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Down Under

ew k n o Lo

Quilts C R E AT I V E D E S I G N S ◆ E X P E R T T I P S

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

40+

inspiring Quilts

for you

HOW-TO

draft your own

Dresden Plate templates

stitch blades of different shapes and sizes

meet teen quilter

Ineka Voigt

Issue 157, 2013 AUS $9.95, NZ $11.95


Welcome

Down Under

Issue 157 – 2013 editorial Editor: Deborah Segaert Subeditor: Lorraine Moran Designer: Jo Martin Photography: Joe Filshie Styling: Georgina Dolling Advertising Sales: Nadja Kelly nadja.kelly@practicalpublishing.com.au Tel: 07 3300 4022 SUBSCRIPTIONS Subscription Manager: Linzi Wilkinson linzi.wilkinson@practicalpublishing.com.au Online: www.practicalpublishing.com.au Tel: 07 3160 9940 PUBLISHING Managing Editor: Debra Hudson debra.hudson@practicalpublishing.com.au Associate Publisher: Gavin Burrell gavin.burrell@practicalpublishing.com.au Finance Manager: Linda Constable linda.constable@practicalpublishing.com.au Group Publishing Director: Rob Wilkinson rob.wilkinson@practicalpublishing.com.au Head Office Australia Practical Publishing International Pty Ltd GPO Box 1457, Brisbane, Qld, Australia 4001 Tel: 07 3300 4022 www.practicalpublishing.com.au European Office Practical Publishing International Ltd St Christopher House, Stockport Cheshire England SK2 6NG Tel: +44 (0) 844 561 1202 www.practicalpublishing.co.uk Distribution Australia: Gordon & Gotch Tel: 02 9972 8800 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: tarrynf@magscene.co.za 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: 1033-4513.

Meet Deborah I have been playing with fibres, threads and needles since I was a child – knitting, crochet and embroideries at my grandmothers’ knees. My mother taught me patchwork when I was pregnant with my first child – about 29 years ago. Since then, I have enjoyed many years in the quilting world; editorial roles; organising national and international tutors and workshops; arranging quilt-related travel itineraries and many other fun quilty things. As well as making, mainly starting, my own quilts.

As was the pledge when Practical Publishing acquired Down Under Quilts, this issue features a fresh new look. What fun we have had dreaming up new ways to share our exciting magazine with you. So, what do you think of the new design? I love it, especially the cover. Why don’t you pop over to our Facebook page and tell us what you think. Plus, we have added some new features – such as Meet a Blogger and a list of blogs we have enjoyed reading over the past couple of months and propose that you take a look at too. The main story has been thrilling to compile, and I have had a great time cruising all over the World Wide Web searching for examples of different types of Dresden Plate blocks. Plus, we share a How-To tutorial with helpful tips and techniques for you to get started on your own Dresden quilt. We even show you how to draft your own block! For the past few years we have been seeing more work entered into quilt shows by young sewers. We introduce you to one of Australia’s award-winning junior quilters, Ineka Voigt. In 2012 she was awarded the Shining Light Award, an encouragement award to young quilters. At just 12-years-old Ineka has already won nine quilting awards. Have you, or anyone you know, made a quilt to signify a painful time in your life? Maybe you didn’t start out to make a cathartic quilt, but somewhere along the way your pain was exposed and your healing began as you stitched the pieces of the quilt together and with it your heart and hope. We share a story from Jeanette Calcutt who, despite the pain of a debilitating illness that took its toll for more than 12 months, created a beautiful quilt. Enough from me, make a cup of tea, kick your shoes off and enjoy some of our inspirational and educational articles and then start planning your next quilt. Which one will you make? I am up for a Dresden, what about you?

For overseas distribution enquiries please contact Andrew Randall Eight Point Distribution – Australia Andrew@eightpointdistribution.com.au Telephone:  + 61 (0)2 9960 5710

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Quilts Q Down Under

44

A U S TRALIA ’ S F IR S T PAT C H W OR K M A G A Z I N E

46 40

48

Projects 40 Lola Vicki Hines was inspired by the central medallion of this quilt, and chose colours and prints to complement it. She hand paper-pieced certain elements and then used quick machining for the construction. 42 Dorothy Leanne Harvey dabbles with Dresdens in this bright quilt. She pieced the plates first, then attached them to the background with fabric glue to make the process of machine-stitching them to the spotted background as easy-as-can-be!

44 Spider Web Quilt Jeanette Bruce busts her stash with this traditional pattern made modern with strong colours. The method of stitching the strips into a guiding triangle makes the process smooth and quick. Then just machine them all together! 46 Petal Cushions These cushions were designed by mother-anddaughter duo Jan and Emma Jansen. They combined two of their favourites – bright colours and raw-edge appliqué – for a bright funky cushion, or three!

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Regulars 48 Vintage Sweetness – Part II This project combines pretty hand embroideries with linen and countrystyle blocks to make a sweet wall-hanging. In this issue you will find the instructions to complete the hand stitcheries, sew the blocks and complete the rows, before finishing off with basting, quilting and binding.

6 Snippets & Scraps 24 Meet a Blogger 28 Blog Roll 50 Diary Dates 76 On the Book Shelf 98 Next Issue

SUBSCRIPTIONS 27 Down Under Quilts 39 Creative Expressions Down Under 68 Down Under Textiles


12

62

70

24

30

Features 12 Dresdens all Round The Dresden Plate pattern combines sewing and appliqué skills. Typically, the plate is made of 16 to 20 blades, wedges or petals, in addition to the centre circle. We share examples of different plate styles and settings and share the inspiration behind seven Dresden Plate creations. 20 In Her Mother’s Footsteps You will be bowled over by Ineka Voigt’s skills, eloquence, dreams and achievements. Anyone who knows her mother, Helen

Godden, won’t be surprised by her cheeky nature and courageous exploits. 36 Cathartic Quilts Jeanette Calcutt made a quilt in 2011 as a response to a case of shingles that lasted one year. She shares the story of how working on this quilt helped her express what she was going through, physically and mentally.

58 Computer Quilting Jan T Baillie continues to share her knowledge and discoveries of the power and abilities that Electric Quilt software can bring to you. 61 Creative Dabbling Erica Spinks is fascinated by both the written word and the visual world. In this issue she describes how, through her passion for reading, she came across a sentence that made a huge impact. It speaks of creativity and how its existence and the creation of a thing can provide a spot of luminosity in our lives.

52 HOW-TO Dresden Plates Learn to draft your own Dresden Plate blocks, then discover some tried-andtrue techniques to create your ‘plates’ in a variety of styles and sizes.

Exhibitions 30 Signature V by zero3 (UK) 62 International Quilt Festival (USA) 70 Town & Country (UK)

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Deborah’s

SNIPPETS

&SCRAPS

These are my picks of the best quilty news and happenings that I’ve come across recently. I hope you enjoy them too.

Feedsacks of the1930-50s

Sometimes called feedbags or textile bags, these bags contained products such as flour, grain, feed or seed, or other baking necessities. Generally made of cotton or burlap (hessian), when the product inside was used the cloth bag was recycled into garments, quilts and household articles. Companies took note of this trend in the 1930s and began making feedsacks out of attractive, colourful fabric to get women to buy their bags, and more of them. There are companies today that make reproduction feedsacks, but the thread count is higher than the hand of the originals. You can find original American feedsacks at estate sales, flea markets and on eBay. Cam Dutton of Nantucket Country Antiques says, “Feedsack fabrics that were used to make American quilts during the era of our great economic depression during the 1930s have a neat story – some enterprising companies who sold feed for chickens would enclose a small piece of printed fabric in each bag of feed – farmers’ wives often cared for the chickens and sold eggs for extra money – they would choose a particular brand of feed that offered this little bonus over another brand. They would then save these pieces of fabric until they had enough for a quilt design, if they were looking for a particular colour or pattern they would trade pieces with other wives at quilting bees.”

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Mad Quilters’

Gathering

The first Mad Quilters’ Gathering of 2013 will be bigger and better than last year! The event will be held in a larger venue, and will present special displays – including Antique Sewing Machines and Modern Quilt Guild quilts. There will also be two new sections introduced to keep you up-to-date with the latest in sewing, machine embroidery and quilting. Echidna Sewing Products is hosting an area dedicated to machine embroidery and you will find an area dedicated to longarm quilting. This will include machine demonstrations and help on getting your quilt quilted. Plus, there are over 40 vendors dedicated to the art and craft of patchwork and quilting – don’t miss it! Entry is only $10, and committed husbands and kids 14 and under are admitted FREE!  From 24–26 May, 8 The Avenues, RNA Showgrounds, Fortitude Valley, Brisbane. Visit the website http://madquiltersgathering.com.au or phone for further information on 02 9674 4488.

Correction

Vintage Sweetness – Part I In DUQ156, on page 84, Block C has an error in the first line. It reads “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”. It should read “Cut eight of the 37/8in floral light-blue and dotted yellow squares…” We regret any inconvenience this error may have caused.


Quilts: In the News

American Museum in Bath

Hawaiian Quilt (detail), c1900 191cm x 221cm Located in an area of outstanding natural beauty, the hilltop site of the Museum’s home, Claverton Manor, takes full advantage of the spectacular views over the Limpley Stoke Valley and River Avon.  The grounds total some 120 acres, 40 of which are open to visitors. The parkland, with its majestic old cedars, provides a circular walk through ancient meadows, while above the manor a path has been created through woodland.  Remnants of the old Italianatestyle manorial pleasure gardens and parkland, dating from the 1820s, can be seen within the grounds, including period features such as the grotto, the balustrade and curtain walling, as well as ornamental stone work. This work is attributed to George Vivian, son of the original owner of Claverton Manor, John Vivian.  The flower garden at the American Museum is identical in size to its American counterpart in Mount Vernon that was designed and built by George Washington in 1785. The garden at the museum includes the white picket fence, box hedges, rose bushes and seed house – in which George Washington taught his stepchildren.  But, it’s not just the gardens that the American Museum is famous

Baltimore Album Quilt, c1847 310cm x 310cm for; inside Claverton Manor you will find exhibition galleries of quilts and textiles and folk art from America. On display in the Textile Room there is always a selection from the extensive collection of American quilts held by the museum, which

are rotated each year so that there is always something new to see. Also on display in the Textile Room is a selection of Navajo weavings, American hooked rugs and American woven coverlets from the collection.  Visit www.americanmuseum.org

State of the Art Queensland Quilters’ annual exhibition is increasing in popularity. The 2013 event is already booked into various venues. You can see the quilts at Bribie Island Artfest, Gallery 159, Cabooluture Hub Gallery and the Stitches & Craft Shows in Townsville and Brisbane. Other venues will be announced soon, so check out the website at www.qldquilters.com or contact Suzanne Marshall at suzmarshallinoz@yahoo.com

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* * NEW

section

Dabbling in Dresdens

Meet a

Blogger

We know many of you read blogs for inspiration, motivation and a sense of community, so this issue we begin a new regular column getting to know the faces behind some popular sites. To begin, we meet Christine Lusted, 46, from Auntie’s Quaint Quilts; an Australian who started blogging five years ago. See page 24 and read about her inspirations, see some of her quilts, and meet her cat, Oliver.

Oliver

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In this issue we share instructions on how to draft your own Dresden Plate blocks, plus some construction tips. We also share a story on Dresden Plate quilts then and now on page 12, with seven inspirational quilts. In researching the story I contacted Louise Papas, who had the most gorgeous Dolly Dresden Quilt on her blog. She is a member of the Flickr Doll Quilt Swap, with up to 900 other members, and the above quilt was made for a swap. She says, “I loved the idea of flowers on long stems like large sunflowers so I thought I would try a Dresden Plate to create the small petals.” The stems, leaves and flowers were needle-turn appliqué, and Louise hand quilted around them and in the flower centres using Perle 8 thread. I love the effect that the hand quilting added! You can visit Louise’s blog at lululollylegs.blogspot.com.au


Quilts: In the News

Fishes and Tea at the Creek

A

rty Farty Weekend with Helen Godden

Helen will once again be offering three weekend workshops based on her award-winning quilt. The workshop introduces Helen’s latest technique of Paintchwork... that is, not pieced but painted patchwork working with luminous acrylic fabric paints. Sign up now to this super popular weekend in a natural bushland setting overlooking the Yass River in Murrumbateman. The three weekends available are 26–28 April, 6–8 September and 4–6 October. This is a great opportunity to explore your creativity and liberate your arty farty side, make new friends and have a lovely weekend away. Oh, and Helen promises there are no rules, no 14in seams and no quilt police, just lots of fun! Visit www.helengodden.com for more information or email Helen at helen@helengodden.com

The Fish Creek Tea Cosy Festival is a celebration of country life, storytelling in every form and a stage for embracing the exuberant whimsy of daily life – just the right setting for sewers, knitters and quilters! Fish Creek is a small town in South Gippsland, Victoria, surrounded by dairy farms, wineries and olive groves, and is home for a large number of artists. Near Wilson’s Prom and Cape Liptrap coastal park, the area benefits from a wonderful natural environment as well as a character-filled streetscape. The Festival runs 17–25 May, coinciding with Creative Gippsland. Events include the Tea Cosy Exhibition judged by Prue Acton, High Tea with a special guest performer, art workshops, guest artist storyteller, elders’ day, film festival, tea party, fair, games, bush poetry, and tea lantern lighting.

The Tea Cosy exhibition will include an array of techniques and materials, such as knitted or crocheted from natural fibres, tea cosies made by men, tea cosies made to the Fish/ Aquatic theme, and those made in the theme of Exuberant Whimsy – with no restrictions on material or method. Find out more at the website: www.teacosyfestival.com.au

BATIK OETORO Batik Oetoro has been providing dyes, fabric paints and all things for textile arts since 1972. With Lynne Britten’s wealth of technical knowledge and hands-on experience, they offer the perfect combination. This year they will be running workshops from their factory again. There will be at least one per month, so check out the website for topics and dates and book in to expand your knowledge and creativity! www.dyeman.com

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Quilts: In the News

Rotary Cutter Tips

&Safety

Join Sue on the first Australian tour to the World Quilt Show in New Hampshire USA in August 2013. The 17-day, fully escorted tour will travel to Philadelphia, Amish Country, New York, Boston and Manchester. You will be able to attend a workshop, luncheon and special presentations as well as shop at great fabric vendors and shops during the tour. Many optional extras are available and all prices quoted are in Australian dollars. Check out the website for more information and see Sue’s website for more inspiration – suedennis.com or visit info@vjevents.org

Go with the 4G  et into the habit of closing your rotary cutter’s safety shield every time you put it down. This will avoid injuries to you, and accidently cuts in fabrics also on your table. 4D  on’t throw an old blade straight into the bin. Either use the plastic case that new blades come in, or wrap in layers of heavy paper. 4C  ut away from your body and never attempt to cut backwards – it is dangerous and may cause miss-cuts in the fabric too. 4A  right-handed cutter must hold the ruler steady with the left hand while cutting down the right side of the ruler. Lefties reverse the process. Keep your fingers away from the ruler’s edge and out of the path of the cutter. 4A  lways stand up while rotary cutting so you can hold the cutter accurately, and apply enough even pressure for good cuts. 4U  se a quilters ruler and cutting mat that is designed specifically for use with a rotary cutter.

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Grain

The direction of your fabric grain will affect the way the quilt top hangs or lies. The lengthwise grain refers to the threads in fabric which run the length of the fabric, parallel to the selvedge of the fabric. The crosswise grain is the threads that run perpendicular to the selvedge of the fabric or the cut edge of the fabric. And the bias grain is the thread line that is at a forty five degree angle to the lengthwise and crosswise grain as it is on the bolt. The lengthwise and crosswise grain will not have any stretch. It may have ‘give’ a little but it will not stretch. You will notice on the patterns in the pattern section of this magazine generally show an arrow – this is the direction that the grain should run in your cut fabric pieces. If they are all cut to the grain indicated the warp and weft of all pieces will be uniform and problems with stretchy bias edges can be avoided. However, as the bias grain will stretch it is perfect for strips that need to be curved, such as for appliqués stems. Or, when preparing binding strips for a quilt with scalloped edges cut your strips on the bias to allow for the required stretch as you stitch it around the curves.

Get in touch We’re also interested in your quilty news – if you know of something happening, or have made something that you would like to show off, please get in touch! You can write to us at GPO Box 1457, Brisbane, Qld, 4001 or email us at mail@practicalpublishing.com.au


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Quilts: Then & Now

Dresdens

all Round

In the early 1990s, Double Wedding Ring, Grandma’s Flower Garden, Floral Appliqué, Sunbonnet Sue and Dresden Plate were popular quilt designs. The Dresden Plate pattern was first published in the 1920s, but in those early days it was referred to as Grandmother’s Sunburst, Friendship Ring, Aster, Dahlia and Sunflower.

It became known as the Dresden Plate in the late 1920s and 30s. The 1930s version typically features the floral prints of the period. Some were made with prettily patterned feedsacks, while a few were done with solid prints. Judy Ann Breneman of Quilt Patterns from History, suggests that, “The popular name for this quilt, Dresden Plate, reflects the romance of the Victorian Era with its love of elaborate decoration on household items and décor. Dresden, Germany, was a centre of the 19th-century romanticism movement in art, one that included the fine decoration of porcelain. The porcelain plates were embellished with elaborate designs using flowers, fruits and foliage. The beautiful plates would surely have been admired by women of the early 20th century.”

The earliest surviving American-made pieced medallion quilt features a Dresden Plate with a wool centre. It is inscribed, ‘Anna Tuels her bed quilt given to her by her mother in the year 1785’.

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The Dresden Plate pattern combines sewing and appliqué skills. Typically, the plate is made of 16 to 20 blades, wedges or petals in addition to the centre circle. The petals are stitched together along the straight sides to form a circle. Once the circle is complete, it can either be appliquéd onto a background square and set into a traditional side-by-side arrangement with sashing or more randomly placed over a wholecloth background. Follow Melissa Corry’s example in her quilt, where she has placed them randomly on a wholecloth background for a more modern look. Lenora Jenkins constructed 20-blade Dresden Plate blocks for Springtime Dresdens, which were then alternatively set with a Double Nine Patch block. The blades were cut with an 18-degree wedge ruler, and she chose to use 20 different fabrics for the blades, but the same fabric for all of the centre circles. A pattern is available, see Contacts List at end. Lenora states, “I love designing with old, traditional blocks and mixing them with the fresh fabrics of today’s era. The Dresden Plate is one of my favourite blocks, it


Generic Head

Secret Squirrel Quilt, 190cm x 221cm (75in x 87in) Vicki Hitch gives the opportunity to use a vast array of fabrics, it is easy to piece, and it has a lovely old-world charm. I also love designing with circles, I love the movement they bring into a project.” Vicki Hitch and her mother-in-law Faye catch up annually for a sew-in. Vicki explains, “One year we were talking about how many quilts she had made and she made a passing comment that she had never received one as a gift. I tucked that thought away and when a significant birthday came up, I knew just what I wanted to give her. We’d discussed Dresden Plate quilts at another time and Faye mentioned how she really liked them but they were a lot of work.” Although Vicki now says that she must have overlooked the lot of work part, as she found that they can be a little tricky to make. Vicki searched online for images of Dresden Plate quilts looking for ideas, “I found a table runner by Kim Walus of bittybitsandpieces.blogspot.com I liked how the design made a starburst effect around each block so I drafted up a full quilt design based on her tutorial at the Moda Bakeshop.” She wanted the quilt to be not only for Faye but, about her, so the design included embroidered names of Faye’s family on the centres. Vicki laughs, “I had to wait for a baby due in October before I could complete the final centre.” Vicki explains, that, “Although I began using Kim’s tutorial, my first Dresden turned out the wrong size. After realising I was using a different ruler, I recut all my wedge pieces, this time using the instructions included with the EZ Dresden

ruler by Darlene Zimmerman, and began again. I got a perfect-sized plate! Then I made another 19.” Once she had finished these she could no longer ignore the fact that the quilt would end up smaller than she wished, “I had just enough fabric for the extra hourglass blocks and 10 more Dresdens.” Vicki began making the quilt mid-August and had the top completed by the end of October. “Once Faye started reading my blog I knew I had to make sure she didn’t guess it was for her. I called it the ‘secret squirrel quilt’ and pretended it was a surprise for a friend of mine (which it was!). I made sure to post progress photos that were far behind where I was up to,” Vicki explains with a laugh. The quilt was sent interstate to Desley Maisano of Addicted to Quilts to be quilted. “Faye runs a quilting business and I didn’t want any industry chatter getting back to her.” Vicki made one last Dresden in a custom size for the label on the back. “It was bound and in the mail on its way to Faye for her birthday just before Christmas. Faye is a beautiful, warm, caring person, always generous of her time and her home. She is supportive of us all, no matter what we are doing, and is always there to talk to. This quilt was just a small way to show our appreciation and to say thank you.” The Secret Squirrel Quilt, as Vicki fondly refers to it, is the fifth quilt that she has made. Melissa Corry made Double Dresden Delight for the Salt Lake Modern Quilt Guild (USA) EZ Dresden Challenge. She says, “I love taking traditional quilt patterns and adding a

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Springtime Dresden, 195cm x 195cm (77in x 77in) Lenora Jenkins (Pattern available – see Contact information)

twist, you know, just enough to still reflect the traditional pattern but make it a bit more modern. I knew for the challenge I wanted to keep my blades in a traditional Dresden Plate layout so I started to think of ways I could change the original plate look. One morning I thought, if I love one point, why not two?” On page 15 you can see that the blades of the plate are pointed on the outside edge, as well as the centre, and there is no central circle. Melissa explains, “Most of the time, I design my quilts completely before I start cutting, so going straight to the cutting table was new for me. I cut out my first set of blades and just as I was about to start the second set I noticed all of the inch lines on the ruler and thought why

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not change the sizes of the Dresdens to add variety. And so I did. And then there was the moment of why not have some half and quarter blades, which prompted the idea of a random layout instead of a traditional rows layout.” Once she had all of the Dresdens attached Melissa was faced with the quilting decision, “My original plan was to do an all-over swirl in the background, but it just didn’t seem to fit. So I tried something new. For the first time I pulled out my washable marker and a ruler and completely marked all of my quilting.” Melissa muses how, “…this quilt design was really a design that seemed to create itself every step of the way and I could not be more pleased with the result.”


Quilts: Then & Now

Double Dresden Delight, 109cm x 109cm (43in x 43in) Melissa Corry

“If the petals, or blades, are not cut and sewn accurately the ‘plate’ will not sit flat on its backing fabric.”

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Lurline’s Orphan Block 48cm (19in) diameter

Christine Cohrs

Lesley Ferrier picked up a 24-fat-quarter pack, consisting of six different fabrics in four colourways, at an annual craft show in Brisbane. She explains, “I went searching through some of my magazines and when I saw a Nine Patch Dresden Plate pattern that had 20 pieces to each plate, I worked out that I could use five of the floral fabrics four times in one colour to make one Dresden Plate.” She found that there was sufficient to make five plates of the same colour, which in turn would make a total of 20 plates – “As I wished to make a queen-sized quilt, I needed 25 plates or blocks,” she laments. However she worked out that if she made six plates of the same colour in the four different colours, she would only have 24 plates, but if she made five extra plates with the four colours mixed, she would have the required total of 25. Lesley’s ability to look at a pattern and use math to work out how to create a larger-size quilt, and to work out how much yardage needed was put to good use in this project. Lesley set the completed plates on a white-on-white background and she used the same white for the corner stones. She explains that, “I used the scraps of the fat quarters to make the sashing strips – 60 in all.” The border was a completely different fabric and Lesley opted for blue with a little of the same fabrics in the three other colours of the quilt. Lesley found that the fat quarters of fabric were not all cut true to grain, and this was a challenge when needing to cut specific numbers of blades. “When I had finished cutting there were only very small pieces left and I managed to sew these together to form a border on the pillow shams I made to go with My Dresden Garden quilt,” she says. Christine Cohrs’s quilt, was inspired by a quilt that her friend had made some years ago. “I have always loved

the design and of course 1930’s prints,” she says. As old Dresdens quilts largely feature 1930s fabric it was a perfect combination for Christine, who hand pieced the plates, hand appliqued them to the background and then hand quilted using a spider web design. “When it came to the binding I wanted to have a curved edge and binding, I used checks because I love the look of them on the diagonal for bindings,” she explains. In 2009 Lurline made a Dresden Plate block using a Dresden wedge ruler that she had custom-made. She says, “I had ambitious thoughts of using 21/2in pre-cut Jelly Roll strips and to achieve accuracy the wedge has to be 81/2in. So I had one made from Perspex to a size that measures 81/2in along the middle line.” The plate measures 19in across the diameter, measuring outer tip to outer tip. Lurline says, “I really love it and I am very happy with it, however here in Australia I think it may be difficult to get a Dresden wedge that measures longer than 8in along the middle line.” So, on her blog (see details on page 18) she shares a tutorial on how to make a Dresden Plate using a more commonlyavailable 8in wedge ruler, such as EZ or Matilda’s Own. When asked how the finished quilt turned out, she laughs, and admits, “Despite how much I enjoyed making it, and love the resultant block, it is still an orphan block!” Maybe one day when she finishes the entire quilt she will share it with us. Sue Daley travelled around Europe in 2010 on a teaching trip. “One of the places I taught at was in fact a place called Dresden situated in East Germany; a very beautiful place that was tragically ruined during the Second World War,” Sue explains. She taught at a shop called Handbeithaus, which also housed a small museum and a B & B. “As a gift I was given some 3in-wide Jelly Rolls called Roly Mopsies,

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Quilts: Then & Now

Return to Dresden, 152cm x 152cm (60in x 60in) Sue Daley (Pattern available – see Contact information)

* * Draft your own Dresden Plate blocks – see page 52.

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Quilts: Then & Now

My Dresden Garden, 225cm x 225cm (881/2in x 881/2in) Lesley Ferrier so I decided to make a quilt using the Dresden Plate design.” Return to Dresden is made using the paper-piecing method, for which Sue is well-known in Australia. The pattern is available, see contact list on this page. No matter what plate style you chose, to make this block you’ll need two templates, one for the wedges and one for the centre. Alternatively you can use specially-made rulers to cut the wedges. However, this block can be challenging to make; if the circumference of the pieced blades is not correct the circle will not lie flat upon the background fabric when it comes time to appliqué it in place. See our How To instructions on various methods on page 52, including suggestions for other great designs ideas and tips, as well as how to draft your own templates.

More Online

Free Dresden Plate patterns here quiltinspiration.blogspot.com.au/2011/10/free-patternday-dresden-plates.html?m=1 Make a giant Dresden circle here reannalilydesigns.com/2012/07/giant-dresden-circlequilt-tutorial/

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CONTACTS

Lenora Jenkins – Elm Grove Patchwork www.elmgrovepatchwork.com.au Melissa Corry happyquiltingmelissa.blogspot.com Vicki Hitch hitchandthread.blogspot.com.au You can see more images of Vicki’s quilt on Desley’s blog Desley Maisano addictedtoquilts.blogspot.com.au/2011/12/dresdenplate.html Christine Cohrs onceuponaquilt.blogspot.com.au Sue Daley – Busy Fingers Patchwork shannon@busyfingerspatchwork.com Lurline Geoghegan lurlineg.blogspot.com.au


In her

Mother’s Footsteps Young quilter Ineka Voigt of Canberra is following in her mother’s and grandmother’s footsteps with her quilting journey, winning numerous awards at major quilt shows around Australia. As you will discover, she is also a keen sportswoman and a grade A student (DUX of year 7). Ineka excels in many things – sewing, soccer, drama, music. So what is her ‘dream of dreams’ – she wants to be a Matilda! Text by Deborah Segaert Photographs supplied by Helen Godden (mum)

What motivated you to make your first quilt? Having my mum and Gran both quilters, it was only a matter of time before I started my quilting journey. My first two quilts were a mixture of both Mum’s and my gran’s quilt styles. One was colourful appliquéd squares mimicking Gran’s piecing and the second was raw-edge machine appliquéd animals, both using free-motion quilting. I was only six and I couldn’t reach the machine’s foot pedal so I sat on Mum’s lap with Mum operating the pedal and me moving the quilt. How has your mother influenced you? I have always loved drawing and I was influenced by my mum’s free-motion and painting skills and so I used her techniques, but also learnt precision and piecing and

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cutting from Gran. Mum has never ‘fed’ me her ideas and I do not let her influence my work. I have watched her sew and paint and teach at home and her retreats and I have picked up quilting techniques by watching, copying and practising them. What made you choose the scene for the Mad Hatters Tea Party for the quilt you entered into the 2012 Sydney Quilt Show? I loved the diversity of the characters and the setting in Alice in Wonderland, and after watching the most recent movie with Johnny Depp as the Mad Hatter, I was inspired by the endless possibilities this fantasy world could take me to through quilting. I designed and started painting it at one of Mum’s retreats and so I have 18 witnesses to show that it is all my own work.


Quilts: In Life

Friends of Beatrix and I, 150cm x 90cm, age 12 Awarded 1st – Children Under 12, Canberra Quilt Show 2010, Bernina Junior Quiltmaker Encouragement Award, Canberra Quilt Show 2010 2nd – Children Under 12, Royal Canberra Show, 2011 Reserve Champion – Children Under 12, Royal Canberra Show, 2011

What is your favourite technique? I love the designing of a new piece! It is full of endless possibilities to express my ideas and creativity and then seeing the piece and the subjects come to life, full of colour and detail! The one thing that makes me absolutely giddy about viewing someone’s quilt is the amount of thought and detail they put into a colour and spectacular piece of art! I think that is why I, and so many others, appreciate my mother’s quilts and why I was inspired in the first place because she is constantly surprising you with something mind-boggling. (I know what you’re thinking, but Mum did not pay me to say that!) Which quilt shows have you travelled to with Mum or Gran? I have always had a day off school to visit the Canberra and Sydney quilt shows, as I usually have an entry. When I was eight years old, I went to the Tokyo Quilt Grand Prix in the Tokyo Dome as I had my third quilt, So Similar, accepted and exhibited. Unfortunately, my mother’s entry was sadly REJECTED! We combined the quilt show with an amazing week skiing! I have also visited the Houston Quilt Festival twice, in 2008 and 2010, with my parents. It is SO big and inspiring, meeting my mate Ricky Tims and Rachelle Denneny. For those who haven’t had the chance to pop into the US quilt show, it is HIGHLY RECOMMENDED!!! Do you make quilts for fun, or for competition? Well that is a tricky question. I am extremely busy with school and sport so it makes it nearly impossible to make more than one a year. But, although I feel a bit guilty, I do make my quilts for national and international competitions.

Pokemon Patch, 60cm x 60cm, age 9 Awarded 1st – Children under 12, Canberra Quilt Show 2008 3rd – Children under 12, Sydney Quilt Show 2010

So Similar, 70cm x 55cm, age 7 Awarded 2nd – Children Under 12, Canberra Quilt Show, 2007 Certificate of Commendation, Junior Category, Japan Quilt Grand Prix, 2008

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Mad Hatters Tea Party, 195cm x 120cm, age 13 Awarded 1st – Over 12, Canberra Quilt Show, 2012 Bernina Junior Quiltmaker Encouragement Award, Canberra Quilt Show, 2012 1st – Over 12, Sydney Quilt Show, 2012 Bernina Junior Quiltmaker Encouragement Award, Sydney Quilt Show, 2012 Mad Hatters Tea Party won first in the Over 12 category, and the Bernina Junior Quiltmaker Encouragement Award in both NSW and ACT during 2012 against students up to 18 years of age. It is all her own work. Designed, painted on to black and free-motion stitched. The tea cups are appliquéd, as is the white rabbit and the Mad Hatters foot over the borders. Ineka quilted in on her mum’s (Helen Godden) Handi Quilter Sweet 16.

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Quilts: In Life

What are your ambitions with your quiltmaking? To enter my Mad Hatters Tea Party into the Houston Quilt Festival show this year – as the first child exhibitor competing in an open competition. This would be the most amazing honour to have my quilt hanging in such a prestigious show. Have any machine companies offered you opportunities? What support do they offer? I have won four Bernette sewing machines from Bernina in the children’s categories. Because of Mum’s association with Blessington and Husqvarna, they kindly sent me a Sapphire 755 to use alongside Mum in her studio. I have also won an embellishing felting machine from Baby Lock through a quilt show competition. I also get to use one of Mum’s Handi Quilter Sweet Sixteen machines on a regular basis either at home or at Gran’s. Would you rather be outdoors with your friends or stitching? I LOVE my soccer and fresh air, so I have to say I would rather be outdoors. This only really applies in the winter as soccer training can get really hot and (sorry to say) sweaty in the summer season. That doesn’t mean that I would prefer doing laps of the soccer field than having a nice cup of tea and painting my newest quilt in the comfort of Gran’s new airconditioned studio. What career are you interested in when you leave school? A professional soccer player, actor, or maybe a teacher. For now, I will just move where the wind takes me. What is your dream of dreams? To be a Matilda, and play soccer internationally for our great country, Australia. What other achievements have you reached? In 2011, at the age of 12, I won Rostrum (public speaking) for the third year running, and I represented the school and district in state finals. I was also sports house captain in year 6 (Ineka’s school had no school captaincy), and chairperson for the SRC (Student Representative Council) and I represented our school at the arrival of the queen at Canberra airport.  Last year, 2012, was a big year. I won, for my age group, a national Google challenge where the competition was to design a doodle for Google to represent My Australia. The award ceremony was at the National Portrait Gallery here in

Apple, 40cm x 40cm, age 12 Awarded 1st – Children under 12, Canberra Quilt Show, 2011 Bernina Junior Quiltmaker Encouragement Award, Canberra Quilt Show, 2011 Canberra and my prize included a Smart board for my school and a MacBook Pro for myself, plus other Google goodies. Then I did a three-day Tim Cahill coaching clinic and was lucky to be selected as one of four kids in Australia (the only girl) to go to Everton UK to meet Tim Cahill and enjoy the English soccer scene. It was all-expenses-paid for me and Dad! We went to watch an English soccer match and sat in Tim Cahill’s private box with him to watch a match. Better still, we played soccer in his backyard with Tim and his children and on the day off, Dad and I went to Beatrix Potter World which was just magic. I may be almost 14 but I still love Peter Rabbit and all the characters. Then at the same time as I was in UK, I was awarded the national Shining Light award for young Australian quilters (under 18). What an honour! A pity I could not be at the award ceremony at AQC but, as they say, I got a better offer! In soccer I play on a selective team representing Belconnen in Canberra and I train twice a week. At school I play in the school band and due to my long arms I was selected to play the trombone and I love that too. Playing with the band is lots of fun. I also represented my school in a competition called TOMS (Tournament of the Minds) doing impromptu drama performances. We represented Canberra and the finals were in Perth. And to top off 2012, I had my first year at high school and achieved straight As for both school reports and was awarded DUX of year 7! Mum and Dad hope I haven’t peaked early, but I am determined to continue this throughout my schooling. I truly love high school.

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Meet a

Blogger Christine Lusted Text by Debra Hudson

We know many crafters read blogs for inspiration, motivation and a sense of community, so this issue we begin a new regular column getting to know the faces behind these popular sites. To begin, we meet Christine, 46, from Auntie’s Quaint Quilts.

Why did you decide to start a blog? I started reading blogs in 2007. After a couple of months I began to think maybe I could write one too. I started it to have a record of my stitching life… I didn’t realise that I’d ‘meet’ quilters/stitchers from around the world. That was an unexpected bonus.

And why do you keep blogging? What in particular do you enjoy about it? I love getting feedback and encouragement in the form of comments from fellow quilters. Often comments lead to emails back and forth between me and my readers. Pre-blogging I was a very isolated

stitcher; I didn’t know any other crafters. Now I have lots of online friends who share my interests. Through blogging I got to know some local – that is, fellow Tasmanian – stitchers who I now call friends too. We meet up through the year for stitching days, visits to quilt shops and craft fairs. I’m also a member of an online stitching group of bloggers from around Australia. In June last year a lot of the members of this group met up for the weekend at the Sydney Craft & Quilt Fair. It was wonderful to put voices and faces to the names of people I email regularly. I’ve found the quilt blogging community to be very caring and generous. When the terrible bushfires were happening in Tasmania I received numerous emails from blog friends interstate and overseas checking that we were okay. Why is your blog named as it is? Are you the ‘Auntie’?

Rouenneries Quilt

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My sister has three children (now in high school) who, from an early age, have always just called me ‘Auntie’. The name has stuck and it seemed natural to use it in my blog name. The ‘quaint’ bit is perhaps not so relevant


Quilts: Online

Oliver as I have moved on from making quilts largely from reproduction fabrics, but it is how I am known in blogland and therefore staying. Have you always been a crafter? Is this a job or a hobby for you? My family find it amusing that I am so heavily into sewing. As a teenager I was uninterested in all forms of craft and sewing. In high school home economics I made a skirt that fell apart when it was worn and I worked on a

blue gabardine bag that was never finished. As soon as it was possible to do other subjects, I ditched home economics for advanced maths and geography! Later on during my university years my grandmother taught me to knit which I quite enjoyed. In my 20s I did a lot of crossstitch. I still have a box under my bed of pieces waiting to be framed! It wasn’t until my early 30s that I discovered patchwork and quilting and later stitchery. It quickly became my passion and cross-stitching was very definitely pushed aside. Crafting is my hobby, although there have been times when I’ve considered starting a small business. At the moment I am happy working as a primary school music teacher four days a week. It’s a very demanding, at times stressful, but ultimately rewarding job. Besides stitching, my other passion is training and conducting children’s choirs; listening to ordinary children sing like angels is extraordinary.

Marmalade Bag What trends in colour or style within quilting and patchwork have you noticed since you started your blog? I’ve noticed that grey has become popular, chevrons were big last year and zakka style is also very current. Red, white and aqua are seen a lot together. Traditional blocks in lovely modern colours are also prevalent, such as the Farmer’s Wife Quilt.

Joy Luck

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Quilts: Online

How would you describe your style?

What are your sewing plans for 2013?

When I started I was very much into reproduction/Civil War quilts and fabrics. Over time I moved away from these styles to what I would describe as a ‘fresher, modern style.’ Currently I love fabrics by Fig Tree, Bonnie and Camille, French General, Tasha Noel, Aneela Hoeey and Tilda, just to name a few. I also love Japanese prints and quilts with white/light backgrounds.

Finish some of my UFOs (I have many!) particularly my hexagon, scrappy Dresden and Scandinavian Rose quilts, make some large pieced quilts (such as Swoon) and learn to freemotion quilt on my domestic sewing machine.

What has been one of your favourite recent projects? Last year I participated in Another Year of Schnibbles, organized by Sherri of A Quilting Life and Sinta of Pink Pincushion. Each month the participants all made the design by Carrie Nelson of Miss Rosie’s Quilt Co. It was so much fun to work with a different palette or range each month.

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Your blog attracts readers from around the world. Do you think Australian blogs offer a distinct look and design style? Australia certainly has the best stitchery designers, such as Anni Downs, Natalie Bird, Leanne Beasley, Rosalie Quinlan, Lynette Anderson, Gail Pan, Natalie Lymer of Cinderberry Stitches, Marg Low and more. I get lots of favourable comments when I blog about projects designed by these talented ladies. People often ask me where they can purchase Australian patterns.

Your cat also features on your blog, tell us a bit about him! My ginger and white cat Oliver acts as my quilt inspector. He loves to sit on fabric and quilts and has a not-very-sensible habit of lying on my cutting mat! Oliver appears regularly on my blog and has his own ‘fan club.’ What are your favourite blogs that you like to read? I enjoy making projects from blog tutorials. As a self-taught stitcher I find it easier to interpret instructions when they are accompanied by pictures. I like to follow Simplify, A Quilting Life, Red Pepper Quilts, Kviltstina, Nana Company, Cluck Cluck Sew, Trends and Traditions, Bee in My Bonnet and Fresh Figs. I also like reading the blogs of my online quilt group friends.


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Quilts: Online

basketfullofscraps.blogspot.com.au This blog is for quilters who love scraps, strings and leftovers. If you are interested to see what Sujata can do with a basket full of scraps pop over her blog and take a look. bluemountaindaisy.blogspot.com.au Rachael is addicted to quilting, and loves to share her dieas and creations on her blog. She works in both pastels and bright colours, and you will find many inspirational ideas over at her blog. creativedabbling.blogspot.com Erica Spinks is a past editor of Down Under Quilts, and currently a contributor. She is the editor of Down Under Textiles and loves exploring and developed her skills in textiles. More recently she has conquered the art of crochet, and loves sharing pretty photos of her garden as well as some free patterns and lots of ideas on her blog. dottieangel.blogspot.com.au There is lots to see, and be inspired by here! Tif explains that she is “happiest spending quality time with Miss Ethel, her trusty sewing machine, surrounded by ‘used’ dog, little olive and various other creatures: some furry, a few with wings, and one with a shell. She likes to spend her days wisely treading the righteous and goodly path of handcrafted and secondhand makes. fibreinspirations.blogspot.com.au Lisa Walton, as a quilter, has progressed into a world-renowned textile artist. She loves to dye fabrics, and comes up with all sorts of grand ideas for beautiful embellishments. goodknits.com/blog Lisa Hoffart, mama to two boys, loves to knit, crochet, sew, cross-stitch/ embroider, and dabble in the paper crafts such as card making and

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Blog Roll

This is a new feature where we list some suggestions for blogs to check out. stamping. Her blog includes free patterns (the last one I saw was how to crochet THE cutest cupcakes!) and lots of gorgeous photos. She also shares tutorials on how to use Photoshop. incolororder.com Jeni Baker’s blog includes a little bit of everything: her quilting and sewing adventures, latest thrifting finds, shop news, baking and a tiny black rabbit. Her favourite part of the sewing process is fabric and colour selection. Her blog includes tutorials on stitching and colour and fabrics. lurlineg.blogspot.com.au Lurline Geoghegan has contributed projects to Down Under Quilts in the past, and in this issue shares her orphan Dresden Plate block. Visit her blog and you will find a tutorial on how to make a Dresden Plate block as well as many, many other inspirational ideas. lynetteandersondesigns.typepad.com Stitching and drawing make Kynette’s heart sing, and her blog will make yours sing! It’s pretty, it’s full of free patterns, BOMs, and tutorials and you can check out Lynette’s books, buttons and fabric ranges. materialobsession.typepad.com Kathy Doughty thinks, feels and dreams colours and quilts. On her blog she

eagerly and evocatively takes you on her journey as a quilter, quilt-shop owner, teacher, author, wife and mother of good-looking boys. She also shares photos of what the students are making at her shop which are very stimulating and inspirational! mellyandme.typepad.com This is a sweet, and very popular, blog by talented Australian designers. You can keep abreast of all their wonderful new ideas and share their tutorials. quiltsmith--australia.blogspot.com.au Melinda from Quiltsmith in Annandale authors this blog. It shows the happenings at the store mainly. This is one of my favourites for sure! I love the mixture of reproduction and modern styles they support with fabrics and workshops. It’s great to be inspired by the photos. redpepperquilts.com Rita Hodge is one of the foremost modern quilters of Australia. Her work is clean, bright and ever-so-clever! I just love how she puts her fabrics and colours together. Her blog is also clean and bright, as well as succinct and inspirational. Rita has an online store, galleries with her finished quilts and an etsy store. serendipitypatchwork.com.au/blog Brenda makes and design quilts at her home at Copacabana on the beautiful Central Coast of New South Wales in Australia. On her blog she shares lots of news and inspirations for textile and quilt lovers. suedennisartquilts.blogspot.com.au Sue is a textile artist whose life of travel combined with creating fabric, stitching art quilts and enjoying textile traditions around the world means you will always be inspired by her artistic eye.


Signature V by ZERO3

A diverse group of textile artists gets its name, zero3, from the year in which it was formed, 2003. Since then the group has actively worked to promote modern textiles as a more widely accepted art form. Images supplied by Quilt Museum and Gallery of York, England

Producing a wide variety of work that ranges from cutting edge and contemporary, through to work that finds its roots in classic stitch, these artists exhibit insight and understanding of modern textiles. All work is carried out with the artist’s own handdyed fabrics. Some work is pieced, while others are executed on whole cloth. Most of the work is quilted or embroidered, but one or two pieces concentrate on complex construction or multiple layers of printing to gain a dramatic effect. zero3 has taken the theme ‘Signature’ as an ongoing exhibition title. This enables each artist free range to express her personal textile language over the years.

Light! Light! (detail) 75cm x 89cm, (291/2in x 35in), Janine Ayres

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Quilts: On Show

Light! Light!

75cm x 89cm, (291/2in x 35in), Janine Ayres I am fascinated by the weirdness of quantum physics; it is a world more fantastical than any created in science fiction. The impossible seems to be the norm and logic ceases to exist. Light can be shown to exist in two forms at exactly the same time. It is simultaneously a wave of energy and a stream of particles. My piece is an interpretation of duality of light. Materials: Cotton sateen and silk organza were separately dyed using a watercolour method then each was overprinted in ink to create the rings of a wave form. The organza was laid over the cotton to align the two ring systems to create an interference pattern and the whole piece machine and hand quilted.

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Colour Play II

66cm x 116cm, (26in x 451/2in), Janet Atherton The way colours interact with each other, the effect they have on the viewer, and their ability to impact and change moods has always been of interest to me; leading to a series of work that started with bright colours and got progressively darker with each piece. This became an experiment to see how dark I could work while still making the fabric come alive. Dark tones were gradually built up by over-dyeing fabric with different dye strengths until the required depth was achieved. Careful piecing was necessary so the viewer did not perceive one overall dark piece of work. Straight-line quilting kept the work as simple as possible so the fabric was the main draw for the eye. The use of vibrant turquoise thread, interspersed with the occasional hint of golden yellow, finally brought the dark tones to life. Materials: Cotton sateen, dyeing and over-dyeing, pieced and machine quilted.

West Pier IV

45cm x 130cm, (17 3/4in x 51in), Jo Lovelock I am inspired by the often unappreciated beauty in the urban and industrial environment that surrounds us. I am particularly interested in derelict and abandoned buildings and industrial structures like pylons and piers. This ‘deconstructed’ quilt was inspired by the derelict pier in Brighton, East Sussex. The layers of construction represent the framework of the pier, which has been exposed to the elements over time. The threads that pierce the layers represent the lattice of girders and iron columns that support the promenade deck. The arch shape visible from the sides signifies the curved construction of the theatre roof, which is all that remains since the fire in 2003. Materials: Formosol discharge on plain, pleated and quilted commercially-dyed black cotton sateen with acrylic felt, machine and hand stitching, jute threads and industrial rubber washers.

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Quilts: On Show

Memories of Dungeness – detail

24cm x 295cm, (91/2in x 116in), Sarah Welsby An experiment with monoprinting, while thinking of Dungeness, resulted in a fabric that I felt inspired to develop further through a combination of piecing and the addition of black and white commercial fabrics and three hand dyed fabrics. The result is a long thin piece that for me reflects the colours, textures and feelings I experienced while scrunching my way across the pebbles at Dungeness. Cotton sateen, monoprinted or hand dyed; commercial fabrics; machine pieced and embellished.

Jitterbug

137cm x 94cm, (54in x 37in), Karen Farmer Jitterbug was made merely for play; with colours, with shapes and with quilting. As the piecing is somewhat haphazard in Jitterbug, Karen made ‘units’ as a means of bringing order into the chaos; by repeating it. Keeping the basic theme of cream and black, she morphed the bright colours in each subsequent unit, using one coloured piece from the previous unit. Then she added repeated shapes from within the units as traditional pathways and to achieve a change of scale. The quilting is playful, with liberal use of contrasting threads and with lines and patterns mimicking the individually shaped pieces.

Quilt Museum and Gallery of York, England Email: admin@quiltersguild.org.uk Website: www.quiltmuseum.org.uk The Quilt Museum and Gallery is an independent museum operated by The Quilters’ Guild of the British Isles.

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Cathartic

Quilts

Jeanette Calcutt made this quilt in 2011 as a response to a case of shingles that started on New Year’s Day. She shares the story of how working on this quilt helped her express what she was going through, physically and mentally, as well as giving her something else to focus on.

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Quilts: In Life

Time Out, 63cm x 63cm (25in x 25in)

Jeanette tells her story ‌ Every part of this quilt represents the stages of that most horrible disease that lasted for most of the year. The making of this quilt gave me some form of relief during this awful time. The background is disorganised piecing and represents the indescribable back pain, the orange buttons are the weeping blisters, and the purple beads representing the flower stems are the shooting pains up my back and into my head, which felt as though it would explode. Then there was the feeling of being wrapped in red-hot barbed wire, the quilted stippling represents the feeling of fire ants crawling under the skin; I spent about four weeks at night wrapped in packets of frozen vegetables to try to

sleep. The orange beads across the bottom shows that my hair fell out and the dark beads across the top represent a cloud of doom and depression. The reverse shows the feeling of spiralling out of control with the need for sleep. It may sound strange, but I can distinctly remember waking up one day, which meant that I had actually slept! The making of this quilt kept me focussed on something besides the pain. I have it hanging in a conspicuous place on my wall as a reminder of the concentration it took to overcome what was a terrible experience, not to be wished on anyone. This is an original design made with pieced cotton, hand appliquĂŠ, free-motion quilting and beading.

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DUQ157

Visa


Lola Lola uses a variety of techniques including quick machining techniques and relaxing hand piecing. Draw inspiration from the main fabric and have fun creating the whirligigs for eye-popping detail.

The centre medallion of this quilt is a much-favoured fabric from Vicki’s stash. She used the colours as inspiration for the other fabrics she has used. Vicki prefers hand-stitching, but when you have a full-time job that’s not so practical, so in this quilt she combined techniques to satisfy both desire and practicality.

By Vicki Hines Dimensions 152cm x 183cm (60in x 72in)

The instructions for this quilt appear on page 82.

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Project

Bold & Beautiful

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Dorothy Leanne used fabric glue to secure the plates in place on the background, and then machined around the plates – a quick-andeasy appliqué technique!

Leanne wanted to use this range of fabrics, called Picnics and Fairgrounds, in a fun way. She wanted to make Dresdens but didn’t want to take the time to hand appliqué the plates onto the background. Gluing the plates down speeded up the whole process. She quilted it on her longarm quilting machine with a simple design using a circle template and some freehand stippling.

By Leanne Harvey Dimensions 203cm x 203cm (80in x 80in)

The instructions for this quilt appear on page 85.

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Project

Q u ic k M

ACHINE QUILT

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Spider Web

Quilt Eighteen different members from Australia, USA and Canada contributed to this stunning Spider Web quilt. Jeannette decided to use aqua and orange fabrics to match all the blocks.

Jeannette quilted it herself on her longarm quilting machine. She chose a spider-web pattern “just for the fun of putting spider webs on a Spider Web Quilt.�

By Jeannette Bruce Dimensions 171.5cm x 228.5cm (67 1/2in x 90in)

The instructions for this quilt appear on page 88.

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Project

Great Stash Buster

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Petal

cushions These cushions were designed by mother and daughter duo Pam and Emma. They combined two of their favourites – bright colours and raw-edge appliqué for a bright funky cushion, or three!

Use double-sided fusible web to secure your layers of petals, fuse them in place then stitch around the edge with machine raw-edge appliqué. Or, if you want a more traditional look you can add a machined blanket stitch.

By Pam and Emma Jansen Dimensions 45.5cm x 45.5cm (18in x 18in)

The instructions for this quilt appear on page 91.

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Project

RAW-EDGE APPLIQUE

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Vintage

Sweetness – Part II

in this issue you will find the remaining stitchery designs, along with the instructions for the quilt assembly, borders and the finishing of your quilt.

Full-size patterns for the hand stitcheries are on the pattern sheet. Finish off your pieced blocks by machine and stitch your rows together, and voila, your wall-hanging is complete. See page 93 for a correction to Part I.

By Vicki Tucek Dimensions 127cm x 127cm ((60in x 60in)

The instructions for this quilt appear on page 93.

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Project

HAND STITCHERIES

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Diary Dates

New South Wales

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

VICtoria

Until 7 April Golden Textures Contemporary Art Quilt Exhibition Central Goldfields Art Gallery, Neill Street Maryborough 03 5460 4588 1 June – 14 July Wangaratta Contemporary Textile Award Wangaratta Gallery, 56 Ovens Street, Wangaratta, www.wangaratta.vic.gov.au 03 5722 0865 13 July Annual Quilt In Willows Quilting group Inc. Melton Senior Citizens Hall, McKenzie Street, Melton Margaret 03 9743 5099

South Australia

19–26 May Quilts @ the Coast The Northern Yorke Peninsula Quilters Exhibition in conjunction with the Kernewek Lowender Cornish Festival Moonta Town Hall, George Street, Moonta Astrid Zanker 0447 470 297, c.a.zanker1@bigpond.com

QUEENSLAND

24–26 May Mad Quilters Gathering 8 The Avenues RNA Showgrounds, Fortitude Valley 27–28 July Caloundra Quilters 13th Biennial Quilt Show Caloundra Arts Centre, 5 North Street, Caloundra Margaret Deakin 07 5499 6572 www.caloundraartsandcrafts.org.au

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WESTERN AUSTRALIA

21 June – 21 July Australia Wide Three Artgeo, Busselton Enquiries 03 5358 2731, sa.cunningham@bigpond.com 30 July – 30 August Australia Wide Three Wanneroo, Perth Enquiries 03 5358 2731, sa.cunningham@bigpond.com

Tasmania

28–30 June Island quilts 2013 Tasmania Guild Quilt Exhibition Derwent Entertainment Centre, Glenorchy Chris Coulbeck McMurray 03 63951197 www.tasquiltguild.org.au

NEW ZEALAND

13 May – 2 June Dorothy Collard Challenge 2013 Lake House 37 Fred Thomas Drive Takapuna, Auckland

FRANCE

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

THE NETHERLANDS

3–6 May Open European Quilt Exhibition Koningshof, The Netherlands info@ouqc.eu

ENGLAND

until 11 May Signature V and Town and Country Quilt Museum and Gallery St Anthony¹s Hall, Peasholme Green, York info@quiltmuseum.org.uk, admin@quiltersguild.org.uk 8–11 August Festival of Quilts NEC, Birmingham


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How-to Dresden Plates No matter what plate style you chose, to make this block you’ll need two templates, one for the wedges and one for the centre. Alternatively you can use specially-made rulers to cut the wedges.

Either way, this block can be challenging to make; if the circumference of the pieced blades is not absolutely correct the circle will not lie flat on the background fabric when it comes time to appliqué it in place. When drafting, if you are even 1-degree out per wedge, when you multiply that by 16 or 20 (or however many wedges you have), the error will become significant enough to cause trouble. It is a perfect block for using up scraps, as each of the blades can be cut from just a small piece of fabric. Some plates are more sophisticated in that they combine a curved blade with pointed ones. The traditional method of adding the completed plate section to the background is to needle-turn appliqué around the edges. Obviously this can be time-consuming, but many find it relaxing. The plates can also be fused in place with fabric glue (see Leanne Harvey’s instructions for Dorothy on page 85) and then raw-edge machine appliquéd in place.

Drafting Dresden Plate blocks

 The drafting process for a 16-blade Dresden Plate is relatively simple – requiring only a ruler and compass.  Drafting 12 or a 20-blade Dresden Plates requires more effort (and extreme care) as these blocks require a protractor to produce accurate blades. For these blocks you

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rule a line to equal half the diameter of your required circle. Use the protractor to create a line at 30 degrees (for the 12 blade) or 18 degrees (for the 20 blade). You then need to create the inner circle and also the outer edge as for the 16-blade block.  However, let’s start with a 16-blade Dresden Plate block, and then you can move on to try one with more blades if you feel confident. Rule a square to equal the size required for your background block. Ensuring all lines go through the centre of your square, rule both diagonals and also the vertical and horizontal centre lines. See diagram 1. Place the point of your compass at the centre of the square and then open it out to the required size. The size you select for your circle is optional, but take care not to make it too small compared to the background square. Refer to the quilts featured in the article commencing on page 12 to help with this design decision, as different sized circles affect the final result. See diagram 2.  Repeat the previous step to draw the centre circle; again this is optional size, but there should be a pleasing balance between block, outer and inner circles. See diagram 3. Your circle now has eight divisions – and we need 16. So our next step is to divide one of our segments in half. Place the point of your compass on A and open it out to be


Quilts: Techniques

Diagram 1

Diagram 2

more than half the distance between A and B, and draw an arc beyond your square. Place the compass point (with the same setting) on B and draw another arc that crosses the first arc. See diagram 4. Rule a line between the centre of the circle and the crossed arcs.  The final step is to decide on the ‘edging’ for your blades. To create a scalloped edge, the simplest method is to position a round household object so that it crosses

through two adjacent blades on your draft and draw in the curve.  If you prefer your blades to have ‘points’, simply rule a line across the top of one of your segments. After you have cut out your blade fabrics fold the wide end in half, right sides facing, and stitch across with a scant 1/4in seam. Turn the blade through to the right side, poke out the point and then press.

A B

Diagram 3

Diagram 4

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Wedge rulers

There are many brands on the market. It is simply a matter of following the manufacturer’s instructions to achieve your desired outcome. Basically, you can cut wedges across a strip of fabric, or from smaller pieces, with a rotary cutter, rather than by hand, speeding up the cutting process significantly.

Templates

After you have drafted your own templates, or traced them from a purchased pattern or one downloaded from the internet, trace them onto template plastic or cardboard. Trace the shape onto the back of your fabric and cut each one out adding a 1/4in seam allowance.

Stitching the blades

Fold your first blade in half lengthwise, right sides together and sew across the wide end using a 1/4in seam. Backstitch at the folded edge for the needed reinforcement. Snip the folded end, finger-press the seam open and then turn the point through. Press with a hot iron. Repeat for the remaining blades. Sew the blades together in to sets of two, then join two sets of two into four, and then two sets of four into eight. Make two halves in this manner, then sew the two sets of eight together to form the circle. Complete all of the plates in the same manner.

Appliqué the plate to the Background

You will need to determine the correct placement for the plates on the background. If you are stitching onto background blocks of the same size this is simple – fold the background in half and half again and finger-press the centre for about 2in in each direction. Open out the fabric and lay it flat. Align the seams of the plate horizontally and vertically with the finger-pressed centre of the background and pin the plate in place. Machine or hand-appliqué the Dresden Plates to the background fabric. Trace the centre circle onto the back of the relevant fabric and cut out adding a 1/4in seam allowance. These can be attached in whatever method you wish. Check out Leanne Harvey’s technique for making a circle in her project, Dorothy, (see page 85). You may want to remove the background fabric from behind each plate or you can leave it in place for an extra layer.

english paper-pieced dresden plate

Using a square of freezer paper that is slightly larger than the desired block, fold the square in half and half again – creasing it very crisply – you now have four sections. Then fold it diagonally to create eighths and then fold in half again to make sixteenths. Crease really well. You will have 16 blades around a centre point. With the paper still folded, using a pencil and a compass (or a round object of a suitable size) mark an arc across the shape at 1in from the point and another arc at 51/2in from the point. This will make a 12in block, with a centre circle 3in diameter (see diagram 5). These measurements can vary according to how big you want your centre and how big you want your plate. Very carefully cut on these marks, making sure to hold it firmly as you cut or it will shift. Draft and cut out a circle of freezer paper the appropriate size for your centre. Then open out the ‘plate’ and number the 16 wedges. Cut them apart very carefully on the creases to create the templates. Iron the templates to the back of your fabrics. The pieces must go back together in the order that is marked on the templates to ensure accuracy. Then, baste the seam allowances to the back of the paper and whip-stitch the pieces together. The outer edges will be turned ready for appliquéing the completed plate to the background. Remove the papers. Hand or machine appliqué the plates to the background blocks. Use the piece of freezer paper that was cut away from the centre of the wedges as a guide for your centre circle. Make the template at least 1/4in larger than the where the plates meet at the centre. Pin and appliqué the centre.

Arc at 51/2in

Arc at 1in Diagram 5

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Quilts: Techniques

Dresden Plate Variations • larger or smaller centre circles • no centre circles • Yo-Yo centre • wider or thinner wedges • scalloped, pointed or straight edges • combined curved and pointed blades.

In addition to full-size quilts, Dresden Plates are perfect for making matching accessories such as a cushion cover, pillow cases or wall-hangings.

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More, and more still, for your EQ7 by Jan T Urquhart Baillie

When you own Electric Quilt 7 you can add to the program in several ways. Let’s explore some of the extras you can get. While you have more than 5000 blocks, hundreds and hundreds of fabrics, and can design your own, you can get optional ‘extras’ to add on.

Stand-alone program

Many of the stand-alone software editions that are available from The Electric Quilt Company can be linked to the Libraries in EQ7 (and EQ6 also). You can increase the types of blocks or quilt designs that are shipped with the program by purchasing additional stand-alone programs. You can buy CDs with Electric Quilt software – such as Karen Stone’s wonderful patterns, appliqué patterns by Angie Padilla, or some of Judy Martin’s fabulous star designs, or My EQ Boutique. My EQ Boutique is free – that’s right, free – and it comes with a set of appliqué blocks to start you off. Visit the site to download it: www.electricquilt.com/downloads

Linking the Libraries Once you have installed any of the software you can link the blocks in

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them to EQ7 by clicking Start > Link (your program’s name) to EQ7. See the picture bottom far left. When you download My EQ Boutique, install it and follow the tip above, you will see the Boutique blocks in the Block Libraries the next time you open EQ7.

In EQ7, go to Libraries > Block Libraries to see the Boutique blocks listed below the EQ Libraries. I found this delightful owl patterned quilt or tablecloth set called Owls in the Round by Christine Wipplinger. It has several versions and colourways included.


Computer Quilts

Why not try searching for pieced patterns, or appliquĂŠ patterns?

Do You EQ?

On The Electric Quilt website you can go to Education and be taken to information about the new Do You EQ site. The site contains so much information you can download, both as PDFs or as EQ project files.

EQ7 and EQ6 lessons

You’ll find excellent, helpful tutorials and videos on both versions of EQ.

Other projects

In November there was a great Advent quilt to download, as well as a Christmas Angel quilt. I also found a cute quilted bookmark that was very clever.

Mystery quilts

Earlene Fowler, author of the popular Benni Harper mysteries, has lessons based on her quilt-related novels. These lessons sound like fun, especially if you are a fan of Benni Harper.

Expand your EQ

Download projects that are based on your special quilting interest and have fun. See you next time...

Well-known New York detective and writer, Mitzi McDruben, cooperates with Fran Gonzales to give you several mystery quilt experiences and projects.

For more lessons go to: www.jantspatchworkschool.com

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Quilts: In Life

Creative Dabbling Have you ever read something that forces you to immediately stop whatever you are doing?

Like when sentences hit you with force and make you wonder how that couldn’t possibly have occurred to you before? For me, it happened when I read a quote from Neil Gaiman. I’m a voracious reader. To me, reading is like breathing – essential and involuntary. It’s simply something that I must do every day of my existence to ensure that life continues. I don’t consciously think about it, so well integrated it is into my being. Sometimes I skim through books that satisfy me on a superficial level, while at other times I wade slowly through chapters, savouring every sentence and plot deviation as I progress. There aren’t many instances where I simply stop because the power of a statement hits me so hard. When I read this quote by Neil Gaiman, though, the impact was instant. He said: “The world always seems brighter when you’ve just made something that wasn’t there before.” Wow! Just take a moment to ponder that sentence. There is so much wrapped up in those 14 words. First there is the implication that we are creators and, as such, can make a difference to the world. Then there is the concept of contributing to the history of the world; adding value to what’s gone before. Also, there is the underlying

assumption that what we make is concrete – you can see it and hold it in your hands. That rings so true for me. Aren’t they all reasons we make quilts? It is for the pleasure of the process, for the beauty of the colour and pattern or for the happiness of giving a homemade gift. Sometimes we stitch just for the sheer delight of shaping an idea onto a piece of cloth. Other times, we pour our emotions into a quilt, working through grief or other strong feelings in an act of catharsis. In a world that often seems out of control, the act of creation provides a spot of luminosity in our lives. It provides immense satisfaction when we are able to say; I did this and it did not exist before I brought it into the world. It is true for other types of craft as well but, for us, it is our love of working with fabric to make quilts that adds brightness to the world. Until I read Gaiman’s sentence, I hadn’t thought this way about what my hands were making. It has altered my outlook so that I am grateful for everything I create. If I try a new technique and it doesn’t work out, there is no loss. The fact that I had bought into existence something that wasn’t present before is enough. It is my tiny spot of brightness. Won’t you think of making it yours, too?

Meet Erica Erica Spinks is fascinated by the written word and the visual world. Designing, making and writing about quilts and textiles occupies a lot of her time as does encouraging the magic of growth in her garden and reading lots of books. Some people may notice she is frequently preoccupied with the fortunes of the Sydney Swans Football Club.

*

Read Erica’s blog at creativedabbling.blogspot.com

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International

Quilt Festival

The International Quilt Festival was founded in 1974. Each year there is a juried show and various other quilt exhibits, generally totalling more than 1,000 quilts to see and admire and be inspired by, in the same place each November in Houston, Texas.

In 2012 the theme for the annual judged show was Quilts: World of Beauty. The Best of Show award is $10,000 sponsored by Handi Quilter. Sherry Reynolds of Wyoming (USA), took out this lucrative and prestigious award. .

Four Australian quilters picked up awards in their categories – Helen Godden, Mariya Waters, Elizabeth Camping and Linda Steele. We share photographs of their quilts here, along with the artist’s statements.

Sherri Reynolds with her winning quilt. See more of this event from an Australian point of view at punchwithjudy.blogspot.com. Visit the Quilts Inc website at www.quilts.com to see all the winning entries and find out about this year’s show

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Quilts: On Show

Best of Show

America, Let It Shine Sherry Reynolds, Wyoming (USA) This quilt is a tribute to America and its foundations and values, with the hope that they will guide us to a brighter future. The 5,121 Swarovski crystals represent the words of the Constitution, Star Spangled Banner, Pledge of Allegiance and the age of the country. The 13 original colonies are represented with 13 points on the outer blue rays, the ring of 50 stars represents the states. Parts of the Gettysburg Address, Preamble to the Constitution and Declaration of Independence are also quilted. Techniques include paper piecing, hand appliquĂŠ and fused appliquĂŠ, with cotton and silk threads and crystals.

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Art-Painted Surface – Honorable Mention Rainbow Lorikeet 100cm x 170cm, (39in x 67in), Helen Godden

The Rainbow Lorikeet soars swiftly and with grace through the tree tops, like a colourful dart. The bright primary colours of this Australian parrot are captured in detail, painted on the stunning white silk sateen, and surrounded by a burst of rainbow-graded stitching celebrating his beautiful colours. Techniques include hand painted, free-motion machine quilted.

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Quilts: On Show

Embellished – Third

Naturally Crazy 170cm x 170cm, (67in x 67in), Linda Steele Naturally Crazy is a hand-embroidered crazy quilt with a large centre block depicting the flora and fauna of Australia surrounded by twelve blocks featuring various other countries and regions. Those represented represented are North America, South America, South Africa, Egypt, China, Japan, India, England, Scotland, Spain, Canada and New Zealand. Original design, machine pieced, hand embroidered and machine quilted on a domestic machine.

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Art-Abstract, Small – Honorable Mention

Fantasy Seedpods 108cm x 121cm, (421/2in x 471/2in), Elizabeth Camping The words “fantasy seedpods” started the creative process for this quilt and drawings of imaginary seedpods followed. The background colourwash effect is shaded to enhance and draw the eye to the seedpods. I like to embellish with beads, yarns and embroidery to add depth to my quilts.

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Quilts: On Show

Miniature – First

Mini Magic 50cm x 50cm, (20in x 20in), Mariya Waters This is a miniature version of my larger quilt, Magical Mauve. I used classical fan motifs from ancient Greco Roman art made popular by the Audsley Brothers in the 1800s. Techniques include turned-edge hand appliquĂŠ over a semi-soluble -fusible, hand embroidery and machine quilting.

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Australia’s exciting magazine for fibres, yarns & textiles DOWN UNDER

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DUQ157

The latest techniques, tools and products; colour, design and composition theory; galleries, profiles and lots more.


Town and

Country Images supplied by Quilt Museum and Gallery of York

This exhibition, shown at the Quilt Museum and Gallery of York, England, is pulled from the museum’s collections of old and antique quilts from the UK.

The Town and Country exhibition compares the rich, decorative and often time-consuming creations of ladies of leisure, with the practical quilts made by the working population to fulfill their most basic needs of warmth and comfort in the home. This exhibition runs until 11 May 2013, see page 50 for further details.

Printed Cottons Hexagon Coverlet

Late 18th – early 19th century Black Rock, County Dublin, Ireland

Paper-pieced and fussy-cut hexagons made from early printed cottons from the late 18th and early 19th centuries. One edge is double; to allow for a turn back over/in front of the pillow, but otherwise the rest is just a single layer/top. The coverlet originates from Ireland, and is thought to have come from a small country estate in Blackrock, County Dublin. The date of the fabrics and family history would mean it was made by a family member one or two generations back from William Henry Bewley, who was a merchant and sugar refiner.

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Quilts: On Show

Pink and Purple Log Cabin

Late 19th century Made by Elizabeth Watson, Cumbria Coverlet made from 100 blocks of pink-and-purple printed cotton Log Cabin blocks, set in a Sunshine and Shadow layout design. The blocks are surrounded by a border of printed cotton triangles alternating with four strips of pink cotton. The blocks have been pieced by machine, and linen tape covers the seams on the reverse of the coverlet. It was either made by Elizabeth Watson or one of her sisters.

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Swaledale Farm Quilt

Was owned by John Kilburn of Rash Grange Farm, North Yorkshire, who used the quilt until 1995 Frame quilt made from rectangles of printed cotton surrounding a central square on-point also made from rectangular pieces. It is hand quilted and backed in plain white cotton. There is a large number of black and white floral prints, which are unusual. The edges have been butted and machine stitched together.

Kaleidoscope Quilt

Late 19th century Made by Elizabeth Watson, Cumbria The arrangement of colours forms a central circle surrounding a cross shape. Elizabeth Watson lived on a farm in Cumbria with her two sisters; they were all quilters. They would rise at 5am, and after their chores were completed they would spend daylight hours sewing both practical and decorative items. Elizabeth made this piece for her bottom drawer, though she never married.

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Quilts: On Show

Diamond Mosaic Coverlet

Mid to Late 19th century Thought to have been made by one of Mary Dennis Cann’s daughters This coverlet is thought to have been made by one of Mary Dennis Cann’s daughters; the design is similar to that of the Mariner’s Compass which was made by Mary. However, the stitching is not quite as accurate, and the design does not incorporate a complicated central motif, so it has been suggested that this is the work of one of the daughters rather than Mary herself. This quilt is one of five in the collection from the Dennis/Cann family, and it is presumed that the other four quilts were made by Mary and/or her daughters. Two of the quilts are cot quilts, presumably made for Charles Tottenham, the son of the only of Mary’s daughters to be married.

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Sun Blasted, Janet Twinn 109cm x 155cm (43in x 61in)

This piece is one of a series of works that explore the changing colours of the season and the passage of time. Sun Blasted evokes the heat of a summer day radiating from sun washed walls. It is constructed from the artists own dye printed and painted cloth.

74 | www.downunderquilts.com.au


On the

Soon Liza is not only struggling with her own fears but with the mixed reactions of her friends and family. And when she finds herself torn between a rare career opportunity and her love for Garrett, Liza must grasp at the thinnest of threads and pray it holds.

BOOK

SHELF It’s almost Mother’s Day, why not spoil yourself by starting a new book series that features quilting...

Marie Bostwick series In her compelling series, New York Times’ bestselling author Marie Bostwick celebrates friendships old and new and the unlikely threads that sometimes lead us exactly where we need to be. Visit Marie’s website and blog at mariebostwick.com A Single Thread The abrupt end of her marriage was Evelyn’s wake-up call to get busy chasing her dream of opening a quilt shop. Finding a store front is easy enough; starting a new life isn’t. Little does Evelyn imagine it will bring a trio like Abigail Burgess, her niece Liza, and Margot Matthews through her door. Troubled and angry after her mother’s death, Liza threatens to embarrass her Aunt Abigail all over town unless she joins her for quilting classes. A victim of downsizing at the peak of her career, Margot hopes an event hosted by the quilt shop could be a great chance to network – and keep from dying of boredom. As they stitch their unique creations, Evelyn, Abigail, Liza and Margot form a sisterhood that they’ll be grateful for when the unexpected provides a poignant reminder of the single thread that binds us all.

76 | www.downunderquilts.com.au

A Thread of Truth At twenty-seven, having fled an abusive marriage, Ivy Peterman figures that quaint, historic New Bern, Connecticut, seems as good a place as any to start afresh. With a parttime job at the Cobbled Court Quilt Shop and new friendships, Ivy feels hopeful for the first time in ages. But when a popular quilting TV show is taped at the quilt shop, Ivy’s unwitting appearance in an on-air promo alerts her ex-husband to her whereabouts. Suddenly, Ivy is facing the fight of her life – one that forces her to face her deepest fears as a woman and a mother. This time, however, she’s got a sisterhood behind her: companions as complex, strong, and lasting as the quilts they stitch... A Thread so Thin While New Bern lies under a blanket of snow, Cobbled Court Quilts remains a cosy haven for Evelyn Dixon and her friends. Evelyn relishes winter’s slower pace – and internet sales are growing, thanks to her son Garrett’s efforts. In addition to helping out at the shop, Garrett has also been patiently waiting for his girlfriend, Liza, to finish art school in New York City. But as much as Evelyn loves Liza, she wonders if it’s a good idea for her son to be so serious so soon with a young woman who’s just getting ready to spread her wings. Liza’s wondering the same thing, especially after Garrett makes a marriage proposal on New Year’s Eve.

Threading the Needle The economic downturn has hit and Tessa Woodruff’s herbal apothecary shop, For the Love of Lavender, is suffering. So is her once-happy, thirtyfour-year marriage to Lee. They’d given up everything to come back to New Bern from Boston and start their business. To relieve the strain Tessa signs up for a quilting class at the Cobbled Court Quilt Shop, and to her surprise, rediscovers the power of sisterhood – along with the childhood friend she thought she’d lost forever. Madelyn Beecher left New Bern twenty years ago, and when her husband is convicted of running a Ponzi scheme she is forced to return. She transforms the cottage her grandmother left her into an inn with the help of her fellow quilters, including the one friend she never thought she’d see again – or forgive. Now Madelyn and Tessa will have to relive old memories, forge new ones, and realise it’s possible to start over, one stitch at a time – as long as you’re surrounded by friends. Ties That Bind It’s a shock to the entire town when the new pastor Phillip A Clarkson turns out to be Philippa. Not everyone is happy about having a female pastor. Yet despite a rocky start, Philippa begins to settle in, finding ways to ease the townspeople’s burdens, joining the quilting circle, and forging a fast friendship with Margot. When tragedy threatens to tear Margot’s family apart, that bond – and the help of her quilting sisterhood – will prove a saving grace. And as she untangles her feelings for another new arrival in town, Margot begins to realise that it is the surprising detours woven into life’s fabric that provide its richest hues and deepest meaning.


Library

Elm Creek Quilts Novels by Jennifer Chiaverini Jennifer Chiaverini is the author of numerous Elm Creek Quilts novels and An Elm Creek Quilts Sampler and An Elm Creek Quilts Album, as well as Elm Creek Quilts and Return to Elm Creek, two collections of quilt projects inspired by the series, and she is also the designer of the Elm Creek Quilts fabric lines from Red Rooster fabrics. In most of the books the main character is a master-quilter named Sylvia Bergstrom Compson. She and her young friend, Sarah McClure, open a quilters’ retreat at Sylvia’s family estate, Elm Creek Manor. Sarah and Sylvia run the ‘quilt camp’ with the help of their friends, the Elm Creek Quilters. You can read the books in the order Jennifer wrote them, but since she wasn’t planning to write a series, each book can stand alone. Some readers claim the books should be read in the order they were written, other readers have read the books out of order and were able to follow everything just fine. Although later books inevitably give away events that occurred in previous books. The lastest of her books The Giving Quilt – released 2012 is set at Elm Creek Manor, where the week after Thanksgiving is ‘Quiltsgiving’. From near and far, quilters and aspiring quilters—a librarian, a teacher, a college student, and a quilt shop clerk among them—gather for a special winter session of quilt camp to make quilts for Project Linus. As the week unfolds, the quilters respond to Sylvia’s provocative question in ways as varied as the life experiences that drew them to Elm Creek Manor. Love and comfort are sewn into the warm, bright, beautiful quilts they stitch, and their stories collectively consider the strength of human connection, and its rich rewards.

This book features not only wellloved characters but intriguing newcomers. Find out the book titles and which order they were written in, plus more, at www.elmcreek.net

Loose Threads Mystery series by Arlene Sachitano

This series revolves around Harriet Truman, widowed and taking over her aunt’s quilting business and home, in fictional Foggy Point, Washington. Harriet features in the series as a longarm quilter and amateur sleuth. Visit Arlene’s blog for more information, arlenesachitanosblog.blogspot.com.au/ Quilt as Desired Harriet Truman returns to Foggy Point thinking she’s just going to see to her Aunt Beth’s customers while the lady takes a European cruise. Instead, she discovers she now owns both business and house, whether she wanted to or not. Still, she’s stuck until Aunt Beth comes home, and she does enjoy being a part of creating beautiful quilts. But then Avanell Jalbert, her aunt’s best friend, is murdered on the same night someone breaks into Harriet’s studio and trashes the place. Something is coming unravelled in Foggy Point, and Harriet is caught in the tangle. The question is, can she figure out what’s going on before she ends up dead herself. Quilter’s Knot Longarm quilter Harriet Truman and her quilt group the Loose Threads set off for what should be an enjoyable week of stitching at the Angel Harbor Folk Art School, where member Lauren Sawyer is attending a two-year program in part to quiet the accusation that she copies other people’s work. It appears Lauren is up to her old tricks when Harriet’s Aunt Beth announces she’s seen Lauren’s quilt in a museum in Europe. Lauren believes Selestina Bainbridge, owner and teacher at the school, is the one who copied her and insists Harriet prove it. When Selestina dies, Harriet must unravel the clues to exonerate her friend.

Quilt as You Go When the dust settles after the Foggy Point Civil War re-enactment, one casualty turns out to be really dead, and his identity sends shockwaves through the community. Does a long-lost quilt that suddenly reappears hold a clue? Harriet and the Loose Threads must unravel the mystery before the killer strikes again. And who is the mysterious young man with the military bearing who’s drawn the admiration of Carla, the young woman the Threads have taken under their wing? Is he what he claims to be, or something much more sinister? Quilt by Association An African woman with a blue-eyed baby arrives in Foggy Point looking for Aiden Jalbert. Within days, she’s been murdered, and so is the man who claimed to be her husband. As if that weren’t enough, the supposedly African toddler Loose Thread DeAnn and her husband adopted turns out to be from Samoa, and the social worker who helmed the deal has gone missing. Who was Neelie Obote, really, and who wanted her dead? What did Rodney Miller learn that earned him the same fate? And what part does Joseph Marsden play? Harriet and the Loose Threads are determined to find out, but as they dig deeper into the mystery it begins to appear the killer may not be finished yet. The Quilt Before the Storm A storm is bearing down on Foggy Point, Washington, promising strong winds, flooding and power outages. Harriet Truman and the Loose Threads quilt group are sewing flannel rag quilts and making plastic tarps from grocery bags for the denizens of a local homeless camp. Then one of the homeless men is strangled, and a few days later a second man is also murdered. Were they victims of a serial killer, or of someone closer to home? With the detectives of the Foggy Point Police department trapped on the wrong side of a rock slide that isolates the community, and dead bodies at the homeless camp, it’s up to Harriet and the Threads to figure out who is killing people and why – before they become the next victims.

www.downunderquilts.com.au | 77


Library

The Sisters of the Quilt Series by Cindy Woodsmall

This series is a portrait of life within an Old Order Amish community, and the difficulties suffered by Hannah Lapp when she goes against custom and becomes engaged to a neighbouring Mennonite boy. Visit Cindy’s website to find out more, www.cindywoodsmall.com

78 | www.downunderquilts.com.au

When the Soul Mends #1 Hannah Lapp was born and raised in an Old Order Amish home, without electricity, a telephone, or the right to follow her heart. Without her parents’ knowledge, she’s been in love with Mennonite Paul Waddell for years. When he asks her to marry him, she accepts, even though to do so will cause her family to avoid her for the rest of her life. Before Hannah and Paul reveal their relationship, tragedy strikes. In one unwelcome encounter, all that Hannah has known and believed is destroyed and she faces losing everything: her family, her fiancé, and even her faith in God. When the Morning Comes #2 Her relationship with fiancé Paul Waddell is in tatters and Hannah Lapp has fled her secluded Old Order Amish community in hopes of finding a new home in Ohio with her shunned aunt. Hampered by limited education and hiding her true identity, Hannah

struggles to navigate the confusing world of the Englischers. Will the countless opportunities in her new life persuade Hannah that her place is amongst the Englischers or will she give in to her heart’s call to return home and face the past? When the Heart Cries #3 Rumours and lies have left Hannah’s life in tatters; can the truth possibly stitch it back together? Having fled in disgrace more than two years earlier, Hannah finally has found happiness in the Englischer world, as well as love with Martin Palmer, a man with whom she can safely entrust her heart. But almost immediately after her arrival in Owl’s Perch, the disapproval of those who ostracized her reopens old wounds. As Hannah encounters former fiancé Paul Waddell she faces an agonising decision. Will she choose the Englischer world and the man who restored her hope, or will she return to the Plain Life.


Professional

Machine Quilters’ Directory NSW

The Shire Quiltery Virginia Wise Gymea Bay 02 9531 0282

Coastal Quilting Service Jenny Campbell Umina Beach 02 4344 2627 coastalquilting@optusnet.com.au

The Red Shed Jan Foster Central Coast 02 4392 1133 jfoster8@bigpond.com

Honey Do Quilting Cranebrook 02 4730 4204 diesler@hotmail.com.au

QLD

Knitted Lamington Studio Beryl Janieson Sydney Inner West 0408 623 479 knitted.lamington@gmail.com

Busy Quilting Lyn Crump lyn@busyquilting.com.au Professional Quilting Service Kym Colgrave Bundaberg South 0429 957 082 pqs@dodo.com.au

Precious Heirlooms Quilting Service Verna Horwood Menai 02 9543 0975 dvhorwood@bigpond.com

WA

Maidstone Downs Quilting Service Jo-Anne Dickson Crookwell 2583 02 4837 3375 maidstonedowns@hotmail.com

Ladybird Cottage Longarm Machine Quilting Service Lorraine Bird Camillo 08 9390 9009 lorrainebird@bigpond.com

Gammill Optimum Computer Assisted Machine

red shed quilting est. 2003

l

Edge to edge Custom quilting Mail order welcome l

l

Professional longarm quilting service quick turn around for edge-to-edge. mail order welcome Phone Jan 02 4392 1133

Kym Colgrave PH 0429 957 082 | 1300 QUILTER (784 583) E pqs@dodo.com.au W www.proquilt.com.au 308 FE Walker Street (PO Box 4532) Bundaberg QLD 4670

www.redshedquilting.com.au

Member of AMQA

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8/08/12 10:04 AM


next

issue with

Jelly Rolls have been around for a while. Personally, I don’t buy them or use them as I mostly make scrap quilts so I have no real use for a bunch of pre-cut strips. But what I do like about them is that they are colour coordinated. It makes it so easy to be able to buy a range of different prints that you know will work together. And for those of you who do like to work with pre-cut strips; how easy is it with a Jelly Roll? We take an in-depth look at the pre-cut phenomenon in the next issue and share a variety of quilts with you to show you just how versatile and useful Jelly Rolls can be in the modern age of quiltmaking. Plus, Ally Nicoll has designed an exclusive quilt project, just for DUQ readers, that uses Jelly Rolls. There will also be all the favourite features, including the ‘new’ favourites Meet A Blogger and the Blog Roll to help you find the best blogs. We will bring you some interesting quilt shows from around the world and Australia and lots more quilt and design inspiration. Oh, and one other thing you may enjoy… I will be sharing one of my quilts as a project in the next issue. Here it is at the right. It is called Postage Stamp Baskets, I have made it entirely by hand, and you will find full step-by-step instructions as well as full-size patterns in the next issue. Start sorting your scraps ladies and gents, this quilt is a perfect scrap quilt.

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. Trademarks

Many of the brands and products mentioned in the news and projects pages in Down Under Quilts are trademarks of their respective companies. All companies and brands mentioned in the magazine are included for editorial purposes and all copyrights and trademarks are acknowledged.

98 | www.downunderquilts.com.au


O

r y CES u r PLA CE H 3 AN LY FR

Q u i l t e rs’

N TO

A d v e n t u re 2 0 1 3 Take a textiles tour like no other! See, learn and do – and be amazed by traditional and modern textiles of each country and the most interesting cultural places. Itineraries are specially chosen for the ultimate quilt and fabric experiences.

A truly unique experience! Check out the fabulous itineraries

All Tours Feature:

Demonstrations Quilt & Textile collections and exhibitions Museums and Castles Local textile history Patchwork and fabric shops VISIT MAJOR INTERNATIONAL QUILT SHOWS PLUS: Air-conditioned Coach Travel, Bilingual Licensed Local Guides, Sightseeing, Entry to events and museums, 4-star accommodation, Some meals – all breakfasts.

France & The Netherlands

1–12 August

1–15 November

Pour l’Amour du Fil Open European Quilt Championships Boutis, Les Indiennes Markets, Museums www.worldofquiltstravel.com

Festival of Quilts V&A Museum Liberty of London Hampton Court The Quilt Museum and Gallery, York www.worldofquiltstravel.com

Quilt Week Yokohama Textile Town Weaving, yuzen dyeing Nishjin Textile Centre Arimatsu Shibori Itchiku Kubota Art Museum www.jtboi.com.au

23 April-7 May

England

Japan



Down Under Quilts 157