cS |x i> % a A on ate tee artreten , = Ke L » an L ne . Se 5 3 qf, 3 Over Twenty Designs from ROWAN ¢ for Patehwerk and Quilting >" 4 ee CTI Ce OPO eOs NO) ome suc MCRL ET my ETI iiey Liza Prior Lucy + Susan Druding « Sally B Davis | Pauline Smith * Sandy Donabed ¢ Brandon MablyA Colourful Journey Patchwork and Quilting Book Number 5 Kaffe Fassett * Roberta Horton * Mary Mashuta Liza Prior Lucy * Pauline Smith + Sally B Davis Susan Druding * Brandon Mably * Sandy Donabed A ROWAN PUBLICATIONCONTENTS INTRODUCTION Parcnwork IMA‘ Chintz Flowerbeds Qui Beyond The Pale Quilt Handkerchief Corner Quilt Pastel Fizz Quilt Extended Pinwheels Quilt Co-ordinated Chaos Quilt Fiesta Quilt Tuscan Table Runner Pete’s Paul Quilt Barcelona Tiles Quilt Strippy Chevrons Quilt Handkerchief Corner Quilt Dark Baby Lozenge Quilt Mosaic Columns Quilt Musetta Quilt Jubilee Garden Quilt Orange Grove Quilt ayy Peasy Cushion and Diagonal Squares Cushion Blueberry Steps Quilt A LouIsiAna QUILTING FrieNpsiir -MBLY INSTRUCTIONS Baby Lozenge Quilt Beyond The Pale Quilt Barcelona Tiles Quilt Co-ondinated Chaos Quilt Blueberry Steps Quilt Chintz Flowerbeds Quilt Extended Pinwheels Quilt Fiesta Quilt Fizz Quilt Musetta Quilt f Corner Quilt Pastel £ Corner Quilt Dark Jubilee Garden Quilt Orange Grove Quilt Pete’s Paul Quilt Strippy Chevrons Quilt Mosaic Columns Quilt Diagonal Squares Cushion Easy Peasy Cushion Tuscan Table Runner Tuscan Placemats ‘TeMpLates PATCHWORK KNOW-HOW GLossary Karre Passer Rasric CoLtecrion Karre Fasser Fapric UsaGe List Fanric Cones DISTRIBUTORS AND STOCKISTS Orner Rowan Trries Inpex 42 a2 47 50, 90, 108 110 15 116 17 us nyoINTRODUCTION e to ‘A Colourful Journey’. My biggest pleasure in styling this latest Rowan Patchwork book was being able to use my family seaside use in Hastings as a backdrop for photographing this new and exciting collection of patchwork quilts. English seaside town of Hastings has long attracted artists but in the past few years is experiencing a new rity. It possesses many charming parks and flamboyantly multi coloured houses draped across dramatic facing the English channel. ‘have been working on the house for a year and it is with great pride that I see the grand old lady, built in 860, make her first appearance as a location. The soft pastel tones I used throughout this house were in jonse to the pearly quality of the reflected sea light. primitive mural dominated two walls of the expansive drawing room, one of which was painted over, other T completely reworked, The curtains in the drawing room are huge patchworks of small prints on am checkerboard with pastel florals, some of which are old handkerchiefs. To lighten the rather dark nT made over four hundred blue and white tiles at the Highland Stoneware Pottery in Scotland to pletely re-tile this room. ‘you find all the settings I have chosen do justice to the quilts contained in this book. I for my part ly found it intensely stimulating and rewarding to see all these quiltmakers using my collection of rics in such diverse ways. Several of us in the design team seem to have been drawn to baby quilts: if you them but want them bigger do expand the ideas. On the other hand many could be miniaturized to make ome cushions, ght for me in this publication is the chance to see and read about my favourite black quilt maker, Williams, Susan Druding, known across America for her brilliant yarn store, Straw Into Gold in California, spent time with Anna and gives us the history of this remarkable talent who freed up and enced so many designers, ks to Debbie Patterson who photographed the projects so lovingly and to Lone Ormonde, a neighbour, olfered the use of her richly decorated house where we photographed two of the quilts. Last but not least thank you to a great team who made this book possible, FassettBeyond The Pale by Brandon MablyThis page Handkerchief Corner Pastel by Kaffe Fassett opposite, Fizz by Pauline Smith.Extended Pinwheels by Kaffe FassenCo-ordinated Chaos by Sally B DavisFiesta quilt by Kaffe FassettStrippy Chevrons by Susan DrudingBaby Fassetts = Liza Prior LucyJubilee Garden by Kaffe FassettDESIGNER PROFILE ANNA WILLIAMS AND KATHERINE WATTS A LOUISIANA QUILTING FRIENDSHIP in C, Druding ~ April 2003DESIGNER PROFILE ANNA WILLIAMS AND KATHERINE WATTS A LOUISIANA QUILTING FRIENDSHIP in C, Druding ~ April 2003his friendship began when these two working mothers I ‘met fifly years ago. Tt is embedded in the American South, where 1 learned women are respectfully addressed as "Miss", Recently [spent time with Anna Williams ‘and Katherine Watts at their homes in Baton Rouge, Louisiana, These two, bor before 1930, cach had a mother and a grandmother who quilted and from whom they learned their carly quilting skills. ‘Ana Williams was bora in 1927 on a plantation near Baton Rouge and worked there with her family picking erops such as cotton, corn, beans and soybeans. The quilts she made with the women in her family were functional and often ‘made from re-cycled clothing. Miss Anna explained how. as ‘child, she would pick up Little pieces of material 10 quilt sand make doll elothes. After moving to Baton Rouge she began doing housework for various families and in the early 1950s began working for the Watts family and continued \with them until her retirement several years ago. In the ‘ensuing years, Miss Anna raised her 8 children and did not have much time to quilt, Katherine Watts married and had 3 children, Her early imterest ewving and textiles lead her to eam her MA in Home Economics and to teach at Louisiana State University. She introduced a course in surface design and guided many Students and her two daughters in the fiber ats. Today her home is filled with a wonderful uray of quits, stitchery and While we sat on Miss Anna's porch, the two friends reminisced. Katherine explained how the US Bicentennial in 1976 started 2 quilting revival Inthe late 1970s she, and four partners, opened # shop, "Fiber Five". It became a resource in Baton Rouge for weaving, quilting and textile ants, The shop becaime a wonderful source of Fabrics for Anna Williams, to. ‘Anna chuckled as they talked about her "volunteering" to help atthe shop in exchange for fabries to begin quilting again, By this ime d her own "voice" in «quilt het $0s, Anna began i and to develop her unique syle. Her quilts were soon to come tothe attention of a new generation of at quilters and have a profound effect on their work. Her early quilting experiences in thrifty use of fabric may have played! part in the way she assembled many small pieces into intensely Above: A strip pieced quilt made in 1995 38pieced quit tops. At fist she sewed by hand assembling long ‘ips while riding the bus and commuting w work in various Parts of Baton Rouge and then piecing them together into a Ivole quilt top. Later, sh Faioom where she still sews today walled sewing machine in her Katherine Watts and her daughters first met Naney Crow, fvemtionally known quilt artist and teacher, in a workshop Seting. L asked Nancy Crow to tell me about Katherine Watt, her place in quilt history and in relation to Anna Williams” week, Nancy Crow ‘Katherine woke class fiom me at The Arovimont School of Ans and Craps in Tennessee inthe early 1980s and 1 was linpressed by her knowledge of Central American textiles, her wittingness 1 focus in on quiltmaking, and her general Anowledge about how importans the contemporary gullmaking movement was becoming. As 1 remember she Sod ou from all the other students because ofthe above ‘ad also because she was one of the few in the class who Seemed genuinely interested i quiltmaking as an art form. We Became instant friends and have continued that Biendship 0 this day: Katherine is a very honorable person hase word can be irusted and who has basicaly given the fast 18 years of her life o faitaing the art career of Anna Wiliams. She became to Anna what Van Gogh's brother was fo Nin Gogh's life as a painter. Katherine hecame the Uline. seeing that there was fabric to e cut up, seeing that the quilt tops were finished, all of which allowed so much Imore tine for Anna to develop and produce ever moré work Kasherine found galleries and museums to exhibit Anna's work. She documented her work. She has Kept the written history from the frst quilts produced by Anna. Katherine is falso a heroine for loving Anna enough 10 give this gift 0 story Katherine found galleries and museums to eihibit Anna's work She has kept the written history fro quilts produced by Anna. She documented her work. the first the art quilt movement would be now if Anna fad not showed some of her unique quilt tops wo Katherine in fhe late 1980s. Katherine immediately recognized how fetuorinary they were, She showed the quilt tops to Naney {Grow and intrciaced her to Anna Willams, This lead t0 Adsplay of Anna Willis’ quilt tops atthe fest Quil/Surface Design Symposium in 1990 in Columbas, Ohio. DESIGNER PROFILE The serious art quilters who attended this Symposiuin were fascinated - and so Anna Williams” quilts became inspiration, The term "improvisational quills” was coined to describe her spontaieous eutting and sewing without the traditional block and template method. Liz Axford, ‘quit ati recalls seeing photos of Anna Williams quilts taken by friends who attended that frst Symposium and bsing totally bowled over by them as unique in the quilt world. Houston Liz Axton "had a set of prints [of the photos} made and they stay pinned up on the wall of my suulo for years. White begin to analyce them and understand how they: were pat ed of these Feould together was in tonal awe of how she conc densely complex surfaces asked Naney Crow (tell me a litle about her perspective on Anna Williams and her quilts and in March 2003, Naney Crow "Lelieve in Arma and her work because she isan original, she is obsessed and compulsive about making her work Above: Detail of a quilt formed with triangles and strip-piecingDESIGNER PROFILE which means she is driven. «al incredibly important characterises for rue development. Her output has been phenomenal given the fact she dil not really begin until she was in her 50s Her work iso fresh and so original..all her own even though it shows influences of motifs handed down throughout the history of quilomaking (ust as do the Gee's Bend quilts*), ris her way to puting mosis together thea makes her work so distinc and unusual, 1 lke the fact that her work..which can appear incredibly comples...grows out ‘of simplicity: that i, she uses the simplest of means. cotton fabrics, scissors, anda sewing machine...no rater is used. tno templates, no drawings...and all created in a very small roone with wo wall for pinning up final results. And vet, masterpiece after masterpiece bus come out of her production ‘She never complains about health problems but rather takes so much pleasure from the fact that she is able wo make her quilts. What strength of character this taes..what incredible courage! Tadiire her so much and hope she will get recognized as one of the great modern quilanakers she is, She is one of my heroines." Above: Anna Williams arranges pairs of triangles on her knee prior to sewing. When L talked with Miss Anna about her quilting, I asked her if she began with color ideas or design ideas. She said, "I just think about the patterns, what they will look like and then I get ‘up and fay it out, cut itand then Tsew it Sometimes I sit wi my eyes like this (she closed her eyes tightly) and something, ‘will come to me and 1 go through here (she gestured 10a lange box of fabrics nearby on the floor) and foo! with i and then T start... oF when T lay in bed some nights [think about it and that's how I got this idea (she indicates the quilt top we are ‘admiring on herbed). get up nel pull the material and look ‘more and take it out unl [get it right.” Anna showed me how she sews, cutting triangles with scissors, stacking them on one kage and choosing pais to put together ‘and sew. She doesn’t chain piece, but sews each pair separately and places the finished pice on her other knee. Her sewing ‘machine i in constant use and just came back from the shop. ‘She told me, “The man said that I wore this machine out! Sometimes I sew all day. [just love material!” She patted the area over the feed dogs and said that all the gears had just been replaced, Like all quilters, she has many quilts going at once, and sews.on each in tra, She likes to do handwork sting on her seteened/-in front porch and has a yo-yo quilt in progress now. For a number of quilt artists, encountering her work has been a life-altering event. If the measure of an artist is in her or his influence on other artists, as 1 think it is, then Anna Williams is one of the most important quiltmakers of the 20th century ‘Miss Anna and Miss Katherine formed a company to promot and market Anna Williams quilts, Anna has always picced her quilt tops, bot didn't want wo do the actual quilting and binding of them, Katherine arranged for the quilting and binding by ‘various hand quilters. One of the hand quilters, Mary Walker, enjoys quilting the tops and refers to the process as “setting them down". Over the years. Anni and Katherine have chosen “special” quilts to e in the permanent Anna Williams Collection, now holding over 35 quilts. Katherine has catalogued more than 278 quilt tops completed by Anna singe the late 1980s! For those of us who feel we don't have time t quilt, this i an inspiration 258,000 people visited Tokyo's Imernational exhibition, "30 Distinguished Quilt Anists of the World”, which included Anna Williams? quits (her work has been shown in more than 27 exhibit since 1990), The curator, Robert Shaw, not only invited Anna’to send three quilts, but one of her quilts ison the ‘ofthe catalog for the exhibition at Robert Shaw to tell me how he views the place Anna olds in the world of quilting. Robert Shaw: Anna's place. ! would say that she is important both for quality and originality of her work and for the powerful ‘thas had on other quiltmakers. For a manber of artists, encotntering her work has been a life-altering it Ifthe measure of an artist is in hero his influence on artists, as 1 think i is, then Anna Willan is one of the important quiltmakersof the 20th century,” worldwide community of quilters tuly has a role model Fast, inspiration and perseverance in the quilts and ‘of Anna Wiliams. special gratitude to Katy Prescott for her assistance and to family for their hospitality during Bend quits refers to an exhibic of quills by African-American fom Alabama ~ information: www tinwoesnedia.com ER PROFILE Bibliography: (stil) Anna Williams. Her Quits and thetrIntuence, Wats, Katine, American Quilt Societs, 195, (ou of prin) The Are Quit, Robert E. Shaw, HL. Leving Asso. Poy, 1997 A Different mages African American An in Liisiane Collection ‘atelogve, Ans Council of Greater Baton Rouge, 1997 Contemporary Art Quits: The Sohn M, Walsh I] Colleton, University of KY Art Museunn, 2001 20 Distinguished Qu Arist ofthe World 2003" cata 20018 (see www raberteshacom for a Lin wovgsds com = Quilt S ne. Tokyo, face Design Symposium wow naneyerow-om ~Naney Crow's web i ‘wwv.roberteshaw.com ~ Robert Shaw's weh site www anna available quis msquils.com - web ste fe uring Anna Wiliams wovocequiters.convamaviliams - Saxon Dru Dhotos. bibliography and Anna Willis’ exhibits 's web site with Comments trom quilt ars ituenced by Anna Willa wil be collected here. Above: Detail of one of Anna’s string pieced quilts made in 1991Baby Lozenge Quilt ss KAFFE FASSETT. [Binding Fabric: ROWAN STRIPE RS 01: Vaya (3m) oF use leftover from backing. Batting Sin x 49in (137em x 124.Sem), ‘Quilting thread: ‘Toning machine quilting thread “Templates: see page 94, 98 NJ K LE MN O PATCH SHAPES: ‘The quilt centre ig made up of two TOW types, The first is made up of two rectangle shapes (templates M-& N) which are pieced together with a third reetanele shape (template ©) o fil in the extreme fends of the short rows. A triangle shape (Gemplate 1) is used 0 piece the second row type along with a second triangle shape (femplate K) to fill in the extreme ends ofthese Fows. CUTTING OUT Template K: Cut 2/in- (6.75em-) wide sip aro the wih of the fai, Esch Sirip will ive you 32 patches per Sin ‘eedlepoint seen in a Washington museum triggered this design. aa es aren ‘The centres of the ‘lozenges’ were “fussy cut’ to centre tape acre the wiih ofthe abi, blossoms into a surround of shot cotton. ‘strip will give you 26 patches per {dem} wide fabric. Cut L8in SC, 14 & SC 36, [in SC 08, SC 26, SIZE OF QUILT “The Finished quit will measure approx, Daatask 8€35, SC. [2in SCO, 10in SC Shin x sin (127em x 11. Tat GPORL: Hay Q3em) SC 16, SC BL & SC 3. For the Florat Danc: fabric, RS.O1 cut 2%/sin-(6cm-) wide: MATERIALS Magen GPIZMG: Yaya em) the wid ofthe fai, each sip wil Patchwork Fabrics: Ochre GP12-0: "syd (23em) you 23 patches per 45in- (114em-) sior Coro Pink GPi2 fabic, Cat 1 in RS this will Opal SC 05: Vay (23m) CheysatieMow ‘ripes are in the correct orientation, Raspberry SCO8: syd (23em) Blue GPIS-B: Vayd 23cm) ‘Template Mz Cut 3in-(7.Sem-) wie Tangerine SC 11: Vaya (23em) Green GPIBGN: Vayd (23m) actuss the width of the fabric Lavender SC 14: Mayd em) Rowan SH will give you 35 patches per 43in- (11 Mustard SC 16; Hayd 230m) [RS O1: Maye 23cm) or use wide fabric, Cut 18 in SCAB, Hin Duck Ege SC26: Wayd (23em) {eftover from backing SC 36, [din SC08, SC26, SC33, Mushroom "vaya (@3em) Border Fabrics: SC 40, [2in $C 05. 10;n SC 11,SC. Watermelon Iayd (23em) Proxy 31&SC37 j Lilac fayd (23m) Green GPIT-GN: Tayd (80cm) Template Ni Try 10 eu blossom Coffee syd 23cm) Backing Fabric: ineach shape. Cut 17 in GP12-0, ‘Cobalt SC 40: Wayd (23cm) Rowan Save P. 16 in GPI2-MG, 14in GPL Lime ‘SC 43: Yayd (23em) RS 01: 2fsyds 2.55m) GPS GPE. a2BI = scos Bh -scos esc O-1-|- Ee Te a aa: L = Bsc ————EE i =sc25 B-scs: Bsc J sc36 B-scw B-scn Bh cmt Bh - creme B-ano G-croe B-crss G-crsen Gor7-Gn J =RSOL 0: Cin (5.7m) vite MAKINGTHE QUILT CENTRE git sides, A the Boy 10 te uit will give you 14 patches per 4Sin (tem-) fabric and patch positions ADDING THE BORDERS Sin) of 23in- Join 3 strips from ceut 2. bord Cut | piece in x 49in (1L2em (11S Sem x Her 12Sem) in RS 01 40Vsin x SVsin (103em x Lem) for the and attach the binding (see assembly diagram, FINISHING THE QUILT ie across the width of the fabric in Press the quilt top. Layerthe quit, btingand bck 106), Us ine quilting thread tite inthe for the quilt top and ditch slong th [USom) and | piece Lin x 49in 28m — bottom, Trim the 2 remaining strips to meandering Th the quilt edges se 107),Beyond the Pale Quilt # BRANDON MABLY B: flipping some fabrics to the ‘wrong side* Brandon's quilt has ‘an almost faded look, cleverly framed by the striped border. SIZE OF QUILT “The finished quilt will measure approx. -48in x 40in(122¢m x 102em), MATERIALS Patchwork Fabries: ‘Suor CorroN Opal SC 08: syd (Sem) Lavender SC 14: Yaya (156m) era ‘SC 24: Hf (23m) Duck Ege SC 26: Vayd (23cm) Blush SC 28: Yay 23cm) Lilac SC 36; Hayd 23cm) Rowan Glass Blue & White GPOL-BW: Yeyd (23m) Dorry Driftwood GPL: yd @3em) Lavender GPI4-L: "yd (230m) Ochre GP140; yd 23m) Buwntes Grey PIS-G: Shey yu (hem) GPIT-BL: "ay (23m) GPIT-GR: 'ayd 23em) Peo Basker Blue GP19-BL: Hyd 23em) Pink GPI9-PK: Noyd (15em) order Fabries: ‘On: Sree 0 04; ‘os os: fsyd (Sem) yl (4Sem) ‘Backing Fabric: One Stare 08 04: 1'syd (Lm) Binding Fabric: Dorry Driftwood GPL4-D: see patchwork. fabrics Batting: 2in x 44in (132em x 126m). Quilting thread: Toning machine quilting thread, ‘Templates: see page 97, 99 a n BOG PATCH SHAPES “The quit centre is made up of two individual blocks, Block 1 isa four patch block made from four squares (template G see page 97). Block ?is traditional Robbing Peter to Pay Paul lack, made rom an octagon and four triangles, This block is made “the easy way” by using two sizes of squanes (templates B and H see page 46). CUTTING OUT Block 1 ‘Template G: Cut 2s (6.5em-) wide ‘rips across the width ofthe fabri. Each strip will give you 17 patches per Sin (14em-) wide fabric. Cut 30 in SC 4,28 in GPLEL (wrong side), 20 in GPL-D (wrong side) and GP140 (verong side, 16 in SC 26, SC and GPI9-PK, 14 in SC 28, Block 2 ‘Template B: Cut 4!/in- (11 Sem) wi strips across the width of the fabric. strip will give you 9 patches per 45in- (1 em.) wide fare Cut 11 in GPIS-G, 8 in GPOL-BW ( Side} and GP19-BL,7 in GPL7-BL side}, 6 in GP17-GR. ‘Template H: Cut lhin- 750m) strips across the width ofthe fabric ‘ieip will give you 29 patches per (14m) wide fabric. ‘Cut 36 in SC-26, 26 in SC 24 and (ovrong side), 24 in SC 36,22 in SC 18 in SC 28, 8 in SC 1.St || SS EST -D ws -L ws = GPI4-0ws je Dh st De vs =wwrong sid fabric usedorders: ‘Template Gz Cut 2Hin- (6.Sem-) wide strips across the width of the fabric Each strip will give you 17 patches per 4Sin-(114em) wide fabric, Cut 80 in OS 04 and OS Binding: Cut 5 strips 2in-(Sem-) wide x with of fabric in GP Backing: Cut | piece x 112cm), in x in (132m MAKING THE BLOCKS ‘Block 1: Using a Vin ¢omm) sean allowance throughout, using the assembly diagram as a guide to fabric ‘combinations, make a total of 40 blocks forthe quilt centre. Block Assembly lock 1 assembly [Block 2: The technique for making these blocks is simple and quick. Take oe lage scquae wemplate B) and four smal squares Gemplate 1), using the quit assembly sligram asa guid to fabric combinations. Pace one small square ight sides together ‘onto each comer ofthe lange square, matching the ede carefully as shown in block 2 digeram a. Stitch diagonally cross ‘the smal squares as shown in diagram b. “Trim de commer to a sin (6mm) seam llwance and press the comers out (diagram «), Complete 40 blocks forthe guilt centre MAKING UP THE ROWS, Assemble 10 rows of § blocks, use the quit assembly diagram asa guide MAKING THE BORDERS Make 40 of block | from the OS 04 and (08 05 fabrics. using the quilt assemb diagram a6 guide to stripe dire Join the blocks into 4 border lengths, each with 10 blocks and ada to the quilt ‘centre in the ander indicated by the quilt assembly diagram. FINISHING THE QUILT Press the quill top. Layer the quilt top. batting and backing and baste together (see page 106), Using a toning thread, stiteh-in-he-diteh along the seam lines, between the blocks and along each border. Trim the quilt edges and attach the binding (see page 107) Block 2 assembly % 4 + +mosaic fabrics. SIZE OF QUILT De finished quilt wil measure approx ax Glin (162.Sem x 162.Sem). (4Sem) ceancn Sr S05: Saye (70cm) OA Gass GPOL-G: yd 23cm) GPI-O: Nsyd (1 Sem) oF tse leftovers from bucking tip to Barcelona, Spain, and the work of the architect Antoni Gaudi inspired Mary to design this quilt to showcase Kafte'y Mosaic Red Gold GPI6.RG: "yu (80cm) Pink GPI6-PK: "Aya (45em) Purple GPI6-PU: Hyds (1.15 Backing Fabric: Dorry Ochre GPI-0: 4 yas (3.2m) Bias Bind 1g Fabric: Broan Cuvcx BC 04: aya (76m) Batting: (68in x 68in (173em x 17em) (Quilting thread: Maroon and Dark Gold machine quiing thread. Templat see page 94, 97, 102 KK LL Large square cut 16.5em x 16.5em) PATCH SHAPES The quilt centre is made up of 9 blocks Pieced from the following shapes, one Jarge triangle (template JJ), one small emplate A}, one rectangle (emplate LL) one small square (‘emplate G), one iregulat comer shape emplate KK) a 06 me large square eu n (16.5em). The blocks are imerspaced with sashing cout to 16Hsin x 2s (42em x 6.5em) Posts (template G) and Finished with a simple border. and ashi CUTTING OUT ‘Template A: Cut 2/sin-(7.25em-) wide Strips aeross the width ofthe fabric Each strip will give you 28 patches per Si Cut 36 in GPOL-G. ‘Template G: Cut Vin: (6,Sem-) wide strip across the width of the fabri Cu 16 in GP14.0. Template JJ: Cut S¥/sin- (Jom) wide tips ueross the width of the fabric Each strip will 45in- (1 em-) wide fabric. Cut 72in GPL6-RG and 36 in GPL6-PK. Template KI Strips ucross the width ofthe fabric (11em-) wide fabs you 16 patches per ‘ut 39%sin- (13em) wide Each strip will give you 6 patches per 45in- (1 14em-) wide fabric. Cut 36 in PS 05;Quilt Assembly 48 ‘Template LL: Cut 2'/in- (6.Sem) wide ‘rips aeross the width ofthe fabric, Each strip will give you 6 patches per 4Sin- (114em-) wide fabri ‘Cu 30 in BS 08. Large Squares: Cut 61/sin-(16:Sem-) wide strips across the wid of the fabri. Fach stip will give you 6 patches per 45in- (Udem-) wide fabric, Co 9 x 6lisin {(16Sem) squares in GPI6-PU. ‘Sashings Cut 16l/sin- (em) wide sips sctoss the width of the fabric. Each strip will ive you 16 patches per 4Sin- (1 14em-) wide fabric, Cut 20/sin- (6Sem-) wide ishing strips down the length ofthe fabric Cut a total of 24 sashing strips in SC 09, Borders: Cut 6 strips 4¥/in- (15 ‘vide x width of fabric in GPI6-PU. Backing: Cut 2 pieces 68in x 45in([ by tiem), and 1 piece 68in x (173em by 606m) in GPO. Bias Binding: Cut 7H2 yds (6.KK KK MAKING THE BLOCKS Using a Vain (6mm) seam allowance throughout, make up 9 blocks, using the block assembly diagrams as a guide MAKING THE ROWS Arrange the blocks and sashing pieces into rows. as indicated in the quilt assembly diggram. Join the rows to form the quilt centre ADDING THE BORDERS Join 3 border strips to make 1 long strip. From 2 borders each S6'in x ‘Msin (143.Sem x 11.Sem) for the guilt top and bottom, Join the remaining 3 rips in the same way and from this eut 2 borders each 644/sin x 4Vsin (164om x 11.Som) for the quilt sides. Add the borders to the quilt centre in the order indicated by the quilt assembly diagram. FINISHING THE QUILT Press the quilt top. Seam the backing pieces using a "Ain (6mm) seam allowance to form a piece approx. 68in x ‘okin (173em x 173em). Layer the quilt top, batting and backing and. baste together (see page 106), Using: maroon and dark gold machine quilting thread. ‘quilt as indicated in the quitting diagram, Trim the quilt edges and attach the binding (see page 107), 450 his is a true scrap quilt with a profusion of wonderful colour combinations. Overall, Sally hi is used subtle shot cottons with a few checks and many of the stripes in Kaffe’s range. The instructions for this quilt are a little less formal than usual as we have not specified the fabrics, just the total quantities needed. SIZE OF QUILT. ‘The finished quilt will measure approx 68in x 82in (173em x 208em). MATERIALS, Patchwork Fabries: Licier Sor Corroys Include some small quantities of bright sharp’ contrasting colours to add lif. Dank stior Corroxs Total 2 yds (1.8m) Licur Struts Total: L'/ayds (1.15m) Licatr Cuecxs, Total: Yayd (700m) Dank Steves ‘Total: 1 ayds (115m) Dark Checks. Total: Yayd Oem) Backing Fabric: FORGET-Mé-NoFRost Jewel GPO8-I: 4 yds (3.3m) Bias Binding Fabric: ‘Strive on Cueck Fapric Yaya (70cm) Batting: ‘in x 8oin (183em x 72cm). Quilting thread: ‘Toning machine quilting thread, ‘Template: see page 100 MM PATCH SHAPES The quilt centre is made up of one . rectangular pate sh CUTTING OUT All patches are cut using Template MM: Light Shot Coitons: Cut 4¥/sin- (11 Sem-) wide strips across the width of the fabric. Each strip will give you 16 patches per 4Sin- (I14em-) wide fabric. ‘Cut a total of 175 patches. Dark Shot Cottons: Cut 4Ufin- (11 Sem-) wide strips across the width of the fabric. Each strip will give you 16 patches per 4Sin- (114em-) wide fabric, Cut total of 174 patties Light stipes: To ensure variety of stripe direction eut some 41/sin- (11 Sem-) wide strips across the width ofthe fabri. Each stip will give you 16 patches per 4Sin-(1dem-) wide fabric, and some 2Vsin-(6:5em-) wide strips across the width of the fabri stip will give you 9 patches per 5in- (140m) wide fabric. Cut a total of 112 patches Light Checks: Cut 4Mzin-(11.Sem-) wide strips sero the ‘width ofthe fabric, Each strip will give you 16 patehes per 5in-(11dem) wide fabric, Cut a total oF 54 patches. Datk Swipes: ‘To ensure variety of stripe direction ut some 4l/sin- (11 Sem-) wide strips across the width of the fabric ich strip will give n- (11dem-) wide jm= (6.Sem-) wide Strips across the widkh ofthe fabric, Bach Sip will give you 9 patches per 4Sin. (1L4em-) wide fabric, Cut a total of 133 patches. Dark Checks Cut 4¥2in- (11 Sem-) wide strips actoss the ‘width of the fabric. Each sttip will give you 16 patches per 4Sin- (14em-) wide fabric. Cut a total of 49 pateh{Cu 2 picces 72in x 434/ in T14em) in GPR. Cut 8% yds (8m) of Dein bias binding, ‘THE BLOCKS in (6mm) seam allowance Using the block assembly 88 guide, make up 126 “dark “dark block has | dark shot 1 datkstripelcheck patch, try to colourvtonal values so that the finished blocks will ead as squares. ‘Make up 112 block fas 1 ight shot cotton and | light stripe/check patch, again choosing similar colourstonal values, MAKING THE ROWS ‘The quilts made of 4 ovr types, as shown ‘on the quill assembly diagram, Make up 7 ‘ach of Rows 1, 2 & 3 and 6 of Row 4 Join the rows as indicated in the Quilt assembly diagram, Block Assembly Dark Shot Corton ight Stripe HE bs stipe = Light Cheek [= bs cic FINISHING THE QUILT Press the quilt top. Seam the backing pieces ‘sing a Vsin (6mm) seam allowance to frm a piece approx. 72in x 86in (183m x Hem, Layer the quilt top, batting and backing and baste together (see page 106). Using toring ‘machine quiting thread, quit a meandering pattern aero the surface ofthe qui alternatively stiteh-in-the-diteh along the scam fines. Trim the quilt edges and attach the binding (see page 107)2 Blueberry Steps #a KAFFE FASSETT ‘ow this is made Kaffe wishes he had chosen a different fabric for the border, possibly dotty Lavender. SIZE OF QUILT ‘The finished quilt will measure approx, “Bin x 63in (183em x 160em». MATERIALS Patehwork Fabrics: Suor Corto Mushroom SC 31: Hayds 3.2m) Exoric Sra ES 15: Maye Bem) Paciavcr Stine PS O1: Maye (Sem) Rowan Sri RS 02: Vay 23em) RS 05: syd 23em) Rowan Giass Blue & White GPOI-BW: "syd (23cm) ARTICHOKES: Circus GPOT-C: Nyd 3c) Pastel GPOT-P: Vayd 23m) FLORAL Dace ‘Blue GPIB: Nayd (23m) Caeysavrueaunt BLUE, GPIS-B: Haye em) Dorry ‘Cobalt GPLA-C: Nayd (23cm) Sea Green GPI4-SG: yd Q3em) Bunmurs Cobalt GPIS-C: Naya (23em Plum GPIS-P: Maya (23em) Sky Blue GPIS-S: Nayd (15em) Border Fabries: Shor Corio Mushroom SC 31: see patchwork fabrics. Backing Fabric: ‘Shor Corrox ‘Mushroom SC-31: 3%4yds (3.5m) Binding Fabric: ROMAN GLASS Blue & White GPOL-BW: "ayd (4Sem) Batting: “ein x in (193m x 17Oem). Quilting thread: “Toning machine quilting thread. ‘Templates: see page 98 7-1 PATCH SHAPES ‘The quilt centre is comprised of blocks ‘made from one square patch shape (Template P) snd four rectangular path shapes (Templates Q. R,S & T). ‘The blocks are built im layers around a centre square CUTTING OUT Note: Cut i the order specified below for the hest use of fabric, ie. Borders fist then larger patch shapes, always keep the leftovers and use forthe smaller sizes. Borders: Cut from the length of the fabric 4 strips 4¥sin x 6Sin (11-Sem x 65cm) in SC 31. Trim to fit exactly once the quilt centre is finished as described below. Use the remaining fabric 10 cut ‘Template T and further patch shapes as eseribed below. ‘Template T: Cut Lhin- (3.75em-) wide strips across the width ofthe fabric. Each strip will give you 4 patches per 4Site (Udem-) wide fabric. Cut 84 in SC 31.31 M-ss15 H]= so [= ksi RS 05 a Be crv GPOL-BW = GPo7-P GPIB Be crsn BB cris Bie crusc S: Cut Moin (3:75em-) wide the width ofthe fabric il give you S patches per 4Sin wide fabric. Cut 84 in SC 31,9 in SinGP12-B, 7 in BS 15, GP13-B, {Gin RS 02, GPOI-BW. GPO7-P, in RS 0S, GPO-C, GPI4-SG, 01 and 3 in GPIS-S. a: Eee Template R: Cut 1!sin- (3.7Sem-) wide strips actons the wid of the fabric Each strip will give you 8 patches per 4Sin (114em-) wide fabri, Cu 84 in SC 31,9 in GPLAC, § in GPI2-B, Tin ES 15, GPIB, GPIS-P, 6 in RS 02, GPOI-BW, GPOT-, GPIS-C, 5 in RS 05. GPO7-C, GPI4-8G 4 in PS O1 and 3 in GPIS.S, B- ovis Be ons Oo PISS SEeaeeE ‘Template Q: Cut thin: @. strips across the width of the fabric Each strip will give you 12 patches per 85in- (J14em-) wide fabric. Cut 84 in SC 31, 9 in GPLA-C. 8 in GPI2-B. 7 in ES 18. LB, GPIS-P, 6 in RS 02, GPOL-BW GPIS.C, 5 in RS 05, GPUT-C GPI4-SG, 4in PS 01 and 3 in GPIS-S.st lack Assembly (Diagram A) ‘Template P: Cut |i sits cross the wid of the fabric, Bach strip will give you 29 patches per 4Sin (1 1dem) wide fabric, Cut 42 in SC 31, 9 in GPC, 8 in GPIZB, Tin ES 15, GPIB, GPIS-P, 6 in RS 02, GPOL-BW, GPOT-, GPIS.C. 5 in RS 05. GPOT-C, GPLA-SG, 44 in PS OL and 3 in GPIS-S, Backing; Cut | piese 67in x Si {14m and | piece Tin x 31/3 ‘sem ia SC 31 wing: Cut 7 strips Width of fabri in GPOLBW (170m x (1m (Sem) wie MAKING THE BLOCKS. Using a sin (6 throughout, referring to the quilt assembly sam Tor fabeic combinations, make 48 ) sean allowance MAKING UP THE ROWS Assemble the guilt into 7 rows oF 6 locks as shown in the guilt assembly diagram, Join the raw to for the quilt centre ADDING THE BORDERS “Trim the side borders to fit and stv in place, then trim the tp and bottom borders and stitch as indicate! by the quit assembly sigram, FINISHING THE QUILT Press the quilt top. Layer the quilt top. butting and backing and baste together (see page 106). Using atoning machine quilting thread, stitch @ Joose meandering pattem aoross the surface of the qui. Trim the quilt ‘edges and attach the binding (see page 107), Chintz Flowerbeds Quilt 4 KAFFE FASSETT. KX exciting showcase for Kaffe's August Rose fabric SIZE OF QUILT The finished quilt will measure approx. in 5 Odin 239m x 2396, MATERIALS Patchwork Fabrics: ROMAN GLASS Red GPOL-R: 2Vayals (2.10) Damasx Jewel POD: Maya (1.5m) Flower Larncr Jewel GPLLI: Maya (1.15) Foes, Dance Magenta GPI2-MG: 2H2ydls (2.3m) ‘or use leftover from Iuacking and buy 1/ayds U.15m) Pink GPI2-P: Syd (Fem) Auaust Roses Magenta GPI8-MG: Yayd (Sem) Ochre GPIS.0C: |yyd (1.15) Pink GPIS.PK: Yay (Oem) Purple GPIS-PU: !yd (4Sem) Suffolk Puff Fabriey: ‘Snot CorroN Watermelon SC 3%; \ayd (23cm) Jixle SC Al: Voyd (Sem) Backing Fabric: Flora. Daxce Magema —G Binding Fubrie: Rowan Gass Red MG: Syd (7.8m) GPOL-R: see patchwork abies 1O0in x 100in (254em x 2S4em. Quilting thread: ‘Toning machine quilting thread ad fine (Coats perlé thread in maroon an salmon pink.CUTTING OUT Centre squares: Cut 12V/sin- (31.75em-) wide strips aeross the width of the fabric. Each sirip wil give you 3 ates per (Uem) wide fabri in G1.75cm), CENTRE SQUARE NOT TO SCALE Cut in GPI8-0C, 8 in GPO2S, GPIT-I.4 in GPI2P, GPI2-MG. GPIS-PK. 2 in GPIS-MG and GPIS-PU, Side triangles: Cut 2 x 221/sin-(56.5em-) wide strips aeross the width of the fabric Each strip wil give you 8 patches per 4Sin- (idem) wide fabric, Cut 4 x 22Nin (56.5em) squares. in GPI2-MG. Using “diagram b asa guide cut each square in hall diagonally and without moving the pieces ceut again actoss the opposite diagonal to sake 4 tangles. Corner triangles: Cut 13!/sin-(34.25em-) \wide strips across the width of the fabric. Cut 2 x 13¥/3in (34.25em) squares in GPI2 MG. Cut once diagonally as shown in dliggram e to make 4 comer triangles. ‘x Tem) andl 1 piece 100in x Hin (254m. 28m) in GPI2-MG. 2) wide x MAKING THE QUILT Using @ "fain (6mm) seam allowance throughout, make 2 sashing strips in each of the following lengths; 1!oin x 14Ysin (G.75em x 36.75em), hin x 40h {G.75em x HOSem), 1"2in x 664zin (3.75em x 169em), INin x 921/in (3.7Sem x 23Sem) and 1Nsin x T8Msin (3.75cm x Bole). Lay out the 12Vsin (31-7Sem) squares in the sequence indicated in the guilt assembly diagram, separating the squares with 1/in x 12Vhin (3:75em x 31.75em) sashing strips. Join into diagonal ‘ows, imerspacing the rows with the longer sashing strips, Finally add the comer triangles MAKING THE SUFFOLK PUFFS "Turn under a sin (6mm) hem of each fabric ciele and sew a running sith using strong thread around the outer edge, Making sare the right side of the fabric is the outside of the Putt, gently pull the thread, gathering the fabric uni a small opening is ffl. Knot the thread. Make 40 in each colour way Layer the smaller on top of the larger and ste at the sashing intersections as shown inthe quilt assembly diagram, FINISHING THE QUILT Press the quilt top. Sea ‘using a sin (6mm) seam allowance to Form ‘a piece approx, 100in x 100in (2S4em x. 25cm. Layer the quilt op, batting and backing and haste together (see page 106). Using @ toning thread, machine site-in-he-diteh along the seam fines, Also hi randot bottom right section oF the quilt assembly agra. Trim the quilt edges "Vin (1.25em) beyond the points ofthe sishing, attach the binding with a ‘sin (1,25em) seam allowance (see page 107) the backing picees curve pattem 8 56xtended Pinwheels Quilt as AFFE FASSETT Grass SC 27: Naya (1Sem) Cobalt SC 40: Nya (23em) Jade SC 41: Vaya (23em) Baoan Cue: BC 02: Vaya (Sem) Exone Sree ES 15: Y/ayd (Oem) FS 16: 'ayd (23em) Nakwow Chex NC 02: Naya (23em) Pxciieanct Strive PS 01: Yaya (606m) Dorvy Cobalt GPL4-C: Saya (60cm) Ph GPI4-P: syd Sem) Inner Border Fabries: GPIAC: see patchwork fabs Middle Border Fabrics: Exomie Sree ES 15: see patchwork fabrics Outer Border Fabrics: Broan Srrine BS 23: Yaya (30em) Backing Fabric: Nankow Chic NC 02: 2 yd (185m) Binding Fabrie: Pacieanat Sta PS O1: see patchwork fabries Batting: S8in x Soin (148em x 127em). Quilting thread: z machine quilting thread vigour of exploding pinwheels is an exciting structu this Islamic blue palette. The rag rug was specially made to go NX ME OF QUILT Prune SC 03: Vaya (15em) A ed gut will measure approx. Opal SC 0S: Nay (23em in (137em x 117m, Chanteuse SC 12: Hisya (Sem) Lavender SC 14; Mey Deoiim SC 15: Naya ( Smoky SC 20: Vayd (23em) PATCH SHAPES Pine SC 21: "yd (Dem) The quilt centre is made up from w single C02: Naya (15cm) Pewter SC-22: Vaya (15cm) triangle patch (template A). a | AE a FS AONUMA RONEN scendNaEneennuee ne SG inne SEES UCRS See ore3 strips 2 in (Sem) x the width of the fabric. join into 1 length and from this cut strips $4¥sin x 2in (138.Sem x Sem) in |Az Cut 27in-(7.2Sem-) wide the width of the fabric, Bach Binding: Cut 6 yards of bias binding ) wide from PS 01, Cut 1 piece S8in x 45in (147m by 114om) and 2 pieces 29in s 6in (S8em, by 15.Sem) in NC 02, 16 for middle borders), 48 in 6) in SC 21, 18 in SC iin SC40, 42 in SC 41 (includes dle borders), 20 in BC 02, 46 15.32 in FS 16, 42 in NC 02, GPLAC, $7 in GP14-P, rs: For side borders cut 2 O'sin x 2in (103cm x Sem) and bottom borders cut 2 strips (90cm x Sem) in GPI4-C. ‘or side borders cut 2 bin x Si/sin (110 Sem x em) MAKING THE BLOCKS Using a Yasin (6mm) seam allowance throughout, make up 320 blocks, wse the quilt and block assembly diagrams as a ake up 16 blocks for the yrders: For top and bottom fut 2 strips 43¥in x 2in mx Sem) and for side borders cut MAKING UP THE ROWS Assemble 20 rows of 16 blocks, use the quilt assembly diagram as a guide, MAKING THE BORDERS [Add the inner borders w the quilt centre in the order indicated by the quilt assembly diagram. Add the side middle borders to the quilt centre. Join the 16 fon blocks into 4 square pinwheels, add one to each end ofthe top and botiom middle borders and add t0 quilt centre. Add outer borders 10 the quilt centre in the order indicated by the quilt assembly diagttm, FINISHING THE QUILT Press the quilt top, Seam the backing s using a "in (6mm) seam allowance to form a pisee approx. S8in x Soin (147em by 127em). Layer the quilt top, batting and backing and baste together (see page 106), Using a toning thread, stitch-in-the-ditch lines. between the blocks and along each border. Trim the quilt edges and attach the binding (see page 107) long the seamFiesta Quilt #3 KAFFE FASSETT T* dramatic zigzags in this quilt are accentuated by the black pointed rooflines of the net drying sheds in Hastings. You could add leftovers from other Rowan projects to the fabrics Kaffe chose. SIZE OF QUILT ‘The finished quilt will measure approx. in x Tin (234em x 180m). MATERIALS Patchwork Fabries: Suor Corns Ginger Persimmon Raspberry Pomegranate Bittersweet SOL: Haya em) S07: aye em) SSC 08: Yaya (70m) SC 09: S/ayd (Fem) SC 10: 8/4yd (Fem) Tangerine SC: Yayd (70cm) Charweuse SC 12; Vayd Sem) Lavender SC-14: Vayd (4Sem) Mustanl SC 16: Msya (1Sem) Duck Fae SC 26; Hyd 45cm) Rosy SC 32: Naya (45em) Watermelon SC-33: Vayd (45m) Aurennare SrRIPe AAS 10: Hayd 48cm) BRoaD Sree BS Lh: Haya 4Sem) [BuLE aNd Wate Stare BWSOD: Vay 23em) Nawrow Seine INS Ol: Nayd (23em) NS 16: Hay (23cm) Rowan Stare RS 08: Vaya (15em) SOS: "syd (15cm) RS 07: Vaya (1Sem) Roway GLass Cireus GPOL-C: Vayd (15cm) Gold GPOL-G: Naya (45cm) Jewel GPOL-: Nsyd (1Sem) Pink GPOL-PK: "syd (1Sem) Red GPOL-R: aye (23cm) Anricnoxes Jewel GPO7-I: Nayd (3em) oF use leftovers from, backing. Force Me-Nor Rost Jewel GPOR.S: sys (Sem) (Coy saree Red GPI3-R: Saya Tem) Dory Driftwood GPI4-D: Ysyd (Sem) Busates Ochre GPL5-0: Haya (1Sem) Plum GPIS-P: l/ayd (15em) Border Fabries: [A selection of leftovers from the patchwork fabries Backing Fabric: Anricnoxes Jewel Gor: Binding Fabrie: |A selection of leftovers from the patchwork fabrics Batting: ‘Gin x 75in (244em x ITEM). ‘Quilting thread: Perle cotion thread in bright colours Vaya (5.1m) “Template: see page 94 NX Iscot sco7 scos sco sc10 4 6 BERBERS B-scw Bese Bosw Beisn ws B-ss01 Hi -cm-n BB - cory Ba ~c20sy Boren | GPOLG poly = GPOL-PK 7Block Assembly PATCH SHAPES ‘The quilt centre is made up of + panels, each repeated once 10 make a tol of 8 Panels. They are pieced using two strip Sizes starting from one corner triangle f whieh a template is provided to "se the comect 45 degree angle (template J see pave 94), CUTTING OUT ‘Template J: Cut 2 in SC08, SC 14, SC 26 and GPOL-R. orders: Cut a selection of 4in- (10em-) ‘wide strips parallel tothe selvedge of the patchwork fabrics. Leave on one side. Panels: The following is just a guide, you ‘may need to cut extea strips, but don’t eut them until you need them. Use the off cuts as you go along for the shorter comer lengths join them for longer lengths where necessary. Cut strips across the width of the fabric EXCEPT in the case of SC 07, SC 09, SC II, SC 08, SC 10 and GPI3-R ‘cut these down the length ofthe fabric 2in (Sem) Strips: Cut 4 in SC 11, 12 in SC 07, SC 09, 10 in SC 08, SC 10, GPI3-R, 8 in SC 33, 4 in SC 12, SC 14, SC 26, SC 32, GPOI-G, GPOI-R, GPOT-s 2in SC O1, NS 16, GPIL-D, 1 in SC 16, GPIS-0, Hin (2.Sem) Strips: Cut 6 in AS 10, 4 in BS 11, BWS02, NS 01, GPOS-I. 2 in NS 16, RS O4, RS 5, RS. 07, GPOL-C, GPOL-}, GPOL-PK, GPIS-P. Binding: Cut « selection of 2in- (Sem) Wide strips trom the patehwork fabeic Cut the strips into random length rectangles. Stiteh into one long length until you have 91 yards (8.75) of binding, Backing: Cut 1 piece 96in x 44in (240em x 112em) and | piece 96in x 32in (240em, x Slem) in GPOT leftovers. MAKING THE PANELS “The panels are pieced using 2 paper guide, using a sin (6mm) seam allowance Ubroughout. This is not quite the same as foundation piecing as the fabric is not stitched co the paper, bat the principle is the same. Make a paper guide 16l/sin xMain (42cm x 108em), Mark the ‘with 45 degree diagonal lines as n in diagram a. See page 62, The lines are the guide for panels | and assembly diagram for fabric ment, take the cut triangle J match it carefully onto the et guide and place the next fabric ipright sides together on the triangle. along the stitching line and flip ompletely covers the edge of the f Stitch the strip into place and Very carefully. Add the next strip he same manner. Each time a new pis added, press carefully and check atthe pane! covers the guide and that is still at 45 degree as shown », See page 62, the guide is completely covered, ich the corner triangle to the guide @ and trim the panel to fit the guide ‘panels into 2 rows of 4 panels, ng t0 the quilt assembly diagram ment, Join the rows to form the ssing arrangement, cutting the strips ‘random length rectangles as you Stitch 2 borders din x 84¥/3in X214.Sem) and add to the quilt Stiteh 2 borders din x 71in mx I81.5em) and add to the quilt bottom. the quilt top, batting and backing pnt together (see page 106) bright hand quilting threads and “stitching, quilt fines offset about 6mm) from the seam lines on the ‘strips the quilt edges and attach the see page 107). 63Fizz Quilt PAULINE SMITH “Tes fabric quantities on this quilt work to within a hairs breadth, wi 0 if you are a novice, then we suggest you buy alittle more! SIZE OF QUILT ‘The finished quilt will measure approx. 48¥/sin x 41/2in (122.Sem x 105 Sem). MATERIALS Patchwork Fabries: ‘Snor Corton’ Opal SC 05: Vayd (23mm) Lavender SC 14: Yaya (em) Lite SC 36: Syd oem) Apple SC39: Vayd (45em) Cobalt $40: Yayd 23cm) Rowan Giass Blue & White GPOI-BW: \/4yd (23cm) AnmiCHOKES Gireus GPO7-C: Naya (23em) Coysantiennnt Green GPI3.GN: Vayd (Sem) Ochre GP13-0: \yd (15em) Dorry Cobalt GPL4-C: Vayd 3em) Sea Green GP14-SG: Siayd (60cm) Bunptes Grey GPIS.G: yd (23m) ROWAN Stair, RS 02: Vaya (15em) or use excess from hacking RS 07: Nsyd (Sem) Border Fabries: Suor Coron Lilac SC 36: see patchwork fabrics Backing Fabrie: Rowan Stare RS 02: 1d (4m) Binding Fabric: Shor Corton: Apple SC 39: see patchwork fabrics x 45in (13em x 114em), Quilting thread: Variegated hand quilting thread in bright eotours ‘Templates: see page 94, 96 DE F PATCH SHAPES The quilt centre is made up of one triangle patch shape (Template D). Using this shape patches are cut from strips whieh have been seamed together. Two additional triangle shapes are used to fill the edges of ‘he quill (Templates E & F), CUTTING OUT ‘Template D: Two strip widths are Fequited, These are then seamed! together andthe triangles are cut from the resuling fabric (see page 65 for more details). Cut 2Hin-(6.5em-) wide strips eno the ‘Wid of the Fabric, Cut 4 strips. in GPL4-8G, 2 strips in GPOL-BW, GPO7-C, and GPIS-G. 1 stip in GP13-GN and GP13-0 ‘Cut 2in- (Sem-) wide strips across the wilh ofthe fabric, Cut 2 strips in SC 05, SC 14, SC 39, Sa and GPI4-C, 1 strip in RS 02 and RS 07, For the plain setting triangles om the guilt top and bottom, cut 4in- (10em-) wide Strips across the width of the fabric. Each tip will give you 18 patches per 4Sine (idem) wide fabric. Cut 18 in SC 36, ‘Template Es Cut 2%/sin- (6.7Scm:) strips across the width ofthe fabri. Cur2 in $C 36,F: Cut 2Ain- (6.Sem-) wide toss the width of the fabric. Bach “will give you 9 patches per 45in wide fabric. Cut 12 in SC 36, ders: Cut 4 strips 3Yin- (9em-) wide the width of the fabric in SC 36. fit once the quilt centre is Finished shad below, {Cut 6 strips 2in- (Sem-) wide x hf fabric in SC 39, Cut 1 piece S1N2in x 45in A 14cm) in RS 02, ‘THE BLOCKS a Msin (6mm) seam allowance refering to the quilt assembly for fabric combinations, stitch sets (Gem) and 2H2in (6.Sem) strips GPILSG SPIS-G RS 02 RSO7 together as shown in block diagram a, — them and stiteh them as shown im diagram Using template Deut triangles by rotating c, to make two types of block as shown in the template, Take consecutive pats of diagram d triangles as shown ia diagram b, rotate Quilting Diagram Block Assembly “PA ANTEAPS AY 63MAKING UP THE ROWS ‘Assemble the quilt into diagonal rows as shown in the quilt assembly diagram, using the plain triangles in SC 36 (emplates D, E & F) to fill in along edges. ADDING THE BORDERS: “Trim the side borders to fit and stiteh in place, then trim the top and bottom borders and stitch as indicated by the quilt assembly diagram. FINISHING THE QUILT Press the quilt cop. Layer the quilt top, batting and backing and baste together (see page 106). Using a bright variegated hand quilting thread. quilt as indicated in the quilting diagram. Trim the quilt edges and attach the binding (see page 107) Musetta Quilt #3 LIZA PRIOR LUCY B izet’s Opera, Carmen, and in particular the “hot babe” ‘Musetta, were the sparks which ignited Liza's imagination. SIZE OF QUILT ‘The finished quilt will measure approx 733sin x 73%in (187.Sem x 187:Sem). MATERIALS Patchwork Fabries: Shor Corus Cassis SSC 02: "syd (Sem) Chartreuse SC 12: Mayd 2em) Lavender SC 14: Vaya (1Sem) Denim ‘SC 15: Syd (15em) Mushroom — SC 31: syd (1Sem) Nanow Sree INS 13: Va (Sem) Pacimano Staure PS 13 Roway Stare RS OF: Maye (23em RS 04; Iya (Sem) RS 05: Yaya (23em) eye (15em) RoMay GLass Gold Danas Jewel GPO2-I: Vay (15em) Foci Me-Nor Rost GPOL-G: Naya (150m) Jewel Gog: Hyd (1.1 Dorr Cobalt GP14-C: Nay em) Plum GPLS-P: Vaya (15m) Bunntes Plum GPIS-P: Naya Proxy Maroon GPIT-MR: Vaya (I “Auaust Rosts, Purple GPI8-PU: 2 yds (18 Fawr BASKET Gold GP19-GD: yd Red GPIO-RD: Moya “Taupe GPI9-TA: Vay Teal GPI9-TE: YayaQuilt Assembly eo 2 eoccce e “+ eeesvevvessuct eco aneene weveves eeccccccce aaaeecanne eccce onaee Be M-sce [-rsn B-scu [nso : 1 Mi-scis [J=xses J-rse [j-cno-rm Besos HB- 61700 J = cr-te PI-ss Bf cryBacking Fabric: Dorry Plum GPLA-P. AVayds (4.1m) Binding Fabri: Broan Sma BS 08: Vaya (45cm) Batting: Bin x 78in (198em x 198m) Quitting thread: ‘Toning machine quilting thread. ‘Templates: see page 94, 100, EE OFF ce Large square cut vain x Vain (em x 24cm) PATCH SHAPES, ‘The quill centre is made up from blocks pieced from a small triangle shape (Gemplate FE). These are interspaced with large squares cut to 91/sin (24cm), The blocks and squares are set “on point” with large triangles to fill in along the quilt edges, You'll ind half template GG fom page xx. Take a large piece of paper, fold, place edge of template GG to fold of paper, trce around shape and cut out. Open out for the complete template. The comers are filled with a third triangle shape (template FE). The quilt also has simple borders, CUTTING OUT Template EE: Cut 3 "sin- (9.75em-) Wide strips across the wid ofthe fabric. Each strip will give you 20 patches per 4Sin- (114m) wide fabric. Cut 36 in RS O1, GPIA-C, 27 in SC 12, RS 05, GPIS-P, GP19-GD, GPI9-RD, GPI9-TA, 18 in SC 92, SC 14, SC 15, SC 31, NS 13, PS 13, RS 04, GPOI-G, GPO2J, GPLA-P, GPL ‘Template GG: Cut 2 x 14in- (35.5em5) ‘wide strips across the width ofthe fabric. Cut 4 x I4in (35.5em) squares in GPIS- PU, Using the template as a guide cut each square in half diagonally and without moving the pieces cut again across the opposite diagonal to make 4 Uwiangles. Reserve leftover fabric for template FF. ‘Template FF: Cut 2 x 7!/in (18.Sem) squares in GPIS-PU, Cut exch square in half diagonally to make 2 triangles Large Squares: Cut 9!/in- (24em-) wide strips aeross the width ofthe fabric. Each strip will give you 4 patches per 45in- (1idem-) wide fabric. Cut 16 x 9"in (24m) squares in GPIS-PU, Borders: Cut 7 strips 5¥sin- (14em-) wide x width of fabric in GPO8-J Backing: Cut | piece 78in x 4Sin (198m by I14em), 1 piece 78in x 31/2 in (193em by Sem) in GPL. Binding: Cut 8 strips 2in- (Sem-) wide x width of fabric in BS 08. MAKING THE QUILT CENTRE Using a in (6mm) seam allowance ‘hroughout, make up 25 blocks, use the quilt and block assembly diagrams as a ‘guide, Arrange the blocks with the large squares and triangles (template GG) into 9 diagonal rows following the quilt assembly. diagram, Join the blocks into rows, then join the rows fogether to form the quilt centre. Join one smaller triangle ((emplate FF) to each comer to complete the quilt centre, MAKING THE BORDERS Join the 7 strips into one long length From this eut 2 border strips to fit the guilt top and bottom, Join these 1 the quilt centee as indicated in the quilt assembly diagram. Then cut 2 border Strips to fit the quilt sides an join to the Guilt cente as indicated in the quilt assembly diagram FINISHING THE QUILT. Press the quilt top. Seam the backing pieces using a Vain (6mm) seam allowance to form a piece approx. 78in x 7Bin (198em x 198m). Layer the quilt top, hatting and bucking and baste together (see page 106). Using & toning ‘thread, in the borders and GPI8-PU areas quilt a meandering pattern loosely following the floral shapes. ln the pieced blocks quilt a stipple pattern on one colour only as shown in the quilting iagram. Trim the quilt edges and attach the binding (see page 107). a WW > x Quilting Diagram for Pieced BlocksKAFFE FASSETT eutral elements in the quilt save it from becoming over sweet. will measure appros, x Sin (42cm x 122en ehwork Fabrics: jeAND Ware STRIPE BWSOI: 2/5y¢ (60cm) BWSO2: syd (60m) Sree 08 01: Shya (60cm) (0 02: Saya (6m) 08.05: Saya (6d) Giass GPOL-P: yd (60m) GPOS-P: Haya (23cm) Stone GPOB-S: Vay Bem) Force Me-Nor Roses Circus GPOR-C: Naya (230m) Comysaccrueyt Grey GPI3-GR: lfayd 23em) oF use excess from bucking, Dory Terracotta GPLA-T: Yay (60m) Benatss ney GPIS-G: aya 3610) Proxy Grey GPI7.GR: ley (23m) Taupe GPI7-TA: 'fayd (23een) Violet GPI7-VI: Vaya (23cm) BRCrr BASKE Blue GPL9-BL: 'ayd (23em) Pink GPLO-PK: Vaya (23m) Handkerchief Corner Quilt — Pastel #a Border Fabrics: ‘August Roses Pastel GPIS.PT:2hye (60cm) Backing Fabrie: (Comyscerne iat Terracotta GPLT: see patchwork fabrics Batting: ‘60in 52in (153em X 1 Quilting thread: ‘Toning machine quilting thread em PATCH SHAPES ‘The quilt centre is made up of one square patch shape and one trapezivi patch shape for the left side of each block which is reversed for the top of exh block. Note: ‘The trapezium template is provided for checking only, see instructions below for details. CUTTING OUT ‘Template Bz Cut 4!(sin- (1.Sem-) wide Strips across the width of the fabric. Each ‘rip will give you 9 patches per 4Sin (1 em-) wide fabri Cut 7 in GPOB-C, 6 in GPI3-GR, 5 in GPOS-R 4 in GPOS-S, 3 in GPI7-TA, 2 in GPIO-PK and 1 in GPLO-BL, GPI7-GR and GP17-VL ‘Template C and Reverse C2 "To ensure the Stripes are in the correct orientation, cut I8in- 46cm) wide strips across the width fof the fabric then eut 31/2n- (em-) wide strips down the length of the fabric, 7 in 08 05, BWSO1. 6 in OS 01, OS 02.4 in Bws02 (Cut /2in-(3.75em-) wide stips actos the width of the fabric. Cur I8in x 1in (46cm x 375m) strips, each strip will give you 2 patches per 4Sin- (I]dem-) wide fabric. Cut HT in GPOL-P, GPLA-T, 8 in GPIS-G.‘Quilt Assembly. + wh Ee ows -cret G-cower E- pws |= GPis-G P19-BL E}- oso B= crizcx = os 02 Be orv-an 1505 = GP3.GR |= apr7-vi ”¢ Cut S strips 4sin- (11.Sem ctoss the width of the fabric Cut 6 strips 2i hf fabric in GP14-1. Cut 1 piece 60in x 45in (152cm y Idem), | piece 1Oin x 45in (25em by and I piece 10in x 15"%in (Sem 39m) (Sem) wide x (G THE BLOCKS ‘hin (6mm) seam allowance ut, using the quilt assembly. to fabric onbinations, stitch sets of 1'3in by 18 by 45cm) and 3\sin by: I8in by 45.Sem) strips together as show jock diagram a, Fold the joined strips fall lengthways. Matching the seam press carefully to set the fabrics in Mark a 45 degree line as shown in mb. Stitch on the line, stopping "4 the inside edge and open out the See diggram €. Using the guide te C andl reverse C, check the size the block by matching the diagonal trim the patches as necessary. Using inset seam technique (see page 104), the Main square (template B), see gam d, Complete 30 blocks, semble 6 rows of 5 blocks, use the assembly diagram as a guide ‘ING THE BORDERS in the 5 strips to make { long strip, m this cut 4 borders each 48!sin by Win (123m x 11 Sem, the borders tothe quilt centre in the indicated by the quilt assembly INISHING THE QUILT 6 the quilt top. Seam the backing a Vein (6mm) seam lowance to form a piece approx. 60in x lin (152cm by 129em). Layer the quilt batting and backing and baste ptier (see page 106). Using a toning i. stith-in-e-diteh along the seam, , between the blocks and along each Trim the quilt edges and attach the ing (see page 107). Block Assembly Pole nHandkerchief Corner Quilt —- Dark aa KAFPE FASSETT lowery bandanas with bold borders were Kaffe's inspiration. ‘The squares are ‘fussy cut’ to make the most of the floral fabrics SIZE OF QUILT ‘The finished quilt will measure approx. 72in x 72in (183em x 183m) MATERIALS Patchwork Fabris: Atria: Sra ‘AS 10: Say (6m) Broan Cuecx. [BC 03: S/syd (60m) BC 04: Yayd (302m) Broan Srare BS 11: Syd (60em) Exonie Sr ES 10: Sisy (608mm) Nannow Chex INC OL: Hyd (30cm) Nanwow Steve NS 1: Siyal (606m) NS 13: 1 "syd (1m) NS 17: 5isyd (601m) PacrmeaNer StRIrE PS 08: S/sydl (6m) Roman GLAss Blue & White GPOI-BW: Viyd (23em) Circus GPOL-C: Syd (dem) Gola GPOL-G: aye @3em) Leaty GPOL-L: Vayd (23em) Red GPOL-R: "syd (23em) Dastask Jewel GPOR-S: aye (60em) FLORAL DaNce Blue GP12-B: Shaya (60em) Magenta GPI2-MG: Vayd (45em) cre GP12-0: Sisyd (6Oem) Cumysanruewune Blue GPI3-B:!/ayd (45em) Red GPIBR: loyd (4Sem) Dorry Cobalt GPIS-C: Hyd (em) Plum GPL4-P: Vayd Q3em) BuwaLes Cobalt GPIS-C: Nayd Plum GPIS-P: Vay (23em) Proxy Green GPIT-GN: I/eyd (230m) Maroon GPIT-MR: Yayd (23em) Backing Fabrie: Narrows Skirt NS 17:4 Mayas (4m) Bias binding Fabrie: INaxovy Sree INS 17: see backing fabric Batt “ein x Féin (193em x 193eR), Quilting thread: ‘Toning machine quilting thread, “Templates: see ge 95,99 PATCH SHAPES ‘The quilt centre is made up one square patch shape and one trapezium patch shape five the left side of each block which is reversed for the top of each block. Note: The trapeviumn template is provided for checking only, see instructions below fo detail CUTTING OUT ‘Template B: Cut 4!/sin- (11.Sem-) wide strips actoss the widih of the fabric Each step will give you 9 patches per 45in- (1 4om-) wide fabri. Cut 21 in GPI2-MG, 16 in GPI2-B, 14 in GPI2-0, 11 in GPIS-R, 10 in GPO2-} and 9 in GP13-B.CPI3.B GPIB-R SP-C opp PS.08 = GPi5-P sro1s8w fl = cer7-0n spore | la 17-MR, ese C: For striped 10 ensure the stripes are in the ect orientation, cut I8in- (46em-) strips seross the width of the fabric cut 3/rin- (Dent) wide steips dovwn ength of the fabric, Cut 14 in NS 13, 12in BS 11,9 in PS 08, 8 in ES 10, NSO BAS 10-and NS.17 br checked fabrics, cut 3V/sin- (9em-) tips across the width of the fabric Bin x 3¥/sin (46cm x em) steps, strip will give you 2 patches per (Ul4em:) wide fabric. Cut 10 in BCS. 6 in BC 04 and NC Ot. But sin- (3.7Sem-) wide strips across ‘width of the fabric, Cur 18in 5 1sin fem x 3.7Scm) strips, each strip will sive you 2 patches per 4Sin- (114em-) wide fabric Cut 11 in GPOL-C, 10 GPI4-P, GPOL-R, 9 in GPOI-G, 8 in GPIS-C, GPIT-MR, 6 in GPIS-C, GPIT-GN, 5 in GPOL-L, GPIS-P, 3 in GPOL-BW Backing: Cut | piece 76in x 45in (1938em by 114om), I piece 76in x 31/2 in (193m by 80cm) in NS 17, reserve the leftover piece for binding Bias binding: Cut 8H2 yds (7.75m) of 2Vsin- (6em-) wide bias binding From NS 17. MAKING THE BLOCKS See this section in the Handkerchiet Corners Quilt - Pastel on page? GPO GPOL-L SPOL-R MAKING UP THE ROWS: Assemble 9 rows of 9 blocks, use the quilt assembly diagram as « guide FINISHING THE QUILT Press the quilt top. Seam the hacking pieces using a sin (6mm) seam allowar approx. 76in x 76in (193em by 193em) Layer the quilt top, batting and backing and baste together (see page 106). Using toning thread, stiteh-in-the-liteh along the seam Tines hetween the blocks. You could also outline the floral mous with free machine quilting iF you wish, Trim the uit edges and attach the binding (s page 107), e 10 form a piece B™ Jubilee Garden Quilt KAFFE FAS ET ith colours like a s SIZE OF QUILT ‘The finished quilt will measure approx 1281/sn x 93% in (326€m x 238eH, MATERIALS: Patchwork Fabvie: Bron Cie. BC ON: Iya (lem) Oe Sram (08 05: “aya (70em) Rowax Sree RS 06; His (1.15) Rowan Guass Gola GPOL-G: Yayd 23cm) Lealy GPOLL: Haya (115m) Dawiask Jewel Styl (6m) Pastel “Yay (700m), Guana Pastel GPOR-P: Heyl (Sem) ARTICHOKES Leaty GPOT-L: Shy Sem) Pastel GPO: Nay (45cm) ined glass lamp this quilt would be delightful in an orangerie thrown over a huge sofa or hammock. Forget Me-Not Rose Jewel {GPOR-: 1 yd (em) Floral Davee Magenta GPI2-MG: hyd (38am) Ochre P12-0:; Nay (1.15) Pink GPI2P: Maya (115m) Chysastientnt Green GPL3.GN: 1¥/ayds (1.6m) Ochue GPLS.O: Vayd Sem) Dory Lavender GPH-L: 1 yd (0mm) Ochre GPLAO: Yul (em) TTemcoma — GPL-T: Vaya (Sem) Bunues Grey GPIS.Ge Vaya (1Sem) Ochre GPIS-0- Vayd 23cm) Backing Fabric: Cuieysasuenent Green Binding Fabrie: GN: 8!fyds Gm) ‘Chysastnesny Groen GPLB.GN: Syd (70m) Batting: 133in x 98in (338em x 249m), Quitting thread: ‘Toning hand or machine quilting thread. _— = DOA PATCH SHAPES “The quilt mae up of one damn patch shape (Template Z) shapes (X & reverse X. Yand AA) which re used wil in around the edges ofthe qui CUTTING OUT ‘Template ¥: To ensure the stripe direction is in the core orientation fr fabric RS 06 eu 1x I6in- (40Sem-) wide strip cross the Width ofthe fabric. From this idee eu 14 x 2in- (3.75em-) wide strips down the length of the fabric, each sip wil give you 3 patches of template ¥. Cut 40 in RS 06, Reserve the remaining fabric for Templates X de reverse X. ‘Template X and Reverse X: From the remaining RS-06 fabric Cut 1 x 2Uhin- (6Sem.) wide strip down the length ofthe fabric. Cut 2 in RS 06, everse the template and eu 2 more in RS 6, “Template Z: To ensure the stripe dietion inthe correct orientation for fabric OS 05 cat [Ex I8in-A6em.) wide stip across the ‘ofthe fae, Cut 40 in 05 05. ‘Tocensare the tripe direction iin the ‘orientation for fabric RS 06 eut Lx I (48.Sem-) wide strip aeross the width of fac, Cut 42 in RS 06, For all other Fabris, cut 3¥sin- (Sem) wi strips across the width of the fubsc, sicip will give you 10 patches per (1 14em) wide fabric. Cut 162 in GPL 108 in GPI2-P. 104 in GPI20, 92 GPOML, 80 in GP14-0, 76 in GPOS4. GPOLP, 64 in GPI40, 42 in GPOD. BC 01, GPI3.0, 36 in GPO?- GPOT-L, 24 in GPI2-MG, 16 in GPOL in GPIS-O, 8 in GPORP.4 in GPL in GPISG, ‘Template AA Cur Sin: (9Sem) strips seross the width oF the fbi. strip will give you 19 paces (Idem wide fabri. Curd in BC O1, 4 in GPOL-Land16 Orange Grove Quilt « SANDY DONABED = ay ae his is an improvisational quilt and these are more guidelines than directions. The way to start is by finding a multi-coloured fabric you love and to key all the other choices from that. In this case the choice was one of Kaffe’s stripes, Pachrangi stripe 13 (PS. 13). From your choice you can then pull out about 15 other fabrics in colours that work. For this quilt the colours were all the greens and oranges available in the shot cotton range that are reminiscent of the orange groves lining the roadsides in Florida SIZE OF QUILT ‘The finished quill will measure approx. SC 02; Yaya (4Sem) SC 10: Yayd (43cm) Cassis Binersweet S4/sin x 42'Vsin (138m x 108m). "Tangerine — SC 11: Yayd (4Sem) SSC 12: see border fabries MATERIALS 'SC 16: Vayd (48em) Patchwork Fabries: SC 17: Vay (45em) Suor Corts Tobacco SC 18: Hyd (45em) Ginger SCO: Haya (45em) Lichen SC 19: Vayd (45cm) Pine SC 21: Haya (45m) Pewter SC 22: Naya (45em) one Grey SC-23: Vayd (45em) Fon SC 24: Vays (45m) Duck Egg SC 26: Wayd (4Sem) Grass SC 27: Vayd (4Sem) Lemon SC M: aya (4Sem) Sunshine SC-35; Hyd Sem) Apple SC 39: Vayd (4Sem) Rush SC 42: Vaya 45em) Lime SC 43; aya (45em) Note: these quantities are the maximum you will need, Buy the full aye (4Sem) of the colours you like especially and tess of bothers. In total you will need about 4yds G.7m) of shot cotions plus the leftovers, from the borders. PacteaNcn Stare S 13: tye (90cm) Sandy also used a selection of other stripes font the Kaffe Fassett fabric range in sonal quantities. Border Fabrics: Suor Corio Chartreuse $C 12: Lyd (90em) use ‘excess in patchwork Backing Fabric: Pacis Str PS 13:2 Says 24m) Binding Fabric: PcineaNcr Str S 13: Yayel (4Sem) or use leftover from backing fabric Batting: Sin x in (148m x L1 Tem). Quilting thread: ‘Variegated machine quilting thread. Parent Staves The guilt is made using ‘composite fabric’ (see page 79) constructed. from Strips cut from multiple fabrics. Triangles (vomplate W) a composite fabric. The remaining fabric is ceut into 2in ~(Sem-) wide sashing strips The nade ito blocks. e then cut from the jangles and strips are thenRNASE ASS EE ts to nING OUT Borders: Cu 5 strips 3in-(7.5em-) wide x With of the fabric in SC 12. Use the maining fabric for strips: as described ‘Strips to Make Composite Fabrie: Cut ips approximately -2in (2.5-Sem) wide I the width of the fabric in al the nd PS 13 plus any other ped fabrics you have decided to add Strips do n01 need to be regul be narow ut one end and wider at the fhe Note: Sandy says, ‘remember this is Supposed to he improvisational and liberating! Don't measure far this, instead fee-cu the strips, you can even piece strips if you want w add additional ours here and there’ they ig: Cut I piece 46in x 4Sin (117em Hem) und | piece 46in x 14!/sin 37m) in PS 13, ut 5 strips 2in- (Sem) wide x of fabric in PS 13 KING THE COMPOSITE jut, stitch strips of fabric her ing he colour combinations wo make 2 ‘of composite fabric at least 30in (Gm) long by the width of the strips, bout 45in (14cm). Press the seams [Gtefully from the back in one direction, | Sieam press the fabric again from the front Soi lays very fla. ‘Trim the edges of the posite fabric to square it up. Set aside “way unwsed strips of shot cotton fabric. (G THE SASHING AND. INGLES Take one piece o composite fabric and eut ‘entre piece into 2in (Sem) wide 45 ete diagonal strips Te careful not to pull these strips sine they are all on the bias and will disor easily Dn the second piece of composite tubri agonal to the stripe direction shown in the cutting. diagram for Wlangles and sashing. Cut the triangles id keep them in 12 sets of 4 triangles as indicated by the numbers on the ¢ Note: ff you make a la piece of fabric i. you can increase the size or hhumber of the triangles and thus the size ‘of the quilt. The remainder of the fabyie ean then be cut into 2in (Sem) diagonal Strips for use as sashin MAKING THE BLOCK: In tum take each set of triangles, two short and one longer length of sashing. Join the sashing to the triangles as shown iam a press the Seams towards the Uriangles, Trim the sashing to fit as shown in diggram b. You will end up with blocks approximately Yin (22.75em) square Note: For this quilt the 4 triangles in each block are the same, but you might want to consider mixing them up even further Add the Yeserved shot cotton strips to each edge of before sewing them together each block as shown in diagran lwimming 10 fit as you go uzun trying 10 pay attention to colour arrangement and trim the 12 blocks 10 Hin (28cm) square, MAKING THE ROWS Assemble the blocks into 4 rows of 3 blocks, adding sashing 10 the rows as indicated in the quilt assembly diagram, Jin the rows to form the quilt centre ADDING THE BORDERS 5 border sttips to form one long from this eut 2 borders to fit the quilt sides and join to the quilt centre, Then cut 2 borders 10 fit the quilt top and bottom and join wo the quilt centre The outer border is made using more of the 2in- (Sem-) wide sashing strips. Join enough into 2 lengths to fit the quile top and bottom and join 10 the quilt centre. Repeat for the quilt sides. FINISHING THE QUILT Press the quilt op. Layer the quilt top, butting and backing and ba 106), if Machine quilting thread, stiteh a chevron pa together crm about 2in (Sem) Apart across the surface of the quilt, Trim the quilt edges and atach the binding (see page 107), »Pete’s Paul Quilt # ROBERTA HORTON 80 Re used the traditional Robbing Peter to Pay Paul block to showcase the old fashioned two-tone toiles. The brightly coloured large floral border provides a dramatic contrast. SIZE OF QUILT The finished quilt will measure approx. 67Nin x 67/0in (171 Sem x 171.Sem. MATERIALS Patchwork Fabrics: Broan Cuece BC 01: Way (45cm) Avaust Roses Magenta GPIS-MG: 2 yds (1.800) rut Base Apricot GPI9-AP: “hyd (80m) Red GPI19-RD: Tayd (80cm) Taupe GPID-TA: Lfayd (11 Teal GPIO-TE: Hyd (15m) Backing Fabric: PacteaNar StKIE PS 01; yds (3.7m) Binding Fabri Pacumancr Start S 01: see hacking fabric Batting: 7Hin x Flin (Stem x 18len). ‘Quilting thread: Grey. and Russet Red) machine quilting thead ‘Template: see page 96 DD Large square cut sin x Sin (20.5em x 20.5em) PATCH SHAPES "The quilt centre is made using a traditional Robbing Peter 10 Pay Paul block, made fom an octagon and four triangle block is made ‘the easy way’ by using sizes of squares. A template is provided for the smaller square (lemplate DD), the larger is ut to Bin (20.5em). CUTTING OUT ‘Template DD: Cut 3in- (7-Sem-) wide ‘rips across the width of the fabric. Each strip will give you 14 patches per 45in (1 1om-) wide Fabri Cut 100 in GP19-AP and 96 in GPI9-RD, Large Squares: Cut Sin- (20.Sem-) wide strips across the width of the fabric. Each strip will give you 5 patches per 45in; (114em-) wide fabric. Cut 25 in GPI9-TE and 24 in GPI9-TA. Inner borders: Cut ayds of in (:7Sem) wide bias strips from BC 01 ‘Outer borders: Cut from the length ofthe fabric, 2 strips Glin x $Sin (16.Sem x 139.7Sem) and 2 strips 6!hin x 6Tin (06 Sem x 170en Backing: Cut | piece 7Lin x 45in (I8lom x Tem) and 1 piece 7lin x 26in (I8tem x 67.Sem) in PS O1, reserve the leftover piece forthe binding. Binding: Cut 4 strips 2in- (Som-) wide x length of fabri in PS 01. MAKING THE QUILT Using a Yin (6mm) seam allowance throughout, make a total of 49 Robbing Peter w Pay Paul blocks. See the instructions for this block in the Beyond the Pale Quilt on page 46. Follow the quit assembly diagram for fabric placement, MAKING UP THE ROWS Assemble 7 rows of 7 blocks, use the quilt assembly diagram asa guide. Make suet maintain the dark/light checkerboard alternating of the blocks. MAKING THE BORDERS Join the 1!sin (3.2Sem) ino 2 strips in (038.Sem) and 2 strips 5Sin (139-7Sem), Handle the bias strips carefully as they bee stretchy. Add the inner borders 10 quilt centre in the order indicated in quilt assembly diagram. Repeat in sume way forthe outer borders.Quilt Assembly RTS =) ecjecjene a. B= coisa | Cenecea i ‘ | rye}Strippy Chevrons Quilt #3 SUSAN DRUDING his unusual scrap style quilt uses the free-hand foundation method for piecing. If y of your blocks are a little undersized you can copy Susan's idea and use a ‘rogue’ strip which may span ‘a couple of blocks. SIZE OF QUILT “The finished quilt will measure approx. 45in x 45in (Idem x dem) MATERIALS Patchwork Fabries for corner squares ‘and triangles in Block 1: Suor Corron, Opal 8C 05: Maya (Sem) Raspberry SC O8: Vaya (Sem) Sunshine SC 35: Vaya (Sem) Jade SC 4: Vayd (Sem) Rush SC 42: "syd (15cm) Roman Giass Circus GPOL-C: Naya (15cm) Jewel GO: Naya (1Sem) Leaty GPOL-L: Naya (15em) Pastel GPOL-P: syd (1Sem) Red GPOLR: Aya (Sem) Bunoues Cobalt GPIS-C: Naya (15m Plum GPIS-P: Vaya (15em) Sky Blue GPIS-S: Yayd (1Sem) ‘Other Patchwork Fabrics: Block 1: A total of ayds (14m) in a selection of light shot cotton, prints and stripes Block 2: A total of 2 yds (185m) in a selection of dark shot cotton, prints and Backing Fabrie: Baoan Sr BS 06; 2yds (1.85) [Binding Fabre: Broso Stir [BS 06: soe backing fabric Win x 49in (12Sem x 125em). Quilting thread “Toning machine quilting thread Foundation Blocks: oy NA Block 1 Block2 FOUNDATION PAPERS, The quilt centre is made up of 190 triangular free-hand foundation blocks. ‘The blocks are pieced in pairs to make squares. You will find examples of the foundation blocks. printed at 50% size at the back of this hook to use as a stitching aude (soe page 99), CUTTING OUT Important Note: The only colours shown accurately in the diagram are the comer squares and triangles for Block 1. The colours shown on the striped sections give a general indication of colour distribution, Block 1: In preparation for foundation piiccing pre-cut freehand & tou of 37 approximately 3in- (7.Sem-) squares (they do not need to be perfectly square) from the following fabries: GPOL-C, GPO, GPOL-L, GPOI-P, GPOL-R, GPIS-G, GPAS-P, GPIS-S. Cut a tol of 37 x din ‘10cm squares in the following fabries SC 05, SC 08, SC 35, SC 41, SC42. Cut es in half diagonally to make 7 These quantities allow fo practice block Cut L-Ihsin (25-3.75em-) wide sips seross. the width of your Tight fable selections. ‘The strips do-not need 10 be regular Block 2: Cut 1-1'/hin- (2.5.3.75em>) wide strips across the width of your dark abi selections, The strips do. not need 10/58 triangles.Quilt Assembly Sem x U4em) and 1 piece 4!/sin x (Sem x 11.5em) in BS 06 MAKING UP'THE ROWS ing: Cut $ strips 2n- (Sem) wide x squares. press the seam allowance open to back iho fabric in BS 00. IKING THE BLOCKS iagrana, Join the rows to form the quit. 4p 36 of Block | and 36 of Block 2 cenire, Remove the foundation papers. B-scx GPOL-L = GPoL-P GPO PIS. GPs = GPIS-S Note: The only colours shown accurately in the diagram are the corner squares and triangles for Block 1. The colours shown on the striped sections give a general indication of colour distribution, Cutt piece 49in x 45in Using the ftee-hand foundation piecing FINISHING THE QUILT IBbSem x Idem), | piece 44 in x 4Sin method (sce page 105), ress the quilt top. Seam the backing pices n (6mm) seam allowance to Approx. 49in x 49in (12Sem x m). Layer the quilt tap, batting and laste together (see pe 106), 4 toning. thread, Piece pairs of Block | and Block 2t0 make 1 reduce bulk. Assemble the quilt ito 6 ros in giant (0 6 blocks as shown in the quilt assembly across the the quilt edges e107), surface of the quilt." and attach the binding (see p aMosaic Columns Quilt ## KAFFE FASSETT Backing Fabric: Gazania Pastel GPOR-P: 8 yds (7.3m) Binding Fabric: Proxy Blue GPI7-BL: 3h4yd (70m) ‘gin x in (239m x 269ern), Quilting thread: ‘Toning machine quilting thread ‘Templates: see page 99, 101 IN HH n B Large square cut Slain x 8¥sin (21.Sem x 21.5em) PATCH SHAPES typical layout for an early chintz quilt, jazzed up by the high The quilt centwe is made yp from small pastel palette and mosaic fabries. square patches (template B).picod ito four patch blocks, These are interspace SIZE OF QUILT CCueysaxtesse with large squares eu to 81¥in (21 Som) ‘The finshed quilt will measure approx. Ochre GPI3-O Yay (Sem) The blocks and squares are set ‘on pot 0¥/in x 102i (230m x 2 Dory ‘with agp triangle (template I) flim Driftwood GPL4-D: Yayd Sem) along. the-quilt edges, You'll find hal MATERIALS: Lavender GPI4-L: Yayd (35em) template HT on page xx. Take a large picoe Paichwork Fabrics Bunntes ‘of paper, fold, place edge of template I 19 Owns Stree Grey GPIS-G: Yayd GSem) fold of paper, trace around shape and ut (05 02: Sisyd (38em) Ochre GPIS.0; Yayd 35em) ‘out, Open out for the complete template Rowan Stat Sky Blue GPIS-S: Syd (3Sem) ‘The comers are filled with second RSS: Sayd (3Sem) Mosaic twiangle shape (template HE. Roway Glass Blue GPI6-BL: “Aya (700m) Pink GPOL-PK: Yaya (Sem) Pink GPI6-PK:2 ys (1.8m) CUTTING OUT Grass Proxy ‘Template B: Cut 41/%in- (11 Sem) Cireus GPOS-C: Saya (35cm) Blue GPI7-BL: hyd Sem) strips across the width of the fabri. Pastel GPOS-P: syd (35em) or Grey GPIT-GR: Yaya (35cm) Each stip will give you 9 patches use leftover from hacking. Ochre GP1T-OC: Naya (35cm) ASin-(114em.) wide fabric. Anricuoxes: Red GPITRD: Yayd (Sem) Cut 18 in GPO3-C GPI3-0, 16 in GP! Pastel GPO7-P: Yayd (3Sem) Violet GPIT-VE Yayd Sem) 0, GPLS-G, GPIS-0, GPIT-GR, Foret Me-Nor-Rost August ROSES: OC, GPIT-VI. 14 in RS 05, Circus GPOR-C: hyd (35em) Pink GPIS-PK: I'ayds (14m) GPI9-BL, 12 in OS 02, GPOB-C, FLogaL DaNce Furr BAske GPI9-AP, 10 in GPOL-PK, Ochre GPI2-0: Ysyd Sem) Apricot GPI9-AP: Yaya (3Sem) ——-GPI4-D, GPIS-S, GPI7-BL, Pink GPI2-P: Mayd 23cm) Blue GPI9-BL:Skyd Sem) and 6 in GPI2-Pa "OO: r PRO Com86 Template HH: Cut 3 x 12 Wide strips aexoss the width of the fabric. Cut 8 x 12Msin GL.7Sem) squares GPI6-PK, Using the template as a guide cout each square in half diagonally and (31.750) without moving the pieces cut again across the opposite diagonal 10 make 4 Wwiangles. Reserve leftover fabrie. for template I. Template Hz Cut 2 x 6l/ain (16Sem) saqures in GPI6-PK. Cut each square in half diagonally to make 2 triangles. Large Squares: Cut §!/2in- (21.Sem-) ‘wide strips across the width of the fabri. Each strip will give you 5 patches per ASin- (Idem) wide fabric. Cut 26 x Vain (21.Sem) squares in GPIS-PK, 18 in GPL6-PK and 12 in GPI6-BL Backing: Cut 2 pisces Sin x 45in (239m by Lem), and 1 piece 94in x 1342 in (239m by em) in GPO3-P. ‘Binding: Cut 10 strips 2in- (Sem) wide x svidih of fabri in GP17-BL MAKING THE BLOCKS Using a sia (6mm) seum allowance tvoughout, make up 72 Four patch blocks, lise the block assembly diagram for Beyond the Pale Quilt block 1 on page 46 fas & guide 1 piecing and the quilt assembly ‘combinations. MAKING THE ROWS Arrange the blocks with the large squares and triangles (template GG) into. 16 iggonal rows following the quilt assembly diagram, Join the blocks into rows, then join the rows together to Form the quilt eente, Join one smaller triangle (template 1) to each comer 9 the quilt FINISHING THE QUIL Press the quilt top. Seam the backing pieces using alsin (6mm) seam allowance wo form a piece approx. 94in x in (239em x 26cm). Laver the quit top, batting and backing and. baste together (See page 106), Using a toning thread, quilt] meandering patter loosely following the floral and lea shapes, oF alternatively stitch-in-the-diteh alon the ‘sean lines, Trim the gull edges and attach the binding (see page 107). Diagonal Squares Cushion PAULINE SMITH his stylish and subtle cushion, on the right of this photograph, is a quick and easy project, ideal for a weekend. SIZE OF CUSHION PATCH SHAPES ‘The Finished quitt will measure appro. This cushion is made from 1 single square Gin x in (40.Sem x 40.5em. template (template I see page xx) framed | with simple borders. The everse is made in MATERIALS, an envelope style with tips of fabric cut Patchwork Fabries: sve Suor Corto Slate SC 04: Hyd (15em) CUTTING OUT Raspberry SC 08: yd (Sem) ‘Template 1: Cut 2in- (Sem) wide sips Denim SC 15: Maya (23¢mm) saross the wid of the fabri. Each strip will Charcoal 25: Naya (Sem) sive you 22 patches per 4Sin- (114em) Mushroom SC 31: Ysyd (Sem) wide fabric. Biscuit SC 38: Hay Gem) Cut 15 in SC O4, 12 in SC 15 and SC 31, 11 in SC 25, 7in SC 08 anal SC 38, “Templa Borders: Cut 2 strips 2"sin x 120in see page 97 (6Sem x 31.75em) and 2 strips Ain x T 16\/sin (6 Sem x A2em) in SC 38Squares Cushion Assembly | ne hin Reverse: Cut | piece 16lin x (em x 25.5em) in SC 38, 1 jax 1012 in (9.Sem x 26 Sem) 8, SC 15, SC 25 and in x Main 43em x S.7Sem) in SC 15, ING THE CUSHION FRONT 8 Nein (6mm) seam allowance pughout, make up the cushion centre as own in the diagrams, then ali the in the onder shown, \KING THE CUSHION VERSE hte 3%sin x 10in (9.Sem x 28.Semm) together in the order indicated in fashion reverse diagram, Bind the using the 17in x 2Ain (43cm sm) piece in SC 13, Trim the hing rectangle to 164/2in x 10in 1X 25.5em) piewe in SC 38, press a wble Nisin (1.2em) hem to the wrong and stitch in place INISHING THE CUSHION finish the cushions follow the ction om page 89 JE BGG =] 8788 Easy Peasy Cushion a PAULINE SMITH the central panel of this unusual cushion has ‘wonky’ pieces and no matching seams. The panel is trimmed to size after piecing, making it a great project for a beginner. SIZE OF CUSHION “The finished guilt will measure approx. {6in x 16in (40.Sem x 40:Sem) MATERIALS Patchwork Fabries: Sor Carios’ State SC 04: Maya (15em) Raspberry S08: 'sye(1Sem) Deni SC 15: Yaya (Sem) Bent $C 24: Vaya (Sem) Charcoal SC 25: Vasyl (23em) Mushroom SC31: Msyd (1Sem) Biscuit SC 38: yd (230m) PATCH SHAPES ‘The central panel is made from 4 pieced strips of varying widths framed with simple, iregular borders. The reverse is made in an envelope siyle with strips of fabric cut to size CUTTING OUT Central Panel: Strip 1: Cut 1 piece 2%in x 8in (em x 20cm) in SC 31, I piece 2%an x Sin (Tem bby 12.75em) in SC 24 Strip 2: Cut I piece 1% x Sin (4.5em x 12:75em) in SC 31, 1 piece Hsin x Tin (4.5em by 17-Sem) in SC 04. Strip 3: Cut I piece 2/ain x in (S.7Scm x 20cm) in SC O8, 1 piece 2Main x din (5:75em by 1em) in SC 15. Strip 4: Cut I piece 4¥sin x 7¥/sin (11 Sem. x 19em) in SC O4, 1 piece 4Usin x Sin (11 Sem by 12.7Sem) in SC 38, 1 piece Din x Bin (Sem x 9.Sem)* and 1 piece 1din x in (4.5em x 2 Sem © Sew these with short ends together before sowing ito the strip. Borders: Cut I piece 7sin x 4¥/in 49.Sem x 10.750) in SC 38, 1 piece 121hin x Min GL7Sem x 10:75em) in SC 38, 1 piece 12Mhin x 3in GI.75em x ‘7Sem) in SC 25. 1 piece Lin x 4¥/in (35.Sem x 11 Sem) in SC 25, | piewe 1642in xin (42am x 75em) in SC 04, Cushion Reverse: Cut 1 piece 16!/sin x in (42em x 25.Sem) in SC 25, 2 pieces Sin x 1012 i (12.Sem x 26.Sem) in SCO, I pice in x 101A in (106m x 26.5em) in SC 8, SC 38, | piece 17in x 2/sin em 4 5.35em) in SCO8. MAKING THE CUSHION FRONT Stat with strip 1. Take the SC 24 pve and place it right sides together soit overlaps the SC 31 piece by approx. in em) as shown in diagram a. Site in place sn rita the SC 31 picee, (gram b). Flip the SC 24 piece othe igh sd and finger press in ple, (iagram eh. Comtinee in the same ‘way adding section othe strip as shown i gram d. The frst hee sections vf SC 26 should be approx. Ysin = Vain (0.75em ~ 1.Sem) wide. Coninwe making the stip sing the cushion assembly diagram as a suid to section widths. Dont trim the strip to length un ll four strips are complete Make up all four stips using the same rethod. ‘Note: Don't worry about wigly sams and edges. Tim stp 1 to 21/5 (6 Sem) wide, strip 210 1sin (em) wide, strip 3 to 2in (Sem) wide, strip 4 19 4¥%in 10.75eR. Place the strips into position on a Mat surface and adjust until none of the vetion seams match, Stitch together and trim the resulting panel © 754in (19.Sem) wide by '8¥sin (22.25em) high. Add the borders in the order indicated inthe cushion assembly siagram. MAKING THE CUSHION REVERSE Stitch the 4 pieves together in the onder indicated in the cushion reverse diagram. Bind the edge using the I7in x 20/sin (43cm x 5.75em) piece in SC 08. "Trim the resulting rectangle 10 164sin x 10in (42em x 25.5em) Take the 164/sin x 1Oin (42cm x 25.Sem) piicee in SC 25, press a double "in (1.2em) hem to the wrong side of one long edge and stitch in place, close 10 the fist pressed edge. FINISHING THE CUSHION To finish the cushions follow the instruction on page 89.easy Cushion Assembly. + maa Strip 1 : Esp? 5 + +4 Basy Peasy Back Scrip 4 Easy Peasy Block Assembly ws i RS Ww: RS. ws RS. ‘ora Completing the Cushions | Place the pieced back the right side of the cushion front with the raw ed Place the plain bac the uncovered side of the cushion front, Keeping the raw edges level and ‘overlapping the finished edges wee down on to ave down on top of 2 Using a Vin (6mm) seam allowance, Stiteh the cushion front co the backs all round the ed Tur the cushion Uhrough the envelope style back. ough and insert pad 89Tuscan Table Runner ics: LIZA PRIOR LUCY ‘arm, sun-kissed colours of a Tuscan farmhouse punctuated by splashes of coo! lilac give a Mediterranean feel to Liza table runner, SIZE OF QUILT ‘The finished runner will measure appre. 854/sin x 134in (217em x Mem, MATERIALS. Patchwork Fabries: Suor Carros Tangerine SC 11: Vayd (23em) Mushroom SC 31: Maye (Sem) Watermelon SC 33:Viye (23em) Sunshine SC-35: Vaydl (23cm) Like SSC 36: Nayd (15cm) [Broa Sri BS 11: Hyd (4Sem) Pacunanea Stair PS 13: 1ayds (1.6m) including hacking and bias binding Batting: ‘8in x [in (22Aem x Aen, PATCH SHAPES. ‘The table runner is comprised of two sizes ‘of tangle (Templates U & Vi, whieh are Pieced into half square triangles. The larger se in tuen are pieced into pinwheel blocks Tor the cente section. CUTTING OUT ‘Template Us Cut 5 Yain- (13.2Sem-) wide strips across the width of the fabric. Bach strip will give you 14 patches per 4Sin- (tem) wid Cut 36m BS 11.12 SC 11, SC 33 and SC 35. femplate V: Cut 3!/in-(Som-) wide strips saeross the width of the fabri. Each stip il give you 26 paths per 48in- (Idem) wide fabric. Cut 84 in PS 13, 20n $C II, 1 in $C 33, SC 35, 14 in SC 31 and 12 in SC 36. Backing: Cut 2 pieces 44V/in x 16in (112.5em x 4em) in PS 13, Bias Binding: Cut 6yds (5.5m) 2/in- (6 Sem-) wide bias hinding in PS 13 MAKING THE RUNNER Using a Hsin (6mm) seam allowany throughout, referring to the runner assembly’ diagram for fabric combinati and stripe dleetions, make 9 blocks using the larger triangles (et U) following the sequence shown in diagrams ae. Join the smaller ti Gemplate V) to form 18 sets of 4 and add tothe sides ofthe pinwheel ss shown in diagram d. ‘Make 2 adtional sets of 6 squares runner ends, Assemble al thee as indicated in the runner siggram, FINISHING THE RUNNER Press the table runner and layer batting and backing, baste together page 106). Using toning hand thread, stitch as indicated in the iggram. Trim the table runner tach the binding (see pagel (7),Block Assembly. Quilting Diagram 91Tuscan Placemats # LIZA PRIOR LUCY M atching the Tuscan Table Runner, this set of four placemats will complete the look, of course, you can make more if you wish! OF PLACEMATS ‘The finished placemats will measure sipprox, 19in x 131/sn (48em x Hem. MATERIALS: Patchwork Fabrics: Suir Coron’ ‘Tangerine SC 1: Yayd em) Mushroom SC 31; Vaya (1Sem) Watermelon SC 33: Hayd (23em) Sunshine SC-35: Hyd (23em) Lilac SC 36: Mayd (23m) Pacueanr Stare PS 13: 2'/syds (21) including backing and bias binding Batting: 44 pieces 22in x 16in (60m x 4m), Quilting Thread: Toning hand oF machine quilting thread. ‘Templates: see page 94 NX v PATCH SHAPES ‘The plicemats are comprised of one triangle (Tempkate V), which are pieced Jeo squares, these in turn are pieced into pinwheel blocks. CUTTING OUT "Template Vi Cut 3¥/sin- (Sem-) wide strips across the width of the fabric. Each strip will give you 26 patches per 45in- (1l4em-) wide fabric. Cut 192 in PS 13.48 in SC 11, $C 33, SC35, 28 in SC 36 and 20 in SC 31. Backing: Cut 4 pieces 22in x 16in (56cm em) in PS 13. Wins Binding: Cut yds (6.4m) 2in- (6.Sem-) wide bias binding in PS 13 MAKING THE PLACEMATS Using a Min (im) seam allowance throughout, referring to the placemat assembly diagrams for fabrie ‘combinations and stripe directions, make 4S pinwheel blocks using wiangles (template ¥) following the sequence shown in diagrams. a-c for the Tuscan Table Runner (sce page 91). For each placemat join the pinwheel blocks into 3 rows of 4 blocks. Join the rows to form the placemats. FINISHING THE PLACEMATS Press the placemats. Layer with the batting and backing, baste together (see page 106), Using a toning hand or machine quilting trend, stiteh in the diteh along the seam Fines by hand or machine or copy the pattern used for the Tuscan Tuble Runner (Gee page 91). ‘Trim the placemat edges and sttach the binding (see page 107) “To make both the Tuscan Projets you need the following quantities of fabric: MATERIALS Patchwork Fabries: Snior Corton: Tangerine Mushroom, Watermelon Sunshine Like [BeoaD Sree BS 11; Vaya (4Sem) Pacuason Sriure PS 13: 334yds (3. including backing binding. SCN: Yaya em) SC 31: Vaya (23m) SC 33: Vy (45m) SC 35; aya (45cm) SC 36, ye (Sem)TABLE RUNNER * QUILT FIESTA QUILT IEXTENDED * IPINWHEELS & \ IBARCELONA ITILES QUILTS r / \ Xe reverse x// | JUBILEE | GARDEN | QUILT I | | | | | | | v\ - U TABLE RUNNER ' | | I | I | | ' | i ! I I I | | | ! by ANITNVaS STMT N ~ Cai N -------- LN SSR ee ae 5 | Ln ! oP? | o=a i 2aeS | se | | - exyvu | z 32 | 3 a I 8 O89 | 2 | | | I I | I 95oy Ss PETE'S PAUL 3 QUILT sv \ \ \ \ \ & \ \ \ i \ % \ FIZZ \ QUILT i BB CHINTZ FLOWERBEDS QUILT CC CHINTZ FLOWERBEDS QUILT 96| BEYOND THE | | PALE QUILT | i & ! | BARCELONA J | | TILES QUILT | | | ! JUBILEE QUILT \ GARDEN DIAGONAL SQUARES CUSHION _ | PALE QUILT / JUBILEE “—— Zz GARDEN fe QUILT / f ORANGE GROVE QUILT ”LIND SdaLs AYUaGaM€ | A Lind 3ON3ZO1 AVE | Lo = QUILT QUILT BABY LOZENGE SND Sdals AdMagania 98STRIPPY CHEVRONS QUILT EXAMPLE BLOCK 1 These foundation patterns are printed at 50% of real size. To use, scale them up 200% ona photocopier. STRIPPY CHEVRONS QUILT EXAMPLE BLOCK 2 Il ' | | I HANDKERCHIEF | } CORNERS QUILTS | i & | i BEYOND THE | I PALE QUILT | i & | ' MOSAIC COLUMNS! ' QUILT \ | | I | I | Il | | !—_—_— g Z Z ” / , / v 7 e v 7 Z y Z v 7 f Z “ / f Zo v 7 <= Z , er / FL , ; » ER g §s , : e oS , ( z= 30 Z , a , / wu = rr , ‘ oi , , z Y , 5 oO y C 2 © / , 7 / 2 , , ; Z Z <, 2 4 E. 7 2 Eb / Z E Z , BS / 4 a 7 / a 7 if Z / —— LL e 7 @ Z 4 / c Z O-ORDINATED “HAUS QUILT: , n “ Zz “ Z S “ “ 5 w a “ ‘ a a5 7 “ a Os “ . a oo ‘ “ # OG a “ F< 82 O e ‘ 3 os ra vy ao 2 “ oe = — ae , 3 — “ 4 O 3 yo we 83 + r eo O38 vo “ <- 4 7 a “ Fa 3 at “ = 7 x Z = 101KK $5 a3 mi] On gw aa ar ’ BARCELONA TILES QUILT JJ £o------—----- LL BARCELONA TILES QUILT lozPATCHWORK KNOW-HOW ‘These instructions are intended for the novice quilt maker and do not cover all tech making patchwork and patchwork quilts. They provide the basic information needed to make the ‘projects in this book, along with some useful tips. Try not to become overwhelmed by technique - patchwork is a craft which should be enjoyed. Preparing the fabric Bea new facies befor you beri, eres: tr wil be 20 never Bates and no Dieediug of colours Be the quit is aendered, Pose the fabric whilst itis sill damp to return rises tit Making templates Templates are the best made from transparent template plastic, which is not only durable, but allows you to see the fabric and select certain motifs. You can also make them from thin stiff cardboard if Aemplate plastic is not available. IF you choose cardhoant, paint the edges of the finshed template with nail polish to give it longer lite. ‘Templates for machine-piecing Trace off the acialsized template provided either directly on to template Plast, o acing paper and hen on to thin atboar, Use a rule to help you rave off the straight citing Hine, dated seam tine a gaintnes ‘Some of the templates in this book are so Tange that we have only been able to give you half of them, Before tanserring them 7 10 plastic or card, trace off the hall template, place the fold edge up to the fold of a piece of paper, and carefully draw ound the shape, Cut ou the paper double thickness, and open out for the competed template {Cut out the traced off template sing & craft knife, ruler and a sel-healing cutting mat. Punch holes in the comers of the template teach point on the seam line, ‘sing hole punch ‘Templates for hand-piecing + Make a temple for machine piecing, tut do no ace off he cuting line, Use the doted seam Tine a the outer edge of the tempat. + This template allows you to draw the ‘seam lines directly on to the fabric, The ‘seam allowances can then be eut by ey arguni the pateh, Cutting the fabric ne individual estrucins for och jatchver, Wil find w srry ofl te pach hap ‘Avr ik ad cao ey ter and biodingeisfe, followed by tho apes etch epee Abily ts oll! oes, 10 make the moet ef Ini, Te border nd icing rip are Year cak ening a te ce, Rotary cutting ovary cut srps ae oflen cut across the fabric from selvedge to selvedge, With he projects we do, be certain to cut the strips running the desired direction. Before begining to eu folds or ereases in the press out any ic. Ifyou are you will need to fold it several times to fit the cutting mat. ‘When there i only a single fold, place the fold facing you. If the fabric is 0 wide 10 be folded only once, fold it concertina style ‘nti tts your mat. A small rotary cutter ‘witha sharp blade wil cut up 0 6 layers of fabric; a large cutter up to 8 layers “To-ensure that your cut strips are straight fand even, the folds must be placed ‘exactly parallel to the straight edges of the fabric and along a line onthe cutting mt. Place plastic ruler over the raw edge ‘oF the fabric, overlapping it about in ().2Semm). Make sure thatthe ruler sat ight angles to both the straight edges and the fold to ensure that you cut along the strait train, Press down on the ruler and wheel the cutter away from yourself along. the ledge of the re ‘Open out the Fabric check the edge. Don't worry if it’s not perfectly Straight; litle wiggle will not show when the quilt is stitched together, Re-fold fabric as shown in step 1, then place the ruler over the trimmed edge, aligning edge with the markings on the ruler that match the corre strip width, Cut strip along the edge of the ruler Using templates “The ow ce way ct ou templates is by fs vty citing a stp of athe $i at fe yor Wong, nen nog of yr obo Oe ga Seg Tied il, Tis toad Neves Bacay vata pve into fee your adhe Ais feat method 1s to Riky Gi, where the empl ae ot indvidally by 103placing them on particular motifs or stripes. tw create special effects, Although this method is more wasteful it yields very innorestng results. Pace the template face down on the wrong side of the fabric, with the grain line arrow following the straight grain of the fabric, if indicated, Be careful though — check with your individual instructions, as some instructions may ask you 10 cut patches on varying grains. 108 Hold the template firmly in place and draw around it swith a sharp pencil or ‘rayon, marking i the comer dots or seam nes, To save fabric, position patches close together or even touching, Don't worry if outlines positioned on the straight grain ‘when drawn on striped fabries donot always match the stripes: when eut ~ this will add a degree of visual excitement to the patework! ‘Once you've drawn all the pieces needed, you are ready to cut the fabric, with either a rotary cutter and ruler, oF a pair of sharp sewing scissors. Basic hand- and machine-piecing Patches canbe joined togeter by hand or mcine Machine sitching is quicker, but hand assembly allows yout ery your pices round with yu and workon tem every spare moment The choice is yours. For tectnigus a are ww to you pace co terap pices of fabric unl you fel conten Machine-piecing Follow the quilt Instruction forthe order in thick wo piece the indviual paichwork locks and then assenble the. blocks ogeberin tows Seam lines are not marked onthe fabric, so stitch 1/4in (Gm) seams using the machine needle plate, |/4in-(6mm-) wide ‘machine foot, oF tape stuck to the machine guide, Pin two patches ‘with right sides together, ma uching edges, Set your miachine at 10-12 stitches per inch (2.Sem) and. stitch seams. from edge 10 edge, removing pins as you feed the fabric {rough the machine. Press the scams of each patchwork block to one side before attempting 10 join tw amosher block. When joining rows of blocks, make sure that adjacent seam allowances are pressed in opposite directions to reduce bulk atid make matching easier. Pin picces together directly through the stitch tine and to the right and left of the seam. Remove pins as you sew, Continue pressing seams ‘to one side as you work, Hand-piecing in two patches with Tight ides topes tat the marked sea ines we lag one. Jing a single strand of strong thread, secure the comer of seam line with ‘couple of buck sites. ‘Sow running stitches along the marked line, working 8-10 stitches per inch (2.Sem) and ending at the opposite seam Tine comer with a few back stitches. When hhand piecing never stitch over the seam allowances. Press the seams to one side, as shown in machine piecing (Step 2). Inset seams In some patchwork layouts a patch will have to be sewn into an angled comer ormed by the joining of two other patches, Use the following method whether you are machine or hand-piecing. Don't be jiimiated this is not hand to do once you have leamed 4 couple of techniques. The seam is sewn from the centre outwards in {to halves to ensure that no tucks appear at the centre. Mark with dots exactly where the inset will be joined and mark the seam tines ‘om the wrong side of the fabric on the inset patch With right sides together and inset piece on top, pin through the dots 10 ‘match the inset points. Pin the rest of the ‘seam at right angles to the stitching tine, along one edge of an adjoining patch, en!the patch in place along the seam slanting with the needle down inset point dots. Secure thread Is if hand-picing, or stitch for few stitches before ‘when machine-pieeing. | Pt the pach, eb align Ibe aducn le of te angled Fioving you wk: co the second of the seam. Starting with & pin at the Ppt coc agin Pn nd ich the ‘second side in place, as before. Check fea and pres crf, Posag Stepps Chey ing - Strippy Chevrons Quilt Phowcopy the example backs at 200% sate ew the comet ie Teste cxtingexng sod domed stitching fe Block | nto 37 hin papers (1 for practi) Repet dprocest 0 mike 36 paper fr Bok 2 Piecing Block 1: Choose a 3in (7.Sem) square snd pin onto the foundation paper inthe corner Take a triangle and place right sides together with the square, Check when it is fokded back it will completely caver the seam allowance, Stitch el Repeat the process with a second triangle on the other side ofthe square ‘Trim any excess seam allowance from the centre area but leave the outside edge unit the block is complete [paises sk me Follow the same procedure forthe rest ‘ofthe strips. When complete trim any ‘exces fabric to the edge of the paper seam allowance, Do not remove the papers yet Piecing Block 2: This block is pieeed using the same technique as for Block 1, using dark fabric strips, Quilting and finishing When you have finished piecing your patchwork and added any borders, press it ‘arefully. It is now ready to be quilted and finished. Preparing the backing and batting + Remove the selvedges an pee topetber the backing facie to form hacking at teas Sin (7Sem) larger al round than the patshvork tp. Tete is 0 need to alow quite so amuch around the edges ‘when working ona smaller project, soch asa baby qu + For quilting choose a fairly chin batting, preferably pure cotton, to give your quill 4 flat appearance. If your batting has been rolled up, unroll it and let it rest before cutting itv the same size as the backing, + For large quilt it may be necessary to join 2 pieces of batting to fit. Lay the pieces of batting on a flat surface so that they averlap by approx Sin (206m). Cut ‘curved line through both layers, overlap wadding ft } ( + Carefully peel away the two narrow Pieces and discard. Butt the curved cut ‘edges hick together. Stitch the two pieces together using lange herringbone site, 105Basting the layers together (On a bare floor oF lage work surface lay out the backing with wrong side uppermost. Use weighs long the edges 10 epi aut Lay the batting on the backing and smooth it out gently. Next lay the ptchseoxk top right side up, on top of the batting and smooth gently until there are no wrinkles, Pin at the comers and at the ‘midpoints of each side, close to the edges Beginning at the cente, baste diagonal lines outwards to the comers, making {Your stitches about 3in(7.Sem) long, Then ‘agin starting a the centre, baste horizontal nd vertical lines ou to the edges. Continue basting until you have basted a grid of Lines bout in (10em) apart over the entire quill Seton cg meting some quilters prefer to baste thet quilt sandwich layers together using rust-proof safety pins, spaced at 4in (Dem) intervals ‘over the entire quilt, ‘The tool you use to mark your quilting design on to the fabric must be carefully chosen, Because ofthe variables of fabric in both colour, texture and fabric surface, no ‘one marker can be recommended. It would be a terible shame to have made your Patchwork quilt up to this stage and then spoil it with bad marking! It is derefore advisable 10 test out various ways. of ‘marking on serap pieces of fabric, 10 test how clearly you can see the marks, and whether any lines that show after stitching ‘ean e sponged or washed away. Chatk-based markers: these include Uressmakers’ chalk pencils, and powdered chalk markers. These are available in a ‘variety of colours, and leave a clear line “whieh often disappears during stitching oF is easily removed by a brush, Chalk pencils rust be Kept sharpened to avoid making thick ines, 106 Pencils: silver and soapstone pencils available from specialist shops, both produce clear lines, which are almost invisible after quilting. Coloured pencils ‘ean be use! on darker fabrics, and water- cerasable ones mean the lines can be sponged away after stitching. Pale fabrics present difficulties for marking with pencils. If you choose a lead pencil make sure it's an “I type, which will leave ‘only a fine thin line Perforating: the design ean be transferred from paper template on t0 fabric by running & tracing wheel over the outlines ‘With many fabrics the dotted line will ast Jong enough for work or a portion of it to ‘be completed. Dressmakers’ carbon paper: ‘The carbon paper is placed working side down, between the paper template and fabric. The sign can then he drawn on by tracing around the design with a pencil, or running lover the design with a tracing wheel 10 produce a dotted line. tis available in a number of colours, for both light and dark fabrics. Quilters’ tape: a narrow re-usable sticky backed tape, which ean be placed on to the fabric surface, to provide a firm guideline for quilting straight-line patterns und gris, Quilting through paper: some fabrics are difficult to mark for machine quilting. Ln these instances the design can be transfered on to racing paper, which ean be pinned to the surface of the quilt. The quilting is then done by stitching through the paper, which is then carefully tom ‘away alter quilting withthe help of x blunt seam ripper ‘Templates: designs require templates, especially if a design is repeated, These can be used as an aid hep craw patterns either directly on tothe quilt sueface, or when drafting a design full-sized on to paper. With outline templates only the outside of the design can be drawn = any inner details will need toe filled in by hand ‘Stencil templates can be made at home. by Iransfering the designs on 10 template plastic, oF stiff cardboard. The design is then cutaway inthe form of long dashes to fet as guides for both internal and external lines, These templates are a quick method for producing an identical set of repeated designs. Hand quilting “This s best done with the quit mounted ona qiking frame oF hoop, but as long as you have fasted the quilt wel, a rame is aot necesary With the quilt tp facing upwards, begin a the centre ofthe qui and make even running stitches fllowing the design, kis: more import to make even sltches on both sides of the gui than 4 make smal ones. Start and finish your stitching with back sttes and bury the en of your thea in the bating Machine quilting + For 8 fat looking ui, aleayy ase a walking footon your machine fr saght Ties, and daring fot fore mton cniking + es best 1 start your quilting at the centre ‘of the quilt and work out towards the borders, doing the straight quilting lines fist (tteh-in-the-ditch) followed by the fre-motion quilting, + When free motion quilting stitch in foose meandering style as shown in the liagrams. Do not stiteh t00 closely as this will make the quilt feel stiff when finished. Hf you wish you can include oral themes oF follow shapes on the printed fabrics for added imeres. + Make it easier for yourself by handling the quilt propery. Roll up the excess guilt neatly to fit under your sewing machine arm, and use a table, o chair 10 help support the weight of the quit chat hangs down the other side. ey S| NSA osPreparing to bind the edges Once you have quilted or tied your quilt sandvich together, remove all he basing “stitches. Then, haste around the outer edge ‘of the quilt 1/4in (6mm) from the edge of ‘the top patchwork layer. Trim the back and ‘batting to the edge of the patchwork and ‘straighten the edge of the patchwork if recessy. Making the binding Cut bias or straight grain strips the width reuired for your binding, making sre the gninlne is runing the comet way on _ our smight grin sips. Cut enough strips tamil you have the required lng 10 go around the edge of your quilt. To join strips together the two ends that are to be joined must be cut at a 45 degree angle, as above. Stitch right sides Aogether, trim turmings and press seam open. Binding the edges ‘Cur starting end of binding strip at a 45- degree angle, told a sin (6mm) warning 10 wrong side along cut edge and press in place. With wrong sides together, fold stip in half lengthways, keeping raw edges level, and press. ‘Starting at the centre of one ofthe long ‘edges, plae the doubled binding on to the right sie ofthe quilt keeping raw edges level. Stitch the binding in place staring sin (6mm) in from the diagonal folded ‘edge (see above). Reverse stitch to secure, ‘and working Yin (6mm) in from edge of the quilt towards first comer of quilt. Stop "sin (6mm) in from commer and work a few reverse sti Fold the loose end of the binding up. ‘muking a 4Segree angle (see A). Keeping the diagonal fold in pace, fol the binding bock down, aligning the aw edges with the next side of the quit. Stating at the point where the lst stitch ended, sith ‘down the nest side (see B). Continue 1 stitch the binding in place round all the quilt edges in this way, tucking the finishing end of the binging inside the diagonal starting section (see above), ‘Tum the folded edge of the binding on tothe back of the quilt. Hand stitch the Folied edge in place just covering binding ‘machine stitches, and folding «mitre at cach comme How to p Patchwork "10a POSE ANON 6 oid LA BA, iat OOK Aad through chants a the top and base of rey re a Quilt or for hanging To do this, cut 2 strips of fabric Hin wide (4.Sem) x the width of your quit. Press raw edges of each strip Ysin (lem) to the wrong side, and then slipstieh the Strips tothe wrong side ofthe hanging at the top and base. along the long pressed edges. Insert Ysin~ (lem-) diameter wooden dowels cut Sem shorter than width of quilt and slipstitch ends of channels Closed. To hang the wall hanging, stitch a brass ring to each end of top ehannel and tuse to hook them aver picture hooks, oF nails. 107GLOSSARY OF TERMS Appliqué ‘The techoigue of stitching fabric shapes on to «background to ere a design ‘am be applied either by hand or machine with Ascortive embody stitch, such as button, or satin stich. Backing The boom layer of a guil sandvich is made of fabric pieced to the sizeof the gu to with the aon of about 3in (7Sem) all around to allow fr quiting take-up. ‘Basing Aso known stacking ia Great Britain ‘This isa mean of holding two fabric ayers oF the layers of quilt sandwich together temporarily with lage hand sites, or pins aatng Also kw 8 wading in Great Britain, ‘Batting the mide layer, or padding in aqui. Iwan be made of cotton, wool ik or syaetc fibres, Bias The diagonal grin of fabeic. This is the rection which has the most ve or seth, ‘making it ideal for bindings, especially on cured ees. Binding A rsrow stip of fabri used to finish ‘off the edges of quills or prajetsit ean Be euton the tight pai of a fabric or onthe bis Block A single design unit that when stitched together with eter blocks erates the quit 1p. inmost often a sue, hexagon, or rectangle, bu it ean be any shape eam be pieced or pli, Border A frame of fabric stitched w the outer sees ofthe qui tp. Borers ean be narow or ‘wie, pieced plain. As wel as making the quit Tanger, they unify the overall desig and dew stenton the central area uated corners A comet Gaished by sisbing boner strips agther at ight angles to eachother. Chatkpencis Aviabe in various colours hey ave used for marking lines, sps on fabric Some pencils have a small brush attached although masks ae easly removed. Composite Fabrie A section of fabric made by piecing other fabrics wether from which patch ‘shapes ca then be eu Cating mat Designed for use with « vtary cute, tis made from a special “self-healing! material that keeps your euting blade sharp. CCuing mats come in various sizes amd are sully marked with rid to help yoo tne up the edges of fabric and cut oa ese pees. Darning foot specialist sewing machine foot that is aed in fre-maton quiing ~ the feed dogs are disengaged s0 that stiches can be ‘worked in varying lengths and dictions ver the fabri Ditch quiting Abs» known as qutine-insthe- itch oe stitch intho-dich, The quiling stitches fare worked along he actual seam ines 10 ve 8 poced quilt texte. This isa particularly good technique for beginners ste stitches cannot be se ~ oly thei fet. Dressmakers® carbon paper Also known % tracing paper, Available ina numberof colours, for light or dark fabric. kan be used with pencils oa tracing whes! wo transfer a quilting design on (0 fabric Peed dogs The part of sewing machine located within the needle plate whic shythmieally moves up and down to help move the fabric along wile sewing Foundation patern& pited ase exact ize oF 4 Block onto which patchwork pieces are sewn. ‘The foundations are usally made om soft paper, but could aso be lightweight fibre, Inerfacing, oF one ofthe new non-woven ter sway hackings, sch as Stich--tear Freesmotion quilting Curved wavy quilting lines stitched in a random manoes. Stitching diagrams are often given for you to follow ax a owe guide Pussy euting This i when a template is placed fon & pattcular motif, oF stripe. 09 obtain ieresting effects, This method is not as clfciet as strip cutting, but yields very eresting rss Grain The ivcton in which the dreads run in a woren fabric. Ina vertical direction is called the lengthwise grain, which has very litle stot, The horizontal direction, or erosive rain is sighily suetchy. bat diagonally the fabric has lot of tech. This grain called the bias, Wherever posible the grain of a fabric should rum nthe sume direction on quit Bock sind borders Inset seams, seting-in or Yseums Apache technique whereby one patch (or block) Is sited ito “V" shape formed by the joining ‘two other paths (oe bleh) Mitre Binding & corer finishes by fog and itching binding srps ata 45-Jearee angle, Mitred Borders Borders whee the comers are joined a a5-degtee angle Needle plate The meal plate on a sewing ‘machine, through which the needle passes v bole to the lower part of the machine. They are foften. marked with tines at 1/8in (Sem) imervas to wse as sting guides, Padding Nv knows 36 basing ia the Unive totes aed adding ia Great Britain, this isthe ‘mide layer ofa quit sandwich, Padding ean be made of eoton, woo, sik or syhetic ibees and can he bought in sheets ofa a Lose stuffing Patch smal shaped piece of fabri used inthe ‘making ofa patchwork pater Patchwork The technique of stitching. small pieces of fabric (patches) together to create & Targer piece of fabric, sualy forming a design Pieced quilt Ault composed of patches. Pins Use gout quality ins. Do not wse thick, ‘burr or rusied pins which will eave holes ot ‘marks Lang pas with glass or plastic heads ate fisier to use whon pinning through thick fabrics. Safety pins (sie 2)can be used 1 pin teste the quit layers together, Quiter” ape A parrow removable masking tape. If placed ligiy on fabric t provides a firm guideline for siragh-tine pater Quitting Traditionally done by aid wi running thes, bt for sped mer quilts are ‘often stitched by machine. The slitches are ‘even through the top padding and backing 10 hold the thse ayers together. Quilting stitches fe unilly worked in some fom of design, but ‘ey can be random, Quiting for See walking foot Quitting frame tce-sanding wowden frame in which the quit layers are Fixed for the entire ‘uiling proces, Provides the most even surface foe going Quiting hoop Consists of two wooden ctelar ‘or oval rings with a serew adjuster om the cuter ring, It stabiies the quit layers. elping to «ate an ven tension Quilt sandwich ‘Theee layers of fabrics a decorative tp, mide Hongo pading and hacking. Collectively known as the ‘guilt sandwich’. They are held together wih uiting ‘Rotary enter sharp cic blade atached 0 A handle for quick, accurate eutng. Wis a ‘evice that can be use 0 cut up 1 ss layers of fabric at one time, It needs. tbe used in conjunction with self-aling’ cutting. mat sind thick plastic ne, ‘Rotary ruler thick, clear plastic rte printed with ines that ane exactly Tein ¢6mm) apart Sometimes they also have diagonal lines Printed on, iicating 8 and 6-Segroe angles ‘A rotary rule is used a8 a guide when euting ‘out fabric pes using a rotary cuter Sashing A piece or pieced sections of fab merspacod between Boek. Seshing Posts When blocks have sashing between them the comer ssuazes a known 8 ‘ishing posts Selvedges Also known as slvages, these ae the Firmly woven edges down cach sie of a fabie length Selves should be trimmed ff before cating out your fabric, 3s they are moee able to shrink when the fabric is wasbed. They at also dificult wo quilt due tothe firm eat of the weaveSee dich quiing. ‘Rows of directional machine jas side certain seamines, 10 rom seeing ou of shape daring ‘onsriton, The mos important stays are done that are curved ‘Suystching s done immediatly afer removing your pars, and 3s thi single layer of abi: Acie of fabric double the ize of ‘ull i gatored up into a rosete “The we of ta for dyeing fabrics ‘sulle aged look «9 new fabric. Many For darkening and ageing specific seas il dab he area with a wet ea bunt the the reat your prefered level are dy this will et the ta stain, Use te ult when you want an all ver ff, exp 20 earbngs in ite oiling wate or 20 ‘minutes. Remove the ea and porte guid imo a dyesath. Add warm water and mis, then ak he gui. [Let the quilt it nthe tea uti has ean the level of de you prefer. Then remove and wash ‘the git in very mi soap. should be noted that the abies maybe let by dhe ann acid in tea and may detericte cate than normal. Template & pater piece used as » gue for ‘marking and cutting out fabvic patches. oF smarking « quilting, oe apple design, Usually made from plastic or strong cand that ean be ese many times. ‘Threads On bude percent easton or eaten covered polyester i best for hand snd machine ping. Chose a colour that matches your fabric. When sewing different colours and patlems together, chose a mem 1 ght eu cout, sch a8 grey or eer. For ath hun and machine ulin it heps to use cee fr pre-ane quiting thread, whieh allo the head to glide though Me quit ayers. Hard ‘quilting cabo workin pecia threads suc as pearl o emchet eotton. Tracing wheel A soot consisting of a spiked whee ataced to a handle. Used to transfer a sig from paper on to fabric, by runing the ‘wheel over desig lines Tying A quick and easy way 10 hold the gull sand layers togetber seithout using machine and quing. Thread oF yarn is inserted trough the quilt layers at rqular itera and ‘ie in Ant obo, oF secured with site oF ‘yatoas, Unit salt pat of patchwork design made from patch, which is then psced together with ‘other nist frm a block. Wading The British erm for bang or pang inne iting. Walking fot Aso kon 3 3 guiting foot, this {sa sewing machine foot with dual feed control 115 very helpful when quilting, a the fabric layers are fed evenly fom the top and below, reducing the risk of slippage and puckerng. seams Se ist seams orYos See Suk Puts Experience ratings Ebay, seightornod, sable for a begins, SEG sviabe forthe serage pacts nd ue BT For ne more experince pachvorherand quite, Al Drima and Sytko machine threads, Anchor embroidery threads and Pym sewing aids, distributed in UK by Coats Crafts UK, RO. Box Lingfield House, Lingfek!Poit, MeMullen Road, Darlington, Co, Durham, DLI 1YQ. Consumer helpline: 01325 394237. Anchor embroidery tread and Coats sewing teas, distributed in the USA by Coats & Clash 4138 Sout Steam Blvd, Charlot, North Carolina 28217. Te: 704 329 S016. Fax: 704329 5027. ‘rym pacts distin the USA by Prym-Dritz Cor, 950 Brisack Road, Spartanburg, SC 20303. ‘Tek +1 $64 $76 $080, Fa: +1 864 587 3353 mal: plmar@teleples.netTHE KAFFE FASSETT FABRIC COLLECTION Shot Cotton 100% Cotton Fabric width 45ins (114em) Wash fabric before use SC 02 Cassis SC 03 Prune SC OSI 'SC05 Opal (07 Persimmon SCO8 Raspberry 09 Pomegranate SC 10 Bittersweet U1 Tangerine SC 12Chartreuse SC 14 Lavender 15 Denim Blue SC 16 Mustard ba ba I8Tobacwo «SC 19Lichen = SC20Snmky SC 21 Pine Gry ae Be ae Mepis my Ti. x SC 24 Fetw SC2SGingsr $C 26 Duck $C27 Grass SC 28 Blush SC 31 Mushroom SC 33 Water Melon SC M Lemon SC 35 Sunshine SC 36 Lilac a SC 38 Biscuit SC 39 Apple 40 Cobalt SC 41 Jade 42 Rush uoTHE KAFFE FASSETT FABRIC COLLECTION Rowan Stripe || li lI RS OL Rs02 RS 08 R05 RS06 R07 Ombre Stripe ost oss Exotic Stipe i i | ES 16 ES 20 e821 Narrow Str NSO1 NSO9 Broad Stripe BS O1 - BS 06 BS 08:THE KAFFE FASSETT FABRIC COLLECTION BC 02 Narrow Check ' m GPOLG Chard erry 08 4 BECO Np y Ws se We E ° - Dk WA OPOL-PK GPOLR ‘ Pos ‘GP 074 Damask k ee ; a RS Poa sae med) O2-P GPO2SM GP.O2-2G GPOnLTHE KAFFE FASSETT FABRIC COLLECTION get-me-not Rose POT GPOrL GPOrP GP Osc GP OSS Flower Lattice Puc GP Ud GP ISU Chrysanthemum GPIB GP 13-GR FloralDance a Gp 12MG Bubbles GP ISOTHE KAFFE FASSETT FABRIC COLLECTION Douy GP 14-C GP LP Mosaic GP16-PU GPLO-RG August Roses GPIS-PL GPIEMG. GPIsPK GPIRPT Peony ee GPIT-BL GPI7-GR GP17-0¢ GPIT-TA GPI7M Fruit Basket é e GPIT-MR GPIT-RD GPI9RD GPIO-AP GPI9-PK, GPI9-BL refer to the patchwork i ae . the front of the book. GPIO-BK GPIOTE, GPI9-TA, GPI9-GDKAFFE FASSETT FABRICS USAGE LIST Kaffe Fassett Fabric Usage List by fabric codle and page number ‘Alternate Stripe ASO: 60, 72 Artichokes GPOC: 52, 64 GPO7-1: 60 GPOT-L: 74 GPO7-P: 52,74, 84 August Roses GPI8-MG: 54, 80 GPI8- PK: 54,84 GPI8-0C: 54 GPIS-PT: 69 GPIS-PU: 54, 66 Blue and White Stripe BWSO1: 69 BWS12: 60469 Broa Cheek BCOI: 74, 80 BoD: 57 BC03: 72 Boo 47, 72 Broad Stripe B06: 82 BSOS: 47, 66 60, 72.90 GPIS-0; 60,74, 84 GPIS-P: $2, 60, 66, 72.82 GPIS.G: M4, 64,69, 74, 86 GPis.c: 52,72, GPISS: 52, 82, $4 (Chrysanthemum GPI3-B: 42,72 GPI3-GN: 42, 64.74 GPI3-GR: 69 GPL4-D: 44, 60. 84 GP14-0; 44, 47.74 GPI4-T: 69, 74 GPI4-SG: 52. 64 GPI4-P: 57, 66,72, 74, 84 Exotic Stripe ES10: 72, ESS: 52, $7 S16: 37, Floral Dance GP12-B: 52,72 GP12-0; 42, 72, 74, 84 GPI2-MG: 42, 54,72, GPI2-P: 42, 54, 74, 84 Flower Lattice GPL: 54 Forget-Me-Not-Rose GPOS-C: 69, 84 GPOB:I: $0, 60, 66, 74 Basket GPI9-GD: 66 GPI9-TA: 66,80 GPIO-RD: 66, 80 GPI9-BL: 44, 69, 84 GPI9-AP: 80, 84 GPIO-PK: 44, 69 4 Fr Mosaic GPIO-BL: 84 GP16-PK: 47, 84 GP16-PU: 47 GPI6-RG: 47 Narrow Check NCO: 72 N02: 57 Narrow Stripe NSOL: 60, 72 NS13: 66, 72 NSI6: 60, 080 0805: 44, 69, 74 Pachrangi Stripe SOL: 47, 52, 57 S05: 47 S08: 72 S13: 90, 92 Peony GPIT-GR: 44. 69, 84 GPIT-TA: 69 GPIT-Vi: 69, 84 GPIT-BL: 44, 84 GPIT-MR: 66, 72 GPI7-GN: 42, 74 GPI7-0€: $4) GPI7-RD: 84 Roman Gl GPOL-BW: 44, 52, 64, 72 GPOL-C: 60, 72, 82 GPOL-G: 47, 66, 72, 74 GPOL-I: 60, 82 72,74, 84 69, 82 GPOI-PK: 60, 84 GPOI-R: 54, 60, 72, 82 Rowan Stripe SOI: 42, 66 RS04: 60, 66 RS0S: $2, 60, 66, 84 RS06: 74 RSOT: 60, 66 Shot Cotton 60, 76 : 57, 66, 76 37 86, 88 5: 42, 44, 57, 60 ot 42, 60, $6, 88 47, 60, 0 42, 60, 6, 76 57. 60. 66, 76, 42, 44, 57, 60, 64, 66 5: $7, 66, 86, 88 42, 60, 76 16 42, 54, 86, 88, 90, 92 6 SC35: 76, 82, 90, 92 SC36: 42,44, 64, 90, 92 2 SC38: 86, 88 S39: 64.76 SC4HO: 42, 57. 64 SCH: 54.57.64 'SCA2: 76, 82 SCAB: 42, 76 See pages 110-114 for full fabric range usFABRIC CODES The following information is for the Rowan global distributors and retailers, excluding the USA. The fabric codes in the left hand column are the codes used in this book; the codes in the right hand column are for use when ordering fabric. Codes Used in This Book Shot Cotton SC OL sc 02 Sc 03 SC 04 SC 05 sco? SC 08 SC.09 SC 10 SC il SC 12 sc 14 SC 1S SC 16 SC 17 SCI. sc 19 Rowan Stripe RSO1 ks 02 RS 04 RS 05 RS 06 RSO7 Ombre Stripe os ol os 2 116 Ordering, Code sco0! sscoo2 'sco03 coo COS C007 coos coo sco1 scout scoi2 sco21 sco22 scons sco24 sc02s C026 sc027 Sco28 sos sco32 scn33 scot 'sco3s C036 C037 SCO38 C039 scoso Sco41 sco42 sco43 SOO! S002 S004 RS00S 006 S007 ‘08001 ‘oso02 Codes Used in This Book (os 04 0805 Ordering, Code ‘osoos ‘osoas Blue & White Stripe BWS Ol BWS 02 Alternate Stripe Pachrangi Stripe PSO Ps 0s PS 08 PS 13 PS IS Broad Stripe Bso1 BS 06 BS 08 Bs IL BS 23 Narrow stripe NsO1 Nso9 NSI3 NSi6 NSIT Exotic Stripe S04 SIO ESIS ESI6 S20 ES21 Exotic Check ECOL ECS Narrow Check NCOL NCO NCO3 NC os Broad check BC OL BC 02 Bwsol Bwso2 SOO! ‘ASO03 SOI ASO21 Soo! S005 PSOOR PSOL3 PSOIS BSOOL BS006 S008 SOL S023 NSOOI Ns009 Nso13 Nso16 NSOI7 E004 ESO10 sols ESO16 S020 S021 ECO! ECO0S COO! Nco02 NC003 NC00S Bc001 ‘coo? Codes Used Ordering, in This Book — Code BC OS BC003 BC 8 BCOO Roman Glass GPOI-BW GOIBW GPoL-c GOICR GPOL-G GoIGD GPO GoW GPOL-L, GOILE GPOL-P Gort GPOLPK ——GOIPK GPOLR GoIRD GPOLS GoIsT Damask Gpo2s Gow Gpo2- GOOLE GPO2-P Go2PT Garania Gp0s-¢ Go3CR Poss Gosiw GPOsL GOSLE Gpo3-P GoaPT GPO3-S GossT Amtichokes Gpo7-C Gorcr GPO7 Gomw GPOTL. GOTLE GPOTP, corer Forget me Not Rose GPOR-C GOSCR GPO8I GosIW Chard GPO GOOIW GPO9-L GOOLE GPOO-P Goo Flower Lattice GPic GucR Grits Gu GPL GULF GPiLsu Gul su GPILP Gul Pr Floral Dance GPIB Gi2BL Gi20c G12MG Gi2Mv Gi2PK Cheysanthemum GPIB GIsBL, Codes Used in This Book GP13-.0 GPR GPI3-GN GPI3-GR Dotty Grip GPL. GPieT GPI4-SG GPld-P PIAL GPILC Bubbles GPIs-0 GPIsP GPIS-G GPIS-C GPISS Mose GPI6-BL GPI6-PK GPI6-GR GPI6-RG. GPI6-PU Peony GPI7-0c GPI7-TA GPI7-GR GPIT-VL GPIT-RD, GPI7-MR GPIT-GN GPI7-BL August Roses GPis-Pr GPis-PK GPis.0c GPIEMG. GPI8-PU Fruit Basket GPI9-RD. GPI.GD GP19-BK 19-AP GPIV-TA GPIO-TE, GPI0-PK, GPIO-BL, iTV Gi7RD GIIMR GITGN GI7BL Giger GISPK Gisoc GI8MG GIP Gi9RD Gi9GD G19BK Gi9AP Gi9tA, GISTE, GI9PK GIsBL,OTHER ROWAN TITLES AVAILABLE ee NY aa PP ite ptt ona frre aamk Patchwork and Quilting Patchwork and Quilting Patchwork and Quilting Book Number One Book Number Two Book Number Three £7.50 £9.95 £1095 ROWAN Patchwork and Quilting Rowan Living Rowan Creative Living Book Number Four Book One Book Two £12.95 £1295 £1295 WAN Green Lane Mill, Holmfirth, West Yorkshire, England “Tel: 444 (0) 1484 681881 Fax: +44 (0) 1484 687920 Internet: www.knitrowan.com Email: Mail@knitrowan.com RO 118‘106, 109 “A Louisiana Quilting Friendship! 36 Lozenge Quilt 26,42,92.96 img 105,106, 108 Hona Tiles Quilt 20, 47, 97, 102 Beyond the Pale Quilt 8, 44, 97, 99 “Bias 107, 108 “Binding 107, 108 Block 108 Blueberry Steps Quilt 35, 52, 98 Border 108, “Chalk based markers 106,108 “Chalk pencils 106, 108 Chintz flowerbeds Quilt 6, 54, 96 ‘Composite fabric 76, 79, 108 -Co-ordinated Chaos Quilt 14, 50, 100, Comer butted 107, 108 ‘Comers mitred 107, 108 Cutting: fussy 108 fabric 103 ‘mat 103 rotary 103 Daming foot 106,108 ‘Diagonal Square Cushion 34, 86, 97 Designer profile 36 Ditch quiking 108 Dressmakers carbon paper 108 ‘Easy Peasy Cushion 34, 88 ‘Extended Pinwheels Quilt 12, 57, 94 Feed dogs 108 Fabric Codes for dstributorstetailers (not USA) 116 Fiesta Quilt 16,60, 94 Fizz Quilt 1, 64, 94, 96 Foundation blocks 82,99 ‘papers 82, 99 pattern 108 piecing 82,105 Glossary 108 Grain 108 Handkerchief Corner Dark Quilt 24, 72,95, 99 Handkerchief Comer Pastel Quilt 10, 69, 95, 99 INDEX Hand piecing 104 Inset seams 104,105, 108 Jubilee Gardens Quilt 30, 74, 94, 95, 7 Kaffe Fassett Fabric Collection 110 Know How 103 Machine piecing 104 Mosaic Columns Quilt 27, $4, 99, 101 Museita Quilt 28, 66, 94, 100 Needle plate 108 ‘Orange Grove Quilt 32, 76, 97 Padding 108, 109 Patch 108. Patchwork 108 Pete's Paul Quilt 19, 80 96 Pieced quilt 108 Pins 108, Preparing: fabric 103 quilt for banging 107 Pressing 103, 104, 105 Quilting: 105, 106, 108. ditch 108 freemotion 108 hand 106 machine 106, 108 foot 108, 109 frame 108 hoop 108 templates 109 Quilt sandwich 106, 108. Quilters tape 106, 108, Rotary: cutter 103, 108, ‘cutting 103, 108 ‘mat 103, 108 ruler 103,108 Sashing 108. Sashing posts 108 Seamlines 103, 104, 105, Seams, in-set 104 Selvedge 108 Stitch-in-the-diteh 108 (see Quilting, ditch) Stitching, evenness of 104 finishing 104 hand 104 machine 104 running 104 Strippy Chevrons Quilt 22, 82, 99 Sulfotk puts 55, 56, 109 ‘Tacking (see Basting) 106, 108 ‘Tea Dyeing 109 Templates, 103, 109 hand piecing 103, 104 duilting 109 (sce individual instructions for each project) machine quilting 104 making 103 plastic 103, 109 using 104 ‘Threads 109 ‘Tracing whee! 109 ‘Tuscan - placemats 18, 92, 94 ‘Tuscan -tablerunner 18, 90, 94, 95 ‘Tying 109 Unit 109 ‘Wadding 105 ‘Walking foot 106, 109 Y seams 109 ‘Yo - yos (see Suifolk puffs) 109 119LO 0 Colourtul Journey: a. I 1 ROWAN