£300 IN PRIZES
PATCHWORK ✦ QUILTING ✦ APPLIQUÉ ✦ FABRIC
TO BE WON!
Zesty issue 36
B rit a i n ’s N o .1 g u i d e to f a b ri c & p atc hwo r k
Piece on point!
M A K E T HIS B E AU T IF U L QUILT!
INSPIRED MAKES ✦ Fantastic fox cushion ✦ Improv cross quilt ✦ Exclusive Lewis & Irene quilt inside
Libert y lovelies e in from Alice Carol Make me tonight !
E! SAV E TmIM ethod
PLUS Guide to thread weights ✦ How to sew oilcloth QN36 cover UK.indd 1
Inspire Imagine Create
Hello and welcome to Issue 36 of Quilt Now
e’ve had a busy few weeks at Quilt Now Towers. Our Story Of My Quilt competition came to a close a few issues ago, but last month we had our prize winners’ workshop with Riley Blake’s Cindy Cloward. Check out the pictures from the day on page 58.
insta-QUILTS Here’s what you’ve been making this month over on Instagram
nandawatts has been making a heartshaped glasses case by Katy Cameron
We love to see the projects you’ve been making, you can share them with us on Instagram using the hashtag #quiltnow or email storyofmyquilt@practicalpublishing. co.uk along with a few words about your quilt (or any other project you’ve been making) and a picture.
Paula Steel has returned with another animal project, this time it’s a friendly little patchwork fox cushion. He would make the perfect gift for any animal-loving friend or relative.
jennykingcome whipped up a couple of scrappy patchwork pincushions from a pattern by Amanda Jean Nyberg
Nicholas Ball is one of our favourite quilters. He has a unique style and is a master of improv piecing. His rainbow crosses quilt on page 54 is an absolute beauty, and can be made as scrappy or as controlled as you like.
rachelcare made a fab little sewing kit from Sarah edward andthewhitebear
Tag us on Instagram quiltnow #quiltnow
@QUILTNOWMAG www.quiltnow.co.uk 3
In this month’s...
FEATURES 6 MAKING OUR MONTH All the latest news and trends in the world of patchwork and quilting 8 WORKSHOPS Find a class, make new friends and support your local quilt shop!
20 BOOKSHELF We can’t resist these inspiring reads 27 GIVEAWAYS This issue’s fabulous prizes and offers! 28 FABRIC NEWS Our favourite fabric collections and inspirations 36 TECHNIQUE FOCUS Susan Standen explains all about thread weights
40 AURIFIL THREAD OFFER Visit one of the advertised shops to claim a free Aurifil thread collection (minimum in-store spend of £15 applies) 48 SUBSCRIBE TO QUILT NOW Take out a subscription to Quilt Now and receive a fat quarter bundle from Lewis & Irene 58 THE STORY OF MY QUILT We spent the day with the winners of our Story of my Quilt competition 71 GO WILD Inspired by this issue’s Frankie Fox and Bruin Bear, we’re shopping for a little animal kingdom 78 CHARITY QUILTING WITH SARAH PAYNE Sarah Payne tells us all about her charity trek in the Himalayas
90 BLOCK OF THE MONTH Reene Witchard presents the next instalment of her mystery block of the month 96 EVERYTHING IN ITS PLACE We’ve been on the hunt for sewing room storage essentials
23 48 SUBSCRIBE TODAY FOR A FREE LEWIS & IRENE FAT QUARTER BUNDLE WORTH £32
PROJECTS 10 SEA GLASS The cool blues and greens of Anne’s quilt look like sea glass glistening on the beach 17 SIMPLE TRIANGLES A quick and easy gift, these coasters can be whipped up in minutes 23 FRUIT PUNCH The on-point layout of this Pam and Nicky Lintott quilt make the simple blocks look like diamonds 30 TRIP AROUND THE WORLD Strip-pieced for speed, this is a perfect last-minute quilt gift
80 38 MATCHSTICK PLACEMATS Get to grips with different thread weights with these modern placemats 43 OFFSET LOG CABIN Sally from Lewis & Irene designed this modern log cabin quilt exclusively for Quilt Now! 50 BRUIN BEAR This little bear with his charmingly grumpy face is quick and fun to sew 54 WONKY CROSSES Throw your ruler away and explore your creativity with Nicholas’s improv-pieced quilt
67 FRANKIE FOX This little chap is certain to put a smile on anyone’s face! 73 SLICKER POUCH If you’ve never sewn with oilcloth or laminated cotton before, this is the project for you! 80 CROCHETED GRANNY SQUARE Taking inspiration from a vintage crocheted blanket, this cushion will jazz up any spot in your house 85 TRAVEL PLAY MAT Unzip, fold out, and release your little one’s imagination! This is a great idea for travel! A NOTE ON MEASUREMENTS
61 SEWING CASE Keep all your sewing supplies handy for classes and travel
Metric or imperial measurements are included in each project, as per the designer’s preference. Converting measurements could interfere with accuracy. Ensure you read the instructions thoroughly before starting.
SEWING IN STYLE
We love our sewing machines, but let’s be honest, they’re not always the most attractive things to look at in our sewing rooms! Bernina has launched special limited edition versions of its 330 and 350 models, both designed to inspire your making and look pretty snazzy on your sewing table too. We’re big fans of the 350 Hello Lovely and I Love Sewing machines, with faceplates designed by the folks at Cotton + Steel, featuring flowers, birds and crafty tools. Also, check out the sweet doodles on the limited edition 330 model! Find your nearest stockist at www.bernina.com
Quilting with colour
Take a rare glimpse behind the scenes of the home and studio of iconic designer Kaffe Fasset with an inspiring lecture from the charismatic Brandon Mably. 6th July sees Fassett’s right-hand man Mably present an hour-long talk in Cheshire about how to build your colour confidence and take inspiration from Kaffe Fassett’s life and designs. Mably runs the Kaffe Fassett Studio in London and has been the production manager for the designer’s past 25 books. Mably’s own reputation as a leading patchwork, quilting, knitting and interior designer is also very impressive, so this is sure to be a talk you won’t want to miss! To book your spot, visit www.blacksheepwools.com
Making our month The patchwork and the people that are quilting us happy
Oakshott Fabrics has had a bit of a revamp, with a vibrant new website and online store. Tablet and mobile-friendly, the site can be viewed with ease on the go to help you pick the perfect fabric for your next project. There’s also a new selection of free downloadable patterns and tutorials, as well as top tips and tricks from leading designers. Definitely one to bookmark! Check out the new site at www.oakshottfabrics.com. You can also get 15% off all products in the Scandinavia Shot collection with the discount code QN36SCANDI. Offer valid until 30th June.
The summer months are a great time to build your skills and try something a little different. We’re a little way away from the hectic festive season and our scrap piles are growing, so it’s time to get sewing! The Skep Knitting and Quilting Shop in Yorkshire has a packed schedule of classes to help improve your techniques and teach you something new. On 21st May and 4th June it’s holding a two-day class with expert tutor Graham Farrar to make your own ‘Ultimate Weekender Bag’ and on 11th June you can master free-motion quilting. Find out more about these classes and many others at www.theskepknittingandquiltingshop.co.uk
SHOP OF THE MONTH
FRANK NUTT SEWING MACHINES
Frank Nutt Sewing Machines is a true family business, having been servicing and selling machines since Frank’s grandfather first started the company! We chatted to Claire at the shop to find out more Hi there! How are you and what are you up to at the shop today? I’m at the shop today because I’m teaching a workshop; Frank, Lucy and Charlene are all in the shop serving customers and demonstrating the machines.
Tell us a bit about the history of the shop.
There are few designers around who are quite as recognisable in style as Orla Kiely, With a love of bold prints and natural colour schemes, her collections are loved by sewists and quilters alike. Her new range features the classic floral and leaf prints with more geometric shapes in a distinctive vintage palette of warm dandelion, pale rose, cool grey, navy and duck egg blue. Ideal for home décor, cushions, curtains and of course quilts, the 100% cotton canvas can be purchased for £18 per metre. Visit www.ashleywildegroup.com to find your local supplier.
Frank’s grandfather, Steve, first put the Nutt family on the map for supplying and servicing sewing machines by opening his business in Alum Rock, Birmingham back in 1949. Frank is a third-generation Nutt and was brought up above his parents’ shop in Sutton Coldfield, Birmingham. It was inevitable for Frank to follow suit! Frank opened his own shop in Kings Heath, Birmingham in 1985 and since then, the business has grown substantially. In May 2015 Frank collected the keys to a new, much larger shop just 200 yards up the road from where it all began.
What do you think sets you apart from other shops? We have around 100 sewing machines and overlockers on display all ready for demonstration, as well as one of the largest selections of Horn cabinets and chairs. We also have two Bernina long-arm machines all set up ready for anyone to have a go on them! The Q24 is a big machine and it’s brilliant that customers can come face to face with it in the shop.
Do you run any workshops in store?
GEAR UP FOR GRANDFEST!
GrandFest is back for the third year running and is set to be bigger and better than ever! Sunday 18th June sees the ‘GrandMakers’ hit London with a series of masterclasses as they pass their skills to the next generation. All workshops are run by expert tutors over the age of 70 and include everything from quilting to crochet and jewellery making to basket weaving. All of the workshops are completely free and there’ll also be a variety of performers on the GrandFest stage in Bishops Square, Spitalfields. The event is organised by The Royal Voluntary Service, which supports 100,000 older people every month. Find out more and book your spot at www.grandfest.royalvoluntaryservice.org.uk
I teach free-machine embroidery workshops in the classroom upstairs. I teach a complete beginners class called Thread and Texture and then various more advanced classes. In May I‘m running a selection of workshops on how to make intricate fabric flowers, you can find out more at www.clairemuir.co.uk
Let’s finish by asking if there is anything exciting coming up that you’d like to tell our readers about? We will be at the Quilts UK show at Malvern Three Counties Showground 18th – 21st May with Bernina machines and Horn cabinets; Frank will sponsor the show by giving a Bernina 215 to a prizewinning quilter!
Frank Nutt Sewing Machines The Old Stables 17-23 Poplar Road Kings Heath, Birmingham B14 7AA 0121 444 3978 www.franknutt.co.uk
WorkshopS Swot up on your sewing skills with these fabulous classes
Hazel’s Fabric Craft West Calder, Scotland
A family-run business that offers patchwork and quilting fabrics, notions, classes and workshops. www.hazelsfabriccraft.co.uk
The Craft Space
Cost: £35 Trowbridge, Wiltshire
Sew And Fabric St Austell, Cornwall
A lovely little fabric shop nestled in Biddicks Court, selling fabric, haberdashery and more. www.facebook.com/ Rachaellovessewing
Patchwork and quilting
A class for beginners and those with some experience. Cost: £7.50
Patchwork Block of the Month
Our monthly sessions will see you complete a new patchwork block each time. Cost: £40
Make machine-pieced curves without rules or rulers in this fun improv class with Jenny Haynes of Papper, Sax, Sten. Cost: £40
Bring your sewing machine with walking foot and darning foot. Cost: £35
Combine patchwork and appliqué techniques to create a wonderful piece that emulates a classic Welsh dresser. Cost: £45
Dedicated crafting haven where you can learn new skills, from dressmaking and patchwork to crochet, floristry and more! www.katiemakes.co.uk
Welsh dresser wall hanging
Bring your machine, sewing kit and five/seven long quarters to make this quilt. Cost: £35 Tuesday evenings
Dressmaking and sewing lessons
Learn to create a curvy double drunkard’s path block by using Jenny’s no-pin technique and custom templates. Cost: £85 21st May
Learn to cut, sew and press curves and create a curvy River quilt with tutor Jenny Haynes. Cost: £85
Bring along your machine, fabric and pattern. Cost: £15
Make a needle case and zipped pouch
Step-by-step instructions enabling you to make the items. Cost: £25 25th June
Make an Advent calendar
Step-by-step instructions enabling you to make a calendar ready for Christmas! Cost: £20 30th July
Make a tote bag with a zipped pocket Step-by-step instructions to make a bag with pockets. Cost: £25
2nd and 4th Thursday every month
Rag rugs with Ragged Life
Join Elspeth of Ragged Life in this full-day class to learn all about contemporary rag rugs and make your own! Cost: £70 17th June
Introduction to fabric boxes
Combine precious fabric and hand stitching to create the perfect containers for all kinds of treasures. Cost: £50
Dressmaking and sewing lessons
Contact the shop to book and for more information. Cost: £15
Bring along a sewing machine, a project and sew with fellow enthusiasts over tea, coffee and biscuits. Cost: £5
Basingstoke, Hampshire Basingstoke’s only modern fabric and haberdashery shop is packed full with designer fabric and quality haberdashery. www.purple-stitches.com
P ROJEC T: QU I LT
WE USED Fabric is from Blueberry Park by Karen Lewis for Robert Kaufman. A bundle of cool colours of Kona cottons would also work well, or mix of prints to suit your taste www.robertkaufman.com
If you use a fat quarter bundle you will have plenty of leftovers. Try using scraps, sorting through and picking out fabric that is complementary and setting it in piles
PROJEC T: QU ILT
SEA GLASS quilt The cool blues and greens of Anneâ€™s quilt look like sea glass glistening in the sunshine on the beach BY ANNE MARSHALL
P ROJEC T: QU I LT
This quilt was made using the HST method of Thangles. These are perfect for the smaller HST projects. For the quilter not confident with sewing lines, these are ideal – simply put the fabric RST, pin, sew the dotted sewing lines, cut the solid cut lines, press and tear off the fabric to reveal sharp little HSTs! THINGS TO REMEMBER HST – half square triangles RST – right sides together
FINISHED SIZE: APPROXIMATELY 39x52”
fat quarter bundle Blueberry Park cool colours (or a large variety of scraps, at least 3½” wide x at least 8” long) 96 strips total 1.5m white Kona solid 0.5m binding cut into 2½” strips 13/4 yards 44”-wide backing fabric 44x56” wadding
Cut 96 strips of Blueberry Park and 96 Kona white solids at 23/4” (1/2 ” wider than the finished 21/4” Thangle as instructed). You need a total of 96 sheets of 21/4” finished Thangles (each sheet creates four HST units).
Follow the instructions for the Thangles and sew a total of 384 HST units from the 96 strips (each strip will create blocks of four).
Press the HST open with the paper still attached – this makes sure they are perfect before removing the guides and helps creasing the tear line to remove the papers. Hold the stitch line while pulling!
Sew four of the same fabric HST units together in a four patch, with all the units facing in the same direction. Repeat for a total of 96 blocks. (See Diagram.)
If you are using the traditional method of HSTs, cut a total of 192 3½” squares in white/ background fabric and 192 3½” coloured squares. Pair a white with a coloured square and make the HST as you would normally, drawing a line on the reverse across the diagonal and sewing a ¼” to either side of the line. Cut on the marked line and open out the HST units. Press and trim down to 2¾” each. Group together in sets of four of the same colour/print. You will have a total of 384 HST units
PROJEC T: QU ILT
Cut a total of seven 8½” squares and cut each one into four across the diagonals (for a total of 28 triangles, discard two as you will not need them). These are the setting triangles for the sides and two corners of the quilt. Cut an additional 8½” square and cut in half once across the diagonal – these two triangles will be the setting triangles for the other two of the corners of the quilt.
Make sure the HSTs lie the same way so all your fourpatch blocks are the same, make one to completion and have it where you can see it, then chain-piece the rest of the HST, making sure you check to the completed block to make sure they are the right way
The quilt is constructed on point (diagonally, instead of horizontally). Refer to the quilt picture for placement of the blocks, and use a floor or design wall to place your blocks. Sew each row and place back with the others when you have finished, to keep tally of where you are and what needs to be sewn next. Once all the rows are sewn together, press the seams in alternating directions (all even numbered rows in one way, all the odd numbered rows the opposite way), so they nest together. And sew the rows together. Press well all over.
Piece together the backing fabric if required, or, if you have used an extrawide fabric, cut to size and lay it right side facing down on a clean floor. Lay the wadding on top and the pressed quilt top on the top of that. Smooth out any wrinkles, and baste well from the centre out. Quilt as desired. As this is an angular
quilt it works well either quilted in a loopy meander or a straight grid.
Once quilted, trim off the excess wadding and backing fabric and square up the quilt edges. Sew the binding strips end to end, press in half (wrong sides together) along the length and use this to bind your quilt.
ANNE MARSHALL Anne is a mum of two, and sewing, crocheting, knitting and quilting help keep her sane whilst battling with crohn’s and lupus. Find her on Instagram madewithmadness
S H O PP I NG
Inspired by Anne’s sea glass quilt? Check out these gorgeous printed textiles, they’d make a fabulous starting point for some patchwork creations (or for dressing up your sofa or bed!)
By Cush Barcelona, €22 (approximately £18.50) www.dawanda.com
let me hold your coat
Patchwork cushions, from a selection (prices and sizes vary) www.fermliving.com
Rocio Olmo textiles, prices vary www.dawanda.com
Sportluxe cushions, £35 www.made.com
Deer coat hanger, £115 www.redcandy.co.uk (there’s a wolf, raccoon and bear too!)
Your favourite quilting magazine is also available in digital formats across all devices Patchwork | Quilting | AppliquĂŠ | Fabric
AVAILABLE FOR iPAD, ANDROID & MORE
Subscribe today on iPad or download digital editions for all devices from pocketmags.com www.quiltnow.co.uk
P ROJEC T: COAST ER S
SIMPLE triangles A quick and easy gift or to add a spot of colour to your table, these coasters can be whipped up in minutes! BY LISA NAYLOR
P ROJEC T: COAST E R S
These coasters are the perfect scrapbusting project!
FINISHED SIZE: 5” SQUARE
THINGS TO REMEMBER Use a ¼” seam allowance unless otherwise stated
why not try
fat quarter Euclid Essex Check It in Graphite fat quarter Geogram Puzzle in White fat quarter Geogram Code in Pink fat quarter Geogram Oblique in Green wadding scraps
From Euclid Essex, cut: 3 6” squares From each of the Geogram prints, cut: 6” square and 2 5½” squares From the wadding, cut: 6 5½” squares
Instead of machine quilting, try a chunky hand-quilted stitch instead ASSEMBLY
Make up three pairs of HSTs by pairing up the three Geogram and three Euclid 6” squares. (See Pic A.) Draw a line down the diagonal centre and sew ¼” each side. Press and trim back to 5½" square. (See Pic B.)
Layer up the coasters with the wadding, then the HST right side up and then on top an alternative Geogram print for the backing right sides together. Sew around with a ¼” seam around the four sides, leaving a small gap for turning through.
P ROJEC T: COAST ER S
WE USED All fabric is from the Geogram collection by Samarra Khaja for Lecien Fabrics, available at www.simplysolids.co.uk
Turn rights sides out and press well.
Add a little quilting to hold it together and seal the opening by sewing around all four sides ⅛" in and then down each side of the diagonal.
LISA Naylor Lisa has a ‘give it a go attitude’ and likes to try her hand at anything and everything new. She co-owns the online fabric shop Simply Solids as well as being a busy mum www.simplysolids.co.uk
Stack the coasters together and tie with ribbon or twine (or even fabric scraps), and add a handwritten label for a lovely housewarming or hostess gift
On this month’s
We can’t get our noses out of these inspiring reads
Photography © 2017 by Stephanie Congdon Barnes
I LOVE CHURN DASHES Compiled by Karen M. Burns
£23.99 Martingale The churn dash block is a classic in the world of quilting, and this colourful book explores just how many different designs you can create with it. Featuring a real mix of traditional, scrappy and modern, each quilt celebrates this humble block and how you can use it to make 15 quilts of all styles and sizes. It includes a mix of leading quilt designers and is packed with tips and techniques to inspire your next quilt project. Available now from www.shopmartingale.com
WISE CRAFT QUILTS by Blair Stocker
£19.99 Shambhala Publications Quilt designer and crafter Blair Stocker goes back to basics in her new book, as she explores how to use cherished fabric to create quilts with meaning. In each project Stocker takes fabric close to her heart, whether it’s from a wedding dress, favourite jeans or a baby’s first clothes and demonstrates how to preserve and transform it into a beloved quilt to treasure for generations. Every quilt has a story to it, making this insightful book both informative and heartwarming. Pour yourself a cuppa, snuggle up on the couch and enjoy! Available now from www.roostbooks.com
MINNICK AND SIMPSON BLUE AND WHITE
by Laurie Simpson & Polly Minick £32.95 Martingale This attractive coffee table book shows how you can mix and match the classic blue and white colour scheme to give your home a fresh new look. Join expert quilt maker Laurie Simpson and acclaimed rug hooker Polly Minick as they showcase textiles inspired by everything from the coast to kitsch Americana. The dynamic design duo explore how you can highlight your textile art in your home and how you can create a well-curated, comfortable and inspiring space with this iconic two-colour palette. Pick up your copy at www.shopmartingale.com
HAPPY HEXIES by Boutique-Sha
£9.99 Search Press Here at Quilt Now towers we’re rather partial to a hexie, and when a book devoted to these little shapes arrived in our laps we were pretty excited! Inside you’ll find 12 handpieced hexagon projects suitable for quilters and patchworkers of all abilities. There are full-size templates to get you started and tonnes of techniques including hand-pieced inset seams and hexie quilting, as well as beautiful step-by-step photos to illustrate it all clearly. The projects range from quick-make mug rugs to mini quilts and stunning one-of-a-kind bags. Find out more at www.searchpress.com
PROJEC T: QU ILT
FRUIT punch By setting the blocks on point, the squares look like diamonds, creating a more complicated-looking design! BY PAM & NICKY LINTOTT
P ROJEC T: QU I LT
This is a lovely quilt to put together as everything seems to fall into place easily. Strip piecing hugely speeds up the process!
FINISHED SIZE: 58x69” FINISHED BLOCK: 8” SQUARE NUMBER OF BLOCKS: 50
◆ ◆ ◆ ◆
1 jelly roll (or 40 2½” x WOF strips from your stash) 2 yards background fabric ½ yard binding fabric 62x73” wadding 64x75” backing fabric
PREPARATION & CUTTING
Select 30 strips for the outer frames of block A. These strips will also make the four-patch units. Select four strips to make extra four-patch units. Six jelly roll strips will be spare. Leave the four strips allocated for the extra four-patch units uncut. Cut each of the 30 jelly roll strips allocated for the outer frames as follows (keeping the 2½x4½” rectangles and the 2½x8½” rectangles from the same fabric together): 2 2½x4½” rectangles 2 2½x8½” rectangles 2½x16” rectangle for the four-patch units
THINGS TO REMEMBER WOF – width of fabric
Cut 15 2½”-wide strips across the width of the background fabric. Take 5 strips and sub-cut each into: 8 2½x4½” rectangles to make a total of 40 rectangles Take 10 strips and sub-cut each into: 4 2½x8½” rectangles to make a total of 40 rectangles Cut 2 13½”-wide strips across the width of the fabric. Sub-cut one strip into: 3 13½” squares and one strip into 2 13½” squares and 2 7½” squares Take the 5 13½” squares and cut across both diagonals to form 20 setting triangles. You need 18 (so two are spare) Take the two 7½” squares and cut across one diagonal of these squares to form four corner triangles. Cutting the setting and corner triangles in this way ensures that there are no bias edges on the outside of your quilt.
PROJEC T: QU ILT
2 If you prefer, you could use the six spare jelly roll strips and add one more strip to make a scrappy binding
MAKING THE FOUR-PATCH UNITS
Choose two contrasting 2½x16” jelly roll rectangles and lay them right sides together. Sew down the long side. Open and press towards the darker fabric. Repeat with 28 of the 2½x16” rectangles (two are spare) to make a total of 14 strip units, chain piecing for speed. Open and press towards the darker fabric.
With right sides together, lay one strip unit on top of another, with the lighter strip on the top of one unit and on the bottom of another, ensuring that the centre seams are in alignment.
Sub-cut these paired units into six 2½”-wide segments.
Carefully keeping the pairs together, sew down the long side as shown, pinning at the seam intersection to ensure a perfect match. The seams will nest together nicely because they are pressed in different directions. Chain piece when you can, for speed. Press open to form six four-patch units.
Repeat this process (steps 2 to 4) with all 14 strip units to make 42 four-patch units.
this process (steps 1 to 4) to make a further eight four-patch units. You should now have 50 assorted four-patch units.
MAKING BLOCK A
Choose 30 of the four-patch units for block A. These will have the jelly roll fabrics as borders.
Working with pieces from the same jelly roll strip, take one four-patch unit and sew a 2½x4½” rectangle to both sides. Press the seams away from the four-patch unit.
Sew a 2½x8½” rectangle of the same fabric to the top and bottom of this unit. Press seams out.
Repeat to make 30 of block A. Chain-piece to speed up the process.
Using the four jelly roll strips allocated for the extra four-patch units, repeat
P ROJEC T: QU I LT
MAKING BLOCK B
Working with the 20 remaining four-patch units, sew a 21/2x41/2” background rectangle to both sides. Press the seams away from the four-patch unit.
Sew a 21/2x81/2” background rectangle to the top and bottom of this unit. Press the seams out.
Repeat to make 20 of block B.
Referring to the piecing diagram, lay out your blocks with a setting triangle at each end. Lay the A blocks with the seams vertical and the B blocks with the seams horizontal.
When you are happy with the layout, create row 1 by sewing a setting triangle to both sides of a block A. The
setting triangles have been cut slightly larger to make the blocks ‘float’, so when sewing the triangles make sure the bottom of the triangle is aligned with the block. Press as shown.
Continue to sew together the blocks to form rows with setting triangles at each end. Always press the seams towards block A to ensure the blocks nest together nicely when the rows are sewn together.
Now sew the rows together, pinning at every intersection. Sew the corner triangles on last. Your quilt top is now complete.
QUILTING AND FINISHING
about the book
Taken from Jelly Roll Quilts in a Weekend by Pam and Nicky Lintott, £15.99 F&W publishing www.sewandso.co.uk
Make a quilt sandwich of the quilt top, the wadding and the backing. Quilt as desired and bind to finish.
S Y A W A E V I G & S T N U O C DIS by entering one of our fab Get your hands on some goodies
ON FABRIC AT REMNANT KINGS
WIN NEW VLIESELINE WADDING Light-weight with a thin non-woven layer to prevent fibre migration, this luxurious new wool-mix wadding from Vlieseline is made from 80% wool and 20% polyester, is suitable for all fabric and can be sewn by hand or machine. We have 2m to give away to five winners this month! Make sure to contact email@example.com to find your local stockist.
Enter code QN20 at www.remnantkings.co.uk to save 20% on your fabric shopping this month. Buy pretty quilting, dressmaking, and craft fabric at one of the UK’s most established fabric retailers where passion and expertise are at the forefront of everything it does. Offer ends 30th June 2017, excludes interiors fabric.
EXCLUSIVE READER OFFERS Save 15% on Scrappy Patchwork Mats by Debbie von GrablerCrozier when you enter code QN17 at checkout at www.vivebooks.com Offer expires 1st July 2017
to win WIN THE QUILT DESIGN COLORING WORKBOOK
Let your creativity run wild with this fun and relaxing colouring book, in which you can design your perfect quilt at the same time you soothe yourself with the calming effects of colouring. We are delighted to have five copies of the book to give away this month. The Quilt Design Coloring Workbook is published by Storey Publishing and available from www.amazon.co.uk
WIN A SEW EASY QUILTER’S BUNDLE Ensure you always achieve the best quality machine quilting with these handy Quilter’s Roll Clips from Sew Easy; roll your quilt on the right side and reduce bulk as you sew, helping you achieve a professional finish on every project. We are giving away five sets of roll clips, along with beautiful cotton fat quarter bundles, this issue! Find your local stockist by emailing firstname.lastname@example.org
WIN FAT QUARTERS FROM GÜTERMANN CREATIVE Save 15% on fabrics in the Scandinavia Shot collection at www.oakshottfabrics.com when you enter code QN36SCANDI Offer ends 30th June 2017
The newly launched Marrakesch fabric collection from Gütermann creativ is 100% cotton and is available in three bold and beautiful bundles. Each bundle contains five co-ordinating prints in pre-cut fat quarters and we are delighted to have one of each bundle to give away this month, perfect for mixing and matching! For stockist information, contact gütermann@stockistenquiries.co.uk
How to enter... Head to www.ppjump.com/qn36 and enter your details for the chance to win any of our giveaways. Closing date is 8th June 2017 Winners will be notified by email. Competition only open to UK residents www.quiltnow.co.uk 27
Fabric News Our favourite fabric finds this month
By Janet Clare for Moda Fabrics This fabric is inspired by the sunrise, gently bringing us a new day. The prints are geometric with simple and bold motifs in timeless colours that, as with all Janetâ€™s fabric collections, are perfect for those tricky-to-make-for men in your life, or for people that donâ€™t really like patchwork! The denim blues, greys and neutrals in this collection have a wonderful calming feel to them, reminiscent of the sky just before dawn breaks. Shop online at www.sewandso.co.uk or visit www.janetclare.co.uk for more details
Issue 33â€™s geo circle pouch
By Samarra Khaja For Lecien Fabrics Geogram is a range of bright and colourful blenders, designed to be ageless, genderless, to appeal to as many people and to be as useful as possible. The bright colours with tiny metallic accents are all small-scale prints that work brilliantly in patchwork (see how Nicholas Ball used the prints in his Wonky Crosses quilt on page 54, and Lisa Naylorâ€™s set of coasters on page 17), but are as fantastic as bag linings, quilt backs, pillowcases and anything else you can think of! Find a curated selection online at www.simplysolids.co.uk and for more information, visit www.lecien.co.jp
P ROJEC T: QU I LT
PROJEC T: QU ILT
TRIP AROUND the world Strip-pieced for speed, this is a perfect last-minute quilt gift! BY ALICE CAROLINE
P ROJEC T: QU I LT
Make co-ordinating pillows using the leftover fabric. A piped or bound edge adds a professional touch!
THINGS TO REMEMBER All seams ½” unless otherwise stated Align edges before sewing together
18 2½x54” strips of Liberty fabric in 9 different rainbow colours (2 strips of each colour) 8” Liberty fabric cut into 2½”-wide strips for binding 36x38” wadding 36x38” backing fabric
Whichever square you choose to be at the top of this first strip will be the one at the centre of the finished quilt
You will need full width Liberty fabric which is approximately 54” wide selvedge to selvedge. Cut two strips each 2½”-wide across full width of the nine different coloured fabrics so you have 18 2½x54” strips in total.
Sew nine different colour strips together, along the long edges in rainbow colour order. (See Pic A.)
Press first seam to right, second to left, third to right etc. (See Pic B.)
Repeat steps 2 and 3 with remaining nine strips in the same colour order. Now you have two identical panels.
Take the panels and fold them in half, right sides together, and sew the two outer edge strips together, turning the panel into a ‘tube’. Repeat with remaining panel. (See Pic C.)
Lay the tube/folded panel on the cutting mat and, using a rotary cutter and ruler, cut the tube perpendicular to seams, into 21 strips/loops each 2½” wide. (See Pic D.)
You now have 21 2½”-wide loops. Repeat with the remaining ‘tube’. You will now have 42 loops. (See Pic E.)
Take one of the loops and, with a seam ripper, cut through the stitches to undo the seam between fabric H and fabric I squares, open out the loop into one strip of pieced squares. (See Pic F.)
Take another strip/loop and cut the seam between fabric H and fabric G. (See Pic G.)
Take strip from Step 9 and with right sides together, place on top of strip from Step 8. Sew together down the righthand edge. Open out and press. (See Pic H.)
PROJEC T: QU ILT
WE USED The fabric is available from www.alicecaroline.co.uk
These exclusive colours of classic Liberty designs were curated and chosen by Alice in conjunction with Liberty for spring 2017
Repeat with six more loops until you have a ‘downhill’ panel of eight strips of sewn together. (See Pic I.)
time the colours should stair-step up. Sew these two strips together and press seam towards the second strip. (See Pic J.)
Repeat steps 8 to 11 to make another downhill panel identical to the one you just made. You now have two downhill panels.
You are now going to make ‘uphill’ panels that are the mirror image of the downhill panels. Take a loop and repeat Step 8, this time turn the strip around 180˚ (or upside down), having fabric A at the bottom.
Take a second loop and repeat Step 8, then turn this strip around 180˚.
Place the strip from Step 14 on top of the strip from Step 13, with right sides together. Sew together down the right-hand edge. Open out and press. This
Repeat with six more loops until you have an uphill panel of eight strips of sewn together. (See Pic K.) Repeat steps 8 to 11 to make another uphill panel identical to the one you just made. You now have two uphill panels.
Take a strip/loop and undo the seam between the fabric I and fabric A. Sew this strip between a downhill panel from Step 11 and an uphill panel from Step 16. This is now the bottom half of your quilt. (See pics L and M.)
Repeat Step 18 with remaining uphill and downhill panels and another strip/loop. Flip this completed panel 180˚ – this is now the top half of your quilt.
Repeat Step 8, undoing the seam between fabric H and fabric I squares.
Repeat Step 20 and then remove the square of fabric H from this strip. Lay out the quilt pieces as shown below. Sew ends of strips from steps 20 and 21 together first then sew this strip to top half of quilt sew the two quilt halves together. This is the finished quilt top. (See Pic N.)
Place the quilt backing right side down on a flat surface. Place the wadding on top, smoothing out any bumps. Place the quilt top from Step 22 on top, right side up. Baste the layers together. Alternatively use washable adhesive or safety pins. Stitch or quilt the pattern of your choice all over the quilt.
P ROJEC T: QU I LT
FINISHED SIZE: 34x38”
HERE’S A TIP! You will have a couple of strip/ loops left over which you can open out, join together and sew across the middle of your backing fabric if you wish
Trim the edges of all layers of the quilt so they are straight and the corners are right angles.
stopping ¼” from the corner edge, and fold the binding up and out of the way.
Prepare the binding by sewing all the binding strips together end to end at the short edges to make one long strip. Fold in half along the longest length and press. For a machine-topstitched finish on the binding, continue as follows. Or, if you wish to hand-sew the binding, in Step 26, pin the binding to the front side of the quilt. In Step 31, slip-stitch the binding to the back of the quilt by hand.
Starting in the centre of one of the sides, align the raw edges of binding with the top of quilt on wrong (back) side of quilt. Stitch ¼” from the top edge through all layers,
Starting in the centre of one of the sides, align raw edges of binding with top of quilt on wrong (back) side of quilt, pin in place.
binding, tuck the raw end under the folded edge and pin in place.
Fold the folded edge of the binding to the front of the quilt, pin in place and top-stitch in place close to the edge of the binding through all layers.
Stitch ¼” from top edge through all layers, stopping ¼” from the corner edge, and fold the binding up and out of the way. (See Pic O.)
Fold the binding down, aligning the raw edge of the binding with next edge of the quilt. Repeat Step 28. (See Pic P.)
Repeat steps 28 and 29 at remaining edges of the quilt. Cut off any extra binding, leaving an overlap of about 1”. Fold over the raw edge at one end of the
Alice Caroline Alice Caroline is a company based in the Cotswolds that specialises in Liberty fabric, patterns, notions and kits. Liberty fabric is synonymous with classic florals, charming colour palettes and delicately detailed prints www.alicecaroline.co.uk
HIGH QUALITY GERMAN SEWING FURNITURE See our full range at www.rmfcreateyourspace.com See us 16th - 19th March at Sewing For Pleasure at Birmingham NEC Or visit our show rooms at Colchester & Salisbury
Tel 01206 563955
T H RE AD W E I G HTS
Susan’s latest technique focus concentrates on thread weights, the differences between them and what they are useful for BY SUSAN STANDEN
The sheer choice of thread available to quilters can be overwhelming. While there is no right and wrong choice, understanding some basic facts about thread can make that choice easier
ost quilters use 100% cotton thread for piecing. The thinking behind this is that, by using a thread that has the same content as the fabric used, the wear and tear will be relatively the same for both fabric and thread. If a quilt is well used and gets a bit worn over time it is easier to replace a seam that has frayed than to have a much stronger polyester thread possibly cut through the fabric and to have to repair that. Unfortunately there is no universal standard set for thread weights; therefore different manufacturers’ threads of the same weight can vary in thickness. But there is a simple rule of thumb we can follow – the higher the weight, the thinner the thread. Very fine thread of 80w has become more widely available in recent times, and this is generally used for appliqué and other hand work. That said, it could be used for free-motion quilting, machine appliqué
and machine embroidery. When using 80w in a machine it can be useful to change the needle to a 70/10. The most commonly used thread weight for piecing a quilt is 50w. This is a fine but strong, durable thread that leaves very little bulk in the seam. It is worthwhile investing in a quality thread because they tend to be more durable and have a silky finish that produces much less lint. 50w threads can also be used for quilting, especially when you wish for the quilting to ‘disappear’ into the project. When using 50w thread a quilter can keep an 80/12 universal machine needle. For many the go-to weight for quilting a project is 40w thread. While slightly heavier than the 50w it is still easy to use in a domestic machine and generally requires no needle change, though thread brands and sewing machines vary and some machine thread combinations will work better with a 90/14 size needle.
T HR EAD WEIGHTS
Stitching with 40w will show up slightly more on a quilt, therefore accentuating the quilting pattern. 28w thread is often used by hand quilters as it is stronger and can stand up to the tugging and pulling necessary when hand stitching is involved. If using 28w for hand quilting it can be helpful to wax the thread first to help it glide more easily through the layers of a quilt. (Thread wax is readily available in the notions section of quilt shops.) Using 28w for machine quilting will necessitate changing the machine needle to 90/14 or 100/16. There is no need to change the bobbin thread to the same weight but it is important to do some test stitches first to ensure that the tension is set correctly. 28w quilting will stand out much more boldly on a quilt and add a texture to the surface. While stitch length in quilting is up to an individual’s preference using a much longer stitch – 3.5 to 4.0 – will give further definition to the quilting and look better with a heavier thread.
the higher the weight, the thinner the thread
12w thread is a discernibly thicker thread. It looks very good when used for hand quilting with a longer stitch to accent a project. Similar to the way a quilter would use Perle cotton. When using 12w in a sewing machine it is essential to change the needle, preferably to a 100/16. As with the 28w, a longer stitch length will allow the stitching to look its best and the bobbin thread does not need to be the same weight but tension needs to be tested and adjusted prior to starting quilting a project. 12w thread will add pronounced texture and bold stitch lines to a quilt. Another thread that can add visual and tactile texture to a project is metallic. It is essential to change the machine needle to a metallic specific one. Use regular cotton thread in the bobbin and ensure the tension is correct before starting quilting.
SUGGESTED NEEDLE SIZES 60/8 – 100 weight silk and polyester invisible thread 70/10 – 80 and 100 weight thread 80/12 – 50 weight thread 90/14 – 40 weight thread 100/16 – 30 weight thread and thicker
Turn to page 40 for our Aurifil thread offer
MACHINE NEEDLES EXPLAINED
It can be very difficult to tell one machine needle from another if they get mixed up, but manufacturers put all the handy information on the shank. Coloured bands denote the type of needle and the size of needle. The numbers tell you the thickness of the needle and the size of the eye. A universal needle will have no coloured bands, otherwise the top band will indicate the type of needle – fabric or stitch type. The bottom band denotes the size of the needle. Manufacturers websites give detailed breakdowns of the purpose intended for each type of needle and a quick reference colour guide. Needle size is shown in two numbers – ie 80/12. The first number is the thickness of the needle and the second the size of the eye. The higher the first number the thicker the needle – therefore the larger the hole that it will make in the fabric when sewing. The higher the eye number the bigger the eye so the thicker the thread it can take. The needle size is usually stamped on the shank, though admittedly this can be very difficult to read. Using the correct needle for a specific task or thread can make or break a project so it is well worthwhile having a selection that can be used as and when needed.
PR OJECT: PLAC EM ATS
MATCHSTICK placemats Get to grips with different thread weights with these modern placemats BY SUSAN STANDEN
FINISHED SIZE: 13x161/2”
◆◆ ◆◆ ◆◆ ◆◆
thread in different weights (refer to Susan’s Technique Focus on page 36 for advice on thread weight) 1 yard fabric for background 30x40” wadding scrap 1 yard backing fabric 1/2 yard binding fabric
From the background fabric and the backing fabric, cut: a piece approximately 30x38” (this may seem too big but matchstick quilting will pull the fabric in, significantly reducing the work in size, plus it can warp the fabric some so that there will be fabric loss in the squaring up process) From the binding fabric, cut: 6 WOF x 21/2” wide strips
WE USED All thread used in this project is by Aurifil. For stockist details, visit www.aurifil.com
THINGS TO REMEMBER WOF – width of fabric
top. It is best that these circles not are too close together – tracing any suitably sized round household object works well for this purpose.
Gather a varied selection of weights of thread to give the placemats as much texture and interest as possible.
Use your walking foot for the quilting. Set your stitch length quite long, 3.8 – 4.0 is a suitable setting.
Baste your quilt sandwich. It is recommended that spray-basting be the method of choice for this project, but heavy pin basting is good too. Using a water, heat or air disappearing marking tool, mark vertical lines across the width of the background fabric at periodic intervals (approximately 5” apart). Using the same marking tool, mark and different-sized random circles on the quilt
Select your first thread and ensure that you have the correct size needle required for that thread in the sewing machine. Stitch along the drawn lines. If a circle overlaps the straight line, follow the circle edge until it re-joins the straight drawn line and then continue stitching in a straight line.
Once you have your initial guidelines sewn, choose a different contrasting
P R OJEC T: P LACEMATS
Susan used many different weights of thread, but you can use whatever you have to hand
thread. Again, ensure the correct size needle is in the machine for the new thread. Sew a new line of quilting approximately ⅛” from the first line. Perfection isn’t necessary; once there is a great deal of matchstick quilting built up, deviances from exact parallel lines are no longer apparent.
Continue to change out threads and build up rows of quilting on each side of the original guidelines. When you hit a new circle, follow its edge. You can mix things up by following a third or so around the circle before continuing the parallel quilting. This will mean that you have a gap that will require filling by sewing in a ‘U’ shape – up one side, along the edge of the circle line and back down the other side. This will add further visual interest to the quilting.
When the matchstick quilted sections start meeting, fill in the sections left
blank between. If these sections are in the centre with no edge of fabric on them, go all the way round the perimeter and bury the thread ends in the quilt sandwich.
Due to the nature of this quilting you may get puckers in the fabric when the sections converge. Try to incorporate any of these fabric puckers bit by bit as you build up the rows. Using a slightly heavier background fabric like linen can help, as can heavy basting and keeping the fabric fairly taut as you quilt.
When the fabric is completely filled with quilting other than the circles, press it well to get it as flat and smooth as possible prior to squaring up.
Square up the top and one side, then cut four 16½x13” rectangles with the stitching running up and down on the placemats, not left to right. Zigzag-stitch around the edges of each one to help hold
down all the thread ends of each line of quilting.
Join three pieces of binding together (this should be enough to bind two placemats). Bind the first placemat using your preferred method and then use the remaining length of binding to bind the second placemats. Repeat this process for the remaining two placemats.
SUSAN STANDEN Susan is a Canadian wife, mother, individual, chief cook and bottle washer and lover of food and crafting living in the British countryside. Her motto – life is good! www.canadianabroad-susan.blogspot.co.uk
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PROJEC T: QU ILT
OFFSET log cabin Sallyâ€™s offset log cabin looks fantastic in Lewis & Irene Bumbleberries blenders, but will work with in any colour scheme or fabric of your choice BY SALLY ABLETT FOR LEWIS & IRENE
P ROJEC T: QU I LT
Use Post-it notes to label your fabric from 1 through 10 so you know which is which!
THINGS TO REMEMBER Use ¼” seam allowance throughout Press all seams open unless otherwise stated QUILT SIZE” 55x58” FINISHED BLOCK SIZE: 10” SQUARE
MATERIALS ◆◆ ◆◆
1.5m Off White BB40 (fabric 1) 1.2m Duck BB76 (fabric 2)
For block 1 ◆◆ ◆◆
30cm Indigo BB111 (fabric 3) long quarter Grass BB97 (fabric 4) long quarter Misty blue BB109 (fabric 5) long quarter Bluebell BB104 (fabric 6)
For block 2 ◆◆ ◆◆
30cm Sea Green BB106 (fabric 7) long quarter Red Lacquer BB75 (fabric 8) long quarter Fresh Aqua BB69 (fabric 9) long quarter Light Blue BB81 (fabric 10) 60x62" wadding & backing
From fabric 1, cut: 16 4½" squares centre of block 2 2x55½" middle borders (you will need to join the strips) 2 2x52½" middle borders (you will need to join the strips) 2 2x43½" inner borders (you will need to join the strips) 2 2x46½" inner borders (you will need to join the strips) 2 2x23½" pieces (sashing around the four centre blocks) 2 2x20½" pieces (sashing around the four centre blocks) 8 2x10½" pieces (sashing between blocks) From fabric 2, cut: 2 3½x55½" outer borders (you will need to join the strips) 2 3½x52½" outer borders (you will need to join the strips)
From fabric 3, cut: 8 2x10½" pieces 8 2x9" pieces 2 2x6¼" pieces
From fabric 7, cut: 8 2x10½" pieces 8 2x9" pieces 2 2x6¼" pieces
From fabric 4, cut: 8 2x9" pieces 8 2x7½" pieces 2 2x6¼" pieces
From fabric 8, cut: 8 2x9" pieces 8 2x7½" pieces 2 2x6¼" pieces
From fabric 5, cut: 8 2x7½" pieces 8 2x6" pieces 2 2x6¼" pieces
From fabric 9, cut: 8 2x7½" pieces 8 2x6" pieces 2 2x6¼" pieces
From fabric 6, cut: 8 2" x 6" pieces 8 2" x 4½" pieces 2 2" x 6¼" pieces
From fabric, 10 cut: 8 2x6" pieces 8 2x4½" pieces 2 2x6¼" pieces
PROJEC T: QU ILT
Colour it in and design your own!
MAKING THE BLOCKS
For each colour way, you will have eight sets of blocks made up the same way. (See Diagram A.)
side of the square until you have sewn the three colours.
Sew the last two strips onto the block top and then to the left side. Make eight in total.
Now make up the other colourway. You will make this one as before. (See Diagram B.) Make eight in total.
Clover Wonder Clips are perfect for keeping the strips for each block perfectly organised and together QUILT ASSEMBLY
Lay out the block for the centre, sew in rows and then sew the rows together.
Border. Add the border strips sides and then top and bottom. Now sew the two sets of blocks together on each side, top and bottom.
Take the centre square and stitch a 2x4Â˝" strip of fabric to it at the bottom, then the next one to the right-hand side, each time using two colours of fabric strips. Keep adding the strips to the one
Border. Sew the sashing strips to each end at the top and bottom blocks as
P ROJEC T: QU I LT
WE USED shown in the main diagram. Add this to the quilt. Now do the side, this time the sashing strips with be between the blocks. Sew to the sides.
All the fabric used here is from Lewis & Irene Bumbleberries collection www.lewisandirene.com
Border. Sew the sashing strips to the sides and then the top and bottom.
Choose darker fabric for the outer borders to frame the quilt. A strong contrast between inner and outer border gives the quilt a defined edge
Border for top and bottom. Next you will sew the top and bottom panel. Sew the strips as in the main diagram. Add to the top and bottom of the quilt.
Border. Now stitch the sides and then the top and bottom
Border. Sew the last border to the quilt sides and then the top and bottom.
Sandwich the quilt top, wadding and backing. Pin or baste layers and quilt as desired by hand or machine. Cut 2Â˝" strips from fabric 2 and double-bind the edges of the quilt. Designer:
for Lewis & Irene Lewis and Irene is a small, devoted team of passionate individuals. Jayne, Hannah and Bryan work very closely together, assisted by quilt designer Sally who works with the team on all projects and trade shows www.lewisandirene.com
FABRIC WE LOVE
Lewis & Irene at Quilt Now
This issue we have a fantastic subscription offer featuring the Bumbleberries range (turn the page for more details)
stockist You can find Lewis & Irene fabric at your local quilt shop, including some of our favourite retailers such as www.sewhot.co.uk www.quiltessential.co.uk www.newforestfabrics.co.uk www.remnantkings.co.uk www.doughtysonline.co.uk
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P ROJEC T: TOY
BRUIN the bear
This little bear with his charmingly grumpy face is quick and fun to sew BY SHARON EVEREST
PROJEC T: TOY
Bruin would also make a fantastic oversized pincushion (if you can bear to poke him with pins)
SAFETY FIRST! Using beads for the eyes will make this bear unsuitable for young children. If you want to make this as a gift for a small child, perhaps use two circles of felt for the eyes instead!
30cm square cotton fabric for the body, arms & ears scraps contrasting cotton fabric for the bear’s details (chest, nose panel, cheeks) small scrap of felt for the nose Vlieseline Bondaweb 2 small black beads or buttons for eyes toy stuffing or polyester cushion filling black or brown embroidery thread templates downloaded from www.quiltnow.co.uk
sharon everest See more of Sharon’s cute critters at www.modflowers.co.uk and visit her shop at www.etsy.com/uk/shop/modflowers
P ROJEC T: TOY
WE USED Swish Leaves in orange by Anna Graham and Blocks Bloom in red by Skinny laMinx for Cloud9 Fabrics. See www.hantex.co.uk/ mystockist for your local retailer
Fold your chosen fabric for the bear’s body in half, with right sides together. Use the template to cut a front and back.
Cut pieces of Bondaweb big enough for the bear’s chest, nose and cheeks. Place the rough side of the Bondaweb down onto the wrong side of the fabric you are using, ensuring none overlaps the edges of the fabric. Press with a hot iron (no steam) for a few seconds to adhere and allow to cool.
Draw around the pattern shapes for chest, nose and cheeks onto the backing paper on your chosen fabric (remember, these shapes will be reversed on the finished bear) and cut out. Peel off the backing paper, position on the right side of the bear front and press with a hot iron to fix in place. Then, using a small stitch on your machine and contrasting thread, carefully sew around the chest, nose panel and cheeks, close to the edge.
F Pull the thread tails through to the back afterwards using a needle. (See Pic A.)
Starting and finishing off on the wrong side and using backstitch, sew on the bear’s felt nose and embroider the mouth by hand. (See Pic B.)
Cut out the ears (a pair for each ear). Sew with right sides together, leaving the bottom of the ears open. Carefully trim and snip into the seam allowance on the curves (mind your stitches!) to reduce bulk, turn ears right side out – tweezers can be helpful here – and press flat.
Place the ears in position as shown. (See Pic C.) Place the bear’s back on top, right sides together. Pin in place (being sure to secure the ears) and sew around the edge with a ¼” seam allowance, leaving a 5cm gap for stuffing. (See Pic D.) Snip the curves and trim seam allowances around the feet. Turn right
sides out, carefully poking out the feet using a chop stick. Press, using no steam and avoiding the felt nose (which could melt). (See Pic E.)
Stuff firmly, pushing the stuffing well into the feet before filling up the body. Sew up the gap by hand, using tiny stitches. (See Pic F.)
Cut out the arms. Place two arm pieces right sides together and sew, leaving a small gap for stuffing. Snip curves, trim seam allowances at each end, turn RS out and stuff firmly. Sew up the gap. Repeat for the other arm.
Embroider claws and sew the arms securely to the bear’s sides. (See Pic G.)
Sew on two small black beads or buttons for eyes. Alternatively, if the bear is for a baby or small child, embroider eyes for safety.
A handpicked collection of fabrics... delivered to your door
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Makower, Michael Miller, Benartex, Kona Solids, Lewis and Irene, Riley Blake and more. Quilting accessories, threads, waddings and tools. Classes and workshops - please see our website for details. Loads of yarns for knitting and crochet too. The Skep Knitting & Quilting Shop, Gate 1, Springfield Commercial Centre, Bagley Lane, Farsley, Leeds, LS28 5LY, 0113 2362570
Opening hours: Wednesday - Saturday 10am - 4pm
P ROJEC T: QU I LT
WE USED Fabric used is Geogram by Samarra Khaja for Lecien Fabrics www.lecien.co.jp. A selection of the prints can be found at www.simplysolids.co.uk
PROJEC T: QU ILT
WONKY crosses Quick and easy blocks that can be used in many different ways, wonky crosses are great for exploring your creativity BY NICHOLAS BALL
P ROJEC T: QU I LT
If you’re new to improv, this quilt is the perfect introduction to liberated sewing. Make them big or small, fat or thin and you’ll soon get lost in a sea of colour and carefree piecing
FINISHED SIZE: APPROXIMATELY 54x49”
◆◆ ◆◆ ◆◆
selection of print fabric for the crosses – long quarters, fat quarters or strings are suitable selection of solid fabric for the background wadding binding fabric spray starch
THINGS TO REMEMBER Press fabric before cutting Use ¼” seam allowance WOF – width of fabric
before you begin... Because of the nature of improv piecing, it's not always possible to give exact measurements. You’ll notice no quantities listed in the materials required. This quilt is all about the process. First and foremost I encourage you to enjoy making the blocks, perhaps using any scraps you have to hand, before thinking about finished sizes. Once you’re happy with your quilt top, you’ll the have an idea of how much backing, wadding and binding you need. Each sewist’s wonky crosses will be different, and that’s the joy of this block!
Cut the print fabrics into strip ranging from ¾” to 2½”. If you want to your prints to be arranged in a particular order and increase in size as mine do, take the time to cut the sizes you need from each fabric. Alternatively, go random and cut with abandon! Cut the background pieces into a variety of different sized squares and rectangles. You could do this all at once or cut them in groups at a time. You’ll also need some larger pieces from yardage for filling in the background once all the blocks have been sewn.
Take a background piece and make a vertical cut through it, as angular as you like. Keep the left-hand piece in front of you and place the right hand piece to the side.
PROJEC T: QU ILT
The crosses are sewn made using a quick chain-piecing method. As long as you keep the pieces in the order that you cut them, you have a pile of crosses in no time
Be bold with your fabric choices! The crosses really stand out when they’re paired with a simple background. I used a selection of grey linen, which really adds great texture to the quilt. For your crosses, you could use a full colour spectrum like I have, or pick co-ordinating prints for a more cohesive look. The possibilities are endless!
nicholas ball When not knee-deep in fat quarters and bias binding, this fabric addict from Cardiff, South Wales can be found with his nose in a good fantasy yarn, walking his four-year-old pug Samuel or travelling to a far-flung wedding
Take a strip of print fabric and align the edge with the cut you just made in the background fabric. Trim to size, making sure to leave a little overhang at each end. Place it on top of the background piece, right sides together. Place the remaining length of print fabric to the side.
Repeat for all your background pieces, making sure to keep both the righthand pieces and the remaining lengths of print fabric in the order they were cut.
Take the stack of left-hand pieces to the sewing machine and sew each piece of print fabric to its background, making sure to chain-piece them all together. Once you get to the end, remove from the machine, go back to the beginning and sew the right-hand pieces to the print fabric, finger-pressing the previously sewn seams as you go. (See Pic A.)
Once each background piece has its first cross piece inserted, clip the pieces from the chain and press the seams with your iron, either open or, if your using particularly light fabric, towards the darker side. Again, remember to keep the pieces in the order they were sewn!
Now make a cut through each block in the opposite direction. I find it easier to turn the block 90˚ so that I can make a vertical cut. As you did before, place the right-hand piece to the side, take the remaining length of print fabric, cut a second piece to size and place right sides together with the background piece. Repeat for all the blocks.
Chain-piece all the print fabric pieces, remove from the machine and chainpiece the other halves of the blocks. Clip from the chain and press. A little steam and spray starch can help to get the blocks
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beautifully flat ready for trimming. Attention to detail now will help in later construction! (See Pic B.)
You should now have a pile of wonky crosses with lots of variation. Now comes the fun part! Take the time to arrange you blocks, resisting the urge to trim them until you’re sure of where they’re going. Sew them into larger slabs, sewing each slab to its neighbour until you have a completed quilt top. (See pics C and D.)
Baste the quilt top using pins or basting spray, making sure all three layers are nice and smooth with no wrinkles. Quilt as desired – I chose an edge-to-edge, meandering zigzag design. (See Pic E.)
Cut and sew your binding strip together end to end and press the seams open. Press the binding in half width ways, wrong sides together, and use to finish the quilt.
In association with:
OF MY QUILT
Katy Jones spent the day with the winners of our Story of my Quilt competition!
ast year in Quilt Now we ran a competition in conjunction with European Quilting Supplies (EQS), Riley Blake Designs and Janome UK, asking readers to share their favourite or most meaningful quilt stories with us. We had so many fabulous stories it was incredibly difficult to pick our favourites. But we did, and a few weeks ago our winners travelled to the Janome UK sewing school just outside Manchester to spend a day with Riley Blake’s founder Cindy Cloward, take part in a workshop and listen to her own stories about her quilts and the fabric we all know and love from Riley Blake.
We had so many fabulous stories it was incredibly diﬃcult to pick our favourites
Cindy had travelled over from Utah in the US for the event, which was most definitely the longest journey, but she was closely followed by Anne, who had come all the way from Somerset! We had a wonderful day; we saw some of Cindy’s quilts, learned about the process of fabric manufacturing and the history behind the company her and husband Brett founded and run.
Cindy then taught a workshop and we all set to work making pie blocks from Lori Holt’s sampler quilt pattern. Each of the attendees was given a gorgeous quilted pouch featuring scenes depicting Utah, the home of Riley Blake Designs, jam-packed with fabric, templates, rulers and tools to make the blocks. As a quilter turned editor, the one thing I miss most about my previous life is hanging out with my friends and sewing, so this day was the highlight of my month. Sitting in a room sewing with a group of ladies (and one man!) who had never met before and had been brought together by their shared love of quilts was an absolute joy and such a treat to get out of the office! Although the competition is now over, we would still love to hear your stories. Send an email with a description and photo of your quilt to storyofmyquilt@practicalpublishing. co.uk and we’ll print a selection in the news pages of the magazine, and maybe even send out the occasional goodie bag for our favourites! A huge thank you (and congratulations) to Ali, Cath, Julie, Heather, Anne, Harriet, Lyn, Christine and Christine’s husband Malcom for making the journey and sharing the day with us. Thanks also to Cindy and Brett from Riley Blake Designs and everyone at EQS and Janome for their wonderful hospitality and for hosting such a fun event with us.
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Courses throughout the year in patchwork, quilting, soft furnishing, dress making, fabric boxes and fabrc landscapes. Delightful accommodation all on the premises. Good food, excellent tuition, warm and friendly atmosphere, small groups, tailor-made to fit your requirements. Now available - lovely self contained cottage for 2 on site, bring your partner! For full details of courses contact:
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Wed 21st to Sun 25th Jun
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P R OJ EC T: S EWING CAS E
Keep all your sewing supplies handy for classes and travel, as well as in your sewing room BY KELLY MCCANTS
P ROJEC T: SE W I N G C AS E
This fantastic case folds up neatly for storage or travel, but also hangs on a hook in your sewing room when you want to work from home, keeping all your tools in one space!
Cotton canvas is ideal for this project, but quilting cotton will work well too FINISHED SIZE: CLOSED 18x20”, OPEN 18x36”
◆ ◆ ◆ ◆ ◆
2 yards mid-weight home décor fabric 1½ yards lightweight woven fusible interfacing (such as Shape-Flex by C&T Publishing) 1¼ yards double-sided fusible stiff interfacing (such as fast2fuse Light by C&T Publishing) ½ yard 1˝-wide elastic 2 packages (or 8 yards) of pre-made ½˝-wide double-fold bias tape ¾ yard 1˝-wide webbing 1 yard 1½˝-wide webbing magnetic snap disappearing ink marker tailor’s chalk
Use a clear, gridded ruler and a pencil to measure the pieces. This sort of ruler, used by quilters, can help you create square corners. Mark each interfacing and fabric piece on the wrong side with its corresponding letter to keep track of them. Use a rotary cutter and mat to cut out the pieces quickly and easily. (See Cutting Plan.) From the lightweight woven fusible interfacing: Draw the following pieces on the non-fusible side of the interfacing as shown in the diagram. Do not cut them apart yet. 3 5x18˝rectangles for pocket A 3x18˝ rectangle for pocket B 2 8x18˝rectangles for pocket C 5x14˝ rectangle for pocket D 3x14˝ rectangle for pocket E 8x18˝ rectangle for pocket F From remaining scrap of interfacing, cut: 3x12˝ rectangle for tab G
From the double-sided stiff fusible interfacing, cut: 18x39˝ rectangle for the main panel From fabric, cut: 2 18x39” rectangles for the inner and outer main panels 21x43˝ rectangle for the pockets
Following the manufacturer’s instructions, fuse the large marked pocket interfacing piece onto the wrong side of the 21x43˝ piece of home décor fabric. Fuse the 3x12˝ tab interfacing to a remaining scrap of home décor fabric. Use a pressing cloth to protect the iron and ironing surface.
Cut out all the fused pockets and the snap tab on the drawn lines.
Fuse a main fabric panel to the stiff double-sided fusible. Make sure to follow the manufacturer’s instructions;
P R OJ EC T: S EWING CAS E
A this interfacing is fusible on both sides so you need to iron using parchment paper under the fusible so that it does not stick to the ironing table.
The main panel gets a lot of handling during assembly, so reinforce the fusible interfacing by basting the two pieces together 1/8˝ from the outer edges.
We’ll be working from top to bottom, dividing the case into sections. The pockets will be sewn together and referred to as pocket units. The main panel can be hard to handle as you add pockets. Roll up the bulk of the panel that you are not working on and clip it with a peg or binder clip
Preparing the pockets by trimming the top, wide edge of the pockets A, B, C, D E and F with the double-fold bias tape. Edge-stitch in place.
On the right side of a pocket A piece, use a disappearing ink marker to draw vertical lines spaced 1½˝ apart across the width of the pocket.
Position the marked pocket 3˝ down from the top of the fused main panel, both right sides up. Pin it in place and sew the bottom of the pocket to the main panel using a ¼˝ seam allowance. (See Pic A.)
Stitch on the lines that you drew in Step 6, making sure to back-stitch at the top of each pocket for strength so your hard work doesn’t fall apart. These slim pocket slots are great for small tools.
Layer pocket B on top of another pocket A, aligning and pinning them together at the bottom. We’ll call this the A/B pocket unit. Sandwich and edge-stitch the bottom edge of the A/B pocket unit with the bias tape, trimming the bias tape flush with the pocket sides.
With the disappearing-ink marker, draw two vertical lines 6˝ in from the sides of the A/B pocket unit, starting at the top of pocket A.
Place the A/B pocket unit, right side up, 7˝ down from the top edge of the fused main panel, just covering the bottom of the first A pocket. Pin in place along the sides and bottom of the unit. Edge-stitch along the bottom of the bias tape to attach the pocket. Baste the sides of the pockets in place.
Stitch along the two lines drawn in Step 10, again making sure to back-stitch at the top of the pocket for added strength, to create three pockets across the panel. www.quiltnow.co.uk 63
P ROJEC T: SE W I N G C AS E
mix & match
Choose thread that matches with your fabrics and bias tape. Change the threads as you go for a more professional look
Pin the 18˝ piece of 1˝-wide elastic across the fused main panel 4˝ below the bottom of the A/B pocket unit. Use tailor’s chalk to draw a line in the centre of the elastic, and then draw 3 lines on either side of the centre, each 2¼˝ further out. Triple-stitch the elastic in place from top to bottom at the chalk marks. This elastic will snugly hold your thread spools. (See Pic B.)
Layer pocket E onto pocket D, both right sides up, aligning them at the bottom. Pin them together. Use the disappearing-ink marker to draw a 3˝ line down the centre of pocket E. Stitch the two pockets together along this line, back-stitching at the top, dividing pocket E into 2 sections.
Place the D/E pocket unit on top of a pocket C, both right sides up, aligning them at the bottom. Pin together along the bottom and baste together along the sides and the bottom, using a ¼˝ seam allowance. We’ll call this pocket unit C/D/E. (See Pic C.)
The C/D/E pocket unit is left open on the sides instead of at the top so that a large clear ruler can slide in and out easily. To finish the pocket, pin the remaining pocket C to the C/D/E unit, right sides together, along the 7˝ sides. Sew both of the 7˝ sides together using a ½˝ seam allowance.
Turn the pocket right side out and press the seams flat. Baste the top and bottom of the pocket C/D/E unit closed, using a ¼˝ seam allowance.
Trim the top and bottom of the unit with bias tape. Finish the ends by tucking them into the back side of the bias tape.
Pin the C/D/E pocket 1½˝ down from the bottom edge of the elastic, centred from side to side.
Edge-stitch the pocket at the top and bottom on the outer edges of the bias trim to attach it to the main panel. Reinforce the beginning and end of each seam with a second line of stitching 1˝ long. (See Pic D.)
D SECTION 3
Pin the remaining pocket A onto pocket F, both right sides up, aligning the bottom corners. With the disappearing-ink marker, draw a vertical line down the centre.
Align the bottom of pocket unit F/A at the bottom of the main panel. Pin and baste the pocket in place ¼˝ from the bottom and sides of the pocket/panel.
HANDLES AND SNAP
the openings and then cut the slits open and follow the manufacturer’s instructions to insert the male side of the snap.
After the snap is securely positioned, refold the snap tab, right sides together again, and then sew the sides closed using a ½˝ seam allowance. Clip the corners and turn the tab right side out; use a point turner or chopstick to get the corners nice and crisp. Press and set it aside.
Fold snap tab G in half lengthwise, right sides together, as shown. Draw a line across the width 1˝ away from the fold line and then draw another that crosses it at the centre, thus marking the centre of the magnetic snap. (See Pic E.)
Place the metal plate that came with the magnetic snap on the tab, centring the plate on the centre mark from the previous step. Trace inside
From the 1½˝-wide webbing, cut two pieces, each 18˝ long. Sew a tight zigzag stitch at the ends of the cut webbing to keep them from unravelling.
For the handles, cut the 1˝-wide webbing into 2 pieces, each 13˝ long. Again, sew a tight zigzag stitch at each end of the webbing.
P R OJ EC T: S EWING CAS E
Mark the centre on the wrong side of each of the 1½˝ webbing pieces. Mark 2˝ out from either side of the centre.
On the right side of the remaining main panel, draw a horizontal line 1½˝ from the top with a disappearing-ink marker. Mark the centre of the panel along this line.
Pin the 1˝-wide webbing handles to the wider webbing pieces outside the 2˝ marks, ½˝ down from the top edge of the wider webbing, to make 4˝-wide handle loops.
Pin the snap tab to one piece of the wider webbing, matching the centres and placing the raw edge of the snap tab 1˝ down from the top edge of the webbing as shown. Add the other side of the magnetic snap to the centre of the other webbing handle as shown. Make sure your snap tabs are placed so that they will meet up when the supply case is closed. (See Pic F.)
Sew the handles and the snap tab into place along the edge of the wider webbing.
Repeat the previous step, but 14˝ from the bottom.
within the double-fold bias tape, starting with the edge of the bias trim flush with the bottom-right corner.
Pin and edge-stitch the bias trim in place around the edge of the case. Pay attention at the corners and fold in for a mitred effect. Once you reach the starting point, tuck the ends in and finish.
Pin the two handle webbing units below the 1½˝ line and above the 14˝ line as shown. Edge-stitch in place. (See Pic G.)
Following the manufacturer’s instructions, fuse the back main panel to the double fusible side of the main panel with the pockets. The webbing with the female snap tab should be at the A/A/B end of the outer main panel.
With the pocket side of the case up, sandwich the raw edges of the case
about the book
Taken from At Home with Modern June by Kelly McCants, £14.38 www.ctpub.com
If you are looking for a bargain or some inspiration then this new venue is the place to come.
â€œFabric Saleâ€? For Quilting and Craft Projects Sunday 18th June 2017 10am to 4pm Fabric, Haberdashery, Kits, Crafts, Embroidery. Come and see all the stalls for a bargain or two. Refreshments
De Ferrers Academy Dove Campus Harehedge Lane Burton on Trent Staffordshire, DE13 0AS
FREE ENTRY FREE PARKING
For information or to book a stand email Jenny or Sue on Materialgirls16@outlook.com
PROJEC T: CU S HION
This little chap is simply pieced and certain to put a smile on anyoneâ€™s face! BY PAULA STEEL
P ROJEC T: CU S H I ON
Fancy trying one of Paula’s other animal patterns? Find Atomic kitty in issue 33 and Rainbow unicorn in issue 35. Pick up back issues at www.moremags. com and www. craftstash.co.uk
FINISHED SIZE: 18” SQUARE
MATERIALS ◆ ◆ ◆ ◆ ◆ ◆ ◆ ◆ ◆
¾ yard Cream Flurry fat quarter Amber Kona ½ fat quarter Goldfish Kona Jade Flurry fabric scraps Steel Kona scraps silver & white Kona denim fabric 18” cushion inner 20” wadding square
You can download paper-piecing templates for small HSTs from www.quilting andwhatnot.ca
From the Cream Flurry, cut: 4 2” squares 7 2½” squares 4” square 6½x2” rectangle 3 3½x2” rectangles 2 3½x5” rectangles 2 19¼x2” rectangles 2 16¼x2¼” rectangles
From the Jade Flurry, cut: 2 2½” squares 4” squares 2 3½x1¼” rectangles
From the Amber Kona, cut: 5 2” squares 9 2½” squares 4” square 6½x2” rectangle 4 3½x1¼” rectangles 3½x2¾” rectangle 6½x2¾” rectangle
From the silver Kona, cut: 5 2½” squares 2 3½x1¼” rectangles
From the Goldfish Kona, cut: 5 2” squares 3 2½” squares 2 1¼” squares
From the denim fabric, cut: 2 13x19” rectangles
From the Steel Kona, cut: 6 2” squares 4” squares 6½x1¼” rectangle
From the White Kona, cut: 8 2” squares 4 1¼” squares 2 3½” x 1¼” rectangle
PROJEC T: CU S HION
HERE’S A TIP! I always make my HSTs a bit bigger than needed so that I can trim them down. With the small ones I make them quite a bit bigger so that they are less fiddly to sew and trim. You still need to take care when sewing the smaller HSTs together
MAKING THE HSTS
Place the fabric squares right sides together (RST). Using a ruler draw a line diagonally from one corner to the opposite corner. (Draw line on diagram).
Sew a ¼” away from the drawn line and then repeat the other side of the line. Cut along the line you drew from one corner to the other, you will now have two HSTs (half square triangles) for each square.
Amber/White Use 2” squares Trim to 11/4” Amber/Light Orange Use 2” squares Trim to 11/4” Dark Grey/White Use 2” squares Trim to 11/4”
Light Grey/Cream Use 21/2” squares Trim to 2”
Jade/Cream Use 21/2” squares Trim to 2”
8 6 squares are either marked L for large (31/2” unfinished), M for medium (2” unfinished) or S for small (11/4” unfinished). There are three rows, which you make up by completing the patches within the black boxes in the diagram.
Open out and iron the seams towards the darker fabric. You will need to trim these HSTs to the required size.
MAKING THE FOX PATCH ROWS
The diagram shows how the individual squares, HSTs and rectangles go together. There are some handy measurements so you know which rectangles are which. The HSTs and
4 4 2 8
Light Orange/White Use 2” squares Trim to 11/4”
Amber/Cream Use 21/2” squares Trim to 2” Amber/Light Grey Use 21/2” squares Trim to 2”
Amber/Light Orange Use 21/2” squares Trim to 2”
Jade/Light Orange Use 21/2” squares Trim to 2”
Jade/Amber Use 4” squares Trim to 2”
Dark Grey/Cream Use 4” squares Trim to 2”
P ROJEC T: CU S H I ON
Row 1. Create the ears by joining together the six medium HSTs for the top of the ear. Sew together the two strips of amber and grey fabric and then add the seventh medium HST to the end, as in the diagram. Repeat for the other ear, making sure that you follow the layout pictured. For the middle of the ear join together the two medium HSTs with the 3½x2” cream rectangle and then attach to the 6½x2½” amber and cream rectangles. Join the three patches together to complete the row.
Row 3. Row 3 is the simplest row. Start by sewing together the four medium HSTs then attaching thee cream 3½x2” rectangle to the side. Join the 3½x5” cream rectangle to the bottom. Repeat for the other side. For the nose patch join the two large black and cream HSTs together before attaching the black and amber rectangles on top. Join the three patches together to complete the row.
Row 2. Start by sewing together the small black and white HSTs to form the side of the pupils. Attach these to the medium black square and then sew the 3½x1¼” white rectangle on top. Sew together the small amber and white HSTs with the small white square and attach this to the eye. Do the same with the orange and small white HSTs and small white square and attach to the opposite side of the eye. Finally attach the small amber and orange HST to the small orange square before sewing the medium orange square on the bottom. Repeat for the other eye. Create the teal flurry whiskers by sewing together the two medium HSTs and the 3½x1¼” rectangle before attaching to the large amber and flurry HST. Repeat for the other side. Then attach these patches to the bottom of the eye patches. To create the middle row join together the medium HSTs then add on the 3½x2¾” amber rectangle. Join the three patches together to complete the row.
MAKING THE CUSHION
Before making the cushion we need to add a border to the patch to finish it off. Add a 16¼x2¼” strip to the rightand left-hand sides. Add a 19¼x2” strip to the top and bottom.
Baste the fox patch to the quilt wadding using spray or pins and then quilt the top as desired. Once quilted trim the excess wadding off so that you are left with a 19” square.
Cut two denim pieces 19” wide by 13” high. Hem a ½”” edge on each of the denim pieces to hide the raw edges. Place them right sides together with a staggered start so that the total length is 19”. With a narrow seam allowance sew where they join, this just keeps it nice and together when you make the cushion.
Place the front and the back of the cushion RST and then pin or clip around the edges.
Using a ½” seam sew all around the outside of the cushion and then trim the corners. Turn the cushion cover right side out and put your cushion inside.
PAULA STEEL Paula owns www.sewyellow.co.uk which sells modern fabric, kits and gifts
S HOP P ING
Inspired by this issue’s Frankie Fox and Bruin Bear to add a little bit of the animal kingdom to your home? These might tickle your fancy…
Starting at £29.99, this collection of animal vases includes wall pots, which would make great sewing room storage for your bits of trim, buttons and thread www.miafleur.com
EDITOR’S PICK This magnificent parrot is a money box. The ideal way to save for the next must-have fabric collection, £46 www.miafleur.com Sew up this cute bear from a kit. Ideal first project, £14.95 www.sianzeng.com
Add a little spice to the dinner table with these flamingo salt and pepper shakers, £21 www.miafleur.com
Long-arm Quilting Directory For all your quilting needs, contact the experts below Whether it’s a quilt for a special occasion and you don’t trust your own skills, you can’t bear the idea of quilting a bed-sized quilt on your domestic machine, or you just want to try out a professional service to see what they’re all about, we have your longarm needs covered! In our directory you can find everything for long-arm quilting, whether you need supplies or to find a professional in your area. CUMBRIA Cumbrian Long-arm Quilting Computerised, all-over edge-to-edge quilting using Aurifil cotton thread to enhance your quilt top. Contact Cath Brough to discuss your requirements. 01229 718944 firstname.lastname@example.org Instagram @ cumbrianlongarmer www.facebook.com/Cumbrian Longarm Quilting YORKSHIRE Capricorn Quilting Award-winning long-arm quilting service in Sheffield. Choose from edge-to-edge to heirloom quilting. As the UK HandiQuilter Educator, it also provides long-arm quilting lessons. SOAR Works Knutton Road Sheffield, S5 9NU 07834320104 Info@capricornquilting.co.uk www.facebook.com/ CapricornQuilting Quilt Sandwich Personalised long-arm quilting and finishing service with computerised precision. USA trained. Largest range of extra-wide backing fabric in the UK. Workshops and retreats. The Royal Bridlington Shaftesbury Road Bridlington YO15 3NP 01262 672433
email@example.com www.quiltsandwich.co.uk www.facebook.com/ QuiltSandwich The Quilt Cabin Professional long-arm quilting service with a computerised system for precision accurate stitching, from edge to edge or customised choose from a wide range of patterns to compliment your patchwork top. Unit 1 New Oxford House Albert St Hebden Bridge West Yorkshire HX7 8AH Tel 01422 842549 www.thequiltcabin.co.uk facebook The Quilt Cabin UK BERKSHIRE The Running Chicken Long-arm quilting service using a Gammill machine. Custom/ simple edge-to-edge work to suit your quilt. 10 year anniversary this year! Webshop provides eclectic mix of fabric, from ditsy reproduction prints to quirky moderns. 01189 424085 karen@therunningchicken. co.uk therunningchicken.co.uk EAST SUSSEX Longarm-Quilting.weebly.com Friendly service offers quilting services of basting, all-over designs, custom quilting and
binding. We help you finish your quilt. Prices based on size. Brynarian Penlon Road Newcastle Emlyn Carmarthenshire SA38 9HQ 07775 681772 www.longarm-quilting. weebly.com HAMPSHIRE Brigitte Gillespie Longarm quilting; Patchwork classes; Maximum of 6 per class with a relaxed atmosphere. Free parking, shops and restaurant. The Old Stables, Oakhanger, Hampshire/Surrey border, GU35 9JA 07789 328376 Facebook and Instagram: Brigitte Gillespie Patchwork Lovingly Quilted Long-arm Quilting Lovingly Quilted is delighted to offer a wide range of long-arm quilting services at competitive prices. Includes edge-to-edge and custom quilting, basting and binding. Contact Louisa 6 Oakwood Road Chandlers Ford, Eastleigh Hampshire SO53 1LU 02380 275681v Louisa@lovinglyquilted.co.uk www.lovinglyquilted.co.uk Green Hill Long-arm Quilting Providing edge-to-edge and customised quilt service.Wide
range of quilting patterns and threads. Personal consultation by appointment. Gammill dealer UK and Europe. 3 Bell Street Romsey Hampshire SO51 8GY 01794 278 050 greenhilllongarmquilting@ yahoo.co.uk www.greenhilllongarmquilting. co.uk THREADS Machine Quilter Beautiful extensive range of Superior Threads for long-arm quilting. BULK BUY DISCOUNTS! Easy to assemble machine quilting frames. Machine Quilting Retreats, DVDs, Workshops, Demos. Lincolnshire based, we supply all the UK and Europe. 01526 553366 www.machinequilter.co.uk firstname.lastname@example.org GLASGOW Lismore Quilting Mairi at Lismore Quilting has Brought to Glasgow the first Gammill Statler. Bring along your Quilt tops. Hundreds of stitched out patterns, basting & binding. Lismore, 29 Victoria Crescent, Clarkston, Glasgow, G76 8BP email@example.com www.lismorequilting.co.uk 07747 691197
P ROJEC T: P OU CH
This laminated cotton quick-to-sew, wipe-clean pouch makes a useful and unique gift BY LOUISE AMBROSI
When cutting laminated cotton, trace on the back of the fabric with a pencil or tailorâ€™s chalk
P ROJEC T: PO UC H
Sewing with laminated cotton is easier than you might think! Also called ‘slicker’, laminated cotton is a coated fabric as durable as oilcloth but thinner and more flexible
0.25m laminated cotton 0.25m co-ordinating cotton for lining 0.25m sew-in fleece or wadding 0.25 medium woven cotton interfacing 12” all-purpose closed nylon zip
From the laminated cotton (main) fabric, lining fabric, fleece and interfacing, cut: 2 12” wide x 9½” tall rectangles for zip pouch
2” square on the bottom corner. (If using directional fabric, make sure the pattern is the right way up.) Repeat with the lining pieces. (See Pic A.)
From the lining fabric, cut: 2 3x1½” rectangles for zip tabs
PREPARE THE ZIP
PREPARING THE PIECES
Louise is a self-taught bag maker who loves working with funky prints and functional fabric like laminated cotton, which is practical and so versatile for many sewing projects. See more from Louise at www.sewsofia.co.uk Visit her shop at www.sewsofia.etsy.com or find her at www.facebook.com/sewsofia
With your iron on a low setting and no steam, fuse the interfacing onto the back of the laminated cotton pieces. You may want to test a small piece first – or fuse this to the lining pieces instead.
Pin the sew-in fleece to the back of the two lining pieces. Set your machine to its longest stitch and baste around all four sides at ¼” seam allowance.
Fold the main fabric pieces in half WST (wrong sides together), mark and cut a
With the zip partly open, carefully cut off both ends including metal stopper so that it measures exactly 12”. Flip the zip upside down and baste-stitch each end a few times to secure. (See Pic B.)
Fold the two zip tabs pieces in half WST to match short edges and press. Pin to the ends of the zip with the folded part pointing inwards and stitch close to the fold to secure. (See Pic C.)
SEWING THE ZIP
Switch to a zipper foot. The zip is sewn to the pouch pieces in two stages to prevent it from sliding on the laminated cotton. Place the zip face down on the top
P ROJEC T: P OU CH
right side (RS) of the main fabric and use clips to hold in place or pin within the seam allowance. (See Pic D.) Stitch with a ¼” seam allowance and stop 1” before you reach the zip pull. Keep the needle in the fabric, raise the foot, pull the zip out of the way, lower the foot and continue stitching to the end. Take your time; it needs to be perfectly straight. (See Pic E.)
as the stitches will be visible. This part is optional, as the bag will be top-stitched again in the final step.
the centre. The zip will lean towards the lining side.
Place a lining piece RS down on to the zip, pin/use clips to hold in place. Flip over to the WS of the main fabric and sew directly over your previous stitches. This will ensure a perfectly straight finish. (See Pic F.)
Set your machine to a longer stitch. Move the lining away from the zip in the opposite direction to the main fabric. Top-stitch ¼” from the zip on the main fabric only. (See Pic G.) Sew slowly
Repeat steps 6-8 on the other side of the zip with the remaining main and lining pieces. Your main fabric pieces will be RST (right sides together) with the zip right side up in between. (See Pic H.) Your lining pieces will be RST with the underside of the zip in between (See Pic I.) You should now have two main body pieces adjoined by the zip and two lining pieces beneath. (See pics J and K.)
On the wrong side of the main pieces, trim the zip tabs to reduce bulky seams. With zip fully open, place the main pieces RST and lining pieces RST. Pin together along the long edges and base. (See Pic L.) Pay particular attention to matching the zip seams in
Switch to a normal foot and starting with the main pieces, stitch along both long edges at ½” seam allowance. Stitch the base of the main pieces. Do the same with the lining base, but leaving a 3-3½” gap in the centre. (See Pic M.) Trim the seam allowance to ¼” apart from the bottom open end of the lining.
Place your hand inside the bag towards a bottom corner of the main fabric and bring the bottom and side seams together, matching the raw edges. Finger-press the seams open and carefully match and pin the seams to create a boxy base. (See Pic N.) Stitch the corner at ½” seam allowance. Repeat with the other corner of the main fabric and with the lining corners. (See Pic O.)
P ROJEC T: PO UC H
Decorate the zip pull with a charm or tassel R
Reach into the bag through the gap in the lining and gently ease out the main bag. Use a pointed item such as a paintbrush end to gently ease out the zip tabs. (See Pic P.)
Press the lining gap seam in by ½” and stitch to close from corner to corner. (See Pic Q.)
Push the lining into the bag. Fingerpress around the top of the bag and use a few clips to keep the edge flat. Switch to a walking foot or Teflon-coated foot if you have one.
Set your machine to a longer length stitch and top-stitch alongside the zip as far as you can. If you top-stitched in Step 8, simply sew over these stitches. If your machine struggles with topstitching laminated cotton, you can also stitch from the inside of the lining instead. (See Pic R.) Top-stitching in this last step helps prevent the lining fabric from getting caught in the zip.
Elephant bag charm by ChangnoiBags on Etsy
ALTERNATIVE IDEAS Add a slip pocket or two to the lining pieces before adding the zip Use water-resistant fabric for the lining to make the bag completely waterproof Add a contrasting base in faux leather
WE USED The Amy Butler laminated cotton used for the bag is available from www.etsy.com/shop/laminates Dashwood Rose Twist in cotton used for the lining is available from www. poppiesandpolkadots.co.uk
FINISHED SIZE: 11” TOP WIDTH, 7” BOTTOM WIDTH, 7” HEIGHT, 4” DEPTH
Tips for working with laminated cotton Pins will leave holes, so either pin in the seam allowance or use Wonder Clips Do not iron the coated side! Finger-press any seams before top-stitching. You can iron the back of laminated cotton on a low setting to remove any creases A walking foot or Teflon foot can help with topstitching A size 14-16 denim needle is recommended Sew using a longer stitch for topstitching, and go slow on the pedal!
The Quilting Directory Buckinghamshire
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We are Darlington's largest one-stop craft shop, selling cake decorating supplies, fabric, wool, needle-felting supplies and lots more! We are open Tuesday, Wednesday & Friday 10am-4pm, Thursday 9.30am-7pm and Saturday 10am-2pm.
21 Whessoe Road, Darlington, DL1 4LE 01325 381463 www.callendercakes.co.uk www.facebook.com/callendercakeandcraft
Textile Craft Shop, Patchwork Emboidery Felting and Haberdashery Workshop and Classes - all ages. Open 9am til 4pm Tuesday til Saturday Devonshire Way, Heathpark Industrial Estate, Honiton, EX14 1YF Tel: 01404 549 871
HANTS Reads of Winchester Suppliers of sewing machines. Janome, Elna, Bernina, Toyota, Jaguar Both new and reconditioned.
And Sew On Fabrics Fabrics, Haberdashery, Pre-Cuts, Books, Patterns, Panels Tuesday - Saturday 10-5 Sunday 10.30-4 Unit 12 Blake House Craft Centre, Blake End, Rayne, Essex, CM77 6SH 01376 346 532 www.andsewonfabrics.com firstname.lastname@example.org
Based in Leigh-on-Sea, Essex, we are a friendly, well-stocked craft shop, stocking a wide range of craft products and supplies. tel: 01702 512 289
Many machines on display demonstrations available. Sales service repair haberdashery supplies
Tel 01962 850950 1 St Thomas Street, Winchester, hants SO23 9HE Open Monday to Saturday 9am to 5pm
Kent Open Monday-Saturday 10.00 - 4.00 Makower, Nutex, Lewis & Irene, Fabric Freedom, Timeless Treasures, Springs Creative, Disney, John Louden and more! P and Q Notions, Embroidery & Picture Framing. Small friendly classes, workshops, individual tuition arranged to suit. The Hop Farm, Maidstone Road, Paddock Wood, Kent, TN12 6PY 01622 804 924
11-12 George Arcade, South Molton, Devon, EX36 3AB, 01769 574071 Patchwork and quilting supplies. Classes and workshops. Open 9am - 5pm Monday to Saturday www.stepbystep-quilts.co.uk
Victorian Arts and Crafts Famous for our friendly help and advice
Find us at 8 Blackpool Old Rd Poulton-Le-Fylde FY6 7DH 01253 883685 Patchwork and Quilting Fabrics, Threads. Cutters Rulers etc Cross Stitch, Tapestry, Knitting, Crochet Give us a ring and get 10% oďŹ€ your order when you give this promotion no: 2746
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I NT E RVI E W
with Sarah Payne This month we get to know more about leading designer and Quilt Now contributor Sarah Payne and her charity trek in Nepal
THE AMAZING QUILTS FOR KIDS NEPAL MANAGER RAVINA HOLDING THE QUILT I BOUGHT
WITH MY DAD AND MY BROTHERS CELEBRATING DAD’S 70TH BIRTHDAY BEFORE WE KNEW OF THE DIAGNOSIS
TELL US MORE ABOUT YOUR TREK IN THE HIMALAYAS
I have just completed a trek in the Himalayas, ascending to Poon Hill in the Annapurna Mountain range at a massive height of 3,210m, all in aid of two charities. Not bad for a cuddly quilter! I chose to do this trek and raise money for Heartburn Cancer UK, which works to increase awareness of oesophageal cancer. Just weeks after my dad’s 70th birthday doctors found a tumour on his oesophagus, and since then he has undergone chemo and radiotherapy and had a full oesophagectomy. He is one of the lucky ones – and should eventually make a full recovery. I really felt that I needed to do something to help those who are taking the same journey that we did, and to say thank you to those who helped us. So I chose a
challenge that befits the struggles that my dad has been through, and continues to go through. Nepal is a place that he has always wanted to visit – and now he can experience it through me. However, I couldn’t go all that way and not do something for the country I was visiting, so I also chose to help a charity called Quilts for Kids Nepal, which is a microfinance project based in Kathmandu. It provides work for women and helps to finance education for underprivileged children. The women on the project make quilts, and the sale from a single quilt sends a child to school for a year. I thought it was such a great charity that I just had to buy one! Quilts for Kids manager Ravina Kuar is an amazing young woman who operates the charity and attends school full time. She still somehow manages to keep an eye on all 55 of the kids, send them off to school and help them with their homework when she comes home!
ONE OF MY KANTHA STITCH SAMPLES
WHEN I HAVE TIME I ENJOY A BIT OF HAND EMBROIDERY
WHAT CLASSES DID YOU TEACH IN KATHMANDU? HOW DO THE STYLES AND TECHNIQUES DIFFER FROM UK QUILTING?
I taught English paper piecing to the ladies of Quilts For Kids Nepal in Kathmandu. I chose this technique because the ladies in my class sew everything by hand. They do not have access to a reliable electricity supply so machines are not commonly used. They work in dark cramped conditions, and yet produce the most beautiful works of art. I have been taking donations of sewing needles to help them continue with their beautiful quilts.
WHAT ARE YOUR TIPS FOR ANYONE LOOKING TO COMBINE THEIR QUILTING WITH CHARITABLE WORK?
Use the internet to find a charity or cause that you can really believe in. People respond better to you when your passion really shines through. Once you find something that is meaningful for you, start talking to family, friends and work colleagues. You never know who may have a hidden talent that can help you achieve your goal.
DO YOU HAVE ANY MORE CHARITY QUILTING PLANS COMING UP?
I will be teaching an All Night Quilt-Along 13th – 14th May to raise more funds for Heartburn Cancer UK. We start quilting at 9pm through till 8am when we stop for breakfast. It is huge fun and a great way to spend a weekend! You can find out more about it and get involved at www.sarahpayne.co.uk and www.facebook.com/SarahPayneQuilter
DO YOU THINK YOU’LL TAKE INSPIRATION FROM ASIAN QUILTING STYLES? HOW MIGHT THIS TRANSLATE IN YOUR WORK?
I love hand stitching, with Kantha stitching being a personal favourite. With my job there is little time for taking the ‘slow lane’ – I am often rushing to get samples finished for magazines or for shows and so hand sewing is out of the question. I think I will just have to slow down and enjoy the process. I especially love crazy patchwork style, with the freedom of patterns and the full-on extravagance and exquisite detail of the embroidery used. TRAINING FOR THE BIG HIKE! www.quiltnow.co.uk 79
P ROJEC T: CU S H I ON
CROCHETED granny square Taking inspiration from a vintage crocheted blanket, this bright cushion is sure to jazz up any spot in your house BY LISA NAYLOR 80 www.quiltnow.co.uk
PROJEC T: CU S HION
If these colours aren’t to your taste, try choosing five that suit your home. Make sure there is strong contrast between the colours that will sit next to each other
FINISHED SIZE: 18” SQUARE
◆ ◆ ◆
fat quarter Kona Ultra Marine (blue/green) fat quarter Kona Azalea (pink) fat quarter Kona Alegria (blue) fat quarter Kona School Bus (orange) 0.5m Kona Shadow (grey) 20” square wadding
From the Ultra Marine fabric, cut: (a) 4 2” squares (b) 4 1” squares (c) 2 15x2½” pieces (d) 2 19x2½” pieces From the Azalea fabric, cut: (e) 4 5” squares (f) 8 3x2½” pieces (g) 8 1” squares From the Alegria fabric, cut: (h) 8 3” squares
LISA Naylor Lisa has a ‘give it a go attitude’ and likes to try her hand at anything and everything new. She co-owns the online fabric shop Simply Solids as well as being a busy mum www.simplysolids.co.uk
From the School Bus fabric, cut: (i) 4 3” squares From the Shadow fabric, cut: (j) 8 2½” squares (k) 36 1” squares From the backing fabric, cut: 2 18½x14” pieces
THINGS TO REMEMBER Use a ¼” seam allowance unless otherwise stated
Draw a diagonal line on (a) Ultra Marine, then place over one corner of (e) Azalea. Stitch along the line. Trim away excess and press seam towards (e). Repeat for other three sets of (a) and (e).
Draw a diagonal line on (j) Shadow, then place over one end of (f) Azalea. Stitch along the line, trim and press towards (f). Repeat for other seven sets of (f) and (j).
Following the same process, cover just three corners of all eight (h) Alegria and four (i) School Bus blocks with (k). On the remaining corners of (h) block, add (g) Azalea. Then add (b) Ultra Marine to (i).
P ROJEC T: CU S H I ON
WE USED The Kona cottons by Robert Kaufman are available from www.simplysolids.co.uk
Following the diagram, lay out the pieces as shown. Start by sewing two (f) Azalea blocks together, then two (h) together with Azalea meeting in the middle. Then add them to each other to form a square. Repeat three more times.
then double folding. Stitch in place. Place right sides together with cushion front, matching raw edges and with sewn edges overlapping in centre. Sew around all four sides then turn right sides out and press.
Sew all four (i) blocks together, ensuring Ultra Marine meets in the centre.
Lay out the nine blocks as shown and sew each block in rows, then sew these rows together to give you a 14½” block.
fancy a change?
Add two border (c)s to opposite sides of the block. Trim and press. Add the final borders and trim back to 18½” and press.
Make an envelope back by turning over one end on each panel ½” and
Why not try some of these colour palettes and make a set of mismatched cushions?
16 Milnrow Road, Shaw, Oldham OL2 8EQ Please note if you will be using a sat nav system then please use the postcode OL2 8AP.
We will now be opening Tuesdays to Saturdays 9.30am -5.30pm All our show dates are shown on our website There is a large car park behind the shop and we also have a rear door entrance. As well as over 1000 bolts of fabrics we also sell wool felts, waddings, button angel patterns, annie smith doll patterns and large variety of bag and doll kits. We now stock Stylecraft yarns and Rico pompom wool
E: firstname.lastname@example.org T: 07981 748 211
to advertise in
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T H E
S T Y L I S H
G U I D E
D R E S S M A K I N G
ISSUE 8 ON SALE 11th MAY
2 FREE patterns Six summer styles to sew
SI ZE S 4-20
BUILD YOUR SKILLS WITH THESE GREAT PROJECTS!
FLY AWAY H SUMMER CLUTC
EVERYDAY BELL-SLEEVE BLO USE
CUTE KIDSâ€™ DUNGAREES
Order your copy today at www.moremags.com/sni8
P ROJEC T: P LAY MAT
FARM TRAVEL play mat This play mat folds out to about the size of a place setting and then rolls up to neatly fit in your handbag BY JENNY COLLINS www.quiltnow.co.uk 85
P ROJEC T: PLAY M AT
As a family we enjoy travelling, eating out and visiting friends. The play mat was created so our children could take their favourite toys with them wherever we went. I started my design label Ginger Cwtch with the aim of designing and making gifts that children love and encourage creative play
B MATERIALS ◆ ◆ ◆
◆ ◆ ◆ ◆ ◆
50x50cm play mat fabric 50x80cm outer & pouch fabric 30x32cm cotton fabric for pouch lining 50x80cm iron-on fusible interfacing 20cm standard zip snap fastener or press stud contrasting thread point turner/or chop stick templates on page 88 and www.quiltnow.co.uk
THINGS TO REMEMBER Seam allowances are 1cm unless otherwise specified
Using the templates, cut: 1 mat in farm fabric (make sure the pattern runs horizontally (See Pic A.) 1 mat and 2 pouches in outer fabric 1 mat and 2 pouches in interfacing 2 pouches in cotton lining
This would make a great gift for any child. Pop a few shop-bought animals inside too!
Fuse the interfacing to the outer mat and pouch fabric according to the manufacturer’s instructions. With right sides together (RST) pin and sew the play mat and outer fabric together, leaving the top edge open. (See Pic B.)
Trim seam allowances to 0.5cm and clip the corners. (See Pic C.) Turn right side (RS) out, using the point turner to push out the corners.
Press, then top-stitch 1cm from the outer edge. (See Pic D.)
Sandwich the zip between the outer and lining fabric. (See Pic E.) Use a zipper foot to sew in the zip. Repeat for the other side of the zip.
Fold all layers away from the zip, press and top-stitch. (See Pic F.)
Turn the lining fabric RST, pin then sew down the slanted edges and approximately 2.5cm on each end of the bottom edge. (See Pic G.)
P ROJEC T: P LAY MAT
Turn the outer fabric RST, pin and sew down the slanted sides.
Place the play mat inside the outer fabric pouch, lining up the raw edge of the play mat with the unsewn edge of the pouch. Pin and sew along the bottom edge.
Form box corners on the inner and outer pouches by pulling the corners outwards and lining up the seams. Pin, sew and trim the excess. (See Pic H.)
Turn the pouch RS out through the opening in the lining and stitch the opening closed. (See pics I & J.)
Fix a snap to the centre of the flap and the middle of the play mat as marked on the pattern. (See Pic K.) Fold and then roll mat around pouch to close. (See Pic L.)
WE USED For similar fabric try Minerva Crafts, it has a fab selection of novelty animal prints. Why not try a jungle theme or seaside for something different to a farm? Vlieselene S520 Flexible iron-on fusible interfacing £5.99 per metre www.minervacrafts.com
Jenny collins Find out more about Jenny and Ginger Cwtch www.facebook.com/gingercwtch www.instagram.com/handmadebyjenxx www.folksy.com/shops/GingerCwtch
TEMPLATES Top Edge - leave open to allow turning RS out
Travel Play Mat - Mat Pattern Cut 1 x Playmat Fabric Cut 1 x Mat Outer Fabric Cut 1 x Interfacing 1cm Seam Allowance
Registered Design of Ginger Cwtch for personal use only
Top Edge - align zip here
Travel Play Mat - Pouch Pattern Cut 2 x Pouch Outer Fabric Cut 2 x Pouch Lining Fabric Cut 2 x Interfacing 1cm Seam Allowance
Registered Design of Ginger Cwtch for personal use only
of the month
Share your blocks on social media using #quiltnowbom @quiltnowmag
You can go your own way!
Welcome to month 10 of our new mystery sampler BOM. We’re mixing things up for our third year. Each month we’re going to be giving you two block designs, one machine pieced and one English paper pieced (EPP). You can choose to make either or both. We’ll be showcasing Art Gallery Fabrics Pure Elements solids in our quilt, which will include all 24 blocks. We know the quilt will look just as good in
your favourite prints and fabric collections too, so Reene will be sewing along with a print version throughout the year. We hope to see even more readers get on board and sew along with us. So let’s get on with our blocks – this month we’re making a machine-pieced pushing the envelope block and an EPP octagonal star block.
QUARTER TRIANGLE UNITS
Mark a diagonal line on the wrong side of each of the 5¼” peach squares.
Place a 5¼” peach square right sides together with a 5¼” blue green square and pin in place. Sew a ¼” seam allowance either side of the marked line. (See Pic D.)
Cut along the marked line to create two HST units. Trim each unit to 4⅜”, taking care to keep the diagonal seam aligned with the corners of the block.
Repeat steps 8-9 with the remaining 5¼” peach square and 5¼” Warm Cream square. (See Pic E.)
Mark a diagonal line on the reverse of one of the peach and Warm Cream HST units and place it rights sides together on top of the peach and blue green HST unit ensuring the seams nest together. Pin in place and sew a ¼” seam allowance either side of the marked line. (See Pic F.) Cut along the marked line to create two quarter triangle units.
Trim each unit to 3½” square, taking care to keep the diagonal seams aligned with corners of the block.
MATERIALS ◆ ◆
◆ ◆ ◆ ◆
4” square coral solid (Coral Reef) 5¼” square blue green solid (Warm Wave) F16th peach solid (Apricot Crepe) F16th warm cream solid (Creme de la Creme) F16th pale blue solid (Icy Mint) F8th white solid paper for templates 4 copies of template from issue 34 (available from www.moremags.com)
From the peach solid, cut: 4 2½x3½” strips 2 5¼” squares From the warm cream solid, cut: 5¼” square 2 3½” x 4” strips From the pale blue solid, cut: 2 3½x4” strips From the white solid, cut: 8 2” squares 4 3½” squares
Lay out the 3½” white squares, 3½x4” pale blue strips, 3½x4” warm cream strips and 4” coral square, then sew together in three rows. Sew the three rows together. (See Pic A.)
Cut the block into four 5” squares. (See Pic B.)
Mark a diagonal line on the reverse of each 2” white solid square. Place a white solid square, right sides together, on the left side of the 2x3½” peach strip. (See Pic C.) Sew along the marked line then trim a ¼” seam allowance and press the white solid away from the peach solid as shown. Place a 2” white solid square, right sides together, on the right side of the peach solid strip. Sew along the marked line then trim a ¼” seam allowance and press the white solid away from the cream solid as shown.
Repeat steps 3 with the remaining 2” white solid squares and 2x3½” peach solid strips to produce a total of four flying geese units.
Repeat steps 11-12 with remaining HST units to produce a total of four quarter triangle units.
Place a flying geese unit right sides together with a quarter triangle unit and sew to create an envelope unit. (See Pic G.) Repeat to create a total of four envelope units.
Lay out the units of the block. (See Pic H.) Sew together in three rows.
Sew the three rows together to complete the block. (See Pic I.)
THINGS TO REMEMBER Use a ¼” seam allowance throughout F8th – fat eighth, assumed to be 9x22” F16th – fat sixteenth, assumed to be 9x11” HST – half square triangle
English paper-pieced block
Reene loves to glue-baste her shapes as it makes the whole preparation phase so much quicker. It also gives a nice crisp edge to sew along when joining shapes. It is not essential that you glue baste
F16th each of peach solid (Apricot Crepe), blue green solid (Warm Wave), mid pink solid (Quartz Pink), coral solid (Coral Reef) & white solid template sheet from this issue non-permanent fabric glue stick (optional)
THINGS TO REMEMBER The paper templates are the finished size of each unit you will need to add a ¼” seam allowance around the outside of each template piece when cutting out your fabric Use ¼” seam allowance throughout WOF – width of fabric
UNFINISHED BLOCK SIZE: 6½x9½”
Refer to the colour placement chart when cutting and basting the shapes. You will cut a 2¾” WOF strip from the blue green and coral solid fabrics, a 2½” WOF strip from the mid pink and peach solid fabrics and 2” x WOF strips from the white solid. From these strips you will cut the individual pieces as you go.
Prepare your paper templates.
Baste all your shapes for the block using Pic A as a guide.
Place the relevant pieces right sides together, matching the edges to be joined carefully. Use the numbers and letters on the templates as a guide to the best piecing order. Stitch along the length of the edge with a neat, consistent whip-stitch and secure the end of each seam by wrapping the thread around the needle a couple of times and pulling the thread through to make a knot. Leave all the paper pieces in situation until the whole block is completed.
Sew the blue green triangles to the central coral octagon. (See Pic B.)
Fill in the spaces between the blades of the star with alternating triangles of peach and mid pink. (See Pic C.)
Sew the white solid frame pieces to the pieced octagon to complete the block. (See Pic D.)
Reene enjoys sharing her fabric obsession with anyone who’s willing to read about it on the blog she shares with her mum Yvonne and teenage daughter Jess www.nelliesniceties.com
English paper piecing
ISSUE 40 ON SALE 18TH MAY
T H E U K ’ S N O .1 S E W I N G M A G A Z I N E
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WORTH £8.25 EACH
Liberty lap quilt
Hannah retro mod dolly
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Pretty lace cardi
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Cute patterns for girls & boys Quick-make summer gifts Tips & tricks for all abilities
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Fun toys to make & give Perfect for 6-24 months
Adorable baby blankets
Mix & match easy knits
KNITTING BASICS EXPLAINED
S H O PP I NG
EVERYTHING IN ITS PLACE
A tidy house equals a tidy mind, or so they say. Whilst we’re not entirely sure that’s true, there’s nothing wrong with introducing fun new storage into your sewing space!
Where do you keep your thread spools? Editor Katy keeps hers in old biscuit tins, but she’s forever hunting through them to find the one colour she needs. 30 spools of thread can be stored on this wall-hung holder, all of them in full view (so you never need to hunt through old biscuit tins ever again), €14.20 (approximately £12.50) www.dawanda.com
Vintage style Pocket-sized storage
This retro-style tin is big enough to keep your essentials to hand, but not so huge that you can’t lift it when full, £16.50 www.melodymaison.co.uk
This little tin is perfectly sized for pins and needles, or to use as a travel sewing kit, £3.99 www.oakroomshop.co.uk
Good boy, Scotty! Never lose a pin again with the help of this novelty pincushion, £7 www.tch.net
S HOP P ING
A house for your treasures These shelves are the perfect spot to keep thread, ribbon and precious treasures. They’re specifically designed for your crafty bits and bobs, £24.99 www.oakroomshop.co.uk
Silver or gold? Declutter your space with these oversized upturned thimbles. Available in gold or silver, they’re the ideal size for keeping rotary cutters, scissors and pens organised, £10 www.redcandy.co.uk
CO M ING
Susan Standen continues our Technique Focus series to help build your skills and master new techniques Jam-packed with projects including bags, cushions, pillows, quilts and much more! Plus a fabulous free gift every issue!
All contents and gifts are subject to change
Editorial Editor Katy Jones Deputy Editor Bethany Armitage Editorial Assistant Jenny Riley Art Editor Sher Ree Tai Junior Art Editor Sarah Edmondson Senior Sub-Editor Justine Moran Sub-Editor Kayleigh Hooton Photographer Renata Stonyte Senior Packaging & Covermount Designer Kay Whittaker Packaging & Covermount Designer Vicky Welsby Contributors Sally Ablett, Louise Ambrosi, Nicholas Ball, Alice Caroline, Jenny Collins, Sharon Everest, Pam & Nicky Lintott, Anne Marshall, Kelly McCants, Lisa Naylor, Susan Standen, Paula Steel, Reene Witchard Publishing & Advertising Senior Account Manager Noune Sarkissian noune.sarkissian@ practicalpublishing.co.uk Advertising Consultant Amanda Paul Head of Business Development Ruth Walker Group Buying Manager Olivia Foster Buying Assistant Rachael Edmunds Production Assistant Anna Olejarz Subscriptions Manager Daniel Tutton Managing Art Editor Jennifer Lamb Publisher Cathy Parnham Head of Content & Positioning Gavin Burrell Head of Product Development Carol Jones Ecommerce & Distribution Director Dave Cusick Managing Director Danny Bowler Group Managing Director Robin Wilkinson Distribution Newstrade COMAG Magazine Distribution Tel: 0844 826 0613 Craft Store Distribution Cathy Phillips Tel: 0844 561 1202 Contact Practical Publishing International Ltd, Suite G2 St Christopher House, 217 Wellington Road South, Stockport SK2 6NG email@example.com www.practicalpublishing.co.uk Tel: 0844 561 1202 Fax: 0161 474 6961 Subscription Enquiries Tel: 01858 438899 subscriptions@ practicalpublishing.co.uk Quilt Now is published by Practical Publishing International Ltd ISSN 2055-5652
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