patterns • decorating tips • fiber art • culture
Issue No. 31
click quilt for FREE pattern download, beginning in July
Tomorrow Morning available in July
Asian Fabric
™
contents
Vol 8 Issue 1
quilts 28 Garden Bed Quilt Showcasing the new Garden
of Dreams Collection
34 Garden Wall Quilt 40 Niwa Akusento Quilt
A modern geometric display perfect for summer
11 Shop Directory
54 Kirutingu Furenzu
Kanji to elebrate quilting, friends and inspiration
16 Book Review
61 Kanji Pillows Learn step-by-step how to make a handpainted quilt
features 48 An American Saké Experience
Douglas Eagleson takes you to visit a US saké brewery
More Fabric Art Collage
21 What I Did With My Kona Bay
81 Friends Quilt
Where to shop for Kona Bay
89 Fabric Beads
Transform your quilt scraps
departments 6 Publisher’s Note 7 How to Use the Magazine
70” x 96”
Great projects from our readers
67 Travel
Phnom Pehn, Cambodia
77 Food
Vietnamese Summer Rolls & Peanut Sauce
96 General Instructions
Special thanks to:
Used exclusively and recommended by Asian Fabric™ Phnom Pehn, Cambodia • pg 67
2013 Asian Fabric 5
publisher’s note
Kona Bay Fabrics began in beautiful Honolulu in 1991 and has had an office in scenic Washington state since 1994. Since the time Kona Bay began, the Washington wine industry has exploded and gone from having only 8263 acres to nearly 45,000 acres of delicious grapes. Today, Washington has over 720 wineries offering wine lovers a vast array of the delicious nectar of the gods. Oregon, too, is onboard with many great wineries. It is also home to one of only a handful of sake breweries in the United States. On page 48, you can read the tale of my recent visit to the famed Sake One brewery. When visiting the wineries, you’re typically able to sample their many distinctive wines. And, if you’re lucky, as I was recently, you may even learn about food pairings that go well with their wines. It made me playfully wonder how I would pair Kona Bay fabrics and wine. So, welcome to the realm of the Textile Samurai, aka Fabric Sommelier… When enjoying your full bodied, bold
Cabernet Sauvignon, may I suggest the elegant and always pleasing Kona Bay Hana Bashi fabric collection so known for its distinct designs with a symphony of delightful colors.
6 Asian Fabric 2013
For our white wine lovers, your humble wine steward proudly suggests the Kona Bay Garden of Dreams fabrics to pair with the subtle yet delectable Chardonnay. Perhaps in the future, I may devote more space in Asian Fabric magazine to suggest actual Washington wine pairings that would go well with our beautiful fabrics. Maybe you already have a favorite wine selection that you believe goes perfect with a Kona Bay fabric group. If so, I would love to hear your recommendation—you can email me at konabay@konabay.com with your selections. In this Issue 31, you will be treated to several spectacular quilt projects by our own renowned Georgie Gerl. Her patterns range from quick pillows to brighten your summer decor to a Garden of Dreams bed quilt. Plus, to help your artist side blossom, Melanie Formway Chang joins us again with a stunning hand painted project. In addition, our instructions for Fabric Beads by Karen MacGeraughty will keep you busy through the summer. Our continuing world tour takes us to Cambodia and the noteworthy city of Phnom Penh. We’ve included instructions for one of my favorite summer treats—Vietnamese Summer Rolls. On your behalf, I ate a few to check the quality. They were scrumptious! Have a great summer from everyone at Kona Bay Fabrics and Asian Fabric magazine!
Douglas (Textile Samurai) Eagleson Publisher • douglas@konabay.com http://www.facebook.com/pages/Kona-Bay-Fabrics-SeattleBay-Fabrics-and-Asian-Fabric-Magazine/106593046936?ref=ts
Make the most of Asian Fabric
Asian Fabric™ Quilting and design ideas for inspired minds Issue #31 2013 • VOL 8 ISSUE 1
Publisher douglas Eagleson Quilt designer & EDITOR Georgie Gerl ggerl@comcast.net Facebook: Georgie Gerl Designer
SPECIAL CONTRIBUTORs Melanie Formway Change Karen MacGeraughty ASSISTANTS TO PUBLISHER Doris Eagleson 1923–2010 Cheryl Hamai Brittany Eagleson Simpson
Subscriptions Kona Bay Fabrics www.konabay.com 15812 NE 83rd St Redmond, WA 98052 800-531-7913
advertising and editorial inquiries
Share it with a friend 1. Click here and choose a method to share. 2. Follow prompts.
Use the easy links As you scroll over a page, active links will be highlighted in blue. This enables you to connect to additional pages and download additional patterns.
Print pages You must download the publication before you are able to print. 1. Click here to download the publication to your computer. 2. Open the .pdf to view it and print pages as you wish.
Eagle Publishing www.PublishingPeople.com 328 E. Indiana Ave Spokane, WA 99207 866-638-1115 Editor and associate publisher Vicki Dar nwwoman@mac.com graphic design liminalogy.com INTERN Andrea Ayers
Kona Bay Fabrics © 2013
Subscribe for FREE— It’s easy! 1. Go to www.konabay.com 2. Click on “Subscribe” 3. Complete the information
Asian Fabric™ is produced six times a year by Eagle Publishing for Kona Bay Fabrics. The magazine accepts no responsibility for unsolicited manuscripts or artwork; they will not be returned unless accompanied by a stamped, self-addressed envelope. © Kona Bay Fabrics. All rights reserved. No piece, in part or full, may be reproduced without permission.
2013 Asian Fabric 7
downloadable patterns from Asian Fabric —$3.99 ea w w w.konabaygifts.com
Asian Fabric back issues —$5 ea
eco friendly insulated hot/cold bags —new designs!
Fly Away
&
Translucent c o m i n g i n M ay
shop directory: where to find kona bay The premiere shops across the country for exceptional service and a superb selection of Kona Bay Fabrics.
maryland arizona 35th Ave Sew & Vac Fabric World 3500 W. Northern Ave Phoenix, AZ 85051 602.841.5427 4939 W. Ray Road, STE 27 Chandler, AZ 85225 480.961.7363 Two convenient locations with 25,000 bolts combined, including a large selection of Asian fabrics. Notions, books, threads and all quilting supplies. Kits available from this issue. Hours: M-F 9-6; Sat 9-5; Sun 10-4. www.35thavesewandvac.com
florida Boutique 4 Quilters, Inc. 2945 W New Haven Ave West Melbourne, FL 32904 321.768.2060 A shop with a Scandinavian ambiance. Large selection of Asian, Kaffe Fasset, Batiks and Silk fabrics. Hand dyed fabrics and Fiber Art by local artists. A place where Fiber Artists and Traditional Quilters gather. Come visit Florida’s most creative quilt shop! Hours: Mon & Tue 9:30am5pm; Wed 9:30am-7pm; Thur & Fri 9:30am-5pm; Sat 9:30am-4pm. www.boutique4quilters.com
Patches Quilting & Sewing 308 S Main St Mount Airy, MD 21771 301.831.0366 A delight for your eyes with over 4,000 bolts of fabric. Our large selection of Asian prints, Batiks, and Black and Whites will aid you in any project. Don’t forget to check out our books, notions and classes. www.patchesquilting.com Seminole Sampler 71 Mellor Ave Catonsville, MD 21228 866.407.2363 Dedicated quilt shop specializing in Asian, Batik and contemporary fabrics. Excellent service to meet all your quilting needs. Classes for all levels. Extensive selection of books, patterns and notions. www.seminolesampler.com
michigan The Stitchery 1129 E Grand River Ave Howell, MI 48843 517.548.1731 The Stitchery carries many Kona Bay Fabrics. Full service quilt shop with over 5,000 bolts of fabric and supplies. Authorized Janome dealer, featuring the Memory Craft 11,000 Embroidery Machine. Conveniently located between Detroit and Lansing. Open Mon-Fri 9-6, Sat. 9-4. www.thestitcheryonline.com 2013 Asian Fabric 11
minnesota Blue Bamboo 12865 Industrial Park Blvd Plymouth, MN 55441 800.323.1105 Gorgeous array of Asian fabrics which feature the best of Kona Bay in both fabric and kits. Choose from wall hangings, quilt and runner kits. Check our website for current fabrics and sign up for our newsletter. See over 5000 bolts of fabric which include Asian, flannels, brights, holiday and batiks. www.mybluebamboo.com
missouri The Quilted Fox 10403 Clayton Road St. Louis, M0 63131 314-993-1181 toll free 877.993.1181 Huge selection of Asian fabrics both in-store and online. We also carry internationally oriented fabrics. Many kits available. Open Mon and Wed 10 am–5 pm; Tues and Thurs 10 am–6:30 pm; Fri and Sat 10 am–4:30 pm, and Sun Noon–4:00 pm. www.quiltedfox.com
nevada The Quilted Dragon 2890 Yucca Terrace Ave Pahrump, NV 89048 775.751.9033 Just one hour NW of Las Vegas, we specialize in Oriental, Batik, and Wide Backing fabrics, Sashiko supplies and notions all at discount prices everyday. We stock over 1,700 book titles and 600 patterns at all times. Open MTW 9–3 and second Sat 9–3. www.quilteddragon.com
12 Asian Fabric 2013
new york Discount Sewing & Jackie Lynn’s Fabric Center 475 E. Ridge Rd Rochester, NY 14621 585.544.4110 Exquisite selection of Asian quilting fabrics. Sales and Service Center for Brother, Janome, HandiQuilter, Elna and Tin Lizzie machines. Open Mon-Sat 10-5, Tues & Thurs 10-8. www.discountsewingcenter.com
ohio Gramma Fannies Quilt Barn P. O. Box 270 Berlin, OH 44610 330.893.3243 Largest selection of Asian fabrics in Ohio’s Amish Country. You’ll enjoy our unique quilt shop located in an old barn as a part of Schrocks Amish farm. Locally made quilts plus 2500 bolts of beautiful fabrics specially designed for quilt shops. Just 1 mile east of Berlin, the heart of Amish Country, on State Route 39. Mon-Sat 10-5. www.grammafanniesquilts.com
pennsylvania Sew Smart Fabrics 30 W Oakland Ave. Doylestown, PA 18901 215.345.7990 The best selection of Asian prints in Eastern Pennsylvania. We also carry silks, wools and other fabrics. Books, patterns, trends. Open everyday. www.sewsmartfab.com
online shops
wyoming E.T. Quilts 80 S. Main Buffalo, WY 82834 307.684.9006 877.ETQUILTS (877.387.8458) Quality fabrics, including Wyoming’s largest collection of Asian prints, notions, kits, patterns, books and quilts. Salt City Candles, needlecraft supplies, and Boyd’s Bears also available. Check out our website and receive a free gift with your first on-line order. Open Mon–Sat 10–5. www.etquilts.com
contact asianfabric@ mac.com n on for informatio Asian advertising in Fabric
eQuilter eQuilter.com is your online fabric store for quilting, sewing and fashion, with OVER 20,000 Fabrics IN STOCK! We specialize in Asian-Pacific and contemporary quilt fabrics. See our ad on page 2. www.equilter.com SeaWatch Fabrics Mukilteo, WA • 866.407.2363 Extensive selection of Asian fabrics, Batiks and light Batiks. Unique patterns, “Wall Hanging of the Month” club, fat quarter bundles and Superior Threads. Free shipping on all orders over $25. Most orders shipped the same day. www.seawatchfabrics.com Debsews Fabrics Wide selection of Asian fabrics • Tone-On-Tone fabrics • Fat quarter selections • Patterns & magazines • Special sale items. Debsews as been selling fabric to thousands of satisfied customers online since 1999 and we are very proud of our customer service. See our ad on page 60. www.debsews2.com Shibori Dragon 253.582.7455 Specializing in Asian and Batik fabrics, Sashiko supplies, vintage silk kimonos– largest selection in the Pacific NW. Unique beads, buttons, needleart threads and embellishments. www.shiboridragon.com
2013 Asian Fabric 13
Color Movement In stores this July
book review
Rebekah Meier’s
by Vicki Dar
16 Asian Fabric 2013
More Fabric Art Collage
A
few weeks back, I spent the day touring local art galleries with a visiting brother. Leaving the first gallery on our list, I shared that I really must make time to do this more often. When I recently revisited the book, More Fabric Art Collage by Rebekah Meier, I was filled with the same feeling. Galleries and Ms. Meier’s book leave
me inspired and wanting to make art. We all lead busy lives and it’s easy to feel like we just don’t have time or tools to explore our spontaneous, creative side. In addition to time constraints, I can hear some of you saying, ”I can quilt but I can’t paint!” Well, regardless of your skill level or experience, after following Rebekah’s step by step instructions, which explore a variety of techniques, you’ll never make the statement again. The author of More Fabric Art Collage has been active in the craft and quilt industries for over ten years. In addition to teaching and designing, Ms. Meier has had her designs and featured in numerous magazines.
This is also not Rebekah Meier’s first dance with the book publishing industry. Her first book, Fabric Art Collage: 40+ Mixed Media Techniques was well received. To complete the book, she spent a great deal of time experimenting with ways to transform fabric into art and has continued after the first book was released. “Since then I have continued to experiment with ways to combines fiber and art materials, resulting in techniques that pair traditional quilt materials and papers with art mediums,” states Meier, “With this new book it has been my goal to stretch the boundaries of what is considered traditional, adding my own spin to materials that almost everyone has on hand.” 2013 Asian Fabric 17
More Fabric Art Collage is like fabric art university in a book. Knowing a strong foundation is key to the learning process, Rebekah’s first chapter, titled Tools and Supplies, introduces us to a healthy list of the endless possibilities. All along the way, throughout the book, we are encouraged to experiment with items we have on hand including both art supplies and common household items meant for other uses. Rebekah is thorough in preparing the tools and supplies list. Not only does she give descriptions of the items we might not be familiar with, she offers brand names of her favorite products and later offers the company websites in a resource list. In addition, she often discusses why the product would be valuable in our quest to master fabric art collage— an important feature for those like me who thrive on the “why” behind everything. In the Introduction, we’re told that each chapter of the book builds upon the previous chapter. In some cases, that might imply that we won’t see the results of our efforts until we reach the last chapter. Not the case with More Fabric Art Collage. As a matter of fact, practicing even only one technique in the first instructional chapter titled Surface Design could provide you with the knowledge to create an artistic piece you’d be proud to share with the world.
18 Asian Fabric 2013
After Surface Design, nine how-to chapters remain. Fabrics and Foundations, Stabilizers and Alternative Materials and Scrap Magic may hold intrinsic interest for fabric enthusiasts but I guarantee anyone with a love of creative beauty will be unable to pass over even a page of the other six. The last instructional chapter, labeled Projects, is a culmination of all the techniques Rebekah teaches in More Fabric Art Collage. Depending on how you like to learn and your
confidence level, the Projects chapter may be the first or last stop on your fabric art journey. Here, Ms. Meier provides a complete material list, step by step instructions and templates sized at 100% to complete seven specific projects. With over sixty surface design techniques covered in the book, most do not go into extreme detail. I mention this not as a criticism, though, only an observation. Given the choice of learning five new things or fifty 2013 Asian Fabric 19
is an easy choice for me. And, not once, was I left feeling as though I could not attempt the task at hand. Rebekah provides a material list and brief step by step instruction in addition to a paragraph that introduces the technique and possible applications. They say a picture is worth a thousand words. The phrase could not be more accurately portrayed as it is in More Fabric Art Collage. Each technique is illustrated with at least one photo and more typically, several.
20 Asian Fabric 2013
Look for More Fabric Art Collage, by Rebekah Meier, at your local quilt shop. You can also purchase the book online on the publisher’s website—http://www.ctpub.com. The $27.95 cover price of the printed book is a steal. Consider it an investment in your fabric art education. The techniques learned will position you to make gifts, decorative art and one-of-a-kind wearables for years to come. A downloadable and printable PDF is also available at the C & T Publishing site for $14.99.
What I Did with my Kona Bay fabric projects from our readers
There are 2 ways to submit— all the e e s o t warding e r y r e v ics and r b It is a f r u ways o by you! d e creative t u c e s are ex pattern s who ha e n o y r to eve designs r u o Thanks y f s all! photo o u a s d e r e i r p a s sh in ur work o Y . s u with
1. Email: asianfabric@mac.com 2. Mail:
Asian Fabric Magazine Editor 15812 NE 83rd St. Redmond, WA 98502
www.konabayfabrics.com
Above is a pattern I developed to use a number of my scrap Asian Fabrics. I derived inspiration from a number Sue Bruning of the simpler modern quilts that showcase the Winnepeg, Manitoba Canada fabrics. I then quilted the quilt with a gingko leaf pattern. I would be happy to share the pattern with you for print in the magazine. The quilt is entitled Asian Elegance. Most if not all of the fabrics are Kona Bay but there could have been a few Asian scrap fabrics from other lines that creeped into this scrap quilt. I started quilting in 1997 by handing piecing a set of Laura Ashley squares I had purchased in London. Why hand piecing? We had built a log cabin cottage on Lake of the Woods in Ontario Canada. With no electricity it was a way to express my crafty side. Since that original foray into hand piecing my love of quilting has grown and has resulted in a multitude of quilts for family, friends and charities. Asian fabrics have always held an attraction to me so I have collected a fair number of fat quarters. I tend to make scrap quilts and realized when I was piling up a number of Asian fabric scraps (most of them Kona Bay). While designing is not my profession I am gravitating more and more to quilting and my “fabric wall” continues to call to me.
22 Asian Fabric 2012
Veva Gay Gerl Renton, WA
Attached are pictures of my variation of Kona Bay’s complimentary Kakudo quilt. The photos show the full quilt, the quilted back, and close-ups of the quilting front and back. The focus fabric is Kona Bay 2005 Design KAED-01, the light blue is Kona Bay 2007 Design NOBU-08 and the backing is Kona Bay 2011 Design TRAN-05. I liked the pattern, but wanted a larger quilt. By extending some of the lines, I was able to accomplish my goal. The finished quilt is 76” x 100”. It was pieced by me and quilted by Lori Mannes of Topstitch Quilting.
2012 Asian Fabric 23
Vicki Sacre Auburn, CA
Editor’s Note: This was a very special submission for our What I Did With My Kona Bay. Appearing here is a surprise from the friends and family of Vicki Sacre. Vicki lives in Auburn, California and has only been quilting for a couple years. She has approached her new found hobby with unbridled enthusiasm. We were told that Vicki has a birthday coming up in June—she’ll be 91 years old! Kona Bay Fabrics and Asian Fabric Magazine would like to wish Vicki a Happy Birthday and warm wishes for a quilty year! Here is a bit of what friends and family shared about Vicki… From her daughter, Penni Behr, “It’s hard to keep up with with my mother’s activities! She is definitely a dynamic person and continues to have a thirst for learning new tasks. She has only been quilting a couple years and is obsessed with fabrics and design. Just before quilting she was on a ‘purse kick,’ making at least 100 of them. She sold some and gave many away.
24 Asian Fabric 2012
She loves to give and I do believe that is where many if not all of her quilts have ended up on their journey”. From friend, Janette Cokeley, “Vicki made the top for our ‘Wings of Hope’ quilt that is going to be auctioned off at the Beareaved Parent USA event this summer. I’ve included some photos (pic 3 - 6) of the quilt top. It is one of five quilts she will be entering in the upcoming local Auburn Quilt Show. I’ve also included a photo of her standing with a quilt (pic 7) she made for one of the ladies at the senior center she and I attend. I met Vicki at the center over five years ago”. From quilt shop owner, Debbie Whitaker, “Vicki is a doll! She came to us when she began quilting a couple years ago. Everyone here loves her! She was so enthusiastic, so I asked her to sew some samples for us. I’m sending two of the quilts (pic 1 and 2) she made from the Kona Bay Fabrics Shadowland Collection and the Shadowland Collection book patterns. People have loved them so much we are offering a Shadowland Quilt Class here at our shop—Angel Quilters. We’re located in Lincoln, California. Ed note: The class starts on May 25th. If you live nearby, they still have openings! Call 916-645-8760 to reserve a space.
2012 Asian Fabric 25
available in stores quilt to dow
s this May ~ click the wnload a free pattern
Garden Bed Quilt Designer: Georgie Gerl Here’s an easy way to add curves to a quilt without actually sewing concave and convex shapes together.
Garden Bed Quilt Cutting Chart & Material List
Garden Bed Quilt 70” x 96”
material list Backing ^2 yards Batting &*” x !)$” Read Cutting Tip prior to cutting fabrics. Cut strips as indicated in chart then cut smaller pieces listed from these strips *Fabric listed with an asterisk are directional fabrics, extra fabric has been provided for “Fussy Cutting” but depending on fabric selection and motif repeat additional fabric may be needed. Two different quilts are shown using different fabric lines, for the red version Fabric A is used for the center area of the block while the blue version usees Fabric A in the large panel and Fabric B for curved pieces. For fabrics C, D & E the red version fabric names are listed above the blue quilt option. Fabric Name, Placement & Yardage Fabric A TOMO-03 Red Red Quilt Center
First Cuts
Next Cuts
%
!^2” x *2”* “Fussy Cut”
#
$2” x $@” @) $2” squares
!2-@ yards*
Fabric Name, Placement & Yardage Fabric C FLOR-01 Royal Block & Quilt Borders
First Cuts # ( *
Next Cuts
*2” x $@” @) *2” x $2” $2” x $@” ^* $2” squares @” x $@”
@2 yards
* $2” x $@” or or Red Quilt Outside Border !** (*” x $@” Fabric B FLYA-01 Red
DREA-05 Indigo
!3 yards or @w yards directional fabric ** cuts
Fabric D WILL-01 Cream Background
Fabric A DREA-01 Indigo Blue Quilt Center
%
!^2” x *2”* “Fussy Cut”
@- # panels*
Fabric B DREA-02 Gold
!! $2” x $@” @) $2” squares or or Blue Quilt Center Accent !** (*” x $@” & Outside Border
!q yards or @w yards directional fabric ** see note below Fabric E
30 Asian Fabric 2013
#8 yards
DREA-08 Cream Fabric E HANA-06 Red Border
# ^” x $@” * !% $2” x $@” @) @) @) & @2” x $@”
( @w” x $@” !@ @2” x $@”
$
^” x !@2” $2” x !@2” $2” x *2” $2” squares
@2” x @$2”
!d yards
DREA-03 Indigo **Side Outside Border strips cuts run parallel to selvage edge cut two $2”x (*” strips. Top and bottom Outside Border strips are cut from remaining fabric in the opposite direction and pieced to obtain desired measurement.
Let’s Begin Before you begin read all instructions. Referring to project Cutting Chart, cut First Cuts strips as indicated in chart then cut smaller pieces listed under Next Cuts from these strips. Refer to General Instructions (pages 96-97) for Accurate Seam Allowances and Assembly Line Method to construct this quilt. Use a 4 ”-wide seam allowance throughout this project. Press seams in direction of arrows as indicated in each diagram.
Making the Quilt
Note: Refer back to step 1 for technique instruction, this technique is used for all steps with curved pieces.
1. Fold one $2” Fabrics A, B, C, or D square once diagonally wrong sides together and press. Note: For all steps following this procedure place one folded $2” piece on fabric indicated in step instruction aligning raw edges checking orientation prior to sewing. Stay stitch fabric points 4” from outside edge as shown in left photo. Fold back the triangle piece to create a soft curve. Using a machine straight stitch or decorative stitches, sew along folded edge as shown in right photo below. Note: Stitching curves in place can be done with each step or sew curves in place once block is completed (step 9).
2. Referring to diagram in step 1, place four $2” folded Fabric C triangles on one !^2” x *2” Fabric A piece. Baste, fold, and stitch units together as described in step 1. *2”
!^2”
Make %
3. Sew one $2” folded Fabric D triangle and one $2” folded Fabric A or B triangle to one *2” x $2” Fabric C piece as shown. Press. Make twenty, ten of each variation. Note: Two version of the quilt are shown on pages 28–29, the red quilt uses $2” folded Fabric A triangles while the blue quilt uses $2” folded Fabric B triangles. *2”
*2”
$2” Make !)
$2” Make !)
4. Sew two units from step 3, one of each variation, together as shown. Press. Make ten. Make !)
5. Sew one unit from step 2 between two units from step 4 as shown. Press seams open. Make five.
Technique shown using different fabrics.
Make %
2013 Asian Fabric 31
6. Referring to diagram top section shown below, sew one $2” folded Fabric C triangle on one $2” x *2” Fabric D piece. Make twenty, ten of each variation. Sew two units from this step, one of each variation, together as shown. Press. Make ten. *2”
*2”
$2” Make !)
7. Sew one unit from step 5 between two units from step 6 as shown. Press. Make five.
$2” Make !)
Make !) Make %
8. Referring to top section of diagram below, sew one $2” folded Fabric C triangle on one $2” x !@2” Fabric D piece as shown. Make twenty, ten of each variation. Sew two units from this step, one of each variation, together as shown. Press. Make ten. !@2”
!@2”
$2” Make !)
$2” Make !)
Make !)
CLICK AD to go to store web page
miss kirakira
9. Sew unit from step 7 between two units from step 8 as shown. Press. Make five. Block measures @$2” square.
handmade creations bracelets, cell phone charms trinkets & other kawaii accessories
32 Asian Fabric 2013
Make 5 Block measures @$2” square
10. Sew one $2” folded Fabric C triangle to one ^” x !@2” Fabric D piece as shown. Press. Make eight, four of each variation. Sew two of these units together, one of each variation. Press. Make four. Sew two pieced units together as shown. Press. Make two, block measures !!2” x @$2”. !@2”
!@2”
^”
^” Make $
Make $
Make @ Block measures !!2” x @$2”
11. Sew one @2” x @$2” Fabric E strip between two blocks from step 9 as shown. Press. Make two. @2”
@$2”
Assembling the Quilt 1. Sew @2” x $@” Fabric E strips and remaining cut @2” Fabric E strips (approximately !%2 ” lengths) end-to-end to make one continuous @2”-wide Fabric E strip. Press. Measure rows from side to side. Cut four @2”-wide strips to this measurement. Refer to layouts (pages 28–30) to arrange and sew rows and cut strips from this step together. Press seams toward border. 2. Measure quilt through center from top to bottom, including borders just added. Cut two @2”-wide Fabric E strips to that measurement. Sew to sides of quilt and press. 3. Referring to steps 1 and 2 to join, measure, trim, and sew @2”-wide Fabric D strips, @”-wide Fabric C strips, and $2”-wide Fabric B strips to top, bottom, and sides of quilt. Press.
Finishing the Quilt Make 2
12. Arrange and sew together two blocks from step 10, two @2” x @$2” Fabric E strips, and one block from step 9 as shown. Press. @2”
@2”
@$2”
1. Cut backing fabric piece into three equal pieces. Sew pieces together to make one &*” x !@)” approximate backing piece. Press and trim backing to measure &*” x !)$”.
2. Press backing and quilt top trimming all excess threads. Refer to General Instructions (pages 96–97) for Finishing the Quilt. Layer and baste backing, batting, and quilt top together. Hand or machine quilt as desired. Refer to Binding the Quilt and bind as desired.
2013 Asian Fabric 33
Garden Wall Quilt Designer: Georgie Gerl A large-scale panel print is featured in the center of this wall quilt, framed by other Asian fabrics.
Garden Wall Quilt Cutting Chart & Material List Garden Wall Quilt 33” x 53”
Featuring fabrics from the Garden Dream Collection
Cutting & Sewing Tips
material list Fabric A Backing !q yards DREA-01Teal Batting #(” x ^)” Garden Scene–Panel See Cutting & Sewing Tips Refer to Cutting and Sewing Tips prior to cutting the fabric. Fabric Name, Placement & Yardage
First Cuts
Next Cuts
Fabric B DREA-08 Indigo 1st Border
$ #
$2” x $@” @* $2” squares !2” x $@” @ !2” x $)2” @ !2” x !*2”
Fabric C DREA-06 Beige Background
%
^” x $@”
!@ ^” x !)2” $ ^” squares
Fabric D DREA-08 Green Outside Border
! %
$2” x $@” !2” x $@”
$ @
d yard
! yard
2 yard
$2” squares !2” x #!2”
Before you begin read all instructions. Referring to project Cutting Chart, cut First Cuts strips as indicated in chart then cut smaller pieces listed under Next Cuts from these strips.
Fabric A Cutting Tip
This fabric panel print designs runs from selvage edge to selvage giving us a beautiful art piece to work with. Washing fabrics can sometime tweak a panel piece since we have no control of washing technique used. To guarantee a successful project we cut the panel removing the printed borders on piece. Cut one panel !*2” x #*2”. 2013 Asian Fabric 35
Making the Quilt 1. Fold one $2” Fabrics B or D square once diagonally wrong sides together and press. Note: For all steps follow this procedure. Place one folded $2” piece on fabric indicated in step instruction aligning raw edges checking orientation prior to sewing. Stay stitch fabric points 4” from outside edge as shown in left Technique shown using different fabrics. photo. Fold back the triangle piece to create a soft curve. Using a machine straight stitch or decorative stitches, sew along folded edge as shown in right photo below. Note: Stitching curves in place can be done with each step or sew curves in place once quilt top is completed prior to Finishing the Quilt. 2. Referring to diagram in step 3, place four $2” folded Fabric B triangles on one !*2” x #*2” Fabric A piece. Baste, fold, and stitch units together as described in step 1. 3. Sew panel from step 2 between two !2” x !*2” Fabric B strips as shown. Press. Sew this unit between two !2” x $)2” Fabric B strips. Press. !*2”
!2”
4. Baste, fold, and stitch two $2” folded Fabric B triangles to one ^” x !)2” Fabric C piece as shown. Press. Make twelve.
!2”
Make 12
5. Baste, fold, and stitch one folded Fabric D triangle to one ^” Fabric C square as shown. Press. Make four. Make 4 $)2”
!2”
36 Asian Fabric 2013
6. Arrange and sew together four units from step 4 as shown. Press seams open. Make two. Make 2
7. Referring to layouts on pages 34–35, sew unit from step 3 between two units from step 6. Press seams toward center unit.
8. Arrange and sew together two units from step 5 and two units from step 4 as shown. Press. Make two. Sew units to top and bottom of unit from step 7. Press seams toward center unit. Make 2
9. Sew unit from step 8 between two !2” x #!2” Fabric D strips. Press seams toward Fabric D.
10. Sew !2” x $@” Fabric D strips end-to-end to make one continuous !2”-wide Fabric D strip. Press. Measure quilt from top to bottom, including borders just added. Cut two !2”-wide Fabric D strips to that measurement. Sew to sides of quilt and press.
Finishing the Quilt
1. Layer and center quilt top and backing right sides together on batting piece (wrong side of backing on batting). Using 14”-wide seam, stitch around all edges, leaving a 6” opening on one side for turning. Trim batting close to stitching and backing even with quilt edges. Clip corners, turn, and press. Hand stitched opening closed. 2. Quilt as desired.
2013 Asian Fabric 37
In stores this July
nd Shadowla Col lect ion Q u i lt s
n Yenter gned by Jaso Fabric desi ie Gerl rg eo G by ired Quilts insp
Be sure to pick up the original Shadowland Collection Quilts book—remade quilts with new cutting instructions will be made available for download. Must purchase book for insurcitions.
Niwa Akusento Quilt Designer: Georgie Gerl This quilt features garden (niwa) accents (akusento) catering to the females while the stylish geometric design caters to the males in your life.
Niwa Akusento Quilt Cutting Chart & Material List Niwa Akusento (Niwa means Garden Akusento means accents)
(%” square
material list Backing *s yards Batting !)#” x !)#” Read Cutting Tip prior to cutting fabrics. Cut strips as indicated in chart then cut smaller pieces listed from these strips Extra fabric may be needed for “Fussy Cut” pieces; amount varies depending on motif selection and fabric repeat.
Fabric Name, Placement & Yardage
First Cuts
! Fabric A !@ DREA-02 Teal Center/Accent Squares
Next Cuts
!&2” square “Fussy Cut” ^2” squares “Fussy Cut”
!-!2 yards
Fabric B RAZZ-05 Black Dark Accents
!2 yards
Fabric C MOVE-01 Gold Borders
@a yards
42 Asian Fabric 2013
!
!#” x $@”
@
%
&” x $@”
* *
!1 $” x $@” #% @” x $@”
* $ !^ !^ * @) !@ *
!#” squares* *cut once diagonally &” x !$2” &” x *” $” squares @” x @$2” @” x !&2” @” x !$2” @” x *2” @” x *” @” x ^2” @” x %”
Fabric Name, Placement & Yardage
First Cuts
Next Cuts
Fabric D DREA-06 Green Star
@
!#” x $@”
$
!a yards
$
$” x $@”
$
Fabric E DREA-08 Cream Light Background
@
!#” x $@”
$
!8 yards
@
#2” x $@”
*
!#” squares* *cut once diagonally #2” x *2”
Fabric F WILL-01 Charcoal Dark Background & Binding
! @ ! !) !)
@)2” x $@” !@2” x $@” *” x $@” %” x $@” @w” x $@”
$ $ $ $
@)2” x *” !@2” squares *” x *2” %” x *”
$ yards
!#” squares* *cut once diagonally $” x @$2”
Featuring fabrics from the Garden of Dreams, Color Movement, William, and Razzle Dazzle collections.
Let’s Begin Before you begin read all instructions. Referring to project Cutting Chart, cut First Cuts strips as indicated in chart then cut smaller pieces listed under Next Cuts from these strips. Refer to General Instructions (pages 96–97) for Accurate Seam Allowances and Assembly Line Method to construct this quilt. Use a 4”-wide seam allowance throughout this project. Press seams in direction of arrows as indicated in each diagram. Note: We used an all over floral print for Fabric A that allows us to rotate our blocks not affecting the overall design. If you select a one-way fabric design you will need to refer to layouts and cut fabric appropriately with placement, extra fabric may be needed.
Making the Blocks
1. Sew one !&2” Fabric A square between two Fabric B corner triangles. Press seams toward Fabric B. Sew this unit between two Fabric B corner triangles as shown. Press and label Block 1. Block measures @$2” square.
2. Sew one ^2” Fabric A square to one @” x ^2” Fabric C strip as shown. Press. Sew this unit to one @” x *” Fabric C strip. Press. Make twelve. ^2”
@”
^2” *” @” Make 12
Make 12
3. Sew one unit from step 2 to one &” x *” Fabric B piece as shown. Press. Make eight. &”
*”
Make 8
4. Sew one unit from step 3 to one &” x !$2” Fabric B piece as shown. Press. Make eight. !$2”
Block 1
&”
Make 8
Make 4 Block measures @$2” square
2013 Asian Fabric 43
5. Sew one unit from step 4 between two @” x !$2” Fabric C strips. Press seams toward Fabric C. Sew this unit between two @” x !&2” Fabric C strips. Press. Make eight. @”
7. Sew one $” x @$2” Fabric D strip between one unit from step 6 and one @” x @$2” Fabric C strip as shown. Press. Make four. @$2”
@”
!&2”
Make 8
6. Sew one unit from step 5 between one Fabric E corner triangle and one Fabric D corner triangle. Press seams toward triangles. Sew this unit between one Fabric D corner triangle and one Fabric E corner triangle as shown. Press. Make four. Square block to measure @$2”.
$” @” Make 4
8. Refer to General Instructions (pages 96–97) for Simple Triangles technique. Draw a diagonal line on the wrong side of two $” Fabric C squares. This will be your sewing line. Place two marked squares on one unit from step 7 as shown. Stitch on drawn line, trim 4” away from stitch lines and press and label Block 2. Make four. Block measures @$2” x @(2”. Block 2
Make 4 Fabric C- $” squares Unit from step 7 Make $
44 Asian Fabric 2013
Make 4 Block measures @$2” x @(2”
9. Sew one @)2” x *” Fabric F piece between one unit from step 2 and one @” x *” Fabric C strip as shown. Press. Make four. *”
12. Sew one !@2” Fabric F square to one unit from step 11 as shown. Press. Make four. !@2”
!@2”
Make 4
13. Sew one @” x *2” Fabric C strip to one #2” x *2” Fabric E strip as shown. Press. Sew one @” x %” Fabric C strip to one unit from this step. Press. Make four.
@)2”
@”
%”
#2”
@”
@”
*2”
Make 4
10. Sew one #2” x *2” Fabric E strip to one @” x *2” Fabric C strip as shown. Press. Sew this unit to one @” x %” Fabric C strip. Press. Make four. #2”
%”
@”
@”
Make 4
Make 4
14. Sew one %” x *” Fabric F piece to one unit from step 13 as shown. Press. Make four. %”
*”
*2”
Make 4
Make 4
11. Sew one *” x *2” Fabric F piece to one @” x *” Fabric C strip as shown. Press. Make four. Sew this unit to one unit from step 10. Press. Make four. *2”
Make 4
@”
*”
Make 4 Make 4
2013 Asian Fabric 45
15. Sew one unit from step 14 to one unit from step 5 as shown. Press. Make four.
18. Sew one Block 1 between two of Block 2. Press seams toward center.
19. Referring to layouts (pages 41–42), arrange and sew rows from steps 17 and 18 together. Press.
Adding the Border and Finishing the Quilt
Make 4
16. Sew one unit from step 12 to one unit from step 15 as shown. Press. Sew one unit from step 9 to unit from this step. Press. Make four and label Block 3. Block measures @(2” square. Block 3
1. Sew @” x $@” Fabric C strips end-to-end to make one continuous @”-wide Fabric C strip. Press. Measure quilt from side to side. Cut two @”-wide strips to this measurement. Sew to top, and bottom of quilt. Press seams toward border. 2. Measure quilt through center from top to bottom, including borders just added. Cut two @”-wide Fabric C strips to that measurement. Sew to sides of quilt and press.
3. Referring to steps 1 and 2 to join, measure, trim, and sew %”–wide Fabric F strips to top, bottom, and sides of quilt. Press. 4. Cut backing fabric piece into three equal pieces. Sew pieces together to make one !)#” x !@)” approximate backing piece. Press and trim to backing to measure !)#” x !)#”.
Make 4 Block measures @(2” square
17. Refer to layouts pages (41–42), to arrange and sew one Block 2 between two of Block 3. Press seams away from center. Make two
46 Asian Fabric 2013
5. Press backing and quilt top trimming all excess threads. Refer to General Instructions (pages 96–97) for Finishing the Quilt. Layer and baste backing, batting, and quilt top together. Hand or machine quilt as desired. Refer to Binding the Quilt and bind as desired.
William available in May
An American
' Sake
Experience A couple times a year, a quilt industry event takes Kona Bay Fabrics to Portland, Oregon. During a recent trip, I was excited to find that one of only a handful of premium saké breweries, or kura, in the United States was located less than thirty miles west of Portland in Forest Grove. Forest Grove is in the heart of the Willamette Valley—Oregon’s craft beer-brewing and wine-making mecca.
by Douglas Eagleson
48 Asian Fabric 2013
2013 Asian Fabric 00
W
ith an afternoon available before the show started, I headed west ready to explore the Willamette Valley and visit modern day pioneers, SakéOne. In 1992, when SakéOne was born, American-made saké was a radical idea. Since the Japanese had perfected saké centuries ago, many questioned the idea of revolutionizing a traditional art. Nevertheless, SakéOne’s founder was a visionary. Today, SakéOne is an importer of Japan’s finest saké as well as America’s premium saké company. For nearly two decades, SakéOne has been crafting junmai ginjo (premium) quality saké at its state- of-the-art kura. On arriving, I was greeted with unpretentious SakéOne buildings not out of place in an agriculture region. I was just in time to catch the next tour and surprised that, on a weekday, there were nearly twenty others that were also anxious to see what happens in an American kura. During one of my trips to Japan, I was able to tour a Japanese
50 Asian Fabric 2013
brewery that had been in operation for well over one hundred years. I wondered if I’d see similarities. SakéOne’s Sakémaster, Greg Lorenz, learned his craft hands on at the Oregon brewery with guidance from some of Japan’s leading brewers and remains the only American Sakémaster. The pride of SakéOne’s kura is its traditional cedar koji room, just as I had seen in Japan. This is where the brewing team rests steamed rice in small batches. The premium sake made at SakéOne starts with pure, microfiltered water from a local rainforest aquifer near Forest Grove and whole-grain rice, grown in northern California and milled in-house. Saké is not a beer, wine or distilled spirit. It is a brewed rice beverage made from rice, water, yeast and koji. Mold is the ingredient that makes saké what it is. Mold spores—called koji— are introduced to steamed rice in a traditional cedarwood-lined room. The mold digests the rice with enzymes that convert the starch into sugars.
Clearly, everything at the kura is handled with precision and care- from water management and rice milling, to how the rice is washed and soaked, how the koji is managed, and the detailed brewing process. The twenty minute tour was intimate and thorough. We were introduced to each step and allowed an up close look at all the equipment. I learned a great deal about the process, more than I had remembered from my tour in Japan. My command of English vs Japanese may
52 Asian Fabric 2013
have played a role but our guide was very knowledgeable and welcomed questions. The tour is offered daily, on the hour in the afternoon. Wear comfortable shoes as you will be required to climb some stairs and cross a catwalk. SakĂŠOne does participate in and host a number of events throughout the year, though, so you may want to call ahead to confirm the schedule. At the end of the tour, most of the group headed to the tasting room. The tour is free and tasting flights start at
$3 per person. SakéOne’s line-up is available chilled and tastings are served in wine glasses. The very personable tasting host noted that saké is best served in wine glasses for the ultimate appreciation of its aroma and taste. Guess I can get rid of the little square saké cups taking up space in the cupboard. Though SakéOne undoubtedly honors tradition, Oregon’s pioneering spirit infuses the air that the saké makers breathe and the pristine water with which they brew. SakéOne, is indeed, revolutionizing saké and has put America on the international saké map. The next time you find yourself near Portland, Oregon, don’t miss the chance to visit an authentic kura. If you’d like more information on SakéOne and on how saké is made, visit their website at www. sakeone.com. You are also able to purchase their saké if you can’t find it near you.
2013 Asian Fabric 53
Top Left--Thread
Top Right--Needle Center--Sew
Bottom Left--Cotton
Bottom Right-Cut
Kirutingu Furenzu Quilt Designer: Georgie Gerl Make this project for a quilting friend (Kirutingu Furenzu); blocks feature Kanji’s appliquÊs each representing a different quilting element.
Kirutingu Furenzu Quilt Cutting Chart & Material List Kirutingu Furenzu Quilt (Kirutingu means Quilting Furenzu means Friends)
57” square
material list Backing #2 yards Batting ^#” x ^#” Cut strips as indicated in chart then cut smaller pieces listed from these strips Kanji Placement Top Left--Thread
Top Right--Needle Center--Sew Bottom Left--Cotton Bottom Right--Cut
Fabric Name, Placement & Yardage Fabric A WILL-01 Cream Kani Background & Binding
First Cuts @ ^
!)” x $@” @w” x $@”
Next Cuts %
!)” squares
Fabric Name, Placement & Yardage Fabric D TOMO-04 Blue Outside Border
First Cuts $
*2” x $@”
@
$2” x $@”
Next Cuts $ $ $
*2” x @)2” *” x !@2” $2” x !^2”
!2 yards
!6 yards
@ !@2” x *2” Fabric B @ *2” x !@2” TOMO-01 Blue Accent Rectangles w-! yard Fabric yardage for “Fussy Cut” pieces will vary depending on motif selection.
Fabric E RAZZ-05 Sky Kanji
5 Kanji appliqués (one of each symbol)
3 yard
The first measurement listed in chart runs parallel to the selvage. Fabric C DREA-07 Green Border
!3 yards
56 Asian Fabric 2013
(
$2” x $@”
@ ^ * ^
$2” x @$2” $2” x !^2” $2” x !@2” $2” x *2”
Featuring fabrics from the William, Tomorrow Morning, Garden of Dreams & Razzle Dazzle Collections.
Adding the Appliqué
Making the Quilt
The instructions given are for Quick Fused Appliqué Method for other methods refer to General Instructions (pages 96–97) for Appliqué Technique. Note: It is recommended to use removable stabilizer on the wrong side of the fabric when machine appliquéing. This will give stability to the piece, even stitching, and prevent puckering of fabric.
Some blocks are rotated when assembling the quilt. Finished blocks are labeled with top of unit; note orientation of appliqués prior to sewing blocks together (two appliqués are sewn upside down).
1. Trace all Kanji Patterns on pages 62–66 on paper side of lightweight fusible web leaving 2” space between pieces. Cut approximately 4” away from trace line.
2. With fusible web paper-side up, fuse to wrong side of Fabric E or fabric scraps following manufacturer’s instructions. Cut on traced line.
3. Refer to layouts on pages 54 & 56 to arrange and fuse appliqués to 10” Fabric A squares centering design. Finish all appliqué edges with machine satin stitch or decorative stitching as desired. Make five, one of each variation. 4. Trim appliqué squares to measure *2” square as indicated with red dash line.
1. Sew one Thread appliqué square to one $2” x *2” Fabric C strip as shown. Press. Sew one $2” x !@2” Fabric C strip to unit from this step as shown. Press. !@2”
$2”
$2”
*2”
2. Sew one $2” x 1!@2” Fabric C strip to unit from step 1 as shown. Press. $2”
!@2”
3. Sew unit from step 3 to one !@2” x *2” Fabric B piece as shown. Press. *2”
Square to *2” !@2”
2013 Asian Fabric 57
4. Sew one $2” x @$2” Fabric C strip to unit from step 3 as shown. Press and label this Thread Block. Thread Block Top of Unit @$2”
7. Sew one $2” x !1 @2” Fabric C strip to unit from step 6 as shown. Press. Sew one $2” x !1 ^2” Fabric C strip to unit from this step. Press. !@2”
$2”
Needle Block Top of Unit
$2”
!^2”
$2”
5. Refer steps 1-4 to make Cut Block, checking orientation of Kanji unit, strips and pieces prior to sewing.
8. Refer steps 6-7 to make Cotton Block, checking orientation of Kanji unit, strips and pieces prior to sewing.
Cotton Block Top of Unit Cut Block Top of Unit
6. Sew one Needle appliqué square to one $2” x *2” Fabric C strip as shown. Press. Sew unit from this step to one $2” x !@2” Fabric C strip as shown. Press. *2”
9. Sew one Thread Block one Needle Block as shown. Newto Diagram 9 Press. Arrange and sew together one Cotton Block to one Cut Block as shown. Press.
$2”
Top Row !@2”
$2”
Bottom Row
58 Asian Fabric 2013
10. Arrange and sew together two *2” x 1!@2” Fabric B pieces, two $2” x 1*2” Fabric C strips, and Sew appliqué square as shown. Press and label Sew Block. !@2”
$2”
Sew Block Top
$2”
!@2”
*2”
11. Arrange and sew together rows from steps 9 and 10 as shown. Press.
12. Sew one $2” x !^2” Fabric D strip to one $2” x !^2” Fabric C strip as shown. Press. Make four.
!^2” $2”
$2” Make 4
13. Sew one unit from step 12 between two *2” x !@2” Fabric D pieces as shown. Press. Make two. Referring to layouts (pages 54 & 56), sew quilt between two units from this step. Press. !@2”
!@2”
*2”
Make 2
2013 Asian Fabric 59
14. Sew one unit from step 12 between two *2” x @)2” Fabric D pieces as shown. Press. Make two. Referring to layouts (pages 54 & 56), sew units to sides of quilt. Press. @)2”
@)2”
*2”
Make 2
Finishing the Quilt 1. Cut backing fabric piece into two equal pieces. Sew pieces together to make one ^#” x *)” approximate backing piece. Press and trim backing to measure ^#” x ^#”. 2. Press backing and quilt top trimming all excess threads. Refer to General Instructions (pages 96–97) for Finishing the Quilt. Layer and baste backing, batting, and quilt top together. Hand or machine quilt as desired. Refer to Binding the Quilt and bind as desired.
www.Debsews2.com S p e c i a l i z i n g i n A s i a n Fa b r i c
ASIAN FABRICS TONE ON TONE FABRICS PATTERNS & MAGAZINES FAT QUARTER SELECTIONS SPECIAL SALE ITEMS
10% discount for Asian Fabric magazine fans Use discount code: AFM
60 Asian Fabric 2012
Debsews has been selling fabric to thousands of satisfied customers online since 1999 and we are very proud of our customer service. Visit us at www.Debsews2.com
email: debsews@pixi.com
Kanji Pillows Cutting Chart & Instructions
Kanji Pillows These easy & quick to make pillows will make a great gift for quilting friends.
24” square
Yardage amount varies depending on motif selection and fabric repeat.
material list (for one pillow)
Fabric Yardage for Pillow #1
Cuts
Fabric A Kanji Background Scrap
!
!)” square
Fabric B First Border 3-2 yard
@ @
#2” x !$2” #2” x *2”
Fabric C Outside Border a-w yard
@ @
%2” x @$2” %2” x !$2”
Backing ! yard Cut two !%” x @$2” Batting & Lining @^” square each 24” Pillow Form Kanji Appliqué Scrap Lightweight Fusible Web Scrap
Fabric Yardage for Pillow #2 Fabric A Kanji Background Scrap
Cuts !
!)” square
Fabric B First Border 3-2 yard
@ #2” x !$2” @ #2” x *2”
Fabric C Outside Border a-w yard
$ %2” x !$2”
Fabric D Outside Corners 4 yard
$ %2” squares
Making Pillow #2 1. Refer to Pillow instructions on the left steps 1 & 2 to sew Kanji and First Border strips. Sew unit between two %2" x !$2" Fabric C strips. Press. 2. Sew one %2" x !$2" Fabric C strip between two %2" Fabric D squares. Press. Make two. Sew to sides of pillow. Press.
Making Pillow #1 1. Refer to Kirutingu Furenzu Quilt, Making the Appliqué instructions on page 57 to sew Kanji to Fabric A square.
Finishing the Pillow 1. Layer batting between pillow top and lining piece. Hand or machine quilt as desired. Trim batting and lining even with pillow top.
2. Sew *2" Kanji square between two #2" x *2" Fabric B strips. Press. Sew this unit between two #2" x !$2" Fabric B strips. Press.
2. On one long edge of backing piece fold under 4” to the wrong side and press. Turn under an additional 4” and press. Stitch along folded edge. Repeat for other backing piece.
3. Sew unit from step 2 between two %2" x !$2" Fabric C strips. Press. Sew this unit between two %2" x @$2" Fabric C strips. Press. Refer to Finishing the Pillow to complete pillow.
3. Place quilted pillow top and two backing pieces right sides together matching raw edges and overlapping backing pieces (finished hem edges toward center). Using a 4”-wide seam sew around all edges, clip corners and turn right side out. Press. Insert pillow form.
2012 Asian Fabric 61
Cut Kanji Quick-Fused AppliquĂŠ is used for this project, image is reversed (mirror image). If using hand appliquĂŠ or embroidery method symbol will need to be reverse image before sewing to quilt.
62 Asian Fabric 2012
Cotton Kanji Quick-Fused AppliquĂŠ is used for this project, image is reversed (mirror image). If using hand appliquĂŠ or embroidery method symbol will need to be reverse image before sewing to quilt.
2012 Asian Fabric 63
Needle Kanji Quick-Fused AppliquĂŠ is used for this project, image is reversed (mirror image). If using hand appliquĂŠ or embroidery method symbol will need to be reverse image before sewing to quilt.
64 Asian Fabric 2012
Sew Kanji Quick-Fused AppliquĂŠ is used for this project, image is reversed (mirror image). If using hand appliquĂŠ or embroidery method symbol will need to be reverse image before sewing to quilt.
2012 Asian Fabric 65
Thread Kanji Quick-Fused AppliquĂŠ is used for this project, image is reversed (mirror image). If using hand appliquĂŠ or embroidery method symbol will need to be reverse image before sewing to quilt.
66 Asian Fabric 2012
Phnom Penh Cambodia An adventure with a past
P
hnom Penh is found where three rivers converge in Cambodia. The confluence creates what locals refer to as the Chaktomuk, or Four Faces. The three rivers, the
Tonle Sap, Mekong and Bassac, are the lifeblood of the modern residents of Phnom Penh, just as they have been for centuries. 2013 Asian Fabric 67
In fact, it is to a legend of one of
The temple hill, known as Wat
the rivers that the city owes its name.
Phnom, is still one of the city’s main
In 1372, Lady Penh discovered a koki
tourist draws. Locals flock here as
tree floating in the river. She fished it
well, asking advice of the fortune tell-
out and discovered four statues of Bud-
ers and worshipping at the shrines.
dha inside. Excited by her find, she
The temple also includes the tomb of
asked local builders to fashion a hill on
King Ponhea Yat, who ruled between
which a wat, or temple, could be built.
1405 and 1467. The area surrounding the hill quickly became known as Phnom (Hill) Penh (for the woman who behind the temple’s construction). An altar to Lady Penh can be found at the site. Legend has it that she is particularly
helpful
to
the
women
who seek her intervention and advice. Phnom Penh is Cambodia’s capital and largest city. More than two million people live here, and since the city has become a major tourism destination in recent decades, the congestion here can sometimes be tremendous. The tropical wet and dry climate can make timing a visit tricky.
68 Asian Fabric 2013
Temperatures are hot throughout the year and the monsoons can be immense and devastating. The months between November and February are typically excellent ones in which to visit Phnom Penh, as the temperatures are moderate, the rainfall levels are lower and the humidity is bearable. The city was only made Cambodia’s capital in 1866, even though its history goes back much farther than that. All of the more recent rulers have left their mark on the capital. Beginning in 1863, the French occupied the territory. As a result, much of Phnom Penh features design and architecture that appears to be straight out of Paris. Long, tree lined boulevards and ornate buildings seem at once out of place and perfectly at home. During the French colonial period,
Phnom Penh was widely considered to
The first of these is the Toul Sleng
be the most beautiful city in French In-
Genocide Museum. In a brutal four
dochina thanks to its well kept parks
year period, the Communist Khmer
and other European innovations. The
Rouge, under the authority of leader
French left in 1953, but their influ-
Pol Pot, tortured and killed people in
ence remains. Some of the European
what had once been a high school. As
style buildings have fallen into disre-
the communists came into power, the
pair. Nonetheless, the beautiful bones
school was converted into a concen-
remain and some of the French colo-
tration camp known as S-21. It is esti-
nial buildings have been restored to
mated that some 17,000 people passed
their former grandeur in recent years.
through its walls, with only a small
Penh
handful of that number surviving.
and Cambodia flourished with an in-
Today, little has changed with S-21. It
dependent government. Despite this
is preserved much as the Khmer Rouge
success, the invasion of the Khmer
left it with the addition of several photo-
Rouge in the 1970s very nearly de-
graphs that tell the building’s awful tale.
stroyed the city and its people. This
The other Khmer Rouge landmark
bloody and vicious period is memori-
that draws many tourists to pay their
alized at two of the city’s main tour-
respects is the killing fields outside of
ist attractions, both of which provide
the city. Many of the people who did
an unforgettably moving experience.
not survive S-21 are buried here, and
During
the
1960s,
Phnom
2013 Asian Fabric 71
several memorials commemorate their
Next door, the Royal Palace and Silver
sacrifice. The mood is somber at both
Pagoda are also major attractions. The
of these attractions, but most who vis-
noisy chaos of Phnom Penh’s streets
it here are richer for the experience.
is muffled by the high walls that sur-
At the National Museum, more of
round the palace. The palace’s function
the country’s ancient past is uncovered.
is partly symbolic, but it also serves
Originally built in 1920, the museum
as the residence of the king and sev-
now boasts a collection of more than
eral state functions are held here. It’s
5,000 artifacts that stretch across the
a remarkable site to visit, thanks to its
breadth of most of Cambodia’s history.
unique architectural blend of European, Khmer and Bangkok Palace styles. Also found within the royal compound is the spectacular Silver Pagoda, so named because of its unique, silver tiled floor. Royal ceremonies are conducted in the pagoda, and it also features a priceless collection of religious artifacts. Among them is the spectacular Emerald Buddha, which is a breathtaking sight. Shopping is also a main attraction for many visitors. By far the most popular spot to look for one-of-a-kind curios and handcrafts is the Central Market. Its architecture is almost as interesting as the wares being sold within. That’s because the market was built in the Art Deco style, yet it still has the form of a traditional marketplace. The sight is definitely worth a
00 Asian Fabric 2013
few photographs before venturing inside to browse through hundreds of stalls selling jewelry, gemstones, tshirts, statuary and handmade silks. The Russian Market is another highlight. Its unusual name came about in the 1980s when most visitors to the city were Russian. This market became the top destination for foreign visitors, hence the name. The selection of souvenirs tends to be more varied here, and this is probably the best place in the city to purchase fabrics. The tradition of Cambodian silk goes back hundreds of years. It is often referred to as Khmer Golden Silk thanks to its natural yellow color. The silk thread that comes from the cocoon of the multivoltine is a round shaped filament capable of excellent light reflection. This produces a particularly lustrous silk that is highly desirable. A
notable
bookstore
within
the
city, Monument Books, is well worth a few hours of browsing. They have an excellent selection of new books, among them an assortment of volumes
covering
Khmer
culture,
his-
tory and language. Any of these would make an ideal keepsake of the city.
Food in Phnom Penh is varied and
ant cacophony of scents and flavors.
delicious. This is the perfect place to try
Perhaps the best way to understand
the national dish, amok. This curry of
the city is by taking a cruise along its
fish and coconut is served in a banana
main river, the Tonle Sap. This remark-
leaf. The curry is steamed inside the ba-
able waterway is the only one in the
nana leaf, resulting in a dish that is fla-
world that reverses its direction ev-
vorful and moist. A rice porridge known
ery year. A festival marks the occasion
as bobor is also a favorite specialty. Lo-
each summer in June. It’s the begin-
cals eat bobor at any time of day. Por-
ning of the monsoon season, so it can
ridge shops typically open at dawn and
be a bit wet, but observing this tradi-
remain open through the afternoon.
tional Cambodian festival is a marvel.
Classical Khmer restaurants also make
Actually, visiting Phnom Penh at any
the dish available later in the day. The
time of year is a memorable event. The
best dining in the city might be found
successful mixing of the ancient, the
along Sisowath Quay where a memo-
holy and the modern makes this a fas-
rable combination of Western, Khmer
cinating destination for any traveler.
and Asian delicacies make for a pleas-
74 Asian Fabric 2013
The Korakuen Collection, in stores now— click on the quilt to download a free pattern.
Vietnamese Summer Rolls & Peanut Sauce These scrumptious rolls will quickly have you saying, “Where have you been all my life!?” Light and crunchy, Vietnamese Summer Rolls are an inviting choice for warm spring and summer days. Plus, a variety of your favorite ingredients can be substituted for the recipe here making it a great menu item several days a week. They are the perfect meal for one or as appetizers for thirty. Once the prep work is done, the rolls come together quickly. Although the rolls can be made ahead, they’re better rolled fresh. Here’s a helpful tip—keep sealed containers full of prepped fillings in the refrigerator and a healthy, delicious meal can be on the table in minutes. The rolls are delightful as is or you can prepare dipping sauces. Peanut sauce is the traditional accompaniment but we’ve included a couple other options to try. Mix all ingredients well to prepare sauces. Serve them at room temperature. We’ve made basic Shrimp Rolls. Other tasty ingredients to consider as replacements or additions include: chicken, tofu, chopped peanuts, avocado, sprouts of all kinds, mint, basil, apple, mango, arugula and spinach. You’re limited only by your imagination. Have fun!
76 Asian Fabric 2013
2013 Asian Fabric 77
Summer Rolls Sauces ingredients Easy Peanut Sauce ½ cup crunchy peanut butter 2 Tbsp soy sauce 1 tsp honey 1 tsp vinegar 1 clove garlic minced fine ½ tsp hot sauce (optional) ½ cup water
Garlic-lime Sauce
ingredients 15 large 16-20 ct shrimp ½ cup cucumber (English preferred) ½ cup carrot 4 lettuce leaves 1 bunch of cilantro 1 cup rice noodles 8 rice paper circles
preparation 1. Open rice skin package and remove what you need.
¼ cup sugar ¼ cup hot water ⅛ tsp hot chili oil 2 cloves garlic minced ⅓ cup lime juice ¼ cup soy sauce
Ginger Sauce ¾ cup fish sauce ¾ cup rice vinegar 2 Tbsp ginger grated ⅛ tsp hot chili oil 2 Tbsp honey
78 Asian Fabric 2013
2. Gather other ingredients.
3. Cook shrimp according to package and slice in half.
6a & b. Peel cucumbers, remove seeds and slice.
4. Prepare noodles according to package.
7. Cut lettuce into strips.
5. Peel and julienne carrots.
2013 Asian Fabric 79
8. Fill a container with warm water. It should be large enough for rice skin to lay flat.
10. Spread the skin on a flat surface and put 3 shrimp halves in the middle.
9. Remove the skin when it is slightly transparent and soft. It will tear easily if left in the water too long.
11. Add thin layers of other ingredients.
12. Fold one side over ingredients. Then fold in ends. Pull taut while you roll up. The roll should stick to itself.
13. Serve immediately and enjoy!
80 Asian Fabric 2013
Friends Designer: Melanie Formway Chang Combine two art forms, painting and quilting, to create this Asian masterpiece.
Getting Ready Melanie’s recommendations for this project:
Friends Cutting Chart & Material List !)2” x @^2”
material list Backing 2 yard Batting !#” x #)” (Thermore by Hobbs)
Foamcore !%“ x @)“ Contact Paper, clear Paint & Brushes Water Container 1” Masking Tape Paper Towels Permanent Black Archival Pen See Painting Tips for detailed paint supplies and sources.
Read all instructions before beginning this project. Fabric Name, Placement & Yardage
First Cuts
Fabric A Center (for painting)
!
!@” x !*”
Fabric B Border
! @ ! @ @
%” x !!” $2” squares $” x !!” @” x $@” !” x !!”
@ @
!w” x !!” !2” x $2”
2 yard
3 yard
Fabric C Dark Accents
8 yard
82 Asian Fabric 2013
• Pebeo Transparent paints are available at Dharma Trading, other paints are available but they need to be water based and transparent, opaque paints will be stiff.
• Loew Cornell fabric brush Series 223 shader size 4, available at Embellishment Village.com. If you already have a brush it must be a stiff bristle brush to do this type of painting. You will also need 2”1” stencil brush available at craft stores.
• Paint colors needed—Buttercup Yellow, Butterscotch Yellow, Cardinal Red, Moss Green, Dark Brown and Ultramarine Blue.
Friends
2” cuts are used for facing if desire this can be cut from backing fabric instead.
• Use Kona Bay’s white combed cotton fabric to paint on.
• Melanie’s prefer batting for this project is Thermore by Hobbs.
• 1” Bamboo rod or something similar to hang quilt on wall. • Use 4”-wide seam when sewing pieces together.
Preparing the Canvas
1. Cover 15” x 20” foamcore with clear Contact paper. Cut paper 18” x 23” and remove backing. Lay sticky side up on a flat surface. Center foamcore and press down. Flip over, starting at center and working to outside edge smooth air bubbles out. Clip corners and turn extra to the back.
2. Cover traced or copy pattern page with clear contact paper. 3. Center pattern on foamcore, with small piece of masking tape mount opposite corners to secure.
4. Center fabric over pattern, using 1” masking tape, mount top and bottom edges then left and right.
1. Mix three shades of rust--Buttercup Yellow, Cardinal Red, and Moss Green. Use yellow and red to get orange. Use yellow, red, and green to make rust, getting the desired three shades of rust. Referring to photo for color placement and Dry Brush Technique tip box to paint rust to panel flower petals starting with the lightest shade.
Let’s Paint
dry brush T
IP
• A dry brush technique is used throughout this project. Touch tip of brush in paint. Paint will be slightly globby and shiny. Lay brush on flat side and drag across folded paper towel. Flip brush and drag opposite side of brush on folded paper towel. Brush will appear dry (no paint). • Using the flat side of brush, placing it on outside line of the leaf, drag it in a long stroke toward center. Do not use short, choppy strokes (no petting).
2. Mix Dark Brown with Cardinal Red and Moss Green. Shade one side of each of the five sections of the leaf. In the middle, start with the flat edge of brush and drag it toward the edge and point of leaf. Use a light hand and apply a small amount of paint. Another layer can be added if it’s not dark enough. Refer to photo for color placement and paint all leaves.
2013 Asian Fabric 83
3. To complete the branch, use Dark Brown paint applying it with the flat side of brush. Start stroke from outside edge toward center using short choppy strokes. Complete branch from other side, there will be a white halo down the center of the branch. Mix Ultramarine Blue and Dark Brown, place a small amount on the bottom of branch and where the branches meet. Refer to photo for color placement. Mix Moss Green and Dark Brown and accent branch with similar brush stroke.
4. For bird in flight, use the brightest rust to softly accent the divisions of the wings, cheek, and tummy. Using darkest rust, brush same areas on second bird.
5. Using black (blue and brown mixture), lightly paint birds’ feathers and head. Go back and darken head and tips of feathers. Refer to photo for color placement.
84 Asian Fabric 2013
6. Mix Butterscotch Yellow and Dark Brown to apply to birds’ feet and beak. Separate beak with fine, light line of dark brown.
7. Using the dirty green previously mixed for branches, apply with 1” stencil brush to background. Wipe brush on paper towel until it is dry before beginning. It is recommended to test this technique on scrap fabric prior to painting panel. Too much paint will leave dark streaks; do not worry about overlapping the pattern slightly as it won’t show. Do not leave a white halo around pattern. Using Ultramarine Blue and Black, apply paint to upper area and a few spots to lower area.
2013 Asian Fabric 85
8. Trim painted panel to measure !1 !” x !%2”. Sign your name to panel using a permanent archival black pen.
2. Layer and baste backing, batting, and quilt top together. Hand or machine quilt as desired.
3. To make tabs fold one $2” Fabric B square in half right sides together. Sew one long side to make a tube. Turn right side out and press so seam is center in back. Make two. Repeat to sew !2” x $2” Fabric C strips to make two Fabric C tubes. 4. Center Fabric C tube over Fabric B tube and attach at raw edges. Fold in half to make tabs.
Assembling and Finishing the Quilt 1. Arrange and sew together one $” x !!” Fabric B piece, two !w” x !!” Fabric C strips, two !” x !!” Fabric B strips, one painted panel, and one %” x !!” Fabric B piece as shown. !!”
$” !w” !”
Finished Painted Piece
!%2”
!” !w” %”
86 Asian Fabric 2013
5. Refer to photo for tab placement, place folded tabs at top of quilt, matching raw edges, and tabs facing toward center. Sew using 8”-wide seam allowance. Leave tabs in this direction till facing has been sewn to quilt.
6. To make facing, measure quilt from side to side. Cut two @”-wide Fabric B strips to this measurement. Fold one long side 4” to the wrong side and press. Sew strips to top, and bottom of quilt, aligning raw edges. Press seams toward Fabric B.
7. Measure quilt through center from top to bottom. Cut two @”-wide Fabric B strips to that measurement. Fold one long side 4” to the wrong side and press. Sew to sides of quilt, aligning raw edges. Press. 8. Fold top and bottom facing to the back of quilt and hand stitch in place. Repeat for side facing.
contributors
melanie formway chang Melanie’s artistic side surfaced early, with fabric playing an important role. She credits her mother, and later a BA in Home Economics, with fostering an interest in fabrics. A passion for painting has also been actively developing for thirty-plus years. She has worked in watercolors, oils and acrylics. Now, she has added fabric paint. Her skillful use of paints prompted an invitation to the juried Watercolor Society of Oregon and she has won her numerous awards. In the 1990’s, Melanie started quilting and discovered a way to merge her two loves. Since, painting on fabric has become her focus. Today, she teaches classes to eager students in a variety of venues. Long a pattern designer for Story Quilts, the occasional contribution has blossomed into a busy schedule of new patterns. Each year, Melanie looks forward to joining Story Quilts at International Quilt Market in Houston. Melanie and her husband recently migrated from Oregon to Oceanside, California to welcome their first grandchild. She continues to speak to guilds, teach fabric painting and design for Story Quilts. Life is full. When we visited, Melanie shared some very important words of wisdom, “Create it, give it away and share the joy. There is no point in putting your artwork in the closet. Everyone needs beauty in their lives.” Visit www.storyquilts.com to see more of Melanie’s work.
Hanko Collection in stores now
88 Asian Fabric 2013
Transform Fabric Scraps into Beads — It’s Easy! Designer: Karen MacGeraughty
We all have those pieces of fabric that are too small to incorporate into your next quilting project but too beautiful to throw away. Try the solution we’ve outlined here. Before you know it, you will be eagerly collecting scraps for your next bead making session. Once you’ve gained confidence making the small tapered beads demonstrated here, you may want to try different sizes and shapes. For instance, a straight strip will result in a tube bead. Try different sized prints and color combinations. Get busy now and you’ll have gifts ready for everyone when the hoilday season rolls around.
materials neede d
Fabric Scraps—10” lengths x 1” at base Slim Drinking Straws—four to six 10mm Black (inner diameter 3mm) round, Wood Beads—nine 6mm (inner diameter 3mm) Gold Spacer Beads— eighteen 3mm Gold End Caps with loops—two Gold Toggle Clasp—one 18" of silk or nylon 3mm Beading Cord to make a 16" finished length necklace Rotary Cutter and Cutting Mat Metal ruler and Scissors White Fabric Glue (dries clear) Small Ceramic Bowl for glue ¼" Flat Paintbrush Needle Nose Jewelry Pliers
2013 Asian Fabric 89
Fabric Beadmaking 101 1. Begin with your favorite fabric at 10 inches length. To make a tapered bead, measure triangles 1" at base and 10" length. Cut eight strips for a 16" length necklace. Cut more if a longer necklace is desired.
2. Hold one fabric triangle and begin to wrap around the straw, add a dab of glue and continue to roll fabric away from you, keeping tension tight.
90 Asian Fabric 2013
3. Apply glue every 2-3 wraps. Don't worry about glue running out beyond the edges, as the glue will bind edges, making the bead stronger.
4. Keep fabric triangle centered around straw to create the tapered bead and to maximize the variety of color shown from fabric.
5. Continue to wind to the tip of the triangle. Thoroughly coat the end and squeeze tightly.
6. Paint entire bead with white glue ensuring to seal edges, being careful not to over saturate. Place straw over a cup to allow bead to dry.
7. Repeat steps 1–6 to complete all fabric beads for necklace. Note: It's a good idea to make a few extra in case you want to make the necklace longer or to make a pair of earrings. After all beads are dry, simply slide them off of the plastic straw.
2013 Asian Fabric 91
Design Your Beaded Necklace 1. C h o o s e b e a d s t o complement fabric beads in color, shape and texture. Be certain that all beads have the same inner diameter and will accomodate the cord size. The cord and beads used have an inner diameter of 3mm, so all elements fit snuggly and align when strung onto the necklace. 2. String beads on cording repeating pattern, checking measurement to obtain desired finished necklace length. Next, attach the toggle clasp (page 93) and begin to string beads onto the cord in desired pattern. 3. T h e c o m p l e t e d necklace should look like the photo at approximately 16" in length. If a longer necklace is desired, repeat pattern to obtain this length. Note: Cording length and number of beads needed will vary.
92 Asian Fabric 2013
Attaching the Toggle Clasp 1. Cut an 18" length of cord, place one end inside of an end cap with loop.
2. Hold cord and end cap in place, while folding one side of end cap over cord with needle nose pliers. Squeeze cap firmly but not tightly.
3. Bend other side of end cap over cord, carefully tucking cord into the cap and closely with pliers. Secure both sides squeezing tighlty, test to be certain the cord is secure. Place open jump ring into loop.
4. Place one part of the toggle clasp into the jump ring. Close jump ring and gently close with pliers. After all beads are strung (page 94), repeat these step to attach the other part of the clasp.
2013 Asian Fabric 93
Stringing the Beads 1. With one part of the toggle clasp secured, begin stringing beads onto cord in desired pattern.
2. Continue stringing beads following pattern. Leave 2� of cord remaining to attach other end of toggle clasp.
3. Optional step: Secure beads in place by tieing a knot close to first and last beads as shown in red circle area below.
94 Asian Fabric 2013
NEW RELEASES | in stores now
Falling Leaves
Floral Legacy
general instructions
How-to Help You! Before You Begin We recommend washing and pressing your fabric prior to cutting it into strips and pieces. To help prevent fabric from fraying in the washer, clip corners at a 45 degree angle removing a small triangle piece.
Achieving a Perfect Block Accurate Seam Allowance Use 4”-wide seam allowance for all projects in this magazine unless otherwise stated. If seam allowances differ as little as z” assembling blocks will be difficult, especially when incorporating several block designs in a quilt. To check your seam allowances follow these steps.
Half Square Triangles
without breaking threads, continue this process to stitch additional units. Cut sections apart, press and continue with next step.
Fussy Cut This process is the selection and cutting of a particular motif pattern which is featured in a cut piece. Remember to center design and always allow for seam allowance.
Simple Triangles This is an easy way to make triangles from squares.
Step 1 Draw a diagonal line on the wrong side of fabric square that will become the triangle. This will be your stitch line.
Step 1 Cut three 12” x 6” pieces of fabric from assorted scraps. Sew pieces together to make one 32” x 6” piece. Press.
Step 2 Center strip should measure 1” x 6”. If piece measures differently check to see if seams have been pressed flat. If the piece still differs cut new strips and adjust seam allowance until you achieve the perfect stitch.
Pressing Press using steam or dry heat setting. Always use an “up and down” motion since a side-to-side motion can distort the block or unit.
Assembly Line Method Use this method when making multiple pieces or blocks.
Step 2 Place marked square on fabric piece shown in construction step matching raw edges. Sew on drawn line and trim 4” away from stitching.
Fabric A- 2 2" x 2 2" Fabric B- 2 2" x 6 2"
Step 3 Press seams as indicated in construction diagram. Measure sewn piece to check accuracy.
Tip: There is a waste factor with this technique but you can stitch an additional 2” away from stitch line. Cut piece between stitching saving the smaller version for some future project. Diagram 3
Step 1
Position pieces right sides together, stitch unit.
Step 2 Align and sew the next unit
96
ASIAN FABRIC 2013
This technique differs from the Simple Triangle method; you will be making two triangles at one time.
Step 1 Draw a diagonal line on the wrong side of one fabric square. Place marked square and one corresponding square right sides together. Sew a scant 4” away from drawn line on both sides, cut on drawn line, and press.
Fabric F- 2 2" x 2 2" Fabric D- 2 2" x 2 2"
Square to 2” Make 2
Step 2 Measure unit and trim as indicated in construction diagram.
Applique Technique Quick Fused Method This method joins fabric to each other with the use of fusible web. There are many types on the market and you will need to refer to manufacturer’s instruction for specific requirements. If quilt does not require laundering you can use heavy-weight fusible web and follow steps 1-4. If your quilt will require laundering use lightweight fusible web and follow all steps. Remember that appliqués when pressed to background fabric will be a reverse image from patterns provided.
Step 1 Trace all appliqué pieces on the paper side of lightweight fusible web leaving 2” space between pieces. Cut approximately 4” away from traced line.
Step 2 With fusible web paper side up, fuse to the wrong side of fabric scraps following manufacturer’s instructions.
Step 3 Cut on draw line. Remove future project
paper backing, a thin film of adhesive will remain on fabric.
General Instructions
Step 4 Referring to project photo, position and fuse all pieces of one appliqué design at a time onto background.
Tip: An Appliqué Pressing Sheet is very helpful when there are many elements to a design. Place your pattern (reverse image from pattern provided) under the pressing sheet as a guide. Arrange pieces on sheet and press following manufacturer’s instructions. Allow piece to cool, remove appliqué unit and arrange on background to fuse unit in place. If the piece is not cooled, the fusible web could remain on the sheet instead of the fabric.
Step 5 If using a machine, cut a piece of stabilizer larger than appliqué area and pin to wrong side of fabric. Stabilizer is used to achieve an even stitch. Using a satin stitch, blanket stitch or other decorative stitching to secure appliqué in place. Start stitching from the background to the foreground. Option: use a hand embroidery stitch instead.
Hand Appliqué If project specifies quick-fuse you will need to reverse all patterns and add 4”- wide seam allowance. The steps that follow will add the seam allowance after pattern is traced onto fabric.
Step 1 Make a template of all pattern pieces and indicate where pieces overlap. Place template on right side of selected fabric.
Step 2 Trace around template using a removable fabric marker. This will be your turn under guide. Cut out shapes approximately 4” beyond traced line. Step 3 When layering and positioning pieces always work from the background to the foreground.
Step 4 Enter from the wrong side of applique shape bringing the needle up on the traced line. Using the tip of the
needle turn under a small portion of the fabric along trace line and secure with thumb. Using a blind stitch, stitch along folded edge to join piece to background. Stitch is hidden under fabric.
Blind Stitch
Finishing the Quilt
Option 1 Step 1 Position binding away from corner leaving 8” free of stitches and aligning raw edges with the edge of the quilt. Sew using a 4”-wide seam.
Step 2 Stop sewing 4” from quilt top edge and backstitch. Clip threads and turn quilt. Fold binding up at a 45 degree angle to create the mitered corner as shown. Diagram 1
Backing fabric and batting should be 4”-8” larger than the quilt top. Press backing and quilt top trimming all excess threads from quilt prior to basting.
Step 1 Lay backing right side down, batting and quilt top (right side up) on top.
Step 2 Backing and batting need to
Step 3 Fold the binding back down aligning top fold with edge of quilt and matching raw edges. Start stitching 4” Diagram 2 for all corners. from quilt edge. Repeat
be taut prior to basting quilt. Start in the center and work out toward edges. You can hand stitch, pin or use a specialty tool to baste quilt together.
Step 3 Check batting instruction for quilting requirements. Hand or machine quilt as desired. Remove basting.
Binding the Quilt Two options are given for binding the quilt. For both options trim batting and backing 4” beyond raw edge of quilt, this will give fullness to the binding. Sew binding stripes end-to-end to make one continuous strip. Fold and press binding strips in half lengthwise with wrong sides together. To reduce bulk when joining strips, cut ends at 450 angle and sew together as shown.
Step 4 Determine length needed for binding strip ends, trim and sew ends together. Stitch binding to quilt. Fold binding to back of quilt, a diagonal fold will form at the corners. Hand-stitch binding to back of quilt.
Option 2 Step 1 Measure quilt through center from side to side. Cut two binding strips to this measurement. Sew to top and bottom of quilt matching raw edges with edge of quilt. Press binding away from quilt top.
Step 2 Measure quilt through center from top to bottom including the binding just added. Cut two strips to this measurement and sew to sides of quilt. Press.
Step 3 Fold top and bottom strips to the back and pin in place. Repeat for sides. Hand-stitch binding to quilt. 2013 ASIAN FABRIC 97
New Releases | in stores this now
Flutter Friends
Kasa Collection