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QUILTS

by celebri designers ty v

AMERICA’S FAVORITE QUILTING MAGAZINE™

19

EXCLUSIVE PROJECTS

TIME-SAVING TIPS & TECHNIQUES

STASHBUSTING SCRAP QUILTS EASY APPLIQUÉ by Kim Diehl Find us on facebook.com/FonsandPorter

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inventing, experimenting, growing, taking risks, breaking rules, making mistakes and having fun. is

It’s not just in some of us... It’s in everyone!

Find a Gammill Dealer near you at G A M M I L L . C O M or call 800-659-8224 Q U I LT S B Y L I S A S I P E S © 2013 Gammill, Inc.

SCAN CODE with your smartphone to receive info about Gammill Quilting Systems.


Pretty in Pink Pretty in Pink quilt designed by Pine Tree Country Quilts

by Ro Gregg

Quil Sho t Kit pfo nsa AVaila ndp ble ort at er.c om

Finished Size 72” x 92” To view the full "Pretty in pink " collection, or to download the free quilt pattern visit www.fabri-quilt.com. Ask for "Paintbrush Studio" fabrics at your local independent quilt shops.

Follow us on:

Check out fabri-Quilt’s blog: “Inspired by Fabric”


FROM

R

Marianne Fons Liz Porter Even though, like many of you, we've been quilting for a long time, we're not always working on challenging quilts. We balance our sewing by alternating easy and more difficult projects. You feel great when you finish a quilt that has built your skills, but then it's a good time to take on an easy project—we all like instant gratification.

If you want to increase your skill level, consider an appliqué project. Kim Diehl, our Quilt with the Stars celebrity, has designed a beautiful quilt that combines easy traditional patchwork with a folk art appliqué border (Sprigs & Twigs, page 38). Or, perhaps you'll fall in love with Apple Blossoms (page 50) with its unique inner border treatment. On the other hand, if you

want to make a fun, easy-to-sew quilt, try America the Beautiful (page 46). It's an appropriate size for a Quilt of Valor, so If you haven't done so already, consider making a quilt to present to a wounded combat veteran.

Think about stepping outside your sewing room into the larger quilting world. If you don't belong to a local quilt guild, make this your year to join one. Or, if you already belong to a group, think about joining another one or a small group within your guild. If these groups don't exist, get together with some friends and start one! Whatever you choose to pursue, make this the year you stretch your quilting skills. Happy quilting,

AMERICA’S FAVORITE QUILTING MAGAZINE™

EDITORS-IN-CHIEF

Marianne Fons and Liz Porter EDITOR ASSOCIATE EDITOR TECHNICAL EDITOR INTERACTIVE EDITOR TECHNICAL WRITER ART DIRECTOR GRAPHIC DESIGNER CONTRIBUTING WRITER SEWING SPECIALIST

Jean Nolte Diane Tomlinson Marjon Schaefer Mandy Couture Kristine Peterson Megan Johansen Tony Jacobson Kirsten Rohrs Schmitt Cindy Hathaway

CONTRIBUTING PHOTOGRAPHERS

Craig Anderson Kathryn Gamble Dean Tanner

CONTRIBUTING PHOTO ASSISTANT

Mary Mouw

PUBLISHER ADVERTISING SALES & PUBLISHING RETAIL MANAGER WEB SITE MANAGER

Kristi Loeffelholz Lisa O’Bryan Cristy Adamski Sharon Hart Phillip Zacharias

FONS & PORTER STAFF

Tiffiny Bond, Cynde Keating, Laura Saner, Yvonne Smith, Anne Welker, Karla Wesselmann

New Track Media LLC PRESIDENT AND CEO

Stephen J. Kent CHIEF FINANCIAL OFFICER

Mark F. Arnett VICE PRESIDENT/GROUP PUBLISHER

Tina Battock VICE PRESIDENT/PUBLISHING DIRECTOR

Joel P. Toner VICE PRESIDENT CIRCULATION

Nicole McGuire VICE PRESIDENT PRODUCTION

Barbara Schmitz

Watch for these tags! Download the app to your BlackBerry, DROID, or iPhone. Scan the tag to be directed to specific Web content faster than ever before. Get the free mobile app for your phone

http:/ / gettag.mobi Volume 18, Issue #104 Fons & Porter’s Love of Quilting magazine (ISSN 1525-1284) is published bimonthly in January/February, March/April, May/ June, July/August, September/October, and November/December by Crafts Media, LLC, 90 Sherman St., Cambridge, MA 02140. Periodicals postage paid at Boston, MA and additional mailing offices. ©2013 by Crafts Media, LLC. All rights reserved. No part of this magazine may be reproduced in any form or by any means without the prior written permission of the publisher, excepting brief quotations in connection with reviews written specifically for inclusion in magazines or newspapers, or single copies for strictly personal use. Fons & Porter’s and Love of Quilting are registered trademarks of Crafts Media, LLC. Fat Quarter Friendly, Fat Eighth Friendly, Sew Easy, Sew Smart, Behind the Seams, Quick Quilt, and America’s Favorite Quilting Magazine are trademarks of Crafts Media, LLC. We have made every effort to ensure that the contents of this magazine are accurate and complete. We cannot, however, be responsible for human error, typographical mistakes, or variations in individual work. SUBSCRIPTIONS: One-year subscription (six issues) in the United States is $16.97+$4 s/h. Outside the United States, subscription for one year (six issues) sent by first-class mail Canada add $10 s/h; International add $15 s/h (pre-paid in US funds). Subscribers: If the Post Office alerts us that your magazine is undeliverable, we have no further obligation unless we receive a corrected address within two years. POSTMASTER: Please send address changes to Fons & Porter’s Love of Quilting, PO Box 171, Winterset, IA 50273. Printed in the United States.

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PRODUCTION MANAGER PRODUCTION COORDINATOR IT MANAGER CIRCULATION DIRECTOR ONLINE SUBSCRIPTIONS MANAGER NEW BUSINESS MANAGER RENEWAL & BILLING MANAGER

Dominic M. Taormina Amanda Booher Denise Donnarumma Deb Westmaas Jodi Lee Lance Covert Nekeya Dancy

Our Mission Statement Our goal is for you to enjoy making quilts as much as we do. We welcome your comments and suggestions. Please contact us at the following addresses or numbers: Subscription inquiries and renewals: Love of Quilting P.O. Box 420235, Palm Coast, FL 32142-0235 or call toll-free (888) 985-1020 (U.S. & Canada) (386) 246-3406 (International) loveofquilting@emailcustomerservice.com Editorial comments and concerns: Fons & Porter’s Love of Quilting, P.O. Box 171, Winterset, IA 50273 Advertising: (715) 824-4546 Retail Accounts: (801) 816-8366 Retail Sales Manager: (801) 816-8410 To order back issues: (866) 729-9601 Web site: www.FonsandPorter.com E-mail: answers54@FonsandPorter.com

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March/April 2013 Volume 18

Q

Number 1

Q

Issue 104

AMERICA’S FAVORITE QUILTING MAGAZINE™

20

62

Projects PROJECT

16 Emeralds By Mary Fons 20 OHO Colorful modern quilt 30 Scrappy Hunter’s Star Scrap quilt by Liz Porter 36 Quilt with the Stars Featuring Kim Diehl 38 Sprigs and Twigs Traditional charm 46 America the Beautiful Patriotic prints 50 Apple Blossoms Flower blocks in a trellis design 56 Baby Scallops By Marianne Fons 62 Bed of Tulips A cheery quilt for spring 68 Reticulum Clever woven look

30

74 Antique Pinwheel Antique Quilt 76 Effervescence Wonky foundation piecing 80 Now I Know My ABC’s Great toddler quilt 90 What’s the Point? Scrappy light and dark

Bonus Quilt PROJECT

96 Flower Power Crazy Patch Whimsical garden quilt

Techniques 86 Quilting the Quilt: Traditional, Contemporary, or Modern? 28 Sew Easy: Sewing Curved Seams 60 Sew Easy: Scalloped Edges 84 Sew Easy: Quick TriangleSquares

90

56

In Every Issue 4 From Liz & Marianne Try something new 8 Sew Many Tips Clever ideas from quilters 10 Shop Hop Products to look for at your local shop 12 This Old Quilt: Symmetry in Quiltmaking 95 Quilt Chat What’s the best thing about mothers and daughters quilting together? by Marianne Fons and Mary Fons 98 Sew & Tell Readers and viewers share their creativity 100 Quilter’s Bookshelf Notes on new books 101 Behind the Seams Our New Magazine!

SEW

easy

View Sew Easy videos online at www.FonsandPorter.com/seweasyvideos

SEW

easy ™

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VIDEO!

www.FonsandPorter.com


Why I quilt... it’s the need to create We asked our Facebook followers...

fabric fabric cutters cutters

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Patents Pending Code A1303LQ ©2013 AccuQuilt

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“Why do I quilt?”…“I think all women have an underlying need to create, whether it is the need to create a life or a piece of art, all women want to create something. Taking different pieces of fabric and creating a one of a kind quilt that will bring warmth and comfort for generations, is the most satisfying craft that I have ever experienced.” —Jane W., Texas

GO! to www.accuquilt.com /gohere Find GO!® at retail stores and www.accuquilt.com


SEW MANY

tips

Clever ideas from quilters

Flannel Binding This is a fun way to finish flannel quilts for children. Cut straight binding strips 2" or 2½" wide. Sew to back of one side of

Decorative Stitches

quilt right sides together. Turn binding to

I save scraps of stabilizer and use them behind ribbon to test decorative stitches. The ribbons are fun to use on scrapbook pages. Martha Intorcia Smyrna, TN

front and stitch through all layers, covering binding stitching line (I use a serpentine stitch). Clip binding to make fringe. Repeat for remaining sides. Elaine Pelton Sandpoint, ID

Template Floor tiles make the best templates. Press paper pattern onto the adhesive side of a self-stick floor tile. Cut the template out on the line with a scissors or utility knife. These templates are sturdy and can be used with a rotary cutter. Janet Madren Perry, IA

Non-slip Templates To keep my templates from slipping, I use adhesive-

WEB EXTRA

backed sandpaper. I cut ½"-wide strips from the

For more tips, go to www.fonsandporter.com/tips

sandpaper, and use a paper punch to punch out little dots. My stiletto comes in handy for removing the paper from the back of those little pieces of sandpaper. You can also use scrapbook punches to cut cute shapes like

We want to hear from you. Send your tips to:

butterflies, hearts, and flowers. Barb Page Longmont, CO

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SEND US YOUR TIPS

March/April 2013

Love of Quilting (Tips) P.O. Box 171, Winterset, IA 50273

www.FonsandPorter.com


Foundation Piecing I use very lightweight sew-in interfacing for foundation piecing so I don’t have to tear out paper. To transfer the pattern, I press interfacing onto freezer paper, and then I copy the pattern onto the interfacing with my inkjet printer. Maureen Henry Congress, AZ

Binding Sometimes I need to change the width of my binding depending on the thickness of the batting and fabric in a quilt. I made sample bindings so I can audition them to find which size I need before cutting binding for the quilt. The widths are marked on the samples. Alice Miller Marcellus, MI

Vintage Rose BOM 68� x 68

Begins March 2013 Just $25 per month plus shipping!


shop•hop CraftOptics Telescopes

Look fo

r these product s at your local quilt sh op or onlin e.

Ever wish you could see a little better while doing hand or machine stitching and quilting? With CraftOptics Telescopes you can. The lightweight, patented binocular magnifying telescopes are custom made to work with your vision correction, enabling you to see the fine detail in your work while maintaining a comfortable, ergonomic working distance to alleviate eye, back, neck, and shoulder strain. The telescope is mounted to sturdy, lightweight titanium eyeglass frames into which the user’s eyeglass prescription or reading correction is installed. In addition, the CraftOptics DreamBeam, a lightweight powerful light can be attached to the telescopes right between your eyes to illuminate

Barnett’s Sewing Center

your line of sight, opening up a completely new world of optical

A place for everything and everything in its

clarity. CraftOptics products have a 30-day risk-free trial period.

place, this Lazy Susan Sewing Center has a

If you aren't completely happy, simply return them for a full refund

14" spinner allowing you easy access to your

even if you ordered a

necessary items. Included in your purchase

custom prescription.

is a box to store your rotary cutter and large

Retail price: $474,

scissors, a slotted block that holds up to

which includes your

three templates or rulers, an adjustable-peg

prescription.

thread spool holder, a covered box, a tomato

www.craftoptics.com

pincushion and a wooden pin dish. The thread caddy shown in the center and at right is sold separately. All wood is unfinished, ready for stain, paint or a clear coat. (Tools in caddy are not included.) Retail price: Lazy Susan Sewing Center: $79.99, Thread Caddy: from $24.99. www.laptophoops.com

EmbroideryWorks Software With EmbroideryWorks, it’s easy to add customized appliqué and unique embellishments to every project, using the digitizing and editing software packed with user-friendly, convenient features. One use, which looks awesome for quilters, enables you to create a circular text design. As the circle size is decreased, the text spirals in on itself to create a swirling effect. The software also includes more than 100 AccuQuilt shapes, such as leaves and flowers, to work seamlessly with the Go! Fabric Cutter. EmbroideryWorks, in Everyday and Advanced versions, is available for PC and Mac. EmbroideryWorks Everyday is required for EmbroideryWorks Advanced. Retail price: $499.99. www.designersgallerysoftware.com

WEB EXTRA For more products go to www.fonsandporter.com/shophop

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THIS OLD

quilt BY Gerald

E. Roy

Symmetry in Quiltmaking Symmetry is based on distributing equal visual weights within the confines of a dimensional surface, such as a quilt, automatically achieving visual balance. Asymmetrical design has uneven visual weights that produce a comfortable

PHOTO COURTESY OF The National Quilt Museum

balance, but this does not occur automatically and requires skill and practice.

This 77" Ă— 77" cotton quilt was made by Paul D. Pilgrim in 1993. The antique blocks in the quilt date from 1860 to 1880, and were purchased in Pennsylvania, Vermont, and Kentucky over a five year period. This quilt is now part of the National Quilt Museum Collection in Paducah, Kentucky.

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Symmetry Examples of symmetry—composing within a square where all segments are equal.

Asymmetry Examples of asymmetry—composing within a rectangle where each segment is different, but all relate to one another, and no single element is dominant.

professionals from other disciplines adopted cloth and quiltmaking as their personal form of expression. In some cases, the traditional, repetitive and symmetrical block form did not satisfy their particular needs. More complex, sophisticated designs and compositions were created, representative of the makers’ training, practice, experience, and abilities. Sometimes, when others attempt this without formal training and the subsequent acquired skills, the results are unsuccessful. There are those rare cases when the lack of these skills produces seemingly awkward compositions, which are acceptable. They exhibit charm, whimsy, and unique artistic expression and a skillful execution of techniques that result in what we

call folk, naive, or primitive art. The choice of scale and arrangements of odd numbers of visual weights is critical to achieve balance with asymmetry. Negative and positive spaces are equally important. Success depends upon the viewer being totally satisfied, without feeling the need to alter anything. The process is not inherently intuitive, but learned and perfected by the creator through application and practice. When dealing with natural, recognizable imagery and creating an illusion of depth (three dimensions) on a two dimensional field, the required skill level becomes even more complex and demanding. Knowledge of perspective and color is key to presenting an

PHOTO COURTESY OF The National Quilt Museum

B

alance is a key factor with design that works, whether in a quilt or a painting. We want to engage the viewers, not repel them. History has proven that the comfort and pleasure found in symmetrical compositions provide a safe haven for all participants. While there are fine examples of designs and compositions that go outside the norm, there are many more that do conform. Quiltmaking has always embraced any and all who wish to participate. The Great American Quilt Festival and the celebration of the nation’s Bicentennial brought about an enormous renewal of interest in Americana, including quilts and quiltmaking. During this tremendous revival, many

This 66" × 73" wool quilt was made by Paul D. Pilgrim in 1995. The sixty Log Cabin blocks (circa 1860) were purchased from an Amish home in Lancaster, Pennsylvania in 1992. This quilt is now part of the National Quilt Museum Collection in Paducah, Kentucky.

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Fons R Porter’s Love of Quilting

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asymmetrical composition that does not conflict, contradict, or confuse the viewer. This is where basic design, composition, and color studies are advisable. Trial and error is a very frustrating, wasteful way to learn. The history of quiltmaking is rich in examples of traditional quilts based upon the symmetrical repetitive geometric block form, as well as what we now call

“innovative” quilts. Each has earned an important place in our past, as well as in the present. For your own reference, look at the contemporary work of quilters Gwen Marston, Sonya Lee Barrington, Jo Diggs, and Ruth McDowell. Included in this article are some quilts from the past, and some from my late partner, Paul Pilgrim, who was a master of asymmetrical quilt design.

Author Profile Collector and certified quilt appraiser Gerald E. Roy is also a quilter, painter, and antique dealer.

PHOTO BY

PHOTO COURTESY OF The National Quilt Museum

Robert L. Guaraldi.

Contact: Pilgrim/Roy PO Box 432 • Warner, NH 03278 pilgrimroy@tds.net

Robert L. Guaraldi.

Wool crib comforter, 37" × 41", Pennsylvania, circa 1920.

PHOTO BY

This 55½" × 55½" cotton quilt was made by Paul D. Pilgrim in 1993. The antique Double Four Patch blocks and Nine Patch blocks date back to about 1890. They are set with both antique and new fabrics. All antique blocks and fabric are from Pennsylvania. This quilt is now part of the National Quilt Museum Collection in Paducah, Kentucky.

Cotton quilt, 61" × 79", from Kentucky or Tennessee, circa 1900.

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H Program designed by Block-of-the-Month expert Marti Michell H Stunning 84� X 100� quilt in Neutral Woodland or Traditional Holiday colorway options. H Full 12 month program designed to be both achievable for beginners and satisfying for more experienced quilters Visit your favorite quilt shop today and ask about the Stonehenge Block-of-the-Month program!

Stonehenge Block of the Month is also available at www.shopfonsandporter.com


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INTERMEDIATE ࢇࢇ PROJECT

Emeralds Designer Mary Fons goes green with her interpretation of the traditional Rolling Stone block. Watch the video for clear visuals on how to construct this block.

Size: 68" × 85" Blocks: 32 (12") Rolling Stone blocks

MATERIALS 20 fat quarters* assorted green prints for blocks

NOTE: For more variety, use more fabrics. 3½ yards cream solid for blocks 2½ yards tan print for setting triangles and binding Fons & Porter Easy Diagonal Sets Ruler (optional) 5¼ yards backing fabric Full-size quilt batting *fat quarter = 18" × 20"

QUILT BY Mary

Fons.

MACHINE QUILTED BY LuAnn

Downs.

VIDEO!

WEB EXTRA Mary Fons is a writer, performer, quilter, and the host of “Quilty,” an online show for beginning quilters. Watch an episode at www.heyquilty.com.

Go to qnntv.com/videos/rollingstoneblock to watch the video for this block.

WEB EXTRA For more information about Mary Fons, go to www.FonsandPorter.com/designers

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CUTTING

BLOCK ASSEMBLY

Measurements include ¼" seam allowances. Instructions are written for using the Fons & Porter Easy Diagonal Sets Ruler. For instructions on using this ruler, go to www.FonsandPorter.com/ Setting Triangles. If not using this ruler, follow cutting NOTE.

1. Referring to Corner Unit

From assorted green print fat quarters, cut a total of:

• 40 (4½"-wide) strips. From strips, cut 160 (4½") A squares. • 32 (2½"-wide) strips for strip sets.

Diagrams, place 1 cream B square atop 1 green print A square, right sides facing. Stitch diagonally from corner to corner as shown. Trim ¼" beyond stitching. Press open to reveal triangle. Repeat for remaining corners to complete 1 Corner Unit. Make 128 Corner Units.

A

Block Assembly Diagram

B A

From cream solid, cut:

• 48 (2½"-wide) strips. From 32 strips, cut 512 (2½") B squares. Cut remaining strips in half to make 32 (2½" × 20") strips for strip sets. From tan print, cut:

• 6 (9"-wide) strips. From strips, cut 14 side setting triangles and 4 corner setting triangles.

Block Diagram Corner Unit Diagrams

2. Join 1 cream print strip and

1 green print strip as shown in Strip Set Diagram. Make 32 strip sets. From strip sets, cut 128 (4½"-wide) segments.

• 9 (2¼"-wide) strips for binding.

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Fons R Porter’s Love of Quilting

1. Lay out blocks and setting

triangles as shown in Quilt Top Assembly Diagram. 2. Join into diagonal rows; join rows to complete quilt top.

4½"

NOTE: If not using the Fons & Porter Easy Diagonal Sets Ruler, cut 2 (18¼"-wide) strips and 1 (93⁄8"-wide) strip. From 18¼"-wide strips, cut 4 (18¼") squares. Cut squares in half diagonally in both directions to make 16 side setting triangles (2 are extra). From 93⁄8"-wide strip, cut 2 (93⁄8") squares. Cut squares in half diagonally to make 4 corner setting triangles.

QUILT ASSEMBLY

FINISHING 1. Divide backing into 2 (25⁄8-yard)

Strip Set Diagram

3. Lay out 1 green print A square,

4 Corner Units, and 4 strip set segments as shown in Block Assembly Diagram. Join into rows; join rows to complete 1 block (Block Diagram). Make 32 blocks.

March/April 2013

lengths. Cut 1 piece in half lengthwise to make 2 narrow panels. Join 1 narrow panel to each side of wider panel; press seam allowances toward narrow panels. 2. Layer backing, batting, and quilt top; baste. Quilt as desired. Quilt shown was quilted in the ditch (Quilting Diagram). 3. Join 2¼"-wide tan print strips into 1 continuous piece for straight-grain French-fold binding. Add binding to quilt.

www.FonsandPorter.com


Quilt Top Assembly Diagram

TRIEDR TRUE TESTED FOR YOU

This fabric is cute as a bug! Bubbles and multicolor caterpillar prints make this pattern perfect for a youngster. We chose Bugalicious by Blank Quilting. K

Quilting Diagram

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INTERMEDIATE ࢇࢇ

OHO

The pieces of fabric in one Layer Cake™ take care of the colorful segment in all 40 blocks of this quilt. Our Sew Easy lesson, on page 28, will help you master sewing the curved seams. Size: 55" × 82" Blocks: 40 (9") blocks

MATERIALS NOTE: Fabrics in the quilt shown are from the Juggling Summer collection by Brigitte Heitland of Zen Chic for Moda. 40 (10") squares assorted prints (or 1 Layer Cake™*) 41⁄8 yards white solid 5

⁄8 yard orange print for binding

5 yards backing fabric Twin-size quilt batting *Layer Cake™ = 42 (10") squares

QUILT DESIGNED BY Brigitte Heitland. MADE BY Karen Traut-Ackva. MACHINE QUILTED BY Brigitte Heitland.

Brigitte Heitland’s background as a trained interior and textile designer inspired her to create quilts which impress with their clear, peaceful, and refreshing look. Her generous use of solids enhanced by splashy bits of prints prove her beautiful sense of style, color, and design. Brigitte is a fabric and pattern designer and owner of Zen Chic. She lives with her husband and three children in Germany.

WEB EXTRA For more information about Brigitte Heitland, go to www.FonsandPorter.com/designers

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CUTTING

QUILT ASSEMBLY

Measurements include ¼" seam allowances.

1. Lay out blocks as shown in

From each 10" square, cut:

• 2 B. From white solid, cut:

• 1 (21⁄8-yard) piece. From this piece, cut: • 4 (5½"-wide) lengthwise strips. From strips, cut 2 (5½" × 72½") side borders and 2 (5½" × 55½") top and bottom borders. From remaining white solid, cut:

Quilt Top Assembly Diagram. Join blocks into rows; join rows to complete quilt center. 2. Add white side borders to quilt center. Add white top and bottom borders to quilt.

FINISHING 1. Divide backing into 2 (2½-yard)

lengths. Cut 1 piece in half lengthwise to make 2 narrow

• 40 A. • 80 C.

panels. Join 1 narrow panel to each side of wider; press seam allowances toward narrow panels. 2. Layer backing, batting, and quilt top; baste. Quilt as desired. Quilt shown was quilted with a feather design in A shape, meandering in C shapes, and an allover circle design in border (Quilting Diagram on page 24). 3. Join 2¼"-wide orange print strips into 1 continuous piece for straight-grain French-fold binding. Add binding to quilt.

From orange print, cut:

• 8 (2¼"-wide) strips for binding.

BLOCK ASSEMBLY 1. Lay out 2 matching B shapes,

1 white A, and 2 white C as shown in Block Assembly Diagram.

B

A

B

C

C

Block Assembly Diagram

2. Referring to Sew Easy: Sewing

Curved Seams on page 28, join shapes to complete 1 block (Block Diagram). Make 40 blocks.

Block Diagram

Quilt Top Assembly Diagram

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EMBRACE THE SOFTER SIDE

TM

Prints from The Cat in the Hat Cuddle by Dr. Seuss Enterprises

Visit www.shannonfabrics.com for FREE patterns. (866) 624-5252 - (323) 234-5252

Over 300 colors and textures to choose from!

Sophie pattern by Cluck Cluck Sew www.cluckclucksew.com


Quilting Diagram

A

WEB EXTRA Go to www.FonsandPorter.comOHOsizes to download cutting instructions and assembly diagrams for size options for this quilt. K

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C

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B

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SEW

easy

SEW

Watch a video of this Sew Easy online at www.FonsandPorter.com/sewcurves

easy ™

Sewing Curved Seams

VIDEO!

When you’re making a quilt with curved pieces, such as OHO on page 20, use these tips to make sewing the curved seams easier. 1. After cutting the pieces, mark the

center of each one with a marker or by making small clips within the seam allowances as indicated on the patterns (Photo A). 2. Working with the background piece on top, pin pattern pieces B and C together at the marks, taking a small bite with the pin. Pin end of seam, taking a deep bite with the pin (Photo B). 3. Align pieces at beginning of seam. Stitch to the first mark. Use your fingertips, a wooden skewer, or a stiletto to keep curved edges aligned as you sew (Photo C). 4. Leaving the needle in the fabric, raise the presser foot. Adjust top fabric away from you toward where you have already sewn (Photo D). 5. Align curved edges and stitch as before, stopping with needle in the fabric, fluffing, and aligning as necessary. The ending edges should be aligned. Sew to the end of the seam. 6. Continue adding pieces as shown in Photos E, F, G, and H. 7. Gently press seam allowance toward B pieces.

A

C

D

E

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F

H www.FonsandPorter.com


Arabella Rose

Nothing compares to the beauty of a rose Look for the Primrose Hill 12-month BOM, a perfect twist of tradition & elegance, infused with fresh, modern color. Choose from cream or plum. Available in quilt shops everywhere.

Primrose Hill, 92 inches square Download the free Arabella Rose Twice the Charm pattern www.rjrfabrics.com


INTERMEDIATE ࢇࢇ

Scrappy Hunter's Star Fabulous fabric play results in a fantastic quilt. Red and black took on a starry role when Liz Porter juxtaposed these two strong colors. FAT QUARTER Friendly

Size: 54" × 68" Blocks: 48 (7") Hunter's Star blocks

MATERIALS 12 fat quarters* red prints for blocks 12 fat quarters* black prints for blocks 3

⁄8 yard black solid for inner border

1½ yards red print for outer border and binding Paper for foundation piecing 3½ yards backing fabric Twin-size quilt batting *fat quarter = 18" × 20"

QUILT BY Liz

Porter.

MACHINE QUILTED BY Barb

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Mapes.

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From Liz’s Scrap Bag

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CUTTING

BLOCK ASSEMBLY

Measurements include ¼" seam allowances. Border strips are exact length needed.You may want to cut them longer to allow for piecing variations. Pattern for foundation is on page 34. Pieces for foundation piecing are cut oversize.

1. Trace or photocopy 96 Block

Units from pattern on page 34. 2. Referring to Block Unit Diagrams, foundation piece units in numerical order. Make 48 black Block Units and 48 red Block Units.

From each red print fat quarter,

• 2 (7") squares. Cut squares in half diagonally to make 4 halfsquare triangles for foundation piecing (#4). • 4 (2" × 8") rectangles for foundation piecing (#1). • 8 (2" × 4½") rectangles for foundation piecing (#2, #3). From each black print fat quarter, cut:

Block Diagram

QUILT ASSEMBLY 1. Lay out blocks as shown in

2

cut:

Block Assembly Diagram

1 4

3

MAKE 48

MAKE 48

Block Unit Diagrams

3. Lay out 1 black Block Unit and

1 red Block Unit as shown in Block Assembly Diagram. Join Units to complete 1 block (Block Diagram). Make 48 blocks.

Quilt Top Assembly Diagram. Join into rows; join rows to complete quilt center. 2. Add black side inner borders to quilt center. Add black top and bottom borders to quilt. 3. Repeat for red print outer borders.

• 2 (7") squares. Cut squares in half diagonally to make 4 halfsquare triangles for foundation piecing (#4). • 4 (2" × 8") rectangles for foundation piecing (#1). • 8 (2" × 4½") rectangles for foundation piecing (#2, #3). From black solid, cut:

• 6 (1½"-wide) strips. Piece strips to make 2 (1½" × 56½") side inner borders and 2 (1½" × 44½") top and bottom inner borders. From red print, cut:

• 6 (5½"-wide) strips. Piece strips to make 2 (5½" × 58½") side outer borders and 2 (5½" × 54½") top and bottom outer borders. • 7 (2¼"-wide) strips for binding.

Quilt Top Assembly Diagram

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FINISHING 1. Divide backing into 2 (1ž-yard)

lengths. Join panels lengthwise. Seam will run horizontally. 2. Layer backing, batting, and quilt top; baste. Quilt as desired. Quilt shown was quilted with an allover feather design (Quilting Diagram). 3. Join 2Âź"-wide red print strips into 1 continuous piece for straight-grain French-fold binding. Add binding to quilt.

TRIEDR TRUE TESTED FOR YOU Quilting Diagram

Too precious to toss in the scrap bag, these Batiks by Hoffman are the perfect fabrics to use in our color variation of the Scrappy Hunter’s Star. Aside from yardage for the background fabric, the largest pieces you’ll need are 7� squares. K

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2

Block Unit

1

4

3

34

Fons R Porterâ&#x20AC;&#x2122;s Love of Quilting

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Calypso

is dancing sprightly at a quilt store near you! View the entire Calypso fabric collection at: www.redroosterfabrics.com

i\ÊÈȸÊÝÊnÓ¸Ê

œÀiÊUÊ+ՈÌÊÈâ

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Quilt kit available from: www.shopfonsandporter.com So lively, So joyful, Sew Red Rooster!


BY Mary

Fons.

Rocketing to stardom after winning a quilt-design contest, Kim Diehl likes to strike while the iron is hot. The contest led to designs for magazines, the demand for more designs inspired Kim to experiment with her time-saving invisible machine appliqué, and her publishing frequency and quiltmaking style led Kim to design fabrics that work together beautifully without looking as though they were created together.

Kim loves to hand stitch her appliqué designs; time limits make this a rare event—one eagerly taken advantage of by a very spoiled Cooper.

36

Fons R Porter’s Love of Quilting

Working with Henry Glass & Co., Kim designs fabrics that combine her love of richly-hued prints with her “scrap-basket” approach to quiltmaking.

March/April 2013

www.FonsandPorter.com


K

im Diehl didn’t charge into a career in quiltmaking—it sort of happened by accident. In 1998, Kim submitted a quilt to American Patchwork & Quilting magazine’s “Pieces of the Past” contest. Although it was only the third quilt she had made, it won the top prize. The judges clearly saw something in Kim’s work that was special. Before long, many other people were seeing that, too. Armed with plenty of fabric and this early encouragement, Kim began designing and making new quilts at a feverish pace. She's developed a style that is between traditional

and contemporary. Her quilts and smaller projects are awash in deep color. She uses bright reds, hot pinks, and golden yellows blended with dusty blues, hunter greens, and a touch of charcoal gray or black. Her piecing style enhances classic blocks with extra flair. An appliqué aficionado, Kim soon found that she needed to work more quickly than hand-appliqué techniques would allow. Rather than slow her pace or make fewer quilts, Kim chose to do machine appliqué using her home sewing machine. By 2004, Kim had contracted with Martingale, and began to publish

the designs and patterns she had created over the years. Since then, she’s written six books and has plans to embark on more adventures in print. Quilters all over the country love Kim's style, and books such as Simple Charm and Simple Comforts fly off the shelves. Kim’s quilts are cozy and stylish, and simply make people feel good. Most of Kim's quilts are made with her own fabric line by Henry Glass. The fabrics are stunning, the quilts are fantastic, and Kim Diehl is a highly successful, beloved quilt celebrity.

Bittersweet Briar (48½" × 48½")

Garden Patch (65½" × 74½")

Quilt: Bloomin’ Wonderful (64½" square) Pillow: Untitled scrap pillow

WEB EXTRA VIDEO!

Go to www.FonsandPorter.com/quiltstarKD to view Mary’s interview with Kim and a slide show of Kim’s studio and quilts.

March/April 2013

Fons R Porter’s Love of Quilting

37


INTERMEDIATE ࢇࢇ

Sprigs & Twigs Combining traditional patchwork design with folk-arty appliqué is what makes this charming quilt a Kim Diehl specialty. An abundance of prints within a small square packs a delightful wallop.

Size: 60" × 60" Blocks: 16 (11") blocks

MATERIALS NOTE: Fabrics in the quilt shown are from Henry Glass & Co. 16 fat quarters* assorted dark prints in blue, gold, green, pink, purple, and red for blocks and appliqué

NOTE: For more variety, use more fabrics. 1 yard red print for blocks, border corner squares, binding, and Berries ½ yard tan print for blocks and inner border 1½ yards black print for outer border QUILT BY Kim

1 yard green stripe for vines, stems, and Leaves

Diehl.

MACHINE QUILTED BY Deborah

Paper-backed fusible web

Poole.

Liquid fabric-basting glue (optional) 3

⁄8" bias press bar (optional)

4 yards backing fabric After winning a national challenge with her third quilt, Kim Diehl’s new-found hobby quickly blossomed into a full-time career. In addition to designing quilts and authoring her "Simple" series of books for Martingale & Co., she has designed several fabric collections. Kim travels nationally, sharing her quilts and teaching her easy techniques.

Twin-size quilt batting *fat quarter = 18" × 20"

WEB EXTRA For more information about Kim Diehl, go to www.FonsandPorter.com/designers

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March/April 2013

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CUTTING

From green stripe, cut:

Measurements include ¼" seam allowances. Border strips are exact length needed.You may want to make them longer to allow for piecing variations. Patterns for appliqué pieces are on page 44. Follow manufacturer’s instructions for using fusible web

• 8 yards of 11⁄8"-wide bias strips to make 3⁄8"-wide finished bias vines and stems. To prepare, press bias strips into thirds with wrong sides facing. From strips, cut 2 (50"-long) long vines, 4 (25"-long) short vines, and 12 (5"-long) stems. • 13 Leaves.

From each dark print fat quarter,

3. Lay out 2 #1 segments and

1 #2 segment as shown in Nine Patch Unit Diagrams. Join segments to complete 1 Nine Patch Unit. Make 20 Nine Patch Units. Set aside 4 Nine Patch Units for appliqué.

Nine Patch Unit Diagrams

cut:

• 7 (1½"-wide) strips. From strips, cut: • 2 (1½" × 11½") E rectangles. • 4 (1½" × 9½") D rectangles. • 4 (1½" × 7½") C rectangles. • 4 (1½" × 5½") B rectangles. • 2 (1½" × 3½") A rectangles.

NINE PATCH UNIT ASSEMBLY 1. Join 1 red print strip and 2 tan

print strips as shown in Strip Set #1 Diagram. Make 2 Strip Set #1. From strip sets, cut 40 (1½"-wide) #1 segments.

BLOCK ASSEMBLY 1. Lay out 1 set of rectangles around

1 Nine Patch Unit as shown in Block Assembly Diagram. D C B A

From remainders of dark prints, 1½"

cut:

• • • •

E D C B

4 Large Flowers. 14 Small Flowers. 14 Small Circles. 25 Leaves.

A B C D Strip Set #1 Diagram

From red print, cut:

• 5 (1½"-wide) strips. From 1 strip, cut 4 (1½") F squares. Remaining strips are for strip sets. • 7 (2¼"-wide) strips for binding. • 54 Berries. From tan print, cut:

B C D E

2. Join 2 red print strips and 1 tan

print strip as shown in Strip Set #2 Diagram. From strip set, cut 20 (1½"-wide) #2 segments.

Block Assembly Diagram

2. Join rectangles in alphabetical

order to complete 1 block (Block Diagram). Make 16 blocks.

1½"

• 9 (1½"-wide) strips. Piece 5 strips to make 4 (1½" × 44½") inner borders. Remaining strips are for strip sets. From black print, cut:

Strip Set #2 Diagram

Block Diagram

• 6 (7½"-wide) strips. Piece strips to make 2 (7½" × 60½") top and bottom outer borders and 2 (7½" × 46½") side outer borders.

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What could be better than

free?

Join the quilting adventure! Create a unique customized quilt top

Laura sâ&#x20AC;&#x2122; Now ne

ss! a l C e e r F

with seasoned author and instructor Laura Nownes in her FREE online class, 2013 Block of the Month. Craftsy brings the classroom to you, on your schedule. Go to Craftsy.com to see how easy it is to take your quilting skills to the next level with unlimited access to the best instructors from around the world.

Enroll today in this

free class at:

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QUILT ASSEMBLY

FINISHING

1. Lay out blocks as shown in

1. Divide backing into 2 (2-yard)

Quilt Top Assembly Diagram. Join blocks into rows; join rows to complete quilt center. 2. Add tan print side inner borders to quilt center. 3. Add 1 red F square to each end of top and bottom inner borders. Add borders to quilt. 4. Add black print side outer borders to quilt center. Add black print top and bottom outer borders to quilt.

lengths. Cut 1 piece in half lengthwise to make 2 narrow panels. Join 1 narrow panel to each side of wider panel; press seam allowances toward narrow panels. 2. Layer backing, batting, and quilt top; baste. Quilt as desired. Quilt shown was quilted with crosshatching over nine patches

and Large Circle appliqués. Crosshatching and chain quilting alternate to fill blocks. Inner border was quilted with an egg and dart design and outer border was echo quilted (Quilting Diagram on page 44). 3. Join 2¼"-wide red print strips into 1 continuous piece for straight-grain French-fold binding. Add binding to quilt. K

APPLIQUÉ 1. Cut 4 Large Circles from the set

F

aside Nine Patch Units. 2. Referring to photo on page 38, arrange appliqué pieces atop outer border, starting with Large Flowers in corners. Pin Large Flowers in place, add vines, tucking raw ends under flowers. Trim excess vine length. Add stems, tucking raw ends under vines and trimming excess length. Glue-baste vines and stems in place if desired; appliqué to quilt top. 3. Center Large Circles on Large Flowers. Arrange Small Flowers, Medium Circles and Leaves along the vines. Position 3 Small Circles/Berries at end of each stem and vine. Fuse appliqué pieces in place. Machine appliqué pieces in place using a tiny buttonhole stitch with invisible thread.

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Fons R Porter’s Love of Quilting

Quilt Top Assembly Diagram

March/April 2013

www.FonsandPorter.com


em id

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Leaf

Large Circle

Patterns are shown full size for use with fusible web. Add 3⁄16" seam allowance for hand appliqué.

Large Flower

Berry

Small Flower

Small Circle

Quilting Diagram

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Fons R Porter’s Love of Quilting

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In each issue of Love of Quilting, we include a pattern that meets the guidelines established by the Quilts of Valor Foundation. To learn more about QOV, go to www.FonsandPorter.com/QOV.

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EASY ࢇ

America the Beautiful Make, and donate if you wish, this easy Quilt of Valor. Patriotic prints are plentiful and if, by chance, you cannot find them, simple red, white, and blue prints will do an equally honorable job.

Size: 55½" × 85½" Blocks: 48 (6") blocks

MATERIALS 8 fat quarters* assorted patriotic prints for blocks 2½ yards white print for blocks, sashing, and inner border ¾ yard blue solid for sashing squares, inner border, and stars ½ yard red solid for sashing squares, middle border, and stars 1½ yards blue print for outer border and binding Paper-backed fusible web 5¼ yards backing fabric Twin-size quilt batting *fat quarter = 18" × 20"

QUILT BY Florence Moy. MACHINE QUILTED BY Darla Padilla.

Florence Moy, a Human Resources professional, has been quilting for nearly twenty-five years. She enjoys designing quilts, trying out new quilt gadgets, and adding to her fabric stash while traveling. She also enjoys teaching quilting classes.

WEB EXTRA For more information about Florence Moy, go to www.FonsandPorter.com/designers

March/April 2013

Fons R Porter’s Love of Quilting

47


CUTTING

BLOCK ASSEMBLY

QUILT ASSEMBLY

Measurements include ¼" seam allowances. Border strips are exact length needed.You may want to make them longer to allow for piecing variations. Pattern for Star is on page 49. Follow manufacturer’s instructions if using fusible web.

1. Referring to Block Assembly Diagrams, place 1 white print B square atop 1 print A square, right sides facing. Stitch diagonally from corner to corner as shown. Trim ¼" beyond stitching. Press open to reveal triangle. Repeat for remaining corners to complete 1 block (Block Diagram). 2. Make 48 blocks.

1. Lay out blocks, white print C

From each fat quarter, cut:

• 2 (6½"-wide) strips. From strips, cut 6 (6½") A squares. From white print, cut:

B

• 26 (2½"-wide) strips. From strips, cut 82 (2½" × 6½") C rectangles and 192 (2½") B squares. • 3 (6½"-wide) strips. Piece strips to make 2 (6½" × 46½") D rectangles.

A

FINISHING 1. Divide backing into 2 (25⁄8-yard)

From blue solid, cut:

• 2 (2½"-wide) strips. From strips, cut 17 (2½") B squares. • 3 (1½"-wide) strips. Piece strips to make 2 (1½" × 46½") E rectangles. • 7 (1¼"-wide) strips. Piece strips to make 2 (1¼" × 78") side inner borders and 2 (1¼" × 46½") top and bottom inner borders. • 8 Stars. From red solid, cut:

• 2 (2½"-wide) strips. From strips, cut 18 (2½") B squares. • 7 (1"-wide) strips. Piece strips to make 2 (1" × 79") side middle borders and 2 (1" × 48") top and bottom middle borders. • 8 Stars. From blue print, cut:

• 7 (4"-wide) strips. Piece strips to make 2 (4" × 86") side outer borders and 2 (4" × 49") top and bottom outer borders. • 8 (2¼"-wide) strips for binding. 48

Fons R Porter’s Love of Quilting

rectangles, and B squares as shown in Quilt Top Assembly Diagram. 2. Join into rows; join rows to complete quilt center. 3. Add Star Borders to top and bottom of quilt center. 4. Add blue top and bottom inner borders to quilt center. Add blue side inner borders to quilt. 5. Repeat for red middle borders and blue print outer borders.

Block Assembly Diagrams

Block Diagram

STAR BORDER ASSEMBLY 1. Position 4 blue Stars and 4 red Stars atop white print D rectangle as shown in Star Border Diagram. Fuse pieces in place. Machine appliqué using matching thread. 2. Add 1 blue solid E rectangle to appliquéd rectangle to complete 1 Star Border. 3. Make 2 Star Borders.

lengths. Cut 1 piece in half lengthwise to make 2 narrow panels. Join 1 narrow panel to each side of wider panel; press seam allowances toward narrow panels. 2. Layer backing, batting, and quilt top; baste. Quilt as desired. Quilt shown was quilted with stars and loops in blocks and outer border, meandering around appliqué, and in the ditch in inner and middle borders (Quilting Diagram). 3. Join 2¼"-wide blue print strips into 1 continuous piece for straight-grain French-fold binding. Add binding to quilt.

D

E Star Border Diagram

March/April 2013

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E

C B

Quilting Diagram

TRIEDR TRUE TESTED FOR YOU

A perfect pattern to show off the tasty goodness of Spice Market by Jo Morton for Andover Fabrics, America the Beautiful looks just as good in colors of the Heartland as in the colors of our flag. K

E

Quilt Top Assembly Diagram

Star

March/April 2013

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49


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INTERMEDIATE ࢇࢇ

Apple Blossoms Sweet flower blocks shine in what seems to be a trellised diagonal set, but isn’t. Appliqué blocks form the inner border and create a lovely scalloped effect.

Size: 57" × 75" Blocks: 35 (9") center blocks, 52 (4½") border blocks

MATERIALS NOTE: Fabrics in the quilt shown are from the Once Upon a Time collection by Yuko Hasegawa for RJR Fabrics. 7

⁄8 yard multicolor print for blocks

¾ yard light pink print for blocks 1 yard pink print for blocks and binding 3

⁄8 yard light gray print for blocks

15⁄8 yards gray print for blocks and border 25⁄8 yards green print for blocks 3

⁄8 yard dark green print for blocks

1 yard white print for blocks Paper-backed fusible web 3½ yards backing fabric Twin-size quilt batting

QUILT BY Christine

Stainbrook.

Christine Stainbrook has been designing and making quilts for more than twenty-five years and teaching classes for five years. She likes using traditional block patterns, modifying them to show off today’s fabrics.

WEB EXTRA For more information about Christine Stainbrook, go to www.FonsandPorter.com/designers March/April 2013

Fons R Porter’s Love of Quilting

51


CUTTING Measurements include ¼" seam allowances. Border strips are exact length needed.You may want to make them longer to allow for piecing variations. Patterns for appliqué shapes are on page 55. Follow manufacturer’s instructions for using fusible web. VIDEO!

WEB EXTRA For step-by-step photos and a video, see Sew Easy: Fusible Web Appliqué at www.fonsandporter. com/windowfusible.

• 5 (2¾"-wide) strips. From strips, cut 68 (2¾") E squares. • 7 (2"-wide) strips. Piece strips to make, cut 2 (2" × 72½") side outer borders and 2 (2" × 57½") top and bottom outer borders. • 17 Flower Centers. • 5 (9½"-wide) strips. From strips, cut 17 (9½") D squares. • 3 (5¾"-wide) strips. From strips, cut 18 (5¾") squares. Cut squares in half diagonally in both directions to make 72 quartersquare C triangles. • 4 (53⁄8"-wide) strips. From strips, cut 26 (53⁄8") squares. Cut squares in half diagonally to make 52 half-square F triangles. • 2 (35⁄8"-wide) strips. From strips, cut 18 (35⁄8") A squares. From white print, cut:

• 52 Melons.

• 7 (35⁄8"-wide) strips. From strips, cut 72 (35⁄8") A squares. From light pink print, cut:

• 17 Outer Flowers. From pink print, cut:

• 8 (2¼"-wide) strips for binding. • 17 Inner Flowers. From light gray print, cut:

• 3 (31⁄8"-wide) strips. From strips, cut 36 (31⁄8") squares. Cut squares in half diagonally to make 72 half-square B triangles.

A C

A

Pieced Block Assembly Diagram

From green print, cut:

From dark green print, cut:

From multicolor print, cut:

B

PIECED BLOCK ASSEMBLY 1. Lay out 1 dark green print

A square, 4 multicolor print A squares, 4 light gray print B triangles, and 4 green print C triangles as shown in Pieced Block Assembly Diagram. Join into diagonal rows; join rows to complete 1 pieced block (Pieced Block Diagram). 2. Make 18 pieced blocks.

Pieced Block Diagram

APPLIQUÉ BLOCK ASSEMBLY 1. Referring to Diagonal Seams

Diagrams, place 1 gray print E square atop 1 green print D square, right sides facing. Stitch diagonally from corner to corner as shown. Trim ¼" beyond stitching. Press open to reveal triangle. Repeat for remaining corners to complete 1 block background. Make 17 block backgrounds. E D

From gray print, cut:

• 4 (53⁄8"-wide) strips. From strips, cut 26 (53⁄8") squares. Cut squares in half diagonally to make 52 half-square F triangles. 52

Fons R Porter’s Love of Quilting

Diagonal Seams Diagrams

March/April 2013

www.FonsandPorter.com


2. Position 1 set of appliqué pieces

atop 1 block background as shown in Appliqué Block Diagram; fuse in place.

Appliqué Block Diagram

3. Machine appliqué to complete 1

block. Make 17 appliqué blocks.

PIECED BORDER ASSEMBLY 1. Join 1 green print F triangle and

1 gray print F triangle as shown in Triangle-Square Diagrams. Make 52 triangle-squares. F

3. Machine appliqué to complete

1 border block. Make 52 border blocks. 4. Join 14 border blocks to complete 1 pieced side border as shown in Quilt Top Assembly Diagram on page 54. Make 2 pieced side borders. 5. In the same manner, join 12 border blocks to complete pieced top outer border. Repeat for pieced bottom outer border.

QUILT ASSEMBLY 1. Lay out pieced and appliqué

blocks as shown in Quilt Top Assembly Diagram. Join blocks into rows; join rows to complete quilt center. 2. Add pieced side borders to quilt center. Add pieced top and bottom borders to quilt. 3. Repeat for gray print outer borders.

Triangle-Square Diagrams

FINISHING Sew Smart

1. Divide backing into 2 (1¾-yard)

Press triangle-square seam allowances open to reduce bulk. —Christine

lengths. Join panels lengthwise. Seam will run horizontally. 2. Layer backing, batting, and quilt top; baste. Quilt as desired. Quilt shown was outline quilted around appliqué shapes and has a flower design in pieced blocks (Quilting Diagram on page 54). 3. Join 2¼"-wide pink print strips into 1 continuous piece for straight-grain French-fold binding. Add binding to quilt.

TM

2. Position 1 white print Melon

shape atop 1 triangle-square as shown in Border Block Diagram; fuse in place.

Border Block Diagram


Quilt Top Assembly Diagram

TRIEDR TRUE

TESTED FOR YOU

We like the subtle colorations in the fabrics from the Simply Imagine collection by Terri Degenkolb of Whimsicals for Red Rooster Fabrics. We simplified the blocks by eliminating the appliqué. K

Quilting Diagram

54

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Flower Center

Inner Flower

Outer Flower

Patterns are shown full size for use with fusible web. Add 3⁄16" seam allowance for hand appliqué.

Melon

March/April 2013

Fons R Porter’s Love of Quilting

55


INTERMEDIATE ࢇࢇ

PROJECT

Baby Scallops Sweet little 1930s prints, reminiscent of old feedsacks, tumble higgledy-piggledy down a foundation of freezer paper. Each print repeats from strip to strip, but we all know this is one great project for using up your scraps.

Size: 30" × 42"

MATERIALS 25 (2"× 20") assorted strips bright prints in blue, green, orange, purple, and yellow 11⁄8 yards white solid for sashing and border 5

⁄8 yard blue print for binding

Freezer paper for foundations 13⁄8 yards backing fabric Crib-size quilt batting

QUILT BY Marianne

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Fons R Porter’s Love of Quilting

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Fons.

www.FonsandPorter.com


’Š¤ဠ£Žªª“¤’Š¡“ŠššŽလ

March/April 2013

Fons R Porter’s Love of Quilting

57


CUTTING Measurements include ¼" seam allowances. Border strips are exact length needed; you may want to make them longer to allow for piecing variations. From each bright print, cut:

• 3 (2" × 6") rectangles. From white solid, cut:

• 4 (6"-wide) strips. From strips, cut 2 (6" × 32½") side borders and 2 (6") top and bottom 31½" borders. • 2 (4½"-wide) strips. From strips, cut 2 (4½" × 32½") sashing strips. From blue print, cut:

• 200" of (2¼"-wide) bias strips. Join strips to make bias binding. From freezer paper, cut:

• 3 (4½" × 32½") strips.

ROW ASSEMBLY 1. Referring to String Piecing

Diagrams, place 1 bright print rectangle, right side up and centered, atop 1 paper strip. 2. Place another bright print rectangle at a slight angle over the first rectangle, with right sides facing. Stitch with ¼" seam allowance along long edge of second rectangle. 3. Trim first rectangle, leaving ¼" beyond stitching. 4. Press open to reveal second rectangle. 5. Repeat sew-and-flip process, varying the placement angles of strips, until foundation is covered. 6. Trim string-pieced rectangle to 4½" × 32½" to complete 1 vertical row. Make 3 rows. Remove paper foundations. 58

Fons R Porter’s Love of Quilting

String Piecing Diagrams

QUILT ASSEMBLY

FINISHING

1. Lay out rows and white sashing

1. Layer backing, batting, and quilt

strips as shown in Quilt Top Assembly Diagram. Join to complete quilt center. 2. Add side borders to quilt center. Add top and bottom borders to quilt. 3. Referring to Quilting Diagram, use plate or other round flat object to mark scallops on edges of quilt top or see Sew Easy: Scalloped Edges on page 60.

top; baste. Quilt as desired. Quilt shown was quilted with straight lines (Quilting Diagram). 2. Trim quilt along marked scallop lines. 3. Add binding to quilt. K

March/April 2013

www.FonsandPorter.com


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425-836-0645 www.BugFabric.com Quilt Top Assembly Diagram

7Â&#x153;Ă&#x20AC;Â?`Â&#x2021;VÂ?>Ă&#x192;Ă&#x192;Ă&#x160; Ă&#x192;iĂ&#x20AC;Ă&#x203A;Â&#x2C6;ViĂ&#x160;vÂ&#x153;Ă&#x20AC;Ă&#x160; Â&#x201C;Â&#x153;Ă&#x20AC;iĂ&#x160;Ă&#x152;Â&#x2026;>Â&#x2DC;Ă&#x160;

Ă&#x201C;xĂ&#x160;9i>Ă&#x20AC;Ă&#x192;

If you love the art of quilting and dream of attending world-class quilt festivals, youâ&#x20AC;&#x2122;re going to have the time of your life on a Country Heritage Tour. UĂ&#x160;/Â&#x2026;iĂ&#x160;Â&#x153;Ă&#x2022;Ă&#x192;Ă&#x152;Â&#x153;Â&#x2DC;Ă&#x160;Â&#x2DC;Ă&#x152;iĂ&#x20AC;Â&#x2DC;>Ă&#x152;Â&#x2C6;Â&#x153;Â&#x2DC;>Â?Ă&#x160;+Ă&#x2022;Â&#x2C6;Â?Ă&#x152;Ă&#x160;iĂ&#x192;Ă&#x152;Â&#x2C6;Ă&#x203A;>Â? UĂ&#x160;/Â&#x2026;iĂ&#x160;6iĂ&#x20AC;Â&#x201C;Â&#x153;Â&#x2DC;Ă&#x152;Ă&#x160;+Ă&#x2022;Â&#x2C6;Â?Ă&#x152;Ă&#x160;iĂ&#x192;Ă&#x152;Â&#x2C6;Ă&#x203A;>Â? UĂ&#x160;-Â&#x2C6;Ă&#x192;Ă&#x152;iĂ&#x20AC;Ă&#x192;Ă&#x160;+Ă&#x2022;Â&#x2C6;Â?Ă&#x152;Ă&#x160;-Â&#x2026;Â&#x153;Ă&#x153; UĂ&#x160;+-Ă&#x160;*>`Ă&#x2022;V>Â&#x2026;Ă&#x160;+Ă&#x2022;Â&#x2C6;Â?Ă&#x152;Ă&#x160;iĂ&#x192;Ă&#x152;Â&#x2C6;Ă&#x203A;>Â? UĂ&#x160;+Ă&#x2022;Â&#x2C6;Â?Ă&#x152;Â&#x2C6;Â&#x2DC;}Ă&#x160;Ă&#x153;Â&#x2C6;Ă&#x152;Â&#x2026;Ă&#x160;Ă&#x152;Â&#x2026;iĂ&#x160;*iÂ&#x2DC;Â&#x2DC;Ă&#x192;Ă&#x17E;Â?Ă&#x203A;>Â&#x2DC;Â&#x2C6;>Ă&#x160;Â&#x201C;Â&#x2C6;Ă&#x192;Â&#x2026; UĂ&#x160; iĂ&#x153;Ă&#x160; Â&#x2DC;}Â?>Â&#x2DC;`Ă&#x160;Â&#x2C6;Â&#x2DC;Ă&#x160;Ă&#x152;Â&#x2026;iĂ&#x160;>Â?Â? UĂ&#x160;Â&#x2DC;`Ă&#x160;Â&#x201C;Â&#x153;Ă&#x20AC;io Call for our FREE Catalog

Quilting Diagram

t 10#09t".)&345 /)

XXX$PVOUSZ)FSJUBHF5PVSTDPN


SEW

easy

SEW

Watch a video of this Sew Easy online at www.FonsandPorter.com/scallopedges

easy ™

Scalloped Edges

VIDEO!

Use these instructions to make scallops on the edge of any size quilt.

Diagram A

MARKING SCALLOPED EDGES 1. Cut a rectangle from tracing

paper equal to finished width and length of side border. Baby Scallops on page 56 has a 5" finished border width and 31" finished border length. 2. Determine how many scallops you want per side, and fold paper into this number of equal segments (Diagram A). Baby Scallops has 3 divisions on each side border and 2 divisions on top and bottom border. 3. Fold top segment in half. Draw curve on one half; trace curve onto other half (Diagram B). Choose to draw your peaks and valleys pointy, shallow, or somewhere in between.

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Fons R Porter’s Love of Quilting

Diagram B

Sew Smart

TM

Draw shallow scallops. You’ll find out why if you try to bind scallops that are too deep! —Liz

4. When you are pleased with one

curve, trace onto remaining segments. 5. Cut paper on traced line and use as a guide to draw scallops on quilt top.

Diagram C

7. To make a corner curve, cut

piece of tracing paper the size of finished corner. Baby Scallops has a 5" corner square. Fold square in half diagonally and draw curve (Diagram C); trace curve onto other half. When working with corner design, you may need to “fudge” the corner design slightly to make it meet. 8. Quilt as desired.

Sew Smart

Sew Smart

Draw the scallops on quilt top before quilting, and keep quilting design within the scallops. —Marianne

If your quilting does not go all the way to the edge of the scallop, use a walking foot to baste the layers together a scant ¼" inside the drawn line before trimming the quilt. —Marianne

TM

6. Repeat steps #1–#5 for

TM

remaining edges of quilt.

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INTERMEDIATE ࢇࢇ

Bed of Tulips Just in time for spring, the pink tulips in this cheery quilt will make your heart sing every time you see them. The appliqué border packs a delightful pink punch.

Size: 75" × 75" Blocks: 25 (12") blocks

MATERIALS 31⁄8 yards green print for blocks and border 2½ yards dark pink print for blocks and appliqué 1 yard light pink solid for blocks ¾ yard yellow print for blocks 3¾ yards white solid for blocks and border Fons & Porter Quarter Inch Seam Marker (optional) Paper-backed fusible web 4¾ yards backing fabric Full-size quilt batting

QUILT DESIGNED BY Kathleen Whiting. MADE BY Kathleen Whiting and Natalia Bonner. MACHINE QUILTED BY Natalia Bonner.

Kathleen Whiting loves designing and sewing. Read the blog she and her daughter write at www.PieceAndQuilt.com.

WEB EXTRA For more information about Kathleen Whiting, go to www.FonsandPorter.com/designers

March/April 2013

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63


CUTTING

BLOCK ASSEMBLY

Measurements include ¼" seam allowances. Instructions are written for using the Fons & Porter Quarter Inch Seam Marker. Pattern for petal is on page 65. Follow manufacturer’s instructions for using fusible web.

1. Referring to Sew Easy: Quick

Triangle-Squares on page 84, make 600 triangle-squares using green print and white 23⁄8" squares (Triangle-Square Diagrams).

5. Lay out 4 Block Units, 4 Side

Units, and 1 light pink B square as shown in Block Assembly Diagram. Join into rows; join rows to complete 1 block (Block Diagram). Make 25 blocks.

From green print, cut:

• 8 (4¼"-wide) strips. From strips, cut 68 (4¼") C squares. • 25 (23⁄8"-wide) strips. From strips, cut 400 (23⁄8") squares. • 5 (2"-wide) strips. From strips, cut 100 (2") A squares. From dark pink print, cut: 3

• 7 (2 ⁄8"-wide) strips. From strips, cut 100 (23⁄8") squares. • 5 (2"-wide) strips. From strips, cut 100 (2") A squares. • 144 Petals. From light pink solid, cut:

• 3 (3½"-wide) strips. From strips, cut 25 (3½") B squares. • 7 (23⁄8"-wide) strips. From strips, cut 100 (23⁄8") squares.

MAKE 600

MAKE 200

MAKE 200

Triangle-Square Diagrams

200 light pink/white trianglesquares, and 200 dark pink/green triangle-squares. 3. Lay out 2 light pink/white triangle-squares, 2 dark pink/ green triangle-squares, 2 yellow print A squares, 1 dark pink print A square, 1 green print A square, and 1 white A square as shown in Block Unit Diagrams. Join into rows; join rows to complete 1 Block Unit. Make 100 Block Units.

• 10 (2"-wide) strips. From strips, cut 200 (2") A squares. • 9 (4¼"-wide) strips. From strips, cut 76 (4¼") C squares. • 25 (23⁄8"-wide) strips. From strips, cut 400 (23⁄8") squares. • 9 (2¼"-wide) strips for binding. • 5 (2"-wide) strips. From strips, cut 100 (2") A squares.

Block Assembly Diagram

Block Diagram

PIECED BORDER ASSEMBLY

A

From yellow print, cut:

From white solid, cut:

B

2. In the same manner, make

1. Lay out 2 green print C squares Block Unit Diagrams

4. Lay out 6 green/white triangle-

squares as shown in Side Unit Diagrams. Join into rows; join rows to complete 1 Side Unit. Make 100 Side Units.

and 2 white C squares as shown in Border Unit Diagrams. Join into rows; join rows to complete 1 Border Unit. Make 32 Border Units. C

C Border Unit Diagrams Side Unit Diagrams

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2. Lay out 3 white C squares and

1 green print C square as shown in Corner Unit Diagrams. Join into rows; join rows to complete 1 Corner Unit. Make 4 Corner Units. C

QUILT ASSEMBLY 1. Lay out blocks as shown in

Quilt Top Assembly Diagram. Join into rows; join rows to complete quilt center. 2. Add pieced side borders to quilt center. Add pieced top and bottom borders to quilt.

QUILTS of LOVE EVERY QUILT HAS A STORY

FINISHING

C

1. Divide backing into 2 (23⁄8-yard) Corner Unit Diagrams

3. Position 4 Petals atop each

Border Unit and each Corner Unit as shown in Appliqué Diagrams. Machine-appliqué using matching thread and blanket stitch.

Appliqué Diagrams

4. Referring to Quilt Top Assembly

Diagram on page 66, join 8 Border Units as shown to make pieced side border. Make 2 pieced side borders. 5. Join 8 Border Units and 2 Corner Units as shown to make pieced top border. Repeat for pieced bottom border.

lengths. Cut 1 piece in half lengthwise to make 2 narrow panels. Join 1 narrow panel to each side of wider panel; press seam allowances toward narrow panels. 2. Layer backing, batting, and quilt top; baste. Quilt as desired. Quilt shown was quilted with an allover floral design (Quilting Diagram on page 66). 3. Join 2¼"-wide white strips into 1 continuous piece for straightgrain French-fold binding. Add binding to quilt. K

Petal

Available wherever books are sold.

QuiltsOfLoveBooks.com


Quilt Top Assembly Diagram

Quilting Diagram

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Shopping! Shopping! Shopping! Thanks, I made it myself !

Classes & Workshops C Trunk Trunk Tr nk Shows • Quilt Displays 2013 3 Events Eve Evveents entts ts Atlanta, G GA A Lakeland, FL FL Cleveland, O OH H Schaumburg, IIL L Worcester, MA MA Baltimore, MD MD Raleigh, N NC C Pittsburgh, P PA A Georgia Quilt Show w Fredericksburg, V VA A Birmingham, AL AL Fort Worth, TX TX Minneapolis, MN MN Tinley Park, IL IL Overland Park, KS KS

March 7-9 March 14-16 March 21-23 April 4-6 April 11-13 May 9-11 June 20-22 August 22-24 September 19-21 October 3-5 October 10-12 October 17-19 November 7-9 November 14-16 November 21-23

sewingexpo.com 800-699-6309 Class Catalog Online

Quilt: “Rhapsody in Red” by Trudy Wasson www.generations-quilt-patterns.com


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INTERMEDIATE ࢇࢇ

Reticulum Thomas Knauer made his quilt with a netlike formation of color strips. The 100 block units are all alike, making construction much easier than it looks.

Size: 60" × 60" Blocks: 25 (12") blocks

MATERIALS 1 yard yellow print 1 yard pink print 1 yard red print 1 yard orange print 11⁄8 yards white solid 1½ yards cream solid 4 yards backing fabric Twin-size quilt batting

QUILT DESIGNED AND MADE BY Thomas MACHINE QUILTED BY Lisa

Knauer.

Sipes.

Before Thomas Knauer started designing fabric and quilts, he was a professor of art and design at Iowa’s Drake University and the State University of New York. He began sewing in 2010, after leaving academia due to health concerns. The first time Thomas sat down at a sewing machine he made his wee daughter a dress. He now designs fabric, and his quilts are published in an array of magazines. He still loves making things for his daughter.

WEB EXTRA For more information about Thomas Knauer, go to www.FonsandPorter.com/designers

March/April 2013

Fons R Porter’s Love of Quilting

69


CUTTING

2½"

In the same manner, make 1 red/ yellow, 1 pink/orange, and 1 yellow/red Strip Set #5. From each strip set, cut 25 (1½"-wide) #5 segments.

Measurements include ¼" seam allowances. From each print, cut:

• 1 (6½"-wide) strip. From strip, cut 25 (6½" × 1½") B rectangles. • 2 (4½"-wide) strips. From strips, cut 50 (4½" × 1½") A rectangles. • 2 (2¼"-wide) strips for binding. • 7 (1½"-wide) strips for strip sets. From white solid, cut:

• 4 (2½"-wide) strips for strip sets. • 16 (1½"-wide) strips for strip sets. From cream solid, cut:

• 8 (2½"-wide) strips for strip sets. • 20 (1½"-wide) strips for strip sets.

Strip Set #2 Diagram

3. Join 1 (1½"-wide) cream strip, 1

pink print strip, and 1 (2½"-wide) white strip as shown in Strip Set #3 Diagram. In the same manner, make 1 yellow, 1 orange, and 1 red Strip Set #3. From each strip set, cut 25 (1½"-wide) #3 segments. 1½"

1. Join 1 (1½"-wide) cream strip

1½"

Strip Set #5 Diagram

BLOCK ASSEMBLY 1. Lay out 1 orange/pink #5

STRIP SET ASSEMBLY and 1 yellow print strip as shown in Strip Set #1 Diagram. In the same manner, make 1 pink, 1 red, and 1 orange Strip Set #1. From each strip set, cut 25 (1½"-wide) #1 segments.

1½"

Strip Set #3 Diagram

4. Join 1 (1½"-wide) white strip, 1

pink print strip, and 1 (2½"-wide) cream strip as shown in Strip Set #4 Diagram. In the same manner, make 1 yellow, 1 orange, and 1 red Strip Set #4. From each strip set, cut 25 (1½"-wide) #4 segments.

segment, 1 orange print B rectangle, 1 pink #4 segment, 1 orange print A rectangle, 1 pink #3 segment, 1 pink print A rectangle, 1 pink #2 segment, and 1 yellow #1 segment as shown in Block Unit Diagrams. Join into sections; join sections to complete 1 Block Unit. Make 25 orange/ pink Block Units. #4 A #3

B

A

#5

Strip Set #1 Diagram

#2

1½"

#1

2. Join 1 (1½"-wide) cream strip, 1

pink print strip, and 1 (1½"-wide) white strip as shown in Strip Set #2 Diagram. Make 2 pink Strip Set #2. In the same manner, make 2 yellow, 2 orange, and 2 red Strip Set #2. From each matching pair of strip sets, cut 25 (2½"-wide) #2 segments.

70

Fons R Porter’s Love of Quilting

MAKE 25 MAKE 25

MAKE 2525 MAKE

MAKE 25

MAKE 25

Strip Set #4 Diagram

5. Join 1 (1½"-wide) cream strip,

1 orange print strip, 1 (1½"-wide) white strip, 1 pink print strip, and 1 (2½"-wide) cream strip as shown in Strip Set #5 Diagram.

March/April 2013

Block Unit Diagrams

2. In the same manner, make

25 red/yellow Block Units, 25 yellow/red Block Units, and 25 pink/orange Block Units. www.FonsandPorter.com


3. Lay out 4 Block Units as shown

in Block Assembly Diagram. Join Block Units into rows; join rows to complete 1 block (Block Diagram). Make 25 blocks.

Easier, Faster, and More Fun than Floss! Block Assembly Diagram

Block Diagram

QUILT ASSEMBLY 1. Lay out blocks as shown in

Quilt Top Assembly Diagram on page 72. 2. Join blocks into rows; join rows to complete quilt top.

FINISHING 1. Divide backing into 2 (2-yard)

lengths. Cut 1 piece in half lengthwise to make 2 narrow panels. Join 1 narrow panel to each side of wider panel; press seam allowances toward narrow panels. 2. Layer backing, batting, and quilt top; baste. Quilt as desired. Quilt shown was quilted with straight lines in a diamond design (Quilting Diagram on page 72). 3. Cut 2¼"-wide assorted print strips in half. Join strips with diagonal seams into 1 continuous piece for straight-grain Frenchfold binding. Add binding to quilt.

UÊ œÊ-i«>À>̈˜}Ê/…Ài>`à UÊ "˜iÊÃÌÀ>˜`ʈÃÊiµÕ>ÊÊ̜ÊÌܜÊÃÌÀ>˜`ÃÊ œvÊÊ̅iÊÌÞ«ˆV>Êi“LÀœˆ`iÀÞÊyʜÃà UÊ ÕÌÊ̜ʘÞÊi˜}̅ UÊ œÊ/>˜}ˆ˜} UÊ Û>ˆ>Liʈ˜ÊÈÈÊ-œˆ`Ê œœÀÃÊ >˜`Ê£{Ê i˜`>Lià ® UÊ /ˆ`ÞÊ-̜À>}i

The same great, Sulky Solid Color and Blendables® 12 wt. Cotton Thread you know and love– now on a “petite”, 50 yd. snap-end spool that is ideal for hand work. Use It for Hand and Machine Work UÊ>˜`Ê “LÀœˆ`iÀÞ UÊ««ˆµÕj UÊ+ՈÌˆ˜} UÊ ÀœÃÃÊ-̈ÌV… UÊ À>âÞÊ*>ÌV…ÜœÀŽ UÊ œÕV…ˆ˜} UÊ>˜`Ê->ňŽœ UÊ >˜ŽiÌÊ-̈ÌV…

www.sulky.com

UÊ ii`i«Õ˜V… UÊ >˜`i܈VŽˆ˜} UÊ-“œVŽˆ˜} UÊiˆÀœœ“Ê-i܈˜} UÊ,i`ܜÀŽ UÊ œLLˆ˜Ê7œÀŽ UÊ"̅iÀÊ À>vÌÃ


Quilt Top Assembly Diagram

TRIEDRTRUE TESTED FOR YOU

Popular home dec colors and prints from the Cosmopolitan line by Northcott place this graphic quilt smack dab in the Modern Quilt department. K

Quilting Diagram

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Want more quilting videos? Check out Mary and Marianne on Fons & Porterâ&#x20AC;&#x2122;s Love of Quilting PBS show! Either tune in to your local PBS station or visit Video.FonsandPorter.com today!

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International Quilt Study Center & Museum 1997.007.0413.

QUILT FROM THE COLLECTION OF

Antique Pinwheel The 90 pinwheels in this quilt provide a great opportunity for fat-quarter and scrap collectors to use their stash. Try as she might, the maker of this quilt could not get her borders to come out even, so she added a few skinny strips to make it work—as will you.

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FROM THE CURATOR Four contrasting half-square triangles, arranged in a four-patch Pinwheel, comprise the blocks in this circa 1865–1885 quilt (85" × 97"). “Careful placement of light and dark fabrics creates the effect of a spinning pinwheel,” says Carolyn Ducey, Curator of Collections at the International Quilt Study Center & Museum. Possibly made in Maryland by an unknown quilter, the rows of blocks are framed with a wide sawtooth border. A quilted 1786 English pinwheel panel, from the Victoria and Albert Museum in London, is an early example of the popular block. Before making its way across the Atlantic, the pattern was also used in British medallion quilts, worked in silk or cotton. The pinwheels, called “windmills” in England, were sewn in multiples to form rows that frame center blocks or as corner posts in the sashing and borders of quilts. This cotton Pinwheel quilt is composed of a number of unique contrasting hues, including orangered, chocolate brown, and black, set with striking pink, green, and gold triangles. “The large triangles in the outer border and the sashing between the blocks are printed in a palette that became popular after the end of the Civil War,” says Ducey, “Dyers developed processes for the synthetic production of alizarin— the primary colorant in natural madder-root.” Note how the bright green fabric, used sparingly in the center of the quilt, draws your eye in. Many of the triangles composed of the synthetic madder prints appear to be largescale prints. “They feature paisley designs, a fabric motif popular in the last few decades of the nineteenth century,” says Ducey, “Stripes also predominate and indicate their popularity at this time as well.”

ABOUT THE COLLECTION: In each issue, Love of Quilting features an antique quilt and pattern from the International Quilt Study Center & Museum at the University of Nebraska-Lincoln. The Center has the largest publicly held quilt collection in the world. See other gorgeous quilts from the collection and enjoy interactive Web features at www.quiltstudy.org under Quilt Explorer.

WEB EXTRA Go to www.FonsandPorter.com/antiquepinwheel to download materials, assembly instructions and diagrams for this quilt.


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INTERMEDIATE ࢇࢇ

Effervescence

Designing for a quilt challenge, Gerald Roy combined the challenge fabric with one additional fabric to create his small quilt. Wonky foundation piecing adds a delightful quality to Gerald’s entry.

Size: 38" × 41"

MATERIALS ¾ yard green solid for center and border corners ½ yard red print for center and border ½ yard red plaid for center 1 fat quarter* red solid for center ¾ yard brown print for center and border 1 fat quarter* brown solid for center ¾ yard cream print for center and binding 7 (4½" × 36") rectangles of paper or muslin for row foundations 1¼ yards backing fabric Crib-size quilt batting *fat quarter = 18" × 20"

QUILT BY Gerald

Roy.

Collector and certified quilt appraiser Gerald E. Roy is also a quilter, painter, and antique dealer.

WEB EXTRA For more information about Gerald Roy, go to www.FonsandPorter.com/designers

March/April 2013

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77


CUTTING

ROW ASSEMBLY

Measurements include ¼" seam allowances. Border strips are exact length needed.You may want to cut them longer to allow for piecing variations.

1. Referring to Row Foundation

VIDEO!

WEB EXTRA For instructions and a video on foundation piecing, go to www.FonsandPorter.com/pfp.

Diagram, lightly mark each row foundation rectangle in 21–26 wedge shapes. The wedge shapes in each row are not uniform. Space lines at wide end of wedge from 1½"–2" apart and at narrow end of wedge ¾"–1¼" apart. 2. Foundation piece rows, referring to photo on page 77 for fabric placement. Make 7 rows. 3. Trim excess fabric even with side edges of paper or muslin foundations (Row Foundation Diagram). 4. Trim rows to measure 31½" long (Row Diagram). Row Foundation Diagram

QUILT ASSEMBLY 1. Lay out rows as shown in Quilt

• 1 (5½"-wide) strip. From strip, cut 4 (5½") squares. From red print, cut:

• 2 (5½"-wide) strips. From strips, cut 2 (5½" × 28½") top and bottom borders. From brown print, cut:

• 2 (5½"-wide) strips. From strips, cut 2 (5½" × 31½") side borders. From cream print, cut:

• 5 (2¼"-wide) strips for binding. Remaining fabrics are used for piecing center.

78

Fons R Porter’s Love of Quilting

FINISHING 1. Layer backing, batting, and

quilt top; baste. Quilt as desired. Quilt shown was hand quilted outlining wedges, with a pinwheel design in border corners, and with straight lines in borders (Quilting Diagram). 2. Join 2¼"-wide cream print strips into 1 continuous piece for straight-grain French-fold binding. Add binding to quilt.

March/April 2013

31½"

From green solid, cut:

Top Assembly Diagram. Join rows to complete quilt center. 2. Add side borders to quilt center. 3. Add 1 green square to each end of top and bottom borders. Add borders to quilt.

Row Diagram

www.FonsandPorter.com


Quilting Diagram

SIZE OPTIONS

Quilt Top Assembly Diagram

Green Solid Red Print Red Plaid Red Solid Brown Print Brown Solid Cream Print Backing Fabric Batting

Throw (66" × 86")

Queen (94" × 100")

2 yards 11⁄8 yards 17⁄8 yards 5 ⁄8 yard 1¾ yards 1¼ yards 1¾ yards 5¼ yards Twin-size

3½ yards 2 yards 3¼ yards 11⁄8 yards 3 yards 2¼ yards 3 yards 9 yards King-size

WEB EXTRA Go to www.FonsandPorter.com/effervescencesizes to download cutting instructions and assembly diagrams for these size options. K

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INTERMEDIATE ࢇࢇ

Now I Know My ABCs Make a child a quilt and he'll be warm. Make a child an alphabet quilt and he'll know his ABCs forever! Size: 64" × 74" Blocks: 30 (10") blocks

MATERIALS NOTE: Fabrics in the quilt shown are from the Googlies collection by Michele D'Amore for Benartex. 1 Googlies Alphabet Squares panel (or enough to cut 30 [6½"] squares) Fons & Porter Fussy Cut Template set (or 6½" square template plastic) 1¼ yards orange print for blocks, inner border, and binding 3

⁄8 yard blue print for blocks

3

⁄8 yard pink print for blocks

¾ yard yellow print for blocks Fons & Porter Quarter Inch Seam Marker (optional) 1½ yards white print for blocks and middle border 7

QUILT BY Wendy

⁄8 yard multicolor stripe for outer border

Sheppard.

4 yards backing fabric Twin-size quilt batting

Wendy Sheppard, originally from Southeast Asia, trained and worked as a chemical engineer. She currently resides in northern Virginia with her family, and loves to stitch hand appliqué, heirloom needlework, and smocking. Her popular quilt designs have been published internationally.

WEB EXTRA For more information about Wendy Sheppard, go to www.FonsandPorter.com/designers March/April 2013

Fons R Porter’s Love of Quilting

81


CUTTING

From multicolor stripe, cut:

Measurements include ¼" seam allowances. Border strips are exact length needed.You may want to cut them longer to allow for piecing variations. Instructions are written for using the Fons & Porter Quarter Inch Seam Marker.

• 8 (3½"-wide) strips. Piece strips to make 2 (3½" × 68½") side outer borders and 2 (3½" × 64½") top and bottom outer borders.

1. Referring to Sew Easy: Quick

BLOCK 2 ASSEMBLY

From Alphabet Squares panel, cut

Triangle-Squares on page 84, make 120 triangle-squares using white print and orange print A squares. 2. Join 1 pink print B square and 2 triangle-squares as shown in Side Unit Diagrams. Make 60 Side Units.

1. Lay out 1 C square, 4 yellow

• 30 (6½") C squares, centering design on each. If not using the Fons & Porter Fussy Cut Template, place plastic template square atop fabric; draw around template. Cut on drawn line. From orange print, cut:

• 5 (27⁄8"-wide) strips. From strips, cut 60 (27⁄8") A squares. • 8 (2¼"-wide) strips for binding. • 6 (1½"-wide) strips. Piece strips to make 2 (1½" × 60½") side inner borders and 2 (1½" × 52½") top and bottom inner borders. From blue print, cut:

• 4 (2½"-wide) strips. From strips, cut 60 (2½") B squares. From pink print, cut:

• 4 (2½"-wide) strips. From strips, cut 60 (2½") B squares. From yellow print, cut:

• 10 (2½"-wide) strips. From strips, cut 60 (2½" × 6½") D rectangles.

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print D rectangles, and 4 blue print B squares as shown in Block 2 Assembly Diagram. B

D

C

B

Block 2 Assembly Diagram Side Unit Diagrams

2. Join into rows; join rows to NOTE: If you want your alphabet to be in the correct order, refer to photo on page 81.

complete 1 Block 2 (Block 2 Diagram). Make 15 Block 2.

3. Lay out 1 C square, 4 Side Units,

and 4 white print B squares as shown in Block 1 Assembly Diagram. Join into rows; join rows to complete 1 Block 1 (Block 1 Diagram). Make 15 Block 1.

Block 2 Diagram

QUILT ASSEMBLY

B

From white print, cut:

• 7 (3½"-wide) strips. Piece strips to make 2 (3½" × 62½") side middle borders and 2 (3½" × 58½") top and bottom middle borders. • 5 (27⁄8"-wide) strips. From strips, cut 60 (27⁄8") A squares. • 4 (2½"-wide) strips. From strips, cut 60 (2½") B squares.

Block 1 Diagram

BLOCK 1 ASSEMBLY

1. Lay out blocks as shown in C

Block 1 Assembly Diagram

March/April 2013

Quilt Top Assembly Diagram. Join blocks into rows; join rows to complete quilt center. 2. Add orange print side inner borders to quilt center. Add orange print top and bottom borders to quilt. 3. Repeat for white print middle borders and stripe outer borders.

www.FonsandPorter.com


FINISHING 1. Divide backing into 2 (2-yard)

lengths. Join panels lengthwise. Seam will run horizontally. 2. Layer backing, batting, and quilt top; baste. Quilt as desired. Quilt shown was quilted in the ditch and with a swirl design in borders (Quilting Diagram). 3. Join 2Âź"-wide orange print strips into 1 continuous piece for straight-grain French-fold binding. Add binding to quilt.

Quilt Top Assembly Diagram

TRIEDRTRUE TESTED FOR YOU

Contemporary country colors make for a sweet quilt and show you do not always need a panel or fussy-cut square to fill the center of a block. We used fabrics from The Home to Roost line by Terri Degenkolb of Whimsicals for Red Rooster Fabrics. K

Quilting Diagram

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SEW

easy

SEW

Watch a video of this Sew Easy online at www.FonsandPorter.com/quicktrisquares

easy ™

Quick Triangle-Squares Use this quick method to make the triangle-squares for Now I Know My ABC’s, on page 80, and Bed of Tulips on page 62. 1. On wrong side of lighter square,

place the Quarter Inch Seam Marker diagonally across the square, with the yellow center line positioned exactly at opposite corners. Mark stitching lines along both sides of the Quarter Inch Seam Marker (Photo A). 2. Place light square atop darker square, right sides facing; stitch along both marked sewing lines. 3. Cut between rows of stitching to make 2 triangle-squares (Photo B). NOTE: If not using the Quarter Inch Seam Marker, draw a diagonal line from corner to corner across square. Then draw sewing lines on each side of the first line ¼" away.

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A

B

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quilting T HE QUILT BY Dawn

Cavanaugh.

Traditional, Contemporary, or Modern? Are you a traditionalist, or do you lean more toward contemporary? As the next quilting generation finds its voice, a new and different genre is emerging.

M

odern quilts and modern quilt guilds are popping up all over the world. These quilts recapture some of the simplicity and beauty of early utilitarian quilts, yet they are not traditional and, also, not contemporary.You might wonder why any quilt made after the turn of the century would not be considered modern. In any other situation, we use the words “modern” and “contemporary” interchangeably but, when it comes to quilts, they are not really synonyms. To understand how they differ, it helps to first see how traditional quilts are different from contemporary and modern styles. The term “traditional quilt” conjures up images of quilts seen on Grandma’s bed, with rows of uniform blocks, often with sashing strips and a border, in a classic layout.

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Color placement is often deliberate and planned. Construction techniques are “tried and true” methods for precision. The quilting designs on traditional quilts emulate the structured feel of the quilt. They are often symmetrical and repetitive, with the thread color blending in to created a unified look. Techniques such as stitching in the ditch, outline quilting, crosshatching, and grids are common. Feathers may appear in borders and blocks, but their placement will be precise and deliberate, with mirrored images and symmetrical shapes taking center stage. The quilts shown here were made by Marianne Fons and Liz Porter several years ago. The quilting designs I chose for the samples reflect their different styles.

Take a look at Photo 1 and Photo 2. The black fabric and vibrant solid colors create a very traditional feel, representative of Amish-style quilts. The feathers are traditional designs. If I had used a bright variegated thread instead of matching black thread, the quilt would feel more contemporary. Even a simple change such as thread color can change the style of a quilt. Quilting styles often cross over one another, using elements from more than one genre. Contemporary quilts may have traditional blocks and layouts, but might also feature unusual color combinations, complex piecing, and embellishments. These quilts may borrow from traditional patterns, but they often stretch, skew, or flip the patterns and blocks into new and different configurations.

With the innovation of machine quilting and longarm machines, quilting density has increased. Contemporary quilts often have intense background fills, elaborate thread play, and heavy texture. Instead of confining quilting motifs inside the seam lines, the quilting designs liberally cross over those boundaries to create newly defined spaces on the quilt. These quilts may sport a variety of thread that would look out of place on a traditional quilt. Variegated thread, metallic thread, and even embellishments such as couching, embroidery, and crystals add bling and texture. Photo 3 and Photo 4 show contemporary continuous curve quilting wandering through the triangles. The flowing shapes in the borders and background areas contribute to the casual, yet contemporary, feel. By contrast, modern quilts reintroduce simplicity and utility as their focus. They rely much less on quilt block repetition and traditional block placement, and asymmetry is common. When you look at a modern quilt, you’ll see much more negative space (empty area around the main blocks). Gray and white are common choices for the negative space on modern quilts, replacing the ecru, tan, or cream of more traditional quilts.

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Modern quilts take inspiration from the clean lines of architecture, and even modern art, and pull in bold colors and solid fabrics.You’ll also see modern quilts sporting vibrant graphic prints or following the color trends popular in home decorating. Modern quilters break away from some of the “rules” when it comes to construction techniques. Instead, they use whatever methods produce the desired results. Both the quilting lines and the pattern design have a minimalistic feel. The quilting lines may cover the entire quilt in an overall fashion. However, the stitching lines will mimic graphic, geometric shapes such as straight lines and repeating curves instead of elaborate pantograph styles. The shapes are stitched freehand,

using echoing techniques and repeating shapes. The quilt in Photo 5 and Photo 6 has a modern flavor with its solid colors and gray background fabric. To enhance its design, I quilted it with straight lines and triangular images that echo through the entire quilt. The quilting design flows right across the body of the quilt into the border, ignoring the imaginary road blocks that exist between seams. To capture the essence of modern quilting designs, focus on creating geometric shapes that repeat over and over. Circles, squares, rectangles, triangles, and straight lines all create wonderful modern quilting shapes. Take a look at my practice piece in Photo 7. The rectangle shape is easy to create and repeat. It adds nice

contrast to the circle appliqués in my modern quilt shown in Photo 8. I don’t worry about crossing lines or following any specific, pre-planned path. Modern quilts are characterized by asymmetry, which adds more interest and texture. Don’t worry about confining your designs to one specific area of the quilt; allow your design to flow over the entire surface like water rippling in the wind. Use matching thread so that the quilting creates texture and acts like a second layer over the quilt instead of drawing attention to the quilting first. I’ve included a few more simple modern quilting designs for you to try. It won’t take much practice before you’re able to add a touch of modern quilting style to your repertoire!

7

5

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Start here

Modern Quilt Design 1 Start here

Modern Quilt Design 2 Start here

Modern Quilt Design 3

Author ProďŹ le Dawn Cavanaugh is National Director of Education for American Professional Quilting Systems. Contact: dawn@apqs.com www.apqs.com.


INTERMEDIATE ࢇࢇ

What’s the Point? Dig into your pile of scraps for this colorful quilt—you’ll need equal amounts of light and dark prints. “Flippy corners” make quick work of the triangles on each small square. Size: 59½" × 69" Blocks: 72 (7") blocks

FAT QUARTER Friendly

MATERIALS 16 fat quarters* light prints 16 fat quarters* dark prints ½ yard red print for binding 4 yards backing fabric Twin-size quilt batting *fat quarter = 18" × 20"

QUILT DESIGNED BY Mark Lipinski. MADE BY Mark Lipinski and Bonnie Espenshade. MACHINE QUILTED BY Janice Jamison.

Mark Lipinski raises honey bees and laying hens while keeping up with a busy career in TV, including hosting the "Quilt Out Loud" series on QNNtv.com, as well as designing quilts and fabrics.

WEB EXTRA For more information about Mark Lipinski, go to www.FonsandPorter.com/designers

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CUTTING

BLOCK 2 ASSEMBLY

Measurements include ¼" seam allowances.

1. Join 1 light print E rectangle

From light print fat quarters, cut a total of:

• • • •

and 1 dark print E rectangle as shown in Side Unit Diagrams. Make 168 Side Units.

98 (4") A squares. 168 (4" × 13⁄8") E rectangles. 168 (2¼") B squares. 776 (13⁄8") D squares.

From dark print fat quarters, cut a total of:

E E

From red print, cut:

• 7 (2¼"-wide) strips for binding.

BLOCK 1 ASSEMBLY 1. Lay out 1 light print A square,

4 dark print C rectangles, and 4 light print B squares as shown in Block 1 Assembly Diagram. B

C

C

A

Side Unit Diagrams

Diagrams, place 1 light print D square atop 1 dark print B square, right sides facing. Stitch diagonally from corner to corner as shown. Trim ¼" beyond stitching. Press open to reveal triangle. Repeat for remaining corners of square to complete 1 Corner Unit. Make 194 Corner Units. D

2. Join into rows; join rows

to complete 1 Block 1 (Block 1 Diagram). Make 42 Block 1.

2 Side Units, and 3 Corner Units as shown in Setting Unit Diagrams. Join into rows; join rows to complete 1 Setting Unit. Make 22 side Setting Units.

A

B Setting Unit Diagrams

Corner Unit Diagrams

3. Lay out 1 light print A square, Block 1 Assembly Diagram

SETTING TRIANGLE ASSEMBLY 1. Lay out 1 light print A square,

2. Referring to Corner Unit

• 168 (4" × 2¼") C rectangles. • 168 (4" × 13⁄8") E rectangles. • 194 (2¼") B squares.

Block 2 Diagram

4 Side Units, and 4 Corner Units as shown in Block 2 Assembly Diagram. Join into rows; join rows to complete 1 Block 2 (Block 2 Diagram). Make 30 Block 2.

2. In a similar manner, join 1 light

print A square, 1 Side Unit, and 2 Corner Units as shown in Corner Setting Unit Diagrams. Make 4 Corner Setting Units. A

A Block 1 Diagram Block 2 Assembly Diagram

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Corner Setting Unit Diagrams

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QUILT ASSEMBLY 1. Lay out blocks and Setting Units

as shown in Quilt Top Assembly Diagram on page 94. Join into diagonal rows; join rows to complete quilt center. 2. Stay stitch all around quilt, 1⁄8" out from points of B squares in blocks.

Sew Smart

TM

Stay stitching stabilizes bias edges to keep them from stretching —Marianne

FINISHING 1. Divide backing into 2 (2-yard)

lengths. Join panels lengthwise. Seam will run horizontally. 2. Layer backing, batting, and quilt top; baste. Quilt as desired. Quilt shown was quilted with an allover design (Quilting Diagram on page 94.) 3. Trim edges of quilt ¼" outside points of B squares as shown in Quilt Top Assembly Diagram. 4. Join 2¼"-wide red print strips into 1 continuous piece for straight-grain French-fold binding. Add binding to quilt.

Enjoy Two Weeks of Springtime Quilting Fun!

LANCASTER

All New in Lancaster! Join us for the North American debut of the exhibit Beneath the Southern Sky!

PADUCAH

Small Town Setting — Worldwide Appeal! Celebrate the Return of Stitch Like an Egyptian: the Tentmakers of Cairo with an all-new exhibit.

See over 200 world-class quilts competing for over $44,000 in cash prizes.

Follow your passion and build your skills by attending lectures and classes!

Lancaster, PA March 13–16, 2013

Paducah, KY April 24–27, 2013 www.AQSshows.com


Quilting Diagram

TRIEDR TRUE TESTED FOR YOU

SIZE OPTIONS

Quilt Top Assembly Diagram

Block 1 Block 2

Assorted Light Print Fat Quarters Assorted Dark Print Fat Quarters Binding Fabric Backing Fabric Batting

Black, gray, yellow, and white turn an allover scrappy quilt into a geometric statement. We chose fabrics from the Eclipse collection by Timeless Treasures.

Crib (39½" × 49½")

Queen (89" × 99")

20 12

90 72

10 fat quarters 8 fat quarters ½ yard 3 yards Crib-size

36 fat quarters 36 fat quarters ¾ yard 9 yards King-size

WEB EXTRA Go to www.FonsandPorter.com/whatsthepointsizes to download cutting instructions and assembly diagrams for these size options. K

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QUILT

chat

Marianne Fons and her daughter Mary Fons share two views on a single topic.

What’s the best thing about mothers and daughters quilting together? When Mary and I lecture together at a quilting event, a big thrill is meeting other quilters in person. Frequently they say to me, “Quilting with your daughter must be a dream come true!” Yes, living the quilting life with my daughter is unbelievably fun, but it’s not something I ever hoped for. Making quilts was Mary’s own idea, and I think one of the reasons she’s such an enthusiastic quilter is that I never really tried to push or pull her toward the craft I love so much. It was simply an open invitation. What I find extremely fun about having a daughter who quilts is knowing Mary’s next quilt, whatever she chooses to make, will be fabulous, and anticipating the joy I’ll feel when I see it on her design wall, whether in person in Chicago or via electronic file! –Marianne

We live in interesting times. We have more technological tools at our fingertips than ever before. At the same time, there seems to be an ever-growing contingency of people who want a return to simplicity, craftsmanship, and things made by hand. Absorbing my mom’s expertise in quiltmaking is an ongoing experience that I wouldn’t trade for all the fabric in Paducah. Whether we’re filming our PBS show, sewing together, or discussing quilts and quilt history, I soak up every second. No matter how many quilts I make, I see myself as an apprentice craftsman learning from an elder. We should all be so lucky. Mom never pushed me into quiltmaking. I found a desire to make quilts when I was about twenty-eight years old, a revelation that came from my own heart. The groundwork was laid in my childhood, sure—but until I was ready, I wasn’t. When I was, the teacher appeared, and the thing I cherish most about sewing with Marianne Fons is that she never, ever admonishes me, doubts me, or treats me as anything less than an equal. –Mary

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Bonus Quilts

We’re offering this additional pattern as a free download on our Web site. Go to www.FonsandPorter.com and look for the Bonus Quilts button on the home page.

PROJECT

What, at first glance, looks like a crazy-quilt block is, after a second look, really a foundation-pieced block which tumbles and changes colors from one to the next. Even the flower appliqué is not what it seems— to keep the wild stripes in line, the petals are cut as one!

PROJECT RATING: INTERMEDIATE Size: 385⁄8" × 385⁄8" Blocks: 13 (7") blocks Download instructions at: www.FonsandPorter.com/ flowerpowercrazy

QUILT BY

Judy Hansen.

FABRICS BY Paintbrush

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LOOK for our other great titles on the newsstand! Order today from your local Quilt Shop, www.ShopFonsandPorter.com, or call 866-729-9601 to reserve your copies!

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Call today for Havel’s new Scissors & Notions catalog. You’ll find a coupon code inside for a 7” Stainless Steel Scissors with fine teeth serration Free with Any Order. Why? We want you to discover the quality and value of Havel’s. The free scissors code is only available in our new catalog, so call now. Great quality, great prices – Havel’s.

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sewRtell Readers and viewers share their creativity.

A Sparkling Wedding Gift My daughter saw Sparkle Punch featured in the July/August 2012 issue of Love of Quilting and wanted to make it for a friend as a wedding present. We both worked on it during the summer in Wisconsin and I finished it in Texas so it would be ready for the November wedding. We used batiks for the stars, a sparkle white for the background, and I quilted it with a metallic thread so this really is a sparkly quilt! And, yes, the friend was quilt-worthy and definitely appreciative. Mindy Washburn & Riggs Hickman WI

Treadle Power I have sewn for years and finally had the time to make a quilt for each of my four daughters. I started with my oldest daughter, Sheri. She originally picked a simple table topper but, just before I purchased the fabric, she called to say she found the perfect pattern,

Seasonal Partridge in a Pear Tree

Cambridge Star, in the May/June

I loved the Partridge in a

was doing all the sewing on my old

Pear Tree quilt from the

Singer treadle machine. My twin

November/December

sister, Judy Cornell, had just opened

2009 issue of Love of

her longarm quilting shop, Rustic

Quilting. My friend Tracey

Star Quilting in Ulysess, PA, and

Buffington and I decided

offered to do the quilting. I had

to make our own versions

never done such a big project on

of this quilt. We thought it

the treadle. After many months and

could be beautifully adapted to a seasonal themed quilt. Tracey learned

A LOT of work, I finally completed

how to machine appliqué with her spring version of the quilt while I

this quilt. It turned out beautifully.

had fun practicing quilting feathers on my fall quilt. On our "sew days"

The picture shows me (on the left),

together we talked about our ideas for summer and winter pear tree

my daughter Sheri in the center,

quilts. I know I want to make another one! Thanks for this great pattern!

and Judy on the right. We had to

Donna Coakley Elk Grove, CA

stand on chairs to display this very

2010 issue of Love of Quilting. I

large quilt!

WEB EXTRA For more sew & tell, go to www.fonsandporter.com/sewandtell

Thanks for your wonderful inspirations. June Harter Arden, NC

IF YOU’VE MADE A PROJECT from Love of Quilting magazine or one of our books, we’d love to see it and hear your story. Please note that due to the large volume of photos we receive, we cannot acknowledge receipt or return photos. Send a color print to Love of Quilting (Sew & Tell), P.O. Box 171, Winterset, IA 50273 or email us at sewandtell@fonsandporter.com

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Love of Quilting readers are invited to try QNNtv.com at a special rate! View thousands of videos for only $2 $1 per month â&#x20AC;Ś

50% off! Only $12 for a full year! Offer valid only for QNNtv.com orders. Expires 05/31/13.

Use code FPMA1350 at checkout

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Visit QNNtv.com for more details and to watch these exclusive shows! New exclusive quilting videos added each week!


QUILTER’S

bookshelf The Spirit of Sacagawea

A Textile Tribute to an American Heroine by Laurie Simpson and Polly Minick This beautiful book for quilters and crafters honors the only woman to travel with the Lewis and Clark expedition. The young mother, who carried her infant son on her back throughout the arduous journey, served as translator, teacher, guide and rescuer. You will find two color versions of the lovely quilt that commemorates Sacagawea's spirit and courage, as well as five smaller projects ranging from a needle case to hooked rugs. Retail price: $27.95. The Kansas City Star www.pickledishstore.com

Great n ew books t o add to your collectio n.

Colorful Quilts for Playful Kids by Janet Pittman Play with kids and grandkids in age-appropriate, fun-loving activities that get kids involved in the hobby you love. Janet Pittman, best-selling author of Appliqué, The basics & beyond, takes you on a creative journey with kid-favorite designs in 14 colorful projects such as Butterflies and Princesses, Bulldozers and Dump Trucks, and Zany Zoo Animals—all with complete and accurate instructions and illustrations with full-size patterns. A section offers engaging kid activities to help kids learn about shapes, colors, math, and more. Retail price: $24.95. Landauer Publishing www.landauerpub.com

Paper Piecing Quilts of Praise Patterns Inspired by Beloved Hymns by Jaynette Huff Bring your favorite hymns to life while you spend many a creative hour in these elegant designs by Jaynette Huff. Choose from 18 foundation-pieced blocks and five striking quilts, all with full-size patterns, illustrations, and clear instructions. Gather ideas for Communion, Easter, Thanksgiving, Christmas, and other special occasions throughout the year. Retail price: $26.99. Martingale www.shopmartingale.com

Purses, Bags & Totes by moya’s workshop Stitch some seriously adorable and fun bags, purses, and totes in no time! You’ll make life prettier when you sew any of these 10 delightfully modern projects, including messenger bags, backpacks, and purses. The book includes easy-to-follow instructions with step-by-step photos, plus full-size patterns on the CD for no-fuss construction. Great for gifts, too! Retail price: $22.95. American Quilter’s Society www.americanquilter.com

WEB EXTRA To read about more books go to www.fonsandporter.com/ bookshelf

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COMING UP

behind the seams

May/June 2013 ON NEWSSTANDS APRIL 16, 2013

Fons&Porter’s

Washington Island Poppies

Quilting Quickly

A quilt by Marianne Fons

17 EASY

Projects by

Jenny Doan and Missouri Star Quilt Co.

Make Quilts

Our New Magazine!

with pre-cut strips and squares

video tutorforial

.com FonsandPorter Spring 2013 DISPLAY UNTIL

The editors at Fons & Porter's Love of Quilting have teamed FREE up with Missouri Star Quilt Company to bring you Quilting Quickly, a new magazine filled Q with patterns for quilts, table toppers, and bags made from pre-cut strips and squares. Quilters love to purchase pre-cut fabrics, but don’t always know how to use them in their projects. This magazine will show you how! from MSQC each project

AUGUST 13, 2012

Find us on

FonsandPorter.c

onsandPorter facebook.com/F

Follow us ®

onsandPorter pinterest.com/F

om/QQ

Quilting Quickly is available now at newsstands, your local quilt shop, or at ShopFonsandPorter.com.

Power of Four Elegance from Tony Jacobson

The MSQC design team, from left: Natalie, Hillary, Sarah, and Jenny.

Curvy Mark Lipinski’s scrappy blocks form undulating shapes March/April 2013

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Q U I LT E R ’ S

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Have you ever wanted to take a quilting class but didnâ&#x20AC;&#x2122;t want to leave your home to do so? We have an opportunity for you! At QuiltClassroom.com, we have classes ready for you to sharpen your quilting skills, learn a new technique, or maybe even learn to quilt! We have experts such as Liz Porter showing her perfect binding technique, Marianne and Mary Fons teaching you all the basics, plus many more!

Classes start at $4.99! Take a class from one of our experts today! T Liz Porter, Marianne Fons, Mary Fons, Heidi Kaisand, Marti Michell, Janet Pittman, Jodie Davis, Dawn Cavanaugh, Cindy Hathaway, Tony Jacobson, Stacy Michell, plus more!

March/April 2013

Fons R Porterâ&#x20AC;&#x2122;s Love of Quilting

103


NOTIONS

Quarter Inch Seam Marker Mark ¼" sewing lines on patchwork pieces. Use this quick and easy method for half-square triangles and hourglass units.

Fussy Cut Templates This set of 5 square templates (sizes 2", 3", 4", 5", 6") is designed for isolating a specific design on fabric.

#FPR7845—$12.99

#FP7764—$18.99

Fons & Porter Easy Diagonal Sets Ruler This ruler does the math for you! Cut setting triangles for diagonal sets with blocks 3" to 12" finished size. Easy-to-understand directions are printed on ruler.

Half & Quarter Ruler Use the ruler that does the math for you to make cutting triangles easy.

#FPR7842—$21.99

#FPR7843—$12.99

Marti Michell’s 4-Patch Sampler Block of the Month This new Block of the Month features Marti Michell's 4-Patch Sampler pattern along with Northcott's Stonehenge Woodland or Holiday collection. Each month for 12 months you will receive the fabric and pattern you need to make one block. The 12th month will also include border fabric and binding. Marti Michell’s B and D Template sets are recommended. Quilt size is 84" × 100". The first charge will be billed to your credit card when shipments begin in March. Kits will be automatically charged and shipped each month.

#LQK13044 (Stonehenge Woodland)—$19.99/ month #LQK13043 (Stonehenge Holiday)—$19.99/ month #MM8252 Template B set—$22.00 #MM8254 Template D set—$24.00 L I M I T E D Q U A N T I T I E S O F K I T S AVA I L A B L E

1-866-729-9601 54 Court, P.O. Box 171 Winterset, IA 50273

Shop Online at www.ShopFonsandPorter.com SHIPPING AND HANDLING

Orders up to $15...................................... $2.99 Orders up to $25...................................... $4.99 Orders up to $50...................................... $5.99 Orders up to $100.................................... $7.99 Orders up to $200.................................... $8.99 Orders over $200 ................................... $14.99

• Canadian Shipments: The amount shown at left plus $9.00 • Foreign Shipments: The amount shown at left plus $15.00 • Iowa residents – add sales tax

Fabrics in kits will be similar, but not necessarily identical, to those shown. All kits include fabric for top and binding. Instructions for kits are found in the magazine.

Shop Fons & Porter on your smartphone!


KITS Scrappy Hunter’s Star

page 30 Combine these strong fabrics into this delightful starry quilt by Liz Porter. #LQK13055—$104.99

Blessings of Spring Rebloomed! Block of the Month This 10-month Block of the Month from Shabby Fabrics features patterns, an embellishing kit, and RJR fabrics. Each month you will receive the fabric and pattern you need to complete the pieced and appliqué blocks. Quilt size is 56" × 62". The first charge will be billed to your credit card when shipments begin in March. Kits will be automatically charged and shipped each month.

OHO page 20 With stylish fabric from Moda and our Sew Easy lesson on curves, you’re on your way to a beautiful and classy quilt.

#LQK13032—$27.99/ month

#LQK13053—$79.99

Now I Know My ABC’s page 80 Make a child an ABC quilt from darling Benartex fabrics and he’ll be warm and learn his ABCs at the same time!

Staff Favor ite

#LQK13001—$74.99

Flower Power Crazy Quilt page 96 Enjoy this clever piecing and appliqué, with fabrics from Paintbrush Studios. #LQK13054—$69.99 includes backing

Monkey Madness Monkey around with Pinwheel blocks, a little appliqué, and bright fabrics that are sure to please a special child. #LQK12158—$74.99 includes backing

In Honor Of ... Create this patriotic quilt for someone special. The simple blocks are set on point. Fabrics are from Northcott. #LQK12127—$99.99

Order Today! ShopFonsandPorter.com 866-729-9601


Over 30,000 Premium Members agree this is America's Best Quilting Club EXCLUSIVE MEMBER BENEFITS INCLUDE: Great lastlast min minut utee gift g ft idea ideass!!

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Beautiful water lilies, medallions and bamboo—on a cool denim-style ground— this Water Lily collection is a work of art! A pre-printed water lily panel makes this collection special. (Just add borders for an instant wallhanging!) The denim-and-pink colorway gives these fabrics a very modern look and provides an interesting background for the spectacular prints. Perfect for home dec, accessories and quilting.

For the FREE pattern shown right, please send a 45¢ SASE* to: Water Lily, c/o Benartex, LLC 132 West 36th Street 4th Floor New York, NY 10018

My Fair Lily by Linda Leathersich and Stephanie Sheridan of Stitched Together Studios

212.840.3250 www.benartex.com

* No checks please. Orders cannot be processed if checks are sent instead of a SASE. Current one ounce First Class postal rates apply.

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