Today's Quilter Issue 90 by Immediate Media Company London Ltd.

SUMMER s i ! Fi capturesBowmanaperfectsunnydayinthefields TULIPS AND HEARTS COME TO LIFE IN NICOLA DODD’S DESIGN READY FOR THE RACES CELEBRATE THE SEASON WITH JO COLWILL’S CHARMING HANGING HIDDEN STARS SEW SASHING AND POSTS TOGETHER TO REVEAL TWINKLING STARS Love to sew!to sew! BYLINDA CLEMENTS THEESSENTIALGUIDE Master curved shapes to develop your quilting skills QUILTING CURVES Fearless QUILTING Find the joy (and forget the fear) in free-motion quilting with top tips from Renée Fleuranges-Valdes THE ONLY QUILTING MAGAZINE WITH GORGEOUS PROJECTS & EXPERT ADVICE ISSUE 90 Crazy Quilts Quilts Find out about thisout 19th century patchwork style19th century

• Nicola Dodd • Renée FleurangesValdes • Carolyn Forster • Tina Prior • Andrea Walpole Photography Our Media unless otherwise stated. Write to us Today’s Quilter, Our Media, Eagle

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Editor Fiona

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The delightful Jo has created a design to remember and celebrate Her Majesty’s Jubilee with her charming race day design on page 69! Fi Bowman SUMMER HAZE The final seasonal quilt is here in all its glory. Turn to page 21 to sew summer in fabric and threads with Fi’s pattern!gorgeous us at www.gathered.how/todaysquilter the team Lawrence Art Rachel Bullen Production Doe Technical Editor Paula Hope Features Editor Anne Williams Technical Consultant Lin Clements Bowman Colwill House, Bristol, BS1 email: todaysquilter@immediate.co.uk Call 03330 any queries, visit www.buysubscriptions.com/contactus Order today www.buysubscriptions.com

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• Jo

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In this issue, we’re delighted to feature…

Fiona Lawrence Editor

PS: We love to hear from you - keep in touch online, by email or by post. We’ve been so lucky with the weather here in Bristol, blue skies and sunshine... well, during weekdays at least... it always seems to rain on the weekend! So it has been wonderful reading through Fi Bowman’s final seasonal Morris-inspired project for summer, which really captures the feeling of a hot day in the fields before harvest time. If you’ve missed her first three designs for autumn, winter and spring; find them in issues 68, 82 and 85 of our mag respectively (you can buy all back issues from issue 1 digitally in the Today’s Quilter Magazine App, visit todaysquilter.page. link/library to find out more). We think the collection of all four seasonal quilts displayed in your house would look fantastic, and we’d love to see photos of your makes and where you are displaying them. You can send photos to todaysquilter@immediate.co.uk. Enjoy!

Jo Colwill RACE DAY!

LICENSING Director of International Licensing & Syndication Tim Hudson PUBLISHING Publishing Director Liz Taylor liz.taylor@ourmedia.co.uk Managing Director (Specialist Portfolio) Marie Davies Managing Director (Bristol) Andy Marshall Executive Chairman Tom Bureau Printed and bound by William Gibbons Distributed in the UK by Frontline BUYING Karen Flannigan *Lines open 9am to 5pm, Monday to Friday. Calls from landlines will cost up to 9p per minute. Call charges from mobile phones will cost between 3p and 55p per minute but are included in free call packages.

Our Media Company Bristol Limited (company number 05715415) is registered in England and Wales. The registered office of Our Media Company Bristol Limited is at Vineyard House, 44 Brook Green, London W6 7BT. All information contained in this magazine is for information only and is, as far as we are aware, correct at the time of going to press. Our Media Company Bristol Limited cannot accept any responsibility for errors or inaccuracies in such information. Readers are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this magazine. If you submit unsolicited material to us, you automatically grant Our Media Company Bristol Limited a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk. Although every care is taken, neither Our Media Company Bristol Limited nor its employees agents or subcontractors shall be liable for loss or damage.

WELCOME!

4ST or

Contributors Fi

African America quilt on cover: ‘Everybody Quilt’ by Nora Ezell (1919–2007), dated 1985. (Robert & Helen Cargo Collection, International Quilt Museum 2000.004.0031). See it at this year’s Festival of Quilts Image © International Quilt Museum

Nicola has been busy with her BOM designs (find them on page 75), plus her Tulips and Hearts quilt in reds, greens and white (page 40). Nicola Dodd STITCHED WITH LOVE 3

Editor Jessie

Manager

Todaysquilter Todaysquilter Todaysquilter Todaysquilter www.gathered.how/todaysquilter

ADVERTISING Call: 0117 300 8206 Advertising Penny Stokes Client Partnership Beckie Pring Business Development Manager Lou Dunn MARKETING AND CIRCULATION Newstrade Marketing Manager Janine Smith Export Marketing Manager Rebecca Richer Direct Marketing Manager Penny Clapp Direct Marketing Assistant Adam Spooner PRODUCTION Production Coordinator Ian Wardle Production Manager Rose Griffiths/Louisa Molter Production Director Sarah Powell

4 YOUR GIFT COLOUR THEORY GUIDE A must-have tool for all your quilt planning! Choose the perfect colours and fabrics for your quilts every time. Join us at www.gathered.how/todaysquilter HAPPENING NOW 10 INSPIRED BY… Two-tone colour combinations 13 FRESH PICKS 18 SHOW AND TELL 20 DIARY DATES 90 CREATIVE SPACES Find an exclusive sneak peek into designer Andrea Walpole’s very own quilting heaven! WORKSHOPS 61 ESSENTIAL GUIDE Demystify simple curved quilting under Lin Clements’ expert guidance 75 BLOCK OF THE MONTH Stitch the latest instalments of the Primrose Hill BOM, Flower Stall and Ice Cream Stand WWW.FACEBOOK.COM/TODAYSQUILTER WWW.TWITTER.COM/TODAYSQUILTER WWW.INSTAGRAM.COM/TODAYSQUILTER GREAT READS 35 MAKER’S GUIDE Take a bold step into fearless quilting with Renée Fleuranges-Valdes 48 QUILTING STYLES Join Anne Williams as she delves into the world of crazy quilts! 52 Tradition and class come together in Carolyn Forster’s stunning stars design. No need for basting! Complete your Morris seasonal series with the showstopping summer quilt21

POSTMASTER: Send address change to Today’s Quilter magazine, Immediate Media, PO Box 401, Williamsport, PA 17703, USA MEASUREMENTS NOTE Either metric or imperial measurements (sometimes both) are included in each project, as per the designer’s preference. Converting measurements could interfere with cutting accuracy. Follow the same units of measurement throughout; do not mix metric and imperial. Read the instructions all the way through before cutting any fabric. Always make a test block before embarking on a large project.

QUILTING IS FOR EVERYONE At Today’s Quilter, we want inclusivity to be at the heart of what we do. We’re committed to creating content that reflects and celebrates the diversity of the quilting community. Quilting is for everyone, regardless of ethnicity, age, size, ability, sexual orientation or gender identity. We have begun work on a plan to drive meaningful change, but we know it’s a work in progress. We want to listen to you, our readers. Join the conversation on Instagram @todaysquilter or get in touch at todaysquilter@immediate.co.uk

5Join us at www.gathered.how/todaysquilter 69 Sew Jo Colwill’s joyful himself!Queen’sladiesappliquédfeaturingprojectTildaandThejockey WWW.PINTEREST.COM/TODAYSQUILTER WWW.GATHERED.HOW/TODAYSQUILTER PROJECTS 21 HARVEST HAZE Sew this month’s magnificent cover project – Fi Bowman’s latest appliquéd seasonal instalment! 40 EVERLASTING LOVE Combine heart and flower blocks in Nicola Dodd’s delightful pink, green and white colour palette 52 HIDDEN STARS Make a generous dent in your stash with this unique, tied quilt 69 HER MAJESTY’S HORSE Stitch a homage to The Queen’s Jubilee with this stunning wall-hanging PLUS 03 WELCOME Fiona chats about what’s in this issue 06 YOUR GIFTS Your Colour Theory guide + digital Ultimate Guide to Quilting bookazine! 32 SUBSCRIPTION OFFERS Try our free trial of our digital subscription! 68 DIRECTORY Quilting suppliers at your fingertips 74 NEXT MONTH A sneak preview of issue 91 81 TEMPLATES For the projects BYLINDA CLEMENTS THEESSENTIALGUIDE 61 SIMPLE CURVED QUILTINGQUILTING Explore this fancy patchwork style from the nineteenth century48 Cheerful and modern; create a refreshing, evergreen beauty in perfect symmetry40 The Primrose Hill Block of the Month!75 Today’sQuilter–August2022(ISSN20593230)(USPS020-750) is published 13 times a year (monthly, with Christmas issue in November) by Immediate Media Company Bristol Ltd., Bristol, BS1 4ST, United Kingdom. Distributed in the U.S. by NPS Media Group, 2 Enterprise Drive., Suite 420, Shelton, CT 06484. Periodical Postage paid at Shelton, CT and additional mailing offices.

yourPerfectforiPadoriPhone! * iPad is a trademark of Apple Inc., registered in the U.S. and other countries. App Store is a service mark of Apple Inc. get editiondigitaltheofyourfavemag ! Simply search for Today's Quilter, download the app and get quilting! Read Today's Quilter while at home or out & about on your device. Plus, complete your collection with issue 1 onwards available for download!t&

Drawn in a soft fine outline and arranged over a plain coloured ground, Emily Belle is a celebration of botanicals including daisies, marguerites, peonies and cornflowers. Available in 45 colourways, it is designed to coordinate smoothly with a wide variety of Liberty prints from our vast archive - offering a seamless mix-and-match effect.

THE EMILY BELLE COLLECTION find your local stockist please visit www.eqsuk.com

the emily belle collection celebrates a beloved archival print design - reimagined into 45 colourways, to breathe liberty magic into any sewing project.

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*Th s offer closes on 14th August 2022 and is valid for UK de very addresses and by d rect debit only The discounts shown are savings ca culated as a percentage of the ful shop pr ce exclud ng Radio T mes wh ch s calculated as a percentage of the basic annua rate For overseas rates visit www buysubscr pt ons com Should the magaz ne ordered change n frequency we wil honour the number of ssues and not the term of the subscription You are free to cancel your subscr pt on at any time f you cance within 2 weeks of receiv ng your penu t mate issue you w ll pay no more than the tr a rate th s is except for Rad o T mes wh ch you wil need to cance 3 weeks before the trial s due to end Radio Times s published weekly and the Basic Annua UK Subscription rate for Rad o Times is £223 Th s price s for one year and includes the Christmas double issue and a contr bution towards postage These rates are correct at t me of pr nt ng We run trial offers throughout the year to give our customers an opportun ty to try a new t t e before comm tt ng to a long term subscr pt on These are introductory offers and we reserve the right to re ect or cancel any app icat on for a trial subscr pt on offer f the customer has prev ously purchased a tria offer for the same magaz ne or any other magaz ne in the mmediate Med a portfolio For a full ist of our titles vis t buysubscr pt ons com/portfolio †UK cal s wi cost the same as other standard fixed line numbers (starting 01 or 02) and are included as part of any nc usive or free m nutes a lowances ( f offered by your phone tar ff) Outs de of free call packages cal charges from mob le phones wi cost between 3p and 55p per m nute Lines are open Mon to Fri 9am 5pm

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Red & White Quilts II – 14 Quilts with Everlasting Appeal ($27.99) is available now. To find out more and buy the book, visit www.shopmartingale.com Join us at www.gathered.how/todaysquilter

Featuring 14 red-and-white quilt designs, you’ll find a style you love, from antique and classic to contemporary and many styles in between. The beloved two-color combination has captured the hearts of quilters throughout the years, and you can continue the tradition when you stitch your favorites from this collection. No matter how you choose to display them, these red-andwhite quilts are sure to be adored and loved for years to come.

Not

Martingale©Images

THE BOOK

INSPIRED BY…

RED & WHITE QUILTS II

Christmas,forthisclassiccolourcombinationworksperfectly

Two-tone colour combinations just

Bold,

Moda©Images

THE FABRIC NANTUCKET SUMMER

12 INSPIRED BY l two-tone colour combinations

Join us at www.gathered.how/todaysquilter

Nantucket Summer by Camille Roskelley for Moda is available now. To find out more and see the collection, visit modafabrics.comwww.shop. bright and breezy blues make you think of summer days by the sea!

For almost fourteen years, you’ve known Camille Roskelley as part of Bonnie & Camille. With her first solo collection, Nantucket Summer, she tells us, “I became smitten with the colour navy my first summer on Nantucket, a tiny little island off the coast of Cape Cod. From the first moment I stepped off the ferry it was love at first sight. My love of coastal design, simplicity, antique quilts and every shade of blue began that summer, and 20 years later, it’s still going strong.”

13Join us at www.gathered.how/todaysquilter FRESH PICKS ALL THE LATEST QUILTING NEWS Oh, what a beautiful summer it is shaping up to be! Find yourself a Fresh Pick from our lovingly selected curation to make your Summer ’22 a quilt-y one!

Blue Escape a stunning cascade of blue and cream shades comes a fresh and soft fabric collection, designed by Edyta Sitar of Laundry Basket Quilts for Andover Fabrics. Its soothing palette and sweet motifs make for a collection that reminds us of floral scented cotton sheets blowing in the summer breeze. Featuring flowers, snowflakes, polka dots, stripes and more, this is the perfect fabric family for an evergreen quilt to add a serene touch to any room in your home! andoverfabrics.com

If that’s not enough, you can learn a new skill in

and talks

The

Head to Europe’s biggest quilting show, taking place from 18th – 21st August at the NEC, Birmingham! biggest date in our diary is back! In true FOQ fashion, expect four days of quilting and textile celebrations to make it a memorable one! show will be packed with displays of breath-taking competition quilts, including over 700 entered into the annual competition, unique Special Features, outstanding Textile Galleries and hundreds of specialist craft suppliers offering unrivalled shopping opportunities. their workshop programme, Street Lounge, Product Stage.

The

FRESH PICKS l quilting news The Festival of Quilts

Whether you’ve got your eye on a particular class, plan to treat yourself to VIP tickets or want to secure your preferred entry times – make sure you book early to avoid missing out! SAVE £1.50* ON TICKETS WITH DISCOUNT CODE: TQS22!

jam-packed

meet your heroes in the brand new Sewing

and watch live demonstrations on the

TERMS & CONDITIONS: Discount expires 17 August 2022 *Save £1.50 on adult and concession tickets when quoting discount code ‘TQS22’ at checkout. To purchase tickets visit www. thefestivalofquilts.co.uk. Not valid on child, VIP, or group tickets. £3.50 transaction fee applies per e-ticket order (for any number of e-tickets purchased), and a £3.95 transaction fee applies per postal ticket order. T&Cs apply.

FOR YOUR LIBRARY

Birds in Toyland Would you believe, quilters, that we shoot all our Christmas projects for the magazine right in the middle of summer? That’s right! It can be the hottest day of the year and we could be in a beautiful house surrounded by stunning quilts with a roaring fire and a Christmas tree up. For some of us, Christmas starts in July! From designers Becky Goldsmith and Linda Jenkins of Piece O’ Cake Designs comes a collection of whimsical projects, including all the detailed instructions you could need. Hone your wool appliqué and needleturn appliqué skills and get stitching some festive creations! £15.99 www.searchpress.com

CrossCriss Heart!my

LoveCrafts are renowned for free, beautiful patterns and projects available to access and download at the click of a button. The stunning Criss Cross quilt pattern designed by Natalie Crabtree using LoveCrafts’ exclusive Spring Garden collection is no exception. Featuring a dynamic duo of blocks that show off its stunning prints, this fabulous intermediate pattern is available to download from the website now. www.lovecrafts.com

FRESH PICKS l quilting news 15Join us at www.gathered.how/todaysquilter

Christmas at Cowslip It feels bizarre to be thinking about festive projects at this time of the year, but preparation is key! Which is why we love Jo Colwill’s new book, published this month. Christmas at Cowslip is a compilation of the best festive projects from Jo’s Cushions and Quilts and Patchwork Quilts & Gifts books. You’ll find plenty of designs to get you planning ahead for those allimportant yuletide makes, including a Scandinavian Horse pillow, a Christmas Countdown quilt and a Scandinavian Journey quilt. £14.99 www.searchpress.com

Paper Caper Mini Quilts Designer, Sue Daley, is no stranger to masterful English paper piecing. Learn from the best with her new book, Paper Caper Mini Quilts, available now! Create six stunning mini quilts and jump straight into EPP, skipping the pesky tracing and cutting by popping out Sue’s templates. By beginning with a unique English paper piecing glue-pen method and finishing with a simple appliqué technique, you’ll be adorning your house with darling miniature quilts in no time! £15.99 www.searchpress.com

16 FRESH PICKS l quilting news Join us at www.gathered.how/todaysquilter DEAL A GOOD HAND! We all know what it feels like to lose a little inspiration from time to time with our quilts. That’s why we simply adore the Quilt Builder Card Deck Set #2 from C&T Publishing! As a follow up to their best-selling previous deck, this second set of cards includes 40 new blocks; brilliant for groups and quilting bees too! So, why not take up a new quilt challenge and create dynamic designs with these innovative cards, perfect for igniting your creativity. £14.99 www.searchpress.com

The newest arrival in Vlieseline’s extensive range is a mediumweight, very soft, sew-in wadding made from 50% bamboo and 50% cotton! With a recommended quilt spacing of 10-20cm and a large width (224cm), the new bamboo-cotton wadding is perfect for both hand or machine stitching, which makes it ideal for a variety of projects including quilts, duvets, throws and light clothing such as jackets and coats. The luxurious, natural soft handle makes it easy to work with for a wide range of applications and it is suitable for use with most fabrics.

Vlieseline Bamboo Wadding

It can be washed at 30° and used with an iron on a cool setting. What’s more is that over 80% of products in the Vlieseline wadding range are manufactured using either recycled or sustainably sourced fibre, so you know you’re getting great quality while being environmentally conscious. To find out more about Vlieseline products, visit www.vlieseline.com

www.bramblepatchonline.com West Street, Weedon, Northamptonshire, NN7 4QU 01327 342212 Shop our range of kits from wall hangings to quilts @

JOYEUX HIVER!

The only thing better than putting the finishing touches to your latest quilt is showing it off! So let’s see what you’ve been up to this month…

Here is my version of Lynne Goldsworthy’s ‘Tumbling Blocks’ design from issue 77. I have always wanted to make one of these optical illusion quilts and felt really inspired by Lynne’s classic design. The quilt was a retirement gift for a colleague who works with wood, so I changed the colour scheme to something with more natural tones, which also turned out to be her favourite colours. I didn’t have quite enough of any one fabric for the quilt backing, so I pieced what I had, creating a floorboard design and quilted with a woodgrain pattern using a longarm quilter. I thoroughly enjoyed the whole project from start to finish and was so pleased with the result. Sue, via email Such a fantastic gift, Sue! The creativity and thought that has gone into this quilt is what makes it one of a kind. We are sure your colleague will cherish it, and Happy Retirement to her!

WRITE TO US Today’s Quilter, Immediate Media, Eagle House, Bristol, BS1 4ST EMAIL:immediate.co.uktodaysquilter@

Woodgrain beauty!

I have just managed to complete the ‘Joyeux Noël’ quilt by Amanda Little from issue 68 of Today’s Quilter. It was a lot of work but I am pleased with the result. The quilt featured in the magazine had a Christmas theme, but I changed it slightly to a winter theme using some William Morris Winter Berry fabrics and some Liberty fabrics! Enjoying the magazine and the fantastic patterns Christine via email We love the use of William Morris and Liberty fabrics for a more evergreen look! 18 Join us at www.gathered.how/todaysquilter

SHOW & TELL JOIN IN AND BE PART OF OUR COMMUNITY

Here is my version of Lynne Goldsworthy’s ‘Stars and Dashes’ from issue 67 of Today’s Quilter. I decided to make it scrappy to use up some of my stash. The pattern is brilliant, not intuitive to work with but the perfect instructions saved the day! Chiara, via email A brilliant example of how a scrappy quilt can still look beautifully cohesive with a stunning set of borders! 19Join us at wwww.gathered.how/todaysquilter

CIRCLES AND STRIPES

Homemade and Cosy

This is a mash up of two projects from two issues of Today’s Quilter; Julie Taylor’s ‘Homemade Lemonade’ from issue 57 and Nicola Dodd’s ‘Cosy Carnations’ from issue 64. It was a gift for a friend of my Mum, so I changed all the colours to suit. I enjoyed pairing these projects and am pleased with the end result. Nicky, via email What a fabulous idea to combine two projects that you love! The results are truly stunning. Todaysquilter Todaysquilter Todaysquilter Todaysquilter

This is my first circle quilt! I love how it turned out with the bright colours and piano border. I chose a subdued backing with vertical lines (thank you Tammy from Alewives and Nobleboro for longarm quilting). My husband has claimed this quilt and calls it a “1970s Mary Tyler Moore quilt”, because Mary Tyler Moore would have had a quilt just like this in her apartment... not sure on this, but it looks great on the bed! Karen, Maine A fantastic design! Your curves are perfect and we can’t wait to see where your quilting journey takes you next.

SUMPTUOUS SCRAPS

The Oast Quilters’ Guild Showcase 22-24 July An exhibition of quilts of all sizes, wearable art, cushions, bags and novelties. The event includes a display of challenge quilts on the theme of ‘Twenty Twenty’, and all quilts have to be 20in x 20in. Raffle, tombola, sales table, stallsrefreshmentsdemonstrations,andtraders’included.

Exhibition 12-14 August As well as exhibiting work completed over the past three year, this event will include an exhibition of room-themed spaces, which promises to be something very special! Challenges include ‘Bees’ and a ‘19-Block Quilt’. Featuring a sales table, which will include beautiful hand-made items. Duck & Weave Fabrics and Lacey May’s Haberdashery will also be trading. One particularly important piece of work produced by the group is their Platinum Jubilee Quilt. The quilt comprises 70 crowns (one for each year of the reign), made by members. The quilt was then put together in the traditional way and included a panel with presentation details. The quilt was completed in time for it to be sent to Buckingham Palace in time for the Jubilee celebrations.

18-21 August One of the most highly anticipated events of the year, The Festival of Quilts is set to be a magnificent showcase of talent. With workshops, exhibitions and trade stands galore, including plenty of amenities, The Festival promises to be a highlight of 2022 for quilters. For ticket prices, parking information or for anything else, visit the website. 9.30-17.30 Thurs-Sat 9.30-17.00 Sun

Goosey ExhibitionQuilters

TheAdmission10.00-16.00£3Hamworthy Club, Magna Rd, Canford Magna, Wimborne BH21 3AP lenright38@outlook.com

An exhibition including sales table, refreshments and raffle. Donation on entry for admission. Church10.00-16.00Rooms, Calf Lane, Chipping Campden, GL55 6HB www.campdenquilters.com

15-17 July Sales tables, charity tombola, parkingrefreshments,traders,nearbyanddisabled access. Programmes available for £2. 10.30-16.00 Fri-Sat 10.30-15.30 Sun St Nicholas Chapel, St Ann’s Street, Kings Lynn PE30 1NH Contact Angela 07388 057 128, Helen 07939 149 043 or Sue 07717 673 089

LET US KNOW! Email TodaysQuilter@immediate co uk about your upcoming quilting events with a title, date, description, time, entry fee, address and contact detail Please give us three months’ notice Limited space available We’ll do our best to include as many events as possible Quarterjack Quilters

An exhibition including a charity quilt raffle – with proceeds going to Dartmoor Search and RefreshmentsRescue.willbe available on the day and there is full disabled access. Tavistock has a total of nine car parks, three of which have disabled parking. 12.00-16.30 Entrance10.00-16.00ThursFri-Sat£2.Under 16s free Tavistock Town Hall, Bedford Square, Tavistock PL19 0AE pennyknee@yahoo.co.uk

10.00-17.00 WestgateAdmission10.00-16.00Fri-SatSun£5Hall,Westgate Hall Road, Canterbury CT1 2BT www.oastquilters.co.uk Creative GraduateStitchShow 2022 23-24 July An exhibition of stitched textiles by Creative Stitch Students, including traders, refreshments, free parking and disabled access. Sat ChantryAdmissionSun10.00-16.0010.00-14.00£5Academy, Mallard Way, Ipswich IP2 9LR Contact office@sefwi.org.uk

VillageAdmission10.00-16.00£2Hall,Church Street, Monyash, Derbyshire DE45 1JH www.facebook.com/ MonyashQuilters

BuckenAdmission10.00-16.00£3Village Hall, Burberry Road, Bucken, Cambridgeshire PE19 Contact5UYPamela 07980 608 576 or cromwellquilters@gmail.com

22-24 September

DIARY DATES

The NEC, North Ave, Marston Green, Birmingham B40 1NT www.thefestivalofquilts.co.uk

Samphire ExhibitionQuilters

An inspirational exhibition of patchwork, quilting and textile art from members and affiliated groups. A sales table and cushion raffle will also feature at the event. Disabled access, free parking and refreshments will be available and proceeds will be donated to local charities.

Admission10.00-16.00£3, children free Elvington Village Hall, Main Street, Elvington, York, YO41 4AD and Elvington Church Contact Ellie quiltdivasupreme@ gmail.com or Heather hychalkley@gmail.com PatchworkersStaffordshire and Quilters Group 40th ExhibitionAnniversary

Cromwell Quilters Showcase 2022 24-25 September

17-18 September

Priory Patchworkers Ruby Quilt Exhibition 16-17 July Celebrate anniversary!Patchworkers’Priory40thFeaturing a sales table, trade stands, tombola, raffle and refreshments. Quilts and other projects will be displayed in the church, a short walk up the street –follow the bunting. Proceeds from the exhibition will be for their chosen charity, SASH (Safe & Sound Homes), and also Elvington Church. Disabled access available and parking nearby.

16-17 July Celebrating their 40th anniversary with a quilt show, the group will be exhibiting work and founding members Chris Franses and Barbara Chainey will be there to offer all their tips and ideas. Refreshments will be on sale all day and the show includes traders, a tombola and demonstrations. Ample parking and wheelchair access available.

WaltonAdmission10.00-16.00£2Community Centre, Whitemill Lane, Walton, Stone ST15 0EQ Kate 07891 741 780

The Festival of Quilts

20 DIARY DATES l what’s on Join us at www.gathered.how/todaysquilter

Treat yourself to a wonderful day out at an inspiring quilting or textile exhibition. See what’s on around the country with our handy listings guide.

Monyash Quilters: Quilts in the Park 6-7 August Enjoy a wonderful exhibition of patchwork, quilting and crafts, all created by Monyash Quilters. Included at the event will be a raffle, tombola, materials, crafts & SupportFoundationProceedsrefreshments.toChristiesNHSTrustandDogs.

Campden ExhibitionQuilters

What to see and do now

APPLIQUÉ PROJECT HARVEST HAZE Swooping swallows, swifts and house martins, cheeky mice and seasonal blooms bring this gorgeous quilt to life. Designed by FI BOWMAN 21Join us at www.gathered.how/todaysquilter

You will need n Sky-blue tone-on-tone or solid (background) – 41/2yds n Gold print (daisy centres) – 1/2yd n Cream print (daisy petals) – 1/2yd n Yellow-green print (rose centres) –One (1) fat eighth n Light-green print (daisy leaves) –3/8yd n Medium-green print (rose leaves & cornflower centres) – One (1) fat quarter n Pale-blue print (cornflower petals) – One (1) fat quarter n Light-blue print (cornflower petals) – 1/2yd n Dark-blue print (cornflower petals) – Two (2) fat quarters n Light-pink print (rose petals) –3/8yd n Red print (rose petals & appliqué poppies) – 5/8yd n Dark-green print (corncockle stems, sepals & calyxes, poppy stems & leaves) – 1yd n Medium-pink print (corncockle flowers) – One (1) fat eighth n Wheat print (wheat stems & ears) – One (1) 1 fat quarter

BEHIND THE QUILT

APPLIQUÉ PROJECT HARVEST HAZE

22 Join us at www.gathered.how/todaysquilter

Perhaps these new blocks will go into the vocabulary of quilt designers and makers of the future.

Look for stronger hues blended with grey or earth tones as, in summer, colours (including greens) lose the freshness and clarity of spring and look more dusty and muted in the strong sunlight!” – Fi Bowman

n Two (2) 101/2in x 89in strips (alternate plain strips).

n Four (4) 21/2in x 89in strips (borders). n One (1) 10in x 89in strip, subcut into six (6) 10in squares (end setting triangles), leaving you with one (1) 10in x 29in piece. From this leftover piece, cut two (2) 5in x 29in strips and subcut into eight

“This summer design has simpler piecing but more complex appliqué than the autumn, winter and spring quilts in the series. Each Morris Seasons quilt has been based around a different structure of block: The Grape Thieves used five-patch blocks, Softly Falling Snow used hexagons and Signs of Spring used basket blocks. For this quilt, I couldn’t find traditional NinePatch blocks just right for the flowers, so I adapted and modified some instead. The Rolling Stone block was the basis for my Daisy, Wyoming Valley became my Cornflower and Joseph’s Coat turned into my Rose block.

CREATURE COMFORTS

“For the fourth quilt in my Morris Seasons series, I was inspired by those hot, clear, calm summer days we (occasionally!) get in Britain, when the fields are full of wildflowers and ripening grains, and the skies are full of wheeling swifts, swallows and house martins. On these serene days, hidden from sight in the fields, tiny acrobatic harvest mice are busy building up their stores for the coming autumn. I love the idea that they’re in there making tiny-butdaring raids long before the combine harvesters can come and clear the field!

“I’ve combined a selection of William Morris prints in a rich but muted colour palette with an almost-plain background in a sky blue. My Morris prints were taken from more than one collection and the background is a Moda Grunge blender. Don’t worry if you can’t get exactly the same prints!

Cutting out 1From the background fabric, cut an 89in length – with the fabric folded (as it comes off the bolt) measure 89in along the selvedges. Fold back the remainder, bringing the folded edges (as it comes off the bolt) together. Cut along the perpendicular fold at the 89in length. Set aside the remainder fabric for step 2. Open out, then refold the 89in length so the selvedges are at both edges. Fold twice to make four (4) layers. The folded fabric should be around 42in-44in wide x 22in deep. Trim off the first selvedge to give a straight edge. From this edge, cut the following:

3From the gold fabric (daisy centre), cut the following:

6From the light-green fabric (daisy leaves), cut three (3) 31/4in x WOF strips, subcut into thirty-six (36) 31/4in squares.

7From the medium-green fabric, cut the following: n One (1) 31/4in x WOFQ strip, subcut into five (5) 31/4in squares (cornflower centre).

n Teflon pressing sheet/baking liner n Batting – 97in x 83in n Fabric for backing – 51/3yds n Fabric for binding – 2/3yd (or piece it from leftovers)

n Three (3) 3in x WOFQ strips, subcut into sixteen (16) 3in squares (rose leaves).

8From the pale blue fabric (cornflower petals), cut the following:

n Two (2) 3in x WOFQ strips, subcut into ten (10) 3in squares.

n One (1) 6in x WOF strip, subcut into five (5) 6in squares (cornflower).

n One (1) 31/4in x WOF strip, subcut into twelve (12) 31/4in squares.

n One (1) 41/2in x WOF strip, subcut into six (6) 41/2in squares.

n Two (2) 31/4in x WOFQ strips, subcut into ten (10) 31/4in squares.

4 From the cream fabric (daisy petals), cut the following:

n Taupe print (harvest mice) – Two (2) fat quarters n Charcoal/Grey prints (swallows, swifts & house martins) – 1/2yd n Fusible web – 5yds

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n Three (3) 20in x WOF strips, subcut into six (6) 20in squares (side setting triangles).

n Two (2) 31/4in x WOF strips, subcut into twenty-four (24) 31/4in squares. n Three (3) 21/2in x WOF strips.

n One (1) 51/2in x WOF strip, subcut into five (5) 51/2in squares (cornflower).

n Three (3) 21/2in x WOF strips.

2From the remaining background fabric, cut the following:

(8) 5in squares (rose).

5From the yellow-green fabric (rose centre), cut four (4) 41/2in squares.

Finished size n Quilt: 89in x 75in approx. n Blocks: 12in x 12in Notes n WOF = width of fabric, approx. 42in. n WOFQ = width of fat quarter, from selvedge to centre, approx. 21in. n HST = half-square triangle. n RST = right side(s) together n QST = quarter-square triangle. n FG = flying geese. n SIS = square-in-a-square.

n Five (5) A and B corncockle sepals.

n Three (3) 3in x WOF strips, subcut into thirty (30) 3in squares.

n One (1) 51/2in x WOF strip, subcut into five (5) 51/2in squares and four (4) 3in squares.

n Two (2) sleepy mice. n Two (2) reversed sleepy mice. n Three (3) playful mice. n Three (3) reversed playful mice. n Three (3) climbing mice. n Three (3) reversed climbing mice.

Use a scant 1/4in seam unless instructed otherwise. You are fabric, holding the iron in place for 10 seconds to allow the adhesive to fuse. Let cool, then cut the pieces out directly on the lines. The mice tails and poppy leaves have some quite narrow and curvy sections, so Fi used sharp embroidery scissors for those bits but handle them carefully. After cutting out, you could sort your pieces into labelled clear bags to keep them together while piecing the top. See the step-by-step instructions for notes on stitching the appliqué.

18From the taupe fabric, cut the following: n Two (2) curious mice.

n One (1) reversed A and B corncockle calyx.

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n Six (6) reversed poppy stems.

Piecing the blocks

From the light-blue fabric (cornflower petals), cut the following:

14From the dark-green fabric, cut the following:

n Two (2) poppy leaves. n Two (2) reversed poppy leaves. n Three (3) corncockle stems.

n Four (4) C corncockle sepals. n Four (4) reversed C corncockle sepals.

From the dark-blue fabric (cornflower petals), cut the following: n Two (2) 6in x WOFQ strips, subcut into five (5) 6in squares and four (4) 3in squares.

n Six (6) poppy stems.

17From the wheat fabric, cut the following: n Six (6) wheat stalks. n Six (6) reversed wheat stalks. n Six (6) wheat ears. n Six (6) reversed wheat ears.

Cutting out for the appliqué Fi recommends using a fused, raw-edge technique with either free machining or hand stitching. Prepare your pieces before you start to appliqué – using a window or light box, trace the shapes onto the paper side of the fusible web, and label each (e.g. L1-R for Leaf 1 reversed) to make it easier to sort them later. Fi traced the tiny sepals and calyxes in groups for easier handling. Roughly cut the traced shapes (or groups of small shapes) out with 1/4in to 1/2in extra around the edges. Using a dry iron, press the fusible web pieces to the wrong side of the

n Three (3) reversed corncockle stems. n One (1) A and B corncockle calyx.

From the red fabric, cut two (2) A, B and C poppies and two (2) reversed A, B and C poppies.

From the light-pink fabric (rose petals), cut three (3) 3in x WOF strips, subcut into thirtytwo (32) 3in squares.

19From the charcoal or grey fabric, cut the following: n Two (2) house martins. n Two (2) reversed house martins. n Three (3) swifts. n Three (3) reversed swifts. n Three (3) swallows. n Three (3) reversed swallows.

n Two (2) reversed curious mice.

12From the red fabric (rose), cut the following: n Two (2) 51/2in x WOF strips, subcut into eight (8) 51/2in squares and seven (7) 5in squares. Eight (8) 5in squares are needed in total, so cut one (1) more from the red fabric and keep the rest for appliqué.

16From the medium-pink fabric, cut one (1) A, B and C corncockle flowers and one (1) reversed A, B and C corncockle flowers.

PROJECT

n Three (3) 3in x WOFQ strips, subcut into twenty (20) 3in squares.

Cut the backing fabric into two (2) equal lengths and the binding fabric into nine (9) 21/2in x WOF strips.

n Five (5) reversed A and B corncockle sepals.

PROJECT

25Add two (2) more light-green triangles to the remaining sides. Press seams towards the triangles and trim/square up the units to 41/2in. For this unit, the points will probably ‘float’ slightly more than 1/4in from the edges; this is correct. You will have twenty-four (24) SIS units (Fig 4). Making square-in-a-square units Stitch triangles to opposite sides of the centre square with a scant 1/4in seam. Press with the grain of the fabric taking care not to stretch bias edges. Stitch triangles to the other two (2) sides and press. Before progressing, trim/ square the block up to the given size (measuring from the centre of the block to the edge). If your piecing and pressing is accurate, each time you should be aiming to trim the new edge to 1/4in from the points of the last round so that your new seam will clear them when you stitch it.

Unit 1 (two-patch): Take the three (3) 21/2in cream x WOF strips and three (3) 21/2in x WOF gold strips. Sew them together in pairs along the long edges to make three (3) double-strip panels. Press seams to the gold strips (Fig 1).

21Cut each panel into 41/2in segments to make twenty-four (24) segments. Set aside.

Unit 2 (square-in-a-square):

TRIM ALL SIDES

Make 6 making the units for all the blocks at the same time. 12in Daisy block – make six (6) 20

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24 Repeat step 23 with a lightgreen triangle on the opposite side.

27Take six (6) 41/2in squares of gold and lay them out with the remaining twelve (12) unit 1s. Rotate unit 1 so that the gold patches are next to each other. Stitch together and press seams towards unit 1 again (Fig 5).

28Stitch the rows together. Blocks should measure 121/2in square. Make six (6) blocks. Fig 1 Fig 2 Fig 4 Fig 3 Fig 5

Take thirty-six (36) 31/4in light-green squares and twelve (12) 31/4in gold squares. Cut them in half diagonally once to make twenty-four (24) gold triangles and seventy-two (72) light-green triangles (Fig 2). 23Now take all twenty-four (24) 31/4in cream squares. Stitch the long edge of a gold triangle to one side. Press seam towards the triangle, pressing with the grain of the fabric rather than perpendicular to the seams to avoid stretching and distortion (Fig 3). 26Lay out a row of unit 2/unit 1/ unit 2. Rotate unit 2 so that the gold patches are next to each other (Fig 5). Stitch this set together and press seams towards unit 1. Repeat to make twelve (12) sets of these units.

37Take five (5) 31/4in squares of medium-green and make SIS units by adding the pale-blue triangles to all four (4) sides of the medium-green squares. Press seams

32Now take the sixteen (16) 3in medium-green squares and checking placement, use the covered corners method (see technique opposite) add one (1) to each HST from step 31. Trim off the corner 1/4in outside the stitched line. Flip the medium-green corner triangle out and press seam towards it (Fig 8).

12in Cornflower block – make (5) 36Unit 5 (centre square-in-asquare): Take the ten (10) 31/4in pale-blue squares and cut them in half diagonally once to make triangles. You will have twenty (20) pale-blue triangles.

PROJECT l harvest haze

12in Rose block – make four (4) 29Unit 3 (double flying geese): Take the eight (8) 51/2in red squares and the thirty-two (32) 3in light-pink squares and make FG units four (4) at a time (see technique above). You will have thirty-two (32) FG units. Press and trim to 21/2in x 41/2in. 30Stitch the units together in pairs. Press seams towards red, away from the centre point (Fig 6). Make sixteen (16) units and set aside.

Fig 7 Fig 8

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Making flying geese units four (4) at a time Use one (1) large square and four (4) small squares. On the small squares, mark a line diagonally once. Lay two (2) small squares, RST, on opposite diagonal corners of the large square, aligning each small square with the edges of the large square – they will overlap in the centre! Make sure the marked lines are diagonal across the square. Stitch a scant 1/4in from this line on both sides. Cut apart on the line. Press seams towards the small triangles. Now lay a small square on the centre part of each of the pressed units, aligning the corners again. Stitch a scant 1/4in from this line on both sides. Cut apart on the line. Press seams towards the small triangles. Trim and square up units if necessary. Making half-square triangle units two (2) at a time Take two (2) squares and align them RST. On the lighter fabric square, mark a line diagonally once. Stitch a scant 1/4in from this line on both sides. Cut apart on the line. Press seam towards the darker fabric, then trim and square up units if necessary.

Make 32 Make 16 so that the light-green corners are at the outside and the units mirror each other. Stitch together and press seams towards unit 4. 34Take the four (4) 41/2in yellow-green squares and lay them out with the remaining eight (8) unit 3s. Checking placement (Fig 9), stitch together and press seams towards yellow-green. 35Stitch the rows together. Blocks should measure 121/2in square. Make four (4) blocks.

31Unit 4 (leaf corners): Take the eight (8) 5in red squares and the eight (8) 5in background squares and make HST units two (2) at a time (see technique right). Press seams towards red. You will have sixteen (16) HSTs. Square up to 41/2in, as in Fig 7

33Lay out the units as shown in Fig 9, in eight (8) rows of unit 4/unit 3/unit 4. Rotate unit 4 Fig 9 Make 4 Fig 6

Covered corners

Take one (1) large square and a small square for each corner you want to cover. On the small squares, mark a line diagonally once. With RST, lay one small square on a corner of the large square, aligning its edges with the edges of the large square. Make sure the marked line cuts across the corner. Stitch directly on the marked line (for some patterns you may be stitching a scant 1/4in from the line – it will depend on the size and shape of the finished unit.) Trim the corner off 1/4in from the seam, then flip the corner out and press. Repeat for other corners as required. Press carefully and square up the unit if necessary.

39Repeat step 38 with the five (5) 51/2in background squares and the twenty (20) 3in light-blue squares. Make twenty background/ light-blue FG units (Fig 12). Press and trim to 21/2in x 41/2in.

blue squares and make HST units two (2) at a time (see techniques). Make twenty (20) light-blue/paleblue HST units; press and square up to 21/2in x 21/2in.

38Unit 6 (double flying geese):

Take the five (5) 51/2in lightblue squares and the twenty (20) 3in dark-blue squares and make FG units four (4) at a time (as in step 29). Make twenty (20) light-blue/ dark-blue FG units (Fig 11). Press and trim/square up to 21/2in x 41/2in.

42Take the five (5) 6in darkblue squares and the five (5) 6in background squares and make HST units eight (8) at a time (see technique above). Make forty (40) dark-blue/background HST units; press and square up to 21/2in x 21/2in, as in Fig 14 44Now take the remaining twenty (20) dark-blue/ background HST units from step 42 and pair each with a 21/2in background square, as shown in Stitch Cut

40Stitch the units together in pairs as in Fig 13 to make double FG units. Press seams towards light-blue, away from the centre point. Make twenty (20) units and set aside. Fig 1441Unit 7 (corner): Take the ten (10) remaining 3in light-blue squares and the ten (10) 3in pale- 43Take the light-blue/paleblue HST units from step 41 and pair each with a dark-blue/ background HST unit from step 42 as shown. Check the placement and stitch together, pressing seams towards dark-blue (Fig 15).

Making half-square triangle units eight (8) at a time Take two (2) squares and align them RST. On the lighter fabric square, mark a line diagonally in each direction. Stitch a scant 1/4in from these line on both sides. Cut apart through the centre both horizontally and vertically, then cut apart on the lines. Press seam towards the darker fabric and trim and square up units if necessary.

Fig 11 Make 20 Fig 12 Fig 13 Make 20 Make 20 Make 20 Make 20 Fig 15 Make 20 Fig 10 Make 5 towards the triangles. Square up the units to 41/2in. Remember, the points will probably ‘float’ slightly more than 1/4in from the edges. Make five (5) units (Fig 10). Set aside.

27Join us at www.gathered.how/todaysquilter PROJECT l harvest haze

Fig 16. Again, check placement and stitch together. Press seams towards the dark-blue.

PROJECT l harvest haze

48Stitch the rows together. Blocks should measure 121/2in square. Make five (5) blocks. Constructing the quilt top Setting the blocks on point 49Take the six (6) 20in background squares and cut them in half diagonally twice to make twenty-four (24) side setting triangles. 50Take the six (6) 10in background squares and cut them in half diagonally once to make twelve (12) end setting triangles.

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Setting blocks on point Check that you have the correct triangles for each part – side setting triangles (A) are quarter-square triangles (i.e. with the straight grain on the long side) while end setting triangles (B) are half-square triangles (i.e. with the straight grain on the short sides). Stitch two (2) end triangles to two (2) adjacent sides of each block that will be at the end of the row, then add a side triangle to each; make sure they are all oriented the same way. Stitch two (2) side triangles to opposite sides of each block that will be in the middle of a row, making sure they are all oriented the same way. Press all seams away from the blocks. Rotate the end and middle blocks to form the row. Butt/match seams at the points and stitch together.

Fig 18 Make 5 Fig 16 Fig 17 Fig 19 Make 20 Make 20 45Stitch the units from steps 43 and 44 together in pairs as a four-patch. Press seams towards the background square (Fig 17). Make twenty (20). 46Lay out the units as shown in Fig 18, in ten (10) rows of unit 7/unit 6/unit 7. Rotate unit 7 so that the pale-blue corners are against the dark-blue patches of unit 6 and the units mirror each other. Stitch together and press seams towards unit 6.

47Take the remaining ten (10) of unit 6 and lay them out with the five (5) of unit 5. Rotate unit 6 so that the dark-blue patches are next to the central unit 5. A B End block Middle block

Checking placement (Fig 19), stitch two (2) side triangles on opposite sides of all the Rose blocks, four (4) of the Daisy blocks, and one (1) Cornflower block. To do this, align the right-angle edges of the triangles with the edges of the blocks. Press all seams away from the blocks. The edges will overlap a bit, but don’t trim them yet.

53Lay out both side columns in this order, rotating blocks as necessary: Daisy/CornflowerCornflower/Daisy/Rose/( Fig 20). Pin them together, matching the seams at the points, and stitch together. You may find it easier to either press these seams open or change the direction of pressing at the centre point.

Even if you haven’t done a lot of free machining, why not give it a go? Use a straight stitch and darning foot and drop your feed dogs. Practice on scrap fabric to get used to moving the fabric in all directions and remember that the fabric only moves when you do. Go round each shape a couple of times (or even three) for a loose, sketchy look that makes any wobbles into features rather than mistakes!

n If you have trouble peeling off the paper backing, allow it to cool, then score it with a pin across the middle so you can fold it back and peel from there instead of the edge.

Don’t try to stitch directly on top of your previous line and don’t worry if it’s not perfect. As an embroiderer, Fi likes to see her stitching, so often uses contrasting threads, but if you prefer it to be less visible, choose a neutral thread or something matching. For this quilt, Fi used a lot of subtly variegated threads.

It’s up to you whether you simply outline the appliqué shapes to hold them in place or add additional stitching inside them for extra detail.

52Add end triangles to the remaining four (4) Cornflower and two (2) Daisy blocks, as shown in Fig 20. Again, be sure to align the triangles correctly. Press all seams away from the blocks. Don’t trim yet. Stitching the rows together & adding borders 56Fold a 101/2in background strip in half crosswise and finger press or mark the centre of the strip. Pin the strip, RST, to the right of one side column, matching the centre mark with the point of the centre block. Repeat, but pin this strip to the left of the other side column. The plain strips will be slightly longer. Stitch and press seams towards the background strips.

57Now finger press/mark the other edge of the alternate strips in line with each of the other block points. This will help you align all your ‘floating’ blocks horizontally. 58Pin a side column/alternate strip to one side of the central column, aligning your marks with the points of the blocks in the central column. Ease to fit if necessary. Stitch and press seams towards the plain strip. Repeat with the other side column/alternate strip on the other side of the centre column.

54Repeat step 53 for the central column, with the remaining blocks in this order: Cornflower/Rose/DaisyDaisy/Rose/( Fig 20). Press. 55Trim the long raw-edges of the columns by laying the longest ruler you have along the raw edges 1/4in away from the block points. Try to connect at least two (2) points at once to keep it as straight as possible. Leave the top and bottom short edges for now.

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n Use the seams of the columns and blocks as well as points to help you align pieces horizontally and vertically before fusing; a long ruler helps, especially if you are working flat on a table and can’t stand back to see from a distance.

60Measure the quilt length through the centre and cut two (2) of the 21/2in x 89in border strips to this length. Fold them in half crosswise to mark the centre, then pin them to the sides of the quilt, matching the mark with the point of the centre column and easing to fit if necessary. Stitch and press seams towards the borders.

PROJECT l harvest haze

For this quilt, some of the shapes like the poppies and corncockles can really be enhanced by a bit of extra stitch, so the templates give suggestions for that in dotted lines as well as the solid cutting lines.

n When free machine stitching, you

Appliqué

Fig 20 Make 2 Make 1

Trim the top and bottom edges straight across 1/4in from the block points. If you need to adjust for uneven blocks, allow a bit extra rather than cutting off points.

61Repeat step 60 for the top and bottom borders, measuring the quilt width through the centre and cutting the remaining two (2) border strips to this length. Pin, stitch, and press.

Working appliqué on the whole quilt top rather than individual blocks also means you must be more careful about the order in which you work and how you handle the top in progress, so bear in mind the following:

n Work the appliqué in batches in the order listed, fusing and stitching down each batch before moving on to the next; don’t try to fuse everything in place and then stitch it all down –the handling and manipulation will loosen and fray pieces.

n Once you finish each batch of stitching down, finish the loose threads: snip between the thread joins on the front, then flip over and use the bobbin threads to pull the top threads through to the back; tie off those that are long enough and leave the ones that are too short to tie alone. Any top threads that won’t come through to the back with a gentle tug have already been stitched over and they’re not going anywhere – snip them close to the surface of the quilt and move on; you don’t need that kind of negativity in your life.

n There’s also no need to backstitch/ lockstitch and cut the threads every time you move from one stitch section to the next – just lift the needle and ‘jump’ to the next piece and start stitching.

Start by placing the poppy stems; both sets of poppies have their base and tops at the same level as the base and tops of the corresponding cornflower blocks. You’ll need to overlap and use the reversed pieces as necessary to get a pleasing arrangement. Use the poppy flower heads to help you work out where the stems need to be. When you’re happy, fuse and stitch them down. Finish the threads.

68The poppy heads really do benefit from a little extra stitching for definition. Arrange them so the two (2) sides of theFig 21 Fig 22

30 Join us at www.gathered.how/todaysquilter l harvest haze don’t need to turn the top – you can stitch in any direction – so keep the bulk of the top off to the left out of the way when you can.

67The poppy leaves are complex shapes that need careful handling, so take your time and work on a flat surface to make sure everything fits where you want it to before you fuse them! Fuse, stitch, press and finish threads.

Start the appliqué with the stalks of wheat. On the right-hand plain strip, arrange the groups of three (3) stalks in line with the Daisy blocks, angling the stalks so they lean to the left towards the Daisies. When you’re happy with the layout, fuse them in place with a damp cloth or steam, then stitch them down. Repeat with the mirrored stalks on the right plain strip, place them symmetrically (don’t worry if it’s not exact!)

66Time for the poppies (Fig 22).

Stitch in place, press and finish all your threads. 63Next, place the wheat ears on the ends of the stalks, again giving them varied angles for a more natural look and allowing them to cross over the seams towards the Daisies. You can move them up or down to vary the finished length of the stalks too. Fuse in place and stitch down. To create the illusion of the individual grains, Fi stitched a scale pattern through the middle of the wheat ears, but you could also stitch a small diagonal grid for a similar effect.

65The pieces of the corncockle flowers, sepals and calyx are fused together before they go onto the quilt. Place a Teflon pressing sheet, baking tray liner or piece of baking paper on your ironing surface, then lay the calyx and the corresponding number of sepals on it. (It doesn’t matter which sepals go where, just mix them up a bit for variety!) Peel the paper off the corresponding flower and place on top of the calyx and sepal, glue side down. Press to fuse the layers together. Now remove the remaining backing papers and place your combined corncockle blooms on their stems, mirroring the two sides of the quilt. Fuse and then stitch all around the outside of the shapes, including right off the ends of the sharp sepals so they don’t fray (Fig 21). Fi stitched the calyxes and sepals with the same thread as the stems; corncockle calyxes are quite hairy, so lots of spiky stitching was added to suggest that. You can use a different colour for the flower petals and stitch into the centre of the appliqué to define the separate petals. Fi used yet another colour to add the veins radiating from the centre. Press, and finish the threads.

n For very long or sharp points, stitch close to the raw edge and right off the point onto the background; this will minimize fraying and retain a sharp point even after you wash the quilt.

64Place the corncockle stems, mixing them up with their reversed partners and angling them so they don’t look too regimented. Fuse, stitch, press and finish threads.

PROJECT

71For the birds, the house martins are circling the central cornflower block and the swallows and swifts are distributed across the rest of the quilt. Look closely at the bird shapes and you’ll see that each has one wing with a defined bump in it; this is their uppermost shoulder joint, so that’s the ‘up’ side of each! Place them so they are at varied angles and directions like a flock wheeling in the summer sky. Fuse and stitch the birds in the centre column first, before moving on to the outside edges. The tails are long and pointed so stitch close to the rawedge and right off the ends to keep those sharp points.

PROJECT

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quilt are mirrored; you will need to overlap the stems to get them in the right place. Fuse and then stitch them down, either just around the outline, or with some stitching into the centre to define the petals (see the template for suggested lines).

With poppies A and B, you can see into the centre of the flower, so Fi used a freehand starburst of darker stitching to suggest the centre where the seeds will form. Poppy C is viewed from the side, so the centre isn’t visible.

When placing the harvest mice, bear in mind that they are incredible acrobats with prehensile tails that they use as an extra limb for gripping. As you remove the paper and manipulate the pieces, do handle carefully as those tails are quite fragile! Place the mice: n Top poppies: climbing mouse and sleepy mouse n Top wheat: playful mouse and curious mouse n Corncockles: climbing mouse n Bottom wheat: sleepy mouse and playful mouse n Bottom poppies: climbing mouse, playful mouse, and curious mouse

Fi quilted a freehand, swirling meander with waves that she says makes her think of wind and moving air using a very pale, variegated green/blue thread that blended nicely with the background.

75Stitch the strips of binding fabric together end-to-end, either with a straight or angled seam. Fold the pieced binding in half lengthwise and use to bind by hand or machine.

31Join us at www.gathered.how/todaysquilter l harvest haze Meet the designer Fi (rhymes with ‘me’) is a designer, maker and artist who’s been making things with fabric, needle and thread since childhood. She designed and made her first quilt to take to university in 1986 and has had designs featured in books and magazines. She recently launched Hobgoblin Cottage Designs to make her patterns available to a wider audience. When she’s not designing she can be found sketchbooking, embroidering, gardening and changing her hair colour.

70Fuse the harvest mice and stitch them down, adding extra stitches to suggest ears, mouths, and limbs if you like. Fi added the eyes later with a Sharpie pen — it looks quite stark when you mark it, but after a wash, the mark softens to permanent charcoal grey. Test on your fabric first!

72When you’ve finished all the appliqué, give the top a good press. 73Remove the selvedges from the backing pieces. Sew them together along the longest sides using a 1/2in seam allowance and press the seam open.

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yarn fabric needles & hooks haberdashery buttons ribbonsyarn fabric needles & hooks haberdashery buttons ribbons www.woolwarehouse w.woolwar .coco.uk uk 01926 882818 or 0800 505 3300 | hello@woolwarehouse co uk01926 882818 or 0800 505 3300 hello@woolwarehouse.co.uk No minimum order £2 95 delivery charge for UK orders under £25No minimum order. £2.95 for UK orders under £25. * Discount code not valid on sale items* Discount not on items. FREE UK DELIVERY on orderson orders over £25 hous o k LibertyRivieraFabrics: Lewis & Irene: On The Lake £2 9 per fat quarter RobertKonaKaufman:Solids We stock allWe all 370370 shades!hades! £2.49 per fat quarter 2 We’re proud to stock all these leading brands! Morris & Co:Thameside £3.44 per fat quarter Moda: Bella Solids We stock all 330 shades! We all shades! £1.99 per fat quarter Get10%OFF EVERYTHING!OFF * Discount code: code:TQ90 £3.79 per fat quarter The Sew and knit shop is your one stop shop for all your haberdasher, wool and sewing supply needs. We were formed on our belief in creativity and originality, which is why many of the items we stock are designed to be unique. We are always receiving new colourful and imaginative stock to keep you inspired. Have a browse on our website and see what takes your fancy. Unit 15, Cudworth Business Village, Snydale Road, Cudworth, Barnsley, South Yorkshire S72 8RP sewandknitshop.co.uk | 01226 107080 No delivery charges on all of our products Recycle your magazine and seven days later it could come back as your newspaper www.recyclenow.com The Possibilities Endless are

Add a layer of wool/rayon blend felt to hangings

You have probably heard this before, but make sure all your seams are secure There should be no holes, otherwise your presser foot can rip a hole in the top Next, make sure your seams are closed all the way, from beginning to end, and your seams are all pressed flat Lastly, make sure there aren’t any ripples in your top. There are two tricks I use to handle any extra fullness one is to mist the entire top so the fibres relax. Then, I steam press, making sure I lay my seams down again and that they are all fully open from the front The second trick, if the first doesn’t take in all the fullness, is to starch the heck out of the top You will be surprised at how much fullness these two steps together c ll i

Step 2: Sandwiching your quilt Sandwiching your quilt properly is a very important step Prepare your backing, so that it is 6in larger all around than the top of your quilt It should be Have you ever looked at a quilt, specifically the quilting, and were blown away? Did you look and look and look and wonder to yourself, how did they do that? Then, have you sat down, or stood in front of your quilting machine and felt inadequate… blank… inept, or just totally stumped? I bet the answer for most everyone is ‘Yep, been there, felt that!’ Well, that is why I developed my Fearless Quilting class. I wanted other quilters to feel the same joy I do when I sit or stand in front of my quilting machine. I want quilters to feel the same accomplishment when they finish quilting a piece as they do when they finish making the top. So, let’s dive in. I am going to share with you the steps I take in producing a high-quality quilted piece of art. Normally this is done in a classroom setting, and I walk you through the steps one at a time, so I hope you are in your quilt space ready to follow along.

Step 1: Tackling the boring stuff!

Add a layer of wool batting to showquilts. Because it doesn’t have thesame memory as cotton it won’t haveas many fold lines when displayed

Never dread seeing those words “quilt as desired” again with top tips for being fearless in your quilting!

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“I wanted other quilters to feel the same joy I do when I sit or stand in front of my quilting machine”

Fearless Quilting

If you answered yes, you’re correct. Proper needle selection depends on the type of thread you use. The most common quilting threads are 40wt and 50wt. A common combination is a 40wt thread with a 90/14 size needle, or a 50wt thread with a 80/12 needle. Deciding on the weight of the thread will depend on the look you want.

Practise quilting designs first on paper by doodling

Whether you are making a show quilt or a wall-hanging for your home, office or a gift, this is important. Here are two methods for great looking quilting:

Find a quilting design that fits between your hands

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A thinner thread will sink into your fabric, while a heavier thread will sit on top.

Step 3: Choosing your needle and thread

Or should I say your thread and needle?

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I find it is better to watch your progress the more you doodle. If erase you must, just know erasing is easier than getting out a seam ripper and pulling out stitches! Once you are comfortable with your doodles, grab a sandwiched quilt square. I like to practise on big squares, at least 40in x 40in. This gives you a chance to really get into a groove before running out of space. When choosing a design, remember that the easiest designs to start with are those that fit between your hands when quilting. Don’t start with long lines that will require you to pick up your hands to complete. Save these designs for later. Position yourself so that your arms are at a 90° angle with your machine table on a domestic machine or longarm base. Square your shoulders with the machine and work on the section directly in front of you.

Here is where the fun begins, and I’m going to start at the beginning. Unless you plan to quilt all straight lines, I suggest you pick up a pencil and grab some paper. That’s right, it’s time to doodle. Come on, you didn’t just get in a car and start driving, did you? No, you took baby steps. If you can comfortably draw the design on paper, you can do it on a machine. This is called muscle memory. Your brain will recognise what you are doing and tell your muscles how to move. It removes some of the doubt you have in your mind. So, practise, practise, practise on paper first. Don’t worry about erasing ‘mistakes’ either.

about 1ft longer and wider than your quilt top. Layer the backing (wrong side up), your batting (right side up… yes most battings have a right/wrong side – check the manufacturer’s instructions to find the right side) and your quilt top (right side up). Whatever layering/ basting technique you use – and they differ whether you are quilting on a domestic or a longarm – make sure the three layers are tight, with no wrinkles. Once the quilt is sandwiched, make sure you check it frequently during the quilting process, especially if you are quilting on a domestic sewing machine. I do have one confession; there are times I use four layers in my quilt sandwich.

1) Wall-hangings – on top of your backing, before you layer your cotton batting, add a layer of wool/rayon blend felt. This provides for a heavier finished quilt, which will hang perfectly flat against the wall. Also, the layer of felt behind the cotton batting provides for a nice foundation for your quilting, which allows the texture to really stand out.

Step 4: Fearless Quilting!

2) Show quilts – on top of your cotton batting, add a layer of wool batting, before adding your top. Wool will also add great texture for your quilting but, more important for show quilts, it doesn’t have the same memory as cotton, so quilts that have been folded in shipping, judging or waiting to be hung at the show, won’t have those annoying fold lines. I only use three layers for bed quilts.

At this point, don’t worry about what fabric or thread you use. In fact, in the beginning, it is best to use some cheap fabric and a contrasting thread. Why? Cheap fabric has a looser weave, so your needle isn’t fighting to find its way between the threads, and with a contrasting thread, you won’t have to squint to see where you have been, nor will you have to hunt to find any boo-boos. Yes, you will have mistakes, and that’s okay. Embrace them, this is where you learn to enhance them without having to go back and take them out. One thing to remember is that no one will be looking this critically at your quilting again (that is unless you are entering a piece in a judged show). I am serious, as a quilter we see every imperfection, but I bet you no one will ever notice that bobble or that your swirl isn’t evenly spaced. In fact, it will look more organic, more human and less computerized. So relax! Oh yes, I do mean RELAX. Are your ears touching your shoulders? Take a deep breath and bring them down to normal position. Stitching for long periods with your shoulders at your ears will cause tension in your neck and shoulders. After you have stitched for a bit, it is time to check your tension and look Don’t start off free motion quilting by attempting longlines, where you need to move your hands for any wrinkles on the back of your square. How do the stitches look? Your stitches should be flat with no puckers on the top or back. If you were to run your fingernail along the stitch, you shouldn’t hear or feel any popping. What you are looking for is to make sure your top and bottom thread have nestled properly within your quilt sandwich, just as they would with a regular seam. If you see any issues, adjust your machines thread tension using the same technique you would use if you were stitching a straight seam. Next, do you have any creases on your back? If so, it means that your backing wasn’t pulled tight enough when you sandwiched your quilt layers. This is just practice, so leave them, but use this as a time to learn how to fix them as well. Unstitch any puckers that can be easily unstitched. But what happens if it is something that requires hours of extra work? I stay in my fearless mode. I grab some silk or lingerie thread and using a small, hand blind stitch, I close up that crease. Remember, I don’t let anything or anyone steal my quilting joy! Please remember to take a break every 50 minutes to stretch your legs and relax your body. Okay, now that you have the basics, how do you become fearless, and gain some confidence? Let’s go back to those doodles. This time, doodle on a piece of tracing paper, then do it again and again to gain that muscle memory. Now pin one of those pieces of tracing paper to a quilt sandwich. Place this sandwich under your needle “Yes, you will have mistakes, and that’s okay. Embrace them...”

Join us at www.gathered.how/todaysquilter MAKER’S GUIDE l fearless quilting

Renée Fleuranges-Valdes has been sewing and crafting her entire life, even making her own clothes as young as twelve. She didn’t start quilting until much later in life and has since put all the other crafts to the side. Renée is a contemporary fibre artist whose work can be found in galleries and museums throughout the USA. Now, all of her free time is spent either quilting, lecturing or teaching quilting. You can see Renée’s class and lecture schedule, as well as a gallery of her art, on her website at www.quiltedartistrybyrenee.com. @quiltedartistry

MEET THE AUTHOR

MAKER’S GUIDE

Your motif should fit easily between your two hands and thestitches should be even in length squares are valuable! That is right, cut them into 4in squares, stitch around the edges with an overlock or zigzag stitch and bam! You have a stack of coasters for your family and friends! They are even washable Now go forth and conquer. I find it takes about 500 hours of free-motion quilting before it finally clicks and becomes effortless. So don’t beat yourself up. Go play. Remember, the joys of quilting will come when you learn to be fearless!

LLCPhotography,TamibyPhotography

The back of your piece should be flat with no puckers and your stitches should be the same quality as the front

Join us at www.gathered.how/todaysquilter l fearless quilting and sew, as if you are tracing that line with your pencil. This will allow you to gain some confidence quilting that motif using your machine, instead of a pencil. If you are comfortable with that motif, find another and doodle it, both on regular and tracing paper, until you are ready to transfer to the machine. I will stare at quilts, to breakdown a quilting motif until I can doodle it. Once I have conquered the first one or two I go find another. Pinterest is a great place to find interesting quilting designs! Oh, and believe it or not, these sample quilting

MouMou sells harder to find traditional and modern patchwork/quilting fabrics and precuts from our online site. moumoupatchwork.co.ukmoumoupatchwork Think Patchwork…think&Quilting…MADEIRA ! Available in 40 andweightmulticolour Available in 30, 50, 80 weight and multicolour Ask for it in store Distributed in the UK & Eire by Groves, Eastern Bypass Thame, Oxfordshire, OX9 3FU . United Kingdom Find your local stockist garne.madeira.de/1/contact/shop-finder www.madeira.com

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PIECED PROJECT EVERLASTING LOVE Geometric tulips... and hearts... bloom boldly in this delightful design made with fat quarters and HSTs! Designed by NICOLA DODD Quilted by JAYNE BRERETON AT QUILTER’S TRADING POST 41Join us at www.gathered.how/todaysquilter

4From the binding fabric, cut seven (7) 21/2in x WOF strips.

n Forty-eight (48) 11/2in x WOF strips, setting aside four (4) for the horizontal sashing and subcutting the remaining into the following: – Fifteen (15) 11/2in x 211/2in pieces for the horizontal and vertical –sashing.Eighteen (18) 11/2in x 101/2in pieces for the block sashing.

3From the background fabric, cut as follows: n Five (5) 5in x WOF strips, subcut into thirty-six (36) 5in squares.

n Seven (7) 21/2in x WOF strips, subcut into one-hundred-andeight (108) 21/2in squares.

CROSS YOUR HEART

PIECED PROJECT EVERLASTING LOVE

“This quilt began as a slight obsession – I glimpsed a quilt as I was scrolling through Instagram. It was posted by Christopher Wilson-Tate from the Antique Textiles Company on Abbey Road, London (@antiquequiltcompany), which is a gorgeous account to follow. Christopher has been collecting and selling antique quilts for forty years and his shop is what quilter’s dreams are made of. The quilt that caught my eye featured appliquéd tulips and hearts in red and green on a white background, repeated to form a central flower. When I wrote to Christopher to ask if he remembered ‘my’ quilt – spoiler alert – he did! He was able to tell me it was American, dating from the 1860s/1870s and he even recalled the collector he purchased it from. Sadly, it had sold, but there are so many more treasures to be found in his beautiful shop, including the incredibly knowledgeable Christopher.” – Nicola Dodd 42 Join us at www.gathered.how/todaysquilter

BEHIND THE QUILT

Cutting out 1From each of the red print fat quarters, cut as shown in Fig 1: n Twelve (12) 31/2in x 51/2in A pieces, seventy-two (72) in total.

2From the green fabric, cut five (5) 5in x WOF strips, subcut into thirty-six (36) 5in squares.

You will need n Various red prints – Six (6) to eight (8) fat quarters* n Green fabric – 3/4yd n Background fabric – 41/4yds n Backing – 41/2yds n Cotton batting – 79in x 79in n Binding – 3/4yd Finished size n Quilt: 71in x 71in n Block: 21in x 21in

n Eight (8) 31/2in x WOF strips – set these aside for the border.

n Twelve (12) 21/2in x 31/2in B pieces, seventy-two (72) in total. n Six (6) 11/2in C squares, thirty-six (36) in total.

– Seventy-two (72) 11/2in x 51/2in –pieces.Seventy-two (72) 11/2in x 41/2in –pieces.Thirty-six (36) 11/2in x 21/2in (252)–pieces.Two-hundred-and-fifty-two11/2insquares.

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n Two (2) 31/2in x 51/2in pieces, two (2) 21/2in x 31/2in pieces and one (1) 11/2in square of matching red print.

n One (1) 5in square, three (3) 21/2in squares, two (2) 11/2in x 51/2in pieces, two (2) 11/2in x 41/2in pieces, one (1) 11/2in x 21/2in piece and seven (7) 11/2in squares of background fabric.

Notes n This quilt was made with Tilda fabrics. n *Nicola used six (6) fat quarters. You will use most of them but may prefer to use eight (8). n Assume a seam allowance of 1/4in. n Please read through the pattern before you begin. n Assume a WOF of 42in. n WOF = width of fabric. n HST = half-square triangle. Piecing the units 5For four (4) units in a block, you will need the following:

6To make the leaves, first make a pair of HSTs by marking a diagonal line on the back of the 5in background square and pin – right sides together – to the 5in green print square, then stitch a 1/4in away from each side of the marked line. Cut along that line and press both HSTs open with the seam towards the Fig 1 Fig 2C Fig 2A Fig 2B Fig 2D

A A A A A A A A A A A A B B B B B B B B B B B B C C C C C C green triangle. Trim to 41/2in square (Fig 2A 2C).

7Mark a diagonal line on the back of a 11/2in background square and pin – right sides together – to the green corner of a HST. This time, stitch on the line before trimming a 1/4in away from the seam. Press open as before, to snowball the corner. Repeat on the second HST (Fig 2D).

n One (1) 5in square of green.

Make 36 before adding a 11/2in x 21/2in background piece to the top. Then add the remaining 21/2in x 31/2in red print piece to the side, taking care with the placement (Fig 6A 6C).

PROJECT l

Join a 11/2in x 41/2in background piece to the left side of the HST, taking care with the placement and pressing away from the green. Add a 11/2in x 51/2in background piece to the top. Your unit should measure 51/2in square. Repeat with the second HST (Fig 3A 3C). Make seventytwo (72).

Next, snowball the corners of the long side of a 21/2in x 31/2in red print piece with two (2) 11/2in background squares, then join a 21/2in background square to the side, taking care with the placement, as shown in Fig 4B 12 To make the tulip, join the remaining 11/2in background square to the 11/2in red print square

Fig 3 44 Join us at www.gathered.how/todaysquilter everlasting love Make 72 Make 36

To make the heart, snowball the corners of the short side of a 31/2in x 51/2in red print piece with two (2) 11/2in background squares (Fig 4A).

Fig 4A Fig FigFig6C76A

Fig 6B Fig 5 Fig 4B 11Finally, join the two (2) halves of the heart together, again taking care with the placement. Your unit should measure 51/2in square (Fig 5). Make thirty-six (36).

Fig 6D Fig 3A Fig 3B Fig 3C

Finally, snowball the opposite red corners with 21/2in

13Next join the remaining 31/2in x 51/2in red print piece to the bottom (Fig 6D).

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background squares as shown in Fig 7. Your unit should measure 51/2in square. Make thirty-six (36). 15

Make 36Fig 8

Assembling the block 16Choose four (4) units and lay them out, rotating the units so that the hearts are at the centre and separate them with two (2) 11/2in x 101/2in and one (1) 11/2in x 211/2in background sashing pieces. Join the units together in two (2) rows, finally sewing the rows together to make the block, always pressing towards the sashing. Your blocks should measure 211/2in square. Make nine (9) (Fig 9).

Join the four (4) 11/2in x WOF strips into two (2) lengths, pressing seams open. Trim down to two (2) 11/2in x 651/2in sashing strips.

Join the four (4) units together in two (2) rows of two (2). This quarter block should measure 101/2in square. Make thirty-six (36) (Fig 8).

Assembling the quilt 17

PROJECT l everlasting love

Join the nine (9) blocks together in three (3) rows of three (3), alternating the blocks in each row with 11/2in x 211/2in sashing pieces and the rows with 11/2in x 651/2in horizontal sashing strips (Quilt Layout Diagram).

Join the eight (8) 31/2in x WOF border strips into four (4) lengths, pressing seams open. Cut two (2) strips into 31/2in x 651/2in lengths and two (2) into 31/2in x 711/2in lengths. Add the shorter lengths to the top and bottom first, and then the longer strips to the sides of the quilt top. Cut the backing into two (2) equal pieces, trim off the selvedges and join together along the longest sides using a 1/2in seam, pressed open. Trim to 79in square. Sandwich the batting between the backing and the quilt top, baste, then machine or hand quilt. Fig 9 Quilt Layout Diagram Make 9

Join the binding strips end to end to make one long strip and press in half, wrong sides together, along its length. Trim away excess batting and background – taking the opportunity to ensure your corners are square – and bind the raw edge using your preferred method.

46 Join us at www.gathered.how/todaysquilter PROJECT l everlasting love 18

The symmetry in this quilt is a real focal point and we just love the colourway Nicola has used!

Meet the designer Nicola Dodd has been quilting since 2010 after chancing upon a quilting website and becoming hooked. Having designed all her working life – as an architect and as a garden designer – the temptation to start designing quilts was irresistible and she established her pattern company, CakeStand Quilts, in 2015. A regular Today’s Quilter contributor, Nicola now has a successful blog, where she enjoys sharing tutorials, and is a regular contributor to the Moda Bakeshop. www.cakestandquilts.com cakestandquilts @nicolajdodd

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PROJECT l everlasting love

Anne Williams

48 Join us at www.gathered.how/todaysquilter QUILTING STYLES l crazy quilts quilting styles

a look at a fancy patchwork style that was all the craze in the nineteenth century… ‘Irish Crazy Patchwork Coverlet’ by Elizabeth Ferguson, 1880. A multi-coloured silk, wool and velvet crazy patchwork coverlet made with materials sourced from remnants of Church of Ireland vestments and the local woollen mill in County Tyrone. Several embroidery stitches have been used

CRAZY QUILTSCRAZY takes

Left, Flower Tea Cosy, unknown,maker c.1900. This velvet and silk eachseamsstitchingdecorativecosypatchworkcolouredmulti-crazyteaincludesovertheandwithinpatch

By the late nineteenth century, crazy patchwork had become extremely popular in both Britain and America, but rather than a craft of thrift, it was now a vehicle for ‘ladies of leisure’ to show off their fabric collections and embellishments, and indeed their embroidery skills to the extent that the patchwork often became subsumed by the stitching. Velvets, silks and brocades – all fashionable at the time – were used to give deeply coloured textured backgrounds. Sometimes, fabrics of sentimental value would be incorporated into the work, such as fragments from garments and accessories, or perhaps commemorative or military ribbons. In keeping with the Victorian style of excessive adornment, the patchwork was then richly decorated with fancy stitches and other trims such as sequins, beads, buttons and charms, both along the seams and on the patches themselves. The Embroidered Crazy Patchwork Coverlet (above, left) is a wonderful example of a highly decorated piece. A range of embroidery stitches has been used to form different patterns and motifs, such as flowers, anchors and games such as croquet. Motifs have also been applied to some patches.

motifspatternsofcreateofwithembroideredbeencover.possiblypatchworksquareandMadeunknown,Coverlet’,Crazy‘EmbroideredPatchworkmaker1886.fromsilksvelvets,thiscrazywasatableIthaselaboratelyavarietystitchestoarangedifferentand

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QUILTING STYLES l crazy quilts

Above left,

Above right, ‘V for couldshapeasWar-reliefpopularblocksCrazy1939–1945.makerCrossCanadianVictory’RedQuilt,unknown,patchworkwereforthesequiltsscrapsofanyandsizebeused

CollectionMuseumGuildQuilters’The©andcourtesyImages

o far as is known, there are no examples of crazy patchwork from before around 1830. Worked by stitching patches onto a foundation material and then decorating the seams, the method may be seen to have more in common with appliqué, but because the entire surface is covered, it is classified as patchwork. The technique itself is straightforward, but achieving a pleasing balance of size, shape, colour and texture is a challenge and an ugly result is quiteAspossible.withother types of patchwork, traditionally it was an economical way to use up scraps and earlier examples tend to be simple in nature. As the backing fabric to which the patches are stitched takes the strain, giving the work strength and stability, odd shapes and different weights and types of fabrics could be combined so nothing needed to go to waste. Crazy coverlets – strictly speaking they are not quilts as there is no wadding layer – were rarely quilted due to the difficulty of sewing through the crazy top. However, the lined patchworks provided sufficient weight and warmth.

A CRAZE FOR CRAZIES

A MODERN TAKE The technique didn’t disappear completely though. Crazy patchwork reappeared in Canadian Red Cross quilts sent to Britain during the Second World War (see page 49, top right, and page 51, top right). These quilts were sent to aid the war relief, so were quickly made, utilitarian in style and purpose. Harking back to early traditions, crazy patchwork was popular as scraps of any shape and size could be used. Often, the crazy patchwork was constructed in square units, which could be produced in batches and then later joined intoToday’squilts. quilters have also looked to crazy patchwork for inspiration. Some still have a taste for elaborate Victorian-style creations, but others are more controlled in their take, preferring, for example, the framework of a block-like structure to produce a cohesive design (page 51, top left). If you fancy having a go at crazy patchwork a few tips and ideas to get you started are given in the panel opposite. Thank you to The Quilters’ Guild Museum Collection for providing the images to illustrate this feature. You can view a large proportion of their Collection virtually by visiting the Quilters’ Guild Museum Collection website. You can also follow the Collection on Facebook. www.quiltmuseum.org.uk

50 Join us at www.gathered.how/todaysquilter QUILTING STYLES l crazy quilts

@The-Quilters-Guild-Museum-Collection THE QUILTERS’ GUILD MUSEUM COLLECTION ‘Crazy Patchwork Coverlet’, maker unknown, 1880s. A multi-coloured silk, velvet and wool crazy patchwork coverlet

Above right, embellishmentembroiderydecoratedisvelvet1877.makerCrazy‘PawnbrokerCoverlet’,unknown,Thissilkandcoverletelaboratelywith Left, Medallion‘Silk Crazy Coverlet’ by Frances patchworksidebordersappliedwithEPPhasvelvetThisFletcher,Maria1870s.silkandcoverletacentreofdiamonds,EPPstarstotheeitherofthecrazyarea Keen to exhibit their wealth and status, as well as making bedcovers, decorative crazies were created that could be displayed throughout the home. Lavish smaller pieces, such as table covers, tea cosies and chair cushions, were flaunted in many a middle- and upper-class Victorian parlour where guests would be entertained. The Flower Tea Cosy (see page 49) is a delightful statement piece to grace the table for afternoon tea! When the fashion died out and tastes changed, crazy patchwork was considered one of the worst examples of fussy Victorian ornamentation. It is now, however, regarded more fondly, evocative of an age of opulent overindulgence.

■ Fabric: To add visual interest, use a good assortment of colours, prints and fabric types. You could also use wide ribbons, braids, recycled embroidered fabrics, etc.

‘Golden Argers Quilt’ by Pastora Barrant, 1990s. This is a modern take on the crazy patchwork technique. The framework of the ‘contained’ crazy blocks gives a sense of order to the design. The only applied embellishment is at the corners of the blocks ‘Canadian Red Cross Quilt’, maker unknown, 1940. Crazy patchwork blocks were popular for these War-relief quilts as scraps of any shape and size could be used

Have a go!

THE BASICS OF CRAZY PATCHWORK

■ Foundation: Use a permanent foundation – firm muslin, closely woven cotton or non-woven interfacing are ideal. Cut the foundation at least 1in bigger all around than the intended size of the finished piece of patchwork as it may ‘shrink’ and distort when you do the fancy stitching.

■ Instead of using the crazy patchwork method, you could make conventional foundation-pieced blocks, adding random patches to build up the design from the centre outwards. Or for a more ‘controlled’ design draft a crazy-style pattern that can be transferred onto the foundation fabric so the block is repeated – if you wish, add interest by varying the fabrics in each block. As you will have conventional seams, you don’t need to cover them with decorative stitching if you find that a bit OTT, or you could stitch over just some of them for a more restrained crazy look.

■ Method: Some people start in a corner, but it can be easier to get a more balanced look by starting at the centre and working outwards Log Cabin style. Sew the first patch to the foundation using a small running stitch worked as close to the edge of the patch as possible. Continue to add the patches, under- and overlapping the edges as you go. As the edges will be covered with heavy stitching or trim, the raw edges don’t need to be turned under. Once all the patches are in place, cover the seams with stitching. Historically, feather stitch was popular for this, but a wide range of embroidery stitches are suitable, or experiment with pre-programmed stitches on your machine.

■ Rather than mimic a vintage look, use contemporary fabrics to make a modern crazy.

■ An alternative to sewing the patches to the foundation is to use fusible webbing. For each patch, fuse a small piece of webbing to its wrong side. Play with the patches to get a pleasing arrangement and when you’re happy, fuse all the patches in place. Small pieces of webbing will be enough to ‘stick’ everything in place until the patches are secured with the fancy stitch work.

■ When making a larger item like a throw, it’s more manageable to divide it into ‘blocks’ and then join these.

CollectionMuseumGuildQuilters’The©andcourtesyImages

Finally, go to town adorning the patches with stitching, bead, sequins…

A FEW EXTRA IDEAS...

51Join us at www.gathered.how/todaysquilter QUILTING STYLES l crazy quilts

■ Patches: You can cut out patches as you go, but to get a pleasing arrangement it’s easier to have a selection of scraps ready to play with so you can see how they work together. It’s easy to slip into cutting your patches bigger and bigger, but to create a well-balanced design, try not to do this.

Alternatively, use ribbon, ric-rac or another trim.

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TIED QUILTING PROJECT HIDDEN STARS Create a quilted cosmos full of scraps in a beautiful celestial design that is finished with tied quilting rather than basting! Designed by CAROLYN FORSTER 53Join us at www.gathered.how/todaysquilter

3For the star centres, cut three (3) 41/2in x WOF strips, subcut into twenty-five (25) 41/2in squares. For the star points, cut thirteen (13) 21/2in x WOF strips, subcut into two-hundred (200) 21/2in squares.

You will need

“I first saw the quilt that mine is based on in the book Clues in the Calico by Barbara Brackman (published 1989 by Howell Press). The name of the quilt in the book was ‘Morning Star’ or ‘Vestibule’, and the quilt was made in the early 1900s. I loved the fact that the stars are made with the sashing and posts. It’s like they are hidden until the quilt comes together.

BEHIND THE QUILT FABRIC CONSTELLATIONS

6Cut the backing into two (2) equal lengths – remove the selvedges and join along the long sides using a 1/2in seam allowance, pressing the seam open.

7From the binding fabric, cut seven (7) 21/2in x WOF strips. Remove the selvedges and join the strips into one (1) continuous length with bias joins. Press seams open. Press along the length, wrong sides together.

TIED QUILTING PROJECT HIDDEN STARS

5For the border sashing, cut one (1) 81/2in x WOF strip from each fabric. Subcut into twenty (20) 41/2in x 81/2in rectangles.

n Five (5) different fabrics (sashing) – 1/4yd of each or forty (40) 41/2in x 81/2in rectangles. n Contrast fabric (star centre and points) – 11/2yds

“For the border or the outside edge of the quilt, I’ve used just one cream print for the large squares as this defines it more as a border. But there’s no reason not to continue with the Four Patch blocks if you want to continue to use more scraps.” – Carolyn Forster

Cutting out

n Cream print fabric (border squares) – 11/4yds n Three (3) different fabrics (border sashing) – 1/4yd of each n Backing – 41/3yds

4For the border squares, cut five (5) 81/2in x WOF strips, subcut into twenty (20) 81/2in squares.

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1For the Four Patch blocks, cut one (1) 41/2in x WOF strip from each cream print fabric. Subcut into sixtyfour (64) 41/2in squares.

2For the sashing, cut one (1) 81/2in x WOF strips from each fabric. Subcut into forty (40) 41/2in x 81/2in rectangles.

n Eight (8) different cream print fabrics (Four Patch blocks) – ¹⁄₆yd of each or sixty-four (64) 41/2in squares

“I’ve used lots of different cream print fabrics for the Four Patch blocks and the sashing strips throughout the quilt. I’ve mentioned quantities in the ‘You will need’ section relating to yardage but, really, the more fabrics you can use the better, and if you have odd scraps that fit the sizing then do use those! As with many scrappy quilts, the more the merrier.

11Draw a diagonal line on the back of all the contrast fabric 21/2in star point squares (Fig 2). You will need the remainder for the sashing in the border.

Assembling the blocks

8Stitch the 41/2in cream print squares into Four Patch blocks.

Now stitch the pairs together, knitting the seams at the seam junction, so they fit together neatly. Snip the threads between the chain piecing and press the long seams in one direction. Again, it will not matter which way. Make sixteen (16) (Fig 1).

Start by sewing them into pairs – you can chain piece here. Make thirtytwo (32) pairs. Snip the threads and press all the pairs with the seam to one side.

Fig 1 Fig 2 Fig 3 Fig 4

55Join us at www.gathered.how/todaysquilter n Batting – 76in x 76in n Binding – 1/2yd n 12wt Thread for the big stitch binding n No. 6 embroidery or Betweens needle n 3wt cotton Perle n No. 16 or 18 chenille needle Finished size n 68in x 68in Notes n SA = seam allowance. n WOF =width of fabric

12Place one (1) 21/2in square on the corner of the rectangle, so the drawn line goes from adjacent side to adjacent side (Fig 3). Stitch along the drawn line. Again, you can chain piece these. Snip the threads, then position another square on the opposite corner of the rectangle as in Fig 4. Stitch as before. Snip the chain piecing apart.

Now make the star points on each end of the forty (40) sashing strips – 41/2in x 81/2in rectangle – for the main body of the quilt.

Fig

Cut the corner off each sewn square and rectangle, leaving a 1/4in SA (Fig 5). Press towards the star point (Fig 6).

15To stitch the star points on the remaining sashing rectangles for the border (20), work the same process on only one end of the rectangles. Make twenty (20).

16To put the quilt together, Carolyn makes the main body of the quilt first, then adds the border.

17Layout the Four Patch blocks (four (4) rows of four (4) blocks) alternating with sashing rectangles, which will start and finish the row (five (5) rectangles). Stitch the rows together, press the seams towards the Four Patch blocks. Make four (4) rows (Diagram 1).

18Lay out the sashing rows, five (5) in total. These rows start and finish with the contrast star centre squares, five (5) in total. Alternate with the four (4) sashing rectangles. Stitch together pressing to the contrast star centre as shown in Diagram 2 Make 5 Make 4 Fig 6 7 8 2 5

Fig

14Repeat this process on the remaining corners of the forty (40) rectangles. You will see that the square will overlap the already sewn corner (Fig 7). This is needed so that when the new corner is sewn and trimmed, the base of the start point that you create is 1/4in away from the raw edge to incorporate the SA (Fig 8). If the point was at the raw edge the base of the point would be lost when you sew the seam. Make forty (40) (Fig 9).

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Fig

Fig Diagram9 1 Diagram

PROJECT l hidden stars

22This quilt is tied, so while Carolyn layered it with the backing and wadding, she did not baste it. It was layered on a table in the same way you would for table top basting, layering it and clamping it to a table to keep it flat. Starting in the centre of the layered quilt, Carolyn then begins tying.

knit with the edge of the quilt that they will be sewn to. Repeat for the remaining side and attach to the quilt. Press the long seams towards the border.

20Now make the border. Use four (4) large squares and five (5) border rectangles and stitch together pressing towards the large squares (Diagram 4). Make two (2). Attach one (1) to the top and bottom of the quilt so that the seams knit with the edge of the quilt that they will be sewn to. Press towards the border.

Diagram 3 Diagram 4 Diagram 5

23Using 3wt Perle cotton and a chenille needle, Carolyn used the popcorn knot and a teaspoon to help lever the needle up through the layers just as you would if you were basting (Fig 10). One of the nice things about this method

57Join us at www.gathered.how/todaysquilter PROJECT l hidden stars

19Now stitch the rows together, starting with a sashing row and finishing with a sashing row. Press seams towards the sashing rows (Diagram 3).

21Use five (5) sashing rectangles and six (6) large squares for the remaining borders for each side of the quilt (Diagram 5). Start with the squares and alternate. Stitch together and press so that the seams Make 2 Make 2 of finishing a quilt is that there is no basting to do! Fig 10

To do this, apply the binding in the usual way for a continuous mitred corner finish, but machine stitching it on the back of the quilt. 28Once the binding is machined on, to finish, turn the folded edge over to the front of the quilt so Fig 11 that it covers the machine line. Use 12wt Perle cotton for the stitching with a size 6 embroidery needle. Stitch the binding in place through the three layers of the quilt. You will not be stitching through the actual binding on the back, and your stitches will be visible alongside the ditch of the binding on the back of the quilt. As you mitre each corner, Carolyn stitched this in place with a Cross Stitch as she went (Fig 11). 29Once complete, label your quilt! Diagram 6

58 Join us at www.gathered.how/todaysquilter PROJECT l hidden stars

Using a length of thread doubled through the needle, tie the quilt in the star centre, sashing rectangle centres, the Four Patch centres and the border square centres (Diagram 6). Leave an end on the knot of about 1in, but you can cut it shorter if you wish, shown in Fig 10. 25

Once tied, machine around the edge of the patchwork, through all three (3) layers, 1/8in in from the raw edge. This will keep all the layers together when it is trimmed ready to bind. 26

Trim the backing and batting in line with the patchwork top. Carolyn finished the quilt with a decorative big stitch binding. 27

PROJECT l hidden stars

Meet the designer

Carolyn Forster has been sewing, making patchwork and quilting for well over 20 years, and teaching for many of those years. You can find her quilts in a range of books published by Landauer Publishing (USA), and Search Press (UK). She blogs at www.carolynforster.co.uk or you can follow her stitching inspiration on Instagram. To get in touch with Carolyn about her classes and talks, you can email her at: www.carolynforster.co.ukcarolynforster@hotmail.co.ukCarolynForster

Quiltingonthego

The beauty of this design is that not only is it a great way to use up your scraps, it would also be fab for showing off a favourite collection!fabric

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ESSENTIAL GUIDE Simple Curved Quilting Join us at www.gathered.how/todaysquilter “Home quilting curved patterns can be very satisfying to sew and we explore some simple shapes to develop your quilting skills” – Lin Clements Quilting curves is the next logical step after simpleeasyquilting,straight-lineandit’sifyoustartwithcurvedshapesandplanthestagesofadesignbeforebeginningtoquilt! 61

Fig

CURVED QUILTING I

TECHNICAL TIP Creating a sketch of your block or quilt layout is very helpful when deciding on quilting. Make several copies so you can try different ideas. Using a pencil will allow you to erase any quilting lines that don’t work.

Circle PetalsOvalArcs 62 Join us at www.gathered.how/todaysquilter ESSENTIAL GUIDE l simple

n Issue 74 of Today’s Quilter, we looked at the preparation needed for successful machine quilting and, in Issue 75, we explored simple linear quilting patterns. Here, we will discover how to machine quilt simple curved patterns. By ‘simple’ I mean patterns that can be quilted by relatively inexperienced sewers, and patterns that do not require the skills of free-motion quilting. By inclination, I’m a designer and a piecer who gets much of my pleasure from these aspects of patchwork, but I’ve always wanted to find the time to learn all the skills of free-motion quilting. Until I find that time, I get by with simple machine quilting, and this article shows some of the curved patterns I find most useful, particularly on small projects. For really easy curved quilting, you can simply echo quilt a 1/4in away from the curved shapes in your patchwork, but here we will be a little more adventurous. Fig 1 shows some of the shapes that can be achieved at home with the feed dogs engaged, and in this article we Fig 1 2

Some suggestions for curved shapes Drawing a test pattern

The block is 14½in, with a 1½in border all round (16in square finished). The quilting thread is a dark purple, to show up well in the photography will look at how these shapes can be drawn and transferred to fabric as quilting patterns. We will also look at how you can make decisions about the patterns to use, how to combine them and how to adapt them for efficient quilting. When deciding what patterns to quilt, my quilting journey begins with an image of the block – this might be a photo I’ve taken, or more often a simple drawing of it. Where possible, I draw the block at full size (graph paper is ideal for this) and then print it out, so I can clearly visualise the scale of the proposed quilting pattern. Fig 2 shows a computer drawing of a block that shows the layout clearly. You could also colour the drawing to help you decide on thread colour. For the quilted sample shown below, I wanted to use just arc shapes, combined into petals, as these are easy to draw and quilt. Arcs and petals also lend themselves well to being drawn with templates and I created four (4) for this particular block (see Templates section).

The block used for this quilting sample is not a regular nine-patch and uses arc shapes to create petals in four (4) different sizes to suit the different parts of the block (see Fig 2 for a diagram of the quilting pattern).

Freeform curves curved quilting

Using simple arcs

CIRCLES AND OVALS

ARCS AND PETALS

This block was made with English paper piecing, making a flower 12in in diameter. The flower was hand sewn to a white 17in background square, leaving room for additional quilting if required. The quilting pattern was made up of ovals and petals, with some wavy curves added across the tips of the flower. The thread used was a dark orange, to show up against the yellow prints

63 ESSENTIAL GUIDE l simple curved quilting Join us at www.gathered.how/todaysquilter Fig 3 Fig 4 Fig 5

Useful circles and ovals

A C

Using a circle to create arcs and partial circle patterns

Circles and ovals are perhaps the most obvious shapes we think of when planning curved quilting. They both work well, especially when combined with geometric patchwork. When quilting circles and ovals, there is a limit to how small a circle you can quilt before needing to frequently stop, lift the foot and pivot. For smooth, non-stop quilting, my comfortable limit seems to be about 3in–4in diameter, but experiment and see what works for you. You can also create tighter circles by quilting wavy lines, which when sewn to intertwine will create smaller circles. Circles and ovals can also be drawn to overlap and so create more complex patterns, as shown in Fig 3. It’s easy to draw circles and ovals and using a clear plastic for templates is perfect. You can also buy commercial templates in a variety of sizes. It’s a good idea to draw a vertical and horizontal line through the centre of a circle and oval template, to help with placement on the patchwork. Arcs and petals are really useful for curvy quilting as the shapes are easily adapted to look good with a wide variety of quilt blocks. An arc can be drawn freehand on a block drawing, curving from one part of the block or unit to another – Fig 4 shows an example. Arcs can also be drawn following a specific circle size, as shown in Fig 5. Create a circle template and mark the centre lines horizontally and vertically (Fig 5A). Now use just one quarter for a simple arc, marking just that part of the circle (Fig 5B). The same circle can also have half its shape traced (Fig 5C) or three-quarters (Fig 5D), which is useful if you want partial circle patterns. If your original circle is based on the measurement of a finished block or finished unit, then any segments used from the circle should fit nicely. Arcs can also be reflected (mirror imaged) to create petal shapes. They can also be combined to create cable patterns, which look very attractive, especially in quilt borders. B D

64 Join us at www.gathered.how/todaysquilter ESSENTIAL GUIDE l simple curved quilting Fig 6 Quilting meandering lines Fig 8 Fig 9A flexible curve Using part of a flexible curve Fig 10 Using a flexible curve to create a border design Marking the curve Flipping the flexicurve over to mark the reverse shape The design marked The design quilted A B C D Single S shape S shape copied and reversed to form a ﬁgure of eight Fig 7 Creating a curved pinwheel A B A useful tool for drawing freeform curves is a controllable flexible curve made of washable plastic (see Fig 8), which can be bent into many curved shapes. Once formed, it will retain the shape (with gentle handling), allowing the tool to be used as a marking tool and also to create templates. Small curves can be formed from part of the flexible length and drawn around, as shown in Fig 9. Sometimes a small amount of quilting is all that is needed, and these small curves work well with highly geometric, linear shapes. The tool can be used in its entirety, and can also be flipped over to create a reversed (mirror image) shape, as shown in the stages of Fig 10. If creating a reversed image, be sure to draw along the correct side of the tool, so the shape is identical. The tool is about a 1/2in wide, so choose either the upper side or the lower side to draw around. To check that your mirror image is correct and looks good, use a large sheet of paper to draw around the tool and then flip the tool over to draw the reversed version, checking that the shapes are identical but reversed.

USING A FLEXIBLE CURVEWAVY FREEFORMAND CURVES

Wavy and freeform curves can be any shape you like and be custom drawn to suit your block or quilt. Some easy curved quilting can be achieved just by letting your machine meander in a freehand fashion in vertical or horizontal lines (Fig 6). The curve might be an S shape, which can be reflected (flipped) to form a figure-ofeight pattern (Fig 7A). Fig 7B shows how this shape could form an attractive curved pinwheel.

65 ESSENTIAL GUIDE l simple curved quilting Join us at www.gathered.how/todaysquilter A A A B B B C C D Fig 11 Fig 12 Fig 13

TEMPLATES

A wide range of plastic templates are available to buy and are useful for various curved shapes, such as circles, ovals and arcs. If a commercial template has ovals and arcs that are too small, draw the shapes onto a sheet of paper, scan the sheet into your computer and then use the scaling tool on your printer to print the shapes at an enlarged size

There are many ways to use templates for quilt marking. Fig 11 shows a patchwork block marked using two templates, a petal and a quarter circle. The red box in the diagrams shows where a seam allowance or binding attachment might have to be allowed for. Fig 12 shows how a single circle template can be used to mark different parts of a block. Templates can also be created for more asymmetric or non-geometric patterns, such as the S shape in Fig 13. In the example, a template can be created for half of the S shape, which can then be rotated to draw the other half of the shape. if required template

Allowance for seam,

USING

Templates for marking quilting patterns can be made of various materials, such as clear plastic or thin card. They can also be cut from freezer paper and temporarily fused to patchwork to draw or quilt around. I favour clear plastic as this enables me to see the patchwork beneath.

MARKING SHAPES

Circle

Using templates to draw patterns

The S is made up of one shape, rotated 180 degrees to create the other half Template rotatedTemplate marks before you get to quilt them. Of course, if you are echo quilting a patchwork pattern, then you might not need any marking, but just use the foot on your machine to gauge the width of the quilted lines. When it comes to marking a curved pattern, be it a circle, oval, arc or wavy pattern, some use can be made of household objects, such as glasses and plates, but they are rarely the exact size needed. Circles and arcs can be drawn with a pair of compasses using an erasable pen. I find templates to be invaluable as marking tools as they can be tailor made to a specific project, and can also be kept for future work.

Using a single circle size to create a pattern

Using templates for non-geometric patterns

More often than not, quilting curves also means marking the shapes on your patchwork. In Issue 18 of Today’s Quilter, we looked at different marking tools, and in Issue 74, we described machine quilting preparation, so if you have these magazines they will provide a useful recap. I tend to use two types of markers, an erasable pen for light fabrics, usually a water-soluble one, and a chalk marker for dark fabrics, such as a chaco liner or pen. However, you may have your own favourites. Depending on the size of the project, marking the design can be done all at once or in stages. I prefer staged marking, especially if using chalk on dark fabrics, as handling can erase the

EFFICIENT QUILTING

Efficient quilting is a way of designing a quilting pattern so there are as few stops and starts as possible. This results in faster, easier quilting because the work doesn’t have to be taken off the machine and re-positioned very often. Plus, there are fewer starts and stops to finish off neatly. When you have designed a pattern, it pays to assess it to see where changes can be made to make it easier to sew. The quilting pattern used on the sample shown right is made up of arcs within an individual block. The original pattern I designed, shown in Fig 14A, would need to be sewn in two separate stages. However, by adding two more arcs to link the two patterns, as in Fig 14B, the quilting can be achieved in a continuous, more efficient journey. So, this was the version I chose to quilt. This self-contained shape also meant that a single template could be created to mark each block with the pattern. Another consideration was the position of the various arcs, so in most cases in the block I chose to place the arcs on the lighter fabric so I could use a dark, more visible quilting thread (Fig 14C).

66 Join us at www.gathered.how/todaysquilter ESSENTIAL GUIDE l simple curved quilting Fig 14 Fig 15 Changing a quilting pattern to be more efficient Quilting in planned stages Stage 1 Stage 2 Stage 3 Stage 4

STAGED QUILTING

Planning exactly what stages you will quilt a pattern is also important for faster and more efficient work, so take some time to look at your quilting pattern to see where the logical sewing directions are. Fig 15 shows the four stages used to quilt a block, showing how the arcs can be quilted in an undulating pattern from one corner to the opposite corner

The block for this sample was a 6½in (unfinished) T block, arranged in a nine-patch pattern. The quilting pattern (the same for each block) is composed of different sized arcs, worked in a dark blue thread. The original quilting pattern was adapted to make the drawing and quilting easier and faster (see Fig 14) and then back again (Stage 1). The same pattern is then worked on the opposite corner. Stage 2 starts at the white dot, works up to the edge of the block (yellow) and then down to the bottom of the block (orange). This is repeated to create a reflected pattern (pinks). Stage 3 completes the lone petals (red), repeating on all sides (Stage 4).

Improved patternOriginal pattern

tage 4

A B C

Help! When I machine quilt, I often have quilting stitches on top of each other where lines in the pattern meet and it looks messy. Is this acceptable?

Suggested

Adjusting a quilting pattern to avoid overcrowding quilting patterns

Try this... I’ve put together some patterns in Fig 17 that should give you ideas. I’ve based them on four-patch and nine-patch layouts as these are patchwork arrangements we see often. You can also mix and match the patterns. Some straight line quilting, vertically, horizontally and diagonally is useful to increase the quilting density.

Simple curved quilting works well in quilts and here are answers to some questions on how to achieve success using the technique...

Next month we look at how to add extra interest with pieced cornerstones for sashing and borders

About the designer

Linda Clements is a leading technical quilting expert, editor and writer who, for 25 years, has worked on many fabric and craft titles for David & Charles and other leading craft publishers. Among the many quilters who have trusted Linda to ensure their books are both accurate and reader friendly, are Lynne Edwards MBE, Susan Briscoe, Pam & Nicky Lintott, Pauline Ineson, Mandy Shaw and Lynette Anderson. Linda’s own book, The Quilter’s Bible, is the must-have guide to patchwork, quilting and appliqué, and includes everything she has learnt working with the industry’s best designers. For Today’s Quilter, Linda is working with the team to select practical and creative techniques. She will then go in-depth, exploring the methods, taking them from the basic premise to their full technical and creative potential. You can cut out and keep this section to build your own bespoke technical handbook.

SIMPLE CURVED QUILTING –TROUBLESHOOTING

ESSENTIAL GUIDE NEXT ISSUE:

67 ESSENTIAL GUIDE l simple curved quilting Join us at www.gathered.how/todaysquilter A B Fig 16 Fig 17

Help! I’m not very good at designing and find it hard to imagine a quilting pattern. Do you have any ideas I could copy?

Try this... I suppose it depends on the size of your project. If it’s a quilt then from a distance any slight untidiness won’t really be noticed, but on a smaller project it might. I tend to avoid this problem at the marking stage by noticing areas where this might occur and adjusting the marked lines accordingly. In Fig 16A the red circles show where quilting lines might crowd in on each other. You could adjust the marking so these lines don’t touch, or at the stitching stage veer away slightly, as Fig 16B . The gap doesn’t have to be large, just 1/8in will separate the stitches.

Allow a little space

SEWING CREATIVE CORNERSTONES

DIRECTORY Useful guide to quilting goodies! Find the fabrics, accessories and more that you want from this month’s issue! SHOPPING BOOKS Birds in Toyland www.searchpress.com Christmas at Cowslip www.searchpress.com Paper Caper Mini Quilts www.searchpress.com Red & White Quilts II www.shopmartingale.com ACCESSORIES Quilt Builder Card Deck Set #2 www.searchpress.com Vlieseline Bamboo Wadding www.vlieseline.com FABRIC COLLECTIONS Blue Escape www.andoverfabrics.com 68 Join us at www.gathered.how/todaysquilter

APPLIQUÉ PROJECT HERHORSEMAJESTY’S Relive all the joy and excitement of the Jubilee celebration with this wall-hanging! Designed and made by JO COLWILL and BECKY STEPHENS OF COWSLIP WORKSHOPS 69Join us at www.gathered.how/todaysquilter

A ROYAL WIN!

BEHIND THE QUILT

n Smaller Tilda Me and My Friends Panel – 231/2in x 41/2in strip

APPLIQUÉ PROJECT HERHORSEMAJESTY’S

You will need n Blue fabric (sky) – 231/2in x 6in n Grey stripe fabric (marquee) – 231/2in x 7in n Green print (hedge) – 231/2in x 11/2in n Green print (hedge) – 231/2in x 71/2in n Larger Tilda Me and My Friends Panel – 231/2in x 51/2in strip

Assembling wall-hangingthe 1Lay the grey stripe marquee fabric right side up and fold up 2in, RST, at the bottom. Using the template, draw on eight (8) scallop shapes, and mark line A (Fig 1) – it will help in step 2. Stitch on the

n Teacup print fabric – 231/2in x 21/2in n White fabric (rails) – Two (2) 1in x WOF strips n Green fabric (grass) – 231/2in x 91/2in n Various scraps (ladies’ hats) – Five (5) 6in squares n Purple fabric (Queen’s jockey) –One (1) 6in square n Union Jack fabric (bunting and flags) – One (1) fat eighth

70 Join us at www.gathered.how/todaysquilter

“This is a fun quilt made using the Tilda Cotton Beach Me and My Friends Panel to celebrate the Queens Platinum Jubilee! It is easy to make, and, in this instance, I have used a bonding method for the appliqué, but you could use hand appliqué. The printed ladies work so well; I have just dressed them up with the hats and the odd jewel! The Queen is a remarkable and wonderful lady and has such a love and way with her horses. The Platinum Jubilee was certainly a celebration to remember.” – Jo Colwill

✁RSWSLine A RSWSRS 2in1/2in mark RSWSLine A 71Join us at www.gathered.how/todaysquilter n Various colour fabrics (horses) – Four (4) 16in squares or fat quarters n Bondaweb – 20in n Perlé thread (bunting) n Backing – 7/8yd n Batting – 30in x 42in n Binding* – 1/4yd n 1/2in bias maker n Various beads for ladies jewellery Finished size n 23in x 35in approx. Notes n *Jo used two (2) colours for her binding, blue for the top half and green for the bottom half. n Read all instructions before beginning. n RST = right side(s) together. n RS = right side(s). n WOF = width of fabric. n Assume a WOF of approx. 42in. line using a small stitch length (1.5 should do). Cut out adding an 1/8in seam, clipping into the dip (Fig 2). Now turn it RS out and press gently. Lay the scallop RS down so that you can see the 2in section from step 1. Fold the scallop edge over on line A (Fig 3). Stitch 1/8in in from this folded edge making a small pin tuck – this creates a detail for the marquee top (Fig 4).

2 Join all the strips, as in the picture, to make the background, starting with the sky but leave the 91/2in x 231/2in grass strip at the bottom unattached, as you enclose the rails between it and the hedge

Fig 1 Fig 3 Fig 2 Fig 4

10Quilt around the horses and add their reins.

9You are now ready to lay the little quilt on cotton wadding and backing. For the quilting, Jo used a decorative stitch for the top of the marquee and then stitched all along the ditch with straight seams. Outline the ladies and stitch some details on their hats – you could even add a little text or add little beads to their necklaces.

Fig

SLIT RS WS 1/2in for seam 72 Join us at www.gathered.how/todaysquilter PROJECT l her majesty’s horse strip. Where you have folded up the scallops, you should have around 1/2in flap (Fig 5) (where line A is marked) to make a seam with the top of the ladies’ heads. Jo let the scallops come down over the smaller ladies to avoid making too many hats, but you could give them hats as well if you have time.

3Take the two (2) white strips of fabric and use a 1/2in bias maker to make the rails. Cut two (2) 231/2in lengths for the cross rail. Cut four (4) equal lengths of approx. 6in for the posts. Place the posts about 4in apart on the 71/2in x 231/2in hedge strip and stitch on with white cotton on the machine – Jo used her 1/4in foot and kept close to the edge. Now take one (1) cross rail and sew it on top of the posts. Place the second rail about 1/4in higher on top to make a sort of double rail.

5Using the Union Jack fabric, iron a piece of Bondaweb to the back, draw approximately fourteen (14) bunting diamonds. Cut these out as well as three (3) double square flags. Lay a square flag RS down, above the top of the marquee and using a triple stitch as the flag pole, sew down the fold of the flag to secure, then fold over and iron the flag together. Repeat with the other square flags so they fly loosely.

Straight Stitch – if you go slowly down the middle of the twine, it’s easy – you need it to look like it is blowing in the wind.

✁

6Once the bunting diamonds are cut out, take off the backing paper and fold them over a piece of Perlé thread or fine twine, approximately 1in apart, creating tiny bunting. Iron and then stitch to the cross rail to secure using an ordinary small

7Using a window or a light box, trace two (2) medium horses and one (1) big horse – including their jockeys – all in one (1) colour on to the Bondaweb. Cut out roughly and iron to the back of the horse fabrics. For the fourth horse, just trace one (1) big horse and make a separate purple jockey – this is the Queen’s horse. Jo also traced one (1) complete jockey in purple and ironed him to the back of the purple fabric. Cut them all out with sharp scissors, peel off the backing paper and iron in place. Stitch around the edge with a small 1.5 stitch length to secure. You can embellish the purple jockey with a touch of gold thread and a gold tassel on the hat.

12For the binding, cut three (3) 21/2in x WOF strips. Remove the selvedge and join into one continuous length. Fold in half, wrong sides together along the long length and use to bind the quilt. In this particular instance, Jo used two (2) colours blue for the top and green for the base. 5 6

Press and hand appliqué down on the ladies’ heads, slightly loosely to accentuate a three-dimensional feel. You can embellish with a little gathered flower if you wish.

8Make five (5) hats using the templates by laying the fabrics right sides together, drawing around the template and stitching all around on the line. Cut around the shapes adding an 1/8in seam allowance, then make a small slit in the middle of the back to turn RS out (Fig 6).

11Once you have finished quilting, you are ready to bind and put a hanging sleeve on the back.

4 You can now attach the bottom piece of grass for the horses.

Fig

What gorgeousa scene Jo’s designsummertimemakestheitmakes!designPlus,isnotjustforJubilee,butalovelytoo!

PROJECT l her majesty’s horse

Meet the designer Jo Colwill is the founder and owner of Cowslip Workshops, a haven for quilters based in the south west of England. She teaches patchwork classes and hosts exhibitions at Cowslip’s workshop space, and has written several books showcasing projects that feature the heritage, nostalgia and tradition of quilting. www.cowslipworkshops.co.uk Cowslip Workshops @cowslipworkshops Join us at www.gathered.how/todaysquilter

Join us at www.gathered.how/todaysquilter FIRSTISSUETORECEIVE91ASYOURCOPY,SUBSCRIBEBEFORE20JULY2022.SEEPAGE32FORDETAILS! POTTERING AROUND Show off your treasured fabrics in Jo Avery’s scrappy vintage-style Tumbler design HOORAY FOR HST! Pre-cut 5in Charm Squares in every colour of the rainbow shine bright in Carolyn Forster’s charming HST quilt CLIMBING BLOOMS Create your own “modular” flower garden with interchangeable blocks! 74 changetosubjectbemaycontentsandgiftnote,*Please NEXT MONTH ISSUE 91 ON SALE 4th of August 2022 Sunny sewing! Lynne Edwards MBE teaches you how to add rolled-back edges in her Nova Scotia Stars design • Add interest to borders with Lin Clements’ masterclass on creative cornerstones Your Gift 44-page Star Quilts supplement

BLOCK OF THE MONTH NO.10 FLOWER STALL Primrose Hill Designed and made by NICOLA DODD

3Rotate and join the sections together, alternating the yellow with the print, then join the 1½in x 3in yellow print piece to the end, again pressing the seams open.

1To make the awning, cut the following: n One (1) 1½in x 19in strip and one (1) 1½in x 3in piece of yellow print. n One (1) 1½in x 19in contrast pink print strip. n One (1) 2½in x 4½in piece, two (2) 2½in squares, one (1) 1½in x 18½in piece and one (1) 1½in x 2½in piece of background.

2First make a strip set – join the 1½in x 19in yellow print strip to the 1½in x 19in contrast pink print strip, pressing the seam open. Trim the end and cut six (6) 3in sections (Fig 1).

4Trim the awning unit to 2½in wide (Fig 2). Mark a diagonal line on the back of two (2) 2½in background squares and pin one (1) to each end of the awning, RST, taking care with the placement. Stitch on the line, flip ‘open’ and press – to snowball Fig 1 Fig 2 Fig 3 Make 1

76 BLOCK OF THE MONTH l primrose hill Join us at www.gathered.how/todaysquilter Flower Stall You will need n Various prints (flowers) – Eight (8) pairs of 2in squares n Green print fabric – One (1) 2in x 21in strip n Pink print fabric (cart) – One (1) 4½in x 9½in piece n Taupe fabric (wheels) – One (1) 4½in x 21in strip n Contrast pink print (awning) – One (1) 1½in x 21in strip n Yellow print (awning) –One (1) 1½in x 21in strip n Contrast yellow fabric (florist’s bucket) – One (1) 3½in square n Ivory fabric (background) – One (1) fat quarter n Fabric Glue (optional) n One (1) 4in templatecircle n Florist bucket template Finished size n 12½in x 18½in Notes n HST = triangle.half-square n QST =triangle.quarter-square n RST = right together.side(s) n Cutting is listed under each unit heading. Set aside any scraps for future blocks. Making the awning

Join the 1½in x 2½in piece of background to the right end of the awning, the 2½in x 4½in background piece to the left end and finally the 1½in x 18½in piece to the top, always pressing towards the background fabric. Making the flowers 6

To make each flower unit, along with two (2) pairs of 2in flower print squares, you will need to cut: n Two (2) 2in green print squares. n Two (2) 2in background.

To create a flower unit, first make a HST. Mark a diagonal line on the back of a 2in green print square and pin, RST, to a 2in flower print square. Stitch on the line before trimming ¼in away from the seam and pressing your HST open, including the seam (Fig 4). Make two (2), each with one (1) flower print from each pair. Fig 4 Make 2 Fig 6 Make 4

77 BLOCK OF THE MONTH l primrose hill Join us at www.gathered.how/todaysquilter

Fig 5 8Repeat step 7 with a 2in print square and a 2in background square, again, each with one (1) flower print from each pair. Make two (2).

n One (1) 3½in x 9½in, one (1) 2½in x 9in and one (1) 2in x 8½in piece of background. 8½in 11To make the top of the cart, join three (3) flower units together, pressing the seams open, then trim to 8½in wide (Fig 7).

Pair together one (1) HST of green/print with one (1) HST of background/print. Mark a diagonal line on the back of one (1) of the HSTs at right-angles to the seam and pin – RST – to the other HST, making sure to alternate the green print and the background, check placement. Again, stitch on the marked line and press to make a QST (Fig 5). Do not Making the cart 10For the cart, cut the following (you will also need the prepared circle template): n One (1) 4½in diameter circle, two (2) 1in x 3½in pieces and one Fig 7 Fig 8 (1) 1in x 2½in piece of taupe fabric.

trim at this point just in case you have to press open the other way. Repeat with the remaining pair of HSTs, but this time press open the other way to make a mirror image QST. Now you can trim away the back layers! Join the QSTs together to make a flower unit, checking the placement (Fig 6), pressing the seam open. Make four (4) various flower units. the corner – trimming away the back pieces (Fig 3). Repeat at the other end of the awning. Your awning should measure 2½in x 13½in. Make one (1).

To create the bucket, first prepare side pieces by placing the pair of 2in x 4in background pieces RST and – offsetting the diagonal by ¾in from one (1) corner on the shorter side – trim, discarding the smaller portion, giving you one (1) pair of mirror-image pieces (Fig 10).

Join the handle unit to the right of the flower bucket and the 2in x 6½in background piece to the left, again pressing away from the bucket. Finally add the 3½in x 6½in background piece to the top. Assembling the block

Nicola Dodd has been quilting since 2010 after chancing upon a quilting website and becoming hooked. Having designed all her working life – as an architect and as a garden designer – the temptation to start designing quilts was irresistible and she established her pattern company, CakeStand Quilts, in 2015. A regular Today’s Quilter contributor, Nicola now has a successful blog, where she enjoys sharing tutorials, and is a regular contributor to the Moda Bakeshop.

21Turn the bucket to the wrong side and trim to size, using the yellow print square as your guide.

Next, join the remaining flower unit to the bucket, before adding the 2in x 3½in background piece to the top, pressing away from the flowers.

Making the florist’s bucket 16To make the bucket, cut the following:

17To make the cart handle, join the 1in x 2in taupe piece to the 19Using the template, mark a placement line on the 3½in yellow print square, as shown in Fig 11A 20Position a side piece on the placement line – RST – and stitch a ¼in away before flipping ‘open’ and pressing (Fig 11B). Place and stitch the second side and, again, press ‘open’.

Join at www.gathered.how/todaysquilter

n Two (2) 2in x 4in pieces, one (1) 3½in x 6½in piece, one (1) 2in x 6½in piece, one (1) 2in x 6in piece and one (1) 2in x 3½in background piece.

www.cakestandquilts.com cakestandquilts @nicolajdodd

Meet the designer

Your block should measure 12½in x 18½in.

You can also trim down the excess background fabric if preferred.

Next, make the leg of the cart by joining the 1in x 2½in taupe piece to the left side of the 2½in x 9in background piece, pressing towards the leg. Sew this to the bottom of the 4½in x 9½in pink print piece, taking care with the placement (the leg should be on the left).

Next, we are going to make the wheel – cut a 4in diameter circle from card or template plastic. Using needle and thread, make a line of running stitch around the edge of a 4½in diameter taupe circle – about ⅛in from the edge – and gather over the template (Fig 9). Press gently and then allow to cool before removing the template. Make one (1). top of the 2in x 6in background piece, pressing towards the taupe.

25Join the florist’s bucket to the left side of the cart, pressing away from the cart, then join the awning, pressing towards the awing.

Fig 11A Fig 11B Fig 10 ¾in ¾in ¾in Fig 9 Make 1 4intemplatediameter

n One (1) 1in x 2in piece of taupe solid.

24Mark a generous ¼in seam allowance along the bottom of the block and glue-baste or pin the wheel to the cart before hand or machine appliquéing in place.

78 BLOCK OF THE MONTH l primrose hill

Join the 2in x 8½in background piece to the top, pressing away from the flowers, then join 1in x 3½in taupe piece to each side. Again, press away from the flowers (Fig 8).

Join the flowers to the top, pressing towards the cart, before joining the 3½in x 9½in background piece to the right-hand side, pressing towards the background.

79 BLOCK OF THE MONTH l primrose hill Join us at www.gathered.how/todaysquilter Fig 1 Fig 3 Fig 2 Make 1

–

1To make the awning, cut the following: n One (1) 1½in x 19in strip and one (1) 1½in x 3in piece of yellow print. n One (1) 1½in x 19in blue print strip. n One (1) 2½in x 4½in piece, two (2) 2½in squares, one (1) 1½in x 18½in piece and one (1) 1½in x 2½in piece of background fabric.

n Spray

n Ivory

Making the awning

2First make a strip set – join the 1½in x 19in yellow print strip to the 1½in x 19in blue print strip, pressing the seam open. Trim the end and cut six (6) 3in sections (Fig 1). Ice Cream Stand 3Rotate and join the sections together, alternating the yellow with the blue print, then join the 1½in x 3in yellow print piece to the end, again pressing the seams open. 4Trim the awning unit to 2½in wide (Fig 2). Mark a diagonal line on the back of two (2) 2½in background squares and pin one (1), RST, to each end of the awning, taking care with You will need n Various prints (ice creams) – Four (4) 2in squares n Dark blue print fabric (cart) – One (1) 4½in x 9½in piece n Taupe fabric (wheels) –One (1) 4½in x 21in strip print fabric (awning) – One (1) 1½in x 21in strip Yellow print fabric (awning) – One (1) 1½in x 21in strip n Raspberry fabric (tricycle frame) – One (1) ¾in x 21in strip scrap (hubcap) One (1) 1½in diameter circle fabric (background) – One (1) fat quarter n 3/8in bias tape maker starch and glue baste (optional) (1) 4in circle template (1) 1in circle Finished size n 12½in x 18½in Notes HST = triangle.half-square n RST = right together.side(s) n Nicola used a fabric glue to help baste her appliqué. Cutting is listed under each unit heading. Set aside any scraps for future blocks.

n One

n Blue

n Fussy-cut

80 MONTH l primrose hill

18Glue-baste or pin in place before hand or machine appliquéing to secure.

To make each ice cream, along with one (1) 2in print square, you will need to cut two (2) 2in background squares.

Turn a small seam allowance at each end of a 2in piece to make the saddle and at one end of the remaining 2in piece to make the handle and press.

Your block should measure 12½in x 18½in.

Join the 4½in x 9½in dark blue print piece to make the bottom of the cart, pressing away from the ice cream. Then add the 2½in x 9½in background piece to the bottom of the cart before joining the 3½in x 9½in background piece to the left-hand side, pressing towards the background.

20 Join the tricycle frame to the side of the cart, pressing away from the tricycle, then join the awning, pressing towards the awing.

fussy-cut circle and 1in card template. Make one (1).

15To create the tricycle frame –prepare the ¾in x 21in strip of raspberry with spray starch, if you are using it, and allow it to dry. Make a piece of bias tape using the ⅜in bias tape maker, following the manufacturer’s instructions. From the length, cut one (1) 4in piece, two (2) 2½in pieces and two (2) 2in pieces.

Join the 1½in x 2½in piece of background fabric to the left end of the awning, the 2½in x 4½in background piece to the right end and finally the 1½in x 18½in piece to the top, always pressing towards the background fabric.

Join a 1½in x 3½in background piece to each side, then the 1in x 3½in taupe pieces, again pressing away from the ice cream (Fig 6).

n One (1) 3½in x 9½in, one (1) 2½in x 9½in, one (1) 2in x 6½in piece and two (2) 1½in x 3½in pieces of background.

Fig

BLOCK OF THE

For the cart, cut the following (you will also need the prepared circle templates): n Two (2) 4½in diameter circles and two (2) 1in x 3½in pieces of taupe.

8Repeat this process with the HST from step 7 and the second 2in background square. Take care with the placement, the seam should be across the first seam (Fig 4). Press the seam open. Make four (4) ice cream units.

To create an ice cream, first make a HST – mark a diagonal line on the back of a 2in print square and pin, RST, to a 2in background square. Stitch on the line before trimming ¼in away from the seam and pressing your HST open as before, including the seam.

17To assemble the block, first mark a generous ¼in seam allowance on the lower right-hand corner of the 6½in x 9½in background piece and position the wheel as in Fig 8. Lay out the bias tape pieces, tucking raw ends in where necessary and then add the hubcap. Place the cart alongside to check the position of the handle and the frame (Fig 8), they should be in line with the blue cart piece.

Next, we are going to make the wheels – cut a 4in diameter circle from card or template plastic. Using needle and thread, make a line of running stitch around the edge of a 4½in diameter taupe circle – about ⅛in from the edge – and gather over the template (Fig 7). Press gently and then allow to cool before removing the template. Make two (2).

Make 4 the placement. Stitch on the line, flip ‘open’ and press – to snowball the corner – trimming away the back pieces (Fig 3). Repeat at the other end of the awning. Your awning should measure 2½in x 13½in. Make one (1).

Fig

Fig 7 Fig 8 Make 2 4intemplatediameter

19Appliqué the remaining wheel to the cart in the same way.

Join us at www.gathered.how/todaysquilter 4 5 6

Join the four (4) ice cream units together, pressing seams open, then join the 2in x 6½in piece to the top, pressing away from the ice cream, to make the top of the cart (Fig 5).

Assembling the block

Fig

16 To assemble the block, you will need to cut a 6½in x 9½in piece of background.

14To make the hub cap, repeat step 13 with the 1½in diameter

Making the cart

Making the ice creams

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81Join us at www.todaysquilter.com TODAY’S QUILTER l templates

help. TEMPLATES All the templates you’ll need from issue 90... ACTUAL SIZE PLEASE NOTE: Florist bucket templates includes seam allowances, circles do not. BLOCK OF THE MONTH APPLIQUÉ TEMPLATES Visit our www.gathered.how/blog:todaysquiltertoday! THESEDOWNLOADTEMPLATESFULLSIZE4IN CIRCLE1INCIRCLE 3½INBUCKETFLORIST

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patterns

MAJESTY'S HORSE APPLIQUÉ

LARGE

PLEASE NOTE: Templates DO NOT include seam allowances, the Marquee template DOES include seam allowances.

ENLARGE 200%

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HER TEMPLATES HORSE MEDIUMJOCKEYHORSEANDJOCKEY

82 Join us at www.gathered.how/todaysquilter TODAY’S QUILTER l templates

83 TODAY’S QUILTER l templates Join us at www.gathered.how/todaysquilter EDGEFOLDEDONPLACE ALINE FOLD BUNTING HAT 1 HATHAT2 4 HAT 3 1½in Visit our www.gathered.how/blog:todaysquiltertoday! THESEDOWNLOADTEMPLATESFULLSIZE MARQUEE

E B G aint TODAY’S QUILTER l templates 84 Join us at www.gathered.how/todaysquilter ENLARGE 200% PLEASE NOTE: Templates DO NOT include seam allowances. HARVEST HAZE APPLIQUÉ TEMPLATES POPPY LEAF WHEAT EAR CORNCOCKLE STEM CURIOUS MOUSE Visit our www.gathered.how/blog:todaysquiltertoday! THESEDOWNLOADTEMPLATESFULLSIZE

A A D F E is C 85 TODAY’S QUILTER l templates Join us at www.gathered.how/todaysquilter POPPY FLOWER A POPPY FLOWER B POPPY FLOWER C CLIMBING MOUSE PLAYFULSLEEPYMOUSEMOUSEPOPPYSTEM AND WHEAT STALK

H M CQ K V I P A A A TODAY’S QUILTER l templates 86 Join us at www.gathered.how/todaysquilter ENLARGE 200% PLEASE NOTE: Templates DO NOT include seam allowances. HARVEST HAZE APPLIQUÉ TEMPLATES CORNCOCKLEFLOWERA CORNCOCKLEFLOWERB CORNCOCKLEFLOWERC CALYXCORNCOCKLEAANDB SWIFT SWALLOW HOUSE MARTIN SEPALSCORNCOCKLEA,BAND C

87 TODAY’S QUILTER l templates Join us at www.gathered.how/todaysquilter ACTUAL SIZE ESSENTIAL GUIDE CURVED QUILTING TEMPLATES

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What are the best things about having your own creative space?

Anne Williams chats to some of your favourite designers to find out about their creative spaces...

CREATIVE SPACES ANDREA WALPOLE

Our conservatory is my workspace. Two sides are essentially floor-to-ceiling windows so it’s lovely and light. On one wall I have a large felt design wall. I have two enormous work benches on wheels that I made myself. The top surfaces are covered with heat-resistant material so I can press fabric on them. Old cupboards have been fixed in place underneath to provide lots of storage, which compensates for the limited wall space. They’re very flexible as I can have them out in the middle of the room or push them against the design wall. The ceiling has been insulated and a heat exchanger fitted so it’s a comfortable space to be in whatever the season or weather.

How have you personalised your space? It’s a functional, working room and I prefer it to be clear. The walls are painted soft muted lilac, and my sewing chair and benches have been covered in matching upholstery fabric. I find this neutral backdrop doesn’t interfere with the design of what I’m working on. But a cheerful rainbow of colours is provided by my wall-hung racks of threads, so they are always to hand. I’m a big fan of Christmas and confess to having a little wire LED Christmas tree on permanent display in one corner, along with a festive quilt a friend made for me.

ownartist’sImages INSPIRATION

Top, Andrea in her creative space –stored on colourfulthreadswall-hungpracticalracks,hermakeadisplay

As a single mum with four kids, having a space that’s all mine is wonderful. When they were small, the kids sometimes came in with me, but now they’re older I tend to close the door and just enjoy the peace! I’m tidy and organised – everything has a home – but at certain stages of a project, I do have lots of things out. If it’s time to cook tea or something, it’s great to be able to abandon piles of fabrics where they are, ready to return to later.

Above, Andrea’s work benches on wheels can be moved around the space as required, and the surfaces are large enough accommodatetoa range of items

What is your creative space like?

Any top tips for someone creating a sewing area? Make sure it’s comfortable all year round. Consider putting benches and storage cupboards on wheels as you can then move them about to access different parts of the room as required. Think about what you need in the room. I keep finished tops in big boxes underneath my bed, and kits and admin for my sewing business elsewhere in the house. Have a regular clear out to keep the clutter down – I do this every few months. Not only will the space be less cramped, but it will be more pleasant to work in and easier to keep clean.

www.raggedyruffdesigns.com

90 Join us at www.gathered.how/todaysquilter

Left, Old cupboards fixed in spaceanworkunderneathplaceAndrea’sbenchesprovideexcellentstorageforfabrics

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Today's Quilter Issue 90

Articles inside

CREATIVE SPACES

BLOCK OF THE MONTH

HER MAJESTY’S HORSE

HIDDEN STARS

DIARY DATES

HARVEST HAZE

QUILTING STYLES

MAKER’S GUIDE

ESSENTIAL GUIDE

SHOW AND TELL

FRESH PICKS