just pop your 1/4in foot on, hit the D95 button on the control panel and the needle moves into the correct position. So the precision we need when piecing a quilt top is simply at our fingertips! Janome have really thought of all the things that quilters need with this machine. So if you are in the market for a new machine, I would highly recommend that you take one of these machines for a test drive! You will not be disappointed!

Till Next time! Quilting Mumma xx | 75

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in the library

We Love Color Some of the biggest names in quiltmaking have joined with Robert Kaufman Fabrics to share a gorgeous variety of quilts made with vibrant Kona Cotton Solids, in both modern and traditional styles. Known for their original style and use of color, these sixteen designers show much fun it is to play with solids, no matter what your skill level. There’s not a print in sight! Experiment with precision piecing, improvisational quilting, or appliqué. The book includes a Kaufman colour index so you can match the exact fabric for each pattern. Project designers were selected by Susanne Woods, Acquisitions Editor at C&T Publishing. Published by C&T Publishing, distributed in Australia by Two Green Giraffes

Quilt Blocks go wild! Take a tame, familiar quilt block and unleash it to create a fresh, modern look. Eleanor Levie and five quilters famous for innovation put their spins on well-loved classics. Gorgeous photos will make you gaga for wonky hearts, skewed nine-patches, a crazy-quilted star, split Log Cabins, a basket gone bonkers, and more. Guided by easy how-to's and more than 120 step-by-step photos, even beginning quilters can make super-cool pillows, quilts, wall hangings, and bags. There are also plenty of hands-on extras: tips and tricks for color, composition, and design, plus workbook sections that offer lots of jumping-off points to tweak tradition and create your own original blocks. In short, you'll be wild for these bold takes on old favorites! Published by Leisure Arts, distributed in Australia by Capricorn Link

Home Sweet Quilt: Fresh, Easy Quilt Patterns from Jillily Studio known for designs that are pretty and fresh, Jill Finley, owner of Jillily Studio, presents a terrific assortment of 12 all-new quilt patterns for the whole house. Jill says, “When I started my Quilt Studio, my goal was to create and share fresh quilt designs that weren’t tired and out of style but still had an element of tradition.” There are 12 designs that present quilts in sizes from lap to queen, and well as pillows, a wall-hanging, table runners and a bed topper. Make one or more to add a pop of colour, texture of softening elements in each of your rooms. Published by That Patchwork Place, distributed in Australia by Ascot Lane

Quilts to warm today’s Home How comforting it is to create a sweep of soothing patchwork in colours that remind you of home! These 11 homestyle quilts by Nancy Rink feature traditional pieced designs, with lively appliqued leaves and flowers on several. Instructions are included for a variety of applique techniques, and there is also quilt-

pattern definitions that will help you decide how to machine-quilt your project. Whether you make them as bed quilts, wall-hangings, or cozy lap quilts for use on the sofa, these blankets will welcome you home for many years to come. Published by Leisure Arts, distributed in Australia by Capricorn Link

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Cuddle Me Quick: 11 baby Quilt Designs Make a huggable quilt for a special baby, with 11 patterns presented by quilting experts Christine Porter and Darra Williamson. Choose from a mix of traditional pieced quilts and whimsical appliqué designs in eye-catching patterns and

a variety of oh-so-adorable styles. There are lots of tips throughout and an assortment of projects for both boys and girls; full-sized patterns are included. Published by That Patchwork Place, distributed in Australia by Ascot Lane

Color Block Quilts: Perfect for beginners

Fun Quilts for Kids

Cozy Wool Applique Pillows

Marianne Fons and Liz Porter have been working together for more than 30 years and in this book they compile 27 of the best quilts from Fons & Porter's Love of Quilting magazine over the time. This fun collection of quilts feature themes on space, cowboys, penguins, charming flowers, fairies, vibrant geometrics and more. Each quilt is shown in full colour, accompanied by an assembly diagram, a complete materials list, and step-by-step instructions. There are projects for all skill levels, as well as styles from soft and sweet to bold and bright. Fons & Porter's popular Sew Easy lessons, which include step-by-step photography or diagrams, are included with some patterns to provide a little extra help with special techniques. Published by Leisure Arts, distributed in Australia by Capricorn Link

What's more refreshing than a sunny day on the farm? Creating country landscapes with wool appliques and embroidery, of course! Seven farmland scenes invite your admiration on six pillows and a box lid. Just for fun, designer Elizabeth Angus also included an eighth design – a pillow featuring pretty heart appliques. Each project is embroidered with perle cotton and sometimes a little silk ribbon. Some of the designs invite you to add a few buttons for cute-and-cozy details. All of these wooly creations are so heartwarming to see, you'll want to scatter them around the house. Why not place one of the smaller pillows in your sewing room to use as an oversize pincushion? This is whimsical woolgathering at its very best! Published by Leisure Arts, distributed in Australia by Capricorn Link

If you are looking quick and easy, quilt designs, then look no further than the six designs you’ll find in the new quilt pattern book by Judith McCabe. Vivid contrasts and large fabric pieces make these colour block quilts exciting to see and a snap to sew! Judith created these patterns to be fuss-free and fast to finish. The contemporary designs truly are perfect for the beginning quilter, while the experienced quilter will enjoy the exhilaration of achieving almost instant results. Whatever your skill level, these designs will add new energy to your home decor. The quilts look amazing when draped over a chair, hung on the wall, or spread over a table. And they're wonderful as quick and thoughtful gifts! Designs include Diamond, Ladders, Stacked Blocks, Vertical Strips, Vertical Rows, and Horizontal Strips. Each is shown in two versions, for which full instructions are given. Published by Leisure Arts, distributed in Australia by Capricorn Link | 77

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Skip the Borders: Easy Patterns for Modern Quilts Create quilts with simple designs, strong lines, and a modern aesthetic with this innovative collection of quilts by popular blogger and designer Julie Herman (the owner of Jaybird Quilts). She will inspire you to create stunning quilts without borders, in this, her first book With a decade of quilting experience behind her and a good eye for colour, Julie gives herself and others permission to break the rules. In Skip the Borders, she explores the structure of borderless quilts. You can choose from 15 easy quilt patterns where design is the star and fabric is the supporting actor; learn the structure of a borderless quilt; explore various bindings and their effect on the overall look; see what can be done when color is used in bold ways to support a borderless quilt design. Published by That Patchwork Place, distributed in Australia by Ascot Lane

Stitch and Sew Home

Quick Weekend Quilts

Eline Pellinkhof combines contemporary colours with vintage patterned fabrics and chic-boutique designs in this book of more than 45 projects. She will show you how to add unique touches with cross stitch, embroidery, appliquĂŠ, crochet embellishments and buttons on a variety of items including cushions, mobiles, purses, garlands, bunting, baskets and lots more. Full of butterflies, birds and flowers, you can bring life to your home with Eline's lively, fresh and fun projects! Eline is the author of two other books: Eline's Home and Eline's Winter Home. She has designed a successful range of craft materials including fabrics, ribbons, stencils and stamps and also has a website, twitter account and blog following, Published by David & Charles, distributed in Australia by Capricorn Link

Debbie Mumm has been creating charming artwork and quilt designs since 1986. She has authored more than 60 books featuring quilting and home decorating projects. Debbie feels that weekends are the perfect time to immerse yourself in quilting and shares 45 fast and fun projects. Sometimes a simple nudge in the right direction can motivate you to make the most of your weekends. Debbie will help you with preplanning, time-saving strategies, and ideas for quick quilts and clever crafts. A Weekend Planner accompanies each project, and there are tips on sneaking in a little prepping and shopping mid-week that add up to a fun and successful quilting weekend! Projects include bed quilts, lap quilts and throws, pillows, wall art, tabletop runners, and more. Set your sights on this weekend and start stitching up a storm! Published by Leisure Arts, distributed in Australia by Capricorn Link

Easy Quilts for Beginners and Beyond Enjoy 14 delightful designs from Quiltmaker magazine, all in one value-packed book. Perfect for beginners or anyone who wants to make a quick gift, these striking yet easy quilt patterns are quick to stitch. You can use scraps, precuts, and/or yardage in fun designs that

feature batiks, polka dots, florals, Asian prints, and other popular quilt fabrics. Photographs of alternate colour options for almost every project, plus illustrated quilting-design suggestions for each quick quilt make these projects even more intriguing. Published by That Patchwork Place, distributed in Australia by Ascot Lane

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Braidwood Quilt Shop Batiks in Blue. Batiks in Green.

10 Fat Quarters A total of 2.5 metres $60 per pack Includes Postage within Australia.

Open Daily 9.30am - 3.30pm Closed Sunday & Tuesdays Braidwood Quilt Shop Shop 6 Albion Centre Wallace Street Braidwood NSW 2622 Phone: 02 4842 2355 Email:




We sell dyes, fabric paints, fabric crayons & textas, silk painting supplies, & more dyes! Workshops in dyeing,silk painting, shibori, discharge, batik, fabric painting, natural dyes etc.





‘Ready to Dye’ fabrics, threads, yarns, braids and laces. Hand-dyed fabrics and threads.

8/9 Arnhem Close, Gateshead NSW 2290 Email: Ph: (02) 4943 8808

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Over 5000 bolts of patchwork fabric instore priced from $10 a metre

The largest range and best prices of sewing machines and overlockers in Melbourne!


patchwork accessories and craft supplies Craft groups welcome (bookings essential) Mail orders available Find us off the Bruce Highway between Maryborough and Childers, Queensland

VanCootens Howard Drapery

71 Steley St, Howard Qld 4659

Childers Hervey Bay



Ph 07 41 294 785

Email: OPEN Mon - Fri: 9am-5pm, Sat: 8.30am-1pm CLOSED Sunday & public holidays

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Mallee Country Crafts Mahal Magic


Mahal Magic by Leesa Chandler Pattern just $12 or full kit available for $145. With each kit purchased you will also receive another Leesa Chandler pattern FREE!

Mallee Country Crafts 9 Chalk Hill Road, McLaren Flat, S.A. 5171

Phone 08 8383 0820 Postal address: C/- McLaren Flat Post Office, McLaren Flat, South Australia, 5171

A premium blend of wool and man-made fibres. Natural wool – naturally safe and non-allergenic.

For further enquiries phone

Made in Australia for over 25 years

08 8349 0200


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Project Instructions The instructions for all five projects can be found in the following 13 pages of the printed version only.* The instructions will provide an extensive list of materials and equipment required as well as detailed instructions with clear diagrams and/or photographs to ensure ease of understanding. Should you encounter any difficulties you may contact us at and we will endeavour to assist. Our experience over the past 150-plus issues is that the instructions are both comprehensive and simplified enough for the beginner through to the advanced quilter to follow without a problem. In every project the fabric is 100 per cent cotton, 112cm (44in) wide. It is assumed that the fabrics are pre-washed and ironed. Should any projects use different fabrics there will be clear details included. All measurements or dimensions of quilts or wall-hangings are listed as width by length. You will find that this is fairly standard throughout the international quilting world. We express quilt sizes and fabric requirements in metric and imperial measurements for ease of purchase as well as acknowledgment that many quilters ‘think’ in imperial even if they are of the metric age, and of course, our American readers work on the imperial system. Within the actual instructions all measurements are imperial. It is recommended that you read through all instructions first, prior to cutting any fabrics. And, if

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the quilt is constructed by units, or blocks, complete one prior to cutting larger quantities. It is also assumed that anyone attempting these projects has basic hand and machine-sewing skills, as well as hand or machine-quilting skills. Neither of these techniques is expressed in detail in our instructions. You can access such techniques via books or workshops. The stitchery and appliqué templates are on the Pattern Sheet, found in the centre of the printed version. All patterns are copyright to the maker and we rely on their assertions of that legal right. These projects may only be made for personal use, and should you wish to use any for other purposes you must contact us to obtain permission. If you have any original designs that you think our readers may enjoy, please send us low-resolution images for consideration. All contributors are paid for their efforts, and it is such fun sharing your work with quilters around the world. Happy stitching *If you are reading your free subscription online, and you wish to make any of these gorgeous projects you can order your printed version at, or by calling 07 3300 4022. Each printed copy is $9.95 plus $3.00 postage. The printed magazine includes all patterns and templates required to complete the projects.

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Vintage Sweetness – Part I

In this issue we have the full list of fabric requirements plus cutting information, instructions and patterns to complete the first five stitcheries, and also the other three blocks required for the central section of the quilt. The sashing, quilt assembly, borders and finishing will all be covered in Part II. Preparation Trace the inner line of the circle shape from the pattern sheet onto the thin cardboard and the outer line onto template plastic and then cut them out on the line. The plastic template includes a seam allowance, and it is used when cutting the fabric circles.

Vicki Tucek


127cm x 127cm (50in x 50in)

Cutting All strips are cut across the width of the fabric, unless stated otherwise. A scant ¼in seam allowance is used throughout and is included in the cutting measurements.

Block Size

15cm (6in) Fabric requirements „„ 90cm (1yd) dotted green fabric „„ 20cm (¼yd) dotted cream fabric „„ 50cm (5/8yd) floral light-blue fabric „„ 70cm (¾yd) blue fabric „„ 90cm (1yd) dotted yellow fabric „„ 1m (11/8yd) dotted red fabric „„ 50cm (½yd) fawn linen fabric „„ 3.1m (33/8yd) backing fabric Other requirements „„ Rotary cutter, ruler and mat „„ 50cm (½yd) lightweight, woven fusible interfacing „„ 15cm (6in) embroidery hoop (optional) „„ Thin cardboard „„ Template plastic „„ Fabric-marking pen and pencil „„ Light box (optional) „„ Sewing machine „„ General sewing supplies

From the dotted green fabric Cut three 3½in strips and crosscut 28, 3½in squares. Cut five 2in strips and crosscut 88, 2in squares. Cut three 1½in strips and crosscut 16, 1½in x 6½in strips. Cut four 4¼in squares. From the dotted cream fabric Cut one 25/8in strip and crosscut eight 25/8in squares. Cut two 2in strips and crosscut 32, 2in squares. From the floral light-blue fabric Cut two 37/8in strips and crosscut 22, 37/8in squares. Cut four 1½in strips and crosscut 20, 1½in x 6½in strips. From the blue fabric Cut five 1½in strips for the outer border.

Cut 24, 1½in squares. Cut four 25/8in squares. Cut 14 circles using the plastic template. From the dotted yellow fabric Cut two 37/8in strips and crosscut 22, 37/8in squares. Cut two 2in strips and crosscut 32, 2in squares. Cut four, 4¼in squares. Cut 14 circles using the plastic template. From the dotted red fabric Cut five 2in strips and crosscut 88, 2in squares. Cut one 25/8in strip and crosscut eight 25/8in squares. Cut five 1½in strips and crosscut 28, 1½in x 6½in strips. Cut five 2½in strips for the binding. From both the fawn linen fabric and the interfacing Cut two 8in strips and crosscut nine 8in squares. Stitchery blocks Working on one block at a time, fold a linen square in half on one diagonal and finger-press the fold. Unfold the square and repeat for the other diagonal. Using a light box or well-lit window, centre the linen square, on-point, over the teapot design printed on the pattern sheet and tape it in place to prevent movement. Carefully trace the design using a fabric-marking pen/pencil. Iron the fusible interfacing to the wrong side of the block. The fusible interfacing prevents threads from showing through to the right side and also gives the fabric a firm surface with which to work. Place the background square in an embroidery hoop if desired and complete the embroidery, referring to the block-byblock guide.

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Block A Cut the 4¼in dotted green and dotted yellow squares on both diagonals to yield 16 quarter-square triangles of each fabric. Referring to the block diagram, sew the dotted green and below the dotted yellow quarter-square triangles together to make 16 triangle units.

Block Design Stitches Used Block 1 – Teapot Chain stitch: teapot outlines and lines under lid Back stitch: flowers and leaves French knots: dots Sew a length of lace along the bottom before adding the borders.

Block 4 – Iron Chain stitch: iron outline and detail Back stitch: leaves

Block 2 – Heart Chain stitch: heart outline Back stitch: flowers and leaves Whipped stitch: frill outline

Block 5 – Coffee Pot Chain stitch: coffee pot outline Back stitch: leaves and petals Sew a length of lace along the bottom before adding the borders.

Sew 25/8in dotted red and dotted cream squares together with right sides facing. Repeat to make a second pair. Lightly press the seams. Sew the red and cream pairs together to make the centre square. Lightly press the seams. Add green and yellow triangle units to the opposite sides of the centre square, press the seams outwards and then add triangle units to the remaining two sides to complete Block A. Press the seams outwards. Make a total of four blocks in this manner. Block B Lay out the 2in squares as shown in the block diagram. Sew the squares together to make the four rows and then join the rows, carefully matching the seam intersections.

Block 3 – Jug Chain stitch: jug outline Back stitch: hearts Buttonhole stitch: centre of hearts Sew a length of lace along the bottom before adding the borders. | 83

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Lightly press the seams. Make a total of eight blocks in this manner. Block C Cut eight of the 37/8in dotted green and dotted yellow squares on the diagonal to yield 16 half-square triangles of each colour fabric. With right sides together sew a dotted yellow and a dotted green triangle together. Lightly press the seams. Make a total of 16 units in this manner.

Lay out the units as shown in the block diagram at the right. Join the pieced squares into two pairs and then join the two rows to complete the block. Lightly press the seams. Make a total of four Block C. Don’t miss the next issue of Down Under Quilts where the remaining stitcheries, plus the instructions for the sashing, quilt assembly, borders and the finishing of your quilt will all be covered.

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Sea Glass

Erica Spinks Dimensions

Preparatiovn Using the fine, permanent marking pen, trace Templates A and B onto the template plastic. These templates include a ¼in seam allowance. Cut out the templates carefully along the outside lines. Note that Template B is also used reversed as BR.

with short edges at the top and then with short edges at the bottom, sew one B and 22 Template A pieces together. Finish the row with another B piece. See diagram 1.

Cutting All measurements include a scant ¼in seam allowance. Strips are cut across the width of the fabric unless otherwise stated. It is recommended that a sample block be made before cutting out all the pieces to complete the quilt.

B+(A22)+B Diagram 1

239cm x 229cm (94in x 90in) Block size

Each tumbler is 15cm (6in) high Fabric requirements

All fabric is 100cm (40in) wide, prewashed and ironed, unless otherwise stated. It is recommended that the fabric choices information be read before purchasing the fabric. „„ 8m (8¾yd) assorted green and blue prints for the tumblers „„ 65cm (25in) striped fabric for the binding „„ 7m (7¾yd) backing fabric Other requirements

„„ Rotary cutter, cutting mat and quilter’s ruler „„ Template plastic „„ Fine, permanent marking pen for tracing templates „„ Neutral-coloured thread for piecing „„ Masking tape or clips for sandwiching the quilt „„ 260cm x 250cm (102in x 98in) batting „„ Safety pins for basting „„ Pale-blue cotton thread for machine quilting „„ Sewing machine with ¼in foot and walking foot „„ General sewing supplies

Note: If you want to cut the fabric in strips, cut 6½in strips across the width of the fabric and then use the template, ruler and rotary cutter to cut the tumblers from the strips. Each strip will yield seven Template A pieces and a couple of B or BR pieces. You will need 48 strips.

From the assorted green and blue print fabrics Cut 330 Template A. Cut 16 Template B. Cut14 Template BR. From the striped fabric Cut 10, 2½in strips binding.



Method The quilt is constructed in odd and even horizontal rows. For each row, join the pieces and then press all the seams in odd rows in the same direction. Press all the seams in the even rows in the opposite direction. This will help line up the seams when joining the rows. Refer to the quilt photograph to see the difference between the odd and even rows. Row 1 (odd row) – Starting with a B piece and alternating the A pieces






Row 2 (even row) – Starting with a BR piece and alternating the A pieces with short edges at the bottom and then with the short edges at the top, sew one BR and 22 Template A pieces together. Finish the row with another BR piece. See diagram 2.






BR+(A22)+BR Diagram 2 Lay out the rows in order as you finish each one. This will enable you to ensure that one piece does not meet another piece of the same fabric. Make eight odd rows and seven even rows in this manner. Assembly Lay out the rows in order, ensuring that the odd and even rows are alternated. Pin and then stitch the rows together. Press the seams. Finishing Cut the backing fabric into two 100in lengths, two 26in lengths and one 20in length. Remove the selvedges and join the three smaller pieces end-to-end to form a long strip. Press the seams open and trim this to measure 100in. Remove the selvedges of the two 100in lengths. Join the three backing pieces lengthways, with the pieced length between the other lengths. Press the seams open. | 85

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Lay the backing, right side down, on a large, flat surface and tape or clip it in place. Lay the batting on top of the backing and smooth it out to remove any wrinkles. Lay the pieced quilt top, right side up, on top of the batting and smooth it out from the centre. Baste through all layers using safety pins, spacing them about 3in apart. This quilt was professionally machine quilted with pale-blue cotton thread in a large curved pattern. Any curved pattern will complement the straight lines of the tumblers. Join the binding strips. (This binding was not joined on a 45-degree angle, as it normally would have been, because of the striped fabric.) Press the seams open to help distribute the bulk. Press under a single ¼in

fold at one end of the strip. Press the binding in half lengthwise with the wrong sides together. Using a ¼in seam and starting 4in from the pressed fold, stitch the binding to the front of the quilttop edge, matching the raw edges. Stop ¼in before the first corner and remove the quilt from the machine. Fold the binding strip up at a 45-degree angle towards the top of the quilt. Fold the binding strip straight down level with the next side of the quilt to make a neat corner. This will make a mitred corner when the binding is folded to the back. Continue stitching, starting ¼in from the folded edge. Repeat this process for all the corners. Stop stitching 6in from the starting point and, with the quilt

remaining under the machine, insert the end of the strip inside the folded end, trimming any excess fabric. Stitch the remaining section in place. Turn the folded edge of the binding over to the back of the quilt and slipstitch it in place, stitching the mitred corners to secure them. Sew a label to the back of the quilt, with details of the maker’s name and the date. This quilt was professionally quilted in a ‘Raindrops’ pattern by Kimpossible Quilting, phone 02 9659 2912. Erica Spinks may be contacted at or via her blog

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Joshua’s Quilt

From each of the 12 Flying Geese fabrics Cut one 2in strip and crosscut 11, 2in x 3½in rectangles. Cut two 7¼in squares. From the background fabric Cut 10, 37/8in strips and crosscut 96, 37/8in squares for the Flying Geese. Cut 10, 2in strips for the first and third borders. From the binding fabric Cut six 2½in strips.

Pam Jansen Dimensions

122cm x 152cm (48in x 60in) Block Size

7.5cm x 15cm (3in x 6in)

Block construction The ‘No-waste’ Flying Geese construction method is used to make this quilt. Rule a diagonal line on the wrong side of each of the 37/8in background squares. Place 37/8in background squares, right sides together, on a 7¼in square and pin them in place. See diagram 1. Stitch a scant ¼in either side of the ruled line.

Fabric requirements

„„ 12, 30cm (12in) fabrics for the Flying Geese – 4 blue, 4 aqua, 4 orange „„ 1.6m (1¾yd) fabric for the Flying Geese backgrounds and the first and third borders „„ 3m (3¼yd) backing fabric „„ 50cm (½yd) binding fabric „„

Other requirements „„ Rotary cutter, ruler and mat „„ Neutral-coloured thread for piecing „„ Masking tape or clips for sandwiching the quilt „„ 140cm x 168cm (55in x 66in) batting „„ Safety pins for basting „„ Thread for quilting „„ Sewing machine „„ General sewing supplies Cutting All strips are cut across the width of the fabric, unless otherwise stated. All measurements include a scant ¼in seam allowance.

Diagram C Diagram 1 Cut the units apart on the ruled line and press the seams towards the triangles. With right sides together, place a ruled 37/8in background square on the unit and stitch a scant ¼in either side of the ruled line as shown in diagram 2.

Diagram E

Diagram 2

Cut along the ruled line and press the seams towards the triangles to complete two Flying Geese units. Repeat this process with the remaining unit for a total of four Flying Geese units, see diagram 3.

Diagram 3Diagram F Each 7¼in square will yield four Flying Geese units for a total of 96 units. Quilt assembly Lay out the Flying Geese units in six vertical rows of 16 units each, using your preferred colour arrangement. When you are satisfied with the mix of fabrics and colour stitch the units one above the other to complete the six rows. Join the rows, carefully matching the seam intersections and then press the quilt top well. The quilt top should measure 36½in x 48½in, raw edge to raw edge. If your quilt does not measure this size, adjust the border measurements to match. First border Join the 2in strips end to end and then trim two 2in x 48½in lengths for the side borders and two 2in x 39½in lengths for the top and bottom borders. Set aside the remaining pieced strip for the third border. Pin-mark the opposite sides of the quilt top and the 48½in strips into quarters. Stitch the borders in place matching the pins and then press the seams outwards. Using the same method, pin-mark and then stitch the shorter borders to the top and bottom of the quilt top. The quilt top should now measure 39½in x 51½in, raw edge to raw edge. | 87

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Lay out the backing right side down onto a large flat surface and secure with tape or clips, add the batting and then the quilt top, smoothing each layer out as you go. Baste the three layers by either pinning with rust-proof safety pins at 4in intervals. Machine quilt in straight lines from top to bottom.

Second Border Randomly select 17 of the 2in x 3½in rectangles and stitch them together along the 2in sides to make a side border that measures 51½in (adjust as necessary), and repeat for the other side. Sew the pieced borders to the quilt top in the same manner as the first border. Repeat for the top and bottom, this time sewing 14, 2in x 3½in rectangles together to measure 42½in (adjust as necessary).

borders to the quilt as described in the first border.

Third border From the previously pieced border strip, cut two 2in x 54½in strips for the side borders and two 2in x 45½in strips for the top and bottom borders. Sew the third

Finishing Cut the backing fabric into two equal lengths. Remove the selvedges and then stitch them side by side to create a backing with one horizontal seam.

Fourth border Randomly select and stitch 19, 2in x 3½in rectangles together to measure 57½in. Sew the borders to the sides of the quilt, and press the seams towards the border. Repeat for the top and bottom borders, this time using 16, 2in x 3½in rectangles to measure 48½in (adjust as necessary). Press the quilt top well.

Binding Trim the batting and backing to ¼in beyond the edge of the quilt top. This gives a ‘full’ binding. Check that the corners are square. Join the six binding strips end to end using 45-degree seams and press the seams open. Fold under and press a single ¼in fold at the beginning of the strip. Fold the binding in half lengthwise with the wrong sides together and then stitch it to the front of the quilt with raw edges aligned with the quilt top and using a scant ¼in seam allowance. Start about halfway along one long side and leave the first 4in of the strip free. Stop stitching ¼in before the first corner, remove the quilt from the machine and fold the binding strip at 45 degrees towards the top of the quilt. Fold the binding strip down level with the next side of the quilt. This will make a mitred corner when the binding is folded to the back of the quilt. Continue stitching, starting at the top of the folded strip. Repeat this process for all corners. Stop stitching 6in from the starting point and, with the quilt remaining under the machine, insert the end of the strip inside the folded end, trimming any excess fabric. Stitch the remaining section in place. Turn the folded edge of the binding to the back of the quilt and slipstitch it firmly in place. Sew a label onto the back of the quilt with the maker’s name, quilt name (if desired) and date of completion.

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From each of the 15 fabrics Cut two 6in x 18½in rectangles (D) for Block 1. Cut two 5in x 7½in rectangles (C) for Block 1. Cut two 4in x 7½in rectangles (B) for Block 1. Cut three 2½in squares (A) for Block 1. From each of the five fabrics Cut two 6in x 18½in rectangles (D) for Block 2. Cut two 5in x 7½in rectangles (C) for Block 2. Cut one 7½in x 9 1/2in rectangle (E) for Block 2.

and right edges, followed by the 6in x 18½in (D) rectangles to the top and bottom, pressing the seams outwards as you go. Make a total of 15 blocks. Block 2 Each block is made of a 7½in x 9½in central rectangle and framed with another colour. Sew 5in x 7½in rectangles (C) to the opposite sides of the central rectangle and press the seams outwards. Add 6in x 18½in (D) rectangles to the top and bottom of this unit and press the seams outwards. Make a total of five blocks.

From the binding fabric Cut 10, 2½in strips. Siobhan Rogers Dimensions

222cm x 222cm (87½in x 87½in) Block size

44.5cm (17½in) There are 25 blocks

Block 1 Referring to diagram 1 and noting that each block uses three different prints, lay out the squares and rectangles as shown. It is recommended you lay out the pieces for all 15 of the blocks before you commence sewing, so you can see if the colours and prints are working as you wish.

Fabric requirements „„ 90cm (1yd) 15 coordinating fabrics „„ 50cm (½yd) 5 coordinating fabrics „„ 6.6m (7¼yd) backing fabric „„ 70cm (¾yd) binding fabric Other requirements

„„ Rotary cutter, ruler and mat „„ Threads for piecing and quilting „„ 254cm x 254cm (100in x 100in) batting „„ Masking tape (or clips) for sandwiching the quilt „„ Safety pins for basting „„ Quilting gloves (optional) „„ Sewing machine „„ General sewing supplies Cutting All measurements include a scant ¼in seam allowance. All strips are cut across the width of the fabric unless otherwise stated.





D Diagram 2







Diagram 1 Stitch (A) squares to top and bottom of the centre (A) square. Press the seams away from the centre square. Stitch 4in x 7½in (B) rectangles to the left and right edges of this unit and press the seams outwards. Add 5in x 7½in (C) rectangles to the left

Assembly Lay out the blocks in five rows of five, spacing the five Block 2 evenly across the quilt. Rearrange the blocks as required to create the best mix of colour and print style. Stitch the blocks into rows and then press the seams for the oddnumbered rows in one direction and the even-numbered rows in the opposite direction. Stitch the rows together carefully matching the seam intersections. Press the seam to one side and then press the quilt top well. Finishing Cut three 20in strips across the width of the binding fabric. Remove the selvedges and trim one of the strips to a 20in square. Join a | 89

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under the machine, insert the end of the strip inside the folded beginning, trimming any excess fabric. Stitch the remaining section in place. Turn the folded edge of the binding to the back of the quilt and slipstitch it in place. Sew a label to the back of the quilt, with details of the maker’s name and the date, and any other relevant information.

width piece to either side of the 20in square and press the seams open. Cut the remaining backing fabric into two equal lengths and remove the selvedges. Stitch the full-size lengths to either side of the 20in-wide pieced strip and then press the seams open. Lay the backing right side down on a large flat surface (with the long seams running up and down), smooth the fabric out and clip (or tape) it in place. Centre the batting on top of the backing, smooth it out and then clip it in place. Centre the quilt top over the batting, right-side up. Smooth it out from the centre, clip it in place and then baste the three layers together using safety pins at 4in intervals. The featured quilt was longarmmachine quilted by Kim Bradley in an overall pattern called Funky Fan. When the quilting is completed trim the batting and backing in line with the quilt top and check that the corners are square.

Binding Join the binding strips end to end using 45-degree seams and press the seams open. Cut the beginning end of the strip to a 45-degree angle and press under a single ¼in fold. Press the binding in half lengthwise with the wrong sides together. Using a ¼in seam and starting about 4in from the pressed fold, stitch the binding strip to the front of the quilt, matching the raw edges and stopping ¼in before the first corner. Remove the quilt from the machine and fold the binding strip at 45 degrees towards the top of the quilt. Fold the binding strip down level with the next side of the quilt. This will make a mitred corner when the binding is folded to the back of the quilt. Continue stitching, starting at the top of the folded strip. Repeat this process for all corners. Stop stitching 6in from the starting point and, with the quilt remaining

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Designer Shoulder Bag

Method Align the upper bag trim with the main bag, right sides together. The braid should be inserted between these two pieces. See photo 1.

Photo 1

Janelle Fischer


28cm x 33cm (11in x 13in) Fabric requirements

„„ 40cm (15¾in) fabric for main bag „„ 20cm (8in) fabric for upper bag trim „„ 40cm (15¾in) fabric for lining „„ 70cm (27½in) braid „„ 1.5m (12/3yd) 24mm (1in) - wide grosgrain ribbon

Sew the other two outer sections together in the same manner Cut two pieces of batting to the same size as the completed outer bag sections. Place the batting to the wrong side of the outer front and back, pin in place. Using red quilting thread, machine or hand quilt in parallel lines across the upper trim. Use three strands of stranded thread to hand quilt around the features in the printed fabric. Add French knots where they suit. Complete both the back and the front as desired. Place the completed front and back outer sections right sides together and sew around the sides as shown in diagram 1.

Place the lining front and back right sides together and stitch the sides and bottom, leaving a 4in opening at the lower edge. Place the bag lining (right side out) inside the bag outer (wrong side out). Both right sides should be facing. Stitch around the top edge. Turn the bag right side out through the opening in the bottom of the lining. Hand or machine stitch the opening closed. Place one end of the grosgrain ribbon centred over the side seam. Machine stitch the ribbon in place and then secure the other end to the opposite seam in the same manner to complete your bag.

Other requirements „„ Red quilting thread „„ Stranded embroidery threads to match main fabric „„ Embroidery needle „„ 40cm x 80cm (15¾in x 31½in) thin batting „„ Sewing machine „„ General sewing supplies Preparation Trace the pattern pieces from the pattern sheet. Cut out two of each piece as directed on the patterns.

Diagram 1 | 91

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Enter the


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last say... with


What fun Deborah seems to have had with Flying Geese in this issue, I look forward to next issue’s theme – Dresden Plates. This is one of my all-time favourites, although I have not ever made one. Dresden, Germany was a centre of the19th Century romanticism movement in art; one that included the fine decoration of porcelain. Porcelain plates were embellished with elaborate designs and these beautiful plates would surely have been admired by women of the early 20th Century. Although this quilting pattern was not well known until the late 1920s, there were precursors in the fan patterns of the late 1800s. Deborah has found some wonderful quilts to share with you, to give you lots of ideas on how to use this dainty design in your quilts, and she has promised to include some how-tos to make rounded blades, straight blades and pointed blades, plus a few other tips. The projects will include Part II of Vintage Sweetness, a marvellous Dresden Medallion quilt, a polka-dot Dresden and a funky cushion. I think you will all go dotty for Dresdens, me included! I feel all inspired already; maybe I should start a Dresden Plate quilt myself? What I really mean is, maybe I should add it to my to-do list!

Dotty Dresden, Leanne Harvey

COPYRIGHT NOTICE The Editor reserves the right to include or not, any submissions or part thereof. All articles and projects are copyright of the author and must not be reproduced for commercial or financial gain without permission. Practical Publishing has taken reasonable steps to ensure that the copyright of each article/project resides with the contributing author. Practical Publishing relies on these warranties when asserting that the copyright is owned by the authors. The instructions for the included projects have been checked for accuracy and are published in good faith. However, we do not guarantee successful results and offer no warranty, either expressed or implied. The claims and statements made in any advertisements are not those of the publisher. Practical Publishing takes no responsibility for the accuracy of the content of any advertisements, advertorials or paid promotions. All information supplied in advertisements is the responsibility of the company who books and pays for the space.

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