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Down Under




Craft icon Kaffe Fassett

quilt ideas

for you


How to sell your quilts online


Simple and stylish cushions Issue 159, 2013

AUS $10.95, NZ $13.95,


Don’t miss

Expert tips for Orange Peel designs | 1

Quilts Q Down Under



48 46


Projects 40 Bali Boy Jane Rundle shows how to piece this striking quilt. Made with beautiful batik fabrics, it would be a great gift for the man or teenage boy in your life. 42 Good Folks Quilt Don’t feel daunted by the curves in this beautiful quilt – Jeannette Bruce uses a method that makes it much easier than it looks. 44 Noodle Box Chris Jurd’s Japanese-style

quilt features foundationpieced Flying Geese surrounding large-scale print block centres and is put together using the Quilt As You Go technique. 46 Orange Peel Cushions A quick and easy project to brighten up your living space, designed by Linda Robertus. 48 Shot Cotton Dahlias Cathy Underhill used raw edge appliqué to make this colourful wall-hanging.

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Regulars BONUS!

This issue’s free 52-page book – World of Quilts: Hawaii – is packed with even more projects and loads of inspiring ideas

6 Snippets & Scraps 23 Meet a Blogger 25 Blog Roll 26 Show & Tell 50 Diary Dates 70 On the Book Shelf 81 Project Instructions 98 Next Issue

SUBSCRIPTIONS 10 Down Under Quilts 28 Down Under Textiles



20 12 Features 12 Orange Peel Quilts – designs with zest! We take a look at the history of this charming block, show stunning quilts made by readers and share books that will help you to make your own Orange Peel Quilt. 20 Global Thread Where do you find inspiration for your quilts? Sue Dennis literally found it on the streets of Siem Reap, Cambodia.

Exhibitions 30 Kaffe Fassett Debra Hudson asks Kaffe Fassett the questions we all want to know the answers to – such as when he is coming to Australia next! Plus we show you images of his stunning exhibition at the Welsh Quilt Centre. 54 How to Sell Your Quilts Online If you have ever thought about selling your quilts online, this is a must-read.

We talk to experienced sellers on two popular online shopping venues and hear their tips for beginning quilt sellers.

33 Kaffe Fassett exhibition at the Welsh Quilt Centre

60 Computer Quilting Jan T Urquhart Baillie demonstrates how to use the custom set quilt feature in Electric Quilt to design a modern-style project

62 Queensland Quilters Challenge

36 Quilt making in Wales

74 Korean Quilts | 5



These are our picks of the best quilty news and happenings, both here and abroad.

Rachelle Denneny, Golden Ivory

National Quilting


Gillian Shearer, I Am Nujood and I Am Free

Jenny Bowker, The Quiltmaker Helen Godden, Galloping Wild and Free At the Australasian Quilt Convention (AQC), held in April at the Royal Exhibition Centre in Melbourne, the following National Awards were presented: The Bernina National Quilt Award 2013 was presented to Rachelle Denneny from South Australia for her quilt Golden Ivory; a stunning whole cloth trapunto and domestic machine-quilted quilt. This award is presented to the maker of the quilt that is judged the best from the

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Best of Show quilts from the annual state guild shows around the country. The 2013 Rajah Award, which acknowledges the outstanding contribution by an individual to quilting in Australia, was presented to Jenny Bowker. Jenny is a well-known and much-loved quilter and teacher, and previous columnist of Down Under Quilts. She is best known for her quilts inspired by the time she lived in the Middle East. In 2012 she made a

quilt to honour her friend, quilter and author Margaret Rolfe OAM, which was on show at the AQC. The 2013 Lut-Da Award was presented to Ruby Houston. The LutDa Award goes to a quilter who has made an outstanding contribution to their local or quilting community via the medium of quilting. Helen Godden won first place in the AQC Challenge for 2013 for her quilt Galloping Wild and Free. The theme for the challenge was “Free�. Runner-up was Gillian Shearer with her quilt I Am Nujood and I Am Free.

Quilts: In the News

First quilter in


On 28 May 2013 a quilter was launched into space! American cosmonaut Karen Nyberg, a 43-year-old mechanical engineer and mother of a 3-year-old son, was blasted off from the Baikonur Cosmodrome in Kazakhstan to the International Space Station, together with a Russian and an Italian astronaut. Nyberg

has been on one previous spaceflight; a two-week shuttle mission. This time she will stay in space for six months and she comes prepared: she has brought four fat quarters, some needles and thread. Due to safety regulations and limited space (no pun intended) she can bring no more supplies, but she can use fabric or patches from the discarded astronaut clothing already on board – some of it quite colourful. As a rule, the space station crew members wear a flight suit for a week and then discard it. Stitching in zero gravity will be a challenge, as she will have to find a way to prevent her fabric and thread from floating away. As she said in a tweet on 9 May, “Will be great experiment controlling everything!” We can’t wait to see the first quilt made in space! Karen Nyberg is on Twitter as @AstroKarenN and on Pinterest as (she has boards called “Simple Joys on Earth”, ‘Hair in Space” and “Quilts”, among others!)

Jane Austen’s Quilt Did you know that Jane Austen was an accomplished seamstress as well as a novelist? Many of her pieces of fine needlework survive. She also made a patchwork quilt, together with her mother and her sister Cassandra. This quilt is now displayed on a period bed in Jane Austen’s House Museum in Chawton, Hampshire, UK – the house where she spent the last eight years of her life. It uses 64 different patterns over its several hundred diamond shaped squares. The pattern is called an English medallion; a quilt with a central motif, surrounded by multiple borders. The Austen quilt is made up of a variety of chintz fabrics, each one “fussy-cut” to show off the pattern to its best ability. After doing intensive research on the quilt, Australian quilter Rosalee Clark managed to make a replica and write a pattern for the Jane Austen quilt. It is available through her website:

Dianne Firth, Storm, 140 x 66 cm

Australian success at Quilt National Australian quilt artist Dianne Firth was granted the McCarthy Memorial Award at Quilt National 2013 in Athens, Ohio, USA, for her quilt Storm. It is constructed from viscose felt, polyester net, polyester thread, dye and pastels, the cutwork assembled within two net layers and machine quilted. We love her evocative artist’s statement: Storms are driven by the conflicting movements of warm and cool air, something that we can feel but cannot see. What we do see are the things that are picked up by the storm, such as raindrops or dust or cinders. In this quilt I have tried to capture the swirling fluid character of that movement as the air seeks equilibrium. | 7

Geek Chic Timeless Treasures has launched a new fabric collection, Geek Chic. It includes nine different fabrics, including these Crossword, Sudoku and Word Search designs. We showed the Sudoku fabric on our Facebook page and asked, “Would you use this in a quilt?” Reactions were quite mixed; eight people said they would, while seven said they certainly would not. Someone said it would make a great background for some bold appliqué, while someone else suggested it would work well as the border or backing for a Sudoku quilt with nine different fabrics. Join the discussion on our Facebook page: DownUnderQuilts

New Quilts/Old Favourites Each year The National Quilt Museum in Paducah, Kentucky, USA, organises an international contest to challenge quilt makers to create an innovative quilt based on a specific traditional pattern. Winners of the contest traditionally include quilts from many different U.S. states and several other countries. Quilts are selected for their excellence in design and techniques, their innovations, and their contributions to an exhibit showing the wide range of designs and styles the selected traditional pattern can inspire. In cooperation with the American Quilter’s Society, a catalogue is published, featuring the award-winning and finalist quilts in full colour, with a photo of the maker, information about the quilt’s development and patterns and tips. The theme for 2013 is Carolina Lily and the entry deadline is 1 November 2013. For more information and an entry form go to the website:

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Quilts: In the News


The presentation of the Olympic and Paralympic medals, which will be awarded at the 2014 Winter Games in Sochi, Russia, took place in St. Petersburg on 30 May. The Sochi 2014 Olympic and Paralympic medals are unique and feature the so-called Sochi 2014 “Patchwork Quilt” – a mosaic of national designs from the various cultures and ethnicities of the Russian Federation. The medals have been carefully crafted to depict the landscape of Sochi from the sun’s rays reflecting through the snowy mountain tops onto the sandy beaches of the Black Sea coast. These contrasts in Russia’s natural landscape are embodied in the medals and will be an everlasting souvenir for the champions. The unusual combination of metal and polycarbonate lends to the medals a sense of lightness and distinctive beauty. The front of the medal features the Olympic rings. The reverse contains the name of the competition in

English, and the logo of the Sochi 2014 Games. The official name of the Games in Russian, English and French is engraved on the medal’s rim. The Olympic Winter Games in Sochi will set a new record in terms of the number of sports events on show, so a record number of about 1,300 medals will be manufactured. The Sochi 2014 Paralympic medals were designed in the same style. The form of the award symbolizes the integrity and strength of spirit of Paralympians, who are an example of the unlimited possibilities of humankind. One side of the medals features the Paralympic symbol (three hemispheres, “agitos”); the reverse features the logo of the Sochi 2014 Paralympic Winter Games and the name of the competition in English. The official name of the Games in Russian and English is engraved on the medal rim. The awards also contain inscriptions in Braille for the visually impaired.

A set of Sochi 2014 medals traditionally includes a bronze, silver, and gold medal. Depending on the type of metal used, the Sochi 2014 Olympic medals weigh between 460 and 531 grams, and the Paralympic medals – between 585 and 686 grams, due to their design peculiarities. Each medal is 10 mm thick and 100 mm in diameter.

CORRECTION In issue 158, we mixed up two captions in the Jelly Roll article. The beautiful quilt on the top left of page 14 is Cherie Hoyle’s Curtain Quilt and the stunning quilt on the bottom left on page 16 is Aysha’s Quilt by Bronwen McCoy. Our apologies for this mistake. | 9

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Orange Peel

Quilts –

designs with zest! Text by Linda Robertus


Writing an article about Orange Peel Quilts isn’t as straightforward as it sounds – Barbara Brackman’s Encyclopedia of Pieced Quilt Patterns includes six different blocks called Orange Peel – and all of these blocks are also known by many different names, such as Rob Peter and Pay Paul, Lover’s Knot, Tea Leaf, Pincushion and Compass (see diagrams on page 17). However, as Brackman says in her preface, “there is no ‘correct’ name for any design”, and “The right name for a pattern is what you call it”. One of the names that keep turning up when you look for Orange Peel Quilts is Lafayette Orange Peel. In Barbara Brackman’s book it is used for two different blocks. It is named after the Marquis de Lafayette, a French aristocrat who fought in the Continental Army under George Washington during the American Revolutionary War (1775–1883). Quilt mythology has it that after the war the Marquis attended a celebratory banquet in Philadelphia and was served an orange, which he quartered with his knife before peeling it. A female guest, enraptured with the dashing war hero, took the orange peels home and designed a quilt block with them. The American Museum in Bath, England, which is the only museum dedicated to American decorative and folk art outside the United States, has a beautiful example of a Lafayette Orange Peel Quilt. Michelle Law made her small Orange Peel quilt in 2002

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and called it Gin, Tonic and Lime Peel. “It was my first-ever appliqué project. I really had no idea how to do needleturn appliqué at the time, but I was determined to give it a go – I’d had in my mind to make a miniature orange peel quilt with a difference and I wasn’t going to let something small like a lack of skill stop me!” Michelle started with sewing the chequerboard section first, and then appliquéd the petals on. The quilt is 101/2in square, and each block is 11/2in. It took her an afternoon and an evening to finish the top, and she entered it into the Canberra Quilters exhibition in the miniature section. “This quilt sent me on a path of learning how to do appliqué better. I am now thankfully much more skilful with the needle, and prefer freezer paper appliqué, and larger quilts! I would love to make a larger orange peel quilt one day – the simple lines and colour contrasts are what made me fall in love with the block 11 years ago and that love hasn’t changed.” Rowena Muller, owner of longarm quilting business The Quilted Finish in Bathurst, was inspired to make her quilt Orange Peels for Adelia by the cover of the book Remembering Adelia: Quilts Inspired by her Diary by Kathleen Tracy. “I used a variety of nearly all civil war fabric scraps for the orange peel pieces and shirtings from a few Jo Morton ranges for the background squares. I can’t remember which ranges the border fabrics came from but I fell in love with

Quilts: In Focus

Lafayette Orange Peel Quilt 1830-75, American 239 x 201 cm (94 x 79�) 1996.2 Courtesy of the American Museum in Britain | 13

Rowena Muller, Orange Peels for Adelia, 88 x 88 cm

Michelle Law, Gin, Tonic and Lime Peel, 27 x 27 cm

“There is no ‘correct’ name for any design… The right name for a pattern is what you call it” the blue serpentine stripe when I saw it on the cover of the book and was delighted when I found it in my local quilt shop.” She used an appliqué method she had never tried before: freezer paper templates ironed to the back of the fabric, which were trimmed to a 1/4in seam allowance. “I then used an acid-free glue stick to secure the fabric when I finger pressed the seam allowance over to the freezer paper. I found this method gave such a crisp finish to the appliqué pieces and it was great having all the pieces prepped so I could get on with the hand sewing.” Rowena used silk thread in a neutral grey-green and a small fine needle for the appliqué. She then machine stitched the quilt top together. When the quilt top was finished she had to remove the freezer paper from the back of the orange peel appliqué. She did this by cutting away the background shirting fabric, leaving a 1/4in seam allowance within the appliqué stitches. Using a cheap hog’s bristle paintbrush and warm water she dampened the glued seam allowance until the fabric lifted away from the paper and she was able to pull the freezer paper out. Once this was done and the quilt top was dry she pressed the back of the quilt top and clipped any loose threads. “I then quilted the finished quilt top on my longarm quilting machine using cotton batting because I like the crinkly look you get once the quilt is washed and put in the clothes dryer. I quilted the centre of the quilt with a

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meander which went over the appliqué pieces which I wouldn’t normally do but in this quilt I think worked well. I then quilted feathers in the outer border and some smaller meander stitch in the corners. I am so pleased with the finished quilt and enjoyed this method of appliqué so much that I am considering making a bed-size Orange Peel quilt!” Di Jobbins did make a bed-size Orange Peel quilt, in the setting known as Joseph’s Coat. Her quilt called Daisy A Day is entirely hand pieced and hand quilted, and while the piecing took her around 18 months, she managed to quilt it in five weeks, at night watching TV! “I love scrappy quilts, the more fabrics the better, so choosing colours for my petals was a snap. I began by trying to use Kaffe Fassett fabrics alone, but soon branched out to include just about any other bright modern fabrics I could get my hands on. For the white background I used a white-on-white polka dot which I felt gave it more life than a plain white.” Di used metal templates which made cutting the shapes easy, but she says, “Getting all six petals to meet nicely at the centre of each circle, with no gaps, proved a tad challenging at times. I’m glad I didn’t let it stress me too much because looking at the finished quilt I think you’d need a search party to find those wonky joins now.” A wise friend advised her to machine quilt “the monster”. But after seeing a friend’s cot-sized version, meticulously hand-quilted and cuddly, she threw caution to the wind

Quilts: In Focus

Di Jobbins, Daisy a Day, 223.5 x 244 cm Detail at right | 15

Orange Peel design on antique carvings and mosaic pavements in Capernaum and Jerusalem, Israel. Photography by Di Jobbins.

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Quilts: In Focus

Jeannette Bruce, Good Folks Orange Peel, 259 x 259 cm. and decided to hand quilt hers too. “I feared my wise counsellor might think I’d lost my marbles and many would agree, so I kept this a secret!” She spent an afternoon crawling around on her hands and knees on the bedroom floor, sandwiching and

pinning the quilt to within an inch of its life. Why pin, and not baste, as is more usual for hand quilting? Aha, Di had a cunning plan. Placing a safety pin in every white space across the quilt, and counting them in as she pinned, meant she could easily keep track of her progress. By counting the pins out as she quilted each of these negative spaces she didn’t accidentally miss a space, and she marked them off on a card, one by one. It was very simple to remove any pins that got in the way of the quilting hoop as she went. “The binding colour was a no-brainer! There are so many gorgeous colours in this quilt, but somehow the bright pinks called to me the loudest. No surprises there.” Di went on a trip to Israel while she was piecing her quilt (she even brought some petals, pins, needles and thread, but of course they didn’t leave her bag). She was surprised and delighted to see her supposedly modern quilt design pop up several times in antique mosaic pavements and carvings. Jeannette Bruce made her bed size Good Folks Orange Peel quilt from one of her most treasured fabric collections, Good Folks by Anna Maria Horner, mixed with one of her favourite neutral solids Kona “Stone” by Robert Kaufman. She shows how to make the quilt in this issue on page 42. If seeing these beautiful quilts has inspired you to start your own Orange Peel quilt, but you are not sure how to start, check out the list of books at the end of this article or go to the project pages where we share two Orange Peel projects!

All of these blocks have been called Orange Peel, among other names. | 17

Quilts: In Focus

The following books are our top picks to help you master Orange Peel designs

Remembering Adelia: Quilts Inspired by her Diary by Kathleen Tracy

Orange Peel: New Quilts from an Old Favourite edited by Linda Baxter Lasco

Modern Quilts, Traditional Inspiration by Denyse Schmidt

Meet Adelia, a 19-year-old woman living in northern Illinois on the cusp of the Civil War. Her real-life diary entries record the details of daily life while war advances in the background. Her journal illustrates how central sewing and quilting were in an American woman’s life during the nineteenth century. Includes period photos and 14 projects. Published by That Patchwork Place

Each year The National Quilt Museum in Paducah, Kentucky, USA, organises an international contest to challenge quilt makers to create an innovative quilt based on a specific traditional pattern. In 2011 the selected pattern was Orange Peel. Winners of the contest traditionally include quilts from many different US states and several other countries. Published by AQS Publishing

In this book, modern quilter Denyse Schmidt reinterprets 20 traditional quilt designs including Orange Peel, Irish Chain and Mariner’s Compass. Each design is introduced with a lively overview of the pattern’s history. Instructions are illustrated, templates are provided at full size on a pullout pattern sheet, and a complete techniques section is included. Published by STC Craft

Quilts by Karen K Stone Karen Stone’s famous Indian Orange Peel received the People’s Choice Award at Quilt National in 1995. The pattern for this quilt can be found in this colourful book, along with full patterns and instruction for 12 other quilts, including two New York Beauty designs. Published by Electric Quilt Company, available from

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Batiks Galore Here at The Quilters’ Store, we have nearly 400 choices of beautiful hand dyed Balis and Batiks. Just perfect for creating Hawaiian quilts. Come on in and browse for yourself, or go to our secure online shop and browse at your leisure. Also available is this handy little set of Hawaiian Quilting needles from Clover. The set contains 4 commonly used needles for Hawaiian Quilting. With 8 needles in the pack for basting, appliqué and Hawaiian Quilting.

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To order or for further information go to our secure website Or please contact: The Quilters’ Store, The Embroiderers’ Store Shop 4, 286 Evans Road, Salisbury, Qld 4107 Phone: (07) 3875 1700 Email: | 19 02_TheQuiltersStoreDUQ159.indd 1

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Generic Head

Beginning my rubbing.

Temple rubbings on paper for sale.

Gl bal Thread Recently while visiting the Kingdom of Cambodia a lamp post, floor mat, rubbish bin and a carved wooden panel provided not only inspiration for my quilting, but also the unique fabric I would use in two quilts. A strange obsession or artistic urge, as I like to call it, has taken hold of me in recent years. Before I came under this spell, I was quite happy to visit patchwork shops for commercial fabric and motivation. Many a happy hour was spent fondling florals, dreaming of grandchildren when looking at cot panels and getting cross-eyed with geometrics. These pleasures were enjoyed singly or in the company of

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like-minded friends and often just walking into a fabric store got the creative juices flowing. Traditional patterns were the basis of my early quilts, which provided valuable lessons in measurement, construction and completion. I have always had a rule for myself – ‘build on what you know, but try something a little different each time’. With practice my knowledge base increased and my confidence grew. I tried many techniques and found the ones I loved. And it seemed inevitable that I would explore surface design when commercial fabrics no longer suited my design concepts.

Meet Sue

Sue Dennis is an award-winning art quilter who travels widely and shares her adventures with us each issue.

Quilts: In Life

Buying local silk in the old market.

Transforming white fabric with dye and paint is endlessly absorbing. Almost anything can be done and combined together to create a oneof-a-kind fabric. I find this fascinating and compelling, which brings me back to the lamp post, wooden panel and floor mat in the Kingdom of Cambodia. When travelling, one particularly useful technique I use on location is ‘frottage’. An imprint of a textured surface is transferred to fabric, when an oil paint stick is rubbed over the fabric that has been placed on the textured surface. You may be familiar with cathedral rubbings on paper, which use the same technique.

As I passed the lamp post on the Siem Reap footpath, I saw incised writing in English and Cambodian script. This was raw material, along with the floor mat and carved wooden panel that would provide me with distinctive fabric. A sense of place would be captured in this fabric. I had travelled to Cambodia with rust-aged fabric which I felt would tie in with the historic nature of the country. As I taped my fabric in place and began seeing the magic happen, I didn’t have a finished design in mind. I was happy just to have a textile souvenir. (Textile Souvenirs© is a workshop I teach based on this style of fabric creation, plus more.)

Ancient Messages, 61cm x 126cm.

I was also on the hunt for locally produced fabric for future art quilts related to this Cambodian holiday. The Old Market area had a number of stalls selling beautiful silk and ‘silk like’ synthetics. The silks were cut into dress lengths of two or four metres and as always, bargaining was part of the process. When I returned to my home studio, I began assembling pieces on the design wall to see which combination would best suit the fabrics. I had rubbed the pediment of a lesser known temple and cut this fabric in half once I settled on a vertical, panel design. Ancient Messages, the resulting quilt also incorporates Riel banknotes, the Cambodian currency. | 21

Quilts: In Life

Rubbish bin on the street in Siem Reap

No Littering Cambodian Style, 61cm x 46cm

A piece of the rubbed floor mat fabric became the background for another design using a pot belly, truck tyre rubbish bin as the focal point. This was completed for the Viewpoints 9 challenge. (Viewpoints 9 are an international group that sets its members challenges every two months.) Inspiration is a magical, unquantifiable ingredient that we all need. I hope it is waiting for you in your travels, home environment, local area or just around the corner as nothing is as satisfying as finishing a quilt.

Carved wooden panel used in Ancient Messages quilt.

Sue Dennis Š 2013 Photography by Sue and Bob Dennis

Words taken from a rubbed lamp post. Temple pediment used for a rubbing.

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Quilts: Online

Meet a

Blogger Pam Holland This issue we find out more about the blog, a charming site full of artistic inspiration.

Why did you start your blog? I’ve been journalling for the past 35 years. I wrote in a diary in those days and I even kept a few grocery receipts, my eldest son’s first pay packet and comments on the joys of a family of teenagers. When I read it now, I’m exhausted. I’ve always felt the need to capture the day. To be honest, I don’t really know why, but I’m so glad I did. I relive my experiences through the written word. When the art of blogging came along I embraced it with passion. How long has it been running? My first post was on 31st January 2005 and I’ve written a post almost every day since. My mantra is: “I’m a quilter and I travel the world sharing my love of quilting with friends and students. I find myself in some interesting places and situations – but I wouldn’t have it any other way!” I share my family, my quilting experiences and my travels. A dedicated group of friends have shared life with me through the blog. And your blog header informs readers that it is the diary of a Travelling Quilter. Please tell us about your recent adventures. Goodness, it’s almost impossible to know where to start. As I write this I’m

One of Pam’s latest portrait quilts in Asilomar in California, I’m about to travel to New York, Ireland and then back to the US and home again. I have a foundation in Alamagordo, New Mexico. I’ll only be home for a few weeks and then my travels this year will take me to NZ, Dubai, India, Italy, the USA again and Thailand all in the name of quilting.

How did you come to quilting and patchwork? Were you always a crafter? Do you do other crafts as well? I was a fashion designer for almost 15 years and it was an amazing career, but it became difficult trying to balance our ever-growing family and the business side of my life, so very reluctantly I gave it all up. | 23

was in the Bahamas a few years ago. It’s a market scene brimming full of movement, life and colour. I’m also working on a series of quilts depicting women; it’s called ‘Ripped from reality’. I’m using different genres for each image.

The Market, a raw edge appliqué illustrated with pigment ink I walked into a quilt shop in the early 90s when quilting was beginning to become popular in Australia and took a few classes and then I was hooked. I could combine my creative design side with my love of fabric and I didn’t miss my business so much. You love sharing your knowledge with other people. What tips do you have for someone just starting? Even though I had worked with fabric for years, I was really intimidated by ‘those who knew better’ in quilting. Those ladies who finished a project in a day in class or knew how to create a log cabin block in 10 minutes! I had little faith in my abilities. It happens to so many beginners when they go to class. However, if you are in a workshop that seems overwhelming and the doubt begins to creep in, it’s natural to feel this way. Your body is reacting to overload of the senses. Stop, take a break, have faith in yourself and go back in with a reminder, that everyone felt that way when they first began. And what are your tips for the more experienced quilter? For instance, do you think entering shows is important and helps quilters develop their skills? I don’t know that entering shows is really important. To some it becomes an obsession and it can take a toll on your

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creativity. I think the experienced quilter just needs to look forward, to experience new ideas and techniques and combine them to create something amazing. When you love a quilt you’ve created with a passion, then you can enter it in a show to share your talents and techniques. Trust me, the passion shows through rather than the desire to win. What are your current projects? I’ve just finished an interesting quilt for my Guild raffle. I really like it, it’s a new technique, it has life, vitality and makes me smile. My quilts evolve from my travel experiences and it originated from looking at paintings when I

What’s been your favourite recent project? Introducing my small grandchildren to the life I lead: taking six-year-old Tilly to her first quilt show, helping her to design her own quilt and introducing her to the media to make her own kids quilting videos. So it’s not a quilt, it’s not a technique, it’s a lifestyle and passion she already enjoys and is sharing with her other cousins. What are your plans for the future? I’ve been working on my major project for the past seven years, the creation of the Bayeux Tapestry as a quilt. I have a few more years to go, but it’s my passion, I get lost in the moment when I work on it and it’s my Mount Everest. As far as my career is concerned, I’ve taken bookings until 2015 and then I think I will retire from spending 10 months of the year travelling. I will finish the Bayeux and just travel and share it to the world. What are the blogs you like to read? I’m not an avid blog reader funnily enough, I read mainly research blogs, particularly Medieval History.

Fabric designed by Pam on her travels

Quilts: Online Siobhan Rogers is an ex-photographer who loves designing and creating with fabric and quilts. She teaches quilting and other crafty stuff in Sydney. Ann Ferguson is a quilter, teacher, and owner of the patchwork and quilt fabric boutique Quiltopia! Design in Maleny, Queensland. She blogs about her quilts and classes, the new fabric ranges in her shop (available online as well) and offers tutorials for making quilts. Jane Rundle is a wife, mother, midwife and award-winning quilter. She can’t sit still and would be happy to be quilting all day if her back would allow it, and of course the bank balance! She is inspired by colour, shape, and design. Sometimes her quilts do not turn out how she expected, sometimes they just run amok until they are finished. Many do not have a size at the start, but end up just the right size when they are finished! In this issue Jane shares her Bali Boy quilt. Linda C. has been quilting for over 20 years in between raising her family and trying many other crafts. Her first love is antique quilts and reproducing them using reproduction fabrics. Christine is mum to three adult children, grandmother to three beautiful granddaughters, a quilter and teacher of patchwork and quilting. She loves old quilts, civil war, 1930s, appliqué and hand quilting.

Blog Roll

These are our suggestions for blogs to check out. Margaret Mew loves to design and make new quilts inspired by antique quilts. Some are fast and some are slow, but she does not mind how long they take her to make. The quiet time spent planning, drawing and then stitching is her reason for starting. The journey is just as rewarding as the destination. She lives and works in a restored 19th century railway station – a great place for 19th century style quilts. USA This is the blog of quilt historian Barbara Brackman, author of many quilt books including the Encyclopedia of Pieced Quilt Patterns and Barbara Brackman’s Civil War Sampler. She writes about “Quilts & Fabric, Past & Present”.

space with ample room for extensive machine quilting. She adores machine appliqué, too. She wants to inspire others to find joy in creating their own quilts from start to finish. She does all of her own work on a Bernina sewing machine, and claims that nothing beats the satisfaction of saying, “I quilted it myself!” South Africa Marelize is a young woman in South Africa who fell in love with quilting in 2012. It’s impressive what she has managed to make in such a short time! Singapore Vreni is originally from Switzerland but has lived in Australia and Asia for the past 27 years. She now lives in Singapore again after five-and-half years in Shanghai. Quilting has really been a “life line” for her, as it has given her the opportunity to connect with fellow quilters and to develop a lot of lasting friendships with people from all around the world. Germany Steffi in Germany makes traditional quilts – regular-sized ones for her family and miniature ones for her doll’s house. She blogs in both English and German. Netherlands Christa is a quilter, teacher and online quilt shop owner in Las Vegas, Nevada, USA. Her quilting style is very rooted in tradition, yet she has fallen in love with both modern and contemporary quilts. She loves bold, bright colours, clean geometric lines, and negative Dutch sisters Corry and Heleen quilt, sew, embroider, knit and crochet cute, colourful items. Their blog is in English and has lots of tutorials. | 25

Show& Tell We love to see what our readers have been making and this new section showcases your fabulous creations! If you want to see your project on these pages, don’t be shy – send your photos, letters, stories and tips by email to or post to: Letters, Down Under Quilts, Practical Publishing, GPO Box 1457, Brisbane, Qld, 4001. We look forward to hearing from you!


and the label. It’s now on its way to my friend in the UK. Rens Broos, by email Your friend must be thrilled to get such a beautiful quilt Rens! You did a great job designing and piecing it. And we love the label!

CIRCLES CONTAINED I designed this quilt around the appliqué sections from a McCalls ‘Heritage’ Quilt pattern. I had no idea what the finished quilt would be – it just evolved after I decided to place

the finished appliqué blocks on point. This was my first experience of setin triangles, and making the blocks ‘float’ by adding a narrow border of the fabric used in the set-in triangles. The cream and red border frames the appliqué, providing a break from the final dark-blue border. I was delighted when it won First prize in the Appliqué category and was judged Best Hand Quilting at the Brisbane Ekka ‘Quilts Around Queensland’ Quilt Show in 2010. Wendy Smith, by email We can see why this quilt has won two prizes Wendy – it is stunning! Thank you for sharing it with us.

Edward’s Quilt This quilt is made for a friend. It’s based on a quilt that I saw on the internet, however the size wasn’t right, it needed to be bigger. So I started to draw the blocks and chose more star blocks. It was a big job to fit it all together. When I was satisfied with the drawing I bought fabric, made the blocks and put it together. The quilt was professionally quilted, after that I still had to do the borders

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My love of reproduction Civil War fabrics, Sue Daley’s English paperpieced Pies and Tarts quilt... and a blank wall on the landing of my stairs prompted me to make this quilt. It was a very addictive project and a most enjoyable one. My young grandson Edward as a baby loved to touch the circles and now as a two year old I still have to lift him up so he can put his little finger on the one that takes his fancy.

Readers’ Gallery


Guess it goes without saying that the quilt will one day be his! Di Groweg, by email Thanks Di – your quilt is lovely and how sweet that your grandson loves it so much! The design certainly is very appealing to young children, but we are sure he will still love it when he is much older.

My name is Melissa and I adore making quilts. I try and find as many excuses to make them as I can, however sometimes it can be challenging with a 3 year old and two teenage step daughters hot on my heels! This quilt I called “White Avalon”. After my Grandad passed away in February this year, my great aunty (my Grandad’s sister) asked me if I would make three quilts for each of her three daughters for their birthday. I gladly accepted the challenge! This quilt is the second of the three quilts and it will be very difficult to part with this one. You know how some quilts you make, you just fall in love with? And can’t bear to part

with? This one definitely falls into that category! It was made for Vanessa, who is my mum’s cousin. They were extremely close as kids and apparently got up to a fair bit of mischief from what I hear! Unfortunately my mum was diagnosed with Motor Neurone Disease two years ago, so knowing that Vanessa was such a good friend to my mum during her childhood, made making this quilt so much more special. This quilt was made using only the pastels from an Avalon jelly roll (from Fig Tree), as well as Bella Solid white by Moda for sashing. I decided to use stunning Tilda pink floral fabric for the backing, and 100% cotton wadding. Thank you for giving me the opportunity to share my passion with you. Take care and kind regards, Melissa, by email Thanks Melissa – your quilt for Vanessa is gorgeous and we are sure she will treasure it. We would love to see the other two quilts you made as well! | 27


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Kaffe Fassett


London-based crafting legend Kaffe Fassett speaks with Debra Hudson about his views on colour, quilting, exhibitions, computers and more.

DUQ: First off, I’ll start with the most important question: when are you coming to Australia next? I’ll be coming to Australia next February and March. We’ll be in Singapore, New Zealand and then Australia, and we come back to England to open a major showcase work in the middle of March in Bath. You’ve been to Australia several times already. What are your impressions of Australian crafters? Any favourites? Well, number one above everything else you guys are not afraid of appliqué! And that is very refreshing. I also love Kim McLean, she is my queen. And also Kathy Doughty at Material Obsession, she is a fantastic inspiration to the

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world, I think. And I love other things – I love Perth. What is so interesting is that you get these pockets of creativity, and wherever we go we meet all the creative people.

The museum has a wonderful collection of American folk and decorative arts to begin with, so it’s a very good place for people to go and have a look at anyway.

I just wanted to touch on the exhibitions you’ve had in the UK this year. You’ve had one at the Fashion and Textile Museum in London, which ran until June, and now you have two on in Wales until November – one on knitwear and one on quilts. There seems to be a flurry – why?

We are featuring some of your quilts from the Welsh Quilt Centre exhibition in this issue; they look amazing paired with the whole cloths. Did you choose that?

Well, because I can! I’m still breathing, still walking, not in a wheelchair yet, so why not go for it? And I am having the big exhibition I mentioned at the American Museum in Bath starting next March and that will be there for a whole year.

Doesn’t it look it fabulous? The way the Welsh whole cloths are around the room? Gwenllian Ashley designed the exhibition and she did a brilliant job. Those whole cloth quilts [from the Jen Jones collection] completely echo the colours in my quilts, all around them. They add a beautiful mood, a flow that is fabulous.


strong graphic use of those wonderful old fabric sample books. Have you seen the Tentmakers of Cairo? Yes, I have and it is fascinating to watch them work. How quickly they do applique. We went to Egypt in January and had a wonderful trip. I read an interview with you earlier this year where you describe colour as ‘an emotional thing and a healer’. Why did you use those words and why do you feel like that?

Kaffe Fassett strives for harmony in his use of exuberant colours. Photograph by Debbie Patterson It’s quite magical moving through that space with the quilts on wires, like they are flying above your head. The lighting is also beautiful – there are no shadows. In Australia, we love colour and a lot of our quilters aren’t afraid to use it. When you are starting a project what initiates it – do you start with a specific colour, or do you just absolutely go for it? A bit of everything! Mostly when I am designing for Rowan with the other two members of the Kaffe Collective – Philip Jacobs and Brandon Mably – we use specific colours. The three of us

produce new designs for the collective range each year, so I let those guide my inspiration and try to make the best use of those. At the same time, I am also a traditional quilt maker and I love going back into history and looking at wonderful, simple ways of using fabric that really show off the prints. What traditional quilts inspire you at the moment – what do you particularly love? Ah, so many! I would have to say that so many traditional things turn me on. For instance, Wagga quilts – we love the old Wagga quilts, they are a very

Well, I know that someone once said ‘life being what it is, one dreams of revenge’. I think the older you get, the more potential for unhappiness there is. But if I get anywhere near being depressed or down in the dumps, if I see a good colour arrangement, my spirits lift. And I absolutely know that it has a power, and how important it is. I think some architects are starting to tap into the fact that buildings can have colour and they can inspire us. We were just watching the Eurovision Song Contest which was held in Sweden this year. It included footage of old buildings, and how beautiful were the colours! These buildings have ochres, and pinks and rusts, and beautiful golden colours – they are wonderful, and it’s the old world preserved. So don’t be afraid to look back at our rich past. We’ve all gotten a bit colourless in our city lives. Colour is very, very important, and it is very healing, there’s no doubt about it. You are incredibly prolific across a range of crafts, including painting, needlepoint and knitting. What is it about patchwork and quilting in particular that are satisfying and special to you? Well, after doing labour-intensive crafts such as knitting and needlepoint, quilting is so fast! When I give a workshop for knitting, I fall asleep because everyone is so slow. But when you give a workshop for quilters, it’s wham, bam, thank you ma’am: they’ve got it up and they are playing with | 31


“Working with your hands frees the mind to flow with ideas”

Above and below: some of the stunning works in the Kaffe Fassett exhibition at the London Fashion and Textile Museum. Photographs by Kirstin Sinclair

ideas. It’s exciting – it’s like a theatre of colour. So I love that, the immediacy. I love old-fashioned fabrics, so I am able to look back and reproduce the wonderful overblown rose and wonderful geometry of the past and bring them to life in modern colours and give them to the world. That’s exciting, that aspect of it: being able to take my favourite things and bring them into fabric. Brandon Mably, who works alongside me, produces a very different look. He’s doing very graphic things, kind of masculine, strong, geometric and so forth, and those work very well with the roses and beautiful leaves, so it’s a good marriage of styles. You don’t use a computer, do you? Do you credit that with your amazing productivity? Because a lot of people can get so bogged down by looking for inspiration on the internet, that they are not doing much creating. Do you think we should all be spending less time looking at each other’s work and more time doing our own? Well, I’m a doer. Nothing makes me jump out of bed with more vigour than having a half-finished needlepoint or a new idea for a quilt. I can’t wait to get to the studio to get to work. And the idea of sitting down… I mean, I can see that the internet is this magic pool of a million possibilities – but I like limitation. That’s why I love Wagga quilts – you have that rectangle shape of those sample books and that’s your element: what can you do with that that’s fabulous? And it inspires people to be more inventive. I like visiting poor parts of the world because I want to see how people piece together a life and make it colourful and interesting for themselves, and they do – they find poetry in the tiniest bit of rubbish and turn it into something amusing and interesting for themselves.

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You certainly don’t lack for inspiration. Where do you find it or are you going to say absolutely everywhere! I would say that working with your hands and actually doing stuff, frees the mind to flow with ideas. It’s like the minute you start working with your hands, ideas come to you. So that’s why they say to depressed people: change your position. Stand up if you’re sitting down, or walk across the room. Do something to make the body move, and I think by actually working, by physically making something, the ideas just flow into your mind. When people come to my workshops, the ones who have the hardest time are the ones that are thinking and are trying to understand why colour is important. They question everything: ‘Why is colour important, why should I do this, why should I do that?’ There is no reason why, just do it. As Nike says. Is there anything else you’d like to share with our readers? Well, I think that some people think that I use a lot of colour. But if you’ve seen my biography, Dreaming in Colour, what I’m trying to say there is that I love a lot of colour and I love complex patterns but basically, I’m after harmony. I want something to be absolutely beautiful at the end of it. So very often I’ll throw a lot of stuff in the pot and then I’ll take a few things out, as I want things to be alive and juicy but clear and beautiful and inspiring. We look forward to seeing Australia again. Kaffe Fassett will be in Australia from 10 February to 2 March 2014. Full tour details will be available soon; check out the diary section in our next issue or visit our Facebook page for more information.


Kaffe Fassett

exhibition at the Welsh Quilt Centre Photographs by Roger Clive-Powell

Kaffe Fassett’s first exhibition in Wales, which runs until November, pairs his vibrantly colourful patchwork quilts with exquisite antique Welsh quilts

The exhibition is on at the Jen Jones Welsh Quilt Centre, a private venture, opened in Lampeter Town Hall in 2009 to celebrate the Welsh Quilt and to promote a wider understanding of the importance of this regional art form. The centre aims to bring the attention of the world to this wonderful craft and to put the Welsh quilt into the context of the farms, valleys and towns where they were made. The centre also provides a focus for a historical archive of Welsh Quilting in Wales and the wider world. Lampeter is a market town in Ceredigion, South West Wales, about a two hour drive from Cardiff. Visit the website for more information. | 33

“It’s quite magical moving through that space with the quilts on wires, like they are flying above your head”

Left: Kaffe shows visitors around the exhibition, which was designed by Gwenllian Ashley. Welsh whole cloths, from the Jen Jones collection, circle the room. See page 36 for more detailed images of these quilts. Below and right: The quilts are hung on wires, and are lit beautifully.

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Exhibition | 35

Quilt making in Wales

Jen Jones explains the history behind traditional Welsh quilts, currently starring with the Kaffe Fassett exhibition

Very fine satin cotton Welsh quilt with elaborate stitching featuring a central cross. There are two other similar quilts in the collection with almost identical patterns and all resemble a quilt in St Fagan’s Museum (said to be from Maesteg).

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During the seventeenth and eighteenth centuries the quilted bedcovers that existed in Wales were nearly all utilitarian, of heavy worsted material or woollen fabric encasing an old woollen blanket. When decorative quilts appeared at the end of the eighteenth and the early nineteenth centuries they were the province of the wealthy, who mostly made patchwork quilts utilising chintz fabrics and other costly materials such as silks, velvets and ribbons. By the mid nineteenth century, quilting had become a cottage industry. Most quilts were made by paid professionals such as miners’ widows or village seamstresses. Some were itinerants who boarded at a farm and stayed for the two weeks or so it took to complete a quilt. The fabric and filling were always supplied by the farmer’s wife but the quilting pattern was chosen by the quilter. From about 1890 to 1940 satin-cotton was the dominant fabric being used for quilts. These were often wholecloth quilts with one side in a plain colour and the reverse patterned or floral. By the twentieth century quilt making was uneconomical, especially after the 1914-18 war. Between the Wars there was a resurgence due to the efforts of amateur Women’s Institute quilters but even more so following the establishment of the Rural Industries Bureau. This was started in 1928 in order to stimulate craft industries in Wales during the Depression. The finished product was often sold in commercial galleries, to hotels such a Claridges and the Savoy, to the upper classes and even to royalty. Regrettably, this was halted by the Second World War and attempts to stimulate another revival failed.


Cwrtnewydd Fans, 210 x 185 cm A splendid pink satin cotton quilt made in Cwrtnewydd, Cardiganshire in 1933. On the reverse is a beautiful art deco print | 37


Above: Exquisite detail. Left: The reverse side of a doublesided golden yellow whole cloth/ patchwork, made by Anna Davies of Penybont Cwmfelin Mynach, Whitland, Carmarthenshire. Born in 1895, she never married and remained at home after the death of her mother to look after her father who was the village blacksmith.

Right: This exemplary South Wales satin cotton wedding quilt (reverse side is above) is typical of the high standards expected of the quilters who worked under the auspices of The Rural Industries Bureau. The more expert rural quilters were encouraged to perfect their techniques and refine their workmanship and were financially assisted in obtaining the fabrics and the filling, but the bureau did not buy the finished products. It placed them with commercial galleries who found outlets for them in Cardiff and London. The quilts produced during this period were some of the finest ever to be made in Wales.

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You could also choose your own colour palette or use the fabrics in your stash to make a colourful scrap quilt.

By Jane Rundle Dimensions 183cm x 183cm (72in x 72in)

The instructions for this quilt appear on page 82.

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Beautiful Batiks | 41

Good Folks


Jeannette Bruce uses a beginner-friendly method to appliquĂŠ the orange peels to the background.

By Jeannette Bruce Dimensions 261cm x 261cm (102in x 102in)

The instructions for this quilt appear on page 85.

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King Size | 43



The Flying Geese are foundation pieced and the quilt is put together using the quilt-as-you-go technique. You could also showcase embroideries in the centres of the blocks.

By Chris Jurd Dimensions 114cm x 114cm (45in x 45in)

The instructions for this quilt appear on page 88.

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Quilt as you go | 45

Orange Peel


Use up your black and white fabric scraps or choose a colour combination that will suit your living space.

By Linda Robertus Dimensions 46cm x 46cm (18in x 18in)

The instructions for these cushions appear on page 91.

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Quick and Easy | 47

Shot Cotton


Twelve shades of red are used in this beautiful wall-hanging.

By Cathy Underhill Dimensions 96.5cm x 89cm (38in x 35in)

The instructions for this quilt appear on page 94

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Raw Edge AppliquĂŠ | 49

Diary Dates Does your group have an exhibition or show coming up? Let us know the details and we will add it to our Diary Dates! (we require six months’ notice of upcoming events) ACT

8-11 August Canberra Quilters Exhibition Exhibition Park in Canberra, Mitchell

Mechanics Institute, 74 George Street, Singleton 13-14 September 10am-4pm, 15 September 10am-3pm, entry $5 Margaret Cox 02 6573 2405, Ros Gray 02 6572 1708. – Busy Needles celebrating 10 years anniversary. Display of quilts and handiwork. Anglican Church Hall, Goulburn Street, Singleton (short walk from Mechanics Institute) 13-14 September 10am-4pm, 15 September 10am-3pm, entry $5 Janet Jacobs 02 6571 4000 27-28 September Friendly Patchers Quilt Show Anglican Church Hall, McIntyre St, South West Rocks 9am-5pm, entry $5 Refreshments, trading tables and raffles All proceeds to Childfligh

29 October – 18 November Australia Wide Three The Q Art Space, Queanbeyan Sue Cunningham 03 5358 2731 31 October – 13 December Art Quilt Australia ACT Craft Gallery, 1st Floor, North Building 180 London Circuit, Canberra


13-15 September Quilting Anniversary Extravaganza in Singleton at two venues: – Quilt Show by Singleton Quilters Inc, celebrating 30 years anniversary. Theme: ‘Then and Now’. Display of the history of the Club, members’ quilts and handiwork. Raffle quilt with proceeds going to Mercy Nursing Home.

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5-7 October Quilt Exhibition Seaside Heritage Quilters Holy Name Primary School Hall, Lakes Street, Forster Opening Times: 5-6 Oct 9.30am-4.00pm, 7 Oct 9.30am-2.00pm Features: Quilt Exhibition, Fabric and Fibre Quilts; Morning and Afternoon Tea, Raffle Quilts, Calligraphy Bookmarks Robyn McGrath 02 6557 5842 5-7 October Bi Annual Quilt Show “A Kaleidoscope of Quilts” Myall Arts and Craft Center, 245 Myall Street, Tea Gardens 10am to 4pm daily, entry fee $2.50 Robyn Bagnall 02 4997 0270 11-13 October Novocastrian Quilters Inc. 2013 Quilt Exhibition ‘Quilts - Simple Pleasures’ New Lambton Community Centre, 14 Alma Road, New Lambton Featuring: Members Quilts, Challenge Quilts, Raffle Quilts,

Diary Dates

Handmade goods and merchant’s stalls Official opening 7pm Friday 11 October, 11-12 Oct 9am-4pm Entry Fee $5.00 includes free workshops Cristie 04 3582 9587 or 02 4023 3338 Website:


2-9 November Alice Springs Quilting Club Exhibition Araluen Arts Centre, Larapinta Drive, Alice Springs. Glenyce 04 0053 7420


State of the Art Quilt 13 This is a juried show that is an on-going project of the Queensland Quilters Art Quilts group. 19 August - 28 September Redlands Art Gallery, Capalaba Place, Noeleen Street, Capalaba Gallery Open Mon to Sat 9am-4pm, open till 7.30pm on Thursdays 3 - 6 October Stitches & Craft Show, Townsville Convention Centre 16 - 20 October Queensland Quilt Show, Brisbane Convention Centre 31 August Quilts and Textile Temptations Milton State School, Bayswater Road, Milton Chris 07 3369 4060, Margaret 07 3353 5557 1-15 September Beautiful Australia Six quiltmakers interpret this theme: Sue Dennis (exhibition curator); Margaret Edwards, Annette McRae, Diane Sheard, Jennie Short, Marilyn Tucker. Gallery 159, 159 Payne Road, The Gap 07 3300 6491 16-20 October Queensland Quilt Show Brisbane Convention and Exhibition Centre, Southbank


4 July – 11 August Beautiful Australia The Gawler Community Gallery, Station Master’s House at the Gawler Railway Station, Twenty Third Street, Gawler South 08 8523 5995

24 September – 21 October Dare to Differ – Contemporary Quilts Gallery M, Marion Cultural Centre 287 Diagonal Road, Oaklands Park 18-20 October Bordertown Gumtree Quilters 2013 Quilt Exhibition Bordertown Civic Centre Heather 08 8752 2542


17 October - 3 November What a Site! This is a collaboration between the Tasmanian Quilting Guild and the Tasmanian Museum & Art Gallery consisting of chosen quilts entered into the Tasmanian Art Quilt Prize competition. Tasmanian Museum & Art Gallery, Dunn Place, Hobart


24-25 August Craft Bonanza Churchill Neighbourhood Centre/Gumleaf Quilters Monash University Auditorium Churchill Henry Parniak/Jean Baudendistel 03 5122 2955 6–8 September Mad Quilters Gathering Melbourne Showgrounds, Ascot Vale 7-22 September Travellers’ Tales Annual Exhibition of the Embroiderers Guild Victoria Embroidery House, 170 Wattletree Road, Malvern 10am-4pm, entry: $5 members, $7 non-members. There will be demonstrations of various techniques and a raffle. 03 9509 2222 5-6 October North of the Yarra Quilt Exhibition Biennial Exhibition of the North of the Yarra Quilters Guild Eltham Community Centre, 801 Main Road, Eltham 10am-4pm, entry $8, under 14 free Christine 04 0843 8391 | 51

Diary Dates

6 PM


12–13 October Something Old, Something New Biennial exhibition by Kilmore Quilters Inc. 2:46 PM Kilmore Memorial Hall 14 Sydney Street, Kilmore Fay 0417 517 109





5-8 September 2013 Craft & Quilt Fair Claudelands Events Centre, Hamilton

1:21 PM

19 October Goldfields Quilters Inc Biennial Quilt In Campbell’s Creek Community Centre, Elizabeth Street, Campbell’s Creek 10am-4pm Heather Shill 03 5472 3335 2-5 November Phillip Island Patchwork Display Including Wonthaggi Woodcrafters, Quilt raffle and Devonshire teas Newhaven Hall, Cleeland Road, Newhaven 10am-4pm, adults $5, children free Proceeds go to Woolamai Surf Lifesaving Club, San Remo and Cowes CFA, SES and Rural Ambulance Service


30 July – 30 August Australia Wide Three Wanneroo Library and Cultural Centre, 3 Rocca Way, Wanneroo

26-28 October Cambridge Quilt Show Cambridge Town Hall, Victoria St., Cambridge


10-13 October The Knitting and Stitching Show Alexandra Palace, London


12-15 September 2013 19th European Patchwork Meeting Ste Marie-aux-Mines, Alsace


3-6 October National Patchwork Happening Salle des Acacias et Ecuries du Parc, avenue Elisabeth, Edingen/Enghien


17-20 October 2013 Open European Quilt Championships 2013 Koningshof, Veldhoven

Reproductions of historical chintz fabrics


6–8 September International Quilt Convention Emperors Palace, Johannesburg

Order on line


14–16 November Quilt Week International Yokohama, Tokyo

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How to sell your

Quilts online

Text and photography by Linda Robertus

All your (grand)children have a quilt on their bed, as do your nieces and nephews. You’ve donated a quilt for the church raffle and the school fair, and still there is a big pile of quilts in a cupboard. Wouldn’t it be nice if you could sell them – so you would have money to buy fabric for a new quilt?!

If the above describes you, read on. In this article we look at ways to sell your quilts online, from the comfort of your own home. Although there are more online selling venues, we focus here on Etsy and Madeit. We talk to quilters who have been doing it for some time and who share their experiences with you. Handmade is “in” in our fast paced, modern world. And who doesn’t love a beautiful quilt for a newborn baby, or a colourful traditional quilt for their bed? Yet not everyone has the time, skills or inclination to make a quilt – or a mother, grandmother or auntie to do it for them. More and more people looking to buy a handmade quilt are searching online for them, and more often than not they end up on Etsy (, the world’s largest marketplace for handmade items (also offering vintage items and craft supplies). Quilts are certainly not the largest category on Etsy (that would be jewellery), but searching for “quilt” in the handmade section still produces 131,000 hits. This includes quilt patterns, quilted bags and purses, and everything from quilted postcards to king-size quilts.

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Etsy’s headquarters are in New York, but they are open to buyers and sellers worldwide. It is possible to choose the currency, so you can see all prices in Australian dollars. Madeit ( is an Australian online marketplace for handmade items, open only to sellers who are located in Australia. Much smaller than Etsy, a search for “quilt” still produces 400 results. Opening a shop on Etsy or Madeit is free, and quite simple – both websites have a “Help” section that takes you through the process step by step. Putting up items for sale costs a little – US$0.20 on Etsy and AUS$0.35 on Madeit. Once you sell something Etsy takes 3.5% of your sale price, while Madeit takes 4.5%. Payment is usually through PayPal but can also be via bank transfer (direct deposit). On Etsy you can choose to set your prices in American or Australian dollars. Etsy has its Forums, where sellers can get useful tips and advice from other sellers, while Madeit has a Facebook page for sellers. Etsy may seem daunting at first because it is so big. On the other hand that means more “traffic”; more people

Quilts: Online

who visit the website. However, you don’t have to choose between the two market places. Kylie Vanderzanden from Kylie’s Quilting Corner says, “I currently sell my quilts on both Etsy and Madeit. Both provide me with very different experiences, I find Etsy opens up opportunities to an international market and I love the idea that my quilts are cherished by their new owners as far away as Ireland. “Madeit on the other hand is such a wonderful community in itself. I feel immense pride to be part of something that supports the idea of handmade Australian items and love the community feel that you get as a seller on Madeit. Loads of advice, constructive feedback, encouragement and even friendship from other sellers that I have yet to meet face to face! The team behind the scenes are accessible and dedicated and make the whole process so simple.” While some sellers only sell quilts, others also offer other fabric items, such as soft toys, bunting, cushions and nursery items. Most sellers offer custom made quilts. Emma How from Sampaguita Quilts says, “Although I do sell some

pre-made quilts, most of my sales are for custom-made pieces. My tree quilts and beach scene quilts have been popular, so I’ve done a number of variations on them, but generally my quilts are completely custom-designed, oneoff pieces. I like to work with the buyer to come up with and refine a design that’s just right.” Samantha Green from Missy Mack Creations has a similar experience. “I find that custom quilts are my biggest sellers as customers want a quilt that is unique and individual to them. Many people want a particular colour to suit their home or nursery, and a custom quilt gives them the chance to create something they truly love.” She has some more wise words for those who consider selling their quilts online: “You aren’t going to get rich by making and selling quilts online. But that isn’t why I do it. It’s a chance to create and let my imagination and passion for sewing have some free rein. And it’s also wonderful to know that something I lovingly make is being enjoyed and cared for, all around the world.” | 55

Emma How from Sampaguita Quilts ( Selling on Etsy since 2009 “Initially I looked at it as a way of making a quilt without incurring the costs myself (and consequently charged only a nominal fee above the materials). Things have changed, and now I don’t like to see quilt art so undervalued, although I accept that to fully cover my time and expertise would be to price myself out of the market. Now I sell quilts partly because I have so many I’ve made for fun, with no end-destination in mind, that I can’t use or display them all myself, and it’s nice to supplement our regular income. Once I’ve got over my initial attachment to my latest project, I’m often willing to part with it in order to further finance my quilting! “Personally, selling my quilts online is still about the art of the craft, and I won’t compromise my design principles. Even though I know really simple quilts sell well, they would give me no creative satisfaction to make, and so I choose not to. I also only make my own original designs. I don’t expect to make a lot of sales, but when I do sell a piece, it’s still a real thrill!

“I see a lot of poor-quality quilts for sale, which I find really frustrating. I think that, more than underpricing, is what devalues our art to the eyes of the non-quilters who tend to form our market.”

Nicole Nicol from Alphabet Monkey ( and Selling on Etsy and Madeit since 2010 “I make baby cot quilts with a focus on cool boys’ looks and gender neutral designs. Coming from an interior design background I am always looking to translate colour and interior trends into the nursery. I also sell cushion covers to coordinate with my quilts and have just introduced some organic baby wraps in my own designs. I don’t offer totally custom-made quilts but I do allow for small changes of motifs and colours if possible.”

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Quilts: Online

Samantha Green from Missy Mack Creations ( Selling on Etsy since January 2012 ”Selling quilts seemed a perfect way to allow me an excuse to buy more fabric! Seriously, I have always loved sewing and making quilts, and seeing as we wanted to start a family, it seemed a great way to earn some pocket money from home. Plus it also gave me opportunity to experiment with many different patterns and styles of quilts, and fabrics. “I sell predominately cot quilts, or quilts for children, so single/twin size. People love to buy things (and have an excuse to buy things) for babies and kids.”

Helen Louise Millen from Wild Honey Quilts ( Selling on Etsy since 2011 “Selling via Etsy allows me to have a virtual shop that is open for business 24 hours a day, seven days a week. My quilts remain high quality, yet affordable, because I am able to sell direct and have few overheads. It’s relatively easy and inexpensive to list items. I can list as many or as few items as I wish to, and take breaks from selling online as needed. “At first I found the thought of online selling quite overwhelming, as there are so many quilts for sale online and there is an incredible amount of competition. These last couple of years, however, I have just taken it slowly, learning from others, experimenting, finding my own style and being comfortable with what I do and what I can offer. Now I’m much more at ease with online selling – I continue to follow my passion and do what I love and every now and again someone will come across one of my quilts online and love it, too!” | 57

Suzannah Weflen from Maybequilts ( Selling on Etsy since February 2012 “I sell anything from small art quilts up to smaller bed-sized quilts. The smaller quilts seem to sell better, and the amount people are willing to pay for the larger quilts just isn’t worth the time and investment in materials. I make quilts that I like to have myself, so if they don’t sell, or at least don’t sell quickly, I can hang them up and enjoy them myself. This makes it very lowpressure selling for me. “

Kylie Vanderzanden from Kylie’s Quilting Corner ( and Selling on Madeit and Etsy since July 2012 “I have been quilting for over six years now and I found that I simply could not stop! I would plan and create quilts for family and friends and give things away at every opportunity and I would still have a pile of them packed away. “While I make quilts of all sizes, cot-size quilts seemed to be the most popular and I was getting such an amazing response from those who received one of my quilts that I finally decided to throw myself into the deep end and created my first online store. I haven’t looked back! I list ‘ready to ship’ quilts in my stores in cot size and have recently experimented with pram size quilts and found this quite successful. This size will definitely be a feature in my store over the coming winter.”

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Quilts: Online

Advice from experienced quilt sellers on Etsy and Madeit We asked our six quilt sellers what their advice would be to anyone who wants to start selling their quilts online. Here is what they said…

Emma How from Sampaguita Quilts Think carefully about what sort of quilts you want to make and sell, and why. Selling quilts is unlikely to provide you with a good and regular hourly wage, but it can be extremely rewarding. Pricing is probably the hardest thing, and there are many theories around this. In the end, you can only determine what price YOU are willing to accept for your work, and accept that not all enquiries result in sales. Don’t quote a price you’ll regret just for the sake of a sale. It’ll be easier if you keep a record of the details of your quotes and sales, even if there are only a few to start with. Nicole Nicol from Alphabet Monkey I would definitely head to the Seller Handbook on Etsy. It has fantastic resources for setting up an online shop and I read every bit of it and the lessons can be used in any online environment. Helen Louise Millen from Wild Honey Quilts Go for it! Take a chance and be brave! Learn from successful online sellers. Take good quality, visually appealing photographs of your products, as an eye-catching photograph of your product is one of the best ways to attract potential customers. Provide all of the necessary information about your products, ensure it accurately reflects your products, make it helpful and interesting (there may be a story behind the product’s creation, for example). Adhere to good online selling practices and always conduct your dealings with integrity. Samantha Green from Missy Mack Creations There are a lot of people making quilts and selling them online, with varying degrees of quality. Make sure that the item you are selling is of utmost quality, and something you are proud to have represent you and your business. Try and be unique. Find something that other people aren’t making, and go for it. And always make sure your photos capture the essence of your quilt, and grab people’s attention.

“There are a lot of people making quilts and selling them online. Make sure that the item you are selling is of utmost quality, and is something you are proud to represent you.” Samantha Green

Suzannah Weflen from Maybequilts Just try it, you really have nothing to lose. Worst case you don’t sell something and you’re out the 20 cent listing fee. Also be patient, I’ve had a couple quilts sell lately that I’ve had in my shop for a while and just kept relisting. Eventually someone will be thrilled to find the perfect quilt. Kylie Vanderzanden from Kylie’s Quilting Corner My biggest piece of advice would be to stick it out. I see others often start up and expect wonderful things to occur straight away which is not the reality. It takes a lot of time and energy to not only create quilts, but to maintain a store and build relationships through a computer screen. Constantly reviewing, changing your practice and researching ways to negotiate technology is vital in an online store as is the use of social media tools to connect with potential customers. After a year I am still learning about photographing, branding and a million other considerations! | 59

Modern Quilt in EQ by Jan T Urquhart Baillie

Using the Custom Set quilt feature in Electric Quilt, you can create unique quilt layouts. Learn to use Quilt > New Quilt > Custom Set to design a modern style quilt.

Many users shy away from using the Custom Set feature for designing quilts, so I decided to help you design a really simple modern style quilt so you can become familiar with what the Custom Set tools do.

Start with a new project

Create a new project named Modern Quilt.

Set up the drawing board

Repeat at 21 down from top left to 21 down from top right. Draw two vertical lines 3 inches in from the sides. (Picture at the bottom of previous column.)

Next row

Draw two horizontal lines at top and bottom, 3 inches from the previous two lines. Draw two vertical lines 3 inches in from the first two verticals. Save the block into your Sketchbook.

From the top menu choose: Block > New block > EasyDraw. Following the picture at top of the opposite page, enter the following values into the Precision Bar: Block Width = 24 Block Height = 24 Snaps = 24 x 24 Graph paper = 8 x 8

Draw the second block

Draw the new block as before, but set up your Precision Bar with these values: Block Width = 36 Block Height = 24 Snaps = 36 x 24 Graph paper = 12 x 12

Design your quilt

From the top menu, choose Quilt > New quilt > Custom Set. Click the Layout tab at the bottom, and set your layout to be 60 x 72. Click the borders tab and choose Style > Corner Blocks. Width > All > 12 inches.

Start drawing the block

Select the Line tool from the toolbox at left. Position the pencil at 3 inches down from the top left, and draw a straight line to 3 inches down from top right.

Paint the block in modern bright fabrics and save it.

Colour your block

Set the blocks into the quilt

Click on Layer 1 tab, and colour the border so you can more easily see the placement of the blocks. Click on the Set Block tool in the toolbox at right, then choose the first block. Hover over the quilt and, holding down the Shift key on your keyboard, click and drag the block out onto the quilt.

Resize the blocks

Select the Adjust tool at right and click on the block in the quilt to activate the

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Computer Quilts

Graph Pad. In the bar, set the block to be at 0, 0. Set the size to be 36 x 24. The block resizes and is positioned exactly at the top left corner of the quilt. Drag your second block out in the same way and set it to be at 36, 0, and size it 24 x 24. It pops right in next to the first one.

A quick maths refresher

The first value (x) is for the distance horizontally from the 0 point. The second value (y) represents the distance down from 0. Remember graphs from school? and Control + V to paste the two blocks into the quilt. Click on the first block and position it at 0, 48. Set the second block to be at 36, 48. Using Custom Set should be easier for you now that you see how the Graph Pad works. See you next time...

Start the next row

Using the Adjust tool, click on the small block and press Control + C to copy it to the clipboard, then press Control + V to paste it onto the quilt. Position it at 0, 24. In other words: no distance from the left edge, and down the height of the first block. Copy and paste the long block and set it at 24, 24.

Last row

Hold down the Shift key and click on the first block in row 1, then still holding down the Shift key, click on the second block. Press Control + C to copy

For more lessons go to: | 61


For 2013, the chosen fabric is a gorgeous print from the Imperial Collection 7 by Robert Kaufman. The challenge was to create a quilt using any techniques, including fabric manipulation and embellishment. The finished size was to be 50cm x 70cm, with at least 20% of the quilt featuring the challenge fabric. The works resulting from the challenge were exhibited for the first time at The Brisbane Stitches & Craft Show in March 2013.

All challenge quilts had to be 50cm x 70cm, in either portrait or landscape orientation

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Winner Professional Category Jane Rundle, Egyptian Delight | 63

Winner Amateur Category Christine Dowell, Just the Two of Us

Winner Junior Category Sophie Rendon, Hide and Seek

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Highly Commended Professional Category Jeannie Henry, Once a Goddess, Always a Goddess

Highly Commended Junior Category Eithne Walker, Autumn Fairies | 65

Highly Commended Amateur Category

Jenny Waddell, A Child Shall Lead

Sue Elliott, Arts and Crafts 2013

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Vivienne Sims, Imperial Fusion


Professional Category

Sue Duffy, Dance of Life

Ailsa Koloi, Japanese Home Garden

Karen Mersiades, Toyota Dreaming | 67


Amateur Category

Loretta Parsons, Circle of Life

Verna Hunt, My Dream Retreat

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On the


SHELF Enjoy some of the latest books on the market, and enter our competition to win one!

Diamond Traditions

Monique Dillard Here’s a beautiful new way to indulge a love affair with fat quarters: 11 diamond-themed traditional quilts. Sophisticated diamond patterns use fat quarters as focus or background fabrics – making them the perfect way to use your favourite fat quarter bundles or scrappy fabrics. Diamond Traditions features 11 quilts that use easy blocks such as Flying Geese, Square in Square, and Half-Square Triangle, and with the clever shortcuts and streamlined techniques, piecing has never been easier! Published by C&T Publishing and distributed in Australia by Keith Ainsworth

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Bella Bella Sampler Quilts Nora McMeeking Capture the glory of medieval Italian marble work with nine breathtaking paper-foundation quilts and 35 mixand-match blocks designed by Norah McMeeking, author of the best-selling Bella Bella Quilts. Norah’s uniquely easy paper-piecing techniques, tips gleaned from years of teaching paper piecing, and comprehensive cutting and materials charts all guarantee your success. Draw on your fabric stash to create new colour combinations for these quilts, or try them with coordinating fat quarter packs. Published by C&T Publishing and distributed in Australia by Keith Ainsworth

Urban Views

Cherri House Three years after publishing her first book, City Quilts, Cherri House is back with a new book full of quilts inspired by city views. It includes 12 projects in her graphic, modern and colourful style, all created with solid or nearsolid fabrics. Beginners can follow the patterns, while the more experienced may be inspired to design their own urban quilt using Cherri’s grid system. The book includes a section on quilt making essentials at the back and a short introduction to colour theory and design elements. Published by C&T Publishing and distributed in Australia by Keith Ainsworth

Growing Up Modern 16 Quilt Projects for Babies and Kids

Allison Harris This is a very beginner-friendly book written by a busy mum, who shares tips on how to find time for quilting when you have a few littlies running (or crawling) around. There is a lot of easy-to-follow information on quilting basics and the projects (12 quilts, a pillow and a quillow) are sweet and simple. This book would make a perfect present for a young mum who wants to make her first quilt but is not sure how to start. Published by C&T Publishing and distributed in Australia by Keith Ainsworth


* * WIN a copy

Answer this simple question and you could win a free copy. Inspired to Design

There are a lot of design books for art quilters out there, but this one really stands out. Master art quilter Elizabeth Barton takes you in seven steps from finding inspiration and making simple sketches to constructing the actual quilt. Along the way there is a lot of information about elements such as structure, perspective, focal points, value and colour. Drawings, diagrams and lots of photos of her own award-winning quilts are used to illustrate the design elements. The book is easy to read and has many references to the way famous artists have used the elements described. Over 20 design exercises are added, each easy to do with basic supplies. Highly recommended. Published by C&T Publishing and distributed in Australia by Keith Ainsworth

How many projects are in this book? Send your answers to

Modern Designs for Classic Quilts 12 traditionally inspired patterns made new

Kelly Biscopink and Andrea Johnson Capricorn This book, written by two ‘Modern Quilters’, features 12 quilt projects that use traditional patterns such as Flying Geese, Log Cabin and Dresden Plates in modern ways: off-balance, with lots of negative space, on a white or light grey background. There are four quilts aimed at beginners, six at intermediate level quilters and two at advanced level quilters. Eight patterns have an additional mini-project: placemats, a table runner, a pillow etc. The book starts with a section on techniques that covers the basics, such as cutting fabric and matching seams; some piecing techniques (paper piecing, hand-piecing hexagons); raw-edge appliqué and tying a quilt. It has step-by-step photos, clear illustrations and directions. A good book for beginning to intermediate quilters who like to combine modern quilting with traditional patterns. Published by Krause Publications and distributed in Australia by Capricorn Link

Pretty Patchwork Gifts Over 25 simple sewing projects combining patchwork, appliqué and embroidery

Helen Philipps Patchwork isn’t just about making quilts; it’s about creating smaller projects too, and sewing something pretty to treasure! Pretty Patchwork Gifts has a tempting range of quick-to-stitch patchwork patterns to get you started; from appliqué cushion designs and hand-pieced doll’s quilts, to pretty birdhouses, brooches, boxes and even soft toy rabbits in pretty patchwork dresses. Each chapter features easy-to-follow instructions, diagrams and templates, with gorgeous full-colour photography. Use these designs as a starting point to inspire your own creativity, and make pretty patchwork gifts for friends and family, for every occasion! Published by David and Charles and distributed in Australia by Keith Ainsworth | 71


Art Quilt Portfolio: People and Portraits

This second book in the Art Quilt Portfolio series, curated by Martha Sielman, the Executive Director of Studio Art Quilt Associates, Inc. (SAQA), celebrates the expressiveness of the human face in stunning quilts created by an international array of artists. The diverse designs are divided into seven categories: happiness; contemplation; community; icons; family and friends; work and play. Gallery sections display the work of more than 100 quilters, while 21 featured artists, including Australian master quilter Jenny Bowker, receive in-depth treatment with images of their finest pieces and interviews. Published by Lark Crafts.

Dessert Roll Quilts

Mother and daughter authors Pam and Nicky Lintott run the quilting and patchwork shop A Quilt Room in Dorking, England. They are experts on using jelly rolls, and this is their ninth book on creative quilts that can made from pre-cut fabric rolls. This book features 12 simple projects using Moda’s new Dessert Rolls. The dessert theme is echoed in the designs themselves which have been given tempting names such as Afternoon Tea, Sugar ‘n’ Spice, Pavlova and Marmalade Cake. Each quilt pattern has been recreated in an alternative colourway for extra inspiration. Included are step-by-step instructions and easy-to-follow diagrams, ideal for quilters of all abilities. Published by David and Charles

Tilda’s Seaside Ideas

Talented Norwegian designer Tone Finnanger formed the Tilda brand in 1999 when she was just 25 years old. It is now well known for its whimsical animal and doll characters. The brand has also developed a range of products for sewing and papercrafts. Following on from the recent Tilda books themed around the seasons, this one looks to the seaside for inspiration. It features simple sewing, papercraft, crochet and knitting projects using fabrics, yarn and embellishments. The toy whales and fishing girl dolls are particularly gorgeous, and there are also cute designs for hanging mobiles, applique blankets and summer scarves that beautifully evoke a seaside feel. Published by David and Charles

Beginner’s Guide to Quilting

Elizabeth Betts also runs a quilting shop with her mother but she is the sole author of this book, which is a useful introduction to the basics of quilting, from paper piecing and applique to hand and machine quilting. This book would make a very useful gift for someone new to quilting. Included are 16 easy projects, including bags, cushions, table mats, wall hangings and bed quilts. Each focuses on a different technique, allowing for skills to be developed. A quilting glossary explains common quilting and sewing terms. Published by David and Charles

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On sale now at all good newsagents or order online at

Quilts from

Korea The Australasian Quilt Convention, held in Melbourne from 18 to 21 April 2013, hosted a unique exhibition of magnificent quilts from Korea. Thirtytwo artists contributed a quilt each, many of them large in scale and featuring either traditional Korean icons or contemporary themes.

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Jung-Soon Kim, Gabenori

“The ‘Gabenori’ is one of Korea’s traditional plays. The centre part of the work is done with the ‘JeobGi’ technique, a traditional Korean sewing method. The colourful silk fabrics spreading out in all directions are pieced in crazy quilt style.” | 75

Young-Joo Wi, Silent Stroll

Kyoung Ha, Korean Mask

Jae-Young Eom, 2012 Work I

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Eun-Ryoung Choi, The Beautiful | 77


Mi-Kyeong Lee, For You

Sol Lee, Peace of Mind

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Eui-Kyung Hwang, Summer


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Sew your very own fabric bear with our exclusive designs and templates


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Quilts: To Make

Project Instructions The instructions for all five projects can be found in the following 15 pages of the printed version only.* The instructions will provide an extensive list of materials and equipment required as well as detailed instructions with clear diagrams and/or photographs to ensure ease of understanding. Should you encounter any difficulties you may contact us at and we will endeavour to assist. Our experience over the past 100plus issues is that the instructions are both comprehensive and simplified enough for the beginner through to the advanced quilter to follow without a problem. In every project the fabric is 100 per cent cotton, 112cm (44in) wide. It is assumed that the fabrics are pre-washed and ironed. Should any projects use different fabrics there will be clear details included. All measurements or dimensions of quilts or wallhangings are listed as width by length. You will find that this is fairly standard throughout the international quilting world. We express quilt sizes and fabric requirements in metric and imperial measurements for ease of purchase as well as acknowledgment that many quilters ‘think’ in imperial even if they are of the metric age, and of course, our American readers work on the imperial system. Within the actual instructions all measurements are imperial. It is recommended that you read through all instructions first, prior to cutting any fabrics. And, if the quilt is constructed by units, or blocks, complete one prior to cutting larger quantities.

It is also assumed that anyone attempting these projects has basic hand and machine-sewing skills, as well as hand or machine-quilting skills. Neither of these techniques is expressed in detail in our instructions. You can access such techniques via books or workshops. The stitchery and appliqué templates are on the Pattern Sheet, found in the centre of the printed version. All patterns are copyright to the maker and we rely on their assertions of that legal right. These projects may only be made for personal use, and should you wish to use any for other purposes you must contact us to obtain permission. If you have any original designs that you think our readers may enjoy, please send us low-resolution images for consideration. All contributors are paid for their efforts, and it is such fun sharing your work with quilters around the world. Happy stitching

*If you are reading your free subscription online, and you wish to make any of these gorgeous projects you can order your printed version at, tel: 07 3160 9940. Each printed copy is $10.95 plus $3.50 postage in Australia. The magazine also includes all patterns and templates required to complete the projects.



If you wish to use a feature fabric, 60cm (5/8yd) in total will yield enough for the 64 block centres. Traditional log cabin blocks can provide inspiration for alternate colour ways.


All measurements include a scant 1/4in seam allowance. All strips are cut across the width of the fabric unless otherwise stated. It is recommended that you cut and make a sample block before cutting out all the pieces to complete the quilt.

Jane Rundle


183cm x 183cm (72in x 72in)


23cm (9in) There are 64 blocks


All fabric is 100 per cent cotton, 100cm (40in) wide, pre-washed and ironed.  metric fat quarter (1/4yd) each ◆A

of 16 assorted coordinating light, medium and dark fabrics  m (43/8yd) backing fabric ◆4  0cm (5/8yd) binding fabric ◆6


 otary cutter, ruler and mat ◆R  hreads for piecing and quilting ◆T  03cm x 203cm (80in x 80in) batting ◆2  asking tape (or clips) for ◆M

From each of the 16 fat quarters Cut a strip 31/2in then cross cut into 3 x 31/2in squares. These squares will be the centres of the blocks. Cut the remainder of the fat quarter into 2in strips then cross cut into 6 x 91/2in strips, 12 x 61/2in strips and 6 x 31/2in strips. It’s best to cut the longer strips first. These strips will form round 1 and round 2 of the blocks. From the binding fabric Cut 8, 21/2in strips.


Select a centre 31/2in square, and from a contrasting fabric select 2 x 31/2in strips and 2 x 61/2in strips. Using a scant 1/4in seam, sew a 31/2in strip to the top and bottom of the square, and a 61/2in strip to the remaining two sides of the centre square. Press seams toward the outside. You have completed round 1. See Photo 1.

Make 64 blocks. Half the blocks should have a darker fabric on the outside (round 2), and half should have a lighter fabric on the outside (round 2). This will give interest and movement to your quilt. Lay out the blocks, alternating light and dark blocks as per the photo. If necessary, rearrange the blocks until you have a pleasing effect. Join the blocks together into rows using a scant 1/4in seam. Press the seams for alternate rows in opposite directions and then pin and stitch the rows together. Press well. Cut the backing fabric into two equal lengths and remove the selvedges. Sew the pieces side by side and press the seam open. Lay the backing fabric right side down on a large flat surface, smooth the fabric out and clip (or tape) it in place.


82 |

Photo 2


sandwiching the quilt  afety pins for basting ◆S  uilting gloves (optional) ◆Q  ewing machine plus walking and ◆S darning foot  eneral sewing supplies ◆G This would be a great quilt for using up your scraps. For one block you would need a 31/2in square for the centre, a 2in x 20in strip for round 1 and a 2in x 32in strip for round 2.

From a third fabric, select 2 x 61/2in strips and 2 x 91/2in strips. Sew a 61/2in strip to the top and bottom of the block and a 91/2in strip to the remaining two sides of the block. Press seams toward the outside. You have finished round 2, and the block is complete. It should measure 91/2in at this point. See Photo 2.

Photo 1

Centre the batting on top of the backing, smooth it out and then clip it in place. Centre the well-pressed quilt top over the batting, right side up. Smooth

Quilts: To Make

it out from the centre, clip it in place and then baste the three layers together using safety pins at 4in intervals. For Bali Boy, random wavy lines were drawn on the quilt top with chalk, and a walking foot was used to quilt along these lines. Then filler designs, using a darning foot, completed the quilting.

EXPERT TIP – QUILTING To stabilise a quilt, use a walking foot to stitch along the long straight seams in the ditch. This will also enhance any other quilting you do. Filler designs can include spirals, free form feathers, stippling and repeated geometric shapes.


Trim the batting and backing of the quilt just over 1/4in beyond the edge of the quilt top to allow for fill within the binding. Check that the corners are square. Join the 8 binding strips end to end using 45 degree seams. Trim and press the seams open to reduce bulk. Cut the starting end of the binding at 45 degrees and press under a single 1/4in fold, and then press the binding in half lengthwise with the wrong sides together.

Alternative Design Using other colours can give this quilt a completely different feel. The top in the photo above was constructed from blue and gold fabrics, making it look ‘cooler’ than the quilt in brown and reddish hues. Black and white fabrics would give this quilt a strong graphic appeal, while pink and red fabrics would make it much more feminine. | 83

Using a 1/4in seam and a walking foot, and leaving a 7in tail unsewn, start sewing the binding to the front of the quilt top edge, matching raw edges of the binding and the quilt top. Stop stitching 1/4in from the corner, remove the quilt from the machine, and fold the binding strip at a 45 degree angle towards the top of the quilt.

84 |

Fold the binding strip straight down, level with the next side of the quilt. This will make a neat mitred corner when the binding is folded to the back. Continue stitching, starting 1/4in from the folded edge. Repeat this process for all the corners. With the quilt still under the machine, insert the end of the strip inside the

folded edge of binding, trim any excess fabric. Stitch the remaining binding in place. Turn the folded edge over to the back of the quilt and slip stitch in place using matching thread. Don’t forget to label your quilt with your name, the recipient, the date made and any other relevant information.

Quilts: To Make

Good Folks


Other Requirements ◆ Rotary cutter, ruler and mat  emplate plastic 25cm x 25cm ◆T

(10in x 10in) ◆ Scissors  .25m (101/8yd) lightweight ◆9

fusible interfacing  onofilament thread ◆M

(invisible thread)  abric pen for drawing on fusible ◆F

interfacing  urning tool ◆T  ins ◆P  85cm x 285cm (112in x 112in) ◆2

batting  hreads for piecing and quilting ◆T  asking tape (or clips) for ◆M

Jeannette Bruce

This quilt was made up of one my alltime favorite fabric collections, Good Folks by Anna Maria Horner. They sat loved and admired daily on my shelf for two years before one of the fabrics in the collection (Cathedral Windows) jumped out at me as the inspiration for the design of this quilt. The Orange Peel design is an old fashioned one that is intimidating because of its curves. The method I used takes away some of the fear out of working with curves as the only curves sewn are done by sewing on a drawn line. Using this method there is no need to be an expert quilter!

sandwiching the quilt  afety pins for basting ◆S  ewing machine with walking and ◆S darning foot  eneral sewing supplies ◆G


261cm x 261cm (102in x 102in)

Trace template A from the pattern sheet onto template plastic. Do not add a seam allowance. Carefully cut template plastic with scissors on the traced line. Lay the template onto the non glue side of the lightweight fusible interfacing. Trace around the template with the fabric pen to make 256 Orange Peel shapes. Leave at least 1in between the shapes. Using the rotary cutter and mat make a small 2-3in cut in the center of each Orange Peel lengthwise. Use the rotary cutter to carefully cut apart all 256 Orange Peel shapes leaving approximately 1/2in border around each one. Set them aside.

Block Size



29cm (111/2in) There are 81 blocks

Fabric Requirements

All fabric is 100 per cent cotton, 100cm (40in) wide, pre-washed and ironed.  .5m (9yd) plain fabric for the ◆8

background  4, 12cm (41/2in) strips of bright ◆6 contrasting fabrics ◆ 8.75m (9.5yd) backing fabric ◆ 90cm (1yd) binding fabric

From the binding fabric Cut 12, 21/2in strips.


Lay an interfacing Orange Peel shape onto a bright fabric rectangle, with the glue side against the right side of the fabric. Use a pin at each end of the Orange Peel to hold it in place. Repeat for all 256 Orange Peels. Set the sewing machine to about a 1.5-2.0mm stitch length and stitch along the traced line. Overlap the beginning and ending stitches by approximately 1/2in. Complete all 256 units. Using scissors carefully trim around each Orange Peel shape to slightly less than 1/4in. Turn each shape inside out through the slit that was cut during the preparation stage. The glue side of the interfacing and the right side of the fabric are now on the outside. Gently use the turning tool for the points and to create a smooth shape.

Expert tip – turning The back of a spoon or other kitchen utensil make a great turning tool

Roll the edge of each shape between your fingers so that the interfacing sits just under the fabric. Finger press. Fold the background 12in squares once along the diagonal and press with iron. Open up and then fold on the other diagonal, press again and open up.

All measurements include a scant 1/4in seam allowance. All strips are cut across the width of the fabric unless otherwise stated. It is recommended that you cut and make a sample block before cutting out all the pieces to complete the quilt. From the plain background fabric Cut 27, 12in strips. Crosscut 81, 12in squares. From the 41/2in strips of bright contrasting fabrics Crosscut 256, 41/2in x 9in rectangles.

Diagram 1 | 85

sewing machine to a narrow zigzag and applique all the Orange Peel shapes to the background fabric. Practice on a sample first to help you get a smooth pivot around the curves. Press each block from the reverse side. The blocks should measure 12in at this point. Square them up if necessary.

Diagram 2 Place four Orange Peel fabric/interfacing shapes onto the background fabric as shown in Diagram 1, using the pressed creases as guides. Fuse in place with a hot, dry iron. Make 49 blocks in this manner. Place two Orange Peel fabric/ interfacing shapes onto the background fabric as shown in Diagram 2.

Remove the background fabric behind the Orange Peels, cutting no closer than 1/4in from the appliquĂŠ stitching. Be careful not to cut the Orange Peel fabric. Reducing the extra fabric layer will make quilting easier and will make the finished quilt softer.


Working on a large flat surface or design wall, arrange the blocks in a nine by nine row layout as shown in Diagram 4. The blocks with one Orange Peel shape are in the corners, the blocks with two Orange Peel shapes are around the

outside, and the rest of the blocks are in the centre of the design. Sew the blocks into rows. Press the seams for odd-numbered rows to the right and the even-numbered rows to the left. Sew the rows together, matching the seams. Press all row seams to one side.


Cut the backing fabric into three equal lengths. Remove the selvedges and sew the pieces together side by side. Press the seams open. Lay the backing right side down on a large flat surface and tape or clip it in place. Place the batting on top of the backing and smooth it out to remove any wrinkles. Centre the well-pressed quilt top, right side up, on top of the batting and smooth it outwards from the centre. Baste through all layers using safety pins, spacing them about 4in apart.

Fuse in place. Make 28 blocks in this manner. Place one Orange Peel fabric/ interfacing shape onto the background fabric as shown in Diagram 3. Fuse in place. Make 4 blocks in this manner. Using the monofilament (invisible) thread, change the stitch on the

Diagram 3

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Diagram 4

Quilts: To Make

This quilt was professionally custom quilted by Jeannette with a back and forth pattern over the plain background without quilting the Orange Peels. This emphasized the Orange Peels and gave them dimension. Alternatively, the background fabric could be stipple quilted. Trim the backing and batting 1/4in beyond the edge of the quilt top to allow for fill within the binding. Check that the corners are square.


Join the binding strips end to end using 45-degree seams and press the seams open. Press the binding in half lengthwise with wrong sides together. Attach the walking foot to the sewing machine. Using a 1/4in seam and starting about midway along one side of the quilt, stitch the binding to the front of the quilt leaving a 7in

tail unsewn and with the raw edges aligned. Stop 1/4in from each corner, remove the quilt from the machine and fold the binding strip at 45 degrees towards the top of the quilt. Then fold the binding strip down level with the next side of the quilt. This will make a mitered corner when the binding is folded over to the back. Continue stitching, starting 1/4in from the folded edge. Repeat this process for all the corners. Stop stitching 7in from the starting point leaving at least a 5in tail unsewn. This is to ensure that the fabric can be handled easily while creating the final bias join. Overlap the two unsewn ends so that there is a 21/2in overlap with unstitched space on either side. With right sides together, lay the opened ends of each strip at a 45 degree angle and with ends matching exactly. Place

a sewing pin at the top right-hand side and bottom left-hand side and rule a line along the 45 degree diagonal. Sew on the diagonal line and finger press the seam open. Open the seam up to check that it has been done correctly before trimming the excess seam allowance. Pin the last section of binding to the quilt, easing if needed, to make sure the binding lies flat. Sew the final section of binding in place, removing the pins as you approach them. Turn the folded edge of the binding to the back of the quilt and slipstitch it firmly in place and also stitch the mitered corners to secure them. Jeannette Bruce is a professional longarm quilter and welcomes enquiries. Email: Blog: | 87



 asking tape (or clips) for ◆M

sandwiching the quilt  afety pins for basting ◆S  uilting gloves (optional) ◆Q  ewing machine plus walking and ◆S darning foot  eneral sewing supplies ◆G


Units A, B, D, E, F and template C can be found on the Pattern Sheet insert. Accurately trace onto foundation paper, or photocopy, foundation units A, B and D 16 times each. Accurately trace onto foundation paper, or photocopy, border end foundation units E and F twice each.

Chris Jurd


114cm x 114cm (45in x 45in)


43cm (17in) There are 4 blocks


All fabric is 100 per cent cotton, 100cm (40in) wide, pre-washed and ironed.  fat quarters (1 yd) of feature fabric ◆4

for block centres and block corners

Cut a 12in square of freezer paper and fold in half. Trace template C onto the freezer paper with the long side along the fold. Trace around template, and cut on the traced line. Unfold to make a complete octagon shape.


From the fat quarter feature fabric Press the freezer paper octagon template to the wrong side of the fabric; use your ruler to add 1/4in seam allowance to all sides and cut around the template. Peel the freezer paper from the fabric and repeat to cut 4 block centres

 .5m (13/4yd) light print for flying ◆1

geese background and border  6 coloured rectangles at least 11cm ◆9

Cut four 61/2in squares and cut each in half diagonally once for block corners.

x 7cm (4in x 21/2in) for flying geese  m (11/8yd) black for sashing and ◆1

binding  20 coloured rectangles at least ◆1 14cm x 7cm (51/2in x 21/2in) for borders  , 13cm (5in) squares for border ◆4 corners  fat quarters (1 yd) for block ◆4 backings  ssorted fabrics for border backings ◆A at least 16cm (6in) wide


 oundation paper/copy paper ◆F  otary cutter, ruler and mat ◆R  0cm (5/8yd) freezer paper ◆5  hreads for piecing and quilting ◆T  00cm x 240cm (40in x 95in) batting ◆1

88 |

From the light print for the geese backgrounds and the border Cut 96, 4in squares and cut each in half diagonally once Cut 32 rectangles, 41/2in x 31/2in Cut 24 rectangles, 4in x 41/2in for borders From the black for sashing and binding Cut 6 strips 11/8in wide for front sashing Cut 6 strips 13/4in wide for back sashing Cut 6 strips 11/2in wide on the bias From the scraps for the border Cut 120 pieces at least 21/4in x 51/2in From the batting Cut 4, 22in squares

BLOCK Construction One block is made up of a centre octagon, four unit As, four unit Bs, and four corner triangles. Refer to Diagram 1.

For one unit A

Select a geese 4in x 21/2in fabric rectangle and lay it on the wrong side of the traced unit A, over the section marked A1. Place a geese background fabric triangle on top of the geese rectangle, right sides together. Sew on the paper side along the marked line between A1 and A2. Turn over the unit and trim the seam allowance to 1/4in. Flip the background fabric (A2) open. The background fabric should cover the foundation paper section marked A2. Continue in this manner, sewing in numerical order, and using geese fabric for A1, A4, A7 and background fabric for A2, A3, A5, A6, A8, A9. For one unit B Sew as per unit A, using geese fabric for B2, B5, B8 and background fabric for the other sections of the unit. When each foundation is covered with fabric, trim seam allowances to 1/4in past the edge of the foundation paper and gently remove the paper. Attach four unit As to the top and bottom and opposite sides of the fabric octagon. Begin and end the stitching with a backstitch or locking stitch 1/4in from each end. Attach four unit Bs to the corners of the octagon in the same manner (that is, by beginning and ending 1/4in from each end). Sew one unit A to one unit B, again using a backstitch or locking stitch. Sew the block corner triangles in place. Make four blocks in this way. Press well and trim outside edges. Blocks should measure 171/2in square.


Create a quilt sandwich with a fat quarter backing fabric right side down, a batting 22in square and a complete block right side up. Pin well. Quilt as desired. Complete the quilting for all

Quilts: To Make

Diagram 1 Completed Noodle Box block 4 blocks. This quilt was quilted around the fabric design in the centre of the block and in the ditch around all the geese. Trim the batting and backing even with the block, making sure all blocks are the same size.


Lay out the blocks in a 2 x 2 arrangement. Pin the 11/8in wide front sashing strip to the front right side of the top left block, right sides together. Pin the folded back sashing strip to the same edge of the block on the wrong side, with raw edges to the outside of the block. Sew both strips to the edge of the block with an accurate 1/4in seam using your walking foot. Trim both strips even with the length of the block and press the top sashing strip open. Place the top right block, right sides together, on top of the front sashing strip just sewn, and sew with a 1/4in seam. This sashing now joins the top right and top left blocks. Turn these blocks over. Butt together the batting, bring the folded back sashing strip over to cover the unfinished batting edges, and hand sew in place.

Diagram 2 – Four blocks joined with sashing Repeat for the bottom left and bottom right blocks. Then use the same procedure to sew the two rows of blocks together across the middle. Make sure the vertical sashing lines up. Refer to Diagram 2.


Tape together five D side border foundations into two long strips for the side borders. See Diagram 3. Refer to the foundation piecing instructions under Block Construction. Sew fabric onto the border foundations. Where a section 1 joins a section 8, use one piece of background fabric to cover both sections.

Trim the bottom straight edge and the ends of the borders to the dotted seam allowance line on the paper. Check that the borders are the same length as the quilt top. Do not trim the outside scalloped edge yet. Carefully remove the paper foundation. Cut backing fabric and wadding 2in wider and 2in longer than the side borders. Following the instructions under Quilt the Blocks, quilt each side border. Attach these borders to the sides of the quilt using front and back sashing

Diagram 3 – Five side border foundations taped together | 89

Diagram 4 - Three D foundations with an E and F foundation added each end

in the same manner as joining the blocks. Refer to Quilt Centre Assembly.


Tape together three D side border foundations and add one foundation E and F to each end as per Diagram 4. Follow the instructions for Side Borders, using 5in squares for the corners as noted. Trim the bottom straight edge and the ends of the borders to the dotted seam allowance line on the paper. Check that the borders are the same length as the quilt top.

Do not trim the outside scalloped edge yet.

per the quilt layout diagram, Diagram 5.

Carefully remove the paper foundation.


Cut backing fabric and wadding 2in wider and 2in longer than the side borders. Following the instructions under Quilt the Blocks, quilt each top and bottom border. Attach these borders to the top and bottom of the quilt using front and back sashing in the same manner as joining the blocks. Refer to Quilt Centre Assembly. Take care that the sashing strips meet at the corners of the quilt as

Make a cardboard or plastic template of foundation unit E without seam allowance. Place this on each border with the straight edge of the template level with the sashing seam and draw the scalloped edge around the outside of the quilt onto the border fabric, rotating the template at each corner to trace the curves. Join the six 11/2in wide bias strips together with 45 degree seams and press the seams open. Line up the edge of the binding with the drawn scallop line as you sew. Sew the binding in a single layer all the way around the quilt. Join the ends and press the bias towards the outside of the quilt. Trim the excess fabric and batting following the curves. Turn the binding to the back of the quilt and slip stitch in place. Sew on a label recording your details and your quilt is done! Chris Jurd teaches at a number of shops in Sydney and regional NSW. She has a range of patterns for sale for her quilts which can be seen at Check out her blog at She can be contacted on (02) 4739 8396 or email –

Diagram 5 – Noodle Box quilt layout

90 |

Quilts: To Make

Orange Peel


METHOD Cushion front

 hreads for piecing and quilting ◆T  6 cm (18in) cushion insert ◆4  decorative buttons ◆3  afety pins for basting ◆S  ewing machine ◆S

Pin one light-value Orange Peel shape and one white cotton Orange Peel shape right sides together (Photo 1).


Use a light box or well-lit window to trace the Orange Peel template from the Pattern Sheet onto template plastic. Cut out on the traced line.


Linda Robertus

Sew around the shape using a scant 1/4in seam (Photo 2). Clip the corners and make a slit in the white cotton fabric. Turn the piece right side out through the slit (Photo 3).

From the light-value fabrics Cut one Orange Peel shape from each fabric using the template, for a total of 6 Orange Peels.

Use a round-ended tool (such as a chopstick) to gently push the corners out. Press the orange peel piece (Photo 4).

From the white cotton Cut 6 Orange Peel shapes using the template.

Repeat this process with the remaining shapes to make a total of 6 Orange Peel pieces.

This is a quick and easy project and a great way to use up the black and white coloured fabrics in your stash. Or choose a different colour combination to suit your living space.


46cm x 46cm (18in x 18in)

FABRIC REQUIREMENTS (BLACK CUSHION) All fabric is 100 per cent cotton, 100cm (40in) wide, pre-washed and ironed.

For the front:  7cm (19in) square of dark-value ◆4 fabric for the background  2cm x 10cm (9in x 4in) pieces of ◆2 6 different light-value fabrics  2cm x 60cm (9in x 24in) ◆2 plain white cotton

Photo 1

For the back:  7cm x 27cm (19in x 11in) piece ◆4

of light-value fabric  7cm x 37cm (19in x 141/2in) piece ◆4

of a different light-value fabric

OTHER REQUIREMENTS  otary cutter, ruler and mat ◆R ◆ Iron  2cm x 60cm (9in x 24in) ◆2

fusible webbing (vliesofix)  emplate plastic ◆T

Photo 2 | 91

Photo 3

Photo 4

Lay the template onto the paper side of fusible webbing. Trace around the template 6 times. Cut the shapes out about 1/4in smaller all around than the traced line. Each fusible webbing piece should be slightly smaller than the completed Orange Peel pieces. Using a hot dry iron, fuse the webbing to the wrong side (the white cotton side) of the Orange Peel pieces. Remove the paper and position the Orange Peel pieces onto the dark-value background fabric. Use the photo of the cushions as a guide. Fuse the Orange Peel pieces in place then sew around the edges with a blanket stitch by hand or machine.

92 |

Cushion back

Take one piece of light-value fabric for the cushion back. Turn one long (19in) side under by 1/2in. Press. Fold under another 1/2in. Press again. Sew along the folded side to make a hem. Repeat for the other piece of lightvalue fabric. Place the larger piece on a flat surface, right side up. Place the smaller piece on top, right side up, overlapping about 5in. The two fabrics together should be about 19in square. Check that the top and bottom edges are even, and that the hemmed sides are in the centre. Pin the fabrics together along the seam lines.

Quilts: To Make


Place the cushion front and the pinned cushion back right sides together. They should be the same size. Adjust if necessary. Pin around the edges. Sew around all four sides of the cushion with a 1/4in seam. Clip the corners, remove the pins in the centre of the cushion back and turn the cushion right side out through the gap. Press the seams. Add three buttons for decoration on the seam line on the back. Place the cushion insert into the finished cushion cover and admire your work. | 93

Shot Cotton


Cathy Underhill


96.5cm x 89cm (38in x 35in)

Fabric Requirements

All fabric is 100 per cent cotton, 100cm (40in) wide, pre-washed and ironed.  0cm (6in) each of ◆2

13 light-value fabrics  uby Red Oakshott cotton fat ◆R eighths pack containing 12 ruby red fabrics (each piece 25cm x 60cm/9in x 22in)  lternatively, 12 fat eighths (each ◆A 25cm x 60cm/9in x 22in) red/ orange/tan/purple/raspberry shot cotton or solid fabrics  m (21/4yd) fusible webbing ◆2  .1m (11/4yd) backing fabric ◆1  5cm (6in) each of 2 binding fabrics ◆1 or 30cm (12in) of one fabric

Other requirements

 otary cutter, 24inch ruler and mat ◆R  harp scissors ◆S  B pencil ◆2  ashable glue stick ◆W  ream, red, orange, purple and ◆C

tan cotton sewing machine threads to match fabrics for piecing and quilting  uilters safety pins (bent) for basting ◆Q (optional)  10cm x 95cm (43in x 38in) ◆1 cotton batting

94 |

 ewing machine with darning foot ◆S

(for raw edge applique)  eneral sewing supplies ◆G


For the quilt background Select a 20cm (6in) light-value strip and lay it longways on the cutting board right side down. Fold it so that the selvedges meet, and the fold is away from you. Place the 24 inch ruler at an angle on top of the fabric. Ensure that the width is between 11/2in and 5in. Cut the fabric along the angle formed. Trim selvedges and cut the folded top off. You now have 2 angled strips of fabric measuring roughly 21in in length. Repeat with the remaining 12 lightvalue fabrics, varying the angles slightly as you go, for a total of 26 angled strips. For the binding Cut 4, 21/2in inch strips from the binding fabric.


The quilt has a total of 4 solid flowers, 1 solid half flower, 11 open flowers of various sizes and 1 open half flower. Refer to the quilt photo for dahlia colour placement.

Solid flowers:

For one solid flower - Using the 2B pencil, trace around all templates A, B, C, D and E onto the paper side of fusible webbing. Trace them as they appear on the pattern sheet (that is, with each segment inside the other). Cut carefully along each circle line only (not the flower line at this stage). Cut roughly around the outside flower line of segment A. You now have 5 dahlia segments from fusible webbing with the circles cut on the traced line and the outside of each segment roughly cut. Fuse each segment to the wrong side of an Oakshott fat eighth using a hot dry iron. Make sure that everything lies flat before pressing. Cut along the traced flower line of each dahlia segment. Do not cut the centres except for segment E.

Repeat this process 3 times. You will then have 4 solid flowers each with 5 segments.


Having fusible webbing only around the edges of fabric pieces helps to reduce bulk.

Solid half flower:

Follow the steps for making solid flowers, but use templates F, G, H, I, J from the pattern sheet. Make one half flower.

Open flowers:

Follow the steps for making solid flowers but do not cut on the traced lines. Cut the segments apart roughly, and cut roughly around the outside of segment A. Fuse each segment onto the wrong side of an Oakshott fat eighth. Now carefully cut along the circle lines and outer flower lines. The quilt has a total of 12 open flowers made up as follows: 2, using segments A, C, E 2, using segments B, D 1 using segments C, E 7 using segment E only.

Open half flower:

Follow the steps for open flowers to make one open half dahlia flower using only templates F, H and J.

Quilt construction Quilt background

Referring to the quilt photo, select a pleasing selection of 13 angled strips. Using a scant 1/4in seam, sew the strips into a row. Iron the seams to the left. Trim to measure 35in wide x 191/4in high. If necessary cut and add an extra angled strip to make the dimensions required. Repeat with the remaining 13 angled strips, this time ironing the seams to the right. Join the rows along the 35in edge and iron the centre seam flat. The background should now measure 38in wide x 35in high.

Quilts: To Make

Applying the dahlias

Lay a large towel or blanket onto a table or flat floor area. This is in preparation for ironing the flowers in place. Lay the background onto the towel or blanket right side up. Referring to the colour photo, lay the four solid dahlia flowers onto the background. When happy with the placement dab a few spots of glue onto the back of

each dahlia segment and press into place with fingers. Place the solid half dahlia into place and glue. Again referring to the photo, place the open dahlia flowers randomly around quilt. Dab a little glue under each segment and press onto the background. When you have finished placing all dahlias, carefully fuse all pieces to the background with a hot dry iron.


You will be appliquĂŠing the flowers through all three layers of the quilt, essentially quilting the quilt at the same time. Remove the selvedges from the backing fabric and trim to 45in x 41in. | 95

Quilts: To Make

Lay the backing fabric right side down on a large flat surface, smooth the fabric out and clip (or tape) it in place. Centre the batting on top of the backing, smooth it out and then clip it in place. Centre the quilt top over the batting, right side up. Smooth it out from the centre, clip it in place and then baste the three layers together using bent safety pins at 4in intervals. Attach the darning foot to your machine. Lower the feed dogs and reduce the presser foot pressure. Use the same thread on top and in the bobbin selecting a colour to match the dahlia fabric you will be appliquéing. Bring the bobbin thread to the top of the quilt. Stitch two or three tiny securing stitches, then sew twice around the outside of a flower segment, close to the edge. Finish with a couple of securing stitches. Repeat for all segments. For the open flowers, stitch along the circle edge as well. Once all dahlias have been appliqued in place, use cream thread to quilt between the flowers. You could do

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a large zigzag stitch along every angled background strip or a medium meandering design.

EXPERT TIP – Raw Edge Applique

The raw edge applique will fray a little, adding interest to the design.

EXPERT TIP – Quilting It helps to change your needle regularly.


Trim the batting and backing of the quilt just over 1/4in beyond the edge of the quilt top to allow for fill within the binding. Check that the corners are square. Join the 4 binding strips end to end using 45 degree seams. Trim and press the seams open to reduce bulk. Cut the starting end of the binding at 45 degrees and press under a single 1/4in fold, and then press the binding in half lengthwise with the wrong sides together. Using a 1/4in seam and a walking foot, and leaving a 4in tail unsewn,

start sewing the binding to the front of the quilt top edge, matching raw edges of the binding and the quilt top. Stop stitching 1/4in from the corner, remove the quilt from the machine, and fold the binding strip at a 45 degree angle towards the top of the quilt. Fold the binding strip straight down, level with the next side of the quilt. This will make a neat mitred corner when the binding is folded to the back. Continue stitching, starting 1/4in from the folded edge. Repeat this process for all the corners. With the quilt still under the machine, insert the end of the strip inside the folded edge of binding, trim any excess fabric. Stitch the remaining binding in place. Turn the folded edge over to the back of the quilt and slip stitch in place using matching thread. Don’t forget to label your quilt with your name, the recipient, the date made and any other relevant information. | 97


issue Quilters have always loved to put houses on their quilts – from the traditional schoolhouse block to the “wonky houses” that have been very popular in recent years. In issue 160 of Down Under Quilts we share some beautiful house quilts with you. Anorina Morris shows how to make this Bohemian Star Quilt and Jenny Tate shares her Orange Lemonade and Licorice Quilt. We also have some Christmas-themed projects, plus a very useful article on how to get ready for Christmas without getting stressed! Last but not least, we are thrilled to share the quilts from the famous French quilt show Pour l’Amour du Fil, held in April in Nantes, France. Make sure you don’t miss issue 160, as it will have the next 52-page booklet in our successful World of Quilts series. This time we feature Amish Quilts.


Bohemian Star Quilt, Anorina Morris


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.

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s r u o T lt i u Q I have been invited to develop some of the world’s most exciting quilt and textile itineraries. In 2014 I will be the guest leader on those tours, escorting you to major international quilt shows* and many other textile and cultural destinations. Each tour is arranged by, and booked through, experienced, professional travel agents. There will be English-speaking guides, to ensure we discover the best of textile history, quilty treasures, interesting culture and lifestyle. You will visit various studios and museums where traditional textiles are produced, local fabric and haby shops and many more destinations. Most tours also include hands-on worksops, free time for your own enjoyment and lots of impromptu fun.



Batik and indigo-dyeing workshops, weaving studio, fabric shopping, huge haby store, massages, Balinese culture and more

Textile Museums, Famous tourist destinations including Terracotta Warriors, Pearl Market, Silk Market, authentic Chinese meal daily



Pour l’Amour du Fil, textiles museums including Souleiado and Maison du Boutis, castles and markets

Festival of Quilts, Welsh quilts, various museums including V&A and York Quilt Museum and Gallery, Liberty of London, Hampton Court Needlework



Quilt Festival Houston, Lancaster County quilt shops, museums, Amish quilt shops, Amish experiences and culture

Quilt Week International Yokohama, Kyoto, Tokyo, Shibori and weaving workshops, Castles and Temples For further information on Japan Tour contact Kathy at JTB Travel #2TA001972 – free call 1800 105 451

Follow my quilty life as I sew, knit, stitch, quilt and travel.

For further information on all other tours contact Deb at World of Quilts Travel #209069440 – *Check individual itineraries for complete inclusions, terms and conditions.

Brindabella Quilting Systems Happy Jack Quilting Frame The Happy Jack frame comes with a fully covered bench. It can be used as a 2m frame or extended to 3m for larger quilts. Operate from the front for freehand quilting or, from the back utilising the stylus for pantographs. It will take most domestic sewing machines that have a foot pedal. No need for modifications, just drop the feed dogs. The bench folds down to 1m pieces for easy storage or transportation.


The stingrays are a replacement for clamps on your frame so you can quilt right up to the edge of your quilt without hitting anything with the machine.

Design walls

The Black Beauty The Black Beauty is a 14 inch throat machine featuring a stitch regulator, great fluro light, up/down needle, M size bobbin and speed control. Will fit most home quilting frames.

TruBlu quilting frame

The Kingfisher Design walls are for arranging your blocks before sewing together. They are double sided and self supporting on legs.

The TruBlu can be set up as a 2m frame or extended to 3m for larger quilts. The carriage incorporates a built in cruise control and includes a stylus for tracing a pantograph from the back of the frame. It will take most domestic sewing machines that have a foot pedal. This frame is a table model, sits on your own table.

Ph 02 6292 0183 l Fax 02 6292 0189 email web

Down Under Quilts 159  

The latest issue of Down Under Quilts

Down Under Quilts 159  

The latest issue of Down Under Quilts