patterns • decorating tips • fiber art • culture
Issue No. 32
pattern download available in September
available October
Blossom available September
click quilt for pattern download
Asian Fabric
™
contents
Vol 8 Issue 2
quilts 20 Starburst Quilt A dynamic paper-pieced
heirloom quality quilt everyone will love
36 Happy Time Quilt 50 Beacon of Light & Flora and Fauna Quilts One lesson renders two
9 How to Use the Magazine 11 Shop Directory
charming projects with the latest from Kona Bay Fabrics
82 Asian Fan Faire
features 14 Mary Ellen Hopkins Tribute
17 What I Did With My Kona Bay
The perfect project for modern or traditional decors
98 Playful Bugs & Giggling Turtles Quilt
Remembering a special friend and quilting icon
Where to shop for Kona Bay
45 Meet the Yukata 95 Wine & Fabric
Have fun learning to pair Riesling with fabric
departments 8 Publisher’s Note
Great projects from our readers
64 Travel
Nagoya, Japan
74 Book Review
Make Your Own Kimono
88 Food
It's Time For a Picnic
103 General Instructions
Special thanks to:
Used exclusively and recommended by Asian Fabric™ Nagoya, Japan • pg 64
2013 Asian Fabric 5
downloadable patterns from Asian Fabric —$3.99 ea w w w.konabaygifts.com
Asian Fabric back issues —$5 ea
eco friendly insulated hot/cold bags —new designs!
publisher’s note
As summer comes to a close, I hope everyone enjoyed great weather, friend and family outings and your favorite craft projects. It’s a great time, too, to seek new interests and adventures. In my case, I decided to rekindle an interest I dabbled in many moons ago—an appreciation of wine, the nectar of the gods. As my friends can attest, I am not much of a drinker but an occasional glass of wine with dinner is certainly enjoyable. Kona Bay Fabrics, since moving its operations to Redmond, Washington, in the beautiful Northwest, has watched in wonder as the wine industry here grows. It is now the 2nd largest wine producing state in the US. Redmond is just a stones throw from scenic and fun Woodinville, where many of Washington’s wineries have tasting rooms and welcome visitors. While I sampled wine this summer, as a businessman, I couldn’t help but note some of the the wine industry’s marketing tools. I gauged what techniques da Textile Samurai could use to promote quilting and the love of fabric. One, pairing wine with food is an art. Could it be done with fabric as well? Indeed! Of course, it’s all subjective but fans and supporters should know, I was determined to give it a good try. On page 95, look for the wine/fabric pairings that I humbly recommend. Maybe you’ll have fun trying some of your own. Of course, it’s all in fun. I am not encouraging wine consumption while operating an expensive sewing machine but I also don’t want to be the sewing/wine nanny police either. Enjoy as you see fit. Our ever-creative Quilt Designer, Georgie Gerl, is again joined by guest contributor, Melanie Formway Chang. They have provided us with several exquisite quilt projects. Also in this superb issue, you’ll find a fascinating review of four books about kimono and other Japanese wearables. Before you read those, learn how about the history of Yukata and see our new Yukata fabric collection on page 45. Plus, join me as we travel to Nagoya—a thriving urban city where the Japanese textile industry developed and has flourished for centuries. Enjoy the rest of the summer and thank you for making Asian Fabric a part of your life. When you discover a certain Kona Bay fabric that goes best with your favorite wine, feel free to share it with us at Kona Bay. Mahalo and Aloha
Douglas (Textile Samurai) Eagleson Publisher • douglas@konabay.com http://www.facebook.com/pages/Kona-Bay-Fabrics-SeattleBay-Fabrics-and-Asian-Fabric-Magazine/106593046936?ref=ts
8 Asian Fabric 2013
Make the most of Asian Fabric
Asian Fabric™ Quilting and design ideas for inspired minds Issue #32 2013 • VOL 8 ISSUE 2
Publisher douglas Eagleson Quilt designer & EDITOR Georgie Gerl ggerl@comcast.net Facebook: Georgie Gerl Designer
SPECIAL CONTRIBUTORs Melanie Formway Change ASSISTANTS TO PUBLISHER Doris Eagleson 1923–2010 Cheryl Hamai Brittany Eagleson Simpson
Subscriptions Kona Bay Fabrics www.konabay.com 15812 NE 83rd St Redmond, WA 98052 800-531-7913
advertising and editorial inquiries
Share it with a friend 1. Click here and choose a method to share. 2. Follow prompts.
Use the easy links As you scroll over a page, active links will be highlighted in blue. This enables you to connect to additional pages and download additional patterns.
Print pages You must log in and download the publication before you are able to print. 1. Click Share and then choose the light gray Download link below. 2. Open the .pdf to view and print pages as you wish.
Eagle Publishing www.PublishingPeople.com 328 E. Indiana Ave Spokane, WA 99207 866-638-1115 Editor and associate publisher Vicki Dar nwwoman@mac.com graphic design liminalogy.com
Kona Bay Fabrics © 2013
Subscribe for FREE— It’s easy! 1. Go to www.konabay.com 2. Click on “Subscribe” 3. Complete the information
Asian Fabric™ is produced six times a year by Eagle Publishing for Kona Bay Fabrics. The magazine accepts no responsibility for unsolicited manuscripts or artwork; they will not be returned unless accompanied by a stamped, self-addressed envelope. © Kona Bay Fabrics. All rights reserved. No piece, in part or full, may be reproduced without permission.
2013 Asian Fabric 9
avaialable October
shop directory: where to find kona bay The premiere shops across the country for exceptional service and a superb selection of Kona Bay Fabrics.
maryland arizona 35th Ave Sew & Vac Fabric World 3500 W. Northern Ave Phoenix, AZ 85051 602.841.5427 4939 W. Ray Road, STE 27 Chandler, AZ 85225 480.961.7363 Two convenient locations with 25,000 bolts combined, including a large selection of Asian fabrics. Notions, books, threads and all quilting supplies. Kits available from this issue. Hours: M-F 9-6; Sat 9-5; Sun 10-4. www.35thavesewandvac.com
florida Boutique 4 Quilters, Inc. 2945 W New Haven Ave West Melbourne, FL 32904 321.768.2060 A shop with a Scandinavian ambiance. Large selection of Asian, Kaffe Fasset, Batiks and Silk fabrics. Hand dyed fabrics and Fiber Art by local artists. A place where Fiber Artists and Traditional Quilters gather. Come visit Florida’s most creative quilt shop! Hours: Mon & Tue 9:30am5pm; Wed 9:30am-7pm; Thur & Fri 9:30am-5pm; Sat 9:30am-4pm. www.boutique4quilters.com
Patches Quilting & Sewing 308 S Main St Mount Airy, MD 21771 301.831.0366 A delight for your eyes with over 4,000 bolts of fabric. Our large selection of Asian prints, Batiks, and Black and Whites will aid you in any project. Don’t forget to check out our books, notions and classes. www.patchesquilting.com Seminole Sampler 71 Mellor Ave Catonsville, MD 21228 866.407.2363 Dedicated quilt shop specializing in Asian, Batik and contemporary fabrics. Excellent service to meet all your quilting needs. Classes for all levels. Extensive selection of books, patterns and notions. www.seminolesampler.com
michigan The Stitchery 1129 E Grand River Ave Howell, MI 48843 517.548.1731 The Stitchery carries many Kona Bay Fabrics. Full service quilt shop with over 5,000 bolts of fabric and supplies. Authorized Janome dealer, featuring the Memory Craft 11,000 Embroidery Machine. Conveniently located between Detroit and Lansing. Open Mon-Fri 9-6, Sat. 9-4. www.thestitcheryonline.com 2013 Asian Fabric 11
minnesota Blue Bamboo 12865 Industrial Park Blvd Plymouth, MN 55441 800.323.1105 Gorgeous array of Asian fabrics which feature the best of Kona Bay in both fabric and kits. Choose from wall hangings, quilt and runner kits. Check our website for current fabrics and sign up for our newsletter. See over 5000 bolts of fabric which include Asian, flannels, brights, holiday and batiks. www.mybluebamboo.com
missouri The Quilted Fox 10403 Clayton Road St. Louis, M0 63131 314-993-1181 toll free 877.993.1181 Huge selection of Asian fabrics both in-store and online. We also carry internationally oriented fabrics. Many kits available. Open Mon and Wed 10 am–5 pm; Tues and Thurs 10 am–6:30 pm; Fri and Sat 10 am–4:30 pm, and Sun Noon–4:00 pm. www.quiltedfox.com
nevada The Quilted Dragon 2890 Yucca Terrace Ave Pahrump, NV 89048 775.751.9033 Just one hour NW of Las Vegas, we specialize in Oriental, Batik, and Wide Backing fabrics, Sashiko supplies and notions all at discount prices everyday. We stock over 1,700 book titles and 600 patterns at all times. Open MTW 9–3 and second Sat 9–3. www.quilteddragon.com
12 Asian Fabric 2013
new york Discount Sewing & Jackie Lynn’s Fabric Center 475 E. Ridge Rd Rochester, NY 14621 585.544.4110 Exquisite selection of Asian quilting fabrics. Sales and Service Center for Brother, Janome, HandiQuilter, Elna and Tin Lizzie machines. Open Mon-Sat 10-5, Tues & Thurs 10-8. www.discountsewingcenter.com
ohio Gramma Fannies Quilt Barn P. O. Box 270 Berlin, OH 44610 330.893.3243 Largest selection of Asian fabrics in Ohio’s Amish Country. You’ll enjoy our unique quilt shop located in an old barn as a part of Schrocks Amish farm. Locally made quilts plus 2500 bolts of beautiful fabrics specially designed for quilt shops. Just 1 mile east of Berlin, the heart of Amish Country, on State Route 39. Mon-Sat 10-5. www.grammafanniesquilts.com
pennsylvania Sew Smart Fabrics 30 W Oakland Ave. Doylestown, PA 18901 215.345.7990 The best selection of Asian prints in Eastern Pennsylvania. We also carry silks, wools and other fabrics. Books, patterns, trends. Open everyday. www.sewsmartfab.com
online shops
wyoming E.T. Quilts 80 S. Main Buffalo, WY 82834 307.684.9006 877.ETQUILTS (877.387.8458) Quality fabrics, including Wyoming’s largest collection of Asian prints, notions, kits, patterns, books and quilts. Salt City Candles, needlecraft supplies, and Boyd’s Bears also available. Check out our website and receive a free gift with your first on-line order. Open Mon–Sat 10–5. www.etquilts.com
contact asianfabric@ mac.com n on for informatio Asian advertising in Fabric
eQuilter eQuilter.com is your online fabric store for quilting, sewing and fashion, with OVER 20,000 Fabrics IN STOCK! We specialize in Asian-Pacific and contemporary quilt fabrics. See our ad on page 2. www.equilter.com SeaWatch Fabrics Mukilteo, WA • 866.407.2363 Extensive selection of Asian fabrics, Batiks and light Batiks. Unique patterns, “Wall Hanging of the Month” club, fat quarter bundles and Superior Threads. Free shipping on all orders over $25. Most orders shipped the same day. www.seawatchfabrics.com Debsews Fabrics Wide selection of Asian fabrics • Tone-On-Tone fabrics • Fat quarter selections • Patterns & magazines • Special sale items. Debsews as been selling fabric to thousands of satisfied customers online since 1999 and we are very proud of our customer service. See our ad on page 24. www.debsews2.com Shibori Dragon Shibori Dragon is dedicated to bringing you the finest materials and patterns for your creation of beautiful garments and quilted items. We offer the largest supply of sashiko supplies on the internet. www.shiboridragon.com
2013 Asian Fabric 13
Remembered
She epitomized quilting wisdom and a zest for life we should all aspire to. Mary Ellen Hopkins passed away July 9, 2013. She was long a friend of Kona Bay Fabrics. In 1977, fourteen years before Kona Bay Fabrics was born, Mary Ellen opened a quilt shop in Santa Monica, California. It was aptly named Crazy Ladies and Friends Quilt Shop. This was to be the beginning of the long and amazing story of a woman who would revolutionize the way quilters quilt. Crazy Ladies and Friends Quilt Shop thrived. In the 1980’s, Mary Ellen took her quilting philosophy and the methods she had established to carry it out that she was teaching students at the shop a step further by starting a publishing company. Her first book, The It’s Okay If You Sit On My Quilt Book, was self-published. Today, the book is considered a classic. Quilters Newsletter described it as, “Great for beginners— takes quilts out of the realm of preciousness and encourages just jumping in and doing it.” Mary Ellen’s goal of transforming difficult looking blocks into doable projects was a success.
14 Asian Fabric 2013
With one successful book encouraging quilters to bend the rules under her belt, Mary Ellen went on to publish several more. They all built on the premise of keeping the process as simple as possible. She is well known for the creation of the creating the connector and perfect piecing triangles concepts in addition to the Personal Private Measurement. Whereas we often refer to a person’s colorful personality, Mary Ellen’s might better be described as a rainbow with a pot of laughter at the end. As her classes at the store and books gained followers, Mary Ellen began receiving more and more invitations to lecture. After 20 years as quilt shop owner, Mary Ellen sold the store so she could devote her energy and time to teaching and lectures. Her love of travel and entertaining were a good match. She left her mark and admirable memories on quilters around the globe. In 1991, the newly formed Kona Bay Fabrics purchased a small booth at the American Quilt Show industry show in California. They were showing several bolts of Japanese fabrics on loan from a Japanese trading company Kona Bay had worked with in the coffee industry. Doug Eagleson, president of Kona Bay Fabrics and at the show by himself, knew little about the quilting industry, let alone fabric. He recalls fondly how he met Mary Ellen at the show, “This tiny, boisterous woman came into my booth and started telling me I needed to do this…and that…and then… As I tried to take it all in, she began dragging hundreds of quilters into the booth. That was my first encounter with Mary Ellen Hopkins.” The mutual fondness between Kona Bay Fabrics and Mary Ellen continued through the years as Mary Ellen promoted Kona Bay to anyone who would listen. Eagleson credits Mary Ellen and Irwin Bear, another industry icon, with his early success. In 2005, to celebrate how far they both had come, Mary Ellen and Kona Bay collaborated and presented the exciting Mary Ellen Hopkins Collection. The Mary Ellen Hopkins proved that she not only was the master of quilt design but had a natural inclination and artistic eye for fabric design. The four initial designs were colorful and filled with movement, just like Mary Ellen. The enthusiast reception of the Mary Ellen Hopkins collection prompted the release of an additional six designs in 2007. We at Kona Bay will miss Mary Ellen Hopkins and are honored by the gift of whimsical enthusiasm and loving support she bestowed on Kona Bay.
2013 Asian Fabric 15
Cats & Dots
available September
What I Did with my Kona Bay fabric projects from our readers
There are 2 ways to submit— all the e e s o t warding e r y r e v ics and r b It is a f r u ways o by you! d e creative t u c e s are ex pattern s who ha e n o y r to eve designs r u o Thanks y f s all! photo o u a s d e r e i r p a s sh in ur work o Y . s u with
1. Email: asianfabric@mac.com 2. Mail:
Asian Fabric Magazine Editor 15812 NE 83rd St. Redmond, WA 98502
www.konabayfabrics.com
ď ś
Margaret Arney Rosebud, TX
These are photos of two quilts that I made using Kona Bay Fabrics. I took two of the patterns from the magazine and redesigned them to make them larger. The new kitten (Annabella) decided she had to be part of the picture.
18 Asian Fabric 2012
I ‘m from Portugal. I’ve been a quilt lover since the 1990’s. I’m sending a photo of a bed runner that I made with the Kona Bay Orimono III black fabric. I made it with the Kaleidoscope technique, which is my favorite. I created a ‘river’ in the middle of the bed runner with the black and gold part of the fabric.
Maria Boga Portugal
I love your fabrics, they have so much movement. I’m also sending three other quilts I made. I have some fabric from the Kona Bay Geisha Dynasty collection, but I’ve not yet made a quilt yet. I’ll send to you a photo when I have something done. 2012 Asian Fabric 19
Stars burst forth in this paper-pieced quilting project it’s a great technique to sew odd angles, elongated points or triangles together to make the blocks for this unique quilt. Designer: Georgie Gerl
Starburst Quilt Cutting Chart & Material List
Starburst Quilt 65½” x 65½” Featuring fabrics from the Happy Time, Razzle, Blossom, Color Movement and Shadowland II collections.
Fabric Name, Placement & Yardage
First Cuts
Fabric E @ MOVE-01 Yellow @ Center Star, Large ( Star Accents & Border
Next Cuts
*” x $@” @” x $@” !2” x $@”
@$ *” x #” PP#3 * @” x *” PP#1 !^ !2” x #2”
!8 yards
material list Backing $ yards Batting &@” x &@”
Cut strips as indicated in chart then cut smaller pieces listed from these strips.
Fabric Name, Placement & Yardage Fabric A STN-7500-2 Black Border
!2 yards
Fabric B RAZZ-05 Black Star Background
#8 yards
First Cuts @
Next Cuts
!^8” squares *Cut twice diagonally for side triangles
@
!%w” squares **Cut once diagonally for corner triangles
&
@” x $@”
^ @ ! $ @
!)” x $@” (” x $@” &” x $@” #” x $@” !2” x $@”
**Cut once diagonally for corner triangles
Fabric C * $4” x $@” BLOS-04 Bronze $ !2” x $@” Large Star Outside Edge
$* !^ $ !^ * * @$
!)” x $4” PP4 (” x $4” PP#2 &” squares** #” x *” PP#3 !2” x @2” !2” x @” !2” squares
#@ $4” x (” PP#2 #@ !2” x @2” #@ !2” squares
!3 yards
Fabric D SHAD-07 Yellow Large Stars & Center Star Accents
!6 yards
22 Asian Fabric 2013
Fabric F MOVE-01 Orange Star Accents
$
!2” x $@”
!^ !2” x $2” !^ !2” x #2”
Fabric G SHAD-08 Marmalade Light Starburst
! ! @
&” x $@” $” x $@” !2” x $@”
$ @ @ !*
&” squares** $” x !!” PP#5 !2” x $2” !2” x #2”
! @ !
&” x $@” $” x $@” !2” x $@”
$ ^ @ @
&” squares** $” x !!” PP#5 !2” x $2” !2” x #2”
Fabric I SHAD-08 Gold Star Accents
@
!2” x $@”
Fabric J SHAD-07 Rust Accent Starburst & Binding
& &
@w” x $@” @” x $@” #@ @” x *” PP#1
Fabric K SHAD-12 Red Accent Starburst
&
!2” x $@”
3 yard
s yard
**Cut once diagonally for corner triangles
Fabric H SHAD-10 Sunset Dark Starburst
q yard
**Cut once diagonally for corner triangles
!^ !2” x #2”
6 yard
!8 yards
^ @ @ !
$” x $@” #” x $@” @” x $@” !2” x $@”
!^ * * $ $
$” x !!” PP#5 #” x *” PP#3 @” x *” PP#1 !2” x $2” !2” x #2”
2 yard
* !2” x @2” $) !2” x @” ** !2” squares
Let’s Begin Before you begin read all instructions. Referring to project Cutting Chart, cut First Cuts strips as indicated in chart then cut smaller pieces listed under Next Cuts from these strips. Refer to General Instructions (pages 103-104) for Accurate Seam Allowances and Assembly Line Method to construct this quilt. Use a 4�-wide seam allowance throughout this project. Press seams in direction of arrows as indicated in each diagram.
2. Flip fabric and paper to printed side and fold paper along stitch line between sections 1 and 2. Use a cardstock to help crease paper on sections 1 and 2 line. Align ruler 4� away from paper folded edge and trim fabric. An add-a-quarter ruler, design with a lip, makes cutting the seam allowance quicker and easier than using a rotary ruler. Photo show using a regular rotary ruler and the other with the add-a-quarter ruler.
Making the Paper-Pieced Units
Paper-pieced pattern can be found on pages 31-32. Make appropriate number of copies checking accuracy of pattern to stated size. Fabric to be used will be marked on cutting chart with PP # (Paper-Pieced number is the placement on pattern). Paper-pieced step photos were taken using different fabrics than those listed in cutting chart. Set sewing machine stitch length to 18 to 20 stitches per inch or 1.5. It is recommended to make one paper-piece unit first to test technique, fabric placement, and fabric selection.
1. Place wrong side of fabric piece to blank side of printed pattern, centering appropriate fabric over section #1. Pin using a flat-head pin keeping pin away from stitch lines. If necessary hold pieces up to light to make sure fabric extends past section #1 shape.
Printed side of paper
Align card stock on line between sections 1 and 2
Fold paper on line to reveal wrong side of fabric
Align ruler 4" mark on paper folded edge Trim fabric using a rotary cutter
Photo using Add-A-Quarter Ruler
Fabric wrong side on blank side of paper covering #1 area
2013 Asian Fabric 23
3. Unfold paper; align section #2 fabric on section #1 fabric cut edge right sides together. Turn paper printed side up, being careful not to displace fabric on back, sew through all layers using a short stitch length. Begin and end stitches 4� beyond stitch line. Press.
5. Referring to steps 1-4, sew one unit using the other pattern, trim completed unit on outside trim line.
Unit before trimming wrong side of fabric
Fabrics right sides together aligning cut edges
Fabric press open
4. Repeat process to fold, cut and sew in numerical order additional fabric to make a whole unit. After all pieces are sewn to unit, trim unit on outside trim line.
Right side of unit before trimming
6. Sew unit from step 4 to unit from step 5 as shown. Press. Sew one Fabric H triangle to unit to make a completed block. Triangle piece is slightly larger, square unit to measure !)� square.
After all pieces are sewn Right side of trimmed unit together trim on outside line
Units sewn together
Square unit to measure !)�
24 Asian Fabric 2013
7. Repeat steps 1-6 to make twenty-four blocks using different fabric combinations referring to diagram below for fabric placement and number needed for each combination. D
B
H
B
B
G
E
B
D
B
E
B D
D
B
J
D
E
H
Make @ for Center Block
B
G E
Make @ for Center Block
B
J
C
B
D
E
J
C
H E
Make $ for Corner Block
B
C
B
E J
E
B
C
C
G
Make $ for Corner Block
B
H
B
B
J
C
E
J
D
E
H
B
D
B
E
E
B
B
B
Make 8 for Corner Block
H D
Make @ for Accent Block
B
B
B B
D
G D
Make @ for Accent Block
Refer to above blocks for fabric placement, all blocks are constructed the same only the fabric placement varies from block to block.
Making the Center Block Borders will be added to two sides of each paper-pieced block, a simple triangle technique is used to make some of the units for the borders. 1. Refer to General Instructions (page 103) for Simple Triangles technique. Draw a diagonal line on the wrong side of one !2” Fabric K square this will be your sewing line. Place marked square on one !2” x #2” Fabric H piece as shown. Stitch on drawn line, trim 4” away from stitch lines and press. Make two. Repeat step using !2” Fabric K square and !2” x #2” Fabric G piece as shown. Press. Make two. Fabric K- !12” square Fabric H- !2””” x #2””” Make @
3. Arrange and sew together one unit from step 1, one !2” x @” Fabric K piece, one unit from step 2, and one !2” x @2” Fabric K piece as shown. Press. Make four, two of each combination. @”
@”
@2”
@2”
!2”
!2”
Make 2
Make 2
4. Refer to diagram below for fabric placement and to determine which unit to use to make block. Sew one unit from step 3 to side of Center Block as shown. Press. Make four, two of each combination.
Fabric K- !12” square Fabric G- !2””” x #2””” Make @
2. Making simple triangles, sew two !2” Fabric K squares to one !2” x #2” Fabric F piece as shown. Press. Make eight. Fabric K- !12” squares Fabric F- !2””” x #2””” Make *
Make 2
Make 2
5. Making simple triangles, sew one !2” Fabric K square to one !2” x $2” Fabric H piece as shown. Press. Make two. Repeat step using !2” Fabric K square and !2” x $2” Fabric G piece as shown. Press. Make two. Fabric K- !12” square Fabric H- !2””” x $2””” Make @
Fabric K- !12” square Fabric G- !2””” x $2””” Make @
2013 Asian Fabric 25
6. Arrange and sew together one unit from step 5, one !2” x @” Fabric K piece, one unit from step 2, and one !2” x @2” Fabric K piece as shown. Press. Make four, two of each combination. @”
@2”
@”
@2”
!2”
Make 2
!2”
Make 2
7. Refer to diagram below for fabric placement and unit used to make block. Sew one unit from step 6 to top of unit from step 4 as shown. Press. Make four, two of each variation.
2. Making simple triangles, sew one !2” Fabric K square and one !2” Fabric C square to one !2” x #2” Fabric I piece as shown. Press. Make sixteen. Fabric K- !12” square Fabric C- !12” square Fabric I- !2””” x #2””” Make !^
3. Arrange and sew together one unit from step 1, one !2” x @” Fabric K piece, one unit from step 2, and one !2” x @2” Fabric C piece as shown. Press. Make sixteen. @”
@2”
!2”
Make 16 Make 2
Make 2
8. Sew two units from step 7, one of each variation, as shown. Press. Make two. Sew these units together. Press and label Center Block. Block measures @!2” square. Center Block
Make 2
Make @ Block measures @!2”
Making the Corner Blocks 1. Making simple triangles, sew one !2” Fabric K square to one !2” x #2” Fabric G piece as shown. Press. Make sixteen. Fabric K- !12” square Fabric G- !2””” x #2””” Make !^
26 Asian Fabric 2013
4. Making simple triangles, sew one !2” Fabric K square to one !2” x $2” Fabric F piece as shown. Press. Make sixteen. Fabric K- !12” square Fabric F- !2””” x $2””” Make !^
5. Making simple triangles, sew one !2” Fabric K square and one !2” Fabric C square to one !2” x #2” Fabric E piece as shown. Press. Make sixteen. Fabric K- !12” square Fabric C- !12” square Fabric E !2””” x #2””” Make !^
6. Arrange and sew together one unit from step 4, one !2” x @” Fabric K piece, one unit from step 5, and one !2” x @2” Fabric C piece as shown. Press. Make sixteen. @”
@2”
!2”
Make 16
7. Refer to diagram below for fabric placement and units used to make blocks. Sew one unit from step 3 to side of one Corner Paper-pieced block as shown. Press. Sew one unit from step 6 to top of unit just sewn. Press. Make sixteen total blocks, eight of one combination and four of each other combination.
Make $ Side Blocks
Make $ Side Blocks
8. Sew four units from step 7, one of two different combinations and two of another combination as shown. Press. Make four, two of each variation. Press and label Corner Block. Block measures @!2� square. Corner Block
Make 2 Block measures @!2" square Corner Block
Make 8 Side Blocks
Make 2 Block measures @!2" square
2013 Asian Fabric 27
Making the Accent Blocks 1. Making simple triangles, sew one !2” Fabric B square to one !2” x #2” Fabric D piece as shown. Press. Make four.
5. Arrange and sew together one unit from step 4, one !2” x @” Fabric B piece, one unit from step 2, and one !2” x @2” Fabric B piece as shown. Press. Make four. @”
@2”
!2”
Fabric B- !12” square Fabric D- !2””” x #2””” Make 4
Make 4
2. Making simple triangles, sew two !2” Fabric B squares and !2” x #2” Fabric F piece as shown. Press. Make eight.
6. Sew one unit from step 3 to side of one Accent Paper-pieced block as shown. Press. Sew one unit from step 5 to top of this unit. Press. Make four, two of each combination.
Fabric B- !12” squares Fabric F- !2””” x #2””” Make 8
3. Arrange and sew together one unit from step 1, one !2” x @” Fabric B piece, one unit from step 2, and one !2” x @2” Fabric B piece as shown. Press. Make four. @”
@2”
!2”
Make 4
4. Making simple triangles, sew one !2” Fabric B square to one !2” x $2” Fabric D piece as shown. Press. Make four. Fabric B- !12” square Fabric D- !2””” x $2””” Make 4
Make 2
7. Sew one block from step 6 between two Fabric A side triangles as shown. Press and label Accent Block. Make four, two of each combination. Accent Block
Make 2 Accent Block
Make 2
28 Asian Fabric 2013
Make 2
Assembling and Adding the Borders 1. Layout all blocks and Fabric A triangles as shown below into rows. • Sew one Corner Block between two Accent Blocks (one of each variation). Press. Sew one large Fabric A corner triangle to row. Press. Make two. • Sew one Center Block between two Corner Blocks. Press. Sew this unit between two large Fabric A corner triangles. Press. • Sew rows together and press.
2. Sew !2” x $@” Fabric E strips end-to-end to make one continuous !2”-wide Fabric E strip. Press. Measure quilt from side to side. Cut two !2”-wide strips to this measurement. Sew to top, and bottom of quilt. Press seams toward border.
3. Measure quilt through center from top to bottom, including borders just added. Cut two !2”-wide Fabric E strips to that measurement. Sew to sides of quilt and press. 4. Referring to steps 1 and 2 to join, measure, trim, and sew @”-wide Fabric A outside border strips to top, bottom, and sides of quilt. Press.
2013 Asian Fabric 29
Finishing the Quilt 1. Cut backing fabric piece into two equal pieces. Sew pieces together to make one &@” x *)” approximate backing piece. Press and trim backing to measure &@” x &@”. 2. Press backing and quilt top trimming all excess threads. Refer to General Instructions (page 104) for Finishing the Quilt. Layer and baste backing, batting, and quilt top together. Hand or machine quilt as desired. Refer to Binding the Quilt and bind as desired.
Starburst Wall, Table Accent Quilts & Pillow Starburst Wall Quilt 48” square
Starburst Table Accent Quilt or Pillow 26” square
Want to make something smaller? Here’s two ideas using the center block only (wall quilt uses four center blocks)—simply add borders, quilt as desired, and bind.
30 Asian Fabric 2013
MAKING COPIES Make one copy checking accuracy of pattern to state size noted on pattern. It is important that size noted on pattern and printed pattern match in order to complete this project successfully. If size varies adjust copier to achieve the measurement listed on pattern then print the appropriate number of copies noted in project. We recommended making a few extra for testing fabric placement. Print all copies from the same copier to avoid distortions. Trim about 2" away from outside trim line. Pattern will be trimmed later after all fabrics have been sewn to unit.
Twenty-four copies are needed to make this project we recommend making a few extra.
5 *4" 10"
Outside Trim Line
4
1
2 e
e sid
im Tr
Lin
t
Ou
3
#d" 2013 Asian Fabric 31
Permission to photocopy pages 31 & 32 is granted by Kona Bay Fabrics to successfully complete the Starburst Quilt.
*x"
*n"
4
1
Outside Trim Line
Twenty-four copies are needed to make this project we recommend making a few extra.
#d
"
2
3
e Trim
Outsid
32 Asian Fabric 2013
Line
Mikoto II available September
In stores now
nd Shadowla Col lect ion Q u i lt s
n Yenter gned by Jaso Fabric desi ie Gerl rg eo G by ired Quilts insp
Be sure to pick up the original Shadowland Collection Quilts book—remade quilts with new cutting instructions will be made available for download. Must purchase book for instructions.
Happy Time Q •U •I •L •T
Contemporary flowers in bright colors will bring a ray of delight to any room setting when displaying this quilt on a wall or table. Designer: Georgie Gerl
Happy Time Quilt Cutting Chart & Material List Happy Time Quilt 50” x 50”
material list Backing #8 yards Batting %^” x %^” Cut strips as indicated in chart then cut smaller pieces listed from these strips Featuring fabrics from the Happy Times, Shadowland II and Color Movement Collections. * Extra fabric may be needed for “Fussy Cut” pieces; amount varies depending on motif selection and fabric repeat.
First Cuts
Fabric Name, Placement & Yardage Fabric A KORA-07 Ivory Background
@ ^ &
!2 yards
! Fabric B BM-016CR-Lavendar @ Block Center & Accent $
q-! yard*
Fabric C MOVE-01 Peri Border & Binding
q yard
38 Asian Fabric 2013
% @
$2” x $@” $ * #” x $@” @2” x $@” * ^*
Next Cuts $2” x !@2” #” squares @2” x *2” @2” squares
!@2” x @)2” $2” x !@2” $2” squares “Fussy Cut” @w” x $@” @2” x $@” $
First Cuts
Fabric Name, Placement & Yardage
Next Cuts
Fabric D BM-016CR Blue Medium Squares
$
*2” squares “Fussy Cut”
Fabric E SHAD-10 Teal Dark Border
&
@2” x $@”
Fabric F MOVE-01 Yellow Light Border
! ^
* #” x $@” @2” x $@” $ #@ *
a-s yard*
$ * *
@2” x !$2” @2” x !@2” @2” x *2”
q yard
@2” x !@2”
q yard
#” squares @2” x !@2” @2” x $2” @2” squares
Let’s Begin Before you begin read all instructions. Referring to project Cutting Chart, cut First Cuts strips as indicated in chart then cut smaller pieces listed under Next Cuts from these strips. Refer to General Instructions (page 103) for Accurate Seam Allowances and Assembly Line Method to construct this quilt. Use a 4”-wide seam allowance throughout this project. Press seams in direction of arrows as indicated in each diagram. Note: This quilt is constructed using both Simple Triangle and Half-Square Triangle techniques.
Making the Quilt Note: If using directional fabric where the designs goes in one direction pay close attention to layout and placement of motif fabric. For example top and bottom rows are the same but the bottom row is rotated 180° so in step 5, 6, and 7 some of the directional fabric will need to be sewn upside down so it face the right direction in the finished quilt. You will be making two of Block 1-Left one directional fabric will need to be sewn with the design in the correct direction and the other with the design upside down, the same holds true for Block 1-Right. 1. Refer to General Instructions (page 103) for Simple Triangles technique. Draw a diagonal line on the wrong side of two @2” Fabric A squares. This will be your sewing line. Place one marked square on one @2” x $2” Fabric F piece as shown. Stitch on drawn line, trim 4” away from stitch lines and press. Sew remaining marked square to piece as shown. Trim and press. Make thirty-two.
2. Refer to General Instructions (page 103) for Half-Square Triangles. Draw a diagonal line on one #” Fabric A square. Place marked square and one #” Fabric F square right sides together. Sew a scant 4” away from drawn line on both sides, cut on drawn line, and press. Make eight. Trim squares to @2” to make sixteen half-square triangle units. Fabric A- #” square Fabric F- #” square Make *
Square to @2””” Make !^ Half-square Triangles Units
3. Arrange and sew one unit from step 1 between two units from step 2 as shown. Press. Make eight. Sew one unit from this step to one @2” x *2” Fabric E strip. Press. Make eight. *2”
@2”
Make * Make *
4. Arrange and sew together one @2” x *2” Fabric A piece, one unit from step 3, and one *2” Fabric D as shown. Press. Make four. *2”
@2”
*2”
Make 4
Fabric A- @2” squares Fabric F- @2” x $2””” Make #@
2013 Asian Fabric 39
5. Arrange and sew together one unit from step 1, one $2” Fabric B square, and one unit from step 3 as shown. Press. Make four, two of each variation. $2”
$2”
$2”
$2”
Make 2
Make 2
6. Arrange and sew together one unit from step 5 to one unit from step 4 as shown. Press. Make four, two of each variation.
Hanko Collection in stores now
Make 2
Make 2
7. Arrange and sew together one unit from step 6 to one @2” x !@2” Fabric E strip as shown. Press and label Block 1. Make four, two of each variation. Block measures !@2” x !^2” .
CLICK AD to go to store web page
Block 1 Left
Block 1 Right
!@2”
!@2”
miss kirakira handmade creations bracelets, cell phone charms trinkets & other kawaii accessories
@2” Make 2 Block measures !@2” x !^2”
40 Asian Fabric 2013
@2” Make 2 Block measures !@2” x !^2”
8. Making simply triangle units, sew two @2” Fabric F squares to one $2” x !@2” Fabric A piece as shown. Press. Make four.
Fabric F- @2” squares Fabric A- $2” x !@2” Make $
9. Arrange and sew together one @2” x 1!@2” Fabric E strip, one @2” x 1!@2” Fabric F strip, one unit from step 8, one @2” x 1!@2” Fabric C strip, and one $2” x 1!@2” Fabric B strip as shown. Press. Make two. Sew one of these units between two @2” x 1!$2” Fabric E strips. Press. Make two. !@2”
@2”
@2”
@2” @2” !$2” @2” $2”
Make 2
Make 2
10. Arrange and sew together four units from step 1. Press. Make four. Sew one of these units to top of unit from step 9 as shown. Press. Make two. Block measures !^2” square. Block 2
Make 4
Make 2 Block measures !^2” square
11. Arrange and sew together two @2” x 1!@2” Fabric E strips, two @2” x 1!@2” Fabric F strips, two units from step 8, two @2” x 1!@2” Fabric C strips, and one !@2” x 1@)2” Fabric B piece as shown. Press. Block measures $)2” x !@2”1. Block 3
@2” @2”
@2”
@)2”
@2”
@2” @2”
!@2”
Block measures $)2” x !@2” 2013 Asian Fabric 41
12. Sew one Block 2 between one Block 1-Left and one Block 1-Right as shown. Press. Make two. Sew Block 3 between the rows from this step. Press.
13. Arrange and sew together two @2” Fabric A squares, two units from step 1, two @2” x 1*2” Fabric A strips, and one remaining unit from step 10 as shown. Press. Make two. @2”
*2”
*2”
@2”
@2” Make 2
14. Sew unit from step 12 between two units from step 13 as shown. Press.
42 Asian Fabric 2013
15. Sew #” x $@” Fabric A strips end-to-end to make one continuous #”-wide Fabric A strip. Press. Measure quilt from side to side. Cut two #”-wide strips to this measurement. Sew to top, and bottom of quilt. Press seams toward border. 16. Measure quilt through center from top to bottom, including borders just added. Cut two #”-wide Fabric A strips to this measurement. Sew to sides of quilt and press.
Finishing the Quilt
1. Cut backing fabric piece into two equal pieces. Sew pieces together to make one %^” x *)” approximate backing piece. Press and trim backing to measure %^” x %^”.
2. Press backing and quilt top trimming all excess threads. Refer to General Instructions (page 104) for Finishing the Quilt. Layer and baste backing, batting, and quilt top together. Hand or machine quilt as desired. Refer to Binding the Quilt and bind as desired.
www.Debsews2.com S p e c i a l i z i n g i n A s i a n Fa b r i c
ASIAN FABRICS TONE ON TONE FABRICS PATTERNS & MAGAZINES FAT QUARTER SELECTIONS SPECIAL SALE ITEMS
10% discount for Asian Fabric magazine fans Use discount code: AFM
Debsews has been selling fabric to thousands of satisfied customers online since 1999 and we are very proud of our customer service. Visit us at www.Debsews2.com
email: debsews@pixi.com 2013 Asian Fabric 43
available August
Meet the Yukata 2013 Asian Fabric 00
K
ona Bay is currently selling a lovely selection of Yukata fabric, available in your local quilt shop. The three lovely designs come in four different color ways each. The comfortable feel of this 100% cotton fabric make it perfect for a variety of projects. A Yukata is a type of kimono. When most people think of kimono, traditional Japanese clothing worn by men and women, the image that usually comes to mind are women wearing ornate, layered and carefully wrapped, folded and tucked silk robes with flowing sleeves and wide banded sashes or obis. Yukata are the casual, older cousin of the silk kimono. Dating all the way back to the Heian era (794-1185), the yukata was worn by court nobles and made of linen. They were worn after the bath and are often still used in this way today. If you stay at a ryokan (a cross between a bed and breakfast and a small hotel) in Japan, you’ll likely find a yukata hanging in your room for your use during your visit. Early on as manufacturing process made cotton readily available, it became the more popular and comfortable choice over linen. And, as public bathing become more commonplace in the Nara and Kamakura periods, yukata were used by all classes. Just as summer wear in the United States shifted as we moved to modern times to allow for comfort and ease, so did fashion in Japan. The lightweight cotton of the yukata made it the perfect summertime attire. Plus, women in particular found the added bonus of being able to put on a yukata without the assistance needed for a silk kimono very appealing. A yukata is usually worn with only a simple cotton undergarment and a sash. Whereas a kimono requires several layers and help wrapping, rolling, folding and tying along the way. As there are several types of kimono, if you’re not wearing lightweight cotton, you’re probably not wearing a yukata. Today, yukata can often be seen worn at summer festivals both by participants and attendees. Young women, in particular, are able to make a fun fashion statement wearing a bright colored yukata featuring a broad range of patterns. Japanese yukata construction is surprisingly simple. Unlike the kimono, which requires a lining, the yukata does not. Both are straight cuts with no darts. You still have time to make one this summer! See our book reviews on page 74.
46 Asian Fabric 2013
click quilt for FREE pattern download, beginning in July
Tomorrow Morning in stores now
Beacon of Light Flora & Fauna
Sparks of light illuminate the garden path bringing comfort in the depth of darkness in our Beacon of Light Quilt. Use the same block techniques arranged in a different setting to construct the Fauna and Flora Lap Quilt. Designer: Georgie Gerl
Beacon of Light Bed Quilt Cutting Chart & Material List Beacon of Light Bed Quilt 78“ x 83”
material list Backing &4 yards Batting *^” x (!” Read Cutting Tip prior to cutting fabrics. Cut strips as indicated in chart then cut smaller pieces listed from these strips Extra fabric may be needed for “Fussy Cut” pieces; amount varies depending on motif selection and fabric repeat. Featuring fabrics from the Garden of Dreams, Shadowland II and Blossom Collections. Fabric Name, Placement & Yardage Fabric A DREA-02 Gold Center
First Cuts # @ ^
Next Cuts
!#” x ^2” !!2” x #2” $2” x #2”
s-! yard*
Fabric B SHAD-10 Cream Large Block 1st Border & Side Panel Center
# ! # !
@ ! @ #
Fabric D SHAD-07 Yellow Block Borders & Side Panel Triangles
# @ # &
52 Asian Fabric 2013
$” x $@” #2” x $@” @2” x $@” @” x $@”
@$ ^ ^ !@
$” squares #2” squares @2” x !%” @” x #2” Cut 1 from scrap
! yard
!3 yards
First Cuts
Next Cuts
Fabric E SHAD-09 Jade Side Panel Accent Squares
@
#2” x $@” !^ #2” squares
Fabric F BLOS-04 Black Background
@
!#2” x $@” @ ! ! @ ! ! ^2” x $@” ! %2” x $@” !^ $ $2” x $@” @) ! $” x $@” #2” x $@” #” x $@” @w” x $@” @2” x $@” @) @) @” x $@”
3 yard
d yard
Fabric C SHAD-08 Sea Large Block Accent & Small Block 1st Border
Fabric Name, Placement & Yardage
^2” x $@” !) #2” x $@” !) @2” x $@” $ !@ $ @” x $@” !@ $” x $@” #2” x $@” @2” x $@” @” x $@”
@$ !) @) ^ $ @)
^2” squares #2” squares @2” x %2” @2” x #2” @” x !!2” @” x $2” $” squares #2” x $2” @2” x $2” @” x @%” @” x (2” @” x #2”
$d yards
*Cut each %2” square twice diagonally (side triangles) **Cut each %8” square once diagonally (corner triangles)
! # % $ 1 @ ( ( @ #
!#2” x !*2” !#2” x *” !#2” x &” !#2” x #” !#2” x @2” !#2” x !2” ^2” x @&2” %2” squares* %8” squares** $2” x %2” $” x @(”
@2” squares @” x $2”
*This is directional fabric, first cut listed runs parallel to the selvage. Extra fabric may be needed if “Fussy Cutting” a particular motif areas.
Let’s Begin Before you begin read all instructions. Referring to project Cutting Chart, cut First Cuts strips as indicated in chart then cut smaller pieces listed under Next Cuts from these strips. Refer to General Instructions (pages 103) for Accurate Seam Allowances and Assembly Line Method to construct this quilt. Use a 4”-wide seam allowance throughout this project. Press seams in direction of arrows as indicated in each diagram.
Making the Blocks
4. Sew one !#” x ^2” Fabric A piece between two units from step 3 as shown. Press. Make three. !#”
^2”
Make 3
5. Sew one @2” x $2” Fabric D piece between one @2” Fabric F square and one @2” x #2” Fabric C piece as shown. Press. Make twelve. Sew one @2” x !%” Fabric B strip between two units from this step, checking orientation of units prior to sewing. Press. Make six. @2”
1. Sew one #2” x $2” Fabric D piece between two $2” x %2” Fabric F pieces as shown. Press. Make ten. %2”
#2”
Make !)
2. Sew one #2” Fabric B square between one #2” Fabric C square and one $2” x #2” Fabric A piece as shown. Press. Make six. #2”
$2”
#2” Make ^
3. Sew one @” x $2” Fabric C piece between one @” x #2” Fabric D piece and one @” x #2” Fabric B piece as shown. Press. Make twelve. Sew one unit from step 2 between two units from this step. Press. Make six. #2”
$2”
#2”
@2” Make !@ !%”
%2”
$2”
#2”
$2”
@2” Make ^
6. Sew one @” x @%” Fabric D strip between two @” x $2” Fabric F strips as shown. Press. Make six. $2”
$2”
@%”
@”
Make ^
7. A r r a n g e a n d s e w together two units from step 6, two units from step 5, and one unit from step 4 as shown. Press. Make three.
#2”
@”
Make !@
Make ^
Make 3 2013 Asian Fabric 53
8. Sew one unit from step 7 between two units from step 1 as shown. Press and label Block 1. Make three, block measures !#2” x $!”. Block 1
11. Arrange and sew together two @2” Fabric F squares, two @2” x $2” Fabric D pieces, and one @2” x %2” Fabric C piece as shown. Press. Make four. @2”
$2”
%2”
$2”
@2”
@2” Make 4
12. Sew one @” x (2” Fabric D strip between two @” x $2” Fabric F pieces as shown. Press Make four. $2”
(2”
$2”
@”
Make 4
13. Arrange and sew together two units from step 12, two units from step 11, two units from step 10 and one unit from step 9 as shown. Press. Make two.
Make 3 Block measures !#2”” x $!”
9. Sew one !!2” x #2” Fabric A piece between two #2” Fabric C squares as shown. Press. Make two. #2”
!!2”
#2”
#2” Make 2
10. Sew one @” x !!2” Fabric C strip between two @” x #2” Fabric D pieces as shown. Press. Make four. #2”
!!2”
#2”
@”
Make 4
54 Asian Fabric 2013
Make 2
14. Sew one unit from step 13 between two units from step 1 as shown. Press and label Block 2. Make two. Block measures !#2” x @%2”.
15. Sew one Block 1 between two 1!#2” x !*2” Fabric F pieces as shown. Press and label Section 1. !#2”
Block 2
!*2”
16. Sew $” x $@” Fabric F strips end-to-end to make one continuous $”-wide Fabric F strip. Press. From this strip cut one $” x %)” and one $” x $*2” strips. Sew #” x $@” Fabric F strips end-to-end to make one continuous #”-wide Fabric F strip. Press. From this strip cut one #” x %)” strip, the remaining 3”-wide strip will be cut later. 17. Sew one Block 1 between one !#2” x #” and one !#2” x &” Fabric F pieces as shown. Press. Sew this unit between one $” x %)” and one #” x %)” Fabric F strips. Press. $”
Make 2 Block measures !#2”” x @%2”
!#2”
#”
#”
%)” !*2”
&””
2013 Asian Fabric 55
18. Sew one Block 2 to one !#2” x @2” Fabric F strip. Press. Sew this unit to one ^2” x @&2” Fabric F strip. Press. Referring to layout (pages 51–52), sew unit from step 17 to top of unit from this step. Press seam toward top unit and label Section 2. !#2”
^2”
20. Sew one Block 1 to one !#2” x *” Fabric F piece. Press. Sew this unit to one $”x $*2” Fabric F strip. Referring to layout (pages 51–52) sew unit from step 19 to top of unit from this step. Press seam toward top unit and label Section 3. !#2”
$”
@&2”
$*2” @2”
19. Sew one Block 2 between one !#2” x !2” and one !#2” x #” Fabric F strips. Press. Sew one $” x @(” Fabric F strip to side of unit from this step. Press. !#2”
$”
*”
!2”
@(”
#”
21. Referring to layout (pages 51-52) arrange and sew together Sections 1, 2, and 3. Press. Unit measures $(“ x &&”. 22. Refer to General Instructions (pages 103) for Half-Square Triangles. Draw a diagonal line on one $” Fabric B square. Place marked square and one $” Fabric D square right sides together. Sew a scant 4” away from drawn line on both sides, cut on drawn line, and press. Make twenty-four. Trim squares to #2” to make forty-eight half-square triangle units. Fabric B- $””” square Fabric D- $” square Make @$
56 Asian Fabric 2012
Square to #2””” Make $* Half-square Triangles Units
23. Sew one unit from step 22 between two Fabric F side triangles as shown. Press. Make sixteen.
27. Arrange and sew together two units from step 24, three units from step 25, and four units from step 26 as shown. Press seam open. Make two.
Make 1!^
24. Sew one Fabric F corner triangle to one ^2” Fabric C square as shown. Press. Sew this unit between one unit from step 23 and one Fabric F corner triangle. Press. Make four.
Make $
25. Sew one ^2” Fabric C square between two units from step 23 as shown. Press. Make six.
Make 6
26. Arrange and sew together, two Fabric F side triangles, two units from step 22, and one #2” Fabric E square as shown. Press. Make sixteen. Sew two of these units together as shown. Press seam open. Make eight. Make 16
Make 8
Make @
28. Sew $2” x $@” Fabric F strips end-to-end to make one continuous $2”-wide Fabric F strip. Press. Sew #2” x $@” Fabric F strips end-to-end to make one continuous #2”-wide Fabric F strip. Press. Measures quilt through center from top to bottom and cut three #”-wide and one $2”-wide Fabric F strips to this measurement. Additional #” and #12”–wide strips will be cut in step 30.
2012 Asian Fabric 57
#”
#”
$2”
#”
Adjusting the Length Note: Sometimes pieced units may not measure correctly the cause of this can be several reasons the most commons errors are not sewing a perfect 4”-wide seam allowance and pressing. Measure the length of the side panel unit from step 28 this should be the same length as quilt top length measurement obtained in step 28. If for some reason the side panel units are slightly shorter than quilt measurement then re-press unit making sure all seams are laying flat and re-measure. The design of this quilt allows for slight adjustment along bottom edge of quilt if side panel unit still measures slightly shorter than quilt measurement simply trim bottom edge of quilt and Fabric F strips to match side panel length measurement than sew pieces together following step 29 instructions.
&&”
29. Sew one unit from step 27 between one #”-wide and one $2”-wide Fabric F strips. Press. Sew this unit to left side of quilt. Press. Sew remaining unit from step 27 between two #”-wide Fabric F strips. Press. Sew to right of quilt. Press.
30. Measure quilt top from side to side and cut one #”-wide Fabric F strip to this measurement. Sew strip to top of quilt and press. Cut one #2”-wide Fabric F strip to measurement and sew to bottom of quilt. Press.
Finishing the Quilt
1. Cut backing fabric piece into three equal pieces. Sew pieces together to make one *&” x !@)” approximate backing piece. Press and trim backing to measure *&” x (!”.
2. Press backing and quilt top trimming all excess threads. Refer to General Instructions (pages 103-104) for Finishing the Quilt. Layer and baste backing, batting, and quilt top together. Hand or machine quilt as desired. Refer to Binding the Quilt and bind as desired.
58 Asian Fabric 2012
&&”
Flora & Fauna Lap Quilt Cutting Chart & Material List Flora & Fauna Lap Quilt ^!” x &%2”
material list Backing $s yards Batting ^&” x *@” Read Cutting Tip prior to cutting fabrics. Cut strips as indicated in chart then cut smaller pieces listed from these strips Extra fabric may be needed for “Fussy Cut” pieces; amount varies depending on motif selection and fabric repeat. Featuring fabrics from the Garden of Dreams, Shadowland II and Blossom Collections.
Fabric Name, Placement & Yardage Fabric A TOMO-01 Red Center
First Cuts @ @ $
Next Cuts
!#” x ^2” !!2” x #2” $2” x #2”
2-! yard*
Fabric B SHAD-06 Forest Large Block 1st Border & Side Panel Center
First Cuts
Next Cuts
Fabric E SHAD-07 Spring Top & Bottom Panel Accent Squares
@
#2” x $@” !@ #2” squares
Fabric F SHAD-11 Cream Background
!
!#2” x $@” $ 1! @ &” x $@” %2” x $@” !@ %8” x $@” $ $2” x $@” !^ @w” x $@” @2” x $@” !^ @” x $@” !^ !2” x $@”
3 yard
@ ! @ !
q yard
Fabric C SHAD-06 Fire Large Block Accent & Small Block 1st Border
@ ! @
! yard
#
Fabric D SHAD-07 Yellow Block Borders & Side Panel Triangles
@ ! @ ^
! yard
Fabric Name, Placement & Yardage
$” x $@” #2” x $@” @2” x $@” @” x $@”
!* $ $ *
^2” x $@” * #2” x $@” * @2” x $@” $ * $ @” x $@” * $” x $@” #2” x $@” @2” x $@” @” x $@”
!* * !^ $ $ !^
$” squares #2” squares @2” x !%” @” x #2”
^2” squares #2” squares @2” x %2” @2” x #2” @” x !!2” @” x $2” $” squares #2” x $2” @2” x $2” @” x @%” @” x (2” @” x #2”
#3 yards
*Cut each %2” square twice diagonally (side triangles) **Cut each %8” square once diagonally (corner triangles)
# @ ! ^ & ! @ $
!#2” x *” !#2” x $” !#2” x !2” %2” squares* %8” squares** $2” x %2” @2” squares @” x $2”
*This is directional fabric, first cut listed runs parallel to the selvage. Extra fabric may be needed if “Fussy Cutting” a particular motif areas.
2012 Asian Fabric 59
Let’s Begin Before you begin read all instructions. Referring to project Cutting Chart, cut First Cuts strips as indicated in chart then cut smaller pieces listed under Next Cuts from these strips. Refer to General Instructions (page 103) for Accurate Seam Allowances and Assembly Line Method to construct this quilt. Use a 4”-wide seam allowance throughout this project. Press seams in direction of arrows as indicated in each diagram.
Making the Blocks
To make Block 1 refer to Beacon of Light Bed Quilt steps 1-8 (pages 53-54) to make two of Block 1. For Block 1 individual steps make the following units; step 1—make eight, for steps 2-8—make two instead of three, make four instead of six, and make eight instead of twelve. To make Block 2 refer to steps 9-14 (pages 54–55) to make two of Block 2 as instructed.
1. Sew one Block 1 between two 1!#2” x *” Fabric F pieces as shown. Press. Make two and label Section 1. !#2”
*”
Block 1
Block 2
*”
Make 2 Block measures !#2”” x @%2” Make 2 Make 2 Block measures !#2”” x $!”
60 Asian Fabric 2012
2. Arrange and sew together two !#2” x !2”, one !#2” x $” Fabric F piece and two of Block 2 as shown. Press and label Section 2. !2”
!2”
$”
!#2”
3. Sew &” x $@” Fabric F strips end-to-end to make one continuous &”-wide Fabric F strip. Press. Measure Section 1 and Section 2 lengths, should measure %^”, if measurement is different cut step strips to this new measurement. From this strip cut two &” x %^” strips. Sew $2” x $@” Fabric F strips end-to-end to make one continuous $2”-wide Fabric F strip. Press. From this strip cut two $2” x %^” strips.
4. Arrange and sew together two &” x %^” Fabric F strips, two of Section 1, two $2” x %^” Fabric F strips, and one Section 2 as shown. Press. &”
$2”
$2”
&”
%^”
2012 Asian Fabric 61
5. To make top and bottom panels for quilt refer to Beacon of Light Bed Quilt Bed Quilt steps 2227 (pages 56-57) and make the following units for panels; step 22 make eighteen units, cut and press to make thirty-six half-square triangles units, step 23 make twelve units, step 24 make four units, step 25 make four units, and step 26 make twelve units than make six units. Fabric B- $””” square Fabric D- $” square Make 18
Square to #2””” Make #^ Half-square Triangles Units
Make 12 1
Make 12
Make $
Make 4
Make 6
6. Arrange units from step 6 as shown below to make two panels. Sew units for one panel together and press. Make two.
Make 2
7. Refer to Adjusting the Length Tip Box on page 58. Measure panel from step 7 from side to side and adjust quilt size to match this measurement taking equal amounts away from each side edge of quilt. Referring to layouts (pages 50, 51 & 59), sew panels from step 7 to top and bottom of quilt.
8. Sew !2” x $@” Fabric F strips end-to-end to make one continuous !2”-wide Fabric F strip. Press. Cut two strips to the measurement obtain in step 7 and sew strips to top and bottom of quilt.
Finishing the Quilt
1. Cut backing fabric piece into two equal pieces. Sew pieces together to make one *)” x *@” approximate backing piece. Press and trim backing to measure ^&” x *@”. 2. Press backing and quilt top trimming all excess threads. Refer to General Instructions (page 104) for Finishing the Quilt. Layer and baste backing, batting, and quilt top together. Hand or machine quilt as desired. Refer to Binding the Quilt and bind as desired.
62 Asian Fabric 2013
Fly Away
&
Translucent IN STORES NOW
A rich cultural exp
68 Asian Fabric 2013
perience awaits
B
ecause it was founded some 400
years ago, visitors are always surprised to discover just how modern Nagoya is. The
predominant
architecture
is
straight out of the middle of the 20th century, and some of it is far newer than that. This explosion of new structures came about as a result of the leveling of the majority of the city during World War II. The conflict no doubt destroyed countless priceless historical structures and artifacts. Among these structures was the 1612 completed Nagoya Castle, a reconstruction of which can still be visited. Because of this destruction, Nagoya is even more so a city that values history and heritage, factors that figure hugely in the area’s attractions and signature dishes. As Japan’s fourth largest city, Nagoya is home to 2.2 million people. Like most metropolitan areas in the country, it boasts a wonderful mass transit system that makes it easy for visitors to zip from one quarter of the city to the next, 2013 Asian Fabric 65
effectively maximizing your touring time.
found just steps outside of Nagoya Station.
This is fortunate, because there are a wealth
This underground shopping arcade features
of fascinating attractions to discover.
some 600 retailers and stretches for a
When you visit the city, you are bound
distance of three and three-quarter miles.
to get acquainted with Nagoya Station—
It’s safe to bet that this is the best place
perhaps where the heart of the city beats.
in Nagoya to find souvenirs and artisan
Impressively towering and ultra modern in
quality textiles.
its design, this train station is unlike any
The Port of Nagoya first opened in 1907
other building in the world that was built
and has established itself as Japan’s leading
for a similar purpose.
port for international trade. A sight to behold
Guinness has recognized the building
in and of itself, there are also a number of
as the largest in the world to hold a rail
fun activites here for visitors to enjoy—the
terminal, but this center of life in Nagoya
excellent Port of Nagoya Public Aquarium,
is notable for far more reasons. Inside the
the Nagoya Maritime Museum, the Italian
station, which rises some 50 stories into the
Village and even an amusement park.
sky, locals and visitors shop in department
In a city of wonderful attractions, the
stores, dine in one of numerous restaurants,
Museum Meiji Mura nonetheless manages
spend the night in a Marriott hotel and visit
to distinguish itself as one of the absolute
an observatory to enjoy a bird’s eye view of
best. In fact, after touring this museum,
the city.
many visitors are inclined to say that
As if that were not impressive enough,
this institution is among the best in all
an even more expansive shopping area is
of Japan. An open air complex covering
66 Asian Fabric 2013
about 250 acres, this facility is essentially
the Imperial Hotel from Tokyo, a structure
an architectural museum celebrating the
designed by renowned architect Frank
Meiji Period which lasted from 1868-1912. At
Lloyd Wright. Visitors are free to wander
the time, western society was beginning to
in and out of buildings, most of which are
influence the Japanese style, meaning that
furnished appropriately. One of the most
the structures exhibited here had begun
popular things to do here is enjoying tea at
to deviate from the traditional unpainted
the Imperial Hotel where guests can sit on
wood. Touring the museum reveals the
chairs that were designed by Wright.
use of brick, Victorian touches, stone and
Nagoya has long been known for the
even turrets. The collection is particularly
quality of its chinaware, a fact that is
remarkable
natural
proudly displayed at the Noritake Garden.
disasters and wars have destroyed the vast
Even people with a passing interest in
majority of buildings from this period.
porcelain and china are likely aware of the
The
considering
buildings
of
the
how
Meiji
Mura
well known Noritake name. Nagoya is the
have been collected from various places
place where Noritake was first established
around Japan. At the museum, they are
in 1904. One of the best ways to learn about
charmingly arranged around a lovely lake
the company’s fascinating history, and the
and are surrounded by well manicured
history of chinaware production in general,
gardens. A martial arts hall, bathhouse,
is by visiting this fascinating complex.
kabuki theater, brewery and post office
A
museum
houses
an
impressive
are just a few representative structures.
collection of every kind of Noritake item
One of the most imposing is the façade of
ever produced while the Craft Center 2013 Asian Fabric 67
provides visitors with a chance to observe
including an English Country, Bamboo and,
artisans at work. Unlike many other factory
of course, the traditional Japanese.
settings in the modern world where most
While strolling through the gardens, it’s
processes are accomplished by machines,
easy to forget you’re still in the city. Be sure
Noritake artists still practice their craft the
to wear comfortable shoes as there is a lot
old fashioned way. It is a genuine delight to
of ground to cover. The paths, though, are
be able to watch the workers crafting new
well maintained and marked, making it
Noritake pieces by hand. To finish up the
easy to navigate.
tour, visitors can shop in an outlet center
With so many wonderful attractions to
and in stores selling fine and everyday
visit, most tourists manage to work up a
tableware.
healthy appetite. They’re in luck, because
When visiting during favorable weather,
Nagoya is simply bursting with excellent
the Higashiyama Park should be included
restaurants to explore. One of the best
in the itinerary. This urban forest has been
of these is Farmer’s Restaurant Moku
preserved as an important asset. Within the
Moku. This eatery has its own farm in the
park are the popular Botanical Gardens. The
neighboring Mie Prefecture, where it grows
gardens features over 7000 plant species.
produce and also raises chickens, cows and
Several garden varieties will delight you
pigs to furnish its tables. The restaurant
68 Asian Fabric 2013
has a butchery and a bakery, enabling the
sumo inspired artwork. The specialty on the
proprietors to control their food from the
menu here is a delectable pork cutlet. Order
farm straight to the table. Food is served
it with the restaurant’s special homemade
buffet style, so there’s no need to pick and
sauce or the red miso. One of Nagoya’s
choose which foods to enjoy.
signature dishes is available at Yamamoto-
Another popular restaurant is Hourai-
ya Honten. Essentially a chain restaurant
ken Matsuzakaya where eel is the specialty.
that specializes in excellent noodles that
The dish ordered most often is one of the
are thick, chewy and homemade, this diner
savory rice casseroles topped with eel.
is also a great place to experience Nagoya’s
Yabaton is a favorite eatery of the locals,
own version of bean paste. It’s a filling and
and it’s widely enjoyed by visitors too.
tasty meal, particularly when accompanied
It’s been in business since 1947, and is as
by the vegetable dish on each table that is
recognized for its décor as for its food. A
constantly replenished free of charge.
motif of pigs dressed as sumo wrestlers
If you have time to venture outside the
predominates in the restaurant’s interior.
city, one of the area’s most memorable
It’s a look that tourists can take home with
experiences is found just outside of Nagoya
them thanks to a proliferation of t-shirts
at tiny Inuyama City. It is here that
and key chains bearing similar pig and
traditional cormorant fishing is practiced 2013 Asian Fabric 69
every summer. Those who time their visit to Japan just right will have the opportunity to observe a rare and richly cultural fishing practice. Use of this traditional Japanese fishing method dates back approximately 1,300 years, and it is still practiced in much the same way today. Trained seabirds called cormorants dive into the Kiso River, seeking a Japanese trout called Ayu. A ring around the bird’s neck prevents it from swallowing the fish before it returns to the boat. Cormorant fishing is mostly done at night under cover of full darkness. Accordingly, the best way to observe the proceedings is by reserving space on one of the wooden boats. At the end of each boat, a lantern is hung, the light from which attracts the Ayu to the surface, making it easier for the cormorants to bring
74 Asian Fabric 2013
Sakichi Toyoda: Toyota Motors
grew out of the textile industry
Aichi Prefecture, for which Nagoya is the capital, is the region of Japan where cotton was first grown. Historical accounts date it all the way back to the end of the 15th century. Through the years and as Japan’s Industrial Revolution progressed, the indigenous industry of producing cotton thread and textiles thrived and led the way. Indigenous industries include those that produce and distribute traditional goods of premodern origin. In the ten year span between 1889 to 1899, the production of cotton textiles grew eleven times over. Outside of Japan, few know that the the Toyota Motor Corporation, so well known for their popular automobiles, grew out of the textile industry. Sakichi Toyoda, the founder, was an inventor with a vision and strong business sense who revolutionized the textile industry. He has been referred to as the Japanese Thomas Edison. Toyoda was born near Nagoya in 1867 to working parents. His father was a carpenter and his mother a weaver. After watching his mother toil with the existing spinning and weaving tools, he set his mind to, as they say, build a better mousetrap. At the age of 23, in 1890, Toyoda had his first patent for the first wooden hand loom which would mark the birth of automated weaving. In 1893, he began producing and selling his looms in his newly opened factory. He continued to improve and patent his looms. By 1929, what is now Toyota Industries Corporation and then was called Toyoda Automatic Loom Works, licensed it’s state of the art Type-G to a British company who was the world’s leading textile manufacturer at the time—the Platt Brothers & Co. Toyoda died at the age of 63. His son was appointed to run the brand new auto making division which was operating under Toyoda Loom Works. In 1935, the first Model A1 passenger car was produced. In 1937 Toyota Motor Co was established as a separate company. The Toyota group is still in the textile business manufacturing automatic, computerized looms.
in the catch of the day. Most of the reserved spaces on the boats include a meal that can be brought on board to enjoy during the spectacle Nagoya is the type of destination that
requires
several
days
of
exploration. With sufficient time, visitors can tour all of the main attractions while also spending some time Museum
at the Tokugawa Art and
the
charmingly
hands-on Toyota Commemorative Museum
of
Industry
and
Technology. Too often, this cutting edge yet friendly city gets overlooked amid the glitz and glamour of Tokyo and Yokohama. Nonetheless, astute travelers always seem to find their way to Nagoya where a rich cultural experience awaits them.
2013 Asian Fabric 71
in stores quilt to dow
s this now ~ click the wnload a free pattern
book review by Vicki Dar
Make Your Own Kimono K
imono literally means “thing to wear”. With such a simple reference, it’s hard to comprehend the history and significance of the attire that has embodied the culture of Japan for over two centuries.
74 Asian Fabric 2013
To complement our article on the yukata on page 45, I wanted to review a book that would provide patterns and enough information to set your creative yukata sewing gears in motion. As I began to research and read, I found myself unable to settle on that one perfect book. Instead, we will briefly visit four books I believe will inspire you and take you through the process of designing and sewing your own garment. Fashioning Kimono: Dress and Modernity in Early Twentieth-Century Japan is the first title I’d like to share. Fashioning Kimono was published by Art Services International to accompany an exhibition organized in the United Kingdom by the Victoria & Albert Museum in 2005. The exhibition continued
on to several museums in the United States. To have viewed the exhibition would have been lovely but the book offers an in-depth narrative of kimono tradition that only the written story can. Editor Annie Van Assche leads up to the printed exhibition with a thorough introduction to the kimono. She begins by touching on the various fibers used and moves on to dyes and methods of embellishment. Three of the following chapters walk us through the progression of kimono as it is influenced by the trends in other parts of the world. And lastly, before we are rewarded with the exhibition, you will be captivated by the touching words of Reiko Brandon in Kimono Memories: Personal Notes. Reiko’s 2013 Asian Fabric 75
memories gave new meaning to the yukata I wear every morning as a summer robe The bulk of the book is successful in its attempt to make us feel as if we have entered a new room at the museum as we turn each of hundreds of pages. Each kimono is shown in full color with a description. The details tell us the type of garment, the period it’s from, dimensions, fabric, motifs and even the dye method. You will leave Fashioning Kimono, an exhibition in a book, inspired and filled with knowledge. Our next book, Kimono: Fashioning Culture is mentioned by Annie Van Assche in Fashioning Kimono. It was first published by Yale University Press in 1993 and later with revisions by the University of Washington Press in 2001. I am referencing the later version. Fashioning Culture’s author, Liza Crihfield
76 Asian Fabric 2013
Dalby, is an American anthropologist. In high school, she spent time in Japan as an exchange student. She has spent her life and written efforts exploring Japanese culture, much to our benefit. Kimono, followed a best selling classic titled Geisha. The film American Geisha (1986) was based on Liza’s experience living among the geisha community in Kyoto for over a year. The author shares that Kimono: Fashioning Culture grew out of a chapter in Geisha which discussed geishawear. The book is printed in black and white with the exception of a few pages which examine the complexity and history behind layering color in kimono wear. As I read the book, I was taken with the volume of information. With well over 300 pages, this is not a quick
read. You will be rewarded for the time spent, though. This may very well be the most comprehensive compilation of information on everything kimono written. Dalby provides few photos but the rich illustrations help tell the story well. The real beauty of Kimono lies in the fact that Dalby has shown herself to be masterful in integrating a thorough description of kimono into the history and culture of Japan. With each ensuing chapter, you can sense and delight in her fascination. The book is an engaging example of a historical textbook that reads like a well written and entertaining novel. Now that you’ve learned everything there is to know about kimonos and been inspired more than you thought possible with an exhibit displaying one of the world’s finest
kimono collections, you’re probably ready to run out and find the perfect fabric so you can get started sewing. First, though, let me introduce you to our last two books. Make Your Own Japanese Clothes, Patterns and Ideas For Modern Wear by John Marshall gets down to business, showing you step-by-step how to develop your kimono pattern. Although our goal today is to sew a yukata, as your confidence grows, you will no doubt want to try your hand at some of the other projects Marshall introduces. Make Your Own Japanese Clothes was first published in 25 years ago in 1988 by Kodansha International Ltd. The timeless attire, which in addition to kimono, includes pants, vests and even tabi socks, outlined here has stood up to the test of time. As you first glance through the book, especially if your experience sewing garments is limited, it may appear a little daunting. Okay, even if you do have experience, it might make you gasp a little. Still, it provides a great deal of useful information and many 2013 Asian Fabric 77
illustrations to help you understand the volume of information. The Japanese originally designed the basic kimono pattern to make use of a Japanese sized bolt of fabric—selvedge to selvedge measured 12 1/2” to 15”. 100% of the fabric was used with the simple blocks that made up the garment. Marshall’s illustrations and suggested pattern layout make use of 36” wide fabric. This is likely the narrowest fabric you will encounter at your local quilt shop. More often, you will find 42-44” fabric. You will need to choose to make adjustments or use the scraps for other projects. Your first step, after reading through the
78 Asian Fabric 2013
book, will be to take your measurements. Page 11-12 provides clearly marked diagrams and a corresponding list of the numbers you’ll need. The instruction for the yukata (titled Women’s Unlined Kimono) are on page 51. You’re on your way! But, wait! There is one last book I’d like to share. Making Kimono and Japanese Clothes by Jenni Dobson was first published in 2004 in the UK. The paperback version, I have, was later published by Batsford. I would recommend spending time with both Marshall’s book and the Dobson book together. In the author’s acknowledgements of Making Kimono, Dobson notes that she
purchased Make Your Own Japanese Clothes in 1988. She comments that her intent was not to copy Marshall’s work but, “rather to offer a simpler level of making and to emphasize the decorative possibilities of Japanese garment forms.” In many ways she was successful. Visually, Making Kimono, is much easier to spend time with. Full color examples of finished kimono are sprinkled throughout book and much more white space has been utilized making the text easier to assimilate. Jenni Dobson is an accomplished quilter and teacher and so inspires us with a stunning example of a patchwork Hanten jacket in chapter 7. Dobson starts us off with several pages of general sewing information and advice and then moves into Chapter 1—A Japanese approach to design. I appreciated the page devoted to “Odd number and asymmetry.” It’s an important lesson I have rarely seen addressed so concisely. Chapter 2—Decorative techniques, covers several topics quilters will have familiarity with such as applique and piecing. She also touches on sashiko, shibori and silk painting before she moves into making Japanese garments. In Chapter 3, we find “Assembling the unlined kimono (aka the yukata).” Dobson’s illustrations are simple and appear on the same page as the accompanying text making it easy to follow along. I found that Marshall
and Dobson’s instructions complement each other. Dobson makes the excellent suggestion of making a test garment from inexpensive fabric such as muslin. This allows you to tweak your master pattern as needed before you start cutting expensive fabric. Making Kimono and Japanese Clothes, with it’s lovely photos and unpretentiously rendered illustrations felt like the dessert of the four book collection. As you ready to make a kimono? Get ready, set—go! All four of these are available, new and used, to purchase through bookstores. Another option I’d like to suggest, though, is a visit to your local library. Perhaps it has been a long time since you visited. Throughout my life, the library has been a much loved and valuable resource. Individually, these books range in price between the mid $20s and $70. How wonderful that you can check them out and enjoy them at home for free. I encourage you to consider using Kona Bay fabric. The rich Asian designs and combed cotton Kona Bay is known for lend themselves beautifully. Plus, send us a photo of your project and a little information about you and your experience. When we run your photo in our What I Did With My Kona Bay feature (and we will run every single one we receive!), we’ll send you three yards of beautiful Kona Bay fabric as your reward. 2013 Asian Fabric 79
Color Movement In stores now
Asian Fan ďż˝ Faire This Asian-theme fan quilt extends the flower motifs into the quilting by stitching these elements by hand or machine. Designer: Melanie Formway Chang
Let’s Begin Before you begin, read all instructions and use an accurate 4”-wide seam allowance throughout this project. Press seams in the direction of arrows as indicated in diagram. This quilt consists of two shades of fabrics (light and medium) to create the background for the fans and floral quilting elements.
Making the Quilt
The instructions given are for Quick Fused Appliqué Method for other methods refer to General Instructions (pages 103–104) for Appliqué Technique. Note: It is recommended to use removable stabilizer on the wrong side of the fabric when machine appliquéing. This will give stability to the piece, even stitching, and prevent puckering of fabric.
Asian Fan Faire Cutting Chart & Material List Asian Fan Faire Quilt @^” x $@”
material list Fabric, Placement & Yardage
Cuts
Fabric A Light Background
! ! ! ! ! !
#2” x $@” #” x $@” @2” x $@” @” x $@” !2” x $@” !” x $@”
Fabric B Medium Background
! ! ! ! ! !
*2” x $@” #” x $@” @2” x $@” @” x $@” !2” x $@” !” x $@”
2 yard
q yard
Fan Fabric Assorted (” x !*” pieces Accent Flowers & Butterflies Assorted Scraps Binding & Hanging Sleeve 2 yard Backing !3 yards Batting #)” x $^” Lightweight Fusible Web ! yard Hot Ribbon @2 yards of 8””-wide ribbon (or substitute) ()” length—cut fifteen 6”strips Assorted Buttons, Beads & Trims Optional: Metallic Thread & Metallica Needle
2013 Asian Fabric 83
1. Arrange and sew together one #2” x $@” Fabric A strip, one !” x $@” Fabric B strip, one #” x $@” Fabric A strip, one !2” x $@” Fabric B strip, one @2” x $@” Fabric A strip, one @” x $@” Fabric B strip, one @” x $@” Fabric A strip, one @2” x $@” Fabric B strip, one !2” x $@” Fabric A strip, one #” x $@” Fabric B strip, and one !” x $@” Fabric A strip as shown. $@”
#2” !” #” !2” @2” @” @” @2” !2” #” !”
2. Trace three Fan Patterns (pages 86–87) on paper side of lightweight fusible web leaving 2” space between pieces. Cut approximately 4” away from trace line.
3. With fusible web paper-side up, fuse to wrong side of fabric scraps following manufacturer’s instructions. Cut on traced line.
4. Refer to photo (page 82) to arrange and fuse appliqués to quilt as shown. Repeat process to fuse lightweight fusible web to flower and butterfly motif fabrics, cut motifs on outside edge of design and fuse motifs to fan. Note: Bottom fan extends off bottom edge of unit and will have another piece sewn to it in step 7.
5. Using five 6” pieces of ribbons to create bones of fans dividing the space equally. Start under the edge of the fan attaching hot ribbon in place by pressing following manufacturers instructions or top stitch with matching threads if using 8” ribbon.
Note ribbon placement on finished quilt
6. Finish all appliqué edges as desired.
7. Sew one *2” x $@” Fabric B strip to bottom of quilt as shown in photo on page 82. Trim and square unit.
84 Asian Fabric 2013
Finishing the Quilt 1. Press backing and quilt top trimming all excess threads. Refer to General Instructions (page 104) for Finishing the Quilt. Using flower quilting templates and a removable fabric marker, draw flower details on the large Fabric B section (right side of quilt). Layer and baste backing, batting, and quilt top together.
2. Hand or machine quilt as desired. Quilt shown in photos (page 82) was stitch in the ditch on the right side of Fabric A strips and left side was quilted as desired by machine. The large Fabric B section was quilted by hand along flower traced line and three random straight lines were stitched adding beads on lines as desired.
Quilting Detail
3. Refer to Binding the Quilt and bind as desired. Add hanging sleeve if desired.
melanie formway chang Melanie’s artistic side surfaced early, with fabric playing an important role. She credits her mother, and later a BA in Home Economics, with fostering an interest in fabrics. She has also worked in watercolors, oils and acrylics. Now, she has added fabric paint. Her skillful use of paints prompted an invitation to the juried Watercolor Society of Oregon and she has won her numerous awards. In the 1990’s, Melanie started quilting and discovered a way to merge her two loves. Since, painting on fabric has become her focus. Today, she teaches classes to eager students in a variety of venues. Long a pattern designer for Story Quilts, the occasional contribution has blossomed into a busy schedule of new patterns. Melanie and her husband recently migrated from Oregon to Oceanside, California to welcome their first grandchild. She continues to speak to guilds, teach fabric painting and design for Story Quilts. Life is full. When we visited, Melanie shared some very important words of wisdom, “Create it, give it away and share the joy. There is no point in putting your artwork in the closet. Everyone needs beauty in their lives.” Visit www.storyquilts.com to see more of Melanie’s work.
2013 Asian Fabric 85
Tracing Line Placement LIne Ribbon Placement Guide
Align fan placement lines to make a whole fan template.
Flower Quilting Template
Fan bottom ribbon guide
86 Asian Fabric 2013
Tracing Line Placement LIne Ribbon Placement Guide
Align fan placement lines to make a whole fan template.
Flower Quilting Template
2013 Asian Fabric 87
It's Time For a Picnic Picnics are thought to have originated in Europe with written descriptions of alfresco dining as early as the 1300s. In Japan, though, celebrating hanami, which means “flower viewing”—in particular, cherry blossoms and even earlier, plum blossoms, may date the picnic even earlier. A shared outdoor meal has long been shown in Japanese paintings depicting the celebration. Originally, only for members of the Imperial Court, hanami became popular for everyone during the Edo period. As time went on, picnics became a popular activity for families around the world especially during mild weather. Today, we’ll introduce a few easy delicious items you can prepare for your own Japanese picnic.
88 Asian Fabric 2013
2013 Asian Fabric 89
Cold Soba Noodles
Soba is delicious any time of the year but is likely to become a summertime favorite for sure. It makes a great picnic item. To take in a picnic or your lunch box, package the noodles and the sauce separately and combine them just prior to serving. Soba noodles are sold in Asian markets or most grocery stores. If you have several packages to choose from, check the ingredient list. Soba was traditionally made with buckwheat flour. Today, the first ingredient is often whole wheat flour with the buckwheat flour following. Look for 100% buckwheat flour, too. It’s delicious both ways!
90 Asian Fabric 2013
preparation Gather your sauce ingredients, mix well and refrigerate. Cook the soba noodles according to the package. Rinse in cold water. When you are ready to serve, place a serving of noodles in a bowl. Pour the sauce over and enjoy. The majority of the optional toppings are not traditional but offer some fun and tasty picnic additions.
ingredients
optional toppings
¼ c light soy sauce ¼ c mirin 2 Tbsp seasoned rice wine vinegar ½ tsp garlic ½ tsp ginger 4 units of soba noodles
Arugula Cabbage, chopped fine Carrot, julienned Cilantro Cucumber, julienned Furikake (seaweed flakes) Green onions, chopped Mung bean sprouts Pickled ginger, chopped Red pepper flakes Sesame seeds, toasted
Fruit Salad On A Stick
This recipe might not have originated in Japan but it’s the perfect picnic treat regardless. Fruit on a stick can be made up quickly and easily with seasonal fruits. They eliminate the need for a plate or a bowl and will be enjoyed by picnickers young and old.
ingredients
preparation
Skewers & Fruit in season
Wash fruit. Peel and chop as needed. Thread onto skewers. If using apples, put them in a bowl and toss with lemon juice to prevent browning. Place in a covered dish to transport. 2013 Asian Fabric 91
Japanese Grilled Salmon The salmon may be served hot or at room temperature and is equally delicious making it a lovely picnic item. The salmon skin may be left on or removed depending on your preference. You may even try marinating and grilling the skin separately. In Japan, crispy salmon skin is used as sushi fillings, salad toppings, with miso soup and simply as a tasty treat alone.
92 Asian Fabric 2013
ingredients 4 (5-ounce) salmon fillets ½ tsp salt ¼ c soy sauce ¼ c sake or dry white wine ¼ c mirin 2 Tbsp sugar 3 Tbsp green onion, chopped 3 Tbsp fresh ginger, chopped 1 small lemon, thinly sliced
preparation 1. Season salmon with salt and set aside. 2. Combine remaining ingredients, except lemon slices, in a small pan and bring to a boil. Remove from heat and allow to cool to room temperature. Add lemon and pour cooled marinade over fish and marinate refrigerated for 2 to 4 hours. Turn fish occasionally. 3. To cook, grill or broil on both sides until just done, approximately 4 to 5 minutes per side. Be careful not to overcook. Salmon should still be translucent in the center when you remove it from the heat.
Sunomono (Cucmber Salad) ingredients 1 large English cucumber ¼ tsp salt 2 Tbsp rice wine vinegar 1 Tbsp sugar ⅛ tsp soy sauce
preparation Peel and slice cucumbers into very thin slices. Sprinkle sliced cucumber slices with salt and let stand a few minutes. Squeeze out excess moisture. Combine vinegar, sugar, and soy in a bowl and mix well. Pour the vinegar mixture over the cucumber slices and mix well. May be served immediately but it’s better if it can sit for an hour. Replace the bowl with a large canning jar for taking on a picnic.
2013 Asian Fabric 93
William in stores now
by Vicki Dar Welcome to Asian Fabric’s latest recipe for fun. white varietals. You can look forward to our fabric and wine Riesling is often mistakenly thought of only as pairings in each issue. ‘one of those sweet wines’. The Textile Samurai (aka Douglas Eagleson, Instead, Eagleson found they range from dry to President of Kona Bay Fabrics) has been venturing sweet with a variety of distinctive characteristics. out to explore Washington’s wine country. The While enjoying a glass with dinner, the Textile state has over 750 wineries with new names Samurai began thinking how wines might pair surfacing each month. with Kona Bay fabric. He chose four of his favorite Woodinville, located only minutes up the road rieslings for our premier fabric and wine pairing from Kona Bay headquarters, is home to over 90 article—spanning from dry to sweet. wineries which represent wine growing regions We hope you’ll enjoy throughout the state. The wineries have tasting reading the results of rooms and sponsor a variety of events throughout our pairing complete the summer. with fun wine and One of Eagleson’s first discoveries as he began fabric notes. sampling was a love of riesling. Click here to download a According to some, riesling, in free copy of Washinton State Europe, dates to the 1400s. It’s history in Wine 2013—117 pages Washington state is more brief but no less of everything you need to know to visit Washington’s appreciated. It has long ranked first in excellent wineries.
Rieslings from Washington state
Chateau Ste. Michelle Dry Riesling
|
King Fu Girl Riesling by Charles Smith
Dry | avg price $9
Medium dry | avg price $12
A dry, crisp, refreshing style of Riesling with beautiful fruit flavors, crisp acidity and an elegant finish. It exudes beautiful white peach and floral aromas with a clean finish. This is an incredibly versatile food wine.
This wine kicks ass with tons of complexity, showing notes of white peach, Linden leaves and slate. Lovely focused acidity, finishing very long with mandarin orange and lots of minerality.
Food pairing recommended by the wineries Crab, scallops, oysters, mild cheeses, Asian dishes and Indian curries
|
Spicy Thai dishes or grilled seafood
Recommended Kona Bay fabric and pairing notes
|
all designs
Tomorrow Morning TOMO-01 Red
Sakura SK-8400-01 Cream
With traits similar to the wine, the design’s crisp and modern rendition of Asian plum blossoms will invigorate both your day and decor. Its versatility, too, is well suited for a range of projects from quilts to wearables to home decor.
The powerful and graphic Asian motifs are presented in a bold yet soothing arrangement reminiscent of Japan’s Imperial era. The contrasting colors impart a subtle brilliance that will warrant the attention of all.
Wine tasting notes provided by the wineries
Chateau Ste. Michelle Harvest Select Sweet Riesling Medium sweet | avg price $9
Made in a slightly sweeter style but still showing the classic elements of Chateau Ste. Michelle Riesling. It offers rich flavors of ripe peaches and apricot that are balanced by crisp acidity.
Eroica Gold
Sweet | avg price $30
The best of both worlds; bright natural acidity with concentrated, ripe fruit flavors and a touch of sweetness. Combines the trademark Washington acidity with German influence. It offers lush orange marmalade flavors with a crisp finish.
Check out our Japanese picnic recipes on page 88 Fresh fruit, crab, Asian dishes and mild cheeses
Asian dishes, Indian curries, crab and scallops
are part of larger collections and are available at your local quilt shops
Sakura SO-2070-2 Burgundy
Garden of Dreams DREA-01 Teal
The timeless and classic sakura motif has been lifted into a realm far beyond ordinary. With each glance, your eyes land on a new design element from the shibori to the flowers within a flower. This sweet, yet artistic, design is well balanced.
The long standing traditions of Japan are honored in this quintessential example of a master painter at work. In Japan, the butterlfly is a symbol of joy and longevity. This fabric, with Kona Bay’s trademark gold metallic, will delight for years.
Playful Bugs & Giggling Turtles Quilt Children will giggle and smile with delight gazing upon these cute little bugs and turtles featured on their special quilt. Designer: Georgie Gerl
00 Asian Fabric 2012
Playful Bugs & Giggling Turtles Quilt Cutting Chart & Material List Playful Bugs & Giggling Turtles Quilt %#” x &%”
material list Backing $s yards Batting ^!” x *#” Cut strips as indicated in chart then cut smaller pieces listed from these strips Featuring fabrics from the Happy Times, Shadowland Dot, Shadowland II, and Color Movement. *Extra fabric may be needed for “Fussy Cut” pieces; amount varies depending on motif selection and fabric repeat.
Fabric Name, Placement & Yardage Fabric A SHAD-12 White Background
First Cuts @ !&
!s yards
Fabric B BM-012R Violet Block Center
Next Cuts
@$ #” squares #” x $@” @2” x $@” @$ @2” x *2” !^* @2” squares
Fabric Name, Placement & Yardage
First Cuts
Fabric E SHAD-08 Fantasy Block Accent & Quilt Border
@ #” x $@” !) @2” x $@” ^
!2” x $@”
Fabric F MOVE-01 Yellow Light Sashing
!
@)2” x $@” #$ @)2” x !”
Fabric G SHAD-12 Teal Binding
&
@w” x $@”
!a yards
^
*2” squares “Fussy Cut”
q-! yard*
Fabric C ! SHAD-12 Purple ^ Center & Dark Borders
Next Cuts @$ #” squares &@ @2” x $2” !@ @2” squares
w yard
@)2” x $@” !& @)2” x !2” @2” x $@” @$ @2” x *2”
!4 yards
w yard
@$ $2” squares Fabric D BM-016CR Lavender “Fussy Cut” & @2” x $@” Accent & Border
!-!2 yards*
2012 Asian Fabric 99
Let’s Begin Before you begin read all instructions. Referring to project Cutting Chart, cut First Cuts strips as indicated in chart then cut smaller pieces listed under Next Cuts from these strips. Refer to General Instructions (page 103) for Accurate Seam Allowances and Assembly Line Method to construct this quilt. Use a 4”-wide seam allowance throughout this project. Press seams in direction of arrows as indicated in each diagram.
Making the Quilt
1. Refer to General Instructions (page 103) for Simple Triangles technique. Draw a diagonal line on the wrong side of two @2” Fabric A squares. This will be your sewing line. Place one marked square on one @2” x $2” Fabric E piece as shown. Stitch on drawn line, trim 4” away from stitch lines and press. Sew remaining marked square to piece as shown. Trim and press. Make seventy-two. Fabric A- @2” squares Fabric E- @2” x $2””” Make &@
2. Arrange and sew together two @2” Fabric A squares, two units from step 1, and one @2” x *2” Fabric A strip. Press. Make twelve. @2”
*2”
@2”
@2” Make 12
3. Refer to General Instructions (page 103) for Half-Square Triangles. Draw a diagonal line on one #” Fabric A square. Place marked square and one #” Fabric E square right sides together. Sew a scant 4” away from drawn line on both sides, cut on drawn line, and press. Make twenty-four. Trim squares to @2” to make forty-eight half-square triangle units. Fabric A- #” square Fabric E- #” square Make @$
Square to @2””” Make $* Half-square Triangles Units
4. Sew one unit from step 1 between two units from step 3 as shown. Press. Make twenty-four. Sew one unit from this step and one @2” x *2” Fabric C strip. Press. Make twenty-four, *2”
@2”
Make @$ Make @$
5. Arrange and sew together two units from step 1, two $2” Fabric D squares, and one unit from step 4 as shown. Press. Make twelve. $2”
$2”
$2”
Make 12
6. Arrange and sew together two @2” x *2” Fabric A strips, two units from step 4, and one *2” Fabric B square. Press. Make six. @2”
*2”
@2”
*2”
Make 6
100 Asian Fabric 2013
7. Arrange and sew together two rows from step 2, two rows from step 5, and one row from step 6 as shown. Press. Make six.
Make 6
8. Sew one @)2” x !2” Fabric C strip between two @)2” x !” Fabric F strips lengthwise to make a strip set. Press. Make seventeen. @)2”
!”
!2” !” Make !&
9. Arrange and sew together three @2” Fabric E squares and two units from step 8 as shown. Press. Make four. @2”
@2”
@2”
@2” Make 4
10. Arrange and sew together three units from step 8 and two blocks as shown. Press. Make three.
Make 3 2013 Asian Fabric 101
11. Referring to layouts (pages 98–99), arrange and sew rows from step 9 and 10 together alternating rows. Press.
L o o k fo r ou r s p e c i a l hol iday g i f t g u id e i n Issue 33
12. Sew !2” x $@” Fabric E strips end-toend to make one continuous !2”-wide Fabric E strip. Press. Measure quilt from side to side. Cut two !2”-wide strips to this measurement. Sew to top, and bottom of quilt. Press seams toward border. 13. Measure quilt through center from top to bottom, including borders just added. Cut two !2”-wide Fabric E strips to this measurement. Sew to sides of quilt and press.
14. Referring to steps 12 and 13 to join, measure, trim, and sew @2”-wide Fabric D strips to top, bottom, and sides of quilt. Press. Note: If you wish to make this quilt larger add additional borders to quilt.
Finishing the Quilt 1. Cut backing fabric piece into two equal pieces. Sew pieces together to make one *)” x *#” approximate backing piece. Press and trim backing to measure ^!” x *#”.
2. Press backing and quilt top trimming all excess threads. Refer to General Instructions (page 104) for Finishing the Quilt. Layer and baste backing, batting, and quilt top together. Hand or machine quilt as desired. Refer to Binding the Quilt and bind as desired.
102 Asian Fabric 2013
general instructions
How-to Help You! Before You Begin We recommend washing and pressing your fabric prior to cutting it into strips and pieces. To help prevent fabric from fraying in the washer, clip corners at a 45 degree angle removing a small triangle piece.
Achieving a Perfect Block Accurate Seam Allowance Use 4”-wide seam allowance for all projects in this magazine unless otherwise stated. If seam allowances differ as little as z” assembling blocks will be difficult, especially when incorporating several block designs in a quilt. To check your seam allowances follow these steps.
Half Square Triangles
without breaking threads, continue this process to stitch additional units. Cut sections apart, press and continue with next step.
Fussy Cut This process is the selection and cutting of a particular motif pattern which is featured in a cut piece. Remember to center design and always allow for seam allowance.
Simple Triangles This is an easy way to make triangles from squares.
Step 1 Draw a diagonal line on the wrong side of fabric square that will become the triangle. This will be your stitch line.
Step 1 Cut three 12” x 6” pieces of fabric from assorted scraps. Sew pieces together to make one 32” x 6” piece. Press.
Step 2 Center strip should measure 1” x 6”. If piece measures differently check to see if seams have been pressed flat. If the piece still differs cut new strips and adjust seam allowance until you achieve the perfect stitch.
Pressing Press using steam or dry heat setting. Always use an “up and down” motion since a side-to-side motion can distort the block or unit.
Assembly Line Method Use this method when making multiple pieces or blocks.
Step 2 Place marked square on fabric piece shown in construction step matching raw edges. Sew on drawn line and trim 4” away from stitching.
Fabric A- 2 2" x 2 2" Fabric B- 2 2" x 6 2"
Step 3 Press seams as indicated in construction diagram. Measure sewn piece to check accuracy.
Tip: There is a waste factor with this technique but you can stitch an additional 2” away from stitch line. Cut piece between stitching saving the smaller version for some future project. Diagram 3
Step 1
Position pieces right sides together, stitch unit.
Step 2 Align and sew the next unit
This technique differs from the Simple Triangle method; you will be making two triangles at one time.
Step 1 Draw a diagonal line on the wrong side of one fabric square. Place marked square and one corresponding square right sides together. Sew a scant 4” away from drawn line on both sides, cut on drawn line, and press.
Fabric F- 2 2" x 2 2" Fabric D- 2 2" x 2 2"
Square to 2” Make 2
Step 2 Measure unit and trim as indicated in construction diagram.
Applique Technique Quick Fused Method This method joins fabric to each other with the use of fusible web. There are many types on the market and you will need to refer to manufacturer’s instruction for specific requirements. If quilt does not require laundering you can use heavy-weight fusible web and follow steps 1-4. If your quilt will require laundering use lightweight fusible web and follow all steps. Remember that appliqués when pressed to background fabric will be a reverse image from patterns provided.
Step 1 Trace all appliqué pieces on the paper side of lightweight fusible web leaving 2” space between pieces. Cut approximately 4” away from traced line.
Step 2 With fusible web paper side up, fuse to the wrong side of fabric scraps following manufacturer’s instructions.
Step 3 Cut on draw line. Remove future project
paper backing, a thin film of adhesive will remain on fabric.
2013 ASIAN FABRIC 103
General Instructions
Step 4 Referring to project photo, position and fuse all pieces of one appliqué design at a time onto background.
Tip: An Appliqué Pressing Sheet is very helpful when there are many elements to a design. Place your pattern (reverse image from pattern provided) under the pressing sheet as a guide. Arrange pieces on sheet and press following manufacturer’s instructions. Allow piece to cool, remove appliqué unit and arrange on background to fuse unit in place. If the piece is not cooled, the fusible web could remain on the sheet instead of the fabric.
Step 5 If using a machine, cut a piece of stabilizer larger than appliqué area and pin to wrong side of fabric. Stabilizer is used to achieve an even stitch. Using a satin stitch, blanket stitch or other decorative stitching to secure appliqué in place. Start stitching from the background to the foreground. Option: use a hand embroidery stitch instead.
Hand Appliqué If project specifies quick-fuse you will need to reverse all patterns and add 4”- wide seam allowance. The steps that follow will add the seam allowance after pattern is traced onto fabric.
Step 1 Make a template of all pattern pieces and indicate where pieces overlap. Place template on right side of selected fabric.
Step 2 Trace around template using a removable fabric marker. This will be your turn under guide. Cut out shapes approximately 4” beyond traced line. Step 3 When layering and positioning pieces always work from the background to the foreground.
Step 4 Enter from the wrong side of applique shape bringing the needle up on the traced line. Using the tip of the
104 ASIAN FABRIC 2013
needle turn under a small portion of the fabric along trace line and secure with thumb. Using a blind stitch, stitch along folded edge to join piece to background. Stitch is hidden under fabric.
Blind Stitch
Finishing the Quilt
Option 1 Step 1 Position binding away from corner leaving 8” free of stitches and aligning raw edges with the edge of the quilt. Sew using a 4”-wide seam.
Step 2 Stop sewing 4” from quilt top edge and backstitch. Clip threads and turn quilt. Fold binding up at a 45 degree angle to create the mitered corner as shown. Diagram 1
Backing fabric and batting should be 4”-8” larger than the quilt top. Press backing and quilt top trimming all excess threads from quilt prior to basting.
Step 1 Lay backing right side down, batting and quilt top (right side up) on top.
Step 2 Backing and batting need to
Step 3 Fold the binding back down aligning top fold with edge of quilt and matching raw edges. Start stitching 4” Diagram 2 for all corners. from quilt edge. Repeat
be taut prior to basting quilt. Start in the center and work out toward edges. You can hand stitch, pin or use a specialty tool to baste quilt together.
Step 3 Check batting instruction for quilting requirements. Hand or machine quilt as desired. Remove basting.
Binding the Quilt Two options are given for binding the quilt. For both options trim batting and backing 4” beyond raw edge of quilt, this will give fullness to the binding. Sew binding stripes end-to-end to make one continuous strip. Fold and press binding strips in half lengthwise with wrong sides together. To reduce bulk when joining strips, cut ends at 450 angle and sew together as shown.
Step 4 Determine length needed for binding strip ends, trim and sew ends together. Stitch binding to quilt. Fold binding to back of quilt, a diagonal fold will form at the corners. Hand-stitch binding to back of quilt.
Option 2 Step 1 Measure quilt through center from side to side. Cut two binding strips to this measurement. Sew to top and bottom of quilt matching raw edges with edge of quilt. Press binding away from quilt top.
Step 2 Measure quilt through center from top to bottom including the binding just added. Cut two strips to this measurement and sew to sides of quilt. Press.
Step 3 Fold top and bottom strips to the back and pin in place. Repeat for sides. Hand-stitch binding to quilt.