Fabric Vine

quilting patterns

•

sewing & craft ideas

Issue No. 3

Celebrate a bountiful summer season

•

design tips

•

travel

•

food & wine

exploring a creative fabric culture

Quilt and bag patterns here

Geisha Gathering

click quilt for free pattern download

contents

Vol 1 Issue 3

quilts

Stylized Grape Quilt

Sip a delicious glass of wine while gazing upon your stylized wall quilt

11

Brighten Your Day Quilt sure to brighten any ho-hum day

26

Peaceful Pond Table Quilt Bring this quiet calm to your table sharing in a feast with family

53

Three ‘E’ Quilt 65 Fall Foliage Wall Quilt 94

and calm to your room

features Washington State Wine Month …and Trellis Gate

18 24

Texas Quilt Museum

76 79

Special thanks to:

Used exclusively and recommended by Asian Fabric™

6 FABRIC VINE 2015

departments Publisher’s Note

8

How To Use the Magazine

9

Food Samosas & Sangria

38

Book Review The Sew Simple Guide To Easy Sewing and Embellishing

Travel Portland, OR

General Instructions

72 82 108

Guess Who is in the Wine Business?

Here’s a hint...

He has been bringing you beautiful fabric for over 20 years. See page 18 to find out more.

2015 fabric vine 7

publisher’s note

Being from Honolulu, I am used to 80-85° days being the norm. The trade winds tend to keep it a “cool” 85°. Occasionally, though, the Kona winds, currents coming north from the equator, make it muggy and miserable—even in beautiful Hawaii.

Kona Bay Fabrics is in Redmond (just east Doug (middle) with Trellis Gate winemaker and owner of Fidelitas winery, Charlie Hoppes (L), of Seattle), Washington. and Dick Boushey (R), a long time Washington grape grower at a recent Fidelitas wine event.

We’ve had a presence in In this issue of Fabric Vine, Georgie Gerl has Washington since 1994 when we opened our again brought you a wonderful selection of first warehouse and I have spent a lot of time in projects to take you into fall season. In addition, the gorgeous Pacific Northwest. find out about a great show Quilt! Knit! Stitch Without a doubt, this has been the hottest year going on just south of us in Portland, Oregon. In in the Seattle area (and the state) since I began it’s second year, it looks to be a fun time to be coming here in 1994. Historic records were broke had by all. in both June and July. This week we’re edging As always, you’ll also find some great recipes. towards 90° by mid-week and triple digits on the Look for samosas, jam and sangria ideas to other side of the state. serve at your summer gathering.

I bring this up because the Textile Samurai Please make sure to stay cool and hydrated as is also now the Wine Eagle with the launch of summer marches on. And, if you have critters at our wine business—WinefromWashington. home, please make sure they have lots of water, com. Our label—TRELLIS GATE—showcases the too. outstanding Washington grapes which continue I suggest you visit your favorite quilt shop to receive world recognition. (they probably have AC!), forget about the heat The early hot temperatures have Washington and check out the latest Kona Bay fabric releases. wine growers harvesting grapes nearly a month If you’re home and staying cool, visit www. ahead of schedule, with many starting last konabay.com to see what’s coming this fall. week. We are fortunate to source our grapes Thank you for your support and the time you from vineyards being managed by some of the spend with Fabric Vine. states most expert growers. It is a science and Mahalo and Aloha! our winemaker is known as one of the best in the business.

Quilters in Washington and across the nation, I’m told, have not been deterred by the national Da Textile Samurai aka the Wine Eagle weather trends. Quilting and the love of fabric Publisher • douglas@konabay.com never slows. Consumer shows, quilt shop hops, http://www.facebook.com/pages/Kona-Bay-Fabrics-Seattlerow by row experiences and more are thriving.

Bay-Fabrics-and-Asian-Fabric-Magazine/106593046936?ref=ts

8 fabric vine 2015

Make the most of Fabric Vine p a t t e r n s • d e c o r a t i n g t i p s • fi b e r a r t • c u l t u r e

Issue #3 2015 • VOL 1 ISSUE 3

Quilting and design ideas for inspired minds

Issue No. 2

PUBLISHER Douglas Eagleson QUILT DESIGNER & EDITOR Georgie Gerl ggerldesigner@ comcast.net Facebook: Georgie Gerl Designer

SPECIAL CONTRIBUTORS Anna Hutton Madeline Puckette urai

The Textile Sam

is making wine!

pg 10

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 be highlighted in blue.

This enables you to pages and download

PRINT PAGES You must log in and download 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 www.tyann.portfoliobox.me

Kona Bay Fabrics © 2015

Sub Scribe for free — IT’S EASY! 1. Go to www.konabay.com 2. Click on “Subscribe” 3. c

Fabric Vine™ 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.

2015 FABRIC VINE 9

SHAD-24 forest

JETS-01 teal

SHAD-12 teal

MOVE-01 teal

EXOT-06 teal

LAIR-04 teal

BCAR-06 teal

s w

s Oranges Red Ye 2 llo 1 2

ens Gre 3

Blues Pu 4 rp 5

CONTENTS

SHAD-12 topaz les

utrals Blacks Ne 7 6

Blues MIKO-03 blue

MOVE-01 topaz

LAIR-03 blue

BUBB-01 blue

MIDN-01 blue

MUMM-01 indigo

uar y 2015 Catalog • JanLAIR-05 blue

Kona Bay Fabrics Tonal Collection MOVE-01 sapphire

EXOT-06 blue

check it out here 00 fabric vine 2015 EXOT-06 indigo

MOVE-01 lapis

BCAR-06 blue

RFOR-01 blue

Stylized Grapes Wall Quilt Designer: Georgie Gerl

After a hectic day of pressing deadlines at work and driving home during rush hour traffic nothing sounds more inviting than relaxing in your comfortable chair sipping a delicious glass of Ruby Red Wine Sangria (recipe on page 46) gazing upon your stylized wall quilt.

2015 fabric vine 00

Stylised Grapes Quilt Cutting Chart & Material List Fabric Name, Placement & Yardage

First Cuts !

$2" x $@"

! #

Next Cuts

#2" x $@" @" x $@"

@ @ $ @ @ ^$

$2" x ^2" $2" squares $2" x @2" $" x @2" #2" x &2" @" squares*

!

#2" x $@"

$

#2" x *2"

! !

$2" x $@" $" x $@"

* ! ! ! !

$2" squares $" squares $" x @" @" square !" x @"

# $2" x $@" Fabric D MOVE-01 Hunter Pieced Border 2 yard

@ !@

$2" x !^2" $2" squares

@ $ ! @

$2" x *2" $2" squares #2" x %2" @" x !^2"

Fabric A RFOR-01 Cream Background

s yard *Cut four 2” squares from #2"-wide strips.

Fabric B EXOT-06 Tan Accent

Stylised Grapes Wall Quilt 33” x 39”

4 yard Fabric C TONE-07 Green Pieced Border

a yard

@

$2" x $@"

2 yard

!

@" x $@"

Fabric F RFOR-01 Green Pieced Border

!

$2" x $@"

@ ! ! ! !

$2" x *2" $" square $" x @" @" square !" x @"

! @2" x $@" Fabric G MOVE-01 Chocolate Border Accent 8 yard

!^

@2" squares

Fabric E TONE-04 Green Pieced Border

4 yard

$ Fabric H EMPR-17 Chocolate !

Border Accent

material list Backing !4 yards Batting 38" x 44"

@w" x $@" @2" x $@"

!^

@2" squares

2 yard Grape Yardage & Cuts $ $2" squares Fabric I MOVE-01Amethyst Grapes Fat Quarter @ $2" squares Fabric J EMPR-17 Eggplant Fat Eighth

12 fabric vine 2015

Fabric K $ $2" squares MOVE-01 Amethyst

Fat Quarter

Fabric L TONE’-08 Wine Grapes Scrap

Fabric M MOVE-01 Garnet Grapes

Fat Eighth ! $2" square

@ $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 108-109) 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.

1. Refer to General Instructions (page 108) for Simple Triangles technique. Draw a diagonal line on the wrong side of four @” Fabric A squares. This will be your sewing line. Place two marked squares on one $2” Fabric K square as shown. Stitch on drawn line, trim 4” away from stitch lines and press. Sew remaining marked squares to piece as shown.

Trim and press. Make four and label Unit 1.

Unit 1

3. Arrange and sew together two $2” x @2” Fabric A pieces, one Unit 1, one Unit 2, and one Unit 3 as shown. Press. @2”

Unit 1

2. Referring to step 1 instructions make units using the following fabric combination and quantity.

• Unit 2—make two using Fabrics A and J • Unit 3—make four using Fabrics A and I • Unit 4—make one using Fabric A and L • Unit 5— make two using Fabrics A and M. Unit 2

Make 2 A/J Unit 4

Make 1 A/L

Unit 3

@2”

$2”

4. Arrange and sew together, two of Unit 3, one Unit 4, and one Unit 1 as shown. Press.

Unit 3

Unit 4

Unit 1

Unit 3

5. Arrange and sew together two $2” x @2” Fabric A pieces, one Unit 1, one Unit 2, and one Unit 5 as shown. Press. @2”

Unit 1

Unit 2

Unit 5

@2”

$2”

6. Arrange and sew together two $2” Fabric A squares, one Unit 3, and one Unit 1 as shown. Press. $2”

Fabric A- @" squares Fabric K- $2" square Make $

Unit 2

Unit 3

Unit 1

$2”

$2”

7. Sew one Unit 5 between two $2” x ^2” Fabric A pieces as shown. Press. ^2”

Unit 5

^2”

$2”

Unit 3

Make 4 A/I Unit 5

Make 2 A/M 2015 fabric vine 13

8. Arrange and sew together rows from steps 3-7 as shown. Press.

12. Sew one !” x @” Fabric F piece to one !” x @” Fabric C piece as shown. Press. Sew this unit from step 11 to unit from this step. Press. @”

@”

!”

13. Sew unit from step 12 between units from step 10 as shown. Press.

9. Making simple triangle units, sew two @” Fabric A squares to one $” Fabric F square as shown. Press. Making simple triangle units, sew two @” Fabric A squares to one $” Fabric C square as shown. Press.

Fabric A- @" squares Fabric F- $" square

Fabric A- @" squares Fabric C- $" square

10. Sew one $” x @2” Fabric A piece with one unit from step 9 as shown. Press. Repeat for other unit. $”

$”

@2”

14. Making simple triangle units, sew two @” Fabric A squares to one $” x @” Fabric F piece as shown. Press. Making simple triangle units, sew two @” Fabric A squares to one $” x @” Fabric C piece as shown. Press.

Fabric A- @" squares Fabric F- @" x $"

Fabric A- @" squares Fabric C- @" x $"

15. Arrange and sew together two @” Fabric A squares and units from step 14 as shown.

Press. Sew unit from step 13 to unit from this step as shown. Press. @”

@”

@”

@2”

11. Making simple triangle units, sew two @” Fabric A squares, one @” Fabric F square, and one @” Fabric C square to one #2” x %2” Fabric E piece as shown. Press.

16. Sew unit from step 15 between two #2” x &2” Fabric A pieces. #2”

#2”

&2” Fabric A- @" squares Fabric F- @" square Fabric C- @" square Fabric E- #2" x %2"

14 fabric vine 2015

17. Arrange and sew together two $2” x !^2” Fabric D strips, two @” x !^2” Fabric E strips, unit from step 16, and unit from step 8 as shown. Press. !^2”

$2”

19. Making simple triangle unit, sew one @2” Fabric H square to one $2” Fabric D square as shown. Press. Make four. Making simple triangle unit, sew one @2” Fabric G square to one $2” Fabric G square as shown. Press.

Make eight.

@” Fabric H- @2" square Fabric D- $2" square Make 4

Fabric G- @2" square Fabric D- $2" square Make 8

20. Making simple triangle unit, sew one @2” Fabric H square to one $2” Fabric E square as shown. Press. Make eight.

Fabric H- @2" square Fabric E- $2" square Make 4

@” $2”

18. Making simple triangle unit, sew one @2” Fabric H square to one $2” Fabric C square as shown. Press. Make four. Making simple triangle unit, sew one @2” Fabric H square to one $2” Fabric G square as shown. Press.

Make four.

Fabric H- @2" square Fabric C- $2" square Make 4

Fabric G- @2" square Fabric C- $2" square Make 4

21. Sew H/C unit from step 18 to one G/D unit from step 19 as shown. Sew one G/D unit from step 19 to one unit from step 20. Press.

Referring to diagram below sew units from this step together as shown. Press. Make four.

Make 4

Make 4

Make 4

2015 fabric vine 15

22. Making simple triangle units, sew two @2” Fabric G squares to one $2” x *2” Fabric F strip as shown. Press. Make two. Making simple triangle units, sew two @2” Fabric H squares to one $2” x *2” Fabric F strip as shown, Press. Make two. Sew two units from this step, one of each combination as shown.

Press. Make two.

24. Arrange and sew together, two units from step 21, two #2” x *2” Fabric B strips, and one unit from step 23. Press. Make two. *2"

#2”

Fabric G- @2" square Fabric F- $2" x *2" Make 2

Fabric H- @2" square Fabric E- $2" x *2" Make 2

#2” Make 2

23. Sew H/D unit from step 19 to one G/C unit from step 18 as shown. Press. Make four, two of each variation. Sew one unit from step 22 between two of these units. Press.

Make 2

Make 2

Make 2

16 fabric vine 2015

Make 2

25. Sew unit from step 17 between two units from step 24 as shown. Press.

26. Press backing and quilt top trimming all excess threads. Refer to General Instructions (page 109) 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.

2015 fabric vine 17

Red Mountain WASHINGTON where Trellis Gate grapes are grown

– What Makes Washington State Wine Different – D I ST I N C T IV E A N D D I V ER S E G R OW I N G R EG I O N S A N D S O I L S

Washington has 13 federally approved growing regions that offer a diversity of climates, soil types, and growing conditions that allow a wide variety of grapes to grow well. These range from warm sites such as Red Mountain (sometimes approaching Climate Region III, 3000-3500 Growing Degree Days) to cool regions like the Puget Sound (Climate Region I, up to 2500 GDDs) and areas in between.

The relationship to the Missoula Floods, a series of cataclysmic events, defines the soil types of the vineyards in Washington. Most vineyards lie below the floodwaters with soils of loess—wind-blown deposits of sand and silt— overlying gravel and slackwater sediment with basalt forming the bedrock. This provides a diversity of soil types that are well drained and ideal for viticulture.

L A R G E D I U R N A L S H I F T P R E S ERV E S N AT U R A L AC I D I T Y

Long, warm days and cool nights in the growing regions create a large diurnal shift, which helps maintain the natural acidity of the grapes.

Washington State has some of the most dramatic fluctuations of any wine region in the world with up to 40º F difference between daytime high and nighttime low temperatures. The higher levels of natural acidity contribute to making the wines more food friendly and also assist with their longevity.

G R A P E V I N E S A R E OW N R O OT ED

Phylloxera has caused devastating problems in numerous wine growing regions of the world. This has led many growers to plant their vinifera grapes on phylloxera resistant, hybrid rootstock.

Washington’s combination of bitterly cold winters Richland, WA and well-drained soils has prevented phylloxera from causing any significant problems to date. As a result, unlike many other wine-growing regions of the world, most of Washington’s vineyards are “own rooted,” meaning that the grape vines are grown on their own rootstock.

W I N ER I E S A R E O F T EN S EPA R AT ED FR O M V I N E YA R D S

In the traditional grape-growing model, wineries are located next to or close to their vineyard sources. Washington, generally, completely breaks this model. Many wineries are located dozens and even hundreds of miles from the vineyards they work with. Additionally, many contract their grapes rather than establishing their own vineyards.

This gives the wineries a number of advantages. First, purchasing grapes minimizes the startup time for a winery and has enabled the industry’s rapid growth. Second, it allows wineries to set up shop wherever they like, be it near the consumer hub of Seattle or in the far reaches of the state that they call home. Third, not being tied to a single vineyard source in a single location means that wineries can experiment with vineyards all across Washington. They can make a wine that blends, say, Cabernet Sauvignon from the Horse Heaven Hills with Merlot from Red Mountain and Petit Verdot from the Wahluke Slope, in essence taking what they feel is the best from each location. Using a diversity of sites also helps keep quality consistent across vintages. Lastly, working with a diversity of sites in different locations also helps protect against disruptions caused by Washington’s occasional spring and fall frosts and winter freezes.

A L EG I O N O F S M A L L , FA M I LY P R O D U C ER S

The vast majority of wineries in Washington are small, family producers making less than 5,000 cases annually. In fact, of the state’s 850+ wineries, only about 20 make more than 40,000 cases annually. The small, artisan nature of the industry contributes to producing wines of exceptional quality.

2015 fabric vine 19

Breaking News!

Awarded Trellis Gate wine an outstanding score of

88

MEOWser!

Is that Kona Bay on the label?!

Trellis Gate

Available Now • Shippin in Sept

2012

Red Mountain Cabernet Sauvignon

© Kona Bay Fabrics

ng

Red Mountain Cabernet Sauvignon

Red Mountain Cabernet Sauvignon

© Kona Bay Fabrics

1 bottle $24.95

© Kona Bay Fabrics

© Kona Bay Fabrics

Trellis Gate

2012

2012

2012

Red Mountain Cabernet Sauvignon

Red Mountain Cabernet Sauvignon

2012

Red © Kona Bay Fabrics Mountain Cabernet Sauvignon

© Kona Bay Fabrics

Ordered by

Deliver to

Name

Name

Address

Address State

Zip Code

Telephone

Same as Ordered by

City

State

Zip Code

Telephone

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© Kona Bay Fabrics

3 bottles $64.85 $74.85

2 bottles $44.90 $49.90

City

Print this form if you prefer to send in your payment and order via mail or fax —or— order online

Trellis Gate

Red Mountain Cabernet Sauvignon

Trellis Gate

2012

2012

Trellis Gate

Trellis Gate

Trellis Gate

Trellis Gate Printable Order Form

Shipping for 1 or 3 bottles is the same!

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$24.95

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$64.85

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Shipping—Please refer to WineFromWashington.com or call 800.531.7913 for shipping rate

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Mail: Wine From Washington, 15812 NE 83rd St, Redmond, WA 98052 Fax: 425.867.3054 Email: Sales@WineFromWashington.com Phone: 800.531.7913

click quilt for free pattern

Cotton Fashion

W

elcome to our new feature Cotton Fashion. Our goal is to inspire you.

Cotton fabric lends itself beautifully to wearables for the entire family. Anna Hutton, our lovely model here, is wearing a dress she created using fabric from the Kona Bay Happy Garden Collection.

We met Anna in Minneapolis at spring Quilt Market. As she passed by our booth, we all took note of the lovely dress she was wearing. “Hey, that’s our fabric!” we heard Doug, Kona Bay’s President, yell out.

After inviting Anna into the booth, snapped the photo you see here. Since, we’ve learned more about Anna and her sewing journey.

Anna Hutton grew up in New Prague.

Like many Minnesota families, her

24 FABRIC VINE 2015

Anna Hutton

mom made costumes and dresses for Anna and her three siblings when they were children. By the time they got to high school, she and her sister started having trouble finding formal dresses that were long enough, so her mom began making dresses for them to wear to formal dances at school.

When they graduated from high school, her mom made each child a quilt to keep them warm at college.

“That quilt she made for me is still my favorite blanket in the house!” says Anna fondly.

“I bought my first sewing machine in December of 2012 because I wanted to make sure that, like my mom, I could create those sorts of things for myself and my family.

Most of my projects are vintage inspired dresses made of quilting cottons”, says Anna, “I have also started making quilts and other gifts for my family and for our friends who are starting their families”.

In addition to sewing, Anna enjoys cooking, traveling with her husband, spoiling her dog and seeing concerts outdoors at Red Rocks Amphitheatre in Colorado.

The dress pictured here is a combination of two patterns. The bodice is from Vogue 1353, while the skirt is from Butterick 5209. Anna shared that she rarely follows a pattern completely without changing something.

Anna is talented and creative. We have invited Anna to share her Kona Bay fabric creations with us. Watch for her in upcoming issues. Have you sewn items other than quilts using Kona Bay Fabric cotton? We would love to see it! Email a photo to fabricvine@mac.com.

Look for the Happy Garden Collection and Kona Bay Fabric offerings at your local quilt shop. You can also see what’s new at www. konabay.com 2015 fabric vine 25

Brighten Your Day Quilt Designer: Georgie Gerl Brilliant array of colorful flowers and butterflies are showcased in this 89�square bed quilt sure to brighten any ho-hum day.

00 fabric vine 2015

2015 fabric vine 00

Brighten Your Day Quilt Cutting Chart & Material List

Brighten Your Day Quilt 89” x 89”

material list Backing *8 yards Batting (&" x (&" Read Cutting Tip prior to cutting fabrics.

Cut strips as indicated in chart then cut smaller pieces listed from these strips

Featuring fabrics from the Rainbow Collections.

Fabric Name, Placement & Yardage

Fabric A RAIN-21Multi Circles

!w-@w yards

First Cuts

Next Cuts

% !*2" circles * *Extra fabric may be needed for “Fussy Cut” pieces: amount will vary depending on motif selection and fabric repeat.

First Cuts

Fabric Name, Placement & Yardage

Fabric E RAIN-22 Aqua Block Border

!

$ $ * * #@ ^$ !^

!)2" x %2" @2" x #2" !2" x @$2" !2" x @@2" !2" x %2" !2" x $2" !12" x @2"

!# !2" x $@"

#@ @$ * * $ #^

!2" x ^2" !2" x %2" !2" x $2" !2" x #12" !2" x @12" !2" squares

% %2" x $@" @ #2" x $@"

#@ %2" squares !^ #2" squares

! !)2" x $@"

$ $ $ $ !@ $

!)2" x $@"

$) !2" x $@"

@8 yards

Refer to to circle template instructions (page 34) and Adding the Circle Appliqué (page 29) prior to cutting and sewing circles.

Fabric B RAIN-20 Multi Accent Squares

4-3 yard

$ $2" squares * *Extra fabric may be needed for “Fussy Cut” pieces: amount will vary depending on motif selection and fabric repeat.

$ @@2" x $@" Fabric C RAIN-22 Purple Circle Background

@q yards

Fabric D BUBB-01 Black Block Dk Accents

!4 yards

28 fabric vine 2015

! @@2" x $@" @ !)2" x $@" ! %2" x $@"

$ * * * $ !@

@@2" squares !2" x %2" !2" x $2" !2" x #2" !2" x @2" !2" squares

! !^ !$ @

@@2" square @2" x #2" !)2" x %2" %2" x !)2"

Fabric F RAIN-22 Red Outside Border

w yard

Fabric G BUBB-01 White Block Background

Next Cuts

!6 yards Fabric H TONE-02 Green Background

@8 yards

$ (2" x $@" % #2" x $@"

!)2" x ^2" !)2" x #2" (2" x @@2" (2" squares #2" x !)2" @2" x #2

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. Read instructions on circle template page 34 and Adding the Circle Appliqué prior to cutting Fabric A circles, several appliqué options are given.

Sew using an 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.

Adding the Circle Appliqué

Fo u r o p t i o n s a re g ive n b e l ow fo r appliquéing additional information on pages 108-109. The circles in quilt are “Fussy Cut” from motif fabric (Fabric A). Appliqué circle to either @@2” Fabric C or D square using prefer method.

Option 1: Machine Appliqué Method

• Trace outside trace line this will be the cutting line since no seam allowances are needed for this method. To help remove some excess web (prior to fusing) from the center of the circle cut circle on traced line then cut again 2-!” to the inside of the circle to create a donut shape removing the center section. Fuse web adhesive to back of appropriate fabric following manufacturer’s directions. Note: Test fabrics before using this technique. Some fabric when fused to background will show the web ring from the front.

• 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.

Option 2: Freezer Paper Method • Trace the finished circle size on the nonslick side paper side of freezer paper and cut on drawn line.

• Place the slick side of the freezer paper on the right side of the fabric and press.

Trim fabric a scant 4” or 4” from paper edge for seam allowance.

• Remove paper from pattern and place paper side of freezer paper on wrong side of fabric leaving the slick side showing on top. Using a small iron or iron tip, fold fabric along edge to wrong side and press in place.

• Place circle on quilt, using a blind stitch sew circle to fabric. Carefully from the wrong side cut away some of the backing fabric leaving a seam allowances. Remove freezer paper.

Option 3: Needle Turn Method

• Using a fabric removable marker trace circle on right side of fabric. Cut a scant 4-4” from marked line for seam allowances. Finger press along marked line.

• Place circle on background fabric, using the point of needle, turn under 4-2” along fold of appliqué at a time and hold in place with thumb while stitching. Continue turning under small sections at a time stitching circle in place.

Option 4: Two Layer Circles

• Trace circle to wrong side of circle fabric.

• Layer backing and marked circle right sides together. Using sewing machine stitch on marked line around entire circle.

Trim circle scant 4” from sewn line.

• Carefully pull fabric layers apart, clip backing fabric cutting an opening in center of fabric. Turn circle right side out and press. Machine or hand sew circle to appliqué background fabric.

2015 fabric vine 29

Making the Circle Units Referring to Circle Pattern (page 34) to make pattern, cut and sew appliqués to background fabric piece. Make four Fabric C background circle units and one Fabric D background circle unit.

Making the Quilt

1. Sew one !2” x @2” Fabric E piece to one @2” x #2” Fabric D piece as shown. Press.

Sew this unit between two !2” x $2” Fabric E strips. Press. Make sixteen and label Unit 1.

Sew one !2” x @2” Fabric F piece to one @2” x #2” Fabric H piece as shown. Press. Sew this unit between two !2” x $2” Fabric F strips.

Press. Make four and label Unit 2. Sew one !2” x @2” Fabric C piece to one @2” x #2” Fabric E piece as shown. Press. Sew this unit between two !2” x $2” Fabric C strips. Press.

Make four and label Unit 3. @2”

!2”

!2”

Unit 1 !2”

#2”

$2”

2. Refer to General Instructions (page 108) for Simple Triangles technique. Draw a diagonal line on the wrong side of one !2” Fabric F square. This will be your sewing line. Place marked squares on one !2” x $2” Fabric E piece as shown. Stitch on drawn line, trim 4” away from stitch lines and press. Make twenty-four, twelve of each variation.

Fabric F- !2” squares Fabric E- !2””” x $2””” Make !@

3. Sew one !2” x ^2” Fabric F strip to one unit from step 2 as shown. Press. Make twenty-four, twelve of each variation. ^2”

^2”

!2”

Make !@

4. Sew one !)2” x #2” Fabric H piece to one unit from step 3 as shown. Press. Make sixteen, eight of each variation. !)2”

!2”

Make *

!2”

#2”

$2”

Make $ @2” !2” #2” Make $

!)2”

#2”

#2” Unit 2

!2”

!2”

Make !@

Make !^ @2”

Fabric F- !2” squares Fabric E- !2””” x $2””” Make !@

Make *

5. Sew one Unit 1 between two units from step 4 as shown. Press. Make eight.

Unit 3 !2” !2”

Make * $2”

6. Arrange and sew together two !2” x %2” Fabric F strips, two %2” Fabric G square, two !2” x %2” Fabric E strips, and one %2” x !)2” Fabric D piece as shown. Press. Make eight.

!2”

%2”

!2”

!)2”

!2”

%2”

!2”

%2”

Make *

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7. Sew one unit from step 5 to one unit from step 6 as shown. Press. Make eight.

Make *

8. Arrange and sew together two (2” Fabric H squares, two units from step 7, and one (2” x @@2” Fabric H piece as shown. Press. Make two and label Rows 1 and 5.

(2”

@@2”

(2”

(2”

Make 2 Rows 1 & 5

9. Sew one Fabric C appliqué unit between two !2” x @@2” Fabric E strips. Press. Sew this unit between two !2” x @$2” Fabric E strips. Press. Make four. !2”

!2”

10. Making simple triangle units, sew three !2” Fabric F squares and one !2” Fabric C square to unit from step 9 as shown. Press.

Make four.

@$2”

Make 4

Fabric F- !2” squares Fabric C- !2” square Unit from step 9 Make $

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11. Sew one !2” x %2” Fabric F strip to one %2” Fabric G square as shown. Press. Sew this unit to one !2” x ^2” Fabric F strip. Press.

Make eight. Sew one !)2” x ^2” Fabric H piece between two units from this step as shown. Press. Make four. %2”

!2”

!2”

^2”

14. Arrange and sew together two units from step 2, one of each variation, two F/G units from step 13, and one Unit 2 as shown. Press.

Make four. Arrange and sew together two units from step 12, one of each variation, two C/G units from step 13, and one Unit 3. Press.

Make four.

%2” Make 4

Make 8

Make 8

!)2” ^2”

Make 4

12. Making simple triangle units, sew one !2” Fabric C square to one !2” x $2” Fabric E piece as shown. Make eight, four of each variation.

Fabric C- !2” square Fabric E- !2””” x $2””” Make * (four of each variation)

13. Sew one !2” x #2” Fabric F piece to one #2” Fabric G square as shown. Press Make eight F/G units. Sew one !2” x #2” Fabric C piece to one #2” Fabric G square. Press. Make eight C/G units. #2”

Make 4

15. Sew one $2” Fabric B square between two of Unit 1 from step 1 as shown. Press. Make four. $2”

$2”

Make 4

16. Sew one unit from step 15 between two units from step 14, one of each variation, as shown. Press. Make four.

#2”

!2”

#2” Make 8 F/G units

!2”

#2” Make 8 C/G units

Make 4

17. Sew one !)2” x %2” Fabric D piece between two !2” x %2” Fabric E strips as shown. Press. Make eight. !2”

!)2”

!2”

%2”

Make 8

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18. Sew one unit from step 16 between two units from step 17 as shown. Press. Make four.

19. Arrange and sew together two %2” Fabric G squares, two !2” x %2” Fabric C strips, and one !)2” x %2” Fabric E piece as shown. Press. Make four. %2”

!2”

!)2”

!2”

%2”

%2” Make 4

Make 4

Assembling & Finishing the Quilt 1. Arrange and sew together two units from step 7, two units from step 10, and one unit from step 18 as shown. Press. Make two and label Rows 2 & 4. Note: one row will be rotated 180°

Make 2

2. Arrange and sew together two (2” x @@2” Fabric H pieces, two units from step 18, and Fabric D appliqué unit as shown. Press.

(2”

@@2”

(2”

@@2”

3. Referring to layout arrange and sew together rows from Making the Quilt step 8 (page 31), and rows from step 1 & 2 above. Press.

4. 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 (&”.

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5. Press backing and quilt top trimming all excess threads. Refer to General Instructions (page 109) 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.

rc ed ci h s i n (fi Line e c a Tr

) le size

Option 1

Fold

paper

Fold

Option 2 & 3

Trace Line Placement Line

Making the Circle Template Three options are provided for making this pattern.

The traced line is the finished size of the circle depending on which appliquĂŠ technique is being used the seam allowance may need to be added to the outside of this line.

Option 1 Cut a 21� square of pattern or freezer paper. Fold this square in half then fold in half again. Place template on paper fold lines as shown. Trace eighth-circle pattern twice aligning placement lines to make a quartercircle template. Trace curve edge only and cut on traced line.

Option 2 Trace eighth-circle pattern eight times on pattern paper, freezer paper, or template plastic aligning placement lines to make a whole circle template.

Cut on traced curve line only.

Option 3 Make eight copies, trim and tape pieces together to make an 18� circle.

Cut on outside curved line.

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Rain Forest

Color Movement In stores now

Easy Savory Summer Samosa Turnovers

S

amosas originated in the Middle East and gained popularity rapidly in South Asia once they were introduced.

Today, they can be found around the world. Our rendition, which uses ready made pie crust, has been modified to be a fast and easy meal while still maintaining the delicious flavor of a traditional Samosa.

South Asian Samosas are typically vegetarian and served as a snack. As you move into other parts of Asia, meat begins to appear as an ingredient. Our Fabric Vine version combines the best of

38 FABRIC VINE 2015

all, in our opinion. Serve the Summer Samosa Turnover, Yogurt Dipping Sauce and Blackberry Port Jam with a green salad for a scrumptious meal.

Most Samosas are folded into a triangular pocket. Ours take the lead of the American turnover, to speed preparation and make them easy to bake and serve. The filling can be prepared and refrigerated overnight.

instructions makes 10-12 pieces 1. Preheat oven to 350° 2. Mash together potatoes and peas.

3. Heat the oil in a large skillet over medium high heat. Add the onions and ground beef and cook until the beef is cooked through and the onions are soft.

4. Add in the garlic, ginger and all the seasonings. Mix well.

5. Add mashed potato and pea mixture. Mix well.

ingredients 1 large double pie crust dough 1 large potato, peeled, cooked & mashed ½ cup frozen peas, thawed 1 large onion, finely chopped

6. Remove from heat and chill in the refrigerator for at least 1 hour to chill thoroughly.

7. While mixture is chilling, use a bowl (approximately 5” across) to cut circles out of the pie dough. Smaller circles may be made for appetizers sized turnovers.

8. Add cilantro and green chile peppers to the chilled meat and potato mixture. Mix well.

9. Place a large spoonful of the mixture on half of the pie dough circle. Brush the edge with beaten egg and fold the circle in half so edges line up. Crimp the edge to seal it.

10. Bake on a lightly buttered sheet until the tops are lightly browned, 25-30 minutes.

½ lb lean ground beef 2 cloves of garlic, crushed 1 Tbs oil 1 Tbs green chile peppers, finely chopped 1 Tbs fresh cilantro, chopped 1 ½ tsp fresh ginger, finely grated ½ tsp ground coriander ½ tsp ground turmeric ½ tsp cumin powder ½ tsp ground cardamom ½ tsp chili powder ¼ tsp cinnamon powder ¼ tsp ground black pepper ½ tsp salt 1 egg, beaten

Yogurt Dipping Sauce This cooling creamy sauce will compliment the savor Samosa Turnover.

ingredients 1 cup plain yogurt 1 Tbs fresh mint, finely chopped 1 Tbs fresh cilantro, finely chopped 1 Tbs green onion, finely chopped 1 Tbs lemon juice ¼ tsp salt Splash of ground pepper Mix ingredients thoroughly and refrigerate until ready to serve.

2015 FABRIC VINE 39

No-cook Blackberry & Port Freezer Jam

40 FABRIC VINE 2015

T

here was a time when when making your own jam was a regular summer activity for most families. Today, many people have never had the experience. The task can seem overwhelming when you think of canning and all the paraphernalia that seeming goes along with it.

Maybe you’ve made jam and remember the time involved—time you don’t have when shelves of jarred preserves await you at the grocery store. Our Blackberry Freezer Jam recipe is here to save the day.

Simple, easy to make freezer jam can take the culinary experience and hostess gift giving to a whole new level. Once you’ve made a batch, you’ll look at fruit in a whole new way. Plus, freezer jam allows you to make very small batches making it into a creative exercise.

Our version includes a splash of Port wine which is optional. Port is a fortified wine. It often has Brandy added to the mix before fermenting is finished. You would typically serve it at the end of the meal with or in place of dessert. The flavor leans rich with a touch of sweetness. It has a heavier mouth feel than wine you might serve with dinner. For this reason, it’s the ideal choice to bring a touch of sophistication to your jam. Consider small, 4 ounce containers to always have a ready-to-go gift in the freezer. The alcohol content will be very low but it will not be cooked out in our recipe so it may be omitted. It’s delicious either way!

ingredients 6 c blackberries (fresh and firm) 3-4 Tbs lemon juice (1 large lemon juiced) 2 Tbs Port (good quality) ½ tsp salt 2 c granulated sugar 5 Tbs Real-fruit Instant Pectin*

instructions 1. Combine blackberries, lemon juice, Port and salt in a large bowl. Mash well so the blackberries give up their juice but keep it a little chunky so everyone knows they’re enjoying real fruit jam. A potato masher or large spoon will do the job.

2. Stir together the sugar and the pectin in a separate bowl. Make sure it is well blended.

3. Add the sugar mixture to the fruit mixture and mix until the sugar has dissolved. Make sure it has dissolved, you don’t want sugar sand in your jam.

4. Spoon into clean jars or freezer containers. The jam will expand as it freezes; make sure to allow a minimum of 3/4” for an 8 ounce container and 1/2” for a four-ounce container at the top for expansion.

5. Cover and let the containers sit at room temperature for 24 hours.

6. Freeze and enjoy for up to a year. The jam will also keep in the refrigerator for up to three weeks. *There are many brands of pectin. We recommend Ball® Realfruit® Instant Pectin.

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Graceful Beauty click quilt for free pattern

by Madeline Puckette

00 FABRIC VINE 2015

I

n an effort to make the best Sangria, we tested 5 classic Sangria recipes. After testing, we concluded that the best recipes were surprisingly simple. You can try them all out yourself or pick one that best fits your mood.

Sangrias we tested: Ruby Red Sangria White Wine Sangria White Peach Sangria Spanish Sangria Red Wine and Brandy Sangria The two Sangria recipes that won our hearts are White Peach Sangria and Ruby Red Wine Sangria.

tip We modified the recipes to only require one bottle of wine (for 1-4 people). If you have more people coming to drink your ‘Gria’, just double or triple the recipe as needed.

2015 FABRIC VINE 45

Ruby Red Wine Sangria

ingredients

Top Pick

1 750ml bottle of red wine (medium bodied red wine like Garnacha, Merlot or Tempranillo)

This recipe was one of our top picks even though it didn’t have the twinkle 1 cup ruby red grapefruit juice of soda water. The grapefruit juice juice from 2 limes adds another dimension with its ¼–½ cup sugar slightly bitter note that actually worked surprisingly well with the red wine we used (a Grenache blend from Languedoc Roussillon). When we first tested it we added 1/2 cup of sugar but quickly realized that less is more. You’ll notice that this recipe is devoid of brandy or any other liquor. If you want, you can bump the flavor up a notch and add a ¼ to a ½ cup of brandy or vodka, just be sure to serve over ice.

46 FABRIC VINE 2015

ingredients 1 750ml bottle of white wine (a zesty or aromatic white wine like Torrontes, Chenin Blanc, Riesling or Pinot Grigio) ¼–½ cup sugar juice from 1 lemon

White Wine Sangria

fruit for garnish (peaches, apples, berries or citrus) mint or basil (if available)

You can use nearly any kind of fruit to garnish a White Wine Sangria.

While some recipes call for the addition of rum, brandy, vodka or limoncello, we opted to use Cava instead. Use only a quarter cup of sugar if you tend to like ‘less sweet’ drinks. We liked this recipe just fine, but it somehow didn’t have the complexity we expect from a great cocktail.

2015 FABRIC VINE 47

what type of wine should you use?

Don’t worry, there is not a standard wine for Sangria!

However, if you’d like to make a sangria in tune with Spanish tradition, use Garnacha or find another Medium Bodied Red Wine. For white sangria, pick a zesty and/or aromatic white wine such as Torrontés, Chenin Blanc, Riesling or Pinot Gris. See a more complete list of white wines by style for inspiration.

48 FABRIC VINE 2015

White Peach Sangria with Cava ingredients 1 750ml bottle of Cava or Prosecco (a zesty or aromatic white wine like Torrontes, Chenin Blanc, Riesling or Pinot Grigio) ¼ cup brandy or triple sec 2–3 Tbs sugar 3–4 white peaches juice from 1 lemon

Top Pick

what is sangria?

Sangria is the Spanish name for a sugar-sweetened wine and fruit cocktail. Rumored to be first introduced to the US at the 1964 World’s Fair. Today, it’s the world’s most popular wine cocktail (right up there with a Mimosa). In Barcelona, the most common hipster bar cocktails we saw were: Sangria, Kalimoxto (cali-mo-cho) and Gin Tonic.

This recipe was the best and it’s so simple. Add brandy and lemon juice to the bottom of your pitcher. Cut up the peaches into cubes and add with ice. Top with Cava or Prosecco and serve immediately.

As you sip, the peaches macerate in your drink.

For the picture, we added a little red wine at the bottom of the glass to give it a pink color.

2015 FABRIC VINE 49

Classic Spanish Sangria

ingredients 1 750ml bottle of red wine (a medium bodied red wine like Garnacha, Merlot or Tempranillo) 1 cup soda water or cava (spanish champagne) to top off ¼–½ cup sugar juice from 1 orange or 1 lemon or 2 limes lime wheels for garnish

50 FABRIC VINE 2015

In the center square of Haro, Spain (in Rioja) you can find Sangria made from a simple Red Rioja (a blend of Tempranillo and Garnacha), granulated sugar, soda water and a few slices of citrus (oranges, lemons or limes). It’s prepared on the spot and served in a pitcher with ice and a stirring spoon to mix in the sugar. This style of Sangria is pretty tart and very refreshing. The taste of the wine really comes through. Use only a quarter cup of sugar if you tend to prefer ‘less sweet’ drinks.

We were surprised how many places make Sangria in Spain using Lemon-lime soda.

Emeril’s Red Wine Sangria

ingredients 1 750ml bottle of red wine (a medium bodied red wine like Garnacha, Merlot or Tempranillo) ¼ cup triple sec ¼ cup brandy 2 Tbs lime juice 2 Tbs orange juice

You can find Emeril’s complete recipe and notes on the Food Network.

apples, oranges and lemon for garnish

We found this recipe to be pretty similar to the Spanish Sangria Recipe but it had much more depth and complexity of flavor because of the addition of brandy. It was even more awesome with tons of ice in our glasses and just a splash of soda on top.

2015 FABRIC VINE 51

Madeline Puckette

Madeline Puckette is a musician and graphic designer gone wine geek. During her days at art school, she took a liking to wine, spending her days studying music programming and nights enjoying a bottle of Côtes du Rhône.

Madeline started Wine Folly on December 25, 2011 with her two best friends. The inspiration for Wine Folly was based on an observation she’d made while serving. Basically, people want to know more about wine but they don’t know where to start. The goal of Wine Folly is to share wine knowledge in a way to encourage and inspire new drinkers.

Since starting the site in 2011, Madeline has probably written over 200,000 words on wine. Her personal education includes advanced seminars, tastings, and traveling to wine regions of the world.

52 FABRIC VINE 2015

Designer: Georgie Gerl Dragonflies dance above the pond while cranes partake in a late afternoon snack enjoying this tranquil setting—bring this quiet calm to your table sharing in a feast with family.

62� square

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 108-109) 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.

Peaceful Pond Table Quilt Cutting Chart & Material List

Peaceful Pond Table Quilt ^@" x ^@"

material list Backing #d yards Lightweight Batting/Flannel (optional) (read Let’s Begin) ^*" x ^*" 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 Lotus in the Springtime Collections.

Fabric Name, Placement & Yardage

First Cuts @ #

Next Cuts

!d yards

&

!$2" x $@" * #2" x $@" * !@ @2" x $@"

Fabric B LOTU-10 Blue Block 1 & 2 Center

! $

@$2" square “Fussy Cut” !!2" squares “Fussy Cut”

Fabric A KBM-01 Chalk Background

!$2" x (" #2" x %" #2" squares

! yard

54 fabric vine 2015

Fabric D KBM-01 Blueberry Block 3 Border

First Cuts

Next Cuts

%

@" x $@"

!

!2" x $@"

$

*2" squares “Fussy Cut”

! ^

@2" x $@" @" x $@"

* *’ $

@" x !!2" @" x *2" !2" x #2"

2 yard Fabric E LOTU-12 Blue Block 3 Center

a-2 yard

!2-!d yards Fabric C LOTU-13 Green Border

Fabric Name, Placement & Yardage

@

#2" x $@"

$

@2" x $@"

&

!2" x $@"

!@ * @ @

#2" squares #2" x !" @2" x @*2" @2" x @$2"

Fabric F KBM-01 Coal Block 2 Border

s yard

!@ * *

@2" squares @" x !$2" @" x !!2"

Note: This table quilt can be made with only the pieced top and backing pieces sewn together or sandwich lightweight batting or a piece of flannel fabric between the backing and pieced top. This will add some body to the table quilt without adding bulk.

Steps 3-5 Note

Making the Table Quilt

3. Refer to General Instructions (page 108) for Simple Triangles technique. Draw a diagonal line on the wrong side of three #2” Fabric A squares. This will be your sewing line.

Place three marked squares on one unit from step 2 as shown. Stitch on drawn lines, trim 4” away from stitch lines and press. Make four.

1. Sew one @$2” Fabric B square between two @2” x @$2” Fabric C strips. Press seams toward Fabric C. Sew this unit between two @2” x @*2” Fabric C strips as shown. Press and label Block 1. Block measures @*2” square.

Block 1

@2”

@2”

Referring to layout (page 53), determine motif direction and Fabric A triangle placement, each block is different. If using a non-directional fabric for block, make all blocks as shown in step instructions.

@*2”

Fabric A- #2” squares Unit from step 2 Make $

Block measures @*2” square.

2. Sew one !!2” Fabric B square between two @” x !!2” Fabric F strips. Press seams toward Fabric F. Sew this unit between two @” x !$2” Fabric F strips as shown. Press.

Make four. @”

4. Making simple triangle unit, sew one #2” Fabric C square to unit from step 3 as shown.

Trim and press. Make four.

@”

Fabric C- #2” squares Unit from step 3 Make $ !$2”

Make $

2015 fabric vine 55

5. Making simple triangle units, sew one @2” Fabric F square to unit from step 4 as shown.

Trim and press. Press. Make four and label these Block 2. Block measures !$2” square.

Block 2

Fabric F- @2” square Unit from step 4 Make $

Block measures !$2” square.

6. Making simple triangle units, sew one #2” Fabric C square to one !$2” x (” Fabric A piece as shown. Press. Making simple triangle unit, sew one @2” Fabric F square to unit from this step. Press. Make four and label Unit 1.

7. Referring to step 6, making simple triangle unit, sew one #2” Fabric C square to one !$2” x (” Fabric A. Press. Sew one @2” Fabric F square to unit from this step. Press.

Make four and label Unit 2.

Unit 2

Fabric C- #2” square Fabric F- @2” square Fabric A- !$2 x (””” Make $

8. Arrange and sew together two #2” x %” Fabric A pieces, two #2” x !” Fabric C pieces, and one !2” x #2” Fabric D piece as shown.

Press. Make four. %”

!” !2” !”

%”

#2” Make $

Unit 1

9. Sew one *2” Fabric E square between two @” x *2” Fabric D strips. Press seams toward Fabric D. Sew this unit between two @” x !!2” Fabric D strips as shown. Press. Make four. @”

@”

!!2”

Fabric C- #2” square Fabric F- @2” square Fabric A- !$2 x (””” Make $

56 fabric vine 2015

Block measures !$2” square.

Make $

10. Sew one unit from step 9 to one unit from step 8 as shown.

Press. Make four and label Unit 3. Block measures !$2” square.

Unit 3

Make $ Block measures !$2” square.

11. Sew one Unit 3 between one Unit 1 and one Unit 2 as shown.

Press. Make four and label Block 3. Block measures !$2” x @*2”.

Block 3

Unit 1

Unit 3

Unit 2

Make $ Block measures !$2" x @*2"

12. Sew one Block 3 between two of Block 2 as shown. Press.

Make two.

Block 2

Block 3

Block 2

Make 2

2015 fabric vine 57

13. Sew Block 1 between two of Block 3 as shown. Press.

Block 3

Block 1

Block 3

14. Referring to quilt layouts on pages 53 and 54, Sew one row from step 13 between two rows from step 12. Press.

Adding the Border & Finishing the Quilt

1. Sew @2” x $@” Fabric A strips end-to-end to make one continuous @2”-wide Fabric A 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.

2. Measure quilt through center from top to bottom, including borders just added. Cut two @2”-wide Fabric A strips to that measurement. Sew to sides of quilt and press.

3. Referring to steps ! and @ to join, measure, trim, and sew !2”-wide Fabric C strips to top, bottom, and sides of quilt. Press.

4. Layer and center quilt top and backing right sides together on batting/flannel piece, if applicable, wrong side of backing on batting/flannel. Using 14”-wide seam, stitch around all edges, leaving a 7” opening on one side for turning. Trim batting/flannel close to stitching and backing even with quilt edges. Clip corners, turn, and press. Hand stitched opening closed.

5. Stitch in the ditch between Fabric C and A border and between each block. Add any additional quilting as desired.

58 fabric vine 2015

Lotus in Springtime

click quilt for free pattern

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!

Gei s ha Charm click quilt for pattern download

Designer: Georgie Gerl Make something quick with little effort—this beautiful quilt uses a simple technique that a young person could accomplish. This quilt is reversible, blocks are quilted then sewn together, seams shows on one side and after washing will produce a chenille effect.

The 3 ‘E’ Quilt Cutting Chart & Material List The 3 ‘E’ Quilt 63” x 63”

material list Backing !)” assorted fabric squares– $( Batting (" squares– $( Fabrics listed are the requirements for quilt shown it is recommended to cut extra squares to allow for layout options. Our quilt used a variety of fabrics on the back to create a reversible quilt or backing can be cut from one fabirc (#w yards).

Fabric Name, Placement & Yardage

Cuts

Fabric A SANC-12 Rose Center Block Fat Quarter

!

Fabric B TONE-07 Rose Blocks

$

!)" square

!)" squares

$

q yard

66 fabric vine 2015

!)" squares

Fabric G SANC-14-Rose Blocks

$

!)" squares

!)" squares

Fabric H TONE-07 Green Blocks

*

!)" squares

*

!)" squares

$

!)" squares

q yard $

!)" squares “Fussy Cut” from border print

w yard Fabric E TONE-05 Blue Blocks

$

a yard

a yard Fabric D SANC-11 Rose Blocks

Fabric F SANC-15 Blue Blocks

Cuts

a yard

a yard Fabric C SANC-13 Rose Blocks

Fabric Name, Placement & Yardage

*

!)" squares

Fabric I TONE-05 Green Blocks

q yard Fabric J SANC-10 Rose Blocks

2 yard

“Fussy Cut”

Let’s Begin Before you begin read all instructions. The front of this quilt has raw edge showing another option would be to sew blocks together so some raw edges show on the front and some on the back of the quilt. After this quilt is wash several times the seam will fray adding dimension to the piece. This quilt is a reversible, quilt as you go method, the overall effect is determined by your fabric selections and placement of blocks. If desired cut extra fabric squares to allow for playing with the placement of each, the combination is endless depending on the number of fabrics used and quantity of each. Use a 2”-wide seam allowance throughout this project unless otherwise noted.

Making the Quilt

1. Referring to photo and layout, arrange all blocks into seven rows with seven blocks each.

Note: Take time to play with different arrangements to create your own unique design. Take a photo of the final quilt layout selection. If making a reversible quilt repeat process and take Diagram 1 photo of backing selection.

2. Using a fabric removable marker, draw a line 2” away from all Fabric A, B, C, D, E, F, G, H, I and J squares outside edges, this will be your sewing line when piecing the quilt block together. Do not mark backing squares.

2015 fabric vine 67

3. Center one 9” batting square on the wrong side of one 10” fabric backing square as shown. Batting is 2” smaller on all sides then backing square. Center one 10“ Fabric A, B, C, D, E, F, G, H, I or J square on top of unit, matching raw edges and making sure batting is still sandwich a 2” from outside edges. Pin or baste block units together. Repeat for all blocks to make a total of forty-nine blocks.

5. Refer to photo and layout to arrange seven rows with seven quilted blocks each.

6. Washing the quilt will fray the expose seams creating an chenille effect.

Front of Quilt

4. Quilt each block unit from step 3 as desired stop quilting 2” from all outside edges. The sample shown below uses Superior Gold Metallic thread for both the top and bobbin threads. The sample was stitched on marked line and on the motif design image where applicable. Quilting can be minimal for all blocks refer to batting manufacturer’s instructions for distance between quilting requirements.

Back of Quilt Place two quilted units wrong side together.

Stop and start stitches at the 2” mark. Sew units on marked lines (2” from outside edge).

This will allow for raw edges being expose on the front of the quilt.

68 fabric vine 2015

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2015 fabric vine 00

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• BOOK REVIEW • The Sew Simple Guide to Easy Sewing and Embellishing

by Vicki Dar

The book we’ll look at today packs an

In grade school, after a quick tuto-

inspirational punch and offers a range of

rial, my mom turned me loose with her

information and how-to that would typi-

boxes of fabric and her sewing machine.

cally cost a sizable amount of time and/

Before long, I was churning out wrap

or money. The Sew Simple Guide to Easy

skirts, tops and bags without patterns. I

Sewing and Embellishing by the Editors

had sewn one smock with a purchased

of Sew News magazine is a 96 page con-

pattern and it was just too cumbersome

fidence building workhorse.

for my limited attention span.

When I was in school, Home Econom-

The creative journey continued. When

ics was an elective. I chose Shop instead.

the time came to choose the school elec-

Power tools are entertaining to this day

tive, I had thought, “What could a Home

and have served me well as a do-it-

Ec teacher teach me that I hadn’t already

yourselfer. My lack of formal training in

figured out?” Browsing through The Sew

the domestic sciences, though, has never

Simple Guide, I see there is plenty. Now,

deterred me from exploring and embrac-

I can only hope to prove the old saying,

ing the opportunities they offer.

“You can’t teach an old dog new tricks,” 2015 fabric vine 73

daunting tasks such as how to set a smooth, fitted sleeve into an armhole. Does the word zipper make you cringe? Get ready to conquer your fears and earn your zipper master badge.

I cannot emphasize enough how thorough this little guidebook is. Collars, darts, piping, waistbands and more are all addressed.

The highlighted tips in each section alone warrant the considering the book.

Sew Simple has even devoted wrong, as I take advantage of the easy in-

a section to choosing and working with

structions Sew Simple provides.

a variety of materials. This one may be

Nearly forty brief chapters are included

especially helpful for quilters who have

in this delightful ode to the joys and rel-

worked primarily with cotton fabric.

evance of Sew News magazine. It might

Fleece, knits, nylon, oilcloth and even

seem impossible to cover so much infor-

leather are covered.

mation effectively within so few pages.

Build Your Embellishing Skills is the

The writers have risen to the challenge

title of the last section. As they say—All

successfully. Keep in mind the book was

work and no play makes Jack a dull boy.

written by Editors of a magazine that has

These seven Sew Simple chapters are

been educating its readers in the art of

when both Jack and you get to have some

sewing for over 25 years.

fun and let the creative juices flow. The

The book traverses the sewing domain

rest of the book was the foundation. Here,

covering everything from how to sew on

you find the recipe for decorating your

a button and make a buttonhole to more

well constructed projects.

74 fabric vine 2015

The simple techniques you learn in the chapter on Hand Embroidery can transform your project from solid to sizzling with a few well placed stitches. Or, have you been wondering how you can learn the recently revived art of felting. Needle Felting will get you started and have you showing off your new skills by tomorrow.

If you are just beginning to sew or are like so many young people today whose schools do not offer Home Ec, The Sew Simple Guide to Easy Sewing and Embellishing is the reference book to turn to.

Plus, this is a gift that will used again and again. I’ll be picking up a few of these for holiday surprises.

Maybe you’re a master quilter but lack confidence when it comes to sewing wearables. The tips and techniques you learn here will put you well on your way to sewing success.

You can find copies at your local fabric shops, bookstores or at www.shopmartingale.com. The print version sells for $26.99.

The ebook, available for download from Martingale is $18.99. You can review all the areas covered and view some sample pages here.

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        Summer exhibits Summer exhibits explore explore symmetry, shape, & silk!

symmetry, shape, & silk!

  

   LA GRANGE, TEXAS—June 8, 2015—Things are coming down to a “T” this summerLA and fall at the Texas/ July Quilt2 Museum with the debut three new exhibits: GRANGE, TEXAS through September 27,of 2015 “Intuitive Symmetry: Works on Silk by Judith Content,” “Kimono Quilts and Things are coming down to a “T” this summer and fall at the Texas Quilt Museum Kimonos,” and “Antique Four-Poster Quilts.” Collectively titled “Quilted To a with debutworks of three new exhibits: “Intuitive Symmetry: Works on Silk by Judith ‘T’,” they willthe feature with a similar shape to that letter of the alphabet.

Content,” “Kimono Quilts and Kimonos,” and “Antique Four-Poster Quilts.”

Collectively “Quilted To a from ‘T’,” they feature works with aJudith similar shape to This slate of exhibitstitled will be on display Julywill 2-September 27, 2015. of giving the alphabet.

Contentthat willletter also be a free Gallery Talk at 3 p.m. on July 11. Admission to

the Museum will be that day at 2 p.m.

Here is a2-September rundown of each display: This slate offree exhibits willstarting be on display from July 27, 2015.

Judith

Content will also be giving a free Gallery Talk at 3 p.m. on July 11. Admission to the Symmetry: Worksofoneach Silkdisplay: Museum will be free that day starting Innovative at 2 p.m. Here is a rundown

by Judith Content Galleries I & III Innovative Symmetry: Works on Silk Influenced by the T-shaped forms of

by Judith Content Japanese kimonos and antique fourGalleries I & III poster quilts, California artist Judith Influenced by the T-shaped forms of Content has explored this broad canvas in her quilt art for more than Japanese kimonos and antique four-poster 25 years. quilts, California artist Judith Content has

explored this broad canvas in her quilt art Harmony and balance in the kimono for more than 25 years. structure and how it lends itself to Harmony and balance in the kimono symmetry inspires Content. To avoid structure and how it lends itself to the stasis of perfect symmetry, she symmetry inspires Content. To avoid the explores intuitive symmetry while Judith Content working in her studio. Photo by James Dewrance. stasis of perfect symmetry, she explores introducing dynamic elements into her intuitive symmetry while introducing work with surfaces that imply movement. dynamic elements into her work with Judith Content working in her studio. Photo by James Dewrance. surfaces that imply movement.

“I construct my quilts intuitively, using an array of hand-dyed silks, a contemporary “I construct my quilts intuitively, using an of hand-dyed silks, a contemporary approach to the traditional Japanese dye technique ofarray arashi-shibori,” she notes. approach to the traditional Japanese dye technique of arashi-shibori,” she notes.

Content creates subtle visual by intersecting dynamic and harmonious Content creates subtle visual tension bytension intersecting dynamic and harmonious color, pattern, and Museum texture. Museum curator Dr. Sider Sandra Sider says, “It is elementselements through through color, pattern, and texture. curator Dr. Sandra says, “It is very satisfying toto see a contemporary quilt artist soso deeply very satisfying see a contemporary quilt artist deeplyengaged engagedwith withquilt quilt and textile and textile history, responding in her own unique style to magnificent antique quilts, history, responding in her own unique style to magnificent antique quilts, as well as to a as well as to a timeless style of clothing embedded in another culture.” timeless style of clothing embedded in another culture.”

76 fabric vine 2015

(over)

Kimono Quilts and Kimonos Gallery II These gorgeous Japanese-accoutrement-inspired quilts and kimonos include works by such well-known artists as Therese May, Yvonne Porcella, Texas quilter Sugar Rieck, Ans Schipper-Vermeiren, and Sarah Ann Smith.

Dr. Jacqueline Atkins, an internationally known expert in Japanese textiles, serves as Guest Curator for this exhibit.

And three of the kimonos on view are from her private collection.

“Tempest” by Judith Content.

Photo by James Dewrance.

Antique Four-Poster Quilts Gallery I

Antique four-poster quilts, most popular in New England during the 1800s, lack the bottom corners. This is so the quilt would fit easily around the back bedposts, with a section draped over the foot of the bed.

Museum goers can see rare four-poster bed quilts from the New England Quilt Museum, the San Jose Museum of Quilts and Textiles, and the International Quilt Festival Collection.

The Texas Quilt Museum is located at 140 W. Colorado St., La

“Twelve Crowns” (Delectable Mountains Variation) c. 1860. Courtesy Texas 78945.

It opened and is housed in two ofGrange, the New England Quilt Museum.

Photoinby2011 Joe Ofria.

19th-century buildings in the Historic District of La Grange. Its The Texas Quilt Museum is located at 140 W. Colorado St., La Grange, Texas 78945. It opened in 2011 and is housed in two 19th-century buildings in the Historic District of La Grange. Its restoration has won both Preservation Texas and Main Street awards. The Museum complex also includes a period Texas garden with a monumental 13’ x 85’ outdoor mural, Quilts: History in the Making, as its focal point. Learn more at www.texasquiltmuseum.org Media contact: For visuals or to schedule an interview,please contact Bob Ruggiero, Director of Public Information,at bobr@quilts.com or call 713-781-6864, ext. 116.

         Upcoming Museum exhibits: October 1 through December 20

 “Contemporary Quilt Art from the Marbaum Collection”  “Cynthia Collier: Transformed by Tradition” Collier will give a free Gallery Talk at 3 p.m. on October 11. Guest Curator is Vicki Mangum.

2015 fabric vine

77

On view now through December 21

“Art Quilts from the John M. Walsh III Collection”

Lay of the Land by Valerie S. Goodwin, 54" X 84" triptych

Rio Hondo by Katie Pasquini Masopust, 40" X 60"

A once-in-a-lifetime chance to see the stunning exhibit!

Featuring 54 quilts from the Collection (the most ever seen in a single setting), this exhibit includes works from masters of the art quilt like Michael James, Therese May, Terrie Hancock Mangat, Nancy Crow, Linda Colsh, Velda Newman, Susan Shie, Arydyth Davis, and Robin Schwalb.

Don’t miss out!

140 West Colorado | La Grange, Texas 78945 | Phone 979-968-3104 | Fax 979-968-6010 www.TexasQuiltMuseum.org 2014 Asian Fabric 00

Quilt! Knit! Stitch!™ returns to Portland, Oregon Portland abounds with creativity. So, it’s no surprise that Quilts. Inc, the folks that produce several International Quilt Festival shows around the country, will be bringing Quilt! Knit! Stitch!TM back to Portland for it’s second year.

Quilt! Knit! Stitch TM will be held at the Oregon Convention Center in Portland August 13—15, 2015 to celebrate the needle arts practitioners in the Pacific Northwest. Kona Bay Fabrics is based just a two and half hour hop, skip and a jump away in Redmond, Washington. We’re excited to see the recognition of our area’s diverse and artistic population and a extend a warm Pacific Northwest welcome.

Quilt! Knit! Stitch! TM will feature exhibitor booths, quilts and fabric art on display, and many educational opportunities on the show floor.

But what will set it apart from the International Quilt Festivals currently held in Cincinnati, Chicago, Long Beach, and Houston will be a greater emphasis across the board on fabric arts. Areas

of interest include beadwork, knitting, embroidery, crochet, cross-stitch, jewelry, mixed media and, of course, sewing.

“We’ve seen a large and growing interest in these areas at our shows.

And many artists—often younger than our traditional demographic—are experimenting with them. At the same time, they are either dipping their feet into quilting or starting to learn how to quilt,” notes Karey Bresenhan, Founder and Director Emeritus of Festival.

Browsing through the catalog confirms their tagline—There’s something for everyone! Along with a bevy of vendors (click here to see the list), the roster of Special Exhibits is extensive.

One, titled “Twelve Voices to One”, showcases what participating artists learned from three years of intense study in the Art Cloth Mastery Program.

It offers some of the finest work being created by surface design artists today. The exhibit is curated by Jane Dunnewold whose book, Complex Cloth,

we reviewed in this (http://issuu.com/ konabayfabrics/docs/fv_1) Fabric Vine issue.

“Harlequin Feltworks”, which is making its debut in Portland, explores the range of function and fabulous that can be achieved when a master transforms wool to felt. Jenne Giles introduces us to felting in a way many of us have not experienced.

The exhibits are only half the fun.

Lucky for you, the show vendors will be offering just what you need to embark on the creative adventure of your choice. And, the fun doesn’t

stop with vendors, exhibits and new friends. Well over 100 classes and events provide thoughtful instruction in over twenty categories ranging from Beadwork to Knitting to Wearables.

With Quilts, Inc’s long history in the quilting industry, you’ll have access to some of the best quilting instructors around as well.

Visit https://www.quilts.com for more information and to download a catalog. You can also get the scoop on other Quilts, Inc shows while you’re there.

Class #201: Kathy Kansier’s “Quilts with Great Edges”

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Class #105: Sivia Harding’s “Heart to Heart Beaded Scarf”

The show is open from 10am to 6pm daily and admission is an affordable $10 or you can get a Full Show Pass for only $25. Seniors 65+ and students enjoy the reduced rate of $8 and children 10 and under are free with a paid admission.

Classes and workshops require an additional fee starting at $10.

If you live in the region, put this fun show on your calendar. If you live out of the area, it’s certainly worth considering making Portland, Oregon and the Quilt!

Knit! Stitch!TM show part of your summer travel plans. Don’t miss our article about visiting Portland on pages 82–89.

Firewheel Meadow (34.25” x 37.75”) by Suzann Thompson.

From the Special Exhibit “TextileFusion.”

2015 Fabric VINE 81

Cr

00 Asian Fabric 2014

Photos courtesy of Portland Oregon Visitors Association

travel

Hip & reatively P Inspired

ortland, Oregon is the ideal destination for any traveler.

Devotees of Asian art and culture, foodies, wine lovers, bookworms and crafters will all find plenty to do.

This eclectic city on the shores of the Willamette River has built a reputation on originality, so visitors should be prepared to encounter the unexpected.

From VooDoo Doughnuts and food carts to fantastic gardens, Portland is a city that should not be missed.

Perhaps one of Portland’s most charming aspects is its size. It’s much smaller than other west coast cities.

This makes it feel accessible and friendly. At the same time, Portland is packed with diverse neighborhoods.

There’s upscale shopping along 23rd Avenue, and more bohemian shopping experiences found along Mississippi and Hawthorne. No matter where you venture, the locals are laid back and willing to offer information, so there’s never a need to feel lost.

Any visit to Portland should start with a visit to the museum of the Oregon Historical Society. Located in the heart of downtown, this museum offers a fantastic introduction to the history of the city and the state.

In addition to permanent exhibits that explore the history and geology 2015 Asian Fabric

83

of Oregon, several rotating exhibits highlight diverse subjects like the state’s winemaking industry and an examination of Abraham Lincoln’s presidency.

Nearby is the fabulous Portland Art Museum. This oldest museum in the northwest houses a varied mix of contemporary and classic art. Inside are several floors of modern art exhibits.

Portland Art Museum is also known for its outstanding collection of cultural artifacts as well. It houses a particularly impressive collection of Asian art.

The city has always enjoyed a close relationship with Asian nations, and this is reflected in its deep collection of Japanese, Chinese and Korean art. The more than 4,000 objects include rare Japanese prints and many paintings from the Meiji and Edo periods.

The Chinese collection includes ancient works from the Neolithic era and also includes contemporary works. Tomb

84 Asian Fabric 2015

objects from ancient dynasties, beautiful ceramics and fine examples of decorative arts are also found. The institution’s collection of Korean artwork may be smaller but is still impressive. Some objects were created in the 20th century, but others are much older, dating to about the 4th century. A particularly beautiful folding screen depicts the various Confucian virtues, rendered by hand in vivid detail.

No visit to downtown could be complete without a stop at the Lan Su Classical Chinese Garden. A peaceful oasis in the midst of urban bustle, this garden was designed in the Ming Dynasty style.

Classical artisans built the garden to occupy an entire city block. Zither Lake is the heart of the installation, but most visitors are also captivated by the many pavilions and shady colonnades.

For a deeper exploration, indulge in a guided tour that provides insight into the meaning behind the garden’s many

facets and the fascinating horticultural specimens on display. Pause for a cup of soothing tea at the Tao of Tea, a lovely shop surrounded by calm and tranquility.

Fortunate visitors will be able to observe one of the events that are frequently hosted at the Chinese Garden.

A summertime concert series highlights a variety of musical styles. Box meals provided by some of Portland’s most wellregarded Asian restaurants complete the atmosphere. Visitors in January and February may be able to participate in the garden’s wonderful Chinese New Year Celebration. It’s a festive period of two weeks that enjoyably celebrates Chinese culture.

Of course, Portland has other fantastic gardens. One of the most popular is the Portland Japanese Garden. The garden was founded in 1963, symbolic of the improving relations between Americans and Japanese in the wake of World War II. Since then, the garden has frequently 2014 Asian Fabric 00

been lauded for its authenticity, with many people pointing out that it is the most genuine of Japanese gardens outside of Japan.

It’s found in Portland’s Washington Park, a spectacular area that’s adjacent to downtown. The park contains not only the Japanese Garden, but also the Oregon Zoo, the International Rose Test Garden and other fun attractions. However, many visitors love the Japanese Garden best thanks to its breathtaking beauty and soothing atmosphere. The garden is a feast for the senses. The scent of sweet blooms, the sound of trickling water and the colorful foliage combine to create an unforgettable experience. Visitors delight in the faithfully recreated tea house and revel in the spectacular view of Mt. Hood that can be enjoyed on sunny days.

Features within the Japanese Garden include a Sand and Stone Garden, a Strolling Pond Garden with a zigzagging path through clumps of iris and a Tea

86 Asian Fabric 2015

Garden that is intended to help those who walk through it shed the cares of the outside world. To better appreciate the garden, guided tours are offered with the price of admission, but visitors should set aside time to explore on their own as well.

In Portland’s Old Town neighborhood, visitors will find the Oregon Nikkei Legacy Center. The center is a celebration of the close relations enjoyed between Portland and the Japanese. A museum documents the history of Portland’s Japantown neighborhood, a community that was decimated in the spring of 1942 when the majority of Japanese living along America’s west coast were removed to incarceration camps. Within the museum are plenty of objects and artifacts on permanent display. Traveling exhibits that explore different facets of Japanese and American relations are periodically highlighted.

With plenty of fresh air and wonderful

places to explore, it’s no surprise that Portland is also something of a haven for foodies. Perhaps the most well-known trend in the region right now is the food carts. They seem to have sprung up everywhere, but most are grouped into pods, which makes it very easy to sample several different cuisines in one spot. On Alder Street in downtown is one of the city’s largest and most varied pods. People love the pork sandwiches, garlic and ginger chicken and diverse other offerings. It’s a fantastic waypoint for people walking up to Powell’s, a venerated bookstore that occupies an entire city block and boasts millions of books both new and used.

Other food cart pods specialize in vegetarian offerings or serve up delectable burgers. Czech food is on the menu on Fifth Avenue while Italian is found on Third. Near Portland State University is yet another pod where the Portland Soup Company is found. Their apple-wood-

smoked trout chowder truly has to be experienced.

Anyone feeling thirsty in Portland will find themselves in good company. The city is the birthplace of many microbrews, and a brewing industry has sprung up to support them. With more than 50 breweries, Portland has a worldwide reputation for its concentration of craft brewers. Many restaurants throughout the city feature local brews on tap.

Sampling even a few makes any visit to Portland complete.

The area around Portland is also known for its extraordinary wineries, particularly those that produce the Pinot noir that the region is most recognized for. Many of these wineries are found in the Willamette Valley. Tour operators transport visitors through the region, sampling delicious wines as they go.

However, the proliferation of urban wineries means not having to leave the city to discover a fantastic new wine.

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Visit the Southeast Wine Collective off of Division Street to sample three urban wineries under one roof. Those with a genuine love of wine might choose to indulge in the Urban Winery Passport, sort of an all access ticket to Portland’s best vintners.

Getting around the city is a cinch thanks to an outstanding public transit system that includes light rail trains, streetcars and buses. Portland is very walkable, and locals have a love of bicycling that makes this an ideal mode of transport too. To see the city in style, grab a ride on the Big Pink Sightseeing Tram, a hop-on hop-off service that takes visitors to all major attractions.

Portland is a city that boasts something for everyone. Gorgeous gardens, fabulous museums and spectacular shopping are just the beginning. This destination shouldn’t be left off of anyone’s Northwest travel itinerary.

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2015 Asian Fabric

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Torii Gate available September

click quilt for free pattern

Peony Prairie available in September

click quilt for free pattern

00 fabric vine 2015

Designer: Georgie Gerl The comforting harvest colors brings warmth and calm to this quilt while foliage accented in the circles seem to float just like the leaves falling from the trees in the ever-changing seasons of life.

2015 fabric vine 00

Fall Foliage Quilt Cutting Chart & Material List

Fall Foliage Quilt Wall & Lap size 73" x 50"

material list Backing #8 yards Batting &(" x %^" Lightweight Fusible Web ! yard Stabilizer # yards Optional: Yard Ruler Points Purchase Circle Templates

Fabric, Placement & Yardage

First Cuts

@ Fabric A !

EXOT-06 Black Center & Binding @ $ @ yards Fabric B EXOT-06 Tan Circles

!w yards

Depends on motif selections

%$" x @w" $(2" x @(2" $(2" x @" @w" x $@"

Read Let’s Begin cutting instructions prior to cutting background circles.

! !)2" square Fabric C KF-1504 Bk Red Read Let’s Begin for Motif Feature cutting instructions q-! yard (page 97).

Fabric D EXOT-06 Gold Stripes

2 yard Fabric E LAIR--05 Black Stripes

2 yard

96 fabric vine 2015

%

!2" x $@"

Read Let’s Begin for cutting instructions (page 97). # #

@" x $@" !2" x $@"

Fabric, Placement & Yardage

First Cuts

# #2" x $@" Fabric F NATU-04 Rust Stripes & Leaves Fabric remaining will

2 yard Fabric G FANC-01 Gray Stripes

Fabric K TONE-07 Green Leaf Appliqués

be used for appliqués.

#

^2" x $@"

Fabric L NATU-04 Moss Leaf Appliqués Fabric M NATU-04 Green Leaf Appliqués

w yard # !2" x $@" Fabric H NATU-04 Gold Read Let’s Begin for Stripes & Circle

s yard

Fabric, Placement & Yardage

cutting instructions (page 97).

Fabric N EMPR-17 Green Leaf Appliqués

# @2" x $@" Fabric I NATU-04 Berry Stripes & Leaves Fabric remaining will

Fabric O EXOT-06 Green Leaf Appliqués

2 yard

Fabric P TONE-04 Green Leaf Appliqués

Fabric J TONE-01 Gold Stripes

s yard

be used for appliqués.

#

%" x $@"

4 yard for each green fabric

(Fabrics K thru P) Refer to quilt for fabric placement

Let’s Begin & Cutting the Fabric

Making the Background

For this project it is important to read all instructions first prior to piecing the quilt.

The first measurement listed in the chart runs parallel to the selvage. Cut fabrics strips as noted in chart.

1. Sew !2” x $@” Fabric D strips end-to-end to make one continuous !2”-wide Fabric D strip. Press. From this strip cut two !2” x $(2” strips.

• Fabric A: Cut one %$” x $@” piece from this piece cut two %$” x @w” strips (for binding), one $(2” x @(2” piece, and two $(2” x @” strips. From the remaining Fabric A piece cut four @w” x $@” strips (for binding).

• Fabric B: Cut two (” x @(2” and two (” x !@2” Fabric B strips the remaining fabrics will be used as appliqué background circles.

• Fabric C: Referring to Appliqué Circles (page 99) step 1, trace two of each &2”, ^”, and #” finished circles sizes on wrong side of fabric.

• Fabric D: Cut five !2” x $@” strips (as noted on chart), from two of these strips cut two !2” x !@2” strips and two !2” x !)2” strips.

For the remaining strips follow Making the Background instructions (page 97–98).

• Circle backing fabric: The backing will not show so muslin or fabric scraps can be used.

Cut one #@” square for center circle backing fabric. Cut four !)” squares for circle backing squares. Cut two of each size !^”, !$”, *”, ^”, and %” squares.

• All Circles: Refer to Making the Circles (pages 100–103) to make templates and cut circles from Fabrics B, C and H.

Note: If desired a lightweight batting can be used to give a loft to circles. Layer and center circle and backing right sides together on a lightweight batting piece (wrong side of backing on batting). Refer to Making the Featured Circles (page 97), step 2 circle unit.

Use an accurate 4”-wide seam allowance for this project. This quilt is pieced and quilted in sections then all components are sewn together to make this wall or lap-size quilt.

2. Sew @” x $@” Fabric E strips end-to-end to make one continuous @”-wide Fabric E strip.

Press. From this strip cut two @” x $(2” strips.

Sew !2” x $@” Fabric E strips end-to-end to make one continuous !2”-wide Fabric E strip.

Press. From this strip cut two !2” x $(2” strips.

3. 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 $(2” strips.

4. Sew ^2” x $@” Fabric G strips end-to-end to make one continuous ^2”-wide Fabric G strip. Press. From this strip cut two ^2” x $(2” strips.

5. Sew !2” x $@” Fabric H strips end-to-end to make one continuous !2”-wide Fabric H strip. Press. From this strip cut two !2” x $(2” strips.

6. Sew @2” x $@” Fabric I strips end-to-end to make one continuous @2”-wide Fabric I strip. Press. From this strip cut two @2” x $(2” strips.

7. Sew %” x $@” Fabric J strips end-to-end to make one continuous %”-wide Fabric J strip.

Press. From this strip cut two %” x $@” strips.

2015 fabric vine 97

%”

8. Referring to diagram below, arrange and sew all strips from steps 1-7 as shown. Press. @” @2” @” !2”

^2”

#2” !2” !2”

@(2”

!2” !2” #2”

^2”

!2” @” @2” @”

%”

$(2”

Finishing the Quilt The background unit is quilted and finished prior to sewing the circles to the quilt.

1. Cut backing fabric piece into two equal pieces. Sew pieces together to make one %^” x *)” approximate backing piece.

2. Press backing and quilt top trimming all excess threads. Refer to General Instructions (pages 109) 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.

Making the Featured Circles

Refer to circle patterns (pages 100–103) to make all circle templates—@&”, !$”, !@”, *”, &2”, ^”, $”, and #” circle templates. Trace line for all circles will be the sewing line and finished size of circles.

1. Fabric C circles are “Fussy Cut”, select the desired motif area to be featured in the Fabric C circles.

Trace around circle template (&2”, ^”, and #”) on the wrong side of the fabric. Cut approximately 4” from marked line to allow for seam allowance. The trace line will be your sewing line. Cut two of each &2”, ^”, and #2” circles from Fabric C. 2. Place motif fabric right sides together with a circle-backing square (backing is approximately 2” larger than circle template). Sew on traced line and cut backing piece to match circle. Make a slit in the center of the backing piece being careful not to cut the motif fabric. Turn right side out and press.

Repeat to make two of each size circles.

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Making the Center Circle Note: Appliqué templates are reversed for quick-fuse appliqué method other methods can be used but depending on method some templates may need to be reversed from those provided in pattern.

1. Sew !)2” Fabric C square between two !2” x !)2” Fabric D strips. Press seams toward Fabric D. Sew this unit between two !2” x !@2” Fabric D strips as shown. Press. !2”

5. Place appliqué circle unit right sides together with a circle-backing square (backing is approximately 2” larger than circle template). Sew on traced line and cut unit approximately 4” from marked/stitch line to allow for seam allowance. Make a slit in the center of the backing piece being careful not to cut the appliqué unit. Turn right side out and press.

!2”

!@2”

2. Sew unit from step 1 between two (” x !@2” Fabric B strips. Press seams toward Fabric B. Sew this unit between two (” x @(2” Fabric B strips as shown. Press. (”

(”

@(2”

3. Center 27” circle template on the wrong side of the pieced unit from step 2. The trace line will be your sewing line.

4. Refer to Appliqué Circles instruction to fuse leaves to right side of unit and finish appliqué edges.

Appliqué Circles The remaining circles are cut from Fabrics B and H pieces and used as appliqué background. The instructions given are for Quick Fused Appliqué Method for other methods refer to General Instructions (pages 108–109) 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.

1. Trace around circle template on the wrong side of the fabric. The trace line will be your sewing line.

2. Trace all leaf patterns on pages 103–104 on paper side of lightweight fusible web leaving 2” space between pieces. Cut approximately 4” away from trace line.

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3. With fusible web paper-side up, fuse to wrong side of assorted green fabric scraps following manufacturer’s instructions. Cut on traced line.

4. Refer to layout on pages 94 and 96 to arrange and fuse appliqués to quilt as shown. Finish all appliqué edges with machine satin stitch or decorative stitching as desired.

5. Place appliqué circle unit right sides together with a circle-backing square (backing is approximately 2”

larger than circle template). Sew on traced line and cut unit approximately 4” from marked/stitch line to allow for seam allowance. Make a slit in the center of the backing piece being careful not to cut the motif fabric. Turn right side out and press.

Finishing the Quilt

Refer to layout on pages 94 and 96 to arrange circles to finished background quilt. Stitch circles to quilt either by machine or hand.

&2” Finished Circle Template

6” Finished Circle Template

d Circle Te inishe mp F ” 4 lat e

Refer to Appliqué Circles prior to cutting fabrics.

3” Finished Circle Template Fabric C

Fabric B

Fabric C

Fabric C

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Trace Line Placement Line

Circle Templates

Making the Pattern Trace either a 14”, 12” or 8” quarter-circle pattern four times aligning placement lines to make a whole circle template.

Refore to Appliquè Circle instructions (pages 99-100) prior to cutting fabrics.

14” Finished Circle Template

Fabric B

12” Finished Circle Template

Fabric B

8” Finished Circle Template

Fabric H

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Trace Line Placement Line Placement Line

27� Circle Template

TO P

SEC

TIO

N

Making the Pattern To make an eighth-circle pattern trace top section first and mark blue and red placement lines then trace bottom section aligning red placement lines to make an eighth-circle template. Follow one of the following options to make a whole 27� circle template.

Option 1 Cut a 29� square of pattern or freezer paper. Fold paper in half then in half again. Align pattern blue placement line on one paper folded edge.

Trace curve edge and marked other blue placement line. Trace twice aligning curve and placment lines to make a quarter circle template. Cut on drawn solid curve line to make a whole paper pattern.

Option 2 Trace eighth-circle pattern eight times on pattern paper, freezer paper, or template plastic aligning placement lines to make a whole circle template. Cut on traced curve line only.

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Leaf Patterns Patterns are reversed (mirror image) for quick-fused appliqué.

If using a different method for example hand appliqué templates may need to be reversed check prefer technique instructions.

Make ten

Trace Line Trace Line extending under other appliqué pieces Placement Line Placement Line

Make four and four reversed

BOTTOM SECTION

27” Circle Template

Fall Foliage Wall/Lap Quilt

Make four and four reversed

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Leaf Patterns Patterns are reversed (mirror image) for quick-fused appliquĂŠ.

If using a different method for example hand appliquĂŠ templates may need to be reversed check prefer technique instructions.

Make four

Trace Line Trace Line extending under other appliquĂŠ pieces

Make one and one reversed

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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

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This technique differs from the Simple Triangle method; you will be making two triangles at one time.

Step 1 Draw a diagonal line on the wrong side of one fabric square. Place marked square and one corresponding square right sides together. Sew a scant 4” away from drawn line on both sides, cut on drawn line, and press.

Fabric F- 2 2" x 2 2" Fabric D- 2 2" x 2 2"

Square to 2” Make 2

Step 2 Measure unit and trim as indicated in construction diagram.

Applique Technique Quick Fused Method This method joins fabric to each other with the use of fusible web. There are many types on the market and you will need to refer to manufacturer’s instruction for specific requirements. If quilt does not require laundering you can use heavy-weight fusible web and follow steps 1-4. If your quilt will require laundering use lightweight fusible web and follow all steps. Remember that appliqués when pressed to background fabric will be a reverse image from patterns provided.

Step 1 Trace all appliqué pieces on the paper side of lightweight fusible web leaving 2” space between pieces.

Cut approximately 4” away from traced line.

Step 2 With fusible web paper side up, fuse to the wrong side of fabric scraps following manufacturer’s instructions.

Step 3 Cut on draw line. Remove future project

paper backing, a thin film of adhesive will remain on fabric.

General Instructions

Step 4 Referring to project photo, position and fuse all pieces of one appliqué design at a time onto background.

Tip: An Appliqué Pressing Sheet is very helpful when there are many elements to a design. Place your pattern (reverse image from pattern provided) under the pressing sheet as a guide.

Arrange pieces on sheet and press following manufacturer’s instructions.

Allow piece to cool, remove appliqué unit and arrange on background to fuse unit in place. If the piece is not cooled, the fusible web could remain on the sheet instead of the fabric.

Step 5 If using a machine, cut a piece of stabilizer larger than appliqué area and pin to wrong side of fabric.

Stabilizer is used to achieve an even stitch. Using a satin stitch, blanket stitch or other decorative stitching to secure appliqué in place. Start stitching from the background to the foreground. Option: use a hand embroidery stitch instead.

Hand Appliqué If project specifies quick-fuse you will need to reverse all patterns and add 4”- wide seam allowance. The steps that follow will add the seam allowance after pattern is traced onto fabric.

Step 1 Make a template of all pattern pieces and indicate where pieces overlap.

Place template on right side of selected fabric.

Step 2 Trace around template using a removable fabric marker. This will be your turn under guide. Cut out shapes approximately 4” beyond traced line.

Step 3 When layering and positioning pieces always work from the background to the foreground.

Step 4 Enter from the wrong side of applique shape bringing the needle up on the traced line. Using the tip of the

needle turn under a small portion of the fabric along trace line and secure with thumb. Using a blind stitch, stitch along folded edge to join piece to background.

Stitch is hidden under fabric.

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

Blind Stitch

Finishing the Quilt

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.

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